Greg Gatenby’s life was a series of paradoxes and contradictions, says Philip Marchand, and that’s exactly what made him such a valuable figure in Canada’s literary society. “Like many amateur scholars, Gatenby resented what he felt was the cushy life of professors blessed with sabbaticals and tenure who didn’t do nearly enough, in his view, to advance the cause of Canadian literature… He was certainly an elitist — but within the bounds of his elitism, he was remarkably democratic. Every writer was treated the same way at Harbourfront, whether he was Saul Bellow or a poet from Tonga.”
Month: August 2003
The Model Of Orchestral Success
With dismal news floating out of orchestral offices across North America, aren’t there any major orchestras out there that can offer a proven strategy for the future? The answer, says William Littler, is yes, and one need look no further than the San Francisco Symphony. In the early 1990s, the orchestra found itself in an artistic rut, a fiscal mess, and a managerial malaise. Fifteen years later, the SFS is a model of both financial sanity and artistic integrity, and the ensemble is now regularly grouped together in print with the traditional “Big Five” orchestras. There were no miracles in San Francisco, just hard work by dedicated individuals in all parts of the organization, and there’s no reason why other orchestras can’t follow the same model.
The Summer of Lang
Pianist Lang Lang is only 21 years old, and this summer, he is everywhere in the world of classical music. Recordings, TV specials, and a seemingly endless series of performances have turned the young Chinese-born phenom into the Next Big Thing in the industry. But David Patrick Stearns warns that if there’s one thing classical music buffs hate, it’s the notion that an artist is being forced on them. Lang is as good as the hype, says Stearns, but he needs to start watching out for the inevitable backlash.
The Ownership Conundrum
Museums are not generally in the habit of acquiring stolen goods intentionally. But in the long, shady history of public and private art acquisition, countless works of art may come to a museum with little in the way of a paper trail. Most museums accept such works without question, and proceed to claim them as having been legitimately acquired. But with the drive to ‘repatriate’ artworks looted by Nazis gathering steam, and governments fighting over ownership of cultural artifacts, museums are increasingly under pressure to take an active role in stemming the unchecked flow of stolen antiquities. The Metropolitan Museum of Art in New York is currently on the horns of just such a dilemma.
Great Words of the Depression
“Writers are usually unabashed about claiming authorship for their work. So it’s curious that many of the alumni of one of the most significant American literary projects of the 20th century were ashamed of it: the Federal Writers’ Project, a program of President Franklin D. Roosevelt’s Works Progress Administration. Created in 1935, in the heart of the Great Depression, the Writers’ Project supported more than 6,600 writers, editors and researchers during its four years of federal financing.” Still, many of the writers involved in the WPA project were ashamed of their participation, and so their work has gone largely unnoticed in the years since the program’s demise. A new exhibit at the Library of Congress aims to change that.
Bringing Art To Mass Transit
It was nearly 50 years ago when the city of Minneapolis tore up one of the most extensive streetcar systems in the world, in return for a one-time payoff from the auto industry. Now, with traffic reaching crisis levels, the city is spending millions to build a single new light rail line, a project which is viewed as a long-overdue public good by some, and a money-sucking folly by others. In an effort to make the rail line a desirable method of travel for a populace used to climbing into SUVs for their daily commute, the station stops are being designed by local artists and architects with an eye to reflecting their surroundings. In particular, the station rising outside the MetroDome in downtown Minneapolis is “rich with symbolic references to the site’s past.”
Harvard Museums Brace For Layoffs
“Employees of the Harvard University art museums are bracing for a round of cuts as the museums try to shrink a projected operating-budget deficit of almost $1.5 million. Workers were told by memo last week that layoffs would be part of a larger plan to balance the budget.” No one is talking in hard numbers yet, and museum administrators have criticized a student paper for hyping the layoffs, but with more than 70% of the museum budgets funded by endowment funds, which have been hard-hit by the continuing economic slump, few expect the staff cuts will be minor.
The Universe Revolves Around… Maine?
Nearly everyone spent at least some amount of time as a student cobbling together some sort of dubious model of our solar system for science class. But in rural Maine, residents have taken such projects to a whole new level. “A community endeavor four years in the making before its completion in June, the Maine Solar System Model is a three-dimensional roadside scale model of the solar system, stretching from the Northern Maine Museum of Science in Presque Isle 40 miles southward to the hamlet of Houlton. The scale is 93 million to 1.” The sun is represented by a huge mural at the museum, whereas Pluto is a 1-inch diameter ball, in accordance with proper scaling.
Unrepentant Pirates
A new survey estimates that more than 35 million adults spend at least some amount of time downloading copyrighted material online without paying for it. The vast majority of these amateur pirates also claim to be indifferent to copyright law, saying that the legality of file-sharing ‘doesn’t concern them.’ But the recording industry points out that the study was conducted before the industry announced plans to sue individuals found to be illegally downloading.
CBC Radio Ratings Up
“English- and French-language Canadian Broadcasting Corp. stations rose from 9.5 per cent of audience share in 1998 to nearly 11 per cent in 2002, taking third place overall. This spot was the longtime domain of country music, until it was pushed out by talk radio in 2001.”