Good thing breakthroughs in the human condition happen outside of politics. History is the record of political failure. Progress is the march of science and technology. Just think of the past 100 years: mass communication, penicillin, refrigerators, computing, commercial air travel, cheap birth control, PCs, the internet, smartphones, gene sequencing, fracking—altogether producing more human freedom and wealth than wars or laws.
Whether all-women’s shows are an effective long-term strategy for achieving gender equity in the art world at large remains a subject of heated debate. At a panel discussion that accompanied the Studio School exhibit, some artists and curators argued that gender-based shows encourage tokenism and relegate women to the sidelines, while others argued that, after centuries of art shows that featured only men, all-women shows are a necessary corrective.
I wanted to work with dancers I didn’t have to explain myself to as I might have to with younger performers. At the same time, I sensed this might provide a reflection of the “aging” general audience and public at large. I’ve received feedback that what I’m doing is “political,” that I’m “influencing perception, changing bias, working outside the norm.” Personally, I’m just working. And intend to keep doing so.
The dance-theater-visual artist won the prize in the Arts and Humanities category, one of six. “During more than four decades of performance-making, Lemon has explored race and memory, as well as experiences of grief and spirituality, through nonhierarchical movement and language.”
“Local arts groups facing dramatic cuts in their funding levels from the city could get some relief this budget year, and possibly an earlier heads-up in future budget years if their funding allocations appear headed for a decrease. … The cuts were brought about by a combination of more than 100 new applicants for funding, increased administrative costs and lack of reserves that are typically rolled over from the previous budget year.”
The major art fairs should acknowledge that the nature of artist representation is changing and that the traditional model of a fixed gallery is losing legitimacy, in large part, ironically, because of the popularity of the fairs. A concomitant decrease in gallery visitor numbers has led several art dealers to turn to alternative, hybrid or nomadic galleries that depart from the traditional model centered around a fixed, expensive, exhibition space. The biggest art fairs should relax their admission criteria and open up their events to more curators and directors behind these new gallery models.
Rachmaninoff’s impromptu solo-piano rendering of his Symphonic Dances documents roaring cataracts of sound, massive chording, and pounding accents powered by a demonic thrust the likes of which no studio environment has ever fostered. Rachmaninoff’s humbling presence, re-encountered, is gigantic, cyclopean.
On Monday (17 September), the Office of the United States Trade Representative issued a revised list of imported goods subject to the tariff—which is due to rise to 25% by next year—that no longer includes Chinese-made art and antiquities.
“I guess the question that I have is we have so many fundamental organizations that provide incredible quality of life for Calgary and we’re talking about cutting them and at the same time we’re talking about the Olympics. And I’m really struggling to rationalize this austerity budget or the Olympics.”
Fact-checkers know that in a digital medium, the web is a web. It’s not just a metaphor. You understand a particular node by its relationship in a web. So the smartest thing to do is to consult the web to understand any particular node. That is very different from reading Thucydides, where you look at internal criticism and consistency because there really isn’t a documentary record beyond Thucydides.
ASCAP CEO Elizabeth Matthews said: “Today’s unanimous passage of the Music Modernization Act in the Senate represents a Herculean industry-wide effort to promote and celebrate songwriters and ensure their right to a sustainable livelihood. We applaud Senators Hatch, Alexander, Grassley, Feinstein, Whitehouse, Coons and the entire Senate for recognizing the value music has in both society and our hearts.”
“Small- to medium-sized companies based in cities outside dance meccas … are often written off as ‘regional,’ or somehow lesser than their big city counterparts. But in recent decades, a few have defied such categorization as they’ve gained traction on the national and international scene. So how does a company build an international profile without losing connection to its hometown? We asked the directors of Tulsa Ballet, Aspen Santa Fe Ballet and Sarasota Ballet to share their strategies.”
Liz Durand Streisand’s online platform — which is, in fact, called Broadway Roulette — is basically the Hotwire of theatre: producers, like airlines, may be willing to release discount tickets in order to sell seats, but they don’t want the whole world to know that they’re resorting to cutting prices. So the customer will specify a date and order tickets, but the actual show will be a surprise.
“The Frick Collection in New York will have its first-ever intervention by a contemporary artist in its permanent collection galleries next May, when the UK artist and writer Edmund de Waal will install site-specific porcelain works.”
“DiChiera was small of stature and surprisingly soft-spoken for a man who came to have such an enormous impact on Detroit’s cultural landscape. Indeed, the word people used most often to describe him was ‘kind,’ followed quickly by more grandiose words like ‘visionary,’ ‘groundbreaker’ and ‘risk-taker.’ He was all that and more.”
On Monday, the orchestra was at Charles de Gaulle Airport outside Paris, waiting to depart for that evening’s concert in Amsterdam, the final performance of the tour — only to find out that their chartered aircraft had mechanical problems and could not fly. No trains or buses were available for all 110 musicians (not counting staff and patrons) to get to Amsterdam in time: the only option was a 76-seat propeller plane. 76 musicians are not enough to perform Shostakovich’s Fourth Symphony, the main work on the program. Zoë Madonna reports on what happened next.
“This is the latest major commission for the Ghanian-British architect who has completed a bunch of high profile projects for civic and cultural institutions over the years; most notably, the acclaimed Smithsonian National Museum of African American History and Culture in Washington, D.C. He is currently overseeing a number of museum designs including the new home for the Studio Museum in Harlem and the Latvian Museum of Contemporary Art in Riga.”
“The Toledo Symphony and Toledo Ballet Association will merge the two organizations to create the Toledo Alliance for the Performing Arts or TAPA … The new partnership will create an umbrella organization under which the two will serve as equal partners in a three-prong relationship that will also include an education component for the community.”
Here’s a typical example of a classical group’s description of the program it’s performing, alongside some (rough) equivalents from popular music (the arty branch of it), and what the former might learn from the latter.
The job of policing the morals and decorum of play scripts had been centered in the Lord Chamberlain’s office since 1737, but by the 20th century postwar period, a new generation of playwrights had had enough. Nick Smurthwaite looks at what theatremakers had to go through before 1968 and at the artists who campaigned to change it.