• Now at Beers London: ‘Concrete Forest/Paintings of Kim Dorland’

    Emese Krunak-Hajagos

    Bay Blanket 3, 2014, oil and acrylic on linen over wood panel, 72×96″. All images courtesy of Angell Gallery, Toronto, Canada

    The artist, Kim Dorland caught my attention with his painting, Bay Blanket #3, in his 2014 exhibition at Toronto’s Angell Gallery. In this work, a young woman—the artist’s wife Lori—kneels on a bed in front of a wall covered with family paraphernalia, holding a Bay blanket to cover her nakedness. Her face and arms are created from thick paint that the artist has partly removed, so it looks cratered. There are heavy patches of paint on the blanket as well as the images on the wall. It is very physical, very energetic, and you can see the movements of the artist’s hand throughout as he layered and manipulated the paint. Somehow it is still able to capture that intimate moment, as the figure hugs her body and looks out from her surroundings. The multi-coloured, striped ‘Bay’ blanket is emblematic of the Canadian North and the other walls are bare, as a cabin might be. (more…)

  • Choreography as Portrayal: Dana Tai Soon Burgess at Washington’s National Portrait Gallery

    Amy Henderson

     

    Gobsmacked by an age enthralled with the immediate, “tradition” has lost its footing. Institutions built as permanent bulwarks of common purpose have been fissured by an appetite for what is happening in the moment:  NOW is desirable because it is instantly accessible and gratifying. Yesterday is not on the social media radar, and building old walls higher won’t put Humpty Dumpty back together again. It is the age of Elon Musk’s Tesla, not Henry Ford’s Model T.

    Left: Choreographer, Dana Tai Soon Burgess, has been appointed the Smithsonian’s first choreographer in residence.

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  • Two Cheers for the Revolution: Telling Difficult Stories at Philadelphia’s Museum of the American Revolution

    Avi Y. Decter

    This exterior view of MOAR is about as inviting as its stolid massing gets. The architecture conceals rather than reveals the building’s subject. All photos courtesy of the Museum of the American Revolution.

    The United States was birthed in resistance, rebellion, and war. The story of the American Revolution, repeated, refined, and simplified over many generations, has become an iconic element of our national fable: our patriot “ancestors” resisted the tyranny of the greatest empire of its day, preserved American liberties, and established a novel kind of egalitarian republic. The catch-phrases of “the times that try men’s souls”–“life, liberty, and the pursuit of happiness,” “all men are created equal,” and “the consent of the governed”–still resonate in our political and cultural discourse. And yet the story of the Revolution is complex and messy, full of sharp elbows and glaring contradictions, including the persistence of slavery, the dispossession of Native Americans, tensions within the states, among the states, and between state and federal governments, and a tendency to advantage our elites over our masses.  If ever there was a difficult, challenging story to tell, it is the story of our Revolution and its impact on subsequent generations, right up to the contemporary moment. In a sense, the story of the American Revolution, which is also the story of our first civil war, has always been contested and fraught. (more…)

  • Canada’s Stratford Festival’s ‘Guys and Dolls’: A Production Knockout

    Herbert Simpson

    Evan Buliung (centre) as Sky Masterson with members of the company in Guys and Dolls. All photos: Cylla von Tiedemann.

    Director/choreographer Donna Feore seems to have solidified Canada’s Stratford Festival’s standing as not only the largest and finest classical repertory theater in this hemisphere but also Canada’s greatest musical theater. This season’s superb Guys and Dolls may not be the astoundingly perfect production that her 2013 recreation of Fiddler on the Roof became, nor so daring a restaging as her A Chorus Line last season, but it may be more pleasing than either, and is certainly the all-around best version I’ve seen to date (and that includes the Broadway original). Following and completing the late Brian Macdonald’s transformation of Stratford’s masterful Shakespearean repertory artists into first-rate, Broadway-level singers and dancers, also, Feore has now demonstrated a repertory of Stratford musicals worthy of filming, touring, or reproducing worldwide. (more…)

  • Ai Weiwei: ‘Trace’ at Washington’s Hirshhorn

    Amy Henderson

    Ai Weiwei is a riveting artistic presence who raises hackles and hell wherever he can.  Born in Beijing in 1957, he studied at the Beijing Film Academy before moving to the United States in 1981. He soaked up the colorful life of New York’s East village, and when he returned to China in 1993 he became a major and disruptive figure in the contemporary art scene there. Ai relished antagonizing the repressive Chinese authorities, and the government in turn targeted his political activism, ultimately arresting him 2011. He was imprisoned for three months and forbidden to leave China until 2015. (more…)

  • Editor’s Letter: July, 2017

    Edward Rubin

    “We must first look, before we can see.” ~Henry David Thoreau

     

    Left: Isamu Noguchi, Mother and Child (1944-1947), Onyx, 19 3/8 × 12 3/4 × 8 5/8″. Noguchi Museum, NY.

     

    On Being Taught Not to Fly

    Another essay by art and theater critic, world traveler and ARTES contributing editor, Edward Rubin…

    It wasn’t until I visited the Doge’s Palace in Venice (below, left and right [detail]) and came face to face with “Paradise,” Tintoretto’s large painting that hangs majestically in the Ducal Hall that I discovered that Tintoretto was still alive. Here he was, some 400 years later, looking down at me looking up at him. I didn’t have to read the painting’s label which no doubt listed the artist’s name, the title of the painting, and the date it was executed. I didn’t have time. I was pulled right past the words into the heart of the matter. Communication was instantaneous. I knew immediately that this seething mass of humanity, posing as saints and angels on canvas, all 23 by 72 feet of it, was transmogrified flesh…Tintoretto’s. (more…)

  • New York Gallery, Lichtundfire with ‘Counterpoints to the Narrative’

    Elizabeth Stevens

    Martin Weinstein, “Kenoten, October Evenings,” 2016, acrylic on multiple acrylic sheets, 27 x 20 3/4″.

    Counterpoints to the Narrative is on view until the end of this month at Lichtundfire.  It provides a thoughtful exploration of contemporary mediums, color theory, and depth of field, featuring three artists who engage unique materials to bring an idiosyncrasy of observation in traditional approaches to balance and color.  The exhibition is a revelation on more than one level from its curator Dominick Lombardi; and Lichtundfire, a gallery I have come to admire as sage to the world of objective theory through its exploration of new approaches in the rapport of material to expression. (more…)

  • Addison Gallery of American Art with Stella Prime: Prints from an American Master

    Mark Favermann

    Frank Stella, ‘Steller’s Albatross from Exotic Bird Series,’ 1977, lithograph, screenprint on white Arches 88 paper mould-made paper, 33 7/8 x 44 7/8 in., National Gallery of Australia, Canberra, purchased 1979. © 2017 Frank Stella / Artists Rights Society (ARS), New York

    ‘Frank Stella Prints’ offers an unusually illuminating perspective on the career of virtuoso artist, Frank Stella, who helped define the perimeters of American art over the past five decades. The show focuses on his printmaking, and its over 100 works on paper suggest the ways his highly experimental approach transformed our understanding of the traditional print.

    This elegant and comprehensive exhibition, the artist’s first major print retrospective since 1982, also offers up a clear view of Stella’s stylistic evolution — a series of reinventions that morphed from the minimalist geometric abstraction of his early years to an effervescent complexity of his later gestural work. (more…)

  • ‘The School For Lies’ at Shakespeare Theatre, Washington, D.C: “Rippingly Appropriate” for 2017

    Amy Henderson

    l to r: Gregory Wooddell as Frank, Cameron Folmar as Clitander, Liam Craig as Acast and Tom Story as Oronte. All photos by Scott Suchman, unless otherwise noted.

    Egad–imagine life riven by “fake news,” “alternate facts,” and boorish behavior?! Playwright David Ives has, and he has now wickedly transformed this thought into a gleeful roast. His new play, The School for Lies, is loosely based on Moliere’s mid-seventeenth century caricature of French oafishness, The Misanthrope, and it is one of the funniest productions ever concocted. It is the perfect antidote for our dreary times. (more…)

  • “Markus Lüpertz, Threads of History” Jointly at Washington’s Hirshhorn & Phillips

    Elaine A. King

    Seldom do museums in Washington, D.C. engage in collective undertakings, in spite of their eminence and professional staff.  Unexpectedly, the Smithsonian’s Hirshhorn Museum and Sculpture Garden and The Phillips Collection have chosen to work in partnership on complimentary exhibitions showcasing the works by the German painter Markus Lüpertz.  This is the first official alliance between the two venues.  The Hirshhorn’s exhibition titled “Markus Lüpertz: Threads of History,” curated by Evelyn Hankins, focuses on Lüpertz’s early work from 1962 to 1975, in the context of post-war Germany; while Dorothy Kosinski, director of the Phillips Collection, curated “Markus Lüpertz,” offers a retrospective of the artist’s five-decade oeuvre.

    Above, left: Markus Lüpertz, Stil: Eins-Zehn VII—große Form mit Linie 2 (Style:  One-Ten VII—Large Shape with Line 2), 1977. Oiland distemper on canvas, 63 3/4 x 51 1/4 in. Private collection © 2017 Artists Rights Society (ARS), New York /VG Bild-Kunst, Bonn.

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