In November, just two months after India’s highest court decriminalized same-sex relations, the Awadh Queer Committee (which has already organized a pride march and a film festival in the past year) in Lucknow will present the first dedicated LGBTQ literary event anywhere in South Asia.
“Under the proposal, tickets for events like concerts, movie showings and professional sports games would be subject to a 7 percent tax. The tax, if passed by Columbus City Council, would help fund local arts as well as maintenance at Nationwide Arena. But members of the arts community are divided on how much it would actually benefit the city.”
TIFF was conceived as North America’s audience-friendly answer to the black-tie formality and Olympian competition of the Cannes film festival. By now, it has upstaged Cannes as the launching pad for sending movies into Oscar orbit. North American producers have become wary of risking their fortunes on the French Riviera.
It’s unlikely to be Amazon, which is forging its own path and has thus far seemed only marginally interested in physical book retail. It’s not clear that Books-a-Million and Half-Price Books, the second- and third-largest general trade book retailers, have the resources, let alone the ambition. One possible candidate, according to multiple sources in book publishing and retail, is the Canadian book seller Indigo, which has defied the bleak trends in publishing in recent years, posting profits and selling literary fiction by the crateload.
“People get hung up on how eccentric some of his ideas were, but the core of his claims remains relevant and important. That is to say: our aesthetic experience, our experience of beauty in ordinary life, must be central to thinking about any good life and society. It’s not just decoration or luxury for the few. If you are taught how to see the world properly through an understanding of aesthetics, then you’ll see society properly.”
The gallery’s exhibition figures for last year and the first part of 2018—which are not in dispute, because they are ticketed and thus use a different system—will no doubt give the gallery pause for thought, because its contemporary exhibitions have been poorly attended.
When Glenstone opens its new facility to the public next month in Potomac, Md., the art museum will do so at a moment when something new is stirring in the art world: a powerful sense that too many museums have become a victim of their own success, and a new paradigm for experiencing art is desperately needed.
Black and Latino musicians make up less than 5 percent of orchestra members. A group made up of 700 orchestras and several nonprofits wants to change that — so the National Alliance for Audition Support launched an effort this year. It provides training and financial assistance to get more black and Latino classical musicians into auditions.
“The dancers themselves meticulously organize these tours. They are in charge of fielding requests aligning schedules and flight itineraries, securing their own costumes and music, and then rehearsing for their guest roles — sometimes with an entirely new partner.” Meryl Cates talks to several of them, including such stars as Sara Mearns, about everything that goes into planning the tours and what makes them rewarding.
When the new program, which offers a pair of free tickets per year for each of 33 museums and institutions to any city resident with a library card, launched last month, thousands of people applied — and a number of venues quickly ran out of available tickets.
Christian Tetzlaff’s Bartók Violin Concertos won the Concerto category, with Arcadi Volodos taking the Instrumental prize for his recent Brahms solo disc. Among other honorees are a period-instrument Ravel Daphnis et Chloé (Orchestral), mezzo Marianne Crebassa accompanied by Fazil Say (Solo Vocal), the Estonian Philharmonic Chamber Choir singing Pärt and Schnittke (Choral), and the choir Blue Heron for the last of a five-disc set of never-before-recorded early Tudor sacred music.
John Earl Jelks: “If you live in L.A. or New York or Chicago or one of these major cities, you don’t really think about these people, but 100 miles outside of any of these places, life is so different … How did we end up forgetting about these people? Because that’s what happened.”
At the very end of last year, Cerny abruptly terminated his successful eight-year run at the helm of The Dallas Opera to head Calgary Opera — and eight months after that, at the start of this week, he announced that he was turning right back around to North Texas, taking the CEO position at the Fort Worth Symphony. In a Q&A, he explains it all to Gregory Sullivan Isaacs.
“We have to acknowledge that culture does change. It will affect how we present the Taylor canon. How do we take Paul’s work and curate it in a way that will serve its audience? Look at New York City Ballet and how they present Balanchine’s legacy. Balanchine created a range of works that need to be coached differently, and I see a lot of analogies to Paul’s work.”
With interest in what is now the world’s most expensive artwork continuing as it goes on view in Abu Dhabi, a recently spotted reference in historical documents may change the story of how the painting came into the collection of King Charles I of England. It seems as if His Majesty may have confiscated Salvator Mundi from one of his subjects.
“Woody Allen’s latest film, A Rainy Day in New York, has been left in limbo after Amazon Studios appeared to shelve it indefinitely. The production company, which was contractually obliged to distribute the film, said on Thursday: ‘No release date has ever been set.'”
The BBC is being accused of ableism after casting Stranger Things star Charlie Heaton to play Joseph Merrick in its upcoming adaptation of The Elephant Man. Merrick — who had severe facial and body disfigurements thought to be a result of Proteus syndrome — died in 1890 at age 27. Though the Londoner has previously been portrayed by able-bodied actors like John Hurt and Bradley Cooper, Heaton’s casting has been [criticized by disability advocates and actors].”
“Scholars and digital experts at the Victoria and Albert Museum (V&A) in London have posted online the contents of two notebooks by Leonardo da Vinci, enabling devotees of the Renaissance polymath to zoom in and examine his revolutionary ideas and concepts.”
The 47 names put forward were opened up to a public vote, with an expert jury, chaired by editor and independent publisher Ann Pålsson, set to consider the final four authors before announcing a winner in October.
You can’t just throw out a piano. You can’t just turn one down, either. We enter a glittery fugue state that blinds us to the likelihood that no one will play this piano unless forced to. Because in this vision, it’s not us playing; it’s our kids.
She is taking over an organization that recently experienced significant turmoil following allegations of sexual misconduct against founding artistic director Albert Schultz, and his departure from the organization in January along with executive director Leslie Lester. (Schultz recently settled with his four accusers out of court).
The 40th annual Chicago Jazz Festival, four days free to all of unfettered, usually joyous music held in beautiful downtown Millennium Park, started last night, setting the tone for a weekend of exciting, civically-supported music here — and similar outpourings of jazz and blues, America’s vernacular musics, are offered throughout the U.S. this Labor Day weekend.
From the paper’s editor: “Louisville’s arts scene also means big bucks. It’s estimated our A&E ‘industry’ has an economic ripple effect in the region of more than $450 million, providing jobs to thousands — from bartenders and waiters to parking garage operators, musicians and the performers themselves.” This after laying off the paper’s longtime arts writer last year.
Mr. Taylor, whose highly diverse style was born in radical experimentalism in the 1950s, created poignant and exuberant works that entered the repertory of numerous dance companies. His own company, eloquent and athletic, has been one of the world’s superlative troupes.
“Merriam-Webster‘s … original goal [was] to create and preserve a monolithic American culture. Noah Webster Jr., the dictionary’s founding author, was one of the first American nationalists, and he wrote his reference books with the express purpose of creating a single definition of American English – one that often existed at the expense of regional and cultural variation of any kind.”