DOCSLIB.ORG

For Immediate Release

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
For Immediate Release For Immediate Release New York Live Arts Announces Program Details and Schedule for 2014 Live Ideas Festival James Baldwin, This Time! April 23 – 27, 2014 James Baldwin, writer, January 9, 1963. Photograph by Richard Avedon © The Richard Avedon Foundation Highlights include a Keynote Conversation with Bill T. Jones, Carrie Mae Weems and Jamaica Kincaid, the world premiere of Nothing Personal, starring Colman Domingo, a preview of Carl Hancock Rux’s newest work Stranger On Earth and a special evening with Stew exploring his new ‘Notes of a Native Song’ Also included are the New York premiere of Charles O. Anderson’s Restless Natives, the world premiere of Dianne McIntyre’s Time is Time, an original video installation by Hank Willis Thomas, and a concluding conversation with Fran Lebowitz and Colm Tóibín New York, NY, January 15, 2014 (updated March 27, 2014) – New York Live Arts today announced the schedule of its second annual Live Ideas festival, James Baldwin, This Time! taking place April 23 – 27, 2014. Inaugurating “The Year of James Baldwin,” a city-wide celebration in 2014 - 15 of the continuing artistic, intellectual and moral presence of James Baldwin, on the occasion of what would have been his 90th year, James Baldwin, This Time! will present no fewer than 18 events in an array of theater, visual art, dance, video and literature featuring such artists as Carrie Mae Weems, Jamaica Kincaid, Suzan-Lori Parks, Stew, Carl Hancock Rux, Colman Domingo, Fran Lebowitz, Colm Tóibín, Charles O. Anderson, and Patricia McGregor. “New York Live Arts is proud to launch the monumental city-wide multidisciplinary festival The Year of James Baldwin with James Baldwin, This Time! and collaborate with such illustrious partners as Harlem Stage and the Columbia University School of the Arts,” stated Jean Davidson, Executive Director and CEO of New York Live Arts. “Bringing people, resources and big ideas together to examine the past and reimagine the future is important to New York Live Arts and we are incredibly thankful to the Ford Foundation and our colleagues at the Richard Avedon Foundation and the New School’s Vera List Center for Art and Politics for their support of our second annual Live Ideas festival.” “After the success of New York Live Arts’ inaugural Live Ideas festival, The Worlds of Oliver Sacks, we are thrilled to shift the focus to another multifaceted generator of and magnet for ideas, James Baldwin,” said Bill T. Jones, Executive Artistic Director of New York Live Arts. “James Baldwin is a unique and indispensable voice in twentieth-century art and ideas. He continues to shed light on the painful truths of our society, engaging us as almost no other figure does in the intractable conversation at the intersection of class, race, sex and violence. There were other powerful artists and social justice thinkers in his era, but what set James Baldwin apart was his ability to address, in terms at once poetic and visceral, what we can only call ‘Americanism.’” Among the highlights of the festival are the world premiere of the theater work Nothing Personal, based on the 1964 collaborative book by James Baldwin and Richard Avedon, directed by Patricia McGregor and starring Colman Domingo; a preview of Carl Hancock Rux’s play Stranger on Earth, featuring vocalist Marcelle Davies Lashley; an intimate evening with award-winning composer Stew, who shares his creative process surrounding his new Baldwin inspired work, Notes of a Native Song; the New York premiere of choreographer Charles O. Anderson’s Restless Natives; and the world premiere of choreographer Dianne McIntyre’s Time is Time. Also featured during the festival are an original video installation, inspired by the writings of Baldwin, by contemporary visual artist Hank Willis Thomas; and the speaking program “Jimmy at High Noon,” featuring poet Nikky Finney and others reading Baldwin’s work and discussing its impact. James Baldwin, This Time! is curated by celebrated non-fiction writer Lawrence Weschler in conjunction with Bill T. Jones. "For all his time in exile, and for all of the time he spent dwelling on the agonies of difference, Baldwin always spoke in a radical, cleansing and prophetic voice from the standpoint of an American – his own word, endlessly repeated – reclaiming and reconceiving that term in a way that seemed especially relevant to the poisoned discourses of our own era,” stated Weschler. “That’s part of what we were trying to get at in titling our festival James Baldwin, This Time! We can't wait to see the sorts of discourses it will spark.” The 2014 Live Ideas Festival, James Baldwin, This Time! is being presented by New York Live Arts as part of The Year of James Baldwin in partnership with Harlem Stage and Columbia University School of the Arts Office of Community Outreach and Education. Other collaborators include: The New School and its Vera List Center for Art and Politics; the School of Writing; NYU; and others to be announced as the year progresses. Live Ideas is made possible by The Ford Foundation. Additional support is provided by New York City Department of Cultural Affairs, The Samuel M. Levy Family Foundation and Theatre Development Fund. Please see the descriptions and schedule below for complete program details. *Schedule in formation and subject to change.* Listing Information: Live Ideas James Baldwin, This Time! April 23 – 27, 2014 Single tickets and festival passes ($175) will go on sale to New York Live Arts members on January 27, 2014 and the general public on February 3, 2014. New York Live Arts Tickets: FREE - $60 T: 212-924-0077 | www.newyorklivearts.org 219 W 19th Street, New York, NY 10011 Box Office hours: Monday-Friday 1 - 9pm | Saturday-Sunday 12 - 8pm OVERVIEW OF EVENTS VISUAL ART INSTALLATIONS HANK WILLIS THOMAS (Video installation) This innovative video installation, A person is more important than anything else…, will be driven by the cadence and intonation of James Baldwin’s voice, for Baldwin was also an orator whose delivery was almost as forceful as his ideas. Artist Hank Willis Thomas will weave audio, images, and video together in a fluid- moving, digital stream of consciousness that connects Baldwin’s 20th century discourse with the concerns and urgencies of the 21st. In recent years Thomas’s career has been surging throughout the world; in New York City he is represented by Jack Shainman Gallery. Dates: Ongoing throughout the festival Times: Ongoing throughout the festival Tickets: FREE WALL MURAL OF NEW YORKER “LETTER FROM A REGION OF MY MIND” The November 1962 issue of The New Yorker magazine (in which the piece Letter From a Region of My Mind first appeared later to become the basis for Baldwin’s great book The Fire Next Time) will be reproduced as a mural by visual artist Samantha Holmes: the text, often a single streaming column, is flanked on all sides by advertisements incongruously hawking all manner of luxury goods. Dates: Ongoing throughout the festival Tickets: FREE READINGS, LECTURES, PANELS & CONVERSATIONS “JIMMY AT HIGH NOON” (A Series of Five Daily Readings) Presented in partnership with Columbia University School of the Arts, this noon-time series features poets, actors, musicians, essayists and scholars reading from a range of James Baldwin’s classics, as well as discussing his impact on their lives and thinking. Speakers include poet Nikky Finney; writer Darryl Pinckney; actors Jesse L. Martin and André De Shields; musician Vijay Iyer; and playwrights Suzan-Lori Parks and Marcus Gardley, among others to be announced at a later date. “Jimmy at High Noon” will be overseen by director Patricia McGregor, with dramaturgy by Columbia faculty member and Baldwin scholar Rich Blint. Dates: Every day, Wednesday April 23 - Sunday, April 27 Time: 12:00pm Tickets: FREE Location: New York Live Arts Studios BALDWIN’S CAPACIOUS IMAGINATION & INFLUENCE MacArthur Award winning playwright Suzan-Lori Parks (Topdog/ Underdog and The Death of the Last Black Man in the Entire World) discusses her years as Baldwin’s student with Roberta Uno, former artistic director of New WORLD Theater which staged a ground-breaking Baldwin production. This conversation, moderated by Live Ideas curator Lawrence Weschler, will also feature playwright John Guare (Six Degrees of Separation and A Free Man of Color). Date: Wednesday, April 23 Time: 2:30pm Tickets: $15 Location: New York Live Arts Studios OPENING KEYNOTE CONVERSATION Featuring Bill T. Jones, renowned choreographer and Executive Artistic Director of New York Live Arts in conversation with visual artist and MacArthur Fellow, Carrie Mae Weems and celebrated novelist and essayist, Jamaica Kincaid (Autobiography of My Mother, Lucy, A Small Place). Approaching Baldwin from a range of disciplines, these highly accomplished cultural figures share Baldwin’s commitment to the necessary excavation of the dense, complex and contradictory history of the nation. From the stunning visual imagery of Weems, to the startlingly honest and demanding prose of Kincaid, this conversation reaches across genres to address issues of importance to Baldwin, but crucial for our own transformation-- this time! Date: Wednesday, April 23 Time: 8:00pm Tickets: $60 Location: New York Live Arts Theater BALDWIN & DELANEY Rachel Cohen, whose critically acclaimed A Chance Meeting braids a sequence of seminal encounters across American cultural history, including Baldwin’s with both Richard Avedon and Norman Mailer, will read from a third chapter, focusing on the young writer’s life-transforming encounter with the sublime painter Beauford Delaney, at the latter’s Greenwich Village apartment. Following her reading, Cohen will engage Diedra Harris-Kelley, Co-Director of the Romare Bearden Foundation and Baldwin and Delaney biographer David Leeming, in a conversation about Delaney’s enduring importance in Baldwin’s life. Date: Thursday, April 24 Time: 2:00pm Tickets: $10 Location: New York Live Arts Theater JAMES BALDWIN THIS TIME Newly appointed Counsel to Mayor DeBlasio, Maya Wiley moderates a conversation on what Baldwin might have made of everything from the burgeoning prison-industrial complex and the recent gutting of the Voter Rights Bill through the Barack Obama presidency.
Load more

Recommended publications
  • Curriculum Vitae
    KATHY A. PERKINS EDUCATION M.F.A. University of Michigan (Ann Arbor) 1978 Theatre - Lighting Design B.F.A. Howard University (Washington, D.C.) 1976 Drama PROFESSIONAL EXPERIENCE 2012 – Professor of Theatre – Department of Dramatic Art 2018 University of North Carolina at Chapel Hill Professor Emerita 2018 1989 - Professor of Theatre – Department of Theatre 2011 University of Illinois – Urbana-Champaign (UIUC) Professor Emerita 2011 Full Professor 1999 Associate Professor 1993 Assistant Professor 1989 1989-2009 Chair of Lighting Design Program 2009 – 2011 Chair of M.A. in Theatre History & Practice Program Spring Sterling Brown Visiting Professor of Theatre 2005 Williams College Williamstown, Mass. Spring Visiting Professor - Ethnic Studies Program 1997 University of Oregon (Eugene) Summer Visiting Lecturer - United States Information Service (USIS) 1995 South Africa (Durban, Johannesburg and Pietermaritzburg) Summer Visiting Professor - Course: Black Women Playwrights 1991 Eastern Illinois University, Charleston, Ill. Summer Visiting Professor - Women's Studies Program 1990 University of California, Los Angeles (UCLA) 1987 - 89 Affiliated Scholar - Center for the Study of Women The University of California, Los Angeles (UCLA) 1986 - 89 Curatorial Assistant (History) - The California Afro-American Museum Los Angeles, Calif. (Curator - Lonnie Bunch, III) 1985 - 87 Resident Lighting Designer - Los Angeles Theatre Center (LATC) 1979 - 85 Lighting Instructor - Theatre Department, Smith College Northampton, Mass. 1981 - 82 Visiting Scholar - Theatre Arts Dept., Columbia University New York City (Ford Foundation Fellow) 1981 Guest Lecturer - The National Arts Consortium, New York City 1978-1979 Lighting Designer/Technical Director – Sounds in Motion Dance Company Artistic Director: Dianne McIntyre New York City PROFESSIONAL LIGHTING DESIGN (Representative Listing) 1990- St.
    [Show full text]
  • 2019 Silent Auction List
    September 22, 2019 ………………...... 10 am - 10:30 am S-1 2018 Broadway Flea Market & Grand Auction poster, signed by Ariana DeBose, Jay Armstrong Johnson, Chita Rivera and others S-2 True West opening night Playbill, signed by Paul Dano, Ethan Hawk and the company S-3 Jigsaw puzzle completed by Euan Morton backstage at Hamilton during performances, signed by Euan Morton S-4 "So Big/So Small" musical phrase from Dear Evan Hansen , handwritten and signed by Rachel Bay Jones, Benj Pasek and Justin Paul S-5 Mean Girls poster, signed by Erika Henningsen, Taylor Louderman, Ashley Park, Kate Rockwell, Barrett Wilbert Weed and the original company S-6 Williamstown Theatre Festival 1987 season poster, signed by Harry Groener, Christopher Reeve, Ann Reinking and others S-7 Love! Valour! Compassion! poster, signed by Stephen Bogardus, John Glover, John Benjamin Hickey, Nathan Lane, Joe Mantello, Terrence McNally and the company S-8 One-of-a-kind The Phantom of the Opera mask from the 30th anniversary celebration with the Council of Fashion Designers of America, designed by Christian Roth S-9 The Waverly Gallery Playbill, signed by Joan Allen, Michael Cera, Lucas Hedges, Elaine May and the company S-10 Pretty Woman poster, signed by Samantha Barks, Jason Danieley, Andy Karl, Orfeh and the company S-11 Rug used in the set of Aladdin , 103"x72" (1 of 3) Disney Theatricals requires the winner sign a release at checkout S-12 "Copacabana" musical phrase, handwritten and signed by Barry Manilow 10:30 am - 11 am S-13 2018 Red Bucket Follies poster and DVD,
    [Show full text]
  • Spelman College Museum of Fine Art Launches 2017 with a Solo Exhibition by Acclaimed Artist Mickalene Thomas
    FOR 350 Spelman Lane Box 1526 IMMEDIATE Atlanta, GA 30314 RELEASE museum.spelman.edu The only museum in the nation emphasizing art by women of the African Diaspora MEDIA CONTACTS AUDREY ARTHUR WYATT PHILLIPS 404-270-5892 404-270-5606 [email protected] [email protected] T: @SpelmanMedia T: @SpelmanMuseum FB: facebook.com/spelmanmuseum January 31, 2017 Spelman College Museum of Fine Art Launches 2017 with a Solo Exhibition by Acclaimed Artist Mickalene Thomas Mickalene Thomas: Mentors, Muses, and Celebrities February 9 – May 20, 2017 ATLANTA (January 31, 2017) – Spelman College Museum of Fine Art is proud to present Mickalene Thomas: Mentors, Muses, and Celebrities, an exhibition featuring new work by acclaimed painter, photographer, sculptor, and filmmaker Mickalene Thomas, as a highlight of its 20th anniversary celebration. This solo exhibition, which is organized by the Aspen Art Museum, features photography, mirrored silkscreen portraits, film, video, and site specific installations. Thomas edits together rich portraits of herself and iconic women from all aspects of culture—performers, comedians, dancers, and other entertainers—at play in her life and in her art. Angelitos Negros, 2016 2-Channel HD Video, total running time: 23:09 Courtesy the artist, Lehmann Maupin, New The exhibition encourages viewers to consider deeply, how York and Hong Kong and Artists Rights Society (ARS), New York personal and public figures have reflected, re-imagined, and altered their own self-image to create a larger narrative of what it means to be a woman in today’s society. The exhibition makes its Southeast debut February 9, 2017, and will be on view at the Museum through May 20, 2017.
    [Show full text]
  • The Racial Bias Built Into Photography - the New York Times
    9/3/2019 The Racial Bias Built Into Photography - The New York Times LENS The Racial Bias Built Into Photography Sarah Lewis explores the relationship between racism and the camera. By Sarah Lewis April 25, 2019 This week, Harvard University’s Radcliffe Institute for Advanced Study is hosting Vision & Justice, a two-day conference on the role of the arts in relation to citizenship, race and justice. Organized by Sarah Lewis, a Harvard professor, participants include Ava DuVernay, Henry Louis Gates Jr., Wynton Marsalis and Carrie Mae Weems. Aperture Magazine has issued a free publication this year, titled “Vision & Justice: A Civic Curriculum” and edited by Ms. Lewis, from which we republish her essay on photography and racial bias. — James Estrin Can a photographic lens condition racial behavior? I wondered about this as I was preparing to speak about images and justice on a university campus. “We have a problem. Your jacket is lighter than your face,” the technician said from the back of the one-thousand-person amphitheater- style auditorium. “That’s going to be a problem for lighting.” She was handling the video recording and lighting for the event. It was an odd comment that reverberated through the auditorium, a statement of the obvious that sounded like an accusation of wrongdoing. Another technician standing next to me stopped adjusting my microphone and jolted in place. The phrase hung in the air, and I laughed to resolve the tension in the room then offered back just the facts: “Well, everything is lighter than my face. I’m black.” “Touché,” said the technician organizing the event.
    [Show full text]
  • Carrie Mae Weems
    Andrea Kirsh Susan Fisher Sterling CARRIE MAE WEEMS The National Museum of Women in the Arts . Washington, D.C. UWIrv WI"'" Uftlyer.tty I'oCk HU'. s. C. 217' Carrie Mae Weems Issues in Black, White and Calor Andrea Kirsh Though others know her as an artist or a pervasive crisis in left-wing politiCS dur­ photographer, Carrie Mae Weems ing the la te 1970s describes herself as an "image maker." At CaJArts, Weems photographed The term, with its baggage of popular and African American subjects, and found that commercial connotations, is crucial to neither her professors nor her fellow stu­ Weems's task. Since 1976, when a friend dents in the photography department gave her a camera, she has generated a offered any real critical response to her sequence of images reflecting her concern work. The professors she remembers as with the world around her-with the being most influential taught literature, nature of "our humanity, our plight as folklore and writing. human beings.'" She has focused on the Weems went to the University of ways in which images shape our percep­ California, San Diego, for her M.F.A. in tion of color, gender and class. Surveying 1982 at the encouragement of Ulysses the development of her work, we can see Jenkins, a black artist on the faculty. At her exploring the existing genres of pho­ San Diego she met Fred Lonidier, who rographic imagery. She has looked at their was the first photography professor ro uses in artistic, commercial and popular respond with serious criticism of her contexts, the work of both amateurs and work.
    [Show full text]
  • Download Press Highlights (PDF, 8
    AQ&A WITH Carrie Mae WeemsBy Charmaine Picard 66 MODERN PAINTERS JANUARY 2014 BLOUINARTINFO.COM Elegant and graced with a rich, melodic voice, Carrie Mae Weems is an imposing figure on the artistic landscape. Through documentary photographs, conceptual installations, and videos, she is known for raising difficult questions about the American experience. When the MacArthur Foundation awarded her a 2013 “genius” grant, it cited Weems for uniting “critical social insight with enduring aesthetic mastery.” The artist and activist is the subject of a major traveling career retrospective, which was at Stanford University’s Cantor Arts Center in the fall and opens January 24 at its final stop, the Guggenheim Museum in New York. CHARMAINE PICARD: What was it like studying at the Ross at Syracuse University. I haven’t made a billboard for the California Institute of the Arts in the late 1970s? past year, but I will probably make one again now that I have CARRIE MAE WEEMS: They didn’t always know what to do with money from the MacArthur fellowship. I’m starting to partner with this brown woman taking brown photographs. I arrived there other people because they have additional resources that they when I was 27 years old, and I knew that I wanted to research can bring to the table—whether it is camera equipment, recording women photographers; I knew that I wanted to learn who the equipment, or musical knowledge. I think that having other black photographers were; and I knew that I wanted to build my people involved is really important to keep the institute alive and own archive of their work.
    [Show full text]
  • Bam 2016 Annual Report
    BAM 2016 2 1ANNUAL REPORT 0 6 BAM’s mission is to be the home for adventurous artists, audiences, and ideas. 3—6 Community, 31–33 GREETINGS DanceMotion USASM, 34–35 Chair Letter, 4 Visual Art, 36–37 President & Executive Producer’s Letter, 5 Membership, 38 BAM Campus, 6 Membership, 37—39 7—35 40—47 WHAT WE DO WHO WE ARE 2015 Next Wave Festival, 8–10 BAM Board, 41 2016 Winter/Spring Season, 11–13 BAM Supporters, 42–45 Also On Stage, 14 BAM Staff, 46–47 BAM Rose Cinemas, 15–20 48—50 First-run Films, 16 NUMBERS BAMcinématek, 17–18 BAM Financial Statements, 49–50 BAMcinemaFest, 19 HD Screenings, 20 51—55 BAMcafé Live, 21–22 THE TRUST BAM Hamm Archives, 23 BET Chair Letter, 52 Digital Media, 24 BET Donors, 53 Education & Humanities, 25–30 BET Financial Statements, 54–55 2 TKTKTKTK Cover: Urban Bush Women in Walking with ‘Trane| Photo: Julieta Cervantes Greetings GREETINGS 3 TKTKTKTK 2016 Winter/Spring | Royal Shakespeare Company in Henry IV Part I | Photo: Richard Termine Change is anticipated, expected, welcomed. — Alan H. Fishman Dear Friends, As you all know, and perhaps celebrated (!), Anne Bogart, Ivo van Hove, Long time trustee Beth Rudin Dewoody As I end my leadership role, I want to I stepped down as chairman of this William Kentridge, and many others. became an honorary trustee. Mark Jackson express my thanks to all I have met and miraculous institution effective December and Danny Simmons, both great trustees, worked with along the way. Together we have 31, 2016.
    [Show full text]
  • The Civilians"
    San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Spring 2012 A Versatile Group of Investigative Theater Practitioners: An Examination and Analysis of "The Civilians" Kimberly Suzanne Peterson San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Peterson, Kimberly Suzanne, "A Versatile Group of Investigative Theater Practitioners: An Examination and Analysis of "The Civilians"" (2012). Master's Theses. 4158. DOI: https://doi.org/10.31979/etd.n3bg-cmnv https://scholarworks.sjsu.edu/etd_theses/4158 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. A VERSATILE GROUP OF INVESTIGATIVE THEATER PRACTITIONERS: AN EXAMINATION AND ANALYSIS OF “THE CIVILIANS” A Thesis Presented to The Faculty of the Department of Theater Arts San José State University In Partial Fulfillment of the Requirements for the Degree Master of Arts by Kimberly Peterson May 2012 © 2012 Kimberly Peterson ALL RIGHTS RESERVED The Designated Thesis Committee Approves the Thesis Titled A VERSATILE GROUP OF INVESTIGATIVE THEATER PRACTITIONERS: AN EXAMINATION AND ANALYSIS OF “THE CIVILIANS” by Kimberly Peterson APPROVED FOR THE DEPARTMENT OF THEATRE, RADIO-TELEVISION-FILM, ANIMATION & ILLUSTRATION SAN JOSÉ STATE UNIVERSITY May
    [Show full text]
  • Geffen Lights out Cast FINAL
    Media Contact: Zenon Dmytryk Geffen Playhouse [email protected] 310.966.2405 FOR IMMEDIATE RELEASE CAST ANNOUNCED FOR GEFFEN PLAYHOUSE WEST COAST PREMIERE OF LIGHTS OUT: NAT “KING” COLE NOW EXTENDED THROUGH MARCH 17 FEATURING DULÉ HILL AS NAT “KING” COLE ADDITIONAL CAST INCLUDES GISELA ADISA, CONNOR AMACIO MATTHEWS, BRYAN DOBSON, RUBY LEWIS, ZONYA LOVE, MARCIA RODD, BRANDON RUITER AND DANIEL J. WATTS PREVIEWS BEGIN FEBRUARY 5 - OPENING NIGHT IS FEBRUARY 13 LOS ANGELES (December 19, 2018) – Geffen Playhouse today announced the full cast for its production of Lights Out: Nat “King” Cole, written by Tony and Olivier Award nominee Colman Domingo (Summer: The Donna Summer Musical, If Beale Street Could Talk, Fear the Walking Dead) and Patricia McGregor (Place, A Midsummer Night’s Dream, Skeleton Crew), directed by Patricia McGregor and featuring Emmy Award nominee Dulé Hill (Bring in ‘da Noise, Bring in ‘da Funk; The West Wing; Psych) as Nat “King” Cole. This marks the West Coast premiere for the production, which made its world premiere in 2017 at People’s Light, one of Pennsylvania’s largest professional non-profit theaters. Under the auspices of the Geffen Playhouse, the production from People’s Light has been further workshopped, songs have been added and the play has continued to evolve. In addition to Hill, the cast features Gisela Adisa (Beautiful, Sister Act) as Eartha Kitt and others; Connor Amacio Matthews (In the Flow with Connor Amacio) as Billy Preston and others; Bryan Dobson (Jesus Christ Superstar, The Rocky Horror Show) as Producer and others; Ruby Lewis (Marilyn! The New Musical, Jersey Boys) as Betty Hutton, Peggy Lee and others; Zonya Love (Emma and Max, The Color Purple) as Perlina and others; Marcia Rodd (Last of the Red Hot Lovers, Shelter) as Candy and others; Brandon Ruiter (Sex with Strangers, A Picture of Dorian Gray) as Stage Manager and others; and Daniel J.
    [Show full text]
  • 30 Americans West Coast Debut at Tacoma Art Museum: Unforgettable
    MEDIA RELEASE August 2, 2016 Media Contact: Julianna Verboort, 253-272-4258 x3011 or [email protected] 30 Americans West Coast debut at Tacoma Art Museum: Unforgettable Tacoma, WA - The critically acclaimed, nationally traveling exhibition 30 Americans makes its West Coast debut at Tacoma Art Museum (TAM) this fall. Featuring 45 works drawn from the Rubell Family Collection in Miami – one of the largest private contemporary art collections in the world – 30 Americans will be on view from September 24, 2016 through January 15, 2017. The exhibition showcases paintings, photographs, installations, and sculptures by prominent African American artists who have emerged since the 1970s as trailblazers in the contemporary art scene. The works explore identity and the African American experience in the United States. The exhibition invites viewers to consider multiple perspectives, and to reflect upon the similarities and differences of their own experiences and identities. “The impact of this inspiring exhibition comes from the powerful works of art produced by major artists who have significantly advanced contemporary art practices in our country for three generations," said TAM's Executive Director Stephanie Stebich. "We've been working for four years to bring this exhibition to our community. The stories these works tell are more relevant than ever as we work toward understanding and social change. Art plays a pivotal role in building empathy and resolving conflict." Stebich added, "TAM is a safe space for difficult conversations through art. We plan to hold open forums and discussions during the run of this exhibition offering ample opportunity for community conversations about the role of art, the history of racism, and the traumatic current events.” The museum’s exhibition planning team issued an open call in March to convene a Community Advisory Committee.
    [Show full text]
  • 2012-Press-Highlights.Pdf
    D. Dominick Lombardi: Kathryn E. Delmez on Carrie Mae Weems at the Frist 1/4/13 12:13 PM January 4, 2013 Kathryn E. Delmez on Carrie Mae Weems at the Frist Posted: 09/07/2012 7:22 pm I would be hard pressed to think of anyone in the visual arts who has done more to make public the centuries old discrimination of race and gender, the oppressive effects of power, the intricacies of domesticity and our general sense of place as human beings than Carrie Mae Weems. As we are only about one year apart in age, I can remember quite well the level of racial inequality that Ms. Weems was born into. I can also remember very clearly, the buzz created when a non-stereotypical, everyday African American housewife appeared in a laundry soap commercial for the first time. It was a 1970, Wisk detergent television advertisement, and since I lived in a largely white community defined by hardworking blue and white collar husbands paired with stay-at-home, home- maker wives, the vocal backlash that ensued could generally be placed into the category of "what is the world coming to?" When you think about how systemic and ingrained the feelings, subtle or profound, were regarding race, gender and the system of power built upon those prejudices that Ms. Weems addressed all those years ago a very different, very intense level of strength and courage emerges. Yes, it's true that the Civil Rights movement had already begun, and was gaining worldwide recognition and ground every day.
    [Show full text]
  • Nawang Khechog the Great Arya Tara Tibetan Meditation Music 5:11
    Playlists by David Ruekberg Dance to Awaken the Heart, Rochester, NY #27: January 28, 2017 Artist Song Title Album Length Nawang Khechog The Great Arya Tara Tibetan Meditation Music 5:11 Maneesh de Moor Morning Praise Om Deeksha 8:54 Ernst Reijseger Homo Spiritualis Cave Of Forgotten Dreams (Original Motion Picture Soundtrack) 2:21 Hukwe Zawose Nhongolo The Essential Guide To Africa 8:54 Dead Can Dance Nierika Memento 5:46 Deva Premal Guru Rinpoche Mantra Deva Lounge 7:23 Balligomingo Purify Absolute More Relaxed [Disc 2] 4:13 Manu Dibango Bessoka (Version Courte) The Essential Guide To Africa 3:28 Miriam Makeba Pata Pata 2000 Homeland 3:49 Thievery Corporation The Lagos Communique African Groove 3:55 Christina Aguilera featuring Steve Winwood Makes Me Wanna Pray Back To Basics 4:11 The Beatles Tomorrow Never Knows (Remastered) Revolver (Remastered) 2:59 Brian Eno & Rick Holland Glitch Drums Between The Bells 2:58 Sean Dinsmore Mangalam (Chillums at Dawn Remix) Dakini Lounge: Prem Joshua Remixed 6:00 India.Arie Slow Down Voyage To India 3:53 Jai Uttal Guru Bramha Shiva Station (Bonus Edition) 4:24 Bon Iver Lisbon, OH Bon Iver 1:34 Ulrich Schnauss Amaris Passage 5:20 David Ruekberg Silence_5s.mp3 Silence 0:05 Itzhak Perlman Bach: Violin Partita #2 In D Minor, BWV 1004 - 3. Sarabanda Bach: Sonatas & Partitas For Solo Violin [Disc 2] 3:52 Anoushka Shankar Ancient Love Rise 11:08 Ray Lynch Her Knees Deep In Your Mind Conversations With God 6:19 Soloists of the Ensemble Nipponia [Shakuhachi, Shamisen, Biwa, EsashiKoto] Oiwake ("Esashi Pack-horseman's
    [Show full text]