“This then is the strange rags-to-riches tale of two mild-mannered librarians … who went hunting for fairytales and accidentally ended up changing the course of historical linguistics and kickstarting a whole new field of scholarship in folklore.”
“The accident reportedly happened as the statue” – a marble of Saint Bibiana – “was being lifted back into place above the altar of Santa Bibiana, the church in central Rome for which Bernini created it in 1626. The newly restored work had been on loan for the first time in its history to the capital’s Borghese Gallery, which recently hosted a major exhibition of the Baroque sculptor’s masterpieces.”
Call it the Kusama effect. Since Japanese artist Yayoi Kusama’s Infinity Mirror Room exhibition has taken off (the recent Los Angeles opening of her show at The Broad sold out their 50,000 tickets in less than two hours), it has fueled a debate around selfie-friendly art. Although Kusama’s artworks were not necessarily made for the smartphone (many were made in the 1960s), it’s still part of the “made-for-Instagram” exhibits, or “selfie factories”.
Why does the classical music industry only look to its own professionals to solve its problems? I know musical enthusiasts whose opinions are no less informed or apposite than my own and work in professions where thinking laterally and finding creative solutions is a daily requirement. Surely these people are better able to understand conundrums and see resolutions than I am.
“Every so often, … Manohla Dargis and A.O. Scott, fire off a number of thoughtful memos to the movie industry and the industry-adjacent. These messages are largely ignored, which does not stop Ms. Dargis and Mr. Scott from continuing this semi-serious tradition. Given the new summer season and how deeply fraught the past year has been – Harvey Weinstein, Netflix, #MeToo, #oscarsalittlelesswhitebutnotmuch – it was time for our critics to weigh in again with their thoughts (and complaints).”
“France’s city centers are about to get one of the biggest makeovers in their history. Following an announcement last month, the country is launching a vast €5 billion ($6.1 billion) plan called Action Coeur de Ville (Action: Heart of the City) intended to revamp 222 city cores … in what the French call Villes Moyennes, ‘average cities’ with populations between 15,000 and 100,000 … over the next five years with new stores, offices, co-working spaces, and renovated housing.”
“Mrs. Provensen, who also wrote several picture books, worked for 40 years alongside her husband, Martin Provensen, illustrating such works as The Color Kittens by Margaret Wise Brown, The Fuzzy Duckling, Katie the Kitten and adaptations of classic literature. … They evoked the world of post-Impressionist Paris in their Caldecott Medal-winning 1983 book The Glorious Flight, about the first airplane journey over the English Channel, by French pilot Louis Blériot in 1909.”
You can view a movie whenever you want, but it exists in a past that you cannot alter. Live theatre may be evanescent, but it is always of the moment; it routinely brings the past into the present, and it can be altered from production to production. What, then, is the responsibility of theatremakers towards live shows that either were created or are set in the past?
If Sotheby’s were a hospital, his department would be “the E.R. or a clinic.” One analysis is like an M.R.I., and another is like a CT scan. He described analyses as “noninvasive.” Mr. Martin tried to keep the discussion understandable to nonscientists, even comparing one device to a “Star Trek” phaser, but he also said things like: “Each one of the million pixels has its own spectrum.”
Noah Charney’s premise is fairly uncontroversial: He argues that our understanding of art history is skewed by survivorship bias and that to understand the art we still have, it’s critical to put it in the context of what’s been lost. “Many lost works were more important and celebrated than those that have survived,” he writes.
The channels occupy a precarious space between YouTube’s algorithm and its copyright policing, drawing comparisons to the unlicensed pirate radio stations of the 20th century, recreated in the digital sphere. Many of the channels blink in and out of existence within a week, but their presence has become a compelling part of the site’s musical ecosystem. And while competitors like Spotify are gaining, YouTube still dominates the streaming world, according to the latest Music Consumer Insight Report from the International Federation of the Phonographic Industry.
“Major event” exhibitions like the Yayoi Kusama Infinity Mirrors show and the traveling David Bowie Is show “achieve two important goals for any museum: They increase attendance, and they increase revenue. But … blockbusters effectively ratchet up expectations everywhere, to the point at which lower-budget affairs can no longer capture the public imagination. That’s bad for most museums, and it’s bad for the public, too, which will increasingly subsist on the cultural equivalent of junk food.”
“A little more than a year ago, New Yorker writer Maria Konnikova announced that she was diving into the world of professional poker as a new player, all for the purpose of writing a book about her experiences. [Now] the actual writing of the book is on hold because Konnikova, under the guidance of pro Erik Seidel, got too good at poker. In January, Konnikova won $86,400 by beating a 240-person field at the PCA National; in her first tournament after deciding to drop blogs for cards, she won $57,000.”
“[The retired ABT star’s] Sleeping Beauty Dreams, an avant-garde dance production about the internal world of the cursed princess during the one hundred years she was asleep, [is] premiering in Miami in December before going on to New York and then on … a 30-city tour in 2019.” Reporter Olivia Nuzzi does a profile of Michael Caputo, the show’s producer, who was interviewed by special prosecutor Robert Mueller’s office last week. Caputo is an erstwhile political operative in both the U.S. and Russia and was a senior communications adviser to the Trump campaign.
“Not only am I a black choreographer I’m a modern choreographer. I have a fear that if this piece is seen as a failure, they will never hire another black choreographer again. … I just want to make a beautiful work in the same way the other two choreographers on that program are going into a work, but they don’t have that same weight on them.”
Hearts for Hartwig: My Appreciation for Getty’s Soon-to-Retire Communications Head
It’s not like me to sing the praises of museum communications officials, even though I constantly rely on them for help (and they often are extremely helpful). As a critic and investigative journalist intent on clarifying what’s been blurred by PR spin, my relationship with spokespersons is often more adversarial than collegial. Not so with Ron Hartwig, … read more
AJBlog: CultureGrrl Published 2018-05-02
“On a personal note, I would like to announce my upcoming retirement as classical music critic of the Chicago Tribune. When I step down July 1, I will have held this position at the paper for nearly 41 years, a record for Chicago (and perhaps U.S.) musical journalism insofar as I have been able to determine. It’s been a great ride, but the time has come to move off into other ventures and give somebody else a shot at one of the best jobs in journalism.”