“History has seen the steepest decline in majors of all disciplines since the 2008 recession, according to a new analysis published in the American Historical Association’s Perspectives on History. ‘The drop in history’s share of undergraduate majors in the last decade has put us below the discipline’s previous low point in the 1980s,’ reads the analysis.”
Many nonprofits now accept cryptocurrencies like Bitcoin or Ethereum, including the United Way, Red Cross, and Save the Children. All three receive digital monies through a Bitcoin payment processor called BitPay.
“The city council’s homelessness strategy for the next five years explicitly includes a commitment to increasing access to arts … [as part of] what is described as a jigsaw of homelessness support approaches.” Says one arts executive involved, “Funding to local government to help tackle homelessness was reduced, so for the first time the city council said they couldn’t solve it on their own – and we were there to offer a solution.”
“A parliamentary inquiry has been launched to explore the lack of working-class performers, writers and musicians in the entertainment industry. … Topics such as arts education, access to training, low and no pay and recruitment will be covered in the wide-ranging review, which has been launched in response to the idea that social inequalities and class are often forgotten in the debate around diversity.”
“According to figures published by the Department for Digital, Media, Culture and Sport (DCMS) on Wednesday, the value of the nation’s creative sector has almost doubled from £66.3bn in 2010 to £105.5bn [in 2017], and increased significantly from 2016’s figure of £94.8bn. TV, film, advertising, radio, photography, music, museums, art galleries and digital industries make up this sector.”
In March, Ariel Palitz was appointed as the senior executive director of New York City’s Office of Nightlife, the city’s first. She describes herself as a liaison between the city agencies, nightlife businesses, owners, residents, employees, patrons, and entertainers. Her colleagues call her the night mayor.
“In a landscape where ‘post-truth’ and ‘alternative facts’ are part of our everyday vocabulary, this term might put some on the back foot – but the crucial difference between an imaginary fact and an alternative one is that the audience is fully aware [that the former] is a pretence.” Most of us are familiar with the concept in the form of “mockumentary” films and TV shows such as This Is Spinal Tap and The Office, but it’s now stretching into museums as well.
In 2017, according to a new study released by the Australia Council, “nearly half of the eight million visitors to Australia engaged with the arts during their stay (43 percent), which proved more popular than wineries (13 percent), casinos (12 percent) or organised sporting events (six percent). … The report also shows that arts tourists have grown by 47 percent between 2013 and 2017, a higher growth rate than for international tourist numbers overall (37 percent).”
Ultimately, the unearned arrogance encouraged by the heavy reliance on student evaluations helps produce passive, even contemptuous students who undermine the spirit of the class and lower its quality for everyone. All students deserve better.
Last month, at a day-long symposium sponsored by the museum, the rise of Chocolate City was contrasted with the city’s more recent gentrification. In 2011, the percentage of Black residents in Washington fell below 50 percent for the first time in over half a century. Howard Gillette, professor of history emeritus at Rutgers University, observed that in many respects the District of Columbia has become “ground zero for gentrification and social justice issues that are going on nationally.”
“European politicians have added an extra billion Euros to the EU’s proposed culture budget for its next funding round, meaning that the current allocation would double from 2021. … The new position would take funding for the Creative Europe programme from the €1.4bn currently available to €2.8bn for the years 2021-27.”
Neruda, in his memoir, described raping a maid when he was in Sri Lanka (then Ceylon) in 1929: “After the woman ignored his advances, Neruda says he took ‘a strong grip on her wrist’ and led her to his bedroom. ‘The encounter was like that of a man and a statue. She kept her eyes wide open all the while, completely unresponsive,’ he recalled. ‘She was right to despise me.'”
Is it oil? Banking? Nope: It’s academic publishing, and its time must come to an end. “Most of the costs of its content is picked up by taxpayers. Publicly funded researchers do the work, write it up and judge its merits. And yet the resulting intellectual property ends up in the hands of the publishers. To rub salt into the wound they then sell it via exorbitant subscriptions and paywalls, often paid for by taxpayers too.”
This is a purely philosophical question … only, it’s about our duty to ourselves and to each other. “The possibility of a duty to leave Facebook arises once one recognizes that Facebook has played a significant role in undermining democratic values around the world.”
“Calling themselves Nosotras Proponemos (nP), meaning ‘we propose,’ the group [of 100 women] published a manifesto-like list of 37 demands, asking that women receive equal representation in exhibitions, collections, and leadership positions in Argentina’s arts sector. One year later, nP is celebrating the significant changes their activism has made in Argentina’s art world” — even as much work remains to be done.
“Arts and media does stand out as the area where there is greatest mismatch between the numbers of students taking the courses and the employment prospects at the end. There is a point up to which courses that engage learners have value, but ultimately there have to be viable prospects at the end.”
According to the research, 86% of internships in the arts, which includes theatre and music, are unpaid. Its definition of unpaid includes expenses-only placements, and those that offered rates below the minimum wage. The research highlights how the arts had 32% fewer working-class interns than in the graduate population as a whole.
Among the 30 largest metro areas in the U.S., Los Angeles, New York and San Francisco host the largest contingents of artists in their workforces, followed by five metros hosting 20 to 40 percent more artists than the national average: Washington, D.C.; Seattle; Boston; Minneapolis-St. Paul; and San Diego. In follow-up work done by Texas researchers on the great recession, they found that Minneapolis-St. Paul posted the highest rate of increase in our artist workforce during the years of the great recession, 2006-09, years when the top three barely held even.
“Americans Speak Out about the Arts in 2018” was conducted by Ipsos Public Affairs for Americans for the Arts in May 2018. It is based on a nationally representative sample of 3,023 American adults, making it one of the largest public opinion studies about the arts ever conducted. As one might expect when hearing from the public, we find a mix of assumptions challenged and observations confirmed.
Kelly stepped down last year from the artistic directorship of one of the world’s largest arts centers to work full-time on the Women of the World (WOW) festivals. “I decided I was going to make a body of work which in every single sense was going to be questioning the place that women’s stories have in art, culture, and in everyday civil life and political life.” (video)
The goal of the Barr-Klarman Massachusetts Arts Initiative is to increase arts organizations’ “adaptive capacity” (because the arts landscape is changing and the next recession could hit anytime) by building capital (in terms of both cash and staff) and “cultural competence.”
The Showbox is nothing special architecturally, but it has been home to a generation of music fans. Now the venue is in danger of being torn down for a highrise. “The city is now trying to say, ‘Oops we made a mistake,’ after people have invested and relied upon the zoning. Then this is what you get in response. You get lawsuits.”
Johann Zietsman’s appointment comes at a pivotal point for the 12-year-old Arsht, which occupies the center of a neighborhood that’s belatedly but rapidly changing after years of stagnation that the facility was meant to help reverse.
Writes the chair of Arts Council England, who was for three decades director of the Tate Galleries, “In 2012 we became the first cultural body in the world to include environmental reporting and action in our long-term funding agreements with arts organisations. … Together we substantially increased understanding about the role of the sector in addressing environmental issues and associated social challenges. The findings of our Annual Report on Environmental Sustainability, published on Tuesday, prove the value of that intervention.”
“Some New York artists and art spaces may thrive in Amazon’s shadow. But recent art history already provides ample illustration that the benefits of increasing inequality are not really shared equally, and tend to get eaten up by rising rent anyway — the latter being a much greater concern for the average person, artist or otherwise.” For an example, look no further than the home of Amazon’s original HQ, Seattle.
May’s deal, which was revealed on November 14, essentially maintains the status quo until 2020, with the deal “not saying anything concrete” about what will happen after this. This would be effectively “postponing a leap into the dark” for the creative industries until 2020, with “all the important issues left up in the air”.
If the cosmopolitan world we unsteadily inhabit is to survive, Hegelian logic would seem to demand that it find itself a new “other”—something which the nations of the world can only face, as they once faced the threat of perpetual conflict, as a cosmopolitan community, in which the self-consuming monster of national sovereignty would, once again, be laid to rest. Climate change, perhaps?
After half a century, the building remained a gem but needed an upgrade. City officials gave the foundation until 2019 to remove asbestos, fix the sprinklers and make the site wheelchair accessible. The foundation’s president, Darren Walker, saw the opportunity to nudge the headquarters, in other ways as well, into the 21st century. And so Ford has now downsized its footprint, making room for other foundations. There’s a new public art gallery, a touch-and-feel garden in the atrium for the blind; and Mr. Walker converted his own office into a pair of conference rooms that can be used by outside nonprofits. The building is rechristened the Ford Foundation Center for Social Justice.
Total sales were up 5.4% to £3.5bn, according to the latest figures released by National Lottery operator Camelot, translating into £793.2m for good causes. A fifth of this is allocated to the UK’s four Arts Councils, meaning they will collectively receive just under £159m – a 23% increase on the £129m lottery funding they received this time last year.
The plethora of reports and investigations drawn together in the review reveal that people with higher incomes attend arts events in disproportionately high numbers, but they are less likely to actively participate in cultural activities. Participatory arts activities are more popular among those with flexible working schedules and more disposable time than among “those who are both objectively and subjectively ‘busy’”, who opt for less time-consuming forms of leisure.