The show is a Disney concert from last year that producers want to use to raise money for COVID relief. All the unions had agreed except for the musicians union. “As musicians we have lost the opportunity to perform publicly, but this use of our recorded performance could have been a great tool to raise funds for people in our community that are in need,” the petition states in part. – Deadline
Dance That Becomes Dis-Dance
So how do you dance with others when you have to keep your distance? Online of course, and Dis-Dance parties allow you to dance together from the safety of your own room. – The News Hour (PBS)
Pollock’s Guest Appearance in the Metropolitan Museum’s Subdued 150th-Birthday Video
If you’ve already seen the Max-&-Dan video that the Met posted today to mark this unexpectedly somber occasion, you may have wondered about the identity of the head peering over Director Max Hollein‘s left shoulder. – Lee Rosenbaum
From a Diary …
I’ve been skimming through a complete collection of Chekhov’s stories. There’s lotsa chaff — small anecdotes published in newspapers from early days that don’t do much and weren’t intended for the ages. But then you come upon “an unpleasantness,” a long story from a later period that stands up like an erection. – Jan Herman
Living In A Gaudi Masterpiece During The Lockdown
Suddenly, La Pedrera in Barcelona went from tens of thousands of visitors per day to … no one. Ana Viladomiu is one of the few people there. “Two other tenants remain in another part of the building – separated from Viladomiu with their own elevator and staircase – while a few security guards rotate through their shifts unseen. ‘So I’m really by myself,’ she said.” – The Guardian (UK)
The World’s Longest Art Walk Is Underground
Stockholm’s subway system is stocked: “Since construction began in 1950, some 250 artists have decorated 94 stations across 68 miles of track.” – Wired
When We See Familiar Art Again We Will Have Changed
Peter Schjeldahl: Online “virtual tours” add insult to injury, in my view, as strictly spectacular, amorphous disembodiments of aesthetic experience. Inaccessible, the works conjure in the imagination a significance that we have taken for granted. Purely by existing, they stir associations and precipitate meanings that may resonate in this plague time. Why does the art of what we term the Old Masters have so much more soulful heft than that of most moderns and nearly all of our contemporaries? – The New Yorker