Wendy Rosenfield: “Even without seeing them, I know this much: Anne’’ story isn’t multicultural; it’s Jewish. … This would all be admirable if the voices at the center of the (nonfiction) story weren’t already marginalized, and weren’t marginalized further by a casting process that once again sought to replace the attic denizens’ identities with something more ‘universal.'”
“The official ruling … gives embiggen the long-overdue recognition it deserves for being both an incredibly useful word and one of the greatest things to come out of The Simpsons. Though embiggen has definitely enjoyed more popularity because of its frequent use in Ms. Marvel, the word was first introduced (in a modern pop cultural context) in ‘Lisa the Iconoclast,’ the sixteenth episode of The Simpsons‘ seventh season.”
“I was a ballet dancer and choreographer for 10 years. Now, six years after leaving dance, I am shocked by the elements of the culture that I once accepted as normal. In the ballet world, disordered eating is dismissed as ambition, and dancers have no job security and little ability to voice concerns or opinions about how they’re treated in the workplace. Yet it’s difficult to separate culturally sanctioned, low-level abuse from the necessary stress of a demanding art form.”
The real Anne was unequivocal about the particular Jewishness of her suffering and about her perpetual otherness. She wrote, “We can never become just Netherlanders, or just English, or just . . . representatives of any other country for that matter, we will always remain Jews, but we want to, too.”
Since Bunshaft’s addition opened in 1962, the art world has grown exponentially, diverging into a countless thematic streams and mediums, from monumental sculptures demanding monumental spaces to purely conceptual art requiring no space at all. The unpredictability of the art world and its growth into countless new disciplines demands a different kind of museum than Bunshaft or his contemporaries could have conceived. This uncertainty, coupled with a desire to reconnect with segments of the public long alienated from the art world, has driven expanding museums to favor vast public spaces and highly adaptable galleries over the more intimate spaces of the past.
A collective of eight internet artists transformed the Jackson Pollock room in the New York City Museum of Modern Art into their own augmented reality gallery—without the museum’s permission. The collective, which calls itself “MoMAR,” is making a statement against elitism and exclusivity in the art world with its group art installation Hello, we’re from the internet. The eight artists had their own works overlaid on top of seven Jackson Pollock paintings using augmented reality technology. By downloading their MoMAR app, anyone with a phone can see their work.
“Annotations in the margins of a 16th-century text that is believed to have been one of the sources for Hamlet could have been made by Shakespeare himself, according to an independent researcher. John Casson was looking through the British Library’s copy of François de Belleforest’s Histoires Tragiques, a 1576 French text thought to have been one of the sources for Shakespeare’s tragedy … [He] noticed that faded ink symbols had been made in the margins next to six passages.”
“That friendliness was in contrast to the bruising conflict between the orchestra and the Woodruff Arts Center, which led to lockouts in 2012 and 2014, picket lines, and harsh words. Ongoing deficits and deteriorating relations also brought about pay cuts, a shorter season and a shrinking orchestra.”
Lincoln Center announced in the fall that it was pulling the plug on the Lincoln Center Festival, the multidisciplinary summer festival it had presented since 1996. Officials said that the move was partly intended to save money, … but there was also a desire to consolidate programming: Lincoln Center Festival was in some ways essentially competing with Mostly Mozart, which had expanded its range in recent years.”
Anne-Sophie Mutter and André Previn: Music from the divorce that didn’t work
Anne-Sophie Mutter has long maintained supreme artistic poise in the classical violin world, but the wild card in her repertoire has often come from her ex-husband, the multi-Oscar-winning composer André Previn. … read more
AJBlog: Condemned to Music Published 2018-03-05
Misunderstood and Maligned
Poor Grant Wood. Seventy-years after his death, his work is widely known – thanks to American Gothic – but equally widely misunderstood, under-appreciated and, recalling the old insult to George W. Bush, misunderestimated. … read more
AJBlog: Real Clear Arts Published 2018-03-04
[Jerry Saltz’s] is not the first, nor will it be the last, protest over donations to an art or educational institution from a questionable source. How should we think about this? … read more
AJBlog: For What It’s Worth Published 2018-03-04
Dispatched from the Audition Room
I say to colleagues that our personal artistic opinions are not as important in considering prospective students as our expert evaluation of their potential. It may be quite difficult to make such a distinction. … read more
AJBlog: PianoMorphosis Published 2018-03-05
Pam Breaux of the National Assembly of State Arts Agencies: Overall, state governments invest $357.5 million in state arts agencies; that represents about $1.08 per capita. During fiscal year 2018, legislative appropriations to state arts agencies decreased by 2.4%; yet, there are distinctions among the states. Twenty-two state arts agencies reported increases in 2018; fifteen reported flat funding, and nineteen reported decreases (50 states and 6 jurisdictions total). The most significant revenue challenge faced by state arts agencies is that they’re inextricably linked to fluctuations in state tax coffers.
Actually, many more people have walked into the glass, but three people, in the first month of operation, have been hurt enough to call emergency services. “The glass has been specially treated to achieve an exact level of transparency and whiteness. The doorways reportedly have perfectly flat thresholds because ‘if engineers had to adjust their gait when entering the building, they risked distraction from their work’, according to a construction manager.”
Peter Schjeldahl: In principle, the show’s aim reflects the New Museum’s valuable policy of incubating upstart trends in contemporary art. But it comes off as willfully naïve. Nearly all the artists plainly hail from an international archipelago of art schools and hip scenes and have embarked upon normal career paths. Noting that they share political discontents, as the young tend to do, is easy. Harder, in the context, is registering their originality as creators—like bumps under an ideological blanket. But there’s insight to gain about emergent sensibilities in world art, without hustling everybody toward illusory barricades.