ACT UP Protests Whitney’s David Wojnarowicz Show (It’s 1990 Again)

“On Friday evening, the New York chapter of AIDS Coalition to Unleash Power, more commonly known by its acronym, ACT UP, staged a protest-cum-performance at the Whitney Museum, alleging that the Manhattan institution’s current career retrospective of the late artist and writer David Wojnarowicz fails to connect his legacy of rageful AIDS activism to the ongoing battle against the epidemic.”

Local Gov’t Funding For Arts In UK Has Fallen 11% In Past Five Years

“The £8.8m budget cuts for 2018/19 extend the ongoing decline in [local] councils’ cultural spending, which has fallen by roughly £48m over the past five years. … Several large councils have cut their culture budgets entirely. This does not necessarily mean they have turned their backs on the arts. Some have transferred responsibility for culture to an independent entity, while others are balancing their budgets with raised income. A few that once allocated money for the arts now plan to turn a profit from cultural activities.”

Alex Ossadnik Named Artistic Director Of Ballet Wichita

“Ossadnik was a principal dancer with the German National Theater from 1987 to 1991, after which he danced in France with the Ballet Theatre de Bordeaux from 1991 to 1995. Since moving to the United States in 1995, he has worked with various companies across the country and maintains a relationship with the Balanchine Trust.” For the last decade, he was ballet master at Ballet Idaho.

Educator Warns: Big Orchestral Instruments Are In Danger Of Extinction

“Oboes and bassoons are generally not known at all in schools. They might have picture on the wall but they haven’t seen them in the flesh. This has been reflected in the massive falling off of the number of children learning them. The sheer physical size of the instruments, the complications of the reeds, and the expense of lessons has led to these instruments being sidelined.”

Kennedy Center Takes A Risk With Honoring “Hamilton”

Is the wildly popular “Hamilton,” unveiled to the world in 2015, a classic? Do we know yet if it is a transcendent touchstone of American culture, in the manner of a Sinatra, a Sondheim, or even a Dolly Parton? Does it merit this recognition before, say, Aaron Copland’s “Fanfare for the Common Man” or Lorraine Hansberry’s “A Raisin in the Sun” or Duke Ellington’s jazz compositions? Surely not. In this sense, the Kennedy Center is taking a risk with its long game, and messing with the mission of the Honors. Which is to say that the Honors have long sought to set in stone artistic achievement — not be part of the original, taste-making plaster.

Good Art, Bad Person – The Moral/Aesthetic Judgments Are Complicated

When we turn on a movie or when we pick up a book, are we hoping that the movie or the book is good or are we hoping that the artist who made it is good? Run through your list of favorite movies or novels or paintings, then ask yourself what initially drew you to them. Was it the quality of the art or the quality of the artist’s character? Most people, if they are honest with themselves, will probably acknowledge that it’s the former, but that doesn’t mean that an artist’s character has no effect on how we see their art.