Category: AJBlogs

A message from Christie’s CEO Guillaume Cerutti, which hit my inbox late Friday, included a boldfaced passage that struck me (and probably some of his firm’s clients) as an implied gibe at archrival Sotheby’s. – Lee Rosenbaum

“Jay,” the name he went by among close friends, was widely regarded as one of Germany’s premiere second-generation Beat writers. But his narrative fiction — like that of William S. Burroughs, a mentor with whom he was associated — was more experimental and closer to Brion Gysin’s or J.G. Ballard’s than to Jack Kerouac’s or Allen Ginsberg’s. – Jan Herman

Time and again while listening to the new recording of David Hertzberg’s opera, I asked myself, What zeitgeist did this arrive from? What cultural phenomenon contributed to why it was written now? And why have audiences responded to it so readily? Here are the pieces that don’t even begin to add up. – David Patrick Stearns

“It behooves us to spend some time considering how we might prepare not just for a new financial reality but for a new social one. It will be important to be and be seen as partners in making a better and more livable world – not just by being presenters of arts events but by being valuable community citizens.” – Doug Borwick

One of the most controversial acts in the ever-controversial life of Dmitri Shostakovich was his tortured decision in 1960 to join the Communist Party. It is not mentioned in Testimony (1979) – the composer’s influential memoirs, collaboratively written with Solomon Volkov. But Volkov offered his own view, for the first time, in a Zoom chat the other day produced by PostClassical Ensemble. – Joseph Horowitz

Opera America had asked me to speak at their annual conference this year, but of course the conference was canceled and moved online. So I made this video for the online conference, talking about the influence of technology on opera and how audience expectations evolve as they use technology. – Douglas McLennan

If we as a nation come out of the pandemic with a heightened awareness of and reaction to profound economic inequality and the systemic injustice in which it is rooted, it could be that the arts are in for a difficult time. If that is the case, I think of the Pete Seeger song, “Which Side Are You On?” – Doug Borwick

Beans and poverty. Beans and diversity. “Here’s a recipe” leads to a doubtful bean cul-de-sac, no matter how much chopped and shredded you throw on top and shove in the oven till the eternal cheese bubbles and browns. Beans, as it happens, are dangerous. Beans will save the planet. – Jeff Weinstein

Economic recovery from coronavirus will be far slower for the bottom 90% than for the top 10%. This is a deeply perilous prospect for the nonprofit arts industry. In the minds of many, we are closely associated with the economic and social “elite.” – Doug Borwick

Hester Lees-Jeffries explores what exactly makes Baz Luhrmann’s adaptation of Shakespeare so striking (not least Catherine Martin’s design). – David Jays