There are 7 days remaining in 2017 so we thought we would countdown and share with you some of the items and ideas we would put in our time capsule. For us they straddle the very specific space of the timely with the timeless; sometimes sublimely anachronistic, fundamentally classic, and are reflective of a value system we hold true to.
From The New Yorker :
Lovely, jittery new paintings, bolstered by lyrical talent and philosophical suspense, affirm Connors’s status as a leader in contemporary abstraction. Each work takes a crack at discovery with some variant of strict or wobbly geometry, dense or scrappy composition, careful or flurried touch, and color that seems wrong, but you like it. Beauty keeps happening like something glimpsed by chance, neither quite intended nor fully grasped. What Connors is trying to get at may be unachievable, but his going for it beguiles.
“So that’s the kind of beginning walkthrough, this rotating light fixture that projects cyan, magenta, and yellow, which is to vibrate color,” Albee said.
80 years young.
Darren Walker, president of the Ford Foundation, which financed the cultural plan’s research, said this kind of redistribution makes sense. While organizations like New York City Ballet, a Cultural Institutions Group member on whose board Mr. Walker serves, are important for tourism and other parts of the city’s economy, smaller arts groups outside Manhattan are also crucial, he said, and have a harder time.
“Larger organizations have more capacity to raise private funds” compared with arts groups “in low-income communities of color and in places like Staten Island,” he said.
“If culture in New York only means large, rich organizations, then we lose the lifeblood, which are the small, innovative, entrepreneurial, off-the-beaten track kind of organizations with small budgets that the city should also be funding,” Mr. Walker said. “If it’s not possible for those organizations to thrive anymore, New York will have all of the features of an unequal city.”