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      How 8 Countries Have Tried to Keep Artists Afloat During Panemic

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      #masthead-section-label, #masthead-bar-one { display: none }The Coronavirus OutbreakliveLatest UpdatesMaps and CasesA Future With CoronavirusVaccine InformationF.A.Q.TimelineAdvertisementContinue reading the main storySupported byContinue reading the main storyHow 8 Countries Have Tried to Keep Artists AfloatGovernments around the world have tried to support the arts during the pandemic, some more generously than others.While South Korea largely contained the spread of coronavirus last year — “The Phantom of the Opera” in Seoul closed for only three weeks — the government still provided some $280 million in pandemic relief for cultural institutions.Credit…Woohae Cho for The New York TimesJan. 13, 2021Updated 5:23 a.m. ETIn December, owners and operators of theaters and music halls across the United States breathed a sigh of relief when Congress passed the latest coronavirus aid package, which finally set aside $15 billion to help desperate cultural venues. But that came more than six months after a host of other countries had taken steps to buffer the strain of the pandemic on the arts and artists. Here are the highlights, and missteps, from eight countries’ efforts.FrancePresident Emmanuel Macron of France was one of the first world leaders to act to help freelance workers in the arts. The country has long had a special unemployment system for performing artists that recognizes the seasonality of such work and helps even out freelancers’ pay during fallow stretches. In May, Mr. Macron removed a minimum requirement of hours worked for those who had previously qualified for the aid. He also set up government insurance for TV and film shoots to deal with the threat of closure caused by the pandemic. Other countries, including Britain, quickly copied the move.GermanyGermany’s cultural life has always been heavily subsidized, something that insulated many arts institutions from the pandemic’s impact. But in June, the government announced a $1.2 billion fund to get cultural life restarted, including money directed to such projects as helping venues upgrade their ventilation systems. And more assistance is on the way. Germany’s finance ministry intends to launch two new funds: one to pay a bonus to organizers of smaller cultural events (those intended for up to a few hundred people), so they can be profitable even with social distancing, and another to provide insurance for larger events (for several thousand attendees) to mitigate the risk of cancellation. Germany is not the first to implement such measures; Austria introduced event insurance in January.BritainIn July, the British government announced a cultural bailout package worth about $2.1 billion — money that saved thousands of theaters, comedy clubs and music venues from closure. In December, several major institutions, including the National Theater and the Royal Shakespeare Company, were also given long-term loans under the package. Even with the help, there have already been around 4,000 layoffs at British museums alone, and more in other sectors.The National Theater in London was one of several major institutions to receive a long-term loan from the British government in December.Credit…Lauren Fleishman for The New York TimesPolandEuropean cultural aid hasn’t been enacted without controversy. In November, Poland announced recipients of a $100 million fund meant to compensate dance, music and theater companies for earnings lost because of restrictions during the pandemic. But the plan was immediately attacked by some news outlets for giving money to “the famous and rich,” including pop stars and their management. The complaints prompted the culture minister to announce an urgent review of all payments, but the government ultimately defended them, and made only minor changes.The Coronavirus Outbreak More

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      The Arts Are in Crisis. Here’s How Biden Can Help.

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsCredit…Invisible CreatureSkip to contentSkip to site indexThe Arts Are in Crisis. Here’s How Biden Can Help.The pandemic has decimated the livelihoods of those who work in the arts. How can the new administration intervene and make sure it doesn’t happen again? A critic offers an ambitious plan.Credit…Invisible CreatureSupported byContinue reading the main storyJan. 13, 2021, 5:02 a.m. ETWhat is art’s function? What does art do for a person, a country?Scholars, economists, revolutionaries keep debating, but one very good answer has held now for 2,500 years. The function of art, Aristotle told us, is catharsis. You go to the theater, you listen to a symphony, you look at a painting, you watch a ballet. You laugh, you cry. You feel pity, fear. You see in others’ lives a reflection of your own. And the catharsis comes: a cleansing, a clarity, a feeling of relief and understanding that you carry with you out of the theater or the concert hall. Art, music, drama — here is a point worth recalling in a pandemic — are instruments of psychic and social health.Not since 1945 has the United States required catharsis like it does in 2021. The coronavirus pandemic is the most universal trauma to befall the nation since World War II, its ravages compounded by a political nightmare that culminated, last week, in an actual assault on democratic rule. The last year’s mortal toll, its social isolation and its civic disintegration have brought this country to the brink. Yet just when Americans need them most, our artists and arts institutions are confronting a crisis that may endure long after infections abate.Professional creative artists are facing unemployment at rates well above the national average — more than 52 percent of actors and 55 percent of dancers were out of work in the third quarter of the year, at a time when the national unemployment rate was 8.5 percent. In California, the arts and entertainment fields generated a greater percentage of unemployment claims than even the hospitality sector. Several hundred independent music venues have closed; art galleries and dance companies have shuttered. And in my own life, I’ve listened to painters and performers weep over canceled shows and tours, salivate over more generous government support in Europe or Asia, and ask themselves whether 2021 is the year to abandon their careers.Beyond value in its own right, culture is also an industry sector accounting for more than 4.5 percent of this country’s gross domestic product, according to the U.S. Bureau of Economic Analysis.Credit…Invisible Creature“Hell, they’ve got to eat just like other people,” said Harry Hopkins, the first supervisor of the Works Progress Administration, when an official in President Franklin D. Roosevelt’s administration queried whether artists merited federal employment. Art, music, dance and theater are social goods, but also individual professions — ones more endangered than at any time since the 1930s, and facing lasting damage even as the pandemic abates.The effects of this cultural depression will be excruciating, and not only for the symphony not written, the dance not choreographed, the sculpture not cast, the musical not staged. Beyond value in its own right, culture is also an industry sector accounting for more than 4.5 percent of this country’s gross domestic product, according to the U.S. Bureau of Economic Analysis.Other leaders have noticed: in their New Year addresses, the French president, Emmanuel Macron, singled out culture as a sector in economic peril, while Chancellor Angela Merkel of Germany said that “freelancers and artists fear for their livelihood.” But until last month, when the outgoing U.S. president belatedly signed a stimulus package with targeted arts relief bundled within, this government had barely acknowledged the crisis that Covid-19 has posed to culture. Nor have private philanthropists filled the gap; while some large foundations have stepped up their disbursements, total giving to North American arts organizations has slackened by 14 percent on average.As President-elect Joseph R. Biden Jr. prepares to take office next week, and begins to flesh out his proposals to help the nation recover, he and his cabinet have the chance — the responsibility — to offer a new settlement for American culture. Mr. Biden had planned an “F.D.R.-size” presidency, and, with the Democrats’ recapture of the Senate, such heft seems more viable than it did after Election Day. What can the new administration do for culture in crisis? What examples should they draw from in American history, and current international practice? How should Washington approach culture policy with state and local authorities, with nonprofits, and with the entertainment industry? Does the U.S. government need a “Dr. Fauci of culture,” as the Washington Post theater critic Peter Marks called for last month — or even a full-bore Department of Culture, with a cabinet-level secretary?As a senator and as vice president, Mr. Biden repeatedly backed government support for the arts. The country he will now lead, as the pandemic wanes and as the economy recovers, is going to require major social catharsis — and he needs to ensure that the arts are still there to provide it.Reach for a new New Deal.The Biden campaign promised that America could “build back better,” and throughout 2020 the president-elect extolled F.D.R.’s New Deal as a blueprint for American renewal. For the administration to show that sort of Rooseveltian resolve — and, with control of the Senate, it just about can — it’s going to have to put millions of Americans on the federal payroll: among them artists, musicians and actors, tasked to restore a battered nation.Arshile Gorky at work on “Activities on the Field,” his 1936 mural project for Newark Airport sponsored by the W.P.A, which underwrote 2,500-odd murals in addition to sculpture, painting, posters and advertisements.Credit…Eisman, via The Arshile Gorky Foundation/Artists Rights Society, New YorkThe Works Progress Administration was a latecomer to Roosevelt’s economic recovery plans, begun in 1935 as part of the so-called second New Deal. Federal Project Number One, as its cultural division was known, accounted for only about one-half of 1 percent of the W.P.A.’s budget — but it endures as its most visible legacy, especially in the murals that adorn the country’s post offices, courthouses, school buildings and even prisons. And it should offer the Biden administration a blueprint for a new, federal cultural works project, which treats artists, musicians and writers as essential workers, and sees culture as a linchpin of economic recovery.Today cultural advocates like to offer a roll call of American artists employed by the W.P.A. as proof of its necessity: Jackson Pollock, Willem de Kooning, Lee Krasner, Mark Rothko, Arshile Gorky, Louise Nevelson, Norman Lewis, Alice Neel, Jacob Lawrence, Philip Guston. The programs, notably, offered Black artists more public support than at any time in the 20th century. Charles White’s mural “Five Great American Negroes,” now in the collection of Howard University, was a W.P.A. commission.But the bulk of the 2,500-odd murals the program underwrote, plus piles of sculpture, painting, posters and advertisements, came from artists who never achieved fame. Most were under 40. Most favored folksy, realist scenes of American life. And most worked in places that America’s culture industry habitually ignores: for example, Bonners Ferry, Idaho (pop. 2,543), where the artist Fletcher Martin decorated the courthouse with bas-reliefs of local loggers and miners.Zora Neale Hurston, far left, during a recording expedition in 1935 for the Federal Writers’ Project. The interviews Ms. Hurston did for the project would profoundly influence her novel “Their Eyes Were Watching God.”Credit…Alan Lomax, via Library of CongressVisual art was the largest of the four (later, five) cultural divisions, but other branches were just as vital. Ralph Ellison, John Cheever and Saul Bellow worked for the Federal Writers’ Project, compiling life stories of American workers; the interviews Zora Neale Hurston did for the project would profoundly influence her novel “Their Eyes Were Watching God.” The Federal Theater Project put out-of-work actors and writers on stages far from Broadway, where audiences saw free plays about Dust Bowl farmers or tenement dwellers known as “living newspapers.”Unlike today, when grantmaking institutions routinely require artists to justify their work before they make it, the W.P.A. programs did not mandate a style; all the government required was an engagement with an American theme, no strident politics, and no nudity. If a few of the program’s murals have stood the test of time, such as Gorky’s bulbous compositions originally at Newark Airport, there’s a reason that Pollock, Krasner and other figures of the postwar avant-garde turned so thoroughly from the socially engaged projects of their youth. More than a fair bit of the art produced under W.P.A. programs was boosterish, conservative, forgettable.But artistic quality was not the principal point — because these were works programs, not cultural grants, awarded on the basis of need rather than merit. (Another New Deal program, run by the Treasury, had a smaller and more selective roster of artists.) A new W.P.A.-style program, likewise, shouldn’t be thought of as government support for “the arts” — that lightning rod of budget negotiations year after year. Nor should it be treated in the same manner as, say, New York’s Percent for Art, which requires city-funded construction to set aside money for public art works.A new W.P.A. is, as the name indicates, an emergency work scheme, whose motivation is economic stimulus. Artists shouldn’t have to prove their “social impact,” shouldn’t have to get a dozen stakeholders to sign off on every note or brush stroke. They should demonstrate what their forebears did in the 1930s — that they are professional artists and they need work.”The Cradle Will Rock,” a play written by Marc Blitzstein and directed by Orson Welles, was part of the Federal Theater Project intended to put unemployed actors and writers to work.Credit…Library of CongressSuch a program might be especially valuable in America’s rural areas and in economically imperiled regions: the parts of the country where Mr. Biden did worst electorally, and whose support for President Trump came in part from a legitimate grievance that cultural elites looked down on them. (That Idaho courthouse lies in a county where Mr. Trump beat Mr. Biden by more than four votes to one.) Embedding unemployed artists nationwide, and tasking them to focus on local populations and local circumstances, should likewise animate any Biden administration cultural works program.The administration should also bring artists on board for infrastructure projects, especially as Mr. Biden’s government pursues an ambitious climate strategy that will require nationwide transformations. Europe already has plans for this. Since the fall Ursula von der Leyen, president of the European Commission, has been talking up a “New European Bauhaus,” which will bring artists and designers into the E.U.’s green development program to “give our systemic change its own distinct aesthetic — to match style with sustainability.” Including artists here could help the Biden administration build public support as the country begins, we hope, a decades-long program of green reconstruction.A final place to boost support for culture is the Department of State. Cultural diplomacy has shrunk considerably since the days of the Cold War, when the department sent Dizzy Gillespie to Yugoslavia, Martha Graham to Southeast Asia, Louis Armstrong to Congo, and the New York Philharmonic to Moscow. (“Music costs so much less and produces so much better a result than any propaganda or weaponry,” said its conductor, Leonard Bernstein.) Antony Blinken, nominated for Secretary of State, could provide the country both a diplomatic and an economic fillip by bolstering the agency’s diminished Bureau for Educational and Cultural Affairs, which the Trump administration tried to eliminate entirely. In Akron or Accra, American artists have work to do.Knit a better safety net.In the past, unemployment insurance was available only to those “employed” in the first place — and artists rarely were. A violinist furloughed from a full-time orchestra job could get unemployment, but not a gigging saxophonist whose nightclubs were shuttered. A receptionist laid off from a talent agency qualified, but not the actors the agency represents.That changed in March, when the previous Congress passed the first coronavirus stimulus package. It included a program called Pandemic Unemployment Assistance, which, for the first time expanded unemployment eligibility to independent contractors and freelance workers. In their ranks are millions of actors, writers, artists, musicians and dancers, who are three and a half times more likely than the average American to be self-employed, according to a 2019 report from the National Endowment for the Arts. (Where do you think the name “gig economy” came from, after all? From the music industry, where artists first cobbled together an income from stage to stage.)Like so many music venues, Elsewhere in Bushwick, Brooklyn, had to temporarily close because of coronavirus restrictions. Federal support for venues finally came through in December with the Save Our Stages Act.Credit…George Etheredge for The New York TimesA singer who qualified for pandemic assistance didn’t just get unemployment from her home state. She was also eligible for the same $600-a-week federal supplement as others receiving unemployment: a critical lifeline, though one that expired in July. (There have been two smaller supplements since then. The current $300-a-week boost, bundled into the December stimulus package, expires in mid-March, long before stages are expected to reopen.) For all its shortcomings, the program has established a precedent that the Biden administration must build upon: that artists, like other gig workers, are full participants in the national economy — and need to be taken care of as such.So the most immediate measure the new administration can take to stanch the arts crisis is simply to get money into artists’ pockets — by pushing Congress to expand and improve unemployment benefits for them and other independent contractors and gig workers. Congress also needs to smooth out discrepancies in pandemic assistance, including the way it severely undercompensates jobless aid to artists with a little salaried work on the side, such as an actor with a one-day-a-week desk job.If the program establishes that actors, musicians and dancers are true workers, how do we keep them working? Janet Yellen, the Treasury secretary nominee, and Marty Walsh, the Boston mayor nominated to lead the Labor Department, can answer this question by supporting changes to the tax code and to unemployment rights, with both economic and cultural benefits.One model comes from France, where performers, technicians and other workers in theater, dance, movies and television can qualify for a special artists’ unemployment program, known as intermittence, which includes maternity leave, retirement and other benefits.It allows performers to rehearse and train rather than wait tables, which makes a big contribution to the quality of French opera, dance and theater. But more fundamentally, it recognizes that musicians and dancers and the like are not truly self-employed. They are professionals, in a socially necessary industry with an uncommon economic organization. They need to be paid, taxed and insured as such if they are to thrive.Ms. Yellen and the new Congress also need to disburse additional funds to keep other arts professionals on the payroll. Bundled into the December stimulus package was the Save Our Stages Act, which earmarked $15 billion for small-business grants to music venues, movie theaters and the like. The grants (initially, 45 percent of a theater or club’s 2019 income) are a fantastic start — but it’s a Band-Aid when we need a full-scale tourniquet. Berlin’s nightclubs and other for-profit cultural venues were eligible for 80 percent grants.And given both the slow rollout of the vaccine and the continued need for social distancing, venues for the performing arts will be among the last public places to reopen. Congress ought therefore to bundle a second round of Save Our Stages emergency funding with a measure also drawn from the German bailout: cash for pandemic-appropriate infrastructural improvements, from new ventilation systems to digital distribution tools. I used to like a dirty disco; now I want gleaming HVAC.Does culture need a cabinet seat?Compared with Canada, Australia and most of Europe, the U.S. has relatively few cultural institutions funded through federal appropriations. The memorials on the National Mall are erected almost entirely with private cash; the Kennedy Center earns most of its income from donations and ticket sales. Even the Smithsonian Institution is a public-private partnership; its most recent Congressional disbursement of $1 billion a year accounts for 62 percent of its annual budget. At the Venice Biennale, where nations mount exhibitions in a kind of Olympics of contemporary art, the United States is one of the few participants whose government doesn’t pay for the show.Now some emboldened liberals have been dreaming, as they did when Barack Obama took office, that Mr. Biden might establish a cabinet-level Department of Culture — the first new department since George W. Bush established the Department of Homeland Security in 2002. Such a department might absorb the National Endowment for the Arts, the National Endowment for the Humanities, and the Institute of Museum and Library Services (all independent federal agencies), the Corporation for Public Broadcasting (a nonprofit), as well as parts of the State, Interior, and Education Departments.I get the impulse! Artsy Americans have long been jealous of Europe’s government-funded theaters and opera houses — and as cultural institutions have shed jobs over the last year, it’s easy to envy public institutions abroad. Our own museums, symphonies and ballet companies are financed principally through philanthropy, while our film, television and music industries are driven by the profit motive. There is, in consequence, hardly a large enough federal culture budget to merit a department. And as I don’t see a strong argument to nationalize the Metropolitan Museum of Art or Carnegie Hall, a federal culture department risks, at least right now, being more bureaucratic than beneficial.Nor are we so long gone from the (first?) culture wars, of the 1980s and early 1990s, when meager federal support for artists and performers became a flash point in a much larger political battle. Senator Jesse Helms and Republican colleagues fulminated against the photographers Andres Serrano and Robert Mapplethorpe, and then against performers known as the N.E.A. Four — and got on the books a decency test for federal arts grants, barring support for art with gay and feminist themes. (Later the N.E.A.’s budget was slashed, and individual artists’ grants were eliminated.) That history is one good reason for the Biden administration to — at least at first — aid artists on economic and infrastructural grounds, rather than as individual grants for “deserving” artists.And in countries in democratic decline — a category which, after last week’s siege, I struggle not to include the United States — culture ministries have lately become instruments of political wrath. In Poland, governed by the right-wing Law and Justice party, the culture minister has fired or refused to reappoint numerous museum directors; last year he installed a far-right fellow traveler as the head of Warsaw’s leading contemporary art center. The Hungarian government has used its funding rules to control what appears on theater stages; in Brazil, the last culture minister parroted the rhetoric of Joseph Goebbels.A Department of Culture, under a future American presidency, could be as antagonistic to culture as the outgoing administration’s Environmental Protection Agency has been to protecting the environment. Honestly, have the Culture Department boosters forgotten that President Trump promulgated a single style of classical architecture for all federal buildings? That sort of directive would have doomed designs like Ludwig Mies van der Rohe’s federal building in Chicago, or David Adjaye’s National Museum of African American History and Culture.Giving the federal government more dominion over culture could have, for example, doomed designs like those of David Adjaye for the National Museum of African American History and Culture in Washington, D.C.Credit…Lexey Swall for The New York TimesAmerican arts institutions ought not to give up their independence for crumbs. For now, especially as the pandemic subsides, the more urgent task is to encourage a richer cultural offering at the local level. A nimbler and more practicable solution to do that is with a White House Office for Culture, akin to the National Economic Council or the Domestic Policy Council, that could research and coordinate arts policy across the federal government.An arts center inside the executive office of the president — led, why not, by a “Dr. Fauci of culture” — could be sharper and swifter than a full department. This team could help Treasury create cultural tax policy, advise the Education Department on music instruction, liaise with Congress on arts stimulus. Importantly, it could ensure that stimulus funds for states and municipalities, whose budgets have been pitted by shutdown-induced tax shortfalls, shore up and eventually strengthen local arts organizations. (“Almost no one has been hurt more by Covid than our artists,” said Gov. Andrew Cuomo of New York this week, when he announced a public-private partnership supporting the state’s arts organizations.)The new administration should also re-establish the President’s Committee on the Arts and the Humanities, whose members resigned en masse in 2017 after Mr. Trump’s response to the white supremacist rally in Charlottesville, Va. (The artists who resigned included the director George C. Wolfe, the author Jhumpa Lahiri, the actor Kal Penn and the architect Thom Mayne.) To use a metaphor I detest but politicians seem to like, this committee should be the sizzle to the steak that is the Office for Culture. Any transformation this large needs a sales pitch; well-known actors, writers and musicians should be the pitchmen, linking Broadway and Hollywood to the town library and the school theater.During last year’s campaign, Mr. Biden had a phrase he invoked with almost musical regularity: the election, he always said, was a “battle for the soul of America.” As a piece of political rhetoric, it might have been just a platitude. How can I deny, though, that the near-sacking of the Capitol — in a week when, for the first time, the daily death toll from Covid-19 reached an unendurable 4,000 Americans — indicates that the United States has undergone, these last years, a kind of soul-death? And if you were treating a patient whose soul had curdled, what sort of medicine might you prescribe?I’ve always been wary of arguments about art’s “necessity.” But a soul-sick nation is not likely to recover if it loses fundamental parts of its humanity. Without actors and dancers and musicians and artists, a society will indeed have lost something necessary — for these citizens, these workers, are the technicians of a social catharsis that cannot come soon enough. A respiratory virus and an insurrection have, in their own ways, taken the country’s breath away. Artists, if they are still with us in the years ahead, can teach us to exhale.AdvertisementContinue reading the main story More

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      Cuomo Outlines Plans to Revive Arts and Culture Industries

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      #masthead-section-label, #masthead-bar-one { display: none }Covid-19 VaccinesVaccine QuestionsRollout by StateBiden’s PlansHow 9 Vaccines WorkAdvertisementContinue reading the main storySupported byContinue reading the main storyCuomo Outlines Plans to ‘Bring Arts and Culture Back to Life’Gov. Andrew M. Cuomo said that New York urgently needs to bring the arts back — not only to help jobless artists, but to make sure that New York City survives.“New York City is not New York without Broadway,” Gov. Andrew M. Cuomo said on Tuesday in unveiling plans for the arts. Theaters have been closed since March because of the pandemic.Credit…Daniel Arnold for The New York TimesJan. 12, 2021Updated 4:46 p.m. ETDeclaring that New York urgently needs to revive its arts and entertainment industry if it is to recover from the coronavirus pandemic, Gov. Andrew M. Cuomo said Tuesday that the state would begin taking a series of interim steps to help to bring back some cultural events in the short term and put more unemployed artists back to work.“We must bring arts and culture back to life,” Mr. Cuomo said as he continued a weeklong series of policy addresses outlining his agenda for the state.The governor said that bringing back art and culture was crucial — not just to help artists, who have suffered some of the worst unemployment in the nation, but to keep New York City a vital, exciting center where people will want to live and work.“Cities are, by definition, centers of energy, entertainment, theater and cuisine,” Mr. Cuomo said, noting the threats the city is facing from the rise in remote work, crime and homelessness. “Without that activity and attraction, cities lose much of their appeal. What is a city without social, cultural and creative synergies? New York City is not New York without Broadway.”Mr. Cuomo said that the state would begin a public-private partnership to offer a series of statewide pop-up concerts featuring artists such as Amy Schumer, Chris Rock, Renée Fleming and Hugh Jackman; begin a pilot program exploring how socially distant performances might be held safely in flexible venues whose seating is not fixed; and work in partnership with the Mellon Foundation to distribute grants to put more than 1,000 artists back to work and provide money to community arts groups.The governor said that the state could not wait until summer, when more people are vaccinated, to bring back performances.The public-private partnership, New York Arts Revival, which will offer pop-up performances featuring more than 150 artists beginning Feb. 4, will be spearheaded by the producers Scott Rudin and Jane Rosenthal, along with the New York State Council on the Arts. The plan will culminate with the opening of Little Island, the parklike pier being built downtown in the Hudson River by Barry Diller, and with the Tribeca Film Festival, which will celebrate its 20th anniversary in June..css-c7gg1r{font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:0.875rem;line-height:0.875rem;margin-bottom:15px;color:#121212 !important;}@media (min-width:740px){.css-c7gg1r{font-size:0.9375rem;line-height:0.9375rem;}}.css-1sjr751{-webkit-text-decoration:none;text-decoration:none;}.css-1sjr751 a:hover{border-bottom:1px solid #dcdcdc;}.css-yoay6m{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}@media (min-width:740px){.css-yoay6m{font-size:1.25rem;line-height:1.4375rem;}}.css-1dg6kl4{margin-top:5px;margin-bottom:15px;}.css-k59gj9{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;width:100%;}.css-1e2usoh{font-family:inherit;display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-pack:justify;-webkit-justify-content:space-between;-ms-flex-pack:justify;justify-content:space-between;border-top:1px solid #ccc;padding:10px 0px 10px 0px;background-color:#fff;}.css-1jz6h6z{font-family:inherit;font-weight:bold;font-size:1rem;line-height:1.5rem;text-align:left;}.css-1t412wb{box-sizing:border-box;margin:8px 15px 0px 15px;cursor:pointer;}.css-hhzar2{-webkit-transition:-webkit-transform ease 0.5s;-webkit-transition:transform ease 0.5s;transition:transform ease 0.5s;}.css-t54hv4{-webkit-transform:rotate(180deg);-ms-transform:rotate(180deg);transform:rotate(180deg);}.css-1r2j9qz{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-e1ipqs{font-size:1rem;line-height:1.5rem;padding:0px 30px 0px 0px;}.css-e1ipqs a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;}.css-e1ipqs a:hover{-webkit-text-decoration:none;text-decoration:none;}.css-1o76pdf{visibility:show;height:100%;padding-bottom:20px;}.css-1sw9s96{visibility:hidden;height:0px;}#masthead-bar-one{display:none;}#masthead-bar-one{display:none;}.css-1prex18{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;font-family:’nyt-franklin’,arial,helvetica,sans-serif;text-align:left;}@media (min-width:740px){.css-1prex18{padding:20px;}}.css-1prex18:focus{outline:1px solid #e2e2e2;}Covid-19 Vaccines ›Answers to Your Vaccine QuestionsWhile the exact order of vaccine recipients may vary by state, most will likely put medical workers and residents of long-term care facilities first. If you want to understand how this decision is getting made, this article will help.Life will return to normal only when society as a whole gains enough protection against the coronavirus. Once countries authorize a vaccine, they’ll only be able to vaccinate a few percent of their citizens at most in the first couple months. The unvaccinated majority will still remain vulnerable to getting infected. A growing number of coronavirus vaccines are showing robust protection against becoming sick. But it’s also possible for people to spread the virus without even knowing they’re infected because they experience only mild symptoms or none at all. Scientists don’t yet know if the vaccines also block the transmission of the coronavirus. So for the time being, even vaccinated people will need to wear masks, avoid indoor crowds, and so on. Once enough people get vaccinated, it will become very difficult for the coronavirus to find vulnerable people to infect. Depending on how quickly we as a society achieve that goal, life might start approaching something like normal by the fall 2021.Yes, but not forever. The two vaccines that will potentially get authorized this month clearly protect people from getting sick with Covid-19. But the clinical trials that delivered these results were not designed to determine whether vaccinated people could still spread the coronavirus without developing symptoms. That remains a possibility. We know that people who are naturally infected by the coronavirus can spread it while they’re not experiencing any cough or other symptoms. Researchers will be intensely studying this question as the vaccines roll out. In the meantime, even vaccinated people will need to think of themselves as possible spreaders.The Pfizer and BioNTech vaccine is delivered as a shot in the arm, like other typical vaccines. The injection won’t be any different from ones you’ve gotten before. Tens of thousands of people have already received the vaccines, and none of them have reported any serious health problems. But some of them have felt short-lived discomfort, including aches and flu-like symptoms that typically last a day. It’s possible that people may need to plan to take a day off work or school after the second shot. While these experiences aren’t pleasant, they are a good sign: they are the result of your own immune system encountering the vaccine and mounting a potent response that will provide long-lasting immunity.No. The vaccines from Moderna and Pfizer use a genetic molecule to prime the immune system. That molecule, known as mRNA, is eventually destroyed by the body. The mRNA is packaged in an oily bubble that can fuse to a cell, allowing the molecule to slip in. The cell uses the mRNA to make proteins from the coronavirus, which can stimulate the immune system. At any moment, each of our cells may contain hundreds of thousands of mRNA molecules, which they produce in order to make proteins of their own. Once those proteins are made, our cells then shred the mRNA with special enzymes. The mRNA molecules our cells make can only survive a matter of minutes. The mRNA in vaccines is engineered to withstand the cell’s enzymes a bit longer, so that the cells can make extra virus proteins and prompt a stronger immune response. But the mRNA can only last for a few days at most before they are destroyed.Mr. Cuomo said that he hoped to expand rapid testing, including at pop-up sites, to make it easier for people to be tested before visiting restaurants or theaters in areas with low-enough rates of the virus. He pointed to the state’s experiment last Saturday at the Buffalo Bills game, when the state tested nearly 7,000 fans.There have been problems with rapid testing. While rapid testing machines are portable, and can swiftly provide results, many are not considered as reliable as other tests in people without symptoms. The White House had relied on rapid testing to keep President Trump and his inner circle safe by requiring all White House visitors to take the test, even though that was not the way the test was intended to be used.New York reported at least 196 new coronavirus deaths and 14,179 new cases on Monday, and the rate of positive tests continues to increase.Dr. Anthony Fauci, the top infectious disease expert in the United States, told performing arts professionals at a virtual conference on Saturday that he believed theaters could reopen sometime this fall with relatively few restrictions if the vaccination program was a success, though he suggested audiences might still be required to wear masks for some time.“By the time we get to the early to mid-fall, you can have people feeling safe performing onstage as well as people in the audience,” Dr. Fauci said.But vaccine distribution in the United States is behind schedule, and public health officials have struggled to administer the vaccine to hospital workers and at-risk older Americans.Mr. Cuomo said that New York could not wait for enough people to be vaccinated to achieve herd immunity before taking steps to revive its performing arts scene.“We’re looking at months of shutdowns,” he said. “We need to begin to act now. We can’t float along letting pain, hardship and inequality grow around us.”AdvertisementContinue reading the main story More

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      Pamela Z Manipulates Voices in a Virtual Tour of Times Square

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyPamela Z Manipulates Voices in a Virtual Tour of Times Square“Times3” is the latest work by a veteran composer, vocalist, multimedia artist and “wild virtuoso.”“Times3,” a collaboration between Pamela Z (photographed here in San Francisco) and the theater artist Geoff Sobelle, is part of a pandemic edition of the Prototype festival of music theater.Credit…Andres Gonzalez for The New York TimesJan. 7, 2021The composer, vocalist and multimedia artist Pamela Z was supposed to have a good 2020. She started the year in Italy, as a recipient of the prestigious Rome Prize, working on a new performance piece that was to have its debut in June at the Museum of Modern Art in New York.The piece, “Simultaneous,” was to capitalize on the strengths Ms. Z, 64, has developed over a long and celebrated career. It would deploy her classically trained voice, her subtle (and sometimes humorous) layers of projected images and her skills as a live manipulator of media — especially her theatrical use of gesture controllers, wireless devices that let her physical movements affect sound.“I consider my instrument really to be the combination of my voice and the electronics,” she said in a phone interview from her home in San Francisco. “As a performer, I’m not just singing and then putting some effects on that. And I’m not just making electronic sounds. I’m actually simultaneously singing and speaking, and, in real time, sampling and processing and treating my voice to create these layers of sound that I consider to be a composition.”Ms. Z performing in San Francisco in 2015.Credit…Charles SmithWhen the pandemic hit, it cut her Rome residency short and indefinitely delayed her MoMA premiere. That was a blow not just for Ms. Z, but also for fans of experimental art in New York. While her music has lately been heard in the city as part of the Resonant Bodies Festival and the flutist Claire Chase’s ambitious “Density 2036” project, her more conceptual work as an installation artist and multimedia creator is not shown often enough here.The Prototype festival this month will offer something of a corrective, presenting “Times3,” a streaming soundscape collaboration between Ms. Z and the theater artist Geoff Sobelle. It comes as part of a pandemic overhaul to this annual festival of new opera and wide-ranging music theater; five of the six presentations in this year’s edition, which runs Friday to Jan. 16, will exist only online. (“Times3” is free; attendees need only register online beforehand, starting Jan. 9, to receive a link and password for the audio.)“Times3” gives listeners something of a crash course in Ms. Z’s ever-evolving practice. “I haven’t jettisoned anything, I’m just adding things,” she said. “At one time it would have been accurate to call myself a musician. Now it’s only a fragment of what my work encompasses.”Ms. Z was still finishing up the final version of “Times3,” alternately titled “Times x Times x Times,” in the days ahead of its premiere. The half-hour or so piece, a meditation on the past, present and future of Times Square, is built from interviews that Mr. Sobelle conducted with scholars and theorists who hold vivid perspectives on the neighborhood. The musical form it takes is Ms. Z’s responsibility.“I tend to work with everything from full sentences to short phrases to just individual words, even syllables and phonemes,” Ms. Z said, describing her editing process using the audio program Pro Tools. “And I’m just capturing all those little pieces and naming them so I can use them as building blocks, to structure the piece.”It’s a process familiar to Ms. Z, since some of her earlier work — including 2019’s “Louder Warmer Denser,” for Ms. Chase — has involved post-produced fragments of interviews. And the way Ms. Z layers her own voice, during live performances, has also prepared the composer for some of the challenges of “Times3.”You can hear that facility for editing in her other recent projects. A concert livestreamed from her home studio and presented by Mills College — featuring, in her description, “voice, real-time electronic processing, sampled sounds, wireless gesture controllers and interactive videos” — is technically startling and fluidly soulful; at one point, Ms. Z uses looping to build her own backup choir.[embedded content]The performance includes some pieces heard on her album “A Delay Is Better,” released on the Starkland label in 2004; that album also gives an effective overview of her work. A track like “Badagada” demonstrates her love of traditional operatic singing as well as of Minimalism and live electronic manipulation, while “Pop Titles ‘You’” works as a clever found-poem in sound. “Geekspeak,” which lets speakers other than Ms. Z attempt to define the essence of geekery, approaches interviewing and sound editing as forms of storytelling and art-making.Born in Buffalo, N.Y., and raised in Colorado, Ms. Z studied vocal music and education. Initially, she pursued more traditional voice-and-guitar singer-songwriter work — with “a bit of classical music bizarrely laced in,” she said in an email — before committing to a more experimental approach. In the 1980s, she moved to San Francisco, where she still lives, creating solo performances as well as fulfilling an increasing number of commissions — including chamber music, dance scores and dramatic pieces — from groups like the Bang on a Can All-Stars, the Orchestra of St. Luke’s, the Kronos Quartet and Eighth Blackbird.Her “Times3” partner, Mr. Sobelle, worked with Jecca Barry, a director of the Prototype festival, on past productions. The festival’s organizers recommended that he and Ms. Z do a piece about Times Square. Mr. Sobelle was keen to partner with her; he said that he had been aware of her work “a little bit, from a friend who suggested that I take a look, at another moment, just to see a wild virtuoso.”And when Ms. Z watched the eight-millimeter short film that had opened Mr. Sobelle’s 2005 stage work “All Wear Bowlers” — “a beautiful, poetic piece that was styled after silent films,” she said — she was sold on the collaboration.After discussions with Prototype, the two artists decided not to make listeners venture to Times Square to access the audio. Instead, by using interviews with people familiar with the area, they decided to create what the poet Lawrence Ferlinghetti might have called a Times Square of the mind.“There’s a landscape architect; there’s somebody who’s a theater stage manager, who’s stage-managed a lot of shows on Broadway,” Ms. Z said. “We interviewed some historians, people who knew about the Indigenous people who lived on that land. And we interviewed a person who has all kinds of theories about what would happen if there were no longer humans — and what changes would occur.”Mr. Sobelle conducted the interviews, then furnished Ms. Z with the raw sound files, as well as notes about ways the transcripts might be layered to produce dramatic resonance.In this way, “Times3” is closely related to the most current version of “Simultaneous,” broadcast last month by Deutschland Radio. In that 44-minute piece, the thematic focus is on the contemporary culture of multitasking, and Ms. Z’s jaundiced view of it.For source material, she interviewed and recorded her fellow Rome Prize recipients on the topic, preparing for the live performances at MoMA. Instead of waiting for those appearances to be rescheduled, she created a purely audio iteration for the German radio station.At the start of the radio version, fans of Ms. Z might find themselves impatient for her voice. But the narrative rhythm of her editing has humor, which makes the build toward her full bel canto-infused technique worth the wait. Her first noticeable vocal contributions come in scintillating, refracted shards around the 22nd minute. From there, her vocalizations grow more prominent. (Make sure to catch a lovely song in the second half.)“Times3” audiences can expect a similar structure. “You’ll hear my voice because I have some actual singing parts,” she said. “Also because Geoff insisted on interviewing me.”Mr. Sobelle said he was impressed with what Ms. Z was “able to cobble together out of strange pieces of material.” Though he was disinclined to offer audiences the equivalent of liner notes for “Times3,” or anything that would suggest an experimental work needs special explanation, he did say that “it’s not like a piece of journalism or like a historical document.”“Even though we’re speaking to academics and journalists and architects and city planners and people like that,” he added, “she’s looking for musicality. It’s very much an art piece.”AdvertisementContinue reading the main story More

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      11 Things Our Critics Are Looking Forward to in 2021

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main story11 Things Our Critics Are Looking Forward to in 2021Nicolas Cage hosts the history of swearing. Lorde writes a book and Julie Mehretu takes over the Whitney. This new year has to be better, right?Credit…María MedemDec. 31, 2020, 9:00 a.m. ETAs a new year begins, our critics highlight the TV, movies, music, art and streaming dance and theater they anticipate before summer.Jason ZinomanSwearing With Nicolas CageNicolas Cage hosts “History of Swear Words,” a new Netflix series.Credit…NetflixSure, the new Netflix series “History of Swear Words,” which premieres Jan. 5, features a cast of comics like Sarah Silverman, Joel Kim Booster and Nikki Glaser working as talking heads, breaking down the meaning, impact and poetry of six major bad words, which mostly cannot be published here. An exception is “Damn,” which, you learn from this show, used to be much more taboo than it is today. And there are also some very smart academics who will explain such history, some of it hard fact sprinkled in with a few questionable legends. Etymology really can be riveting stuff. But let’s face it: The main reason to be excited about this show is the prospect of its host, Nicolas Cage, hammily shouting curses over and over again. I have seen the screeners and it lives up to expectations.Jon ParelesJulien Baker Scales UpHow does a songwriter hold on to honest vulnerability as her audience grows? It’s a question Julien Baker began to wrestle with when she released her first solo album, “Sprained Ankle.” She sang about trauma, addiction, self-doubt, self-invention and a quest for faith, with quietly riveting passion in bare-bones arrangements. And she quickly found listeners to hang on her every word. Through her second album, “Turn Out the Lights,” and her collaborative songs in the group boygenius (with Phoebe Bridgers and Lucy Dacus) she used better studios and drew on richer sounds but still projected intimacy. Her third album, “Little Oblivions,” is due Feb. 26. With it she scales her music up to larger spaces, backed by a full rock band with ringing guitars and forceful drums. But she doesn’t hide behind them; she’s still ruthless and unsparing, particularly about herself.Maya PhillipsThe Scarlet Witch Gets Her DueElizabeth Olsen, left, stars as Wanda Maximoff in the new Disney+ series “WandaVision,” which also features Paul Bettany as Vision.Credit…Disney PlusWhen I heard the Scarlet Witch, also known as Wanda Maximoff, was joining the Marvel Cinematic Universe, I was hyped. Sometimes known as a daughter of Magneto (yes, we’ve got an X-Men crossover here), the powerful mutant had the ability to alter reality. So imagine my disappointment when Wanda was elbowed off to the side, shown shooting red blasts from her hands but not much else. Wanda, they did you wrong.But I’m not just thrilled about “WandaVision” finally giving this female hero her due. The new series, which stars Elizabeth Olsen and arrives on Disney+ on Jan. 15, grants the Scarlet Witch her own universe to manipulate, and uses it as a way to toy with a fresh tone and aesthetic for the MCU. Offbeat and capricious, and a perversion of classic sitcom series, “WandaVision” seems like it will give its superheroine the space to power up and unravel in ways that she couldn’t in the overstuffed “Avengers” films. Olsen seems up to the task, and Kathryn Hahn, Paul Bettany and Randall Park are also there to provide extra comedy and pathos.Jason FaragoA Retrospective for Julie Mehretu“Retopistics: A Renegade Excavation,” a painting by Julie Mehretu, from 2001, which will appear in a midcareer retrospective at the Whitney Museum of American Art.Credit…Julie MehretuThis midcareer retrospective of Julie Mehretu and her grand, roiling abstractions drew raves when it opened last year at the Los Angeles County Museum of Art, and it belatedly arrives on March 25 in the artist’s hometown, at the Whitney Museum of American Art. Mehretu came to prominence 20 years ago with dense, mural-scaled paintings whose sweeping lines suggested flight paths or architectural renderings; later, she turned to freer, more fluid mark-making that places abstract painting in the realms of migration and war, capital and climate.Her most recent work, made during the first lockdown and seen in a thundering show at Marian Goodman Gallery, is less readily legible, more digitally conversant, and more confident than ever. To fully perceive her jostling layers of silk-screened grids, sprayed veils and calligraphic strokes of black and red requires all one’s concentration; come early, look hard.Jesse GreenBlack Royalty Negotiates PowerA scene from “Duchess! Duchess! Duchess!,” a filmed play starring Sydney Charles, left, and Celeste M. Cooper, presented by Steppenwolf Theater.Credit…Lowell ThomasEnough with “The Crown.” Television may have cornered the market on stories about the nobility, but it was theater that traditionally got into the heads of heads of state and tried to understand what they were thinking.That tradition gets a timely update in February, when Steppenwolf Theater presents “Duchess! Duchess! Duchess!” — a filmed play by Vivian J.O. Barnes, directed by Weyni Mengesha. Inspired and/or appalled by the experiences of Kate Middleton and Meghan Markle, Barnes imagines a dialogue in which a Black duchess helps acculturate a Black duchess-to-be to her new position. Together, they explore what it means to join an institution that acts as if they should feel honored to be admitted, even as it eats them alive.That the institution in question involves not just royalty but racism, if the two are different, broadens the story. How Black women negotiate power in traditionally white arenas, and at what cost, is something that resonates far beyond Balmoral.Mike HaleAn Alien Impersonates a DoctorThe title character of the Syfy series “Resident Alien,” which premieres on Jan. 27, does not have a green card, but he does have green skin, or at least a green-and-purple exoskeleton. He’s been sent to earth to exterminate us; there’s a delay, and in the meantime he has to impersonate a small-town Colorado doctor and learn, with exceeding awkwardness, how to act like a human being. This snowbound scary-monster comedy won’t make any Top 10 lists but it looks like a hoot, and it’s tailor-made for the eccentric comic talents of Alan Tudyk (“Doom Patrol,” “Arrested Development”), who never seems comfortable in whatever skin he’s in.Salamishah TilletDeath of a Black PantherDaniel Kaluuya, rear, and Lakeith Stanfield star in “Judas and the Black Messiah,” a film about a deadly raid on the Black Panther Party in Chicago.Credit…Glen Wilson/Warner Bros., via Associated PressOn Dec. 4, 1969, 14 Chicago police officers, with a search warrant for guns and explosives, raided an apartment where members of the Black Panther Party were staying. When they left, the party leaders Fred Hampton and Mark Clark were dead. Congressman Bobby Rush, who was then a deputy minister of the party, testified that Hampton, 21, was asleep in his bed when police officers shot him, a version of events investigated in “The Murder of Fred Hampton,” a 1971 documentary. Now there is a feature film about the raid. “Judas and the Black Messiah” tells the story of Hampton (Daniel Kaluuya), and William O’Neal (Lakeith Stanfield), an FBI informant who was part of Hampton’s security team, reuniting the two stars from “Get Out.” Directed by Shaka King (“Newlyweeds”), the movie is expected to be released in early 2021.Margaret LyonsA Drama Jumps Through Time“David Makes Man” is one of the most beautiful dramas of the last several years, and its structural daring added new facets to the coming-of-age genre. David (Akili McDowell) was in middle school in Season 1, but in the upcoming second season (currently slated for early summer on OWN) he’s in his 30s and facing adult challenges. That kind of time jump — and creative leap — would be intriguing on its own, but the way the show captured the warring thoughts within one’s adolescent psychology makes me even more excited to see how it depicts the turmoils of maturity.Gia KourlasDance and the Natural WorldMembers of the Martha Graham Dance Company in Graham’s “Dark Meadow Suite.”Credit…Brigid PierceSince the pandemic began, the robust digital programming at the Martha Graham Dance Company has stood out for its multifaceted approach of exploring the works of its groundbreaking modern choreographer. It helps, of course, to have Graham’s works to excavate in the first place. (And access to a healthy archive.)As most dance companies continue to maintain their distance from the stage, the Graham group — now in its 95th season — opens the year with digital programming organized by theme. The January spotlight is on nature and the elements, both in Graham’s dances and in recent works. How is the natural world used metaphorically?On Jan. 9, “Martha Matinee,” hosted by the artistic director, Janet Eilber, looks at Graham’s mysterious, ritualistic “Dark Meadow” (1946) with vintage footage of Graham herself along with the company’s recent “Dark Meadow Suite.” And on Jan. 19, the company unveils “New @ Graham,” featuring a closer look at “Canticle for Innocent Comedians” (1952), Graham’s unabashed celebration of nature, with an emphasis on the moon and the stars.Jason FaragoThe Frick’s Modernist Pop-UpA view of the former Met Breuer on Madison Avenue; the museum will be taken over by the Frick for a modernist pop-up called Frick Madison.Credit…Vincent Tullo for The New York TimesIn this market you’re better off subletting! When the Frick Collection finally won approval to renovate and expand its Fifth Avenue mansion, it started hunting for temporary digs — and got a lucky break when the Metropolitan Museum of Art announced it would vacate its rental of Marcel Breuer’s Brutalist citadel three years early. Henry Clay Frick’s will bars loans from the core collection, so the Frick’s modernist pop-up, called Frick Madison, will offer the first, and probably only, new backdrop for Bellini’s mysterious “St. Francis in the Desert,” Rembrandt’s brisk “Polish Rider,” or Holbein’s dueling portraits of Thomas Cromwell and Thomas More (a must-see face-off for “Wolf Hall” fans).But the modern architecture is only part of the adaptation; the Frick is a house museum, and the Breuer sublet allows curators a unique chance to scramble and reconstitute the collection outside a residential framework. The real UFOs at Frick Madison, expected in the first quarter of 2021, may therefore be the decorative arts: all those gilded clocks, all that Meissen porcelain, relocated from plutocratic salons into cubes of concrete.Lindsay ZoladzLorde Writes About AntarcticaFew new years have arrived with such weighty expectations as 2021, so to prevent disappointment let us calibrate our hopes: What I know is that in 2021 the New Zealand pop-poet Lorde has promised to put out, at the very least, a book of photographs from her recent trip to Antarctica. Titled “Going South,” it features writing by Lorde (who describes her trip as “this great white palette cleanser, a sort of celestial foyer I had to move through in order to start making the next thing”) and photographs by Harriet Were, and net proceeds from its sale will go toward a climate research scholarship fund. Cool. I love it. Of course, my true object of anticipation is Lorde’s third album, the long-awaited follow-up to her spectacularly intimate 2017 release, “Melodrama,” but after a year like 2020, I’m not going to rush her. Actually, you know what? I am. Lorde, Ella, Ms. Yelich-O’Connor: Please release your epic concept album about glaciers and spiritual rebirth at the South Pole in 2021. After a year in the Antarctic climate of the soul that was 2020, this is what we all deserve.AdvertisementContinue reading the main story More

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      This Year’s Standout Moments in the Arts

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      The Best of This Year in the ArtsThe Culture DeskLooking back on 2020 ��Natalie Seery/HBOAround the world, museums, theaters and galleries were closed, and concerts and festivals canceled; still, many artists continued creating indelible work.Here are our critics’ highlights → More

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      With No Tickets to Sell, Arts Groups Appeal to Donors to Survive

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyWith No Tickets to Sell, Arts Groups Appeal to Donors to SurviveVirtual cocktail parties have replaced black-tie galas as cultural institutions struggle to pay their operating costs.Many nonprofit cultural institutions, whose ticket revenues have fallen sharply during the pandemic, are struggling to collect donations as well. A donation box at the Metropolitan Museum of Art.Credit…James Estrin/The New York TimesDec. 28, 2020One of the headliners of the New York Philharmonic’s fall gala last month was Leonard Bernstein, leading his old orchestra in the overture to “Candide.”Yes, Bernstein died three decades ago. But since the gala, like so much else, was forced to go remote, the Philharmonic had some fun with the format, filming its current players performing to historical footage of Bernstein wielding his baton. The virtual gala had some advantages: it cost less to produce, with no catering, linen rentals and flower arrangements for a black-tie audience, and it reached some 90,000 people, while the concert hall holds around 2,700.But when it came to the bottom line, the picture was less rosy. The virtual event raised less than a third of what the gala concert took in last year: $1.1 million, down from $3.6 million, a vivid illustration of the steep challenge of raising money for the arts during a global pandemic.With little or no earned income coming in amid canceled performances and proscribed public gatherings, nonprofit cultural institutions across the nation are scrambling to attract a source of revenue that is often even more important to their bottom lines: philanthropy. Now, as they anxiously await the results of their year-end appeals for donations, they are facing competition from pressing causes including hunger, health care and social justice.“I am pedaling quickly to try to make sure that we can try to figure out how to make it through,” said Deborah F. Rutter, the president of the Kennedy Center in Washington, which ended its fiscal year on Sept. 30 with a $500,000 deficit compared to last year’s balanced budget. “We are heavily dependent on contributed revenues to survive.”The going has, indeed, been rough. Box office revenues for many institutions have fallen off a cliff: ticket sales for performing arts groups in the United States were down 96.3 percent in November compared to that month last year, according to a report released last month by the analytics group TRG Arts. And donations do not appear to be making up the difference.Despite an outpouring of contributions when the virus first struck, individual giving to arts organizations fell by 14 percent in North America during the first nine months of the year, the group found in another report. The average size of gifts from the most active, loyal patrons fell by 38 percent, the survey found.With live performances and large events canceled, arts groups have had to move their fundraisers online. Clockwise from upper left: Zadie Smith at the BAM Virtual Gala, Meryl Streep during Equality Now’s Virtual Make Equality Reality Gala, Cate Blanchett at the BAM gala and Aubrey Plaza at the Equality Now event. Credit…Getty Images for BAM (Smith and Blanchett); Getty Images for Equality Now (Streep and Plaza)A survey of performing arts administrators by the publication Inside Philanthropy found 45 percent reporting “reduced funder interest and resources as a result of the current shifting of funds for Covid and racial justice.”The outbreak has forced institutions to find creative ways to interact with donors: virtual cocktail parties, music quizzes, meet-the-musician online events.“It’s a long way to make up for the gap, and I think we should all be realistic about the fact that this is nowhere near a substitute,” said Henry Timms, the president of Lincoln Center, who helped develop #GivingTuesday in 2012, a day to encourage philanthropy on the Tuesday after Thanksgiving. But he added that “when the traditional fund-raising vehicles return, a lot of us will have also learned some new digital tricks.”Among those tricks: New York City Center has invited audiences to “Make Someone Happy” this holiday season by sending as a gift (for $35) digital access to its Evening With Audra McDonald, available on demand through Jan. 3. And earlier this month, Ars Nova, an artists incubator in New York, raised more than $400,000 during its 24-hour livestream telethon, which featured more than 200 artists.Museums are struggling to raise funds in the absence of events, and because they were forced to close during the first few months of the pandemic. “We count on the front door for about 30 percent of the budget, so to lose that in one fell swoop is perilous,” said Richard Armstrong, the director of the Solomon R. Guggenheim Museum, which is projecting a $13 million deficit and had to cancel a potentially high-traffic Joan Mitchell touring retrospective because the timing no longer worked.Rather than pivot to a virtual gala, the Guggenheim decided to scrap that event altogether — instead inviting donations to a “Gala Fund” — in part because of Zoom fatigue and because online programming had not been a strong point.“We were a little far behind on virtual previously, so we had to catch up and we’re still figuring that out,” Mr. Armstrong said. “We certainly put out a lot of content in the seven months. We’ve learned, I think better, how to make the online museum more comparable to the physical space.”New York City Ballet and the School of American Ballet typically hold a benefit each year after a Saturday matinee of “George Balanchine’s The Nutcracker,” followed by a backstage tour and party on the promenade of the David H. Koch Theater. This year they went online.The principal dancer Tiler Peck gave a backstage tour, told the story of the ballet and performed an excerpt. People who purchased benefit tickets received treats delivered to their homes, and were able to interact with dancers on Zoom. Dancers, in costume, were streamed live from their theater dressing rooms, where they did makeup demonstrations, talked about their characters and answered questions. And attendees received a free link to watch the company performing the full ballet on marquee.tv through Jan. 3.But many arts institutions must navigate a sensitive fund-raising climate — making the case for culture as a worthy cause, while remaining mindful of the international health crisis, rising hunger and a national reckoning around racial and social justice.“We were careful not to be overreaching, allowing partner organizations to do what they had to do, like United Way or other community service organizations that were literally dealing with life and death situations,” Mark A. Davidoff, the chairman of the Detroit Symphony Orchestra, said. “How much is enough, and how much might be too much?”This month’s annual summit of the Arts Funders Forum, which aims to increase private funding for arts and culture in the United States, emphasized how arts institutions need to demonstrate to donors what they are doing to drive social change.“Of the causes that Americans of all generations do support,” said Melissa Cowley Wolf, director of the forum, during her opening remarks, “arts and culture do not make the top seven.”With no performances of “George Balanchine’s The Nutcracker” this season, New York City Ballet and the School of American Ballet had to move their family benefit fundraiser online.Credit…Rachel Papo for The New York TimesMany nonprofit institutions are hoping to apply for aid available in the stimulus bill that President Trump signed Sunday night.Amid the crisis, some foundations are stepping in to try to help keep institutions afloat, and large organizations are seeking emergency support from their boards.Virtual fund-raising has benefited a bit from the fact that people are stuck at home, making them eager for engagement as well as less heavily scheduled.“People have the bandwidth for those kinds of conversations,” Ms. Rutter, of the Kennedy Center, said. “In the past, it would be like, ‘Let’s get together for lunch,’ and it would take six months to get it on the calendar. Now it’s like, ‘I’m free tomorrow.’”Still, fund-raising challenges remain formidable. What is typically a subtle dance — we’ll give you this perk, if you give us your dollars — has now become a more brazen cry for help.This month, the Metropolitan Museum of Art placed donation boxes in the lobby of its Fifth Avenue entrance: “Please give to The Met to help us connect others to the power of art.” The Detroit Symphony launched what it is calling a Resilience Fund “to ensure that our world-class orchestra keeps the music playing for our community during the Covid-19 crisis and beyond.”The New York Philharmonic has established the “It Takes an Orchestra Challenge,” trying to raise $1.5 million by Dec. 31. David M. Ratzan, a New Yorker who typically takes his son to several concerts a year, contributed $100. “If people don’t pitch in,” he said, “these places won’t exist.”The orchestra was forced to cancel its entire current season, and this month its musicians agreed to substantial salary cuts as its administration was reorganized to allow Deborah Borda, its president and chief executive, to focus on two priorities: renovating David Geffen Hall, its Lincoln Center home, and fund-raising.“It’s an incredibly serious situation,” Ms. Borda said. “Our last concert was March 10 and we can’t play this entire year and then the next question is, looking forward, what will happen in the fall of 2021? What is going to happen with the vaccine? How comfortable will people feel about coming back?”Given this uncertainty, cultural executives still find themselves far outside the bounds of the traditional arts management playbook.“I’m not talking about whether Yo-Yo is available,” said Mark Volpe, the chief executive of the Boston Symphony, referring to the cellist Yo-Yo Ma, and noting that the symphony would typically have started selling tickets for its summer Tanglewood season in November. “I’m talking about what the future is going to be.”AdvertisementContinue reading the main story More

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      A ‘Great Cultural Depression’ Looms for Legions of Unemployed Performers

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyA ‘Great Cultural Depression’ Looms for Legions of Unemployed PerformersWith theaters and concert halls shuttered, unemployment in the arts has cut deeper than in restaurants and other hard-hit industries.Soon after the pandemic struck, a year’s worth of bookings vanished for the acclaimed violinist Jennifer Koh, who found herself streaming concerts from her apartment.Credit…Elias Williams for The New York TimesDec. 26, 2020Updated 5:32 a.m. ETIn the top echelons of classical music, the violinist Jennifer Koh is by any measure a star.With a dazzling technique, she has ridden a career that any aspiring Juilliard grad would dream about — appearing with leading orchestras, recording new works, and performing on some of the world’s most prestigious stages.Now, nine months into a contagion that has halted most public gatherings and decimated the performing arts, Ms. Koh, who watched a year’s worth of bookings evaporate, is playing music from her living room and receiving food stamps.[embedded content]Pain can be found in nearly every nook of the economy. Millions of people have lost their jobs and tens of thousands of businesses have closed since the coronavirus pandemic spread across the United States. But even in these extraordinary times, the losses in the performing arts and related sectors have been staggering.During the quarter ending in September, when the overall unemployment rate averaged 8.5 percent, 52 percent of actors, 55 percent of dancers and 27 percent of musicians were out of work, according to the National Endowment for the Arts. By comparison, the jobless rate was 27 percent for waiters; 19 percent for cooks; and about 13 percent for retail salespeople over the same period.In many areas, arts venues — theaters, clubs, performance spaces, concert halls, festivals — were the first businesses to close, and they are likely to be among the last to reopen. “My fear is we’re not just losing jobs, we’re losing careers,” said Adam Krauthamer, president of Local 802 of the American Federation of Musicians in New York. He said 95 percent of the local’s 7,000 members are not working on a regular basis because of the mandated shutdown. “It will create a great cultural depression,” he said.The new $15 billion worth of stimulus aid for performance venues and cultural institutions that Congress approved this week — which was thrown into limbo after President Trump criticized the bill — will not end the mass unemployment for performers anytime soon. And it only extends federal unemployment aid through mid-March.The public may think of performers as A-list celebrities, but most never get near a red carpet or an awards show. The overwhelming majority, even in the best times, don’t benefit from Hollywood-size paychecks or institutional backing. They work season to season, weekend to weekend or day to day, moving from one gig to the next.The median annual salary for full-time musicians and singers was $42,800; it was $40,500 for actors; and $36,500 for dancers and choreographers, according to a National Endowment for the Arts analysis. Many artists work other jobs to cobble together a living, often in the restaurant, retail and hospitality industries — where work has also dried up.They are an integral part of local economies and communities in every corner of rural, suburban and urban America, and they are seeing their life’s work and livelihoods suddenly vanish. Terry Burrell, an actor and singer in Atlanta, saw the tour of her show “Angry, Raucous and Gorgeously Shameless” canceled after the virus struck.Credit…Lynsey Weatherspoon for The New York Times“We’re talking about a year’s worth of work that just went away,” said Terry Burrell, whose touring show, “Angry, Raucous and Gorgeously Shameless,” was canceled. Now she is home with her husband in Atlanta, collecting unemployment insurance, and hoping she won’t have to dip into her 401(k) retirement account.Linda Jean Stokley, a fiddler and part of the Kentucky duo the Local Honeys with Monica Hobbs, said, “We’re resilient and are used to not having regular paychecks.” But since March hardly anyone has paid even the minor fees required by their contracts, she said: “Someone owed us $75 and wouldn’t even pay.”Then there’s Tim Wu, 31, a D.J., singer and producer, who normally puts on around 100 shows a year as Elephante at colleges, festivals and nightclubs. He was in Ann Arbor, Mich., doing a sound check for a new show called “Diplomacy” in mid-March when New York shut down. Mr. Wu returned to Los Angeles the next day. All his other bookings were canceled — and most of his income.Mr. Wu, and hundreds of thousands of freelancers like him, are not the only ones taking a hit. The broader arts and culture sector that includes Hollywood and publishing constitutes an $878 billion industry that is a bigger part of the American economy than sports, transportation, construction or agriculture. The sector supports 5.1 million wage and salary jobs, according to the U.S. Bureau of Economic Analysis. They include agents, makeup artists, hair stylists, tailors, janitors, stage hands, ushers, electricians, sound engineers, concession sellers, camera operators, administrators, construction crews, designers, writers, directors and more. “If cities are going to rebound, they’re not going to do it without arts and cultural creatives,” said Richard Florida, a professor at the University of Toronto’s Rotman School of Management and School of Cities.Steph Simon, a hip-hop artist from Tulsa, had been booked to perform at South by Southwest when the virus hit and eliminated the rest of his gigs for the year. Credit…September Dawn Bottoms/The New York TimesThis year, Steph Simon, 33, of Tulsa, finally started working full time as a hip-hop musician after a decade of minimum-wage jobs cleaning carpets or answering phones to pay the bills.He was selected to perform at the South by Southwest festival in Austin, Texas, played regular gigs at home and on tour, and produced “Fire in Little Africa,” an album commemorating the 1921 massacre of Black residents of Tulsa by white rioters.“This was projected to be my biggest year financially,” said Mr. Simon, who lives with his girlfriend and his two daughters, and was earning about $2,500 a month as a musician. “Then the world shut down,” he said. A week after the festival was canceled, he was back working as a call center operator, this time at home, for about 40 hours a week, with a part-time job at a fast-food restaurant on the weekends.In November, on his birthday, he caught Covid-19, but has since recovered.Performers on payrolls have suffered, too. With years of catch-as-catch-can acting gigs and commercials behind her, Robyn Clark started working as a performer at Disneyland after the last recession. She has been playing a series of characters in the park’s California Adventure — Phiphi the photographer, Molly the messenger and Donna the Dog Lady — several times a week, doing six shows a day.“It was the first time in my life I had security,” Ms. Clark said. It was also the first time she had health insurance, paid sick leave and vacation.In March, she was furloughed, though Disney is continuing to cover her health insurance.“I have unemployment and a generous family,” said Ms. Clark, explaining how she has managed to continue paying for rent and food.Many performers are relying on charity. The Actors Fund, a service organization for the arts, has raised and distributed $18 million since the pandemic started for basic living expenses to 14,500 people.“I’ve been at the Actors Fund for 36 years,” said Barbara S. Davis, the chief operating officer. “Through September 11th, Hurricane Katrina, the 2008 recession, industry shutdowns. There’s clearly nothing that compares to this.”Higher-paid television and film actors have more of a cushion, but they, too, have endured disappointments and lost opportunities. Jack Cutmore-Scott and Meaghan Rath, now his wife, had just been cast in a new CBS pilot, “Jury Duty,” when the pandemic shut down filming.“I’d had my costume fitting and we were about to go and do the table read the following week, but we never made it,” Mr. Cutmore-Scott said. After several postponements, they heard in September that CBS was bailing out altogether.Many live performers have looked for new ways to pursue their art, turning to video, streaming and other platforms. Carla Gover’s tour of dancing to and playing traditional Appalachian music as well as a folk opera she composed, “Cornbread and Tortillas,” were all canceled. “I had some long dark nights of the soul trying to envision what I could do,” said Ms. Gover, wholives in Lexington, Ky., and has three children.She started writing weekly emails to all her contacts, sharing videos and offering online classes in flatfoot dancing and clogging. The response was enthusiastic. “I figured out how to use hashtags and now I have a new kind of business,” Ms. Gover said.But if technology enables some artists to share their work, it doesn’t necessarily help them earn much or even any money.The violinist Ms. Koh, known for her devotion to promoting new artists and music, donated her time to create the “Alone Together” project, raising donations to commission compositions and then performing them over Instagram from her apartment.The project was widely praised, but as Ms. Koh said, it doesn’t produce income. “I am lucky,” Ms. Koh insisted. Unlike many of her friends and colleagues, she managed to hang onto her health insurance thanks to a teaching gig at the New School, and she got a forbearance on her mortgage payments through March. Many engagements have also been rescheduled — if not until 2022.She ticks off the list of friends and colleagues who have had to move out of their homes or have lost their health insurance, their income and nearly every bit of their work.“It’s just decimating the field,” she said. “It concerns me when I look at the future.”AdvertisementContinue reading the main story More