National Art News
“Kevin Smith, who won warm reviews for his performance since taking over as interim president and CEO in August [following the long and bitter lockout], agreed to continue through the 2017-18 season. ‘It was not in my original plan, but I thought: Why not, it’ll be an adventure,’ the former Minnesota Opera chief said Wednesday.”
“The first crop of video gamers are facing middle age with no plans to put down the controller. So the games have to grow up too. Expect less blood splatter, more reflection.” (audio podcast)
Perhaps no quality has been more reviled and scorned but less clearly defined. Fear is often useful, after all, and most writers who approach the subject of cowardice wind up writing about its opposite, courage, instead. Chris Walsh looks at the factor that seems to make the difference.
“Religions with ‘moralizing high gods’ – that is, powerful supernatural beings that oversee human events and take an active interest in how humans are behaving – are more likely to be found in cultures residing in ecologically harsh areas,” a new study has found.
Will and Way
AJBlog: Engaging Matters Published 2014-11-12
A Few Differences With the Met Re: Madame Cezanne
AJBlog: Real Clear Arts Published 2014-11-12
Do I Hear $1 Billion? Christie’s Record-Smashing $852.89 Million Contemporary Sale
AJBlog: CultureGrrl Published 2014-11-12
Embedding a Life
AJBlog: Dancebeat Published 2014-11-12
“Putting on an arts biennale anywhere is complicated. Here, the festival, Qalandiya International, faced special challenges in catering to a Palestinian society that is highly politicized, physically fragmented, internally divided, partly autonomous but still struggling against Israeli occupation, and not given to displays of frivolity or celebration.”
During the 1870s and 1880s in the U.S., there developed a huge body of stories, plays, and poetry written about – and often by – telegraph operators. “There’s something incredibly modern about these amateur stories and the way they handle technology, the influence of corporations, gender, and love in the time of hyperconnection.”
Facing a 29% cut in funding from Arts Council England, ENO has pulled out of a co-production of Monteverdi’s L’Orfeo scheduled for next April at the Bristol Old Vic, which is now looking for a new collaborator for the project.
Sheikh Saud bin Mohammed Al-Thani, “at one time the biggest art collector in the world … [and] a distant cousin of the current Emir, served as Qatar’s minister of culture from 1997 until 2005 and oversaw an ambitious museum building programme for the oil and gas-rich Gulf state.”
“In an original essay, Philip Roth considers the experience of rereading his classic novel Portnoy’s Complaint, first published 45 years ago, in 1969. Six other authors, including Lydia Davis, Marilynne Robinson and George Saunders, also reflect on their own earlier works.”
There was only one bidder for the sculptor’s 1950 piece Chariot at Sotheby’s last week. That bidder was anonymous at the time, but someone has blown his cover …
“That’s a tidy sum in an industry where many plays cost $4 million to produce, and most end up losing money. But with Broadway’s 40 theaters nearly all booked, and plenty of shows waiting for vacancies, the recent jockeying for the Gerald Schoenfeld Theater reflected the imperative of producers and directors to hold fast to a prime theater that finally comes their way.”
“I don’t believe you should stay onstage until people are begging you to get off. I like the idea of leaving them wanting a bit more. I do think directing is a young man’s game, and … I want to go out while I’m still hard.”
“Pearce has been quietly toiling away at his songwriting, with a home studio in [Melbourne], for just as long as he has been acting.” But don’t worry: he’s no Billy Bob Thornton.
“Alien abduction has been considered a fantasy, a hoax, and even to some, a fact; but it is now clear that it may also represent a recovered memory.” The key: “accidental awareness under general anesthesia” (waking up during surgery).
“We’re already so accustomed to mobile technology that experiencing art through it feels as natural as any other interface. It can be hard to see just how categorically it changes (and could yet change) art. Think wearable tech: Google Glass, for instance, or Oculus Rift, both of which extend the possibilities even further to virtual or augmented realities and audiences existing within artworks, not simply looking on.”
“After experiencing sound artist Ryoji Ikeda’s newest composition, Superposition, commentator Adam Frank says yes – but that it won’t just be science you’ll be learning.”
Someone evidently took two scores and the baton case of Bramwell Tovey shortly after he conducted a Vancouver Symphony performance of Britten’s War Requiem on Saturday.
Says the soprano, now 55, “I’m really happy with my opera life – 54 roles was a lot to learn and perform and so I think I may leave well enough alone. I have another three years of various new productions and so I’m not stopping yet – let’s not put the cart before the horse, but I’m thinking down the road.”