Johann Zietsman’s appointment comes at a pivotal point for the 12-year-old Arsht, which occupies the center of a neighborhood that’s belatedly but rapidly changing after years of stagnation that the facility was meant to help reverse.
“Some New York artists and art spaces may thrive in Amazon’s shadow. But recent art history already provides ample illustration that the benefits of increasing inequality are not really shared equally, and tend to get eaten up by rising rent anyway — the latter being a much greater concern for the average person, artist or otherwise.” For an example, look no further than the home of Amazon’s original HQ, Seattle.
“When an institution does not evolve with best practices that include parent support, it risks suppressing, isolating, and driving out the most socially vulnerable regardless of their high professional capability and artistic potential. Our organization, Parent Artist Advocacy for the Performing Arts, is creating a National Handbook of Best Practices for institutions to support parent artists, collecting interviews with individuals alongside testimonies from institutions … to gain full perspective of harmful or healthy practice within the context of employment and caregiving.”
Even Herodotus never considered how to integrate the historic timelines of the Greeks, Egyptians, and Persians. The problem was the lack of any fixed common calendar, any agreed-upon way of determining which year was which and what happened when, since each civilization had its own notional Year One. Then, because he got tired of having to consult many different books, the ruler of a kingdom on the Caspian Sea asked a Persian scholar to develop a timeline that could cover all peoples and their histories. (It was only happenstance that this happened in a year that carried a big round number in the European calendar.)
“I work best on commission. I work best when the situation is the opposite of when someone says ‘Do whatever you want.’ I’m not a fan of that situation. I don’t want. My job is not to want. My job is to be, so it’s a good situation when I can bounce back to other people’s minds, and listen to other people’s thoughts. I love to be proved wrong.”
With research increasingly open to the public, scholars can’t expect readers to know who everyone is and which journals are reputable. Blockchain can offer additional information and reassurances about the review process. Today that level of trust is primarily an asset of the corporate publishing oligarchy. Blockchain might democratize it.
Dmitry Rybolovlev faces charges of “trading in passive influence and violation of the secrecy of the investigation” as part of what Le Monde has described as “a vast influence-peddling scandal at the heart of Monaco institutions.” The billionaire — who in 2004 bought Donald Trump’s Palm Beach mansion sight unseen at an inflated price — is suing art dealer Yves Bouvier, and he is accused of getting Monaco’s former justice minister to influence the case.
Maybe it’s not too surprising that a conservative Arab monarchy has already banned the likes of 1984 (too subversive) to One Hundred Years of Solitude (too racy) to Disney’s Little Mermaid (Ariel’s top is too skimpy). But the crop of 948 new titles blocked from presentation at this year’s Kuwait International Literary Festival includes Dostoevsky’s masterpiece. (Too gloomy?)
Keep talent busy was just one of the lessons I took from Lee’s example. A second, but equally important lesson, was don’t censor talent. Lee preferred to let his talent sort out the creative details. He remembered working on a comic strip that used the word pogo stick in the punch line. The editor felt that pogo stickwouldn’t resonate with rural audiences, and he instructed Lee to change the gag so that the punch line had the word roller skates instead. It deflated the joke, but Lee changed it anyway. The strip was eventually dropped, and Lee said, “this type of censorship, to me, is almost indecent.” When you hire an artist to do a job, you let them do the job. Lee elaborated, “It seems to me that if a person is doing something creatively, and he feels that’s the way it ought to be done, you’ve gotta let him do it.”
With its heavy focus on artificially intelligent curation, Google Photos suggests the dawning of a new age of personalized robot historian. The trillions of images we are all snapping will become the raw material for algorithms that will curate memories and construct narratives about our most intimate human experiences. In the future, the robots will know everything about us — and they will tell our stories.
Austria has been criticised for moving too slowly to return works looted from Jews in the Nazi era. But now the country is facing criticism for returning a painting too hastily—and to the wrong Jewish family.
Marie’s tour with the Nutcracker Prince in Act II includes, of course, Spanish chocolate, Arabian coffee, and Chinese tea. New York City Ballet is one of several companies that has rethought how those dances — tea, in particular — play to American audiences in the 21st century. To wit: out go the Fu Manchu mustache and pointy fingers.
The Battel Hall retable is one of the very few pieces of English religious art to have survived the Protestant iconoclasts’ destructive fury in the mid-16th century. Though the scars of centuries of damage are still evident, two years of conservation in Cambridge have restored the original colors and determined an approximate date of creation, circa 1410.
“A spate of books, graphic novels, documentaries and exhibitions has emerged, as artists and their audiences try to capture and understand that terrible day. … In addition to the therapeutic value they have for victims and witnesses, the artistic endeavors, many of them open to interpretation, can help others understand what they and their society are going through.”
“[The choice is] Mary Ceruti, who transformed New York’s tiny SculptureCenter into a quiet force in contemporary art. When she reports to work Jan. 28, Ceruti will become only the sixth director of the Walker since 1940, and the third consecutive woman, succeeding Olga Viso, who resigned amid turbulence after the Scaffold controversy.”
Take Luis Fonsi’s hit song Despacito, whose music video set a worldwide record with 5.6 billion views. The video contains multiple copyrights, and YouTube has a number of licensing agreements in place to pay for rights to the video views. But uncertainty about whether YouTube has identified all the rights holders might lead the video sharing website to block this video, simply to avoid liability
Says one administrator who’s worked in the UK, US, and Australia, “When you talk about ‘funding models’, it’s important to realise that the States effectively doesn’t have one. Referring to what happens in the US as a funding model is like calling an earthquake a lifestyle choice.”
In a strategic effort to reshape the narrative of American art, the Souls Grown Deep Foundation will help five museums acquire paintings, sculptures and works on paper by self-taught African-American artists of the South. These acquisitions bring to 12 the number of museums that have received more than 300 works from the Atlanta-based nonprofit, through gifts and purchase.
In 2007 Barney Ebsworth and other local donors pledged an estimated $1 billion worth of art to celebrate three things: SAM’s big downtown expansion, the Olympic Sculpture Park and SAM’s 75th anniversary. “We’re thrilled,” then-SAM director Mimi Gates told The Seattle Times. Fast-forward 11 years: Ebsworth died in April. This week, nearly 100 works from his collection, including most — or even all — of the 65 promised to SAM, are up for sale in a two-day auction that ends Nov. 14.
The new student enrollment slowdown could pose economic risks. International students at U.S. colleges and universities contributed $39 billion to the U.S. economy and supported more than 455,622 jobs during the 2017-18 school year, according to a separate report released Tuesday by NAFSA: Association of International Educators.