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Thursday
October 31 CULTURE
CAPITAL FINALISTS: Six finalists for the 2008 European Capital of Culture
have been named. They are Birmingham, Bristol, Cardiff, Liverpool, Newcastle/Gateshead
and Oxford. "The rivalry between the cities has been fierce, owing to the
benefits previous holders of the title have received. The UK's last City of Culture
- Glasgow in 1990 - saw a massive increase in tourism as a result of winning the
title." BBC 10/31/02 A
GROWING RIFT BETWEEN EUROPE AND AMERICA: Are America and Europe growing further
apart culturally? Politically, relations have been getting worse in recent years,
but culturally a gap seems to be widening as well. "The more the European
masses appear to be hooked on American popular culture, the more bitterly their
elites decry the U.S. as the profitable but cynical pusher." Commentary
10/02 WHY
WE LEARN? What is the purpose of an education in America today? Is the purpose
to get a job, get into college? Is it to create reflective citizens who are capable
of self-government, both in the realm of politics and emotion? Is it to instruct
students in the rules of society and in the love of learning? Is it all of the
above? And if it is, what is preventing us from attaining those goals on a broader,
more universal scale?" A panel of thinkers on education gets together to
debate the future. Harper's 10/02 IGNORING
THE ARTS: The state of Massachusetts has always been a haven for progressive
politics and a leader in arts support, but this year may be different. Artists
are concerned about the commitment of the two leading gubernatorial candidates
to public arts funding in a year when the state cultural council saw its budget
slashed by more than 60%. Neither candidate has even a vague outline of a position
on the future of the arts, and the arts community doesn't seem to have the political
clout to change that. Boston Globe 10/31/02 BRIT
TRASH (AND WE LOVE IT): There was a time when English cultural exports to
the US were civilized, intelligent. No more. "The most powerful British influences
on American culture today are ferociously crass, unvarnished, unseemly - and completely
unapologetic about it. They are, in fact, one of the latest assaults on what was
once quite a civilized country." The New Republic
10/28/02
Wednesday
October 30 THE
NEW ARTS SCHOLARSHIPS: With corporate donations shrinking and government support
declinign, arts groups across America are looking for new benefactors. And many
are finding them in colleges and universities. "The colleges are providing
not just rehearsal facilities, technical support and audiences but also money
for new works." The New York Times 10/30/02 A
CULTURE PLAN: Portland Oregon arts groups hired a consultant to justify their
aspirations to build a "Lincoln Center West." But the consultants came
back saying it wasn't a smart idea. Instead, they said, address overcrowding in
the city's main arts buildings, and spend $200 million-plus on renovations and
mixed-use facilities. The arts groups love it. The
Oregonian 10/28/02
Tuesday
October 29 IN
PRAISE OF GENERALISTS: Of course we want students to be focused. We want them
to excel. But specialization without a broad general education leads to myopic
thinking. So maybe we ought to come up with some program of broad general graduate
study, suggests Catherine Stimpson. Chronicle of Higher
Education 11/01/02
Monday
October 28 RETHINKING
UK ARTS FUNDING: Has British public funding of the arts backfired on itself?
"The English system of funding has fallen victim to the necessity of political
justification. Everything has to have a catch phrase - outreach, cultural diversity,
accessibility. All these things were inherent in the best companies anyway - but
it has led to tremendous bureaucracy. What can be done? Are there lessons to be
gleaned from abroad about the way we fund our arts?" The
Guardian (UK) 10/28/02 THE
UNIVERSAL SNOB: Snobism has been democratized, writes David Brooks. "Everybody
can be a snob, because everybody can look down from the heights of his mountaintop
at those millions of poor saps who are less accomplished in the field of, say,
skateboard jumping, or who are total poseurs when it comes to financial instruments,
or who are sadly backward when it comes to social awareness or the salvation of
their own souls. We now have thousands of specialized magazines, newsletters,
and Web sites catering to every social, ethnic, religious, and professional clique."
The Atlantic 11/02 MORE
THAN JUST A HAMBURGER BATTLE: When a storefront on the 473-year-old central
square plaza of Oaxaca, Mexico recently came vacant, presevationists were apalled
to discover that McDonald's was the intended new tenant. "Should a multinational
giant, in return for investment in one of Mexico's poorest states, be ceded space
in the very center of a culturally distinctive city?" Los
Angeles Times 10/28/02 SO
WHO IS DANA GIOIA? Nominated by President Bush to be chair of the National
Endowment for the Arts, Dana Gioia is "a writer with a background as a businessman.
He is a registered Republican who voted for George W. Bush and for his father
before that. His poetry is not political. His criticism, essays and reviews are
not polemical. Rather, Mr. Gioia appears to be someone with a wide range of artistic
and intellectual interests who is passionate about making poetry more accessible
to the public. Yes, his essay Can Poetry Matter?, which appeared in The
Atlantic Monthly in 1991 and then in a collection of his essays, angered academics
because he accused them of making poetry an insular enterprise." The
New York Times 10/28/02
Sunday
October 27 THE
DANGER OF LOWBROW: Most people consider lowbrow entertainment to be a guilty
pleasure, certainly not terribly enriching, but not particularly harmful, either.
But Michael Berkely thinks that our appetite for mindless entertainment is destroying
serious, challenging art: "Labels and classifications tend to lead to preconceptions;
in any case, a huge amount of art defies category. But I do differentiate between
entertainment and what I call Hard Art, between Big Brother and Wozzeck, if you
like." The Guardian (UK) 10/26/02 Friday
October 25 GIOIA
IS A GEM: George Bush's choice of poet Dana Gioia as the new chair of the
National Endowment for the Arts is a terrific one, writes J. Bottum. "Mr.
Gioia is the kind of person for whom the job of chairing the NEA was first created.
He is a major figure in American letters, an experienced business executive and
a man with a passion for great art. There's something satisfyingly ironic in this."
OpinionJournal 10/24/02 GETTING
DOWN: How do American arts groups cope with a down economy? "Museums
make cutbacks, reduce budgets, lay off personnel. Symphony orchestras search for
new donors, new ways to get cash. A theater group pulls back its cast sizes. A
big city opera cuts salaries of its top directors. This is the drama of making
the arts work in a slowing economy... Seattle Post-Intelligencer
(AP) 10/24/02 - TOUGH
TIMES IN ATLANTA: Atlanta arts groups are facing deficits and tough times.
"Even arts groups with healthy, balanced books are worried about running
up deficits in the current economic environment. Since most lack endowments, they
are dependent on earned income - namely ticket sales. One false move at the box
office could spell disaster. With that in mind, some organizations have adopted
conservative measures." Atlanta Journal-Constitution
10/24/02
- SEATTLE
SLOWDOWN: After spending more than a billion dollars on building new arts
facilities, Seattle arts groups are finding a slowdown in attendance and financial
support... Seattle Post-Intelligencer 10/24/02
Thursday
October 24 BUSH
APPOINTS NEW NEA CHAIR: President George Bush has nominated poet Dana Gioia
as the next chairperson of the National Endowment for the Arts. "Gioia, 51,
won this year's American Book Award for his third book of poems, Interrogations
at Noon. His best-known book, Can Poetry Matter?, is a study of poetry
in modern American culture." Nando Times (AP)
10/24/02 RETURN
ON INVESTMENT: A new study of the Denver arts scene reveals what several other
recent surveys have concluded on a national level to be true for the local area
as well: the arts are a darned good investment of public funds. "Cultural
revenue was $208 million, half earned through ticket and other sales and the other
half through contributions and cultural tourism generated $139 million, including
attracting 860,000 visitors from outside the state." Denver
Business Journal 10/22/02 HIGH
ART'S LOW AMBITIONS: Robert Brustein is pessimistic about modern culture.
"We are witnessing the not-so-gradual disappearance of what used to pass
for American high art, whether we are talking about performing arts or serious
literature or classical music or the visual arts. When ruled entirely by profit,
the quality of art is bound to the client and so is any openness to risk or to
adventure. The days are over, I think, when publishers took chances on good writers
who were unknown or difficult in order to bring distinction to a list dominated
by bestsellers." Partisan Review 10/02 Wednesday
October 23 BUST
FOLLOWS BIG BOOM: In the four years between 1997 and 2001, Orange County California
experienced an arts boom, says a new study. "According to the survey, the
take from paid admissions to museums, performances and arts festivals soared 58.6%
during the boom economy - from $29.5 million in 1997 to $46.8 million in 2001.
The number of paying patrons rose 37%, from 1.45 million to 2 million. Donations
to operating budgets grew 65.1%, from $29.8 million to $49.2 million. With total
income up 56.2%, the arts groups raised their spending even more aggressively
- by 58.9%. The number of full-time employees increased 40%, from 417 to 585."
And then came the slowdown after 9/11... Los Angeles
Times 10/23/02 Tuesday
October 22 CANADIAN
ARTS DOWN: The 1990s were a terrible decade for Canadian arts institutions.
A new study reports that attendance and funding were down, while expenses went
up. The number of performances and exhitions fell. "Total attendance dropped
by five per cent in the decade, to roughly 13.3 million from 14 million. At the
same time, rising costs resulted in virtually all the country's largest performing
arts organizations - the Stratford and Shaw Theatre Festivals excepted - reporting
deficits." The Globe & Mail (Canada) 10/22/02 WHEN
PARIS WAS EXTRAORDINARY: What was it that made Parid the explosion of art
it became between the two World Wars? "If you wanted three words to define
the extraordinary period in the arts in Paris between 1918 and the end of the
1920s, they would be 'energy', 'colour' and 'iconoclasm'." The
Guardian (UK) 10/18/02 Monday
October 21 AMERICANS
FOR THE ARTS SUES BANK OVER STOCK PORTFOLIO: The Washington-based arts advocacy
group Americans for the Arts has filed a lawsuit against a bank charging it with
negligence and breach of fiduciary duty. The group says the bank failed to diversify
a stock portfolio trust consisting entirely of Eli Lilly stock, leading to the
loss of $81 million from the trusts in nine months. Nando
Times (AP) 10/20/02 Sunday
October 20 THE
FOUNDATION OF OUR SUPPORT: Across America charitable foundations are cutting
back their grants as their endowments shrink with the stock market. The cutbacks
figure to have big consequences on cultural groups that have also seen their funding
from corporations and governments fall. But aren't times of economic stress precisely
the times when foundations should step forward with more help, rather than less?
It's a matter of giving philosophy... San Francisco
Chronicle 10/18/02 THE
SORRY PLIGHT OF THE NEA: The National Endowment for the Arts has been without
a leader for ten months now. There's no sign of a replacement, though the rumored
shortlist has been the same for months. Last week an internal reorganization by
the acting head of the NEA caused a stir, but the agancy has so little clout these
days no one's much paying attention. Chicago Tribune
10/20/02 CLASSIC
CONFLICTS: More musicians are also showing up as critics in Philadelphia's
music scene. Is this healthy? "It's the classic journalism-school question.
How do you stay neutral as a reporter when the best way to cover a certain community
is to be part of it? You can't easily reconcile these things." Philadelphia
Inquirer 10/20/02 Friday
October 18 ARGENTINA
- ART IN A TIME OF CRISIS: "The Argentine economic crisis, in statistical
terms at least as severe as the Great Depression, has profoundly altered the arts
in this country - but not in the way one might expect. Despite the crisis, or
more likely because of it, new performance and exhibition spaces have opened,
artistic groups have formed and attendance at cultural events has stayed the same
or increased." The American Prospect 10/16/02
WASHINGTON'S
KENNEDY CENTER GETS UPGRADE: "To make it easier for the millions of visitors
who visit each year, the Kennedy Center is embarking on the largest performing
arts construction project in the country - estimated at $650 million - to connect
the center to the Mall. Most of the money was approved by Congress and the bill
was signed by President Bush." The New York Times
(AP) 10/17/02 AN
ARTS PLAN FOR PORTLAND OREGON: A report says that Portland Oregon needs $200
million worth of new and renovated arts buildings over the next ten years. Arts
leaders has expected the report to recommend building a single large arts complex,
but the recommendation calls for a series of projects. "It was very clear
early on that a Lincoln Center West was far beyond what was necessary or realistic
for the community." The Oregonian 10/17/02 Thursday
October 17 THE
VISA PROBLEM: What's the point of the Americans declining or delaying visas
for prominent foreign artists? How can it be seen as anything other than an insult?
"How would Americans respond if another country announced that Steven Spielberg
or Bruce Springsteen would have to sit out an awards ceremony so that background
checks could be completed to make sure they werent terrorists? Would we
think that reasonable? Would we assume that no insult was intended against the
United States?" Poppolitics.com 10/16/02 NOT
SO CUTTING EDGE, AND THE WEATHER CAN BE DODGY, BUT... The 17th annual Melbourne
Festival is opening. "There are far too many festivals in the country now,
the word has been overused and de-vitalised in a way. Melbourne has held up very
well . . . it has brought performances and performers to Melbourne that we otherwise
wouldn't see." The Age (Melbourne) 10/17/02 Wednesday
October 16 KENNEDY
CENTER TO SUPPORT MINORITY ARTISTS: Washington's Kennedy Center has announced
a new program designed to strengthen American arts groups operated by minorities,
which often find themselves marginalized by the larger arts scene. The program
will be unique in that it will not simply throw money at groups deemed worthy,
but will attempt to 'loan out' the expertise of the Kennedy Center's top people,
with regular consultations, strategy sessions, and technical and financial advice.
Washington Post 10/16/02 SEASONAL
DISORDER: Fewer Americans are buying season tickets for arts events and buying
more single tickets. "This trend, exacerbated by the economic slowdown, may
have enormous effects on what is presented, who attends and how performing arts
groups manage their budgets. In classical music, more seats are being sold overall
32 million attended the symphony nationwide last season, up from 27 million
a decade ago but for shorter series and on shorter notice, often through
the Internet." The New York Times 10/16/02
ART
VS. APATHY: There is an increasing disconnect between people who spend their
lives enmeshed in the world of art, and people who don't, and the gulf is marginalizing
an entire industry. "In my experience, the art people speak only to art people,
and believe, from this unrepresentative sample group, that people who read an
intelligent newspaper -- sensitive people like judges or cabinet ministers or
television producers -- are arguing daily with their husbands over the tea and
toast about whether the paper's art critic has really understood the limitations
of postpainterly abstractionism. In fact, for many if not most of my acquaintances
who aren't actually artists, newspaper articles about the art world have a status
only marginally higher than that of the bridge column. They are perceived as serving
a niche equally small." The Globe & Mail
(Toronto) 10/16/02 COPYRIGHTS
AND THE VOX POPULI: The Digital Millenium Copyright Act was hailed by musicians'
unions and the recording industry for protecting copyrighted material, and excoriated
by consumer advocates for being draconian and unreasonably restrictive on the
rights of music and video buyers. The two sides could not be further apart on
the issues, and now a period of 'public comment' is set to begin later this fall.
There will be town meetings and solicitation of public opinion, and at the end
of it all, the Librarian of Congress will rule on what sorts of exceptions exist
under the DMCA. Trouble is, most observers believe that the legislation leaves
no room for exceptions, regardless of what the public wants. Wired
10/16/02 SOUTH
AFRICA ON THE MOVE: For awhile after apartheid ended in South Africa, the
country's creative artists fell silent. It was if they needed to take a pause
and think. But in today's South Africa, art flourishes - "there are new festivals,
new production companies, one-man shows in small towns, powerful amateur productions
by kids in townships that will astound you. This is the renaissance." The
Guardian (UK) 10/16/02 Tuesday
October 15 NARROW
DEFINITIONS: Does multiculturalism slot cultures into narrow categories from
which it's hard to escape? In other words - should traditional native art be practiced
only by natives? Or traditional Celtic craft produced only by... well, you get
the point..."Please. If there is one thing we have discovered about globalization,
surely it's that no culture can survive without support from outside itself."
The Globe & mail (Canada) 10/15/02 AMERICA'S
COPYHISTORY: American copyright law has become more and more restrictive over
the years. And big corporate American copyright-holders complain about piracy
of their material internationally. But historically Americans were enthusiastic
pirates themselves. Back in the 19th century "American law offered copyright
protection but only to citizens and residents of the United States. The
works of English authors were copied with abandon and sold cheap to an American
public hungry for books. This so irritated Charles Dickens whose Christmas
Carol sold for 6 cents a copy in America, versus $2.50 in England that
he toured the United States in 1842, urging the adoption of international copyright
protection as being in the long-term interest of American authors and publishers."
The New York Times 10/14/02 Monday
October 14 THE
DOWNSIDE OF AN ECONOMIC CASE FOR ART: It might have been effective at first
to make economic arguments for the arts in Australia. But "it's the kind
of language that turns our society into 'the economy', of citizens into 'the consumers'
and our public funds into 'taxpayers' money'." And it results in creatively
"arid" programming, say arts administrators attending a weekend conference.
Sydney Morning Herald 10/14/02 WHY
THE RIGHT NEEDS TO GET CULTURED: There's no denying that artists, historically,
have tended towards the left side of the political spectrum, and as a result,
right-of-center politicians have developed a bad habit of ignoring cultural issues
completely. But "culture is now a huge earner, overtaking coal, steel and
the motor industry. It is also a vital social issue as millions contend with shorter
working weeks and long retirements. It cries out for a policy rethink. To ignore
culture in the 21st century spells electoral suicide." London
Evening Standard 10/14/02 WHAT'S
A MAYOR TO DO? Seattle's $127 million redo of its Opera House is about $28
million short. So the city's mayor had a choice - loan the project money (with
the risk of never getting it back) or see construction shut down. He chose to
come through with the cash, and now he's being attacked. "People are seeing
the contrast again between the mayor's cutbacks in funding for human needs, fire
and policing, and instead giving tens of millions to buildings."
Seattle Post-Intelligencer 10/12/02 CAN
ART END AN EMBARGO? The 42-year-old embargo of Cuba by the U.S. government
looks shakier than ever these days, and most observers consider it a matter of
time before relations between the two countries begin to heal. This is bad news
for the consistently hard-line Cuban immigrant community centered in Miami, but
the growth of Cuban culture in the U.S. is one of the driving forces behind the
push for the embargo's removal. In fact, Cuba's contributions to the American
arts scene are becoming more and more noticable, and "both the United States
and Cuba... are using culture as a political tool aimed at bypassing politics
and reconnecting the two peoples." Dallas Morning
News 10/14/02 Sunday
October 13 WHAT
ECONOMIC RECOVERY? Even as the government continues to insist that America
is on the road to better economic times, the stock market continues to take large
chunks out of some of the nation's heaviest wallets, and that uncertainty is causing
severe pains to U.S. arts groups, and not just from their dwindling endowments.
In the last months, Alberto Vilar and Ted Turner, two of America's biggest arts
supporters, have warned of possible defaults on their pledges to various groups,
and countless more heavy hitters in the philanthropic world are said to be in
similar financial straits. Even worse, the continuing tide of corporate scandals
is making CEOs cautious about spending their money on arts groups, and that doesn't
seem likely to change anytime soon. The New York Times
10/11/02 - CONTRARY
TO POPULAR BELIEF, the arts actually represent a darned good investment for
state and local governments. A new study "found that the nonprofit arts industry
(museums, theater companies, performing arts centers, orchestras, dance companies,
arts councils) generates $134 billion in economic activity nationally every year,"
yet these programs are nearly always the first to have their funding slashed or
yanked completely when a difficult economy threatens. And that's not going to
change until arts groups make a concerted and organized effort to demonstrate
the financial gains of government support to the people who decide where the money
goes. Boston Globe 10/12/02
CAN'T
IT JUST BE ART? MAYBE NOT: In an age when it doesn't seem to be enough
for art to just be pleasant or thought-provoking or challenging, arts proponents
are lined up around the block to promote music, art, dance, and the like as a
veritable balm for the soul, a healer and soother of the stresses of modern life.
The latest example was the global series of concerts commemorating the murder
of Wall Street Journal reporter Daniel Pearl by Al-Qaeda terrorists, and while
the sentiment of the organizers was clearly in the right place, Peter Dobrin worries
that we are "preaching to the choir. The harder task is to convince spiritual
have-nots that they are have-nots, and to give to them something more human to
reach for." Philadelphia Inquirer 10/13/02 GOOD
NEWS, BAD NEWS: "Arts organizations in Alberta have mixed feelings about
proposed facelifts for the Jubilee Auditoriums in Edmonton and Calgary. The $30-million
renovation project will spruce up the theatres, which are home to more than 50
arts groups. At the same time, however, the projects will put those same groups
out on the street for a full calendar year." Among the groups slated to be
temporarily homeless is the Edmonton Opera, which says there is no other hall
in the city suitable for fully staged opera. CBC Arts
Report 10/12/02 ATTACKING
ART, LITERALLY: Cultural terrorism - the destruction of public art and artifacts
in the name of political gain - has yet to reach American shores, but is a major
concern around the world. "The shelling of the Bosnian National Library in
Sarejevo in August 1992, by Serbian nationalists dug in the hills surrounding
the city... and the fire it caused, destroyed thousands of priceless manuscripts
and books, as well as gutting a historic and beautiful building." And who
could forget the Taliban's destruction of the massive Bamyan Buddhas in Afghanistan
as the world's cultural leaders pleaded with them to stop? Such acts of wanton
destruction are often minimized when placed alongside terrorist attacks on human
life, but the cold reality is that the cultural death toll may be more permanent
than the human one. Toronto Star 10/12/02 Thursday
October 10 COPYRIGHT
CASE GETS A HEARING AT THE SUPREME COURT: In a landmark case which could change
the way copyright law is administered in the U.S., the Supreme Court is hearing
arguments on the issue of whether Congress may extend current copyrights past
their original expiration, as it did in 1998, and keep popular images, songs,
and art out of the public domain, where they could be used by anyone without permission
or payment. The suit was filed by Internet archivist Eric Eldred, who "runs
an Internet archive called Eldritch Press, which includes such books as Nathaniel
Hawthorne's 19th-century classic The Scarlet Letter. But the 1998 law would
have forced him to pay to publish works from the '20s such as stories by Sherwood
Anderson and some poems by Robert Frost." Washington
Post 10/10/02 - FREE
SPEECH, SURE, BUT PROFIT, TOO: So what's at the heart of the Eldred case?
Money, pure and simple, although one might be hard-pressed to describe the plaintiff
himself as much of a hardline capitalist. But the essence of the law being challenged
is that it prevents the public, and, by extension, private companies, from using
such beloved symbols as the face of Mickey Mouse or the text of The Great Gatsby
for personal gain and profit. Of course, the copyright extension law which sparked
the case came about only after determined lobbying by wealthy copyright holders,
so the greed runs both ways. The New York Times (AP)
10/09/02
- DANCING
ON THE EDGE OF LEGALITY: "If current copyright laws had been on the books
when jazz musicians were borrowing riffs from other artists in the 1930s and Looney
Tunes illustrators were creating cartoons in the 1940s, entire art genres such
as hip-hop, collage and Pop Art might never have existed. To acknowledge this
landmark case, an exhibit will celebrate 'degenerate art' in a corporate age:
art and ideas on the fringes of intellectual property law." Wired
10/10/02
MUCH
MORE OF THIS, AND IT'LL BE JUST LIKE THE U.S.: "Toronto's financial support
of its major cultural institutions has declined by 35 per cent in the past decade
at the same time as the regional economy grew by 40 per cent, a city report says...
The report points out the difficulties that Canada's largest city has had maintaining
its commitments since amalgamation, the shifting of responsibilities from the
provincial government to the municipalities, and the lack of any additional significant
taxation powers beyond the traditional property levy." The
Globe & Mail (Toronto) 10/10/02 Wednesday
October 9 DECLINE
IN VALUE: American arts organizations are facing a triple whammy - declining
corporate support because of the economy, cuts in government support, and - because
of the battered stock market - substantial declines in the value of endowments.
"This has been the most challenging time for our cultural institutions in
my memory. We're seeing erosions between 15 and 60 percent in the market value
of endowments at arts institutions nationwide." The
Star-Tribune (Mpls) 10/09/02 AWARDS
CUT BACK: The Toronto Arts Awards have canceled three of its nine prizes this
year, including those for visual arts, writing, and a lifetime achievement award.
Organizers say they weren't able to raise the money for them, even though they
carry only a $2,500 prize each. "From its inception 15 years ago, when each
award was worth $10,000, the prizes have declined to the current situation, where
the winner receives no money but is allowed to spend $2,500 on a 'protégé'
award to an up-and-coming artist of his or her choice." The
Globe & Mail (Canada) 10/09/02 Tuesday
October 8 THE
RIGHTS OF CREATIVITY: This week's arguments in front of the US Supreme Court
about the constitutionality of the copyright laws is really a battle over how
we as a society will get to use our creativity. Opponents of the 1998 extension
of the copyright law - which include "dozens of the nation's leading law
professors, several library groups, 17 prominent economists, and a coalition of
both liberal and conservative political action groups - say it serves no legitimate
public purpose, violates the clear intentions of our nation's founders regarding
copyrights and is unconstitutional." SFGate
09/26/02 - BUT
PROPERTY IS PROPERTY: Alex Beam is irritated by those who believe public domain
is a right of society. "We accept without question that certain intellectual
property, like books, should eventually belong to the public. Why? My friend Dean
Crawford builds houses and writes novels. Would we confiscate his rights to a
home he built after 70 years? Of course not. Would we restrict his freedom to
sell a home to whomever he chooses? No." Boston
Globe 10/08/02
- HIGH
STAKES: To the plaintiffs of Eldred v. Ashcroft, the future of the public
domain for intellectual property is at stake. "If we lose, then you can say
goodbye to any meaningful public domain." Wired
10/08/02
ISRAEL
- OUT OF THE LOOP: Artists have stopped going to Israel. "In the past
two years, ever since the outbreak of the second intifada, a virtual blockade
has been set up between the cultural world of the West and Israel. Performers
and ensembles are canceling performances here, and even more are not even booking
dates. The situation is so bad that the impresario business, which had specialized
in bringing international acts to Israel, is on the brink of collapse." Ha'aretz
(Israel) 10/08/02 ORANGE
COUNTY DELAYS CONCERT HALL: The Orange County Performing Arts Center is pushing
back the opening of its new $200 million concert hall by a year. But it's not
because fundraising has dried up, says the center's management. "About $100
million has been raised or pledged since the campaign began nearly three years
ago. But, amid a plummeting stock market and other economic woes, only $3.5 million
in new donations has been announced in the last 12 months." No, the reason
is acoustical: "Because of its complex acoustical engineering, they said,
the 2,000-seat hall requires a break-in time of three to six months to 'tune'
it for peak sonic performance, and pushing to keep to the original schedule would
have risked getting off to a bad start. 'A lot of cities have looked at the Philadelphia
experience and are making sure they have plenty of time for the tuning period'."
Los Angeles Times 10/08/02 Monday
October 7 CHALLENGING
THE MICKEY MOUSE LAW: This week the US Supreme Court will hear a challenge
to "a 1998 law that extended copyright protection an additional 20 years
for cultural works, thereby protecting movies, plays, books and music for a total
of 70 years after the author's death or for 95 years from publication for works
created by or for corporations." Plaintiffs will argue that the extension
removes thousands of important creative works from public use. Baltimore
Sun (AP) 10/07/02 VISA
CASUALTIES: The Afro-Cuban Allstars Band is the latest in a now-burgeoning
list of foreign artists who have had to cancel American appearances because they
were unable to obtain visas to enter the country. "The visa requirements
have created a huge back-up in the approval process and resulted in the cancellation
of concerts and the loss of millions of dollars in bookings." San
Jose Mercury-News 10/06/02 OF
CRIMINALS AND ARTISTS: A controversial theory suggests that artists and criminals
have a lot in common: they both break the rules. Both "express a primal rage.
Love, hate, fury, despair and passion can be given utterance with brushes and
pens, or with guns and knives. Artists enjoy seeing themselves as raffish outsiders,
people of dubious morality." The Observer (UK)
10/06/02 Sunday
October 6 NEA
REORGANIZATION: The National Endowment for the Arts is undergoing a major
organizational restructuring. Some worry that the changes are being made while
the NEA is still without a permanent chairperson. The reorganization seems to
favor traditional institutional arts over those that are less established, and
are being directed by an interim chairwoman. 'It struck several of us as unusual
that an acting chairman would be making what seems to be a comprehensive organizational
change when she's not the chairman. Normally that is something an interim chairman
doesn't do'." The New York Times 10/05/02 PROPER
NOTICE: Do newspaper reviews matter anymore? "There was a time, artistic
directors say, when reviews drove the box office. Troupes would add phone staff
in the wake of a good review or brace for sparse houses when the notices fell
like shards of glass. Those days have changed." The
Star-Tribune (Mpls) 10/06/02 CULTURAL
DISTRICT AS HOTEL FOR OUT-OF-TOWNERS: Pittsburgh has a thriving cultural district.
But most of what plays there is imported. "The bulk of the Cultural District
is a large-scale hotel for outside artists who visit and entertain us before going
someplace else. While this allows Pittsburgh to have exposure to a broad range
of talent and art forms it might never produce on its own, it does little to foster
the local community of professional artists. This means the voice of Pittsburgh
is not being heard in its own Cultural District, and the fundamental spirit of
local theater culture is to be found only in its smaller companies." Pittsburgh
Post-Gazette 10/06/02 Thursday
October 3 CULTCHA?
IN QUEENS?..WHO KNEW? For artworld denizens of Manhattan, venturing out to
Queens has been something of a safari experience. The borough has never been as
hip as Williamsburg or other affordable non-Manhattan artist refuges. But the
Museum of Modern Art's temporary move to Long Island City has some Manhattan-bound
art lovers considering Queens in a new light. The
New York Times 10/03/02 BUT
THIS ISN'T BRIBERY, WE SWEAR: The epidemic of touring artists and musicians
being denied entry to the U.S. by the Justice Department is reaching crisis proportions,
and arts organizations are pleading with Attorney General John Ashcroft to lighten
up, to no avail. Now, it appears that part of the problem is a new "expedited"
system of visa processing, under which wealthy clients who are willing to kick
in $1000 to the government can have their applications pushed through in record
time. As a result, the arts groups which previously enjoyed expedited handling
as a matter of course are left fuming on the bad side of the money gap. City
Pages (Minneapolis/Saint Paul) 10/02/02 DANGLING
SOME HOPE IN CLEVELAND: Cleveland, Ohio, boasts one of the world's great orchestras,
and a better-than-average art museum. Other than that, however, the city is pretty
much an artistic desert, with some of the lowest arts-funding levels in the nation.
This week, Cleveland's mayor and city council president paid some lip service
to the concept of funding the arts, but continued to insist that at the moment,
there just isn't any money available. Furthermore, with statements suggesting
that any future funding "must be contingent on showing the public that there
will be a return on the investment," one wonders whether the pols have mistaken
the arts for a money-making industry. The Plain Dealer
(Cleveland) 10/03/02 Wednesday
October 2 FIGHTING
AGAINST THE FUTURE: Major music and movie producers want to preserve their
ways of doing business. That means convincing lawmakers to pass laws protecting
against technology that can subvert their business models. Dan Gillmor observes
that: "the companies that wail about `stealing' have themselves hijacked
billions of dollars worth of literature, music and film from you and me. The public
domain hasn't grown lately, and that's a betrayal of everyone but the tiny group
of mega-companies that owns copyrights to old classics." San
Jose Mercury News 10/01/02 ART
OF THE SUBWAY: Cairo's subway system is polluted, noisy and crowded - not
the sort of place anyone would willingly want to spend time. To help make it a
little better, "this month the Cairo metro authority opened its halls to
the Opera House to display art by local painters and let small orchestras play
classical music in a bid to make travel more bearable." Middle
East Times (AFP) 10/01/02 Tuesday
October 1 A
HISTORY OF INTELLECTUALS IN AMERICA: There was a time - however brief - that
being an intellectual was thought to be desirable in America. "During the
last 50 years anti-intellectualism has, by and large, disappeared. But then, so
have intellectuals, too - well, almost. There have been many important elements
of this devolution during the last 50 years." Chronicle
of Higher Education 10/04/02 COMPETING
TO REDESIGN LINCOLN CENTER: Lincoln Center chooses five star architects to
compete to redesign the performing arts complex's public plazas. The
New York Times 10/01/02
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