The 33 creditors listed range widely, including Artforum magazine, New York “global cultural communications company” Sutton PR, and the biennale’s own accounting firm, Dagenais, Lapierre, Simard et Associes. (Full disclosure: Canadian Art Foundation, the charitable foundation that publishes Canadian Art, is also listed among the creditors in the document.)
Tim Parks: “Every few days, working on my new novel, my thoughts flash back to something Colm Tóibín said at the Hay-on-Wye literary festival nine months ago: that flashbacks are infuriating. Speaking at an event to celebrate the two hundredth anniversary of Jane Austen’s death, Tóibín said Austen was marvelous because she was able to convey character and plot in the most satisfying way without the ‘clumsiness’ of the flashback. Today, on the other hand, we have to hear how a character’s parents and even grandparents met and married. Writers skip back and forth in time filling in the gaps in their shaky stories. It is dull and incompetent. Is Tóibín right? I worry, as I prepare to put together a flashback myself. Is there no merit or sense in the device? Didn’t Joyce use it? And Faulkner? Or David Lodge, for that matter? Or John Updike?”
Emily Yoshida: “I reached out on Twitter to a handful of native and/or fluent speakers of Japanese who saw Isle of Dogs on opening weekend … [and] what I found, even in this small sample size, was a similar dynamic I’ve seen before in debates about Asian culture as reflected by Western culture – perspectives can vary wildly between Asian-Americans and immigrated Asians, and what feels like tribute to some feels like opportunism to others.”
“That night, it didn’t take long for some rather prominent coughing to break out, before the crowd let loose with less subtle forms of protest: boos and catcalls, the agitation growing over the course of the piece’s 15-plus minutes. At one point, an older woman approached the stage, took off a shoe, and banged it on the stage, imploring the ensemble—which included Reich and Tilson Thomas—to stop. Someone else sprinted down an aisle, yelling, “All right! I confess!” Other aggrieved patrons simply left.”
While many continued to think of Baldwin as the spokesperson for a vision of ultimate cross-racial communion such as concluded The Fire Next Time, Baldwin’s speeches and essays grew increasing direct about the impossibilities of saving the United States from itself. By the time of King’s murder, Baldwin had shifted his intellectual focus mainly away from black–white reconciliation to instead undertake a no-less-difficult project: facilitating a conversation connecting younger, more radical black leaders with those of his own generation.
The High Court’s ruling on musicians needing protection from noise that can cause hearing loss at work may change a few things around the orchestra. “‘It effectively says an orchestral workspace is no different from a factory,’ said Mark Pemberton, director of the Association of British Orchestras.” (And in noise terms, that may be true.)
Students aren’t supposed to have “unauthorized absences,” but what could be more authorized than students taking school-approved dance, music, theatre and other arts exams? Apparently, a lot of things. “Leaving school for a dance exam is not exceptional, it’s actually quite routine that children leave to take a dance or drama exam outside school and then come back.” But many head teachers simply don’t agree.
The style has its roots in colonialism, and in a place that hasn’t been Mexico for quite some time. Carolina Miranda has the story: “The architectural style known as Colonial Californiano is the story of ideas ricocheting between two cultures in unlikely ways. And it is one that leaves its mark on Mexico City to this day in the form of apartment buildings and grand private homes — neocolonial structures whose immediate design antecedents lie not in Mexico, but, ironically, in the United States.”
Amy Wegener is the literary director for Actors Theatre of Louisville, and she’s the leader of the pack when it comes to finding scripts, reading plays, and getting everyone – artistic directors most definitely included – into conversations around what shows should run at the Humana Festival of New American Plays. As this year’s festival wraps up next weekend, she’s prepping for 2019 and thinking about how to support the playwrights, directors, actors, and everyone else involved. “I’m constantly reminded that every project and team is different — you’re embarking on exploring a brand-new world each time, even with beloved collaborators.”
The firm Band Management Union charged artists up to £4,000 for services, did nothing for the artists – and has now closed its website and email addresses and canceled its phones. One artist who spoke out about BMU a couple of years ago said that “she received abusive messages attacking her looks and mental health, and received a number of targeted negative reviews after complaining about the company online.”
Yes, OK, part of it might be the source material. And yet even objectively terrible adaptations like 2016’s World of Warcraft show that “there’s clearly money to be made here, which explains why studios seem so obsessed with pursuing it despite the critical maulings.” Can this project be saved?
Whew: “Tensions over the role of galleries in the gentrification of the predominantly working-class Boyle Heights neighborhood have often swirled around 356 Mission, one of the district’s largest and most high-profile galleries.” The activists who are against gentrification posted a celebratory note to Instagram.
During deep brain stimulation procedures, doctors implant electrodes in the brain to try and control tremors. The patient must be awake during surgery, so doctors can see the effects of the electrodes. “It is brain surgery, but it’s a way we can really improve a patient’s life, quality of life, where otherwise they’re going to be on medications that may have a modest effect on improving their tremor.”
You can’t measure schmoozing skills in auction data—or, can you? Trustees and big-name art collectors, after all, tend to collect (and, therefore, want to see exhibited) the kind of expensive art, mostly by white men, that Molesworth explicitly tried to move away from. More generally, they like to see the value of their market-friendly collections ratified with prestigious museum shows. Once you’ve spent millions of dollars on a certain artist’s work, you generally want museums to reinforce what your art advisor and your dealer have been telling you, which is that the artist in question is a great genius worthy of being preserved for posterity.
To determine the results of the study, test subjects participated in “psychometric testing and heart rate tests” as they did activities that were positive for their health including attending concerts, doing yoga and dog-walking. Results showed that people who attended gigs had an increase of 25 percent in feelings of self worth and closeness to others and a 75 percent increase in mental stimulation. While the study found that Brits preferred going to concerts instead of listening to music at home, music in general has been found to increase happiness.
In a backstage interview with Coltrane during intermission at the Stockholm concert, a local jazz DJ noted that some critics were finding his new sound “unbeautiful” and “angry,” then asked, “Do you feel angry?” Coltrane replied, in a gentle, deliberative tone, “No, I don’t,” adding, “The reason I play so many sounds, maybe it sounds angry, it’s because I’m trying so many things at one time, you see? I haven’t sorted them out. I have a whole bag of things that I’m trying to work through and get the one essential.”
“We wanted … to figure out how to use the whole space of the stage to create an image of an injured mind. After that initial impulse, we tried to take a personal story of loss and trauma and make it universal, to zoom outwards and ask some big questions about what suffering is, what it means and how one survives something like that. … In German, the title means to be stopped or struck by something that leaves you in a kind of shock or speechlessness, an inability to respond or express anything in words. So that word became emblematic for us.”
Philadelphia Voices is the eighth in a series of “crowd-sourced symphonies” – symphonic scores incorporating sounds recorded on the streets and submitted by residents – Machover has done for various cities from Detroit to Toronto to Perth. David Patrick Stearns met with the composer, both in Philadelphia and at his high-tech Boston-area studio, to talk about how Machover put together the piece, which will combine the sounds of the Philadelphia Orchestra and several choirs with such found sounds as Mummers at the New Year’s Day parade, birds at the Philadelphia Zoo, and (yes) sizzling cheesesteaks on the grill at Pat’s King of Steaks in South Philly.
“Mr. Gaylord, a World War II Army paratrooper who received the Bronze Star Medal for valor during the Battle of the Bulge, said he intended his sculptures to ‘confront visitors with the reality of actual war’ while complying with the design committee’s instructions not to glorify it.”
To accompany this photo journal, the dancer-choreographer writes about Xenos, about an Indian colonial soldier fighting for Britain in World War I. “In my work, I need a character I can relate to – but also a character who can relate to me. So we decided that this colonial soldier was a dancer who is thrown into the trenches somewhere in Europe. Most of the piece takes place in a trench, at least in an abstract sense.”
This may not be the first time someone has said that the Met’s audience is a bunch of babies, but it’ll be the first time that it’s literally true. “The company will present 10 free performances of BambinO, an opera for babies between 6 months old and 18 months old, from April 30 to May 5 in the opera house’s smaller auditorium, List Hall … The 40-minute opera – scored for two singers and two musicians – will be performed for a small audience of babies and caregivers.” (includes video)
Nashville is cool now. Which is to say, there are parts of Nashville that serve and appeal to and are filled with members of the so-called creative class and promise a different “experience” than your day-to-day life. The draw wasn’t major attractions, like the Opry, but attending a quaint show at the Bluebird Café. Like Austin or Portland, the draw to Nashville isn’t to go and be a tourist, but to go and spend a weekend sort of pretending that you live there — and, who knows, maybe one day make it a reality, and bring your friends and business along with you.
“Ken Simons has had his hands on Picasso paintings, moved Tracey Emin’s bed and manoeuvred an Antony Gormley sculpture though a third-floor window. For him, a famous painting or sculpture isn’t just a precious creation to be admired – it’s a practical puzzle. Will it fit through the door? How can it be carried? Which trolley is best to wheel it through the gallery? And, in the case of some outlandish modern sculptures – how does it fit together?”
I order the set on Amazon, used, for over 100 euros. It comes with a pile of CDs and a “Handbook,” basically a thick CD booklet. One morning, I make myself comfortable next to my electronic keyboard and pop Masterclass 1 into the player. The masterclass begins by talking up the value of perfect pitch. Without it, “something is lacking,” the voice tells me. He says that listening to music without perfect pitch is like watching a movie on a black-and-white TV.
The 40-year-old Colombian-Austrian, who’s also chief conductor of the Frankfurt Radio Symphony Orchestra, succeeds Philippe Jordan (who’s also music director of the Paris Opera) at the start of the 2020-21 season. (At that point, Jordan will cross the street to become music director of the Vienna State Opera.)