There are some works of art that are unique – they can’t be repeated or recreated by others, writes Tim Page, who offers a list of “unique” music. “If there is any tie that binds, it is their un-repeatability. It is impossible to imagine a sequel to any of them; they create new forms, live out their lives and then break their own molds. (The same cannot be said of some of the most hallowed masterpieces – Shakespeare’s plays, Bach’s choral music, Mozart’s symphonies, Chaplin’s comedies – all of which fit gloriously into one continuum or another.) Indeed, it has been argued that the very uniqueness of some of the works on this list is a sign of sterility, that the avenues of expression they seemed to open have usually proven to be cul-de-sacs. Still, if you want these particular goods, there’s only one place to get them.”
Tag: 01.02.04
Germany’s Fragmented Art Scene
Most countries have a cultural center, where the major business of art is conducted. “Germany, however, has several centers. From north to south, these are Hamburg, Berlin, Cologne and Munich. This situation has disadvantages, since there is no “scene“ in which everything culminates. However, the decentralized country also has its advantages, because its auction locations live with and from their respective clienteles and their mentality, which is also reflected in their art purchases. Similarly, the international public, which focuses its attention on art auctions in Germany, (still) follows these paths.”
City In Crisis – Can Culture Save Rio?
“At this moment in history, there are two urgent questions, vividly focused in Rio: can this city, the jewel in Brazil’s battered crown, halt the seemingly inexorable process of social disintegration as factions wage war on factions? Drug gangs versus drug gangs; drug gangs versus police; police versus apparently everyone (shocking but true, read on). And can culture, that last life raft of the idealistic, come to the aid of a community’s identity, perhaps ensure its survival?”
Critics At The Movies (In Their Dreams!)
Ever wonder how the movie critics see movies? In luxury and comfort, right? “A tuxedo-clad greeter checks your coat, offers a hot towel, and escorts you to your enormous, plush red seat. Beautiful women in flowing gowns roam the aisles, offering Belgian-chocolate covered popcorn, warm spiced apple cider with top-shelf rum, foie gras hot dogs, and an assortment of light meals flown in from L.A.’s The Ivy–all for free. There is a cigar bar in the back, just under the projector, where single malt scotch flows like the ocean in ‘Waterworld.’ A direct line to Harvey Weinstein is always open and celebrities wander in and out, happy to answer any questions reviewers may have.” Not!
Cabaret To Close
The Broadway revival of Cabaret, which is still playing to full houses, is closing this week to make way for Stephen Sondheim’s edgy musical, Assassins. “The second longest-running revival in the history of Broadway musicals ends its storied run — in this its third incarnation — after 2,378 performances and nearly six years.” The show was a favorite with New York critics, with the current revival described as “much darker, deeper and far sexier than either of its predecessors.”
Yevgeny Kissin, Adult Pianist
Yevgeny Kissin was all of 12 years old when he was propelled into the international spotlight, and anointed The Next Great Pianist. That’s a lot of pressure for a pre-teen, and Kissin now admits that he had very little idea of how to handle it. “I’ve eventually learned how to behave properly when approached by musical fans, but I have to admit that just 10 years ago I was absurdly anti-social in this respect.” Still, Kissin has long since reached that difficult moment in the career of any former child prodigy, when he is expected to somehow morph into a mature interpreter of art, without losing any of the youthful vigor that made him famous.
Sotheby’s Rules The Canadian Auction Roost
“Sotheby’s Canada returned to the top of the heap in 2003 as the country’s premiere live auctioneer of fine Canadian art, grossing a total of almost $11-million from sales it held in May and November in Toronto. In recent years the company, which has run a Canadian operation for more than 30 years, has ceded its pre-eminence to the other two big players in the fine-art resale market, Toronto’s Joyner Waddington’s Auctioneers and Appraisers and Vancouver-based Heffel Fine Art… Sotheby’s return to form flows out of the decision by its New York parent in early 2001 to bring two high-powered Canadians into its Toronto office.”
Understudy Heaven
Broadway’s current troubles may be bad news for the moneymen bankrolling the lavish productions, but it’s turning out to be great news for understudies, the unsung actors who stand at the ready, should the stars of the show be suddenly stricken and unable to perform. Broadway is, of course, crawling with big-name Hollywood talent at the moment, but it turns out that big-name Hollywood talent is tough to keep around when the box office is suffering, and more than a few understudies have been unexpectedly catapulted into leading roles.
The Timelessness of Balanchine
Perhaps more than any other art form, dance is subject to the constantly changing tastes of the public, and a choreographer celebrated as a forward-thinking genius in one decade can see his work become dated and clichèd only a few years later. So the fact that the works of George Balanchine can still inspire the same visceral reactions today as they did nearly a century ago is a remarkable thing. Balanchine’s centennial is coming up this month, and New York’s dance community will be showcasing his work all year.
Critics Are Not Cheerleaders
“If patriotism is the last refuge of scoundrels, boosterism is the first refuge of the second-rate.” So says Cleveland arts critic John Kappes, who is getting more than a little sick of his city’s provincial fear of responsible critical writing. Most of the letters he gets sing the same tune: “There isn’t enough criticism. No, we mean there’s too much criticism. And besides, we’re sure they’d like it in New York.” Real cities with a truly distinctive cultural scene do not give a flip what New York likes, says Kappes, unless the city is New York, and furthermore, they understand that critics are playing a role in the artistic process, and that their role should not require the use of pom-poms and human pyramids.