National Art News
From Charlie Chaplin to Burns and Allen to Mae West to Redd Foxx to What’s Opera, Doc? to Phylllis Diller to Lily Tomlin’s Ernestine to Carol Burnett’s Went With the Wind to Richard Pryor to Seinfeld to The Simpsons to the greatest film comedy ever made …
A Q&A with Jim Abrahams and the Zucker brothers. who insist that they lifted many lines – including “Surely you can’t be serious” and “We need somebody who can not only fly this plane, but who didn’t have fish for dinner” – directly from old dramatic movies.
We know about the poetry on subway ads and the short story vending machines. But now there’s poetry and prose on coffee-cup sleeves, poets in public spaces writing on-demand verse for $5, and classic novels that double as 10-ride transit passes.
Ross Jackson takes on the practice of putting the one African-Amrican-themed show in a theater’s schedule during February (Black History Month); “that one black actor onstage,” often in a subsidiary role; colorblind or nontraditional casting (“the terms are inherently aggressive and inappropriate”); and “dehumanizing” casting of black actors as subservients, animals and/or magical beings.
“Massachusetts collector Dorothy Braude Edinburg, who died in Jan. 2015, donated the money” – more than $35 million – “in her will and, in an unusual move, earmarked it for new art purchases. The final figure is still being determined.”
In dancer and choreographer Dada Masilo’s version, “her Odette is married off to Siegfried, who is in love with Odile. The catch: Odile is a man, although Ms. Masilo has him dance on point and, like all the swans, wear a tutu. The three principal characters are victims of social convention. As in the original ballet, it doesn’t end happily.”
“His long-standing health woes seemed to worsen this season to the point that singers and musicians were having difficulty following his conducting. But then … the doctor gave Mr. Levine an 11th hour reprieve, saying that [his] most serious problems could probably be solved by adjusting the dosage of a medication that he has been taking to treat his Parkinson’s disease.”
Art Fund Says It Will Stop Raising Money To Keep Works In Britain Unless UK Reforms Export Licensing
“This follows the debacle that ensued when the foreign buyer of a £35m work by Rembrandt, Portrait of Catrina Hooghsaet (1657), withdrew an export licence application when the Art Fund decided to mount a public campaign to buy the picture for Wales.”
The Temptation of St. Anthony a 10-by-15-inch oil-on-wood panel that was probably part of a triptych, was acquired by the Nelson-Atkins Museum in 1935, where it was last on display in 2003.
“The extension, which lasts until July 31, keeps the contract terms the same as the contract that expired last year. … The two parties have been in negotiations since last June and have been far apart on how much musicians should be paid.”
The Most Incredible Thing, based on a Hans Christian Andersen tale, has a new score by Bryce Dessner and a cast of 56.
“His manner was the same whether he was working with one dancer or dozens. By slightly lowering or raising his voice, he could shift seamlessly from giving a dancer a subtle note to rearranging major traffic patterns. He seemed aware of everything, and when the dancers took five, he did not, his mind whirring almost visibly.”
Local, state, federal: public funding for the arts in the U.S.
At the Atlantic, Andy Horwitz asks ‘Who should pay for the arts in America?‘ He is specifically asking about nonprofit arts, whose funding comes from paying customers, donors and other sponsors, and the public sector. … read more
AJBlog: For What It’s Worth Published 2016-02-01
Miles To Go: The Met Breuer’s Unspoken Task
The Metropolitan Museum put on a show for the press last week at a briefing on the Met Breuer. It took place, oddly (for the Met) in a black gallery in the main museum building and … read more
AJBlog: Real Clear Arts Published 2016-02-01
Pierre Boulez’s passing last month brought back memories of what a giant he was in his prime. He certainly gave the generations that followed a complex heritage. I really can’t imagine what it must have … read more
AJBlog: Infinite Curves Published 2016-02-01
Goodbye to All That (Almost)
The Trisha Brown Dance Company presents three of Brown’s proscenium works in New York for the last time. … read more
AJBlog: Dancebeat Published 2016-02-01
Journalism as ‘The Poetry of Fact’
At the Chicago Sun-Times I watched some great wordsmiths up close. Roger Ebert wrote with an ease that seemed miraculous. His profiles flowed like swift streams. David Elliott was another. His reviews had the density … read more
AJBlog: Straight|Up Published 2016-02-01
In two and a half months …
Here’s something I’ve mentioned before. But now it’s time to get serious. My reemergence as s composer is just two and a half months away, with an evening of my work on April 14, … read more
AJBlog: Sandow Published 2016-02-01
“Strangely enough, the more ‘alien’ the language, the more we can learn about our own messy human languages and how ‘weird’ they can seem. Marc Okrand, the creator of Klingon, explains how he deliberately tried to violate human language universals in order to make Klingon seem alien, from the unusual set of sounds in its phoneme inventory to using uncommon syntactic rules, such as the object-verb-subject word order seen only in about 1% of the world’s languages.”
“You’d have to have your head in the sand, or perhaps somewhere else, to not anticipate that there would be criticism of this in Toronto in 2016, amid the #OscarsSoWhite controversy and right after Prime Minister Justin Trudeau’s speech on diversity ‘as a source of strength’ at Davos.”
“So many artists whose potential is unlimited, and who have already worked on visible, prestige (and in some cases commercial) projects, are still barely scraping by. This is not a new thing, although of course the current funding situation tightens the screws. It reflects the fact that a great deal of the increased funding that went into theatre over the last 20 years found its way into buildings and administrative posts, leaving artists to apparently exist on thin air.”
The University of the Arts is one of the nation’s only universities dedicated solely to educating students in the visual and performing arts, design, and writing, UArts is a leader in educating creative individuals. Established in 1876, the University has developed an innovative, flexible approach to developing artists, designers and writers. Our nearly 1,900 students are enrolled in 26 undergraduate and 23 graduate programs on our campus in the heart of Philadelphia’s Avenue of the Arts.
The School of Dance at the University of the Arts is part of the College of Performing Arts – along side the School of Music and the Ira Brind School of Theater Arts. Under the leadership of Donna Faye Burchfield, the school comprises 300 talented, self-expressive students, and a faculty of exceptional and accomplished professionals with abilities and experiences that are diverse and far-reaching. We are in the midst of a new, emerging curricular approach that reimages and reinvigorates the training of young artists. The curriculum takes the depth and rigor of a discipline based dance conservatory while engaging students in open discussions and explorations within their own practice, valuing their voices as capable of developing new critical perspectives and approaches to dance and performance.
The School of Dance seeks to hire a full-time Assistant Professor of Studio Practice to teach classes in contemporary modern dance and/or jazz and urban dance forms and ballet with experience teaching improvisation, composition, and/or dance practices involving new approaches to research. The position is a 3-year appointment with potential for renewal. Candidates should bring to the curriculum expansive pedagogical approaches to the practice and research of dance and dance making in the 21st century with innovative ideas about connectivity and working collaboratively.
Teaching all levels of studio practice and ability to teach one or more courses: composition, staging and coaching repertory and/or create work for and with students, mentoring senior projects, and/or related studio practice specialties.
Additional responsibilities will include advising & mentoring students, participation in student assessment & audition/recruitment processes, and fulfill faculty service expectations. In keeping with the expansive reach of the School, we seek innovative candidates with strong leadership and administrative skills coupled with artistic/pedagogical goals.
- Demonstrated university teaching skills and professional experience within the US and/or abroad
- MFA degree in dance required
Submit current CV, teaching statement, work samples and the names and contact information for three references to Bren Thomas, Assistant to the Director, School of Dance at: email@example.com. Please ensure job title is in the Subject line.
The review of applications will begin on February 15, 2016. The search will remain open until position is filled.
In compliance with the Jeanne Clery Disclosure of Campus Security Policy and Campus Crime Statistics Act, The University of the Arts publishes its Annual Safety Report at the following link for your reference:
THE UNIVERSITY OF THE ARTS IS AN EQUAL OPPORTUNITY EMPLOYER
“On Thursday, the theater’s artistic director canceled the last four performances of the play, saying in a statement that it had caused ‘more pain than room for thought’ and had led to ‘threats,’ without disclosing further details.”
Eileen Myles: “In 1977, I probably would have been out getting trashed the night before and so the wake-up would be filled with so much dread. I wake up and I don’t feel in a state of existential dread. I wake up with a sense of wonder. I don’t dread the future. I like it. Because this is it. But I still hit the coffee hard.”
“The long-established Bechdel test, first proposed by the US cartoonist Alison Bechdel in a 1985 comic strip, requires two women to talk to each other about something other than a man to prove its egalitarian values. Dargis said her ‘DuVernay test’ would merely require ‘African Americans and other minorities [to] have fully realised lives rather than serve as scenery in white stories.'”