The United States placed a ban on art imported from Afghanistan on February 18. The ban is set to last until April of 2026 and covers any ancient material found in Afghanistan from 50,000 B.C. to 1747 A.D.
The ban was enforced in an attempt to prevent the Taliban from gaining revenue from the United States for the artifacts. Stone, metal, human remains, glass, and paintings are just some of the archaeological materials that are included in the ban.
Museums and galleries in the U.S. may suffer as a result of the ban especially during Asia Week New York, as many of them were expecting some of those artifacts in preparation for the event. The U.S. government gave no warning for the ban, so any artifacts from Afghanistan in the U.S. will need proof that they were acquired prior to the ban.
In our podcast, we share our opinion on the ban and shed more light on the topic.
An art exhibition at the Moss Arts Center: “The Shape of Distance” features multiple paintings and sculptures by Namwon Choi. It features vivid blue colors, interesting shapes and abstract takes on real-life images.
In this podcast we discuss the content of the exhibit, Choi’s background in art, the colors featured in the exhibition and favorite pieces in the exhibition.
“The Shape of Distance” by Namwon Choi is available for viewing at the Moss Arts Center until March 26, 2022.
During the height of the Covid-19 pandemic, Broadway theaters were forced to close their doors in March of 2020, leaving patrons without their beloved entertainment and many in the industry unemployed. After more than a year of darkness, Broadway reopened at full capacity in September of 2021 but not without some making up to do.
The economic toll Broadway’s closure had on the industry, as well as the broader New York City, was, as one might say, showstopping. Many local shops and restaurants in the arts district struggled to stay open due to the lack of tourists. In this edition of The News Feed’s Arts and Culture podcast, we discuss what is required by fans to attend a show, the financial impacts the industry takes and makes, and how the pandemic has changed the live performance landscape – maybe forever.
*NOTE: Header image is not the painting discussed in the podcast due to copyright laws.*
On this edition of the Arts and Culture podcast for The News Feed, Even Hughes and Patrick Cunningham discuss an article from the New York Times about a painting by Jean-Michel Basquiat that recently sold at auction for $41.9 million. The piece titled “Warrior” from 1982 depicts African American men’s struggles in a white-dominated world.
This edition of the podcast also discusses how the sale of the piece hopefully is a sign that the art market is rebounding after a drop during the COVID-19 pandemic, as written about in an article from ArtNews.com. Stretching beyond the art market, Evan and Patrick discuss how this is also hopefully a sign for a revival of art museums and work for artists, as the end of COVID is hopefully in sight.
Zapata and Quiroz-Haden talk about how organizations are doing what they can to keep business and morale high even when the only options are to appreciate the arts virtually or 6ft apart. With virtual concerts, social distanced rehearsals and outdoor performances becoming more popular during the pandemic, it’s safe to say that while performing arts events have taken a hit due to the Coronavirus, they are finding ways to spread creativity to the community regardless.
Millions stream music daily, and the preferences of music platforms are seemingly never ending. Two streaming services have continually held high ratings over time– Spotify and Apple Music. The question remains though, which is best?
Each platform offers similar plans in regard to pricing, with options set to best meet user needs. Many of the differences come to light when comparing access to music, new music discovery, and options for things outside of music like podcasts.
In this edition of the Arts and Culture podcast, The News Feed’s Madison Storm and Jillian Smith debate which streaming platform they think is best and why.
The performing arts world has drastically adapted in response to Covid-19. On a local level, Virginia Tech’s School of Performing Arts has moved all of its fall events online, except for the Progeny Film Festival which has physical and online options for viewing selected films.
Coronavirus complications have resulted in different creative ways for Virginia Tech artists to share their craft, one of which being an audio play called “The Cretans.” This audio drama surrounding ancient Greek myth will be presented online in three different parts early October.
Other online events include film screenings, artist lectures, and concerts that range from celebrating the 250th birthday of Beethoven to local ensemble performances.
The Moss Arts Center also has an online season with a variety of events that feature artists from their homes and performances through Zoom. However, the Moss Arts Center galleries will be open Sept. 10 for the public to view various art installations while proper protection and sanitation precautions are taken.
With a brand new decade on the horizon, it’s difficult not to notice how much downtown Blacksburg has changed over time. This past year alone, Hokies mourned the losses of Sycamore Deli, Poor Billy’s and Big Al’s. Countless more venues have faded from memory over time and there’s no telling which establishment could be next on the chopping block.
That being said, there is still one venue in Blacksburg that has managed to stand the test of time: the Lyric Theatre. The self-proclaimed Heart of Blacksburg is easy to spot on College Ave. thanks to its iconic architecture — a 1930s blend of Art Deco and Spanish Colonial Revival.
“The Theatre first opened in 1909 as a small storefront silent movie house,” stated Susan Mattingly, Executive Director for the Lyric Theatre. “As films became more popular, the Theatre moved three times and this is the fourth location. When it [the current building] opened in 1930, it was only the third theatre in the state of Virginia built for talking pictures.”
The advent of home film distribution forced the Lyric to go dark in 1989. Not long after, the Lyric Council was formed with the intention of restoring the theatre to its former glory. In 1998, the Lyric reopened as a 501(c)3 non-profit organization.
Today, the Lyric still stands proud on College Avenue. It boasts a wide variety of shows for Hokies and townies to attend.
“We are a movie house first, but we like to think of the Lyric as more of a community center,” stated James Arthur, General Manager of the Lyric. “In addition to movies, we host concerts. We host all sorts of special events for the community.”
A statue that was recently revealed in Times Square has been notable for the controversy related to Confederate statues based in Richmond, Virginia. As the capital of the Confederacy, Richmond has been home to statues and monuments directly affiliated with the Confederacy for years.
In this episode we will discuss the ongoing controversy and the importance of remembering history, and learning from it. The ability to have conversations with architects and sculptors also allow for a more well-rounded discussion. Being able to understand the truth, and learn from difficulties in the nation’s history, will help Americans move forward. Modern statues are only the beginning of an ongoing effort to keep Americans informed, and be given the ability to learn from history.
The Virginia Tech School of Performing Arts will be kicking off the new season with the opening of “How I Learned to Drive”.
Written by Paula Vogel, the play tells the story of a young woman who reflects on the trauma of her childhood abuse and her journey to womanhood. According to RAINN statistics, every nine minutes a child is sexually assaulted.
Director Susanna Rinehart says “Paula Vogel is asking us to sit with the complexity of what these kinds of relationships and situations that are lives find us in are both to live through, experience, and recover from the lasting impacts. That speaks to me…but even more I know it speaks to far too many people.” Rinehart said she’s always been faithful to using theatre at its best, where it helps bring people together.
Opening night will conclude the long journey of pre-production the show has been under since last fall. Rinehart said she’s both relieved and excited to see her work with the cast and crew come alive on the stage but warns viewers that it won’t be an easy one to watch.
Rinehart explains, “Not just the actors or me but the stage management team have had moments of all bursting into tears at the same moment and not necessarily the moments we would’ve predicted.”
81 percent of women will experience some form of Post-Traumatic Stress Disorder following their assault, according to the National Sexual Violence Resource Center. Rinehart hopes viewers will understand that healing from trauma is an ongoing fight for the victim.
“This play is so stunning in how it theatricalizes the psychological truth of what it is to be a victim because the very nature of the play is fragmented memory, an adult woman who is trying to put together the pieces of these events is determined to find some level of liberation, healing or freedom from that history,” says Rinehart.
She hopes the show will spark a conversation that carries beyond the bounds of the stage.