Killing the Choreography
Camille LeFevre reviews the latest incarnation in Morgan Thorson's "Still Life" series, this time made for the Cowles Center in Minneapolis: an inventive choreographic amalgam, punctuated by simple, gorgeous movement.
"Everyone exit but KVL," calmly intoned the voice, as audience members took their seats on the Cowles Center’s stage.…
Still Life for the Cowles Center, presented by Morgan Thorson. Photo: Mena Burnett
NEMAA Artist Series: For the Love of Clay
A profile of ceramic artist Julia Timm, who makes elegant, functional pieces of everyday art from her Northrup King Building studio, with a focus on color, close attention to form, and finely detailed design work.
Julia Timm (Fresh Mud Pottery) began her work in ceramics at age 50, when her youngest of four children went off to college.…
Julia Timm, small "window" plates, 2016. Photo courtesy of the artist.
An Exquisite Preeminence of the Body
In the Walker's expansive exhibition, "Merce Cunningham: Common Time," artistic disciplines effortlessly traverse conventional boundaries, in much the same ways the influential choreographer did with his many collaborative partners.
When does a ragged leotard become a work of art? A silver mylar balloon? An inflated plastic box? A freestanding industrial floor fan? When they were created or re-contextualized by visual artists Robert Rauschenberg, Andy Warhol, Jasper Johns and Bruce Nauman, respectively.…
Merce Cunningham and company performing TV Rerun at Westbeth, January 1975. Photo: Jack Mitchell. Copyright Jack Mitchell/Getty Images
The Believing Game
Filmmaker and educator Kevin Obsatz on art experiments, the freedom in making "unmarketable" work, exercises in belief, and practicing porousness in an impermeable age.
In the believing game we return to Tertullian’s original formulation: credo ut intelligam: I believe in order to understand. We are trying to find not errors but truths, and for this it helps to believe. […]…
Amy Halpern, still from Falling Lessons, screened recently at Cellular Cinema. Courtesy of the artists and Cellular Cinema.
An impassioned poem by artist and activist Camille Gage, after her experience at the Women's March in Washington DC on January 21, 2017, where more than a million people gathered to march for women's rights.
I said I’d write an article about my DC tripabout the Women’s Marchbut I don’t have TIME to writeBarely time to rememberNot a moment to luxuriate in I drove 18 hours tostand with a millionfeminists…
At the Women's March in DC on January 21, 2017. All photos courtesy of the author
To the Edges We Must Run
Ben Weaver on the trouble with lionizing artists' struggles, with a call for boldness in the face of want, solidarity with the land and each other, and seeking brave solutions at the edges, rather than swimming comfortably in the mainstream.
A stranger came to town. Down the frozen roads. Barely made it up the hill. She left early the next morning. Some say they planned it all along. It’s true, there are so many different kinds of dark. Everybody is wondering what will end up in the fire.…
The author, on tour in the Netherlands. Photo: Henri Santing.
Inside the Cedar Commissions
Music writer Youa Vang chats with two of the composers whose works will be featured in this week's "Cedar Commissions" showcase at the Cedar Cultural Center: percussionist Zack Baltich and tabla player and composer Krissy Bergmark.
In September of 2016, the Cedar Cultural Center, along with the Jerome Foundation, paired with six musicians to compose original work.…
Zack Baltich. Photo courtesy of the artist. Baltich is one of six composers whose new work will be featured in the Cedar Commissions performances, on stage February 3 and 4, 2017.