“Your expectations are disrupted. And I believe that’s what I’m here for. I hold that flag.”
Tag: 10.02.16
The New Face, And Brains, Of The Washington Ballet
“As she introduced each segment of the nearly three-hour salute to the company’s history, Kent led the audience members elegantly — and cannily — to an undeniable conclusion: She stood before them as the visionary queen of the Washington Ballet’s future.”
What It Means To Direct And Act In A Beckett Play [VIDEO]
“The last time Lisa Dwan was in a Samuel Beckett play, her mouth was all that appeared on stage. Now, as she acts and co-directs her latest adaptation of the writer’s work, Dwan has decided to suspend herself in mid air above a bog.”
Roy Lichtenstein Sure Loved L.A. (Or So Angelenos Claim)
“The New York art world, while burgeoning and exciting, was also pretty insular. Lichtenstein came out here, and he felt free.”
And The Strike’s Over, Folks: Philadelphia Musicians Agree To A New Contract
The cellist who is chair of the negotiating committee said “the final deal was an improvement over management’s original offer, and the players were eager to return to work. ‘We wanted to avoid harming the institution.'”
This Week In Audience: Measuring Audience Value – Three Things We Learned About Audiences
This Week: How are we measuring the value that audiences get for their money?… Think you own the culture you just bought? In the digital age, maybe you don’t… Wow! fan conventions are making stars really big bucks.
What Ails The Philadelphia Orchestra Won’t Be Cured When The Musicians Come Back
“Regardless of whether this is quick, or the kind of long, damaging strike the orchestra sustained in 1996, bigger problems loom. Musicians returning to work will no more end the orchestra’s troubles than the group’s exit from bankruptcy in 2012. The salient question: Is there enough willing philanthropy in Philadelphia to support this orchestra’s traditional spot as one of the top ensembles in the nation? Some believe wholesale change in the organization is what it will take to preserve that status.”
Highlights From This Weekend’s AJBlogs 10.02.16
This Week In Audience: Measuring Audience Value – Three Things We Learned About Audiences This Week: How are we measuring the value that audiences get for their money?… Think you own the culture you just bought? In the digital age, maybe you don’t… Wow! fan conventions are making … read more
AJBlog: AJ Arts Audience Published 2016-10-02
City Flock
Jennifer Monson/iLAND performs in towin St. Mark’s Church. Photographed in dress rehearsal: Jennifer Monson’s/iLAND’s in tow at Danspace Project. Visible (L to R): Valerie Oliveiro, Niall Jones, nibla pastrana santiago, and Jennifer Monson. Photo: … read more
AJBlog: DancebeatPublished 2016-10-01
What arts legislation do we want then? A call for suggestions
A few days ago blog neighbour Doug McLennan lamented that Congress seems to have no interest in arts-related legislation, with no bills coming to floor on which we could even guess at how elected officials … read more
AJBlog: For What it’s WorthPublished 2016-10-01
Wilsey or Won’t She? FASMF’s Board Head Defies Regime Change (plus: Albright-Knox name change)
Now she’s a board chair, not president. But whatever names you call her, it appears that Diane (“Dede”) Wilsey has out-maneuvered the proponents of regime change at the Fine Arts Museums of San Francisco. The …read more
AJBlog: CultureGrrlPublished 2016-09-30
AJ Week In Review: Two Big Orchestras Strike, Two Others Report Record Success
This Week: Three orchestras now on strike as audience waits… Two other orchestras report record success… A museum raises $100 million in just three months… Bots are getting awfully good at making art… More links between being bored and being creative.
Sir Neville Marriner, Founder Of The Academy Of St. Martin In The Fields And Conductor Of Pretty Much Everyone, Has Died At 92
“He formed the Academy with the aim of forming a top-class chamber ensemble from London’s finest players. Ironically, it was conceived as a conductor-free refuge for string-players but Marriner became, as he put it, ‘a turncoat’ – a conductor who on stage, as often as not, held a violin in one hand and a baton in the other.”