If ‘language is one of the keys to individual autonomy’, the central challenge in a linguistic landscape being flattened and standardized by AI is to ‘continue to believe in language learning as a tool of emancipation and liberation’. – Eurozine

Hilde Limondjian, who spent more than four decades bringing music to the auditorium — and the galleries — of the Metropolitan Museum of Art in Manhattan, died on Jan. 24. She was 89. – The New York Times

The latest set of commissions will be realized by Njideka Akunyili Crosby, Maria Magdalena Campos-Pons, Jeffrey Gibson, Rashid Johnson, Hugo McCloud, Martin Puryear, Lorna Simpson, and Norman Teague. – ARTnews

Literary ridicule used to sting politicians into shame. Now they don’t read books, don’t care about cultural criticism, and certainly don’t lose sleep over clever wordplay. Writers are shadowboxing with ghosts. — New York Review of Books

Under their new leadership, Victory Gardens has hosted a writers’ workshop, a showcase of new works in collaboration with New Musical Chicago, and a staged reading of An Ocean Away, a documentary play by Belarusian playwright Andrei Kureichik about the effects of war on Ukrainians and diaspora communities. – American Theatre

The Getty and Page Museum are getting Olympic-ready makeovers, because nothing says ‘world-class cultural destination’ like frantically renovating before the global spotlight hits. Strategic timing or happy coincidence? — Artnet

A Texas novelist discovers the hard way that authorial intent is no match for America’s hunger for mythology. Sometimes the culture writes the ending, whether you like it or not. — The American Scholar

Largely ignored by academic philosophers, the “Dark Enlightenment” movement and Yarvin have curried favor and influence with tech executives in recent years. A software engineer by training, Yarvin has become a kind of official philosopher for tech leaders like PayPal cofounder Peter Thiel and Mosaic founder Marc Andreessen. — Time

The art world’s great pivot to regional collectors hits a Teutonic reality check. Turns out courting hometown buyers is neither easier nor more profitable than globe-trotting—just different complications. — Artnet

Expo Chicago’s glittering circus rolls into town promising cultural cachet, but who’s actually invited to the party? A reality check on whether the fair circuit lifts all boats or just the ones already floating. — Hyperallergic

As traditional literary criticism gasps its last, so goes reasoned public discourse. David Bell chronicles how digital age killed the gatekeepers—and maybe critical thinking itself. — Liberties Journal

Remember when online culture was its own weird planet? Those days are dead. Internet-speak has colonized everything from gallery walls to boardroom presentations, proving that resistance to algorithmic aesthetics was always temporary. – The New York Times

Some of these online influencers are pretty easy to spot, but others are good enough that they’re duping people. And in some cases, it seems almost impossible to know for certain whether a specific influencer is real or not. – The Atlantic

Long before Apple claimed to revolutionize music consumption, scrappy Canadian start-ups were quietly building the streaming future. Turns out maple syrup wasn’t the only sweet innovation flowing north of the border. — The Walrus

This season, the Martha Graham Dance Company celebrates 100 years, and for better and worse, her early works are back in fashion. – The New York Times

“We’re not a newspaper company and we haven’t been for quite some time.” While they once accounted for the majority of the AP’s revenue, big newspapers now only make up 10% of the organization’s income. – NiemanLab

One person familiar with the cuts said much of the programming department’s work has been either terminated or redirected toward campus rentals, for which venue fees have to be paid up front. – Washington Post

As part of Donald Trump’s legacy-building quest during his second term in office, the so-called “Arc de Trump” would stand 250ft tall, feature a 60ft golden Lady Liberty, and include a viewing deck. – The Guardian

Fixing education is never that simple. If states really want to replicate our success, they need to understand that what Mississippi did wasn’t a miracle at all. – The Atlantic

On September 11, 2023, the man dropped off a bright blue Ikea bag at Brand’s home. Inside, The Parsonage Garden at Nuenen in Spring (1884), which is worth millions, was covered in bubble wrap and tucked inside a blood-stained pillow—the result of a cut on the man’s hand. – Smithsonian

Old systems of certification are failing from every direction: technological, legal, institutional and political. So what’s left when you can’t just say “trust us”? You have to show your work and construct a context, making the case not by institutional credential but by demonstration.

The biggest institutions are building like the future belongs to them. LACMA opened its $724 million reinvention (Los Angeles Times). London’s National Gallery chose Kengo Kuma to design a $464 million modern-art wing (The Guardian). The Dallas Symphony closed a $50 million endowment campaign (The Dallas Morning News). And Lyric Opera of Chicago expanded its season and signed Sondra Radvanovsky for five years (Chicago Tribune).

But the culture’s software looks a bit less permanent. The Hirshhorn’s director is the fourth to leave the Smithsonian in two years (The New York Times). The Salzburg Festival fired its artistic director and named a replacement in under two weeks (Moto Perpetuo). The U.S. Holocaust Museum softened its own content preemptively, before the administration even asked (Politico). And the Trump administration dropped its legal fight to dismantle IMLS — then zeroed out its funding in the next budget (Publishers Weekly). Why litigate when you can starve the beast?

The sector is investing in buildings at historic scale. The institutional infrastructure underneath — leadership stability, regulatory protection, the willingness to hold ground — is thinning fast. What could go wrong?

This week, my AJ Chronicles’ deeper dive into stories of the week focuses on combatting a culture awash in slop. You can read it here.

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

His mouth is too big, and his conscience . . . well . . . he doesn’t have one.

John Milbauer, Dean of DePaul University’s School of Music, shares the three things he learned in policy school that he wished he learned in music school.

Sitar Arts Center is seeking an Executive Director to lead a thriving arts education nonprofit advancing creative youth development in Washington, DC. The ideal candidate brings strategic vision, fundraising leadership, and a passion for arts education and community impact. Starting salary begins at $175,000.

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THE OPPORTUNITY:

The Fresno Arts Council seeks a strategic, collaborative, and community-centered Executive Director to lead the organization into its next chapter. We are looking for transformative leadership and a bold vision for the future.

ABOUT THE FRESNO ARTS COUNCIL:

The Fresno Arts Council (FAC) is a private nonprofit organization established in 1979 to support and promote the arts throughout Fresno County. As the designated local arts agency and state local partner to the California Arts Council, FAC provides financial support, programs, and services to artists, arts organizations, and diverse communities across the region.

Signature programs include ArtHop, Arts Alive in Agriculture, Arts in Education, Poetry Out Loud, and the City of Fresno Poet Laureate initiative. Support for artists, including technical assistance, advocacy, and mentorship, is at the heart of what we do.

FAC’s mission is to enrich our community’s way of life through the arts by fostering a vibrant arts ecosystem that recognizes and honors the contributions of artists and cultural organizations throughout Fresno County.

THE POSITION:

Reporting directly to the Board of Directors, the Executive Director serves as the chief executive of the organization and works to advance FAC’s mission of supporting artists, strengthening arts organizations, and expanding access to arts and culture throughout Fresno County. The Executive Director is responsible for the overall leadership, management, and strategic direction of the organization. This includes oversight of organizational operations, financial stewardship, program development, fundraising, and community partnerships.

KEY RESPONSIBILITIES:

Organizational Leadership

• Provide strategic leadership and vision in alignment with the mission and priorities established by the Board of Directors.
• Work closely with the Board to develop and implement organizational goals, policies, and long-term strategic plans.
• Ensure strong internal systems, clear communication practices, and effective organizational management.
• Serve as the primary liaison between the Board and staff.

Financial Management and Compliance

• Oversee the financial health of the organization, including budgeting, financial reporting, and fiscal oversight.
• Ensure compliance with all grant requirements, contracts, and agreements with government agencies, foundations, and partners.
• Maintain strong internal financial controls and transparency in financial practices.
• Work closely with accounting professionals and auditors to ensure accurate financial reporting.

Fundraising and Resource Development

• Lead fundraising efforts in partnership with the Board of Directors.
• Develop and maintain relationships with funders, foundations, donors, and public agencies.
• Identify and pursue grant opportunities and oversee grant compliance and reporting.
• Cultivate new funding sources to support the organization’s long-term sustainability.

Program Leadership and Community Engagement

• Oversee FAC programs and initiatives that support artists and arts organizations across Fresno County.
• Ensure the continued strength and accessibility of programs such as ArtHop, arts education initiatives, exhibitions, and community partnerships.
• Represent the organization publicly and serve as an advocate for the arts in Fresno and the surrounding region.
• Build and maintain strong relationships with artists, cultural organizations, community leaders, and public partners.

Staff Leadership and Organizational Culture

• Lead and support a small team of staff and contractors.
• Foster a collaborative, respectful, and mission-driven workplace culture.
• Oversee staff hiring, supervision, professional development, and performance evaluation.
• Ensure compliance with all HR policies and employment regulations.

DESIRED QUALIFICATIONS:

• Demonstrated leadership experience in nonprofit management, arts administration, public administration, or a related field.
• Strong financial management experience, including budgeting, financial oversight, and grant compliance.
• Experience working with nonprofit boards and governance structures.
• Proven ability to build partnerships and relationships across diverse communities.
• Excellent communication and organizational leadership skills.
• Experience in fundraising, donor cultivation, and grant writing.
• Commitment to the arts and cultural landscape of Fresno County.
• Bachelor’s degree in arts-related field or equivalent experience.

The Fresno Arts Council will consider candidates with a broad range of backgrounds. If you are excited about this role and feel that you can contribute to FAC, but your experience does not exactly align with every qualification listed above, we encourage you to apply.

WORKING CONDITIONS:

This is a full-time, exempt leadership position based in Fresno, California. The Executive Director is expected to work primarily in person at the Fresno Arts Council office and attend community events, meetings, and programs throughout the region, including occasional evenings and weekends.

COMPENSATION:

Salary range: $75,000 – $90,000, depending on experience and qualifications.
Benefits include health benefits, paid time off, and professional development opportunities.

TO APPLY:

Please submit the following materials:

• Letter of interest
• Resume
• Three professional references

Applications should be submitted to:

Board of Directors
Fresno Arts Council
careers@fresnoartscouncil.org

NOTE: The lists above should not be viewed as definitive, prescriptive, or exclusionary. If you feel you are the right person for this job, please apply!

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Texas Ballet Theater (TBT), the nationally recognized ballet company that serves Dallas, Fort Worth, and all of North Texas, seeks a dynamic strategist to serve as its next Executive Director. As a transformative leader with demonstrated skills guiding organizational change, fundraising acumen, and a love for connecting with people, TBT’s Executive Director will lead a process to fully realize TBT’s potential and impact, all through a financially savvy lens.

Experience building civic and corporate partnerships, collaboratively and openly communicating with staff and artists with unique perspectives, opening and scaling venues, growing revenue, and maximizing the impact of a performing arts organization in its community are also meaningful talents the Executive Director will bring to the role.

This position reports directly to the Board of Governors and partners with the Artistic Director as the co-leader of TBT.

Texas Ballet Theater has engaged Management Consultants for the Arts to lead the search, and interested candidates may apply for this position by visiting this link: https://www.mcaonline.com/searches/executive-director-tbt

The annual salary range for the Executive Director starts at $215,000 and includes a full benefit package similar to other organizations of its size. A search committee of TBT Board of Governors members hope to make a final decision by Q3 of 2026, with the new Executive Director beginning work as soon as possible thereafter.

Organizational Profile

Texas Ballet Theater is rare among North American performing arts organizations: an entity serving a regional metroplex across two major cities. With its professional productions, education, and community outreach initiatives, TBT served nearly 125,000 people throughout North Texas last year. It is the only dual-resident company for both the Winspear Opera House (on the AT&T Performing Arts Center Campus) in Dallas and the Nancy Lee and Perry R. Bass Performance Hall in Fort Worth.

TBT traces its roots to 1961 with the founding of Fort Worth Ballet. In 1994, working with supporters from the Dallas Ballet, which had closed in 1988, the company became Fort Worth Dallas Ballet, operating with two separate non-profit boards under the umbrella of a unified company of dancers and artistic leadership providing professional ballet performances and education in both cities. In 2003, the separate non-profit Boards merged into one consolidated organization and the final rebranding of the company became Texas Ballet Theater.

In addition to its footprint in Fort Worth and Dallas, TBT has long had a presence in nearby Richardson as part of its training activities, a confirmation of its status as a premier arts organization for North Texas. More about Texas Ballet Theater can be found at https://texasballettheater.org/.

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Conrad L. Osborne’s detailed assessment of the new Met “Tristan und Isolde,” a definitive critique of Yuvan Sharon’s obtrusive production, is compulsive reading for all remaining Wagnerites. Even more distressing than this version’s shortcomings is the acclaim it has received and the influence it may exert on opinion and practice.

“As the country’s economic malaise deepens, officials are eager for the economic boost of increased tourism, even as local communities find themselves entirely unprepared for what a small army of foreign visitors means for their communities.” – AP

Many of Australia’s most prominent writers, researchers and artists, along with thousands of members of the public, had expressed outrage over the proposal to cut 39 jobs and refocus the 171-year-old institution – and Australia’s oldest public library – on tourist-oriented “digital experiences”. – The Guardian

In Lowell, Mass., a center of America’s Cambodian diaspora, the Angkor Dance Troupe has worked hard to preserve the dance traditions nearly wiped out by the Khmer Rouge. Yet the company also wants to expand the repertory and reach a wider community; adapting the Tchaikovsky classic seemed an ideal option. – WBUR (Boston)

Because the cells that make up the mind are material, they can degrade or die. When neurons degrade, starve, or die, the essential connections our minds make to our muscles start to sputter. – LA Review of Books

The Originality.ai reports on his draft, which he shared with The Times, showed that adding or deleting even just a few sentences produced wildly different results. “What if publishers or agents start running these A.I. tools on everybody?” Bricio said. “Everybody is going to walk on eggshells from now on.” – The New York Times

The bill, approved by Parliament in late January, establishes strict criminal penalties calibrated to the severity of the offense, including prison sentences ranging from six months to ten years and fines of up to €300,000 in the most serious cases. – ARTnews

André Malraux went on to fight in the WWII resistance, write celebrated novels, get nominated repeatedly for the Nobel Prize, and serve as de Gaulle’s culture minister. In his 20s, however, he and his wife decided they could get rich quick by going to Cambodia and stealing ancient statuary. – Smithsonian Magazine

Attribution, in this sense, is not merely a scholarly exercise. It is the keystone of an economic and cultural structure. Without it, prices collapse, catalogues unravel, and historical narratives lose coherence. And yet attribution is also deeply human, shaped by judgment, intuition, training and, inevitably, bias. – Aeon

Bambaataa and the parties where he DJ’ed swelled in popularity throughout the decade and well into the 1980s, when he released a series of electro tracks that helped shaped the burgeoning hip-hop and electro-funk music movements. – NPR

The heart of the case before the jury involves accusations that Live Nation has pressured artists to use the company’s promotions arm to play at its amphitheaters, and has also forced venues — sometimes with threats — to sign exclusive deals with Ticketmaster or risk losing access to Live Nation’s popular tours. – The New York Times

Nailya Allakhverdiyeva turned PERMM (in Perm, 700 miles from Moscow) into one of the country’s most respected museums. She tried to cooperate with authorities over any concrete objections to PERMM’s projects, but continuing harassment by law enforcement and an ultimatum from the regional cultural minister drove her away. – The New York Times

Need to take an online math quiz? Write a biology-lab report? Create a PowerPoint presentation for history class? AI can do all of this and more. One high schooler recently told me that he struggles to think of a single assignment that AI wouldn’t be able to do for him. – The Atlantic

Print continues to be the only book format used by a majority of Americans. Roughly two-thirds of adults say they have read a physical book in the past 12 months, according to our October survey. – Pew Center

He realised how powerful music could be in spreading his new doctrine, that it could “incite people to do good and to teach them”. He’s one of several figures to whom the phrase: “Why should the devil have all the best tunes?” has been credited. He almost certainly didn’t say it, but he should have. – The Guardian

Some local jobs, yes, but probably not enough for the amount of money states are spending, according to recent research. The exceptions appear to be the places where critical masses of industry workers already live: California and metro New York/New Jersey. – The Hollywood Reporter

“The Dallas Symphony Orchestra is adding $50 million to its endowment fund, thanks to donors matching a $25 million challenge grant from the O’Donnell Foundation. … The DSO’s O’Donnell match comes three months after the Dallas Opera completed its own $25 million challenge from the Dallas foundation.” – The Dallas Morning News (MSN)

“Roundabout Theater Company moved into the building in 1998 and kept its disco-era name. Now Roundabout has a $100 million plan for the first full-scale renovation of the building. The project would bring back a permanent stage, which the building hasn’t had since its disco days, and an orchestra pit.” – The New York Times

“The LSM system, comprising ten museums across the state — including the New Orleans Jazz Museum, Louisiana Civil Rights Museum and historic houses — has faced lawsuits, public controversy and an unfavourable audit in recent years.” Accreditation body the American Alliance of Museums indicated that “tabling” is for “specific issues (to) be addressed.” – The Art Newspaper

“Operating under the products & experiences division, Paramount Global Publishing ‘will develop complementary publishing content inspired by its iconic portfolio of brands and franchises as well as generate new IP through the creation of original stories.’” – Publishers Weekly

While the company isn’t back to the schedule it had before COVID, there will be six full productions plus one opera-in-concert, longer runs, a Haydn oratorio, and the return of the summer Broadway musical (this year, Guys and Dolls). Soprano Radvanovsky has signed on for a five-year term as artistic advisor. – Chicago Tribune

“The building, previously owned by MaineHealth, … was sold for $14 million. The plan is for the PMA to move its administrative offices to the new Free Street building, which is next door to the museum, as a way to open up space for more galleries in its main building.” – ARTnews

Melissa Chiu, who has led the Hirshhorn for more than a decade, is the fourth director of a Smithsonian museum to depart within the last two years, and the most recent to leave amid the Trump administration’s effort to overhaul the organization’s network of 21 museums and other cultural centers. – The New York Times

“You’ll never say you didn’t hear them coming.” – AP

The reopening of the museum, which draws about 1.3 million visitors each year, is planned for spring 2028, shortly before the Summer Olympics come to Los Angeles. – The New York Times

“Combs’s lawyers repeated claims they made before the trial judge, including an assertion that Combs’ films of sexual encounters between his girlfriends and male sex workers amounted to ‘amateur pornography’ and (were) protected by the First Amendment.” – AP

Across the whole newsroom, The Times has gone from publishing more than 200 stories a day to about 150 – a 25% cut. – Press-Gazette

Entertainment and tech companies have gotten smarter about putting consumers into bastardized flow states that leaves people feeling drained and sad rather than challenged and enlarged as selves. – Derek Thompson

For decades, people in Stanstead were allowed to walk around the Haskell Free Library and Opera House, but last year the U.S. limited access. Instead of walking a few metres, you’d have to drive down the street and go through a border crossing just to get in the front door. – CTV

“One of the world’s most important collections of 20th-century Mexican art, including works by Frida Kahlo and Diego Rivera, is set to be exported to Spain under an agreement with Banco Santander, sparking outrage among Mexico’s cultural community.” Everyone involved insists that this is a temporary loan, though many aren’t convinced. – The Guardian

The new LACMA, which opens to members in the coming weeks and to the general public May 4, is momentous not only because of its long and often bumpy road, but because it is seeking to reinvent what an encyclopedic museum means in the modern era. – The New York Times

The studios will kick in $321 million — a record sum — to keep the writers’ health fund solvent. The health plan changes are the centerpiece of the four-year contract reached by the WGA and the Alliance of Motion Picture and Television Producers over the weekend. – Variety

South Korea’s Ministry of Culture, Sports and Tourism has announced a series of high-profile appointments across its leading arts institutions, led by the naming of conductor and cellist Chang Han-na as the new president and chief executive of the Seoul Arts Center. – Moto Perpetuo

“Scott Guggenheim, who with his wife Shannon Guggenheim owns 3Below Theaters, cited an ongoing landlord dispute as one major factor in what he called a ‘difficult’ decision. … ‘There were … specific issues — particularly around construction, signage, and commitments — that were not fully realized,’ he told the Chronicle.” – San Francisco Chronicle (Yahoo!)

It’s a phenomenon that has long puzzled psychologists and philosophers alike. Given that we usually dread sadness and strive to avoid it because it feels so bad – from painful conversations to the grief of loss – why do we actively seek it in art? – Psyche

Ghostwriting has an undeservedly bad reputation. Even without AI, some readers feel betrayed if the name on a book’s cover doesn’t tell the whole story. – The Atlantic

While the layoffs are noteworthy, they are a fraction of the size of the cuts overseen by former CEO Bob Iger when he rejoined the company. From 2023 to 2025, multiple rounds eliminated some 8,000 workers, achieving cost savings of $7.5 billion. – Deadline

You can make a solid argument that, except for the particular music being sung (and, today, the inclusion of girls and women), the practice of cathedral choral music is largely unchanged from the days of Elizabeth I. But declining church attendance and financial support are taking a toll. – AP

“Marcel Duchamp is an enigma that art history swallowed and got stuck in its throat. What do we do with him now? I left the Museum of Modern Art’s big new show of Duchamp not sure if I know, or the museum knows, or if the public will know.” – Artnet

“In a blow to the freedom to read in the United States, a three-judge panel of the U.S. Court of Appeals for the Eighth Circuit ruled that a controversial 2023 Iowa law … can go into effect, reversing a lower court decision and sending the case back for a third hearing.” – Publishing Perspectives

Here’s another reason for nonprofit arts organizations to make that scene change toward charitable activities.

There will be famous actors in the competition, certainly, but they’re in indie-studio productions. Indeed, artistic director Thierry Fremaux said openly, “The United States will be present. Studios less (so). When the studios are less present in Cannes, they are less present full stop.” – The Hollywood Reporter

For 25 years, people have been arguing about whether that this project was a good idea or a terrible one. Here’s a look at each side, at why the building has cost so much, and why director Michael Govan considers the whole thing so important. – Los Angeles Times (Yahoo!)

The Walt Disney Co. “is expected to lay off as many as 1,000 employees through role eliminations in the coming months, Variety has learned. Many of the cuts are expected to come from the media giant’s marketing department.” – Variety

“A federal court granted the administration’s request to withdraw its appeal of a federal judge’s earlier ruling that struck down Trump’s attempt last year to dismantle the agency” by executive order. However, the fiscal 2027 budget which the White House is submitting to Congress includes no funding for IMLS. – Publishers Weekly

Maurizio Cattelan has set up a hotline where folks from anywhere can “confess their sins.” Those the artist/father-confessor considers most in need of repentance will be invited to confess to him in real time during an April 23 live-stream. “In a world of sin, absolution has never been so close,” he says. – Euronews

From ACT in San Francisco to Berkeley Rep to Stanford Live, producers and presenters are moving starting times from 8:00 to 7:30, 7:00 or even 6:30. So far, there have been lots of favorable comments and very few complaints. – San Francisco Chronicle (Yahoo!)

The Basque government is already familiar with the Reina Sofía’s condition report—which deems the painting too fragile to travel—and that it is instead requesting a feasibility report from independent technicians on how a transfer to the Guggenheim Museum Bilbao could be carried out safely. – ARTnews

There is every reason to be wary when a foreign-owned corporation stakes a claim to defending Canada’s cultural sovereignty, but the case of HarperCollins calls for particular skepticism. – The Walrus

No L.A. institution has taken as risky a leap in this century as the Los Angeles County Museum of Art. With the opening of the $724-million David Geffen Galleries, LACMA has effectively erased and reinvented itself, trading a fragmented campus core for a sinuous, hovering concrete megastructure. – Los Angeles Times

“In those days, you might as well say: ‘And by the way, I love cock,’” he said about his 1996 interview to promote The Birdcage. “But I wasn’t ready; I wasn’t brave enough. I was a character actor. I wasn’t thinking I was going to become a leading man.” – The Guardian

Speculative and futuristic visions of environmental calamity are being imagined globally through environmental fiction. Eco-dystopian novels can help people process their fears or mourn the loss of a more stable climate. – The Conversation

This is a war over whether technology will merely optimise calculations or eliminate a quintessentially human element such calculations can’t capture. But beneath these debates, the question still lurks: what makes us so special? And can it be computed? – Aeon

Research on cultural ecosystems suggests that institutional collaboration is crucial to sustain vibrant arts production. This is especially the case as music and the arts face increasing pressure from shifting funding models and post-pandemic austerity. – The Conversation

These developments suggest a rough future for a certain kind of writing: nonfiction that’s based on reportage more than on personal experience or celebrity—a.k.a. long fact, literary nonfiction, or narrative nonfiction. – The New Republic

The company hadn’t produced its beloved staging of the Stravinsky ballet, with sets and costumes by Geoffrey Holder, since it went on hiatus in 2004 due to financial problems. DTH was resurrected in 2013, but until now it didn’t have enough dancers available to perform the piece. – The New York Times

A chance encounter fifty years ago “helped fuel a lifelong quest: mapping a musical route that mirrored the trans-Atlantic slave trade and birthed nearly all of the popular music that we now take for granted, including rock ’n’ roll and hip-hop.” – The New York Times

The most successful and lucrative family vlogs are indiscreet almost by definition—and yet the wrong kind of indiscretion can derail the whole gravy train. – The New Yorker

For a jury that has spent weeks listening to experts debate market definitions, vertical integration and other fine points of antitrust law, the testimony about Irvine’s failed amphitheater, and other disputes, has provided a perspective on how all the abstractions play out in real life for taxpayers, industry insiders and concertgoers. – The New York Times

By the end of the 1990s, the “fastest mouse in all Mexico” had been pulled from US television amid concerns about stereotyping and racist caricature. Yet the cartoon character remained popular in Latin America, and numerous Hispanics in the States complained about his banishment. And now there’s a Speedy feature film coming. – The Conversation

In ink-on-dead-trees print, sure. But a large majority of the newspaper’s readers consume the Times online or on an app, where the difference between the magazine’s articles and those of the regular newspaper is barely visible. – New York Magazine (MSN)

The town whose bombing the painting depicts is in the Basque region, and politicians there want to borrow Picasso’s canvas and display it in the Guggenheim Bilbao to commemorate the atrocity’s 90th anniversary. Meanwhile, Madrid’s president insists that Guernica remain where it is now, the Reina Sofía Museum. – The Guardian

“Evan Yionoulis, who has been dean and director of The Juilliard School’s drama division since 2018, will take over the post at Yale starting July 1. She succeeds James Bundy, who has been in the role for close to 25 years and announced his retirement last year.” – The Hollywood Reporter

The Colombian-German conductor, who turns 30 next week, is a former Dudamel Fellow at the Phil and currently assistant conductor at the Boston Symphony; she begins this fall as chief conductor of the Ulster Orchestra and artist-in-residence at the Beethoven-Haus Bonn. – Los Angeles Times (Yahoo!)

Less than two weeks after summarily firing director Markus Hinterhäuser, the festival’s board has named Karin Bergmann, most recently director of the Salzkammergut Festwochen Gmunden and previously chief of Vienna’s Burgtheater, to lead the festival for the 2026 and 2027 seasons. – Moto Perpetuo

The annex, being built for Project Domani, the museum’s expansion of its collection into 20th- and 21st-century art (which has traditionally been left to the Tate Galleries), will be designed by Kengo Kuma, architect of the V&A Museum’s branch in Dundee and of Tokyo’s Olympic Stadium. – The Guardian

The first audience for your art is becoming a machine. The question isn’t just how to optimize for that machine, it’s what you give it to say, and whether what it says is worth a conversation.

About the Opportunity

BAM (Brooklyn Academy of Music) stands at an important moment of transformation and rebirth. Like many cultural organizations rebounding from the pandemic, BAM has been developing new practices and regaining momentum with audiences. With sustained capacity to program a broad array of distinguished artists, a commitment to engaging the public in a variety of artistic formats including performing arts and film programming, and an ability to present captivating long-running theater productions like last year’s re-imagining of A Streetcar Named Desire, BAM continues to possess remarkable opportunities to bring audiences together for both extraordinary and everyday artistic experiences. As our world evolves, BAM remains one of the most unique and impactful performing arts centers not just in New York City, but across the country and globe.

To further enhance the standing of this legacy institution and embrace a new era of artist and audience connection, BAM seeks a forward-thinking, and tenacious Vice President of Marketing and Communications to join the senior leadership team and manage the talented department charged with marketing, creative services, ticket services, market research/audience data analysis, revenue forecasting, communications, and brand storytelling. This Vice President will work in close partnership with the Artistic Director, Producer and Chief Programming Operations Officer, and Vice President of Advancement to promote the ambitious and diverse programming for which BAM is known. Reporting to newly named President Tamara McCaw and serving as a key member of the senior leadership team, the Vice President of Marketing and Communications also interacts with an engaged Board, committed to strengthening the organization’s vitality and reach. The successful candidate must be an individual who has a passion for the performing arts and film, an admiration for BAM’s history and its place in the national and local cultural landscape, and an excitement for the challenges of growing and sustaining a vibrant and diverse audience base.

The Vice President of Marketing and Communications will be a strong manager and mentor, ready to bolster the morale and strengthen the collaborations of a marketing team that is clearly dedicated to the mission of the organization. They should be deeply knowledgeable in traditional marketing tools and strategies and yet, adaptive and eager to experiment with new channels and practices. As a leader and manager, they should be capable of moving from a strategic mindset to an operational approach to collaborate with colleagues and external partners. Finally, they should be eager to think holistically about revenue for the organization, maintaining a close partnership with their colleagues in Advancement and helping to lead BAM into its next chapter of vibrancy and impact.

About BAM

A world-class home for adventurous artists, audiences, and ideas, BAM is North America’s oldest multi-disciplinary arts center, showcasing the work of emerging artists and modern icons.

For more than 160 years, BAM has been a thriving, urban multi-arts complex renowned for presenting an unparalleled roster of visionary and cutting-edge dance, theater, music, opera, visual arts, literature, and film engagements. Attracting more than 750,000 people annually to its home in Brooklyn, BAM provides a welcoming cultural stage and meeting place for global and local communities of all backgrounds. BAM’s distinctive multi-theater campus is alive year-round with inspired new engagements and signature programs alike including the renowned Next Wave (one of the world’s most influential festivals of contemporary performing arts, founded in 1983), the iconic DanceAfrica, an acclaimed repertory film program, and literary, archival, educational and humanities programs. For more information visit BAM.org.

Job Description

The Vice President of Marketing leads a dedicated team (17+ staffers) to build a rigorous marketing plan and implement innovative tactics that amplify BAM’s position as one of this nation’s most celebrated and influential cultural institutions. This role works across the organization to develop innovative marketing and communications strategies, and then oversees comprehensive campaigns that strengthen the BAM brand; drive awareness of its programs; expand and diversify its audience; and achieve the organization’s revenue goals.

Key Opportunities and Result Areas

Strategic Leadership

• Build brand awareness and ensure consistency of BAM’s voice across all channels and touchpoints
• Deeply understand and appreciate the institution’s program strategy, working closely with the artistic team to advance BAM’s mission, celebrate artists, and engage audiences across a dynamic mix of performance and film programming
• Partner with the Advancement team to align marketing and fundraising strategies, ensuring that communications inspire philanthropic investment alongside ticket sales
• Partner with senior leadership on long-term audience growth and revenue strategies and institutional positioning

Team & Department Oversight

• Develop, manage, motivate, and retain a high-performing team, which includes marketing, creative services, ticket services, communications, social media, and marketing operations staff
• Foster a collaborative, creative, and data-informed culture
• Provide leadership and coordination of marketing function, optimizing operational aspects of marketing to ensure greatest workflow efficiencies
• Oversee the Division’s planning/budgeting process, ensuring the effective and efficient use of resources; develop revenue projections and re-forecasting for all ticketed programs

Brand Marketing & Management

• Articulate and implement the institution’s brand and brand storytelling strategies designed to
• secure BAM’s reputation as one of the nation’s most iconic cultural institutions
• Steward the BAM brand by ensuring the consistency of the visual and verbal identity across all consumer facing touch points; champion and activate BAM’s brand ethos across all marketing channels, initiatives, and programming

Campaign Development & Execution

• Oversee multi-channel marketing and communications campaigns for all programs and initiatives
• Collaborate with Advancement to design and execute integrated campaigns that support grass roots giving, promote membership, and elevate patron opportunities
• Integrate direct marketing, advertising, organic social, promotions, communications, and grassroots efforts to maximize reach and impact

Audience Insights & Analytics

• Use audience research and data analytics to inform strategy and optimize campaigns
• Monitor sales and engagement metrics, adjusting tactics in real time

Revenue & Growth

• Expand and diversify audiences in support of meeting the institution’s attendance and revenue goals
• Deepen engagement with existing audiences by encouraging repeat attendance and long-term loyalty
• Collaborate with Development to drive membership sales, and to support donor and sponsor engagement
• Work across institutionally to develop new revenue streams and expand existing revenue streams like venue rentals and merchandise

Duties and Responsibilities

Communication & Partnership

• Lead BAM’s marketing strategy, reporting directly to the President
• Collaborate with institutional leadership to develop strategic planning for audience development and revenue growth
• Collaborate closely with BAM’s Artistic Director, Producer, VP of Advancement and CFO to align marketing efforts with programming and fundraising goals; collaborate with other cross-functional teams to integrate marketing efforts with overall organizational goals
• Hire, manage, mentor, and guide a diverse team to achieve the institution’s goals; develop and mentor three direct reports; building their capacity for people-centered leadership while building a culture of collaboration, accountability, and high performance
• Measure and report on the effectiveness of marketing campaigns, providing insights to leadership and the Board of Trustees
• Cultivate and maintain relationships with key stakeholders, including media partners and community organizations who can help us reach and engage target audiences

Oversight of Strategies, Tactics, & Goals

• Develop annual marketing plans and budgets in collaboration with department directors; track spending to ensure resources are used effectively and that the department achieves expense efficiencies
• Oversee audience segmentation and targeting strategy to ensure the institution is using its resources effectively to engage priority segments
• Grow ticket revenue and attendance by implementing effective pricing strategies including successful implementation of both dynamic pricing and strategic discounting
• With internal teams and external agency partners, develop and implement innovative campaigns (direct marketing, advertising, communications, promotions, etc.) to drive awareness as well as attendance and revenue for BAM’s diverse set of programs
• Conceive of, develop, and implement innovative marketing and communications campaigns to support all program verticals (Film, Theatre, Music, Dance, Opera, Literary, Community, and Education) and the institution’s signature Next Wave and DanceAfrica festivals

Maintaining Systems for a Strong Department

• Develop and implement systems and optimize existing processes in order to increase the
• team’s effectiveness and efficiency
• Leverage insights gained through ongoing work with artistic and production teams and with sales data from BAM’s programs each season to create revenue projections, monitor sales, and make revenue forecast adjustments as requested
• Develop and implement a framework for data-driven marketing strategies, leveraging analytics and market research to inform decision-making; optimize advertising media buy based on data analysis and audience insights
• Foster a culture of innovation and experimentation in marketing approaches, aligning with BAM’s mission vision and values
• Stay abreast of emerging marketing trends and technologies in the arts and cultural sector
• Manage conceptualization and review of promotional material and publications, including website, email, and digital or print materials, such as brochures or programs
• Oversee creative (external marketing assets) production for all BAM events and new programming schemes and series in production
• Ensure effective use of technology to meet BAM marketing goals
• Ensure marketing efforts support BAM’s commitment to inclusion and accessibility in the arts

Qualifications

• 10+ years of experience as a marketing lead in an in-house brand or arts non-profit of similar scale to BAM
• Proven track record of developing and executing large-scale, multi-channel campaigns in the cultural sector
• Expertise in digital marketing, audience development, and brand strategy; ability to balance creative vision with data-driven decision making
• Strong leadership skills with the ability to manage, mentor, and inspire a diverse team of marketers with various levels of experience
• Ability to translate artistic and brand vision into compelling marketing campaigns
• Excellent collaborative skills, with experience working across departments and with external partners
• Proficiency in marketing technologies, CRM systems, and digital marketing platforms
• Strong analytical and problem-solving skills, with the ability to make data-informed decisions
• Exceptional communication skills, both written and verbal, and ability to adapt communication style depending on the interactions and audience
• Experience in budget management and resource allocation
• Knowledge of current trends in arts marketing and audience development
• Demonstrated commitment to diversity, equity, and inclusion in the arts
• Flexible, open, and capable of thriving in a fast-paced, dynamic environment, and managing multiple projects simultaneously
• Passion for BAM’s mission and contemporary performing arts
• Familiarity with the New York arts and cultural landscape preferred
• Good sense of humor
• Ability to follow BAM’s hybrid work policy, which currently requires at least two days per week in the office, but is subject to change

Working Conditions

• Category 2- Administrative work with walking

Compensation

The salary for this position is $235,000-250,000. BAM provides a comprehensive benefits package including medical, dental, and vision insurance, retirement plan opportunities including both 401(k) and pension plans, as well as BAM-related benefits including access to BAM’s fantastic programming.

The office location for this position is the Peter Jay Sharp Building, at 30 Lafayette Avenue in Brooklyn, NY.

BAM respects diversity and accordingly is an equal opportunity employer that does not discriminate on the basis of race, religion, creed, color, national origin, ancestry, citizenship status, sex, military/veteran status, age, marital/family status, sexual orientation, gender identity or expression, genetic information, disability, arrest record, caregiver status, sexual and other reproductive health choices, or any other protected personal characteristic under applicable federal, state, or local law. Our management team is dedicated to ensuring the fulfillment of this policy with respect to recruitment, hiring, placement, promotion, transfer, training, compensation, benefits, employee activities, and general treatment during employment. Employees with questions or concerns about equal employment opportunities in the workplace are encouraged to bring these issues to the attention of the HR Department.

Application Instructions

The Vice President of Marketing and Communications search is being conducted on behalf of BAM by TOC Arts Partners, a national consultancy aligning strategies, structures, and leadership toward a thriving cultural sector. The search is being led by Search Consultant Brenna Thomas, in consultation with and support from the TOC Arts Partners search team.

To apply, visit the online application and submit your materials. Your cover letter should include any training or experience relevant to the job profile that you would like to highlight, why you consider yourself a good fit for this opportunity, and anything else you’d like us to know about your qualifications that may not be present in your resume.

For general questions or nominations of prospective candidates, please contact searchteam@tocartspartners.com. We kindly request no phone calls.

Specific questions about the position may be directed to:
Brenna Thomas
Search Consultant
brenna@tocartspartners.com

Applications will be accepted until this role is filled. Interviews may begin at any time, and we encourage you to apply as early as possible for best consideration. All applicants will receive a response regarding the consideration and status of their candidacy. No phone calls, please.

Not sure you meet 100% of our qualifications? Research shows that cis men apply for jobs when they fulfill an average of 60% of the criteria, while others tend only to apply if they meet every requirement. If you believe that you could excel in this role, we encourage you to apply.

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