Author: Douglas McLennan

Minneapolis Theatre Looks Into The Future, Decides To Shut Down After One Last Season

The company realized last November that, given the current funding climate, it would not be able to sustain itself beyond the coming year. State and private grant priorities were shifting, Avitabile said, and a few key donors were no longer in a position to give. Rather than go into debt, 20% Theatre will use its last season to celebrate accomplishments. – MPR

Mass Layoffs Has US, UK Museums Rethinking Their Roles

The current crisis raises the question of what exactly a museum is. Is it a collection of objects, or the staff that bring those objects to life and makes them accessible to the public? ‘We need to think about museums not only as repositories for things […],’ Nicole Cook, a member of the Philadelphia Museum of Art Union organising committee, writes via email, ‘but rather as vital centers for scholarship, education, and community, all core activities that revolve around people – and more pointedly, activities that rely on fully staffed museums.’ – Apollo

Art Basel Goes Virtual, Charging Galleries For Virtual Booths

Art Basel organizers plan to present two new online viewing room initiatives in September and October, which they describe as “freestanding, thematic editions.” Unlike previous iterations of the Art Basel-branded viewing rooms, these will not be provided free of charge to exhibitors at the physical fairs. Instead, Art Basel will charge a flat fee of CHF 5,000 ($5,500) for each of the new editions. – Artnet

Theatre Reform: We Shouldn’t Work So Many Hours

“It’s this process that we have spent decades, centuries developing in theatre of how much time it takes to make the thing. In my experience, the process will expand to fill as much time as you give it. So we’ve put ourselves in a place where we say, it’s going to take this many weeks to rehearse and this many hours to tech, and we take that as gospel now.” – American Theatre

A Historical Disinclination To Theatre

One of the key facets of Jonas Barish’s argument is that, throughout history and across cultures, theatrical activity has almost always been met by vociferous opposition. From ancient Greece, when Plato wrote that acting and the theatre would be excluded from his ideal state, to the Soviet era in Russia, when strict governmental regulation dictated what type of work theatre artists were permitted to create, theatre has been subject to both philosophical criticism and material censorship. – Howlround

Collective Of Black Classical Musicians Takes To Social Media To Detail Issues

“Almost every aspect of classical music, as it is currently, cultivates a toxic and racist culture. That doesn’t mean that every participant in classical music is racist, obviously. The specific aspects that sustain institutional racism are: hero worship; classism and elitism; unbalanced power structures (like the relationship between students and private teachers; the fear-based mentality that your teacher can “make or break you”); access to quality education and opportunities, especially for lower socioeconomic students—classical music is cost prohibitive for many prospective practitioners; respectability politics and classical musician stereotypes that serve to flush out individuality (for example, the flak that Yuja Wang gets for wearing short skirts is endemic of classical music’s respectability politics rooted in the intersections of classical music and Christian worship—the altar, god-figures, etc.); the way classical music history is taught as a sanitized, sexist, queerphobic, whitewashed, and white supremacist version of history; lack of reporting protocols for racism; the way orchestras are funded and governed by “pay-to-play” boards;
“outreach programs” that are missionary-like PR campaigns. We could go on…and it is our page’s work to address all of these issues.” – Grammy.com