Alla Kovgan’s new film Cunningham not only shoots its dancers in three dimensions, but collages historic, two-dimensional black-and-white images in smaller sizes on the screen, often overlaid with print. This practice allows us to choose (or stumble upon) those visions most meaningful to us, or to accept multiplicity and not worry about what we didn’t see. – Deborah Jowitt

Books continue to be written about what it was like to live in Germany under Hitler. I wonder if any of the authors have auditioned Wilhelm Furtwängler’s wartime broadcasts with the Berlin Philharmonic. They should. – Joseph Horowitz

The English National Opera is having a tough old time, but the company is still capable of both daring and successful ventures, such as the new Luisa Miller, a Verdi rarity last staged in London in 1858. – Paul Levy

Tobi was among the first group of writers I invited to blog on ArtsJournal. I had read her for years and appreciated her elegance, clarity and erudition. Though her judgments were crisp, they were never made lightly. She knew the art deeply and it informed her judgments. – Douglas McLennan

Alongside the the wonderful, illuminating dance criticism she wrote for decades, she wrote wonderfully well about fashion, and only when I became a mother did I realize that while Tobi was raising her offspring, she was writing dozens of children’s books. – Deborah Jowitt

There’s something a bit ho-hum, mean and pinched about the reception of Sir Tom Stoppard’s new (and, he says, perhaps final play), Leopoldstadt. – Paul Levy

The late Donald Marron was a class act, so it struck me as fitting (not to mention smart) that his estate’s holdings of modern and contemporary art are not going to be hocked on the block at Sotheby’s or Christie’s — the usual fate of large collections that are put on the market. – Lee Rosenbaum

When I think about the works by the brilliant Belgium-based choreographer Anne Teresa De Keersmaeker that I’ve seen over the years, I realize how the different New York spaces in which they were performed affected not just my eyesight, but my feelings. – Deborah Jowitt

For many, many people going to a concert hall or a museum is a foreign, anxiety-producing prospect. If we want new communities to take advantage of what we have to offer, we need to develop the capacity to imagine what doing so might be like for them. We need empathy. And since the experiences of the arts can be so unfamiliar the empathy must be extreme. – Doug Borwick

It struck me the other day that ever since Mrs. T went into the hospital, our life has come to resemble Groundhog Day, an endless succession of repeat performances. I am, like Bill Murray, stuck on hold, the only difference being that I know what has happened to me — and that, sooner or later, it will end. In the meantime, we’re clinging to our memories, but we’re also doing our best to get what’s to be gotten out of the slow-moving present. – Terry Teachout

Don’t be lulled into false complacency, art-lings, on the theory that Congress will again resist the President’s call to ax support for NEA, NEH, IMLS and CPB. Contact your Congressional representatives. – Lee Rosenbaum

After making a powerful impression at last year’s Whitney Biennial with her six drawings of pie charts plotting Degrees of Deaf Rage, deaf artist Christine Sun Kim reached a much wider, more diverse audience — at the Super Bowl. – Lee Rosenbaum

Over the past decade, both William Grant Still and Florence Price have acquired new prominence. But the buried treasure is William Levi Dawson’s Negro Folk Symphony of 1934. – Joseph Horowitz

An Italian of Slovenian ancestry who grew up in Trieste, pianist Roberto Magris frequently tours in Europe and the United States. Here, we see and hear him and his colleagues in the Birdland Jazz Club in Neuburg a.d. Donau, Germany. – Doug Ramsey

I never sit around pining for what might have been. What was and is, after all, have both proved to be wholly satisfying. But when you get to be my age — I turned sixty-four today — you can’t help but think about the roads you didn’t take, the unknown and unknowable possibilities. – Terry Teachout

Johnny Griffin and Eddie “Lockjaw” Davis were tenor saxophone masters whose collaborations made them among the instrument’s most celebrated players. Their “new” album is titled OW! after one of its tracks, a celebrated Dizzy Gillespie composition from the early years of bebop. – Doug Ramsey

If expanding our base to new communities is necessary, we need an appropriate metaphor for the process. I think I’ve finally stumbled upon something workable. – Doug Borwick

Daniel Radcliffe’s sense of physical theatre is magnificent, but, finally, the evening belongs to Alan Cumming. – Paul Levy

With 23 items exploiting the portraits currently arrayed for sale on the NPG’s website, the Smithsonian’s merchandising masterminds have found a way to turn an uplifting event into something bordering on tacky. (The book is very good, though.) – Lee Rosenbaum

Los Angeles singer Lyn Stanley frequently appears in L.A. with a big band of Swing Era veterans. But in this recording, her accompanists are six of Southern California’s busiest veteran players of modern jazz. – Doug Ramsey

Recently we had a small dinner party at Millwood Farm, the excuse for which was to drink a special bottle, one that had been in my cellar for a very long time. It was in its own, individual wooden box, and I had long overlooked it. – Paul Levy

One of the nice things about collecting art is that you needn’t leave home to look at it. I had to miss a major exhibition of Hans Hofmann, whose work I love passionately. Fortunately, Mrs. T and I had a Hofmann of our own — and now we have two. – Terry Teachout

I hadn’t wanted to write anything about this beforehand (for fear of putting a dangerous idea into someone’s head), but I was worried about the welfare of the Virginia Museum of Fine Arts during the Jan. 20 gun-rights rally in Richmond. I was concerned that there might be a replay of what had happened in August 2017 in Charlottesville. – Lee Rosenbaum

When we “go to work” in the arts, we often mean actually going to an official and shared physical workspace. But there’s more and more opportunity and reason to cut the tether altogether — to abandon a shared, physical “home base” for an entirely remote or virtual work network that doesn’t have a street address. – Andrew Taylor

Those nostalgic for the closed Moishe’s Kosher Bake Shop in the East Village may wish to read this. (I walk the other way when nostalgia comes around the corner.) – Jeff Weinstein

What if I never write another book, or direct another play? Will I die a disappointed man? – Terry Teachout

“One of my happiest moments, in my years as a journalist, was when I got Ice-T to stop saying something homophobic and cruel in his live shows.” – Greg Sandow

Yelena Eckemoff, Nocturnal Animals (L&H Productions)
Russian-born pianist and composer Eckemoff, long a New York resident, collaborates with a superb rhythm section of Scandinavian musicians. They are inspired by creatures that populate the world’s forests of the night. – Doug Ramsey

There exists in the hearts and minds of at least some in the nonprofit arts sector a sense that the work they present is superior to most or all popular culture — and that those who patronize such culture are inferior. This sets up a monumental barrier to connecting with new communities. And even if it is unconscious and unspoken, the attitude itself is easy for people to spot when it is directed at them. – Doug Borwick

After many years, I recently re-opened The Closing of the American Mind and discovered that Allan Bloom was prophetic. In effect, he prophesied identity politics and political rectitude – and closed minds and “impoverished souls.” – Joseph Horowitz