Category: issues

“The pompous, almost self-flagellatory, tone which compels us to suffer for our art is sounding increasingly irrelevant. Walk into the Tate’s Turbine Hall and what you will see is young people “hanging out”. That funny word from the cultural explosion that was the 1960s, “happening”, is happening again. And it is happening everywhere: at the National Theatre, whose new director Nicholas Hytner signalled his intent by putting on a blasphemous satire of trash culture; at the National Gallery, which surrounded us with ultra slow-mo videos that had us double taking to detect movement from stillness; at the Royal Opera House, which for the first time admitted a bona fide musical – Sweeney Todd -through its doors. We all felt a little dislocated in 2003.”

An investigation of missing documents at Milan’s State Archive has proven startling results. “Thousands of pieces were found to have disappeared: parchments from the 11th century; papal bulls; official decrees bearing the signatures of Emperor Charles V, Empress Maria Theresa and Napoleon; autograph manuscripts by such Italian literary giants as Alessandro Manzoni and Gabriele D’Annunzio — a substantial slice of eight centuries of European history, as seen through documents from one of the continent’s wealthiest metropolitan centers from the Middle Ages onward. Some 3,000 items from the State Archives and smaller depositories have been recovered, while 1,000 more are still reported missing, probably smuggled into private collections in Italy or abroad.”

At a time when some American cities are cutting back on public art, “Menlo Park (Cal.) now requires that public art adorn new commercial buildings and major remodeling. Early next year, Menlo Park residents will see the fruits of this new law when art is installed at the 7-Eleven, a cafe, and a Chevron gas station. To some, it’s a smart way to further beautify this bedroom community without using city money. To others, making business owners spend 1 percent of a project’s cost on art is an expensive annoyance.”

Canadian actor Geordie Johnson should be on a San Francisco stage today, rehearsing for a new production of Henrik Ibsen’s A Doll’s House. But thanks to the U.S. Department of Homeland Security, Johnson’s work visa was refused as the DHS tightened restrictions on foreigners entering the country. The company Johnson was to have worked with was forced to recast his part, since they could not afford to wait for an appeal. Nonetheless, Actors Equity filed an appeal anyway, and this week, it was granted, the union having successfully argued that “the entire framework of agreements under which actors, directors, musicians and even professional athletes gain cross-border employment [was] in jeopardy.”

A new study commissioned by the Boston Foundation reports that the public is more likely to patronize corporate businesses which make a point of donating to the arts and other nonprofits than those which do not. The pollster who led the study says that the upshot of the report is that “foundations have got to get out of the purely good guy giving pool and they’ve got to drive the argument that partnerships between nonprofits and corporations help a corporation’s bottom line. If you can make that case, you can start this argument again and maybe you can get more money.”

Artists can perform where they want now in Miami Beach. “Miami Beach has lost a significant round in its years-long effort to regulate street performers. Last month, a judge declared unconstitutional a city ordinance limiting performers and artists to 11 locations throughout the city. Under the ordinance, only two performers are allowed at each location, chosen by lottery every three months from scores of applicants.”

“New figures reveal that Edinburgh has been overtaken by Glasgow as Scotland’s cultural capital. In the most comprehensive attempt to map changes in Scotland’s cultural employment in the first years of devolution, researchers found Edin burgh was undergoing a massive brain drain of creative talent.”

A panel at the American Association of Sunday and Feature Editors in St. Petersburg, Fla got to talking about the state of arts coverage in daily newspapers. Steven Winn – arts writer at the San Francisco Chronicle: “Over the years, I felt a kind of creeping alienation. No one but a critic attends the theater 150 times a year. I was becoming, gradually and inexorably, self referential. I wrote about theater in terms of other theater, because that was what I was living.”

Bass Hall is the cultural capital of downtown Fort Worth. “In its five-year history, the hall has easily fulfilled its promise, becoming a grand symbol of Fort Worth’s commitment to the performing arts and a striking monument to the private and proud family for which it is named. But over the past year, as the recessionary economy ravaged arts institutions everywhere, the hall’s seemingly impregnable facade has begun to show cracks.” With revenue and attendance down, “the current economic hardships hint at a deeper problem – one that has persisted since the early days of the hall and now prompts the fundamental question: Can Fort Worth still afford Bass Hall?”

Ronald Reagan is revered by his conservative followers as a great president. But “the art of the Reagan era – not just art about Reagan, but art made during his presidency – reflects a more complex memory of the man. The most potent artistic forces unleashed in the Reagan years were overtly political, and little of this overtly political art was or is kind to the old man. The plague of AIDS, and protests of AIDS activists, would create a new and volatile visual language that refreshed the graphic arts; punk rock emerged, in this country, as an angry and anarchic force, often explicitly in opposition to what musicians saw as a geriatric retrenchment into imperial self-satisfaction; and performance art came into its own, defining a new, anti-commercial, wildly independent form of drama. One summary of the Reagan years is that they were immensely productive, artistically, even if much of the art was vehemently opposed to the man.”