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Andras Schiff On Coughing Audiences

Pianist Andras Schiff has a sore spot for those who come to his concerts and cough: “Luckily I was in a good disposition, so I just very quietly stood up and said, ‘Could we now make a coughing break. Please feel free to cough,’ and I just walked off. I was told by friends that this person got very red and left the hall, and after five minutes I came out and started again, and all went beautifully.”

Death Of HipHop? I Don’t Think So…

HipHop is 30 years old. But to read many critics, you’d think it was on life-support, if not already measured for the coffin. Hmph! “For music critics, the only assignment greater than proclaiming the arrival of something new and great is announcing the death of a once sacred cow. But, in this case, it is both lazy and, more importantly, wrong.”

The Art World’s Most Powerful – A List

The British magazine ArtReview has made a list of the 100 most powerful people in the art world. “British collector Charles Saatchi is No. 1; Ronald Lauder, who just opened his own museum in New York, is No. 3; and No. 9 is former Sotheby’s chairman and major stockholder Alfred Taubman, who is spending an enforced vacation at Uncle Sam’s spa, convicted of price fixing.” Only one artist cracks the top ten…

Trials For SF Jewish Museum

Facing fundraising obstacles and internal disagreements, San Francisco’s Jewish Museum is looking at scaling back a design for a dramatic Daniel Libeskind museum. “We had become too ambitious in our planning for the new museum. The idea was to expose Jewish culture and thought to a wider public in ‘an architectural gem’ in the heart of the city’s cultural district. Now we’re thinking about a smaller building with a smaller operating budget. How that smaller building will look, I don’t know. It’s unlikely that it will be the Libeskind design as we know it.”

Big Arts Cuts In California May Shutter Some Arts Groups

California state budget cuts will mean a 50% drop in grants to arts groups statewide, from $16.4 million to about $8 million. Although the state arts agency budget is a “relatively modest item among the $20.7 billion in cuts proposed by Davis for 2003-04, the effects, would be dramatic among nonprofits that have already seen donations falter from foundations, corporations and individuals. ‘People will have to close their doors. Artists will lose their jobs’.”

The New Yorker’s New Fiction Editor

Deborah Treisman has taken over as fiction editor of The New Yorker. So how is her style different from Bill Buford, who just left the job after nine years? “We—probably 80 percent of the time— agree. And so in those 20 percent of stories it feels as though there’s a different reason for each one. But it’s never that he likes men writers and I like women writers. We both are drawn to different things in different stories. So I’m sure that things will start to feel a little different. But I’m actually looking forward to finding out how. And also, you know, neither of us works alone. There’s a whole department and we do sit around and discuss things endlessly and argue about them.”

Is Jazz Abandoning Instrumentals For Popstar Vocals?

Jazz musicians, listeners and critics – take your pick – often seem embroiled in one kind of feud or another. Sometimes they’re over finicky little things; other times they’re deep-seated and deadly serious. In either case, however, they’re often odd, out-of-the-way sorts of quarrels, reserved for insiders alone. But right now, that’s just not true.” The topic of the day? Singers. Jazz singers are selling big time, all out of proportion to traditional jazz. Singers like Diana Krall and Norah Jones are posting popstar-size sales. One question – are jazz labels abandoning instrumentalists in hopes of hitting the next big thing?

Curators – The Season Of Their Discontent

Curators are not a happy lot these days. Indeed, they’re “the embodiment of demoralization, resentment, anxiety, stress, and alienation over what was happening in his or her museum.” There is a mounting chorus of voices “articulating this critical disconnect in art museums. The gap is not necessarily between curators and their directors—though in some institutions that exists as well. Mostly the conflict is between the dramatically changing role of the art museum and the mounting pressures imposed by those changes on the people who have traditionally been the custodians, students, and interpreters of the art objects inside their institutions.”