“The company, based in the Coliseum in London, has submitted a proposal to Westminster City Council that would see its safety curtain repainted to incorporate a ‘plain white painted area’ … [which] would be ‘used as a projection surface pre-show and at the interval to project films showing the ENO forthcoming opera seasons’. It is not clear whether this could be extended to external advertisers in time.”
Some nonprofits insist that donors expect these “premiums”; some donors insist they want as much money and staff time as possible to be spent on the nonprofit’s actual mission. Jonathan Meer, an economist who studies altruism and philanthropy, looked at existing research and did an experiment of his own to find out of giving swag to donors is worth it. The answer? Well, …
This past summer, the state Dept. of Corrections introduced a ban on giving books to individual inmates; the rule was part of a suite of measures taken to sten the flow of illegal drugs into prisons. After pushback from prisoners’ rights and book donation groups, the policy has been relaxed, though books will still have to be inspected at a separate location before being given to inmates.
“[Eddie] Nixon is a former associate director and more recently director of theatre and artist development at the Place. … He takes over from Richard Alston, who leaves the role this month after 24 years at the helm of the contemporary dance venue.” (Alston’s eponymous dance company, which has been headquartered at The Place, will be shut down.)
“Let me just say that although I don’t mind watching other theatergoers getting into the act — as a longtime observer of how audiences behave, the psychology of these events intrigues me — I hate being compelled to be the show. I’m not shy or anti-social. I simply don’t want to be made to feel that I must cross the line, onto the actors’ playing field, or be a spoilsport if I don’t. “
An art book publisher and his companion were about to fly out of LaGuardia after a fair when, following a routine search of the books they were traveling with, they were held in a room and questioned about a book whose content one of the TSA officers disliked, and that the officers damaged the book and berated them about it. (A TSA spokeswoman denied that the incident could have taken place.)
“In 2016, Art Basel’s parent company, the MCH Group, … announced it would debut Art SG, a new fair in Singapore; took a majority stake in the India Art Fair and a minority stake in Art Düsseldorf; and added Masterpiece London to its portfolio last December. But the experiment didn’t last long. According to a statement on Friday, MCH Group is undertaking a ‘profound transformation’ by dramatically downshifting its ambitions ‘for the necessary stabilization of the company.'”
“Tour guides claimed that at least 10 visitors fainted each day as slow-moving crowds filed through the long and narrow corridor that leads to the most popular attraction, the Sistine Chapel, while others have suffered injuries and panic attacks. … [There are even] fears among tour guides that overcrowding could provoke a stampede unless security policy is changed.”
After a decade of pop acts dominating the hallowed ground – the only artists to have headlined this year being Taylor Swift and Ed Sheeran – is it too late? Has the era of stadium rock been unplugged and relegated to smaller venues?
While virtual art has sometimes elicited eye rolling reactions from art critics and curators, projects like Nancy Baker Cahill’s 4th Wall show that the medium can apply the language of fine art to new media with subversive ends. The artist highlights that if VR/AR technology continues to enable “hyper-violent, militaristic, or pornographic [images], we allow it to be dominated by themes that don’t contribute thoughtfully to culture,”
He tried to fix things by belatedly praising Mr. Fabiano’s performance, but the damage was done. “I said, ‘I’ll see you later,’ and I walked away,” Mr. Fabiano said. That might have been that, had a deus ex machina not intervened in the form of Ann Ziff, the chairwoman of the Met board. She invited them both to her table at dinner.
Researchers from the company published a paper last month explaining how they’re analyzing the content of movie trailers using machine learning. Machine vision systems examine trailer footage frame by frame, labeling objects and events, and then compare this to data generated for other trailers. The idea is that movies with similar sets of labels will attract similar sets of people.
There are so many factors that kill lit mags. “Radical passion often meets practical reality. Sometimes the fire behind great literary magazines is the exact thing that causes them to burn out. Other magazines lose institutional funding, fold because of scandal, or vanish along with their masthead.”
It’s the number one soundtrack everywhere, but filmmakers wouldn’t release the soundtrack before the movie – not even the five days before that would have made it eligible for the Grammys this year. Why not? “The soundtrack really is the story of the film. There are multiple tracks in there that are soundbites from the film and so it was really important that people experience them simultaneously.”
In Zurich, Kirill Serebrennikov directs Mozart’s Cosi Fan Tutte, but not with ease. “Through a relay process that can seem closer to international espionage than traditional theater-making — involving files swapped on USB sticks, a lawyer acting as a courier, and extraordinary patience — the Zurich Opera has found a way for the director to retain artistic control from captivity, 1,400 miles away.”
There’s no one way to answer that question. “Skeletons of skyscrapers have risen in city’s core, while unemployment rates have fallen. Occupy is gone from downtown, but homeless encampments have taken their place. When historians look back at Los Angeles cultural landscape in the years after the Great Recession — reflecting on the lives of cultural figures like Argote and the well-being of our city’s arts institutions — they’ll find a strange mix of obstacles and successes.”
They’d like to “stop ‘hundreds of thousands of visitors’ looking into their homes from the art gallery’s viewing platform.” The Tate, of course, responds that they should draw their blinds.
The author titled his new book after Chinese leader Xi Jinping’s slogan, almost daring him to have to censor his own key words. “The reality, Ma acknowledges, is that censorship is now so all-encompassing that the novel will very probably not be allowed to exist in Chinese, even in Hong Kong, which has historically provided a toehold for work by dissident authors banned on the mainland.”
The two-part show’s movement director was in rehearsals with the cast, using some Imogen Heap music as inspiration. Then he decided that he wanted more. “‘The first I heard about it was pushing my baby at the time in a very muddy field with a pram,’ Heap recalled. She got a call from Hoggett who said he was working on a project for which they had been temping her music in workshops; he wanted to know if he could keep using it.”
The Hong Kong-based author was so famous, as generations of Chinese read his novels, that there is a branch of academic study named for him: “Jin Yong, the pen name of Louis Cha, was one of the most widely read 20th-century writers in the Chinese language. The panoramic breadth and depth of the fictional universes he created have been compared to J. R. R. Tolkien’s The Lord of the Rings and have been studied as a topic known as ‘Jinology.'”
Spoiler alert! “When the actor Kevin Spacey, who played Frank, was accused of sexual assault in October 2017, production had already begun on Season 6. Production halted, restarting in January 2018 for a revised, eight-episode season that Netflix announced would also be its final.” Unlike another show that had to handle a disgraced fallen star – The Conners – Netflix’s writing team came up with a very normal, for House of Cards, way of dealing with the issue of how Spacey’s character died.
“The listener who is fully who open to Werner’s playing is likely to also feel joy and delicious gratitude.”
“The programme will see 10 members of [Artistic Directors of the Future] from a range of culturally diverse backgrounds given access to the boardrooms of five Yorkshire theatres, including Sheffield Theatres, Scarborough’s Stephen Joseph Theatre and York Theatre Royal, over the course of four months. It aims to develop relationships between aspiring trustees from culturally diverse backgrounds and existing board members, and to give the participants insight into the way theatre boards operate.”
How did arts institutions in LA survive the Great Recession?
Oh. Whoops. We’ve often been reprinting it with the accidental addition of a period after “the pursuit of happiness” because the first printer deposited one there. And … that’s not what that sentence means. One typo means most of us have been “losing sight of what the Declaration of Independence is all about.”
There’s a steering group made up of a wide range of people from the arts in the UK; then, the secretary of state and the prime minister will make final recommendations to the Queen from a shortlist the group provides. Whoa, what? Poet John Agard: “I’m certain that the prime minister is very familiar with the iambic pentameter. … But since poets don’t have the final say in politics, logically speaking there’s no reason why politicians should have the final say in poetry.”
There are only so many Strads in the world, but there are a lot of 3D printers, and the Ottawa Symphony decided to take advantage of the printers to create new violins and violas. “It turns out they have a slightly different pitch.”
In the Twin Cities, three theatre companies founded by women – including a new one focusing on opportunities for women of color and/or queer women – are changing the landscape. “‘These theaters are being founded as answers to a lack of opportunity,’ said Mary McColl, a former Twin Cities arts leader who now runs the 51,000-member Actors’ Equity union. Acknowledging that the politics of the moment have women fired up, she said she sees these companies as crucial ‘for the industry to become more inclusive and equitable.'”
First, play a pretty major role, a role that someone inexperienced in Oscar campaigns might consider to be a starring role. Second, in consultation with the studio, pick a strategy that has proven to be winning – or one with a strong narrative arc. (See: Glenn Close.)
Five states, 18 cities, free performances – and a plan that reaches far beyond the play itself; “Along with community organizations, public libraries, Rotary clubs, humanities councils, and whoever else is interested, it has encouraged lectures, discussion groups, story circles, and art pieces in the weeks before and after staging a free performance of Sweat. The tour is now over, but the project is not.”