The notion of “abstract music” is a troubled one; music becomes “abstract” mostly by association with art that is so named.
Tag: 03.14.17
Will The Ambitious Art In American Embassies Program Continue Under Trump Administration?
Virginia Shore, the programme’s acting director, told Town & Country magazine last year that the value of works on loan to the AIE has risen to a half a billion dollars in recent years, up from around $10m under President George W. Bush.
Time To Bring Back Dubbing For Movie Musicals
“Let’s bring back vocal dubbing. If you’re going to hire famous actors to bring some star power to your movies, help them out by letting someone else do the hard part. Back in the movie musical heyday, this practice was fairly common — the late Marni Nixon, for instance, provided the singing voice of everyone from Deborah Kerr to Audrey Hepburn — but those who provided dubbing often went without fair credit. But that’s a black mark against Hollywood, not against dubbing itself.”
Theaster Gates’ Virtuous Circle
“Theaster’s bringing art into a neighborhood where there’s not a lot of resources devoted to those sorts of questions, and he’s bringing labor and craft traditions into the National Gallery. It’s a kind of circular economy. He’s got the whole art world interested in him, and he is pointing everyone’s eyes at issues that he’s concerned with.”
Orson Welles’s Final Film Is Being Completed At Last (Thanks To A Certain Famous Online Media Company)
The Other Side of the Wind, “one of the most famous movies never released – one that has bedeviled various directors, movie companies and cinema buffs since Welles left it unfinished upon his death in 1985 – may finally be completed and shown worldwide.”
‘Don’t Worry About Looking Pretty’ – Teaching The Bolshoi How To Dance Jerome Robbins’s Weirdest Ballet
A Q&A with Jean-Pierre Frohlich, one of two ballet masters from New York City Ballet who traveled to Moscow to teach the Bolshoi dancers Robbins’s The Cage.
Top Posts From AJBlogs 03.14.17
Contextualize First
The tendency to imagine that community engagement demands all kinds of new work, new approaches, and new venues makes the consideration of engagement nearly impossible for some. … read more
AJBlog: Engaging Matters Published 2017-03-14
At the Top of the Met, Salaries Rose During Buyouts & Layoffs
Consider the top two-thirds of this posts as akin to a re-tweet, because I have not confirmed the numbers. … read more
AJBlog: Real Clear Arts Published 2017-03-14
Speaking of Gender . . .
Richard Move and MoveOpolis! performs at New York Live Arts. … read more
AJBlog: Dancebeat Published 2017-03-14
It’s A Rave: The Matisse/Diebenkorn Exhibition
San Francisco beckoned me because of the Matisse/Diebenkorn exhibition at the San Francisco Museum of Modern Art. Both artists are nothing if not seductive and, … read more
AJBlog: Real Clear Arts Published 2017-03-14
Museums Go Multi-Sensory – Does It Deepen The Experience Or Distract From It?
“Some museum leaders view these offerings as a way to attract younger audiences who are steeped in multisensory experiences and to deepen the engagement with the art objects for everyone. But others see them as distractions.”
Jerry Saltz: The Best Whitney Biennial In Years
“The 2017 Whitney Biennial was organized in one era and exists in another. I leadingly asked the show’s two 30-something Asian-American curators, Christopher Y. Lew and Mia Locks, if they altered anything after the election. Nodding with patient understanding but unshaken, both firmly said, “We didn’t change course.” By all rights then, this is the first, last, and only Hillary Clinton biennial. But that doesn’t mean it is out of step, nice-y nice, disconnected, or just so many snowflakes from another era. Instead and pressingly, even with wild up and downs, flaws and all, the 2017 Whitney Biennial is the best of its kind in some time.
An Edgy, Provocative Whitney Biennial Right When We Need It
“The mood is, by turns, anxious and dark, even sinister, but also, at times, expectant, guardedly hopeful. Everyone is on edge. The show presents a nation, and the sensibilities of its artists, in a period of transition, with violence cresting, identities in flux, and some brave souls hatching plans. A sea change is coming, though it is unclear if its effect will be disastrous, momentous, or something more complicated. Call it the biennial on the brink.”