Author: Douglas McLennan

An Emerging New Model Of Arts Patronage?

“Patrons of the 21st century are far less politically motivated than the Medici family and their ilk, and they generally don’t house artists in their lavish estates or command them to paint frescos. But just like the patrons of old, they are giving creators a pathway to success and economic stability, providing living expenses, supplies, pep talks and more.”

Alternative Theatre Is Thriving In Phoenix. Why Now?

“A recent National Endowment for the Arts report claims that nationally, theater ticket sales are 6 percent lower than they were a decade ago. Yet our small, local companies, who routinely bring us work by provocative young playwrights — plays in which naked people appear, in which topical issues are discussed over coffee, and women exchange the occasional tongue kiss — are thriving.”

Amateur Dutch Musician Uploads His Music To Spotify, It Becomes A Big Hit And Now He’s A Star

Joep Beving, who lives in Amsterdam, performed and recorded his “mood music” album, Solipsism, for the enjoyment of his family. Then, partly for fun, he made it available on music-streaming service Spotify. He never imagined that the contemplative, atmospheric piano tunes would draw such a vast audience worldwide. But such was the popularity of Solipsism that four record companies were soon fighting over him, and he has now been signed by Deutsche Grammophon (DG).

How The Looking At Art Is Resembling The Experience Of Buying Organic Food

“Ironically, as if in a reversal of roles, many art galleries now act like museums did in the past. Their spaces now feel sterile and out of touch. For a time now, galleries have abided by the corporate business model, creating a corporatized art-buying experience. But the real issue facing art galleries today is this: Does the corporate model that has satisfied cultured people for decades still provide fulfillment? How can the art industry adapt to a consumer society in which everything is being turned into an event?”

Olafur Eliasson’s Venice Biennale Project Puts Refugees In The Art. Is This Social Practice Art Or Exploitation?

“Everything about putting refugees on display as exhibits in an art show feels wrong to me. Yes, they are consenting participants. But how many options do they really have? Are they in a position to turn Eliasson’s offer down? Why not organise a project with them off site instead of parading them in front of the public? Let people interested in the project seek it out. Let the others gawp at something else. This is not art in service of migrants but migrants in service of an artistic and curatorial vision.”

Fort Worth Symphony Music Director Thrown Out Of His Concert Hall Because He Was Carrying A Violin

Fort Worth Symphony Orchestra music director Miguel Harth-Bedoya ran afoul of strict — some say ridiculous — security procedures imposed back in January by Performing Arts Fort Worth Inc., the organization that owns and runs Bass Hall.  The rules forbid any bags or purses larger than 12 by 4 by 12 inches. Luggage, backpacks and shopping bags are not allowed, and bags or purses larger than 5 1/2 by 8 1/2 inches must be inspected. Ushers and security personnel have been scrutinizing arriving audience members and inspecting larger bags.