I wrote an appreciation of Paul Taylor for the online edition of today’s Wall Street Journal. Here’s an excerpt. * * * Paul Taylor, who died on Wednesday at the age of 88, was…
The musical comedy, about a group of middle-aged New Jersey men dissatisfied with their lives who reform their high school band, had poor reviews and ticket sales.
A Greek girl sent across the world to marry a man she’d never met, an African journalist fleeing for his life, and a stateless baby born in India to Iranian parents. They’re just some of the human stories that feature in A Ticket to Paradise? opening Saturday 1 September at the Museum of Geraldton. The touring exhibition from the National Archives of Australia examines the rich diversity of Australian immigrants and the government’s ambitious plans after World War Two to encourage mass migration. “The program transformed the nation socially, economically and culturally,” National Archives curator Tracey Clarke said. “It has resulted in a community where, today, one quarter of our population was born overseas, and nearly half of us have at least one parent born elsewhere. While most people are aware of this aspect of our cultural heritage, many don’t realise
The Center for Curatorial Studies, Bard College is presenting the exhibition The Conditions of Being Art: Pat Hearn Gallery & American Fine Arts, Co. (1983-2004) in the Hessel Museum of Art. This exhibition is the first in the United States to examine the shared histories, art, and programming activities of Pat Hearn Gallery (PHG) and American Fine Arts, Co., Colin de Land Fine Art. (AFA), whose archives are held at CCS Bard, and which have been the focus of an ongoing research program within the curatorial graduate program, that has included three semester-long courses on the histories of both galleries and involved visits from artists, friends and colleagues of Pat Hearn and Colin de Land. The exhibition is on view through December 14, 2018 and includes works of art shown at or associated with these galleries by over 40 artists. The
Bench Mark, a Partnership for Youth exhibition, is an exploration of architecture through space, function, and purpose. Created during sixteen after-school sessions March–May 2018, this collection of works traces the design thinking process students applied while considering Seattle’s urban environment and humans’ interaction with it. Identifying the bench as focal point and unifying element of the urban environment, the ten contributing artists reveal their understanding of the many ways people use benches to interact with their surroundings. Benches offer spaces for conversation, rest, and reflection. The exhibition chronicles an experiential investigation into placemaking and how benches become the site of some of life’s most mundane as well as precious moments. Bench Mark is co-curated by Lynn Chou, Manager of Youth and School Programs, and
Dolby Chadwick Gallery is presenting My Darling Clouds, an exhibition of new work by Elizabeth Fox. Fox’s paintings are siren songs that live in a sphere somewhere between the subconscious and the magical. Her figures are often pale, ghostly, smoke & mirror, more shape than body. The world they move through is one that’s at once mundane—an office, a bus stop, a street with trash cans—and surreal: it’s as if Fox is squeezing the real out of reality, and what’s left is an etherealized version of strange, dream-like beauty. Each of her paintings tells us a story. Religious themes like annunciation or resurrection are next to images of beauty and sexuality, power dynamics and vulnerability, Botticelli and Beyonce. There is something puzzling about the narratives though, as if they were unfinished, unresolved, dots in need of connecting, and
The Center for Maine Contemporary Art in Rockland, Maine, is presenting the exhibition Jocelyn Lee: The Appearance of Things, on view through October 14, 2018. Representing nearly ten years of work by photographer Jocelyn Lee, The Appearance of Things encompasses still life, portrait, and landscape photographs, as well as many images that fuse these genres. This mingling is partly what the work is about: creating a shift in perspective where a body becomes a landscape; a still life becomes a portrait, and a landscape becomes a body. Printed at large scale, the photographs beckon the viewer to a cinematic immersion in the image. The installation of the work as triptychs and diptychs juxtapose various bodies in divergent earthly environments and shift scale significantly across the images. The works are meant to engage