• Broadway’s LuPone and Ebersole in “War Paint”: Double Display of Delicious Divadom

    Edward Rubin

    Patti LuPone (Helena Rubenstein)and Christine Ebersole (Elizabeth Arden) in ‘War Paint.’ Photos by Joan Marcus.

    It’s no surprise that Patti LuPone and Christine Ebersole, two of Broadway’s most beloved Tony-winning performers, each with their own cadre of diehard followers, are filling the seats at Broadway’s Nederlander Theater. It is equally unsurprising that the audience goes over the moon after each Scott Frankel (music) and Michael Korie (lyrics) War Paint song that they sing. And there are some twenty of them. They must realize that this is History in the Making, heaven-sent if you will, for having two knock ‘em dead Broadway stars singing their hearts out for the price of one, is a treat of great and rare proportion. (more…)

  • Award-winning WW II Drama, ‘Land of Mine’: Boy Soldiers and the Allies’ Revenge

    Nancy Kempf

    “All wars are waged against children.” Eglantyne Jebb, British social reformer and author of “Declaration of the Rights of the Child” (1876-1928)

    Two of the finest World War II films ever made are Austrian filmmaker Bernhard Wicki’s “The Bridge” (“Die Brücke”) and Soviet Russian filmmaker Elem Klimov’s “Come and See.” Wicki’s film, based on Gregor Dorfmeister’s 1958 novel of the same name and based on actual events, was released in 1959, a mere 15 years after World War II ended, when the experiences of war would have been fresh in the German memory. (more…)

  • Yale Center for British Art’s, ‘Enlightened Princesses’: The Power of Human Endeavor

    Tyler Griffith

    Jean-Baptiste van Loo, Augusta, Princess of Wales, 1742, oil on canvas, 94 1/2 x 62″. Royal Collection Trust.

    Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World offers a visceral, multi-faceted and interdisciplinary look at the eighteenth century told through the passions and activities of three women—German aristocracy by birth, British royalty by marriage. Among their shared interests were natural philosophy (we moderns might call it “science”), literature, theater, music, fine art, religion, architecture, collecting, exploration, patronage, botany, charity, medicine, education, politics, crafts, horticulture, and gardening; and the list could go much, much further on. All three women demonstrated a deep-rooted and persistent interest in the limits and possibilities of human endeavor, both in terms of the interior developments of creative genius and in the external interaction of humanity with the world around them. They used all available resources to encourage the arts and sciences to blossom under their charge as Queen Consorts and senior women at court. (more…)

  • New York Artist, Mary Hrbacek’s ‘Fierce Affection’ for a Miracle of Nature

    Richard Friswell

    Mary Hrbacek, Fierce Affection (2014) Acrylic on Linen, 40 x 40″

    You pass by them each day, a world replete with these silent sentinels, looming and swaying in breezes high overhead. They cleanse our air, shade our backyards, grace our hillsides, and even sacrifice themselves to set our campfires aglow, or frame a roof over our heads. Trees are a ubiquitous part of our lives in all but the most barren or harshly urbanized parts of our lives. Their beauty and utility go largely unheralded, unless you take the time to explore the wonder of both their form and function in our everyday existence. One artist in particular has taken the time to carefully examine this deeply-rooted, but often ignored feature of our landscape—dramatically expressive living organisms that overspread approximately 9.6 billion acres or 30% of the world’s land surface—trees. (more…)

  • ‘The Object Lesson’ at the New York Theatre Workshop

    Edward Rubin

    Solo performer Geoff Sobelle, in ‘Object Lessons.’ Photos: Joan Marcus

    The New York Theatre Workshop, one of the most audacious theaters in New York City, never fails to astonish its audience in the wide-ranging fare that it chooses to present, the directors and actors that tread its stage, and its stunning production designs.

    I’m talking about set, lighting, sound, costume, and film. In fact, in can be said that visual and audio surprises – you never know what is going to hit you between your eyes and ears upon entering the theatre – is one of the NYTW’S major calling cards (more…)

  • Yayoi Kusama: “Infinity Mirrors” at Washington’s Hirshhorn Museum & Sculpture Garden

    Elaine A. King

    Yayoi Kusama with recent works in Tokyo, 2016. Photo by Tomoaki Makino Courtesy of the artist © Yayoi Kusama. NOTE: detailed image captions can be found at end of review

    Childlike simplicity and frankness along with infinite universes brim throughout the “Yayoi Kusama: Infinity Mirrors” exhibition currently on view at the Hirshhorn Museum and Sculpture Garden.  Kusama’s unique visual language of recurrent patterns of dots, vibrant colors, wondrous-mirrored rooms and pumpkins evoke an atmosphere of positive joyfulness that invite viewers to participate in her unique visual world. This display is a welcomed relief in Washington, DC’s current gloom and doom milieu! (more…)

  • ‘Sunset Boulevard’: Close Encounters at the Palace, Broadway

    Edward Rubin

    Glenn Close as Norma Desmond in ‘Sunset Boulevard.’ All photos: Joan Marcus

    To say that Glenn Close brings down the house during the musical Sunset Boulevard is almost an understatement, as the hoots, hollers, and applause – I even heard a bravo or two– offered by her admirers, shook the very rafters of the Palace Theatre after every number she sang. And that was not the end of it. At curtain call, the now-standing audience celebrating Close’s return to the iconic role of silent screen star Norma Desmond after a twenty- two year Broadway absence – both the musical and Close won a Tony in 1995 – just about refused to let Close leave the stage. (more…)

  • Theaster Gates: The Minor Arts at the National Gallery of Art, Washington, DC

    Elaine A. King

    Artist, Theaster Gates. Photo courtesy of hypocritedesign.com

    Theaster Gates is a 21st century Renaissance man whose art practice comprises painting, sculpture, installation, music, design, performance and urban planning.  Gates is, as are L.A. artists Mark Bradford and Richard Lowe, an extraordinary social practice artist who can sees potential beyond the surface of a situation despite its outwardly decrepit state. He was born in Chicago in 1973 on Chicago’s run-down South Side, known as Greater Grand Crossing, where he continues to work and live. This visionary raises money, collaborates with urban planners/architects/policy makers and has been supported by Chicago’s mayor, Rahm Emanuel who made Gates an off-the-record commissioner of renewal for the city’s South Side. (more…)

  • Philadelphia Museum of Art Features Watercolors by Homer and Sargent

    Amy Henderson
    John William Hill, American (born England), 1812-1879, Apples and Plums, 1874. Watercolor on paper, 7 7/8 × 11 3/8 inches. Collection of Theodore E. Stebbins, Jr.

    John William Hill, American (born England), 1812-1879, Apples and Plums, 1874. Watercolor on paper, 7 7/8 × 11 3/8 inches. Collection of Theodore E. Stebbins, Jr.

    Is it appropriate to define watercolor as “the medium” in American art?  That’s the contention curator Kathleen A. Foster sets forth in her new Philadelphia Museum of Art exhibition and catalogue, American Watercolor in the Age of Homer and Sargent.

    Establishing watercolor’s significance has been the driving force of Foster’s career, beginning with her 1982 Yale dissertation, “Makers of the American Watercolor Movement, 1860-1890.”  While the medium has often been called “quaint” and sniffed at as something women toyed with on Sunday afternoons, Foster has made it her career crusade to show that the medium launched a vital aesthetic movement in America after the Civil War. Instead of imitating French Impressionism, artists embraced watercolor and catalyzed the creation of a uniquely American art–one whose vibrant identity suited the rise of America’s modern national identity in the late 19th century. (more…)

  • Editor’s Letter: March, 2017

    Richard Friswell

    matisse woman with hat

    Vanity, Thy Name Is…

    “I don’t control painting, painting controls me.” ~ Hubert Roestenburg, German Expressionist

    Left: Henri Matisse, Woman in a Hat (1920) Private Collection.

    What can art teach us about human motivation? It is in our nature to surround ourselves with the people and things that reinforce our self-image and belief systems, as evidenced in the case of the current president? Take notice of the ‘new’ oval office and the change in art work that now hangs within sight of the chief executive, and all those who care to notice in photographs of proceedings there. To the right of the desk, from a viewer’s perspective, is a large portrait of Andrew Jackson (c. 1834), by then-Nashville colleague and White House resident artist, Ralph E.W. Earl. Jackson lost a bitterly contested election to John Quincy Adams in `24.  His next campaign—characterized by his rough-hewn style and unconventional Tennessee country ways—was aimed at earning the vote of the ordinary man. This carried him to victory in 1828. In order to manage his public image, it is said that Jackson kept the artist close by in the years that followed, requiring that multiple portraits be produced to reinforce the perception of the man as a heroic and statesman-like figure. (more…)

  • Contemporary Sculptor Boaz Vaadia: Figures Keep Silent Vigil in Complex World

    Richard Friswell


    Editor’s Note: We recently learned of the untimely death of sculptor, Boaz Vaadia, at age 65. This piece ran in ARTES in 2013, after a wonderful visit to his studio in the Williamsburg section of Brooklyn, New York. Our time together on that and other occasions always felt more like a reunion of friends than a series of interviews. Boaz’s warmth and congenial style will always be remembered. His talent and devotion to his medium were remarkable, as was his love of family. His towering bluestone figures will stand for all time as a memoriam to his craft and the lasting impression he made on those lucky enough to know him during his brief time among us.

    The narrow metal door is just a step up from the narrow street, one of many in the matrix that is the Williamsburg neighborhood, a quaint section of New York City’s Brooklyn borough. A small hand-lettered name appears above the mailbox beside the entrance—Vaadia—alerting me to the fact that I’ve reached my destination, the studio of well-known sculptor, Boaz Vaadia (left). artes fine arts magazin (more…)

  • Penny Arcade’s ‘Longing Lasts Longer’ at Brooklyn’s St Anne’s Warehouse

    Edward Rubin
    penny arcade

    Solo performer, Penny Arcade

    I have always appreciated the bravery, as well as the chutzpah, of those performers who choose to go it alone in a one man or one woman show. Not unlike comedians who stand totally exposed before an audience hoping to avoid the slings and arrows, or for that matter the stink of rotten tomatoes, these are all but naked performers. Ultimately, they rely on the shear force of their god-given personality, and well-honed talents to wow their audience; and in the best case, bring them to their feet amidst thunderous applause. (more…)

  • “Stuart Davis: In Full Swing” at Washington’s National Gallery of Art

    Elaine A. King
    Davis, Stuart

    Cover image for NGA exhibition: ‘Stuart Davis: In Full Swing,’ Owh! on San Pao (1951). Detailed caption info for all images at end of review

    Stuart Davis (1892-1964) is considered to be one of America’s first modern artists and a precursor of Pop Art.  He was an enthused colorist whose bright, well-developed paintings translated French Cubism into an unquestionably American art expression. Stuart Davis: In Full Swing, currently on view at Washington’s National Gallery of Art, considers his work from 1921 and his breakthrough paintings of tobacco packages. It then moves through five decades to his final canvas, demonstrating through the chronology Davis’s habit of recycling earlier work for new compositions. With more than one hundred of his most important, visually complex compositions on view, the exhibition highlights Davis’s ability to assimilate the imagery of popular culture, the aesthetics of advertising, the lessons of cubism, and the sounds and rhythms of jazz into works that hum with intelligence and energy. (more…)

  • Washington D.C.’s Phillips Collection: ‘Toulouse-Lautrec Illustrates the Belle Epoque’

    Amy Henderson
    Mademoiselle Églantine’s Troupe 1

    Henri de Toulouse-Lautrec, Mademoiselle Églantine’s Troupe, 1895–96. Ed. Note: For detailed captions on all images, see story end.

    The Phillips Collection in Washington, D.C. has recently opened an exhibition that showcases an extraordinary collection of Toulouse-Lautrec lithographs. Toulouse-Lautrec Illustrates the ‘Belle Epoque’  focuses on about 100 “defining images” that embrace the artist’s entire lithographic career (1891-1899) and provide a fascinating window into Montmartre’s fin de siècle  café and cabaret society. (more…)

  • Editor’s Letter: January, 2017

    Edward Rubin


    “You must have chaos within you to give birth to a dancing star.” ~Friedrich Nietzsche

    Left: Paul Delaroche, Two Heads, Camaldolese Monks (1844).

    Sweeping up the Heart

    Every singer, every actor, every dancer considers themselves artists. The world of expression and those who give form to our emotions through lyrics and movement, is poorer in these fresh days of a New Year, a result of the loss of several talented performers in recent weeks. While my head was still spinning with each new, sad announcement, I received an email from cherished, long-time friend and contributing editor to ARTES, Ed Rubin. Eddy is a New Yorker, through-and-through, and as a result, has ‘theater’ coursing through his veins. The performing arts come alive for those, like Ed, who can casually encounter a star or a cultural icon on the streets of the City, at a restaurant or party. You quickly learn that celebrities are just people, as their vulnerability and untimely deaths so often painfully demonstrate. (more…)

  • Gallery 100 New York: International Artists Draw ‘A Fine Line’                          

    Mary Hrbacek

    Alan Sonfist, “Leaves Frozen in Time: Spring,” Mix Media on Canvas, 4 x 4 ft. (122 x 122 cm.) no date provided

    A Fine Line, the inaugural exhibition for the newly launched Gallery 100 New York, presents an amalgamation of the varied but related works of four international artists, who use straightforward natural materials with telling effect.  The show curated by gallery director Michelle Loh, features Wang Huangsheng, Oliver Catté, Mahmoud Hamadani, and Alan Sonfist.  An express emphasis on paper unites the installation; there is an aura of purity emanating from the white paper of the drawings on view that permeates the space.  Color plays an important tandem role; hues glitter in conjunction with the brown cardboard works, and in the nature-based leaf piece entitled “Leaves Frozen in Time: Spring.”  The abstract drawings explore the essential delicacy of paper as it comingles with ink flowing irregularly over the surfaces, while the creative potential and durability of cardboard come sharply into focus in cityscapes that radiate urban exuberance. Traditional underpinnings resound through the exhibition; the use of ink, which is made from tree bark, is a medium used for millennia in Asian and Middle Eastern cultures. (more…)

  • Editor’s Letter: December, 2016

    Richard Friswell



    “To perceive Christmas through its wrappings becomes more difficult with every year.”

    ~E. B. White

    Right: Bartelomeo Veneto, Lady Playing a Lute (c. 1520). Pinacoteca di Brera (Milan, Italy)


    Rebirth and Resilience

    Dear Reader- In May of this year, the ebb and flow of ARTES articles and opinion—so much a part of my life and that of our writers and online visitors since launching in 2009—came crashing down. The diagnosis: the accumulated content of 27 Gb of words and images, supported by WordPress code that in some cases dated to our inception, caused it to collapse under its own virtual weight. As explained, it was an aging sand castle foundation, eroded by a relentless tide of new material being heaped on top. Our repeated and best efforts to keep the site ‘live’ were to no avail. In thecaspar_david_friedrich_-_wanderer_above_the_sea_of_fog-1818 weeks that followed, shock, sadness and a genuine sense of loss permeated my emotions.

    Right: Casper David Friedrich, Wanderer Above the Sea of Fog (1818).

    My dismay was only reinforced by conversations with tech experts who offered little hope for an easy fix; or a complex rehabilitation effort at great expense, with no guarantees at the other end. Weeks turned to months as I contemplated life without ARTES as a daily project. I taught more classes, began writing a long-planned book, and roamed the many book stores and libraries in my area looking for solace. It was an emotional summer for me as various strategies for restoring ARTES churned in the back of my mind. Events were further complicated by added responsibilities related to my aging mother at one end of life’s spectrum, and the imminent arrival of a grandchild at the other. (more…)

  • New York’s Marianne Boesky Gallery with Matthias Bitzer: a different sort of gravity

    Mary Hrbacek

    Matthias Bitzer, Installation view. Foreground: phosphor notes (a different sort of gravity), mixed media (2016)

    The works in Matthias Bitzer’s show, “a different sort of gravity” couldn’t be more confounding or diverse; this is the show’s aim. On my first view, I found the installation to be incoherent, even confusing.  It took my breath away. On the second view I realized that the exhibit resonates with a sense of its true meaning, but this baffling heterogeneous display takes time to grasp.  (more…)

  • New Haven’s Long Wharf Theater, ‘My Paris’: C’est Tres Bon

    Geary Danihy

    Bobby Steggert (Henri Toulouse-Lautrec), Mara Davi (Suzanne Valadon) in Long Wharf’s production of ‘My Paris.’ All photos: T. Charles Erickson

    A crippled man, diminutive in size, falls victim to drink, drugs and various other vices and dies before he is forty. Not the stuff you would gravitate towards if you were considering creating a musical, unless you wished to have your audience leave the theater feeling worse than it did when it sat down. You also probably wouldn’t think of writing a musical about a wicked witch or a girl named Mimi dying of HIV or a mother suffering from bipolar disorder. You’d walk away from the projects…and you would be wrong. xxxxx (more…)

  • Westport Country Playhouse and Mark Lamos’ Repertory: Art Isn’t Easy

    Geary Danihy

    www.artesmagazine.comBack in 1931, the Westport Country Playhouse’s inaugural season, several plays were presented in repertory, that is, several plays alternated daily. This also occurred in the 1932 and 1935 seasons, but the repertory concept was soon abandoned and wasn’t attempted again until the mid-1960s. That’s about to change this year, for the Playhouse will be opening its 2016 season with two plays in repertory, Red, by John Logan, and Art, by Yasmina Reza, in a translation by Christopher Hampton. Both plays won Tonys for Best Play, Art in 1998 and Red in 2010. xxxxx (more…)

  • Hirshhorn Museum and Sculpture Garden’s ‘Robert Irwin: All the Rules Will Change’

    Amy Henderson



    Robert Irwin, ‘Untitled’ (1969), acrylic paint on shaped acrylic, 53″ diameter. Collection: Hirshhorn Museum and Sculpture Garden, Washington, D.C.

    The Smithsonian’s Hirshhorn Museum in Washington, D.C., has just opened a major exhibition that celebrates one of America’s most influential postwar artists. Robert Irwin: All the Rules Will Change is the first American museum survey of Irwin’s work outside of California, where he was a leader of the Light and Space art movement in the 1960s.

    Exhibition curator Evelyn Hankins, in her catalogue essay “Experiencing the Ineffable: Robert Irwin in the 1960s,” explains that capturing the arc of Irwin’s pioneering and ever-changing artistic trajectory has been a daunting task. Irwin’s evolving artistic work doesn’t fit into convenient art theory pigeon holes. His path unfolds in its own particular way and is totally devoted to the experience of seeing. xxxxx (more…)

  • Isamu Noguchi: Spirit and Matter Written In Stone

    Edward Rubin

    www.artesmagazine.comJapanese American artist Isamu Noguchi’s (1904-88) philosophy of life and artistic output are so intricately intertwined that it is near impossible to think of them separately. He is also one of a handful of 20th Century artists whose very ideas and explorations, perhaps even more vital today than in his own time, warrant careful study. Noguchi was no ordinary thinker. He believed that seeing stars from the bottom of a well can be a sculpture, spoke of ancient monuments and stones as being alive, light and sound as sculpture, and shapes carrying memory. He also was extremely interested in the additional space that sensory experiences and imagination supplies and experimented widely with such notions as weightlessness in weight. xxxxx (more…)

  • Rochester, NY Geva Theater with O’Neill’s ‘A Moon for the Misbegotten’

    Herbert Simpson

    Donald Sage Mackay (James Tyrone, Jr. and Kate Forbes (Josie Hogan). All photos by Ron Heerkens, Jr.

    This fine production of Eugene O’Neill’s last play was planned as a co-production with the Theatre Royal of Waterford Ireland and played there first. Geva’s artistic director, Mark Cuddy, has negotiated artistic exchanges with Ireland’s leading theaters for more than twelve years since his sabbatical year there, and made this choice with Ben Barnes, now director of the ancient Theatre Royal, and previously director of Ireland’s famed Abbey Theatre.  It is a play with only five characters and basically a single setting, but it’s on my “NFA List” [Not For Amateurs]: rich, haunting, debatable, truly meaningful, funny, tragic, humane, and heartbreakingly beautiful. xxxxx (more…)

  • Baroque Rome in the Footsteps of Gian Lorenzo Bernini

    Tamara Thiessen

    Fontana dei Quattro Fiumi in Piazza Navona, Rome. All photos courtesy of the author.

    A s one walks the city of Rome, its major public squares and bridges, basilicas, galleries and other holy places, the work of 17th century sculptor and architect Gian Lorenzo Bernini appear to accompany the visitor. No other artist, pope or urban planner had a more enduring impact on the look of the Eternal City today. From the colonnades of St. Peter’s Square to the fountains of Piazzas di Spagna, Popolo, Navona and Barberini – Bernini sculpted Rome’s look like no other. xxxxx (more…)

  • Washington’s National Gallery of Art@75: 300 Years of American Prints

    Amy Henderson

    Michele Fanoli after Richard Caton Woodville, ‘Politics in an Oyster-House,’ 1851, hand-colored lithograph, National Gallery of Art, Washington, Corcoran Collection (Gift of the Estate of William Woodville VIII), 2015.

    There is a fascinating cultural breeze riffling through some of America’s most esteemed museums. In February the Philadelphia Museum of Art announced an upcoming exhibition on Mexican Modernism, 1910-1950, which aims “to provoke.” This week, the National Gallery of Art launched its 75th anniversary with the first comprehensive exhibition to survey 300 years of American life, not through art-to-the-manner-born, but through prints—a “democratic artistic medium” that is inexpensive, widely accessible, and easily distributed. xxxxx (more…)

  • Yale Rep’s ‘Cymbeline’: To Be Male, or Not To Be Male, That Is the Question

    Geary Danihy

    Miriam A. Hyman (Posthumus) and Sheria Irving (Imogen), in CYMBELINE by William Shakespeare, directed by Evan Yionoulis. All photos © Carol Rosegg, 2016.

    Yes, it’s true that in Shakespeare’s time men and boys played women’s roles on stage (because, by law, they had to) and, yes, as the Yale Rep’s playbill notes, women have had occasion to dress as men and, yes, there have been stagings of Shakespeare’s plays that have used cross-gender casting. All of this is noted in the playbill, and as one reads it one gets the feeling that the authors perhaps protest too much as justification for the current casting of Cymbeline, one of Shakespeare’s later plays that has defied pigeonholing (tragedy? comedy? Perhaps a “romance”?). The play is, at best, problematic, and scenes and plot devices echo many of those used by the Bard in earlier plays, so much so that one gets the feeling that Will might have been running out of gas. In any event, Yale Rep’s current production, under the direction of Evan Yionoulis, reflects, if unintentionally, the problems in the play itself, compounding confusion as to how the audience is supposed to respond to what it is seeing. xxxxx (more…)

  • Peabody Essex Museum’s ‘Asia in Amsterdam’: Borrowed Inspiration

    Emilie Foster

    Gerrit Adriaensz. Berckheyde. The “Golden Bend” in the Herengracht, Amsterdam, 1671-1672. Oil on panel. Rijksmuseum, Amsterdam. Courtesy of Rijksmuseum, Amsterdam.

    Creativity cannot exist in a vacuum. Whether intentional or subliminal, ideas travel and leave their mark regardless of culture, method of transport, or purpose. Because of this, society evolves and changes. Art changes. It has to, in order to survive. Creators borrow from everything around them, infusing each work with a moment in time and space. Throughout history as the world started to get smaller, this evolution only intensified. Exposure to new cultures created new opportunities, not only in art but also commerce. Nothing comes without a price however, often at the expense of the originator. xxxxx (more…)

  • New York’s Gerald Peters Gallery, ‘Fault Lines’: A Shifting Perspective on American Landscape

    Mary Hrbacek

    Jason Middlebrook, ‘We All Can Relate’ (2015), acrylic on maple, 22 x 28 x1″.

    The exhibition entitled “Fault Lines: Shifting Perspectives on Landscape in American Art,” at New York’s, GP Presents, displays five contemporary nature-oriented artists whose process-based art engages natural motifs with new intentions.  While they offer new contexts that dismantle and restructure nature as a subject, the artists are fully engaged in exploring it as a hot topic. xxxxx (more…)

  • Memory Networks: Interview with Contemporary Artist, China Blue

    Richard Friswell

    China Blue, ‘Mind Draw,’ video still (2014)

    Editor’s Note: Artist, China Blue, lives and produces art in the New England region.  She is founder and executive director of The Engine Institute, an organization fostering collaborative explorations between artists and scientists through research, development and presentations, with the goal of facilitating the spread of scientific and artistic literacy. A light and sound artist, China explores human sensory and perceptual abilities through her investigations and explorations into bioacoustics, ultra and infrasonic sampling devices, brain wave monitoring, and robotic sensory avatars. Here, she sets her sights on a complex human condition–Alzheimer’s disease–applying her creative abilities to discover new ways of understanding the way we think and feel.

    Richard Friswell: I see your work on display in galleries and installation settings in the greater New York area. It is a pleasure to finally explore it with you, in depth. First, tell me about the overarching message of your recent series of paintings?

    China Blue: This work explores how we connect and hold on to our life experiences. Memory is transient. Our recollections occur in fragments that arrive as flashes detached from time. “Memory Networks” is a project that investigates linking and preserving them in beautiful abstract figurative forms to hold them together. Made with aluminum based paint the shiny globules and lines make for stunning examples of how we can hold on to our thoughts and experiences. xxxxx (more…)

  • ‘Ruthless’ at New York’s St. Luke’s Theatre: The Little Musical That Could

    Edward Rubin

    Tori Murray as Tina Denmark in RUTHLESS! All photos: Carol Rosegg

    To say I loved the musical Ruthless, currently playing at St. Luke’s Theatre in New York City, through June 18th (after several extensions by popular demand), is a gross understatement. More accurately, I loved, loved, loved Ruthless. In fact, after seeing the play two times, thoughts of marrying the musical as well as its delightful cast of seven came to mind. I was sure that such a union would supply me with a lifetime of high octane fun. xxxxx (more…)

  • Film Review: Survival in Extremis, ‘The Revenant’ and ‘Son Of Saul’

    Nancy Kempf

    One survives through an obsession with vengeance, the other through an obsession with atonement. Sometimes even to live is an act of courage.


    You don’t ask people with knives in their stomachs what would make them happy; happiness is no longer the point. It’s all about survival; it’s all about whether you pull the knife out and bleed to death or keep it in…

    ~Nick Hornby, “How to Be Good”


    Leonardo DiCaprio as one-time frontiersman,Hugh Glass, in ‘Revenant’

    Two of the most highly acclaimed films of this awards season have been Alejandro González Iñárritu’s “The Revenant” and László Nemes’s “Son of Saul.” Oscars went to Iñárritu for Directing, Leonardo DiCaprio for Best Actor and Emmanuel Lubezki for Cinematography. Nemes’s “Son of Saul” won the Best Foreign Language Film Oscar. Both films center on a protagonist in unimaginable torment. One survives through an obsession with vengeance, the other through an obsession with atonement. xxxxx (more…)

  • Phillips Collection’s ‘Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection’

    Amy Henderson

    Jan Brueghel the Younger, ‘The Five Senses: Sight,’ (detail) c. 1625. Oil on panel, 27 5/8 x 44 5/8 in. Paul G. Allen Family Collection.

    This spring, the Phillips Collection, a private museum in Washington, D.C. calling itself “America’s first museum of Modern art,” presents 39 masterworks of European and American landscape painting from the collection of philanthropist and entrepreneur, Paul G. Allen. Seeing Nature is a traveling national exhibition that is co-organized by the Portland Art Museum, the Seattle Art Museum, and the Paul G. Allen Family Foundation. xxxxxxxxxx (more…)

  • National Portrait Gallery, Real and Fiction: a “Presidential” Portrait

    Amy Henderson

    Jonathan Yeo, Kevin Spacey as ‘President’ Frank Underwood (2016). National Portrait Gallery

    The 2016 presidential campaign has evaporated the blurry distinction between “real” and “virtual” that Pulitzer Prize-winning historian Daniel J. Boorstin railed against in his classic 1962 book, The Image: A Guide to Pseudo-Events in America. At the time, Boorstin was furious about how Madison Avenue advertisers—the Mad Men who were engulfing the media with consumerism–and a television system then-dominated by a three-network monopoly, had created a culture based on “illusions that we mistake…for reality.” (Boorstin, 5-6). xxxxx (more…)

  • Musée d’art contemporain de Montréal: David Altmejd’s Universe

    Emese Krunak-Hajagos

    David Altmejd, The Flux and The Puddle, 2014, detail, with heads. Photos, unless otherwise noted: Poul Buchard Brondum and Co. Courtesy of Louisiana Museum of Modern Art, Denmark.

    I was excited when I heard that the Musée d’art contemporain de Montréal was planning a retrospective of David Altmejd’s work in the summer of 2015. I couldn’t wait to see it. Altmejd is an international artist whose work has been included in important Biennials (Istanbul, 2003; Whitney, 2004; Venice, 2007 where he represented Canada) and large exhibitions in New York, Paris, Montreal, and in Humlebæk (Denmark, 2016)) among others. He was born in Montreal in 1974 and, like many other successful artists, he moved to New York, where now he lives and works. xxxxx (more…)

  • New York’s Richard Rodger’s Theater, ‘Hamilton’: Transformative

    Charles Giuliano

    Daveed Diggs as Marquis de Lafayette/Thomas Jefferson. All production images: Joan Marcus

    With the genius of Lin-Manuel Miranda yet again the vernacular music of the streets, hip-hop and rap, have evolved to high art in the sensational, smash hit Broadway opera Hamilton, based on the extensive biography by Ron Chernow.

    For just under three hours in two acts, with elaborate exposition, the music and choreography pulses relentlessly forward with a rainbow cast telling the galvanic story of the most brilliant of the founding fathers. xxxxx (more…)

  • ‘Sweat’ at Broadway’s Studio 54: Scoring a Knockout!

    Herbert Simpson

    Finally, Lynn Nottage’s powerful, timely play at Broadway’s, Studio 54, officially opened last month. I read it for an award-granting committee in 2015 and got detailed reports on its sold-out productions at Oregon Shakespeare Festival and Arena Stage in D.C. They got rave reviews. Then I saw this same production at the Public Theatre in New »more

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