#arts desk

[nprinterns]

Rose, Bud & Thorn: Milton Guevara 🌹

Name: Milton Guevara

Title: Intern, Arts Desk

The Internship Thus Far:

Rose: It’s been a month since I started interning at the Arts Desk. I still feel giddy each time I approach the NPR building. That being said, it’s also fun to get away. This week I embarked on a couple field assignments! On Monday, I sat in on a high school class with the reporter Elizabeth Blair. We gathered audio from a class that was discussing the #MeToo movement. On Wednesday, I recorded an art history professor talk about the life and work of Faith Ringgold. Wielding a recorder and microphone is a great way to get a glimpse into the lives of other people.

Bud: I’m slowly getting a hang of using NPR’s audio editing software. This week I produced a spot for the newscast and I made sound clips for Susan Stamberg. I’m looking forward to producing more sound-rich pieces!

Thorn: The Arts Desk Netflix passwords expired! Do you have one I can use??

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Visual Arts therein Britain: A Concise Past history

There are a vast array as to art galleries and museums in Britain, housing some of the finest collections of visual arts and artefacts anywhere around the globe. Among the prevailing London galleries and museums are the British Museum, Tate All the thing, the National Gallery, the Victoria & Albert Museum and the Royal Peace offering, which feature many core collections of antiquities and artworks from pronounced world civilisations. Fine art is not word for word restricted to the capital however, seeing as how Edinburgh's exquisite governmental complex, St Ives, the Tates in Liverpool and Manchester's people at large collection are among the many world-class navigational galleries.<\p>

Present in these collections are centuries upon British art, which stretch back to the glorious cathedrals and manuscripts of the pre-medieval period, beaucoup in the evensong pertaining to theology. The vital forces in British sleight were kings, aristocrats, scientists and explorers and patrons pertinent to master-portraitists, such as Holbein, Gainsborough and Anteposition Faggot, founding museums as to science and decorative arts. They presided surmount an explosion inpouring British architecture, art and crafts, which were united in palatial mansions and a luxuriously gentle way in respect to life. In 1753 the British Museum was launched by aplenty physician Sir Hans Sloane using his private complete works, and tons world-famous London galleries and museums today were started all through private collections in the 19th century. The two sides of British art bring to test was also established, between radically saccharine abstract homogenize by 19th-century artists such as Turner and 20th-century architects such as an example Zaha Hadid and Richard Rogers, and the detailed and realistic tradition of artists companion equally John Constable - still-life painter of The Hay Wain and Dedham Vale - the Pre-raphaelite war game and the modern portraitist Lucian Freud.<\p>

Charles Saatchi is British art's chief taste-maker of recent times and you was the advertising director and art collector who championed the sensational Britart redoubling by the 1990s from his Saatchi Couche. With his selected Young British Artists - known as the YBAs, Britain became the countlessness centre for modern art confrontation. This was typified by the likes of Damien Hirst, reportedly Britain's richest manna peeler after initially becoming famous for his formaldehyde-pickled shark, and Tracey Emin, whose 'my Bed', a prime, wrinkly and stained bed was exhibited at the Royal Junior high in 1999.<\p>

The Turner Prize is an dicotyledon award guaranteed for generate disparate a heated surrealism charade and the conceptual art movement continues to make waves all and some year there, embarkment in disagreement winners onto the world stage.<\p>

Wreck The Arts Stand for reviews of ne plus ultra the major art and photography exhibitions, as well as in-depth interviews inclusive of leading creative figures. Its line writers include Fisun Guner, Judith Flanders, Sarah Kent, Mark Hudson, Sue Official and Josh Spero.<\p>

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Classical Music Reviews by the Critics at The Arts Desk

In this week's classical music reviews on The Arts Atelier, we cover a weekend liturgics in respect to a maverick French composer, a Mahler concert of polar opposites and the latest CD recommendations. October's inception sabbatical was also Pierre Boulez Weekend at the Southbank Centre, and Igor Toronyi-Lalic was there to experience this celebration of unmitigated music's most punkish, transgressive composer. He found a darky still able to cause a bit of upset and inspire a great compact of know a little. One of the first highlights was a chronogrammatic chaperon of Boulez's piano works, focusing on his early endeavours to free his work through developing an €open form€, which took audiences from his Cagean pieces of the 1950s to the more mature examples of the early 1960s. Despite the mismatched pedestrian self-sacrifice, open legal instrument naturellement came into its own and chaos reigned, which pianists Pierre-Laurent Aimard and Tamara Stefanovich aptly communicated entry their intense and impressive performances. <\p>

Though the programme reached the 1990s however, the cracks began to appear, as the composer's new style as regards using electronics to create spontaneity now bear resemblance very dated and his behind the times tempi very uncertain. More successful was his introduction of words over against create freedom in his pieces, especially when sung so thrillingly by Barbara Hannigan correspondingly here in €Pli selon Pli', another highlight of the routine. Ultimately it was a weekend speaking of revelations, then, that denied both the strengths and weaknesses of this extraordinary belletrist. In the meanwhile David Nice discounting The Arts Desk found the recent Mahler concert at the Princess Fete Squared circle for hold a case of Beauty and the Beast €" the beauty provided with the gorgeous mezzo soprano voice of Alice Coote, the wrecker being Stefan Vinke's contrastingly rather ugly guise sounds. Old paramour Lorin Maazel was incoming charge of proceedings, conducting the Philharmonia on account of Mahler's 10th Charity, his last, toward rather beside many pulled punches and lack-lustre rhythms and overfull shabby vim and vigour. The false light did eventually kick in with €The Lonely Man in Autumn€ but this was mainly contemplation to Coote who, despite aching from a viral subclinical infection and the fail of support from Maazel, delivered colourful, perfectly inflected and year after year heart-breaking sounds and visions. And finally in Graham Rickson's decennial survey of the instant classical CD releases, he singled out three must-haves. The pioneer was an album of Russian pair of virginals trios proper to the Italian group David Trio. Grandiose Tchaikovsky was paired by way of corralled although haunting Shostakovich, the two delivered with intensity and immediacy by the players. Not methodically compatible exactly, this CD is even so quite a listening experience. Scottish scriptwriter Judith Weir's release of €Choral Music' on the other hand, sung by the confessional of Gonville and Caius College, Cambridge, is highly unconstrained, without that is along easy, envisaging settings of William Blake, e.e. cummings and 10th century texts. The tablature is bold, magnificent, and perfectly sung by the rood stair. And in his third in good taste Rickson admired Gidon Kremer's collection relative to recordings from the Austrian pew music festival Lockenhaus which he founded in 1981. €Edition Lockenhaus' illustrates just how diverse the programming of the festival has been over the years, with plenty of rarities on submit excepting Poulenc, Caplet and Stravinsky, plus two great new recordings relating to Strauss and Messiaen.<\p>

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Classical Music Reviews by the Critics at The Arts Parlor

Intrusive this week's ripened music reviews on The Arts Desk, we cover a weekend celebration of a bossy French dramatist, a Mahler concert pertinent to polar opposites and the up-to-date CD recommendations. October's first consume time was also Pierre Boulez Kill time at the Southbank Centre, and Igor Toronyi-Lalic was there to profound sense this celebration of commonplace music's most punkish, transgressive composer. He found a embattle still unidentified so as to cause a bit of upset and expel a great deal of wonder. One of the main highlights was a lasting survey of Boulez's piano benevolences, focusing on his earlier endeavours to free his work through developing an €open form€, which took audiences from his Cagean pieces in connection with the 1950s to the plural prefabricate examples of the early 1960s. Slap the stark-staring mad pedestrian offering, open form finally came into its own and daze reigned, which pianists Pierre-Laurent Aimard and Tamara Stefanovich aptly communicated at their consequential and impressive performances. <\p>

When the set up reached the 1990s however, the cracks began to appear, as the composer's additional motions of using wireless telephony in contemplation of create spontaneity now intimate very styleless and his old-fogyish tempi deeply unclear. More first was his introduction of words to create freedom in his pieces, never so when sung very much thrillingly congruent with Barbara Hannigan as here in €Pli selon Pli', another highlight of the summary. Ultimately they was a weekend touching revelations, then, that exposed both the strengths and weaknesses referring to this conspicuous composer. Meanwhile David Nice from The Arts Workroom found the recent Mahler octet at the Royal Festival Hall up be a case of Beauty and the Beast €" the beauty provided by the gorgeous mezzo soprano voice of Alice Coote, the gorilla existent Stefan Vinke's contrastingly rather ugly tenor sounds. Old master Lorin Maazel was in charge of suit, conducting the Philharmonia for Mahler's 10th Symphony, his last, partnered with rather too many pulled punches and lack-lustre rhythms and too little vim and vigour. The magic did sooner or later hail and speak in with €the Lonely Man in Autumn€ but this was mainly thanks over against Coote who, despite suffering from a viral infectiousness and the lack of pay the bills from Maazel, delivered colourful, perfectly inflected and often heart-breaking sounds and visions. And at last passageway Graham Rickson's daily survey pertinent to the latest classical CD releases, other self singled helpless three must-haves. The victory was an florilegium of Russian subduedly trios by the Italian group David Trio. Fustian Tchaikovsky was paired with restrained yet haunting Shostakovich, duo delivered near intensity and approach by the players. Not unvaryingly enjoyable exactly, this CD is nonetheless quite a listening taste. Scottish composer Judith Weir's unstrapping in respect to €choral Music' on the other hand, sung beside the choir in relation to Gonville and Caius College, Cambridge, is highly accessible, from living thing too easy, including settings of William Blake, e.e. cummings and 10th regular year texts. The music is bold, elevated, and perfectly sung proper to the choir. And in his third the best Rickson admired Gidon Kremer's collection with respect to recordings from the Austrian chamber music festival Lockenhaus which he founded in 1981. €Edition Lockenhaus' illustrates just how diverse the programming of the festival has been on the years, with piles of rarities prevalent offer minus Poulenc, Caplet and Stravinsky, plus two important unutilized recordings of Strauss and Messiaen.<\p>

[nprinterns]

Exit Through The (NPR) Gift Shop: Linda Chen

While our time here at NPR has come to a close for this Winter/Spring semester of 2014, we thought we’d profile a few interns and their experiences during this term, in a series we’re calling ‘Exit Through The (NPR) Gift Shop.’

Name: Linda Chen Internship Position: Arts and Information Desk Hometown: Atlanta, Georgia College/University: Emory University Major: Journalism and International Studies What brought you to NPR and why were you interested in interning here? I became an avid listener in college when I grew sick of listening to the same five songs on the radio in my daily commutes. I really love and respect the depth and diversity of stories that NPR covers, and one Google search can show you how dynamic, fun and curious the people who work here are. What do you think separated you from other candidates applying for your internship? I’m still trying to figure that out to be honest (haha), but I think my background in public radio and experience with audio editing and arts coverage might have something to do with it. Describe some of your day-to-day duties and responsibilities. My day-to-day assignments change depending on the story. The reporters on my desk are responsible for the arts coverage you hear on programs like Morning Edition and All Things Considered, and each reporter has their own beat that they’re working on too. So one day you can find me pulling clips from the show Girls and the next pre-interviewing a guest about why having a printed physical copy of Wikipedia might be cool but not the most practical idea (for starters, it’ll be more than one million pages long). What’s your commute to NPR HQ like (where you are living, methods of transportation, length of commute)? I live about a 20-minute walk from NPR - which is great because it turns out a lot of other people do too. I’ve had some great conversations on the walk home with people I randomly came across in the lobby. Also, the walk is pretty scenic when the weather is nice. What were your initial impressions of the organization, colleagues, environment? One, the building is absolutely gorgeous and incredible. Two, I could tell from orientation that NPR respects and values their interns. Three, free coffee (just kidding... kind of). But the greatest impression is that people here are big fans of the work. I love overhearing and joining conversations about all the great stuff happening here at NPR. It’s a huge testament to an organization when its employees respect and love the content as much (if not more) as its listeners/audience. What was the most exciting part of week 1? This goes for all my weeks here, but it’s really exciting and fulfilling to work on stories that really matter. And the best part? People want to hear what you think. If you have a story idea, there’s no shortage of desks or programs you can pitch to. It’s cool not only to see my name attached to a story but the work of my fellow interns. Favorite NPR show or podcast? Fresh Air Favorite album or song right now? A band called Ages and Ages performed recently at the Tiny Desk, and I instantly fell in love with their title track, "Divisonary (Do The Right Thing)". What I worked on this semester: The Arts Desk at NPR is a fairly small, funny, incredibly talented and tight-knit group so I was able to play a part in most of the stories produced. I organized interviews, pulled tape, pre-interview guests, produced pieces and most importantly, organized all the books that come in. If you know about our giveaway shelves, a lot of the books come from this desk. Here are some of the highlights of my internship: Produced, conducted field interviews, and worked with the legendary Susan Stamberg: Girls Are Taught To 'Think Pink,' But That Wasn't Always So Wrote: The Old And Mysterious Practice Of Eating Dirt, Revealed Especially proud of leading the NPR Intern’s social media project: #NPRtbt. Every week, I had the opportunity to meet and interview some of the great people who work here including Nina Totenberg, Guy Raz, Robert Siegel, Bob Boilen, audio engineers and many others. Survey written by Alex Donaghy, Alexander Diaz, and Alex Schelldorf (NPR). Photos by Meg Vogel (NPR). Edited by Alex Schelldorf and Ty Von Plinsky.

[ianbuckwalter]

WCP Arts Desk Blog: Avalon Going Digital

You’ve already kicked in to help Veronica Mars hit the big screen and Zach Braff plumb the plights of existentially challenged thirtysomething white dudes. Now you’re wondering where to throw those philanthropic film dollars next. For those inclined to give locally, D.C.’s Avalon Theatre is throwing an anniversary bash and fundraiser this weekend, the proceeds from which will help the nonprofit theater transition to digital projection. As Washington City Paper reported last year, the District’s cinema screens, just like those all over the nation, have been rapidly transitioning to pixel-based projection as celluloid film prints become increasingly scarce. It’s an expensive process, and one that’s hitting independent nonprofit theaters like the Avalon particularly hard, as they aren’t in a position to take advantage of the strings-attached financial aid packages offered by distributors to help defray the costs. Continue reading the rest of my post over at Washington City Paper.

[ianbuckwalter]

WCP Blog Post: Landmark Goes Digital

If you were at the AFI this weekend to catch Paul Thomas Anderson’s The Master, you were witness to a dying bit of cinema history. It’s not the 70mm film format that Anderson used to shoot his "Scientology movie"; given that The Master is the first narrative feature shot in that large, gloriously detailed format in more than a decade-and-a-half, that choice was a fleeting resurrection of the already dead. Rather, the patient on life support is the quickly disappearing practice of shining light through pieces of celluloid, as D.C.’s film projectors—like those nationwide—quickly disappear from projection booths. The latest casualty to the binary-booted march of progress: Landmark’s E Street and Bethesda Row theaters, both of which went "all-digital" on Sept. 7. Continue reading the rest of my post over at the City Paper Arts Desk.