By revenue, the nonprofit arts sector is small — about $73 billion in organizational spending compared to $1.17 trillion in total US arts and cultural production. Disney's annual revenue alone is larger than every US nonprofit cultural institution in the country combined. But the map of audience shows something entirely
Today’s online “Arts Fuse” carries a piece of mine commenting yet again on the Boston Symphony firestorm, which pits enraged musicians against the management and board – and turns Andris Nelsons, the outgoing music director, in a martyr. Excerpts follow. The read the whole thing, click here. A 14-page “State
We would not have our Guardians grow up among representations of moral deformity, as in some foul pasture where, day after day, feeding on every poisonous weed, they would, little by little, gather insensibly a mass of corruption in their very souls. Rather we must seek out those craftsmen whose
Depth hasn't disappeared. Perhaps it's gone lateral. The vertical architecture that produced "official" cultural memory has cracked, but the appetite for tradition — for context, for lineage, for the why — has migrated to wherever audiences and individuals can build their own context and throughlines. Sometimes those lines are deep
Kaneza Schaal, Theater & Opera Artist & Director, talks about the extraordinary upcoming America at 250 season at Detroit Opera and its impact for audiences and community.
I know the conductor Thomas Fortner, now based in Berlin, from his years as assistant conductor of the remarkable South Dakota Symphony. Thomas recently posted a 70-minute podcast posing earnest questions about the state of classical music. Excerpts follow. JH (1:55): People are not attentive to the arts. People don’t
I read a story yesterday about the attempts to make a local arts tax in Portland, Oregon slightly less bad, and since I used to teach about this sort of thing I thought it might be worth giving my personal quick-and-dirty checklist on local earmarked taxes for the arts. Here are
Most arts policy debates happen at one scale. Most cultural activity happens at another. It turns out the gap between those two scales — between the world that the arts, funding fights, and nonprofit board meetings live in, and the world where most people actually encounter culture — is so
My review of “Defending Music: Michael Steinberg at the ‘Boston Globe’ — 1964-1976” (Oxford University Press) is today published online by “The American Scholar.” The kicker, at the end, reads: “Michael Steinberg was never intended to make a career writing concert reviews. He was ever courageously drawn to what would
