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string(4082) "Art and couture tend to occupy their own distinct spaces, but beginning this month gloATL and the Paper-Cut-Project will combine both worlds into one suite meant to explore how public interaction influences how art is perceived.
The Paper-Cut-Project features the notable work of Nikki Nye and Amy Flurry, whose collaboration creates gestures that will soon disappear. By transforming sheets of paper into elaborate hair sculptures with various textures and shadows from every angle, they use their large-scale paper installations to highlight human behavior.
gloATL choreographer Lauri Stallings describes the nearly four-month-long project as a "tableaux vivants," in regard to the living pictures she's known for creating. Non-verbal communication, dance, and human gesture will serve as the vessel for this message throughout the moving exhibit.
The Paper-Cut-Project will use mannequins to exhibit their work outside the walls of a museum or window display for the first time. And the dancers of gloATL will interact with the audience in choreographed migrations, while wearing six different hair installations inspired by human behavior. The exhibition is divided into two phases: "The Romantic Body," which entails public performances in the historic West End, Midtown, Roswell, and Westside; and "The Fourth Body," a two-month performance exhibition at MOCA GA starting Sept. 27.
The Atlanta-based duo has acquired commissions with major fashion houses such as Hermès and Kate Spade since 2009, in addition to showing their work in Italian Vogue, the New York Times, and museums abroad. Nye and Flurry spoke to Creative Loafing about their collaboration with gloATL.
How did your collaboration with Lauri Stallings and gloATL come about?
We were introduced to Lauri Stallings by a mutual friend a few years back and have since been waiting for the right project and timing for a collaboration. In early spring she approached us with the idea for gestures. With the exception of the runway, our work has mostly been displayed in a static way, on mannequins, and it is a challenge designing for such an active performance.
The exhibition explores human interaction and body gestures. How did you combine the idea of public dance and paper installations into one exhibition?
The direction really comes from Lauri. As she explained, her "tableau vivantes" really experiment with the notion of sustaining the interaction with the audience to earn longer viewing times to experience or experiment with the work. The engagement with our paper pieces might bide even a little more time.
Your sculptures often have layer upon layer of paper, involving many work hours. How long did it take you to work on the sculptures for gestures that will soon disappear?
There were a few different thoughts floating around for the concept of gestures. We focused mostly on the words "layered" and "density," and took great care to keep in mind the movement that will be happening as the pieces are worn. We also worked to give great mass from all angles.
Do you all often work together on one piece or various ones at the same time?
The process always begins by creating the underlying structure and usually Nikki, our lead designer, is engineering this while I am working on a texture or secondary cuts for the same piece. Because there are so many stages and so many cuts for every piece, we are generally working on different components of the same piece at the same time.
What can people expect from the exhibition and the public gloATL component?
We will complete a total of six pieces, each piece being revealed at different stages of the migration from the urban spaces until they are exhibited at MOCA.
What's next for you all?
We're kicking around the idea of a book, prints of our collections. We've completed 15 collections, each with dozens of pieces, for international brands including Valentino, Cartier, Christie's, La Mer, the Victoria and Albert Museum, and Hermès. We're beginning to feel there are enough pieces now to comprise a beautiful image-driven book."
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The Paper-Cut-Project features the notable work of Nikki Nye and Amy Flurry, whose collaboration creates ''gestures that will soon disappear''. By transforming sheets of paper into elaborate hair sculptures with various textures and shadows from every angle, they use their large-scale paper installations to highlight human behavior.
gloATL choreographer Lauri Stallings describes the nearly four-month-long project as a "tableaux vivants," in regard to the living pictures she's known for creating. Non-verbal communication, dance, and human gesture will serve as the vessel for this message throughout the moving exhibit.
The Paper-Cut-Project will use mannequins to exhibit their work outside the walls of a museum or window display for the first time. And the dancers of gloATL will interact with the audience in choreographed migrations, while wearing six different hair installations inspired by human behavior. The exhibition is divided into two phases: "The Romantic Body," which entails public performances in the historic West End, Midtown, Roswell, and Westside; and "The Fourth Body," a two-month performance exhibition at MOCA GA starting Sept. 27.
The Atlanta-based duo has acquired commissions with major fashion houses such as Hermès and Kate Spade since 2009, in addition to showing their work in Italian ''Vogue'', the ''New York Times'', and museums abroad. Nye and Flurry spoke to ''Creative Loafing'' about their collaboration with gloATL.
__How did your collaboration with Lauri Stallings and gloATL come about?__
We were introduced to Lauri Stallings by a mutual friend a few years back and have since been waiting for the right project and timing for a collaboration. In early spring she approached us with the idea for ''gestures''. With the exception of the runway, our work has mostly been displayed in a static way, on mannequins, and it is a challenge designing for such an active performance.
__The exhibition explores human interaction and body gestures. How did you combine the idea of public dance and paper installations into one exhibition?__
The direction really comes from Lauri. As she explained, her "tableau vivantes" really experiment with the notion of sustaining the interaction with the audience to earn longer viewing times to experience or experiment with the work. The engagement with our paper pieces might bide even a little more time.
__Your sculptures often have layer upon layer of paper, involving many work hours. How long did it take you to work on the sculptures for ''gestures that will soon disappear''?__
There were a few different thoughts floating around for the concept of ''gestures''. We focused mostly on the words "layered" and "density," and took great care to keep in mind the movement that will be happening as the pieces are worn. We also worked to give great mass from all angles.
__Do you all often work together on one piece or various ones at the same time?__
The process always begins by creating the underlying structure and usually Nikki, our lead designer, is engineering this while I am working on a texture or secondary cuts for the same piece. Because there are so many stages and so many cuts for every piece, we are generally working on different components of the same piece at the same time.
__What can people expect from the exhibition and the public gloATL component?__
We will complete a total of six pieces, each piece being revealed at different stages of the migration from the urban spaces until they are exhibited at MOCA.
__What's next for you all?__
We're kicking around the idea of a book, prints of our collections. We've completed 15 collections, each with dozens of pieces, for international brands including Valentino, Cartier, Christie's, La Mer, the Victoria and Albert Museum, and Hermès. We're beginning to feel there are enough pieces now to comprise a beautiful image-driven book."
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The Paper-Cut-Project features the notable work of Nikki Nye and Amy Flurry, whose collaboration creates gestures that will soon disappear. By transforming sheets of paper into elaborate hair sculptures with various textures and shadows from every angle, they use their large-scale paper installations to highlight human behavior.
gloATL choreographer Lauri Stallings describes the nearly four-month-long project as a "tableaux vivants," in regard to the living pictures she's known for creating. Non-verbal communication, dance, and human gesture will serve as the vessel for this message throughout the moving exhibit.
The Paper-Cut-Project will use mannequins to exhibit their work outside the walls of a museum or window display for the first time. And the dancers of gloATL will interact with the audience in choreographed migrations, while wearing six different hair installations inspired by human behavior. The exhibition is divided into two phases: "The Romantic Body," which entails public performances in the historic West End, Midtown, Roswell, and Westside; and "The Fourth Body," a two-month performance exhibition at MOCA GA starting Sept. 27.
The Atlanta-based duo has acquired commissions with major fashion houses such as Hermès and Kate Spade since 2009, in addition to showing their work in Italian Vogue, the New York Times, and museums abroad. Nye and Flurry spoke to Creative Loafing about their collaboration with gloATL.
How did your collaboration with Lauri Stallings and gloATL come about?
We were introduced to Lauri Stallings by a mutual friend a few years back and have since been waiting for the right project and timing for a collaboration. In early spring she approached us with the idea for gestures. With the exception of the runway, our work has mostly been displayed in a static way, on mannequins, and it is a challenge designing for such an active performance.
The exhibition explores human interaction and body gestures. How did you combine the idea of public dance and paper installations into one exhibition?
The direction really comes from Lauri. As she explained, her "tableau vivantes" really experiment with the notion of sustaining the interaction with the audience to earn longer viewing times to experience or experiment with the work. The engagement with our paper pieces might bide even a little more time.
Your sculptures often have layer upon layer of paper, involving many work hours. How long did it take you to work on the sculptures for gestures that will soon disappear?
There were a few different thoughts floating around for the concept of gestures. We focused mostly on the words "layered" and "density," and took great care to keep in mind the movement that will be happening as the pieces are worn. We also worked to give great mass from all angles.
Do you all often work together on one piece or various ones at the same time?
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What can people expect from the exhibition and the public gloATL component?
We will complete a total of six pieces, each piece being revealed at different stages of the migration from the urban spaces until they are exhibited at MOCA.
What's next for you all?
We're kicking around the idea of a book, prints of our collections. We've completed 15 collections, each with dozens of pieces, for international brands including Valentino, Cartier, Christie's, La Mer, the Victoria and Albert Museum, and Hermès. We're beginning to feel there are enough pieces now to comprise a beautiful image-driven book. 11566725 13078941 A fashionable 'gesture' "
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A fashionable 'gesture' Article
Friday July 4, 2014 04:00 AM EDT
The Paper-Cut-Project collaborates with gloATL in new exhibition
|
more...
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This Friday marks the 238th anniversary of the United States' Declaration of Independence, but there's actually another upcoming anniversary that's well worth celebrating this weekend, as well: The Beatles film A Hard Day's Night turns 50 on July 6. You can commemorate it by checking out a newly restored version of the classic at Atlanta's historic Plaza Theatre, July 4-10. Happy Fourth... and Happy Hard Day's Night!"
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This Friday marks the 238th anniversary of the United States' Declaration of Independence, but there's actually another upcoming anniversary that's well worth celebrating this weekend, as well: The Beatles film A Hard Day's Night turns 50 on July 6. You can commemorate it by checking out a newly restored version of the classic at Atlanta's historic Plaza Theatre, July 4-10. Happy Fourth... and Happy Hard Day's Night! "The Beatles" "Plaza Theatre" "A Hard Day's Night" 11526951 13078903 Critic's Notebook: A Hard Day's Half-Century "
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Critic's Notebook: A Hard Day's Half-Century Article
Tuesday July 1, 2014 04:04 PM EDT
The Beatles classic celebrates 50 years
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string(3784) "For artists Jessica Scott-Felder and Jessica Wohl the collaborative exhibition Defiant Providers is the result of being able to find a common root in their work. Both artists use drawings and collages to show those underrepresented in the workplace with a focus on the self-employed and women.
"We focused our concepts on the defiant actions taken by women and people of color in order to have equal access to opportunities in both personal and professional aspects of society," says Scott-Felder, a Hambidge artist-in-residence and professor at Spelman College.
Wohl, originally trained as an illustrator, spends her time making collages and teaching art at the University of the South in Tennessee. Both artists spoke to Creative Loafing about working together at the gallery and using the underrepresented as inspiration.
Did you collaborate throughout the show or did you work separately?
Jessica Scott-Felder: Jessica [Whol] and I were excited to be working in a gallery that was once a home. As artists that utilized furniture, photographs, and installation, we saw the house as a point of departure for ideas. In order to achieve synchronicity, we worked separately yet kept in contact for several months over the phone and through email. We shared monthly updates on ideas we were exploring individually. Eventually there was an "unveiling" of what we created a few weeks before the show. Jessica and I exchanged ideas on similarities and contrasts that we saw in the work. We decided to embrace the similarities. Looking back at our email correspondences, I find the idea of having the written exchanges valuable as a written history of our process.
Jessica Wohl: We arranged the space within the show together. We actually had plans for a collaborative piece, but our idea for this work was rooted in the work we originally conceived of, not the work we actually ended up producing, so I think we're going to table that collaboration for another time.
Jessica Wohl, the women are often depicted as strong in your work. How did you incorporate your work into this concept of the underrepresented?
JW: As I collaged images of household items and body parts that I gathered from magazines like Better Homes and Gardens, Women's Day, and Hustler, I noticed I very strongly had an aversion to using a woman's face (eyes and mouth specifically) and became much more interested in how these feminine creatures were getting their strength. I liked the idea that we don't need our most sexualized or "beautiful" parts to be strong and threatening. That these women-creatures started to gain their strength from domestic items like kitchen utensils was compelling to me, especially because many of the magazines I was looking through most often portrayed women as homemakers or objects of desire. I actually see these works as ways of working out the things I think about in my own life. I think a lot about how we can do it all, should we do it all, and if we can't do it all, what do we sacrifice?
Jessica Scott-Fedler, your work seems to come more from a self-employed perspective. Did you draw from personal experience for your work?
JSF: Being an artist is very entrepreneurial, as the artist has to develop a business plan in addition to working in the studio. I find my grandfather's story as a businessowner insightful. I have been drawing from ancestral narratives based on stories passed down from family members and historical documentation. I am working from oral histories shared by elders, such as stories told after dinner or various community gatherings. However, the more that I uncover through research I find that many narratives reveal a multi-layered history relating to culture and race, in particular the racial terrains of the South."
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string(3899) "For artists [http://www.jessicascottfelder.com|Jessica Scott-Felder] and [http://www.jessicawohl.com/|Jessica Wohl] the collaborative exhibition ''Defiant Providers'' is the result of being able to find a common root in their work. Both artists use drawings and collages to show those underrepresented in the workplace with a focus on the self-employed and women.
"We focused our concepts on the defiant actions taken by women and people of color in order to have equal access to opportunities in both personal and professional aspects of society," says Scott-Felder, a Hambidge artist-in-residence and professor at Spelman College.
Wohl, originally trained as an illustrator, spends her time making collages and teaching art at the University of the South in Tennessee. Both artists spoke to ''Creative Loafing'' about working together at the gallery and using the underrepresented as inspiration.
__Did you collaborate throughout the show or did you work separately?__
__Jessica Scott-Felder__: Jessica [[Whol] and I were excited to be working in a gallery that was once a home. As artists that utilized furniture, photographs, and installation, we saw the house as a point of departure for ideas. In order to achieve synchronicity, we worked separately yet kept in contact for several months over the phone and through email. We shared monthly updates on ideas we were exploring individually. Eventually there was an "unveiling" of what we created a few weeks before the show. Jessica and I exchanged ideas on similarities and contrasts that we saw in the work. We decided to embrace the similarities. Looking back at our email correspondences, I find the idea of having the written exchanges valuable as a written history of our process.
__Jessica Wohl__: We arranged the space within the show together. We actually had plans for a collaborative piece, but our idea for this work was rooted in the work we originally conceived of, not the work we actually ended up producing, so I think we're going to table that collaboration for another time.
__Jessica Wohl, the women are often depicted as strong in your work. How did you incorporate your work into this concept of the underrepresented?__
__JW__: As I collaged images of household items and body parts that I gathered from magazines like ''Better Homes and Gardens'', ''Women's Day'', and ''Hustler'', I noticed I very strongly had an aversion to using a woman's face (eyes and mouth specifically) and became much more interested in how these feminine creatures were getting their strength. I liked the idea that we don't need our most sexualized or "beautiful" parts to be strong and threatening. That these women-creatures started to gain their strength from domestic items like kitchen utensils was compelling to me, especially because many of the magazines I was looking through most often portrayed women as homemakers or objects of desire. I actually see these works as ways of working out the things I think about in my own life. I think a lot about how we can do it all, should we do it all, and if we can't do it all, what do we sacrifice?
__Jessica Scott-Fedler, your work seems to come more from a self-employed perspective. Did you draw from personal experience for your work?__
__JSF__: Being an artist is very entrepreneurial, as the artist has to develop a business plan in addition to working in the studio. I find my grandfather's story as a businessowner insightful. I have been drawing from ancestral narratives based on stories passed down from family members and historical documentation. I am working from oral histories shared by elders, such as stories told after dinner or various community gatherings. However, the more that I uncover through research I find that many narratives reveal a multi-layered history relating to culture and race, in particular the racial terrains of the South."
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string(4130) " Collaborative exhibition explores the struggle to provide for family 2014-06-30T08:00:00+00:00 Artists Jessica Wohl and Jessica Scott-Felder talk being 'Defiant' ben.eason Ben Eason Muriel Vega 2014-06-30T08:00:00+00:00 For artists Jessica Scott-Felder and Jessica Wohl the collaborative exhibition Defiant Providers is the result of being able to find a common root in their work. Both artists use drawings and collages to show those underrepresented in the workplace with a focus on the self-employed and women.
"We focused our concepts on the defiant actions taken by women and people of color in order to have equal access to opportunities in both personal and professional aspects of society," says Scott-Felder, a Hambidge artist-in-residence and professor at Spelman College.
Wohl, originally trained as an illustrator, spends her time making collages and teaching art at the University of the South in Tennessee. Both artists spoke to Creative Loafing about working together at the gallery and using the underrepresented as inspiration.
Did you collaborate throughout the show or did you work separately?
Jessica Scott-Felder: Jessica [Whol] and I were excited to be working in a gallery that was once a home. As artists that utilized furniture, photographs, and installation, we saw the house as a point of departure for ideas. In order to achieve synchronicity, we worked separately yet kept in contact for several months over the phone and through email. We shared monthly updates on ideas we were exploring individually. Eventually there was an "unveiling" of what we created a few weeks before the show. Jessica and I exchanged ideas on similarities and contrasts that we saw in the work. We decided to embrace the similarities. Looking back at our email correspondences, I find the idea of having the written exchanges valuable as a written history of our process.
Jessica Wohl: We arranged the space within the show together. We actually had plans for a collaborative piece, but our idea for this work was rooted in the work we originally conceived of, not the work we actually ended up producing, so I think we're going to table that collaboration for another time.
Jessica Wohl, the women are often depicted as strong in your work. How did you incorporate your work into this concept of the underrepresented?
JW: As I collaged images of household items and body parts that I gathered from magazines like Better Homes and Gardens, Women's Day, and Hustler, I noticed I very strongly had an aversion to using a woman's face (eyes and mouth specifically) and became much more interested in how these feminine creatures were getting their strength. I liked the idea that we don't need our most sexualized or "beautiful" parts to be strong and threatening. That these women-creatures started to gain their strength from domestic items like kitchen utensils was compelling to me, especially because many of the magazines I was looking through most often portrayed women as homemakers or objects of desire. I actually see these works as ways of working out the things I think about in my own life. I think a lot about how we can do it all, should we do it all, and if we can't do it all, what do we sacrifice?
Jessica Scott-Fedler, your work seems to come more from a self-employed perspective. Did you draw from personal experience for your work?
JSF: Being an artist is very entrepreneurial, as the artist has to develop a business plan in addition to working in the studio. I find my grandfather's story as a businessowner insightful. I have been drawing from ancestral narratives based on stories passed down from family members and historical documentation. I am working from oral histories shared by elders, such as stories told after dinner or various community gatherings. However, the more that I uncover through research I find that many narratives reveal a multi-layered history relating to culture and race, in particular the racial terrains of the South. 11496727 13078875 Artists Jessica Wohl and Jessica Scott-Felder talk being 'Defiant' "
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Artists Jessica Wohl and Jessica Scott-Felder talk being 'Defiant' Article
Monday June 30, 2014 04:00 AM EDT
Collaborative exhibition explores the struggle to provide for family
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*Courtesy Galatea Project
*SUIT YOURSELF: The Galatea Project uses a wireless electromyography smart suit that captures a dancer's muscle movement, brain waves and heart rate, allowing the performer to influence the lighting and sound. The performance this weekend at Atlanta's Skwirlhaus venue is just one of the many offerings this unusually busy June.
Summer is usually a quiet, restful time on the Atlanta arts scene, but apparently no one got the memo this year. As summer is kicking into high gear in the city, so are the arts. Here's a sampling of what I mean, a few shows and events that will be especially worth catching this weekend:
? ? jump?
*Courtesy Harlem Fine Arts Show
*Leroy Campbell, Accomplishments.
A newly revamped National Black Arts Festival kicks off with its first big event, an opening reception and benefit for the Harlem Fine Arts Show, an exhibition of works by African-American artists from around the country. For the past five years, HFAS has showcased emerging and established artists in an annual exhibition at Harlem's historic Riverside Church. This is the first year that the show has gone on the road, and the event space at 200 Peachtree Street (the former Davison's downtown department store at the corner of Peachtree and Ellis) will be one of its first stops. The ticketed reception is tonight, with the exhibition running all weekend, through June 29. For more information, visit the NBAF.
Famed Atlanta gallerist Fay Gold has a new exhibition opening this weekend. Titled The World According to Consumerism, the group show curated by Susan Knippenberg will present the work of ten emerging Atlanta artists riffing on the theme of consumerism. The opening reception is tonight, from 6-9 p.m., at the Westside Cultural Arts Center, and the show runs through July 28. Also opening this weekend is Whitespace gallery's exhibition of new work by Nashville-based artist Adrienne Outlaw.
Dancers usually respond to music, basing their movement on what they hear. But what if a dance could be created the other way around? Could a dancer's movement somehow create the soundscape? That's the idea behind the sound suit created for the dance performance Galatea. Built by a team led by musician, engineer, and artist C.D. Howe, the project consists of a wireless electromyography smart suit that "allows for compositional influence over sound and light through a dancers movement." Viewers can take a look for themselves when the suit is worn by dancer and choreographer Samantha Tankersley during a performance of Galatea at Skwirlhaus, a unique outdoor venue for contemporary dance in an oak-shaded backyard in Atlanta's Kirkwood neighborhood. Performances are Fri. and Sat., June 27-28, at 327 Sisson Ave., at 9 p.m. For more information, visit Skwirlhaus.
The Lucky Penny ends its week-long residency at the black box theater at Emory's Schwartz Center with a showcase in that space on Sat., June 28, at 5 p.m. I was lucky enough to catch visiting artists Kelly Bond and Melissa Krodman who performed their creepy, funny, whip-smart work Colony at the beginning of the residency last week. The two singular sensations will be presenting and discussing new work alongside the other artists who participated in the residency at the showcase on Saturday. There will also be a sneak preview of the Lucky Penny's upcoming work Dearly Departures, which premieres in late July.
The Atlanta Symphony performs a free concert in Piedmont Park tonight, and if you didn't manage to get tickets (they're all gone now, sorry), you might check out something on a smaller scale: contemporary chamber music from Chamber Cartel at the Goat Farm Arts Center on Sat., June 28, at 8 p.m. With guest artist, soprano Stephanie Aston, the group will perform major works of the 21st century: "Tongues" by Jason Eckardt and "The Brightest Form of Absence" by Hans Thomalla. "Tongues," while sung is vacant of words and instead deconstructs language as an exercise in phonetics ... Hans Thomalla's "The Brightest Form of Absence" is a 30-minute tour de force for a 13-person ensemble, incorporating an electronic track and videos as a part of the composition. The suggested donation is $10.
*Courtesy Saints of an Unnamed Country
*MANY MOONS: "The Emperor and the Moon" will be performed this weekend at the Big House on Ponce.
I'm intrigued by the sound of the new play The Emperor and the Moon, which will be performed at the Big House on Ponce (368 Ponce de Leon Ave.) by the theater company Saints of an Unnamed Country, tonight thru Sunday, at 9 p.m. Tickets are $10 at the door. The group creates original plays combining poetry, wooden masks, folk music, and ancient mythology. The new play tells the story of an emperor "haunted by a recurring dream as he decays in his throne room." For more info, visit the Big House on Ponce.
Summer is a great time for the movies, and there are a couple cinema events that are of special interest this weekend. The Royal Opera House will re-broadcast its production of La Traviata starring Renée Fleming and Joseph Calleja at the Landmark Midtown Art Cinema on Sat., June 28, at 11 a.m. Britain's National Theatre will re-broadcast its production of the theatrical version of the bestselling novel The Curious Incident of the Dog in the Night-Time at the Landmark at 11 a.m. on Sun., June 29. Also not to be missed at the movies this weekend is a screening of The Wizard of Oz at the [http://ev10.evenue.net/cgi-bin/ncommerce3/SEGetEventList?groupCode=WIZ&linkID=fta&shopperContext=&caller=&appCode=#utma=193113138.2036713630.1398464235.1403628976.1403646096.3&utmb=193113138.2.10.1403646096&utmc=193113138&utmx=-&utmz=193113138.1403646096.3.3.utmcsr=google|utmccn=(organic)|utmcmd=organic|utmctr=wizard of oz fox theater atlanta&utmv=-&__utmk=25229949|Fox Theater] at 2 p.m. on Sunday. If that leaves you in mood for more wizard, it will be worth the trip down to Serenbe Playhouse to check out their outdoor theatrical production of Oz, performed runway-style on a long Yellow Brick Road in the woods.
"
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*Courtesy Galatea Project
*SUIT YOURSELF: The Galatea Project uses a wireless electromyography smart suit that captures a dancer's muscle movement, brain waves and heart rate, allowing the performer to influence the lighting and sound. The performance this weekend at Atlanta's Skwirlhaus venue is just one of the many offerings this unusually busy June.
Summer is usually a quiet, restful time on the Atlanta arts scene, but apparently no one got the memo this year. As summer is kicking into high gear in the city, so are the arts. Here's a sampling of what I mean, a few shows and events that will be especially worth catching this weekend:
? ? [jump]?
{img src="https://media2.fdncms.com/atlanta/imager/leroy-campbell-accomplishments/u/original/11469440/1403645270-leroy_campbell_accomplishments._courtesy_of_the_harlem_fine_arts_show.jpg"}
*Courtesy Harlem Fine Arts Show
*Leroy Campbell, Accomplishments.
A newly revamped [http://nbaf.org/|National Black Arts Festival] kicks off with its first big event, an opening reception and benefit for the [http://hfas.org/|Harlem Fine Arts Show], an exhibition of works by African-American artists from around the country. For the past five years, HFAS has showcased emerging and established artists in an annual exhibition at Harlem's historic Riverside Church. This is the first year that the show has gone on the road, and the event space at 200 Peachtree Street (the former Davison's downtown department store at the corner of Peachtree and Ellis) will be one of its first stops. The ticketed reception is tonight, with the exhibition running all weekend, through June 29. For more information, visit the [http://nbaf.org/2014-season/visual_art/|NBAF].
Famed Atlanta gallerist [https://www.facebook.com/faygoldgallery|Fay Gold] has a new exhibition opening this weekend. Titled ''The World According to Consumerism'', the group show curated by Susan Knippenberg will present the work of ten emerging Atlanta artists riffing on the theme of consumerism. The opening reception is tonight, from 6-9 p.m., at the Westside Cultural Arts Center, and the show runs through July 28. Also opening this weekend is [http://whitespace814.com/|Whitespace gallery]'s exhibition of new work by Nashville-based artist Adrienne Outlaw.
Dancers usually respond to music, basing their movement on what they hear. But what if a dance could be created the other way around? Could a dancer's movement somehow create the soundscape? That's the idea behind the sound suit created for the dance performance ''Galatea''. Built by a team led by musician, engineer, and artist C.D. Howe, the project consists of a wireless electromyography smart suit that "allows for compositional influence over sound and light through a dancers movement." Viewers can take a look for themselves when the suit is worn by dancer and choreographer Samantha Tankersley during a performance of ''Galatea'' at Skwirlhaus, a unique outdoor venue for contemporary dance in an oak-shaded backyard in Atlanta's Kirkwood neighborhood. Performances are Fri. and Sat., June 27-28, at 327 Sisson Ave., at 9 p.m. For more information, visit [http://www.skwhirlhaus.com/blog/2014/6/3/galatea-by-cd-howe-and-samantha-tankersley|Skwirlhaus].
The Lucky Penny ends its week-long residency at the black box theater at Emory's Schwartz Center with a showcase in that space on Sat., June 28, at 5 p.m. I was lucky enough to catch visiting artists Kelly Bond and Melissa Krodman who performed their creepy, funny, whip-smart work ''Colony'' at the beginning of the residency last week. The two singular sensations will be presenting and discussing new work alongside the other artists who participated in the residency at the showcase on Saturday. There will also be a sneak preview of the Lucky Penny's upcoming work ''Dearly Departures'', which premieres in late July.
The Atlanta Symphony performs a free concert in Piedmont Park tonight, and if you didn't manage to get tickets (they're all gone now, sorry), you might check out something on a smaller scale: contemporary chamber music from [http://www.chambercartel.com/Chamber_Cartel/News.html|Chamber Cartel] at the Goat Farm Arts Center on Sat., June 28, at 8 p.m. With guest artist, soprano Stephanie Aston, the group will perform major works of the 21st century: "Tongues" by Jason Eckardt and "The Brightest Form of Absence" by Hans Thomalla. "Tongues," while sung is vacant of words and instead deconstructs language as an exercise in phonetics ... Hans Thomalla's "The Brightest Form of Absence" is a 30-minute tour de force for a 13-person ensemble, incorporating an electronic track and videos as a part of the composition. The suggested donation is $10.
{img src="https://media2.fdncms.com/atlanta/imager/many-moons-the-emperor-and-the-moon-wil/u/original/11469714/1403646460-tumblr_n6t0nzmd2y1sfbwt9o1_500.jpg"}
*Courtesy Saints of an Unnamed Country
*MANY MOONS: "The Emperor and the Moon" will be performed this weekend at the Big House on Ponce.
I'm intrigued by the sound of the new play ''The Emperor and the Moon'', which will be performed at the Big House on Ponce (368 Ponce de Leon Ave.) by the theater company Saints of an Unnamed Country, tonight thru Sunday, at 9 p.m. Tickets are $10 at the door. The group creates original plays combining poetry, wooden masks, folk music, and ancient mythology. The new play tells the story of an emperor "haunted by a recurring dream as he decays in his throne room." For more info, visit the [http://bighouseonponce.com/|Big House on Ponce].
Summer is a great time for the movies, and there are a couple cinema events that are of special interest this weekend. The Royal Opera House will re-broadcast its production of ''La Traviata'' starring Renée Fleming and Joseph Calleja at the [http://www.landmarktheatres.com/Market/Atlanta/Atlanta_Frameset.htm|Landmark Midtown Art Cinema] on Sat., June 28, at 11 a.m. Britain's National Theatre will re-broadcast its production of the theatrical version of the bestselling novel ''The Curious Incident of the Dog in the Night-Time'' at the Landmark at 11 a.m. on Sun., June 29. Also not to be missed at the movies this weekend is a screening of ''The Wizard of Oz ''at the [http://ev10.evenue.net/cgi-bin/ncommerce3/SEGetEventList?groupCode=WIZ&linkID=fta&shopperContext=&caller=&appCode=#__utma=193113138.2036713630.1398464235.1403628976.1403646096.3&__utmb=193113138.2.10.1403646096&__utmc=193113138&__utmx=-&__utmz=193113138.1403646096.3.3.utmcsr=google|utmccn=(organic)|utmcmd=organic|utmctr=wizard of oz fox theater atlanta&__utmv=-&__utmk=25229949|Fox Theater] at 2 p.m. on Sunday. If that leaves you in mood for more wizard, it will be worth the trip down to [http://www.serenbeplayhouse.com/|Serenbe Playhouse] to check out their outdoor theatrical production of ''Oz'', performed runway-style on a long Yellow Brick Road in the woods.
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*Courtesy Galatea Project
*SUIT YOURSELF: The Galatea Project uses a wireless electromyography smart suit that captures a dancer's muscle movement, brain waves and heart rate, allowing the performer to influence the lighting and sound. The performance this weekend at Atlanta's Skwirlhaus venue is just one of the many offerings this unusually busy June.
Summer is usually a quiet, restful time on the Atlanta arts scene, but apparently no one got the memo this year. As summer is kicking into high gear in the city, so are the arts. Here's a sampling of what I mean, a few shows and events that will be especially worth catching this weekend:
? ? jump?
*Courtesy Harlem Fine Arts Show
*Leroy Campbell, Accomplishments.
A newly revamped National Black Arts Festival kicks off with its first big event, an opening reception and benefit for the Harlem Fine Arts Show, an exhibition of works by African-American artists from around the country. For the past five years, HFAS has showcased emerging and established artists in an annual exhibition at Harlem's historic Riverside Church. This is the first year that the show has gone on the road, and the event space at 200 Peachtree Street (the former Davison's downtown department store at the corner of Peachtree and Ellis) will be one of its first stops. The ticketed reception is tonight, with the exhibition running all weekend, through June 29. For more information, visit the NBAF.
Famed Atlanta gallerist Fay Gold has a new exhibition opening this weekend. Titled The World According to Consumerism, the group show curated by Susan Knippenberg will present the work of ten emerging Atlanta artists riffing on the theme of consumerism. The opening reception is tonight, from 6-9 p.m., at the Westside Cultural Arts Center, and the show runs through July 28. Also opening this weekend is Whitespace gallery's exhibition of new work by Nashville-based artist Adrienne Outlaw.
Dancers usually respond to music, basing their movement on what they hear. But what if a dance could be created the other way around? Could a dancer's movement somehow create the soundscape? That's the idea behind the sound suit created for the dance performance Galatea. Built by a team led by musician, engineer, and artist C.D. Howe, the project consists of a wireless electromyography smart suit that "allows for compositional influence over sound and light through a dancers movement." Viewers can take a look for themselves when the suit is worn by dancer and choreographer Samantha Tankersley during a performance of Galatea at Skwirlhaus, a unique outdoor venue for contemporary dance in an oak-shaded backyard in Atlanta's Kirkwood neighborhood. Performances are Fri. and Sat., June 27-28, at 327 Sisson Ave., at 9 p.m. For more information, visit Skwirlhaus.
The Lucky Penny ends its week-long residency at the black box theater at Emory's Schwartz Center with a showcase in that space on Sat., June 28, at 5 p.m. I was lucky enough to catch visiting artists Kelly Bond and Melissa Krodman who performed their creepy, funny, whip-smart work Colony at the beginning of the residency last week. The two singular sensations will be presenting and discussing new work alongside the other artists who participated in the residency at the showcase on Saturday. There will also be a sneak preview of the Lucky Penny's upcoming work Dearly Departures, which premieres in late July.
The Atlanta Symphony performs a free concert in Piedmont Park tonight, and if you didn't manage to get tickets (they're all gone now, sorry), you might check out something on a smaller scale: contemporary chamber music from Chamber Cartel at the Goat Farm Arts Center on Sat., June 28, at 8 p.m. With guest artist, soprano Stephanie Aston, the group will perform major works of the 21st century: "Tongues" by Jason Eckardt and "The Brightest Form of Absence" by Hans Thomalla. "Tongues," while sung is vacant of words and instead deconstructs language as an exercise in phonetics ... Hans Thomalla's "The Brightest Form of Absence" is a 30-minute tour de force for a 13-person ensemble, incorporating an electronic track and videos as a part of the composition. The suggested donation is $10.
*Courtesy Saints of an Unnamed Country
*MANY MOONS: "The Emperor and the Moon" will be performed this weekend at the Big House on Ponce.
I'm intrigued by the sound of the new play The Emperor and the Moon, which will be performed at the Big House on Ponce (368 Ponce de Leon Ave.) by the theater company Saints of an Unnamed Country, tonight thru Sunday, at 9 p.m. Tickets are $10 at the door. The group creates original plays combining poetry, wooden masks, folk music, and ancient mythology. The new play tells the story of an emperor "haunted by a recurring dream as he decays in his throne room." For more info, visit the Big House on Ponce.
Summer is a great time for the movies, and there are a couple cinema events that are of special interest this weekend. The Royal Opera House will re-broadcast its production of La Traviata starring Renée Fleming and Joseph Calleja at the Landmark Midtown Art Cinema on Sat., June 28, at 11 a.m. Britain's National Theatre will re-broadcast its production of the theatrical version of the bestselling novel The Curious Incident of the Dog in the Night-Time at the Landmark at 11 a.m. on Sun., June 29. Also not to be missed at the movies this weekend is a screening of The Wizard of Oz at the [http://ev10.evenue.net/cgi-bin/ncommerce3/SEGetEventList?groupCode=WIZ&linkID=fta&shopperContext=&caller=&appCode=#utma=193113138.2036713630.1398464235.1403628976.1403646096.3&utmb=193113138.2.10.1403646096&utmc=193113138&utmx=-&utmz=193113138.1403646096.3.3.utmcsr=google|utmccn=(organic)|utmcmd=organic|utmctr=wizard of oz fox theater atlanta&utmv=-&__utmk=25229949|Fox Theater] at 2 p.m. on Sunday. If that leaves you in mood for more wizard, it will be worth the trip down to Serenbe Playhouse to check out their outdoor theatrical production of Oz, performed runway-style on a long Yellow Brick Road in the woods.
"writer" "Wizard of Oz" "The Emperor and the Moon" "Skwirlhaus" "Serenbe Playhouse" "Saints of an Unnamed Country" "Royal Opera House" "National Theater Live" "National Black Arts Festival" "Lucky Penny" "La Traviata" "June" "Harlem Fine Arts Show" "Galatea Project" "fox theater" "critic" "chamber cartel" "Big House on Ponce" "Atlanta arts" "arts journalist" "Andrew Alexander" 11469422 13078842 Critic's Notebook: June is bustin' out all over "
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Critic's Notebook: June is bustin' out all over Article
Thursday June 26, 2014 08:09 AM EDT
"They hucka the bejeebers"
|
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*Jeff Roffman
*CLASSIC SUMMER: The Atlanta Symphony's new assistant conductor and youth orchestra leader Joseph Young will begin his tenure by conducting two free concerts in Piedmont Park, June 19 and 26.
The Atlanta Symphony Orchestra is headed to Piedmont Park for two free concerts on June 19 and 26 (Tickets for the 19th are all booked, but for more information on how to reserve tickets for the 26th, visit the ASO's website). The concerts are among the first engagements for the ASO's brand new assistant conductor Joseph Young. We caught up with Young to ask about preparing for the performances, settling into Atlanta and packing the perfect picnic basket for listening to Dvořák.
So tell us a little bit about what's in store for the concerts in Piedmont Park. What're you most looking forward to?
The first program is strictly classical. We have the overture to Rossini's Barber of Seville and Brahms' Hungarian Dances. It's light standard rep you don't hear a lot in the concert hall. I'm looking forward to Dvořák's Eighth. It's one of my favorite symphonies. It's one of Dvořák's symphonies that's full of great melodies that have almost been forgotten because it's not one that's played that often. The other program on the 26th is an American-themed concert, very light-hearted and fun. A little bit of John Williams and Rodeo from Aaron Copland. After intermission, there's Bugler's Holiday, some Sousa marches and a Gershwin piece.
? ? jump?
*Jeff Roffman
*LAWN PARTY: Listeners enjoy the ASO in Piedmont Park. New Assistant Conductor Joseph Young will conduct the ASO in the park on June 19 and 26.
Have you officially settled into Atlanta yet? Anything you're especially looking forward to as you become an Atlantan?
I'm currently trying to figure out where I'm going to live and apartment-hunting. It's a long process to find the perfect place. I want to be in midtown someplace close to the hall so I can walk to work ... I'm just really looking forward to working with this orchestra, learning as much as I can from the musicians here because this is a world-class symphony. I'm looking forward to working with Robert Spano, who is someone I've looked up to for a long time.
Any restaurants or the like that you've discovered that have become fast favorites?
Not really because I got here Sunday, and I've been going non-stop. I've been to Piedmont Park, and I love it down there. I'm staying at Atlantic Station, and I like the convenience of it, but I really haven't explored much beyond those places.
And you were Charleston-based before?
Yes. I was Charleston-based for a year, traveling doing freelance conducting of other orchestras. But Charleston is also where I grew up, in a small town north of Charleston called Goose Creek.
How did you originally start getting into classical music in Goose Creek?
I started as a trumpet player, and I played in the band program. I grew up in that band world, but when I was a senior in high school I had the opportunity to go to a summer program called the Governor's School for the Arts. It's a program that prepares young musicians to see if they're ready for conservatory life. You take lessons, you take ensemble credits, you do music history. And there was a conducting class. It was the first time I was actually able to see an orchestra. I was 16 at the time. They gave me the opportunity of conducting the second movement of Beethoven's Second Symphony. From that point on I was hooked.
*JD Scott
*PASSING THE BATON: Joseph Young is the ASO's new assistant conductor and youth orchestra leader.
So you put down the trumpet and picked up the baton?
No. I kept the trumpet. I went to school for music education as a sort of 'back-up' plan. But I actually fell in love with teaching. I started teaching high school near the Clemson area for three years, still playing the trumpet. But now the trumpet's long gone.
If you weren't conducting the concerts at Piedmont Park but were attending as a listener, what would you want to bring in your picnic basket to pair with the music?
A lot of the music is Italian so I would have to bring red wine. Oh, but there's no alcohol. So maybe a pasta salad? Bruschetta would be good. I'm trying to think of something for Dvořák's Eighth... I would bring a dessert, something chocolate. I'm a big chocolate fan.
It gets awfully hot in Atlanta, and conductors usually wear black. Do you know what you'll wear for these outdoor concerts?
Actually I don't. I'm still working on that. I know it will be black and white. Maybe white pants, maybe not.
Joseph Young conducts the Atlanta Symphony Orchestra in Piedmont Park on June 19 and 26. For more information, visit the ASO."
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*[http://clatl.com/atlanta/ImageArchives?by=1290593|Jeff Roffman]
*CLASSIC SUMMER: The Atlanta Symphony's new assistant conductor and youth orchestra leader Joseph Young will begin his tenure by conducting two free concerts in Piedmont Park, June 19 and 26.
The Atlanta Symphony Orchestra is headed to Piedmont Park for two free concerts on June 19 and 26 (Tickets for the 19th are all booked, but for more information on how to reserve tickets for the 26th, [http://www.atlantasymphony.org/ConcertsAndTickets/Calendar/2013-2014/Piedmont3.aspx|visit the ASO's website]). The concerts are among the first engagements for the ASO's brand new assistant conductor Joseph Young. We caught up with Young to ask about preparing for the performances, settling into Atlanta and packing the perfect picnic basket for listening to Dvořák.
__So tell us a little bit about what's in store for the concerts in Piedmont Park. What're you most looking forward to?__
The first program is strictly classical. We have the overture to Rossini's ''Barber of Seville'' and Brahms' Hungarian Dances. It's light standard rep you don't hear a lot in the concert hall. I'm looking forward to Dvořák's Eighth. It's one of my favorite symphonies. It's one of Dvořák's symphonies that's full of great melodies that have almost been forgotten because it's not one that's played that often. The other program on the 26th is an American-themed concert, very light-hearted and fun. A little bit of John Williams and ''Rodeo'' from Aaron Copland. After intermission, there's ''Bugler's Holiday'', some Sousa marches and a Gershwin piece.
? ? [jump]?
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*[http://clatl.com/atlanta/ImageArchives?by=1290593|Jeff Roffman]
*LAWN PARTY: Listeners enjoy the ASO in Piedmont Park. New Assistant Conductor Joseph Young will conduct the ASO in the park on June 19 and 26.
__Have you officially settled into Atlanta yet? Anything you're especially looking forward to as you become an Atlantan?__
I'm currently trying to figure out where I'm going to live and apartment-hunting. It's a long process to find the perfect place. I want to be in midtown someplace close to the hall so I can walk to work ... I'm just really looking forward to working with this orchestra, learning as much as I can from the musicians here because this is a world-class symphony. I'm looking forward to working with Robert Spano, who is someone I've looked up to for a long time.
__Any restaurants or the like that you've discovered that have become fast favorites?__
Not really because I got here Sunday, and I've been going non-stop. I've been to Piedmont Park, and I love it down there. I'm staying at Atlantic Station, and I like the convenience of it, but I really haven't explored much beyond those places.
__And you were Charleston-based before?__
Yes. I was Charleston-based for a year, traveling doing freelance conducting of other orchestras. But Charleston is also where I grew up, in a small town north of Charleston called Goose Creek.
__How did you originally start getting into classical music in Goose Creek?__
I started as a trumpet player, and I played in the band program. I grew up in that band world, but when I was a senior in high school I had the opportunity to go to a summer program called the Governor's School for the Arts. It's a program that prepares young musicians to see if they're ready for conservatory life. You take lessons, you take ensemble credits, you do music history. And there was a conducting class. It was the first time I was actually able to see an orchestra. I was 16 at the time. They gave me the opportunity of conducting the second movement of Beethoven's Second Symphony. From that point on I was hooked.
{img src="https://media2.fdncms.com/atlanta/imager/passing-the-baton-joseph-young-is-the-aso/u/original/11418353/1403026879-140614_aso_asyo_concert_56-800px.jpg"}
*JD Scott
*PASSING THE BATON: Joseph Young is the ASO's new assistant conductor and youth orchestra leader.
__So you put down the trumpet and picked up the baton?__
No. I kept the trumpet. I went to school for music education as a sort of 'back-up' plan. But I actually fell in love with teaching. I started teaching high school near the Clemson area for three years, still playing the trumpet. But now the trumpet's long gone.
__If you weren't conducting the concerts at Piedmont Park but were attending as a listener, what would you want to bring in your picnic basket to pair with the music? __
A lot of the music is Italian so I would have to bring red wine. Oh, but there's no alcohol. So maybe a pasta salad? Bruschetta would be good. I'm trying to think of something for Dvořák's Eighth... I would bring a dessert, something chocolate. I'm a big chocolate fan.
__It gets awfully hot in Atlanta, and conductors usually wear black. Do you know what you'll wear for these outdoor concerts?__
Actually I don't. I'm still working on that. I know it will be black and white. Maybe white pants, maybe not.
''Joseph Young conducts the Atlanta Symphony Orchestra in Piedmont Park on June 19 and 26. For more information, visit [http://www.atlantasymphony.org/piedmontpark|the ASO].''"
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string(5273) " atlanta symphony orchestra piedmont park atlanta symphony charleston joseph young goose creek New assistant conductor takes the helm for two free concerts in the park June 19 and 26 2014-06-18T16:10:00+00:00 Critic's Notebook: Joseph Young to lead the ASO in Piedmont Park Andrew Alexander 2014-06-18T16:10:00+00:00
*Jeff Roffman
*CLASSIC SUMMER: The Atlanta Symphony's new assistant conductor and youth orchestra leader Joseph Young will begin his tenure by conducting two free concerts in Piedmont Park, June 19 and 26.
The Atlanta Symphony Orchestra is headed to Piedmont Park for two free concerts on June 19 and 26 (Tickets for the 19th are all booked, but for more information on how to reserve tickets for the 26th, visit the ASO's website). The concerts are among the first engagements for the ASO's brand new assistant conductor Joseph Young. We caught up with Young to ask about preparing for the performances, settling into Atlanta and packing the perfect picnic basket for listening to Dvořák.
So tell us a little bit about what's in store for the concerts in Piedmont Park. What're you most looking forward to?
The first program is strictly classical. We have the overture to Rossini's Barber of Seville and Brahms' Hungarian Dances. It's light standard rep you don't hear a lot in the concert hall. I'm looking forward to Dvořák's Eighth. It's one of my favorite symphonies. It's one of Dvořák's symphonies that's full of great melodies that have almost been forgotten because it's not one that's played that often. The other program on the 26th is an American-themed concert, very light-hearted and fun. A little bit of John Williams and Rodeo from Aaron Copland. After intermission, there's Bugler's Holiday, some Sousa marches and a Gershwin piece.
? ? jump?
*Jeff Roffman
*LAWN PARTY: Listeners enjoy the ASO in Piedmont Park. New Assistant Conductor Joseph Young will conduct the ASO in the park on June 19 and 26.
Have you officially settled into Atlanta yet? Anything you're especially looking forward to as you become an Atlantan?
I'm currently trying to figure out where I'm going to live and apartment-hunting. It's a long process to find the perfect place. I want to be in midtown someplace close to the hall so I can walk to work ... I'm just really looking forward to working with this orchestra, learning as much as I can from the musicians here because this is a world-class symphony. I'm looking forward to working with Robert Spano, who is someone I've looked up to for a long time.
Any restaurants or the like that you've discovered that have become fast favorites?
Not really because I got here Sunday, and I've been going non-stop. I've been to Piedmont Park, and I love it down there. I'm staying at Atlantic Station, and I like the convenience of it, but I really haven't explored much beyond those places.
And you were Charleston-based before?
Yes. I was Charleston-based for a year, traveling doing freelance conducting of other orchestras. But Charleston is also where I grew up, in a small town north of Charleston called Goose Creek.
How did you originally start getting into classical music in Goose Creek?
I started as a trumpet player, and I played in the band program. I grew up in that band world, but when I was a senior in high school I had the opportunity to go to a summer program called the Governor's School for the Arts. It's a program that prepares young musicians to see if they're ready for conservatory life. You take lessons, you take ensemble credits, you do music history. And there was a conducting class. It was the first time I was actually able to see an orchestra. I was 16 at the time. They gave me the opportunity of conducting the second movement of Beethoven's Second Symphony. From that point on I was hooked.
*JD Scott
*PASSING THE BATON: Joseph Young is the ASO's new assistant conductor and youth orchestra leader.
So you put down the trumpet and picked up the baton?
No. I kept the trumpet. I went to school for music education as a sort of 'back-up' plan. But I actually fell in love with teaching. I started teaching high school near the Clemson area for three years, still playing the trumpet. But now the trumpet's long gone.
If you weren't conducting the concerts at Piedmont Park but were attending as a listener, what would you want to bring in your picnic basket to pair with the music?
A lot of the music is Italian so I would have to bring red wine. Oh, but there's no alcohol. So maybe a pasta salad? Bruschetta would be good. I'm trying to think of something for Dvořák's Eighth... I would bring a dessert, something chocolate. I'm a big chocolate fan.
It gets awfully hot in Atlanta, and conductors usually wear black. Do you know what you'll wear for these outdoor concerts?
Actually I don't. I'm still working on that. I know it will be black and white. Maybe white pants, maybe not.
Joseph Young conducts the Atlanta Symphony Orchestra in Piedmont Park on June 19 and 26. For more information, visit the ASO. "Piedmont Park" "Joseph Young" "Goose Creek" "Charleston" "Atlanta Symphony Orchestra" "Atlanta Symphony" 11418103 13078752 Critic's Notebook: Joseph Young to lead the ASO in Piedmont Park "
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Critic's Notebook: Joseph Young to lead the ASO in Piedmont Park Article
Wednesday June 18, 2014 12:10 PM EDT
New assistant conductor takes the helm for two free concerts in the park June 19 and 26
|
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*Aubrey Longley-Cook
*MALE ROOM: Dancers Erik Thurmond and Nicholas Goodly vie with each other to the sounds of Beyoncé in "Meh Meh" this weekend.
On Tuesday evening, I was lucky enough to sit in on a dress rehearsal for the dance performance "Meh Meh," which is having its world premiere this weekend in a deliciously odd vintage space in the old Druid Hills Baptist Church on the corner of Ponce and Highland. The show, created by dancers Erik Thurmond of Decatur's Core Performance Company and Nicholas Goodly formerly of gloATL, riffs on themes of male competition, militarism, libido, sadism and sport.
Much of the movement, says Thurmond, was inspired by Beyoncé's recent album, and the soundscape itself, created and mixed live by Atlanta artist and musician Ben Coleman, is comprised of samples from those songs. The audience can surround the performance from a balcony or in the round along the sides of the small, arena-like space, which is hung with streaming pennant banners by artist Aubrey Longley-Cook and eerily lit by Kevin Byrd's florescent light installation. The performance begins as the dancers select a conquest, going through a series of hyper-masculine, hyper-competitive tests of prowess and strength until one victor is left standing. Haunting, strange, discomforting, funny, barbarous, erotic and misanthropic, it's a performance that's not to be missed.
"Meh Meh" continues Friday and Saturday, June 13 and 14, at 9 p.m. at Druid Hills Baptist Church 1085 Ponce De Leon Ave NE. Look for the banners flying outside. Entry is donation based. For more information, visit "Meh Meh.""
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*Aubrey Longley-Cook
*MALE ROOM: Dancers Erik Thurmond and Nicholas Goodly vie with each other to the sounds of Beyoncé in "Meh Meh" this weekend.
On Tuesday evening, I was lucky enough to sit in on a dress rehearsal for the dance performance "Meh Meh," which is having its world premiere this weekend in a deliciously odd vintage space in the old Druid Hills Baptist Church on the corner of Ponce and Highland. The show, created by dancers Erik Thurmond of Decatur's Core Performance Company and Nicholas Goodly formerly of gloATL, riffs on themes of male competition, militarism, libido, sadism and sport.
Much of the movement, says Thurmond, was inspired by Beyoncé's recent album, and the soundscape itself, created and mixed live by Atlanta artist and musician [http://clatl.com/freshloaf/archives/2013/07/26/ben-coleman-and-henry-detweiler-survived-confinement-for-no-vacancy|Ben Coleman], is comprised of samples from those songs. The audience can surround the performance from a balcony or in the round along the sides of the small, arena-like space, which is hung with streaming pennant banners by artist [http://spoolspectrum.blogspot.com/|Aubrey Longley-Cook] and eerily lit by [http://hello.kevinbyrd.com/|Kevin Byrd]'s florescent light installation. The performance begins as the dancers select a conquest, going through a series of hyper-masculine, hyper-competitive tests of prowess and strength until one victor is left standing. Haunting, strange, discomforting, funny, barbarous, erotic and misanthropic, it's a performance that's not to be missed.
''"Meh Meh" continues Friday and Saturday, June 13 and 14, at 9 p.m. at Druid Hills Baptist Church 1085 Ponce De Leon Ave NE. Look for the banners flying outside. Entry is donation based. For more information, visit "[
https://www.facebook.com/events/1454334148146978/?ref=br_tf|Meh Meh]."''"
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*Aubrey Longley-Cook
*MALE ROOM: Dancers Erik Thurmond and Nicholas Goodly vie with each other to the sounds of Beyoncé in "Meh Meh" this weekend.
On Tuesday evening, I was lucky enough to sit in on a dress rehearsal for the dance performance "Meh Meh," which is having its world premiere this weekend in a deliciously odd vintage space in the old Druid Hills Baptist Church on the corner of Ponce and Highland. The show, created by dancers Erik Thurmond of Decatur's Core Performance Company and Nicholas Goodly formerly of gloATL, riffs on themes of male competition, militarism, libido, sadism and sport.
Much of the movement, says Thurmond, was inspired by Beyoncé's recent album, and the soundscape itself, created and mixed live by Atlanta artist and musician Ben Coleman, is comprised of samples from those songs. The audience can surround the performance from a balcony or in the round along the sides of the small, arena-like space, which is hung with streaming pennant banners by artist Aubrey Longley-Cook and eerily lit by Kevin Byrd's florescent light installation. The performance begins as the dancers select a conquest, going through a series of hyper-masculine, hyper-competitive tests of prowess and strength until one victor is left standing. Haunting, strange, discomforting, funny, barbarous, erotic and misanthropic, it's a performance that's not to be missed.
"Meh Meh" continues Friday and Saturday, June 13 and 14, at 9 p.m. at Druid Hills Baptist Church 1085 Ponce De Leon Ave NE. Look for the banners flying outside. Entry is donation based. For more information, visit "Meh Meh." "Nicholas Goodly" "Meh Meh" "Kevin Byrd" "Erik Thurmond" "Ben Coleman" "Aubrey Longley-Cook" 11386156 13078700 Critic's Notebook: Meh Meh" pits man vs. man" "
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Critic's Notebook: Meh Meh" pits man vs. man" Article
Friday June 13, 2014 09:49 AM EDT
Thurmond and Goodly compete to see who is the mightier
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string(1122) "A monthly listing of art critic Andrew Alexander's picks for the top five arts events in Atlanta:
5. Georgia Shakespeare performs As You Like It in Piedmont Park, June 4-8
http://www.gashakespeare.org/shakespeare_in_the_park1
? ? jump?
4. Morrissey, Cobb Energy Performing Arts Centre, June 4
http://www.cobbenergycentre.com/event/morrissey/
3. The Lucky Penny presents Colony, Emory's Schwartz Center, June 21-22
http://www.theluckypenny.org/up-next/
2. The Atlanta Fringe Festival, various venues, June 5-8
<img class="size-medium wp-image-2003 " alt="Daniel Glenn in "Portraits of People I've Never Slept With"" src="http://www.andrewalexanderwriter.com/wp-content/uploads/2014/05/ATLFringe2014_DanielGlenn-300x198.jpg" width="300" height="198" /></p><p>1. Robert Spano conducts the Atlanta Symphony Orchestra in a concert performance of <a href="http://www.atlantasymphony.org/ConcertsAndTickets/Calendar/2013-2014/Spano-Aida.aspx" target="_blank">Verdi's Aida, Symphony Hall, June 5-8
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5. Georgia Shakespeare performs [http://www.gashakespeare.org/shakespeare_in_the_park1|''As You Like It''] in Piedmont Park, June 4-8
[http://www.gashakespeare.org/shakespeare_in_the_park1|{img src="http://www.andrewalexanderwriter.com/wp-content/uploads/2014/05/N06206_10-300x168.jpg"}]
? ? [jump]?
4. [http://www.cobbenergycentre.com/event/morrissey/|Morrissey], Cobb Energy Performing Arts Centre, June 4
[http://www.cobbenergycentre.com/event/morrissey/|{img src="http://www.andrewalexanderwriter.com/wp-content/uploads/2014/03/tumblr_m6jrcnyYu51qap55ao1_1280-239x300.jpg"}]
3. The Lucky Penny presents [http://www.theluckypenny.org/up-next/|''Colony''], Emory's Schwartz Center, June 21-22
[http://www.theluckypenny.org/up-next/|{img src="http://www.andrewalexanderwriter.com/wp-content/uploads/2014/05/10172851_632442556830176_9184389375281712461_n-300x168.jpg"}]
2. [http://atlantafringe.org/home/fringe-buttons-2/|The Atlanta Fringe Festival], various venues, June 5-8
[http://www.andrewalexanderwriter.com/wp-content/uploads/2014/05/ATLFringe2014_DanielGlenn.jpg|
Critic's Notebook: June's top events Article
Tuesday June 3, 2014 02:57 PM EDT
Aida, as you like it...
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*© 2013 Shepard Fairey
*GREAT MILEAGE: The work of Shephard Fairey will be paired with the work of fellow artist (and former South Carolinian) Jasper Johns, one of many events and exhibitions planned during Charleston's Spoleto Festival USA.
As everyone knows now, Charleston has plenty of Southern charm, but the city is actually never more charming than during Spoleto, the massive summer arts festival that's been in town for more than 35 years, attended by the likes of Tennessee Williams, Ella Fitzgerald, Arthur Miller, Philip Glass, Lou Reed and too many others to mention. Spoleto 2014 kicks off this Friday and runs for two weeks, featuring 148 performances by 63 artists and ensembles.
Though the focus of the festival is firmly on performing arts, one of the most curious events during the fest is an exhibition at Charleston's Halsey Institute of Contemporary Art that pairs the work of young street artist Shephard Fairey with the work of Jasper Johns. What may not be well-known about either world-famous artist is the fact that they are both sons of South Carolina: Johns was born in Augusta and then raised in Allendale and Columbia and other places around the state, while Fairey hails from Charleston. Fairey will be in Charleston during the festival to attend the exhibition's opening to give an artist's talk and to paint several commissioned murals around the city.
Also on hand during the festival will be composer Michael Nyman, who famously composed the scores for many of Peter Greenaway's films and Jane Campion's The Piano. He'll perform a piano recital with other chamber musicians, and he'll also guide the American premiere of a recomposed version of his 2000 opera Facing Goya. Opera takes center stage at the festival with two other intriguing offerings: a new production of John Adams' nativity-themed El Niño and performances of Leoš Janáček's Káťa Kabanová directed by Tony Award-winning theater-artist Garry Hynes.
? ? jump?
But Spoleto extends far beyond opera to include theater, jazz, dance, performance art, and more. René Marie pays tribute to fiery jazz diva Eartha Kitt, and Ireland's Gate Theatre returns to Spoleto to perform a stage version of the Daphne du Maurier classic thriller My Cousin Rachel. Dance from Chicago's Hubbard Street, Keigwin + Company, tap dancer Michelle Dorrance and South African choreographer Gregory Maqoma should all be great, as should the popular chamber music series which runs on afternoons throughout the festival.
*Courtesy Brimful of Asha
*STAGE MOM: Actor Ravi Jain performs his show "Brimful of Asha" with his mother on stage.
I'm especially curious about Ravi Jain's 'one-man' show Brimful of Asha about his mother's nagging him to enter into an arranged marriage, a show the actor performs ... with his mother on stage (I heard she slays it). New to the festival last year, and coming back again this year in a bigger way for two Saturdays instead of just one, "Behind the Garden Gate," allows festival-goers the rare opportunity to tour some of Charleston's lushest and most beautiful private gardens.
If you can't find enough to keep you busy at Spoleto, there's also Piccolo Spoleto, the family-friendly, fringe-style festival of local and regional artists sponsored by the city. Their list of offerings is pretty broad and extensive, too. Among the highlights are jazz and blues cruises around Charleston Harbor in the evenings and the daily early music series at the Huguenot Church. The busy 17 days of activity will be brought to a close by Charleston's own Shovels and Rope performing an outdoor concert as the festival finale at Middleton Place. Stay tuned to this space for updates from Charleston and Spoleto next week.
*Courtesy Spoleto Festival USA
*GRAND FINALE: Spoleto 2014 will end with fireworks and a performance from Shovels and Rope.
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*© 2013 Shepard Fairey
*GREAT MILEAGE: The work of Shephard Fairey will be paired with the work of fellow artist (and former South Carolinian) Jasper Johns, one of many events and exhibitions planned during Charleston's Spoleto Festival USA.
As everyone knows now, Charleston has plenty of [http://www.bravotv.com/southern-charm|Southern charm], but the city is actually never more charming than during [http://spoletousa.org/|Spoleto], the massive summer arts festival that's been in town for more than 35 years, attended by the likes of Tennessee Williams, Ella Fitzgerald, Arthur Miller, Philip Glass, Lou Reed and too many others to mention. Spoleto 2014 kicks off this Friday and runs for two weeks, featuring 148 performances by 63 artists and ensembles.
Though the focus of the festival is firmly on performing arts, one of the most curious events during the fest is an exhibition at Charleston's [http://halsey.cofc.edu/exhibitions/the-insistent-image-recurrent-motifs-in-the-art-of-shepard-fairey-and-jasper-johns/|Halsey Institute of Contemporary Art] that pairs the work of young street artist Shephard Fairey with the work of Jasper Johns. What may not be well-known about either world-famous artist is the fact that they are both sons of South Carolina: Johns was born in Augusta and then raised in Allendale and Columbia and other places around the state, while Fairey hails from Charleston. Fairey will be in Charleston during the festival to attend the exhibition's opening to give an artist's talk and to paint [
http://www.charlestoncitypaper.com/Spoletobuzz/archives/2014/05/12/first-peek-at-shepard-faireys-first-mural-for-halsey-institute-spoleto-show|several commissioned murals] around the city.
Also on hand during the festival will be composer Michael Nyman, who famously composed the scores for many of Peter Greenaway's films and Jane Campion's ''The Piano''. He'll perform a piano recital with other chamber musicians, and he'll also guide the American premiere of a recomposed version of his 2000 opera ''Facing Goya''. Opera takes center stage at the festival with two other intriguing offerings: a new production of John Adams' nativity-themed ''El Niño'' and performances of Leoš Janáček's ''Káťa Kabanová'' directed by Tony Award-winning theater-artist Garry Hynes.
? ? [jump]?
But Spoleto extends far beyond opera to include theater, jazz, dance, performance art, and more. René Marie pays tribute to fiery jazz diva Eartha Kitt, and Ireland's Gate Theatre returns to Spoleto to perform a stage version of the Daphne du Maurier classic thriller ''My Cousin Rachel''. Dance from Chicago's Hubbard Street, Keigwin + Company, tap dancer Michelle Dorrance and South African choreographer Gregory Maqoma should all be great, as should the popular chamber music series which runs on afternoons throughout the festival.
{img src="https://media2.fdncms.com/atlanta/imager/stage-mom-actor-ravi-jain-performs-his-sh/u/original/11205051/1400596320-10995049085_9eab991711.jpg"}
*Courtesy Brimful of Asha
*STAGE MOM: Actor Ravi Jain performs his show "Brimful of Asha" with his mother on stage.
I'm especially curious about Ravi Jain's 'one-man' show ''Brimful of Asha'' about his mother's nagging him to enter into an arranged marriage, a show the actor performs ... with his mother on stage (I heard she [http://www.vancouversun.com/Theatre review Brimful Asha charming unpredictable with video/9422600/story.html|slays] it). New to the festival last year, and coming back again this year in a bigger way for two Saturdays instead of just one, "Behind the Garden Gate," allows festival-goers the rare opportunity to tour some of Charleston's lushest and most beautiful private gardens.
If you can't find enough to keep you busy at Spoleto, there's also [http://www.piccolospoleto.com/|Piccolo Spoleto], the family-friendly, fringe-style festival of local and regional artists sponsored by the city. Their list of offerings is pretty broad and extensive, too. Among the highlights are jazz and blues cruises around Charleston Harbor in the evenings and the daily early music series at the Huguenot Church. The busy 17 days of activity will be brought to a close by Charleston's own [http://www.shovelsandrope.com/|Shovels and Rope] performing an outdoor concert as the festival finale at Middleton Place. Stay tuned to this space for updates from Charleston and Spoleto next week.
{img src="https://media1.fdncms.com/atlanta/imager/grand-finale-spoleto-2014-will-end-with-f/u/original/11205211/1400596560-10297867843_1c4b3e3e50.jpg"}
*Courtesy Spoleto Festival USA
*GRAND FINALE: Spoleto 2014 will end with fireworks and a performance from Shovels and Rope.
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string(4644) " charleston andrew alexander writer critic arts journalist spoleto spoleto festival usa southern charm shovels and rope shepherd fairey rene marie ravi jain piccolo spoleto michael nyman john adams eartha kitt Fairey, Nyman help kick off two weeks of art and performances 2014-05-20T18:25:00+00:00 Critic's Notebook: Spoleto 2014 brings on the Southern charm Andrew Alexander 2014-05-20T18:25:00+00:00
*© 2013 Shepard Fairey
*GREAT MILEAGE: The work of Shephard Fairey will be paired with the work of fellow artist (and former South Carolinian) Jasper Johns, one of many events and exhibitions planned during Charleston's Spoleto Festival USA.
As everyone knows now, Charleston has plenty of Southern charm, but the city is actually never more charming than during Spoleto, the massive summer arts festival that's been in town for more than 35 years, attended by the likes of Tennessee Williams, Ella Fitzgerald, Arthur Miller, Philip Glass, Lou Reed and too many others to mention. Spoleto 2014 kicks off this Friday and runs for two weeks, featuring 148 performances by 63 artists and ensembles.
Though the focus of the festival is firmly on performing arts, one of the most curious events during the fest is an exhibition at Charleston's Halsey Institute of Contemporary Art that pairs the work of young street artist Shephard Fairey with the work of Jasper Johns. What may not be well-known about either world-famous artist is the fact that they are both sons of South Carolina: Johns was born in Augusta and then raised in Allendale and Columbia and other places around the state, while Fairey hails from Charleston. Fairey will be in Charleston during the festival to attend the exhibition's opening to give an artist's talk and to paint several commissioned murals around the city.
Also on hand during the festival will be composer Michael Nyman, who famously composed the scores for many of Peter Greenaway's films and Jane Campion's The Piano. He'll perform a piano recital with other chamber musicians, and he'll also guide the American premiere of a recomposed version of his 2000 opera Facing Goya. Opera takes center stage at the festival with two other intriguing offerings: a new production of John Adams' nativity-themed El Niño and performances of Leoš Janáček's Káťa Kabanová directed by Tony Award-winning theater-artist Garry Hynes.
? ? jump?
But Spoleto extends far beyond opera to include theater, jazz, dance, performance art, and more. René Marie pays tribute to fiery jazz diva Eartha Kitt, and Ireland's Gate Theatre returns to Spoleto to perform a stage version of the Daphne du Maurier classic thriller My Cousin Rachel. Dance from Chicago's Hubbard Street, Keigwin + Company, tap dancer Michelle Dorrance and South African choreographer Gregory Maqoma should all be great, as should the popular chamber music series which runs on afternoons throughout the festival.
*Courtesy Brimful of Asha
*STAGE MOM: Actor Ravi Jain performs his show "Brimful of Asha" with his mother on stage.
I'm especially curious about Ravi Jain's 'one-man' show Brimful of Asha about his mother's nagging him to enter into an arranged marriage, a show the actor performs ... with his mother on stage (I heard she slays it). New to the festival last year, and coming back again this year in a bigger way for two Saturdays instead of just one, "Behind the Garden Gate," allows festival-goers the rare opportunity to tour some of Charleston's lushest and most beautiful private gardens.
If you can't find enough to keep you busy at Spoleto, there's also Piccolo Spoleto, the family-friendly, fringe-style festival of local and regional artists sponsored by the city. Their list of offerings is pretty broad and extensive, too. Among the highlights are jazz and blues cruises around Charleston Harbor in the evenings and the daily early music series at the Huguenot Church. The busy 17 days of activity will be brought to a close by Charleston's own Shovels and Rope performing an outdoor concert as the festival finale at Middleton Place. Stay tuned to this space for updates from Charleston and Spoleto next week.
*Courtesy Spoleto Festival USA
*GRAND FINALE: Spoleto 2014 will end with fireworks and a performance from Shovels and Rope.
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Critic's Notebook: Spoleto 2014 brings on the Southern charm Article
Tuesday May 20, 2014 02:25 PM EDT
Fairey, Nyman help kick off two weeks of art and performances
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*http://clatl.com/atlanta/ImageArchives?by=1223504
*RADIO DAYS: City Café Host John Lemley will play the role of "Radio Announcer" in the play "End of the Rainbow" at Actor's Express opening this weekend.
John Lemley, the velvet-voiced host of WABE 90.1's City Café, is getting ready to announce some big news about Judy Garland.
No, the popular radio host hasn't lost his mind. Lemley will actually be playing the supporting role of "Radio Announcer" (venturing a bit outside his range?) in the new Actor's Express play End of the Rainbow, which dramatizes the last days of screen legend Judy Garland.
We love City Café almost as much as we love Judy Garland, so you can imagine how excited we were to see Lemley's name in the credits of the new show which opens this weekend. His presence had us secretly hoping that it might be WABE's Lois Reitzes taking on the lead role, but as it turns out, Garland will be played by actress Natasha Drena. Drena has played Garland before in Georgia Ensemble Theatre's 2007 production of Beyond the Rainbow (a different play with a similar title about the same subject).
? ? jump?
This new drama by British playwright Peter Quilter was a hit when it ran in London and New York in 2012. Here's the elevator-pitch description of End of the Rainbow from the Actor's Express press release:
It's December 1968, and Judy Garland makes one last stab at a comeback. In a London hotel room with her young new fiancee, pills and cocktail at her side, Garland prepares for a series of high profile concerts. Garland's razor sharp wit, mammoth talent and raw determination battle with her inner demons to create a tornado of drama as she tries to reclaim her crown as the greatest talent of a generation. Featuring many of Garland's signature anthems, including "The Man that Got Away," "Come Rain or Come Shine" and "Somewhere Over the Rainbow."
End of the Rainbow previews from May 14. The show opens Sat., May 17, and runs through June 15. For more info, visit Actor's Express.
***
*http://clatl.com/atlanta/ImageArchives?by=1223504
*David Daniels and Whitney Walters
Congratulations are in order for Atlanta-based opera star David Daniels, who recently announced his upcoming wedding to partner Whitney Walters. The ceremony will take place in Washington, D.C., on June 21, and reportedly, it will be officiated by none other than Supreme Court Justice (and diehard opera fan) Ruth Bader Ginsburg! Mazel tov, boys!
Atlanta opera fans curious to check out more of Daniels' work will have the chance to do so not long after the couple's big day. The Metropolitan Opera will re-broadcast the renowned countertenor's fantastic performance as Prospero in the Baroque neo-pastiche The Enchanted Island to Atlanta movie theaters on July 16 at 7 p.m. The re-broadcast is part of the Met's Summer Encore series, which brings back popular broadcasts to cinemas worldwide on Wednesday nights during the summer. For more info, visit the Met.
***
Speaking of opera broadcasts, this weekend offers a great opportunity to check out the legendary Placido Domingo in Verdi's Nabucco. The screening actually repeats a live broadcast that was shown to the rest of the world on May 7 (Better late than never, Atlanta!). Nabucco screens on Thurs., May 15, at 6 p.m. and on Sun., May 18, at 12 p.m. at CineBistro in Brookhaven and on Sun., May 18, at 11 a.m. at the Midtown Art Cinema.
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*RADIO DAYS: City Café Host John Lemley will play the role of "Radio Announcer" in the play "End of the Rainbow" at Actor's Express opening this weekend.
John Lemley, the velvet-voiced host of WABE 90.1's City Café, is getting ready to announce some big news about Judy Garland.
No, the popular radio host hasn't lost his mind. Lemley will actually be playing the supporting role of "Radio Announcer" (venturing a bit outside his range?) in the new [http://www.actors-express.com/cgi-bin/MySQLdb?VIEW=/plays/viewone.txt&myplay=186|Actor's Express play ''End of the Rainbow''], which dramatizes the last days of screen legend Judy Garland.
We love [http://wabe.org/programs/city-cafe|City Café] almost as much as we love Judy Garland, so you can imagine how excited we were to see Lemley's name in the credits of the new show which opens this weekend. His presence had us secretly hoping that it might be WABE's [http://wabe.org/people/lois-reitzes|Lois Reitzes] taking on the lead role, but as it turns out, Garland will be played by actress Natasha Drena. Drena has played Garland before in Georgia Ensemble Theatre's 2007 production of ''Beyond the Rainbow'' (a different play with a similar title about the same subject).
? ? [jump]?
This new drama by British playwright Peter Quilter was a hit when it ran in London and New York in 2012. Here's the elevator-pitch description of ''End of the Rainbow'' from the Actor's Express press release:
''It's December 1968, and Judy Garland makes one last stab at a comeback. In a London hotel room with her young new fiancee, pills and cocktail at her side, Garland prepares for a series of high profile concerts. Garland's razor sharp wit, mammoth talent and raw determination battle with her inner demons to create a tornado of drama as she tries to reclaim her crown as the greatest talent of a generation. Featuring many of Garland's signature anthems, including "The Man that Got Away," "Come Rain or Come Shine" and "Somewhere Over the Rainbow."''
''End of the Rainbow'' previews from May 14. The show opens Sat., May 17, and runs through June 15. For more info, visit [http://www.actors-express.com/cgi-bin/MySQLdb?VIEW=/plays/viewone.txt&myplay=186|Actor's Express].
::***::
{img src="https://media1.fdncms.com/atlanta/imager/david-daniels-and-whitney-walters/u/original/11140102/1399905875-daniels_walters.jpg"}
*[http://clatl.com/atlanta/ImageArchives?by=1223504|]
*David Daniels and Whitney Walters
Congratulations are in order for Atlanta-based opera star [http://www.danielssings.com/|David Daniels], who recently announced his upcoming wedding to partner Whitney Walters. The ceremony will take place in Washington, D.C., on June 21, and [http://parterre.com/2014/05/08/wedding-beaux/|reportedly], it will be officiated by none other than Supreme Court Justice (and diehard opera fan) Ruth Bader Ginsburg! Mazel tov, boys!
Atlanta opera fans curious to check out more of Daniels' work will have the chance to do so not long after the couple's big day. The Metropolitan Opera will re-broadcast the renowned countertenor's fantastic performance as Prospero in the Baroque neo-pastiche ''The Enchanted Island'' to Atlanta movie theaters on July 16 at 7 p.m. The re-broadcast is part of the Met's [http://www.metoperafamily.org/metopera/liveinhd/summer|Summer Encore series], which brings back popular broadcasts to cinemas worldwide on Wednesday nights during the summer. For more info, visit [http://www.metoperafamily.org/metopera/liveinhd/summer|the Met].
::***::
Speaking of opera broadcasts, this weekend offers a great opportunity to check out the legendary Placido Domingo in Verdi's ''Nabucco''. The screening actually repeats a live broadcast that was shown to the rest of the world on May 7 (Better late than never, Atlanta!). ''Nabucco'' screens on Thurs., May 15, at 6 p.m. and on Sun., May 18, at 12 p.m. at [http://cobbcinebistro.com/brookhaven/|CineBistro] in Brookhaven and on Sun., May 18, at 11 a.m. at the [http://www.landmarktheatres.com/Films/films_frameset.asp?id=128385|Midtown Art Cinema].
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string(4103) " wabe judy garland actor\'s express david daniels 90.1 end of the rainbow whitney walters ruth bader ginsburg royal opera placido domingo nabucco john lemley covent garden city cafe Get Happy! 2014-05-13T15:15:00+00:00 A Critic's Notebook: WABE's John Lemley to venture 'Over the Rainbow' Andrew Alexander 2014-05-13T15:15:00+00:00
*http://clatl.com/atlanta/ImageArchives?by=1223504
*RADIO DAYS: City Café Host John Lemley will play the role of "Radio Announcer" in the play "End of the Rainbow" at Actor's Express opening this weekend.
John Lemley, the velvet-voiced host of WABE 90.1's City Café, is getting ready to announce some big news about Judy Garland.
No, the popular radio host hasn't lost his mind. Lemley will actually be playing the supporting role of "Radio Announcer" (venturing a bit outside his range?) in the new Actor's Express play End of the Rainbow, which dramatizes the last days of screen legend Judy Garland.
We love City Café almost as much as we love Judy Garland, so you can imagine how excited we were to see Lemley's name in the credits of the new show which opens this weekend. His presence had us secretly hoping that it might be WABE's Lois Reitzes taking on the lead role, but as it turns out, Garland will be played by actress Natasha Drena. Drena has played Garland before in Georgia Ensemble Theatre's 2007 production of Beyond the Rainbow (a different play with a similar title about the same subject).
? ? jump?
This new drama by British playwright Peter Quilter was a hit when it ran in London and New York in 2012. Here's the elevator-pitch description of End of the Rainbow from the Actor's Express press release:
It's December 1968, and Judy Garland makes one last stab at a comeback. In a London hotel room with her young new fiancee, pills and cocktail at her side, Garland prepares for a series of high profile concerts. Garland's razor sharp wit, mammoth talent and raw determination battle with her inner demons to create a tornado of drama as she tries to reclaim her crown as the greatest talent of a generation. Featuring many of Garland's signature anthems, including "The Man that Got Away," "Come Rain or Come Shine" and "Somewhere Over the Rainbow."
End of the Rainbow previews from May 14. The show opens Sat., May 17, and runs through June 15. For more info, visit Actor's Express.
***
*http://clatl.com/atlanta/ImageArchives?by=1223504
*David Daniels and Whitney Walters
Congratulations are in order for Atlanta-based opera star David Daniels, who recently announced his upcoming wedding to partner Whitney Walters. The ceremony will take place in Washington, D.C., on June 21, and reportedly, it will be officiated by none other than Supreme Court Justice (and diehard opera fan) Ruth Bader Ginsburg! Mazel tov, boys!
Atlanta opera fans curious to check out more of Daniels' work will have the chance to do so not long after the couple's big day. The Metropolitan Opera will re-broadcast the renowned countertenor's fantastic performance as Prospero in the Baroque neo-pastiche The Enchanted Island to Atlanta movie theaters on July 16 at 7 p.m. The re-broadcast is part of the Met's Summer Encore series, which brings back popular broadcasts to cinemas worldwide on Wednesday nights during the summer. For more info, visit the Met.
***
Speaking of opera broadcasts, this weekend offers a great opportunity to check out the legendary Placido Domingo in Verdi's Nabucco. The screening actually repeats a live broadcast that was shown to the rest of the world on May 7 (Better late than never, Atlanta!). Nabucco screens on Thurs., May 15, at 6 p.m. and on Sun., May 18, at 12 p.m. at CineBistro in Brookhaven and on Sun., May 18, at 11 a.m. at the Midtown Art Cinema.
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A Critic's Notebook: WABE's John Lemley to venture 'Over the Rainbow' Article
Tuesday May 13, 2014 11:15 AM EDT
Get Happy!
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*Photo by Salome Gvelesiani/ Courtesy Everything Georgian Inc.
*GEORGIA ON MY MIND: The Georgian Cultural Festival celebrates the culture and history of Georgia.
Visitors who show up at the Georgian Cultural Festival in John Howell Park in Virginia-Highland this weekend expecting peaches, peanuts and Coca-Cola are in for a bit of a shock. The outdoor festival offering "Everything Georgian" means the other Georgia, of course, the Eastern European nation on the Black Sea. (Interesting fact: our state doesn't just share a name with the country, but Atlanta is also a sister city of Tbilisi, the capital).
The free festival, now in its third year, features traditional music, food, folk dancing, wine tastings, children's activities, games, sports and more, all designed to introduce Georgians on this side of the pond to the traditions, history and geography of Georgia on the other. This year, the festival also features a performance from Georgian popstar Mariami. The festivities run in John Howell Park from 2 to 8 p.m. on Saturday, May 10.
? ? jump?
***
Hi-tech contemporary chamber ensemble Sonic Generator will give a free concert next Wednesday, May 14, at 8 p.m. at the Erikson Clock building (364 Nelson Street) in Atlanta's Castleberry Hill neighborhood. The concert includes works by contemporary composers John Zorn, Daniel Wohl, Marc Melltis and Jason Freeman. For more information, visit the event's webpage.
***
Every so often, Hollywood unleashes a new Godzilla, and the latest big budget monstrosity is about to hit screens May 14. Those curious to see the original Japanese classic in the theater before the new blockbuster opens can check out the 60th Anniversary Digital Restoration of Godzilla at Atlanta's Landmark Theatre on Sunday, May 11, at 2 p.m. and Tuesday, May 13, at 7 p.m. For more information, visit the Landmark.
"
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*Photo by Salome Gvelesiani/ Courtesy Everything Georgian Inc.
*GEORGIA ON MY MIND: The Georgian Cultural Festival celebrates the culture and history of Georgia.
Visitors who show up at the [http://egatl.com/wordpress/?page_id=491|Georgian Cultural Festival] in John Howell Park in Virginia-Highland this weekend expecting peaches, peanuts and Coca-Cola are in for a bit of a shock. The outdoor festival offering "Everything Georgian" means the ''other'' Georgia, of course, the Eastern European nation on the Black Sea. (Interesting fact: our state doesn't just share a name with the country, but Atlanta is also a [http://www.atscc.org/|sister city of Tbilisi], the capital).
The free festival, now in its third year, features traditional music, food, folk dancing, wine tastings, children's activities, games, sports and more, all designed to introduce Georgians on this side of the pond to the traditions, history and geography of Georgia on the other. This year, the festival also features a performance from Georgian popstar [http://www.mariamimusic.com/|Mariami]. The festivities run in John Howell Park from 2 to 8 p.m. on Saturday, May 10.
? ? [jump]?
::***::
{img src="https://media1.fdncms.com/atlanta/imager/a-critics-notebook-all-things-georgian/u/original/11083954/1399382828-10177905_309458575887073_5811401366232709941_n.jpg"}Hi-tech contemporary chamber ensemble [http://www.sonicgenerator.gatech.edu/|Sonic Generator] will give a free concert next Wednesday, May 14, at 8 p.m. at the Erikson Clock building (364 Nelson Street) in Atlanta's Castleberry Hill neighborhood. The concert includes works by contemporary composers John Zorn, Daniel Wohl, Marc Melltis and Jason Freeman. For more information, visit the event's [http://www.sonicgenerator.gatech.edu/event/erikson-clock-presents-sonic-generator-wednesday-may-14th|webpage.]
::***::
Every so often, Hollywood unleashes a new Godzilla, and the latest big budget monstrosity is about to hit screens May 14. Those curious to see the original Japanese classic in the theater before the new blockbuster opens can check out the 60th Anniversary Digital Restoration of ''Godzilla'' at Atlanta's Landmark Theatre on Sunday, May 11, at 2 p.m. and Tuesday, May 13, at 7 p.m. For more information, visit the [http://www.landmarktheatres.com/Films/films_frameset.asp?id=40744|Landmark].
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string(2292) " erikson clock sonic generator john zorn godzilla georgian cultural festival Georgia, Sonic Generator and Godzilla 2014-05-07T14:14:00+00:00 A Critic's Notebook: All Things Georgian Andrew Alexander 2014-05-07T14:14:00+00:00
*Photo by Salome Gvelesiani/ Courtesy Everything Georgian Inc.
*GEORGIA ON MY MIND: The Georgian Cultural Festival celebrates the culture and history of Georgia.
Visitors who show up at the Georgian Cultural Festival in John Howell Park in Virginia-Highland this weekend expecting peaches, peanuts and Coca-Cola are in for a bit of a shock. The outdoor festival offering "Everything Georgian" means the other Georgia, of course, the Eastern European nation on the Black Sea. (Interesting fact: our state doesn't just share a name with the country, but Atlanta is also a sister city of Tbilisi, the capital).
The free festival, now in its third year, features traditional music, food, folk dancing, wine tastings, children's activities, games, sports and more, all designed to introduce Georgians on this side of the pond to the traditions, history and geography of Georgia on the other. This year, the festival also features a performance from Georgian popstar Mariami. The festivities run in John Howell Park from 2 to 8 p.m. on Saturday, May 10.
? ? jump?
***
Hi-tech contemporary chamber ensemble Sonic Generator will give a free concert next Wednesday, May 14, at 8 p.m. at the Erikson Clock building (364 Nelson Street) in Atlanta's Castleberry Hill neighborhood. The concert includes works by contemporary composers John Zorn, Daniel Wohl, Marc Melltis and Jason Freeman. For more information, visit the event's webpage.
***
Every so often, Hollywood unleashes a new Godzilla, and the latest big budget monstrosity is about to hit screens May 14. Those curious to see the original Japanese classic in the theater before the new blockbuster opens can check out the 60th Anniversary Digital Restoration of Godzilla at Atlanta's Landmark Theatre on Sunday, May 11, at 2 p.m. and Tuesday, May 13, at 7 p.m. For more information, visit the Landmark.
"Sonic Generator" "John Zorn" "Godzilla" "Georgian Cultural Festival" "Erikson Clock" 11083295 13078284 A Critic's Notebook: All Things Georgian "
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A Critic's Notebook: All Things Georgian Article
Wednesday May 7, 2014 10:14 AM EDT
Georgia, Sonic Generator and Godzilla
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*Courtesy Shara Hughes and American Contemporary
*FEELING STILL: "Follow Me Follow Me" by Shara Hughes
In collaboration with Get This Gallery, MOCA GA is currently exhibiting Shara Hughes' Guess You Had to Be There as part of the museum's 2012/13 Working Artist Project. Originally from Atlanta, Hughes left the city to study in New York, Denmark and Rhode Island before returning here in 2008. With bright colors and textures, Hughes combines interiors, landscapes and human relationships into her work. She has shown her work in New York and across Europe.
Here, Hughes talks to CL about working with textures, her latest show and shifting from interiors to human subjects.
How did the concept for Guess You Had to Be There come about?
Looking at the show as a whole, the theme for Guess You Had to Be There is very much about seeing an experience of feeling as a still life. You can remember how something felt or how a long-term decision about something major seems so urgent and heavy, but you can't capture the longevity of turmoil. Many of the pieces are like telling one of those stories where you go on and on and the punchline comes up, but only you remember how it felt. You have to leave the listeners with "oh... guess you had to be there." These paintings are somewhat trying to capture that long-term feeling of how hard the ups and downs can be but then, realizing it's also not so bad.
? ? jump?
This go-around, your work has evolved from highlighting interiors to using human subjects. What caused this shift in your work?
I think in all honesty, a relationship. Being in my 20s for most of those interiors, I guess my work had always been about being in your 20s in a way. The feeling of trying to figure out where my home was, or where I belonged after college. Making those interiors was a way for me to try many different scenarios of what home was physically and mentally. During that time I went through some personal losses which brought those interiors into a more symbolic realm of painting. At this point in my life, I've chosen to share myself with someone else in a way I never have before, so the work has naturally become more figurative. The main character is every person at times so that a feeling of multiple emotions through single event can come across. In other paintings, it is only about two people working together or not working together.
*Courtesy of Shara Hughes and American Contemporary
*"My Hero" by Shara Hughes
Tell me about your experience as a Working Artist Project at MOCA. How have you grown as an artist?
The WAP has been a great way to focus on one large space. I didn't know exactly what I wanted to do for the show, so during my year of making work, I was focusing on changing scale. I created an obscene amount of small work. I never work small, so it was a challenge for me to continue to struggle with them for this amount of time. I think the small work helped the larger ones become more intentional and less planned out at the same time. To have a year of focusing on this one show, I really was able to find freedom in the work mainly because I had no plan. Being able to have no plan in the work has been important because it allows myself to trust in my techniques enough to let go of what the piece would be about and let the piece reveal itself to me. It's a trust in letting go which sounds so hippie or something, but I guess it's one of those things you need to learn at some point.
With so many bright colors, textures and use of abstraction, what's your creative process behind your paintings?
It's really become intuitive at this point. I'll start with some kind of color on the surface, or some kind of shape. Then I just become reactionary with what I see as a potential for some kind of space or figure. The painting gets addictive and then edited over and over, until I latch on to one kind of theme and then run with it. It's frustrating because it's a feeling of having no control for most of the time while making the piece. However, once you fight with it long enough, it reveals itself in a deeper and more honest way than it would have come about if I had it planned out and then just executed my plan.
Guess You Had to Be There, an exhibition by Shara Hughes, runs through June 28 at MOCA GA. More details at the gallery."
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*Courtesy Shara Hughes and American Contemporary
*FEELING STILL: "Follow Me Follow Me" by Shara Hughes
In collaboration with Get This Gallery, MOCA GA is currently exhibiting Shara Hughes' ''Guess You Had to Be There'' as part of the museum's 2012/13 Working Artist Project. Originally from Atlanta, Hughes left the city to study in New York, Denmark and Rhode Island before returning here in 2008. With bright colors and textures, Hughes combines interiors, landscapes and human relationships into her work. She has shown her work in New York and across Europe.
Here, Hughes talks to ''CL'' about working with textures, her latest show and shifting from interiors to human subjects.
__How did the concept for ''Guess You Had to Be There'' come about?__
Looking at the show as a whole, the theme for ''Guess You Had to Be There'' is very much about seeing an experience of feeling as a still life. You can remember how something felt or how a long-term decision about something major seems so urgent and heavy, but you can't capture the longevity of turmoil. Many of the pieces are like telling one of those stories where you go on and on and the punchline comes up, but only ''you'' remember how it felt. You have to leave the listeners with "oh... guess you had to be there." These paintings are somewhat trying to capture that long-term feeling of how hard the ups and downs can be but then, realizing it's also not so bad.
? ? [jump]?
__This go-around, your work has evolved from highlighting interiors to using human subjects. What caused this shift in your work?__
I think in all honesty, a relationship. Being in my 20s for most of those interiors, I guess my work had always been about being in your 20s in a way. The feeling of trying to figure out where my home was, or where I belonged after college. Making those interiors was a way for me to try many different scenarios of what home was physically and mentally. During that time I went through some personal losses which brought those interiors into a more symbolic realm of painting. At this point in my life, I've chosen to share myself with someone else in a way I never have before, so the work has naturally become more figurative. The main character is every person at times so that a feeling of multiple emotions through single event can come across. In other paintings, it is only about two people working together or not working together.
{img src="https://media1.fdncms.com/atlanta/imager/my-hero-by-shara-hughes/u/original/11075445/1399300876-2014my_hero.jpg"}
*Courtesy of Shara Hughes and American Contemporary
*"My Hero" by Shara Hughes
__Tell me about your experience as a Working Artist Project at MOCA. How have you grown as an artist?__
The WAP has been a great way to focus on one large space. I didn't know exactly what I wanted to do for the show, so during my year of making work, I was focusing on changing scale. I created an obscene amount of small work. I never work small, so it was a challenge for me to continue to struggle with them for this amount of time. I think the small work helped the larger ones become more intentional and less planned out at the same time. To have a year of focusing on this one show, I really was able to find freedom in the work mainly because I had no plan. Being able to have no plan in the work has been important because it allows myself to trust in my techniques enough to let go of what the piece would be about and let the piece reveal itself to me. It's a trust in letting go which sounds so hippie or something, but I guess it's one of those things you need to learn at some point.
__With so many bright colors, textures and use of abstraction, what's your creative process behind your paintings?__
It's really become intuitive at this point. I'll start with some kind of color on the surface, or some kind of shape. Then I just become reactionary with what I see as a potential for some kind of space or figure. The painting gets addictive and then edited over and over, until I latch on to one kind of theme and then run with it. It's frustrating because it's a feeling of having no control for most of the time while making the piece. However, once you fight with it long enough, it reveals itself in a deeper and more honest way than it would have come about if I had it planned out and then just executed my plan.
__Guess You Had to Be There__'', an exhibition by Shara Hughes, runs through June 28 at MOCA GA. More details at [http://www.mocaga.org/|the gallery].''"
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string(4739) " moca ga shara hughes guess you had to be there a few questions Muriel Vega talks to Shara Hughes about her new show at MOCA GA 2014-05-05T14:42:00+00:00 A few questions with Shara Hughes Muriel Vega 2014-05-05T14:42:00+00:00
*Courtesy Shara Hughes and American Contemporary
*FEELING STILL: "Follow Me Follow Me" by Shara Hughes
In collaboration with Get This Gallery, MOCA GA is currently exhibiting Shara Hughes' Guess You Had to Be There as part of the museum's 2012/13 Working Artist Project. Originally from Atlanta, Hughes left the city to study in New York, Denmark and Rhode Island before returning here in 2008. With bright colors and textures, Hughes combines interiors, landscapes and human relationships into her work. She has shown her work in New York and across Europe.
Here, Hughes talks to CL about working with textures, her latest show and shifting from interiors to human subjects.
How did the concept for Guess You Had to Be There come about?
Looking at the show as a whole, the theme for Guess You Had to Be There is very much about seeing an experience of feeling as a still life. You can remember how something felt or how a long-term decision about something major seems so urgent and heavy, but you can't capture the longevity of turmoil. Many of the pieces are like telling one of those stories where you go on and on and the punchline comes up, but only you remember how it felt. You have to leave the listeners with "oh... guess you had to be there." These paintings are somewhat trying to capture that long-term feeling of how hard the ups and downs can be but then, realizing it's also not so bad.
? ? jump?
This go-around, your work has evolved from highlighting interiors to using human subjects. What caused this shift in your work?
I think in all honesty, a relationship. Being in my 20s for most of those interiors, I guess my work had always been about being in your 20s in a way. The feeling of trying to figure out where my home was, or where I belonged after college. Making those interiors was a way for me to try many different scenarios of what home was physically and mentally. During that time I went through some personal losses which brought those interiors into a more symbolic realm of painting. At this point in my life, I've chosen to share myself with someone else in a way I never have before, so the work has naturally become more figurative. The main character is every person at times so that a feeling of multiple emotions through single event can come across. In other paintings, it is only about two people working together or not working together.
*Courtesy of Shara Hughes and American Contemporary
*"My Hero" by Shara Hughes
Tell me about your experience as a Working Artist Project at MOCA. How have you grown as an artist?
The WAP has been a great way to focus on one large space. I didn't know exactly what I wanted to do for the show, so during my year of making work, I was focusing on changing scale. I created an obscene amount of small work. I never work small, so it was a challenge for me to continue to struggle with them for this amount of time. I think the small work helped the larger ones become more intentional and less planned out at the same time. To have a year of focusing on this one show, I really was able to find freedom in the work mainly because I had no plan. Being able to have no plan in the work has been important because it allows myself to trust in my techniques enough to let go of what the piece would be about and let the piece reveal itself to me. It's a trust in letting go which sounds so hippie or something, but I guess it's one of those things you need to learn at some point.
With so many bright colors, textures and use of abstraction, what's your creative process behind your paintings?
It's really become intuitive at this point. I'll start with some kind of color on the surface, or some kind of shape. Then I just become reactionary with what I see as a potential for some kind of space or figure. The painting gets addictive and then edited over and over, until I latch on to one kind of theme and then run with it. It's frustrating because it's a feeling of having no control for most of the time while making the piece. However, once you fight with it long enough, it reveals itself in a deeper and more honest way than it would have come about if I had it planned out and then just executed my plan.
Guess You Had to Be There, an exhibition by Shara Hughes, runs through June 28 at MOCA GA. More details at the gallery. "shara hughes" "MOCA GA" "guess you had to be there" "a few questions" 11065220 13078265 A few questions with Shara Hughes "
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A few questions with Shara Hughes Article
Monday May 5, 2014 10:42 AM EDT
Muriel Vega talks to Shara Hughes about her new show at MOCA GA
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2. Whitespace gallerist Susan Bridges honored with the Atlanta Contemporary Art Center's 2014 Nexus Award, May 6.
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1. Kongo Across the Waters, a major traveling exhibition of objects from the Royal Museum for Central Africa at the Jimmy Carter Library and Museum, May 15 - September 21.
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A Critic's Notebook: May's Top Five Arts Events Article
Wednesday April 30, 2014 10:28 AM EDT
Kongo, Mayhem, Susan, Tanz and Judy
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string(1349) "I've loved the work of author and illustrator Edward Gorey ever since I first saw the animated versions of his famous pen-and-ink drawings in the opening credits of PBS's Mystery! series way back in the day. It's one of the reasons I'm so curious about the performance of the Trey McIntyre Project dance company this Saturday evening, April 26, at Atlanta's Rialto Center for the Arts. With the help of Lion King puppet designer Michael Curry, the troupe will present four Gorey cult classics - The Gashlycrumb Tinies, The Beastly Baby, The Deranged Cousin and The Disrespectful Summons - as live dance theater.
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The Gorey works will appear on a double bill with McIntyre's popular "Mercury Half-Life," an epic 50-minute dance piece set to the music of Freddy Mercury and Queen. There's only one chance to see the Trey McIntyre Project in Atlanta, and it will likely be your last: the renowned dance troupe will be disbanding at the end of June as the innovative and unconventional founder Trey McIntyre shifts directions to pursue an interest in film. For more information about this weekend's performance, visit the Rialto.
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The Gorey works will appear on a double bill with McIntyre's popular "Mercury Half-Life," an epic 50-minute dance piece set to the music of Freddy Mercury and Queen. There's only one chance to see the Trey McIntyre Project in Atlanta, and it will likely be your last: the renowned dance troupe will be disbanding at the end of June as the innovative and unconventional founder [http://artsbeat.blogs.nytimes.com/2014/01/07/idaho-ballet-troupe-to-shift-directions/?_php=true&_type=blogs&_r=0|Trey McIntyre] shifts directions to pursue an interest in film. For more information about this weekend's performance, visit the [http://rialto.gsu.edu/|Rialto].
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string(1855) " rialto center for the arts trey mcintyre project rialto theatre trey mcintyre queen freddy mercury edward gorey Trey McIntyre brings the work of Edward Gorey to the Rialto stage 2014-04-23T14:03:00+00:00 A Critic's Notebook: A Gorey weekend Andrew Alexander 2014-04-23T14:03:00+00:00 I've loved the work of author and illustrator Edward Gorey ever since I first saw the animated versions of his famous pen-and-ink drawings in the opening credits of PBS's Mystery! series way back in the day. It's one of the reasons I'm so curious about the performance of the Trey McIntyre Project dance company this Saturday evening, April 26, at Atlanta's Rialto Center for the Arts. With the help of Lion King puppet designer Michael Curry, the troupe will present four Gorey cult classics - The Gashlycrumb Tinies, The Beastly Baby, The Deranged Cousin and The Disrespectful Summons - as live dance theater.
? ? jump?
The Gorey works will appear on a double bill with McIntyre's popular "Mercury Half-Life," an epic 50-minute dance piece set to the music of Freddy Mercury and Queen. There's only one chance to see the Trey McIntyre Project in Atlanta, and it will likely be your last: the renowned dance troupe will be disbanding at the end of June as the innovative and unconventional founder Trey McIntyre shifts directions to pursue an interest in film. For more information about this weekend's performance, visit the Rialto.
*Courtesy Trey McIntyre Project
*AMERICAN GOTHIC: Renowned dance company Trey McIntyre Project turns the work of illustrator Edward Gorey into live dance theater this Saturday at the Rialto.
"Trey McIntyre Project" "Trey McIntyre" "Rialto Theatre" "Rialto Center for the Arts" "queen" "Freddy Mercury" "Edward Gorey" 10988929 13078139 A Critic's Notebook: A Gorey weekend "
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Wednesday April 23, 2014 10:03 AM EDT
Trey McIntyre brings the work of Edward Gorey to the Rialto stage
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Terminus, the new production from Atlanta-based theater company Saiah, opens today at the Clyde Shepherd Nature Preserve in Decatur. The work is an immersive theatrical experience set during the Civil War that allows viewers to choose one of three paths through the story.
? ? jump?
Saiah is the company behind 2012's Rua | Wülf at the Goat Farm Arts Center which Creative Loafing viewers voted Best Play in the annual Best of Atlanta issue, and Saiah also created 2013's Moby-Dick at the Lifecycle Building Center, which both Creative Loafing readers and critics selected as Best Play in 2013.
The folks at Saiah have long worked at making immersive theater that appeals to multiple senses: sight, sound, touch, even smell. But for the first time, they're working on integrating taste into the experience. Check out this Bang!Arts Q&A with Taria Camerino of the Sugar-Coated Radical about creating a culinary experience to reflect the plot of Terminus.
And for more information or tickets to Terminus, visit Saiah's website."
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''Terminus'', the new production from Atlanta-based theater company [http://www.saiah.org/|Saiah], opens today at the [http://www.cshepherdpreserve.org/|Clyde Shepherd Nature Preserve] in Decatur. The work is an immersive theatrical experience set during the Civil War that allows viewers to choose one of three paths through the story.
? ? [jump]?
Saiah is the company behind 2012's ''Rua | Wülf'' at the Goat Farm Arts Center which ''Creative Loafing'' viewers voted [http://clatl.com/atlanta/best-play/BestOf?oid=6265860|Best Play] in the annual Best of Atlanta issue, and Saiah also created 2013's ''Moby-Dick'' at the Lifecycle Building Center, which both ''Creative Loafing'' [http://clatl.com/atlanta/best-play/BestOf?oid=9125110|readers] and [http://clatl.com/atlanta/best-play/BestOf?oid=9232847|critics] selected as Best Play in 2013.
The folks at Saiah have long worked at making immersive theater that appeals to multiple senses: sight, sound, touch, even smell. But for the first time, they're working on integrating taste into the experience. Check out this Bang!Arts [http://www.bangarts.com/qa-taria-camerino/|Q&A with Taria Camerino] of the Sugar-Coated Radical about creating a culinary experience to reflect the plot of ''Terminus''.
And for more information or tickets to ''Terminus'', visit [http://www.saiah.org/present.html|Saiah's website]."
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Terminus, the new production from Atlanta-based theater company Saiah, opens today at the Clyde Shepherd Nature Preserve in Decatur. The work is an immersive theatrical experience set during the Civil War that allows viewers to choose one of three paths through the story.
? ? jump?
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A Critic's Notebook: Terminus" opens" Article
Wednesday April 16, 2014 10:40 AM EDT
An immersive Civil War experience at the Clyde Shepherd Nature Preserve
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*Courtesy OnStage Atlanta/Process Theatre
*SUGARBAKER AND ASSOCIATES: Atlanta playwright and Osborn winner Topher Payne (lower right) plays Julia Sugarbaker in "Designing Women Live." The popular fundraising event at OnStage Atlanta also stars Johnny Drago as Mary Jo, Tony Smithey as Charlene, and DeWayne Morgan as Suzanne.
Well, I declare. Only in Atlanta...
Onstage Atlanta had to reschedule a couple performances of its popular Designing Women Live fundraiser last weekend so that the show's Julia Sugarbaker, Atlanta playwright Topher Payne, could go to Louisville, Kentucky, to accept one of the nation's top awards for emerging playwrights.
Payne, who portrays the elegant, no-nonsense elder Sugarbaker sister in the twice-yearly fundraising event with a cast of male actors in drag playing the lead roles in live performances of episodes of the '80s sit-com, recently won the prestigious 2014 M. Elizabeth Osborn New Play Award for his work Perfect Arrangement. Payne accepted the award at a ceremony on Saturday evening, April 5, at Actor's Theatre of Louisville, which hosts the annual Humana Festival of New Plays. He zipped home afterwards to perform two shows as Julia Sugarbaker on Sunday. I'm fairly confident in reporting that he's the only Osborn winner ever to do so.
? ? jump?
I was lucky enough to interview Payne at the beginning of this year for Creative Loafing's annual "20 to Watch" issue. The ever-productive writer repeatedly claimed that this would be a somewhat idle year for him. As it turns out, when he's not accepting awards or dashing home to don shoulder pads, faux pearls, feathered wigs and Southern sass, he is - among many other activities - preparing for the Atlanta premiere of his play Lakebottom Prime later this month . The show, which was originally commissioned by the Springer Opera House in Columbus, Georgia, is a farce about the historic draining of the lake in Columbus' Wildwood Park in 1924. Well, I certainly hope he's enjoying all this time doing so little: it will be great when he finally gets back to work.
Both Designing Women Live and Lakebottom Prime, a Process Theatre production, run at OnStage Atlanta's new space at 2969 East Ponce De Leon Avenue, a couple blocks from the Dekalb Farmer's Market. Designing Women Live runs through April 13, and Lakebottom Prime opens April 25. For more information, visit OnStage Atlanta and Process Theatre.
***
*Jeff Roffman
*Elizabeth Koch Tiscione
Atlanta Symphony Orchestra Principal Oboe Elizabeth Koch Tiscione will make her ASO solo debut performing the Strauss Oboe Concerto April 10-13 at Symphony Hall.
"The Strauss concerto is a true challenge for any oboist because of its impossibly long phrases and marathon-esque physical demand, but all of the hard work will be worth it in the end," says Tiscione. The piece may be a daunting challenge for the soloist, but it will make a lovely evening for the rest of us. When asked what midtown spot she thought might make the perfect pairing for concert-goers before or after the Strauss, Tiscione recommended her favorite restaurant Ecco for dinner and cocktails The weekend's program, which will be led by Principal Guest Conductor Donald Runnicles, will also include Strauss's Metamorphosen and Beethoven's Symphony No. 7. "It will also be such an honor to collaborate with Donald Runnicles - one of the world's foremost masters of Strauss's music," says Tiscione. For more information, visit the ASO.
***
Oh, Goody!
Goody Corey, Goody Nurse, and Goody Proctor, that is. The well-known characters from Arthur Miller's classic 1953 play The Crucible are also in composer Robert Ward's Pulitzer Prize-winning operatic adaptation of the work. Staged by Carroll Freeman and accompanied by the GSU Opera Orchestra under Michael Palmer, Georgia State University School of Music Opera Theatre will perform a fully-staged production of the opera this weekend, April 11-13, at GSU's Rialto Center for the Arts. For more information or to purchase tickets, visit the Rialto."
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*Courtesy OnStage Atlanta/Process Theatre
*SUGARBAKER AND ASSOCIATES: Atlanta playwright and Osborn winner Topher Payne (lower right) plays Julia Sugarbaker in "Designing Women Live." The popular fundraising event at OnStage Atlanta also stars Johnny Drago as Mary Jo, Tony Smithey as Charlene, and DeWayne Morgan as Suzanne.
Well, I declare. Only in Atlanta...
Onstage Atlanta had to reschedule a couple performances of its popular ''[http://onstageatlanta.tix.com/Schedule.aspx?OrgNum=612|Designing Women Live]'' fundraiser last weekend so that the show's Julia Sugarbaker, Atlanta playwright Topher Payne, could go to Louisville, Kentucky, to accept one of the nation's top awards for emerging playwrights.
Payne, who portrays the elegant, no-nonsense elder Sugarbaker sister in the twice-yearly fundraising event with a cast of male actors in drag playing the lead roles in live performances of episodes of the '80s sit-com, recently won the prestigious 2014 M. Elizabeth Osborn New Play Award for his work ''Perfect Arrangement''. Payne accepted the award at a ceremony on Saturday evening, April 5, at Actor's Theatre of Louisville, which hosts the annual Humana Festival of New Plays. He zipped home afterwards to perform two shows as Julia Sugarbaker on Sunday. I'm fairly confident in reporting that he's the only Osborn winner ever to do so.
? ? [jump]?
I was lucky enough to interview Payne at the beginning of this year for ''Creative Loafing'''s annual "[http://clatl.com/atlanta/topher-payne-the-playwright/Content?oid=10031107|20 to Watch]" issue. The ever-productive writer repeatedly claimed that this would be a somewhat idle year for him. As it turns out, when he's not accepting awards or dashing home to don shoulder pads, faux pearls, feathered wigs and Southern sass, he is - among many other activities - preparing for the Atlanta premiere of his play ''Lakebottom Prime'' later this month . The show, which was originally commissioned by the Springer Opera House in Columbus, Georgia, is a farce about the historic draining of the lake in Columbus' Wildwood Park in 1924. Well, I certainly hope he's enjoying all this time doing so little: it will be great when he finally gets back to work.
Both ''Designing Women Live ''and ''Lakebottom Prime'', a Process Theatre production, run at OnStage Atlanta's new space at 2969 East Ponce De Leon Avenue, a couple blocks from the Dekalb Farmer's Market. ''Designing Women Live'' runs through April 13, and ''Lakebottom Prime'' opens April 25. For more information, visit [http://www.onstageatlanta.com/|OnStage Atlanta] and [http://www.theprocesstheatre.org/|Process Theatre].
::***::
{img src="https://media2.fdncms.com/atlanta/imager/elizabeth-koch-tiscione/u/original/10894298/1396989718-elizabeth_koch_tiscione_-_credit_jeff_roffman.jpg"}
*[http://clatl.com/atlanta/ImageArchives?by=1290593|Jeff Roffman]
*Elizabeth Koch Tiscione
Atlanta Symphony Orchestra Principal Oboe Elizabeth Koch Tiscione will make her ASO solo debut performing the Strauss Oboe Concerto April 10-13 at Symphony Hall.
"The Strauss concerto is a true challenge for any oboist because of its impossibly long phrases and marathon-esque physical demand, but all of the hard work will be worth it in the end," says Tiscione. The piece may be a daunting challenge for the soloist, but it will make a lovely evening for the rest of us. When asked what midtown spot she thought might make the perfect pairing for concert-goers before or after the Strauss, Tiscione recommended her favorite restaurant [http://ecco-atlanta.com/|Ecco] for dinner and cocktails The weekend's program, which will be led by Principal Guest Conductor Donald Runnicles, will also include Strauss's ''Metamorphosen'' and Beethoven's Symphony No. 7. "It will also be such an honor to collaborate with Donald Runnicles - one of the world's foremost masters of Strauss's music," says Tiscione. For more information, visit the [http://www.atlantasymphony.org/ConcertsAndTickets/Calendar/2013-2014/Koch-Tiscione-Strauss.aspx|ASO].
::***::
{img src="https://media1.fdncms.com/atlanta/imager/a-critics-notebook-southern-belles-ecco/u/original/10894294/1396989527-crucible.jpg"}Oh, Goody!
Goody Corey, Goody Nurse, and Goody Proctor, that is. The well-known characters from Arthur Miller's classic 1953 play ''The Crucible'' are also in composer Robert Ward's Pulitzer Prize-winning operatic adaptation of the work. Staged by Carroll Freeman and accompanied by the GSU Opera Orchestra under Michael Palmer, Georgia State University School of Music Opera Theatre will perform a fully-staged production of the opera this weekend, April 11-13, at GSU's Rialto Center for the Arts. For more information or to purchase tickets, visit the [http://tickets.rialtocenter.org/Public/show.asp|Rialto]."
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string(4831) " opera atlanta symphony orchestra onstage atlanta topher payne arthur miller donald runnicles the crucible strauss oboe concerto robert ward process theatre lakebottom prime elizabeth koch tiscione designing women live 20 to watch Payne and Associates bake up some sugar 2014-04-09T15:42:00+00:00 A Critic's Notebook: Southern Belles, Ecco and Witches Andrew Alexander 2014-04-09T15:42:00+00:00
*Courtesy OnStage Atlanta/Process Theatre
*SUGARBAKER AND ASSOCIATES: Atlanta playwright and Osborn winner Topher Payne (lower right) plays Julia Sugarbaker in "Designing Women Live." The popular fundraising event at OnStage Atlanta also stars Johnny Drago as Mary Jo, Tony Smithey as Charlene, and DeWayne Morgan as Suzanne.
Well, I declare. Only in Atlanta...
Onstage Atlanta had to reschedule a couple performances of its popular Designing Women Live fundraiser last weekend so that the show's Julia Sugarbaker, Atlanta playwright Topher Payne, could go to Louisville, Kentucky, to accept one of the nation's top awards for emerging playwrights.
Payne, who portrays the elegant, no-nonsense elder Sugarbaker sister in the twice-yearly fundraising event with a cast of male actors in drag playing the lead roles in live performances of episodes of the '80s sit-com, recently won the prestigious 2014 M. Elizabeth Osborn New Play Award for his work Perfect Arrangement. Payne accepted the award at a ceremony on Saturday evening, April 5, at Actor's Theatre of Louisville, which hosts the annual Humana Festival of New Plays. He zipped home afterwards to perform two shows as Julia Sugarbaker on Sunday. I'm fairly confident in reporting that he's the only Osborn winner ever to do so.
? ? jump?
I was lucky enough to interview Payne at the beginning of this year for Creative Loafing's annual "20 to Watch" issue. The ever-productive writer repeatedly claimed that this would be a somewhat idle year for him. As it turns out, when he's not accepting awards or dashing home to don shoulder pads, faux pearls, feathered wigs and Southern sass, he is - among many other activities - preparing for the Atlanta premiere of his play Lakebottom Prime later this month . The show, which was originally commissioned by the Springer Opera House in Columbus, Georgia, is a farce about the historic draining of the lake in Columbus' Wildwood Park in 1924. Well, I certainly hope he's enjoying all this time doing so little: it will be great when he finally gets back to work.
Both Designing Women Live and Lakebottom Prime, a Process Theatre production, run at OnStage Atlanta's new space at 2969 East Ponce De Leon Avenue, a couple blocks from the Dekalb Farmer's Market. Designing Women Live runs through April 13, and Lakebottom Prime opens April 25. For more information, visit OnStage Atlanta and Process Theatre.
***
*Jeff Roffman
*Elizabeth Koch Tiscione
Atlanta Symphony Orchestra Principal Oboe Elizabeth Koch Tiscione will make her ASO solo debut performing the Strauss Oboe Concerto April 10-13 at Symphony Hall.
"The Strauss concerto is a true challenge for any oboist because of its impossibly long phrases and marathon-esque physical demand, but all of the hard work will be worth it in the end," says Tiscione. The piece may be a daunting challenge for the soloist, but it will make a lovely evening for the rest of us. When asked what midtown spot she thought might make the perfect pairing for concert-goers before or after the Strauss, Tiscione recommended her favorite restaurant Ecco for dinner and cocktails The weekend's program, which will be led by Principal Guest Conductor Donald Runnicles, will also include Strauss's Metamorphosen and Beethoven's Symphony No. 7. "It will also be such an honor to collaborate with Donald Runnicles - one of the world's foremost masters of Strauss's music," says Tiscione. For more information, visit the ASO.
***
Oh, Goody!
Goody Corey, Goody Nurse, and Goody Proctor, that is. The well-known characters from Arthur Miller's classic 1953 play The Crucible are also in composer Robert Ward's Pulitzer Prize-winning operatic adaptation of the work. Staged by Carroll Freeman and accompanied by the GSU Opera Orchestra under Michael Palmer, Georgia State University School of Music Opera Theatre will perform a fully-staged production of the opera this weekend, April 11-13, at GSU's Rialto Center for the Arts. For more information or to purchase tickets, visit the Rialto. "Topher Payne" "The Crucible" "Strauss Oboe Concerto" "Robert Ward" "Process Theatre" "opera" "onstage atlanta" "Lakebottom Prime" "Elizabeth Koch Tiscione" "Donald Runnicles" "Designing Women Live" "Atlanta Symphony Orchestra" "Arthur Miller" "20 to Watch" 10894004 13077956 A Critic's Notebook: Southern Belles, Ecco and Witches "
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Wednesday April 9, 2014 11:42 AM EDT
Payne and Associates bake up some sugar
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string(6194) "It sometimes seems there's nothing more ordinary than a photograph. We see thousands of images every day: their subjects are of varying levels of interest to us - we might be momentarily impressed - but when we're bored of one we click on to another. It's rare we stop to think about the weird miracle of the camera itself, the little mechanical eye that opens for a fraction of a second to capture light bouncing off objects, recording their momentary imprint, making them permanent, allowing them to be seen in a totally different time and place. To look at the work of Abelardo Morell is to be viscerally reminded of what an extraordinary and strange thing a photograph truly is.
"No one that I knew of had ever made a picture of what an interior of a camera obscura looked like," says the artist Morell, who was recently in Atlanta to promote the opening of his exhibition ''The Universe Next Door at the High Museum. "People talk about it all the time. But a photograph of it had never existed. When I finished my first, I felt like I did something no one else had done. It felt like I had invented photography, like I was one of the inventors. That felt amazing."
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Morell grew up in Guanabo, a beach town near Havana, Cuba, until the age of 14 when his family moved to New York. Morell says he had trouble learning English, but as a student at Maine's Bowdoin College in 1969 he took a class and discovered a language he was instantly adept at: photography. "That told me right away that's what I wanted to do," he says. "It gave me a feeling that I could talk."
He originally spoke the language of street photography in New York City, but it was his interest in the technical aspects of the camera (his initial ambition was to be an engineer) that slowly developed as the most exciting aspect of his work. Even when he's not working with the camera obscura, his work tends towards an interest in shadows, mirrors, pictures within pictures, cut-outs, and reflections: their multiple surfaces and perspectives often allow us to see things from both up and down, inside and out, on the surface and into the depths. Unsurprisingly Lewis Carroll's Alice figures prominently in a series of photographs at the exhibition: in Morell's world, like Carroll's, ordinary, every day objects - tea cups, playing cards, books - can take on an extraordinary life.
When Morell uses physical film for his camera obscura works, the images can take up to five to eight hours of exposure to create. "I have lunch, I have a nice day out," he says. "But I'm always worried about the weather, the rain. There's the neurotic sense about whether the sun will stay out ... Oftentimes we'll work eight hours and get nothing." Digital film is much faster, typically taking five minutes or so, allowing him to capture images at different times of day. A series on the Brooklyn Bridge in different light recalls Monet's series on the Rouen Cathedral: the thing itself is somehow immaterial, it's the light that gives it form.
Morell often photographs familiar landmarks and buildings with his camera obscura technique - the New York skyline, the Piazza San Marco in Venice - and a tent allows him to make the technique portable. Especially lovely, almost painterly, is the series hung in one room at the High in which the camera obscura images are thrown onto textured ground rather than a white wall.
? ? jump?
Morell is also exhibiting a room of new work commissioned by the High itself as part of its "Picturing the South" series, for which the museum commissions photographers to make work in the region. For the commission Morell made several of his signature camera obscura images, most of them in high-rises within walking distance of the High Museum, from rooms at the 4 Seasons, the Loews Hotel and the King & Spalding building. But during his time here Morell also developed a fascination with the trees that surround the city.
"I really liked the challenge of doing something different," he says. "I thought trees - I've never done trees. Why don't I try to do it my way? My way involves looking at things through different optics, framing things, mirrors, anything to create a new view of what's known. In every image I try to have a new meaning for how a tree could be seen or interpreted." His images of Atlanta and Georgia trees involve mirrors, cutting into or layering pre-existing images, playing inventively and whimsically with the theatricality and subjectivity of the frame.
Morell is an artist who is singularly and deeply conscious of the camera's process, but also possesses the rare aesthetic that can remind us of the beauty and mystery in everyday things. The title of his exhibition, he explains, comes from the final line of the poem 'pity this busy monster, manunkind' by e.e. cummings. After giving a grim diagnosis of the hopelessness of mankind in this world, the speaker in the poem offers: "There's a hell of a good universe next door. Let's go."
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Morell grew up in Guanabo, a beach town near Havana, Cuba, until the age of 14 when his family moved to New York. Morell says he had trouble learning English, but as a student at Maine's Bowdoin College in 1969 he took a class and discovered a language he was instantly adept at: photography. "That told me right away that's what I wanted to do," he says. "It gave me a feeling that I could talk."
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Morell often photographs familiar landmarks and buildings with his camera obscura technique - the New York skyline, the Piazza San Marco in Venice - and a tent allows him to make the technique portable. Especially lovely, almost painterly, is the series hung in one room at the High in which the camera obscura images are thrown onto textured ground rather than a white wall.
? ? [jump]?
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string(6468) " Photographer goes through the looking-glass 2014-04-08T16:00:00+00:00 Abelardo Morell explores 'The Universe Next Door' Andrew Alexander 2014-04-08T16:00:00+00:00 It sometimes seems there's nothing more ordinary than a photograph. We see thousands of images every day: their subjects are of varying levels of interest to us - we might be momentarily impressed - but when we're bored of one we click on to another. It's rare we stop to think about the weird miracle of the camera itself, the little mechanical eye that opens for a fraction of a second to capture light bouncing off objects, recording their momentary imprint, making them permanent, allowing them to be seen in a totally different time and place. To look at the work of Abelardo Morell is to be viscerally reminded of what an extraordinary and strange thing a photograph truly is.
"No one that I knew of had ever made a picture of what an interior of a camera obscura looked like," says the artist Morell, who was recently in Atlanta to promote the opening of his exhibition ''The Universe Next Door at the High Museum. "People talk about it all the time. But a photograph of it had never existed. When I finished my first, I felt like I did something no one else had done. It felt like I had invented photography, like I was one of the inventors. That felt amazing."
Morell's most famous series of photographs involves the use of a camera obscura, or dark room, a centuries-old optical trick that predates the pinhole camera: an image, upside down and backwards, is projected on a wall in a darkened chamber through a tiny hole that allows in light from outside. In 1991, he began photographing interiors with camera obscura images on the walls in black and white. In later photographs starting in 2005, he began to use color, and in 2007, Morell began using prisms to set the typically upside-down camera obsura image right side up. In all of them, though we are looking inside a room, we're also looking outside. But the resulting images are not at all disorienting; in fact, they seem eerily matter-of-fact. They make sense the way a dream makes sense before you try to explain it. There is never a sense of showiness or trickery, just a quiet insistence on the commonplace nature of this dizzyingly peculiar thing we're looking at.
Morell grew up in Guanabo, a beach town near Havana, Cuba, until the age of 14 when his family moved to New York. Morell says he had trouble learning English, but as a student at Maine's Bowdoin College in 1969 he took a class and discovered a language he was instantly adept at: photography. "That told me right away that's what I wanted to do," he says. "It gave me a feeling that I could talk."
He originally spoke the language of street photography in New York City, but it was his interest in the technical aspects of the camera (his initial ambition was to be an engineer) that slowly developed as the most exciting aspect of his work. Even when he's not working with the camera obscura, his work tends towards an interest in shadows, mirrors, pictures within pictures, cut-outs, and reflections: their multiple surfaces and perspectives often allow us to see things from both up and down, inside and out, on the surface and into the depths. Unsurprisingly Lewis Carroll's Alice figures prominently in a series of photographs at the exhibition: in Morell's world, like Carroll's, ordinary, every day objects - tea cups, playing cards, books - can take on an extraordinary life.
When Morell uses physical film for his camera obscura works, the images can take up to five to eight hours of exposure to create. "I have lunch, I have a nice day out," he says. "But I'm always worried about the weather, the rain. There's the neurotic sense about whether the sun will stay out ... Oftentimes we'll work eight hours and get nothing." Digital film is much faster, typically taking five minutes or so, allowing him to capture images at different times of day. A series on the Brooklyn Bridge in different light recalls Monet's series on the Rouen Cathedral: the thing itself is somehow immaterial, it's the light that gives it form.
Morell often photographs familiar landmarks and buildings with his camera obscura technique - the New York skyline, the Piazza San Marco in Venice - and a tent allows him to make the technique portable. Especially lovely, almost painterly, is the series hung in one room at the High in which the camera obscura images are thrown onto textured ground rather than a white wall.
? ? jump?
Morell is also exhibiting a room of new work commissioned by the High itself as part of its "Picturing the South" series, for which the museum commissions photographers to make work in the region. For the commission Morell made several of his signature camera obscura images, most of them in high-rises within walking distance of the High Museum, from rooms at the 4 Seasons, the Loews Hotel and the King & Spalding building. But during his time here Morell also developed a fascination with the trees that surround the city.
"I really liked the challenge of doing something different," he says. "I thought trees - I've never done trees. Why don't I try to do it my way? My way involves looking at things through different optics, framing things, mirrors, anything to create a new view of what's known. In every image I try to have a new meaning for how a tree could be seen or interpreted." His images of Atlanta and Georgia trees involve mirrors, cutting into or layering pre-existing images, playing inventively and whimsically with the theatricality and subjectivity of the frame.
Morell is an artist who is singularly and deeply conscious of the camera's process, but also possesses the rare aesthetic that can remind us of the beauty and mystery in everyday things. The title of his exhibition, he explains, comes from the final line of the poem 'pity this busy monster, manunkind' by e.e. cummings. After giving a grim diagnosis of the hopelessness of mankind in this world, the speaker in the poem offers: "There's a hell of a good universe next door. Let's go."
"It's that idea of maybe packing up, that next to your mundane life that there's another universe to go to," says Morell. "I think of it in that way, that these pictures come from opening that door and finding something interesting."''
10659142 13077596 Abelardo Morell explores 'The Universe Next Door' "
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Abelardo Morell explores 'The Universe Next Door' Article
Tuesday April 8, 2014 12:00 PM EDT
Photographer goes through the looking-glass
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5. gloATL performs at Howard Finster's Paradise Garden (Free bus with suggested donation departs from the Goat Farm Arts Center at 3pm), Saturday, April 5
https://www.facebook.com/events/1429394760623784/
? ? jump?
4. Paris Crayton III's The Best Game continues at Porter Sanford Performing Arts Center through April 13
http://www.andrewalexanderwriter.com/wp-content/uploads/2014/03/images1.jpeg
3. Yo-Yo Ma performs with the Atlanta Symphony Orchestra, Wednesday, April 2
http://www.atlantasymphony.org/ConcertsAndTickets/Calendar/2013-2014/Yo-Yo-Ma-Elgar.aspx
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http://www.atlantaballet.com/tickets-performances/hamlet
1. Saiah presents Terminus, April 16-May 14
http://terminus2014.brownpapertickets.com/"
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? ? [jump]?
4. Paris Crayton III's ''[http://www.risingsagetheatre.com/|The Best Game] ''continues'' ''at Porter Sanford Performing Arts Center through April 13
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1. Saiah presents [http://terminus2014.brownpapertickets.com/|''Terminus''], April 16-May 14
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string(1548) " gloatl atlanta ballet atlanta symphony andrew alexander writer arts journalist yo-yo ma the best game terminus saiah paris crayton paradise garden howard finster hamlet A monthly listing of art critic Andrew Alexander's picks for the top five arts events in Atlanta 2014-04-02T15:20:00+00:00 A Critic's Notebook: April's Top Events Andrew Alexander 2014-04-02T15:20:00+00:00 A monthly listing of art critic Andrew Alexander's picks for the top five arts events in Atlanta:
5. gloATL performs at Howard Finster's Paradise Garden (Free bus with suggested donation departs from the Goat Farm Arts Center at 3pm), Saturday, April 5
https://www.facebook.com/events/1429394760623784/
? ? jump?
4. Paris Crayton III's The Best Game continues at Porter Sanford Performing Arts Center through April 13
http://www.andrewalexanderwriter.com/wp-content/uploads/2014/03/images1.jpeg
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http://www.atlantasymphony.org/ConcertsAndTickets/Calendar/2013-2014/Yo-Yo-Ma-Elgar.aspx
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http://www.atlantaballet.com/tickets-performances/hamlet
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A Critic's Notebook: April's Top Events Article
Wednesday April 2, 2014 11:20 AM EDT
A monthly listing of art critic Andrew Alexander's picks for the top five arts events in Atlanta
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string(5038) " The Triptych: Sanford Biggers from AFROPUNK on Vimeo.
When Sanford Biggers was attending Morehouse in the late '80s, there was no studio art program so he had to go next door to Spelman to take classes. It turned out to be a fortuitous thing: One of his mentors there, the late sculptor Toby Martin, encouraged Biggers to expand beyond painting and begin making sculpture. "He saw my interest in art," he says. "He is the one who really swayed me into working in three dimenstions."
It could be said now that Biggers is an artist who works in every dimension. Currently among the most acclaimed contemporary American artists, Biggers creates in the realms of sculpture, painting, music, installation, video and performance - and often intriguing and inventive combinations of all of them. "There's no method to it," he says of his unusual form of working. "Certain ideas come to me in musical form, sometimes in moving image form, sometimes in object form. There's no real rhyme or reason to them."
Biggers, who grew up in LA and is currently based in New York, returns to Atlanta to present some of his interdisciplinary, boundary-breaking work over two evenings, March 27-28. The Auburn Avenue Research Library will screen the Afropunk documentary The Triptych, which examines the practice of three contemporary African-American artists including Biggers, on March 27 at 7 pm, and Biggers will also perform with his band Moon Medicine after a screening of his trio of short films Shuffle, Shake and Shatter at Georgia Tech's Ferst Center on March 28 beginning at 8 pm.
? ? jump?
Given the fact that Biggers works in so many different media, often simultaneously and in unusual combinations, it's not surprising that much of his practice is influenced by his dual interests in improvisation and meditation. After graduating from Morehouse, Biggers lived in Japan for three years where he studied Zen Buddhism. He says that the pacing and visual strategies in his films are often closer to meditation than linear narrative or typical cinematic catharsis. The trilogy of short videos he'll present at the Ferst Center Shuffle, Shake and Shatter take as their subject a Brazlian ex-pat whom Biggers met during a residency in Stuttgart, Germany.
"He definitely stands out," says Biggers of the first film Shuffle, which follows Ricardo, who is of African descent, during his daily activities in Stuttgart, all while he's putting on or taking off clown-make-up. "It really becomes about wearing a mask as a defense mechanism, but it's also so he can alter his perceptions and the way people perceive him. The mask is also a mirror." The second film Shake takes place in Salvador Do Bahia, Brazil, where Ricardo roams the streets, confronting death in a coffin shop and encountering two different oracles. The last, Shatter, which is still in process, takes place between Senegal and Ethiopia as Ricardo transcends his body altogether to become an entity or aura.
The screening will be followed by a performance by the band Moon Medicine in which Biggers plays keyboarsd and writes songs. Video, remixed live and soundtracked by the band, is also a strong component of Moon Medicine's performance. (Martin Luther, lead vocalist and guitarist, a fellow Morehouse alum, performed with the Roots and was featured in Julie Taymor's "Across the Universe"; DJ Jahi Sundance has toured with Me'Shell Ndegéocello and Robert Glasper; drummer Swiss Criss has toured with Black-Eyed Peas and John Legend; and bass player Mark Hines, who also live-mixes video, is a constant collaborator with DJ Rich Medina. After their performance in Atlanta, Moon Medicine will perform at Lincoln Center in April).
Biggers first started playing piano as a kid, a practice which led to his initial interest in painting. "I took piano lessons but I quickly bored with those because back then they were teaching strictly classical, and I was not so motivated by that at the time," says Biggers who grew up in LA, the son of a surgeon and an English teacher. "I quit lessons, but I kept playing. Eventually I taught myself how to play by ear, playing the songs I heard on the radio. Then I started to listen to jazz, but I couldn't really keep up. At that point, I started to paint and draw pictures of the people I was not able to play at the time: Thelonius Monk, Earl Gardner, people like that. I realized it was an easy way of communicating and exposing my contemporaries to people we were not being exposed to in school, so I started to expand the people I was portraying into Sojourner Truth and Harriet Tubman and Marcus Garvey."
For Biggers, it's all become part of working in disciplines where he doesn't even necessarily see distinctions. "Through the years of working out of these many disciplines I've started to develop a vocabulary that works through all those disciplines," he says. "It's very organic, and I don't really know what's coming up next; but I just sort of trained myself to listen and be responsive to it.""
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When Sanford Biggers was attending Morehouse in the late '80s, there was no studio art program so he had to go next door to Spelman to take classes. It turned out to be a fortuitous thing: One of his mentors there, the late sculptor Toby Martin, encouraged Biggers to expand beyond painting and begin making sculpture. "He saw my interest in art," he says. "He is the one who really swayed me into working in three dimenstions."
It could be said now that Biggers is an artist who works in every dimension. Currently among the most acclaimed contemporary American artists, Biggers creates in the realms of sculpture, painting, music, installation, video and performance - and often intriguing and inventive combinations of all of them. "There's no method to it," he says of his unusual form of working. "Certain ideas come to me in musical form, sometimes in moving image form, sometimes in object form. There's no real rhyme or reason to them."
Biggers, who grew up in LA and is currently based in New York, returns to Atlanta to present some of his interdisciplinary, boundary-breaking work over two evenings, March 27-28. [http://www.afpls.org/aarl|The Auburn Avenue Research Library] will screen the Afropunk documentary ''The Triptych'', which examines the practice of three contemporary African-American artists including Biggers, on March 27 at 7 pm, and Biggers will also perform with his band Moon Medicine after a screening of his trio of short films ''Shuffle, Shake and Shatter'' at [http://www.ferstcenter.gatech.edu/|Georgia Tech's Ferst Center] on March 28 beginning at 8 pm.
? ? [jump]?
Given the fact that Biggers works in so many different media, often simultaneously and in unusual combinations, it's not surprising that much of his practice is influenced by his dual interests in improvisation and meditation. After graduating from Morehouse, Biggers lived in Japan for three years where he studied Zen Buddhism. He says that the pacing and visual strategies in his films are often closer to meditation than linear narrative or typical cinematic catharsis. The trilogy of short videos he'll present at the Ferst Center ''Shuffle, Shake and Shatter'' take as their subject a Brazlian ex-pat whom Biggers met during a residency in Stuttgart, Germany.
"He definitely stands out," says Biggers of the first film ''Shuffle'', which follows Ricardo, who is of African descent, during his daily activities in Stuttgart, all while he's putting on or taking off clown-make-up. "It really becomes about wearing a mask as a defense mechanism, but it's also so he can alter his perceptions and the way people perceive him. The mask is also a mirror." The second film Shake takes place in Salvador Do Bahia, Brazil, where Ricardo roams the streets, confronting death in a coffin shop and encountering two different oracles. The last, Shatter, which is still in process, takes place between Senegal and Ethiopia as Ricardo transcends his body altogether to become an entity or aura.
The screening will be followed by a performance by the band Moon Medicine in which Biggers plays keyboarsd and writes songs. Video, remixed live and soundtracked by the band, is also a strong component of Moon Medicine's performance. (Martin Luther, lead vocalist and guitarist, a fellow Morehouse alum, performed with the Roots and was featured in Julie Taymor's "Across the Universe"; DJ Jahi Sundance has toured with Me'Shell Ndegéocello and Robert Glasper; drummer Swiss Criss has toured with Black-Eyed Peas and John Legend; and bass player Mark Hines, who also live-mixes video, is a constant collaborator with DJ Rich Medina. After their performance in Atlanta, Moon Medicine will perform at Lincoln Center in April).
Biggers first started playing piano as a kid, a practice which led to his initial interest in painting. "I took piano lessons but I quickly bored with those because back then they were teaching strictly classical, and I was not so motivated by that at the time," says Biggers who grew up in LA, the son of a surgeon and an English teacher. "I quit lessons, but I kept playing. Eventually I taught myself how to play by ear, playing the songs I heard on the radio. Then I started to listen to jazz, but I couldn't really keep up. At that point, I started to paint and draw pictures of the people I was not able to play at the time: Thelonius Monk, Earl Gardner, people like that. I realized it was an easy way of communicating and exposing my contemporaries to people we were not being exposed to in school, so I started to expand the people I was portraying into Sojourner Truth and Harriet Tubman and Marcus Garvey."
For Biggers, it's all become part of working in disciplines where he doesn't even necessarily see distinctions. "Through the years of working out of these many disciplines I've started to develop a vocabulary that works through all those disciplines," he says. "It's very organic, and I don't really know what's coming up next; but I just sort of trained myself to listen and be responsive to it.""
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string(5454) " morehouse sanford biggers performing art Biggers returns to Atlanta to present some of his interdisciplinary, boundary-breaking work on March 27 and 28 2014-03-25T16:15:00+00:00 Sanford Biggers returns to Atlanta this week Andrew Alexander 2014-03-25T16:15:00+00:00 The Triptych: Sanford Biggers from AFROPUNK on Vimeo.
When Sanford Biggers was attending Morehouse in the late '80s, there was no studio art program so he had to go next door to Spelman to take classes. It turned out to be a fortuitous thing: One of his mentors there, the late sculptor Toby Martin, encouraged Biggers to expand beyond painting and begin making sculpture. "He saw my interest in art," he says. "He is the one who really swayed me into working in three dimenstions."
It could be said now that Biggers is an artist who works in every dimension. Currently among the most acclaimed contemporary American artists, Biggers creates in the realms of sculpture, painting, music, installation, video and performance - and often intriguing and inventive combinations of all of them. "There's no method to it," he says of his unusual form of working. "Certain ideas come to me in musical form, sometimes in moving image form, sometimes in object form. There's no real rhyme or reason to them."
Biggers, who grew up in LA and is currently based in New York, returns to Atlanta to present some of his interdisciplinary, boundary-breaking work over two evenings, March 27-28. The Auburn Avenue Research Library will screen the Afropunk documentary The Triptych, which examines the practice of three contemporary African-American artists including Biggers, on March 27 at 7 pm, and Biggers will also perform with his band Moon Medicine after a screening of his trio of short films Shuffle, Shake and Shatter at Georgia Tech's Ferst Center on March 28 beginning at 8 pm.
? ? jump?
Given the fact that Biggers works in so many different media, often simultaneously and in unusual combinations, it's not surprising that much of his practice is influenced by his dual interests in improvisation and meditation. After graduating from Morehouse, Biggers lived in Japan for three years where he studied Zen Buddhism. He says that the pacing and visual strategies in his films are often closer to meditation than linear narrative or typical cinematic catharsis. The trilogy of short videos he'll present at the Ferst Center Shuffle, Shake and Shatter take as their subject a Brazlian ex-pat whom Biggers met during a residency in Stuttgart, Germany.
"He definitely stands out," says Biggers of the first film Shuffle, which follows Ricardo, who is of African descent, during his daily activities in Stuttgart, all while he's putting on or taking off clown-make-up. "It really becomes about wearing a mask as a defense mechanism, but it's also so he can alter his perceptions and the way people perceive him. The mask is also a mirror." The second film Shake takes place in Salvador Do Bahia, Brazil, where Ricardo roams the streets, confronting death in a coffin shop and encountering two different oracles. The last, Shatter, which is still in process, takes place between Senegal and Ethiopia as Ricardo transcends his body altogether to become an entity or aura.
The screening will be followed by a performance by the band Moon Medicine in which Biggers plays keyboarsd and writes songs. Video, remixed live and soundtracked by the band, is also a strong component of Moon Medicine's performance. (Martin Luther, lead vocalist and guitarist, a fellow Morehouse alum, performed with the Roots and was featured in Julie Taymor's "Across the Universe"; DJ Jahi Sundance has toured with Me'Shell Ndegéocello and Robert Glasper; drummer Swiss Criss has toured with Black-Eyed Peas and John Legend; and bass player Mark Hines, who also live-mixes video, is a constant collaborator with DJ Rich Medina. After their performance in Atlanta, Moon Medicine will perform at Lincoln Center in April).
Biggers first started playing piano as a kid, a practice which led to his initial interest in painting. "I took piano lessons but I quickly bored with those because back then they were teaching strictly classical, and I was not so motivated by that at the time," says Biggers who grew up in LA, the son of a surgeon and an English teacher. "I quit lessons, but I kept playing. Eventually I taught myself how to play by ear, playing the songs I heard on the radio. Then I started to listen to jazz, but I couldn't really keep up. At that point, I started to paint and draw pictures of the people I was not able to play at the time: Thelonius Monk, Earl Gardner, people like that. I realized it was an easy way of communicating and exposing my contemporaries to people we were not being exposed to in school, so I started to expand the people I was portraying into Sojourner Truth and Harriet Tubman and Marcus Garvey."
For Biggers, it's all become part of working in disciplines where he doesn't even necessarily see distinctions. "Through the years of working out of these many disciplines I've started to develop a vocabulary that works through all those disciplines," he says. "It's very organic, and I don't really know what's coming up next; but I just sort of trained myself to listen and be responsive to it." "sanford biggers" "performing art" morehouse 10725370 13077680 Sanford Biggers returns to Atlanta this week "
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Sanford Biggers returns to Atlanta this week Article
Tuesday March 25, 2014 12:15 PM EDT
Biggers returns to Atlanta to present some of his interdisciplinary, boundary-breaking work on March 27 and 28
|
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*Joeff Davis/CL File
*
Atlanta Ballet dancer Tara Lee is currently in the process of choreographing her fourth work for the company, which has been changing its focus in recent years to present more new works by contemporary choreographers. Her latest piece the authors will appear in a mixed program, Modern Choreographic Voices, at the Cobb Energy Center from March 21-23, also featuring work from Ohad Naharin and Alexei Ratmansky. I visited the Atlanta Ballet studios recently to watch some rehearsal and to chat with Lee afterwards about the challenges of creating a new piece at the same time she's also preparing to dance in the works of Naharin and Ratmansky.
? ? jump?
As someone who writes for a living, I'm intrigued by the title of your piece: the authors.
It didn't start off that way. I didn't know that's where I was headed in the beginning. Layer by layer it started to define itself. I started a collaboration with a videographer: we had the idea that the video behind the dancers would be showing writing the whole time, nothing you could really read. The idea of this ballet is that when you pan out, you get a different perspective. You see more of what's happening than when you're too close to it, especially for relationships. When you're in a relationship, you often don't understand it until you step back. An author is the creator or originator of anything. This cast has authored their own story. "Authors" is also the name of a card-game. I thought that's perfect because this is also a game that they're playing.
When you're telling the other dancers what to do, you seem to be very specific about what you want. Do you come into rehearsal each day visualizing exactly what you think the piece should look like, or do you let it evolve in the studio?
It happens in levels. At every stage you know what you want at that time and then when you're in front of it, sometimes you do change your mind. The dancers' bodies inform me about what I want so my picture of it evolves everyday a little bit. But in general, I know what I want. I know it when I see it.
*Charlie McCullers
*
Your own work will have its world premiere and you're also dancing in both of the other pieces on the program. That sounds like it will make for a pretty intense evening.
It is pretty intense. I've never had to be this busy before so this is a new experience for me.
Is there a learning curve in being a choreographer that you could articulate? Do you feel like a different choreographer approaching work this time than you did, say, two years ago?
I do. I'm not nervous in the same way that I was. There's something I feel is guiding it that I'm trusting. I feel very at ease that it's going to turn out well and that we're all going to be happy with it. There were more moments of doubt before. I feel more calm. I think that's just experience, too. The dancers I can trust, they're amazing artists.
When I see your choreography, there's something very cinematic about it. I almost always think of movies, especially silent movies. Are you a film buff? Do you think of your work that way at all?
I do. I'm not necessarily a movie head, but I absolutely think that way. I'm glad that you said that. That is in my head a lot: the exchanges, the faces. I want to be interested in who that person is. The most intriguing performers to me are the ones who I would be most interested to meet. You need to see that aura around their face: that's kind of a movie thing.
When I came in to rehearsal you were lined up with the rest of the dancers rehearsing. A few minutes later you had to change gears and start telling them what to do. Is it hard to change hats like that in a small company? Or is it fun for you?
It's both. There was a little bit of an identity crisis when I was first choreographing. Now I'm just going with the flow and having fun with it. It's a little bit insane at times, but it's as difficult as you make it. I'm enjoying it: it's been exhausting, but when you are doing something you feel is 'in the zone' it's energizing. I feel like I should be more exhausted, but the work that I'm dancing in is really good too so that's something that kind of lifts me up ... We have a weird life. At least once a day I step back and say, "This is a weird job."
The Atlanta Ballet presents Modern Choreographic Voices featuring "Secus" by Ohad Naharin, "Seven Sonatas" by Alexei Ratmansky and the world premiere of "the authors" by Tara Lee from March 21-23 at the Cobb Energy Performing Arts Centre. For more information, visit the Atlanta Ballet."
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*[http://clatl.com/atlanta/ImageArchives?by=1559825|Joeff Davis/CL File]
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Atlanta Ballet dancer Tara Lee is currently in the process of choreographing her fourth work for the company, which has been changing its focus in recent years to present more new works by contemporary choreographers. Her latest piece ''the authors'' will appear in a mixed program, [http://www.atlantaballet.com/tickets-performances/modern-choreographic-voices?gclid=CIL43YOkl70CFUVp7AodcU0AVA|Modern Choreographic Voices], at the Cobb Energy Center from March 21-23, also featuring work from Ohad Naharin and Alexei Ratmansky. I visited the Atlanta Ballet studios recently to watch some rehearsal and to chat with Lee afterwards about the challenges of creating a new piece at the same time she's also preparing to dance in the works of Naharin and Ratmansky.
? ? [jump]?
__As someone who writes for a living, I'm intrigued by the title of your piece: ''the authors''.__
It didn't start off that way. I didn't know that's where I was headed in the beginning. Layer by layer it started to define itself. I started a collaboration with a videographer: we had the idea that the video behind the dancers would be showing writing the whole time, nothing you could really read. The idea of this ballet is that when you pan out, you get a different perspective. You see more of what's happening than when you're too close to it, especially for relationships. When you're in a relationship, you often don't understand it until you step back. An author is the creator or originator of anything. This cast has authored their own story. "Authors" is also the name of a card-game. I thought that's perfect because this is also a game that they're playing.
__When you're telling the other dancers what to do, you seem to be very specific about what you want. Do you come into rehearsal each day visualizing exactly what you think the piece should look like, or do you let it evolve in the studio?__
It happens in levels. At every stage you know what you want at that time and then when you're in front of it, sometimes you do change your mind. The dancers' bodies inform me about what I want so my picture of it evolves everyday a little bit. But in general, I know what I want. I know it when I see it.
{img src="https://media2.fdncms.com/atlanta/imager/a-critics-notebook-tara-lee-authors-new/u/original/10725393/1394986934-_mg_8662_-_tara_lee_s_the_authors_-_photo_by_charlie_mccullers.jpg"}
*[http://clatl.com/atlanta/ImageArchives?by=1289854|Charlie McCullers]
*
__Your own work will have its world premiere and you're also dancing in both of the other pieces on the program. That sounds like it will make for a pretty intense evening.__
It is pretty intense. I've never had to be this busy before so this is a new experience for me.
__Is there a learning curve in being a choreographer that you could articulate? Do you feel like a different choreographer approaching work this time than you did, say, two years ago?__
I do. I'm not nervous in the same way that I was. There's something I feel is guiding it that I'm trusting. I feel very at ease that it's going to turn out well and that we're all going to be happy with it. There were more moments of doubt before. I feel more calm. I think that's just experience, too. The dancers I can trust, they're amazing artists.
__When I see your choreography, there's something very cinematic about it. I almost always think of movies, especially silent movies. Are you a film buff? Do you think of your work that way at all?__
I do. I'm not necessarily a movie head, but I absolutely think that way. I'm glad that you said that. That is in my head a lot: the exchanges, the faces. I want to be interested in who that person is. The most intriguing performers to me are the ones who I would be most interested to meet. You need to see that aura around their face: that's kind of a movie thing.
__When I came in to rehearsal you were lined up with the rest of the dancers rehearsing. A few minutes later you had to change gears and start telling them what to do. Is it hard to change hats like that in a small company? Or is it fun for you?__
It's both. There was a little bit of an identity crisis when I was first choreographing. Now I'm just going with the flow and having fun with it. It's a little bit insane at times, but it's as difficult as you make it. I'm enjoying it: it's been exhausting, but when you are doing something you feel is 'in the zone' it's energizing. I feel like I should be more exhausted, but the work that I'm dancing in is really good too so that's something that kind of lifts me up ... We have a weird life. At least once a day I step back and say, "This is a weird job."
''The Atlanta Ballet presents Modern Choreographic Voices featuring "Secus" by Ohad Naharin, "Seven Sonatas" by Alexei Ratmansky and the world premiere of "the authors" by Tara Lee from March 21-23 at the Cobb Energy Performing Arts Centre. For more information, visit the [http://www.atlantaballet.com/tickets-performances/modern-choreographic-voices?gclid=CIL43YOkl70CFUVp7AodcU0AVA|Atlanta Ballet].''"
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string(5144) " atlanta ballet andrew alexander a critic\'s notebook the authors tara lee ohad naharin alexei ratmansky Lee discusses her new work for "Modern Choreographic Voices" 2014-03-19T16:57:00+00:00 A Critic's Notebook: Tara Lee authors new work for the Atlanta Ballet Andrew Alexander 2014-03-19T16:57:00+00:00
*Joeff Davis/CL File
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Atlanta Ballet dancer Tara Lee is currently in the process of choreographing her fourth work for the company, which has been changing its focus in recent years to present more new works by contemporary choreographers. Her latest piece the authors will appear in a mixed program, Modern Choreographic Voices, at the Cobb Energy Center from March 21-23, also featuring work from Ohad Naharin and Alexei Ratmansky. I visited the Atlanta Ballet studios recently to watch some rehearsal and to chat with Lee afterwards about the challenges of creating a new piece at the same time she's also preparing to dance in the works of Naharin and Ratmansky.
? ? jump?
As someone who writes for a living, I'm intrigued by the title of your piece: the authors.
It didn't start off that way. I didn't know that's where I was headed in the beginning. Layer by layer it started to define itself. I started a collaboration with a videographer: we had the idea that the video behind the dancers would be showing writing the whole time, nothing you could really read. The idea of this ballet is that when you pan out, you get a different perspective. You see more of what's happening than when you're too close to it, especially for relationships. When you're in a relationship, you often don't understand it until you step back. An author is the creator or originator of anything. This cast has authored their own story. "Authors" is also the name of a card-game. I thought that's perfect because this is also a game that they're playing.
When you're telling the other dancers what to do, you seem to be very specific about what you want. Do you come into rehearsal each day visualizing exactly what you think the piece should look like, or do you let it evolve in the studio?
It happens in levels. At every stage you know what you want at that time and then when you're in front of it, sometimes you do change your mind. The dancers' bodies inform me about what I want so my picture of it evolves everyday a little bit. But in general, I know what I want. I know it when I see it.
*Charlie McCullers
*
Your own work will have its world premiere and you're also dancing in both of the other pieces on the program. That sounds like it will make for a pretty intense evening.
It is pretty intense. I've never had to be this busy before so this is a new experience for me.
Is there a learning curve in being a choreographer that you could articulate? Do you feel like a different choreographer approaching work this time than you did, say, two years ago?
I do. I'm not nervous in the same way that I was. There's something I feel is guiding it that I'm trusting. I feel very at ease that it's going to turn out well and that we're all going to be happy with it. There were more moments of doubt before. I feel more calm. I think that's just experience, too. The dancers I can trust, they're amazing artists.
When I see your choreography, there's something very cinematic about it. I almost always think of movies, especially silent movies. Are you a film buff? Do you think of your work that way at all?
I do. I'm not necessarily a movie head, but I absolutely think that way. I'm glad that you said that. That is in my head a lot: the exchanges, the faces. I want to be interested in who that person is. The most intriguing performers to me are the ones who I would be most interested to meet. You need to see that aura around their face: that's kind of a movie thing.
When I came in to rehearsal you were lined up with the rest of the dancers rehearsing. A few minutes later you had to change gears and start telling them what to do. Is it hard to change hats like that in a small company? Or is it fun for you?
It's both. There was a little bit of an identity crisis when I was first choreographing. Now I'm just going with the flow and having fun with it. It's a little bit insane at times, but it's as difficult as you make it. I'm enjoying it: it's been exhausting, but when you are doing something you feel is 'in the zone' it's energizing. I feel like I should be more exhausted, but the work that I'm dancing in is really good too so that's something that kind of lifts me up ... We have a weird life. At least once a day I step back and say, "This is a weird job."
The Atlanta Ballet presents Modern Choreographic Voices featuring "Secus" by Ohad Naharin, "Seven Sonatas" by Alexei Ratmansky and the world premiere of "the authors" by Tara Lee from March 21-23 at the Cobb Energy Performing Arts Centre. For more information, visit the Atlanta Ballet. "the authors" "Tara Lee" "Ohad Naharin" "atlanta ballet" "Andrew Alexander" "Alexei Ratmansky" "A Critic's Notebook" 10725389 13077681 A Critic's Notebook: Tara Lee authors new work for the Atlanta Ballet "
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A Critic's Notebook: Tara Lee authors new work for the Atlanta Ballet Article
Wednesday March 19, 2014 12:57 PM EDT
Lee discusses her new work for "Modern Choreographic Voices"
|
more...
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*Courtesy ASO
*FACE/OFF: Donald Runnicles and Robert Spano team up to play piano transcriptions of "La Valse" and "Rite of Spring" this weekend.
It's been a long, tough winter, and we've all been cooped up inside for what seems like ages. But finally the sun is starting to come out a bit more, it's getting warmer, and everyone can step outside again at last. In other words, it's the perfect time for a riot.
As part of an unsual program at Symphony Hall this week, Music Director Robert Spano and Principal Guest Conductor Donald Runnicles are teaming up to play seldom-heard piano transcriptions of two famous orchestral pieces before the symphony's full performance of the same works: Ravel's La Valse and Stravinsky's Rite of Spring, which famously caused a riot after its first performance in May of 1913.
I caught up with Spano during a break from rehearsal to ask him about the program, the challenges of sharing an instrument with another musician and the possibility of inciting public disorder at Symphony Hall.
I'm familiar with the orchestral versions of La Valse and Rite of Spring, but I don't really know much about these piano versions. Can you tell me a little about this concert?
The seed idea of the program that Donald came up with was to have the opportunity to compare piano transcription to orchestral version. We're playing La Valse by Ravel in the two-piano version that Ravel made and then part of the Rite of Spring in the four-hand version just before Donald conducts them. That way you get to hear right next to each other how similar and how different the two versions are, given the different medium. It's actually kind of fascinating. With these two composers, it's especially interesting because Stravinsky composed at the piano quite a bit. He thinks often in a keyboard kind of way. And Ravel similarly often has his own piano or four-hand versions of his orchestral works. They're both composers with a close relationship to the keyboard, and I think you can hear that influence in their musical thinking.
? ? jump?
Are there any aesthetic, or even practical, issues that arise when two different artists sit down at the same instrument?
For us, it's fun. We've played a lot of four-hands over the last 10-12 years, and we always have a really good time.
You said that you can hear how different the pieces are when played on the piano. Can you talk a little about some of the moods and images that the piano evokes that are different from the familiar orchestral versions?
I think the most striking difference is that suddenly there's none of that brilliant orchestral color. So the raw musical material gets spot-lighted differently. It's kind of like doing concert-opera. Without the theatrics and staging, you have a different focus on the music. With a piano version of a piece, I think similarly we get this different perspective on it through the difference of medium. Ravel and Stravinsky were very close to the 19th-century tradition when they were writing these pieces. There were no recordings so essentially literature was disseminated through piano versions. Piano transcriptions of orchestral works were rampant. You couldn't hear the latest Beethoven symphony if you couldn't get to where it was being performend, but you could get a hold of the piano version and play it for yourself.
*JD Scott Photography for the ASO
*RITE ON: Spano and Runnicles.
Rite of Spring infamously caused a riot when it was first performed. As a musician and a conductor, what's your perspective on why people reacted that way? Do you yourself feel those types of big, violent emotions when you're playing the piece?
Oh, yeah. For sure. Yeah. I think the piece is still disturbing and violent and scary. I don't think it's lost its edge in the last 100 years. Whatever other things that were going on that caused the riot, I have no doubt the music was still a big part of it. I think it still has the ability to exhilarate and even frighten us.
Hopefully Atlanta audiences will stay calm afterwards?
Or not.
Do you have a favorite passage in Rite of Spring?
It's always so hard to pick favorites. But you know the little trumpet duet in Rite of Spring, near the beginning of Part 2? Nothing's happening. It's a tension game somehow. They just keep repeating the same material, very slow and soft. But you know... it's not going to be pretty.
Donald Runnicles and Robert Spano perform together on piano March 13-16 at Atlanta Symphony Hall. Tickets are $24-75. For more information, visit the Atlanta Symphony."
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*[http://clatl.com/atlanta/ImageArchives?by=1289641|Courtesy ASO]
*FACE/OFF: Donald Runnicles and Robert Spano team up to play piano transcriptions of "La Valse" and "Rite of Spring" this weekend.
It's been a long, tough winter, and we've all been cooped up inside for what seems like ages. But finally the sun is starting to come out a bit more, it's getting warmer, and everyone can step outside again at last. In other words, it's the perfect time for a riot.
As part of an unsual program at Symphony Hall this week, Music Director Robert Spano and Principal Guest Conductor Donald Runnicles are teaming up to play seldom-heard piano transcriptions of two famous orchestral pieces before the symphony's full performance of the same works: Ravel's ''La Valse'' and Stravinsky's ''Rite of Spring'', which famously caused a riot after its first performance in May of 1913.
I caught up with Spano during a break from rehearsal to ask him about the program, the challenges of sharing an instrument with another musician and the possibility of inciting public disorder at Symphony Hall.
__I'm familiar with the orchestral versions of ''La Valse'' and ''Rite of Spring'', but I don't really know much about these piano versions. Can you tell me a little about this concert?__
The seed idea of the program that Donald came up with was to have the opportunity to compare piano transcription to orchestral version. We're playing ''La Valse ''by Ravel in the two-piano version that Ravel made and then part of the ''Rite of Spring'' in the four-hand version just before Donald conducts them. That way you get to hear right next to each other how similar and how different the two versions are, given the different medium. It's actually kind of fascinating. With these two composers, it's especially interesting because Stravinsky composed at the piano quite a bit. He thinks often in a keyboard kind of way. And Ravel similarly often has his own piano or four-hand versions of his orchestral works. They're both composers with a close relationship to the keyboard, and I think you can hear that influence in their musical thinking.
? ? [jump]?
__Are there any aesthetic, or even practical, issues that arise when two different artists sit down at the same instrument?__
For us, it's fun. We've played a lot of four-hands over the last 10-12 years, and we always have a really good time.
__You said that you can hear how different the pieces are when played on the piano. Can you talk a little about some of the moods and images that the piano evokes that are different from the familiar orchestral versions?__
I think the most striking difference is that suddenly there's none of that brilliant orchestral color. So the raw musical material gets spot-lighted differently. It's kind of like doing concert-opera. Without the theatrics and staging, you have a different focus on the music. With a piano version of a piece, I think similarly we get this different perspective on it through the difference of medium. Ravel and Stravinsky were very close to the 19th-century tradition when they were writing these pieces. There were no recordings so essentially literature was disseminated through piano versions. Piano transcriptions of orchestral works were rampant. You couldn't hear the latest Beethoven symphony if you couldn't get to where it was being performend, but you could get a hold of the piano version and play it for yourself.
{img src="https://media1.fdncms.com/atlanta/imager/rite-on-we-ask-that-concert-goers-dispers/u/original/10667582/1394325161-rspanodrunnicles_credit_jd_scott_photography_for_the_aso.jpg"}
*JD Scott Photography for the ASO
*RITE ON: Spano and Runnicles.
__''Rite of Spring'' infamously caused a riot when it was first performed. As a musician and a conductor, what's your perspective on why people reacted that way? Do you yourself feel those types of big, violent emotions when you're playing the piece?__
Oh, yeah. For sure. Yeah. I think the piece is still disturbing and violent and scary. I don't think it's lost its edge in the last 100 years. Whatever other things that were going on that caused the riot, I have no doubt the music was still a big part of it. I think it still has the ability to exhilarate and even frighten us.
__Hopefully Atlanta audiences will stay calm afterwards?__
Or not.
__Do you have a favorite passage in ''Rite of Spring''?__
It's always so hard to pick favorites. But you know the little trumpet duet in ''Rite of Spring'', near the beginning of Part 2? Nothing's happening. It's a tension game somehow. They just keep repeating the same material, very slow and soft. But you know... it's not going to be pretty.
''Donald Runnicles and Robert Spano perform together on piano March 13-16 at Atlanta Symphony Hall. Tickets are $24-75. For more information, visit the [http://www.atlantasymphony.org/|Atlanta Symphony].''"
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*Courtesy ASO
*FACE/OFF: Donald Runnicles and Robert Spano team up to play piano transcriptions of "La Valse" and "Rite of Spring" this weekend.
It's been a long, tough winter, and we've all been cooped up inside for what seems like ages. But finally the sun is starting to come out a bit more, it's getting warmer, and everyone can step outside again at last. In other words, it's the perfect time for a riot.
As part of an unsual program at Symphony Hall this week, Music Director Robert Spano and Principal Guest Conductor Donald Runnicles are teaming up to play seldom-heard piano transcriptions of two famous orchestral pieces before the symphony's full performance of the same works: Ravel's La Valse and Stravinsky's Rite of Spring, which famously caused a riot after its first performance in May of 1913.
I caught up with Spano during a break from rehearsal to ask him about the program, the challenges of sharing an instrument with another musician and the possibility of inciting public disorder at Symphony Hall.
I'm familiar with the orchestral versions of La Valse and Rite of Spring, but I don't really know much about these piano versions. Can you tell me a little about this concert?
The seed idea of the program that Donald came up with was to have the opportunity to compare piano transcription to orchestral version. We're playing La Valse by Ravel in the two-piano version that Ravel made and then part of the Rite of Spring in the four-hand version just before Donald conducts them. That way you get to hear right next to each other how similar and how different the two versions are, given the different medium. It's actually kind of fascinating. With these two composers, it's especially interesting because Stravinsky composed at the piano quite a bit. He thinks often in a keyboard kind of way. And Ravel similarly often has his own piano or four-hand versions of his orchestral works. They're both composers with a close relationship to the keyboard, and I think you can hear that influence in their musical thinking.
? ? jump?
Are there any aesthetic, or even practical, issues that arise when two different artists sit down at the same instrument?
For us, it's fun. We've played a lot of four-hands over the last 10-12 years, and we always have a really good time.
You said that you can hear how different the pieces are when played on the piano. Can you talk a little about some of the moods and images that the piano evokes that are different from the familiar orchestral versions?
I think the most striking difference is that suddenly there's none of that brilliant orchestral color. So the raw musical material gets spot-lighted differently. It's kind of like doing concert-opera. Without the theatrics and staging, you have a different focus on the music. With a piano version of a piece, I think similarly we get this different perspective on it through the difference of medium. Ravel and Stravinsky were very close to the 19th-century tradition when they were writing these pieces. There were no recordings so essentially literature was disseminated through piano versions. Piano transcriptions of orchestral works were rampant. You couldn't hear the latest Beethoven symphony if you couldn't get to where it was being performend, but you could get a hold of the piano version and play it for yourself.
*JD Scott Photography for the ASO
*RITE ON: Spano and Runnicles.
Rite of Spring infamously caused a riot when it was first performed. As a musician and a conductor, what's your perspective on why people reacted that way? Do you yourself feel those types of big, violent emotions when you're playing the piece?
Oh, yeah. For sure. Yeah. I think the piece is still disturbing and violent and scary. I don't think it's lost its edge in the last 100 years. Whatever other things that were going on that caused the riot, I have no doubt the music was still a big part of it. I think it still has the ability to exhilarate and even frighten us.
Hopefully Atlanta audiences will stay calm afterwards?
Or not.
Do you have a favorite passage in Rite of Spring?
It's always so hard to pick favorites. But you know the little trumpet duet in Rite of Spring, near the beginning of Part 2? Nothing's happening. It's a tension game somehow. They just keep repeating the same material, very slow and soft. But you know... it's not going to be pretty.
Donald Runnicles and Robert Spano perform together on piano March 13-16 at Atlanta Symphony Hall. Tickets are $24-75. For more information, visit the Atlanta Symphony. "Robert Spano" "Rite of Spring" "Ravel" "La Valse" "Donald Runnicles" "Atlanta Symphony Orchestra" 10667367 13077609 A Critic's Notebook: The Piano Men "
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A Critic's Notebook: The Piano Men Article
Thursday March 13, 2014 01:53 PM EDT
Spano and Runnicles team up to play piano transcriptions of two famous symphonies
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string(6207) "Beep Beep Gallery's latest group show, The Brightness, studies the relationship between light and color, curated by artist Lucha Rodriguez and with works from Jonny Warren, Bo-ra Choi, and Allen Taylor. As seen in installations around the city at Underground Atlanta, Kai Lin Art, Kibbee Gallery, and Creative Loafing's own newspaper box, Rodriguez isn't afraid of using color, mixed media, and layering to create her own visual language. In her new work at Beep Beep, the Creatives Project resident explores a new kind of printmaking using neon colors instead of the usual black tones, which balances well with the rest of the show. Here, Rodriguez talks to CL about challenging herself as an artist and curator, the color pink, and finding a sense of place in Atlanta.
Tell me a bit about the concept behind the show The Brightness.
The Brightness is a collection of artworks that reflect ideas of light through the presence or absence of color. It brings forward the use of color as a common thread that unifies different styles. It acts as an anchor point to jump-start our visual appreciation of the show as a whole. All artists explore the idea of light and color both visually and conceptually.
? ?
What about your experience curating this show and collaborating with three other artists?
The act of presenting art to an audience has always intrigued me, from art making to framing, from promoting to documenting and curating. The main focus for me was to find a concept that could stretch enough to encompass not only my own work but also of a group. It was about finding the core essence of our work and communicating it as a shared experience. In Jonny Warren's pieces, the exploration starts with black-and-white renderings of flora and fauna and a dominant light source. A single warm accent color is consciously reserved as light source. There's a clear application of pure color onto the surface. In contrast, there's Allen Taylor's work with overloads of color vibrancy and visual rhythm. Your eyes can't easily find a place to rest in his highly saturated geometric world of visual play and fantasy. And then you have Bo-ra Choi's psychological depictions of her twin self that include a variety of contrasting patterns and textures surrounded by solid color areas. Her pieces are conceptually shedding intense light to the emotional relationships between herself and the external world. Even though all the styles and mediums were different I think all artists in the show used light in a surreal manner, giving the show consistency.
You've worked with different styles of printmaking all while using really bright colors. How did that influence the way you curated the show?
When I started my printmaking studies, it came to my attention that most etchings were done in black ink or sepia tones. I think I started incorporating vibrant pinks and cutting etchings as a way to combine the traditional with my own visual language. Suddenly everything opened up for me, neon screen prints turned into large-scale installations and tiny hand-cut prints started to float over embossed surfaces of paper. Currently, screen-printed neon pinks and yellows have become the dominant elements in my mixed-media pieces. Over time I've developed a close relationship with color and it affects the way I appreciate art and the world around me. I feel there's a deep connection between color and its different meanings that makes people react differently. All the numerous combinations and permutations of color fascinate me. This is the reason why I chose to present The Brightness as an exploration of light and color.
How did you prepare for the show? What inspired you while making your new work?
Creating a new body of work, it's always exciting for me. The platform is the color pink. Upon that platform I build, play, and explore. For this particular show, with the concept set in place, it was a matter of developing my own ideas around The Brightness and how it plays out within my own visual language. I was inspired by ideas of saturation, invasion of space, repetition, and balance within highly populated areas. The creation of structures on organic entities in constant movement and growth established the direction of this new body of work.
How has your residency with the Creatives Project influenced you?
The Creatives Project has strengthened my sense of belonging and sense of place. Their support motivates me to continue to challenge myself and feel a greater sense of community in the creative field. As an artist, it is extremely rewarding to be presented with opportunities to stay here in Atlanta and continue working toward the creation of art. Programs like TCP foster a great environment for artistic expression by providing not only the space but also valuable interactions needed to spark creative dialogue among artists and their community. I sincerely encourage all artists to become familiar with this nonprofit arts organization and its mission.
How are you challenging yourself as an artist next?
I'm constantly challenging myself with the idea of the "new." I feel the need to walk through various paths within art. I'm obsessed with the sense of scale, materials, and mediums to express my artistic vision. I literally can't stay still. I pride myself in showing new efforts to break my previous visual solutions to the connection of the color pink and the idea of the internal. This is why my art includes fashion, printmaking, sculpture, drawing, painting, installation, and sometimes sound. I'm currently exploring the process of art making as a powerful tool that gathers artists and communities. As an artist I feel it's extremely important to develop your own style and philosophy. Once you have that, it could be applied to any media, any object anywhere and be transformed into an art piece that belongs to a systematic structure that continuously expands through time. I've already set the structure in place. It's only a matter of waiting to see how it all plays out.
The Brightness, a group exhibition featuring Lucha Rodriguez, Jonny Warren, Bo-ra Choi and Allen Taylor, runs through March 22 at Beep Beep Gallery. More details at the gallery.
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string(6399) "[https://www.facebook.com/beepbeepgallery|Beep Beep Gallery]'s latest group show, ''The Brightness'', studies the relationship between light and color, curated by artist Lucha Rodriguez and with works from Jonny Warren, Bo-ra Choi, and Allen Taylor. As seen in installations around the city at Underground Atlanta, Kai Lin Art, Kibbee Gallery, and ''Creative Loafing'''s own newspaper box, Rodriguez isn't afraid of using color, mixed media, and layering to create her own visual language. In her new work at Beep Beep, the Creatives Project resident explores a new kind of printmaking using neon colors instead of the usual black tones, which balances well with the rest of the show. Here, Rodriguez talks to ''CL'' about challenging herself as an artist and curator, the color pink, and finding a sense of place in Atlanta.
__Tell me a bit about the concept behind the show ''The Brightness''.__
''The Brightness'' is a collection of artworks that reflect ideas of light through the presence or absence of color. It brings forward the use of color as a common thread that unifies different styles. It acts as an anchor point to jump-start our visual appreciation of the show as a whole. All artists explore the idea of light and color both visually and conceptually.
? ?
__What about your experience curating this show and collaborating with three other artists?__
The act of presenting art to an audience has always intrigued me, from art making to framing, from promoting to documenting and curating. The main focus for me was to find a concept that could stretch enough to encompass not only my own work but also of a group. It was about finding the core essence of our work and communicating it as a shared experience. In Jonny Warren's pieces, the exploration starts with black-and-white renderings of flora and fauna and a dominant light source. A single warm accent color is consciously reserved as light source. There's a clear application of pure color onto the surface. In contrast, there's Allen Taylor's work with overloads of color vibrancy and visual rhythm. Your eyes can't easily find a place to rest in his highly saturated geometric world of visual play and fantasy. And then you have Bo-ra Choi's psychological depictions of her twin self that include a variety of contrasting patterns and textures surrounded by solid color areas. Her pieces are conceptually shedding intense light to the emotional relationships between herself and the external world. Even though all the styles and mediums were different I think all artists in the show used light in a surreal manner, giving the show consistency.
__You've worked with different styles of printmaking all while using really bright colors. How did that influence the way you curated the show?__
When I started my printmaking studies, it came to my attention that most etchings were done in black ink or sepia tones. I think I started incorporating vibrant pinks and cutting etchings as a way to combine the traditional with my own visual language. Suddenly everything opened up for me, neon screen prints turned into large-scale installations and tiny hand-cut prints started to float over embossed surfaces of paper. Currently, screen-printed neon pinks and yellows have become the dominant elements in my mixed-media pieces. Over time I've developed a close relationship with color and it affects the way I appreciate art and the world around me. I feel there's a deep connection between color and its different meanings that makes people react differently. All the numerous combinations and permutations of color fascinate me. This is the reason why I chose to present ''The Brightness'' as an exploration of light and color.
__How did you prepare for the show? What inspired you while making your new work?__
Creating a new body of work, it's always exciting for me. The platform is the color pink. Upon that platform I build, play, and explore. For this particular show, with the concept set in place, it was a matter of developing my own ideas around ''The Brightness'' and how it plays out within my own visual language. I was inspired by ideas of saturation, invasion of space, repetition, and balance within highly populated areas. The creation of structures on organic entities in constant movement and growth established the direction of this new body of work.
__How has your residency with the Creatives Project influenced you?__
[http://www.thecreativesproject.org/|The Creatives Project] has strengthened my sense of belonging and sense of place. Their support motivates me to continue to challenge myself and feel a greater sense of community in the creative field. As an artist, it is extremely rewarding to be presented with opportunities to stay here in Atlanta and continue working toward the creation of art. Programs like TCP foster a great environment for artistic expression by providing not only the space but also valuable interactions needed to spark creative dialogue among artists and their community. I sincerely encourage all artists to become familiar with this nonprofit arts organization and its mission.
__How are you challenging yourself as an artist next?__
I'm constantly challenging myself with the idea of the "new." I feel the need to walk through various paths within art. I'm obsessed with the sense of scale, materials, and mediums to express my artistic vision. I literally can't stay still. I pride myself in showing new efforts to break my previous visual solutions to the connection of the color pink and the idea of the internal. This is why my art includes fashion, printmaking, sculpture, drawing, painting, installation, and sometimes sound. I'm currently exploring the process of art making as a powerful tool that gathers artists and communities. As an artist I feel it's extremely important to develop your own style and philosophy. Once you have that, it could be applied to any media, any object anywhere and be transformed into an art piece that belongs to a systematic structure that continuously expands through time. I've already set the structure in place. It's only a matter of waiting to see how it all plays out.
The Brightness'', a group exhibition featuring Lucha Rodriguez, Jonny Warren, Bo-ra Choi and Allen Taylor, runs through March 22 at Beep Beep Gallery. More details [https://www.facebook.com/events/703639279657202/|at the gallery.]''
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string(6470) " Curating and participating in the new exhibition The Brightness 2014-03-10T14:00:00+00:00 A few questions with Lucha Rodriguez Muriel Vega 2014-03-10T14:00:00+00:00 Beep Beep Gallery's latest group show, The Brightness, studies the relationship between light and color, curated by artist Lucha Rodriguez and with works from Jonny Warren, Bo-ra Choi, and Allen Taylor. As seen in installations around the city at Underground Atlanta, Kai Lin Art, Kibbee Gallery, and Creative Loafing's own newspaper box, Rodriguez isn't afraid of using color, mixed media, and layering to create her own visual language. In her new work at Beep Beep, the Creatives Project resident explores a new kind of printmaking using neon colors instead of the usual black tones, which balances well with the rest of the show. Here, Rodriguez talks to CL about challenging herself as an artist and curator, the color pink, and finding a sense of place in Atlanta.
Tell me a bit about the concept behind the show The Brightness.
The Brightness is a collection of artworks that reflect ideas of light through the presence or absence of color. It brings forward the use of color as a common thread that unifies different styles. It acts as an anchor point to jump-start our visual appreciation of the show as a whole. All artists explore the idea of light and color both visually and conceptually.
? ?
What about your experience curating this show and collaborating with three other artists?
The act of presenting art to an audience has always intrigued me, from art making to framing, from promoting to documenting and curating. The main focus for me was to find a concept that could stretch enough to encompass not only my own work but also of a group. It was about finding the core essence of our work and communicating it as a shared experience. In Jonny Warren's pieces, the exploration starts with black-and-white renderings of flora and fauna and a dominant light source. A single warm accent color is consciously reserved as light source. There's a clear application of pure color onto the surface. In contrast, there's Allen Taylor's work with overloads of color vibrancy and visual rhythm. Your eyes can't easily find a place to rest in his highly saturated geometric world of visual play and fantasy. And then you have Bo-ra Choi's psychological depictions of her twin self that include a variety of contrasting patterns and textures surrounded by solid color areas. Her pieces are conceptually shedding intense light to the emotional relationships between herself and the external world. Even though all the styles and mediums were different I think all artists in the show used light in a surreal manner, giving the show consistency.
You've worked with different styles of printmaking all while using really bright colors. How did that influence the way you curated the show?
When I started my printmaking studies, it came to my attention that most etchings were done in black ink or sepia tones. I think I started incorporating vibrant pinks and cutting etchings as a way to combine the traditional with my own visual language. Suddenly everything opened up for me, neon screen prints turned into large-scale installations and tiny hand-cut prints started to float over embossed surfaces of paper. Currently, screen-printed neon pinks and yellows have become the dominant elements in my mixed-media pieces. Over time I've developed a close relationship with color and it affects the way I appreciate art and the world around me. I feel there's a deep connection between color and its different meanings that makes people react differently. All the numerous combinations and permutations of color fascinate me. This is the reason why I chose to present The Brightness as an exploration of light and color.
How did you prepare for the show? What inspired you while making your new work?
Creating a new body of work, it's always exciting for me. The platform is the color pink. Upon that platform I build, play, and explore. For this particular show, with the concept set in place, it was a matter of developing my own ideas around The Brightness and how it plays out within my own visual language. I was inspired by ideas of saturation, invasion of space, repetition, and balance within highly populated areas. The creation of structures on organic entities in constant movement and growth established the direction of this new body of work.
How has your residency with the Creatives Project influenced you?
The Creatives Project has strengthened my sense of belonging and sense of place. Their support motivates me to continue to challenge myself and feel a greater sense of community in the creative field. As an artist, it is extremely rewarding to be presented with opportunities to stay here in Atlanta and continue working toward the creation of art. Programs like TCP foster a great environment for artistic expression by providing not only the space but also valuable interactions needed to spark creative dialogue among artists and their community. I sincerely encourage all artists to become familiar with this nonprofit arts organization and its mission.
How are you challenging yourself as an artist next?
I'm constantly challenging myself with the idea of the "new." I feel the need to walk through various paths within art. I'm obsessed with the sense of scale, materials, and mediums to express my artistic vision. I literally can't stay still. I pride myself in showing new efforts to break my previous visual solutions to the connection of the color pink and the idea of the internal. This is why my art includes fashion, printmaking, sculpture, drawing, painting, installation, and sometimes sound. I'm currently exploring the process of art making as a powerful tool that gathers artists and communities. As an artist I feel it's extremely important to develop your own style and philosophy. Once you have that, it could be applied to any media, any object anywhere and be transformed into an art piece that belongs to a systematic structure that continuously expands through time. I've already set the structure in place. It's only a matter of waiting to see how it all plays out.
The Brightness, a group exhibition featuring Lucha Rodriguez, Jonny Warren, Bo-ra Choi and Allen Taylor, runs through March 22 at Beep Beep Gallery. More details at the gallery.
10571625 13077487 A few questions with Lucha Rodriguez "
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A few questions with Lucha Rodriguez Article
Monday March 10, 2014 10:00 AM EDT
Curating and participating in the new exhibition The Brightness
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*http://clatl.com/atlanta/ImageArchives?by=1223504
* From "A Walk in The Valley" by Ruth Stanford
The incompetent and short-sighted decision by Kennesaw State University President Daniel Papp to censor artwork for the opening of the new Zuckerman Museum was disheartening beyond words. With a single action, he turned what was to be a hopeful, exciting, celebratory occasion into a dreary reminder that our region seems to be perpetually stunted by philistines and cretins in positions of power.
? ? jump?
Though I'd been looking forward to the museum's opening for weeks, I was so disgusted I ended up skipping the event. Still, the response by protestors and artists at the opening was lovely, though it's degrading for anyone to be put in such a position. One can't just remain silent, I suppose, but to articulate an argument against censorship is to assume that this was ever about persuasion, rather than power.
The institution has offered to reinstate the work: KSU was upfront from the beginning that this was the intent. Either way, this hardly seems like unmitigatedly good news. Reinstating the work at this point implies the harm can be undone. It can't. The act of censorship has already happened, past tense, and an art space that still exists under the shadow of censorship is worse than no art space at all. You can't unpoison the chalice. The censored work's potential reinstatement does not address the underlying problem at the museum, which is structural.
I'll respect the artist Ruth Stanford's decision about whether or not to allow the work to be replaced at the Zuckerman whatever she decides, but it certainly seems she should decline. It's best for all art patrons and artists to focus time and energy on other, better spaces for art in the region until there's an executive, structural remedy at KSU. Until then, all the works in the museum exist there at the pleasure of powerful non-museum staff, a glaring organizational Achilles' heel in light of the demonstrated ambivalence of those currently in charge towards art and free speech."
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? ? [jump]?
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*http://clatl.com/atlanta/ImageArchives?by=1223504
* From "A Walk in The Valley" by Ruth Stanford
The incompetent and short-sighted decision by Kennesaw State University President Daniel Papp to censor artwork for the opening of the new Zuckerman Museum was disheartening beyond words. With a single action, he turned what was to be a hopeful, exciting, celebratory occasion into a dreary reminder that our region seems to be perpetually stunted by philistines and cretins in positions of power.
? ? jump?
Though I'd been looking forward to the museum's opening for weeks, I was so disgusted I ended up skipping the event. Still, the response by protestors and artists at the opening was lovely, though it's degrading for anyone to be put in such a position. One can't just remain silent, I suppose, but to articulate an argument against censorship is to assume that this was ever about persuasion, rather than power.
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I'll respect the artist Ruth Stanford's decision about whether or not to allow the work to be replaced at the Zuckerman whatever she decides, but it certainly seems she should decline. It's best for all art patrons and artists to focus time and energy on other, better spaces for art in the region until there's an executive, structural remedy at KSU. Until then, all the works in the museum exist there at the pleasure of powerful non-museum staff, a glaring organizational Achilles' heel in light of the demonstrated ambivalence of those currently in charge towards art and free speech. "zuckerman museum of art" "writer" "University System of Georgia" "Ruth Stanford" "Kennesaw State University" "Jodie Hill" "Erroll B. Davis Jr." "Daniel Papp" "critic" "Corra Harris" "arts journalist" "Andrew Alexander" "A Walk in the Valley" 10633963 13077561 A Critic's Notebook: Some thoughts on Zuckerman "
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A Critic's Notebook: Some thoughts on Zuckerman Article
Wednesday March 5, 2014 02:07 PM EST
A Walk in the Valley
|
more...
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? ? jump?
4. Sanford Biggers' Shuffle, Shake and Shatter at Georgia Tech's Ferst Center for the Arts, March 28
http://www.andrewalexanderwriter.com/wp-content/uploads/2014/02/9005b3978c9ddbd4319fc448939f3cce2edc370a-large.png
3. Atlanta Opera presents Gounod's Faust, March 8-16
http://www.andrewalexanderwriter.com/wp-content/uploads/2014/01/faust004.jpg
2. Tanz Farm presents Series 3 at the Goat Farm Arts Center, March 27-30
http://www.andrewalexanderwriter.com/wp-content/uploads/2014/02/JPPINA1-popup.jpg
1. Atlanta Symphony Music Director Robert Spano and Principal Guest Conductor Donald Runnicles play Stravinsky's Four-Hand Piano Version of "Rite of Spring," Atlanta Symphony Hall, March 13-16.
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? ? [jump]?
4. [http://www.ferstcenter.gatech.edu/plugins/shows/index.php?id=562|Sanford Biggers' ''Shuffle, Shake and Shatter''] at Georgia Tech's Ferst Center for the Arts, March 28
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3. Atlanta Opera presents [http://www.atlantaopera.org/calendar/view.aspx?id=43246743|Gounod's ]''[http://www.atlantaopera.org/calendar/view.aspx?id=43246743|Faust], ''March 8-16
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1. Atlanta Symphony Music Director Robert Spano and Principal Guest Conductor Donald Runnicles play Stravinsky's Four-Hand Piano Version of "[http://www.atlantasymphony.org/ConcertsAndTickets/Calendar/2013-2014/Runnicles-Spano.aspx|Rite of Spring]," Atlanta Symphony Hall, March 13-16.
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5. Kennesaw State University's Zuckerman Museum of Art opens March 1
http://www.andrewalexanderwriter.com/wp-content/uploads/2014/01/facade_night.jpg
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1. Atlanta Symphony Music Director Robert Spano and Principal Guest Conductor Donald Runnicles play Stravinsky's Four-Hand Piano Version of "Rite of Spring," Atlanta Symphony Hall, March 13-16.
http://www.andrewalexanderwriter.com/wp-content/uploads/2014/02/220px-Russian_Ballet_in_Paris_-_New_York_Times_1913-06-07.png
"zuckerman museum of art" "Tanz Farm" "Shuffle" "Shatter" "shake" "sanford biggers" "Robert Spano" "Rite of Spring" "Kennesaw State University" "Igor Stravinsky" "Faust" "Donald Runnicles" "Charles Gounod" "Austin McCormick" "Atlanta Opera" 10536400 13077445 A Critic's Notebook: March's Top Events "
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A Critic's Notebook: March's Top Events Article
Wednesday February 26, 2014 12:33 PM EST
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Legendary musician Lou Reed (1942-2013) will get a cinematic tribute at the Atlanta Contemporary Art Center on Fri., Feb. 21, beginning at 8 p.m.
Film Love curator Andy Ditzler will project several of the films Andy Warhol made of Reed and the Velvet Underground. The idea, Ditzler says, is to recreate an environment similar to the one in which the films originally screened. "It won't be a regular theatrical screening in the sense of watching each movie beginning to end," Ditzler says. "It will be multiple simultaneous film projections, a mix of sounds from the films and some lighting effects like those which characterized the VU's early performances with Warhol. It's not a reenactment of the original shows by any means, but a way to explore the type of environment in which most people heard the band at first."
? ? jump?
The centerpiece is the film The Velvet Underground and Nico (a/k/a The Velvet Underground and Nico: A Symphony of Sound) from 1966. Ditzler will also show reels from another film called The Velvet Underground and several Warhol screen tests of the band members and others including Salvador Dali.
Ditzler's website warns that the event will make use of stroboscopic light. For more information, visit the Atlanta Contemporary Art Center.
***
Speaking of inventive short films that evoke another time, Atlanta theater company Saiah recently unveiled the trailer for its upcoming show Terminus. The live theatrical production, which opens April 16 and runs through May 17, will be a site-specific, interactive, migrating performance set during the Civil War. Audience members will choose which character they want to follow during the experience. The young theater group has won critical acclaim and numerous audience awards including Readers' Pick in Creative Loafing's annual Best of Atlanta issue for Best Play for its shows Rua and Moby Dick. For more information, visit the company's website.
***
There's a game English majors and academics play in which they admit the canonical works they've never read. "I've never read Middlemarch," "Well, I've never read For Whom the Bell Tolls," and so on, with each lit geek trying to outdo the others in admitting to the huge gaps in their knowledge. (Well, academics find it funny anyway). If there were ever an arts journalists' version, I'd have a winning hand because I could fess up that I've never seen Swan Lake. Still, I'm glad the Royal Ballet is screening its production of the iconic ballet this Thurs., Feb. 20, at 7 p.m., including to several cinemas in the Atlanta area.
I attended the broadcast of Giselle last month and thoroughly enjoyed it: The screenings are great in that they bring you up close to the dance in a big, movie-screen-sized way, and they also provide interesting glimpses behind the scenes before the show and during the performance's intermission. Attending the production will mean I'll no longer have my ace in the hole for that imaginary future game, but I don't think anyone would ever want to play anyway, so it's all good. Check Fathom Events for more information.
"
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Legendary musician Lou Reed (1942-2013) will get a cinematic tribute at the Atlanta Contemporary Art Center on Fri., Feb. 21, beginning at 8 p.m.
[http://www.frequentsmallmeals.com/VelvetUnderground.htm|Film Love] curator Andy Ditzler will project several of the films Andy Warhol made of Reed and the Velvet Underground. The idea, Ditzler says, is to recreate an environment similar to the one in which the films originally screened. "It won't be a regular theatrical screening in the sense of watching each movie beginning to end," Ditzler says. "It will be multiple simultaneous film projections, a mix of sounds from the films and some lighting effects like those which characterized the VU's early performances with Warhol. It's not a reenactment of the original shows by any means, but a way to explore the type of environment in which most people heard the band at first."
? ? [jump]?
The centerpiece is the film ''The Velvet Underground and Nico'' (a/k/a ''The Velvet Underground and Nico: A Symphony of Sound'') from 1966. Ditzler will also show reels from another film called ''The Velvet Underground'' and several Warhol screen tests of the band members and others including Salvador Dali.
Ditzler's website warns that the event will make use of stroboscopic light. For more information, visit the [http://thecontemporary.org/programming/2014-winter-programming/screening-lou-reed-tribute/|Atlanta Contemporary Art Center].
::***::
Speaking of inventive short films that evoke another time, Atlanta theater company [http://www.saiah.org/|Saiah] recently unveiled the trailer for its upcoming show ''Terminus''. The live theatrical production, which opens April 16 and runs through May 17, will be a site-specific, interactive, migrating performance set during the Civil War. Audience members will choose which character they want to follow during the experience. The young theater group has won critical acclaim and numerous audience awards including Readers' Pick in ''Creative Loafing'''s annual Best of Atlanta issue for Best Play for its shows ''[http://clatl.com/atlanta/best-play/BestOf?oid=6265860|Rua | Wülf]'' and ''[http://clatl.com/atlanta/best-play/BestOf?oid=9125110|Moby Dick]''. For more information, visit the company's [http://www.saiah.org/|website].
::***::
There's a game English majors and academics play in which they admit the canonical works they've never read. "I've never read ''Middlemarch''," "Well, I've never read ''For Whom the Bell Tolls''," and so on, with each lit geek trying to outdo the others in admitting to the huge gaps in their knowledge. (Well, academics find it funny anyway). If there were ever an arts journalists' version, I'd have a winning hand because I could fess up that I've never seen ''Swan Lake''. Still, I'm glad the Royal Ballet is screening its production of the iconic ballet this Thurs., Feb. 20, at 7 p.m., including to several cinemas in the Atlanta area.
I attended the broadcast of ''Giselle'' last month and thoroughly enjoyed it: The screenings are great in that they bring you up close to the dance in a big, movie-screen-sized way, and they also provide interesting glimpses behind the scenes before the show and during the performance's intermission. Attending the production will mean I'll no longer have my ace in the hole for that imaginary future game, but I don't think anyone would ever want to play anyway, so it's all good. Check [http://www.fathomevents.com/event/royal-ballet-swan-lake/more-info/details|Fathom Events] for more information.
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Legendary musician Lou Reed (1942-2013) will get a cinematic tribute at the Atlanta Contemporary Art Center on Fri., Feb. 21, beginning at 8 p.m.
Film Love curator Andy Ditzler will project several of the films Andy Warhol made of Reed and the Velvet Underground. The idea, Ditzler says, is to recreate an environment similar to the one in which the films originally screened. "It won't be a regular theatrical screening in the sense of watching each movie beginning to end," Ditzler says. "It will be multiple simultaneous film projections, a mix of sounds from the films and some lighting effects like those which characterized the VU's early performances with Warhol. It's not a reenactment of the original shows by any means, but a way to explore the type of environment in which most people heard the band at first."
? ? jump?
The centerpiece is the film The Velvet Underground and Nico (a/k/a The Velvet Underground and Nico: A Symphony of Sound) from 1966. Ditzler will also show reels from another film called The Velvet Underground and several Warhol screen tests of the band members and others including Salvador Dali.
Ditzler's website warns that the event will make use of stroboscopic light. For more information, visit the Atlanta Contemporary Art Center.
***
Speaking of inventive short films that evoke another time, Atlanta theater company Saiah recently unveiled the trailer for its upcoming show Terminus. The live theatrical production, which opens April 16 and runs through May 17, will be a site-specific, interactive, migrating performance set during the Civil War. Audience members will choose which character they want to follow during the experience. The young theater group has won critical acclaim and numerous audience awards including Readers' Pick in Creative Loafing's annual Best of Atlanta issue for Best Play for its shows Rua and Moby Dick. For more information, visit the company's website.
***
There's a game English majors and academics play in which they admit the canonical works they've never read. "I've never read Middlemarch," "Well, I've never read For Whom the Bell Tolls," and so on, with each lit geek trying to outdo the others in admitting to the huge gaps in their knowledge. (Well, academics find it funny anyway). If there were ever an arts journalists' version, I'd have a winning hand because I could fess up that I've never seen Swan Lake. Still, I'm glad the Royal Ballet is screening its production of the iconic ballet this Thurs., Feb. 20, at 7 p.m., including to several cinemas in the Atlanta area.
I attended the broadcast of Giselle last month and thoroughly enjoyed it: The screenings are great in that they bring you up close to the dance in a big, movie-screen-sized way, and they also provide interesting glimpses behind the scenes before the show and during the performance's intermission. Attending the production will mean I'll no longer have my ace in the hole for that imaginary future game, but I don't think anyone would ever want to play anyway, so it's all good. Check Fathom Events for more information.
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A Critic's Notebook: A tribute to Lou Reed and other cinematic treats Article
Wednesday February 19, 2014 03:47 PM EST
What costumes shall a poor girl wear?
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*http://clatl.com/atlanta/ImageArchives?by=1223504
*BLOOM'S DAY: Orlando Bloom recently played Romeo opposite Condola Rashad as Juliet in a Broadway production of "Romeo and Juliet." Atlantans will have the chance to check it out when the Landmark Midtown Art Cinema screens a filmed version of the show Feb. 13 and 16. It's just one of several opportunities this Valentine's weekend to see productions of Shakespeare's classic tale of star-crossed lovers.
Snow and ice on the ground will be no excuse. If you're in a relationship, you're still going to have to find something romantic to do for Valentine's Day. Fortunately, in Atlanta this weekend, there are several opportunities to attend productions of the world's greatest love story, Romeo and Juliet.
? ? jump?
Orlando Bloom made headlines when he performed as Romeo in the recent Broadway production of Romeo and Juliet, and Atlanta audiences will finally have the chance to check it out when Romeo and Juliet on Broadway is broadcast to the Landmark Midtown Art Cinema on Thurs., Feb. 13, at 7 p.m. and Sun., Feb. 16, at 11 a.m. The show, which unfortunately did not receive many good reviews, updates the tale to contemporary times: Orlando as Romeo enters on a motorcycle, and the whole thing is given a West Side Story-spin by making it a tale of gang warfare. Condola Rashad plays Juliet. For more information or to purchase tickets, visit the Landmark Cinema.
Viewers can also take a look at Fabrefaction's production of Shakespeare's R&J by Joe Colarco. The show, which utilizes a four-member, all-male cast, examines the star-crossed lovers of Verona through the prism of a group of students at a repressive boarding school who begin reading and performing Romeo and Juliet. Tragedy ensues. Shakespeare's R&J opens at Midtown's Fabrefaction Theatre on Thurs., Feb. 13, and runs through March 2.
Also this weekend, the dancers of the Atlanta Ballet continue with performances of Roméo et Juliette at the Cobb Energy Performing Arts Centre. The production utilizes the classic music by Prokofiev (performed live by the Atlanta Ballet orchestra) but updates the ballet with new choreography by contemporary French choreographer Jean-Christophe Maillot. For tickets or more information, visit the Atlanta Ballet.
Innovative contemporary productions are all well and good, but if you prefer your Romeo and Juliet to "kiss by the book," so to speak, then the New American Shakespeare Tavern is the place for you. The Tavern performs Shakespeare in the style of "original practice," that is, as close to the spirit of Shakespeare's time as possible. The costuming, the performances, even the shape of the theater have all been carefully researched to resemble those used in Shakespeare's own time. (And unlike in Shakespeare's time, at the Tavern, you can order a hummus wrap, fries, and a craft beer to go with the show. Some modern innovations are worth keeping.) Annie York Hester is Juliet and Nick Arapoglou is Romeo on Friday and Saturday, Feb. 14-15, at 7:30 p.m. The production runs through March 30. Visit the Shakespeare Tavern for more info or tickets.
Any one of these would make for a great outing for Valentine's Day, but here's an idea for a super-memorable, over-the-top romantic weekend: Take your significant other to every last one of these. Diamonds are merely expensive trinkets, a fancy meal is soon forgotten, roses wither and fade, but memories of four marathon days full of revenge killings and double suicides will last forever."
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*[http://clatl.com/atlanta/ImageArchives?by=1223504|]
*BLOOM'S DAY: Orlando Bloom recently played Romeo opposite Condola Rashad as Juliet in a Broadway production of "Romeo and Juliet." Atlantans will have the chance to check it out when the Landmark Midtown Art Cinema screens a filmed version of the show Feb. 13 and 16. It's just one of several opportunities this Valentine's weekend to see productions of Shakespeare's classic tale of star-crossed lovers.
Snow and ice on the ground will be no excuse. If you're in a relationship, you're still going to have to find something romantic to do for Valentine's Day. Fortunately, in Atlanta this weekend, there are several opportunities to attend productions of the world's greatest love story, ''Romeo and Juliet''.
? ? [jump]?
Orlando Bloom made headlines when he performed as Romeo in the recent Broadway production of ''Romeo and Juliet'', and Atlanta audiences will finally have the chance to check it out when ''[http://romeoandjulietbroadway.com/|Romeo and Juliet on Broadway]'' is broadcast to the Landmark Midtown Art Cinema on Thurs., Feb. 13, at 7 p.m. and Sun., Feb. 16, at 11 a.m. The show, which unfortunately did not receive many good [http://www.nytimes.com/2013/09/20/theater/reviews/orlando-bloom-and-condola-rashad-in-romeo-and-juliet.html|reviews], updates the tale to contemporary times: Orlando as Romeo enters on a motorcycle, and the whole thing is given a ''West Side Story''-spin by making it a tale of gang warfare. Condola Rashad plays Juliet. For more information or to purchase tickets, visit [http://www.landmarktheatres.com/Films/films_frameset.asp?id=135325|the Landmark Cinema].
{img src="https://media2.fdncms.com/atlanta/imager/a-critics-notebook-orlando-bloom-is-one/u/original/10379122/1391718047-ws-rj-920-300x169.jpg"}Viewers can also take a look at Fabrefaction's production of ''Shakespeare's R&J ''by Joe Colarco. The show, which utilizes a four-member, all-male cast, examines the star-crossed lovers of Verona through the prism of a group of students at a repressive boarding school who begin reading and performing ''Romeo and Juliet''. Tragedy ensues. ''Shakespeare's R&J'' opens at Midtown's [http://fabrefaction.org/|Fabrefaction Theatre] on Thurs., Feb. 13, and runs through March 2.
{img src="https://media2.fdncms.com/atlanta/imager/a-critics-notebook-orlando-bloom-is-one/u/original/10379126/1391718083-tzoo.dp.media.23814.132521.romeojuliet.jpg"}Also this weekend, the dancers of the Atlanta Ballet continue with performances of ''Roméo et Juliette'' at the Cobb Energy Performing Arts Centre. The production utilizes the classic music by Prokofiev (performed live by the Atlanta Ballet orchestra) but updates the ballet with new choreography by contemporary French choreographer Jean-Christophe Maillot. For tickets or more information, visit the [http://www.atlantaballet.com/|Atlanta Ballet].
{img src="https://media1.fdncms.com/atlanta/imager/a-critics-notebook-orlando-bloom-is-one/u/original/10379127/1391718114-romance_rep_trio_for_website.jpg"}Innovative contemporary productions are all well and good, but if you prefer your Romeo and Juliet to "kiss by the book," so to speak, then the New American Shakespeare Tavern is the place for you. The Tavern performs Shakespeare in the style of "original practice," that is, as close to the spirit of Shakespeare's time as possible. The costuming, the performances, even the shape of the theater have all been carefully researched to resemble those used in Shakespeare's own time. (And unlike in Shakespeare's time, at the Tavern, you can order a hummus wrap, fries, and a craft beer to go with the show. Some modern innovations are worth keeping.) Annie York Hester is Juliet and Nick Arapoglou is Romeo on Friday and Saturday, Feb. 14-15, at 7:30 p.m. The production runs through March 30. Visit the [http://www.shakespearetavern.com/index.php?/performances/show/romance_rep_feb_mar_2014/|Shakespeare Tavern] for more info or tickets.
Any one of these would make for a great outing for Valentine's Day, but here's an idea for a super-memorable, over-the-top romantic weekend: Take your significant other to every last one of these. Diamonds are merely expensive trinkets, a fancy meal is soon forgotten, roses wither and fade, but memories of four marathon days full of revenge killings and double suicides will last forever."
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string(4299) " new american shakespeare tavern atlanta ballet andrew alexander writer critic arts journalist shakespeare\'s r&j romeo et juliette romeo and juliet orlando bloom fabrefaction condola rashad Four events offer four takes on a Shakespeare classic 2014-02-12T16:11:00+00:00 A Critic's Notebook: Orlando Bloom is one of four Romeos in Atlanta this weekend Andrew Alexander 2014-02-12T16:11:00+00:00
*http://clatl.com/atlanta/ImageArchives?by=1223504
*BLOOM'S DAY: Orlando Bloom recently played Romeo opposite Condola Rashad as Juliet in a Broadway production of "Romeo and Juliet." Atlantans will have the chance to check it out when the Landmark Midtown Art Cinema screens a filmed version of the show Feb. 13 and 16. It's just one of several opportunities this Valentine's weekend to see productions of Shakespeare's classic tale of star-crossed lovers.
Snow and ice on the ground will be no excuse. If you're in a relationship, you're still going to have to find something romantic to do for Valentine's Day. Fortunately, in Atlanta this weekend, there are several opportunities to attend productions of the world's greatest love story, Romeo and Juliet.
? ? jump?
Orlando Bloom made headlines when he performed as Romeo in the recent Broadway production of Romeo and Juliet, and Atlanta audiences will finally have the chance to check it out when Romeo and Juliet on Broadway is broadcast to the Landmark Midtown Art Cinema on Thurs., Feb. 13, at 7 p.m. and Sun., Feb. 16, at 11 a.m. The show, which unfortunately did not receive many good reviews, updates the tale to contemporary times: Orlando as Romeo enters on a motorcycle, and the whole thing is given a West Side Story-spin by making it a tale of gang warfare. Condola Rashad plays Juliet. For more information or to purchase tickets, visit the Landmark Cinema.
Viewers can also take a look at Fabrefaction's production of Shakespeare's R&J by Joe Colarco. The show, which utilizes a four-member, all-male cast, examines the star-crossed lovers of Verona through the prism of a group of students at a repressive boarding school who begin reading and performing Romeo and Juliet. Tragedy ensues. Shakespeare's R&J opens at Midtown's Fabrefaction Theatre on Thurs., Feb. 13, and runs through March 2.
Also this weekend, the dancers of the Atlanta Ballet continue with performances of Roméo et Juliette at the Cobb Energy Performing Arts Centre. The production utilizes the classic music by Prokofiev (performed live by the Atlanta Ballet orchestra) but updates the ballet with new choreography by contemporary French choreographer Jean-Christophe Maillot. For tickets or more information, visit the Atlanta Ballet.
Innovative contemporary productions are all well and good, but if you prefer your Romeo and Juliet to "kiss by the book," so to speak, then the New American Shakespeare Tavern is the place for you. The Tavern performs Shakespeare in the style of "original practice," that is, as close to the spirit of Shakespeare's time as possible. The costuming, the performances, even the shape of the theater have all been carefully researched to resemble those used in Shakespeare's own time. (And unlike in Shakespeare's time, at the Tavern, you can order a hummus wrap, fries, and a craft beer to go with the show. Some modern innovations are worth keeping.) Annie York Hester is Juliet and Nick Arapoglou is Romeo on Friday and Saturday, Feb. 14-15, at 7:30 p.m. The production runs through March 30. Visit the Shakespeare Tavern for more info or tickets.
Any one of these would make for a great outing for Valentine's Day, but here's an idea for a super-memorable, over-the-top romantic weekend: Take your significant other to every last one of these. Diamonds are merely expensive trinkets, a fancy meal is soon forgotten, roses wither and fade, but memories of four marathon days full of revenge killings and double suicides will last forever. "writer" "Shakespeare's R&J" "Romeo et Juliette" "Romeo and Juliet" "Orlando Bloom" "New American Shakespeare Tavern" "Fabrefaction" "critic" "Condola Rashad" "atlanta ballet" "arts journalist" "Andrew Alexander" 10379081 13077263 A Critic's Notebook: Orlando Bloom is one of four Romeos in Atlanta this weekend "
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A Critic's Notebook: Orlando Bloom is one of four Romeos in Atlanta this weekend Article
Wednesday February 12, 2014 11:11 AM EST
Four events offer four takes on a Shakespeare classic
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