“In honor of American composer Ned Rorem’s … 94th birthday on October 23, spend seven minutes with the very opinionated Mr. R. This piece was originally made for Studio 360 as part of a Fishko Files-curated series on living composers’ connections to music history.” (audio)
“Several Old Master paintings have turned up just this year. In July, two frescoes in the Vatican thought to be the work of Raphael’s students were determined be by the master himself. In October, a New Jersey town announced that a bust of Napoleon Bonaparte, on display for over 80 years in the council chambers of a local borough hall, was actually a long-lost work by Auguste Rodin.” Why are we only discovering them now? Partly, it’s because of newly-available technology, and partly it’s – well, it’s dirt.
“Meet Charley Hill, the legendary bloodhound who has retrieved stolen masterpieces the world over. Most notably, Edvard Munch’s The Scream, taken from the National Gallery of Norway in 1994 and rescued by Charley from the basement of a summer house in Oslo Fjord. … Here, Charley takes us on the trail of his latest lead.”
“No single seller has achieved critical mass, and the model that has gained the most traction is the third-party marketplace, which functions not as a threat to existing, trusted brands but as a facilitator for them. Rather than competing with bricks-and-mortar houses for quality consignments, they help market it to a wider clientele and provide sophisticated live-bidding technology.”
“In 2006, a New England Conservatory student named Edward Guo founded the online portal IMSLP, or International Music Score Library, a kind of Wikipedia for musicians. Now the site contains some 350,000 scores and 40,000 recordings from 14,000 composers. The works of composers who have been dead for less than 70 years are not in the public domain and don’t appear on the site. Still, IMSLP is omnipresent enough that I’ve encountered music students who assumed there were no scores to Strauss songs at all, since they weren’t showing up there.”
The complaints we hear over and over again are that European audiences are more open to the new and European institutions are better funded. Audi, who’s spent nearly three decades running the Dutch National Opera and came to the Armory in 2015, says that audiences over here, especially in New York, are hungry for good work from all over the world. The problem is getting that work to the States.
“Artists have always been the sort of R and D [research and development] department for advertising agencies. You go into agencies and what you see on the wall is artworks that then get transmogrified into advertising. What’s happening now is really fantastic, because it’s actually a much more direct conversation between the client and the artists. It doesn’t have to go through this extra layer of interpretation.”
“Two different hitters will generally talk the same game, but then one gets in and hits a homer and the other strikes out. (And that hitter is you, the writer, on different days, even.) So: an element of mystery has to pertain—which I really like…this idea of writing as more of a muscular, visceral act, in which the writer brings all that she is to that moment but can’t really explain what happens next.”
Though Arellano, who wrote the “Ask A Mexican” column, was with OC Weekly for 15 years, six as editor-in-chief, he was a rarity in the U.S. “According to census population estimates from 2016, Latinos account for almost 39% of the population of California and 18% of the total U.S. population, but remain conspicuously underrepresented in media both in the state and nationwide — especially at its top ranks.”
Is that possible? Especially when the playwright has a PR person? Er, no: “Playwrights should consider these issues before deciding to put their work onstage. There are ways around it: hold private readings; don’t produce the piece; write a different piece; check with those around you first to be sure they don’t mind being included, or make your peace with the idea that they may be unhappy with you; use a pen name; decide whether or not this is the right career for you.”
Danielle Darrieux was only 14 years old “when she made her screen debut, with a supporting role in 1931’s Le Bal. With her expressive face, liquid eyes and original, slightly nasal voice, Darrieux quickly became a favorite of French directors, appearing in films by heavyweights Claude Chabrol, Jacques Demy and Andre Techine.”
Basically, with the three (so far) iterations of Pacific Standard Time, the Getty has spread out across the city and, says architecture critic Christopher Knight, “has threaded itself into the contemporary cultural life of Los Angeles and Southern California. The Getty has not only paid for and otherwise supported important scholarship on the cultural history of Los Angeles, helping topple cliches and complicate over-simplified narratives about its art movements in the process. It has also used the PST effort to redefine itself.”
On Tuesday, the artist was supposed to fly to São Paulo for a special screening of his documentary Human Flow. But the United ground crew at Newark airport refused to let him board the plane, insisting – because they misread the paperwork – that his (entirely valid) Brazilian visa had expired.
“Sidewalk Labs promises to embed all sorts of sensors everywhere possible, sucking up a constant stream of information about traffic flow, noise levels, air quality, energy usage, travel patterns, and waste output. Cameras will help the company nail down the more intangible: Are people enjoying this public furniture arrangement in that green space? Are residents using the popup clinic when flu season strikes? Is that corner the optimal spot for a grocery store? Are its shopper locals or people coming in from outside the neighborhood?”
When a number of largely white-owned art galleries started opening here over the past few years, a familiar narrative began to emerge: new businesses and more affluent tenants moved in, followed by rent rises that forced out longtime residents. But while many young activists in Boyle Heights have loudly and aggressively protested the art galleries, Guadalupe Rosales – a successful artist and Boyle Heights native committed to preserving the history of her neighbourhood – doesn’t find the issues around gentrification to be quite so cut and dry.
“Initially, 37 per cent of my 30 students – undergraduates at Boston University – were angry or annoyed about this experiment. While my previous policy leveraged public humiliation, it didn’t dictate what they did with their phones in class. For some, putting their phones into cases seemed akin to caging a pet, a clear denial of freedom. Yet by the end of the semester, only 14 per cent felt negatively about the pouches; 11 per cent were ‘pleasantly surprised’; 7 per cent were ‘relieved’; and 21 per cent felt ‘fine’ about them.”
Would Kirkus’s reviewer have changed her mind independently, even if the review hadn’t been pulled for evaluation? Or did she feel pressured to alter what had proven to be a deeply unpopular opinion when asked if she wanted to, even without explicit instructions to do so? What is clear, though, is that the choice to un-star American Heart reflects something noteworthy about Kirkus’sframework for critique — one in which a book’s value is determined not just by the quality of its storytelling, but also by its politics.
You may remember the news in early August of a strongly worded lawsuitfiled by WNED, the PBS affiliate in Buffalo, New York, that owns the Reading Rainbow brand, against Burton and his digital reading company RRKidz (recently renamed LeVar Burton Kids), for “theft and extortion” regarding a series of alleged trademark violations — including promoting his podcast as “a Reading Rainbow for adults” and his repeated use of a catchphrase he used on-air for over 20 years but didn’t technically own.
“In 1974, Elizabeth Bishop seemed to have all the things a poet could want: a teaching position at Harvard, a Pulitzer Prize, a National Book Award, and a first-look contract with The New Yorker, which almost always decided to publish her work. And yet she was inconsolably unhappy. ‘When you write my epitaph,’ Bishop said to the poet Robert Lowell, ‘you must say I was the loneliest person who ever lived.'”
“‘Brandon Keith Brown is no longer serving in the role he took on this summer when he joined the university as visiting assistant professor of music and orchestra conductor,’ said Brown spokesman Brian Clark. ‘As for the reason, I am not at liberty to disclose details related to personnel, which we do not consider public.'” (That doesn’t mean the students won’t talk, though.)
“As they gathered, someone mentioned that The New Yorker story was up. The assembled employees read in silence. They listened to the tape. They knew that voice too well. Some began to shake, and many of them wept as they contemplated the roles they might have played as accomplices, unwitting or not.” Dana Goodyear talks to current and former employees, many of whom insist that they knew Harvey Weinstein was “a bully, a screamer, a yeller, a thrower, a pig – not that he was a rapist.”
“Members of IS are definitely involved in sales,” says one scholar, “particularly now that the so-called state is rapidly unravelling.” However, there’s little independently verifiable evidence of the scale of the ISIS trade in stolen antiquities – not to mention the fact that there are plenty of fakes mixed in with the genuine artifacts.
The 2000-year-old piece was once part of an elaborate mosaic floor in one of the Roman emperor’s floating palaces on Lake Nemi south of Rome. Somehow it ended up in the Park Avenue apartment of an antiques dealer. “Last month, prosecutors seized the mosaic, saying they had evidence it had been taken from an Italian museum before World War II.”
“When Borders opened in 2002 across the street from Readings, Melbourne’s best-known independent bookseller, retail experts predicted catastrophe for the musty old shop competing with the shiny new chain store. Instead, Australians rejected Borders right into bankruptcy.” As Amazon launches its book business there, Damien Cave reports, there’s a chance it may not catch on much better than Borders did, thanks to some unique features of the Australian market.
The company, founded by Amy Poehler, Ian Roberts, Matt Walsh and Matt Besser and the training ground for many comedians, sketch actors and Saturday Night Live cast members, is moving from its longtime base in Manhattan’s Chelsea neighborhood to the group of Off-Broadway theaters on the far west end of 42nd Street.
The Society of the Spectacle
Does one really need to see Swiss filmmaker Jean-Stéphane Bron’s The Paris Opera? … read more
AJBlog: Fresh Pencil Published 2017-10-19
What’s Growing in Albion?
The title of the new Mike Bartlett/Rupert Goold collaboration at the Almeida Theatre (until 24 November) tells you everything. “Albion” is, after all, just another name for this island, … read more
AJBlog: Plain English Published 2017-10-19