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I love to say "I told you so," and the past few days have given me plenty of opportunity. Last week I predicted that Morrissey would perform his scheduled concerthttp://clatl.com/freshloaf/archives/2015/06/10/critics-notebook-moz-is-coming-to-atlanta at Atlanta's Symphony Hall, in spite of the performer's long string of cancellations in recent years, which had many local fans saying this one wouldn't happen either. Well, simply saying "Morrissey came to Atlanta" is something of an understatement; he came and performed one of the best shows we've ever seen.
With no opening act, Morrissey began his set promptly at 9 p.m., after about 30 minutes of curated, pre-show videos projected on a screen, a set of short films that included things such as, taped performances by the seminal punk band the New York Dolls and the drag queen Lypsinka.
Morrissey began his show with an apology for being "two years late," and the performance did seem to take the form of a compensatory gesture for all the cancellations. Beginning with "Suedehead" and moving through a total of 22 songs from throughout his decades-long career, the set leaned heavily toward songs from recent albums: the solid but hard-to-warm-up-to World Peace is None of Your Business and the lovely, under-appreciated Swords. He did three Smiths songs: "Meat is Murder," "Stop Me if You Think that You've Heard This One Before," and, as part of his encore, "What She Said." He also did a lot of solo classics including "Speedway," "Will Never Marry," "Yes, I Am Blind," "Everyday is Like Sunday," and "Now My Heart is Full."
You wouldn't think it would be something so rare, but Morrissey is one of those unusual singers whose voice actually sounds better as he ages: he now has a supple, evenly-toned, rich, smoothly expressive tenor with an interesting depth, and a broad range, which is not, I think, how anyone would have described his voice on early Smiths songs. His band sounded fantastic. Most of the musicians have been with him for years, and the latest addition, multi-instrumentalist Mando Lopez, took centerstage to sing a verse of a song, "Stop Me If You Think You've Heard This One Before," in Spanish, a tip of the hat to Morrissey's large Hispanic fan base and to the recent success of the band Mexrrissey, which covers Morrissey songs in Spanish.
During his encore, Morrissey used a piece of paper on which his set list was written to scoop up a bug that had crawled on stage (it was probably just wanting to give Moz a big hug). Morrissey stooped down to gently put the bug onto the paper and then passed it on to a stage hand who carried it away. Other than the bug, there were actually no stage invaders, which is somewhat surprising because it's almost always a given that some fans will get on stage no matter the barriers, and the Symphony Hall's platform is really only about waist-high from the front row. As often happens, toward the end of the show, Morrissey threw his shirt into the audience, and as seldom happens, it didn't tear, which means that someone in Atlanta ended up with a whole Morrissey shirt (I heard it nearly started a fight — I didn't see it)
In all seriousness, it was a fantastic show, and if the quality is consistent, fans in subsequent cities (Atlanta was just the second stop on this tour) are very much in luck. All is forgiven in the ATL, Moz. Come back soon.
"
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I love to say "I told you so," and the past few days have given me plenty of opportunity. Last week [http://clatl.com/freshloaf/archives/2015/06/10/critics-notebook-moz-is-coming-to-atlanta|I predicted that Morrissey would perform his scheduled concert][http://clatl.com/freshloaf/archives/2015/06/10/critics-notebook-moz-is-coming-to-atlanta|] at Atlanta's Symphony Hall, in spite of the performer's long string of cancellations in recent years, which had many local fans saying this one wouldn't happen either. Well, simply saying "Morrissey came to Atlanta" is something of an understatement; he came and performed one of the best shows we've ever seen.
With no opening act, Morrissey began his set promptly at 9 p.m., after about 30 minutes of curated, pre-show videos projected on a screen, a set of short films that included things such as, taped performances by the seminal punk band the New York Dolls and the drag queen Lypsinka.
Morrissey began his show with an apology for being "two years late," and the performance did seem to take the form of a compensatory gesture for all the cancellations. Beginning with "Suedehead" and moving through a total of 22 songs from throughout his decades-long career, the set leaned heavily toward songs from recent albums: the solid but hard-to-warm-up-to ''World Peace is None of Your Business'' and the lovely, under-appreciated ''Swords''. He did three Smiths songs: "Meat is Murder," "Stop Me if You Think that You've Heard This One Before," and, as part of his encore, "What She Said." He also did a lot of solo classics including "Speedway," "Will Never Marry," "Yes, I Am Blind," "Everyday is Like Sunday," and "Now My Heart is Full."
You wouldn't think it would be something so rare, but Morrissey is one of those unusual singers whose voice actually sounds better as he ages: he now has a supple, evenly-toned, rich, smoothly expressive tenor with an interesting depth, and a broad range, which is not, I think, how anyone would have described his voice on early Smiths songs. His band sounded fantastic. Most of the musicians have been with him for years, and the latest addition, multi-instrumentalist Mando Lopez, took centerstage to sing a verse of a song, "Stop Me If You Think You've Heard This One Before," in Spanish, a tip of the hat to Morrissey's large Hispanic fan base and to the recent success of the band [https://www.facebook.com/mexrrissey|Mexrrissey], which covers Morrissey songs in Spanish.
During his encore, Morrissey used a piece of paper on which his set list was written to scoop up a bug that had crawled on stage (it was probably just wanting to give Moz a big hug). Morrissey stooped down to gently put the bug onto the paper and then passed it on to a stage hand who carried it away. Other than the bug, there were actually no stage invaders, which is somewhat surprising because it's almost always a given that some fans will get on stage no matter the barriers, and the Symphony Hall's platform is really only about waist-high from the front row. As often happens, toward the end of the show, Morrissey threw his shirt into the audience, and as seldom happens, it didn't tear, which means that someone in Atlanta ended up with a whole Morrissey shirt (I heard it nearly started a fight — I didn't see it)
In all seriousness, it was a fantastic show, and if the quality is consistent, fans in subsequent cities (Atlanta was just the second stop on this tour) are very much in luck. All is forgiven in the ATL, Moz. Come back soon.
"
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I love to say "I told you so," and the past few days have given me plenty of opportunity. Last week I predicted that Morrissey would perform his scheduled concerthttp://clatl.com/freshloaf/archives/2015/06/10/critics-notebook-moz-is-coming-to-atlanta at Atlanta's Symphony Hall, in spite of the performer's long string of cancellations in recent years, which had many local fans saying this one wouldn't happen either. Well, simply saying "Morrissey came to Atlanta" is something of an understatement; he came and performed one of the best shows we've ever seen.
With no opening act, Morrissey began his set promptly at 9 p.m., after about 30 minutes of curated, pre-show videos projected on a screen, a set of short films that included things such as, taped performances by the seminal punk band the New York Dolls and the drag queen Lypsinka.
Morrissey began his show with an apology for being "two years late," and the performance did seem to take the form of a compensatory gesture for all the cancellations. Beginning with "Suedehead" and moving through a total of 22 songs from throughout his decades-long career, the set leaned heavily toward songs from recent albums: the solid but hard-to-warm-up-to World Peace is None of Your Business and the lovely, under-appreciated Swords. He did three Smiths songs: "Meat is Murder," "Stop Me if You Think that You've Heard This One Before," and, as part of his encore, "What She Said." He also did a lot of solo classics including "Speedway," "Will Never Marry," "Yes, I Am Blind," "Everyday is Like Sunday," and "Now My Heart is Full."
You wouldn't think it would be something so rare, but Morrissey is one of those unusual singers whose voice actually sounds better as he ages: he now has a supple, evenly-toned, rich, smoothly expressive tenor with an interesting depth, and a broad range, which is not, I think, how anyone would have described his voice on early Smiths songs. His band sounded fantastic. Most of the musicians have been with him for years, and the latest addition, multi-instrumentalist Mando Lopez, took centerstage to sing a verse of a song, "Stop Me If You Think You've Heard This One Before," in Spanish, a tip of the hat to Morrissey's large Hispanic fan base and to the recent success of the band Mexrrissey, which covers Morrissey songs in Spanish.
During his encore, Morrissey used a piece of paper on which his set list was written to scoop up a bug that had crawled on stage (it was probably just wanting to give Moz a big hug). Morrissey stooped down to gently put the bug onto the paper and then passed it on to a stage hand who carried it away. Other than the bug, there were actually no stage invaders, which is somewhat surprising because it's almost always a given that some fans will get on stage no matter the barriers, and the Symphony Hall's platform is really only about waist-high from the front row. As often happens, toward the end of the show, Morrissey threw his shirt into the audience, and as seldom happens, it didn't tear, which means that someone in Atlanta ended up with a whole Morrissey shirt (I heard it nearly started a fight — I didn't see it)
In all seriousness, it was a fantastic show, and if the quality is consistent, fans in subsequent cities (Atlanta was just the second stop on this tour) are very much in luck. All is forgiven in the ATL, Moz. Come back soon.
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Critic's Notebook: Moz came to Atlanta Article
Wednesday June 17, 2015 09:00 AM EDT
It was a good stay
|
more...
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The pleasure, the privilege is mine to share the news that Morrissey will perform at Atlanta's Symphony Hall on Sat., June 13. Any longtime fan will remind you right away of their disappointment regarding Moz's string of Atlanta cancellations in recent years, and some have protected their delicate hearts this time by not taking the risk of buying tickets. But my prediction remains: this one's on. Hear me out.
First off, many thanks to super-fan "Chickpea" of the forums on the fansite Morrissey-Solo for her detailed listing and analysis of Morrissey concerts and cancellations since the beginning of his solo career in 1988. She and subsequent posters identify — correctly, I think — two trends. One is a recent uptick in successful completion of performances (Hooray!). The other is a tendency of Morrissey fans to skew their memories by overemphasizing the disappointment of cancellations (these are Morrissey fans after all) over the satisfaction of completed shows.
The busy Mozzer has scheduled more than 1,000 shows in his solo career and completed 852, a completion rate of 85.2 percent. I'd say that's a pretty decent track record (especially considering that the bulk of cancellations were due to serious illness and a death in the family). It would be especially interesting to compare his completion rate to other, earlier non-stop tourers and show business legends such as Frank Sinatra, Elvis Presley, and Judy Garland, i.e. performers who toured in large venues as solo artists for decades (Chickpea, get to work). Some have reputations as frequent cancellers and some have reputations as total troopers, but my guess would be: they all actually probably hovered in the 85 percent area.
Anyway, Moz's most recent gig ten days ago at the Opera House in Sydney, Australia went off without a hitch, and the U.S. tour begins tomorrow, June 11, at the Saenger Theatre in New Orleans. You can watch the same fan site for post-show commentary. Once that date's successfully completed, it's more than safe to assume we'll have our visitation here in the ATL, as well.
image-1Those attending the concert Saturday should take a moment before or after the show to have a look at the spinning tops of Los Trompos right outside the venue at the High Museum's Sifly Piazza. The playground-like structures are part of an interactive art installation designed by Mexico City artists Héctor Esrawe and Ignacio Cadena. The piazza and its installation are open around the clock and visiting is free: you can climb to the top of the tops or sit inside, and if you can bear to speak to another person, you can ask them to spin you around. And since they'll be open during the show, we think they'll make the perfect spot for fans who didn't buy tickets to sit inside and have a good cry. Either way: see you at the show, ATL!
"
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The pleasure, the privilege is mine to share the news that Morrissey ''will'' perform at Atlanta's Symphony Hall on Sat., June 13. Any longtime fan will remind you right away of their disappointment regarding Moz's string of Atlanta cancellations in recent years, and some have protected their delicate hearts this time by not taking the risk of buying tickets. But my prediction remains: this one's on. Hear me out.
First off, many thanks to super-fan "Chickpea" of the forums on the fansite [http://www.morrissey-solo.com/|Morrissey-Solo] for [http://www.morrissey-solo.com/threads/133763-Morrissey-cancellations-by-the-numbers|her detailed listing and analysis of Morrissey concerts and cancellations since the beginning of his solo career in 1988]. She and subsequent posters identify — correctly, I think — two trends. One is a recent uptick in successful completion of performances (Hooray!). The other is a tendency of Morrissey fans to skew their memories by overemphasizing the disappointment of cancellations (these are Morrissey fans after all) over the satisfaction of completed shows.
The busy Mozzer has scheduled more than 1,000 shows in his solo career and completed 852, a completion rate of 85.2 percent. I'd say that's a pretty decent track record (especially considering that the bulk of cancellations were due to serious illness and a death in the family). It would be especially interesting to compare his completion rate to other, earlier non-stop tourers and show business legends such as Frank Sinatra, Elvis Presley, and Judy Garland, i.e. performers who toured in large venues as solo artists for decades (Chickpea, get to work). Some have reputations as frequent cancellers and some have reputations as total troopers, but my guess would be: they all actually probably hovered in the 85 percent area.
Anyway, Moz's most recent gig ten days ago at the Opera House in Sydney, Australia [http://www.morrissey-solo.com/content/2565-Sydney-Vivid-LIVE-Sydney-Opera-House-Concert-Hall-(May-31-2015)-post-show|went off without a hitch], and the U.S. tour begins tomorrow, June 11, at the Saenger Theatre in New Orleans. You can watch the same [http://www.morrissey-solo.com/tour/|fan site] for post-show commentary. Once that date's successfully completed, it's more than safe to assume we'll have our visitation here in the ATL, as well.
[image-1]Those attending the concert Saturday should take a moment before or after the show to have a look at the spinning tops of ''[https://www.high.org/Art/Exhibitions/Los-Trompos-Spinning-Tops.aspx|Los Trompos]'' right outside the venue at the High Museum's Sifly Piazza. The playground-like structures are part of an interactive art installation designed by Mexico City artists Héctor Esrawe and Ignacio Cadena. The piazza and its installation are open around the clock and visiting is free: you can climb to the top of the tops or sit inside, and if you can bear to speak to another person, you can ask them to spin you around. And since they'll be open during the show, we think they'll make the perfect spot for fans who didn't buy tickets to sit inside and have a good cry. Either way: see you at the show, ATL!
"
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The pleasure, the privilege is mine to share the news that Morrissey will perform at Atlanta's Symphony Hall on Sat., June 13. Any longtime fan will remind you right away of their disappointment regarding Moz's string of Atlanta cancellations in recent years, and some have protected their delicate hearts this time by not taking the risk of buying tickets. But my prediction remains: this one's on. Hear me out.
First off, many thanks to super-fan "Chickpea" of the forums on the fansite Morrissey-Solo for her detailed listing and analysis of Morrissey concerts and cancellations since the beginning of his solo career in 1988. She and subsequent posters identify — correctly, I think — two trends. One is a recent uptick in successful completion of performances (Hooray!). The other is a tendency of Morrissey fans to skew their memories by overemphasizing the disappointment of cancellations (these are Morrissey fans after all) over the satisfaction of completed shows.
The busy Mozzer has scheduled more than 1,000 shows in his solo career and completed 852, a completion rate of 85.2 percent. I'd say that's a pretty decent track record (especially considering that the bulk of cancellations were due to serious illness and a death in the family). It would be especially interesting to compare his completion rate to other, earlier non-stop tourers and show business legends such as Frank Sinatra, Elvis Presley, and Judy Garland, i.e. performers who toured in large venues as solo artists for decades (Chickpea, get to work). Some have reputations as frequent cancellers and some have reputations as total troopers, but my guess would be: they all actually probably hovered in the 85 percent area.
Anyway, Moz's most recent gig ten days ago at the Opera House in Sydney, Australia went off without a hitch, and the U.S. tour begins tomorrow, June 11, at the Saenger Theatre in New Orleans. You can watch the same fan site for post-show commentary. Once that date's successfully completed, it's more than safe to assume we'll have our visitation here in the ATL, as well.
image-1Those attending the concert Saturday should take a moment before or after the show to have a look at the spinning tops of Los Trompos right outside the venue at the High Museum's Sifly Piazza. The playground-like structures are part of an interactive art installation designed by Mexico City artists Héctor Esrawe and Ignacio Cadena. The piazza and its installation are open around the clock and visiting is free: you can climb to the top of the tops or sit inside, and if you can bear to speak to another person, you can ask them to spin you around. And since they'll be open during the show, we think they'll make the perfect spot for fans who didn't buy tickets to sit inside and have a good cry. Either way: see you at the show, ATL!
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Wednesday June 10, 2015 10:00 AM EDT
The pleasure, the privilege is ours
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*BreeAnne Clowdus
*
5) A Streetcar Named Desire, June 11-28, Serenbe Playhouse.
Serenbe Playhouse presents a new production of the Tennessee Williams classic at the property's new Art Farm Stage, where the set will be housed in recycled shipping containers. The Serenbe season also includes a world premiere adaptation of the children's classic The Secret Garden (through August 2) and the Andrew Lloyd Weber musical Evita (July 23 to Aug. 16).
*Courtesy Atlanta Fringe Festival
*FAMILY PORTRAIT: The cast of Twinhead Theatre's Next Year People
4) Atlanta Fringe Festival, June 4-7, Various Atlanta venues.
Theater, storytelling, dance, circus arts, comedy, and improv make up this annual festival of alternative and experimental theater centered at Little Five Points' 7 Stages Theatre. Here's Keely L. Herrick's guide to the Fest.
3) The Atlanta Symphony Orchestra gives free concerts in Piedmont Park, June 11, 18, and 25. One of the city's most beloved traditions returns for another year. This year’s concerts will be led by ASO Assistant Conductor Joseph Young. The June 11 concert will include Dvořák’s "Slavonic Dance No. 7" and "Symphony No. 8," movement IV, as well as Bizet’s “Danse Bohemienne” from Carmen. The June 18 concert will feature Offenbach’s Orpheus in the Underworld overture, Ravel’s "Pavane" and Stravinsky’s The Firebird Suite. The June 25 concert will include selections from Elgar, Grieg, Anderson, Falla, Brahms, and more. Tickets are free but must be reserved online in advance.
2) The White Chip, June 11-28, Theatrical Outfit.
Sean Daniels, former Artistic Director and co-founder of Dad’s Garage Theatre Company, tells the story of challenges in his personal life, from being baptized as a young Mormon to nearly drinking himself to death as an adult.
*Travis Shinn
*
1) Morrissey, June 13, Symphony Hall.
The legendary singer performs at Symphony Hall. Though some fans are still miffed that Morrissey had to cancel a couple of Atlanta appearances in the past (cut him some slack: he had cancer), this one is clearly happening."
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*BreeAnne Clowdus
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__5)__ __''A Streetcar Named Desire''__, June 11-28, [http://www.serenbeplayhouse.com/home/performances/2015-season|Serenbe Playhouse].
Serenbe Playhouse presents a new production of the Tennessee Williams classic at the property's new Art Farm Stage, where the set will be housed in recycled shipping containers. The Serenbe season also includes a world premiere adaptation of the children's classic ''The Secret Garden'' (through August 2) and the Andrew Lloyd Weber musical ''Evita'' (July 23 to Aug. 16).
{img src="http://posting.clatl.com/images/blogimages/2015/06/02/1433275993-twinhead_next_year_people.jpg"}
*Courtesy Atlanta Fringe Festival
*FAMILY PORTRAIT: The cast of Twinhead Theatre's ''Next Year People''
__4)__ __Atlanta Fringe Festival__, June 4-7, [http://atlantafringe.org/|Various Atlanta venues.]
Theater, storytelling, dance, circus arts, comedy, and improv make up this annual festival of alternative and experimental theater centered at Little Five Points' 7 Stages Theatre. Here's Keely L. Herrick's [http://clatl.com/atlanta/2015-atlanta-fringe-festival-guide/Content?oid=14413563|guide to the Fest].
__3) __The __Atlanta Symphony Orchestra__ gives free concerts in Piedmont Park, June 11, 18, and 25. One of the city's most beloved traditions returns for another year. This year’s concerts will be led by ASO Assistant Conductor Joseph Young. The June 11 concert will include Dvořák’s "Slavonic Dance No. 7" and "Symphony No. 8," movement IV, as well as Bizet’s “Danse Bohemienne” from ''Carmen''. The June 18 concert will feature Offenbach’s ''Orpheus in the Underworld'' overture, Ravel’s "Pavane" and Stravinsky’s'' The Firebird Suite''. The June 25 concert will include selections from Elgar, Grieg, Anderson, Falla, Brahms, and more. Tickets are free but must be reserved [http://www.atlantasymphony.org/piedmontpark|online] in advance.
__2)__ ''The White Chip'', June 11-28, [http://www.theatricaloutfit.org/|Theatrical Outfit].
Sean Daniels, former Artistic Director and co-founder of Dad’s Garage Theatre Company, tells the story of challenges in his personal life, from being baptized as a young Mormon to nearly drinking himself to death as an adult.
{img src="http://posting.clatl.com/images/blogimages/2015/06/03/1433343611-music_spill3-1_05-mag.jpg"}
*[http://clatl.com/atlanta/ImageArchives?by=1516426|Travis Shinn]
*
__1)__ __Morrissey__, June 13, [http://www.atlantasymphony.org/ConcertsAndTickets/Calendar/2014-2015/Morrissey.aspx|Symphony Hall].
The legendary singer performs at Symphony Hall. Though some fans are still miffed that Morrissey had to cancel a couple of Atlanta appearances in the past (cut him some slack: he had [http://www.theguardian.com/music/2014/oct/07/morrissey-reveals-series-of-cancer-treatments-if-i-die-then-i-die|cancer]), this one is clearly happening."
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*BreeAnne Clowdus
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5) A Streetcar Named Desire, June 11-28, Serenbe Playhouse.
Serenbe Playhouse presents a new production of the Tennessee Williams classic at the property's new Art Farm Stage, where the set will be housed in recycled shipping containers. The Serenbe season also includes a world premiere adaptation of the children's classic The Secret Garden (through August 2) and the Andrew Lloyd Weber musical Evita (July 23 to Aug. 16).
*Courtesy Atlanta Fringe Festival
*FAMILY PORTRAIT: The cast of Twinhead Theatre's Next Year People
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Theater, storytelling, dance, circus arts, comedy, and improv make up this annual festival of alternative and experimental theater centered at Little Five Points' 7 Stages Theatre. Here's Keely L. Herrick's guide to the Fest.
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Sean Daniels, former Artistic Director and co-founder of Dad’s Garage Theatre Company, tells the story of challenges in his personal life, from being baptized as a young Mormon to nearly drinking himself to death as an adult.
*Travis Shinn
*
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Critic's Notebook: June's Top 5 Article
Wednesday June 3, 2015 11:23 AM EDT
Moz and 'The White Chip' top the list
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The AUDC recognized 11 recipients in their specific categories — Art on the Atlanta Beltline winning in the Public Works of Art. The Award of Excellence is presented to programs, projects and individuals who significantly contribute toward the enhancement of Atlanta’s built environment, while preserving the city’s heritage and balancing old development with the new. While the award proves to be a great honor for Atlanta Beltline, Inc., this is not the first time that the AUDC has recognized the development agency's efforts; Atlanta Beltline, Inc. has accepted previous awards for the Eastside Trail, Historic Fourthward Park, and D.H. Stanton Park.
Want to see the exhibit? Come to the Lantern Parade on Sep. 12! Besides filling the the two-mile Eastside trail with music and lights (which sounds like more than enough fun in itself), the parade also serves as the opening event for the Art on the Atlanta Beltline exhibit. From September through November, visitors can experience visual art, music, and performances along the Atlanta Beltline corridor completely free of charge. Visitors can also explore parks and trails on the east and west sides of the city.
Want to know more about the artist selections for the 2015 exhibit? Click Here.
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The AUDC recognized 11 recipients in their specific categories — Art on the Atlanta Beltline winning in the Public Works of Art. The Award of Excellence is presented to programs, projects and individuals who significantly contribute toward the enhancement of Atlanta’s built environment, while preserving the city’s heritage and balancing old development with the new. While the award proves to be a great honor for Atlanta Beltline, Inc., this is not the first time that the AUDC has recognized the development agency's efforts; Atlanta Beltline, Inc. has accepted previous awards for the Eastside Trail, Historic Fourthward Park, and D.H. Stanton Park.
Want to see the exhibit? Come to the [http://art.beltline.org/lantern-parade/|Lantern Parade] on Sep. 12! Besides filling the the two-mile Eastside trail with music and lights (which sounds like more than enough fun in itself), the parade also serves as the opening event for the '' ''Art on the Atlanta Beltline exhibit. From September through November, visitors can experience visual art, music, and performances along the Atlanta Beltline corridor completely free of charge. Visitors can also explore parks and trails on the east and west sides of the city.
Want to know more about the artist selections for the 2015 exhibit? Click [http://art.beltline.org/|Here].
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string(2323) " atlanta beltline inc. lantern parade art on the atlanta beltline audc Largest southern outdoor temporary exhibition receives recognition from AUDC. 2015-05-29T14:49:00+00:00 Art on the Atlanta Beltline receives Award of Excellence from the AUDC Kayla Lightner 2015-05-29T14:49:00+00:00 image-1The Atlanta Urban Design Commission (AUDC) presented Atlanta Beltline, Inc. with the Award of Excellence for its Art on the Atlanta Beltline exhibition. Art on the Atlanta Beltline began in 2010 with only 40 exhibits; however, the exhibit has grown rapidly over the past six years and currently has over 300 submissions. And now with recognition from the AUDC, Art on the Atlanta Beltline is the largest outdoor temporary exhibition in the south to be awarded for excellence in works of public arts.
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Want to see the exhibit? Come to the Lantern Parade on Sep. 12! Besides filling the the two-mile Eastside trail with music and lights (which sounds like more than enough fun in itself), the parade also serves as the opening event for the Art on the Atlanta Beltline exhibit. From September through November, visitors can experience visual art, music, and performances along the Atlanta Beltline corridor completely free of charge. Visitors can also explore parks and trails on the east and west sides of the city.
Want to know more about the artist selections for the 2015 exhibit? Click Here.
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Art on the Atlanta Beltline receives Award of Excellence from the AUDC Article
Friday May 29, 2015 10:49 AM EDT
Largest southern outdoor temporary exhibition receives recognition from AUDC.
|
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It goes without saying that we are totally Team Violet.
Please join us in congratulating Atlanta drag queen Violet Chachki, who has made it into the final three on the drag reality show competition RuPaul's Drag Race, the only Atlanta queen to ever make it this far. The winner will be crowned in the show's finale which airs live on Mon., June 1, at 9 p.m. on Logo.
In honor of Violet, we've invented a cocktail. The booze ingredients are available at Atlanta's Tower Beer, Wine and Spirits, and Jarritos soda can be found at most Mexican markets, some Krogers and the Buford Highway Farmer's Market.
The Violet Chachki
1 shot Hangar One Mandarin Blossom vodka
1/2 ounce Rothman & Winter Creme de Violette
2 ounces Jarritos Jamaica hibiscus soda
Club soda
Luxardo maraschino cherry
Shake the vodka and creme de violette together with crushed ice in a cocktail shaker. Strain into a highball glass filled with ice cubes. Add the Jarritos and then fill to the top with club soda. Give a gentle stir and then top with a maraschino cherry.
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It goes without saying that we are totally Team Violet.
Please join us in congratulating Atlanta drag queen [https://www.facebook.com/VioletChachkiOfficial|Violet Chachki], who has made it into the final three on the drag reality show competition [http://www.logotv.com/shows/rupauls_drag_race/|RuPaul's Drag Race], the only Atlanta queen to ever make it this far. The winner will be crowned in the show's finale which airs live on Mon., June 1, at 9 p.m. on [http://www.logotv.com/|Logo].
In honor of Violet, we've invented a cocktail. The booze ingredients are available at Atlanta's [http://towerwinespirits.com/|Tower Beer, Wine and Spirits], and Jarritos soda can be found at most Mexican markets, some Krogers and the [http://www.aofwc.com/|Buford Highway Farmer's Market].
__The Violet Chachki__
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Luxardo maraschino cherry
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string(1541) " cocktail violet chachki rupaul\'s drag race final three All hail Queen Chachki 2015-05-27T15:15:00+00:00 Critic's Notebook: Team Violet Andrew Alexander 2015-05-27T15:15:00+00:00 embed-3
It goes without saying that we are totally Team Violet.
Please join us in congratulating Atlanta drag queen Violet Chachki, who has made it into the final three on the drag reality show competition RuPaul's Drag Race, the only Atlanta queen to ever make it this far. The winner will be crowned in the show's finale which airs live on Mon., June 1, at 9 p.m. on Logo.
In honor of Violet, we've invented a cocktail. The booze ingredients are available at Atlanta's Tower Beer, Wine and Spirits, and Jarritos soda can be found at most Mexican markets, some Krogers and the Buford Highway Farmer's Market.
The Violet Chachki
1 shot Hangar One Mandarin Blossom vodka
1/2 ounce Rothman & Winter Creme de Violette
2 ounces Jarritos Jamaica hibiscus soda
Club soda
Luxardo maraschino cherry
Shake the vodka and creme de violette together with crushed ice in a cocktail shaker. Strain into a highball glass filled with ice cubes. Add the Jarritos and then fill to the top with club soda. Give a gentle stir and then top with a maraschino cherry.
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Critic's Notebook: Team Violet Article
Wednesday May 27, 2015 11:15 AM EDT
All hail Queen Chachki
|
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The line-up for Atlanta Jazz Festival looks fantastic, and there are no less than three stages so it's hard to go wrong just showing up at the park with a cooler, but we thought we'd also offer some critic's picks for our thoughts on the best of the fest:
5) Banda Magda, International Stage, Saturday at 5:30 p.m.
Founded by Greek-born singer Magda Giannikou, Banda Magda was designed to take on everything from samba to French chanson, from Greek folk tunes to Colombian cumbia and Afro-Peruvian lando. Think Françoise Hardy on a whirlwind trip around the world and you'll start to get the idea.
4) Four Women: A Tribute to Nina Simone Featuring Kathleen Bertrand, Julie Dexter, Rhonda Thomas, and Terry Harper, Main Stage, Sun., 3 p.m.
Mention Nina Simone, and we're there. Total bonus is that the line-up for this tribute features four incredibly talented and amazing women. Not to be missed.
3) Emrah Kotan, International Stage, Sun., 5:30 p.m.
A native of Turkey, Emrah Kotan regularly plays some of the most prestigious jazz gigs in the world such as the Istanbul Jazz Festival, Playboy Jazz Festival, Java Jazz Festival and The Blue Note in New York, but he's actually a hometown guy, a Georgia State grad, Atlanta resident, and a respected music teacher in the area. Check out his beats as he takes the international stage on Sunday evening.
2) Diane Schuur, Main Stage, Sun., at 7 p.m.
The legendary singer takes the main stage Sunday evening. Expect her to pull from her vast catalog of music from her three decade career, but we'll probably also be lucky enough to hear some songs from her recently recorded album which drops June 10, an homage to two of her mentors, Frank Sinatra and Stan Getz.
1) Pharoah Sanders Quartet Featuring Kurt Rosenwinkel, Main Stage, Sun., 9 p.m.
If you're not feeling that cool summer vibe yet, it's a sure bet you will be on Sunday, at 9 p.m. as Pharoah Sanders Quartet takes the main stage to close out the weekend of performances. Sanders was a disciple of the great John Coltrane so the concert is a chance to be in the presence of jazz history.
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The line-up for [http://atlantafestivals.com/|Atlanta Jazz Festival] looks fantastic, and there are no less than three stages so it's hard to go wrong just showing up at the park with a cooler, but we thought we'd also offer some critic's picks for our thoughts on the best of the fest:
__5) [http://atlantafestivals.com/artist/banda-magda/|Banda Magda], International Stage, Saturday at 5:30 p.m. __
__ __Founded by Greek-born singer Magda Giannikou, Banda Magda was designed to take on everything from samba to French chanson, from Greek folk tunes to Colombian cumbia and Afro-Peruvian lando. Think Françoise Hardy on a whirlwind trip around the world and you'll start to get the idea.
__4) [http://atlantafestivals.com/artist/four-women/|Four Women: A Tribute to Nina Simone] Featuring Kathleen Bertrand, Julie Dexter, Rhonda Thomas, and Terry Harper, Main Stage, Sun., 3 p.m.__
__ __Mention Nina Simone, and we're there. Total bonus is that the line-up for this tribute features four incredibly talented and amazing women. Not to be missed.
__3) __[http://atlantafestivals.com/artist/emrah-kotan/|Emrah Kotan]__, International Stage, Sun., 5:30 p.m.__
__ __A native of Turkey, Emrah Kotan regularly plays some of the most prestigious jazz gigs in the world such as the Istanbul Jazz Festival, Playboy Jazz Festival, Java Jazz Festival and The Blue Note in New York, but he's actually a hometown guy, a Georgia State grad, Atlanta resident, and a respected music teacher in the area. Check out his beats as he takes the international stage on Sunday evening.
__2) __[http://atlantafestivals.com/artist/diane-schuur/|Diane Schuur]__, Main Stage, Sun., at 7 p.m.__
__ __The legendary singer takes the main stage Sunday evening. Expect her to pull from her vast catalog of music from her three decade career, but we'll probably also be lucky enough to hear some songs from her recently recorded album which drops June 10, an homage to two of her mentors, Frank Sinatra and Stan Getz.
__1)__ [http://atlantafestivals.com/artist/pharoah-sanders-quartet-featuring-kurt-rosenwinkel/|Pharoah Sanders Quartet Featuring Kurt Rosenwinkel,] __Main Stage, Sun., 9 p.m.__
__ __If you're not feeling that cool summer vibe yet, it's a sure bet you will be on Sunday, at 9 p.m. as Pharoah Sanders Quartet takes the main stage to close out the weekend of performances. Sanders was a disciple of the great John Coltrane so the concert is a chance to be in the presence of jazz history.
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string(3093) " atlanta jazz festival julie dexter rhonda thomas terry harper pharoah sanders quartet nina simone kathleen bertrand emrah kotan diane schurr banda magda Stay in town for the best vacation ever 2015-05-20T15:00:00+00:00 Critic's Notebook: Top 5 picks for Atlanta Jazz Fest Andrew Alexander 2015-05-20T15:00:00+00:00 It's a bit of a drag being broke around Memorial Day as everyone splits town for some place fun and beachy, but we're not letting it get us down this year. The weather is incredibly gorgeous right here at home, and there's an incredible line-up of free music in the park, so really, there's no better destination than ATL as summer begins.
The line-up for Atlanta Jazz Festival looks fantastic, and there are no less than three stages so it's hard to go wrong just showing up at the park with a cooler, but we thought we'd also offer some critic's picks for our thoughts on the best of the fest:
5) Banda Magda, International Stage, Saturday at 5:30 p.m.
Founded by Greek-born singer Magda Giannikou, Banda Magda was designed to take on everything from samba to French chanson, from Greek folk tunes to Colombian cumbia and Afro-Peruvian lando. Think Françoise Hardy on a whirlwind trip around the world and you'll start to get the idea.
4) Four Women: A Tribute to Nina Simone Featuring Kathleen Bertrand, Julie Dexter, Rhonda Thomas, and Terry Harper, Main Stage, Sun., 3 p.m.
Mention Nina Simone, and we're there. Total bonus is that the line-up for this tribute features four incredibly talented and amazing women. Not to be missed.
3) Emrah Kotan, International Stage, Sun., 5:30 p.m.
A native of Turkey, Emrah Kotan regularly plays some of the most prestigious jazz gigs in the world such as the Istanbul Jazz Festival, Playboy Jazz Festival, Java Jazz Festival and The Blue Note in New York, but he's actually a hometown guy, a Georgia State grad, Atlanta resident, and a respected music teacher in the area. Check out his beats as he takes the international stage on Sunday evening.
2) Diane Schuur, Main Stage, Sun., at 7 p.m.
The legendary singer takes the main stage Sunday evening. Expect her to pull from her vast catalog of music from her three decade career, but we'll probably also be lucky enough to hear some songs from her recently recorded album which drops June 10, an homage to two of her mentors, Frank Sinatra and Stan Getz.
1) Pharoah Sanders Quartet Featuring Kurt Rosenwinkel, Main Stage, Sun., 9 p.m.
If you're not feeling that cool summer vibe yet, it's a sure bet you will be on Sunday, at 9 p.m. as Pharoah Sanders Quartet takes the main stage to close out the weekend of performances. Sanders was a disciple of the great John Coltrane so the concert is a chance to be in the presence of jazz history.
"Terry Harper" "Rhonda Thomas" "Pharoah Sanders Quartet" "Nina Simone" "Kathleen Bertrand" "Julie Dexter" "Emrah Kotan" "Diane Schurr" "Banda Magda" "Atlanta Jazz Festival" 14332355 13083114 Critic's Notebook: Top 5 picks for Atlanta Jazz Fest "
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Critic's Notebook: Top 5 picks for Atlanta Jazz Fest Article
Wednesday May 20, 2015 11:00 AM EDT
Stay in town for the best vacation ever
|
more...
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string(3146) "Design and print studio Mindzai Creative is ready for a makeover. After eight years in Thunderbox in Old Fourth Ward, Mindzai is relocating to a Little Five Points storefront, only a few doors down from Criminal Records.
Founded in 1996, Mindzai Creative started out as recording studio and quickly evolved into a design and print full-service shop that specializes in helping artists of all various mediums create good-quality marketing materials and screen printing. After a 60-day notice alerting Mindzai and other businesses of the sale of the Thunderbox building, General Manager Susannah Caviness and the Mindzai team embarked on a journey to find the perfect place for the shop.
"A lot of those newer spaces were half the size and triple the cost," Caviness says. "We got really lucky with finding a storefront in Little Five Points that I felt would suit our needs and benefit us the most. I'm really looking forward to being so close to Criminal Records, too! In fact, it was a bit of a 'blessing in disguise' because we were able to find a new home for Mindzai Atlanta that I am very excited about and very excited to share with the community."
Due to increased foot traffic and added storefront, Mindzai will now include a boutique for its new apparel line and host monthly gallery shows and events. Caviness hopes the print studio becomes more accessible to local artists and businesses with the new location and extended opening hours. "I think it's not only going to be great exposure for us as a small business, but really beneficial for all the amazing artists we work with," she says.
To celebrate the new location and gallery space, Mindzai collaborated with artist and tattooer Sam Parker for his last solo show in Atlanta, One Last Thing and Then I'll Go. Parker will show original artwork in the gallery in the coming months.
"We have all admired Sam's work for such a long time," Caviness says. "I love his work with sacred geometry. He was part of our 'Art Basel in Atlanta' show back in February and the idea just sort of came up. He wanted to do a solo show before he moved to Colorado and I jumped at the chance to host it. Sam's show will include originals as well as limited-edition Giclée prints that we are in the process of making for him."
That's one of many upcoming shows and workshops planned in the coming months. The studio hopes to offer classes such as wood-burning, watercolor, figure drawing, and others and bring in new artists to promote within the gallery space. There's also talk of bringing artists David "Bonethrower" Cook, Tara McPherson, and Allison Sommers into the space for different exhibitions.
"I can't promise anything, but I hope we can make something happen with them," Caviness says. "I will still curate and manage all of the shows and shop moving forward. It's been a total dream meeting so many talented and creative people. I'm really excited for everyone to see how we change the space and how we can be an even greater part of Atlanta's growing creative circle."
Editor's Note: This story has been modified to reflect updates on the grand re-opening and Sam Parker's show."
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Founded in 1996, Mindzai Creative started out as recording studio and quickly evolved into a design and print full-service shop that specializes in helping artists of all various mediums create good-quality marketing materials and screen printing. After a 60-day notice alerting Mindzai and other businesses of the sale of the Thunderbox building, General Manager [http://commoncreativatlanta.com/?p=6382|Susannah Caviness] and the Mindzai team embarked on a journey to find the perfect place for the shop.
"A lot of those newer spaces were half the size and triple the cost," Caviness says. "We got really lucky with finding a storefront in Little Five Points that I felt would suit our needs and benefit us the most. I'm really looking forward to being so close to Criminal Records, too! In fact, it was a bit of a 'blessing in disguise' because we were able to find a new home for Mindzai Atlanta that I am very excited about and very excited to share with the community."
Due to increased foot traffic and added storefront, Mindzai will now include a boutique for its new apparel line and host monthly gallery shows and events. Caviness hopes the print studio becomes more accessible to local artists and businesses with the new location and extended opening hours. "I think it's not only going to be great exposure for us as a small business, but really beneficial for all the amazing artists we work with," she says.
To celebrate the new location and gallery space, Mindzai collaborated with artist and tattooer [http://sparkerartist.com/|Sam Parker] for his last solo show in Atlanta, ''One Last Thing and Then I'll Go''. Parker will show original artwork in the gallery in the coming months.
"We have all admired Sam's work for such a long time," Caviness says. "I love his work with sacred geometry. He was part of our 'Art Basel in Atlanta' show back in February and the idea just sort of came up. He wanted to do a solo show before he moved to Colorado and I jumped at the chance to host it. Sam's show will include originals as well as limited-edition Giclée prints that we are in the process of making for him."
That's one of many upcoming shows and workshops planned in the coming months. The studio hopes to offer classes such as wood-burning, watercolor, figure drawing, and others and bring in new artists to promote within the gallery space. There's also talk of bringing artists [http://dmcook.tumblr.com/|David "Bonethrower" Cook], [http://www.taramcpherson.com/|Tara McPherson], and [http://allisonsommers.com/|Allison Sommers] into the space for different exhibitions.
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''Editor's Note: This story has been modified to reflect updates on the grand re-opening and Sam Parker's show.''"
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string(3455) " Design shop and studio celebrates grand re-opening with artist Sam Parker's last Atlanta show 2015-05-19T08:00:00+00:00 Mindzai Creative moves to Little Five Points Muriel Vega 2015-05-19T08:00:00+00:00 Design and print studio Mindzai Creative is ready for a makeover. After eight years in Thunderbox in Old Fourth Ward, Mindzai is relocating to a Little Five Points storefront, only a few doors down from Criminal Records.
Founded in 1996, Mindzai Creative started out as recording studio and quickly evolved into a design and print full-service shop that specializes in helping artists of all various mediums create good-quality marketing materials and screen printing. After a 60-day notice alerting Mindzai and other businesses of the sale of the Thunderbox building, General Manager Susannah Caviness and the Mindzai team embarked on a journey to find the perfect place for the shop.
"A lot of those newer spaces were half the size and triple the cost," Caviness says. "We got really lucky with finding a storefront in Little Five Points that I felt would suit our needs and benefit us the most. I'm really looking forward to being so close to Criminal Records, too! In fact, it was a bit of a 'blessing in disguise' because we were able to find a new home for Mindzai Atlanta that I am very excited about and very excited to share with the community."
Due to increased foot traffic and added storefront, Mindzai will now include a boutique for its new apparel line and host monthly gallery shows and events. Caviness hopes the print studio becomes more accessible to local artists and businesses with the new location and extended opening hours. "I think it's not only going to be great exposure for us as a small business, but really beneficial for all the amazing artists we work with," she says.
To celebrate the new location and gallery space, Mindzai collaborated with artist and tattooer Sam Parker for his last solo show in Atlanta, One Last Thing and Then I'll Go. Parker will show original artwork in the gallery in the coming months.
"We have all admired Sam's work for such a long time," Caviness says. "I love his work with sacred geometry. He was part of our 'Art Basel in Atlanta' show back in February and the idea just sort of came up. He wanted to do a solo show before he moved to Colorado and I jumped at the chance to host it. Sam's show will include originals as well as limited-edition Giclée prints that we are in the process of making for him."
That's one of many upcoming shows and workshops planned in the coming months. The studio hopes to offer classes such as wood-burning, watercolor, figure drawing, and others and bring in new artists to promote within the gallery space. There's also talk of bringing artists David "Bonethrower" Cook, Tara McPherson, and Allison Sommers into the space for different exhibitions.
"I can't promise anything, but I hope we can make something happen with them," Caviness says. "I will still curate and manage all of the shows and shop moving forward. It's been a total dream meeting so many talented and creative people. I'm really excited for everyone to see how we change the space and how we can be an even greater part of Atlanta's growing creative circle."
Editor's Note: This story has been modified to reflect updates on the grand re-opening and Sam Parker's show. 14293977 13083065 Mindzai Creative moves to Little Five Points "
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Mindzai Creative moves to Little Five Points Article
Tuesday May 19, 2015 04:00 AM EDT
Design shop and studio celebrates grand re-opening with artist Sam Parker's last Atlanta show
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I was super-curious when a DVD copy of the opera Brokeback Mountain crossed my desk recently. The opera, which had its world premiere at Madrid's Teatro Real in 2014, features music by American composer Charles Wourinen, who approached author Annie Proulx to write the libretto. The opera closely follows the narrative, dialogue and details from the 2005 Ang Lee film and from Proulx's original 1997 New Yorker short story on which the Oscar-winning film is based.
The idea may sound unlikely at first, but the story is actually perfectly suited for opera: all that frustrated longing, the idyll of the first summer on Brokeback Mountain, the many meetings and partings across the years, a couple kept apart by insurmountable social forces, all of it ended by a sudden, tragic death, and heartbreaking regret. Unfortunately Wourinen's complex, melody-free modernism keeps the emphasis on themes of isolation and the harsh social realities separating Jack and Ennis (One wonders what a composer like Puccini might have done with the same material). A viewer encountering the story of Brokeback for the first time in the opera might reasonably assume that the place Brokeback Mountain is haunted rather than idyllic, so ominous and foreboding are the discordant tonal progressions and kettle drum rumbling that accompany the early action of Act I. Strangely, it's a musical mood that pretty much stays throughout the work, whether we're watching scenes of Alma, Ennis' fiancée, picking out a wedding dress or Jack and Ennis buying whiskey at a bar. Something lyric along the way might have been fitting, but in the end you're unlikely to turn off the DVD whistling any of the tunes unless you want to creep someone out.
If you're not an opera fan already, Brokeback is definitely not the work that will turn you into a convert. Still, the Teatro Real production does feature starkly beautiful sets, lighting and projections from stage director Ivo Van Hove, and the DVD might make an interesting addition to the collection of completists or hardcore fans of the 2005 film: Proulx's narrative does include a bit more backstory for Alma and Lurleen, Ennis and Jack's wives, than either the film or short story.
***
Fans of modern opera in Atlanta are actually in luck in the coming weeks. On Sat., May 16, the Royal Opera House of London will stream the full performance of Król Roger on its website, on YouTube, and on the Opera Europa Digital Platform, a new website that showcases live streams and a range of other footage from 15 opera houses across Europe.
The Atlanta Opera is currently preparing its production of Jake Heggie's Three Decembers which will have its regional premiere at the Alliance Theatre beginning May 29, and not far away in Charleston, Spoleto Festival USA is readying the world premiere of Huang Ruo and Jennifer Wen Ma’s Paradise Interrupted which opens May 22.
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I was super-curious when a DVD copy of the opera ''[http://www.amazon.com/Brokeback-Mountain-Charles-Wuorinen/dp/B00QMTDBI6/ref=sr_1_1?ie=UTF8&qid=1431516624&sr=8-1&keywords=brokeback mountain opera|Brokeback Mountain]'' crossed my desk recently. The opera, which had its world premiere at Madrid's [http://www.teatro-real.com/en|Teatro Real] in 2014, features music by American composer [http://www.charleswuorinen.com/|Charles Wourinen], who approached author [http://www.theparisreview.org/interviews/5901/the-art-of-fiction-no-199-annie-proulx|Annie Proulx] to write the libretto. The opera closely follows the narrative, dialogue and details from the [http://www.imdb.com/title/tt0388795/|2005 Ang Lee film] and from Proulx's original 1997 ''New Yorker'' [http://www.newyorker.com/magazine/1997/10/13/brokeback-mountain|short story] on which the Oscar-winning film is based.
The idea may sound unlikely at first, but the story is actually perfectly suited for opera: all that frustrated longing, the idyll of the first summer on Brokeback Mountain, the many meetings and partings across the years, a couple kept apart by insurmountable social forces, all of it ended by a sudden, tragic death, and heartbreaking regret. Unfortunately Wourinen's complex, melody-free modernism keeps the emphasis on themes of isolation and the harsh social realities separating Jack and Ennis (One wonders what a composer like Puccini might have done with the same material). A viewer encountering the story of ''Brokeback'' for the first time in the opera might reasonably assume that the place Brokeback Mountain is haunted rather than idyllic, so ominous and foreboding are the discordant tonal progressions and kettle drum rumbling that accompany the early action of Act I. Strangely, it's a musical mood that pretty much stays throughout the work, whether we're watching scenes of Alma, Ennis' fiancée, picking out a wedding dress or Jack and Ennis buying whiskey at a bar. Something lyric along the way might have been fitting, but in the end you're unlikely to turn off the DVD whistling any of the tunes unless you want to creep someone out.
If you're not an opera fan already, ''Brokeback'' is definitely not the work that will turn you into a convert. Still, the Teatro Real production does feature starkly beautiful sets, lighting and projections from stage director Ivo Van Hove, and the DVD might make an interesting addition to the collection of completists or hardcore fans of the 2005 film: Proulx's narrative does include a bit more backstory for Alma and Lurleen, Ennis and Jack's wives, than either the film or short story.
:: ***::
Fans of modern opera in Atlanta are actually in luck in the coming weeks. On Sat., May 16, the Royal Opera House of London will stream the full performance of ''Król Roger'' on its [http://www.roh.org.uk/productions/krol-roger-by-kasper-holten|website], on [https://www.youtube.com/user/RoyalOperaHouse|YouTube], and on the [http://www.theoperaplatform.eu/en/opera/szymanowski-krol-roger|Opera Europa Digital Platform], a new website that showcases live streams and a range of other footage from 15 opera houses across Europe.
[http://www.atlantaopera.org/|The Atlanta Opera] is currently preparing its production of Jake Heggie's ''Three Decembers'' which will have its regional premiere at the Alliance Theatre beginning May 29, and not far away in Charleston, [https://spoletousa.org/|Spoleto Festival USA] is readying the world premiere of Huang Ruo and Jennifer Wen Ma’s ''[https://spoletousa.org/events/paradise-interrupted/|Paradise Interrupted]'' which opens May 22.
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string(3416) " atlanta opera spoleto festival usa three decembers teatro real charles wourinen brokeback mountain annie proulx Jack Nasty sings 2015-05-13T14:30:00+00:00 Critic's Notebook: 'Brokeback Mountain,' the opera Andrew Alexander 2015-05-13T14:30:00+00:00 embed-1
I was super-curious when a DVD copy of the opera Brokeback Mountain crossed my desk recently. The opera, which had its world premiere at Madrid's Teatro Real in 2014, features music by American composer Charles Wourinen, who approached author Annie Proulx to write the libretto. The opera closely follows the narrative, dialogue and details from the 2005 Ang Lee film and from Proulx's original 1997 New Yorker short story on which the Oscar-winning film is based.
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If you're not an opera fan already, Brokeback is definitely not the work that will turn you into a convert. Still, the Teatro Real production does feature starkly beautiful sets, lighting and projections from stage director Ivo Van Hove, and the DVD might make an interesting addition to the collection of completists or hardcore fans of the 2005 film: Proulx's narrative does include a bit more backstory for Alma and Lurleen, Ennis and Jack's wives, than either the film or short story.
***
Fans of modern opera in Atlanta are actually in luck in the coming weeks. On Sat., May 16, the Royal Opera House of London will stream the full performance of Król Roger on its website, on YouTube, and on the Opera Europa Digital Platform, a new website that showcases live streams and a range of other footage from 15 opera houses across Europe.
The Atlanta Opera is currently preparing its production of Jake Heggie's Three Decembers which will have its regional premiere at the Alliance Theatre beginning May 29, and not far away in Charleston, Spoleto Festival USA is readying the world premiere of Huang Ruo and Jennifer Wen Ma’s Paradise Interrupted which opens May 22.
"Three Decembers" "Teatro Real" "Spoleto Festival USA" "Charles Wourinen" "Brokeback Mountain" "Atlanta Opera" "Annie Proulx" 14269315 13083033 Critic's Notebook: 'Brokeback Mountain,' the opera "
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Critic's Notebook: 'Brokeback Mountain,' the opera Article
Wednesday May 13, 2015 10:30 AM EDT
Jack Nasty sings
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string(3013) "Inspiring collaboration and creativity, Huge Atlanta has commissioned both its team members and outside artists to contribute a mural to the new giant dry-erase wall in its new office space. The full-service digital agency recently moved one floor up in its building on Peachtree Street as Huge's Art Director James Mabery and Product Designer Michael Zhong were looking for a way to collaborate together on a large scale.
"We waited forever to move upstairs and within two to three weeks, we put the mural on the wall," Mabery says. "Even before we started with this initiative, I was a huge fan of Michael's illustration work, so I've always wanted to collaborate with him. Initially, we had a wider range of ideas of what we wanted to do, but it came down to something Atlanta-related. Either doing something illustrated or little neighborhoods within Atlanta, like Little Five [Points] to Buckhead and Midtown. We landed on the Huge logo, the big letters, as a base for us to build around."
Their first collaborative mural was turned into a stop-motion video and shared with the office. Quickly after, Mabery and Zhong saw this as an opportunity to capitalize on their team's creativity and, later, contribute to the Atlanta arts community.
"Originally, it was really small scale as we just wanted to make some artwork together," Mabery says. "As we did that, people started to show interest within the office and that's when they decided to erase it. I thought, why don't we take this down every two to three weeks and allow other people in the office to do their own stuff on the wall and express themselves?"
It quickly grew into an office movement. Past murals have included developers drawing code and content strategists weaving a visual story around the company's logo.
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"It's a great way for people to get to know Huge and we wanted to be more open with the community of Atlanta," Mabery says. "It's almost like a meet and greet."
The latest collaboration to go up was by Ismail Ahmad, a motion media major at Savannah College of Art and Design. His design included skull and heart elements particular to his cartoon-like style surrounding the Huge logo. Up next, the mural will see Huge visual designer Lindsay Appel take over the mural for a food-themed illustration. As far as dream collaborations, the team hopes to bring a graffiti artist on board, as well as more Georgia Tech industrial design students.
"It gives the contributor the confidence as a designer or illustrator, since every time you work on something that large, it forces you to think differently," Zhong says. "The second thing is that it gives them a platform to show off their artwork.""
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string(3111) "Inspiring collaboration and creativity, [http://www.hugeinc.com|Huge Atlanta] has commissioned both its team members and outside artists to contribute a mural to the new giant dry-erase wall in its new office space. The full-service digital agency recently moved one floor up in its building on Peachtree Street as Huge's Art Director James Mabery and Product Designer Michael Zhong were looking for a way to collaborate together on a large scale.
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Their first collaborative mural was turned into a [https://www.dropbox.com/s/4eardzve5dyynf5/timelapse_whiplash.mov?dl=0|stop-motion video] and shared with the office. Quickly after, Mabery and Zhong saw this as an opportunity to capitalize on their team's creativity and, later, contribute to the Atlanta arts community.
"Originally, it was really small scale as we just wanted to make some artwork together," Mabery says. "As we did that, people started to show interest within the office and that's when they decided to erase it. I thought, why don't we take this down every two to three weeks and allow other people in the office to do their own stuff on the wall and express themselves?"
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"It's a great way for people to get to know Huge and we wanted to be more open with the community of Atlanta," Mabery says. "It's almost like a meet and greet."
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"It gives the contributor the confidence as a designer or illustrator, since every time you work on something that large, it forces you to think differently," Zhong says. "The second thing is that it gives them a platform to show off their artwork.""
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string(3351) " Digital agency turns wall into a visual arts canvas for staff and locals 2015-05-07T08:00:00+00:00 Huge ATL offers mural opportunities through its office space ben.eason Ben Eason Muriel Vega 2015-05-07T08:00:00+00:00 Inspiring collaboration and creativity, Huge Atlanta has commissioned both its team members and outside artists to contribute a mural to the new giant dry-erase wall in its new office space. The full-service digital agency recently moved one floor up in its building on Peachtree Street as Huge's Art Director James Mabery and Product Designer Michael Zhong were looking for a way to collaborate together on a large scale.
"We waited forever to move upstairs and within two to three weeks, we put the mural on the wall," Mabery says. "Even before we started with this initiative, I was a huge fan of Michael's illustration work, so I've always wanted to collaborate with him. Initially, we had a wider range of ideas of what we wanted to do, but it came down to something Atlanta-related. Either doing something illustrated or little neighborhoods within Atlanta, like Little Five [Points] to Buckhead and Midtown. We landed on the Huge logo, the big letters, as a base for us to build around."
Their first collaborative mural was turned into a stop-motion video and shared with the office. Quickly after, Mabery and Zhong saw this as an opportunity to capitalize on their team's creativity and, later, contribute to the Atlanta arts community.
"Originally, it was really small scale as we just wanted to make some artwork together," Mabery says. "As we did that, people started to show interest within the office and that's when they decided to erase it. I thought, why don't we take this down every two to three weeks and allow other people in the office to do their own stuff on the wall and express themselves?"
It quickly grew into an office movement. Past murals have included developers drawing code and content strategists weaving a visual story around the company's logo.
With only one static element, the Huge logo, artists and employees alike get to create a mural around it using only dry-erase markers for visitors to enjoy over three weeks. There's no formal submission method as the team chooses who's next based on who shows interest or anything that catches their eye on Instagram.
"It's a great way for people to get to know Huge and we wanted to be more open with the community of Atlanta," Mabery says. "It's almost like a meet and greet."
The latest collaboration to go up was by Ismail Ahmad, a motion media major at Savannah College of Art and Design. His design included skull and heart elements particular to his cartoon-like style surrounding the Huge logo. Up next, the mural will see Huge visual designer Lindsay Appel take over the mural for a food-themed illustration. As far as dream collaborations, the team hopes to bring a graffiti artist on board, as well as more Georgia Tech industrial design students.
"It gives the contributor the confidence as a designer or illustrator, since every time you work on something that large, it forces you to think differently," Zhong says. "The second thing is that it gives them a platform to show off their artwork." 14188202 13082931 Huge ATL offers mural opportunities through its office space "
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Huge ATL offers mural opportunities through its office space Article
Thursday May 7, 2015 04:00 AM EDT
Digital agency turns wall into a visual arts canvas for staff and locals
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string(1709) " goat farm arts center gloatl lauri stallings central park glo creative time art in central park Atlantans can catch an early glimpse of Creative Time commission 2015-05-06T13:39:00+00:00 Critic's Notebook: gloATL to preview Central Park performance at the Goat Farm tonight Andrew Alexander 2015-05-06T13:39:00+00:00 embed-2It's a bit of a bummer that dance company gloATL won't be around this May or June to create one of the troupe's [http://clatl.com/freshloaf/archives/2011/07/25/review-gloatls-liquid-culture], but we're happy for the dancers and choreographer Lauri Stallings nonetheless as they head to New York to participate in a major commission from Creative Time. The performance will take place in Central Park's North Woods from May 15 to June 20 and is a part of Creative Time's ambitious [http://tmagazine.blogs.nytimes.com/2015/02/09/creative-time-art-in-central-park/?_r=0|[http://clatl.com/freshloaf/archives/2015/02/11/gloatls-lauri-stallings-receives-commission-for-creative-time-exhibition-in-nyc]], which will place US and international performing artists in various locations around the park.
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Wednesday May 6, 2015 09:39 AM EDT
Atlantans can catch an early glimpse of Creative Time commission
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string(4797) "Is love the basis of our humanity? It's a concept that humans have grappled with since the beginning of time, and one that will be brought to life in Old Fourth Ward on May 2, when celebrated artist Hebru Brantley brings his popular work "A Dedication" to life, using one of the most prominent outdoor canvases in Atlanta — a wall at the Sound Table.
Sponsored by Heineken and produced by AllWays Open (the collective behind Brantley's popular 2013 Atlanta show, Penny Candy, which drew more than 2,000 art enthusiasts to the Loews Hotel in Midtown), Brantley's mural, "A Dedication Two," is sure to foster a carnal response, as his work tends to do. The mural also comes just in time to mark the popular establishment's fifth anniversary.
"Hebru enjoys painting youthful characters and vibrant colors in his artwork, as well fantastical and positive imagery that encourages everyone to dream, make moves, unify and think, and we trust every viewer of this mural will take all of these mental benefits from it," says Dennis Malcolm Byron of AllWays Open, adding that the project is also supported by District 2 city councilman Kwanza Hall.
Using vibrant, fantastical images of children to catapult his sociopolitical messages by making them easily accessible, the message Brantley's imparting with this mural is all about the struggle to be loved — however that may be interpreted.
"With the location being in Old Fourth Ward and the rich historical context of that area, I wanted to create something that speaks to the idea of love," says Brantley, who graduated from Clark Atlanta University with a B.A. in film and sold his very first painting in 2002 to Atlanta's DJ Drama. "The idea can be interpreted as the love between a man and a woman or a relative, but it's really expressing the idea of love in relation to people of color, or the lack thereof in those neighborhoods."
Often propelled by his marquee creation, a character named "Flyboy," Brantley describes his work as pop-infused contemporary art, drawing direct influence from Japanese anime and the creations of street artists such as Jean-Michel Basquiat, who he discovered at 16 when his mother gave him a book of the artist's work. Deeming Basquiat a "rock star," Brantley's work is also visceral and engaging, invoking feelings of youthful optimism that's balanced with a thought-provoking narrative speaking to race, oppression, and opportunity.
Growing up in Chicago's Bronzeville neighborhood, Brantley was also influenced by murals from the Afro-Cobra movement, which popped up on the city's south side, and spent a lot of time in his youth finding trains and cars to tag with his work. But ultimately, it was his disappointment with the lack of black characters in popular culture that would propel his artistic inclinations and vision.
"There weren't any cool black comic characters," he remembers. "The characters that were there were created by white guys in a creative circle creating what they thought blacks were like. So I looked throughout history and gave the character a historical and cultural context."
With that in mind, Brantley's Flyboy is fashioned after the Tuskegee Airmen, a group of men he found both endlessly interesting and inspiring.
"The Tuskegee Airmen were fighters and they were given responsibility and power when black men weren't given much of anything. To me, that spoke volumes," he says. "So my interpretation of that is more youthful and whimsical. I don't necessarily even see my characters as kids — they mostly just represent this idea of innocence."
And therein lies the key to Brantley's brilliance. He's able to illustrate complex ideas in a way that resonates in their simplicity. The boldness of his works, the lucid colors, and the illustrative qualities that mingle with more daring concepts make Brantley's pieces relatable, regardless of cultural background, essentially inspiring viewers to tap into their inner kid.
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Sponsored by Heineken and produced by [https://www.facebook.com/AllwaysOpenCreative|AllWays Open] (the collective behind Brantley's popular 2013 Atlanta show, ''[http://clatl.com/freshloaf/archives/2013/06/07/hebru-brantley-brings-penny-candy-to-peachtree-st|Penny Candy]'', which drew more than 2,000 art enthusiasts to the Loews Hotel in Midtown), Brantley's mural, "A Dedication Two," is sure to foster a carnal response, as his work tends to do. The mural also comes just in time to mark the popular establishment's fifth anniversary.
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"Adults are jaded," Brantley contends. "When you're a kid you believe you can do anything; you're still at the point where things are obtainable. Until I was 14, I believed that if I concentrated hard enough, I could levitate. I think that with the style that I use, the kids become approachable, no matter what the tone or context of the piece. And after you're pulled in, you may be able to see what the deeper meaning is of the work."
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string(5062) " Chicago artist's mural at the Sound Table to coincide with venue's anniversary 2015-04-30T08:00:00+00:00 Hebru Brantley"s back in ATL Jacinta Howard 2015-04-30T08:00:00+00:00 Is love the basis of our humanity? It's a concept that humans have grappled with since the beginning of time, and one that will be brought to life in Old Fourth Ward on May 2, when celebrated artist Hebru Brantley brings his popular work "A Dedication" to life, using one of the most prominent outdoor canvases in Atlanta — a wall at the Sound Table.
Sponsored by Heineken and produced by AllWays Open (the collective behind Brantley's popular 2013 Atlanta show, Penny Candy, which drew more than 2,000 art enthusiasts to the Loews Hotel in Midtown), Brantley's mural, "A Dedication Two," is sure to foster a carnal response, as his work tends to do. The mural also comes just in time to mark the popular establishment's fifth anniversary.
"Hebru enjoys painting youthful characters and vibrant colors in his artwork, as well fantastical and positive imagery that encourages everyone to dream, make moves, unify and think, and we trust every viewer of this mural will take all of these mental benefits from it," says Dennis Malcolm Byron of AllWays Open, adding that the project is also supported by District 2 city councilman Kwanza Hall.
Using vibrant, fantastical images of children to catapult his sociopolitical messages by making them easily accessible, the message Brantley's imparting with this mural is all about the struggle to be loved — however that may be interpreted.
"With the location being in Old Fourth Ward and the rich historical context of that area, I wanted to create something that speaks to the idea of love," says Brantley, who graduated from Clark Atlanta University with a B.A. in film and sold his very first painting in 2002 to Atlanta's DJ Drama. "The idea can be interpreted as the love between a man and a woman or a relative, but it's really expressing the idea of love in relation to people of color, or the lack thereof in those neighborhoods."
Often propelled by his marquee creation, a character named "Flyboy," Brantley describes his work as pop-infused contemporary art, drawing direct influence from Japanese anime and the creations of street artists such as Jean-Michel Basquiat, who he discovered at 16 when his mother gave him a book of the artist's work. Deeming Basquiat a "rock star," Brantley's work is also visceral and engaging, invoking feelings of youthful optimism that's balanced with a thought-provoking narrative speaking to race, oppression, and opportunity.
Growing up in Chicago's Bronzeville neighborhood, Brantley was also influenced by murals from the Afro-Cobra movement, which popped up on the city's south side, and spent a lot of time in his youth finding trains and cars to tag with his work. But ultimately, it was his disappointment with the lack of black characters in popular culture that would propel his artistic inclinations and vision.
"There weren't any cool black comic characters," he remembers. "The characters that were there were created by white guys in a creative circle creating what they thought blacks were like. So I looked throughout history and gave the character a historical and cultural context."
With that in mind, Brantley's Flyboy is fashioned after the Tuskegee Airmen, a group of men he found both endlessly interesting and inspiring.
"The Tuskegee Airmen were fighters and they were given responsibility and power when black men weren't given much of anything. To me, that spoke volumes," he says. "So my interpretation of that is more youthful and whimsical. I don't necessarily even see my characters as kids — they mostly just represent this idea of innocence."
And therein lies the key to Brantley's brilliance. He's able to illustrate complex ideas in a way that resonates in their simplicity. The boldness of his works, the lucid colors, and the illustrative qualities that mingle with more daring concepts make Brantley's pieces relatable, regardless of cultural background, essentially inspiring viewers to tap into their inner kid.
"Adults are jaded," Brantley contends. "When you're a kid you believe you can do anything; you're still at the point where things are obtainable. Until I was 14, I believed that if I concentrated hard enough, I could levitate. I think that with the style that I use, the kids become approachable, no matter what the tone or context of the piece. And after you're pulled in, you may be able to see what the deeper meaning is of the work."
To date, Brantley's work has been exhibited throughout the U.S. as well as in London and at Switzerland's Art Basel, and he's collaborated with brands including Nike and Adidas. His work also hangs in the home of megastars like Jay-Z.
"I deal with so many different themes and ideas throughout different shows and works," Brantley says. "Overall, it's me expressing what and who I am through the art." 14125613 13082851 Hebru Brantley"s back in ATL "
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Hebru Brantley"s back in ATL Article
Thursday April 30, 2015 04:00 AM EDT
Chicago artist's mural at the Sound Table to coincide with venue's anniversary
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5. Lucinda’s World, Part III: Weathered Chromes. May 21-June 20. Marcia Wood Gallery.
The renowned Atlanta-based photographer Lucinda Bunnen continues with part three of a cycle of four exhibitions, each one at a different venue. This edition takes place at Marcia Wood Gallery's new Midtown space.
image-3
4. Michael Rooks honored with Nexus Award. May 19. Atlanta Contemporary Art Center.
Rooks, whose tenure as curator of modern and contemporary art at the High Museum of Art since 2010 has been marked by an effort to connect the institution to Atlanta-based artists, is the recipient of the 2015 Nexus Award given by the Atlanta Contemporary Art Center to honor individuals, groups, or organizations that have made significant contributions to the city’s arts landscape.
image-4
3. Leila Josefowicz and John Adams. May 7-9. Symphony Hall.
Composer and conductor John Adams and violinist Leila Josefowicz bring their latest collaboration to the Atlanta Symphony Hall stage with Scheherazade.2, Symphony for Violin and Orchestra.
image-6
2. Ship of Fools. Niv Sheinfeld and Oren Laor. May 21-24. Goat Farm Arts Center.
The Israeli dancers present their 2011 work Ship of Fools.
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1. Atlanta Opera's Three Decembers. May 29-31. Alliance Theatre.
In the intimate venue of the Alliance Theatre, the Atlanta Opera presents contemporary composer Jake Heggie's chamber opera with text by Broadway playwright Terrence McNally about a glamorous actress and her family whom we see over the course of three Decembers, each a decade apart.
image-7
Photo Credits: Joeff Davis/CL File, Lambert Orkis, and Brett Croomer for Houston Grand Opera.
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__5. ''Lucinda’s World, Part III: Weathered Chromes. ''May 21-June 20. [http://marciawoodgallery.com/artist/bunnen/introA.html|Marcia Wood Gallery.]__
The renowned Atlanta-based photographer [http://clatl.com/atlanta/a-peek-inside-lucindas-world/Content?oid=12337178|Lucinda Bunnen] continues with part three of a cycle of four exhibitions, each one at a different venue. This edition takes place at Marcia Wood Gallery's [http://clatl.com/freshloaf/archives/2015/02/27/marcia-wood-gallery-to-open-midtown-location|new Midtown space].
[image-3]
__4. Michael Rooks honored with Nexus Award. May 19. [http://www.thecontemporary.org/nexus-award/|Atlanta Contemporary Art Center.]__
Rooks, whose tenure as curator of modern and contemporary art at the High Museum of Art since 2010 has been marked by [http://clatl.com/atlanta/the-highs-and-lows-of-curating-in-atlanta/Content?oid=12650649|an effort to connect the institution to Atlanta-based artists], is the [http://clatl.com/freshloaf/archives/2015/03/27/the-highs-michael-rooks-to-receive-the-nexus-award|recipient of the 2015 Nexus Award] given by the Atlanta Contemporary Art Center to honor individuals, groups, or organizations that have made significant contributions to the city’s arts landscape.
[image-4]
__3. Leila Josefowicz and John Adams. May 7-9. [https://www.atlantasymphony.org/ConcertsAndTickets/Calendar/2014-2015/Leila-Josefowicz-John-Adams.aspx|Symphony Hall.]__
Composer and conductor John Adams and violinist Leila Josefowicz bring their latest collaboration to the Atlanta Symphony Hall stage with ''[http://www.newyorker.com/magazine/2015/03/30/woman-of-the-world|Scheherazade.2,]'' Symphony for Violin and Orchestra.
[image-6]
__2. ''__Ship of Fools__. ''Niv Sheinfeld and Oren Laor. May 21-24. [http://tanzfarm.com/series/series-4/|Goat Farm Arts Center.]__
The Israeli dancers present their 2011 work ''Ship of Fools''.
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__1. Atlanta Opera's ''__Three Decembers__''. May 29-31. [http://www.atlantaopera.org/calendar/view.aspx?pid=62346290|Alliance Theatre.]__
In the intimate venue of the Alliance Theatre, the Atlanta Opera presents contemporary composer Jake Heggie's chamber opera with text by Broadway playwright Terrence McNally about a glamorous actress and her family whom we see over the course of three Decembers, each a decade apart.
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''Photo Credits: Joeff Davis/CL File, Lambert Orkis, and Brett Croomer for Houston Grand Opera.''
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string(2431) " marcia wood gallery nexus award atlanta opera michael rooks lucinda bunnen marcia wood tanz farm ship of fools three decembers Top Atlanta cultural events for the month of May 2015-04-29T14:58:00+00:00 Critic's Notebook: May's Top Five Andrew Alexander 2015-04-29T14:58:00+00:00 A monthly listing of critic Andrew Alexander’s picks for the top five arts events in Atlanta:
5. Lucinda’s World, Part III: Weathered Chromes. May 21-June 20. Marcia Wood Gallery.
The renowned Atlanta-based photographer Lucinda Bunnen continues with part three of a cycle of four exhibitions, each one at a different venue. This edition takes place at Marcia Wood Gallery's new Midtown space.
image-3
4. Michael Rooks honored with Nexus Award. May 19. Atlanta Contemporary Art Center.
Rooks, whose tenure as curator of modern and contemporary art at the High Museum of Art since 2010 has been marked by an effort to connect the institution to Atlanta-based artists, is the recipient of the 2015 Nexus Award given by the Atlanta Contemporary Art Center to honor individuals, groups, or organizations that have made significant contributions to the city’s arts landscape.
image-4
3. Leila Josefowicz and John Adams. May 7-9. Symphony Hall.
Composer and conductor John Adams and violinist Leila Josefowicz bring their latest collaboration to the Atlanta Symphony Hall stage with Scheherazade.2, Symphony for Violin and Orchestra.
image-6
2. Ship of Fools. Niv Sheinfeld and Oren Laor. May 21-24. Goat Farm Arts Center.
The Israeli dancers present their 2011 work Ship of Fools.
embed-1
1. Atlanta Opera's Three Decembers. May 29-31. Alliance Theatre.
In the intimate venue of the Alliance Theatre, the Atlanta Opera presents contemporary composer Jake Heggie's chamber opera with text by Broadway playwright Terrence McNally about a glamorous actress and her family whom we see over the course of three Decembers, each a decade apart.
image-7
Photo Credits: Joeff Davis/CL File, Lambert Orkis, and Brett Croomer for Houston Grand Opera.
"Three Decembers" "Tanz Farm" "Ship of Fools" "Nexus Award" "Michael Rooks" "marcia wood gallery" "Marcia Wood" "Lucinda Bunnen" "Atlanta Opera" 14143767 13082865 Critic's Notebook: May's Top Five "
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Critic's Notebook: May's Top Five Article
Wednesday April 29, 2015 10:58 AM EDT
Top Atlanta cultural events for the month of May
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string(1833) "Try to remain calm as we share the following announcement:
A troupe of acrobatic cats will perform in Little Five Points this weekend.
Breathe deep, read it again slowly and just let the sheer awesomeness sink in: A troupe of acrobatic cats will perform in Little Five Points this weekend.
The Amazing Acro-Cats are real house cats traveling the country performing feats of agility in a cat circus. The show arrives at Little Five Point's 7 Stages Theatre on April 23 and runs through May 1.
Show creator Samantha Martin (or, as she likes to refer to herself, "Chief Executive Human") is an animal trainer who wanted to challenge the notion that cats can't be trained. Martin uses positive reinforcement to train rescued house cats to perform tricks (the show includes a demonstration of her animal-friendly methods). The one-hour show features over a dozen cats, all former orphans, rescues and strays, walking tightropes, pushing carts, skateboarding, jumping through hoops, ringing bells, balancing on balls and turning on lights.
The show includes star performances by Alley, who was just awarded Guinness Book of World Records status for longest jump made by a cat, and Tuna, who is the leader of the cat band The Rock Cats which, according to the press release, features Oz on guitar, Dakota on drums, Nue on keyboards, Sookie on chimes, Tuna on cowbell and (seriously: sit down before you read this) Cluck Norris, a chicken on cymbal and tambourine.
A portion of ticket sales goes to support cat and kitten rescue efforts. Martin also uses the show as a platform to advocate for cat adoption from local shelters and other organizations: she takes adoptable cats on the road, making her Amazing Cat-Bus a mobile fostering unit. The show runs April 23-May 1 at 7 Stages Theatre in Little Five Points. Tickets are $20."
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A troupe of acrobatic cats will perform in Little Five Points this weekend.
Breathe deep, read it again slowly and just let the sheer awesomeness sink in: ''A troupe of acrobatic cats will perform in Little Five Points this weekend.''
[http://circuscats.com/|The Amazing Acro-Cats] are real house cats traveling the country performing feats of agility in a cat circus. The show arrives at Little Five Point's [http://www.7stages.org/|7 Stages Theatre] on April 23 and runs through May 1.
Show creator Samantha Martin (or, as she likes to refer to herself, "Chief Executive Human") is an animal trainer who wanted to challenge the notion that cats can't be trained. Martin uses positive reinforcement to train rescued house cats to perform tricks (the show includes a demonstration of her animal-friendly methods). The one-hour show features over a dozen cats, all former orphans, rescues and strays, walking tightropes, pushing carts, skateboarding, jumping through hoops, ringing bells, balancing on balls and turning on lights.
The show includes star performances by Alley, who was just awarded ''Guinness Book of World Records ''status for longest jump made by a cat, and Tuna, who is the leader of the cat band The Rock Cats which, according to the press release, features Oz on guitar, Dakota on drums, Nue on keyboards, Sookie on chimes, Tuna on cowbell and (seriously: sit down before you read this) Cluck Norris, a chicken on cymbal and tambourine.
A portion of ticket sales goes to support cat and kitten rescue efforts. Martin also uses the show as a platform to advocate for cat adoption from local shelters and other organizations: she takes adoptable cats on the road, making her Amazing Cat-Bus a mobile fostering unit. The show runs April 23-May 1 at 7 Stages Theatre in Little Five Points. [http://www.7stages.org/events/acro-cats/|Tickets] are $20."
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string(2282) " little five points 7 stages the amazing acro-cats Troupe of trained, rescued house cats to perform at 7 Stages 2015-04-22T14:56:00+00:00 Critic's Notebook: The Amazing Acro-cats bring feats of kitty agility to L5P Andrew Alexander 2015-04-22T14:56:00+00:00 Try to remain calm as we share the following announcement:
A troupe of acrobatic cats will perform in Little Five Points this weekend.
Breathe deep, read it again slowly and just let the sheer awesomeness sink in: A troupe of acrobatic cats will perform in Little Five Points this weekend.
The Amazing Acro-Cats are real house cats traveling the country performing feats of agility in a cat circus. The show arrives at Little Five Point's 7 Stages Theatre on April 23 and runs through May 1.
Show creator Samantha Martin (or, as she likes to refer to herself, "Chief Executive Human") is an animal trainer who wanted to challenge the notion that cats can't be trained. Martin uses positive reinforcement to train rescued house cats to perform tricks (the show includes a demonstration of her animal-friendly methods). The one-hour show features over a dozen cats, all former orphans, rescues and strays, walking tightropes, pushing carts, skateboarding, jumping through hoops, ringing bells, balancing on balls and turning on lights.
The show includes star performances by Alley, who was just awarded Guinness Book of World Records status for longest jump made by a cat, and Tuna, who is the leader of the cat band The Rock Cats which, according to the press release, features Oz on guitar, Dakota on drums, Nue on keyboards, Sookie on chimes, Tuna on cowbell and (seriously: sit down before you read this) Cluck Norris, a chicken on cymbal and tambourine.
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Critic's Notebook: The Amazing Acro-cats bring feats of kitty agility to L5P Article
Wednesday April 22, 2015 10:56 AM EDT
Troupe of trained, rescued house cats to perform at 7 Stages
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string(3539) "In collaboration with choreographer T. Lang and Flux Projects, artist Nick Cave is bringing a two-part performance with dancers, actors, and musicians to the not-yet-opened central food hall at Ponce City Market.
Cave is the professor and chairman of the fashion department at the School of the Art Institute of Chicago, best known for his multidisciplinary work that often includes sculpture, video, and performance — sometimes all at once. His public collections live at several major museums across the country, including the Museum of Modern Art in New York. He'll incorporate his famous SoundSuits, sculptural forms that are based on the scale of his body.
Cave spoke to Creative Loafing about working with Flux Projects at Ponce City Market, giving back through his performance, and Atlanta's own urban renewal.
How was it working with this concept at such a new space as Ponce City Market?
The piece is about the "Initiates," self-preservation, and being reborn into a new world, as well as looking at how we can come in and provide an admission to a better existence. We've been to Atlanta about four times, scouting spaces, and we decided on Ponce City Market. We were really interested in that location. We have yet to see the set for the performance piece, but that's been designed. We are interested in what that feels like, looks like, and how it all comes together.
How about the SoundSuit-costumes worn by the [performers]? How did that come together?
When [we] are working with a body of sculptures, we have to take into account a different way of building the suits. We have to take into account the wear and tear and what kind of materials can handle the level of stress. And weight comes into play.
The costumes are still in line with my past work. In here, we'll be working with a lot of found objects, synthetic hair, raffia, and that's about it. I'm collaborating with T. Lang, who works at the Spelman College dance department, and she will be choreographing the opening piece for the performance. The second part is a new piece that I've developed.
[The performance includes] seven individuals from the community [whom] we will be undressing and redressing. They will be literally building this sort of apparatus/attire sort of sculpture, so as the viewer you will be seeing this process as it occurs. Then the individuals will rise and walk into the world. It's preparing the mind, body, and spirit to face the forces that get in the way of selfhood. It's really about this sort of rite of passage to a degree.
Tell me about collaborating with T. Lang and selecting the dancers.
We were in Atlanta and looking around to see who we wanted to collaborate with. We started scouting for dancers and musicians. We visited Spelman since we wanted to connect with an academic sort of setting. Up Right is about what has prepared me for who I am today, individuals who have come into my life, brought attention to my abilities and ... conditioned me and handed me to the next person. I've always been in training, and this is my way of giving back to those individuals who need a jump-start and make them feel like they matter.
This concept seems to relate back to Atlanta being reborn, both in the last few years and since the burning [of the] city, right?
I think so. I think it's about a renewal, and in order for Atlanta to rebuild itself the people need to be renewed. It's about regurgitation, looking at the past yet looking at what's present, and how do we look at the future."
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Cave is the professor and chairman of the fashion department at the School of the Art Institute of Chicago, best known for his multidisciplinary work that often includes sculpture, video, and performance — sometimes all at once. His public collections live at several major museums across the country, including the Museum of Modern Art in New York. He'll incorporate his famous SoundSuits, sculptural forms that are based on the scale of his body.
Cave spoke to ''Creative Loafing'' about working with Flux Projects at Ponce City Market, giving back through his performance, and Atlanta's own urban renewal.
__How was it working with this concept at such a new space as Ponce City Market?__
The piece is about the "Initiates," self-preservation, and being reborn into a new world, as well as looking at how we can come in and provide an admission to a better existence. We've been to Atlanta about four times, scouting spaces, and we decided on Ponce City Market. We were really interested in that location. We have yet to see the set for the performance piece, but that's been designed. We are interested in what that feels like, looks like, and how it all comes together.
__How about the SoundSuit-costumes worn by the [[performers]? How did that come together?__
When [[we] are working with a body of sculptures, we have to take into account a different way of building the suits. We have to take into account the wear and tear [and] what kind of materials can handle the level of stress. And weight comes into play.
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[[The performance includes] seven individuals from the community [[whom] we will be undressing and redressing. They will be literally building this sort of apparatus/attire sort of sculpture, so as the viewer you will be seeing this process as it occurs. Then the individuals will rise and walk into the world. It's preparing the mind, body, and spirit to face the forces that get in the way of selfhood. It's really about this sort of rite of passage to a degree.
__Tell me about collaborating with T. Lang and selecting the dancers.__
We were in Atlanta and looking around to see who we wanted to collaborate with. We started scouting for dancers and musicians. We visited Spelman since we wanted to connect with an academic sort of setting. ''[http://www.fluxprojects.org/upright|Up Right]'' is about what has prepared me for who I am today, individuals who have come into my life, brought attention to my abilities and ... conditioned me and handed me to the next person. I've always been in training, and this is my way of giving back to those individuals who need a jump-start and make them feel like they matter.
__This concept seems to relate back to Atlanta being reborn, both in the last few years and since the burning [[of the] city, right?__
I think so. I think it's about a renewal, and in order for Atlanta to rebuild itself the people need to be renewed. It's about regurgitation, looking at the past yet looking at what's present, and how do we look at the future."
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string(3884) " Artist Nick Cave, choreographer T. Lang, and Flux Projects collaborate in the Old Fourth Ward space 2015-04-21T08:00:00+00:00 "Up Right: Atlanta" makes art of Ponce City Market ben.eason Ben Eason Muriel Vega 2015-04-21T08:00:00+00:00 In collaboration with choreographer T. Lang and Flux Projects, artist Nick Cave is bringing a two-part performance with dancers, actors, and musicians to the not-yet-opened central food hall at Ponce City Market.
Cave is the professor and chairman of the fashion department at the School of the Art Institute of Chicago, best known for his multidisciplinary work that often includes sculpture, video, and performance — sometimes all at once. His public collections live at several major museums across the country, including the Museum of Modern Art in New York. He'll incorporate his famous SoundSuits, sculptural forms that are based on the scale of his body.
Cave spoke to Creative Loafing about working with Flux Projects at Ponce City Market, giving back through his performance, and Atlanta's own urban renewal.
How was it working with this concept at such a new space as Ponce City Market?
The piece is about the "Initiates," self-preservation, and being reborn into a new world, as well as looking at how we can come in and provide an admission to a better existence. We've been to Atlanta about four times, scouting spaces, and we decided on Ponce City Market. We were really interested in that location. We have yet to see the set for the performance piece, but that's been designed. We are interested in what that feels like, looks like, and how it all comes together.
How about the SoundSuit-costumes worn by the [performers]? How did that come together?
When [we] are working with a body of sculptures, we have to take into account a different way of building the suits. We have to take into account the wear and tear and what kind of materials can handle the level of stress. And weight comes into play.
The costumes are still in line with my past work. In here, we'll be working with a lot of found objects, synthetic hair, raffia, and that's about it. I'm collaborating with T. Lang, who works at the Spelman College dance department, and she will be choreographing the opening piece for the performance. The second part is a new piece that I've developed.
[The performance includes] seven individuals from the community [whom] we will be undressing and redressing. They will be literally building this sort of apparatus/attire sort of sculpture, so as the viewer you will be seeing this process as it occurs. Then the individuals will rise and walk into the world. It's preparing the mind, body, and spirit to face the forces that get in the way of selfhood. It's really about this sort of rite of passage to a degree.
Tell me about collaborating with T. Lang and selecting the dancers.
We were in Atlanta and looking around to see who we wanted to collaborate with. We started scouting for dancers and musicians. We visited Spelman since we wanted to connect with an academic sort of setting. Up Right is about what has prepared me for who I am today, individuals who have come into my life, brought attention to my abilities and ... conditioned me and handed me to the next person. I've always been in training, and this is my way of giving back to those individuals who need a jump-start and make them feel like they matter.
This concept seems to relate back to Atlanta being reborn, both in the last few years and since the burning [of the] city, right?
I think so. I think it's about a renewal, and in order for Atlanta to rebuild itself the people need to be renewed. It's about regurgitation, looking at the past yet looking at what's present, and how do we look at the future. 14065543 13082764 "Up Right: Atlanta" makes art of Ponce City Market "
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"Up Right: Atlanta" makes art of Ponce City Market Article
Tuesday April 21, 2015 04:00 AM EDT
Artist Nick Cave, choreographer T. Lang, and Flux Projects collaborate in the Old Fourth Ward space
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string(6407) "Fahamu Pecou and José Parlá had never met before collaborating for the High Museum of Art's current Wifredo Lam retrospective, Imagining New Worlds. But it didn't take long for them to find common ground — and discover they had common friends in the art world. "It felt like we'd known each other forever," Pecou says. While Atlanta-based Pecou has used self-portraiture to explore the fractured state of black male identity, Brooklyn-based Parlá focuses on the cultural upheaval of urban landscapes through his sculptural paintings. In conversation, they talked about their individual and collective response to the legacy of Lam, a Cuban-born, multiracial artist whose career spanned cultures while encompassing the breadth of the 20th century's artistic sweep — from realism to surrealism on down to postmodernism.
Wifredo Lam was heavily influenced by political goings-on in the world around him. How do you all see your work as a direct reflection of the current times?
José Parlá: Fahamu and I are probably in a position as young men that is probably incomparable to the struggles that people were having in the '40s, '50s, and '60s. There are still struggles, but the landscape is so different. That being said, in my work the kind of struggle that I project onto the paintings deals with a certain political state of mind that comes from the position of class, and I see some correlation to that in Lam's work, and also in Fahamu's work, dealing with class but also with race.
Fahamu Pecou: And my particular work is an ongoing look at the politics of identity. Thinking about notions of blackness, what it means to be black, and black masculinity — all of these different kinds of intersections around identity are really what I'm thinking about. Lam's work, as well, was also dealing with ideas around identity and blackness.
How did considering the evolution of Lam's work challenge you both to think about your own artistic growth or ways to expand upon your own palette?
FP: One of the things that really resonated in Lam's work is the way he syncretizes different movements. You see all of these different elements come together in his work and I really appreciate that. It's kind of like sampling. He's taking these different pieces and putting them together to create these new compositions and these new perspectives. This is, again, kind of the way that I began to approach my work. One of the things that I've been thinking about for a long time but haven't quite figured out how to bring into my work is my own relationship with Yoruba spirituality. I've kind of been masking it in some of my work in the past, but this exhibition allowed me to be a little bit more forthcoming with it and to deal with some of the notions of Orisha in Yoruba cosmology more directly. So that was really kind of liberating in a lot of ways. It gave me an ability to talk about that and to talk about how it connects to larger issues around blackness and how it has parallels to hip-hop and Negritude.
JP: When I started thinking about this project, I was working on a project called Segmented Realities at the same time and it made me think of how surrealism comes from the idea of heightened reality and dreams. I've always been interested in looking at cities in a way where I study the cities by studying the surfaces of walls. So I decided to do 10 sculptures that reflect different places that I've traveled to or lived in and documented. Each of these sculptural paintings that are presented as walls in the exhibition reflect a kind of heightened reality of a place. It is a work made-up to feel like a document from memory and it is built to look like a realistic wall. But the idea is always present that it's not real, that it is a piece of art, that it allows the imagination to conjure up this world. That was the connection that I found with Imagining New Worlds and the project with looking at Wifredo Lam, not only as a painter that I admire but also as someone who lived a migratory life.
A big thread in Lam's life and career was the influence of his peers. You see his work evolve as he comes into contact with other artists and schools of thought. How do you all think this collaboration might influence you individually, and what do you foresee yourselves taking away from this as a result of having worked together?
FP: On a professional level, being able to work with José has given me insight into some potential as far as being a practicing artist. Some of the accomplishments José has had are really amazing. I joke around with him [that] going to his studio in New York felt like when Martin [Lawrence said he] went to Eddie Murphy's house for the first time. [Martin] walked in and just turned into a little girl, like, "Wow, this is real nice, Eddie." Being able to see someone who is my contemporary, and to see what commitment and diligence to one's craft can yield has been really inspiring for me. I think this is the first major museum exhibition for both of us, and to be able to share that experience has been nothing short of amazing.
JP: Thank you, Fahamu. I look up to you, man. And I think everything that you're doing and everything that you've achieved on your own, too, is tremendous. Collaborating in the museum was also a really great way to understand each other and also to sort of put together some ideas that weren't just planned as we expected. We were able to communicate and figure out how to move things forward, and you always take away something from that. That kind of experience always resonates in future projects because you know you've been there before and you learn how to do new things.
FP: As you can hear, the bromance is real. But I also have a great deal of respect for Jose's entire aesthetic. I've learned a lot about his particular form of painting and the way he approaches the canvas or a wall or a surface. I think it was a mutual exchange in terms of just process, especially working together on the collaborative altar space. As he was saying we had a rough idea of what we wanted to do, but it would have been very difficult for us to articulate that prior to going into the room and putting paint on the wall. It really evolved. And I think there was also a lot of unspoken communication between the two of us. It just built from there.
This interview has been edited and condensed."
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string(6857) "[http://www.fahamupecouart.com/|Fahamu Pecou] and [http://www.joseparla.com/|José Parlá] had never met before collaborating for the High Museum of Art's current [http://www.wifredolam.net/en|Wifredo Lam] retrospective, ''[http://www.high.org/Art/Exhibitions/Imagining-New-Worlds.aspx|Imagining New Worlds]''. But it didn't take long for them to find common ground — and discover they had common friends in the art world. "It felt like we'd known each other forever," Pecou says. While Atlanta-based Pecou has used self-portraiture to explore the fractured state of black male identity, Brooklyn-based Parlá focuses on the cultural upheaval of urban landscapes through his sculptural paintings. In conversation, they talked about their individual and collective response to the legacy of Lam, a Cuban-born, multiracial artist whose career spanned cultures while encompassing the breadth of the 20th century's artistic sweep — from realism to surrealism on down to postmodernism.
__Wifredo Lam was heavily influenced by political goings-on in the world around him. How do you all see your work as a direct reflection of the current times?__
__José Parlá:__ Fahamu and I are probably in a position as young men that is probably incomparable to the struggles that people were having in the '40s, '50s, and '60s. There are still struggles, but the landscape is so different. That being said, in my work the kind of struggle that I project onto the paintings deals with a certain political state of mind that comes from the position of class, and I see some correlation to that in Lam's work, and also in Fahamu's work, dealing with class but also with race.
__Fahamu Pecou:__ And my particular work is an ongoing look at the politics of identity. Thinking about notions of blackness, what it means to be black, and black masculinity — all of these different kinds of intersections around identity are really what I'm thinking about. Lam's work, as well, was also dealing with ideas around identity and blackness.
__How did considering the evolution of Lam's work challenge you both to think about your own artistic growth or ways to expand upon your own palette?__
__FP:__ One of the things that really resonated in Lam's work is the way he syncretizes different movements. You see all of these different elements come together in his work and I really appreciate that. It's kind of like sampling. He's taking these different pieces and putting them together to create these new compositions and these new perspectives. This is, again, kind of the way that I began to approach my work. One of the things that I've been thinking about for a long time but haven't quite figured out how to bring into my work is my own relationship with Yoruba spirituality. I've kind of been masking it in some of my work in the past, but this exhibition allowed me to be a little bit more forthcoming with it and [http://clatl.com/freshloaf/archives/2015/04/01/fahamu-pecou-on-embracing-yoruba-in-the-messenger|to deal with some of the notions of Orisha in Yoruba cosmology] more directly. So that was really kind of liberating in a lot of ways. It gave me an ability to talk about that and to talk about how it connects to larger issues around blackness [and] how it has parallels to hip-hop and [http://www.poets.org/poetsorg/text/brief-guide-negritude|Negritude].
__JP:__ When I started thinking about this project, I was working on a project called ''[https://www.high.org/Art/Exhibitions/Jose-Parla-Segmented-Realities.aspx|Segmented Realities]'' at the same time and it made me think of how surrealism comes from the idea of heightened reality and dreams. I've always been interested in looking at cities in a way where I study the cities by studying the surfaces of walls. So I decided to do 10 sculptures that reflect different places that I've traveled to or lived in and documented. Each of these sculptural paintings that are presented as walls in the exhibition reflect a kind of heightened reality of a place. It is a work made-up to feel like a document from memory and it is built to look like a realistic wall. But the idea is always present that it's not real, that it is a piece of art, that it allows the imagination to conjure up this world. That was the connection that I found with ''Imagining New Worlds'' and the project with looking at Wifredo Lam, not only as a painter that I admire but also as someone who lived a migratory life.
__A big thread in Lam's life and career was the influence of his peers. You see his work evolve as he comes into contact with other artists and schools of thought. How do you all think this collaboration might influence you individually, and what do you foresee yourselves taking away from this as a result of having worked together?__
__FP:__ On a professional level, being able to work with José has given me insight into some potential as far as being a practicing artist. Some of the accomplishments José has had are really amazing. I joke around with him [[that] going to his studio in New York felt like when Martin [[Lawrence said he] went to Eddie Murphy's house for the first time. [[Martin] walked in and just turned into a little girl, like, "Wow, this is real nice, Eddie." Being able to see someone who is my contemporary, and to see what commitment and diligence to one's craft can yield has been really inspiring for me. I think this is the first major museum exhibition for both of us, and to be able to share that experience has been nothing short of amazing.
__JP:__ Thank you, Fahamu. I look up to you, man. And I think everything that you're doing and everything that you've achieved on your own, too, is tremendous. Collaborating in the museum was also a really great way to understand each other and also to sort of put together some ideas that weren't just planned as we expected. We were able to communicate and figure out how to move things forward, and you always take away something from that. That kind of experience always resonates in future projects because you know you've been there before and you learn how to do new things.
__FP:__ As you can hear, the bromance is real. But I also have a great deal of respect for Jose's entire aesthetic. I've learned a lot about his particular form of painting and the way he approaches the canvas or a wall or a surface. I think it was a mutual exchange in terms of just process, especially working together on the collaborative altar space. As he was saying we had a rough idea of what we wanted to do, but it would have been very difficult for us to articulate that prior to going into the room and putting paint on the wall. It really evolved. And I think there was also a lot of unspoken communication between the two of us. It just built from there.
''This interview has been edited and condensed.''"
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string(6732) " Two painters reflect on Wifredo Lam's influence in 'Imagining New Worlds' 2015-04-16T08:00:00+00:00 Fahamu Pecou and Jose Parla in a parallel universe ben.eason Ben Eason Rodney Carmichael 2015-04-16T08:00:00+00:00 Fahamu Pecou and José Parlá had never met before collaborating for the High Museum of Art's current Wifredo Lam retrospective, Imagining New Worlds. But it didn't take long for them to find common ground — and discover they had common friends in the art world. "It felt like we'd known each other forever," Pecou says. While Atlanta-based Pecou has used self-portraiture to explore the fractured state of black male identity, Brooklyn-based Parlá focuses on the cultural upheaval of urban landscapes through his sculptural paintings. In conversation, they talked about their individual and collective response to the legacy of Lam, a Cuban-born, multiracial artist whose career spanned cultures while encompassing the breadth of the 20th century's artistic sweep — from realism to surrealism on down to postmodernism.
Wifredo Lam was heavily influenced by political goings-on in the world around him. How do you all see your work as a direct reflection of the current times?
José Parlá: Fahamu and I are probably in a position as young men that is probably incomparable to the struggles that people were having in the '40s, '50s, and '60s. There are still struggles, but the landscape is so different. That being said, in my work the kind of struggle that I project onto the paintings deals with a certain political state of mind that comes from the position of class, and I see some correlation to that in Lam's work, and also in Fahamu's work, dealing with class but also with race.
Fahamu Pecou: And my particular work is an ongoing look at the politics of identity. Thinking about notions of blackness, what it means to be black, and black masculinity — all of these different kinds of intersections around identity are really what I'm thinking about. Lam's work, as well, was also dealing with ideas around identity and blackness.
How did considering the evolution of Lam's work challenge you both to think about your own artistic growth or ways to expand upon your own palette?
FP: One of the things that really resonated in Lam's work is the way he syncretizes different movements. You see all of these different elements come together in his work and I really appreciate that. It's kind of like sampling. He's taking these different pieces and putting them together to create these new compositions and these new perspectives. This is, again, kind of the way that I began to approach my work. One of the things that I've been thinking about for a long time but haven't quite figured out how to bring into my work is my own relationship with Yoruba spirituality. I've kind of been masking it in some of my work in the past, but this exhibition allowed me to be a little bit more forthcoming with it and to deal with some of the notions of Orisha in Yoruba cosmology more directly. So that was really kind of liberating in a lot of ways. It gave me an ability to talk about that and to talk about how it connects to larger issues around blackness and how it has parallels to hip-hop and Negritude.
JP: When I started thinking about this project, I was working on a project called Segmented Realities at the same time and it made me think of how surrealism comes from the idea of heightened reality and dreams. I've always been interested in looking at cities in a way where I study the cities by studying the surfaces of walls. So I decided to do 10 sculptures that reflect different places that I've traveled to or lived in and documented. Each of these sculptural paintings that are presented as walls in the exhibition reflect a kind of heightened reality of a place. It is a work made-up to feel like a document from memory and it is built to look like a realistic wall. But the idea is always present that it's not real, that it is a piece of art, that it allows the imagination to conjure up this world. That was the connection that I found with Imagining New Worlds and the project with looking at Wifredo Lam, not only as a painter that I admire but also as someone who lived a migratory life.
A big thread in Lam's life and career was the influence of his peers. You see his work evolve as he comes into contact with other artists and schools of thought. How do you all think this collaboration might influence you individually, and what do you foresee yourselves taking away from this as a result of having worked together?
FP: On a professional level, being able to work with José has given me insight into some potential as far as being a practicing artist. Some of the accomplishments José has had are really amazing. I joke around with him [that] going to his studio in New York felt like when Martin [Lawrence said he] went to Eddie Murphy's house for the first time. [Martin] walked in and just turned into a little girl, like, "Wow, this is real nice, Eddie." Being able to see someone who is my contemporary, and to see what commitment and diligence to one's craft can yield has been really inspiring for me. I think this is the first major museum exhibition for both of us, and to be able to share that experience has been nothing short of amazing.
JP: Thank you, Fahamu. I look up to you, man. And I think everything that you're doing and everything that you've achieved on your own, too, is tremendous. Collaborating in the museum was also a really great way to understand each other and also to sort of put together some ideas that weren't just planned as we expected. We were able to communicate and figure out how to move things forward, and you always take away something from that. That kind of experience always resonates in future projects because you know you've been there before and you learn how to do new things.
FP: As you can hear, the bromance is real. But I also have a great deal of respect for Jose's entire aesthetic. I've learned a lot about his particular form of painting and the way he approaches the canvas or a wall or a surface. I think it was a mutual exchange in terms of just process, especially working together on the collaborative altar space. As he was saying we had a rough idea of what we wanted to do, but it would have been very difficult for us to articulate that prior to going into the room and putting paint on the wall. It really evolved. And I think there was also a lot of unspoken communication between the two of us. It just built from there.
This interview has been edited and condensed. 13994456 13082554 Fahamu Pecou and Jose Parla in a parallel universe "
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Fahamu Pecou and Jose Parla in a parallel universe Article
Thursday April 16, 2015 04:00 AM EDT
Two painters reflect on Wifredo Lam's influence in 'Imagining New Worlds'
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On Friday night, the Historic Fourth Ward Park will have a two-story, 20-foot-wingspan phoenix made of projectable fabric at its basin. The free public art event, titled Resurgens, will feature a giant phoenix-shaped puppet/screen designed by Atlanta artist Julia Hill accompanied by an original score by Atlanta composer Haddon Kime. As the event's website explains:
"Using projection mapping and video design, the puppet will tell the story of the rebirth of Atlanta across time, particularly celebrating the present. This may include images of the history of The Old Fourth Ward, from Martin Luther King Jr.’s childhood home, to Ebenezer Baptist Church, The King Center and Auburn Avenue in its heyday, to fire and urban blight, to O4W today, with the Beltline Eastside Trail, the Streetcar, Ponce City Market and thriving nightlife on Edgewood. At the end, the arial drone footage taken at the beginning of the event will cover the Phoenix once it has taken flight."
The event, which is being created by Atlanta's own Out of Hand Theater, is free and open to the public, and begins this Fri., April 17, at 7:15 p.m.
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On Friday night, the [http://clatl.com/atlanta/Location?oid=1304666&guide=city|Historic Fourth Ward Park] will have a two-story, 20-foot-wingspan phoenix made of projectable fabric at its basin. The free public art event, titled ''[http://www.outofhandtheater.com/2015/01/05/resurgens-a-phoenix-flys-over-o4w-park/|Resurgens]'', will feature a giant phoenix-shaped puppet/screen designed by Atlanta artist [http://whitespace814.com/artists/julia-hill/|Julia Hill] accompanied by an original score by Atlanta composer [http://www.haddonkime.com/|Haddon Kime]. As the event's website explains:
"Using projection mapping and video design, the puppet will tell the story of the rebirth of Atlanta across time, particularly celebrating the present. This may include images of the history of The Old Fourth Ward, from Martin Luther King Jr.’s childhood home, to Ebenezer Baptist Church, The King Center and Auburn Avenue in its heyday, to fire and urban blight, to O4W today, with the Beltline Eastside Trail, the Streetcar, Ponce City Market and thriving nightlife on Edgewood. At the end, the arial drone footage taken at the beginning of the event will cover the Phoenix once it has taken flight."
The event, which is being created by Atlanta's own [http://www.outofhandtheater.com/|Out of Hand Theater], is free and open to the public, and begins this Fri., April 17, at 7:15 p.m.
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On Friday night, the Historic Fourth Ward Park will have a two-story, 20-foot-wingspan phoenix made of projectable fabric at its basin. The free public art event, titled Resurgens, will feature a giant phoenix-shaped puppet/screen designed by Atlanta artist Julia Hill accompanied by an original score by Atlanta composer Haddon Kime. As the event's website explains:
"Using projection mapping and video design, the puppet will tell the story of the rebirth of Atlanta across time, particularly celebrating the present. This may include images of the history of The Old Fourth Ward, from Martin Luther King Jr.’s childhood home, to Ebenezer Baptist Church, The King Center and Auburn Avenue in its heyday, to fire and urban blight, to O4W today, with the Beltline Eastside Trail, the Streetcar, Ponce City Market and thriving nightlife on Edgewood. At the end, the arial drone footage taken at the beginning of the event will cover the Phoenix once it has taken flight."
The event, which is being created by Atlanta's own Out of Hand Theater, is free and open to the public, and begins this Fri., April 17, at 7:15 p.m.
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Critic's Notebook: A phoenix rises in O4W Park Article
Wednesday April 15, 2015 09:45 AM EDT
Free public art event brings unusual screen and projections to Old Fourth Ward
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string(4316) "Jason Shelowitz, known to the art world as Jay Shells, was sitting around one night, listening to slain Harlem rapper Big L, when he caught the feeling. He had a thought so grand in its simplicity that it would eventually take him around the country, with calls to travel the world.
The idea? Street signs with hip-hop lyrics printed on them, hung strategically in the places mentioned in the rhymes. For a culture that's hyperaware of location, 'hoods, and hangouts, and whose artists often validate themselves by shouting out their cities (see: Drake and his inexplicable thirst for people to call Toronto "the 6"), it's not surprising that Shells' idea has generated loads of attention and acclaim everywhere that he's touched down.
"The idea was to make the signs look like standard municipal street signs, so that they blend into the landscape," the New York City native explains. "If I wanted them to stand out I would have made them a wild color, but I didn't want them to be overly designed."
Part of the reasoning for that is because when Shells is actively hanging the signs in various locations across the cities he visits, it doesn't draw much attention. But once they are noticed — which typically comes after Shells has posted his work on social media — the signs are gone in a couple of hours, if that. After all, what hip-hop enthusiast wouldn't want a sign that read, "Back in Philly we be out in the park/a place called the Plateau is where everybody go ..." and that actually came from Belmont Plateau in Fairmount Park hanging in the crib?
With that in mind, Shells doesn't exactly refer to what he's doing as regular "street art," since unlike graffiti for example, he says his work is removed rather quickly and he's not really vandalizing property. Instead, this project is his contribution to the culture he loves, propelled by the art and design skills he honed throughout the years.
Starting off in New York in March 2013, Shells, who has had art exhibitions all over the world for his work prior to beginning this project, has hung more than 75 signs all over the city. It's an arduous task that he says typically takes two full days to accomplish in any given town. So far, rappers including Busta Rhymes, Action Bronson, Kanye West, GZA, Slick Rick, and Black Thought have had their lyrics immortalized on Shells' signs.
He currently has 75 custom-designed signs in Los Angeles, where last year he did an exhibition to fund his travels, and another 22 signs in Philadelphia. This month, he's headed to Atlanta, commissioned by the producers of the A3C Hip Hop Festival. So don't be too upset if you miss "the start of somethin' good" on Headland and Delowe; maybe, as Cool Breeze says on Goodie Mob's "The Damm," the next stop is "gonna be Greenbriar Mall."
"These are significant places," explains Shells, who also works in paint, acrylic, and, more recently, pyrography. "Everywhere on earth is significant for someone, but the fact that an artist wrote a lyric to mention a place makes it significant not just for that person, but for people in that area, and I think that deserves recognition."
Shells says he's disappointed with the overall limiting of hip-hop's cultural relevance in a mainstream platform. While he's happy to see that Adam Yauch (aka MCA of the Beastie Boys) has a park named after him in Brooklyn, he points out that the petition to have a street in New York named for the Notorious B.I.G. has been met with negativity.
"Hip-hop is a huge cultural phenomenon — it's one of the biggest cultures on earth. It's also one of the most exploited and underappreciated," he says. "So I'm commemorating these emcees in my own way."
After Atlanta, Shells is heading to Houston, Chicago, and the Bay Area, saying that he needs at least 20 lyrical mentions to go to a new city. And as for the rhymes that he features on his signs, he isn't picky, the lyrics just have to mention a specific place — so no "ridin' dirty on 85, slow takin' it easy" looking for Shells' signage because you won't find it there.
At day's end, Shell is just about leaving an impression on people who appreciate good hip-hop and its cultural impact.
"People have been collecting regular street signs for decades," he says. "So I'm just leaving something out there for somebody.""
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string(5074) "Jason Shelowitz, known to the art world as [http://www.jayshells.com/|Jay Shells], was sitting around one night, listening to slain Harlem rapper [http://www.complex.com/music/2014/06/big-l-casualty-of-the-game|Big L], when he caught the feeling. He had a thought so grand in its simplicity that it would eventually take him around the country, with calls to travel the world.
The idea? [http://www.jayshells.com/#/therapquotes/|Street signs with hip-hop lyrics printed on them], hung strategically in the places mentioned in the rhymes. For a culture that's hyperaware of location, 'hoods, and hangouts, and whose artists often validate themselves by shouting out their cities (see: Drake and his [http://www.buzzfeed.com/tanyachen/trying-make-the-6-happen#.kpRxgJXvYY|inexplicable thirst for people to call Toronto "the 6"]), it's not surprising that Shells' idea has generated loads of attention and acclaim everywhere that he's touched down.
"The idea was to make the signs look like standard municipal street signs, so that they blend into the landscape," the New York City native explains. "If I wanted them to stand out I would have made them a wild color, but I didn't want them to be overly designed."
Part of the reasoning for that is because when Shells is actively hanging the signs in various locations across the cities he visits, it doesn't draw much attention. But once they are noticed — which typically comes after Shells has posted his work on social media — the signs are gone in a couple of hours, if that. After all, what hip-hop enthusiast wouldn't want a sign that read, "[http://www.vevo.com/watch/dj-jazzy-jeff-and-the-fresh-prince/Summertime/USZM20500037|Back in Philly we be out in the park/a place called the Plateau is where everybody go ...]" and that actually came from [http://www.yelp.com/biz/belmont-plateau-philadelphia|Belmont Plateau] in Fairmount Park hanging in the crib?
With that in mind, Shells doesn't exactly refer to what he's doing as regular "street art," since unlike graffiti for example, he says his work is removed rather quickly and he's not really vandalizing property. Instead, this project is his contribution to the culture he loves, propelled by the art and design skills he honed throughout the years.
Starting off in New York in March 2013, Shells, who has had art exhibitions all over the world for his work prior to beginning this project, has hung more than 75 signs all over the city. It's an arduous task that he says typically takes two full days to accomplish in any given town. So far, rappers including Busta Rhymes, Action Bronson, Kanye West, GZA, Slick Rick, and Black Thought have had their lyrics immortalized on Shells' signs.
He currently has 75 custom-designed signs in Los Angeles, where last year he did an exhibition to fund his travels, and another 22 signs in Philadelphia. This month, he's headed to Atlanta, commissioned by the producers of the A3C Hip Hop Festival. So don't be too upset if you miss "[http://clatl.com/atlanta/headland-and-delowe/Content?oid=10899830|the start of somethin' good]" on Headland and Delowe; maybe, as Cool Breeze says on Goodie Mob's "[https://www.youtube.com/watch?v=_p42244ZIAk|The Damm]," the next stop is "gonna be Greenbriar Mall."
"These are significant places," explains Shells, who also works in paint, acrylic, and, more recently, [http://www.instructables.com/id/Pyrography-or-How-to-Wood-Burn-Art/|pyrography]. "Everywhere on earth is significant for someone, but the fact that an artist wrote a lyric to mention a place makes it significant not just for that person, but for people in that area, and I think that deserves recognition."
Shells says he's disappointed with the overall limiting of hip-hop's cultural relevance in a mainstream platform. While he's happy to see that Adam Yauch (aka MCA of the Beastie Boys) has [http://www.rollingstone.com/music/news/adam-yauch-park-dedicated-in-brooklyn-20130503|a park named after him] in Brooklyn, he points out that the [http://www.theguardian.com/music/2013/oct/18/notorious-big-brooklyn-street-dedication|petition to have a street in New York named for the Notorious B.I.G.] has been met with negativity.
"Hip-hop is a huge cultural phenomenon — it's one of the biggest cultures on earth. It's also one of the most exploited and underappreciated," he says. "So I'm commemorating these emcees in my own way."
After Atlanta, Shells is heading to Houston, Chicago, and the Bay Area, saying that he needs at least 20 lyrical mentions to go to a new city. And as for the rhymes that he features on his signs, he isn't picky, the lyrics just have to mention a specific place — so no "[https://www.youtube.com/watch?v=6E0oGIWpiGs|ridin' dirty on 85, slow takin' it easy]" looking for Shells' signage because you won't find it there.
At day's end, Shell is just about leaving an impression on people who appreciate good hip-hop and its cultural impact.
"People have been collecting regular street signs for decades," he says. "So I'm just leaving something out there for somebody.""
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string(4612) " Artist to celebrate the city's hip-hop culture with popular site-specific installations 2015-04-14T08:00:00+00:00 Jay Shells brings Rap Quotes to Atlanta Jacinta Howard 2015-04-14T08:00:00+00:00 Jason Shelowitz, known to the art world as Jay Shells, was sitting around one night, listening to slain Harlem rapper Big L, when he caught the feeling. He had a thought so grand in its simplicity that it would eventually take him around the country, with calls to travel the world.
The idea? Street signs with hip-hop lyrics printed on them, hung strategically in the places mentioned in the rhymes. For a culture that's hyperaware of location, 'hoods, and hangouts, and whose artists often validate themselves by shouting out their cities (see: Drake and his inexplicable thirst for people to call Toronto "the 6"), it's not surprising that Shells' idea has generated loads of attention and acclaim everywhere that he's touched down.
"The idea was to make the signs look like standard municipal street signs, so that they blend into the landscape," the New York City native explains. "If I wanted them to stand out I would have made them a wild color, but I didn't want them to be overly designed."
Part of the reasoning for that is because when Shells is actively hanging the signs in various locations across the cities he visits, it doesn't draw much attention. But once they are noticed — which typically comes after Shells has posted his work on social media — the signs are gone in a couple of hours, if that. After all, what hip-hop enthusiast wouldn't want a sign that read, "Back in Philly we be out in the park/a place called the Plateau is where everybody go ..." and that actually came from Belmont Plateau in Fairmount Park hanging in the crib?
With that in mind, Shells doesn't exactly refer to what he's doing as regular "street art," since unlike graffiti for example, he says his work is removed rather quickly and he's not really vandalizing property. Instead, this project is his contribution to the culture he loves, propelled by the art and design skills he honed throughout the years.
Starting off in New York in March 2013, Shells, who has had art exhibitions all over the world for his work prior to beginning this project, has hung more than 75 signs all over the city. It's an arduous task that he says typically takes two full days to accomplish in any given town. So far, rappers including Busta Rhymes, Action Bronson, Kanye West, GZA, Slick Rick, and Black Thought have had their lyrics immortalized on Shells' signs.
He currently has 75 custom-designed signs in Los Angeles, where last year he did an exhibition to fund his travels, and another 22 signs in Philadelphia. This month, he's headed to Atlanta, commissioned by the producers of the A3C Hip Hop Festival. So don't be too upset if you miss "the start of somethin' good" on Headland and Delowe; maybe, as Cool Breeze says on Goodie Mob's "The Damm," the next stop is "gonna be Greenbriar Mall."
"These are significant places," explains Shells, who also works in paint, acrylic, and, more recently, pyrography. "Everywhere on earth is significant for someone, but the fact that an artist wrote a lyric to mention a place makes it significant not just for that person, but for people in that area, and I think that deserves recognition."
Shells says he's disappointed with the overall limiting of hip-hop's cultural relevance in a mainstream platform. While he's happy to see that Adam Yauch (aka MCA of the Beastie Boys) has a park named after him in Brooklyn, he points out that the petition to have a street in New York named for the Notorious B.I.G. has been met with negativity.
"Hip-hop is a huge cultural phenomenon — it's one of the biggest cultures on earth. It's also one of the most exploited and underappreciated," he says. "So I'm commemorating these emcees in my own way."
After Atlanta, Shells is heading to Houston, Chicago, and the Bay Area, saying that he needs at least 20 lyrical mentions to go to a new city. And as for the rhymes that he features on his signs, he isn't picky, the lyrics just have to mention a specific place — so no "ridin' dirty on 85, slow takin' it easy" looking for Shells' signage because you won't find it there.
At day's end, Shell is just about leaving an impression on people who appreciate good hip-hop and its cultural impact.
"People have been collecting regular street signs for decades," he says. "So I'm just leaving something out there for somebody." 14018683 13082652 Jay Shells brings Rap Quotes to Atlanta "
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Jay Shells brings Rap Quotes to Atlanta Article
Tuesday April 14, 2015 04:00 AM EDT
Artist to celebrate the city's hip-hop culture with popular site-specific installations
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string(5145) "It's an interesting time in America — unique even. Political and social unrest are fueling a frenzy for all things pop culture. Social media has undeniably shaped a culture of activism while also cultivating an environment for bullying. The country is as culturally diverse as it's ever been but nevertheless finds itself struggling very publicly with embracing change. It's an environment ripe for great art, and veteran Atlanta-based artist and designer DL Warfield is up for the task.
In fact, Warfield's latest project, The American Flag Remixed, is a projection of ever-evolving American cultural identity, expertly capturing the nuances that make up the current condition of the United States.
"The process initially came from a conversation with one of my mentors," the St. Louis native recalls. "We were talking about people's infatuation with becoming famous and everybody's thirst to be a celebrity. I was telling him we don't live in the United States of America; we live in the United States of Entertainment. I was like, damn, I should make a flag about that."
So he did. The first remixed flag he created was "The United States of Rock and Roll" — he made it out of Levi denim, leather, and studs, and it reads, "rock or die." Warfield posted the art on social media, and a former Levi Strauss executive wanted it immediately. "I thought, I might be on to something," says Warfield, who has called Atlanta home since 1995.
That may be an understatement. In fact, his latest project appears to be his magnum opus, and the most defining project to date in a long career that's been full of highlights. Since graduating with a BFA in painting from Washington University in St. Louis, Warfield has found success in both the art and corporate worlds as an artist with bold design inclinations, and as a creative curator with an innovative eye for branding.
Warfield's work, which he calls "Hop Art" because his love of hip-hop and urban culture operate in tandem with his fine art background, has been displayed all over the country, including at Miami's Art Basel and the Time-Life Building in New York. Through his boutique creative agency, Goldfinger c.s., he's also curated design projects for Ford, Nike, and Hennessy, and he's overseen branding and creative concepts for record companies including LaFace (he has art in L.A. Reid and Usher's homes), Def Jam, Universal Music Group, and Motown. To date, Warfield's work is tied to more than $700 million in record sales. In fact, it was Warfield who was responsible for the creative branding of OutKast's quadruple-platinum album, Stankonia, which, ironically, pictured the duo in front of a black-and-white American flag, though Warfield says, in that case, the flag was Andre 3000's idea.
Much like his career, the diversity of Warfield's flags appeals to corporate and hip-hop culture, to people who openly criticize America and its contradictions, and to people who embrace those inconsistencies with rose-tinged glasses. Using mixed media because it not only allows him to create faster, but also because it frees him creatively, Warfield embraces the varied interpretations of his flags. In fact, he thrives on it, because that diversity, much like the America that inspires him, is what makes it work.
"I guess what I've learned is people have different levels of patriotism," he says. "There are some people who, although they like living in America, may not be that comfortable waving an American flag. But when I remix it, based on what people have said, I add a level of coolness to it."
Grammy-winning rapper T.I. has purchased two of Warfield's flags, "The United States of Mi' Familia," which is based on Warfield's own culturally diverse family since he's African-American and his wife is Italian-American, and "The United States of Boom," which features the flag superimposed over a boom box, a work that practically pops off the canvas.
"When T.I. saw it, and I'm not stereotyping him, but I wouldn't have thought he'd feel the way he felt about it," Warfield admits, adding that the flags seem to resonate with a variety of people for very different reasons.
Now T.I. wants a third. Showcasing the flag's diversity, Warfield was recently commissioned to create a flag for Ford, "The United States of Innovation." Atlanta area restaurants such as Gio Di Palma's Little Italy complex on Hemphill Avenue and 10 Degrees South have commissioned custom-designed flags as well. Warfield says his goal is to have one of his flags in every professional sports team's corporate office and every university center.
"America has always been a country where people want freedom and creative self-expression, and that resonates with everyone," says Warfield, who will be exhibiting his remixed flags in Houston, Baltimore, and New Orleans. He has an upcoming Atlanta show at which he'll be exhibiting the remixed flags along with other art in May.
Ultimately, his remixed flags represent a new America, which speaks across societal barriers.
"No matter the color, fabric or design," he writes, "[my flags] all scream, 'I AM AMERICA.'""
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string(5472) "It's an interesting time in America — unique even. Political and social unrest are fueling a frenzy for all things pop culture. Social media has undeniably shaped a culture of activism while also cultivating an environment for bullying. The country is as culturally diverse as it's ever been but nevertheless finds itself struggling very publicly with embracing change. It's an environment ripe for great art, and veteran Atlanta-based artist and designer [http://www.dlwarfield.com|DL Warfield] is up for the task.
In fact, Warfield's latest project, ''The American Flag Remixed'', is a projection of ever-evolving American cultural identity, expertly capturing the nuances that make up the current condition of the United States.
"The process initially came from a conversation with one of my mentors," the St. Louis native recalls. "We were talking about people's infatuation with becoming famous and everybody's thirst to be a celebrity. I was telling him we don't live in the United States of America; we live in the United States of Entertainment. I was like, damn, I should make a flag about that."
So he did. The first remixed flag he created was "[http://www.dlwarfield.com/The-United-States-of-Rock-and-Roll|The United States of Rock and Roll]" — he made it out of Levi denim, leather, and studs, and it reads, "rock or die." Warfield posted the art on social media, and a former Levi Strauss executive wanted it immediately. "I thought, ''I might be on to something''," says Warfield, who has called Atlanta home since 1995.
That may be an understatement. In fact, his latest project appears to be his magnum opus, and the most defining project to date in a long career that's been full of highlights. Since graduating with a BFA in painting from Washington University in St. Louis, Warfield has found success in both the art and corporate worlds as an artist with bold design inclinations, and as a creative curator with an innovative eye for branding.
Warfield's work, which he calls "Hop Art" because his love of hip-hop and urban culture operate in tandem with his fine art background, has been displayed all over the country, including at Miami's Art Basel and the Time-Life Building in New York. Through his boutique creative agency, Goldfinger c.s., he's also curated design projects for Ford, Nike, and Hennessy, and he's overseen branding and creative concepts for record companies including LaFace (he has art in L.A. Reid and Usher's homes), Def Jam, Universal Music Group, and Motown. To date, Warfield's work is tied to more than $700 million in record sales. In fact, it was Warfield who was responsible for the creative branding of OutKast's quadruple-platinum album, ''Stankonia'', which, ironically, [http://www.pastemagazine.com/blogs/lists/2009/11/the-25-best-album-covers-of-the-decade-2000-2009.html?p=5|pictured the duo] in front of a black-and-white American flag, though Warfield says, in that case, the flag was Andre 3000's idea.
Much like his career, the diversity of Warfield's flags appeals to corporate and hip-hop culture, to people who openly criticize America and its contradictions, and to people who embrace those inconsistencies with rose-tinged glasses. Using mixed media because it not only allows him to create faster, but also because it frees him creatively, Warfield embraces the varied interpretations of his flags. In fact, he thrives on it, because that diversity, much like the America that inspires him, is what makes it work.
"I guess what I've learned is people have different levels of patriotism," he says. "There are some people who, although they like living in America, may not be that comfortable waving an American flag. But when I remix it, based on what people have said, I add a level of coolness to it."
Grammy-winning rapper T.I. has purchased two of Warfield's flags, "[http://www.dlwarfield.com/The-United-States-of-Mi-Familia|The United States of Mi' Familia]," which is based on Warfield's own culturally diverse family since he's African-American and his wife is Italian-American, and "[http://www.dlwarfield.com/THE-UNITED-STATES-of-BOOM|The United States of Boom]," which features the flag superimposed over a boom box, a work that practically pops off the canvas.
"When T.I. saw it, and I'm not stereotyping him, but I wouldn't have thought he'd feel the way he felt about it," Warfield admits, adding that the flags seem to resonate with a variety of people for very different reasons.
Now T.I. wants a third. Showcasing the flag's diversity, Warfield was recently commissioned to create a flag for Ford, "The United States of Innovation." Atlanta area restaurants such as Gio Di Palma's Little Italy complex on Hemphill Avenue and 10 Degrees South have commissioned custom-designed flags as well. Warfield says his goal is to have one of his flags in every professional sports team's corporate office and every university center.
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Ultimately, his remixed flags represent a new America, which speaks across societal barriers.
"No matter the color, fabric or design," he writes, "[[my flags] all scream, 'I AM AMERICA.'""
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string(5417) " Artist DL Warfield's latest series shows different levels of patriotism 2015-04-09T08:00:00+00:00 Remixing the American flag ben.eason Ben Eason Jacinta Howard 2015-04-09T08:00:00+00:00 It's an interesting time in America — unique even. Political and social unrest are fueling a frenzy for all things pop culture. Social media has undeniably shaped a culture of activism while also cultivating an environment for bullying. The country is as culturally diverse as it's ever been but nevertheless finds itself struggling very publicly with embracing change. It's an environment ripe for great art, and veteran Atlanta-based artist and designer DL Warfield is up for the task.
In fact, Warfield's latest project, The American Flag Remixed, is a projection of ever-evolving American cultural identity, expertly capturing the nuances that make up the current condition of the United States.
"The process initially came from a conversation with one of my mentors," the St. Louis native recalls. "We were talking about people's infatuation with becoming famous and everybody's thirst to be a celebrity. I was telling him we don't live in the United States of America; we live in the United States of Entertainment. I was like, damn, I should make a flag about that."
So he did. The first remixed flag he created was "The United States of Rock and Roll" — he made it out of Levi denim, leather, and studs, and it reads, "rock or die." Warfield posted the art on social media, and a former Levi Strauss executive wanted it immediately. "I thought, I might be on to something," says Warfield, who has called Atlanta home since 1995.
That may be an understatement. In fact, his latest project appears to be his magnum opus, and the most defining project to date in a long career that's been full of highlights. Since graduating with a BFA in painting from Washington University in St. Louis, Warfield has found success in both the art and corporate worlds as an artist with bold design inclinations, and as a creative curator with an innovative eye for branding.
Warfield's work, which he calls "Hop Art" because his love of hip-hop and urban culture operate in tandem with his fine art background, has been displayed all over the country, including at Miami's Art Basel and the Time-Life Building in New York. Through his boutique creative agency, Goldfinger c.s., he's also curated design projects for Ford, Nike, and Hennessy, and he's overseen branding and creative concepts for record companies including LaFace (he has art in L.A. Reid and Usher's homes), Def Jam, Universal Music Group, and Motown. To date, Warfield's work is tied to more than $700 million in record sales. In fact, it was Warfield who was responsible for the creative branding of OutKast's quadruple-platinum album, Stankonia, which, ironically, pictured the duo in front of a black-and-white American flag, though Warfield says, in that case, the flag was Andre 3000's idea.
Much like his career, the diversity of Warfield's flags appeals to corporate and hip-hop culture, to people who openly criticize America and its contradictions, and to people who embrace those inconsistencies with rose-tinged glasses. Using mixed media because it not only allows him to create faster, but also because it frees him creatively, Warfield embraces the varied interpretations of his flags. In fact, he thrives on it, because that diversity, much like the America that inspires him, is what makes it work.
"I guess what I've learned is people have different levels of patriotism," he says. "There are some people who, although they like living in America, may not be that comfortable waving an American flag. But when I remix it, based on what people have said, I add a level of coolness to it."
Grammy-winning rapper T.I. has purchased two of Warfield's flags, "The United States of Mi' Familia," which is based on Warfield's own culturally diverse family since he's African-American and his wife is Italian-American, and "The United States of Boom," which features the flag superimposed over a boom box, a work that practically pops off the canvas.
"When T.I. saw it, and I'm not stereotyping him, but I wouldn't have thought he'd feel the way he felt about it," Warfield admits, adding that the flags seem to resonate with a variety of people for very different reasons.
Now T.I. wants a third. Showcasing the flag's diversity, Warfield was recently commissioned to create a flag for Ford, "The United States of Innovation." Atlanta area restaurants such as Gio Di Palma's Little Italy complex on Hemphill Avenue and 10 Degrees South have commissioned custom-designed flags as well. Warfield says his goal is to have one of his flags in every professional sports team's corporate office and every university center.
"America has always been a country where people want freedom and creative self-expression, and that resonates with everyone," says Warfield, who will be exhibiting his remixed flags in Houston, Baltimore, and New Orleans. He has an upcoming Atlanta show at which he'll be exhibiting the remixed flags along with other art in May.
Ultimately, his remixed flags represent a new America, which speaks across societal barriers.
"No matter the color, fabric or design," he writes, "[my flags] all scream, 'I AM AMERICA.'" 13960520 13082486 Remixing the American flag "
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Remixing the American flag Article
Thursday April 9, 2015 04:00 AM EDT
Artist DL Warfield's latest series shows different levels of patriotism
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We're curious to check out the National Theatre's upcoming broadcast of its production of Behind the Beautiful Forevers. The play is based on Pulitzer Prize-winning author Katherine Boo's 2012 best-selling non-fiction book Behind the Beautiful Forevers: Life, Death, and Hope in a Mumbai Undercity, which follows the interconnected lives of several residents of Annawadi, a slum in Mumbai.
Boo, a white American, researched the book when she was living in Mumbai with her husband, an Indian man who had a job in the city. The book was adapted into a 2014 play by renowned British playwright David Hare, an adaptation the Financial Times called "‘humane, epic and politically alert." The broadcast takes place on Sun., April 12, at 11 a.m,. at Landmark Midtown Art Cinema. It's rare for the shows to be re-broadcast or to become available in other recorded formats, so fans of the book will want to check it out.
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We're curious to check out the National Theatre's upcoming broadcast of its production of ''Behind the Beautiful Forevers''. The play is based on Pulitzer Prize-winning author Katherine Boo's 2012 best-selling non-fiction book ''[http://www.amazon.com/Behind-Beautiful-Forevers-Mumbai-Undercity/dp/081297932X/ref=sr_1_1?ie=UTF8&qid=1428497949&sr=8-1&keywords=behind the beautiful forever|Behind the Beautiful Forevers: Life, Death, and Hope in a Mumbai Undercity]'', which follows the interconnected lives of several residents of Annawadi, a slum in Mumbai.
Boo, a white American, researched the book when she was living in Mumbai with her husband, an Indian man who had a job in the city. The book was adapted into a 2014 [http://www.nationaltheatre.org.uk/shows/behind-the-beautiful-forevers|play] by renowned British playwright David Hare, an adaptation the ''[http://www.ft.com/cms/s/2/e231e0d2-6fe7-11e4-a0c4-00144feabdc0.html|Financial Times]'' called "‘humane, epic and politically alert." The broadcast takes place on Sun., April 12, at 11 a.m,. at [http://www.landmarktheatres.com/atlanta/midtown-art-cinema/film-info/national-theatre-behind-the-beautiful-forevers|Landmark Midtown Art Cinema]. It's rare for the shows to be re-broadcast or to become available in other recorded formats, so fans of the book will want to check it out.
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We're curious to check out the National Theatre's upcoming broadcast of its production of Behind the Beautiful Forevers. The play is based on Pulitzer Prize-winning author Katherine Boo's 2012 best-selling non-fiction book Behind the Beautiful Forevers: Life, Death, and Hope in a Mumbai Undercity, which follows the interconnected lives of several residents of Annawadi, a slum in Mumbai.
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Critic's Notebook: National Theatre to broadcast adaptation of 'Behind the Beautiful Forevers' Article
Wednesday April 8, 2015 09:16 AM EDT
Award-winning book becomes acclaimed play becomes live cinema broadcast
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string(3347) "Artist Christopher Kuhl has traveled all over the world, but always finds himself back in Atlanta. He served as the Visual Arts Specialist for the City of Atlanta during the 1996 Olympics and has had exhibitions everywhere, from Myanmar to Europe and the Middle East. Using photography and painting, Kuhl creates layered mixed-media works that reflect his travels. His latest exhibition, Searching for Redtown, focuses on his recent travels in the Southeast in search of Native Americans' history and their current rural presence.
Kuhl talked to Creative Loafing about displaying his artwork at the Atlanta-Fulton Public Library and exploring Native American culture in the South through his work.
The Atlanta-Fulton Library is such an interesting venue to display work. How did that come about? Did the location influence your work in any way?
I have always wanted to exhibit my artwork at the Atlanta-Fulton County Library, as it is a crown jewel of our ring of libraries and it's a central crossroads/ground zero of Atlanta culture and history. Serendipity brought me here — it is an open process — Chera Baugh adores art and has a Masters in Art History from Emory University and directs the gallery.
Tell me about the concept behind your show, Searching for Redtown.
Searching for Redtown came to me as a title from a series of works based upon my research, reading, and travels in the Southeast. [I traveled through] Alabama, Georgia, and Florida in search of a Native American presence or prescience in theses rural areas. It was the beginning of a 13-year journey to seek the earliest cultural imprints in this region. I gave my "REDTOWN 1" painting to my brother before he left to teach English in Afghanistan for good luck!
What inspired Redtown? Was it a place you visited during your travels?
Redtown was an actual Seminole/Creek town for over 70 years, but after the Seminole Wars and Trail of Tears, it does not exist today. It's an empty space, a deep space that could only be filled in by the imagination. Later, I realized that everyone is searching for Redtown — or a spiritual home — a place of total acceptance where self-revelation is a daily or hourly process.
My interest in Native American culture, art, language, and ritual goes back to a college course called "Poets of the Earth," and since, I have visited many Native Americans' reservations from Washington State, Oregon, [and] Arizona to the East Coast in search of experiences that tumble away one's preconceptions and lead to new ways of thinking. I hope that these recent paintings keep me moving in an open-ended journey to express emotive gestures and unconscious uncritical acceptance and surprise.
You've been all over the world, from New York City to Japan, and now you're back here again. What are your thoughts on how the Atlanta art scene has changed since you worked for the City of Atlanta?
Atlanta is mushrooming culturally — so many new young artists, recent art school graduates, and mid-career practitioners — it is really a large communal vibe here among new galleries, art spaces and emerging collectives and art colleges — a really bright future indeed if the public and artists can truly interact! Someone should invite all Atlanta artists and cultural groups to a grand convention at the Georgia Dome!"
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Kuhl talked to ''Creative Loafing'' about displaying his artwork at the Atlanta-Fulton Public Library and exploring Native American culture in the South through his work.
__The Atlanta-Fulton Library is such an interesting venue to display work. How did that come about? Did the location influence your work in any way?__
I have always wanted to exhibit my artwork at the Atlanta-Fulton County Library, as it is a crown jewel of our ring of libraries and it's a central crossroads/ground zero of Atlanta culture and history. Serendipity brought me here — it is an open process — Chera Baugh adores art and has a Masters in Art History from Emory University and directs the gallery.
__Tell me about the concept behind your show, ''Searching for Redtown''.__
''Searching for Redtown'' came to me as a title from a series of works based upon my research, reading, and travels in the Southeast. [[I traveled through] Alabama, Georgia, and Florida in search of a Native American presence or prescience in theses rural areas. It was the beginning of a 13-year journey to seek the earliest cultural imprints in this region. I gave my "REDTOWN 1" painting to my brother before he left to teach English in Afghanistan for good luck!
__What inspired ''Redtown''? Was it a place you visited during your travels?__
Redtown was an actual Seminole/Creek town for over 70 years, but after the [http://dos.myflorida.com/florida-facts/florida-history/seminole-history/the-seminole-wars/|Seminole Wars] and [http://www.history.com/topics/native-american-history/trail-of-tears|Trail of Tears], it does not exist today. It's an empty space, a deep space that could only be filled in by the imagination. Later, I realized that everyone is searching for Redtown — or a spiritual home — a place of total acceptance where self-revelation is a daily or hourly process.
My interest in Native American culture, art, language, and ritual goes back to a college course called "Poets of the Earth," and since, I have visited many Native Americans' reservations from Washington State, Oregon, [[and] Arizona to the East Coast in search of experiences that tumble away one's preconceptions and lead to new ways of thinking. I hope that these recent paintings keep me moving in an open-ended journey to express emotive gestures and unconscious uncritical acceptance and surprise.
__You've been all over the world, from New York City to Japan, and now you're back here again. What are your thoughts on how the Atlanta art scene has changed since you worked for the City of Atlanta?__
Atlanta is mushrooming culturally — so many new young artists, recent art school graduates, and mid-career practitioners — it is really a large communal vibe here among new galleries, art spaces and emerging collectives and art colleges — a really bright future indeed if the public and artists can truly interact! Someone should invite all Atlanta artists and cultural groups to a grand convention at the Georgia Dome!"
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string(3647) " Artist finds inspiration in Native American history in the Southeast 2015-04-06T08:00:00+00:00 Christopher Kuhl is "Searching for Redtown" ben.eason Ben Eason Muriel Vega 2015-04-06T08:00:00+00:00 Artist Christopher Kuhl has traveled all over the world, but always finds himself back in Atlanta. He served as the Visual Arts Specialist for the City of Atlanta during the 1996 Olympics and has had exhibitions everywhere, from Myanmar to Europe and the Middle East. Using photography and painting, Kuhl creates layered mixed-media works that reflect his travels. His latest exhibition, Searching for Redtown, focuses on his recent travels in the Southeast in search of Native Americans' history and their current rural presence.
Kuhl talked to Creative Loafing about displaying his artwork at the Atlanta-Fulton Public Library and exploring Native American culture in the South through his work.
The Atlanta-Fulton Library is such an interesting venue to display work. How did that come about? Did the location influence your work in any way?
I have always wanted to exhibit my artwork at the Atlanta-Fulton County Library, as it is a crown jewel of our ring of libraries and it's a central crossroads/ground zero of Atlanta culture and history. Serendipity brought me here — it is an open process — Chera Baugh adores art and has a Masters in Art History from Emory University and directs the gallery.
Tell me about the concept behind your show, Searching for Redtown.
Searching for Redtown came to me as a title from a series of works based upon my research, reading, and travels in the Southeast. [I traveled through] Alabama, Georgia, and Florida in search of a Native American presence or prescience in theses rural areas. It was the beginning of a 13-year journey to seek the earliest cultural imprints in this region. I gave my "REDTOWN 1" painting to my brother before he left to teach English in Afghanistan for good luck!
What inspired Redtown? Was it a place you visited during your travels?
Redtown was an actual Seminole/Creek town for over 70 years, but after the Seminole Wars and Trail of Tears, it does not exist today. It's an empty space, a deep space that could only be filled in by the imagination. Later, I realized that everyone is searching for Redtown — or a spiritual home — a place of total acceptance where self-revelation is a daily or hourly process.
My interest in Native American culture, art, language, and ritual goes back to a college course called "Poets of the Earth," and since, I have visited many Native Americans' reservations from Washington State, Oregon, [and] Arizona to the East Coast in search of experiences that tumble away one's preconceptions and lead to new ways of thinking. I hope that these recent paintings keep me moving in an open-ended journey to express emotive gestures and unconscious uncritical acceptance and surprise.
You've been all over the world, from New York City to Japan, and now you're back here again. What are your thoughts on how the Atlanta art scene has changed since you worked for the City of Atlanta?
Atlanta is mushrooming culturally — so many new young artists, recent art school graduates, and mid-career practitioners — it is really a large communal vibe here among new galleries, art spaces and emerging collectives and art colleges — a really bright future indeed if the public and artists can truly interact! Someone should invite all Atlanta artists and cultural groups to a grand convention at the Georgia Dome! 13931223 13082471 Christopher Kuhl is "Searching for Redtown" "
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Christopher Kuhl is "Searching for Redtown" Article
Monday April 6, 2015 04:00 AM EDT
Artist finds inspiration in Native American history in the Southeast
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string(1960) " A monthly listing of Atlanta art critic Andrew Alexander’s picks for the top five events in Atlanta:
5) The Breakers, April 16 to May 10. The Goat Farm Arts Center.
A new interactive production written and directed by Michael Haverty will allow viewers to wander through the drama unfolding in a house where all the walls are made of glass.
http://www.andrewalexanderwriter.com/wp-content/uploads/2015/03/The-Breakers-title-image.jpg
4) Isabel Leonard, Sat., April 4. Emory's Schwartz Center for the Performing Arts.
The popular Metropolitan Opera star (as well as Vogue model and "Sesame Street" guest) performs a concert with guitarist Sharon Isbin.
http://www.andrewalexanderwriter.com/wp-content/uploads/2015/03/isabel.jpg
3) Blues for an Alabama Sky, April 15 to May 10. Alliance Theatre.
Best-selling novelist and popular Atlanta-based playwright Pearl Cleage's play about the Harlem Renaissance gets a new production at the Alliance on the 20th anniversary of its premiere there.
http://www.andrewalexanderwriter.com/wp-content/uploads/2015/03/Blues_header_03.jpg
2) Ian Bostridge, April 25. Spivey Hall.
The British tenor performs Schubert's "Winterreisse," a topic he's very familiar with, having just published a critically acclaimed book focusing entirely on the piece.
http://www.andrewalexanderwriter.com/wp-content/uploads/2015/03/Copy-of-Page-50-Ian-Bostridge-1-1581x1600-credit-Simon-Fowler.jpg
1) Nick Cave and T. Lang's Upright Atlanta, April 23-26. Ponce City Market.
Not to be confused with the singer of the same name, artist Nick Cave creates elaborate sound-suits for public performances. His Atlanta piece, a Flux Projects commission for Ponce City Market, will be choreographed by local choreographer and Spelman professor T. Lang.
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__5)__ ''The Breakers'', April 16 to May 10. [http://www.7stages.org/events/the-breakers/|The Goat Farm Arts Center.]
A new interactive production written and directed by Michael Haverty will allow viewers to wander through the drama unfolding in a house where all the walls are made of glass.
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__4)__ Isabel Leonard, Sat., April 4. [http://tickets.arts.emory.edu/single/PSDetail.aspx?psn=74800|Emory's Schwartz Center for the Performing Arts.]
The popular Metropolitan Opera star (as well as ''Vogue'' model and "Sesame Street" guest) performs a concert with guitarist Sharon Isbin.
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__3)__'' Blues for an Alabama Sky'', April 15 to May 10. [http://alliancetheatre.org/production/blues-alabama-sky|Alliance Theatre.]
Best-selling novelist and popular Atlanta-based playwright Pearl Cleage's play about the Harlem Renaissance gets a new production at the Alliance on the 20th anniversary of its premiere there.
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__2)__ Ian Bostridge, April 25. [http://www.spiveyhall.org/events/ian-bostridge-tenorwenwen-du-piano/|Spivey Hall.]
The British tenor performs Schubert's "Winterreisse," a topic he's very familiar with, having just published a [http://www.amazon.com/Schuberts-Winter-Journey-Anatomy-Obsession/dp/030796163X|critically acclaimed book] focusing entirely on the piece.
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__1)__ Nick Cave and T. Lang's ''Upright Atlanta'', April 23-26. [http://www.fluxprojects.org/projects/107-resurrection|Ponce City Market.]
Not to be confused with the singer of the same name, artist Nick Cave creates elaborate sound-suits for public performances. His Atlanta piece, a Flux Projects commission for Ponce City Market, will be choreographed by local choreographer and Spelman professor T. Lang.
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string(2399) " ponce city market nick cave pearl cleage upright atlanta the breakers isabel leonard ian bostridge April is the coolest month 2015-04-01T15:39:00+00:00 Critic's Notebook: April's Top Five Andrew Alexander 2015-04-01T15:39:00+00:00 A monthly listing of Atlanta art critic Andrew Alexander’s picks for the top five events in Atlanta:
5) The Breakers, April 16 to May 10. The Goat Farm Arts Center.
A new interactive production written and directed by Michael Haverty will allow viewers to wander through the drama unfolding in a house where all the walls are made of glass.
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4) Isabel Leonard, Sat., April 4. Emory's Schwartz Center for the Performing Arts.
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http://www.andrewalexanderwriter.com/wp-content/uploads/2015/03/isabel.jpg
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http://www.andrewalexanderwriter.com/wp-content/uploads/2015/03/Blues_header_03.jpg
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http://www.andrewalexanderwriter.com/wp-content/uploads/2015/03/Soundsuit2.jpg
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Critic's Notebook: April's Top Five Article
Wednesday April 1, 2015 11:39 AM EDT
April is the coolest month
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string(3542) "Jeremy Townsend, otherwise known as Jert, has covered Atlanta's galleries, doorways, and growlers with his definitively cool and borderline absurd illustrations. His warm embrace of popular culture and easy undercurrent of satire have garnered a strong fan base — one look at his portfolio and it's clear why. As weird and parodic as his work is, however, Jert's motivation for his latest project is about as straightforward as they come. Being the creative humanitarian that he is, Jert sent out an invitation to his most talented friends and voila: People Ruined the Internet was born. Held at Hodgepodge Coffeehouse and Gallery, the gallery event will feature both a solo exhibition of Jert's art as well as a group show to benefit Jert's charity of choice: the Center for Children and Young Adults (CCYA). CCYA, which will receive 25 percent of the proceeds from the event, works to provide safe environments for abused, neglected, and at-risk children. The substantial percentage is made possible by the philanthropic involvement of the artists and venue alike, as well as some very intentional planning on the part of Jert.
"So much charity work, especially with the arts, involves getting dressed up in a tuxedo and hanging out and looking at each other and seeing who's cooler for giving more money — and that totally works, totally fine for those organizations," Jert says. "But I know there's a lot of people like me who are regular people, low to medium income, that do want to help, do love art, but just don't have venues and art accessible to [them]. So I wanted to create something that was accessible."
Accessible as the exhibition will be, don't be fooled by the event's down-to-earth presentation — the content of the event is worth more than a passing glance. In addition to Jert's previously unseen art, the group show contains work from Oscar-winning artist Joe Bluhm, MAD magazine artist Tom Richmond, and other nationally recognized talent such as Ed Steckley and Brett W. Thompson, as well as local heroes Catlanta and Aaron Crawford of Cavitycolors.
With some black-and-white drawings starting at only $50, visitors shouldn't worry about how thick their wallets are, either. Some of Jert's most popular prints will be seen in their original, large-scale form for the first time as well. Like his illustrations that showcase the absurdity of pop culture, the theme of the event is a clever nod to the undercurrent of its purpose.
"Domestic violence itself is really hard for people to talk about, and it's really hard for people to wrap their minds around," Jert says. "I myself am actually a survivor of domestic violence from childhood, and that's why it's so important to me. I feel the need for dialogue to open up about how we can all find a solution and how we can all figure out what the resources that people need to escape these situations and become functional members of the world."
Works in the group show vary from woodcuts to black-and-white drawings, all tailored to the theme of the exhibition in a unique way. Showcasing both old and new work, Jert's pieces range in medium and price to attract a wider audience. Purchasers of Jert's work will also receive a live custom drawing of his choice.
"Not to be lame, but it truly is a hodgepodge of work," says Jert, alluding to the site of the event. "It's an unassuming venue. It's a laid back evening. I want to have an event that everyone feels comfortable walking into — you don't have to think about how cool your pants are.""
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"So much charity work, especially with the arts, involves getting dressed up in a tuxedo and hanging out and looking at each other and seeing who's cooler for giving more money — and that totally works, totally fine for those organizations," Jert says. "But I know there's a lot of people like me who are regular people, low to medium income, that do want to help, do love art, but just don't have venues and art accessible to [[them]. So I wanted to create something that was accessible."
Accessible as the exhibition will be, don't be fooled by the event's down-to-earth presentation — the content of the event is worth more than a passing glance. In addition to Jert's previously unseen art, the group show contains work from Oscar-winning artist [http://www.cia.edu/news/stories/leap-of-faith-leads-joe-bluhm-03-to-academy-award-winning-film|Joe Bluhm], ''MAD'' magazine artist [http://www.tomrichmond.com/blog/|Tom Richmond], and other nationally recognized talent such as [http://edsteckley.com/|Ed Steckley] and [http://www.fluidtoons.com/|Brett W. Thompson], as well as local heroes [https://www.facebook.com/catlantaart|Catlanta] and Aaron Crawford of [http://cavitycolors.com/|Cavitycolors].
With some black-and-white drawings starting at only $50, visitors shouldn't worry about how thick their wallets are, either. Some of Jert's most popular prints will be seen in their original, large-scale form for the first time as well. Like his illustrations that showcase the absurdity of pop culture, the theme of the event is a clever nod to the undercurrent of its purpose.
"Domestic violence itself is really hard for people to talk about, and it's really hard for people to wrap their minds around," Jert says. "I myself am actually a survivor of domestic violence from childhood, and that's why it's so important to me. I feel the need for dialogue to open up about how we can all find a solution and how we can all figure out what the resources that people need to escape these situations and become functional members of the world."
Works in the group show vary from woodcuts to black-and-white drawings, all tailored to the theme of the exhibition in a unique way. Showcasing both old and new work, Jert's pieces range in medium and price to attract a wider audience. Purchasers of Jert's work will also receive a live custom drawing of his choice.
"Not to be lame, but it truly is a hodgepodge of work," says Jert, alluding to the site of the event. "It's an unassuming venue. It's a laid back evening. I want to have an event that everyone feels comfortable walking into — you don't have to think about how cool your pants are.""
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string(3817) " Pop artist organizes group exhibition for a good cause 2015-04-01T08:00:00+00:00 Jert says "People Ruined the Internet" ben.eason Ben Eason Kate Douds 2015-04-01T08:00:00+00:00 Jeremy Townsend, otherwise known as Jert, has covered Atlanta's galleries, doorways, and growlers with his definitively cool and borderline absurd illustrations. His warm embrace of popular culture and easy undercurrent of satire have garnered a strong fan base — one look at his portfolio and it's clear why. As weird and parodic as his work is, however, Jert's motivation for his latest project is about as straightforward as they come. Being the creative humanitarian that he is, Jert sent out an invitation to his most talented friends and voila: People Ruined the Internet was born. Held at Hodgepodge Coffeehouse and Gallery, the gallery event will feature both a solo exhibition of Jert's art as well as a group show to benefit Jert's charity of choice: the Center for Children and Young Adults (CCYA). CCYA, which will receive 25 percent of the proceeds from the event, works to provide safe environments for abused, neglected, and at-risk children. The substantial percentage is made possible by the philanthropic involvement of the artists and venue alike, as well as some very intentional planning on the part of Jert.
"So much charity work, especially with the arts, involves getting dressed up in a tuxedo and hanging out and looking at each other and seeing who's cooler for giving more money — and that totally works, totally fine for those organizations," Jert says. "But I know there's a lot of people like me who are regular people, low to medium income, that do want to help, do love art, but just don't have venues and art accessible to [them]. So I wanted to create something that was accessible."
Accessible as the exhibition will be, don't be fooled by the event's down-to-earth presentation — the content of the event is worth more than a passing glance. In addition to Jert's previously unseen art, the group show contains work from Oscar-winning artist Joe Bluhm, MAD magazine artist Tom Richmond, and other nationally recognized talent such as Ed Steckley and Brett W. Thompson, as well as local heroes Catlanta and Aaron Crawford of Cavitycolors.
With some black-and-white drawings starting at only $50, visitors shouldn't worry about how thick their wallets are, either. Some of Jert's most popular prints will be seen in their original, large-scale form for the first time as well. Like his illustrations that showcase the absurdity of pop culture, the theme of the event is a clever nod to the undercurrent of its purpose.
"Domestic violence itself is really hard for people to talk about, and it's really hard for people to wrap their minds around," Jert says. "I myself am actually a survivor of domestic violence from childhood, and that's why it's so important to me. I feel the need for dialogue to open up about how we can all find a solution and how we can all figure out what the resources that people need to escape these situations and become functional members of the world."
Works in the group show vary from woodcuts to black-and-white drawings, all tailored to the theme of the exhibition in a unique way. Showcasing both old and new work, Jert's pieces range in medium and price to attract a wider audience. Purchasers of Jert's work will also receive a live custom drawing of his choice.
"Not to be lame, but it truly is a hodgepodge of work," says Jert, alluding to the site of the event. "It's an unassuming venue. It's a laid back evening. I want to have an event that everyone feels comfortable walking into — you don't have to think about how cool your pants are." 13894948 13082427 Jert says "People Ruined the Internet" "
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Jert says "People Ruined the Internet" Article
Wednesday April 1, 2015 04:00 AM EDT
Pop artist organizes group exhibition for a good cause
|
more...
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string(5137) "Fabian Williams doesn't remember the first time he was introduced to Norman Rockwell — it was either in elementary or middle school — but he does remember the immediate impact. It was profound. And it's stuck with Williams throughout his career.
"[[[Rockwell's] way of capturing caricatures to tell the story of American culture has always been an influence on my work," Williams says.
So it's fitting that the Atlanta-based artist's latest show, Rockingwell, is a tribute of sorts to the art icon's popular painting "The Gossips," which has long been one of Williams' favorite pieces. Williams, however, has an interesting take on the painting — he'll be focusing on Atlanta-based artists and using portraits of them for his show at the Rialto Center for the Arts.
His reasoning is simple: He wants to create a new level of interaction and understanding among the various art cliques that are in the city. As Williams has observed, Atlanta is on the cusp of becoming recognized nationally as a legitimate arts hub, and with that in mind it's become even more important for the various arts communities to start to intersect in a more meaningful way.
"I've noticed in Atlanta over the years, different groups circulate in a specific community," Williams observes, comparing the art circles to real life demographic splits in American communities. "You have artists that come for a particular background — urban art is over here on this side, then you have the academic art side, and the hobbyists are over here and they sort of touch each other, but not really. I have my foot in some of those different groups, and I'm going to be documenting how things circulate between them using 'The Gossips' model."
Williams says he was able to interact with artists from the various arts scenes while he curated the World Wide Arts Federation Art Battles (which he eventually plans to bring back in a slightly different format) and has observed that the most successful way artists began to garner a following is simply through word of mouth, which he plans to illustrate, literally, through his new series.
"When Norman Rockwell approached it in "The Gossips" it was a small town depiction, but I involved social media and smart phones and technology because it's a big part of American society and the art community," Williams explains. "I'm exploring the way an artist rises in the art scene and how technology plays a role in that. Someone needed to capture the people involved in Atlanta's visual arts movement and put it into contact as it emerges."
As he spouts off the names of artists whom he deems on the cusp of becoming national heavyweights in the visual arts world — including Fahamu Pecou (whose work is being exhibited in the Imagining New Worlds series at the High Museum), PaperFrank, Michael Rooks, Miya Bailey, and others — it's hard not to be swept up in his enthusiasm. After all, this is a guy who has not just established himself as an ambassador for getting Atlanta's arts scene recognized but also has long proven his own artistic talent runs deep.
After graduating with a B.F.A. in Illustration from Eastern Carolina University, Williams moved from his hometown of Fayetteville, N.C., to Atlanta in search of a job. He eventually ended up working for an L.A.-based company where he did web design and found success as a commercial illustrator for several HBO shows.
"The design money was great, but there was something internally that I wanted to express," he remembers. "I started to have a philosophical disagreement with advertisement in general. I started to delve into the fine arts to give my soul a break. That's how I ended up where I am now — 80 percent fine art and 20 percent advertising."
With the World Wide Arts Federation competitions which featured "battles" between contemporary visual artists of William's choosing, styled after a wrestling match with elements of a hip-hop rap battle, Williams declared his eye for recognizing talent and his flair for the dramatic, as he would always don a cape and completely cover his face with mask for each event. But it's Williams' Race Card series, which features prominent players in American politics such as Bill O'Reilly and Al Sharpton, that clarified his ability to merge strong sociopolitical sentiments with humor.
"Humor is a way to deal with difficult situations without crying," he says. "I use humor as a way to disarm the seriousness of the issue, so my work is just a reflection of my mentality. I'm kind of a smart-ass so that translates."
Currently, Williams' Dungeon Family Pyramid is on display in Piedmont Park, a piece that he says was inspired by the Sistine Chapel stylings because he's a huge fan of the Renaissance period. And next up, he plans to unveil a new series of works called Contraption, using the Rube Goldberg machine ideology to take a deeper look at conspiracy theories using various mediums including sculpture, paint and video.
And as with all of Williams' work, the plan is to take you beyond observation and give you an experience. Doesn't get much cooler than that."
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string(6064) "[http://occasionalsuperstar.com/cv.html|Fabian Williams] doesn't remember the first time he was introduced to [http://www.nrm.org/|Norman Rockwell] — it was either in elementary or middle school — but he does remember the immediate impact. It was profound. And it's stuck with Williams throughout his career.
"[[[[Rockwell's] way of capturing caricatures to tell the story of American culture has always been an influence on my work," Williams says.
So it's fitting that the Atlanta-based artist's latest show, ''[http://rialto.gsu.edu/calendar/visual-arts-series-rockingwell-fabian-williams/?instance_id=9287|Rockingwell]'', is a tribute of sorts to the art icon's popular painting "[http://www.nrm.org/2014/02/norman-rockwell-museum-welcomes-back-norman-rockwells-the-gossips/|The Gossips]," which has long been one of Williams' favorite pieces. Williams, however, has an interesting take on the painting — he'll be focusing on Atlanta-based artists and using portraits of them for his show at the Rialto Center for the Arts.
His reasoning is simple: He wants to create a new level of interaction and understanding among the various art cliques that are in the city. As Williams has observed, Atlanta is on the cusp of becoming recognized nationally as a legitimate arts hub, and with that in mind it's become even more important for the various arts communities to start to intersect in a more meaningful way.
"I've noticed in Atlanta over the years, different groups circulate in a specific community," Williams observes, comparing the art circles to real life demographic splits in American communities. "You have artists that come for a particular background — urban art is over here on this side, then you have the academic art side, and the hobbyists are over here and they sort of touch each other, but not really. I have my foot in some of those different groups, and I'm going to be documenting how things circulate between them using 'The Gossips' model."
Williams says he was able to interact with artists from the various arts scenes while he curated the [http://clatl.com/atlanta/best-local-art-beef/BestOf?oid=3986668|World Wide Arts Federation Art Battles] (which he eventually plans to bring back in a slightly different format) and has observed that the most successful way artists began to garner a following is simply through word of mouth, which he plans to illustrate, literally, through his new series.
"When Norman Rockwell approached it in "The Gossips" it was a small town depiction, but I involved social media and smart phones and technology because it's a big part of American society and the art community," Williams explains. "I'm exploring the way an artist rises in the art scene and how technology plays a role in that. Someone needed to capture the people involved in Atlanta's visual arts movement and put it into contact as it emerges."
As he spouts off the names of artists whom he deems on the cusp of becoming national heavyweights in the visual arts world — including Fahamu Pecou (whose work is being exhibited in the ''[http://www.high.org/Art/Exhibitions/Imagining-New-Worlds.aspx?gclid=CMP0nrmtycQCFSgV7AodUCgA7Q|Imagining New Worlds]'' series at the High Museum), [http://clatl.com/atlanta/paper-franks-beautiful-twisted-reality/Content?oid=9059029|PaperFrank], [http://clatl.com/freshloaf/archives/2015/03/27/the-highs-michael-rooks-to-receive-the-nexus-award|Michael Rooks], [http://clatl.com/freshloaf/archives/2014/02/10/a-few-questions-with-miya-bailey-and-corey-davis|Miya Bailey], and others — it's hard not to be swept up in his enthusiasm. After all, this is a guy who has not just established himself as an ambassador for getting Atlanta's arts scene recognized but also has long proven his own artistic talent runs deep.
After graduating with a B.F.A. in Illustration from Eastern Carolina University, Williams moved from his hometown of Fayetteville, N.C., to Atlanta in search of a job. He eventually ended up working for an L.A.-based company where he did web design and found success as a commercial illustrator for several HBO shows.
"The design money was great, but there was something internally that I wanted to express," he remembers. "I started to have a philosophical disagreement with advertisement in general. I started to delve into the fine arts to give my soul a break. That's how I ended up where I am now — 80 percent fine art and 20 percent advertising."
With the World Wide Arts Federation competitions which featured "battles" between contemporary visual artists of William's choosing, styled after a wrestling match with elements of a hip-hop rap battle, Williams declared his eye for recognizing talent and his flair for the dramatic, as he would always don a cape and completely cover his face with mask for each event. But it's Williams' ''Race Card'' series, which features prominent players in American politics such as Bill O'Reilly and Al Sharpton, that clarified his ability to merge strong sociopolitical sentiments with humor.
"Humor is a way to deal with difficult situations without crying," he says. "I use humor as a way to disarm the seriousness of the issue, so my work is just a reflection of my mentality. I'm kind of a smart-ass so that translates."
Currently, Williams' [http://clatl.com/freshloaf/archives/2014/09/19/behold-a-dungeon-family-pyramid-on-the-beltline|Dungeon Family Pyramid] is on display in Piedmont Park, a piece that he says was inspired by the [http://www.vatican.va/various/cappelle/sistina_vr/index.html?utm_source=Twitter|Sistine Chapel] stylings because he's a huge fan of the Renaissance period. And next up, he plans to unveil a new series of works called ''Contraption'', using the [http://rubegoldberg.com/|Rube Goldberg] machine ideology to take a deeper look at conspiracy theories using various mediums including sculpture, paint and video.
And as with all of Williams' work, the plan is to take you beyond observation and give you an experience. Doesn't get much cooler than that."
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string(5484) " Artist's latest work is a push to connect ATL's bubbling arts communities 2015-03-31T08:00:00+00:00 Fabian Williams channels "The Gossips" ben.eason Ben Eason Jacinta Howard 2015-03-31T08:00:00+00:00 Fabian Williams doesn't remember the first time he was introduced to Norman Rockwell — it was either in elementary or middle school — but he does remember the immediate impact. It was profound. And it's stuck with Williams throughout his career.
"[[[Rockwell's] way of capturing caricatures to tell the story of American culture has always been an influence on my work," Williams says.
So it's fitting that the Atlanta-based artist's latest show, Rockingwell, is a tribute of sorts to the art icon's popular painting "The Gossips," which has long been one of Williams' favorite pieces. Williams, however, has an interesting take on the painting — he'll be focusing on Atlanta-based artists and using portraits of them for his show at the Rialto Center for the Arts.
His reasoning is simple: He wants to create a new level of interaction and understanding among the various art cliques that are in the city. As Williams has observed, Atlanta is on the cusp of becoming recognized nationally as a legitimate arts hub, and with that in mind it's become even more important for the various arts communities to start to intersect in a more meaningful way.
"I've noticed in Atlanta over the years, different groups circulate in a specific community," Williams observes, comparing the art circles to real life demographic splits in American communities. "You have artists that come for a particular background — urban art is over here on this side, then you have the academic art side, and the hobbyists are over here and they sort of touch each other, but not really. I have my foot in some of those different groups, and I'm going to be documenting how things circulate between them using 'The Gossips' model."
Williams says he was able to interact with artists from the various arts scenes while he curated the World Wide Arts Federation Art Battles (which he eventually plans to bring back in a slightly different format) and has observed that the most successful way artists began to garner a following is simply through word of mouth, which he plans to illustrate, literally, through his new series.
"When Norman Rockwell approached it in "The Gossips" it was a small town depiction, but I involved social media and smart phones and technology because it's a big part of American society and the art community," Williams explains. "I'm exploring the way an artist rises in the art scene and how technology plays a role in that. Someone needed to capture the people involved in Atlanta's visual arts movement and put it into contact as it emerges."
As he spouts off the names of artists whom he deems on the cusp of becoming national heavyweights in the visual arts world — including Fahamu Pecou (whose work is being exhibited in the Imagining New Worlds series at the High Museum), PaperFrank, Michael Rooks, Miya Bailey, and others — it's hard not to be swept up in his enthusiasm. After all, this is a guy who has not just established himself as an ambassador for getting Atlanta's arts scene recognized but also has long proven his own artistic talent runs deep.
After graduating with a B.F.A. in Illustration from Eastern Carolina University, Williams moved from his hometown of Fayetteville, N.C., to Atlanta in search of a job. He eventually ended up working for an L.A.-based company where he did web design and found success as a commercial illustrator for several HBO shows.
"The design money was great, but there was something internally that I wanted to express," he remembers. "I started to have a philosophical disagreement with advertisement in general. I started to delve into the fine arts to give my soul a break. That's how I ended up where I am now — 80 percent fine art and 20 percent advertising."
With the World Wide Arts Federation competitions which featured "battles" between contemporary visual artists of William's choosing, styled after a wrestling match with elements of a hip-hop rap battle, Williams declared his eye for recognizing talent and his flair for the dramatic, as he would always don a cape and completely cover his face with mask for each event. But it's Williams' Race Card series, which features prominent players in American politics such as Bill O'Reilly and Al Sharpton, that clarified his ability to merge strong sociopolitical sentiments with humor.
"Humor is a way to deal with difficult situations without crying," he says. "I use humor as a way to disarm the seriousness of the issue, so my work is just a reflection of my mentality. I'm kind of a smart-ass so that translates."
Currently, Williams' Dungeon Family Pyramid is on display in Piedmont Park, a piece that he says was inspired by the Sistine Chapel stylings because he's a huge fan of the Renaissance period. And next up, he plans to unveil a new series of works called Contraption, using the Rube Goldberg machine ideology to take a deeper look at conspiracy theories using various mediums including sculpture, paint and video.
And as with all of Williams' work, the plan is to take you beyond observation and give you an experience. Doesn't get much cooler than that. 0,0,10 fabian.williams (itemId:470622 trackerid:9) 13887582 13082417 Fabian Williams channels "The Gossips" "
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Fabian Williams channels "The Gossips" Article
Tuesday March 31, 2015 04:00 AM EDT
Artist's latest work is a push to connect ATL's bubbling arts communities
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? Mozart fans are in luck. Not only is the Atlanta Opera preparing for a major production of the popular warhorse The Marriage of Figaro at the Cobb Energy Centre, April 4-12, but across town, the much smaller Capitol City Opera is preparing its own production of the lesser-known Mozart gem The Abduction from the Seraglio, March 27-29, at the Conant Performing Arts Center. We caught up with Catherine and Michael Giel, the company's music director, and conductor respectively, who along with Artistic Director Michael Nutter, are at the helm of Capitol City, to find out more about the show.?
? ?
? I read somewhere that this is the first Atlanta production of this work in 35 years. Why do you think it's been so long?
? Catherine Giel: There are probably a few reasons for that. It's not one of the better-known Mozart pieces, and other companies in town tend towards the bigger, better-known pieces that will sell more tickets. Our company likes to do those lesser-performed works. We think it's more interesting and gives our audience more diversity. And this is a great piece. It just doesn't get done very often.?
? ?
? I was also interested to read that supposedly the piece is about Mozart's wife. It must be strange to approach this piece as a married couple and in general: to work so intensely together.
? CG: Yeah, there's a rumor that the main character Constanza is based on Mozart's wife in real life. People ask us that all the time, what it's like to work in a such an intense, high-stress situation and then to have to come home and leave all that at work. We've gotten better at it. I think this is our fourth year doing opera together. We don't always agree. We've gotten better at communicating and compromising, as is necessary in every marriage.?
? ?
? Is that how you met, through music, working on an opera together?
? CG: We kind of did, not through working on an opera, but we were introduced by a mutual friend who was a chorus director. He thought we would get along well, so he introduced us.?
? ?
? What was the path that led you both to Capitol City?
? CG: For me it was a happy accident ... I started out as just the accompanist and eventually grew into being the music director. I brought Michael on because we needed a conductor. The conductor was Russell Young from Kennesaw State who sadly passed away from cancer. We found ourselves three weeks out from opening and we had no conductor. I pled with Michael to please rescue us. He did such a great job at the last minute, I said, "You can't ever leave now."?
? ?
? Michael Giel: I didn't have a background doing opera actually. Mine was mostly string/orchestral conducting. When they needed someone, I didn't want to do it because I didn't have the experience. I didn't really know how to talk with the singers or communicate with them. The first show we ever did was the hardest. It was quite terrifying. Now it's just kind of second nature. The more you do it, the more you learn. My scores are absolutely destroyed, I write so many notes in them. I can never really reuse them. If we ever did this show again, I'd probably have to start from scratch again with a new score. I'm a note-taker.
?
? ?
? Since even opera fans might be unfamiliar with the piece, do you each have a favorite moment from the show, something for audience members to look out for as particularly great?
? MG: I like the moment near the end where Pedrillo has this little romanza he does. He 's playing the lute: the singer simulates playing the lute, and the strings do it pizzacato. It's magical. I'm a conductor, but I'm also a string player. I'm a little bit jealous because I wish I could play it along with them. It's one of those reasons we play strings. I just like the throwback element of it. I like it when composers can restate or go back and reference another period like that. You can close your eyes and feel like you're not listening to Mozart, but to something older, something a few hundred years before Mozart. It's just awesome.?
? ?
? CG: For me the Act II finale is my favorite moment. It's the first time that all four of the principal characters are singing together. They're making their plans to escape, to do the actual abduction. Anyone who's familiar with Mozart operas will recognize some themes in there. He tends to borrow from his own works. You'll hear motifs that will be reminiscent of other operas, or rather he borrowed from this opera because Abduction is one of his earliest operas. Even to someone who's not familiar with this music, it will sound familiar: it's so typically Mozart. The Act II finale with all four singers is just an awesome moment.
?
? ?
? When people go to shows at the Conant Center, they typically bring food and wine to have before or after the performance on the picnic tables outside the theater. Do you have suggestions for wine or dinner ideas that pair particularly well with Abduction?
? CG: Well, Turkish delight ... But any food goes with Mozart really. Mozart will never give you indigestion.?
?
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? Mozart fans are in luck. Not only is the Atlanta Opera preparing for a major production of the popular warhorse ''[http://www.atlantaopera.org/calendar/view.aspx?id=43246875|The Marriage of Figaro]'' at the Cobb Energy Centre, April 4-12, but across town, the much smaller Capitol City Opera is preparing its own production of the lesser-known Mozart gem ''[http://www.ccityopera.org/performances/abduction|The Abduction from the Seraglio]'', March 27-29, at the Conant Performing Arts Center. We caught up with Catherine and Michael Giel, the company's music director, and conductor respectively, who along with Artistic Director Michael Nutter, are at the helm of Capitol City, to find out more about the show.?
? ?
? __I read somewhere that this is the first Atlanta production of this work in 35 years. Why do you think it's been so long?__
__? ____Catherine Giel:__ There are probably a few reasons for that. It's not one of the better-known Mozart pieces, and other companies in town tend towards the bigger, better-known pieces that will sell more tickets. Our company likes to do those lesser-performed works. We think it's more interesting and gives our audience more diversity. And this is a great piece. It just doesn't get done very often.?
? ?
? __I was also interested to read that supposedly the piece is about Mozart's wife. It must be strange to approach this piece as a married couple and in general: to work so intensely together.__
__? ____CG:__ Yeah, there's a rumor that the main character Constanza is based on Mozart's wife in real life. People ask us that all the time, what it's like to work in a such an intense, high-stress situation and then to have to come home and leave all that at work. We've gotten better at it. I think this is our fourth year doing opera together. We don't always agree. We've gotten better at communicating and compromising, as is necessary in every marriage.?
? ?
? __Is that how you met, through music, working on an opera together?__
__? ____CG:__ We kind of did, not through working on an opera, but we were introduced by a mutual friend who was a chorus director. He thought we would get along well, so he introduced us.?
? ?
? __What was the path that led you both to Capitol City?__
__? ____CG:__ For me it was a happy accident ... I started out as just the accompanist and eventually grew into being the music director. I brought Michael on because we needed a conductor. The conductor was Russell Young from Kennesaw State who sadly passed away from cancer. We found ourselves three weeks out from opening and we had no conductor. I pled with Michael to please rescue us. He did such a great job at the last minute, I said, "You can't ever leave now."?
? ?
? __Michael Giel:__ I didn't have a background doing opera actually. Mine was mostly string/orchestral conducting. When they needed someone, I didn't want to do it because I didn't have the experience. I didn't really know how to talk with the singers or communicate with them. The first show we ever did was the hardest. It was quite terrifying. Now it's just kind of second nature. The more you do it, the more you learn. My scores are absolutely destroyed, I write so many notes in them. I can never really reuse them. If we ever did this show again, I'd probably have to start from scratch again with a new score. I'm a note-taker.
?
? ?
? __Since even opera fans might be unfamiliar with the piece, do you each have a favorite moment from the show, something for audience members to look out for as particularly great?__
__? ____MG:__ I like the moment near the end where Pedrillo has this little ''romanza'' he does. He 's playing the lute: the singer simulates playing the lute, and the strings do it pizzacato. It's magical. I'm a conductor, but I'm also a string player. I'm a little bit jealous because I wish I could play it along with them. It's one of those reasons we play strings. I just like the throwback element of it. I like it when composers can restate or go back and reference another period like that. You can close your eyes and feel like you're not listening to Mozart, but to something older, something a few hundred years before Mozart. It's just awesome.?
? ?
? __CG: __For me the Act II finale is my favorite moment. It's the first time that all four of the principal characters are singing together. They're making their plans to escape, to do the actual abduction. Anyone who's familiar with Mozart operas will recognize some themes in there. He tends to borrow from his own works. You'll hear motifs that will be reminiscent of other operas, or rather he borrowed from this opera because ''Abduction'' is one of his earliest operas. Even to someone who's not familiar with this music, it will sound familiar: it's so typically Mozart. The Act II finale with all four singers is just an awesome moment.
?
? ?
? __When people go to shows at the Conant Center, they typically bring food and wine to have before or after the performance on the picnic tables outside the theater. Do you have suggestions for wine or dinner ideas that pair particularly well with ''__Abduction__''?__
__? ____CG:__ Well, Turkish delight ... But any food goes with Mozart really. Mozart will never give you indigestion.?
?
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? Mozart fans are in luck. Not only is the Atlanta Opera preparing for a major production of the popular warhorse The Marriage of Figaro at the Cobb Energy Centre, April 4-12, but across town, the much smaller Capitol City Opera is preparing its own production of the lesser-known Mozart gem The Abduction from the Seraglio, March 27-29, at the Conant Performing Arts Center. We caught up with Catherine and Michael Giel, the company's music director, and conductor respectively, who along with Artistic Director Michael Nutter, are at the helm of Capitol City, to find out more about the show.?
? ?
? I read somewhere that this is the first Atlanta production of this work in 35 years. Why do you think it's been so long?
? Catherine Giel: There are probably a few reasons for that. It's not one of the better-known Mozart pieces, and other companies in town tend towards the bigger, better-known pieces that will sell more tickets. Our company likes to do those lesser-performed works. We think it's more interesting and gives our audience more diversity. And this is a great piece. It just doesn't get done very often.?
? ?
? I was also interested to read that supposedly the piece is about Mozart's wife. It must be strange to approach this piece as a married couple and in general: to work so intensely together.
? CG: Yeah, there's a rumor that the main character Constanza is based on Mozart's wife in real life. People ask us that all the time, what it's like to work in a such an intense, high-stress situation and then to have to come home and leave all that at work. We've gotten better at it. I think this is our fourth year doing opera together. We don't always agree. We've gotten better at communicating and compromising, as is necessary in every marriage.?
? ?
? Is that how you met, through music, working on an opera together?
? CG: We kind of did, not through working on an opera, but we were introduced by a mutual friend who was a chorus director. He thought we would get along well, so he introduced us.?
? ?
? What was the path that led you both to Capitol City?
? CG: For me it was a happy accident ... I started out as just the accompanist and eventually grew into being the music director. I brought Michael on because we needed a conductor. The conductor was Russell Young from Kennesaw State who sadly passed away from cancer. We found ourselves three weeks out from opening and we had no conductor. I pled with Michael to please rescue us. He did such a great job at the last minute, I said, "You can't ever leave now."?
? ?
? Michael Giel: I didn't have a background doing opera actually. Mine was mostly string/orchestral conducting. When they needed someone, I didn't want to do it because I didn't have the experience. I didn't really know how to talk with the singers or communicate with them. The first show we ever did was the hardest. It was quite terrifying. Now it's just kind of second nature. The more you do it, the more you learn. My scores are absolutely destroyed, I write so many notes in them. I can never really reuse them. If we ever did this show again, I'd probably have to start from scratch again with a new score. I'm a note-taker.
?
? ?
? Since even opera fans might be unfamiliar with the piece, do you each have a favorite moment from the show, something for audience members to look out for as particularly great?
? MG: I like the moment near the end where Pedrillo has this little romanza he does. He 's playing the lute: the singer simulates playing the lute, and the strings do it pizzacato. It's magical. I'm a conductor, but I'm also a string player. I'm a little bit jealous because I wish I could play it along with them. It's one of those reasons we play strings. I just like the throwback element of it. I like it when composers can restate or go back and reference another period like that. You can close your eyes and feel like you're not listening to Mozart, but to something older, something a few hundred years before Mozart. It's just awesome.?
? ?
? CG: For me the Act II finale is my favorite moment. It's the first time that all four of the principal characters are singing together. They're making their plans to escape, to do the actual abduction. Anyone who's familiar with Mozart operas will recognize some themes in there. He tends to borrow from his own works. You'll hear motifs that will be reminiscent of other operas, or rather he borrowed from this opera because Abduction is one of his earliest operas. Even to someone who's not familiar with this music, it will sound familiar: it's so typically Mozart. The Act II finale with all four singers is just an awesome moment.
?
? ?
? When people go to shows at the Conant Center, they typically bring food and wine to have before or after the performance on the picnic tables outside the theater. Do you have suggestions for wine or dinner ideas that pair particularly well with Abduction?
? CG: Well, Turkish delight ... But any food goes with Mozart really. Mozart will never give you indigestion.?
?
"Mozart" "Conant Center" "Capitol City Opera" "Abduction from the Seraglio" 13842654 13082338 Critic's Notebook: The Giels of Capitol City prepare for Mozart's 'Abduction' "
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Critic's Notebook: The Giels of Capitol City prepare for Mozart's 'Abduction' Article
Wednesday March 25, 2015 12:45 PM EDT
First full Atlanta production in 35 years
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? Viva Las Vegas, hooray for Hollywood ... and Chicago, that toddlin' town. ?
? ?
Well, Chicago probably needs a little work on its catch phrase, but nonetheless, we've been cheering along this month as some of our favorite Atlanta artists take their work on the road. ?? ?
Lauri Stallings' dance company http://www.gloatl.org/gloATL is in Las Vegas this week as Stallings has been chosen to create a new work for glo and Cirque du Soleil artists as part of Cirque du Soleil Founder Guy Laliberté’s Annual Las Vegas fundraiser One Night for One Drop on March 20 at the Mirage Hotel. When the dancers return to Atlanta, they won't be here for long: Stallings and her company will be creating an installation for New York's Central Park entitled And all directions I come to you premiering May 15. The work, part of Creative Time's Art in Central Park, will run through the end of June and includes a comprehensive catalogue of public initiatives throughout the city. ?? ?
In Chicago, Atlanta playwright Topher Payne's play Angry Fags is having its regional premiere at the prestigious Steppenwolf as part of that theater's Garage series, running through April 26. The provocative play, which certainly had Atlanta talking when it had its world premiere at 7 Stages in 2013, has Chicago talking, as well. Payne is now on his way to Anchorage, AK., for the regional premiere of his show Perfect Arrangement. Check out Keely L. Herrick's http://clatl.com/atlanta/topher-payne-takes-his-shows-on-the-road/Content?oid=13782163profile on Payne and his travels in this week's Loaf. ?? ?
And in Hollywood, Atlanta's favorite drag queen with an 18-inch corseted waist, [http://violetchachki.tumblr.com/|Violet Chachki], is providing some pretty sickening (in drag terms, sickening is good btw) competition on "[http://www.logotv.com/shows/rupauls_drag_race/season_7/series.jhtml]." Only three episodes in, and she's already got a reputation as the reigning queen of mean. That's not especially easy to do on a show that features the nation's fiercest drag queens in competition. The show airs on Logo on Monday nights, but through the magic of television, all the episodes have already been taped so Chachki herself is able to host a weekly viewing party right here in the ATL at Mary's, which is obviously the coolest most sickening most toddlin' place to be on Monday nights.??
"
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? Viva Las Vegas, hooray for Hollywood ... and Chicago, that toddlin' town. ?
? ?
Well, Chicago probably needs a little work on its [http://en.wikipedia.org/wiki/Chicago_(That_Toddlin'_Town)|catch phrase], but nonetheless, we've been cheering along this month as some of our favorite Atlanta artists take their work on the road. ?? ?
Lauri Stallings' dance company [http://www.gloatl.org/|][http://www.gloatl.org/|gloATL] is in Las Vegas this week as Stallings has been chosen to create a new work for glo and Cirque du Soleil artists as part of Cirque du Soleil Founder Guy Laliberté’s Annual Las Vegas fundraiser ''[http://onenight.onedrop.org/en/|One Night for One Drop]'' on March 20 at the Mirage Hotel. When the dancers return to Atlanta, they won't be here for long: Stallings and her company will be [http://clatl.com/freshloaf/archives/2015/02/11/gloatls-lauri-stallings-receives-commission-for-creative-time-exhibition-in-nyc|creating an installation for New York's Central Park] entitled ''And all directions I come to you'' premiering May 15. The work, part of [http://creativetime.org/projects/drifting-in-daylight/|Creative Time's Art in Central Park], will run through the end of June and includes a comprehensive catalogue of public initiatives throughout the city. ?? ?
In Chicago, Atlanta playwright Topher Payne's play ''[http://www.steppenwolf.org/Plays-Events/productions/index.aspx?id=636|Angry Fags]'' is having its regional premiere at the prestigious Steppenwolf as part of that theater's Garage series, running through April 26. The provocative play, which certainly had Atlanta talking when it had its [http://clatl.com/atlanta/topher-payne-is-getting-angry/Content?oid=7536480|world premiere at 7 Stages in 2013], has [http://www.stageandcinema.com/2015/03/09/angry-fags/|Chicago talking], as well. Payne is now on his way to Anchorage, AK., for the regional premiere of his show ''Perfect Arrangement''. Check out Keely L. Herrick's [http://clatl.com/atlanta/topher-payne-takes-his-shows-on-the-road/Content?oid=13782163|][http://clatl.com/atlanta/topher-payne-takes-his-shows-on-the-road/Content?oid=13782163|profile on Payne and his travels] in this week's ''Loaf''. ?? ?
And in Hollywood, Atlanta's favorite drag queen with an 18-inch corseted waist, [http://violetchachki.tumblr.com/|[http://clatl.com/atlanta/drag-face/Content?oid=9655389|Violet Chachki]], is providing some pretty sickening (in drag terms, [http://www.urbandictionary.com/define.php?term=sickening|sickening is good] btw) competition on "[http://www.logotv.com/shows/rupauls_drag_race/season_7/series.jhtml|[http://www.logotv.com/shows/rupauls_drag_race/season_7/series.jhtml|RuPaul's Drag Race]]." Only three episodes in, and she's already got a reputation as the reigning queen of mean. That's not especially easy to do on a show that features the nation's fiercest drag queens in competition. The show airs on Logo on Monday nights, but through the magic of television, all the episodes have already been taped so Chachki herself is able to host a [https://www.timeout.com/atlanta/events/official-rupaul-s-drag-race-viewing-party-ft-violet-chachki|weekly viewing party right here in the ATL at Mary's,] which is obviously --the coolest-- --most sickening-- most toddlin' place to be on Monday nights.??
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? Viva Las Vegas, hooray for Hollywood ... and Chicago, that toddlin' town. ?
? ?
Well, Chicago probably needs a little work on its catch phrase, but nonetheless, we've been cheering along this month as some of our favorite Atlanta artists take their work on the road. ?? ?
Lauri Stallings' dance company http://www.gloatl.org/gloATL is in Las Vegas this week as Stallings has been chosen to create a new work for glo and Cirque du Soleil artists as part of Cirque du Soleil Founder Guy Laliberté’s Annual Las Vegas fundraiser One Night for One Drop on March 20 at the Mirage Hotel. When the dancers return to Atlanta, they won't be here for long: Stallings and her company will be creating an installation for New York's Central Park entitled And all directions I come to you premiering May 15. The work, part of Creative Time's Art in Central Park, will run through the end of June and includes a comprehensive catalogue of public initiatives throughout the city. ?? ?
In Chicago, Atlanta playwright Topher Payne's play Angry Fags is having its regional premiere at the prestigious Steppenwolf as part of that theater's Garage series, running through April 26. The provocative play, which certainly had Atlanta talking when it had its world premiere at 7 Stages in 2013, has Chicago talking, as well. Payne is now on his way to Anchorage, AK., for the regional premiere of his show Perfect Arrangement. Check out Keely L. Herrick's http://clatl.com/atlanta/topher-payne-takes-his-shows-on-the-road/Content?oid=13782163profile on Payne and his travels in this week's Loaf. ?? ?
And in Hollywood, Atlanta's favorite drag queen with an 18-inch corseted waist, [http://violetchachki.tumblr.com/|Violet Chachki], is providing some pretty sickening (in drag terms, sickening is good btw) competition on "[http://www.logotv.com/shows/rupauls_drag_race/season_7/series.jhtml]." Only three episodes in, and she's already got a reputation as the reigning queen of mean. That's not especially easy to do on a show that features the nation's fiercest drag queens in competition. The show airs on Logo on Monday nights, but through the magic of television, all the episodes have already been taped so Chachki herself is able to host a weekly viewing party right here in the ATL at Mary's, which is obviously the coolest most sickening most toddlin' place to be on Monday nights.??
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Critic's Notebook: Atlanta artists on the move Article
Wednesday March 18, 2015 10:15 AM EDT
Stallings, Chachki and Payne toddle off for major gigs in Las Vegas, Hollywood and Chicago
|
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