It’s been nearly a month since the last Linkage post, so this is a big one. Without further ado, here are the more interesting links I emailed to myself between April 9 and May 6, 2012:
“Why limit standard crediting practice to the visibility of a face,” asks Sarah Maxfield in her post “Worth Noting” for The Performance Club, “when dance as a medium is about the body as a whole?” Maxfield asserts that “the [photo] caption is just a small symptom of a much larger cultural dismissal of the body and those who have expertise in body-related work,” which is absolutely correct.
There will be “a bloodbath of nonprofit failures,” warns Brooklyn Philharmonic CEO Richard Dare, “unless we undertake fundamental structural reform of the nonprofit business model itself.”
“No one was more influential in shaping the arts and humanities in the ’50s and ’60s” than W. McNeil Lowry of the Ford Foundation, according to Rockefeller Archive Center vice president and director of research and education James Allen Smith. The Center recently opened Lowry’s correspondence and other Ford Foundation archive materials to researchers.
There are many beautiful moments worth seeing in this video of a rehearsal for Epode (1979) by Gerald Arpino, featuring Joffrey Ballet dancer Patricia Miller. At 2:50, there is also an absolutely classic ballet-rehearsal moment.
Vanessa Quirk, writing for arch daily, muses about what architecture critic Paul Goldberger’s move from The New Yorker to Vanity Fair might really mean. “The ‘critic’ may be dead,” Quirk concludes, “but the conversation is only just beginning.”
Alok Jha, writing for The Guardian, traces the beginnings of a revolt against high fees for access to the contents of academic journals.
Jim Muir, writing for BBC News, notes that in Syria, “the observers are being expected to help create the peace they are supposed to be monitoring.”
Filling in for Glenn Greenwald at Salon, Jesselyn Radack looks at whistleblowing in the Obama Era.
“Procedures are procedures,” writes Larry Rohter in his report for The New York Times on difficulties foreign artists encounter when booking engagements in the States.
Trajal Harrell “wondered why Judson was an accepted part of dance history and voguing wasn’t,” Andrew Boynton explains in a blog post for The New Yorker.
“One can only live on a diet of ramen and unrealized potential for so long,” Nina Metz acknowledges in her Tribune story about Chicago actors assessing the relative verdancy of coastal lawns.
“How Drinking Makes You More Creative” is the the immensely clickable headline for Whet Moser’s April 12 blog post for Chicago magazine’s The 312. Semi-related, “most gay men are alcoholics,” states Stephin Merritt in this CBS News profile. That’s a blanket statement, of course, but like most songs by Merritt’s band The Magnetic Fields, it makes for a good story. Tangentially related: Adam Rathe recently assembled for Out magazine an oral history of queer punk.
Canadian environmentalist David Suzuki recently left the board of his own foundation “to avoid being a lightning rod for criticism and government attacks that would undermine its work,” report Shawn McCarthy and Oliver Moore for The Globe and Mail.
There’s a “shortage of properly cultured people in rich circles” in the United Kingdom, according to Princess Donatella Missikoff of Ossetia, better known as Donatella Flick. That’s according to Ismene Brown’s interview with the cultural patron.
“If you’re going to use the language of curating as greasepaint for staging music gigs in art museums,” writes Dan Fox on the Frieze blog, “at least follow through on all the conventions of exhibition making and allow the opportunity for as many people as possible to see the entirety of whatever complex-layered-performative-retrospective-exhibition-video-installation-event-conference-bar-mitzvah-Renaissance-Fayre-knees-up it is you’re putting on.”
“We met at the Super Shop,” begins Tony Oursler’s remembrance of Mike Kelley in Artforum.
“Sci-fi has always been a kind of funhouse mirror for our dreams and anxieties,” observes Zac Thompson in his Reader review of Bailiwick/New Colony musical Rise of the Numberless.
In an editorial for The Washington Post, Erik Wemple argues that “anyone who might feel ‘constraints’ about disclosure of their opinions shouldn’t be mucking around with the highest honors in the [journalism] industry.”
In an article for The American Scholar, Pamela Haag observes how “the proliferation of a cloying, saccharine culture” might be responsible for “less forgiving, meaner attitude[s] in public life.”
Want maps of jazz clubs on the South Side of Chicago between about 1915 and 1940? Here you go. Want a massive overview of various consumer-technology ecosystems? Here you go. Want a bunch of photos of Chicago at the turn of the last century? Voilà. Want some photos of megacities today? Check ’em out, yo.
On April 16, Proceedings of the National Academy of Sciences of the United States of America published the study “Facial expressions of emotion are not culturally universal.”
On April 18, The Guardian published Judith Mackrell’s interview with choreographer Angelin Preljocaj.
On April 20, design blog Colossal brought to my attention the awesome fact that some German garbage men are using Dumpsters as giant pinhole cameras.
On April 27, Apollinaire Scherr reviewed Gideon Obarzanek’s Faker for the Financial Times, and John Rockwell shared his observations from a “three-week cultural odyssey through Western Europe” in The New York Times.
On April 29, Steve Sucato reviewed BJM Danse for Dance Tabs.
Thankfully, Flaunt preserves for online the print layout of Marina Harss’s profile of David Hallberg, with striking photos by Tetsuharu Kubota.
Thankfully, there is a successful new example of narrative ballet, according to Luke Jennings of The Observer. Clement Crisp dissents in the Financial Times about the work, Annabelle Lopez Ochoa’s A Streetcar Named Desire, for Scottish Ballet.
Something I’ll always regret not seeing in person: William Forsythe’s Artifact performed by the Royal Ballet of Flanders. While beautiful, these photographs of the production by Jane Hobson are so much salt in the wound.
Someone I never saw conduct in person, but who waved the baton at recorded performances I watched countless times growing up: Hugo Fiorato. The New York City Ballet conductor died on April 23; here’s the Times obituary by Paul Vitello.
Something that exists: a 2½-ton, marble Manhattan.