“There’s a growing body of evidence that even if diversity— the kind that results from immigration — once made America stronger, it may not be doing so anymore. Robert Putnam, a liberal sociologist at Harvard, found that increased diversity corrodes civil society by eroding shared values, customs and institutions. People tend to “hunker down” and retreat from civil society, at least in the short and medium term.”
“The Atlanta Opera and the Atlanta Ballet will be among the performing arts groups to help break in a new venue, the Performing Arts Center at City Springs on Roswell Road in Sandy Springs, during its inaugural 2018-19 season.”
“Seven or eight years ago, she started making waves with her chamber-ensemble-cum-girl-band, Victoire, a group with a funky alt-classical vibe that she formed as an outlet for performing her own music. Listening to the band’s post-minimalist drones overlaid with expressive spasms of melody in an electronic haze, playing at the Atlas on H Street in 2011, you might not have guessed that Mazzoli’s work was going to veer into the world of mainstream opera. But on Friday, the Washington National Opera will be presenting the world premiere of her third opera, a 70-minute piece called “Proving Up,” and the opera world counts the company lucky to get it.”
“In a nation always on the go, it does seem as if the most serious intellectual production and consumption has been confined to the cloisters of higher education, where an elite professoriate soaks in high ideas in paneled seminar rooms safe from the hurly-burly of daily life. But what if a technology was able to bridge the gap, accommodating our culture’s hyperkinetic habits while also bringing to it gems of intellectual wealth from the ivory tower? To a large extent this is exactly what the best educational podcasts—which stress learning for the sake of learning—are doing.”
Michael Billington grants the genre its virtues – low cast, adaptability, the chance to spotlight an actor’s skill – but wonders about its limits of perspective.
“What would dance-specific sexual harassment training and policies look like? How can we protect freelancers working outside an institutional setting?” Lauren Wingenroth spells out the issues.
“Artist Nikolas Bentel is on a mission to destroy an original Robert Rauschenberg in a project intended to emphasize how the art market is, in his words, ‘a glorified stock market.’ Beginning this week, the artist – who is part of the New Museum-led incubator New Inc. – is selling off sections of the artwork as advertising space, so its surface will eventually be covered with an eclectic assortment of images.”
“It was a debate that many journalists likely never expected to face.” The problem isn’t just with the unaccustomed vulgarity: while the original term’s individual components are easy to translate, the combination is not. Samantha Schmidt looks at some of the attempts international news outlets made.
“A California native, [John] Mangum comes to Houston from the Philharmonic Society of Orange County, where he worked as president and artistic director since 2014. He’s also worked for the San Francisco Symphony and New York Philharmonic.”
The report predicts changes in employment and growth for key sectors of the economy across five scenarios, which model for whether the UK remains in the single market, in the customs union, secures a transition deal, or achieves a preferable trade agreement with the EU. “In total, creative industries across the country stand to lose up to £3.3bn and 27,000 jobs as a result of a no-deal hard Brexit,” a spokesperson for the Mayor said.
“The truth is that, in writing, as in any profession, merit is only tangentially related to success, if at all. I’m not a hugely well-known writer, so I’m not the sort of person who generally gets asked for writing advice by eager young up-and-comers. But as a mid-level freelance content generator, with some decent bylines but no real chance at reaching that Times column in the sky, I do have some thoughts about how you (yes you!) can become a successful writer.”
To be clear, it wasn’t Babymouse from the eponymous children’s graphic novels. It was a baby mouse running around the first 12 rows of the Kennedy Center’s concert hall. “A spokeswoman for the NSO said the Kennedy Center is an old building and that it is treated regularly for pests.”
The governor tweeted that it was canceled – for the time being. Gov. Andrew Cuomo, on Twitter: “I am directing the Dept. of Corrections to rescind its flawed pilot program that restricted shipment of books & care packages to inmates. … Concerns from families need to be addressed, while we redouble efforts to fight prison contraband.”
Will silicone putty change the injury profiles for dancers on pointe? One former dancer, now a designer in the Bay Area, thinks it can – and after she approached some elite ballerinas on Instagram, they agree.
More than 250 Irish poets and other writers have already signed a pledge not to participate in any anthologies, conferences, or festivals where women writers aren’t represented in fair quantities. What was the tipping point? “The pledge was conceived after the publication of the Cambridge Companion to Irish Poets in 2017. Covering Irish poetry from the 17th century to the present, it features essays on four women poets and 26 men, with just four female contributors.”
Art might be a less creepy way to deal with constant surveillance: “We assign opportunities to mark and document our existence all the time, often without knowing it. Walk down a city street, and numerous security cameras record your movements. Go online, and an invisible swarm of trackers will record your interests, your location and much more. We all know this, but most of us don’t think about it much, perhaps because it happens so inconspicuously. Artists make it their business to point out the inconspicuous, which is why some see our surveillance environment as a rich field for works about power and the erosion of privacy.”
To quote one musician, sound engineer Laura Sisk is “a rad, funny, calm person in a field dominated by annoying, grumpy dudes.”
McShine, who organized a show that defined – and uplifted – Minimalism, and whose 1970 show “Information” at the Museum of Modern Art “set out to disturb the artistic and political status quo,” was a distinctive figure in the art world. “Especially in the 1980s and ’90s, Mr. McShine exercised a great deal of influence on what the Modern acquired in the way of postwar and more recent art, and applied a keen eye to its installation in the permanent-collection galleries.”
Duh? And yet, ugh: “The notion that musicals are somehow a lower form of art seems to be felt at the very highest echelons of the industry itself – even at Equity, it seems, which recently approached its members with a survey that approached three categories differently: one for performers in musical theatre, one for actors in plays and one for stage management.”
Helen Maudsley calls her paintings “visual essays” and says that people often miss their meaning because they won’t spend time with them. Her art “is not well-served by the high-speed Instagram-and-move-on approach to gallery visits. The paintings need to be sat with, contemplated, considered.”
Some of the questions NY’s monuments committee considered: “If monuments have the power to write history, who, in any given case, is wielding that power? Was the history true when written, and has that truth changed over time? Does the history serve positive or negative ends? Promote inclusion or divisiveness? If monuments are, like history, intrinsically complex, not easily defined as ‘right’ or ‘wrong,’ is complexity alone enough to justify a contested monument’s continuing presence?”
Some of the seats are owned by private people, who can resell them for a profit. And those seatholders? Make up the majority of the council that runs the charity that runs the hall. Now, “A row over the governance of the Royal Albert Hall will be referred to tribunal, it has been confirmed, after the venue was reported to the UK’s top law officer.”
Not for the first time, some of the many works attributed to the artist are very much under scrutiny, and “an art expert has written a report, leaked by the Italian news media, for state prosecutors that says a third of the works in a popular Modigliani exhibition last year in Genoa, Italy, are fakes.” (That’s right: One THIRD.)
We associate the ’60s with the counterculture and protests against government. But that was also when the National Endowment for the Arts and the National Endowment for the Humanities, so often under attack in recent years, were established.
Lisa Freiman came from the Indianapolis Museum of Art (where she was the top curator for contemporary work) 4½ years ago as the first director of the museum at the city’s Virginia Commonwealth University. She gave no reason for her departure other than wanting to return to her scholarly work (she’s staying on at the university as a faculty member).