Some Thomas Hart Benton Murals Have Been Removed From View At Indiana University. Does This Make Any Sense?

“In the controversial panel, Benton painted a reporter, a photographer and a printer into the foreground – an homage to the press of Indiana for breaking the power of the Klan. In the center, a white nurse tends both black and white children in City Hospital (now Wishard Hospital). The sinister figures of the Klan are visible in the background, behind the hospital beds – a reminder, perhaps, that racial progress can always slide backwards.”

Seattle’s Intiman Theatre Has A New Artistic Director

Jennifer Zeyl: “Theatre at its best—I’m beginning to see a pattern as an independent producer, a devised theatre-maker and a director—I think that autobiographical narrative is incredibly powerful. Talking about intersectionality and all the nuanced combination of identifiers that make one person. And how complex that is, and how unique it is, and how beautiful it is. And at a time, a political climate like we’re experiencing right now, to be able to stand in that and celebrate it and be heard and seen, I think is an act of revolution. That’s what we need right now. We really need to show up. People need to stand in their identities. That’s what actually makes America great.”

The Last Mainstream Arts Critic In Texas… (Time To Turn Out The Lights?)

“This latest round means not a reduced staff of reviewers but no critics at all at major city papers. That’s a watershed. The arts here in North Texas, for instance, have been blossoming the past decade, while arts coverage has gone the other way. Fort Worth is the home of the internationally-known Cliburn competition and Kimbell Art Museum — that’s pretty unusual for a city its size. Yet the local paper now has no arts critics on its staff.”

Ambitious Createquity To Shut Down

When Createquity relaunched in 2014, our vision was to facilitate progress towards a better world by compiling, vetting, and interpreting relevant insights from the research literature for people with the ability to make a difference. And in three years, we came a long way toward pulling off that vision. We delivered deeply informed analysis and surprising insights on topics including the benefits of the arts, arts participation patterns, artist careers, cultural equity, and the history of the nonprofit arts sector. Our research-driven features have received tens of thousands of page views—according to figures provided to us by the National Endowment for the Arts, more than the NEA’s own flagship research publications. Most importantly, in my view, we began to create a robust logic for how all of this research could optimally inform leaders’ decisions affecting the health of the arts ecosystem—decisions that affect the lives and livelihoods of millions of people in the United States and beyond.

Mark Twain Always Wanted To Be Rich. By The Time He Was 50, He Was

By the age of fifty, Mark Twain had achieved something he had dreamed of and worked for his entire life: he was rich. Raised in genteel poverty in small towns in Missouri (when Missouri was still the West), Twain as a grown man, had rubbed elbows with the greatest business tycoons of the time. And now, as head of his own publishing firm, making money for other authors, he felt like a great philanthropist. He could see himself as one of the true benefactors of the age. And it was an age he had named when he chose the title of one of his own best sellers: The Gilded Age.