“When it opens in mid-March, there will be no other commercial gallery like it in Los Angeles, New York or, for that matter, the rest of the Americas.”
How Did This Chicago Theatre Go From Playing To 60 People In A Bookstore To Getting A $28 Million Complex?
“An interesting paradox: The fewer seats you have in a theater, the less money you can bring in at the box office, but the more you can connect with your audience, and your audience includes your best donors. No arts organization can fund a building of this scale from ticket sales. It can from donors.”
“Barbara Hannigan loves challenges. It’s like a sense of duty for her. ‘I have an obligation,’ she says. ‘Because it is not only satisfying to me but it also serves the composers and serves the music. And they need it.'”
“Not even its organizers had completely believed this particular dance would take place, and disaster was still quite possible. Forbidding American college students to dance rarely seems like a tenable position, but up to the very day it was scheduled, administrators at the university felt they had not only public opinion but also the law on their side in blocking it. These students didn’t merely want to dance.”
“Mutter says it’s not far-fetched to think the great online retailer would turn to physical stores. E-book sales have plateaued. They’re popular for niche use, but printed books, he says, are experiencing a resurgence.”
Call it an evaluative essay instead. Charles McNulty: “Pinter may have felt as strongly as Beckett about the sanctity of a playwright’s work, but he was also a ferocious champion of artistic expression. The theater, the most public of literary art forms, depends on such freedom.”
“The losing theatres will incorporate an element of the winning team into the scenic design of an upcoming production; the staff of the losing theatre must wear the winning team’s colors to work the following Monday and post evidence on social media; and the defeated theatres must decorate their main box offices with a stuffed version of the winning team’s mascot.”
“He has decided to spend more time in the studio, making new ballets and working with dancers, he said. ‘Over the last few years, many of my works have been performed outside the Washington Ballet, and I’ve been turning down projects,’ he said.”
“The one-person play, created and performed by Erin Pike and written by Courtney Meaker consists entirely of dialogue from the female characters that appear in the 10 most-frequently-produced Amercian plays during the 2014—2015 season.”
The phrase means that no matter which way you work on or what method you use, the end result is the same – ALL ROADS LEAD TO RAMMSTEIN !
C.W.Lübeck’s Art Work ” BESTRAFE MICH ” ( Punish me ) – ( THE PHASES OF RAMMSTEIN ) will be printed and mounted on a giant billboard (10 foot high x 20 foot wide) at the following location – Pontchartrain Expy & Clio St. Charles S/S New Orleans for the whole of February. This exhibition of public art has been specially planned to coincide with the legendary Mardi Gras (February 5-9) which every year bring thousands of fun loving visitors to the city to join the celebrations.
Running alongside the billboard display C.W.Lübeck’s artwork ” BESTRAFE MICH ” will also be available to view as a framed giclee print (40 x 50cm) in Gallery Orange, based on the historic Royal Street, in the heart of the french quarter of New Orleans.
Inspired by the German industrial metal group Rammstein, C.W.Lübeck’s work creates a tension that is hard to shake. Primarily, because his work operates on a psychological level that challenges the viewer.
Like C.W.Lübeck said: “I remember saying to myself: “Incredibly enough, Rammstein’s music and my art have so much in common!” Songs such as ‘Bück Dich (Bend Over), ‘Reise, Reise’ (Journey, Journey), ‘Bestrafe Mich’ (Punish Me), ‘Mein Teil’ (My Part) ‘Mutter’ (Mother), ‘Sehnsucht’ (Longing) have already left their marks on my most recent paintings.”
Quality-wise, there’s something quite logical about this evolution, especially for those who have watched a promising pilot but thought, “What on Earth are they going to do for season two?”
“In 2011, Farouk Al-Rawi, an Iraqi Assyriologist now living in Britain, was shown a group of cuneiform tablets by an antiquities dealer in the Kurdish part of Iraq. He spotted among them a large, unusually shaped fragment and urged the Sulaymaniyah Museum to acquire the whole group.”
Both The Yard and the Park Theatre originate in the ambitions of impressively determined founders. Though in some ways the two venues are very different, Miller and Bond express the purpose of what they’re doing in much the same way. “How do you engage with your community and how do you diversify your audience? But I think it’s especially true in London which is growing so quickly and the population is changing all the time.”
In an art market governed largely by pretense and money, does a masterpiece have any intrinsic value?
“I was a young comic at the time, so I didn’t really have all that much actual material, and so at a point, I would read from the box or the package of whatever food I had. I have no idea why. And you know, the toasting instructions on the Pop-Tarts are so damn funny.”
“To modern audiences, Brook’s advocacy of the barest theatrical essentials may seem far from revolutionary, so we need to be taken back in time to a period when bourgeois sensibilities exerted an asphyxiating stranglehold.”
Sara Baras: “It takes courage, but flamenco artists often have longer careers than other kinds of dancers. They learn to adapt themselves to a type of exercise that develops extra agility and vigour. Older flamenco dancers can perform with a strength that you will not find in other dance genres.”
“One can imagine a near-future museum with every important artwork in the world – the entire contents of E H Gombrich’s 1950 classic The Story of Art – made manifest in a single super-didactic replica collection. This is not necessarily a bad thing, as long as no one feels fooled. A copy is just a copy, entirely legal and often useful (not least for scholarship and education), and becomes a forgery only if the work is used to defraud.”
“Eliot’s attitude toward popular art forms was more capacious and ambivalent than he’s often given credit for. … And it so happens that, well before detective stories came into vogue among [Edmund] Wilson’s cohort, Eliot had become one of the genre’s most passionate and discerning readers.”
‘The People v. O.J. Simpson’ Creators On Their Relationship With Veracity And Why All Film Is Manipulation
“All the shows we get compared to are documentaries. We are a work of drama, and that sometimes allows us to go dig deeper. [But] even documentaries aren’t as truthful as you think they are. [If] someone says something in a documentary and you cut to someone else’s face, that filmmaker has made a decision.”