With National Lottery income making up nearly 40% of Creative Scotland’s and sportscotland’s total income, these reductions are of critical concern and put both jobs and provision at risk. Figures released by National Lottery operator Camelot in June 2017 showed arts funding was down £55m, with expectations that the “disappointing” sales would continue this year. Creative Scotland told AP its lottery income fell by £5.3m in 2016/17, to £29.1m.
“At one minute past midnight on July 19, 1975, my father was hanged. For twenty-seven years, I told no one about it. Then I published a memoir. I have lived with the aftermath of that decision ever since, as does anyone who has published their own story, who has unwrapped what had previously been concealed: the skinned inner self dragged out and, shrinking in the light, placed beneath the bright hot gaze of strangers.”
“I expect art to be troubling because I expect people to be troubling. I am prepared to like and dislike something in every work. I can also appreciate the aesthetic genius of a moral monster without feeling that I am becoming inured to monstrosity. Just as I can read Heidegger without becoming a Nazi, I can look at one of Adolf Hitler’s juvenile watercolour paintings and appreciate a bit of pink in the sky there, and understand it as a painting of its era and one by a tyrant at the same time. And if I do this and am judged immoral for it, is it because it is bad for just me or bad for society at large?”
“Where a shortfall of $15 million had been projected for the fiscal year 2017, which ended in June, that figure was contained to $10.1 million, according to the report, and the Met said it is on track to eliminate its deficit by 2020. In addition, the museum’s endowments increased by almost $300 million, to a total of $2.9 billion; and the Met said it raised $232 million in philanthropic gifts, membership dues and government support.”
“Yet another fair feels like a car company offering another new model: there are already more than enough different cars, besides other options like bicycles, trains and planes. But, like the possibility of a new and really interesting car model entering the stage—an electric one, for instance—there’s always a chance of a new and really interesting art fair showing up. Anything truly innovative could of course change my calendar.”
The final decision had been made two weeks earlier, spurred by a combination of declining admissions — down by 35% just this year, according to High Ground Memphis — increasing real estate debt, and the school’s small endowment fund. Tuition at the school is $35,000 per year. While many remain optimistic that the school could remain open, it would take a miraculous $30 million endowment donation to make this possible.
“The opening of the Louvre Abu Dhabi over the weekend is the latest example of how traditional French cultural diplomacy is being supplanted by brand politics: Abu Dhabi bought the rights to use the Paris museum’s famous name at a price tag of over $500 million over three decades. This example of “soft power” goes beyond museum names such as the future Shanghai Pompidou Center — and can be seen in the exporting of Sorbonne’s academic reputation, the proliferation of Christian Dior boutiques in Asia, the increasingly popular fizz of Moet & Chandon champagne, the cuisine of master chef Alain Ducasse and Louis Vuitton’s status handbags.”
The organization acts as a producer and manager all in one, from mapping out a show’s tour route to managing it on the road. “We view ourselves as being in service to the artists and the work, and we also view ourselves as being in service to our colleagues who will be our client.”
“Accelerating scientific invention does not make human beings any more good-natured or reasonable but simply increases their capacity to achieve their goals. In practice, this means the groups that are most powerful will increase their hold over the rest. Schemes for improving the human animal by technological means will not alter these facts. What counts as improvement will be decided by existing human beings, with the most powerful among them having the biggest say. The result is more likely to be enlarged versions of human vanity and cruelty than a higher version of the species.”
“All of us, to some extent, borrow from others, from the culture around us. Ideas are in the air, and we may appropriate, often without realizing, the phrases and language of the times. We borrow language itself; we did not invent it. We found it, we grew up into it, though we may use it, interpret it, in very individual ways. What is at issue is not the fact of “borrowing” or “imitating,” of being “derivative,” being “influenced,” but what one does with what is borrowed or imitated or derived; how deeply one assimilates it, takes it into oneself, compounds it with one’s own experiences and thoughts and feelings, places it in relation to oneself, and expresses it in a new way, one’s own.”
“The stories are often presented as cautionary tales to frighten us into correcting the error of our ways – lest we bring about the end of our own global civilisation. They promote an ethic of environmental responsibility that we ignore at our peril. It is no coincidence that they focus on climate change, human-caused environmental impacts and overpopulation because these three factors are the major global concerns of our times.”
Houston First Corporation invites applications for the position of Chief Operating Officer, Cultural Facilities & Services.
The Cultural Facilities & Services/Chief Operating Officer (COO) is responsible for the overall management of Theater District Facilities, developing and maintaining relationships with resident companies, the City of Houston and the business community in order to ensure the goals and objectives of the organization are met.
The Cultural Facilities & Services Department is a department within Houston First Corporation dedicated to promoting arts and culture in Houston. This is accomplished through the effective and exemplary management of several performance destinations and attractions.
Houston First strives to set the standard by which all other arts districts are compared through beautifully maintained facilities, a well-trained staff, and a collaborative spirit. Enriching the quality of life for Houstonians and tourists alike motivates every decision and every project undertaken by this department.
The facilities under the purview of this department are: Jesse H. Jones Hall for the Performing Arts; Wortham Theater Center; Miller Outdoor Theatre; Talento Bilingue de Houston; Jones Plaza; the Theater District Parking Garage; and various ancillary spaces (as well as Houston First Ticketing Services).
The annual operating budget for 2017 is approximately $17.9 million with a staff complement of 38 full-time and 10 part-time positions, as well as contracted services. Additional funds for repair and restoration work after Hurricane Harvey have also been allocated. The department serves over 1 million patrons a year at over 700 events in 1.6 million square feet.
This position reports directly to the President and Chief Executive Officer of Houston First, Dawn Ullrich.
Houston First Corporation/ Background:
Houston First Corporation is leading the effort to promote Houston as one of the premier travel destinations in the world. Its employees operate the city’s finest convention, arts and entertainment venues.
A local government corporation formed in 2011, Houston First manages more than 10 city-owned buildings and properties and underground and surface parking for nearly 7,000 vehicles.
Houston First owns the Hilton Americas-Houston hotel, manages the George R. Brown Convention Center (GRB) and 11 city-owned properties and is the driving force in developing the new Avenida Houston entertainment district.
Houston First is responsible for the day-to-day maintenance, licensing and operation of these properties as the sites of conventions, trade shows and theatrical performances that enrich the lives of Houstonians.
In 2014, Houston First and the Greater Houston Convention & Visitors Bureau completed a strategic alignment to create a single, clear voice that speaks for the Houston product in all sales and marketing efforts.
The George R. Brown Convention Center was opened in 1987 and expanded in 2003. The GRB has more than 1 million square feet of exhibition, meeting and registration space, and ranks as one of the nation’s 10 largest convention centers. The GRB is the site of over 250 conventions and other meetings annually.
Across the street are the 1,200-room Hilton Americas-Houston, which is connected to the convention center via double-deck pedestrian sky bridge, and the 12-acre Discovery Green park. The 1,000-room Marriott Marquis just north of the park opened in 2016.
In the Theater District, Houston First facilities include the Wortham Theater Center (home of the Houston Ballet and Houston Grand Opera opened in 1987 with two performance spaces, the 2,405 seat Brown Theater and the 1,100 Cullen Theater); Jones Hall (home of the Houston Symphony and the Society for the Performing Arts) opened in 1966; 2,912 seats). The venues also include tenant, administrative, rehearsal, catering, and storage spaces.
Other facilities managed by Houston First include Miller Outdoor Theatre (opened in 1923; rebuilt in 1968; capacity 6,200); Jones Plaza, Ray C. Fish Plaza and Talento Bilingue de Houston (240 seats).
Houston First interacts with several partners that benefit from its passion and resources such as Discovery Green, Bayou Place, Buffalo Bayou Partnership, Downtown Aquarium, Hobby Center for the Performing Arts, Miller Theatre Advisory Board, Mid-town Arts and Theater Center Houston and the Greater Houston Convention and Visitors Bureau.
While on August 27th, Hurricane Harvey caused extensive water damage to some of the properties managed by Houston First, the Corporation took immediate action to prevent further damage and to repair the buildings in order to re-open them for public performances. The Corporation, in the words of President & CEO Dawn Ullrich, is “steadfastly committed to seeing that everyone is back on their home stage as soon as possible.”
The mission of Houston First Corporation is to enhance quality of life, advance economic prosperity and promote the Houston region by inspiring the world to think Houston first; Houstonians to believe in Houston first; and Houston to deliver first-class hospitality. The vision for the Cultural Facilities & Services Department is to provide first-class destinations and services that contribute to rich experiences steeped in arts and culture.
In accordance with the mission and goals of the organization, the COO provides general oversight of the day-to-day management of theaters, ancillary spaces, and staff.
The COO develops, plans and monitors long-range plans and capital projects; directs short-term and long-range planning to support strategic business goals; develops and maintains partnerships with resident companies and all arts groups in the city, attends meetings and events as a representative of Houston First; and implements best practices and innovative programs that strengthen the theaters, parking facilities, and green spaces.
The COO participates as a member of the Executive Team in developing and implementing the strategic direction for the organization; preparing and monitoring the department’s annual budget, and overseeing the overall day-to-day operations of the ticketing and box office departments.
- A minimum of ten (10) years’ experience as a senior manager in large, complex performing arts facilities or cultural organizations.
- A track record in building and nurturing excellent management teams and the personal leadership qualities, political acumen, tact and patience required to manage a complex operation successfully.
- A graduate degree in arts, arts management, or not-for-profit administration is preferred or equivalent experience in facility management and administration. Contract negotiation skills, legal training, experience in working with municipal governments and urban planners, and/or knowledge of the region would be useful attributes.
- The applicant should have a comprehensive knowledge of many performing arts forms and all aspects of arts venue management.
- The new COO will have excellent analytical, financial and organizational skills. Other necessary characteristics will include political savvy and diplomacy, good oral and written communication skills, a track record in community partnerships and co-presenting, and knowledge of ancillary businesses such as catering, ticketing, parking, corporate and other outside rentals, and the like. We seek an industry professional with existing networks within the cultural sector and a personal vision of how the arts play a role within the life of a community.
Salary is commensurate with experience and qualifications. Excellent benefits package. Deadline for applications: Friday, December 15, 2017.
Interested candidates are invited to submit a cover letter and resume with a list of references and salary requirements in confidence to:
“Over the past decade, Seattle has added 220,000 jobs, an increase of nearly 15 percent. Amazon, which employs 40,000 people here and holds about one-fifth of the city’s premier office space, has keyed that growth, but the revival has spilled far beyond it. Thirty-one Fortune 500 companies now operate research and engineering hubs in Seattle, up from seven in 2010. More construction cranes are working here than in any other U.S. city, many in the South Lake Union area where Amazon has centered its burgeoning operations. Seattle is now adding about 60 people daily, many of them well-educated Millennials. That’s the city’s most rapid rate of population increase since the Klondike Gold Rush around 1900.”
Individual artists and collectives, podcasters, and experimental groups create pages on the site, and visitors can subscribe to certain projects, or whatever else the artist decides to make available to them. Artists have the option to create tiers of membership for different kinds of access, and the goal is that these subscriptions will help fund the artist’s future projects, at the same time encouraging the artist to create more content for subscribers.
One can be forgiven for initially overlooking another elephant in the room — the identity of the seller. When there’s this much money involved, though, it usually pays to follow it, and here the money leads directly back to the Russian billionaire Dmitry E. Rybolovlev.
Those affected said they “felt unable to raise concerns”, and he “operated without sufficient accountability”. The London theatre said it “truly apologises” for not creating a culture where people felt able to speak freely.
The edgy artist, who became world famous for staring down people in her blockbuster 2010 MOMA show, The Artist is Present, touted her multi-million dollar Marina Abramovic Institute for the Preservation of Performance Art as a place for artists to conduct grand experiments. The Yugoslav-born Abramovic also said it would “change the local economy” in Hudson, NY, in much the same way the Sundance Film Festival transformed Park City, Utah, and the Guggenheim Museum changed the Spanish city of Bilbao.
“The announcement of New York’s Office of Nightlife comes not long after the release of an influential report, in March, by the city’s Office of Media and Entertainment, which oversees the city’s music industry. It found that more tickets are sold for live performances here than in any other city in the world (5.4 million in 2015) and that New York can still support additional venues — but that the most at-risk sector is the small local venue that supports artist communities. Over 20 percent of such venues have closed in the past 15 years.”
“There is an interesting link to be made between art and populism. Populism is not only something that embeds itself into actual politics; it is also a disease affecting the art world. In many institutions the focus on popularizing the programs is so big that one wonders whether the emphasis is still on the art that is being shown, or on the mediation between the art and the audience. There has been a shift from what is being shown to how something is being communicated. Yet this communication is often bypassing or reducing what the artistic work is about and the potential experience the work of art can create.”
“If the Midwest is a particular place that instead thinks of itself as an anyplace or no-place, it is likewise both present and not present in the national conversation. The Midwest is, in fact, fairly frequently written about, but almost always in a way that weirdly disclaims the possibility that it has ever been written or thought about before. The trope of featurelessness is matched by a trope of neglect (for what can one do with what is featureless but neglect it?).”
“Appreciating art induces inspiration, which in turn facilitates performance on creative tasks. Our results show that simply displaying art in the work environment could enhance employees’ creative capabilities, thereby driving innovation.”
Anne Midgette: “An ultimate test of cultural diplomacy is the question of who controls the narrative. On Monday, the organizers restricted media access to this high-security event. After trying unsuccessfully to reach media representatives before the event, then waiting at the door, I was told that the fire marshal had ruled that no more people could enter the building. Later, the media representative explained that she had promised the fire marshal they would not exceed the RSVP list, and they took that seriously. When I did enter, thanks to the intervention of a cathedral staffer, there was plenty of room inside. Some members of the media, certainly, had been alerted: TASS, the state Russian news agency, ran an article shortly before the event.”
“The phenomenon of multisensory perception can help us to understand why we assign metaphorical properties of softness, roughness or depth to voice. Think of a politician whose voice is flat. Flatness is a multisensory concept because it is both tactile and visual. We can recognise flat surfaces by either touching or seeing them. These sensory impressions inform us about the acoustic characteristics of voice, implying that it does not have variation in tone. Notably, flatness can also convey lack of sympathy and emotion on the part of the speaker.”
“I believe the future is less about what ‘live theatre’ is or isn’t, and more about the further blurring of lines of categorization. People will be less clear about the difference between “theatre” and “live performance” and “immersive” and “public art” and “interactive”, especially once ‘reality’ based technologies like AR/MR/VR invade the live sphere with faster and smaller real-time processing.”
“Bibliographical analysis, involving patient collation and comparison of printed texts, and the identification of the distinctive ornaments with which printers enlivened otherwise blank spaces, flourish. They remain the bedrock on which, over the last thirty years or more, a ponderous superstructure of interpretation has been erected. Local and national pride have sustained enquiries: a specific town or state is shown to have been in the vanguard of printing and book production; their products exhibit superlative skills in the quality of paper and type-faces, layout, design and binding; the titles are marked by intellectual precociousness or boldness.”
Distraction need not simply be another name for attention shifted (“I was looking at this, then I looked at that”). Attention is a form of “tension,” but the relaxation here — both that which creates the condition for the new perception and that which follows from it — is primarily conceived as passive (objects fall “upon the eye, are “carried to the heart”).
“The art world’s most important business goes on in private and is hardly subject to public scrutiny. The art world is a largely unregulated industry in which the rich and powerful that dominate see themselves as being above the law. It’s a business that requires endless socializing, where deals are sealed over drinks, in expensive restaurants, swanky clubs and high-end hotels. Artists who want commercial success are supposed to humor and indulge their collectors — and that can include sitting in their laps when asked.”
“You have to know how you’re going to make a living. You have to know how to write a grant proposal, you have to know how to talk to an audience, you have to know how to produce a concert, you have to know how to develop a professional network. This is what it is to be an artist today.”
“We knew if we were going to get extremely reduced ticket prices for the kids, then it would require a lot of bridge-building to all of the producers. After all, you’re asking for them to make an investment in their future, and, when they’re not sure they’re going to be open next month, it is really hard to think about the future.”
“Scientists have struggled to find universals that permanently link our species. Although we come to the table with biological predispositions, a million years of bending, breaking and blending have diversified our species’ preferences. We are the products not only of biological evolution but also of cultural evolution. Although the idea of universal beauty is appealing, it doesn’t capture the multiplicity of creation across place and time. Beauty is not genetically preordained.”