BRITISH MUSEUM GREAT COURT OPENS

The Queen opens the British Museum’s new Great Court. “She hailed the £100m development, with its sweeping roof designed by Lord Foster, as a landmark of the millennium.” – BBC

  • BIG SPACE: “The £100 million development has transformed the world-famous museum’s two-acre inner courtyard – hidden for 150 years – into Europe’s largest covered square, the size of Wembley football pitch.” – London Evening Standard

LESS REJECTION

Performance artists are moving out of the museums and performing arts centers and into nightclubs. These nightspots are far from the galleries, museums and other art spaces that historically hosted performance art, and they attract a different crowd. The clubs, in need of performers, are embracing the artists. – Los Angeles Times

RECORD ST. LOUIS GIFT

“The St. Louis Symphony Orchestra will receive a record-breaking $40 million gift, it was announced Wednesday morning. The money, from the Jack Taylor family, owners of Enterprise Rent-a-Car, is in the form of a four-year challenge grant, and is the largest single personal contribution ever made to an American orchestra for its operations and endowment.” – St. Louis Post-Dispatch

NOBEL HANDICAP

Korean writers wonder about the chances of a Korean winning the Nobel Prize for literature. Although the possibility of receiving a Nobel Prize for Literature seems to be growing stronger we still have a long way to go. First of all, we have to translate our literature into Western languages, so the judges and the readers from the Western culture can read it.” – Korea Times

NOT LONG ON LONGFELLOW

Drop Longfellow into a literary conversation nowadays and you will get some odd looks. The exchanges that follow will include words and phrases like “mawkish,” “shallow,” “trite,” “mechanical,” “unadventurous,” “tame,” “jingles,” “slave to conventional modes and diction,” “the innocence of America’s literary youth,” and so on. For all that, Longfellow has been a continuous presence in our language since Voices of the Night was published in 1839, and his lines are still familiar today, though many who know them could not tell you who wrote them. – New Criterion

WHO NEEDS ART CRITICS?

Here and there in a few major periodicals one can find art critics who realize they are writing for a mass medium and general audience, and not for a rarefied elite of cultural academics, museum docents and fellow critics. But then there are those who conduct themselves as though the masses who have lined up in such volume for recent Vermeer, Monet and Cezanne exhibitions were beneath contempt for their lack of art history degrees. – Chicago Tribune 12/07/00