“When an institution does not evolve with best practices that include parent support, it risks suppressing, isolating, and driving out the most socially vulnerable regardless of their high professional capability and artistic potential. Our organization, Parent Artist Advocacy for the Performing Arts, is creating a National Handbook of Best Practices for institutions to support parent artists, collecting interviews with individuals alongside testimonies from institutions … to gain full perspective of harmful or healthy practice within the context of employment and caregiving.”
The David Herrera Performance Company is one of nine artists at ¡FLACC! — The Festival of Latin American Contemporary Choreographers — “[a] three-day festival exploring how political, economic, racial, and religious tensions impact Latinx communities, and how they can survive them. Pointedly, the event takes place in [San Francisco’s] predominantly Latinx Mission district, a neighborhood currently enduring a wave of gentrification, and in a venue trying to stay afloat with increasing rental costs.”
Artemisia’s Intent, a one-woman show created by a group calling itself The Anthropologists, tells the story of Artemisia Gentileschi’s rape, and her prosecution of her rapist, “in her own words, which are eerily akin to those of modern women going through similar struggles. … The company, a New York City-based theatre troupe that aims to inspire social action with their work, uses a collaborative and research-based approach, focusing on creating theatre directly from source materials.”
Even Herodotus never considered how to integrate the historic timelines of the Greeks, Egyptians, and Persians. The problem was the lack of any fixed common calendar, any agreed-upon way of determining which year was which and what happened when, since each civilization had its own notional Year One. Then, because he got tired of having to consult many different books, the ruler of a kingdom on the Caspian Sea asked a Persian scholar to develop a timeline that could cover all peoples and their histories. (It was only happenstance that this happened in a year that carried a big round number in the European calendar.)
“Third-party guarantees at auction — the art market’s hybrid of a risk hedge and a speculative gamble — are on track to hit an all-time high of around $2.5bn in 2018. … Such deals are now the norm for high-value Impressionist, Modern and contemporary works. But experts warn that third-party guarantees, if misused, may precipitate a crisis.”
Amanda Hess: “The age of the sequel is over. Now it’s the age of the sequel to the sequel. Also the prequel, the reboot, the reunion, the revival, the remake, the spinoff and the stand-alone franchise-adjacent film. Canceled television shows are reinstated. Killed-off characters are resuscitated. Movies do not begin and end so much as they loiter onscreen. And social media is built for infinite scrolling. Nothing ends anymore, and it’s driving me insane.”
Howard Sherman surveys the current landscape, where experienced critics discarded by legacy publications are now turning up at high-quality websites, and, though an imbalance remains, a few of those legacy outlets have hired younger female and nonwhite writers. (Sherman seems to have forgotten about Hilton Als, though.)
“Q: But are you allowed to go back?
A: You never really know … they told me I’m free, I’m allowed to go back.
Q: But you’re not sure that they’re telling you the truth?
A: I don’t know if they even know the truth.”
“MCQUEEN: What’s happening with #MeToo and Time’s Up is amazing — these are huge, giant steps. But I just feel sometimes, as a black filmmaker, that it’s still going around in circles.
DAVIS: It can’t just be ‘This is a time for female rage, so this is a time for female-centric movies and maybe some black artists.’ It should’ve been time years ago. This is what it always should be.”
“Throughout her rise to fame, Rosalía has been mired in a debate over her supposed appropriation of an art form with gitano origins. The 25-year-old star is not gitana, nor is she from Andalusia, the birthplace of flamenco. She’s from Catalonia, the northern Spanish region now famous for its independence bid last year. She’s been accused of capitalizing on southern, gitano culture — for adopting an Andalusian accent, sprinkling Caló (the Spanish Romani language) into her songs, dressing like a gitana and using Roma imagery in her music videos.”
Dance anthropologist Judith Lynne Hanna, who (on top of her scholarly work) has served as an expert witness in legal proceedings against exotic dancers, “has spent her career getting us to think about dance’s relationship to society. … She hadn’t performed since college when she got a call from a music video producer, who caught a video of her dancing with her 13-year-old grandson. The rockers of Egg Drop Soup loved her energy and flew her out to Los Angeles for a day-long video shoot. We spoke to Hanna about the experience.”
“He and his father-in-law, Ralph Ogden, owners of a business that manufactured metal fasteners for construction and home use …, co-founded [the center] in Mountainville, N.Y., and developed it into a prestigious outdoor sculpture museum with modern and contemporary works arrayed over a vast pastoral landscape.”
The painting of Jesus of Nazareth with John the Baptist — badly deteriorated but perceptible with high-tech photography and potentially restorable — is on the wall of the baptistery in a ruined 5th- or 6th-century Byzantine church. “In contrast to the Western image of Jesus as someone with flowing long hair and, sometimes, a beard, the Shivta painting shows him in the Eastern style with short curly hair, a long face and an elongated nose.”
“While Mr. Clark’s musicianship and technical abilities were sometimes overlooked by critics who saw only the hayseed star of Hee Haw, he said he had few regrets about his career path. … “I’ve seen too many great guitar players sitting unnoticed on a stool in an orchestra. I said, do I want to be there, playing great and nobody knows it, or do I want to be out front with the lights on me, giggling and laughing, playing guitar and rolling my eyes and they say ‘Golly, this guy’s great?'”
“In one of journalism’s most challenging jobs, Mr. Lehmann-Haupt was The Times‘s senior daily book critic from 1969 to 1995 … Readers and colleagues called him a judicious, authoritative voice on fiction and a seemingly boundless array of history, biography, current events and other topics, with forays into Persian archaeology and fly fishing.”
With a total price of $90.3 million at Christie’s last night, Portrait of an Artist (Pool with Two Figures) (1972) became the most expensive piece by a living artist ever sold at auction. Even more unusually, “the Hockney painting went to the block without any type of guarantee — almost unheard of in this day and age, when consignors know how to play the big auction houses off against one another.”
With more than 200 Welsh actors having joined 40 of its playwrights in making public complaints about how little actual theatre the company is making and how few Welsh artists are being employed to make it, the chief executive of the Arts Council of Wales — which gives NTW £1.6 million each year — has issued a statement observing pointedly that “to be ‘national’ is a privilege, not a right.”
The £100,000 public fundraising campaign to double the number of ladies’ loos in the building is fronted by a video featuring actresses Joanna Lumley, Bertie Carvel, and a ferocious-looking Glenda Jackson reading tweets from audience members on the subject.
Peter Shannon has been artistic director and conductor of the orchestra for all of its ten years; he departs at the end of this season.
“Allyson Esposito, the director of arts and culture for The Boston Foundation, … says the grant is meant to fund genres and artists who have been chronically ignored by funding institutions in the past. ‘There’s been just this great divide along racial lines and genre specific lines around what has and has not been getting support.'”
Arvo Pärt is the master of implying far more than he says. At its most spare, his music seems to barely exist. And that’s probably why I’ve had such a long road to fully appreciating this internationally acclaimed composer. But on Monday night, I finally arrived — and then some.
Eden Bareket, Night (Fresh Sound New Talent)
Rebecca Mead looks at how Serial changed the medium — opening floodgates of possibility, pressure, and money — and how some of that show’s successors have dealt with issues of narrative form and ethics.
Lenny Henry: “Over the past few months I have been enthralled and captivated by the story of a man from Croydon in south London who died more than 100 years ago and who wrote one of the biggest musical hits of the [early] 20th century. He was a total genius – a bit like Prince, but for late 19th-century London rather than 1980s California – and his name was Samuel Coleridge-Taylor.”
“For The Ballad of Buster Scruggs, the new film from the Coen brothers and the first title Netflix is distributing this way, the exclusive theatrical release was something of a mirage” — one screen in each of three cities for four barely publicized days. The same thing is going to happen next week for Alfonso Cuarón’s Roma. Film fans are not happy.
Angel, César, and Marcos Ramírez, now 18, had secure jobs dancing with the National Ballet of Cuba. But they gave them up to study at the Rock School in Philadelphia. Ellen Dunkel meets them. (includes video)
Duty and honor? Patriotism? Rebecca Onion reminds us of the truth about “the war to end all wars”: it was bloody, cruel, and basically pointless. “How, then, to commemorate a useless war that shouldn’t have happened — a black hole in history?” Slate‘s resident history maven suggests that we have a look at some of the antiwar literature and advertising campaigns of the time.
Fortunately, Mike Birbiglia doesn’t do it quite the way Patti LuPone does. And he’s playing himself in his one-man Broadway show, The New One, so he can talk to offending audience members directly without breaking character. Here, with audio of recent examples, he explains how and why he does it.
Late in life, he opened an English bookstore in Avignon; before that, in London, he wrote anti-consumerism and anti-automobile books. But he made his biggest mark in New York’s Greenwich Village in the 1950s and ’60s: he briefly ran the Off-Off-Broadway birthplace Caffe Cino, and he devised a kit that lets customers assemble their own harpsichords, enabling the modern revival and spread of the instrument.
Alongside the fiction prize to Nunez’s novel about a bereaved writer and his Great Dane and the nonfiction prize to Stewart’s biography of philosopher Alain Locke, honors went to Justin Phillip Reed’s Indecency (poetry), Yoko Tawada and Margaret Mitsutani for The Emissary (translated literature), and Elizabeth Acevedo’s The Poet X (young people’s literature). Isabel Allende became the first Spanish-language author to receive the lifetime achievement award for Distinguished Contribution to American Letters.