Zentropa, Lars Von Trier’s Film Studio, Had A Very Creepy Workplace Culture (In Denmark, No Less)

“The image of Denmark that travels around the world is that of a peaceful, progressive, liberal, educated country on the cutting edge of feminism,” writes Danish journalist Anne Mette Lundtofte. And Zentropa, founded by Lars von Trier, is Denmark’s international flagship in the media world. Lyndtofte was initially “captivated” by Zentropa’s “militant transparency” – open plan offices, glass walls, outdoor swimming pool. “But, the more I visited Zentropa, the more I saw behavior that made me feel uncomfortable – both as a woman and as a Dane.”

The Most Remarkable Art-History Discoveries Of 2017

“In 2017, we gained new insight on the early years of Leonardo da Vinci and the final ones of Andy Warhol; amateur archaeologists were rewarded with major finds; and several masterpieces were discovered, simply hiding in plain sight. From newly mapped Venezuelan petroglyphs to a long-lost Magritte, these are 10 of the most notable art-historical discoveries of the year.”

Frida Kahlo, Global Brand

“Since her death in 1954, Kahlo has become a global symbol of resilience against adversity and patriarchal oppression, a feminist icon, and, thanks to her affairs with both men and women, a cult figure in the queer community. … And her rise to prominence in the popular imagination – through the ’80s and ’90s and on – has coincided with the ascendance of identity politics.” Combine that with good old global capitalism (which she abhorred), and you get her image on everything from postage stamps to nail polish to tequila to socks. Tess Thackara tells how it all came to pass.

Culture Shift: Will Opera Companies’ Behavior Concerning Harassment Really Change?

“Since the eruption of the latest Levine scandal two weeks ago, a distinctive shift is taking place. Whether this shift makes or breaks the opera industry will depend on how opera companies choose to acknowledge and deal with it. With concerned colleagues emboldened and supported to speak out, audiences becoming more discerning about the character of the artists they are supporting, and the industry depending more than ever upon the public for its livelihood, it is clear that the policies that have allowed known abusers to fly under the radar in the past must radically change.”

Amazon Has Its Own 80-Piece Orchestra And A Cappella Group

“‘About this time last year, one of our oboists looked through our employee directory and looked through people’s interests, particularly in classical musical instruments, and he just sent out this massive email, asking ‘Hey, who wants to start an orchestra?” recalls Beau Curran, a technical account manager on Amazon’s digital music operations team and an oboist in the Amazon Symphony. ‘The first day of rehearsal, we were really wondering whether we’d just end up with a saxophonist and a keyboardist, and that would be our orchestra.'”

Museum Of The Bible Finds A Key Audience: Evangelical Bus Tours

“Officials hope that the museum will become as much of an attraction for faith-based group tours as the Capitol or the Library of Congress, and that hordes will pass through the 40-foot-high, two-ton Gutenberg Bible portals depicting text from Genesis. Tour operators such as Purpose Driven, most traveling by bus and religious in nature, are critical to the museum’s success.”

Should Street Art Be Legally Protected? This Case Calls The Issue

The case is being closely watched because Vara gives artists the right to preserve their work only if it is of “recognised stature”. In November, a Brooklyn jury decided in favour of the artists in a verdict, in effect saying street art deserves protection even when, as at 5Pointz, thousands of works were painted over to continually make way for new art. But the jury verdict was only a recommendation.

Study: Huge Gender Gap At The Top Of British Theatres

The research, which looked at 33 venues, was carried out in response to recent conversations about gender equality, and in light of concerns from some SDUK members that seasons were heavily weighted towards male directors. The research looked only at in-house shows produced by the venues themselves, rather than visiting shows, and included productions staged by artistic directors.