There’s been increasing attention on contemporary art from the Arab region in recent years. “But with this spike in recognition, a young generation is now struggling to assert a singular identity that doesn’t conform to Western stereotypes of art from the region. As the channels of globalization open commercial opportunities abroad, it’s increasingly difficult for Arab artists not to conform to the expectations of those flocking to the gallery shows, biennales, websites, and organizations dedicated to art from the region.”
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Rock On
Why do so many adults give up their devotion to great rock music once they reach a certain age? Maybe its the sense of grown-up responsibility that somehow seems at odds with the devil-may-care ethos of rock, but Jim Walsh can’t imagine living without his favorite bands. “I suppose [it’s] an unsettling energy to tap into all the time, which may be why some people ultimately minimize the importance of music. The act of going to see a great live band and waking up the next morning to take on work or family can be energizing, but also schizophrenic and jarring–so much so that some stop tapping into it altogether, or relegate it to a bygone heyday.”
Art On The Range
“Las Vegas’s Bellagio, it seems, is not Nevada’s only art attraction: Reno is home to the Coeur d’Alene Art Auction, the nation’s biggest and most successful auction of Western art. Every July, hundreds of well-heeled collectors from Maine to Hawaii flock here and spend millions of dollars on important works by Frederic Remington, Charles M. Russell, and other celebrated painters of the Old West. Any one of them will be glad to tell you why these works are here instead of at some fancy-pants auction house in Manhattan.”
FCC Prepares To Weigh In On Viewer Choice
The FCC takes a break from slapping down broadcast obscenity this week to weigh in on an increasingly important issue within the TV industry: whether consumers should have the right to select the cable channels they wish to pay for a la carte, or whether cable companies have the right to offer packages (as they do now) with dozens of channels grouped together. “The report won’t include any specific recommendations, but its tone — especially on whether a la carte could result in huge price hikes — could influence whether forces in Congress continue to pursue the issue.”
Woody Would Probably Have Approved, But That’s Just Tough
If you haven’t seen the Kerry/Bush “This Land is Your Land” parody yet, go ask a co-worker to show it to you. The online animated creation features the two presidential candidates in S&M gear and dunce caps, singing alternate lyrics to Woody Guthrie’s famous tune. The trouble is, someone owns that tune, and apparently, that someone doesn’t have Guthrie’s devotion to free expression. “About a week ago, the [creators of the parody] were served with a cease-and-desist order on behalf of Ludlow Music, demanding they remove This Land from their website.”
Russian Choreographer Missing For Over A Month
“Concern is growing in the Russian ballet world over the fate of leading choreographer Dmitry Bryantsev, a month after his mysterious disappearance. Police in the Czech Republic have begun a search for Mr Bryantsev, last seen on 28 June on a private visit to Prague. [They] discovered his luggage and mobile phone, switched off, in his hotel room in Prague. So far they have only established that he never left the country.”
Struggling Philly Gets Another 7-Figure Grant
“The Philadelphia Orchestra has landed yet another seven-figure gift. This time the largesse comes from the William Penn Foundation, which has pledged $2 million over three years. The grant was awarded for general operating support, some of the hardest money for non-profits to find these days, and is meant to assist the orchestra until its endowment grows to the point that it is generating substantial interest every year.” The gift comes in the midst of increasingly contentious negotiations between the orchestra’s management and musicians over a management demand either to cut musician salaries by 10%, or eliminate 10 musicians from the orchestra’s full complement.
Back In The Fold
San Antonio’s Kronkosky Foundation withdrew its support for the San Antonio Symphony a year ago, saying it had no confidence that the organization was capable of operating responsibly. Now, as the SAS prepares to return to the stage after a dark year, the foundation is returning as well, offering up a $250,000 grant with tough financial triggers. “Beginning in August, the folks at Kronkosky want the symphony to meet specific monthly revenue targets through ticket sales, sponsorships and fund raising” in exchange for the money. The hope is that the Kronkosky grant will be a sign to other funders that the orchestra is worthy of their attention.
Another Orchestra Looking To Change Red Ink To Black
As the Cincinnati Symphony begins negotiations for a new contract with its musicians this summer, nearly every part of the ensemble’s budget is facing possible cuts. The orchestra ran a $411,000 deficit last year, and would have faced a $1.8 mil shortfall this year, but for a last-minute donation. Among the options being considered to close the gap are the elimination of a popular holiday series, a move to online publication for some informational materials, and the possible cancellation of a street music festival that the CSO had sponsored. It’s a fair bet that the orchestra management is seeking concessions from the musicians at the bargaining table, as well.
Madison PAC Fully Funded (By One Donor)
Wisconsin philanthropist Jerry Frautschi is even more popular in Madison’s arts community today than he was previously. Back in the late 1990s, Frautschi agreed to pay the entire cost of designing and building a new performing arts center in the capital city. But no one was sure of exactly how much that cost was, until this week, when the Overture Center announced that Frautschi’s gift would total more than $200 million, more than double previous press estimates. Frautschi agreed to pay for the center because he believes that such projects should not be built with public money.