Curating a town as one might an art collection — or in latter days, a party or store — is not a lonely pursuit. Wealthy individuals like Mr. Resnick, well-funded nonprofits and even corporations like Walmart have begun buying deserted American main streets, hoping to reinvent them with a fresh aesthetic.
Author: Douglas McLennan
Heavily-Marked Glenn Gould Score Of Bach’s “Goldbergs” Turns Up
“I would call this the equivalent of a shooting script of a movie,” said the critic Tim Page, a professor of music and journalism at the University of Southern California and the editor of “The Glenn Gould Reader.” “He keeps track of which takes he likes, and how long they are.”
National Ballet Of Canada Posts Its Ninth Straight Balanced Budget
It was reported at the ballet’s annual general meeting on Thursday that the company had a surplus of $257,000 on revenues of $35.528 million and expenses of $35.271 million.
At Paula Cooper’s First Show 50 Years Ago You Could Have Bought A Carl Andre For $1,500
She was the first gallerist in Soho, at 96 Prince Street, way back in 1968 when that was a desolate area that had just recently been saved from having a highway bulldozed across it by Robert Moses. Donald Judd, who made the desk Cooper sits at to this day, bought an entire five-floor factory building at 101 Spring Street that same year for $68,000, a block south of her new gallery.
Rubin Institute Music Criticism Prizes Awarded
Winners of the 2018 Stephen and Cynthia Rubin Institute for Music Criticism have been announced. Jennifer Gersten, a DMA candidate at Stony Brook University, was chosen by a panel of leading national music critics to receive the $10,000 Rubin Prize in Music Criticism for demonstrating outstanding promise in music criticism. Brin Solomon, an MFA candidate at New York University, was selected as runner-up and received a $1,000 award.
So Just How Are Arts Organizations Supposed To Measure Social Impact?
At the London Film Festival last week, the British Film Institute (BFI) announced it was going to start measuring ‘class and socio-economic background in their funding and staffing’. This move reflects the growing attention given to inequalities in the arts: academic evidence increasingly shows that cultural professions are unequal across ethnicity, gender, age, disability and class. How we measure class and social mobility to reveal inequality is a thorny issue, however.
Standup Comedy’s Killer Weapon? PowerPoint
PowerPoint has long been employed onstage by established comedians like Eugene Mirman and long-running shows like Drunk Education in New York (which Refinery29 explored, among other PowerPoint performance trends, earlier this year), but how did it become the preferred medium for so many young comics at the outset of their careers?
Berlin’s Independent Artists Want The City’s Cultural Funding To Be Less Institutional
Ninety-five percent of the cultural budget goes towards funding big institutions—operas, theatres, and art collections—whereas the independent scene receives the remaining 5 percent for individual projects and grants. The forty to fifty thousand independent cultural workers in the city have recently demanded for this imbalance to be changed. Artists’ political engagement is often the catalyst for a strong and diverse urban democracy, and it is therefore important to understand why and how they get engaged in politics.
When Andy Warhol Realized That Everything He Did Was The Art
Business Art, he came to call it, “the step that comes after art.” It established that everything this artist had done or would do, as head of Andy Warhol Enterprises, Inc. — as portraitist, publisher, publicist or salesman — counted as components in one boundless work: part performance art, part conceptual art and part picture of the market world he lived in and that we all still inhabit.
What’s With This Obsession With Greatness In Classical Music?
Anthony Tommasini: “Classical music has justifiably been criticized for its obsession with greatness, with certifying a repertory of canonical masterpieces that get played again and again. I, for one, go back and forth about how much this quality should matter, let alone how we should determine it.”