| June 2005
Arts Management | Film &
Television | Literature | Performing
Arts |
G1 - Public Art for the Public
Fleming, Ronald Lee & Melissa Tapper Goldman
Public Interest, Spring 2005, #159, pp55-78
"The National Endowment for the Arts' Art in Public Places Program
(APP) collapsed because it remained stubbornly out of touch with
this reality. The General Services Administration's Art in Architecture
Program (AiA), on the other hand, has thrived under a new model
that recognizes the difference between gallery art and public
art, and that takes account of the sensibilities of the people
who will have to see the artwork every day." Ronald Lee Fleming,
president of The Townscape Institute and author of the forthcoming
book The Art of Place Making, from which this article is adapted.
Melissa Tapper Goldman is a researcher at the Institute. Fulltext
G2 - The Museum of the Third Kind
Davis, Douglas
Art in America, Jun/July 2005, v93, #6, pp75-81
"As museums throughout the world struggle to grasp the meaning
of a new century charged at once with promise and peril, it's
clear to find a new language to express what's coming like new
forms of building, larger, more demanding, more fragmented audiences,
and a multiplicity of means of museum-going, much of it "virtual,"
conducted through varying means of electronic access. Davis talks
about the possibilities of new directions for the art museum as
audiences change, architecture evolves, institutions subdivide,
and electronic resources expands capabilities and expectations."
Douglas Davis is an artist, critic. educator, political columnist,
author, and web-art pioneer. Fulltext
Film & Television
G3- The DreamWorks Machine
La Franco, Robert
Wired, June 2005, v13, #6
"Disney escapee Jeffrey Katzenberg knows the animation business.
He also knows his toon factory can't compete with Pixar on quality.
So he's making it up on volume. With as many as a dozen features
planned for release over the next five years the company is out
to grab the animation crown from rival Pixar and claim the legacy
of Katzenberg's alma mater, the Walt Disney Company. It's an unheard-of
pace in one of Hollywood's most labor-intensive markets. Between
1989 and 1994, Walt Disney Studios released only four major animated
titles. Pixar aims for one feature film every 18 months. To prepare
for the offensive, Katzenberg has fashioned his company into a
multinational assembly line of directors, producers, animators,
and partner studios all connected into DreamWorks's new facilities
in the LA suburb of Glendale." Fulltext
Literature
G4 - I Got a Scheme! - The Words of Saul Bellow
Bellow, Saul
The New Yorker, April 25, 2005, pp72-85
Prompted by a suggestion by long-time friend and colleague Philip
Roth, Bellow contributed recollections on his writing that Roth
says "constitute a singularly Bellow-esque mix of mind and
memory, the opening of an aged writer's autobiography, unplanned,
extemporized, and yet comparable in its vividness and evocative
charm to Hemingway's farewell to the world, the posthumously published
memoir, “A Moveable Feast.” These unique, vivid "recollections"
focus primarily on the process and inspiration behind the 1950s
writing of Bellow's "The Adventures of Augie March,"
as well as "Seize the Day" and "Henderson the Rain
King." A fascinating glimpse into the creative process of
one of America's most respected novelists of the 20th century.
Fulltext
G5 - Consumption, Addiction, Vision, Energy: Political
Economies and Utopian Visions in the Writings of the Beat Generation
Johnston, Allan
College Literature, Spring 2005, v32, #2, pp103-, 25p
"This work examines economic ideas in Beat writing that pave
the way for economic thought in the 60s counterculture. It ...
describes economic concepts advanced by William S. Burroughs and
by Kenneth Rexroth. ... and traces economic themes in work by
Allen Ginsberg, Gregory Corso, and Jack Kerouac, showing how these
authors shift between descriptions of addictive, reductive conditions
of need and escapes from this need through transcendent vision.
It concludes by considering how Gary Snyder moves away from the
polarity of addiction and transcedence through his commitment
to non-duality." Allan Johnston teaches writing and literature
at Columbia College, Chicago, and DePaul University. Fulltext
G6 - Using Poems for Multiple Voices to Teach Creative
Writing
Bintz, William P.; Henning-Shannon, Trisha
English Journal (High School Edition), March 2005, v94, #4,
p33, 8p
"Finding it difficult to get students excited about writing authentically,
teacher-researchers William P. Bintz and Trisha Henning-Shannon
took a risk. They used Fleischman's books of poems for two voices
as models, and high school students responded with moving poems
of their own. The authors cite a number of factors that led to
the students' success and include examples of the poems that resulted
from this innovative assignment." William P. Bintz is associate
professor in Teaching, Learning, and Curriculum Studies at Kent
State University in Kent, Ohio. Trisha Henning-Shannon is currently
a seventh-grade language arts teacher at Scott County Middle School
in Kentucky. Fulltext
G7 - Where Do I Go With Creative Writing
Career World, April/May 2005, v33, #6, pp25-, 5p
The article portraits three successful professional writers, including
children's book author Cynthia Leitich Smith, newspaper columnist
Robert K. Elder, and advertising copywriter Steve Mark. This is
a good article to be read in class in order to make students aware
of the importance of good communication skills, especially writing
skills, in every field of the professional world and to show the
various job possibilities of talented writers. Fulltext
Performing Arts
G8 - The Cool War
Morton, Brian
The Nation, June 27, 2005, v280, #25, pp38-41
"In Satchmo Blows Up the World, Penny Von Eschen, a professor
of history at the University of Michigan, describes a "can-do"
bipartisan foreign policy culture in which postwar "policymakers
exhibited extraordinary confidence in America's ability to shape
the world in its image with whatever tools it had, be they covert
operations, carpet bombing, or jazz musicians." While it's
hard to measure the political impact of the State Department tours,
they had a substantial influence on the musical thinking of those
"jambassadors," who returned home with new rhythms and
harmonies ringing in their ears. Perhaps even more than the Americanization
of global culture, the enduring legacy of cold war musical diplomacy
was the internationalization of jazz."
Fulltext
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