AJBlogs

To anyone who has posted in the comments lately: my old email address has returned to dust, and I did not realize that notifications to me about comments were be sent to that old address. I have updated it, and will be better about approving and responding to your thoughts.

(Indiana University Bloomington, Kelley School of Business (left) and O’Neill School of Public and Environmental Affairs (right)). At her blog Arts Analytics, Joanna Woronkowicz has written a post – reposted to a wide audience at artsjournal.com – trying to answer the two questions in the title of this post, with the heading (which I don’t fully understand)

I know, it’s tradition. Every year about this time, another carol and generally, you don’t read it. But this will ...

On November 22, Gunther Schuller would have been 100 years old. It was my pleasure to contribute an encomium to

Notions of ownership of creative work, ideas, and artistic identity are muddied when the technology rapidly outpaces attempts to define issues and even what's at stake.

Jordana Leigh, Vice-President of Artistic Programming at Lincoln Center for the Performing Arts, shares the historic significance of their San Juan Hill Festival and the impact of their artist-centered initiatives.

There is a recent piece at Lawfare, by Simon Goldstein and Peter N. Salib, “Copyright should not protect artists from artificial intelligence.” The article has the strawman subtitle, “The purpose of intellectual property law is to incentivize the production of new ideas, not to function as a welfare scheme for

“How democratizing,” say A.I. experts. “How thrifty [cheap],” says my piggy bank. “How could you?” say actual artists. ...

Bill Ivey died this past weekend; he was eighty-one years old. It came as a shock to us – just last week he was here in Bloomington meeting with our arts policy students, something he loved doing. He was a great friend to our program, generous with his time and

What can arts organizations learn from a runner content creator?How to build connection and trust. Today’s audiences invest in process and personality, not polish—and that shift could change everything for the performing arts.

Milton Esterow at a 2019 Metropolitan Museum press preview, with Leonardo’s “St. Jerome” in backgroundPhoto by Lee Rosenbaum He could

My just-published story Trucks and Tanks, runner-up in JerryJazzMusician.com‘s 69th short fiction contest and written three months ago, is all too timely in Chicago, DC, Boston today. “Trucks and Tanks” – a short story by Howard Mandel Trucks and tanks rolled down our leafy-treed, bungalow-lined street at dawn. I was already up, as usual, in my robe, t-shirt, sweaty...

Terri Lyne Carrington (drummer, Inst. of Jazz & Gender Justice), Orbert Davis (trumpeter, “Immigrant Stories“) and Marc Ribot (guitarist, Music Workers Alliance) talked with me on The Buzz, podcast of the Jazz Journalists Association about their engagement with social issues. Long transcript posted for those who read faster than they listen. HOST : Hello and welcome to The Buzz, the podcast...

Leading an arts organization isn’t about luck—it’s about judgment. Hold when trust matters, fold when the model’s busted, and when the casino’s rigged? Start your own game in the parking lot.

From magazine listings to the For You page, how we discover art has changed—but not as much as we think. Artists should see social media as a tool for accomplishing their goals, not the enemy.