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Jeffrey Deitch’s New Vision For An LA Gallery

“There was tremendous enthusiasm from a broad audience about what I did there — not just kids who went to “Art in the Streets,” but patrons, all kinds of people. And I remain friends with so many of these people. So it was a very strange situation where there was a lot of enthusiasm in part from the public for what I was doing, and from people in the universities and city government, and it is a very narrow group, even before I got there, that for whatever reason didn’t want me there. And they succeeded in driving me out. But that was not enough to topple my mission. This is like a museum-type space; I don’t need the board and all that trouble. I can do whatever I want here. I have zero bitterness. I love L.A.”

What’s In Agnes De Mille’s Unopened Letter? Choreographers Will Get To Speculate

The cover note accompanying this mysterious missive, sealed with wax and dated 12/02/1963, says, “Please file it unopened, with the date carefully noted. It is the outline for a play, and I have no means of copyrighting it except this way. The material is eminently stealable and I’m discussing the matter with people of similar ambitions.” The current possessors of the letter, the Stage Directors and Choreographers Society, don’t plan to open it just yet, but they are choosing five choreographers to create short pieces based on what they imagine the letter says.

How One Theatre Is Mobilizing Theatre To Protect Public Lands

In addition to mobilizing civic engagement at a grassroots level, the plays also act as an indelible record of the largest loss to public lands our country has ever seen. They document a community’s unique history and culture at a particularly urgent moment in that community’s journey. Because they are based on true stories, the plays are marked by an authenticity of character and voice, and a sometimes-disarming honesty. They are very real and very accessible, and have the rare power to touch people on a deeply personal level, galvanizing communities to take action.

Facing Cuts, Austin Arts Groups Push For Revamp Of City’s Funding Process

“Local arts groups facing dramatic cuts in their funding levels from the city could get some relief this budget year, and possibly an earlier heads-up in future budget years if their funding allocations appear headed for a decrease. … The cuts were brought about by a combination of more than 100 new applicants for funding, increased administrative costs and lack of reserves that are typically rolled over from the previous budget year.”

Media Trolls Tried To Shame This TV Actor For Working At Trader Joe’s. They Got Him Acting Jobs Instead

Geoffrey Owens, who had a recurring role on The Cosby Show in the ’80s and ’90s, was photographed last month bagging groceries, a between-gigs job he took to make ends meet; the pictures ended up on Fox News and The Daily Mail Online. Owens actually got an outpouring of support (Fox and the Mail got the shaming) — and then producers, reminded of his existence, started offering him jobs. He tells Sopan Deb what’s happened since and what else he’s been doing (like teaching Shakespearean acting).

The Death Of Traditional Celebrity Journalism?

When stars’ comings and goings began to be documented on a minute-by-minute basis, those changes triggered celebrity reticence. On its own, that wouldn’t signal the death knell of celebrity journalism as it’s been practiced for decades. But the pressure being applied to celebrity journalism from the top might pale in comparison to the threat surging from below, where a new generation of celebrities — YouTube stars, SoundCloud rappers, and various other earnest young people — share extensively on social media on their own terms, moving quickly and decisively (and messily) with no need for the patience and pushback they might encounter in an interview setting.