“The 13 stolen masterpieces valued at around half-a-billion dollars included a Rembrandt and a Vermeer … ‘I’m 100 percent sure that they are in Ireland. Hundred percent sure. No doubt in my mind,’ art investigator Arthur Brand said. He’s described as the Indiana Jones of the art world. It’s an audacious claim to make after nearly three decades. But Brand alleges his leads point to the Irish Republican Army.”
Blog
Sacramento Ballet’s New Artistic Director Spent Years Dancing Under The Old Ones
In January, the company’s board of directors decided not to renew the contracts of Ron Cunningham and Carinne Binda, who had led Sacramento Ballet for three decades and developed it into a fully professional outfit. They’re being replaced, as of next season, by Amy Seiwert, who spent most of the 1990s dancing in the company under Cunningham and Binda.
Three Ballerinas From Three Great Companies On The Three Facets Of Balanchine’s ‘Jewels’
Each of the ballet’s sections is said to represent one of the art form’s great stylistic schools: French (“Emeralds”), American (“Rubies”) and Russian (“Diamonds”). Marina Harss talks with stars from the companies that embody those schools – the Paris Opera Ballet, New York City Ballet, and the Bolshoi Ballet – about Jewels, which they’ll be performing together at this year’s Lincoln Center Festival.
V&A Museum’s New Director Is Not, In Fact, Against Digitization (Despite What You May Have Read)
“‘Museums are rethinking the rush to digitise their collections amid concerns that such projects are costly and of little value,’ wrote the Times [of London] newspaper, in a report on [Tristram] Hunt‘s comments at the Hay Festival in Wales. … Responding to a question from the audience about the V&A’s use of digital technology to widen access in the regions, Hunt actually said that the museum is ‘involved in a massive programme of digitising [its] collections’ and is ‘very passionate about it’.”
West End Tickets Aren’t Expensive, They’re ‘Incredibly Reasonable’, Says One Of Theatre’s Richest Men
Andrew Lloyd Webber: “Theatre is highly labour-intensive. On the whole, the prices of West End theatre are incredibly reasonable considering the cost of putting something on.” Told that tickets to Harry Potter and the Cursed Child are over £100, ALW said, “We don’t charge anything like that for School of Rock.” (Orchestra/stalls seats for School of Rock in the West End are currently £129.50.)
How A Theatre Company Saved A Medieval Building And Museum In One Of England’s Most Historic Towns
“The Canterbury Heritage Museum has attracted fewer and fewer visitors in recent years, but a rescue plan involving the Marlowe Theatre is set to revitalise it. Janice McGuinness tells the story.”
This Tiny Company In India Is America’s Third-Largest Publisher Of Translated Fiction
“Founded in 1982, the Kolkata-based company [Seeagull Books] publishes everything from literary fiction and poetry to philosophy and even cultural anthropology. But these books aren’t what you’d find on the catalogues of publishing giants such as HarperCollins or Penguin Random House. At Seagull Books, the focus is on translated writing from around the world, much of which has never before appeared in English, in India or anywhere else.”
Top Posts From AJBlogs 07.13.17
Bible Bumble: The Befuddled Build-Up to the New Museum of the Bible
How is the ambitious, soon-to-open Museum of the Bible hoping to repair the collateral damage to its reputation, now that Hobby Lobby – the crafts and home decor company led by the museum’s founder, chairman and … read more
AJBlog: CultureGrrl Published 2017-07-13
America’s Elitism Problem
I bring up the extent to which “Dumb” is the Great American Default, because we are in the midst of an era in which the notion that the elite and elitism are the source of every problem has become fashionable. And, let’s be honest, when Americans say “elite,” they don’t mean rich people. They mean smart people.
Everyone Thought Small Independent Movie Theatres Would Die In The Streaming Age. Surprise! That Hasn’t Happened
“In the face of multiplex cinemas with dozens of screens and high street food and drink franchises, operated by the likes of Cineworld, Odeon and Vue, the smaller, independent cinema is not only surviving, but thriving.”
