The live show was broadcast by ABC and it attracted an average of 26.5 million viewers according to Nielsen, a 20 percent decline on last year’s 32.9 million. The previous record low was set in 2008 when 31.8 million viewers tuned in to watch Jon Stewart host the event. That year, Oscar chaos was narrowly avoided after an 11-week writers’ strike in Hollywood.
Author: Douglas McLennan
Podcasts Have Become The New Onramp To Other Media
The medium has become the creative breeding ground for daring storytelling and unique personalities to find their footing, build an audience, and then seize larger Hollywood lucre.
Have Interest Rate Swaps Trapped Chicago Arts Institutions?
Lyric Opera entered into a swap agreement in 2006 to cover $40 million in bonds. The fixed rate that Lyric’s paying is 3.8 percent, while the variable rate it’s getting in return is now 1.58 percent. Over the 12 years that the swap has existed, Lyric’s paid about $16.8 million for it. During that same period, the cost of interest on the bonds amounted to about $4 million. But Lyric is hardly alone in this. A look at financial statements from a few randomly selected cultural organizations suggests that it’s the rule for our major institutions, not the exception.
The Complications Of Image Appropriation
How can artists responsibly use images that are not their own, especially when those images are tied to the history of another culture? And how can museums display such work while respectfully engaging with marginalised communities?
How AI Took Over A Community Of Knitters
“The knitting project has been a particularly fun one so far just because it ended up being a dialogue between this computer program and these knitters that went over my head in a lot of ways. The computer would spit out a whole bunch of instructions that I couldn’t read and the knitters would say, this is the funniest thing I’ve ever read.”
Online Movie Ratings Are Dominated By Men (Does It Matter?)
Women accounted for 52 percent of moviegoers in the U.S. and Canada in 2016, according to the most recent annual study by the Motion Picture Association of America. But on the internet, and on ratings sites, they’re a much smaller percentage.
Report: Arts Economy In Colorado Now Bigger Than Mining, Agriculture
The U.S. Bureau of Economic Analysis and the National Endowment for the Arts on Tuesday unveiled their most recent analysis of the economic impact of arts and culture in the U.S. In 2015, the year with the most recent reporting data, goods and services generated by museums, architecture firms, artists and other artistically inclined businesses and agencies accounted for 4.3 percent of the Colorado’s GDP, the feds say. It was part of $763.6 billion arts and culture contributed to the U.S. economy as a whole that year, 4.2 percent of GDP and more than mainstay industries like agriculture and transportation. Creative industries accounted for a $20 billion trade surplus that year, according to the analysis.
Mark Oppenheimer Wrote A Dumb Story. Twitter Slammed Him. This Is A Problem.
“In the week to come, I received one of those public Twitter and Facebook shamings that writers now expect as an occupational hazard. Hundreds or possibly thousands of people, including close friends and professional colleagues, wrote or shared critiques of my piece; wondered in public what had become of me; lamented my decline (which had the strangely complimentary effect of suggesting that I had some status to lose, which few writers ever really feel they do).”
What If You Broaden Anne Frank’s Story As About Oppressed People Rather Than Jewish People?
The real Anne was unequivocal about the particular Jewishness of her suffering and about her perpetual otherness. She wrote, “We can never become just Netherlanders, or just English, or just . . . representatives of any other country for that matter, we will always remain Jews, but we want to, too.”
In Buffalo: Debate About A Museum-As-Architectural-Treasure
Since Bunshaft’s addition opened in 1962, the art world has grown exponentially, diverging into a countless thematic streams and mediums, from monumental sculptures demanding monumental spaces to purely conceptual art requiring no space at all. The unpredictability of the art world and its growth into countless new disciplines demands a different kind of museum than Bunshaft or his contemporaries could have conceived. This uncertainty, coupled with a desire to reconnect with segments of the public long alienated from the art world, has driven expanding museums to favor vast public spaces and highly adaptable galleries over the more intimate spaces of the past.