In 1930, John Maynard Keynes predicted that, by the end of the century, technology would have become so far advanced that developed economies would have a 15-hour workweek. So how did we get to our current state, almost two decades into the 21st century? It turns out that Keynes was only half right—technology has advanced spectacularly, but we are far from a 15-hour workweek.
The Winnipeg Indigenous Biennial, to be hosted by the Winnipeg Art Gallery beginning in 2020, will focus at first on contemporary work by indigenous artists in Canada, Australia, and New Zealand; organizers plan for it to become, over the years, a showplace and launching pad for indigenous art and artists from all over the world.
Should there be some legislation against the risk that a buyer will effectively or literally destroy a work of art? Particularly one which could be designated a “world treasure”, on a list of the sort that Unesco releases on protected monuments? One that would oblige private owners to make the works accessible within reasonable terms and require them to maintain the work, which could be considered a matter of international interest?
“[He] began his musical career as an accordion player and as an accompanist to the renowned French chanteuse Edith Piaf. He was primarily a songwriter before being introduced to filmmaker Claude Lelouch, who invited Mr. Lai to compose a score for A Man and a Woman — and for another 35 films on which they worked together.” In the U.S., his best-known work by far is the music for the 1970 Ryan O’Neal-Ali MacGraw movie Love Story.
The mayor of the Austrian city of Linz, which is heavily in debt, has declared that the city will no longer pay its €14 million subsidy to the Landestheater (provincial theater) and the Brucknerorchester Linz, in residence there. The governor of the province of Upper Austria, which owns the theater and controls the orchestra, is fighting back hard. (in German; Google Translate version here)
In its two years of existence so far, Philadelphia Contemporary has run a very successful program of exhibitions and performances without any single building or address. (Director Harry Philbrick works out of cafés.) Now the organization has announced not only that it’s getting itself a building, but that it has hired the architect of Houston’s new Menil Drawing Center. The problem? No site and no money. Inga Saffron is skeptical.
And it’s only going to lead to a lot more BitTorrenting, which isn’t legal, but is available. “The site is loaded with stuff that is, quite simply, not available on disc, and not streaming anywhere else. It’s the only way you can see Ernst Lubitsch’s Cluny Brown, Michael Powell’s The Spy in Black, Yasujirô Ozu’s An Inn in Tokyo, and dozens more.”