Some 332 violins, 76 violas and, 73 cellos and 19 double basses are available to view, along with hundreds of other stringed instruments from around the world, and thousands of wind, keyboard, percussion and electronic examples, spanning 5,000 years of human history.
Tag: 10.30.17
What Mazes Tell Us About Ourselves
Culturally, mazes are now massively resurgent. Practically every country park has its hedge maze, mirror maze or maize maze – and so do a growing number of churches and cathedrals. In virtual reality, notably, the maze forms the basic substructure of innumerable videogames. So why do mazes draw us in? And what do they do to us while we are there?
Denver Art Museum Suffers ‘Data Security Incident’ With Personal, Financial Info
“The Denver Art Museum warned 800 people this month of a data breach that included sensitive personal and financial information about its donors, customers, and current and former employees, according to a letter obtained by The Denver Post.”
Is This The City Of The Future Way Out In The Sonoran Desert?
“A portmanteau of ‘architecture’ and ‘ecology,’ arcology was first theorized by the Italian architect Paolo Soleri in the late 1960s. Billed by its creator as the blueprint for a “city in the image of man,” arcologies challenged the notion of the urban environment as something separate from and antagonistic to nature. In Soleri’s cities, cars would be useless and the very notion of roads would be abolished as divisive constructs. Work and living spaces would be nearly indistinguishable. There’d be no need to ever use a light bulb during the day or air conditioning during the summer, even in the desert.”
Watch How A Historic 16th-Century Church Crumbled In The Mexican Earthquake
The Ex-Convent of San Guillermo Abad in Totolapan, founded in 1534, suffered severe damage in the 7.1 magnitude quake on Sept. 19 – and security cameras recorded that damage from multiple angles. (includes video and audio)
How To Fix Toronto’s Public Art
Because of its relationship to development — and the rigid nature of that policy — public art mainly grows in the shadows of new building projects. That means large swathes of the city’s inner suburbs have been neglected. The report recommends pooling art funds contributed by developers and by the city’s own capital projects to target underserved areas.
Using 3-D Holograms To Share Holocaust Survival Stories Onstage
“[Fritzie] Fritzshall is one of 13 Holocaust survivors who tell their stories through holographic images that invite the audience to ask questions, creating what feels like a live conversation.”
Telling The Stories Hollywood Won’t – Producer Christine Vachon
“Vachon, now 55, has either launched or been instrumental in developing the careers of such idiosyncratic talents as Todd Solondz (Happiness), Kimberly Peirce (Boys Don’t Cry), Mary Harron (I Shot Andy Warhol), and John Cameron Mitchell (Hedwig and the Angry Inch)” – not to mention Todd Haynes, from Poison to Velvet Goldmine to Far From Heaven to Carol. “She has an instinct for which voices are best suited to tell which stories, and which audiences will turn out to see them. She likes working with first-time directors ‘because they are often telling a story they’ve waited their whole lives to tell.'” A Q&A with Dana Stevens.
What It’s Like To Be The Only Black Art Commissioner In A City (Exhausting)
“As an arts commissioner swept up in a zeitgeist where all public displays of art honoring problematic white men are on red alert, [Kilolo] Luckett is in a position where she must not only help [Pittsburgh] navigate this space, but she also gets to help discern what message the city sends to the people. As a professional art historian, this is an uneasy dance of preserving artistic freedoms and expressions and also making sure decisions are not merely capitulations to political correction.”
Former Tate Britain Director Is Revolutionizing Lisbon’s Gulbenkian Museum
“When [Penelope] Curtis arrived in 2015, the museum’s design had barely changed since it opened in 1969. … [One of her main projects is] to open up Gulbenkian’s ‘rather rigidly divided’ collection and shine a spotlight on its Islamic holdings.”