The announcement from the New York City PBS station says that the channel’s programming “will illuminate the emerging to the established, the hybrid to the pure in dance, film, stories, music, theater, visual art, design and all other forms of creative expression.” A beta version of All Arts is currently online at allarts.wliw.org; the full version is scheduled to launch on January 28.
Tag: 11.01.18
How International Arts Institutions Have Supported Saudi Arabia
Though commonly viewed as disparate, the arts establishment often works in parallel with political and corporate establishments. Despite Saudi’s well-documented involvement in 9/11, its deplorable human rights record, its support of militias in Iraq and Syria, and its war on Yemen, which has caused the most extreme, and preventable, humanitarian crisis of our time, a positive relationship with the Kingdom, and certainly MBS, has been pursued. Far from hidden prior to Khashoggi’s murder. It simply didn’t matter.
China’s Disabled Dance Company Gives Dance A Different Meaning
To be a professional-level dancer demands incredible discipline and years of training. It also requires an acute sensitivity to music, which in most instances serves as a choreographic propellant. Imagine, then, the challenge of becoming a dancer if you are seriously hearing impaired.
NY City Ballet’s SuperFan
Edward Gorey “was very breezy about his opinions,” tossing them off in an artless manner, Peter Anastos says. “He just sat back and proclaimed evident truths about the company from a lofty cloud.” He had a flair for the bitchy bon mot, dubbing Suzanne Farrell and Peter Martins, neither of whom he could abide, “the world’s tallest albino asparagus.” Asked about the moldy chestnuts of the classical repertoire, he sniffed, “Les sylphides? Where they’re all looking for their contact lenses?” That said, his pronouncements were never mean spirited.
Research: Live-Streaming Performances Doesn’t Diversify Audiences
These ‘live to digital’ screenings – which happen either at the same time as the actual performance, or afterwards – were nevertheless found to be popular. Organisations hosting the screenings and the people attending them expressed an interest in this continuing – although a wider take-up is challenged by ongoing capacity and technological barriers across the sector.
Why Would You Write A Book Only For The Future? (No One Alive Now Will Read It)
“When you write a book you have the faith that it will reach out to someone else, to someone who is different from you and it will connect us. That you will be able to transcend the boundaries of the self, that was given to you at birth, that you will be able to touch someone else’s reality.” Yet in 96 years, when the seedlings become trees and the trees are sacrificed to the written word, it is impossible to know whose reality they will touch.
At Paula Cooper’s First Show 50 Years Ago You Could Have Bought A Carl Andre For $1,500
She was the first gallerist in Soho, at 96 Prince Street, way back in 1968 when that was a desolate area that had just recently been saved from having a highway bulldozed across it by Robert Moses. Donald Judd, who made the desk Cooper sits at to this day, bought an entire five-floor factory building at 101 Spring Street that same year for $68,000, a block south of her new gallery.
Standup Comedy’s Killer Weapon? PowerPoint
PowerPoint has long been employed onstage by established comedians like Eugene Mirman and long-running shows like Drunk Education in New York (which Refinery29 explored, among other PowerPoint performance trends, earlier this year), but how did it become the preferred medium for so many young comics at the outset of their careers?
When Andy Warhol Realized That Everything He Did Was The Art
Business Art, he came to call it, “the step that comes after art.” It established that everything this artist had done or would do, as head of Andy Warhol Enterprises, Inc. — as portraitist, publisher, publicist or salesman — counted as components in one boundless work: part performance art, part conceptual art and part picture of the market world he lived in and that we all still inhabit.
What’s With This Obsession With Greatness In Classical Music?
Anthony Tommasini: “Classical music has justifiably been criticized for its obsession with greatness, with certifying a repertory of canonical masterpieces that get played again and again. I, for one, go back and forth about how much this quality should matter, let alone how we should determine it.”