Blog – Page 2463 – ArtsJournal Wayback

How Mexico City’s Art World Is Doing After The Earthquake

“ARTnews has reached out to various museums, galleries, and arts organizations to better understand how they fared. This post is being continuously updated with details about how the earthquake has impacted the Mexican art world.”

‘We Got Ridiculously Lucky’: Florida Theatres Clean Up After Hurricane Irma

“While some theatres could not be contacted because phone and power service still were absent Tuesday, managers at some of the most seriously affected theatres considered themselves blessed that they avoided the severity of damage suffered by Houston’s Alley Theatre. Forecasters predicted much, much worse, especially in the Miami-Fort Lauderdale-West Palm Beach area, which was hammered but escaped with minimal damage.”

Does Philly Need Yet Another Performing Arts Venue? Actually, It Can Use This One

“The Pennsylvania Academy of the Fine Arts has started work on a 277-seat hall that, in addition to being a venue for PAFA’s own activities, will host concerts, lectures, and other events by PAFA’s partner arts groups … and will be offered as a rental space to others seeking a small state-of-the-art venue.” Peter Dobrin talks to people with several organizations who believe that there’s an empty niche for a hall that size.

World’s First Major Museum For Street Art Opens In Berlin

“There are certainly questions about whether the museum” – called Urban Nation – “marks the institutionalisation of an art movement valued for its anarchic spirit, where works are mainly painted at the dead of night, dodging the prying eyes of police and angry landlords. All the works in the museum’s opening show were created specifically for the gallery space, with some sculptures but mainly canvases.”

For All The Chaos In Venezuela, Its Cinema Is Thriving (For Now)

“La Soledad is the latest in a glut of Venezuelan films telling unflinching, complex stories of life in the troubled Andean nation. It might seem surprising, given the increasingly authoritarian regime of Nicolás Maduro, that these films have often benefitted from state funding. … A major reconfiguration came in 2005 with a reform to the country’s national cinematography law. This dictated quotas for the proportion of Venezuelan films in theatres, initiated a tax on cinemas and distributors to fund Venezuelan film-makers and granted tax exemptions for private-sector support of Venezuelan films. Since the new law came into effect, more and more Venezuelans have been going to cinemas: a record 4.2m did so in 2014.”

‘The Most Popular Art Exhibition Ever!’ Breaks Attendance Record

The show of work by Grayson Perry with that hyperbolic title was, by average daily visitors, the busiest show that London’s Serpentine Galleries have ever held, according to Serpentine management. (Reporter Gareth Harris cites a show from last summer that had higher numbers; a Serpentine spokeswoman gives reasons why that one doesn’t count.)

Indomitable Pioneering Artist John Killacky Announces Retirement From Vermont’s Flynn Center

The Flynn’s statement cited Killacky’s emphasis on access and inclusion, as the arts center now works with 75 social-service agencies to provide discounted tickets for their clients. The organization provides $30,000 in scholarships toward participation in the Flynn’s classes and camps. Killacky also led a three-year, $2.3-million renovation campaign for the Flynn that received contributions from 274 sources.

One Thing Futurists Don’t Challenge In Projecting The Future (And Maybe They Should?)

No matter how radical these predictions are, they tend to take the long-term durability of capitalism utterly for granted: Responding to decades of stagnating wages and sliding labor force participation, the Institute for the Future’s report “10 Strategies for a Workable Future” (which is in many ways quite sharp and informative) acknowledges deep problems with our current labor ecosystem and digs into important issues of benefits, collective bargaining, and education. But it doesn’t even consider the idea that the challenges it identifies are inherent to a system whose primary objective and value is capital accumulation, not equity and the common good.

Words, Words, Words. We All Use Them. So We’re All Experts In Poetry

In his new book, “Why Poetry,”Matthew Zapruder makes the bold assertion that understanding poetry requires “forgetting many incorrect things we have learned in school” and accepting “what is right before us on the page.” Any reader can do that, he says, because “we are all experts in words; we have been for a long time. And any word we don’t know we can look up.”