“Any working mother or mother-to-be knows how challenging it can be to balance family and work. But women in the performing arts face unique challenges during pregnancy — and after.”
“Our current students are unused to paper and attribute the frustration they feel when they use it as a mere lack of usability when in fact they simply haven’t figured out how it works. Older scholars, meanwhile, tend to forget about paper’s unique utility because using it has simply become second nature to them.”
The Scottish Arts Council has put details of its grant applications online and arts organizations are furious. “The SAC has posted more than 1,500 documents on its website, detailing the reasons for recent grant decisions affecting some 100 clients. Although new legislation means such documents can be requested by the public, no funding body has ever made so much information so easily available.”
The two used to be close. But “by the middle of the 20th century, the division was pronounced and profound. In a famous 1959 essay, C.P. Snow described and despaired of the ‘two cultures’ that had grown up around science and art. Today the stakes seem too high and the world too tightly interconnected for artists and scientists to close their eyes and ears to each other.”
Police in Cannes are planning a two-hour strike during the upcoming Film Festival. “They aim to draw attention to a dispute over working conditions and the use of contractual staff and are demanding that the head of town security, Guy Heron, be sacked.”
Benjamin Britten had a thing for boys. It’s hampered his legacuy as a composer, writes Norman Lebrecht. “We’re in a new century and the linen that has been hung out to dry. We must accept Britten for what he was, a tormented innocent, and find the courage to stage his work coherently for the first time in a comprehensive cycle.”
“Dmitri Hvorostovsky was the first in a series of star baritones to achieve near-instantaneous operatic fame. And the way he’s going – with more and bigger opera roles, plus concerts that draw five-figure crowds in his native Russia – any eclipse may be far in the future.”
Last summer, in a now-famous letter to The New Yorker, choreographer Tere O’Connor complained that “critics do not know how to read dances…they don’t do the work of finding out what is actually going on in the minds of the artists or what are the contexts in which these works are created. They have reduced dance criticism to an explanatory, superficial, retelling of events.” So what should that complicated between dance critic and artist be?
Why did music director Pinchas Zukerman return early to Ottawa’s National Arts Center Orchestra? There’s plenty of speculation, but one’s thing is sure – his situation with the orchestra is far from resolved. “So we may be in for several more years of Zukerman at the NACO. It remains to be seen whether that turns out to be a good thing, or a new phase in a bad relationship.”
The evening set records for 12 artists ranging from David Hockney and Damien Hirst to Richard Prince and Mike Kelley in a sale that totaled $143.1 million, in the middle of its estimate, $113.1 million to $160.2 million.