The grave, which holds the intact mummy of the brother of an important regional governor, includes a polychrome funerary mask and – in a first (so far) – all the customary burial goods.
“Luther was not a lover of human freedom: he insisted on absolute obedience to the external authority of secular rulers; and his violent denunciation of the Peasants’ Revolt and his call for its bloody repression demonstrated a fanatical determination to uphold external authority.” And yet, argues historian Frank Furedi, his challenge to the authority of the Roman Catholic hierarchy led directly to the idea that one could challenge authority as such.
“Arts and culture organizations must understand themselves not as arbiters of taste, but as creative homes for the people. They must be places driven by artists, culture bearers, philosophers, and activists. They must be platforms for cultivating public imagination; building thick and diverse networks; convening across differences and sectors; and incubating breakthrough ideas that stick, because they spring from communities that come together to embrace truth, honor diversity, and poetically pursue freedom.”
There are only about 50 lexicographers working at dictionary companies in the United States today, Kory Stamper estimated. But their work, she believes, remains as vital as it was in Noah Webster’s day. “There’s something to having a bunch of nerds sitting in an office dispassionately reading lots and lots of material and distilling the meaning of a word as it’s been used in lots of places,” she said. “It really is this weird democratic process.”
John Wetherill, 62, accuses music director Krzysztof Urbański, 34, of a five-year campaign of harassment, including attempts at public humiliation, in an effort to get Wetherill to retire or give up his principal chair in favor of a younger player. The ISO has no comment. (Where’s the musicians’ union?)
“The most venerable American orchestras take pride in having a distinctive sound: the Philadelphia strings, the Chicago brass, the Cleveland blend. The New York Philharmonic has prized a virtuosity that edges, for better or worse, into brashness. The L.A. Phil, by contrast, has a tradition of no tradition: its sense of self resides not in a fixed repertory but in a mediation between past and present. That spirit of flux has persisted across several generations and now seems part of the institution’s identity—although, in the fragile sphere of the performing arts, nothing can be considered permanent. As a critic, I have made a habit of following this orchestra wherever it goes, and I am therefore hesitant to offer advice as it plots its future. But the adage of another noted Southern California composer comes to mind: keep on keeping on.”
Let us be reasonable here. I am too old and have published too much to be thought ignorant enough not to be aware of the objections put forward by the miffed 13. But, I contend, writers who publish are always writing at the top of their form. No one writes down. It’s difficult, almost impossible. Writers cursed with too much “talent” are unable to stoop to conquer.
“Hierarchy is an unfashionable thing to defend or to praise. British government ministers denounce experts as out of tune with popular feeling; both Donald Trump and Bernie Sanders built platforms on attacking Washington elites; economists are blamed for not predicting the 2008 crash; and even the best established practice of medical experts, such as childhood vaccinations, are treated with resistance and disbelief. We live in a time when no distinction is drawn between justified and useful hierarchies on the one hand, and self-interested, exploitative elites on the other.”
“Any number of critics since Bergonzi have regurgitated the idea that the novel as we know it today persists in a kind of zombie state, stripped of whatever vital essence it once had (and this in spite of the fact that novels are being published and consumed in unprecedented numbers). But the argument for the novel’s demise has its own kind of ghoulish quality to it by now.”
“With the addition of Jesse to the already formidable theater team led by theater editor Scott Heller, The Times continues its commitment to cultural criticism. In the last two years alone, the voices of Amanda Hess, Margaret Lyons, Wesley Morris, James Poniewozik and Jennifer Senior have joined The Times’s already unbeatable roster of full-time critics, which now counts 21 in total. Meanwhile, we continue to seek out new voices to bring into the fold, and hope to make further additions to our critical ranks this year.”
“The first step before diving down this rabbit hole should probably begin with a few real facts. Contrary to the European model where ‘the state and/or central government’ supports the arts and culture almost totally, in this country support of the arts is a partnership between the private sector and government, local, state and federal. Clearly the private sector is the dominant player in this partnership but all the partners play and important role in what has become a very successful model.”
“They are two of the nation’s pre-eminent playwrights. Each has won nearly every award their field has to offer, including the Pulitzer Prize. Each has written works that are staged around the world and have become required reading in college classes. And each has earned an admired position in the academy, teaching aspiring dramatists at Ivy League institutions. One milestone, however, has long eluded Paula Vogel and Lynn Nottage: Broadway.” Why is this?
After the sore thumb that’s sticking out there now, installed on top of the column in 2018 will be Michael Rakowitz’s The Invisible Enemy Should Not Exist, followed in 2020 by Heather Phillipson’s THE END. And yes, they basically are as described in the headline. Hannah Ellis-Petersen fills us in.
“Since it was established in 2013, the J. Paul Getty Trust has only recognized six individuals for their extraordinary contributions to the arts. Past recipients of the award include Harold Williams, Nancy Englander, Jacob Rothschild, Frank Gehry, Yo-Yo Ma, and Ellsworth Kelly.”
You’re the best
This Arts Advocacy Day, the stakes are much higher. As we work to make the case for the arts, we wonder, is our data keeping pace? We’re using love (or breakup) letters as a creative and fun design research method to get powerful insight into the perceptions of our stakeholders. … read more
AJBlog: Field Notes Published 2017-03-22
The circle of art and commerce
Last week, in my Juilliard course on the future of classical music, one of my students asked about art and commerce. Where do they fit in classical music’s future? What roles will they play? … read more
AJBlog: Sandow Published 2017-03-22
Augurs of spring
New York drama critics are forced to attend so many Broadway openings in March and April that they don’t have time to do much of anything else. Needless to say, I love theater, but I’m I’m not monomaniacal about it, so I figured I’d better indulge a couple of my other artistic interests while I still could. … read more
AJBlog: About Last Night Published 2017-03-22
“The situation is an active threat to the ability of global music artists to tour the United States— something that is often already complicated—and arrives, paradoxically, at a time when audiences are more easily immersed in international sounds than ever before. It seems like an opportune moment to consider the meaning and relevance of what has been called “world music,” as a global refugee crisis and a rise in nationalistic fervor in Europe, Russia, and the United States newly threatens open cultural exchange.”