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.”
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Trump Signs Landmark “Music Modernization Act”
Intended to update music copyright law for the digital era, H.R. 1551 (formally the “Orrin G. Hatch-Bob Goodlatte Music Modernization Act”) accomplishes three key things: making sure songwriters and artists receive royalties on songs recorded before 1972; allocating royalties for music producers; and updating licensing and royalty rules for streaming services to pay rights-holders in a more streamlined fashion, via a new, independent entity.
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.”
Nicholas Hytner: Brexit Will Be A Disaster For UK Culture
On Brexit, Hytner said: “You will find nobody in the arts world who doesn’t think there is an enormous black cloud on the horizon in the shape of Brexit. We are so dependent on ideas, talent, people moving freely. Freedom of movement was nothing but good for us. “This is a tomorrow crisis for the classical music and dance world,” he said. “It will just all finish. They need players, dancers … they are dependent on them coming in from the European Union. It will take a little longer in my world.”
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.
StoryCorps Tries To Narrow America’s Political Divide
“Officially unveiled last month, StoryCorps’ One Small Step initiative seeks to help people with opposing political views who don’t know each other have civil, personal conversations. Participants can record face-to-face conversations using the StoryCorps mobile app or by visiting a StoryCorps booth. … Facilitators will encourage participants to discuss questions that could help them find common ground.”
Michelle Dorrance Gets ABT Sliding Into Tap (Which Just Isn’t Easy)
“The new work in rehearsal, Dream within a Dream (deferred)< .em>, which will open [American] Ballet Theater’s fall season Oct. 17, is a hybrid of tap and ballet. And that’s a combination that almost never works.” Brian Seibert explains why that is, and he watches how Dorrance and the ABT dancers are facing the challenges.
Banksy Declares His Shredded Painting A New Work Of Art, And Buyer Agrees To Pay For It
“‘When the hammer came down last week and the work was shredded, I was at first shocked, but gradually I began to realize that I would end up with my own piece of art history,’ the anonymous [purchaser] said in a statement. Banksy has in turn agreed to ‘re-authenticate’ the piece with a new title, Love Is in the Bin (2018). (It is currently unclear which came first: the collector’s decision to keep the work or Banksy’s decision to re-authenticate and rename it.) Sotheby’s, for its part, is making the most of its publicity coup, describing the work … as ‘the first work in history ever created during a live auction.'”
Can We Just Admit That Banksy’s Self-Shredding Painting Did Its Job(s) Extremely Well?
Ben Davis argues that all those folks fulminating over this event — and there are a lot of them, with many different takes (“There are full-on Truthers out there, scrutinizing every frame and angle of the whole thing, as well as Denialists, doubting that it even happened at all”) — are missing the Banksyan genius of it. “A very important concept in street art is placement. Street art fans will be very impressed by where and how a tag was placed … Obviously, the Sotheby’s prank has to be appreciated mainly, simply, as a great placement.” What’s more, it has placed the auction house smack in the middle of the Liar’s Paradox.