Poisoned art of Donald Trump

ArtsWatch’s hit parade 2017

Readers' choice: From a musical fracas to rising stars to a book paradise, a look back on our most read and shared stories of the year

Here at ArtsWatch, it’s flashback time. It’s been a wild year, and the 15 stories that rose to the top level of our most-read list in 2017 aren’t the half of it, by a long shot: In this calendar year alone we’ve published more than 500 stories.

Those stories exist because of support from you and people like you. Oregon ArtsWatch is a nonprofit cultural journalism organization, and your gifts help pay for the stories we produce. It’s easy to become a member and make a donation.

Here, back for another look, is an all-star squad of stories that clicked big with our readers in the past 12 months:

 


 

Matthew Halls conducted Brahms’s ‘A German Requiem’ at the 2016 Oregon Bach Festival. Photo: Josh Green.

The Shrinking Oregon Bach Festival

In June Tom Manoff, for many years the classical music critic for National Public Radio’s All Things Considered, looked at the severe drop in attendance and cutbacks in programming at the premiere Eugene music festival. He summarized: “Thinking ahead, I ask: If this year’s schedule portends the future, can OBF retain its world-class level? My answer is no.” His essay, which got more hits than any other ArtsWatch story in 2017, got under a lot of people’s skin. But it was prescient, leading to …

Bach Fest: The $90,000 solution. This followup that had the year’s second-highest number of clicks: Bob Hicks’s look at the mess behind the surprise firing of Matthew Halls as the festival’s artistic leader and the University of Oregon’s secretive response to all questions about it.

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Let’s see, now, where were we? Big inauguration, American carnage, big threats, bellicose speech. Bigger protest, millions of women, pink hats, sea to shining sea. Twitter wars unabated. Health care on the skids. War on reporters. Alternative facts.

And, oh, yes, tucked away there in the corner: a vow to kill the National Endowment for the Arts. And kill the National Endowment for the Humanities. And “privatize” the Corporation for Public Broadcasting, which has mostly been privatized already, anyway. Cost-cutting. Getting tough on the budget. Victory for the taxpayers. (NEA 2016 budget: $148 million. NEH 2016 budget: $148 million. Percentage of total federal budget, each: 0.003. CPB 2016 funding via federal government: $445 million. Percentage of total federal budget, all three agencies: less than 0.02. Federal budget 2015 for military marching bands, $437 million. Taxpayer expense to build or renovate National Football League stadiums, past 20 years, mostly through local and regional taxes: more than $7 billion.)

A fiscal conservative or libertarian can make an honest argument for eliminating the NEA and NEH on grounds that they’re simply not an appropriate use of taxpayer funding; culture should be funded privately. Here at ArtsWatch we don’t agree with that analysis. We believe there are many valid reasons for government financial aid to culture, and that the payoffs to taxpayers are many, from economic – in healthy cities, the arts are job and money multipliers – to educational and much more. Historically, consider the continuing dividends of the WPA and other cultural projects underwritten by the federal government during the Great Depression of the 1930s: In Oregon, for instance, Timberline Lodge.

But there’s much more to this move than a courteous philosophical/economic disagreement. The move to defund the NEA has a long and embattled history, dating at least to the so-called “culture wars” of the 1980s and ’90s, when a resurgent right-wing political movement convinced that artists were mostly a pack of degenerate liberals discovered that attacking the arts was a splendid red-meat issue for its base. They didn’t succeed in killing off the national endowments, but they did weaken them. The new administration seems to think it can finally finish them off. That would weaken state agencies such as the Oregon Arts Commission, which gets funding from the NEA, and in turn weaken arts organizations across the state, which get money from the OAC and, often more importantly, a stamp of approval that helps them raise private donations. Killing the endowments would be a rash move that would save hardly anything in the national budget and cause deep mischief to the nation’s well-being. It strikes us as petty and vindictive and, frankly, foolish.

It’s also a reach that might fail. Republicans like culture, too, and understand its value, and often support it generously. Traditionally, that has included Republican politicians. Will they fall in line with the new administration, or will they quietly scuttle its gambit? Keep your eye on this thing. We will, too.

 


 

Duffy Epstein and Dana Green in the premiere of the D.B. Cooper play “db.” Photo: Owen Carey

THE FERTILE GROUND FESTIVAL, Portland’s sprawling celebration of new works in theater, dance, solo performance, circus arts, musical theater, comedy, and other things that ordinarily happen on a stage, continues through January 29. ArtsWatch writers have been out and about, writing their impressions. You can catch up with some of them below:

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