More alarming signs that the Boston Globe‘s arts section is shedding talent.
The Boston Globe
Critics were once seen as the ‘canaries in the mineshaft’ — now newspapers and magazines are closing down the mines.
Many of today’s arts editors and reviewers embrace a lilliputian vision of arts criticism; they accept a crabbed sense of its possibilities.
Given the precipitous Internet-driven decline of print journalism over the past decade, Spotlight vividly reminds us of the clout of a local newspaper speaking truth to power.
Those who care about the future of American arts and culture should financially support this magazine and other valiant efforts to articulate the significance of the arts.
Nothing is going to be done about the appearance of the review in the Boston Globe. The reasoning is that, because the newspaper didn’t send its own critic, it hadn’t broken the ban. This is inconsistent and disingenuous.
In 2011, the Boston Globe characterized the Lowell Folk Festival as “a celebration of diversity.” This year, the floundering newspaper isn’t interested in celebrating anything but itself.
Generally in New England we’re outspoken about nearly everything – politics, social issues, sports – so why not the arts?
Nowhere do I say in the piece that The Arts Fuse is all good and everyone else is all bad.
Given the Russian writer’s modernist pedigree, should director/playwright Richard Nelson and translators Richard Pevear and Larissa Volokhonsky be punished for putting some “unevenesses” into their staging of Turgenev’s finest play, “A Month in the Country”? I think not.