The artists demanded control of their works' presentation and that the Contemporary Jewish Museum both boycott Israel and divest from companies doing business there; they withdrew when the museum said it couldn't comply. What the museum did instead is either strikingly gracious or brilliantly passive-aggressive (or both). - The New York Times
The artist, who usually styled himself as simply "Ben," was known primarily for enigmatic slogans, scrawled in white or bright-colored paint, which he sometimes hung en masse on walls. He took his own life just hours after his wife of 60 years died of a stroke. - Artforum
"The support (Barry) Diller has pledged to Little Island’s programming, millions of dollars with no end in sight, is the kind most artistic leaders only dream of. (Zack) Winokur does not have to spend his days courting (funders) or securing residencies; instead, he can provide money and space." - The New York Times
A bushfire that started in Jerusalem's Valley of the Cross spread quickly to the museum — home to, among other archaeological riches, the Dead Sea Scrolls — damaging the roof of the youth wing. Firefighters stopped the blaze before it reached the building's interior. Both natural causes and possible arson are being investigated. - Artnet
Following the decisions by the Hay Festival and Edinburgh International Book Festival, both prompted by withdrawals and boycott threats by participating writers, the Borders Book Festival and Cheltenham Literature Festival have cut ties with the financial firm, Cheltenham at Baillie Gifford's suggestion. - The Guardian
“We don’t have a problem with anyone taking inspiration from Ansel’s photography,” said the Adams estate. “But we strenuously object to the unauthorized use of his name to sell products of any kind, including digital products, and this includes AI-generated output. - The Verge
“Even in a Mahler symphony, the largest number of performers you could have is 120,” says the Chinese-American composer from his New York apartment. “In this case, there will be more than 1,000 – all of them will be creating the symphony together.” - The Guardian
The work was last seen in public in 1952 when Joan Llonch Salas leant it to a group exhibition at the Barcelona gallery Gaspar, as recorded by another label on the back of the work. - Artnet
Last year, data released by audience research company Patternmakers showed somewhat of a rebounding of audience numbers from COVID levels, which was promising. But it also revealed the stark effect cost of living pressures were having on audiences, the majority of whom identified finances as the biggest factor limiting their ticket purchasing. - The Conversation
Now with the streaming era and things like that, that it's really shifted, where instead of selling the tour to get people to buy the record, now it's the other way around, where you are releasing music to try to get people interested in the tour. - NPR
It is a symptom of the fact that the whole system of art consumption and display otherwise feels itself deeply vulnerable to all kinds of other criticisms about its entanglement with wealth and power, in very fraught times. - Artnet
What he plans to do looks a lot like what he did with Little Island in New York City's Hudson River — create a rising-and-falling landscaped trail with platforms at varying heights that will host music and art events. At least with this project, called Soundscape, the island is already there. - Dezeen
Are subscriptions in free fall, and if so, what does that mean for the continuing health of theatres? Are subscriptions still a viable model, for either audiences or companies? - American Theatre
Rosie Herrera, who founded her own company in Miami in 2009, will receive $30,000 in an unrestricted cash reward and $20,000 in programmatic support over two years. The prize, funded by the Knight Foundation, is administered by the National Center for Choreography-Akron. - Miami New Times
Even among conservatories, it is exceptional, with a wide age range — from preadolescence to post-baccalaureate adulthood — and a personalized approach, of schedules and repertoire, for musicians who live almost entirely for their art. - The New York Times
