Gary Indiana Didn’t Care About His Village Voice Reviews. But He Had Fun

Sometimes he wrote columns in which all of the proper names had been excised, which rendered them useless as gallery PR; others featured pseudonymous composite characters like “Gaston Porcile Vitrine,” an allegory of art-world fickleness who finds himself suddenly, humiliatingly shunned at downtown hangouts after a season or two in the limelight. – The Baffler

Mark Wigglesworth: Why Singing Opera In English Is A Good Idea

“The idea that opera can only work in its original form is a dangerously small step from saying that Italian or German opera can only be done well by Italians or Germans. Operas are enriched by the breadth of styles that perform them and a variety of approaches is beneficial overall. There’s no one way to enjoy opera, and we should celebrate this inherent diversity. Now is not the time to make it narrower. That’s not accessibility, that’s elitism.” – BachTrack

Is Singing Opera In English An Accessibility Issue? Is So, To Whom?

Mark Wigglesworth wants to make “opera accessible to all” and “all”, by definition, includes riff-raff. He sees this as the ENO’s mission. “Accessibility,” he writes, “is not really about the price of a ticket. For accessibility to be meaningful and long lasting it has to come from the work itself… When Mozart wanted to write for ‘the people’ he did so in their native German. He trusted that if more people understood the piece, more would enjoy it.” – The Guardian (UK)

Famed Louis Kahn-Designed Concert Boat Retires To Florida

It was designed by Kahn for the 1976 Bicentennial and lived in Pittsburgh. But it’s been in disrepair for years and its elderly owner has been trying to unload it. In 2017, cellist Yo Yo Ma wrote an impassioned plea to save it, and the challenge was picked up by Pahokee, an economically-depressed small town in Florida, which plans to restore it and use it as an attraction. – Pittsburgh Post-Gazette

What’s Art Worth? At Heart, It’s An Easy Question

Though the art market is often described as capricious, it has a clear logic: the art that commands the most money at a given moment is that which best reflects its collectors’ view of themselves—pious or powerful, beautiful or deep. Jeff Koons—whose shiny objects, vendor-babble, and dead smile recur like a fugal motif throughout the film—has provided this service for decades, celebrating the crass while flattering his buyers that they are clever and superior for being in on the joke. – New York Review of Books