In addition to promoting the works of Robert Rauschenberg, who died in 2008, the foundation supports artists in the many fields in which he worked — painting, photography, sculpture, printmaking and performance. (It also runs a residency program in Rauschenberg’s former home on Captiva Island, Fla., but because the house was damaged by Hurricane Irma, the program was postponed this year.)
Author: Douglas McLennan
The Declining Powers Of Orchestra Music Directors: Exhibit One – Simon Rattle
“In an ideal world, Rattle would tour the LSO around its own country, instead of everywhere abroad, with a rallying cry to raise standards. That won’t happen either, because the Arts Council won’t fund anything that treads on the toes of regional clients. All of which leaves Rattle with a job title that has less clout than a viscountcy, an honorific to deceive the media into believing in miracles. These inhibitions may help explain why the incoming music director has set such store on getting the public authorities to build him a new hall. That, at least, could be credited as a concrete achievement.”
Why Book Cover Designs Are So Different In The UK From What They Are In The US
“Traditionally, US design tended towards literal interpretation, driven… by the complexity of the US market: the image that motivates readers in southern California to pick up a copy of a book is likely to be different to what appeals to readers in South Carolina. As a result, US jackets have tended to appeal to the lowest common denominator, and that does not make for good design.”
Film Society Cancels Screening After Filmmaker Announces “Justice Pricing” Plan To Charge White Males More
Shiraz Higgins used the false name Sid Mohammed when he announced a so-called justice-pricing model to charge white men as much as $20, while others would pay $10 based on the purchasing power of individual groups and “price discrimination.”
Have We Lost Control Of Our Computers?
“The problem is that we are attempting to build systems that are beyond our ability to intellectually manage… The problem is that programmers are having a hard time keeping up with their own creations. Since the 1980s, the way programmers work and the tools they use have changed remarkably little. There is a small but growing chorus that worries the status quo is unsustainable.”
Smithsonian’s National Museum of African Art Hires A New Director
Augustus Casely-Hayford is a force in London’s cultural scene, working as a curator, broadcaster and adviser with many organizations, including the Tate Britain, the Royal Shakespeare Company and the British Library. He created “The Lost Kingdoms of Africa” for the BBC; a six-part series for Sky Arts, “Tate Britain: Great British Walks”; and is working on films on landscape art. His book on Timbuktu and the rise of the Mali Empire will be published next year.
Much Of Public Radio’s Audience Listens In Cars. What That Audience Still Listen In Driverless Cars?
It’s still not clear what the entertainment systems in driverless cars will look like. The women have seen mockup designs that are very preliminary. “We don’t know if we’re essentially going to be presented with a platform from car companies where they’ll say, like, ‘Here’s your screen. Put what you want to put on it’ and now we’re competing with Netflix and Hulu,” said Muller. “Or is there a way to be part of the conversation, help shape what the entertainment experience is like for people?”
Poets: Lost In Academia
Academic institutions are now the biggest steward of poets, who teach everything from freshmen composition courses to graduate workshops. While the financial viability of this arrangement for writers seems to be waning, as universities and colleges find it easier and cheaper to exploit the labor of academics, it is still the uncomfortable status quo.
A New Theatre Magazine To Launch
“Part of the calculus behind The X is TodayTix’s customer base—3.5 million people across 11 cities, with an average age of 29—which gives the magazine a considerable audience and opportunity for monetization right out of the gate.”
How To Be Successful In Theatre? Maybe Take Risks?
Chad Bauman argues: “Change is hard. I’ll admit it sometimes scares me. There are no guarantees. But how is that different from anything else in the theatre? It does surprise me when theatres elect to stick with a failing business model that is most certainly destined to lead to disastrous results over the long term rather than risking throwing it out the window for a shot at success.”