“Since Greece officially ended its decade-long economic bailout this summer, its government has been tentatively moving forward with plans to ease austerity measures on its citizens. … We asked figures from Greece’s art world to reflect on the economic crisis and its effect on the arts, and to look towards the future.”
Author: Matthew Westphal
Lyric Opera Of Chicago Orchestra Strike Is Over — What Did The Strikers Get Out Of It?
Not that much. “In two major respects — fewer weeks of work and a smaller permanent orchestra — the agreement was in line with what management had been seeking. But the musicians noted that … further cancellations would be destructive for everyone involved; and that a long strike would hurt their colleagues in the company’s other unions, which had already agreed to new labor deals when the orchestra walked out.”
Together in a Shrinking Space
Lucy Guerin Inc performs Guerin’s Split at the Baryshnikov Arts Center,
October 13 through 15.
Scream
My pal went into the Donmar’s Measure for Measure expecting a fight. She’d read that Josie Rourke’s production presents the cut-down text twice. The first, set at the time of Shakespeare’s 1604 premiere, where deputy governor Angelo attempts to coerce soon-to-be-nun Isabella into sex to save her brother’s life. The second, set today – same plot but with a female minister harassing a young man. Pal was having none of it.
Horror Classic ‘Halloween’ At 40: An Oral History
Director John Carpenter, star Jamie Lee Curtis — who says the film was “the greatest experience I’ve ever had professionally” — and several co-stars talk about the making of the movie the effects the franchise (ten sequels and remakes) has had on the culture. (Curtis: “No one involved with the movie anticipated it would grow its own industry.”)
How Two New Films Take On The 2011 Oslo Massacres
On 22 July 2011, the far-right terrorist Anders Behring Breivik used a car bomb to kill eight people and injure 209 in downtown Oslo, then took a ferry to a youth camp on Utøya island, where he shot 102 people, 69 of whom died. Paul Greengrass’s 22 July is a docudrama depicting the attacks and Breivik’s trial; Erik Poppe, who wanted to keep Breivik off the screen entirely, made his Utøya – July 22 as “one long, seemingly unbroken take that follows one young girl on Utøya experiencing the attack in 90 minutes of real time.”
The Senior-Citizen Audience: A Snapshot
In this research analysis by The Audience Agency, “we look at who older arts and cultural audiences are, what their characteristics as visitors are, how they may engage differently with different art forms and what motivates them. We know that these stats are only part of the story, however, and have included thoughts on good engagement practice and links to inspirational examples and complementary research.”
Is It Possible To Create Ballet That Doesn’t Hurt Women?
“It’s hard to deny that traditional ballet causes more pain to women than to men. And the fallout from ballet’s year of #MeToo will force us to examine whether it still has inherent value as an art form, despite the pain it can cause and its structural and gendered imbalances. The fact that we’re exposing ballet’s structural injustices seems like a promising start.”
Ovid, Patron Saint Of Pickup Artists: How The ‘Red Pill’ Guys Are (Mis-)Appropriating Classical Lit
Ashley Fetters talks with classics scholar Donna Zuckerberg (yes, Mark’s sister) about what the “Red Pill” community — “the corner of the internet dominated by men’s-rights activists, the alt-right, pickup artists, and the sex-eschewing communities known as Men Going Their Own Way” — finds in these ancient Latin books (e.g., Ovid’s Ars Amatoria) and how they misread and misuse the texts.
The (Not-So-)Great Rikers Island Salvador Dalí Art Robbery
How did a Dalí end up at Rikers anyway? (As an apology gift for a missed photo opp.) After time in the mess hall, a Virginia gallery, and a trash bin, the 3′-by-5′ original ended up near the Pepsi machine in a jail lobby. “The work barely registered with the Department of Correction officers and visitors who passed it. But a plaque next to the painting proclaimed that it was worth an estimated one million dollars.” Well, that was smart. James Fanelli recounts the story of the inevitable, but surprisingly badly executed, heist.