While I chuckled at Kelley Donahue’s satirical clay figures and found the virtuoso drawing installation by Paul Santoleri a wow both for its graphic impact and its politically-charged subject-matter, it is Joanna Platt’s “Timelines” that moved me, with its simple message of connection. The idea of shared space, shared memories, and the suggestion that technology brings us together yet keeps us apart is something we all should ponder.
Read MoreAfter fifty years is “Zen for Film” an experience, an object, a projection, or a relic? Holling examines the early history of the work, contemporaneous artworks that raised similar questions, and protocols for institutions that would borrow and exhibit examples from various public collections. Some of Holling’s questions are now being answered by the artist’s estate, museums, and film archives–and they offer inconsistent answers. “Zen for Film,” whose subject is entirely bound with its materiality, raises particularly complex questions, and Holling is thoughtful, dogged, and modest in searching for answers. Her examination raises points common to enough 20th- and 21st-century works that art historians concerned with the record as well as curators and conservators tasked with exhibiting and caring for them will have to acknowledge them.
Read MoreArs Nova Workshop can be relied on to bring new music to Philadelphia audiences. Steve Lehman’s Sélébéyone, presented on March 24 at the Painted Bride Art Center, was no exception. A composer and alto-saxophonist, Lehman has received a 2015 Guggenheim Fellowship and a 2014 Doris Duke Artist Award, and has worked with major national and international artists like Vijay Iyer, Jason Moran, and Meshell Ndegeocello. For this performance, Lehman brought together an innovative combination of jazz, hip-hop, rap, and electronica whose disparate parts worked together surprisingly well.
Read MoreI knew Jimmy. He was brilliant, charming, passionate, humane, intellectually and emotionally complex, fun and funny, and utterly fascinating and exciting to be with. I knew him the last few years of his life, late 1980s. He was traveling throughout the United States to see old friends and haunts. It was his last lap, his stomach cancer was incurable. He also wanted to take measure of his country–if life had changed for the better for African-Americans in a decade.
Read MoreAny fantasy you can think of has multiple dimensions to it; this is especially true in Vijay Iyer’s Bridgetower Phantasy, which premiered in Philadelphia performed by violinist Jennifer Koh and pianist Shai Wosner as part of the Philadelphia Chamber Music Society’s recital season. The March 21 concert at the Kimmel Center’s Perelman Theater featuring the new Iyer work was bookended by two Beethoven violin sonatas, including the Kreutzer sonata. Iyer’s piece is titled after the African violinist to whom Beethoven dedicated his Kreutzer sonata, suggesting that Iyer sees this work as a response and a companion piece to Beethoven’s sonata. These historical and musical resonances made for a compelling program that brought together old and new.
Read MoreDonald Hunt revisits an artist he loves, José James, whose performance at the intimate club, the Foundry, surprised with the artist doing an impassioned and political rap turn in addition to his beloved R+B songs from the post-election-inspired album, ‘Love in a Time of Madness.’
Read MoreAn artist travels the world studying ancient techniques and translates her knowledge into evocative contemporary works. Magdalene Odundo, OBE, is in residence at The Clay Studio until April, 2017. Artblog contributor, Kitty Caparella interviews the artist, who will speak about her work at the Philadelphia Museum of Art, Saturday, April 8, 2017.
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