Crystal Bridges closing some galleries; art ‘takes a break' during expansion
A news release from the museum said the Contemporary and Modern galleries are now inaccessible while Yayoi Kusama's Infinity Mirrored Room, as well as other works, are 'taking at rest'. The experience will reopen in 2026 with the expanded museum.
USA Today: Silver Dollar City nominated for 4 national awards
Crystal Bridges said almost every piece of art will be relocated as the museum expands by another 114,000 square feet.
The museum said it will begin issuing bi-weekly press briefs on the expansion and that visitors can go to the Crystal Bridges' expansion landing page for more information.
Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
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Boston Globe
6 hours ago
- Boston Globe
It's time for Connecticut to secede from New England. For its own good.
Write to us at . To subscribe, . TODAY'S STARTING POINT Is it lame for Connecticut to try to change the fact that everyone thinks it's lame? Last week, a man who owns a marketing agency and didn't like how everyone was always so down on Connecticut, both inside and out, announced something called The CONNection. I know. And you can probably guess what it's going to try to do, which is gather the Nutmeg State's finest and have them talk into a camera about its rich arts and culture and scenic Hartford. Bryn Tindall, the guy pushing the collaboration, thinks positivity will win the day. But his concept of pitting influencers against 'influencers' commits a cardinal sin, which is to take a joke seriously. You need to have a comeback, especially if you want to call yourself a New England state. The main joke about Connecticut, and the one from which all others stem, is that it's just a boring drive-through state on the journey between Boston and New York. It's such an easy joke that it's almost hacky, but it works every time because in all jest there is truth. Connecticut has always been stuck in a sort of limbo between the two fierce rivals. Advertisement And that drive through Connecticut is excruciating. If you take the inland diagonal, there is nothing interesting to see, and that includes the unobstructed, elevated view of the Hartford skyline. Or you can take the coastal route and drive through a string of small cities whose names you forget, but you want to say some of them used to have jai alai. Advertisement Hacky, like I said. So let me give Connecticut a genuine compliment, which is that it really might have the best pizza in the country. The apizza coming out of the coal-fired ovens at Sally's and Modern and Frank Pepe's in New Haven is inarguably great. But that secret is long out, so you're adding two hours to your drive easy. Enter a man named Anthony Anthony. (Did I tell you I've written four stories about Anthony Martignetti, the 'Anthony! Anthony!' kid from the Prince Spaghetti commercials? Because I definitely told Anthony Anthony.) The Connecticut Anthony is the head of marketing for the state, and the person responsible for a campaign earlier this year where they put up provocative billboards in New York, Chicago, and Detroit proclaiming Connecticut as the home of the nation's best pizza. A bit of trolling, but well done, and gently on the offensive, which is not a Connecticut thing. Welcome to Connecticut sign near Holland, Mass., about 30 miles east of Springfield, where basketball was invented. CTDOT That campaign was preceded by signs erected at its borders last June by Governor Ned Lamont. If you enter from Massachusetts, the signs welcome you to the home of the Basketball Capital of the World. This for people leaving the state where the game was invented, which houses the Hall of Fame, and has the winningest NBA franchise. Is this because you won a couple of college games? You're so cute I could eat you up. But just for that, we're taking your WNBA team. Advertisement The New York border is now guarded by signs welcoming you to the Pizza Capital of the United States. And if you cross into Connecticut on I-95 from Rhode Island, you are welcomed to the Submarine Capital of the World. Does that mean they're arguing over that? Should I know this? Is that what's off those exits? Anthony said the pizza campaign cost the state $220,000, but generated more than $10 million in media impressions, and while it was running it led to a staggering 22 percent increase in day trips to New Haven. I guess you have to start somewhere. 'I like where we're at,' Anthony said of his attempt to reshape the Connecticut brand. 'I like that people don't think we're part of New England and people don't think we're part of New York. That's a strategic advantage to have people think of us differently.' But is it possible to think differently about The Land of Steady Habits, perhaps the most-apt of all state nicknames, if they don't make a big move? The chief reason it gets picked on is because it has never really chosen a side in the Boston-New York rivalry, but has stuck to this bland middle-ground. Connecticut needs to secede from New England and finally, officially, go all in on the Tri-State. It's a move that would immediately strengthen each side. New England would get rid of a minor-leaguer who was kinda quiet and blah, and New York would suddenly have a murderer's row of rolling hills and skyline and rest areas named for famous people from New Jersey. In terms of New England-ness, Connecticut has always felt the least like the rest. It's hard to place, but in an instant it could go from being the least pretty part of New England to the prettiest part of New York. Where Anthony sees a free agent, I see a potential blockbuster signing. For the other team. Advertisement When I pitched Anthony about my succession treaty, and what it could do for the brand, he didn't shoo me away. Instead, he told me I think like a marketer, and I think he meant it in a good way. It solves so much, including the slight guilt I feel picking on Connecticut, and that's because it's never fought back. Aren't you tired of being just below the surface, unnoticed? It makes sense that you make a mean submarine, but isn't the point to pop out and fire when no one is looking? Officially join the Evil Empire and launch at everyone in New England that's been mean to you. I feel like you've earned that. We certainly deserve it. The least we can do is set you free. 🧩 4 Down: 82° POINTS OF INTEREST Liviu Aron, who co-authored a new study about lithium and Alzheimer's, examines preparations of human brain samples in the Harvard research lab. Heather Diehl/For The Boston Globe Lithium: The metal can help protect your brain against aging and Alzheimer's, researchers found. Here's what to know — and how to Care concerns: Patient deaths, government investigations, and a new lawsuit. What's happening at 'Betrayed and devastated': The Air Force will deny retirement benefits to longtime service members who are transgender as the Trump administration forces out trans troops. ( The downside of arbitration: Such agreements are legal and common in the assisted living industry, but severely restrict residents from holding facilities accountable Advertisement Not excessive: Massachusetts' highest court let the state Retirement Board More ballot initiatives: Massachusetts business groups Murder mystery: A former Maine man named Michael Kelley is Good news: Cases of deadly mosquito-borne diseases in Massachusetts are down this year compared to last summer. These maps show In charge: The Medievalist scholar Pierre Terjanian was, by his own admission, an unlikely choice to become the MFA's next director. With the arts under attack, he must now lead the museum Manatee hunt: Wildlife officials want the public's help VIEWPOINTS Crossover event: Two Opinion columnists turned over their newsletters to the other for a no-holds-barred interview. Renée Graham talks about Advertisement Tell me about it: On BESIDE THE POINT By Teresa Hanafin 🧒 Parenting: Do you want to raise terrific kids in 'terrifying' times? 🐰 Pets to prey: A Denmark zoo wants pet owners to donate their elderly guinea pigs, rabbits, etc. to be fed to the zoo's predators such as lions and lynx — after first being humanely euthanized. This apparently mimics what they would eat in the wild. ( 💵 No tax for you: Massachusetts' annual sales tax holiday is this weekend. 💘 Blind date: He likes movies and script writing; she's into film photography and civic engagement. ⭐️ Solved: Scientists believe they have figured out what has killed more than 5 billion starfish off the Pacific Coast of North America over the past decade: A bacteria. ( 📺 Streaming: 'Freaky Tales' with Pedro Pascal, Stephen King's 'The Monkey,' Adult Swim's 'Common Side Effects,' and Thanks for reading Starting Point. This newsletter was edited by ❓ Have a question for the team? Email us at ✍🏼 If someone sent you this newsletter, you can 📬 Delivered Monday through Friday. Billy Baker can be reached at
New York Times
a day ago
- New York Times
Linda Hodes, Dancer Who Championed Martha Graham's Vision, Dies at 94
Linda Hodes, a modern dancer and teacher who played an important role in the Martha Graham Dance Company, overseeing its founder's legacy, and who was also a significant part of two other celebrated troupes, the Paul Taylor Dance Company and the Batsheva Dance Company of Israel, died on Friday in Manhattan. She was 94. Her death, at a nursing home, was caused by congestive heart failure, her daughter Martha Hodes said. Inspired by the idea of becoming an ice skater like the Olympic champion and movie star Sonja Henie, Ms. Hodes took up dance when she was 9 — dance lessons, she had heard, were good for skaters. The closest school was run by the modern dancer Martha Graham, considered by many to be one of the greatest artists of her time. At first, Linda took classes once a week, and then she went more and more often. She was invited to join the Martha Graham Dance Company in 1953, not long after high school. That same year, she married Stuart Hodes, a fellow Graham dancer. Ms. Graham, who was nearing 60, had recently split from her husband, Erick Hawkins, and was rebuilding her company and career. She gave Ms. Hodes the central role in 'Seraphic Dialogue,' a 1955 work about Joan of Arc. Ms. Hodes also danced the roles of Cassandra in Ms. Graham's epically scaled 'Clytemnestra' and Eve in 'Embattled Garden' (both 1958). In 'Phaedra' (1962), she wore horns and an enormous veil as Pasiphae, the mythical queen who has sex with a bull. 'Martha always made you feel that you were someone other than yourself,' Ms. Hodes said in a 1976 oral history interview for the New York Public Library for the Performing Arts. 'Or you were another part of yourself.' Ms. Hodes was born Linda Margolies on June 3, 1931, in Manhattan to Lily (Fishman) Margolies and Albert Margolies, a movie publicist. Her connection to Martha Graham was serendipitous. 'I went to Martha's school because I lived around the corner,' she told Robert Tracy in 'Goddess: Martha Graham's Dancers Remember,' a 1997 oral history. 'Maybe I could have had a totally different life if I lived around the corner from someone else, like Balanchine.' Ms. Graham took her young students seriously and taught their class herself. 'She didn't treat us as if we were little kids,' Ms. Hodes told The New York Times in 1991. 'She taught us technique with dramatic images. She'd tell us these great stories from dances she was working on, like Medea putting the poison crown on the princess's head. The bloodier the better.' In 1963, a decade after Ms. Hodes joined the dance company, an article in The New York Herald Tribune speculated about Martha Graham's successor, singling Ms. Hodes out as the most likely candidate. 'Linda Hodes is more like Graham in her strength of stage presence, in her theatrical impact, in her dramatic fervor than any other dancer in the company,' the article said. The choreographer Paul Taylor, whose time in the Graham company overlapped with that of Ms. Hodes, described her in his 1987 autobiography, 'Private Domain,' as 'a liquid and lushly moving dancer.' A signature Martha Graham move, 'a fluid S of the arms,' he wrote, came from Ms. Hodes. When Mr. Taylor was choreographing some of his first works in the early 1960s, Ms. Hodes was among the dancers he recruited to perform them. But her future lay elsewhere. In 1964, the philanthropist Bethsabée de Rothschild set out to start a dance company in Israel, calling it Batsheva, after the Hebrew form of her first name. (It would eventually become one of the top dance companies in the world, under the leadership of the Israeli choreographer Ohad Naharin, who was the director from 1990 to 2018.) As Ms. Rothschild was a friend and major patron of the Graham company, Batsheva was granted permission to perform some of Ms. Graham's works — a privilege afforded to no other company. When Ms. Rothschild asked Ms. Hodes to come to Israel to teach those works to the dancers, she initially declined. But she eventually agreed to a six-week visit, saying she needed the money. She stayed for 13 years. 'I became very invested,' she said in the public library interview. Her marriage to Mr. Hodes had ended in divorce in 1964, and she fell in love not only with Israel, but also with a Batsheva dancer, Ehud Ben-David. They married in 1968. Many other Graham dancers visited the Batsheva company, but Ms. Hodes was the constant, responsible for maintaining Ms. Graham's repertory. She danced with Batsheva until 1970, periodically returning to the United States to perform with the Martha Graham Company as a guest artist. She served Batsheva in various capacities through 1975, including as an artistic director one year. But by 1974, she was assisting Ms. Graham again, shuttling between Israel and the United States. After Mr. Ben-David died in a car accident in 1976, Ms. Graham sent her a plane ticket to return to New York. Ms. Hodes rejoined the Graham company full time in 1977 and remained until 1991, serving variously as rehearsal director, associate artistic director and co-artistic director. Ms. Graham fought and fell out with many of her dancers, but not with Ms. Hodes. The two became close, shopping together and spending hours on the phone gossiping. 'Martha didn't have a lot of friends,' Ms. Hodes told Mr. Tracy. 'I filled the role of 'girlfriend.'' Before Ms. Graham died at 96 in 1991, she chose Ms. Hodes to run her company after her death, along with Ron Protas, a photographer who had become Ms. Graham's manager and close companion. 'There has always been this question about what happens to a ballet or modern dance company when its creator dies,' Ms. Hodes told The Times in 1991. 'And this question has not been answered yet.' Within a year, Ms. Hodes was gone. 'I certainly feel Martha trusted me to maintain her dances and her vision,' she told Mr. Tracy. 'That was one of the reasons I finally had to leave, because I felt this particular vision was being tampered with by Ron Protas, to say the least.' Mr. Protas was forced out in 2000; after protracted legal battles that briefly shut down the company, it has been operating since 2005 under the direction of Janet Eilber and will celebrate its 100th anniversary next year. When Ms. Hodes left the Martha Graham Company, she turned to her old friend Mr. Taylor, who had built his dance company into one of the most acclaimed and popular in the country. She joined as rehearsal director and as artistic director of a newly formed junior troupe, Taylor 2 Dance Company, staying until 1998. She is survived by two daughters from her first marriage, Catherine Hodes and Martha Hodes, a historian who published the 2023 book 'My Hijacking,' about how she and her sister were held hostage by the Popular Front for the Liberation of Palestine, which hijacked a flight to New York from Israel in 1970; a daughter from her second marriage, Tal Ben-David, who had a small role in Ms. Graham's 'Andromache's Lament' (1981) when she was 11; and a brother, Stephen. But Martha Graham, Ms. Hodes said in an unpublished video interview in 1982, was 'the person who is closest to me outside of my children.' 'She is the most important person in my life,' she said in the 1976 oral history. 'I have learned more from Martha than I have learned from any single person.'
Yahoo
31-07-2025
- Yahoo
If the BBC bows to YouTube, everyone loses
YouTube is the biggest beast in the attentional infrastructure of modern media,' Amol Rajan, presenter of Radio 4's flagship Today programme, announced this week. Listeners around the country – the older ones, at least – must have been left perplexed. What is the 'attentional infrastructure'? And isn't YouTube just a website for sharing videos of kittens mewing or post-operative children high on trace sedatives? No. According to the media regulator Ofcom, YouTube is now the second-most watched service in the UK, ahead of ITV and behind only the BBC. Linear TV – the old tradition of live broadcast – has been staving off doom-mongers for the past decade but now stands on a precipice. Generations Z and Alpha (the youngest set of pre-teen media consumers) have already migrated overwhelmingly to streaming, whether via video sharing platforms (such as YouTube) or subscription video-on-demand services (such as Netflix). The former is now the premier TV destination among the fresh-faced four-to-15 demographic. As the Today programme showed, there will undoubtedly be some at New Broadcasting House and ITV HQ who are getting antsy about this digital coup d'état. But Ofcom's latest report is only the latest glance at a gradual, longstanding shift in the way that people view television. There have always been inflection points: the launches of ITV in 1955 and Channel 4 in 1982; the introduction of Sky in 1989 and digital terrestrial in 1998; Netflix's arrival in the UK in 2012. Since John Logie Baird's first TV broadcast in 1926, the technology has been (somewhat ironically) charting a linear trajectory away from linearity. And the diversifying of content providers has increasingly coincided with the arrival of more flexible viewing options. Ofcom has, however, stumbled upon something of a classification error. Comparing BBC One to YouTube is like comparing Penguin Classics to the British Library. YouTube has an estimated 2.7 billion active users, of whom a reported 65.3 million are 'creators', people who upload content to the site. The BBC, meanwhile, provides thousands of hours of content each year. Its 2025-26 Annual Plan announced 1,000 hours of drama programming on its linear TV channels, alongside 1,200 hours of comedy and 1,800 of documentary and factual programming – an amazing return for a single television station, but pales in comparison to the 20 million videos uploaded to YouTube every day. BBC One is a single point of light; YouTube is the full spectrum. The latest data will be read by some as a sign that traditional, longer-form broadcasting is dead: now, 60-second micro-videos are king. But outdated clichés – perpetuated in earlier paragraphs – belie YouTube's evolution. Videos up to 15 minutes (excluding their popular TikTok dupe, Shorts) remain the most popular length, but shorter-form content is declining in popularity. For adult watchers, YouTube's most popular areas were 'music' and 'how to' content, such as recipes and DIY. Just throw in a documentary about canal boats, and that's sounding a lot like BBC Four. The tricky thing for the BBC is working out which concessions are worth making as it seeks to maintain its place at the head of the industry. There might be fears that the Beeb will employ Amelia Dimoldenberg to host Newsnight from a Morley's, or bring in the musician and influencer KSI as a roving Autumnwatch correspondent. The reality is that there's a (slightly less terrifying) happy medium to be achieved here. YouTube launched in 2005 and it was only a couple of years later that Netflix – at the time a mail-order DVD service – announced that it would pivot to streaming video. Shortly after that, the BBC opened its proprietary streaming service, iPlayer, to beta testing. It might make you feel old, but iPlayer has been live now for 18 years and has become an essential part of the BBC's strategy. Streaming offers real accessibility gains – subtitling, audio description, dubbing – that had proven tricky before, and the uptake among older licence fee payers has been slow but steady. In 2024, iPlayer accounted for 22 per cent of BBC content views, in line with the 4 per cent year-on-year growth experienced since 2022. With audiences acclimatising to streaming, YouTube should be seen not only as a threat to the BBC but also as an opportunity. The BBC already has a huge presence on the platform: the main BBC YouTube channel has 15 million subscribers, while there are also much-followed subsidiary accounts, such as BBC News (18 million subscribers) and BBC Earth (14 million). The BBC is a major player on the platform internationally, with 21 million subscribers to BBC News Hindi and 12.5 million to BBC News Arabic. BBC Persian, BBC Uzbek and BBC Mundo (in Spanish) all have over a million subscribers. While core TV brands such as Doctor Who (2 million subscribers), Strictly Come Dancing (835,000) and Top Gear (9.36 million) maintain healthy communities. So, when YouTube does well, the BBC does well. For many broadcasters, this presents a tricky paradox. Success on YouTube can provide huge audiences and new commercial pathways (such as brand deals via digital agencies), but risks forsaking traditional advertisers and opportunities to sell subscriptions. For a publicly funded broadcaster like the BBC, the question is less vexed. ITV and Channel 4 have entered into a licensing agreement where YouTube publishes full programmes while they retain control over the advertising inventory. But all these traditional broadcasters have an obligation to meet their audience at the most likely point of contact: for younger people, that is now YouTube, just as it is still by switching on the gogglebox for anyone over the age of 35. And yet, the BBC and ITV should not get lost in the pursuit of younger viewers. Ofcom's report contained another piece of telling data: no demographic spends more cumulative time watching video at home than the over-75s. On average, over-75s spend 386 minutes per day watching video, compared to just 184 minutes among ages four to 15. And these screen-addled retirees are only spending a microscopic amount of time on YouTube; the most reliable fix to their addiction is live telly, which accounts for the biggest block of watched minutes (compared to video sharing, streaming or playback) for every age group over 45. British terrestrial TV is constantly being pushed towards modernity. The core question it faces is whether to pursue the demographics who are departing or ignoring its services, or to consolidate its position among devoted user groups. Increasing media plurality inevitably means increasing competition from the private sector. Where the BBC has fought that tide (such as the ill-fated BBC Sounds experiment, which attempted to create a closed ecosystem for audio content), its success has been limited. Just as the creation of YouTube catalysed the building of iPlayer – which is now an essential part of the BBC's multi-generational offering – so too will the natural changes to the landscape shape the corporation's future direction. With the BBC's charter up for renewal at the end of 2027, there will be enormous pressure to cut costs. The organisation's critics will be bolstered by headlines about the challenge from YouTube. But for long-term stability, terrestrial broadcasters shouldn't pick a losing battle with Big Tech. They need to instead focus on the continued delivery of elite programming, allowing the methods by which audiences find that content to evolve naturally. Adaptation is fine. But if what we're left with no longer resembles the BBC, we'll all be poorer for it.
