“More than one-quarter of the communities are entirely new to our lists” – which are divided into the top 20 large cities, top 10 medium-sized cities and top 10 small cities – “this year, and four new states are represented: Florida, Nebraska, Ohio, and South Dakota.”
“The Art Institute campuses in Durham and Charlotte are among more than 30 campuses across the country run by [Dream Center Educational Holdings]. Art Institutes offer classes in animation, design, film and audio production and fashion, as well as a culinary school. … The Art Institute schools were all acquired earlier this year by Dream Center Education Holdings, a California-based nonprofit, for $60 million … [from] Pittsburgh-based Education Management Corp., a for-profit school operator.”
“[Kate Godfrey studied] anatomy, ‘from the nose down to the pubic bone’. She studied phonetics to be able to teach dialects. And she knows Shakespeare backwards, going through the plays in detail, looking up obscure words, picking up on a particular character’s repeated use of imagery – ‘usually animals, birds or death’ – and teasing out rhetorical devices such as antithesis and alliteration. It’s that last element of the three strands of voice work – parsing the text in the way that makes it sound rhythmical and comprehensible to an audience – that Godfrey says can be the most difficult.”
“[The Kenneth Rainin Foundation] has been ahead of the curve when it comes to providing Bay Area artists organizations with affordable spaces through its support for the Community Art Stabilization Trust. Through its work with the city of Oakland, it’s at the forefront in supporting traditionally underfunded arts organizations of color. And its Open Spaces program has astutely framed public art as a medium through which audiences can engage with work addressing issues like gentrification and poverty.” Now it’s adding yet another approach.
Surveying the biennial circuit, the obvious conclusion is yes, the international art world is too elitist. For all the rhetorical emphasis on engaging local communities, histories, and cultures, it is populated by globetrotting curators, artists, critics, and patrons who temporarily parachute into various settings – the more obscure the better – and pat themselves on the back for their (our) worldliness and commitment to diverse publics while mostly talking to people they (we) already know. Occasionally this can tip over into outright black comedy.
The first order of construction was primarily designed in a Soviet version of Art Deco, with some remains of avant-garde forms. Parts of the second and third orders, which opened in 1938 and 1943, are like this as well. Stations built from that point until the end of the 1950s can be described as Neoclassical with Empire-style motifs , usually for post-war projects treated as war memorials. These make up a little less than a quarter of the total stations in the system, but they are the most visited ones in the center and main line interchanges. Only 44 of total 214 stations are listed as historical monuments, including a few from the ‘50s and nothing since.
“Using the movements of everyday workers, she crafts large-scale extravaganzas that have included more than 75 performers (and sometimes trucks), audiences of 2,000, and a deep research process that may involve her learning how to scale a power-line distribution pole or riding with a sanitation worker at 4 am. She recently spoke to Dance Magazine about her unique creative process.”
Producer and curator Becky Burchall yelled several times at Taylor Mac during the performance at the Barbican in London and also tweeted out, “wondering why these men dressed as women are continuing to speak for the experience of women??” After taking a severe drubbing on social media, Burchall apologized the following morning, blaming “too much wine & not enough thought.”
“Like many courtships, this one was sealed with a ring. The Italian conductor Gianandrea Noseda, the music director of the National Symphony Orchestra in Washington, had left an operatic post this spring at the Teatro Regio in Turin, Italy, amid administrative and political upheaval. The Zurich Opera House came calling. ‘I said, ‘Do you want to be my chief conductor?” Andreas Homoki, the artistic director in Zurich, recalled recently. Then he offered Mr. Noseda the icing on the cake: ‘I said, ‘Do you wanted to do the Ring with me?””
“In fewer than five minutes in a Paris appeals courtroom on Friday, June 29, the surviving members of the art-dealing Wildenstein clan were cleared, for a second time, of defrauding French tax authorities out of millions of euros. The presiding judge in Paris’s court of appeals upheld the decision reached after a previous trial in January 2017.”
The Russian conductor takes up the post at the beginning of the 2021-22 season, at which time he’ll step down from his current position at the Royal Liverpool Philharmonic, where he will have spent a successful 15 years. Petrenko succeeds Charles Dutoit, who resigned this year following accusations of sexual harassment and assault.
Yasmine Seale: “One morning in May I stood in a dark room in southern Turkey, watching blue-skinned early humans domesticate wheat between bouts of interpretive dance. They were holograms, and they swayed across the walls to a doomy arrangement of bells, drums, and spectral voices: the soundtrack to the dawn of time. The display was a concession to drama in an otherwise austere complex of new museums – low, tan, elliptical structures tucked into a dip in the Harran plain – built to ease visits to Göbekli Tepe.”
Since entering the pop-music world, the judgments I would have made when I was in classical music about pop, I increasingly understand why they would have been irrelevant. And it’s made me appreciate that most classical music isn’t about the technical shit either. Pop includes a lot of what is called “extra-musical information.” The lyrics, that’s not music, that’s words representing outside ideas. The artwork, the music videos—all this stuff that’s not the music, but that is used to create the product. But it turns out that’s true in classical music. There’s no Mahler No. 9 without knowing his daughter died.
We need to examine the reasons why the arts administration field grew to be female dominated, and ask questions such what are the short and long term trends?; how can more of a balance be achieved?; and what are the predictable negative and positive consequences of the trend continuing? We need to know the extent to which the female domination of the sector is at the lower ranks, and not in the higher leadership positions; whether or not pay inequity still exists between the sexes, and to what extent, in our field, and the extent to which comparative low pay vs. other fields keeps people of both sexes from entering the arts; why more men are not enrolling in, and graduating from university arts administration programs; and how we can move to a more balanced gender situation in our field — at all levels — while, of course, making progress on all the other diversity fronts that challenge us.
Lynne began as a ballet dancer but became famous as a choreographer for the West End and Broadway, where she worked closely with Andrew Lloyd Webber on Cats and Phantom of the Opera. “Lloyd Webber paid tribute to Dame Gillian on Twitter, writing: ‘Farewell dearest Gillie, three generations of the British musical owe so much to you.'”