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The Creative Arts at Brandeis by Karen Klein
The Creative Arts at Brandeis by Karen Klein The University’s early, ardent, and exceptional support for the arts may be showing signs of a renaissance. If you drive onto the Brandeis campus humanities, social sciences, and in late March or April, you will see natural sciences. Brandeis’s brightly colored banners along the “significant deviation” was to add a peripheral road. Their white squiggle fourth area to its core: music, theater denotes the Creative Arts Festival, 10 arts, fine arts. The School of Music, days full of drama, comedy, dance, art Drama, and Fine Arts opened in 1949 exhibitions, poetry readings, and with one teacher, Erwin Bodky, a music, organized with blessed musician and an authority on Bach’s persistence by Elaine Wong, associate keyboard works. By 1952, several Leonard dean of arts and sciences. Most of the pioneering faculty had joined the Leonard Bernstein, 1952 work is by students, but some staff and School of Creative Arts, as it came to faculty also participate, as well as a be known, and concentrations were few outside artists: an expert in East available in the three areas. All Asian calligraphy running a workshop, students, however, were required to for example, or performances from take some creative arts and according MOMIX, a professional dance troupe. to Sachar, “we were one of the few The Wish-Water Cycle, brainchild of colleges to include this area in its Robin Dash, visiting scholar/artist in requirements. In most established the Humanities Interdisciplinary universities, the arts were still Program, transforms the Volen Plaza struggling to attain respectability as an into a rainbow of participants’ wishes academic discipline.” floating in bowls of colored water: “I wish poverty was a thing of the past,” But at newly founded Brandeis, the “wooden spoons and close friends for arts were central to its mission. -
Cesare Scénariste Et Illustrateur : Fuyumi Soryo Collaborateur
Prix manga 2016 Cesare Scénariste et illustrateur : Fuyumi Soryo Collaborateur : Motoaki Hara Ki-oon, 2013 Genre : historique Résumé : Naïf et studieux, Angelo da Canossa n’est guère armé pour la vie d’étudiant à l’université de Pise, lieu d’intrigues et de tensions dans l’Italie de la Renaissance. Son innocence résistera-t-elle à sa rencontre avec Cesare Borgia, rejeton d’une famille à la réputation sulfureuse, dont le père est sur le point d’accéder au Saint-Siège ? Rivalités entre les différentes factions de l’université, machinations politiques et luttes fratricides, Angelo va partager les années de formation d’un jeune homme en passe de devenir l’un des personnages les plus fascinants de l’Histoire. À ses côtés, il croisera le chemin de certains de ses contemporains les plus célèbres, de Christophe Colomb à Machiavel en passant par Léonard de Vinci… From 5 to 9 Scénariste et illustrateur : Miki Aihara Panini manga, 2012 Genre : amour Résumé : Nous avons tous un rêve. Celui de Junko est de s’installer à New York pour vivre des aventures passionnantes à l’instar des héroïnes de ses séries télé préférées. Belle et brillante, elle décroche un poste de professeur d’anglais dans une école privée. Junko a tout pour être heureuse. Il lui manque seulement un amoureux et, même si sa grand-mère l’a déjà casée, Junko n’est pas emballée. Certes l’heureux élu est bel homme mais c’est un bonze et épouser un moine bouddhiste n’est pas tout à fait ce dont Junko rêve. Le problème, c’est qu’il ne partage pas son opinion et a bien l’intention de ne pas lui faciliter ses futures histoires d’amour. -
Kunsthalle Wien Museumsquartier BABETTE MANGOLTE
Kunsthalle Wien Museumsquartier BABETTE MANGOLTE Booklet #Mangolte 18/12 2016 – 12/2 2017 www.kunsthallewien.at Babette Mangolte In response to which films have influenced her the most, she cites I = EYE Dziga Vertov’s Man with a Movie Camera (1929) and Michael Snow’s Babette Mangolte (*1941) is an Wavelength (1967): “These two films icon of international experimental literally changed my life. The first cinema. From the beginning, her one made me decide to become a early interests focused on the cinematographer, and the desire documentation of the New York art, to see the second one led me to dance, and theatre scene of the New York, where I settled down and 1970s, and above all, on performance eventually made my films.” 1 art. The adaptation of dance and choreography for the media of Babette Mangolte was the film and photography – and the cinematographer for Chantal concomitant question regarding the Akerman’s Jeanne Dielman (1975) and changes this transfer has on an event News From Home (1977), and also for based on the live experience – play Yvonne Rainer’s Lives of Performers a central role in her work. (1972) and Film about a Woman Who... (1974). In 1975, she completed her I = EYE not only presents an array first film What Maisie Knew, which of Mangolte’s film and photo works won the “Prix de la Lumière” at the from the 1970s, but also more Toulon Film Festival in the same year. recent projects, which explore the Subsequently, other significant films historicisation of performance from her filmography include The art, and the differences between Camera: Je or La Camera: I (1977), perceptions of contemporaneity The Cold Eye (My Darling, Be Careful) past and present, as well as (1980), The Sky on Location (1982), conceptualizations of time. -
Bill T. Jones / Arnie Zane Dance Company
FALL 2018 DANCE SEASON B R AVO Bill T. Jones/ Arnie Zane Company OCTOBER 27, 2018 BALLETMET The Nutcracker NOVEMBER 24-25, 2018 Too Hot to Handel DECEMBER 1, 2018 The 2018–2019 Dance Season is made possible by the Lear Corporation ENGAGED IN THE ARTS. COMMITTED TO CULTURE. IMPACTING OUR COMMUNITY. The Community Foundation for Southeast Michigan proudly supports the Michigan Opera Theatre as part of our mission to assist organizations creating a lasting, positive impact on our region. CFSEM.org 313-961-6675 Fall 2018 BRAVO Contents Dance Season ON STAGE The Official Magazine of Michigan Opera Theatre FEATURE STORY: ‘Tis the Season for Holiday Performances ......... 6 Profiles from the Pit: All About that Bass ............................................... 7 Erica Hobbs, Editor Bill T. Jones/Arnie Zane Company ............................................................ 8 Jocelyn Aptowitz, Contributor BalletMet’s The Nutcracker ........................................................................14 Publisher: Too Hot To Handel .........................................................................................20 Echo Publications, Inc. Royal Oak, Michigan www.echopublications.com MICHIGAN OPERA THEATRE Tom Putters, President Boards of Directors and Trustees .............................................................. 4 Physicians’ services provided by Welcome ............................................................................................................. 5 Henry Ford Medical Center. MOTCC: A Winter Fantasy ..........................................................................19 -
MA-2013 07 the New Yorker
Allen, Emma. “The Rapper is Present,” The New Yorker, July 11, 2013 JULY 11, 2013 THE RAPPER IS PRESENT POSTED BY EMMA ALLEN Three years ago, when the performance artist Marina Abramović sat in the atrium of the Museum of Modern Art for seven hundred and fifty hours, many of the people who had waited in long lines to sit across from her melted down in her presence. Abramović remained silent and still, enduring thirst, hunger, and back pain (and speculation as to how, exactly, she was or was not peeing), while visitors, confronted with her placid gaze, variously wept, vomited, stripped naked, and proposed marriage. But the other day, at the Pace Gallery in Chelsea, where Jay-Z was presenting his own take on Abramović’s piece—rapping for six hours in front of a rotating cast of art-world V.I.P.s—viewers’ primary response was to get up and dance. Jay-Z (or Shawn Carter, or Hova, as he’s alternately known) was continuously performing “Picasso Baby,” the second song on his new album, “Magna Carta… Holy Grail,” to a succession of visual artists, museum directors, gallerists, Hollywood folk, and Pablo’s granddaughter Diana Widmaier Picasso. These guests took turns on or near a wooden bench positioned across from a low platform on which the rapper stood, except when he was prowling around. A crowd of less famous art-world denizens and cool-looking people (some of whom had been specially cast) loitered along the walls of the gallery, except when they were invited to scurry right up to Jay-Z. -
ADF 'S 2021 Season Dedicated to Cynthia Wyse
ADF 's 2021 Season Dedicated to Cynthia Wyse We are thrilled to dedicate the 2021 ADF Season to Cynthia Wyse, our devoted Director of Finance & Administration. For the past 33 summers, Cynthia’s stewardship of ADF’s fiscal well-being and untiring work to support the festival’s programs have been extraordinary. An Ohio native who committed much of her life’s work toward an art form that was at first foreign to her, she became one of ADF’s biggest champions. Beyond the oversight of financial and administrative matters, Cynthia has led ADF’s internship program and provided mentorship to countless finance interns. She has made sure that artists, faculty, musicians, and staff were always paid and in the midst of it all was a nurturer to many. Frequent cheese balls and plentiful snacks provided by her have kept the staff nourished and re-energized during the most challenging days. We are going to miss Cynthia when she retires at the end of this calendar year, but we have so much gratitude for all that she has given to ADF. We wish her much happiness as she choreographs the next chapter in her life! To honor Cynthia’s legacy, we are launching a campaign to establish the Wyse Finance Internship Fund. The goal is to raise at least $25k over the next four months. ADF is contributing $12.5k to kick things off! Interest from the endowed gift will cover the annual stipend for our finance intern. We hope you will help us celebrate Cynthia and make a contribution that will have a lasting effect on nurturing and training future performing arts administrators. -
Judson Dance Theater: the Work Is Never Done
Judson Dance Theater: The Work is Never Done Judson Dance Theater: The Work Is Never Done The Museum of Modern Art, New York September 16, 2018-February 03, 2019 MoMA, 11w53, On View, 2nd Floor, Atrium MoMA, 11w53, On View, 2nd Floor, Contemporary Galleries Gallery 0: Atrium Complete Charles Atlas video installation checklist can be found in the brochure Posters CAROL SUMMERS Poster for Elaine Summers’ Fantastic Gardens 1964 Exhibition copy 24 × 36" (61 × 91.4 cm) Jerome Robbins Dance Division, New York Public Library, GIft of Elaine Summers Gallery 0: Atrium Posters Poster for an Evening of Dance 1963 Exhibition copy Yvonne Rainer Papers, The Getty Research Institute, Los Angeles Gallery 0: Atrium Posters Poster for Concert of Dance #13, Judson Memorial Church, New York (November 19– 20, 1963) 1963 11 × 8 1/2" (28 × 21.6 cm) Judson Memorial Church Archive, Fales Library & Special Collections, New York University Libraries Gallery 0: Atrium Posters Judson Dance Theater: The Work Is Never Done Gallery 0: Atrium Posters Poster for Concert of Dance #5, America on Wheels, Washington, DC (May 9, 1963) 1963 8 1/2 × 11" (21.6 × 28 cm) Judson Memorial Church Archive, Fales Library & Special Collections, New York University Libraries Gallery 0: Atrium Posters Poster for Steve Paxton’s Afternoon (a forest concert), 101 Appletree Row, Berkeley Heights, New Jersey (October 6, 1963) 1963 8 1/2 × 11" (21.6 × 28 cm) Judson Memorial Church Archive, Fales Library & Special Collections, New York University Libraries Gallery 0: Atrium Posters Flyer for -
NGA | 2017 Annual Report
N A TIO NAL G ALL E R Y O F A R T 2017 ANNUAL REPORT ART & EDUCATION W. Russell G. Byers Jr. Board of Trustees COMMITTEE Buffy Cafritz (as of September 30, 2017) Frederick W. Beinecke Calvin Cafritz Chairman Leo A. Daly III Earl A. Powell III Louisa Duemling Mitchell P. Rales Aaron Fleischman Sharon P. Rockefeller Juliet C. Folger David M. Rubenstein Marina Kellen French Andrew M. Saul Whitney Ganz Sarah M. Gewirz FINANCE COMMITTEE Lenore Greenberg Mitchell P. Rales Rose Ellen Greene Chairman Andrew S. Gundlach Steven T. Mnuchin Secretary of the Treasury Jane M. Hamilton Richard C. Hedreen Frederick W. Beinecke Sharon P. Rockefeller Frederick W. Beinecke Sharon P. Rockefeller Helen Lee Henderson Chairman President David M. Rubenstein Kasper Andrew M. Saul Mark J. Kington Kyle J. Krause David W. Laughlin AUDIT COMMITTEE Reid V. MacDonald Andrew M. Saul Chairman Jacqueline B. Mars Frederick W. Beinecke Robert B. Menschel Mitchell P. Rales Constance J. Milstein Sharon P. Rockefeller John G. Pappajohn Sally Engelhard Pingree David M. Rubenstein Mitchell P. Rales David M. Rubenstein Tony Podesta William A. Prezant TRUSTEES EMERITI Diana C. Prince Julian Ganz, Jr. Robert M. Rosenthal Alexander M. Laughlin Hilary Geary Ross David O. Maxwell Roger W. Sant Victoria P. Sant B. Francis Saul II John Wilmerding Thomas A. Saunders III Fern M. Schad EXECUTIVE OFFICERS Leonard L. Silverstein Frederick W. Beinecke Albert H. Small President Andrew M. Saul John G. Roberts Jr. Michelle Smith Chief Justice of the Earl A. Powell III United States Director Benjamin F. Stapleton III Franklin Kelly Luther M. -
Playbill Apr
2014–2015 SEASON PLAYBILL APR. 7–APR. 25 © The &oca&ola &ompany Ľ&okeľ and the &ontour Bottle are trademarks of The &oca&ola &ompany 2 /`ba 1S\bS` C;Oaa 4W\S ]T bVS ac^^]`bS` Wa O ^`]cR 1]QO1]ZO1 0`Od]0 / C ] a Wa A Notable Lifestyle Celebrating lifelong enjoyment of the arts Discover gracious, refined independent living in a social and dynamic environment. Meet passionate, enlightened residents–from academics to artists–that will inspire you. The Loomis Communities offer an unparalleled lifestyle with superior amenities and services—with the added peace of mind for the future that comes from access to LiveWell@Loomis. APPLEWOOD LOOMIS VILLAGE Amherst, MA South Hadley, MA 413-253-9833 413-532-5325 The Western Massachusetts www.loomiscommunities.org Pioneer in Senior Living 3 Insuring The Arts Play Onn Local Insurance Agency Local Insurance Agency InsuringYourWay.com 'MPSFODFt&BTUIBNQUPO Can Study Abroad! YOU Scholarships available Education Abroad Advising Center ,QWHUQDWLRQDO3URJUDPV2I¼FH 5P+LOOV6RXWK DFURVVIURP6WXGLR$UWV%XLOGLQJ www.ipo.umass.eduip d 2SHQ0®)AM–4 PM 4 5 Good thinking. NEW ENGLAND PUBLIC RADIO News. Classical. Jazz. Amherst / Springfield / Hartford .................................. WFCR 88.5 FM North Adams .................................................................................. 101.1 FM Great Barrington ............................................................................98.7 FM Lee ....................................................................................................98.3 FM Pittsfield / -
ALEXANDER VI: (1431 - 1503, Pope from 1492 - 1503)
ALEXANDER VI: (1431 - 1503, Pope from 1492 - 1503) Alexander is the most notorious pope in all of history. He conducted a pontificate of nepotism, greed, ruthlessness, murder, and, as McBrien has described it, "unbridled sensuality." He became the leading figure in the saga of the Borgia family, both as a perpetuator of evil and a facilitator of the activities of the two most famous of his children, Cesare and Lucrezia. The second and last of the Spanish popes literally bought his pontificate with bribes. Such a purchased election is called "simoniacal," and was easily accomplished with the greed of seventeen of the twenty-two cardinals voting for the new pope. He was born Rodrigo Borgia near Valencia, Spain, the nephew of Callixtus, who made him a cardinal at the age of twenty-five (1456) and vice-chancellor of the Holy See (1457). As vice-chancellor, he amassed great wealth, lived an openly promiscuous life, and fathered seven children, both as a cardinal and the pope. Pius II, who had succeeded Callixtus and continued to support the rise in the church hierarchy of Cardinal Rodrigo Borgia, had to warn the young cardinal to refrain from his practice of participating in orgies. It was, as Pius expressed it, "unseemly." As a young man, Rodrigo was described as tall and handsome. Sigismondo de Conti speaks of him as a large, robust man, with a sharp Alexander VI Adoring gaze, great amiability, and "wonderful skill in money matters." Others the Risen Christ admired his tall figure, florid complexion, dark eyes, and full mouth. (Pinturicchio) However, in his early sixties when he became pope, he apparently lost his physical charm. -
Clifford Owens, Anthology (Nsenga Knight) , 2011
FOR IMMEDIATE RELEASE 14 January 2014 Image credit: Clifford Owens, Anthology (Nsenga Knight) , 2011. Image courtesy of the artist. Clifford Owens: Better the Rebel You Know Cornerhouse, Manchester, UK, 10 May – 17 August 2014 Curated by Daniella Rose King This summer Cornerhouse in Manchester will host the first major European show by American conceptual artist Clifford Owens, across all three of its galleries. Owens ’ work explores the intersection of photography, video, text and performance. His practice seeks to challenge the boundaries of performance, and the possibilities of interaction between artist and audience. The exhibition will include an exclusive UK iteration of Owens’ work Anthology , which debuted at MoMA PS1’s eponymous exhibition in New York in 2011. The work originated from a series of 28 performance 'scores': short, diverse sets of instructions (some specific, others open to interpretation) solicited by Owens from a selection of African American artists, from established to emerging figures. Owens said: “This project originated over a decade ago. In 2000, my thesis research failed to find adequate evidence of black artists’ investment in performance art since the 1950s, but this clearly wasn’t due to a lack of involvement. Rather than lament the lack of historical interest in US-based black artists and performance art, I chose to imagine my own history. “The artists who contribute the scores drive the emotional ‘gestalt’ represented in Anthology ; I am the conduit for transmitting profoundly powerful messages from a group of enormously talented artists. My body is attached to this body of work; it is the container and conveyor of its meaning. -
The Finite Renaissance
Te Finite Renaissance margreta de grazia irst published in German in 1860 and in English in 1878, Jacob Burck- F hardt’s Te Civilization of the Renaissance in Italy continues to be credited with having brought into being the distinct historical period known ever since as the Renaissance. And yet there is one basic aspect of the period Burckhardt defned that has been overlooked: its terminus ad quem. According to Burck- hardt, the Renaissance ended with the Reformation. One reader of Burckhardt’s Renaissance in Italy, however, did not miss this endpoint: Burckhardt’s sometime friend and junior colleague at the University of Basel, Friedrich Nietzsche.1 For Nietzsche, the Renaissance was cut of, pre- maturely and conclusively. Only in his mind’s eye did it attain full-blown glory: I have a vision of a possibility, one that has perfect, super-terrestial magic and multi-coloured charm:—it seems to shimmer with all the tremors of refned beauty, it seems that an art is at work in it, so divine, so diabolically divine that you will look in vain through millennia for a second possibility like this. (64) What is the subject of this “vision of a possibility”? “Cesare Borgia as Pope” (64)—the impious Renaissance renegade seated on the sancta sedes. Te image comes into focus as an artwork, a portrait, perhaps, like those painted by Ra- phael of the great patron Julius II or the illustrious Medici Leo X. But the sitter that Nietzsche envisions is not Christ’s vicar but the notorious Borgia despot. He relishes the irony, “Christianity .