Kids need time, space, supportive adults, and free books in order to succeed – and oh, hey, U.K.? You’re going backward in almost all of those areas.
Author: ArtsJournal2
Hackers: Heroes, Demons, Or Simply Signs Of The Times?
“Hacking can, and often does, improve products. It exposes vulnerabilities, supplies innovations, and demonstrates both what is possible and what consumers want. … Hacking has also become a method used for extortion, public humiliation, business disruption, intellectual property theft, espionage, and, possibly, war.”
The Party Congress Is Coming! Quick, Take Down That Painting!
As China prepares for the Communist Party Congress, censorship (both outside and self-imposed) rises in galleries and exhibition spaces.
Just What Does Orchestral Excellence Cost?
As orchestras all over the country face management proposals with steep pay cuts, musicians wonder what they’re actually worth.
Don’t Judge The Judges Until You’ve Judged For Yourself
Sean O’Hagen slammed last year’s Taylor Wessing prize photographs, and the judges who picked them. This year, as a judge, he’s walking it all back.
Want To See Oscar Winners Early? Head To Toronto
The best predictor of Best Picture winners has been not a festival in Cannes, but one in Canada.
Attached – Psychologically – To The Gadget
“The new e-reader is not like the old one. It doesn’t have the scars of the old one – the coffee stain on the corner, the crack in the casing where I fell off my bike – and I have yet to rim it with gaffer tape to cover the logo of the Large Corporation.”
Indianapolis Symphony Orchestra Cancels September Concerts
The Symphony spurned an offer from union officials, who “proposed a two-month extension of the previous contract–along with a 17-percent salary concession–to keep the season intact. Symphony leaders said an extension ‘would only exacerbate the ISO’s already difficult financial challenges.'”
Want To See New Operas? Don’t Look To Peter Gelb’s Met
“The dearth of operas by living composers at the Met, or even later-20th-century works by composers now dead (it took the New York Philharmonic to present the New York premiere of Gyorgy Ligeti’s astonishing “Grand Macabre” in 2010), seems incompatible with Mr. Gelb’s stated mission. He arrived in 2006, vowing to bring the company into the 21st century by drawing on the latest developments in staging and by rejuvenating the repertory. Shouldn’t new and recent works be a major part of this initiative?”
Are Games Necessary To Civic Life?
And if so, why aren’t there more places to play large, public games?