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  • AI Companies Are Destroying Books. What Does That Mean For Art?

    AI companies, after losing copyright lawsuits over using pirated books found in digital formats, found a way forward, since the law doesn’t prohibit them from buying physical books and destroying them. In another ironic twist, they are looking only for books printed before 2022, because they want books that definitely have not been produced using AI. – ARTnews

  • How Marcello Angelini Remade Tulsa Ballet

    “During Angelini’s (31-year) tenure as artistic director, Tulsa Ballet has grown from a well-regarded regional troupe — best known for its efforts to preserve the Ballet Russe traditions championed by its founders, Roman Jasinski and Moscelyne Larkin — into a versatile dance company that many critics consider among the best in the United States.” – Tulsa Flyer

  • Journalism Inside Libraries

    “I once described the larger ambition as opening 16,000 community-led newsrooms, one in every public library in the country.” Now he believes the goal should be “creating 16,000 places where neighbors can look more closely at where they live and make something public from what they find.” – NiemanLab

  • London Philharmonic Survey: Interest In Orchestral Music Is Up, Particularly Among Young People

    The RPO findings show that there is a rising interest among young people – the nationally representative poll of 2,000 adults revealing that 89 per cent of adults would be interested in attending a concert or performance featuring classical or orchestral music. This figure is up from 79 per cent in 2018. – Gramophone

  • What Happens Now For The Kennedy Center?

    Outside, digital signs that typically advertise upcoming performances instead flashed a red “Emergency alert” announcing the building was closed to the public. Guards stood at the doors. On Wednesday, fencing was erected around the building. – Washington Post

  • Madrid’s Thyssen-Bornemisza Museum To Add A Second Location

    Because of overcrowding in the main building’s galleries, the museum will acquire an additional space a few blocks away: the Ice and Automobile Palace, which has been vacant since 2007 and will undergo a €70 million ($81 million) renovation.  When it opens, the new branch will display 21st-century works. – ARTnews

  • Why Academic History Matters

    Academic history matters. It matters for honing critical engagement, for challenging all-encompassing technological vapidity, for strengthening individuality. It matters because it shows us that process cannot be separated from what we produce. – History Today

  • FCC Says It Could Earn Billions From New Wireless Spectrum Auctions

     Federal Communications Commission Chair Brendan Carr said Wednesday that a series of upcoming wireless spectrum auctions ​over the next couple of years could generate more than $100 billion in proceeds. – Reuters

  • What Happens To Warner Bros. If The Paramount Merger Falls Apart?

    “To be clear, the deal collapsing wouldn’t be fatal to Warner Bros. Discovery. CEO David Zaslav would walk away with a $7 billion break-up fee that could offer additional flexibility as an independent company. But experts who spoke to TheWrap are skeptical that management would continue to go it alone long-term.” – TheWrap (MSN)

  • American Music at 250 – Take 9: Can an Orchestra Still Embody the Soul of a City? Gustavo Dudamel and the New York Philharmonic

    The current issue of “The New York Review of Books” includes my essay on state of American orchestras

  • Spaceship Lucas: LA’s New Museum Of Narrative Art

    It is a Goliath of a building, 700 feet long with 300,000 square feet of space. In terms of massiveness, visual impact and sheer joyous bravado, it offers as much spectacle as any of his films. But it is not so much its size that amazes, but its uncanny shape. – The Wall Street Journal

  • Inside The Unraveling Of The Ed Sheeran Tour

    How Sheeran, a musician known for his crowd-pleasing, inoffensive everyman appeal, landed in this situation illustrates the hazards of planning a lucrative, global music tour at a time of intense geopolitical unrest and cultural division over violent conflicts. – The Wall Street Journal

  • Trump’s Shakedown Of The Kennedy Center

    “Trump is taking the Center hostage and threatening to in effect kill it unless he gets his way.” The president is counting on the board’s civic spirit and affection for the institution—neither of which he evidently possesses—to strong-arm it into giving him what the law and courts would not allow. – The Atlantic

  • Trump Administration Wants To Put Up Signs Accusing The Smithsonian Of Bias

    The Trump administration is currently preparing temporary signs that will accuse the National Museum of American History of ideological bias, according to a letter I obtained sent by Interior Secretary Doug Burgum. – The Atlantic

  • Universal Seems To Be Backing Away From Alex Gibney’s “Musk” Documentary

    “Universal Pictures, which controls rights to the film outside North America, (is evidently) having second thoughts on a documentary it paid a significant sum to acquire. The company has not dated the movie, has not communicated with the filmmaking team about its plans, and generally appears to be rethinking the release.” – The Hollywood Reporter

  • A Look At The Numbers Behind San Francisco Opera’s Orchestra Strike

    “The basic disagreement is … not simply over a percentage raise. It is also over how much work the orchestra should be guaranteed and how the Opera should structure itself now that it stages far fewer operas than it once did.” – San Francisco Chronicle (Yahoo!)

  • Trump Says Kennedy Center Will Be “Ripped Down” If He Can’t Put His Name On It

    “I think that the Trump administration should certainly have recognition. Because frankly, if we don’t do that, it’s going to close. It’ll end up being ripped down,” he told reporters. He said the previous day that he won’t spend congressionally-designated money for the center’s renovation unless the building bears his name. – ABC News

  • What It Was Like Inside The Kennedy Center On Its Last Day Open

    “More than half of each floor had been closed. The gift shop was papered over. The box office was open, but there were no tickets to upcoming performances to sell. … A group of young students were shuffling through one last tour. … Security guards were stationed by areas already cordoned off with red tape and ‘Do Not Enter’ signs.” – The Washington Post (MSN)

  • After A False Start, Salzburg Festival Chooses Director To Replace Fired Markus Hinterhäuser

    Austrian media were reporting that there would be two leaders: stage director Barrie Kosky (artistic) and Dutch National Opera chief Sophie de Lint (administration). Negotiations with that pair collapsed at the last minute, so the Festival board turned to Peter de Caluwe, until last year director of La Monnaie in Brussels. – Moto Perpetuo

  • Some Surprises In This Season’s List Of Most-Produced Plays And Playwrights

    There’s a new play atop the list: Kimberly Belflower’s John Proctor Is the Villain, followed by Branden Jacobs-Jenkins’s Purpose and Bess Wohl’s Pulitzer-winning Liberation. Among playwrights, once-perennial leader Lauren Gunderson is down to fourth place; the late August Wilson is number one, followed by Belflower and Jacobs-Jenkins. – American Theatre

  • Peter Max, Whose Day-Glo Art Epitomized The ‘60s, Has Died At 88

    “Through savvy marketing, his … color-saturated, almost hallucinatory depictions of stars, sun rays and people in profile showed up on walls and coffee mugs, on clothing, clocks, stationery, and even airplanes and cruise ships. In some ways, Mr. Max created the graphic equivalent of the rock-and-roll revolution in music.” – The Washington Post (Yahoo!)

  • (no title)

    Good Morning,

    Two hours a day. That’s the average screentime of the 700 million people now watching microdramas — cheap, vertical, minute-long episodes — and the case is being made that they are the artform of our time (New Left Review). The sophisticated science programming legacy media used to produce now draws tens of millions on YouTube, made by individuals (TheWrap). Whatever else those stories say, demand for culture isn’t the problem.

    Institutions, meanwhile, are arguing about who pays. Staff at the Whitney, Brooklyn Museum and American Folk Art Museum voted to strike over wages below what a single adult needs to live in New York (ARTnews). San Francisco Opera is dark through Sunday as its orchestra strike continues (San Francisco Chronicle). The Louvre’s new director is in Tokyo and Hong Kong passing the hat for a €1 billion renovation (South China Morning Post). And a proposal to privatize the Smithsonian as its cleanest defense against political interference (The Wall Street Journal) assumes donors want less control than governments do.

    The generative exception: MoMA has handed its atrium to choreographer Sarah Michelson for four weeks, and her piece’s animating question — what is a dance? — is the one institutions should be asking about their own forms (The New York Times).

    Ruben Santiago-Hudson says he and August Wilson fought constantly; every time the cast predicted he’d be fired, Wilson wrote him another role instead (The New York Times). Note to managements.

    All of our stories below.

  • Assistant Professor of Dance in the College of Fine Arts

    The School for Classical & Contemporary Dance (SCCDance) in the College of Fine Arts at Texas Christian University invites applications for the position Assistant Professor of Dance to teach contemporary dance technique and related courses. The SCCDance seeks candidates who are experienced, committed, engaged, and passionate artist-educators who will provide a balance of expertise with current faculty members. This is a full time on-campus tenure-track faculty position. The successful candidate will join a collaborative faculty, dedicated staff, and motivated students in a community of artist-scholars and a culture defined by care and excellence. The start date of the position is August 2027.

    Required:
    • Terminal degree in Dance or related area; or with degree completion expected by start date; or MA with minimum seven (7) years of professional performing/teaching experience in Dance.
    • Minimum three (3) years pre-professional teaching experience.
    • Evidence of creative or scholarly research activity, and/or trajectory, consistent with tenure track expectations.

    Preferred:
    • Experience teaching at the university or college level in dance and related courses.
    • Experience teaching a diasporic or culturally rooted dance form, including but not limited to: West-African, hip-hop, house, folklórico, Gaga, Dunham, técnica cubana, Butoh, Bollywood, etc.
    • Experience teaching classroom-based courses in dance (theory, history, teaching methods, anatomy, etc.).

    Required Application Materials & Application Instructions

    1. Cover letter/Letter of Application including the following: teaching philosophy, research/creative activity
    2. (2 pages maximum);
    3. Curriculum vitae with links to website or professional activity;
    4. Contact information for three professional references.

    Review of applications will begin on November 1, 2026. The position will remain open until filled. All applications will be held in confidence.

    After the initial review of applications, candidates advancing to the second round of consideration may be asked to submit supporting materials, including evidence of academic and artistic excellence, and research and/or creative work. These may also include evaluations, teaching observations, syllabi, links to a professional activity website, and/or letters of recommendation. All materials are to be submitted online.

    Questions regarding the application process may be directed to Human Resources at hrtalentacquisition@tcu.edu or 817-257-7790. Other questions may be directed to the search committee chair, Dr. Suki John, Professor of Dance, at s.john@tcu.edu.

    MORE

  • Director of the School for Classical & Contemporary Dance

    The School for Classical & Contemporary Dance in the College of Fine Arts at Texas Christian University invites applications for the position of Director of the School for Classical & Contemporary Dance (SCCDance) and Associate/Full Professor of Dance. The Director serves as the senior administrator of the academic unit and reports to the Dean of the College of Fine Arts. This is an in-person on-campus tenured faculty position with an administrative appointment. The start date of the position is Summer 2027.

    This leadership role offers an opportunity to shape the future of the performing arts at TCU by continuing our established record of creative and scholarly distinction, interdisciplinary collaboration, and national visibility for the School for Classical & Contemporary Dance. The next Director of the SCCDance will serve as an active steward of programs and initiatives, joining a collaborative faculty, dedicated staff, and motivated students in fostering a community of artist-scholars and a culture defined by care and excellence.

    The Director will:

    ● provide academic and artistic leadership and contribute to TCU’s goal of becoming an R1 institution, ensuring that the strategic plans of the School, College, and University are aligned and effectively implemented.
    ● manage the SCCDance’s budgets, financial resources, and facilities; work with College of Fine Arts leadership on the renovation of Ed Landreth Hall as a shared performance space.
    ● oversee personnel matters including faculty and staff recruitment, retention, mentoring, evaluation, and the promotion and tenure process; make hiring recommendations to the Dean.
    ● develop and oversee activities related to student recruitment, auditions, admissions, and retention, including scholarships and awards, in collaboration with faculty and staff.
    ● coordinate faculty course loads, teaching assignments, and scheduling.
    ● facilitate program development, curriculum design, assessment, and university accreditation requirements; maintain accreditation from and serve as the Institutional Representative to the National Association of Schools of Dance (NASD).
    ● collaborate with faculty and staff to produce SCCDance concerts and sustain the guest artist program.
    ● support and develop the health and wellness initiatives that distinguish the School; maintain and foster the SCCDance culture of collaboration, care, and community with all faculty, staff, and students.
    ● positively represent the School to TCU and the public; work with the Dean on fundraising initiatives, including cultivating relationships with alumni, donors, and community partners.
    ● work with faculty to strengthen and expand the SCCDance’s research/creative activity portfolio, with a focus on increasing externally funded research output that enhances Dance programs.
    ● teach a reduced load in the candidate’s area of specialty and maintain a record of scholarly/creative activity and service.

    Required Application Materials & Application Instructions:

    ● Cover letter/Letter of Application including the following: administrative and leadership experience and philosophy, teaching experience and philosophy, research/creative activity highlights (3 pages maximum)
    ● Curriculum vitae
    ● List of three references with contact information for each

    Review of applications will begin on November 15, 2026. The position will remain open until filled. All applications will be held in confidence.

    After the initial review of applications, candidates advancing to the second round of consideration may be asked to submit supporting materials, including evidence of administrative, academic, and artistic leadership, and research and/or creative work. These may also include evaluations, observations, links to a website, and/or letters of recommendation. All materials are to be submitted online.

    Questions regarding the application process may be directed to Human Resources at hrtalentacquisition@tcu.edu or 817-257-7790. Other questions may be directed to the search committee co-chairs, Dr. Jessica Zeller, Professor of Dance, at j.zeller@tcu.edu or Dr. Marc Reed, Director of the TCU School of Music, at marc.reed@tcu.edu.

    MORE

  • Assistant or Associate Professor of Dance, Vassar

    R00035771
    Poughkeepsie, NY

    Vassar College is dedicated to providing equal employment opportunities to all applicants and employees and welcomes applications from individuals of all backgrounds. Decisions concerning employment are made on the basis of an individual’s qualifications to contribute to meeting Vassar College’s educational objectives and its institutional needs, which includes promoting a respect for difference and creating a learning environment where students from all backgrounds can thrive. Candidates who can contribute to these goals through their teaching, research, advising, and other activities are encouraged to identify their strengths and experiences in this area. If you need to request an accommodation to fully participate in the search process, please contact mailto:employment@vassar.edu

    Job Description

    Position Introduction:

    The Dance department invites applications for a full-time, Assistant or Associate Professor of Dance, to begin in the fall 2027 academic year. We are especially interested in advanced Assistant or recently tenured Associate Professors. We seek an accomplished artist-scholar with expertise in teaching contemporary and modern dance techniques, a distinguished record of professional creative achievement, and a demonstrated commitment to excellence in undergraduate teaching within a liberal arts environment.

    Job Description:

    The successful candidate will teach undergraduate courses in contemporary and modern dance technique at beginning through advanced levels, choreograph an original work annually for Vassar Repertory Dance Theatre, and teach seminar and/or lecture courses that examine dance through critical, historical, cultural, and theoretical frameworks. We welcome applicants whose creative and scholarly work advances understandings of dance through diverse cultural, historical, aesthetic, and embodied perspectives. Experience with interdisciplinary artistic and scholarly collaboration is highly valued. The teaching load in the first year is the equivalent of four full credit courses, following which the load is the equivalent of five full credit courses per year, or four plus intensive work with students which typically involves directed student research.

    Responsibilities will include maintaining an active creative and/or scholarly practice, mentoring and advising undergraduate students in their artistic, academic and professional development. Additionally, contribution to the curriculum development and continued growth of the department while fostering interdisciplinary collaborations within the department and across the College is expected.

    Qualifications:

    Candidates must have a Ph.D., MFA or equivalent professional accomplishment in Dance or a closely related field at the time of appointment with demonstrated excellence in teaching contemporary and modern dance technique at multiple levels as an academic and artist. A sustained record of professional creative work, including choreography and/or performance is also required. Candidates must also have demonstrated commitment to inclusive, equitable, and student-centered pedagogy and the ability to contribute to the intellectual and artistic life of a liberal arts college through teaching, creative practice, scholarship, and service.

    Preference will be given to candidates with previous college-level teaching experience; an active professional network and sustained engagement within the contemporary and modern dance communities; experience developing collaborative projects across artistic disciplines; a record of effective student mentorship and support for students’ academic, artistic, and professional growth; and experience integrating technologies such as video, photography, sound, and digital media into creative practice and/or teaching.

    Application Materials:

    • – Cover Letter and CV
    • – Teaching Statement
    • – Community Impact Statement (https://offices.vassar.edu/dean-of-the-faculty/positions/community-impact-statement/)
    • – Contact information for three references who will provide reference letters upon request. Note: Candidates will be prompted for the contact information following the submission of the application.
    • – Course evaluation material along with Syllabi of courses taught for advanced candidates
    • – Links to videos demonstrating original choreography
    • – Portfolio of creative work (can include published writings, choreographic documentation, selected press, or links to videos demonstrating teaching)

    How to Apply:

    Applications should be addressed to John Meehan and submitted online at: https://vassar.wd1.myworkdayjobs.com/Vassar-External . Please contact John Meehan at jomeehan@vassar.edu with any questions. Review of applicant materials will begin on October 30, 2026 and will continue until the position has been filled. There is no guarantee that applications received after October 30, 2026 will be reviewed.

    Pay Transparency Disclosure:

    The annual base starting salary range for this position is $100,000 to $130,000 (USD). This range includes advanced Assistant Professors as well as recently tenured Associate Professors. When extending an offer of employment, Vassar College considers factors such as (but not limited to) candidate’s education/training, work experience, internal peer equity, as well as market and organizational considerations. This salary range represents the College’s good faith and reasonable estimate at the time of posting.

    To apply, visit https://apptrkr.com/9833763.

  • The Village Bistros Of Rural France Are Disappearing

    “In 1900 there were an estimated 500,000 such establishments; by the 1960s more than half had closed. Today, only about 30,000-40,000 remain and even they are reportedly shutting at a rate of two a day. … The reasons for the closures … are economic and sociological.” – The Guardian

  • Doomsday Days: The Growing Awareness Of AI Dangers

    Jacob Coxon, the engineer who recently resigned from Anthropic to protest its safety policies, says A.I. could “kill us all by the end of the decade.” But if A.I. is so outrageously dangerous, why should we accept modest proposals to “pace” its development? Why not call in the Turing cops, and pull the plug? – The New Yorker

  • Ruben Santiago-Hudson On His Long, Lively Relationship With August Wilson

    “August Wilson and I were very close, but also we fell out a lot. Every time he and I had a debate, the word from the cast was always ‘They’re going to fire you.’ And instead of firing me, he would write another role for me.” – The New York Times

  • How Threats Of A Dismal Future Are Shaping Gen Z

    Their perception is that jobs that feel meaningful are being slashed by government or stolen by AI. As a result, she reported, members of Gen Z may just need to find meaning in their hobbies and interests outside of work and pursue jobs that allow them to fully check out at the end of the day. – 3 Quarks Daily

  • A Phenomenon: The Microdrama Might Be The New Artform Of Our Time

    Few cultural forms have commanded such a vast audience. As of February 2026, over 700 million viewers were registered across the micro-drama platforms’ monthly user bases, with daily screentime averaging two hours per person. – New Left Review

  • The Problem With Museum Wall Texts – And How To Fix Them

    Good texts take time. The field of visitor studies even recommends workshopping texts with an audience. Curators working on relentless deadlines don’t have that kind of luxury. Yet the particular genre of bad text I am thinking of, paradoxically, seems worst at the most elite levels of the industry. – Artnet

  • New York’s Museum Of Modern Art Has Just Made Itself A Hotbed Of Dance

    For four weeks, MoMA is turning its large second-floor atrium over to choreographer Sarah Michelson, who has made a piece titled “nowhere.” “At the forefront of ‘nowhere’”, writes Gia Kourlas, “is a question that only seems simple: What is a dance?” – The New York Times

  • Toronto Theatre Soulpepper To Part Ways With Its Executive Director

    Arthurs’s departure is the latest in a series of big shakeups in recent months at the upper echelons of Toronto’s major arts institutions, including Hot Docs, the Art Gallery of Ontario and Factory Theatre. – Toronto Star

  • Canadian Jazz Icon Oliver Jones, 91

    The Little Burgundy legend received numerous honours in his illustrious career. Among his accolades are numerous Juno and Félix awards. Jones was also appointed an officer of the Order of Canada in 1993 and awarded the Governor General’s Performing Arts Award in 2005. – Montreal Gazette

  • The Problem Behind The Opera Problem

     If we cannot even agree that classical music is indeed obscure to most people, how can we understand the current state of affairs so that we might do something about it? – San Francisco Classical Voice