Way to go, (most) men of Predator. The director, Shane Black (whose friend was the abuser that he put in a scene with Munn), hasn’t bothered to apologize to Munn, and the cast members who were scheduled to appear with her at the Toronto Independent Film Festival backed out. Munn: “It’s honestly disheartening to have to fight for something so hard that is just so obvious to me. … It’s a very lonely feeling to be sitting here by myself when I should be sitting here with the rest of the cast.”
After Crews wrote tweets about being groped by an agent, he thought he’d be the one facing serious, possibly career-ending consequences. “‘The first thing I did when I came home after tweeting those tweets, I told my wife, ‘Hollywood is over. I think we may have to leave.’ That was the reality,’ the actor said. Still, he felt it was his duty to speak out. ‘Hopefully, me coming forward with my story will deter a predator and encourage someone who feels hopeless,’ he wrote at the time.”
The numbers, from a study by Dr. Stacy L. Smith of USC Annenberg, don’t lie. “Not only are they under-represented, but they are also denied the chance to review major film releases, the report released on Friday has found. White male critics outnumber female critics from under-represented racial and ethnic backgrounds by 31 to 1.”
That’s right – and the woman is Sandi Toksvig, who says that she gets 40 percent … excuse us, FORTY PERCENT … of what Stephen Fry was paid to host the show QI. “Toksvig said … ‘the issues with equal pay and the gender pay gap cut right across the media and all industries and all areas of life.'”
Soaring rents and competition from online shopping have forced out many beloved mom-and-pop shops, which many residents say decimates neighborhoods and threatens New York’s unique character. Then there is the blight that shuttered stores bring, including vagrants, graffiti and trash.
“As of September 6, anyone caught eating food outdoors during peak hours in four central streets in the Tuscan capital could face a fine of up to €500. When a city proposes a penalty this steep for the modest crime of nibbling on a snack, it’s clear that tempers must be running high — and indeed they are.”
Says the director of the city’s Office of Cultural Affairs, “We don’t live in a Camelot world any more. It’s all about Hamilton. … Our children today take it for granted that culture includes this richer, more exciting, more diverse offering. And if you don’t embrace it, you get left in the dust.”
Current debates about social class in the arts miss a vital point. How are working class young people going to access the arts if they don’t experience them in school?
“San Antonio nonprofit arts organizations that receive City funding have been tasked with using a data analysis tool to help measure their overall effectiveness in marketing, staffing, fundraising, and other aspects of management. By Sept. 30, just before the City’s new fiscal year begins Oct. 1, each of 47 arts agencies will have submitted data on their operations and use of public funding.”
“Vladimir Putin, the president of Russia, has ordered officials to speed up the construction of a cultural centre in Sevastopol, the historic naval capital of Crimea, which will include exhibition space for the State Hermitage Museum, the State Russian Museum and the State Tretyakov Gallery. Russia annexed the Black Sea peninsula from Ukraine in 2014.”
“There’s a push from the politicians to constantly fund something new. And what we really need is sustainable, long-term development. That’s how you build inclusion – because people who are excluded need to understand how they can get involved. If you keep changing the rules it’s bloody difficult for the people who are on the inside, and it becomes impossible for anyone on the outside.”
“Under the proposal, tickets for events like concerts, movie showings and professional sports games would be subject to a 7 percent tax. The tax, if passed by Columbus City Council, would help fund local arts as well as maintenance at Nationwide Arena. But members of the arts community are divided on how much it would actually benefit the city.”
“What is the Houston Flood Museum? First off, it’s somewhere that can be visited only online. It’s a website, which went live last week, whose creators envision a platform where people can pool their stories from [Hurricane] Harvey and, perhaps one day, future storms. From shared experiences, they hope, will come understanding. And healing.”
Performing arts institutions are recognizing they need vision to make it in an increasingly tough market. And artists have vision. But just going out and hiring artists is no replacement for the kind of institutional mission that makes vision work. And putting artists in these positions without thinking through their role in the larger organization risks undermining all their efforts and, in some cases, ghettoizing contemporary music still further as something that lies outside the organization’s main mission.
The figures include a dramatic decline of 17m (28%) in attendance and visits at London’s NPOs, which was marginally offset by modest increases in some other parts of the country.
The economy of “the Lucky Country” has been growing for 26 years without a recession or other break, and Australia is now second only to Switzerland in wealth per adult in the world. “Yet arts funding has not kept pace, … [and] worse in many ways, experts say, [it’s] running the same way it has for years — as an insiders’ game.”
When the new program, which offers a pair of free tickets per year for each of 33 museums and institutions to any city resident with a library card, launched last month, thousands of people applied — and a number of venues quickly ran out of available tickets.
“Managing a tourist destination is something like managing a natural resource, like a mine or a fishery; a sustainable level of tourists brings widespread gains to the local economy, but too many ruin it for everyone. … That so many different forces” — especially technological developments — “play into overtourism highlights the difficulties of doing much about it.”
There are more rich people than ever, they’re spread out all across the country, and they’re giving back to hometown institutions at “big city” levels. Throw in continued support from loyal foundations, and that’s a recipe for what American Theatre called Cleveland’s “urban renaissance.”
Amanda Petrusich: “In the past decade, a spate of unconventional residency programs have offered unused (or otherwise flexible) space to artists starved for time, solitude, or simply a room of their own, and as a result artists have taken up residence on moving Amtrak trains, a barrier island off the coast of Texas, the tower of a bridge that crosses a shipping canal, and an oceanographic research vessel. I can’t decide whether the grimness of some of these places … is simply funny or an apt and horrifying reflection of how America presently esteems its artists.”
Sure, paper dolls were manufactured and marketed – to the parents who held the purse strings – as tools for teaching little girls obedience and conformity. (Well, until the ’70s – more on that later.) Yet, as Benjamin Frisch and Willa Paskin point out, “the conformity represented by paper dolls was easy to subvert, because it was so easy to ignore. The virtue of simple toys is that it’s simple to use them any way you please.” And that’s exactly what gay men did. (article and podcast)
“Earlier this year, the Kresge Foundation published the first in a series of white papers to help grantmakers and practitioners more successfully integrate arts and culture into community development. … Kresge recently published the second white paper, ‘Creative Placemaking and Expansion of Opportunity — Observations and Reflections,’ which surveys the state of the rapidly evolving field … Here are some key takeaways.”
“[The EIF] reported ticket sales of £3.8m, down from the £4.3m reported this time last year, due, it said, to a smaller programme, notably in the opera section. … The Edinburgh International Book Festival reported a rise in ‘footfall’ in its Charlotte Square site, and an 8% rise in book sales.”
“For several years now, al-Qishla, an Ottoman military barracks-turned-cultural-hub in the heart of Baghdad, has become a space where intellectuals, poets and artists come together to exchange ideas and discuss current affairs. Regular attendees say al-Qishla provides residents with a safe avenue to share views freely, as well as a sliver of hope that Baghdad – once a major international intellectual and cultural hub – may return to a shadow of its former self before successive wars gripping the country for decades, left it in decay.”
At the heart of Burning Man—not just the artworks but the entire festival—is its ability to inspire in attendees a combination of awe and pride: We made it. Look what we did. Look at what we’re capable of. There’s an earnestness to this sentiment that’s both admirably pure and grossly myopic, as if Burners were the only ones ever to have built a city, experimented with alternative models of living, or spent time in the Black Rock Desert. This is the root of so much of the self-congratulatory language that can make the festival seem insufferable to those who’ve never been.
There are now more than 600 organisations participating in Audience Finder, including “performing arts venues, touring companies, museums, galleries, festivals, outdoor arts and many other kinds of cultural organisations”. Their ticketing data has been gathered over the past seven years and dates back to 2011/12, although data from these early years is less comprehensive and accessible than more recently gathered information.
Social media campaigns and protests are putting pressure on artists to cancel shows in Israel over the ongoing Israeli-Palestinian conflict.
“Six months on from the shock of the nerve agent attack on the Skripals, the people of Salisbury are attempting to use the power of the arts to reclaim the streets, work through the trauma of the assault and draw visitors back to the cathedral city.”
“Creative organisations and businesses must now prepare for the ‘catastrophic’ possibility of losing employees, facing higher costs when trading goods and services and being denied access to European Union (EU) funding through a no-deal Brexit, the Creative Industries Federation (CIF) has warned.” A new guide distributed by the CIF warns arts organisations to carry out an audit and, if they find themselves highly dependent on the EU, to set up a branch in another member country.