She had always insisted that what she was reviewing was not a dance itself but an “afterimage” imprinted in her mind, something personal and partial to throw “out there” into the cultural conversation, whatever that might be. Which is why, even when I disagree with Croce intensely, I often find myself in conversation with her. - The New Yorker
Contemporary America segregates debility and death, and it’s costing us, body and soul, writes Duke University historian James Chappel. - The American Scholar
I wanted to share with my academic network, so I posted a photo of myself holding a physical copy of my PhD thesis on X. The post amassed 120 million views and sparked a lot of anger in response to its title: Olfactory Ethics: The Politics of Smell in Modern and Contemporary Prose. - The Conversation
Larry Lockridge, professor emeritus at NYU: "I’ll air my conviction that death by suicide is more probable than the notion that Edward de Vere, Francis Bacon, William Stanley, Christopher Marlowe or Queen Elizabeth wrote those plays — still only plausible, yet unsettling and maybe instructive to ponder." - The Hedgehog Review
Free general admission was introduced in 2000 under the directorship of Elizabeth Ann MacGregor with the aid of a Telstra sponsorship. But stagnant government funding has forced the museum’s hand, with the introduction of a $20 entry fee from 31 January. - The Guardian
“We work a lot with trauma and survivors who maybe are struggling to find the words to be able to describe what they’ve endured. Art is an incredibly effective way to channel some of the angst that they’ve experienced.” - Hyperallergic
Says one, "Please tell me the difference between the fight I saw on Real Housewives of Beverly Hills last night and The Jerry Springer Show. Money. That’s the only difference." - The Guardian
“What museums are known for is not their architecture or their shows but ultimately their collections." But building great collections takes time, patience and determination. Together with Emily Braun, an art history professor at Hunter College who has been Lauder’s curator for 37 years, they know where all the great Cubist works are. - The New York Times
Its host, Lorser Feitelson, would become the interlocutor between the avant-garde and the country’s first generation of television viewers. He was personable, pedigreed and principled. Now, 60 years since its final episode, Feitelson’s show feels prophetic of a fact of visual life today. - The New York Times
These creators are opting not to play in the traditional music business lane (largely because they would struggle to get the rights cleared). So, instead they are operating in the music business’ ‘grey market’ – not quite a black market but not the formal market either. - Music Industry Blog
"The Cour des Comptes has found several faults with France’s Culture Pass, which gives 18-year-olds €300 to spend on just about any cultural activity or product they wish over two years. The scheme has seen 'its spending soar, does not meet its social objectives and needs governance reform.'" - The Bookseller (UK)
The 73-year-old California native, currently finishing his term as general music director of the Hamburg State Opera, will succeed David Afkham as chief conductor and artistic director of the Orquesta y Coro Nacionales de España in September of 2026. - La Vanguardia (Barcelona) (via Google Translate)
Even when they're getting excellent reviews and prizes, docs like No Other Land (about the West Bank), Union (about labor organizing at an Amazon warehouse), The Bibi Files (the corruption case against Netanyahu), and The Last Republican (former Congressman Adam Kinzinger) are getting cold shoulders from the business types. - The New York Times
"The ensemble of the 25-year-old Congo Square Theatre Company … has told the Tribune it has 'unanimously decided to not participate in any production, artistic curating and programming for the upcoming 2025 season until the current board president has been removed from the board.'" - Chicago Tribune
The series of 11 grass-covered mounds, titled The Sound We Travel At, is a physical representation of Doppler waves. It's right in busy Kendall Square; people regularly walk past and even sit on it. MIT spent $1.3 million on it. Yet almost no one realized that it's there. - The Boston Globe
