“Besides embarrassment, I also feel curiosity. What could explain the strange fact that it took seven years for an editor to assign me a female writer? I’m a liberal critic writing for liberal publications. How did this go on for so long? I suspect there are at least two possible explanations here.”
“The khipus might seem bizarre to us, but the Inkas, who were the inheritors of a long tradition of weaving with cotton and camelid yarns, were unique and highly creative – not underdeveloped – in their approach to documenting language. Pencil and paper is not the only road to progress.”
Ze’ev Rosenkranz, senior editor and assistant director of the Einstein Papers Project at the California Institute of Technology, said: “I think a lot of comments strike us as pretty unpleasant – what he says about the Chinese in particular. They’re kind of in contrast to the public image of the great humanitarian icon. I think it’s quite a shock to read those and contrast them with his more public statements. They’re more off guard, he didn’t intend them for publication.”
The appointment marks the first time in the NAC history that they have promoted as president and CEO from within, and the move is telling. Starting as a Tour Manager in 1987, Christopher Deacon worked his way up through the National Arts Centre Orchestra, eventually becoming Orchestra Manager in 1989, then becoming Managing Director in 1996.
If we are to create more theatres in London, what business models are they going to operate on if no public money is available? There is an intrinsic problem. Property developers want to give over as little space as possible for cultural provision, but to make a theatre work commercially, you need a certain number of seats and – preferably – a food and drink operation to bring in a secondary income.
Every year, the Academy Awards faithfully includes screenwriters in not one but two categories. And it’s not just the Oscars; the Grammys, Emmys, and Golden Globes all award the writers in their respective industries on the air. And yet it’s the theater that most esteems writers; we are generally recognized as the principal artistic force behind new work, and we even retain ownership and control over the material we create. Yet on the very awards show intended to celebrate our craft, we are effectively negated.
“In the best interests of the museum, it is time to bring the recent turmoil to an end and start afresh,” write de Cock Buning, who is the board’s interim chairman, and van Rooijen. “After due consideration of the report and its findings, and with a view to the museum’s interests, we intend to step down as members of the Supervisory Board.”
“Under the trees near the Metropolitan Opera House on a warm afternoon, [NYCB’s Russell Janzen talked with Marina Harss] about writing, his love of ballet — as well as his doubts about it — the performance of gender and sexual preference onstage, and the increasing number of outside projects he’s taking on.”
Maura Hogan, in a Spoleto Festival USA post-mortem: “Perhaps some among us view our annual arts dive as simply transactional. The customer is always right, so we can bolt from or belittle performances as we see fit. I would argue that we are missing the point. Ditching a performance mid-show is at best disruptive, and potentially far more insidious. … What’s more, if you truly have pride in place regarding our singular city, I can promise you that the provincial attitudes regarding its relationship with world-class performance telegraph that if you scratch the surface — if you go beyond the high-end Boho apparel and performance belt-notching — the walk-outs and sneers render us collectively a bunch of yahoos.”
“The Somali-Australian artist Hamishi Farah … was among the artists who signed an open letter condemning [Schutz’s image of the murdered Emmett Till, titled Open Casket, at last year’s Whitney Biennial]. His painting at [Art Basel], called Representation of Arlo (2018), is a direct response to Schutz’s painting. ‘The viewer’s response to the work creates the situation whereby they hopefully reach some point of self-reflexivity, regarding their responses to situations where white artists appropriate black bodies’, Farkas says.”
“Research by the Institute of Fiscal Studies has found that … people who study degrees in the creative arts – subjects such as drama, dance, music and design – were found to make about £20,000 annually five years after graduation. This is 15% lower than the average and 35 percentage points below those who studied the highest earning degrees.”
“Artists in London and Gaza are to launch a series of simultaneous, live-streamed performances this month in an attempt to connect people living under severe blockade in the coastal enclave with international audiences in Britain. Performers will use video projection as a backdrop to simulate walking through each other’s homes and streets, and interact as if they were in the same room, even as they are separated by 2,000 miles.”
The U.S. cable giant made an all-cash offer of $65 billion to acquire much of Fox’s film and television assets, its international holdings and its stake in the streaming service, Hulu. The $35 per share offer represents a 19% premium on Disney’s $52.4 billion all-stock offer for the same assets.
Company dancer Janel Meindersee, who teaches Glissade, the class tailored to wheelchair-users: “We teach a lot of the same things as a normal ballet class — how to spot your head when you move, the quality of arm movements, how to count music and how to stay in line when dancing together.”
“By 2016 the Donmar, a tiny but high-profile theatre in Covent Garden [in London], had put on not one but three all-female Shakespeares, each with the great actor Harriet Walter, directed by [Phyllida] Lloyd and with an ethnically diverse cast drawn partly from ex-offenders. The trilogy – which includes [Julius Caesar,] Henry IV and The Tempest – has already been staged back-to-back in a large tent in King’s Cross and travelled to New York.” Says Donmar executive producer Kate Pakenham, “The Shakespeare trilogy has a feminist mission, a social mission, an inclusivity mission, an education mission. And that actually drove philanthropy and partnerships and funding that made the theatre richer in every way.”
“It’s not often that an author described on his own Wikipedia page as ‘disgracefully neglected’ is awarded a €100,000 literary prize. But this is where the Irish author Mike McCormack finds himself, with Wednesday’s announcement that he has won the International Dublin literary award for his novel, Solar Bones.” The prize, formerly known as the Impac, is the richest one in English-language literature.