“The documentary centres on a cocktail party [director William] Greaves hosted at Duke Ellington’s townhouse in Harlem in August 1972 – an attempt to capture the voices of artists, writers, musicians and organisers whose work had transformed Black American culture in the 1920s.” – The Guardian (UK)

Was Greek literature a “cheat code” to the afterlife for Egyptian royals of Roman-era Egypt? – The New York Times

The head of one viral marketing firm says 90 percent of what we see online is advertising. And of course, “the point of this kind of marketing is that nobody is supposed to notice it. But lately, the machinery has started to show.” – Vulture

“Every time I see a video on Instagram that’s like, ‘Hollywood is cooked,’ what follows is the most stupid dog shit I’ve ever seen in my life.” – Variety

This Tony-nominated actor is finding more theatrical work – and, let’s face it, likely better pay – as a member of the Savannah Bananas, playing a relief pitcher who comes on dressed as, and singing, the Phantom of the Opera. – The New York Times

If you go to the Biennale, including this year’s intensely controversial edition, “Do you marshal skepticism or let the feelings flow? Whatever your preference, you’ll get a lot of practice.” – The Atlantic

“Prior to the discovery of the Rome manuscript, the earliest one was from the early 12th century. So this is three centuries earlier than that. And so it attests to the importance that was already being attached to the English in the early 9th century.” – Seattle Times (AP)

“The pursuit of beautiful things is still a magical aspect of our world. … It is much more than finding the right art for your mantelpiece.” – The New York Times

The suspect was about to throw the concrete, and the 800-year-old relic inside it, into a river. – Agence France-Presse (The Guardian UK)

Aleshea Harris: “It felt natural and inevitable because I am a very particular playwright. … I already have strong ideas and impulses about not just writing the thing, but helping people to understand.”  – The New York Times

Basically? It can’t take the heat: “In theory, attending Cannes should be a no-brainer for major U.S. studios. Talent loves it because of the glamour and global exposure. … This year, however, multiple high level sources said the conglomerates are particularly thin-skinned about the scathing Cannes critics.” – Variety

“That sprint of a succession of high notes in such a short time is legendary, which adds a layer of difficulty not only to singing the role but finding a reliable queen.” – The New York Times

“Ballet can be a pretty conservative artform, with many companies trundling out Swan Lakes, Nutcrackers, and Cinderellas year after year. Every now and again, though, someone like Rojo comes along and truly shakes things up – even if that has meant ruffling tutus in the process.” – NPR

“If a paper has ‘incontrovertible evidence that the authors did not check the results of LLM generation,’ such as hallucinated references or “meta-comments” left by an LLM, authors will be banned from ArXiv for a year.” The responses have been … er, interesting. – The Verge

Wait, Lupita Nyong’o is not beautiful enough for some? Sounds like a them problem. Or, as Claire Willett said on Bluesky, “Woman: *Minds her own business while being beautiful* The worst men in the world: This is an attack on me personally. Summon the fleet.” – Salon

“The second century of European public media looks less certain than its first as its original competition – from private broadcasters – is eclipsed by heated rivalry from deep-pocketed streaming platforms.” – Irish Times

The Twomblys’ granddaughter, Maia, discovered the negatives – and she has a new appreciation of the photographer: “I remember her now not as an 80-year-old woman, but as a 30-year-old. It’s like she is no longer my grandmother but my friend.” – The New York Times

Try returning to some things you cared about as a kid. – The Atlantic

Why? For one thing, “conservation specialists … have been navigating the practical challenge of safely transporting the works across the globe.” – The Guardian (UK)

Artists this week were busy with the past — and the political forces around them were busy editing it. Davóne Tines’s operatic adaptation of Langston Hughes’s 1931 monologue The Black Clown condenses 300 years of Black American experience into 18 stanzas (Philadelphia Inquirer). Washington National Opera, freshly severed from the Kennedy Center, announced a season featuring a world premiere about Georgia O’Keeffe (The New York Times). And visual artists, in response to AI, are reviving the labor-intensive techniques of the Old Masters (Artnet).

At the same time, the canon is being narrowed by force. Knoxville schools pulled Alex Haley’s Pulitzer-winning Roots from libraries (WATE). Georgia sentenced the renowned bass Paata Burchuladze to seven years in prison for organizing an election-day protest (OperaWire). Pianist Jayson Gillham is suing the Melbourne Symphony for canceling his recital after he dedicated a piece to journalists killed in Gaza (ABC). National pavilions closed across the Venice Biennale to protest Israel’s inclusion (The Guardian).

A quieter finding to close on: participating in the arts is now associated with measurably slower biological aging (The Guardian). The work does something.

All this week’s stories below, organized by topic.

Gillian Fox, President & CEO of Caramoor, shares strategies to engage the next generation of arts supporters.

<a href="https://www.artsjournal.com/herman/2026/05/can-we-beat-the-lies-all-the-lies.html" title="Can We Beat the Lies? All the Lies?“

Responsibilities

I. Artistic Vision and Leadership
• Serve as the artistic leader of Ballet West. Develop and articulate a clear artistic vision for Ballet West– a vision that is innovative, inspirational, and engaging.
• Co-lead the organization with the Executive Director, consistently communicating purpose and vision to the staff and community.
• Collaborate with Board leadership and senior management to develop plans for achieving artistic and strategic goals. Effectively implement strategic plans adopted by the organization.
• Direct and lead all the artistic and production aspects of Ballet West, including planning seasons that will advance the organization’s mission and build audiences while maintaining fiscal integrity.
• Conceive, oversee, and enhance the high quality of Ballet West productions and the level of training of the dancers in all performances in Salt Lake City and on tour, in lecture demonstrations, and in all promotional activities.
• Select all dancers for the main company, Ballet West II, and the Ballet West Academy Trainee Program; determine retention and non-retention of all dancers in the main company, Ballet West II, and Ballet West Academy Trainee Program.
• Collaborate on and approve promotional and advertising images of Company artists for marketing, press, and social media.
• Serve as Artistic Director of the Frederick Quinney Lawson Ballet West Academy, fully aligning its work with Ballet West’s mission, vision, and values.
• Further diversity, inclusion, and accessibility through all facets of the organization.
• Oversee the Music Director, collaborating to bring outstanding musical accompaniment to productions featuring the Ballet West Orchestra.

II. Artistic Planning and Administration
• Supervise and nurture the professional development of dancers, artistic staff, FQL Ballet West Academy School Director, Education and Outreach Director, and leading production personnel in accordance with Ballet West HR policies including annual performance reviews; follow collective bargaining agreements into which Ballet West has entered.
• Maintain a program plan of no less than three, and ideally five years to assist in planning, budgeting, marketing, and fundraising.
• Participate in annual budgeting process.
• Support Ballet West’s external affairs department with campaigns designed to marketing each company season, tours and the FQL Academy.
• In conformity with Ballet West’s employment and hiring guidelines, goals for increasing diversity, and Board approved budget, oversee and approve the hiring, retention and termination of dancers and other artistic personnel (including, but not limited to, the School Director, Rehearsal Directors, Choreographers, Composers, Conductors, Music Director, FQL Academy faculty, Rehearsal Pianists, Set Designers, Lighting Designers, Costume Designers, etc.)
• Manage the FQL Ballet West Academy Director, ensuring that training is comported to professional standards and promotes ballet and dance in the community:
• Develop, collaborate, and oversee curriculum on ongoing basis.
• Approve teaching methods, syllabus, theory of technique or style of placement.
• Manage and oversee scheduling of classes, rehearsals, and performances with a focus on dancer health, fitness, and well-being.
• Approve all sets, costumes, and lighting designs.

III. Advocacy and Relationship Building
• Act as a face of Ballet West and one of the Ballet’s principal voices in the community.
• Work closely with the Executive Director and Board to accomplish fund-raising objectives of the Ballet, especially developing and maintaining key donor relationships.
• Attend all meetings of the Executive Committee of the Board and all meetings of the full Board, reporting on the activities of the Company and, as appropriate, academy and community programs.
• Participate in fundraising, marketing, and promotional activities as requested.
• Take a leading role in forging collaborations and partnerships to increase the visibility and importance of Ballet West.
• In concert with the marketing team, enhance the strength of the Ballet West brand throughout the region.

Education and Experience

Extensive experience in ballet performance and rehearsal skills. Overall knowledge of production requirements in all aspects of bringing large scale productions to performance standards.

• Extensive knowledge of ballet, dance, and ballet technique.
• An understanding and respect for stylistic differences and a flexibility in approach to each unique work.
• Good mentoring skills.
• Basic computer and audio equipment skills.

Requirements

I. Knowledge and Abilities
• Knowledge of various syllabi, teaching techniques.
• Abilities – choreography, repetiteur.
• Characteristics – patience, intuition, creativity.
• Experience- 10 years of performing and teaching.
• Flexible availability during rehearsal and production periods.
• Ability to solve problems and deal with student emergencies including, but not limited to, injury and illness.
• A passion for working with students of all ages.
• Positive attitude and inspiring presence.
• Sound interpersonal and team building skills.
• Ability to work closely with the artistic, production, and management staff.
• Strong organizational and administrative skills.

II. Physical Requirements
While performing the duties of this job, the employee is regularly required to sit for long periods of time. The position may require walking primarily on a level surface for long periods throughout the day and demonstrating/correcting dance steps and choreography. The employee must have visual acuity to read and draft reports, memos, letters, etc. Specific vision and aural abilities required by this job include vision and hearing adequate for the incumbent to perform the responsibilities and functions of the job efficiently. Must be able to speak English and communicate clearly.

Background check required after a conditional offer of employment. Ballet West may deny or terminate employment based on background check results, subject to applicable laws.

Interested parties should contact:
Michael M. Kaiser
Chair
DeVos Institute of Arts and Nonprofit Management
Attention: AJCohen@devosinstitute.net

Ballet West embraces diversity and equal opportunity. We are committed to building a team that represents a variety of backgrounds, perspectives, and skills. We strongly encourage women, people of color, LGBTQIA+ individuals, people with disabilities, members of ethnic minorities, foreign-born residents, and veterans to apply. Ballet West is an equal opportunity employer. Applicants will not be discriminated against due to race, color, religion, sex, sexual orientation, gender identity, national origin, veteran, or disability status.

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