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    BAM Announces a Female-Led Next Wave and Fall Season

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    The arts institution, which has shrunk its programming in recent years, unveiled its fall lineup.The Brooklyn Academy of Music will welcome its 42nd Next Wave festival this fall, with most works created by female artists, the performing arts center announced on Thursday.“We led with women,” said Amy Cassello, who became BAM’s artistic director last year after serving in the role as interim. “It just felt like a good time to center women creatives.”The announcement comes at a time of financial fragility and leadership flux for the academy. BAM’s staff has declined by more than a third in recent years, and its nearly $52 million operating budget is smaller than it was 10 years ago.But there is momentum, and audiences are growing.Next Wave will have 11 events, as it did last year, up from eight in 2023. That year, the festival scaled back to nearly half of the 2022 offerings amid staff layoffs.“I feel confident that we have the number of shows that make a coherent statement,” Cassello said, adding, “I wish there were more money to subsidize and support and invest in artistic work.”The festival opens with the choreographer Nora Chipaumire’s “Dambudzo” (Oct. 8-9), a blend of painting, sculpture, sound and performance, transforming the nearby performing arts space Roulette into a Zimbabwean house bar.The lineup also includes the French director Caroline Guiela Nguyen’s “LACRIMA” (Oct. 22, 24-26), a choral theater performance that, in a dark look at the fashion industry, traces the many hands across the world it takes to create a wedding dress for a British princess; Eiko Otake and Wen Hui’s “What Is War” (Oct. 21-25), a fusion of movement and video testimony about war and its aftermath on collective memory and the body; and the choreographer Leslie Cuyjet’s “For All Your Life” (Dec. 3-7), a solo performance interrogating the life insurance industry’s ties to slavery.Next season will also feature a revival of Richard Move’s dance-theater work “Martha@BAM — The 1963 Interview” (Oct. 28 -Nov. 1), in which Move recreates a 1963 interview between Martha Graham (Move) and the critic Walter Terry (the playwright Lisa Kron) at the 92nd Street Y.BAM will also present a screening of “The Mahabharata” (Sept. 18), a film adaptation of Peter Brook’s nine-hour theatrical presentation of the Sanskrit epic that BAM staged in 1987 atthe theater now known as the Harvey Theater at BAM Strong. The Harvey will be the site of the screening of Brook’s (much shorter) 1989 film, newly restored by his son, Simon Brook.The season concludes with a revival of the raucous post-rock opera “What to Wear” (Jan. 15-17) by the avant-garde theater maker Richard Foreman, who died in January at 87. The hallucinatory work, with a score by Michael Gordon, will be conducted by Alan Pierson and directed by Paul Lazar and Annie-B Parson, and run as part of Prototype, the experimental New York opera festival.“BAM has always been artist-centered and adventurous and risk-taking,” Cassello said, “and I think that’s absolutely necessary. Always has been.” More

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      The Works of Christo and Jean-Claude Are Experiencing a Revival

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      Known for their outsized and revolutionary art projects, the couple’s work is seen again in Florida, New York and Germany.It was 42 years ago. Miami awoke to a strange, crooked line of hot pink images floating in the waters of panoramic Biscayne Bay.Eleven small islands had been wrapped in wide, rippling swaths of pink plastic. They were almost glowing as the morning sun swept over the beaches and skyscrapers of the city. Crowds came out in helicopters and speedboats and the family car. Some people perched on condo balconies.It was the work of Christo and his wife, Jeanne-Claude, the European artists who had wrapped the Reichstag building in Berlin, the Pont Neuf bridge in Paris and run a billowing, tall white nylon fence 24.5 miles over the cattle ranges just north of San Francisco and into the Pacific Ocean.People flew in from Europe and around the world to see the show, and collectors and museum directors and many others say it lifted the curtain on Miami as a city of natural beauty that would eventually become a dazzling global art center.“It was a world happening,” said Norman Braman, a former owner of the Philadelphia Eagles, a collector and a Miami car dealer with about a dozen brands, from Hyundai to Rolls-Royce.But it was a tough time for Miami. Cocaine seemed to be everywhere. Gunmen were in the streets. Time magazine had put the city on its cover as “Paradise Lost.” In 1984 — a year after the extravaganza on the bay — the “Miami Vice” TV show took the city’s crime and fashion into American living rooms.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Pierre Audi, Eminent Force in the Performing Arts, Dies at 67

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      After turning a derelict lecture hall into the daring Almeida Theater, he had a long career as a director and impresario in Europe and New York.Pierre Audi, the stage director and impresario whose transformation of a derelict London lecture hall into the cutting-edge Almeida Theater was the opening act in a long career as one of the world’s most eminent performing arts leaders, died on Friday night in Beijing. He was 67.His death, while he was in China for meetings related to future productions, was announced on social media by Rachida Dati, the minister of culture in France, where Mr. Audi had been the director of the Aix-en-Provence Festival since 2018. The announcement did not specify a cause.Mr. Audi was in his early 20s when he founded the Almeida, which opened in 1980 and swiftly became a center of experimental theater and music. He spent 30 years as the leader of the Dutch National Opera, and for part of that time was also in charge of the Holland Festival. For the past decade, he had been the artistic director of the Park Avenue Armory in New York.The Almeida Theater in London. Mr. Audi was in his early 20s when he founded it in 1980, and it soon became a center of experimental theater and music.View PicturesAll along, he continued working as a director at theaters around the world. Last year, when the Théâtre de la Monnaie in Brussels cut ties with Romeo Castellucci halfway through his new production of Wagner’s four-opera “Ring,” the company turned to Mr. Audi as one of the few artists with the knowledge, experience and cool head to take over such an epic undertaking at short notice.“He profoundly renewed the language of opera,” Ms. Dati wrote in her announcement, “through his rigor, his freedom and his singular vision.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Can We Make Pop Culture Great Again?

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      When “Wicked” and “Gladiator II” debuted together late last month, there was a painful attempt to call their shared box office success “Glicked” — a reference to the portmanteau of “Barbenheimer” that described the joint cultural triumph of “Barbie” and “Oppenheimer” in the summer of 2023.It was painful because the “Barbenheimer” phenomenon was a genuine old-fashioned Hollywood success story: Two unusual and vivid and original stories (based, yes, on real history and a famous doll, but no less creative for all that) from directors working near the peak of their powers that managed to be culturally relevant and open for interpretive debate.Whereas “Wicked” and the “Gladiator” sequel are conventional examples of how Hollywood makes almost all its money nowadays — through safe-seeming bets on famous brands and franchises that can be packaged into just-OK-enough cinematic entertainments. Neither is as egregiously mediocre as “Moana 2,” the other blockbuster of the season: The musical numbers in “Wicked” and Denzel Washington’s Roman scenery-chewing lend energy that’s absent in the Disney empire nowadays. But neither are anything like the expression of mass-market creativity that we used to call The Movies.I’ve been writing lately about how American politics seem to have moved into a new dispensation — more unsettled and extreme, but also perhaps more energetic and dynamic. One benefit of unsettlement, famously adumbrated by Orson Welles’s villainous Harry Lime in “The Third Man,” is supposed to be cultural ferment: “In Italy for 30 years under the Borgias, they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance. In Switzerland, they had brotherly love, they had 500 years of democracy and peace, and what did that produce? The cuckoo clock.”There are certainly signs of ferment out there, in technology, religion and intellectual life. But I’m worried about pop culture — worried that the relationship between art and commerce isn’t working as it should, worried that even if the rest of American society starts moving, our storytelling is still going to be stuck.Or maybe not stuck so much as completely fragmented, with forms of creativity that are all intensely niche, like the podcast-splintered marketplace of news consumption.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Ubiquity of ‘Wicked’ Shows How Commercial Needs are Consuming Culture

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      Even before “Wicked” opened, the movie’s signature green and pink colors were turning up everywhere, from drinks topped with matcha foam at Starbucks to aisles lined with merch at Target. This cultural bludgeoning was, of course, orchestrated. Today, not even large marketing budgets can achieve such ubiquity without help.Attention has become fractured. Audiences, siloed in their social-media feeds and choose-your-own-adventure streaming sites, are ever harder to reach. Only by partnering up, like “Barbie” did by collaborating with 165 brands last year, can a promotional campaign become truly inescapable. “Wicked” went even bigger, teaming up with over 400 brands to ensure a saturation that would be, in the words of Universal Pictures’ chief marketing officer Michael Moses, “just short of obnoxious.”It’s just the latest example of how the culture industry has come to rely on collaborations. Brands pair up with other brands in endless permutations. Fashion companies and visual artists routinely partner, as in the case of Louis Vuitton and Takashi Murakami, whose landmark collaboration will soon relaunch. Around a third of Billboard’s Hot 100 songs involve a guest feature or collab (compared to under 10 percent a generation ago). At a time when culture feels stagnant, collaborations help artists and brands generate an air of originality without having to innovate.This frisson of newness has often been enough to capture media attention and entice consumers. But as commercial alliances have proliferated, their effect has diminished. Fatigue is setting in. “Wicked” participated in more than twice as many collaborations as “Barbie,” yet brought in only half its opening-weekend box-office take worldwide.Could it be that we’ve reached “peak collab?”Collaborations have become formulaic, fusing random elements from all corners of culture, until everything seems fungible: Baccarat and Hello Kitty, Louvre and “Joker: Folie à Deux,” N.H.L. and Lululemon, M&M’s and KateSpade. The ease with which such diverse offerings are lumped together only exacerbates the feeling of monotony and exhaustion. All culture is deployed in the same way, as if what distinguishes it — its history, form, industry or genre — couldn’t matter less. Collaborations appear increasingly desperate, more about profit than creative synergy or shared values. Louis Vuitton’s upcoming Murakami re-edition promises to be “a surefire sales smash,” as Highsnobiety put it, even if it’s also “a cash-conscious maneuver reflective of tumbling luxury revenues.”But the formula plays well to the algorithms that power social media and dictate what we see online. Designed to anticipate what we want, these algorithms favor content with a proven history — the safe and familiar over the experimental and untested. New content composed of pre-existing elements, like mash-ups of established artists and brands, hits the sweet spot. This preference has only amplified the incentives leading culture away from the lone visionary and toward joint authorship for decades. In hip-hop, guest features started as a means of creative exchange before proving their value as a commercial draw.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Year in Review

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      As critics issue their year-end lists, we want to know your personal favorites of 2024.It’s the most wonderful time of year, and I don’t mean the holiday season, although I’ve heard that people are excited about that too. No, for nerds like me who love to plan out their holiday culture consumption — those whose appetites are always far larger than their capacity for viewing/reading/listening — December is sacred because it is when critics issue their retrospective best-of lists, their verdicts on the best movies, music, TV, books and other cultural artifacts of 2024.I’ve always thought it a shame that everyone I know doesn’t issue a best-of list. Yes, critics are experts in their fields, completists who have surveyed the landscape of their beats such that their assessments of “the best” are far more informed than the average cultural consumer’s. But I also want to know what my friends and family loved, and why. There’s no easier way to get to know someone a little bit more deeply than by asking them for a recommendation. I have a fantasy of pulling out a bullhorn on my morning commute and asking everyone in my subway car their top five films of the year. I’m not sure anyone would play along with my reindeer game, but if they did, I expect that I’d get a few good recs, some truly nutty ones, and that it would certainly bring a spirit of joy and conviviality to a typically alienating part of the day.And why stop at the usual categories? Best-of lists are typically limited to the same categories. Tell me your favorite movie, book and song, but I also want to know the best line of poetry you read this year, the best cocktail you devised, the best tradition you started, the best grilling technique, the best piece of advice you received. We’re all living and exploring and absorbing.And so I ask you, as I do every year, to send in your own highly specific, idiosyncratic, genre-free favorites from 2024. What did you discover? What did you learn? What did you love? Submit your answers here, and I’ll include as many of them as I can in upcoming newsletters.For moreThe Morning readers’ bests of 2023 and 2022.The best advice Morning readers received in 2023 and 2022.“As with everything worth making — bread, sweet love, mix tapes — there’s an art to creating a great Top 10 list.” From 2011, Dan Kois on how and why to make a best-of list.The Times’s best of 2024 lists.More year-end lists from around the internet.THE WEEK IN CULTUREFilm and TVAmy Adams in a scene from “Nightbitch.”Searchlight Pictures, via Associated Press“Nightbitch,” which stars Amy Adams as a stay-at-home mother who turns into a feral dog, is one of the movies Times critics are talking about this week.“The Agency” on Paramount + and Netflix’s “Black Doves” are part of a new crop of spy dramas whose biggest battles take place within the hearts and minds of their agents.ArtThe discovery of a rare picture of the poet Arthur Rimbaud, made by his lover Paul Verlaine, prompted a bidding war in Paris.At New York’s Grolier Club, an exhibition renders physical representations of lost or unfinished works by writers including Ernest Hemingway and Christopher Marlowe.More CultureJean-Charles de CastelbajacAlain Jocard/Agence France-Presse — Getty ImagesWhen Notre-Dame Cathedral reopens, the clergy will be wearing new liturgical garb designed by the French designer Jean-Charles de Castelbajac.The most expensive dinosaur fossil ever sold at auction — a stegosaurus that went for almost $45 million — has a new home at the American Museum of Natural History in New York.The two remaining defendants in the case against Young Thug’s rap label YSL were found not guilty of murder and gang charges.THE LATEST NEWSWar in SyriaRebel fighters in the streets of Hama on Friday.Bakr Al Kassem/Agence France-Presse — Getty ImagesRebels fighting to depose Syria’s president, Bashar al-Assad, advanced on another major city en route to the capital. The sudden intensification of the war has led neighboring countries to close their borders.Iran, which for years has helped Assad maintain control of Syria, is now evacuating military personnel from the country.The leader of Syria’s rebel groups told The Times that he was confident his fighters could oust Assad. “This operation broke the enemy,” he said.Other Big StoriesA vote on whether to impeach South Korea’s president, Yoon Suk Yeol, slowed to a crawl as the opposition tried to convince members of his party to support the ouster of the president.A federal judge ruled that the U.S. Naval Academy can consider race and ethnicity in admissions, asserting that affirmative action was essential to protect national security.A panel of federal judges upheld a law that would ban TikTok in the U.S. unless its Chinese owner, ByteDance, sells the app. Donald Trump opposes the ban.The U.S. Department of Agriculture will begin testing the nation’s milk supply for the bird flu virus.Police officers now believe the man who shot the chief executive of UnitedHealthcare in Manhattan escaped from the city that day. Investigators recovered a backpack in Central Park similar to the one he was carrying.CULTURE CALENDAR📺 “Somebody Somewhere” (Sunday): In the second season of this HBO half-hour, a character graces a potluck with St. Louis sushi, a delicacy that combines ham, pickles and cream cheese. It’s delicious. And tough on the gut. That’s also true of this riotously funny, achingly tender comedy created by Hannah Bos, Paul Thureen and Bridget Everett. Everett stars as Sam, a woman who returns in middle age to her Manhattan, Kan., hometown. A sweet and salty heartbreaker about family found and chosen, this show will end its three-season run on Sunday.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Kennedy Center’s Chairman Won’t Depart After All

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      As the nation’s capital prepares for a second Trump administration, the performing arts center announced that its chairman would not step down in January as planned.The White House was not the only Washington institution planning to welcome new leadership in January. The John F. Kennedy Center for the Performing Arts had announced that its longtime board chairman, David M. Rubenstein, would step down in January and had appointed a search committee to find a successor.But last month, shortly after the presidential election, the Kennedy Center announced that Mr. Rubenstein, a private equity titan who has led its board of 14 years, would stay on in the position until September 2026.The decision ensures continuity at a moment when the Kennedy Center, like much of Washington, is preparing for a second Trump administration. (On Sunday, President Biden is expected to attend the Kennedy Center Honors as it celebrates Francis Ford Coppola, the Grateful Dead and Bonnie Raitt; President-elect Donald J. Trump did not attend the ceremonies during his first term.) But it also raises questions about why the center failed to find a new chair.Deborah F. Rutter, the center’s president, said that on Nov. 15 the board’s search committee decided to keep Mr. Rubenstein on in part because the center is in the quiet phase of an endowment campaign, making a leadership transition “really tough.”“We looked at the needs of the Kennedy Center in a variety of different ways moving forward,” she said in an interview. “It is important for us to have somebody who knows the center and who knows and can play the leadership role that we need.”Mr. Rubenstein, a co-founder and co-chairman of the Carlyle Group, a private equity firm, has given the center $111 million over the years. He was initially appointed by former President George W. Bush. We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Notre-Dame Reopens in Paris After a Fire. It’s Astonishing.

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      Benoist de Sinety, former vicar general of Paris, was on his scooter that April evening in 2019, driving across the Pont Neuf toward the Left Bank when he spotted flames in his rearview mirror billowing from under the eaves of Notre-Dame. He cursed, made a U-turn and sped toward the cathedral. Mary Queen of Scots […] More

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      Issa Lopez on Fear and Horror in Fiction and in Real Life

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      Fictional fear can be beautifully distracting from life’s real terrors.This personal reflection is part of a series called Turning Points, in which writers explore what critical moments from this year might mean for the year ahead. You can read more by visiting the Turning Points series page.Turning Point: The American horror film genre more than doubled its market share in the past decade.As a Mexican — specifically a Mexican child who had to face death early in my life — I learned a nifty trick pretty quickly: the way my culture transfigures fear of death into art. Into storytelling. Into music.Mexican identity is one and the same with death. It is a direct response to the fear of vanishing, yes. But it took some years of living in the United States and in several other countries to understand that this is not just a Mexican thing.All artistic endeavors throughout history, around the world, come from the same source. We tell stories to remain. To deny the void. To fight the void. We sing and dance and make movies and tell jokes to explain a bit of the unexplainable, to tame the endless darkness, all of the things that lurk beyond what we can see, the shadows beyond our tiny campfire.Our relationship with fear is fascinating. It is the feeling, other than pain, that we hate the most. We bottle fear to consume in tiny doses in the form of roller coasters, bungee jumping and our all-time favorite: horror movies.I love horror movies. I just adore them, and I am very much not alone in that. Unlike superheroes or musicals or westerns, the business of horror is perennial; it will never go away. Audiences show up for horror year-round, decade after decade. There are whole streaming services dedicated to horror, and they do well. A single genre, go figure.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More