On the evening of November 3, at the Citizen’s Bank Opera House in downtown Boston’s Washington Street, I sat to three different modern ballets of William Forsythe: “Artifact” and “Approximate Sonata,” just a few years to each side of the second millennium, and the third one, “Defile,” a world premiere for the Boston Ballet. Forsythe is widely acclaimed as a choreographer who has reoriented the art of ballet by creatively deviating from classical ballet to the dynamics of 21st century dance so deftly that audiences may enjoy both. Our own Boston Ballet has folded this choreographer to its discerning bosom so much so that in the program it was opined that his movements have been translated by practice into the very DNA of the Corps de ballet. We had good seats, my wife and I, near the aisle and not far from the stage. Usually, someone very tall or with big hair sits … [Read more...] about FORSYTHE TAKES THE STAGE AT BOSTON BALLET; NUTCRACKER OPENS NOVEMBER 25
Curated by Marsha Nouritza Odabashian and Jennifer Jean Okumura, the artists of the ongoing “Hopscotch” exhibition take us back to familiar places bringing smiles, happiness and hope to our current daily lives. Traced back to 500 BCE in prehistoric India, prohibited by Buddha and played by Roman soldiers for building strength, this darling childhood game has been hopping geographically throughout centuries and is currently in the virtual realm. “Hopscotch” includes 10 contemporary artists confidently making their marks in various mediums: paper, oil on canvas, video, poetry and sculpture. The works claim collective and individual memory in relationship to places we choose to be grounded, either permanently or fleeting. It’s most recent showing at Lasell University’s Wedeman Gallery concluded on October 29; its curators are looking for new venues to host the collection of work. Guest … [Read more...] about HOPSCOTCH. CARE TO PLAY?
It must have been coming on six o’clock, after a short Green Line ride from Comm. Ave. I alighted at the corner of our Public Garden still beautiful with greenery, water, flowers and people strolling about. Perhaps more gorgeous as the fall season was about to glow with last colors then drop to ground. It looked especially significant to me because I was heading for Park Street to catch the Red Line home to Cambridge with thoughts to chew on, thoughts of a play I’d just seen at Boston University’s Boston Playwrights’ Theater that was also full of both hope and angst, just like the towering elms, rooted deep, but heading towards winter — would they make it to another spring? “Eat Your Young,” a Boston University New Play Initiative production, and a new play by J.C, Pankratz, directed by Shamus and produced by Boston Playwrights’ Theatre and the Boston University College of … [Read more...] about PREMIER OF J.C. PAKRATZ’S EAT YOUR YOUNG OPENS 2022-23 BOSTON PLAYWRIGHTS’ THEATER SEASON AT BOSTON UNIVERSITY
“The Colors of My Life: Paintings in the Washington Color School Tradition,” a comprehensive retrospective exhibition featuring works from the atelier of former MWFA artist Howard Barnes (1943-2020) is on view through October 28 at Miller White Fine Arts, 708 Route 134, South Dennis, Massachusetts. “Charles Beaudelaire once said, “Colourists are epic poets.” The elegance, warmth and introspection of Barnes’ artworks indeed underscore the truth of this statement. The Washington Color School, an art movement that emerged in Washington, D.C., and flourished in the 1960s, promoted a form of abstract art that developed from the Color Field movement of the 1950s, itself a response to the abstract expressionism of the New York School. “Styles of many of the prominent colorists in that movement, such as Ken Noland, Morris Louis and Helen Frankenthaler, are clearly referenced in Barnes’ earlier … [Read more...] about A FALL COLOR SPECTACULAR: HOWARD BARNES RETROSPECTIVE AT MILLER WHITE FINE ARTS
In my review of the “Danforth Annual Juried Exhibition 2022” that runs through September 18 at the Danforth at Framingham State University in our September/October issue, I mentioned that it feels like “at least a dozen smaller shows thanks to the assemblage of the works, either right next to each other or in approximate view,” and that included a selection of fiber artworks. One that especially caught my attention, after a long summer of work in the backyard in which I had gotten to know each leaf and stem of each vegetable, was the finally detailed “Meadows — The Gardening — Revolution” piece by Liliana Folta that was made from repurposed textiles, found objects and ceramic pieces. I wasn’t able to fit her email responses to questions I had about Folta’s work into the article, so I’m happy to share them here: YOU MADE THE WORK IN 2021; WAS IT SOMETHING THAT THE SOLITUDE … [Read more...] about CORNERED: LILIANA FOLTA MEADOWS — THE GARDENING — REVOLUTION AT DANFORTH MUSEUM
Our 100th issue (September/October 2022) includes a review I wrote of the “Danforth Annual Juried Exhibition 2022” that runs through September 18 at the Danforth at Framingham State University along with interviews with some of the artists about their work. Due to deadline restraints, I wasn’t able to include my exchange with Lori Mehta, whose wonderfully detailed “XMarkstheSpot” oil painting was one of my favorite works in the show, so I share our email exchange here. I FELT A BIT OF THE RELAXED WEST COAST STYLE OF THE 1960S AND '70S AND WAS WONDERING IF THAT WAS AN INFLUENCE? “Without a doubt, I am influenced by several artists of the 60’s and 70’s, however the first two who come to mind are from the East and West Coast, Katz and Hockney. I am curious who you see in my work? Sometimes being truly influenced by another artist might not be evident, even to the artist … [Read more...] about CORNERED: LORI MEHTA XMARKSTHESPOT AT DANFORTH MUSEUM