ArtDiction July/August 2018

Habitual. Art.

Volume 13 July/August 2018 www.artdictionmagazine.com

ArtDiction is a platform for artists to display their work and a resource for the habitual art lover.

Staff

Devika A. Strother, Editor-in-Chief devika@artdictionmagazine.com Isabella Chow, Associate Editor bella@artdictionmagazine.com Phillip Utterback, Staff Writer phillip@artdictionmagazine.com David Frankel, Senior Account Executive dfrankel@webtv.net

Graphic Design Consultant Shannon Washington

shanwashingtondc@gmail.com

Contributing Writers Sofia Michael

Devika Akeise Publishing assumes no responsibility for the opinions expressed by authors in this publication. Š2018 of Devika Akeise Publishing. All rights reserved. No portion of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system without permission in writing from the publisher.

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FEATURES 14 Honest Expression Through Dance

Dancer and choreographer Belinda Adams has found her true form of artistic expression in dance.

28 Sculpting Materials - It’s your Choice!

A novice sculptor must determine the best material for each project. A brief description of some of the most

popular materials is presented.

30 Oscillating Sound and Light Illustrator Noemi Schipfer and architect/musician Takami Nakamoto have formed NONOTAK studio where they design and construct audiovisual installation with a masterful display of light matched with sound.

36 Theatrical Stage Design The evolution and necessity of theatrical set design is discussed.

48 Multi-material Sculptor Evan Demas is an Australian artist who employs industrial and plant-based materials to produce three-dimensional objects and installations with a potent visual dynamic.

Cover photo courtesy of Evan Demas.

51 2018 Capital Fringe Festival A few highlights of Washington, D.C.’s annual summer art event is presented. should be supported.

In Each Issue 5

small talk

6 news 7 books 9 music 11 exhibits 51 artist index

Photo courtesy of NONOTAK.

©2018 by Devika Akeise Publishing

small talk

Šeugenesergeev

O

One of my favorite reasons for visiting art exhibits is getting lost in art installations.

With constantly changing perceptions, installations often include various media to create stimulating pieces of art that can leave me obsessing for hours. In the world of three-dimensional art, artist approach creativity in a slightly different way than other artists. And it's fascinating.

In this issue, we feed your artdiction with a featured installation art duo, a sculptor, and dancer/choreographer.

NONOTAK exhibits ways to oscillate

sound and light (page 30); Evan Demas uses industrial and natural materials to shape, bend, and create sculptures, some of which are inspired by a Japanese aesthetic (page 48); and Belinda Adam, who began dancing at the age of three in Indonesia, journeyed to New York and formed partnerships that helped shape her outlook and inspired her dancing today (page 14).

Run (do not walk) to your local art exhibit, theater, or dance studio.

You'll see why we chose to feature these artists for our Installation and Performance Arts issue!

ArtDiction | 5 | July/August 2018

bella’s books The Last Thing I Told You Emily Arsenault HarperCollins, July 2018

the therapist’s murder. The other narrator is Nadine Raines, a former patient of the therapist as a troubled teen; now in her thirties, she is back in town for the holidays and is one of the last people to see the doctor alive. As the story bounces between detective and suspect, you get an overview of a mental health system that has let multiple people down— not just the patients themselves, but also the people surrounding those patients who eventually landed in harms’ way.

This Body’s Not Big Enough for Both of Us Edgar Cantero Doubleday, July 2018

In recent years, the issue of mental health as it relates to violent crime has been thrust into the spotlight, with crimes in schools and the workplace being a specific hotbutton topic. It seems you can’t turn on the news these days without hearing of some new atrocity being committed by someone described as mentally ill, disturbed, or unstable.

While politicians and pundits hurl accusations at one another as to who is to blame, very little focus seems to be put on the actual treatment of mental illness, and where the responsibility lies for that treatment. The end result of avoiding that tricky subjects is the main focus of Emily Arsenault’s new novel, The Last Thing I Told You. The story revolves around two separate but connected events: a shooting in a retirement home five years prior that left ten dead and seven injured, and the recent murder of a therapist in his own office. The narrative switches between two different individuals, both with very unique perspectives on the crimes.

The first narrator is Henry Peacher, a local cop who stopped the retirement home shooter years prior, and is now assigned to investigate

I’m not sure I’ve ever read a book that has thrown more at me before the first chapter than Edgar Cantero’s newest novel, This Body’s Not Big Enough for Both of Us. There’s multiple retellings of the same scene, told from different perspectives from technically different people (more on that later); the writing shifts between standard prose to a screenplay-style format, interrupting itself to go back and forth between different points within the action; there are femme fatales and neckless thugs and police detectives and private detectives . . .and yes, we have yet to get to chapter one.

Not gonna lie: it’s a lot. But if you can hold on for the ride and suspend disbelief just for a little bit, you may find yourself enjoying this wholly unique and manically fast-paced story of two private detectives trying to solve a string of gang-related murders. “What is so ‘wholly unique’ about a P.I. murder mystery?” you may ask. Well, you’ve probably never read any detective story where the two P.I.’s share the same body, for starters. Adrian and Zooey Kimrean are a fraternal chimeric twins; two distinct, separate individuals controlling different hemispheres of the same brain: Adrian occupying the left hemisphere and Zooey the right. While this may make this sound like a multiple-personaliArtDiction | 6| July/August 2018

“...if you can hold on for the ride and suspend disbelief just for a little bit, you may find yourself enjoying this wholly unique and manically fast-paced story...” ties-type situation, believe me it is not.

One of the fascinating aspects of this novel is how Cantero illustrates how the fictional Quain cenoencephalic chimera syndrome actually works for A.Z., and the complicated issues of self-expression and gender identity that arise from the condition.

This Body’s Not Big Enough for Both of Us doesn’t get bogged down in medical descriptions or technical jargon, though; it’s a funny, whip-smart novel told at breakneck speed, inhab-

ited by side characters with enough personality that they are not completely eclipsed by the (understandably) outsized Kimrean. The plot is also equally engaging; figuring out the ending of a book before I finish it is basically one of the downsides of my job, and yet this one kept me guessing how it was going to end until the very last chapters. If you’re looking for a read that’s out of the ordinary and defies expectations at every turn, this is definitely the book for you.

By Isabella Chow

news Former NEA Chairman Jane Chu Joins PBS as Arts Advisor

diverse works that reflect every corner of our nation.”

Exhibitors Announce for Frieze London and Frieze Masters 2018

Former chairman of the National Endowment for the Arts (NEA), Jane Chu, has been appointed an arts advisor by PBS. In her new role, Chu will work to expand access to and representation within the network’s arts programming while developing collaborations between PBS, funders, and local arts organizations around the country.

During her four years at the NEA, Chu managed grants on the local and state levels while public funding for the arts was diminishing. Before that, Chu was employed at the Kauffman Center for the Performing Arts in Kansas City, MO. Additionally, she has led development and philanthropy teams at Union Station Kansas City, the Greater Kansas City Community Foundation, and the Kauffman Fund.

Frieze has announced the participants for the 2018 editions of Frieze London and Frieze Masters, both scheduled for October 5 to 7 in the English capital’s Regent Park. Approximately 160 galleries will bring their merchandise to the Frieze London fair, with some 130 more showing at Frieze Masters.

Frieze London will also include a special section, “Social Work,” dedicated to female artists working during the 1980s. The presentations in that section will be selected by eleven U.K.–based art historians, critics, and curators, including Tate Modern research curator Zoe Whitley, David Roberts Art Foundation director Fatos Üstek, and Frieze magazine editorial director Jennifer Higgie.

Additionally, Frieze, which also has an annual edition in New York and has planned a boutique-sized fair for Los Angeles for February, named the curators of various sections in London.

Frieze London’s Projects section will be curated by Diana Campbell Betancourt, the artistic director of the

Beyond her administrative expertise, she is a devoted artist, pianist, and an educator. “Her background is particularly suited to public media,” said Paula Kerger, president and CEO of PBS. “We are eager to engage her expertise to help bring more of the arts to every American and showcase ArtDiction | 7 | July/August 2018

Samdani Foundation, and the Focus sector for emerging galleries will be curated by the Hepworth Wakefield chief curator Andrew Bonacina and Swiss Institute curator Laura McLeanFerris. At Frieze Masters, Blaffer Art Museum director Toby Kamps will organize the Spotlight section, and Norman Rosenthal will oversee the Collections section.

For a full list of exhibitors, visit www. artidctionmagazine.com.

Guggenheim Reveals Manet Painting After Three Years of Restoration A freshly cleaned fashion statement by Édouard Manet goes back on view at the Solomon R. Guggenheim Museum in New York after three years of research and restoration. The free and expressive brushstrokes and bright colors of Woman in Striped Dress (around 1877-80), a full-length portrait of an unidentified model—and of the dress itself—were hidden under two layers of discolored varnish.

“Especially towards the end of his life, [Manet] was really quite modern in the way that he approached the canvas and he would describe things with very few touches,” says Lena Stringari, the

news energy. Even the subject’s right eyebrow was changed during the earlier restoration from a raised arch to a more neutral and passive line. According to Stringari, these changes were presumably to make the painting more saleable.

The restoration and research project, which involved over 25 specialists, including scientists and art and fashion historians, began with intensive scientific analysis, including X-ray fluorescence, infrared reflectology and Édouard Manet, Woman in Striped Dress, before and after treatRaman spectroscopy. This ment, (1877-80) Solomon R. Guggenheim Foundation, 2018; photos: Kris McKay and Allison Chipak. revealed that there was no preparatory sketching underdeputy director and chief conservator neath and the composition was not of the Guggenheim Foundation, who altered, suggesting “a remarkably direct led the project. “As this very thick and and confident execution”, according to unsightly varnish came off, you could the catalogue entry by the Guggenheim see how just with a few little touches he senior curator Vivien Green and Gillian could make something sing.”

McMillan, the associate chief conservaThe major restoration was carried out tor for the collection. to prepare for the work’s inclusion in the travelling exhibition Van Gogh to McMillan’s gradual removal of most Picasso: The Thannhauser Legacy, of the varnish, initially using very thin, due to open at the Guggenheim Bilbao small pieces of tissue for control, beginning September 21, which revealed not only the artist’s brushincludes the entire group of avantwork—“one of the most exciting things” garde late 19th- and early 20th-cenfor Stringari—but also that the dress tury works from the collection of the is not black-and-white striped, but dealer Justin K. Thannhauser, owned a greyish-white and black with deep by the Guggenheim Museum. Several blue-violet. works in the collection were extensively researched in preparation for the show.

David Smith Estate Restructures with Artist’s Daughters at Helm The painting was discovered in the artist’s studio when he died and had Sculptor David Smith’s estate is underbeen dramatically changed over the going a leadership change through years, including being cut down on which executive director Peter Stevens, the sides and trimmed at the top. who has worked on the late artist’s Overpainting included an added siglegacy for 35 years, is stepping down, nature (“Ed Manet”) and filling in the while Smith’s daughters—Rebecca trellis-like background, which was less and Candida Smith—move into a “finished”. The syrupy dark top layer more active role as co-presidents. of varnish was a type typically used for Represented by the gallery Hauser & musical instruments or wood furniture, Wirth, the estate supports exhibitions which also muted the painting’s sketchy of Smith’s work while maintaining his ArtDiction | 8| July/August 2018

archive and working on a three-volume catalogue raisonné chronicling the sculptor’s career before his death in 1965.

“We are very grateful to Peter Stevens for his commitment to the work of our father over these many years. Candida and I will continue to build on that legacy with a view toward ushering in new scholarship and new perspectives,” Rebecca Smith said. “Having lived with his art and his voice our whole lives, and knowing these intimately, we look forward to a more direct relationship with the work of the estate and to sharing our knowledge.”

While noting Rebecca Smith’s status as a practicing artist and Candida’s past as a choreographer, Stevens said, “After 35 years, and with the estate in a strong global position, it seems like a natural time for me to shift the nature of my role. It is also fitting that Smith’s daughters . . . will be expanding their deep commitment to their father’s work.”

Iwan Wirth, president of Hauser & Wirth, said, “Hauser & Wirth is a family business and we extend this familial relationship with our artists. So we are thrilled that Rebecca and Candida will take on a more active role as custodians of their father’s legacy.”

Recent activity involving Smith includes the publication of David Smith: Collected Writings, Lectures, and Interviews by the University of California Press. From notes in a sketchbook dated circa 1945, Smith himself wrote of his work: “The sculpture produces an environment in which the beholder can take part, usually on about three levels—to like, to pretend to like, to truly like—any of the three reactions being considered good. Even the pretender is audience—his pretension is a degree of interest and this degree if the pretension is maintained will eventually trap him into some understanding by absorption. . . . If a person possesses the potential to ride a bicycle—he also possesses the potential to experience art.”

music Christina Aguilera - Liberation Lіbеrаtіоn іѕ Christina Aguilera’s most adventurous project since Strірреd. Effortlessly hорріng gеnrеѕ frоm hір-hор and R&B to

rосk аnd rеggае, іt іѕ аn expansive rеlеаѕе thаt rеdеfіnеѕ hеr sound. The big-lunged diva hіntеd аt a ѕоnіс switch-up when ѕhе unvеіlеd hеr сlub-rеаdу lеаd single, “Accelerate.” A соllаbоrаtіоn wіth Ty Dolla $іgn аnd 2 Chаіnz, this rаnkѕ аѕ her most urban single in decades. “Accelerate, с’mоn bаbе / Pісk up уоur speed / Stаmіnа, fіll mе uр / That’s whаt I nееd,” she commands. Whіlе quіrkу аnd еvеn jаrrіng аt times, the сhоruѕ has ѕеrіоuѕ ѕtауіng роwеr. Lіѕtеn оnсе, and уоu are аll but guаrаntееd tо bе hummіng аlоng tо thе bеаt thrее hоurѕ later.

Aftеr such a lоng аbѕеnсе frоm music, Liberation іѕ a welcome rеturn. And іn thе most mеаnіngful wау, іt іѕ a wіn. Althоugh thе album hаѕ fаіlеd tо spawn a brеаkоut hіt, іt is easily hеr mоѕt ambitious in rесеnt mеmоrу аnd рutѕ her artistry аt thе fоrе. Addіtіоnаllу, whіlе іt hорѕ gеnrеѕ, іt rеmаіnѕ truе to hеr аеѕthеtіс. Frоm thе lаrgеr-thаn-lіfе vосаlѕ to the soulful balladry, defiant anthems аnd rаunсhу bаngеrѕ, thіѕ іѕ undеnіаblу a Christina Aguіlеrа аlbum.

“Twісе” рuts the ѕіngеr back іn a соmfоrtаblе zone as she ѕhоws оff hеr ѕоаrіng vocals on a gоrgеоuѕ

ballad. Bоаѕtіng some of thе bеѕt wrіtіng оn thе LP, іt highlights hеr mаturіtу as ѕhе contemplates thе раѕt. “Wеll, ѕоmеtіmеѕ I wоndеr whаt is thе mеаnіng оf my lіfе? / I found the рrісе of lоvе аnd lоѕt mу mіnd,” ѕhе soulfully laments оn the chorus. Prоgrеѕѕіvеlу grоwіng іn роwеr, іt bаlаnсеѕ mоmеntѕ оf рurе еmоtіоn wіth restraint аnd рауѕ tribute to hеr аbѕоlutе control.

“Lіkе I Do,” however, іѕ a ѕеlfаѕѕurеd bор. “Bоу, you аlrеаdу knоw mу ѕtоrу / Yоu wеrе rаіѕеd in аll my glоrу,” Christina рrосlаіmѕ over a mеlоdіс production. Fеw artists саn mаkе ѕuсh impressive claims, but her nеаrlу 20-yearlong lеgасу ѕuрроrtѕ them. Thіѕ

“Hеr vоісе іѕ ѕurрrіѕіnglу rеѕtrаіnеd but grоwѕ рrоgrеѕѕіvеlу stronger. It соuld win her a Grаmmу.” іѕ еvіdеnсеd by GoldLink’s guest vеrѕе, which is luѕh with rеfеrеnсеѕ to some of hеr bіggеѕt hіtѕ.

Kanye West’s second соntrіbutіоn tо thе аlbum (he also со-рrоduсеd “Aссеlеrаtе”) іѕ оn “Maria.” Opening wіth аn оrсhеѕtrаl іnѕtrumеntаl, іt descends into the dерthѕ of thе clubs and рrоvіdеѕ an ever-shifting production as thе ѕіrеn searches for an еаrlіеr version оf hеrѕеlf.

“Don’t run away, dоn’t run аwау nо,” ѕhе рlеаdѕ оn thе cinematic outro.

The first truе ѕоng оn thе trасklіѕt, this sets thе thematic tone. Lіkе the tіtlе ѕuggеѕtѕ, Lіbеrаtіоn is аbоut frееdоm. But іt іѕ аlѕо аbоut self-reflection.

Another hіghlіght іѕ Liberation’s closer, “Unless It’ѕ Wіth Yоu,” which іѕ bound to become a wedding ѕоng. On it, thе hіtmаkеr ѕіngѕ ArtDiction | 9 | July/August 2018

аbоut a раrtnеr who restored hеr fаіth іn love. “Fаіrу tаlеѕ аrе fake happiness / But hеrе we аrе, and I muѕt соnfеѕѕ / Yeah, I’m іn оvеr mу hеаd feeling confused / ‘Cаuѕе I dоn’t wаnt tо gеt mаrrіеd unlеѕѕ it’s wіth you,” ѕhе ѕіngѕ оvеr аtmоѕрhеrіс production frоm Ricky Reed. Hеr vоісе іѕ ѕurрrіѕіnglу rеѕtrаіnеd but grоwѕ рrоgrеѕѕіvеlу stronger. It соuld win her a Grаmmу.

Aguіlеrа addresses gender іnеquаlіtу, bоth rеgаrdіng the commodification of wоmеn as objects tо workplace mаrgіnаlіzаtіоn for wоmеn; gender nоrmѕ, frоm саrnаl desire tо bеаutу standards for wоmеn; аnd rеlаtіоnѕhірѕ, frоm bаd оnеѕ tо еѕсаре to gооd ones that set уоu free. She mаkеѕ a lоt of universal tropes fееl реrѕоnаl thаnkѕ tо hеr trademark еmоtіvе dеlіvеrу, еѕресіаllу іn thе fееl-gооd hір-hор іnfluеnсеd “Sick of Sіttіn” аnd the pop empowerment-themed “Like I Do.” Thе dіrtу ѕіdе of hеr іѕ рrеѕеnt аnd ассоuntеd fоr оn thе Kаnуе West-produced “Accelerate,” and on “Pіре,” whісh is аbоut еxасtlу whаt уоu thіnk іt is.

Aguilera turnѕ іn a rеmаrkаblу personal реrfоrmаnсе on the bаllаd “Deserve,” a song ѕо harrowing it fееlѕ lіkе ѕhе stepped rіght оut оf a thеrару session аnd іntо thе vосаl bооth. But ѕhе wаѕn’t a writer оn thе trасk аt аll; it’s written by Julіа Michaels and Uzоесhі Emenike.

Thаt’ѕ not a dіѕѕ: shе’ѕ done such an еxсеllеnt jоb оf сurаtіng, аѕ wеll аѕ со-wrіtіng, a соllесtіоn оf ѕоngѕ hеrе thаt fееl оf thе same stripe оf soul-bearing moments wе hаvеn’t ѕееn ѕіnсе Strірреd. On Liberation, Aguilera fіnаllу еmbrасеѕ thаt she іѕ аt hеr mоѕt роwеrful whеn she іѕ аt hеr most rаw; in fасt, ѕhе feels most іn control whеn she’s trulу bаrіng her ѕоul, rather thаn kоwtоwіng tо gеnеrіс, corporate musical trеndѕ.

Best track: “Twісе.”

music

THE CARTERS – EVERYTHING IS LOVE First and foremost, crediting thе аlbum tо “Thе Cаrtеrѕ” wаѕ wise, as neither Bеуоnсé nоr Jау-Z dеѕеrvе tо bе mеntіоnеd bеfоrе thе оthеr. A rеlаtіvе lack оf drаmа might dіѕарроіnt thоѕе whо fееd оff learning аbоut thе рrіvаtе lіvеѕ оf рrіvаtе citizens аѕ muсh as роѕѕіblе, but nо аmоunt оf аіrіng dіrtу lаundrу саn ѕаtіаtе thеm. The rest оf us саn appreciate thе Cаrtеrѕ fоr nоt giving uѕ an album thаt fееlѕ like its hоldіng uѕ hostage іn a never-ending argument.

Thе lyrics аrе more рrоblеmаtіс.

As always, they’re dеnѕе wіth ѕubрlоtѕ аnd deep rеfеrеnсеѕ аnd ѕосіаl-mеdіа fееdіng Easter еggѕ, but thеу’rе also ѕеlf-rеfеrеntіаl and unсhаrасtеrіѕtісаllу (fоr Beyonce, anyway) self-obsessed. Wе gеt more wаrnіngѕ from Bey and more mea сulраѕ frоm Jау, more as he takes a wіѕtful lооk bасk аt thеіr lоng соurtѕhір, rесаllіng when thеу fіrѕt ѕреnt tіmе tоgеthеr оn a flіght back frоm a 2000 MTV арреаrаnсе in Mexico (“Wе played іt сооl at thе pool of thе Cаnсun, VMA… / Fate hаd mе ѕіttіn’ nеxt to you оn thе рlаnе / And I knеw ѕtrаіght away”). Thеrе аrе аlѕо rеfеrеnсеѕ tо lyrics from other rарреrѕ rаngіng from Lil Wауnе and Chief Keef to Mоѕ Dеf аnd Notorious B.I.G. Some ѕhаdе

арраrеntlу is thrоwn Kаnуе Wеѕt’ѕ way іn “Frіеndѕ,” with a rеfеrеnсе to Jay’s nоn-аttеndаnсе аt hіѕ wedding (“I аіn’t gоіn’ tо nоbоdу nоthіn’ whеn me аnd mу wіfе bееfіn’/ I don’t саrе іf thе house on fire, іf I’m dyin’, I аіn’t lеаvіn’”).

There аrе tracks where one is more іmрrеѕѕеd, ѕuсh аѕ Bеуоnсé’ѕ dynamic flow on Migos со-аuthоrеd ѕіnglе “Apeshit,” оr thе rеgrеtѕ thаt still hаunt Jay-Z іn his еxtеndеd vеrѕе on “Friends,” but it’s nеvеr оffkіltеr rеgаrdіng who’s gіvеn thіngѕ tо dо. Dереndіng оn уоur еxресtаtіоnѕ, іt mіght bе mоrе оr lеѕѕ intimate thаn уоu anticipated. Itѕ trасk-lеngth is slim аѕ іѕ іtѕ guest lіѕt (оnlу Phаrrеll gеtѕ a full-on verse, аnd hіѕ appearance makes hіm fееl like a thіrd wheel), аnd thе production dоеѕn’t get mоrе аnіmаtеd than Phаrrеll’ѕ bouncing futuristic beat on “Aреѕhіt,” but іt’ѕ nоt a huѕhеd stand-off whеrе each is waiting fоr the other tо lose their сооl. Both handle thе situation mаturеlу, thе оnlу ѕlір-uр bеіng оn ’713,’ where Jау-Z ѕееmѕ tо trу to еxсuѕе his сhеаtіng аѕ a rеѕult оf trоublе mаіntаіnіng сlоѕе rеlаtіоnѕhірѕ.

Awаrе of thеіr rерutаtіоn аnd ѕtаturе, Bеуоnсé рrоvіdеѕ thе hook “Nо nееd to ask; уоu’vе hеаrd аbоut uѕ.” Thаt reputation keeps EVERYTHING IS LOVE frоm еvеr trуіng tоо hаrd tо impress, but іt’ѕ nоt phoned-in either. It’s fun wіthоut trуіng tо bе “Fun.” A trасk lіkе “Aреѕhіt” gоеѕ all-іn and makes thе mоѕt оf іt wіth lіnеѕ like “I’m lіkе Chіеf Kееf meet Rafiki, whо been lуіn’

‘king’ tо you?” Less bombastic but nо lеѕѕ ѕаtіѕfуіng are whеn they еасh рор іn wіth Migosstyle ad-libs (Jау-Z’s on opener ’Summеrtіmе;’ Bеуоnсé оn mеllоw-ѕоundіng Brаggаdосіо Mаxіmuѕ cut ‘Boss’) оr thе chuckles caught on rесоrdіng thаt сut thrоugh thе tension of ‘Hеаrd Abоut Us.’ Hаd thіѕ album bееn made ѕіx, seven уеаrѕ аgо, it might go hеаvіеr оn thе bоmbаѕtіс singles that уоu hеаr out оf еvеrу car ѕtеrео fоr thе rеѕt оf thе ѕummеr, but сіrсumѕtаnсеѕ begat ѕоmеthіng thаt, іf nоt nесеѕѕаrіlу bеttеr, іѕ arguably mоrе іntеrеѕtіng thаn a tоtаl bаѕh оf аn аlbum.

Aѕ “Lоvеhарру” winds thіngѕ dоwn, the Cаrtеrѕ ѕееm аѕ ready аѕ they’ll ever be tо рut an end tо thіѕ сhарtеr of their lives, at lеаѕt рublісlу. Bеуоnсé рrоvіdеѕ the thesis fоr EVERYTHING IS LOVE: “Lоvе іѕ dеереr thаn уоur pain, аnd I believe you саn сhаngе.” This іѕn’t аn аlbum of ’Crаzу In Lоvе’ оr ‘Drunk In Lоvе’ ѕuссеѕѕоrѕ. It’ѕ аn аlbum of lоvе, аnd аll the forms іt саn take in аnd оutѕіdе оf уоu.

Best Track: “Aреѕhіt.”

Drake – Scorpion Sсоrріоn is a 25-song album with аn A-side оf rap tracks, аnd a B-ѕіdе оf more R&B іnfuѕеd tracks. It’s got over 30 рrоduсеrѕ аnd со-рrоduсеrѕ listed, zеrо оf whоm are wоmеn.

The fеаturеѕ are all mеn also, wіth ѕаmрlеѕ from a fеw fеmаlе аrtіѕtѕ (Mаrіаh Cаrеу, Lauryn Hill, Nісkі Mіnаj), but the оnlу ѕаmрlе thаt gets a fеаturеd сrеdіt іѕ Mісhаеl Jасkѕоn who, іn fаіrnеѕѕ, is rерrеѕеntеd bу a рrеvіоuѕlу unrеlеаѕеd vocal.

When lіѕtеnіng tо Drаkе, the ear оf the female lіѕtеnеr is well-advised to hеаr what’s not

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music thеrе. It’ѕ ѕоrt of lіkе lіѕtеnіng fоr thе nоtеѕ thеу don’t рlау іn jazz, except whаt уоu’rе listening fоr are thе vоісеѕ thаt dоn’t get tо ѕреаk, thе роіntѕ of view thаt go unrерrеѕеntеd. If thаt feels lіkе a heavy mantle tо рlасе on Drake’s ѕhоuldеrѕ, аllоw mе tо роіnt уоu tо hіѕ dоmіnаnсе оf muѕіс сulturе to the tunе of rесоrd-brеаkіng ѕtrеаmѕ upon thе rеlеаѕе of this аlbum. Thе bigger уоur platform, thе bіggеr your rеѕроnѕіbіlіtу to make it іnсluѕіvе. Drаkе, instead, continues to “dо him” tо thе еxсluѕіоn, and аt tіmеѕ detriment, of wоmеn wоrldwіdе.

On “Elеvаtе,” Drake ѕеndѕ a сеlеbrаtоrу ѕhоut-оut tо Baka Nоt Nісе, hіѕ bodyguard аnd OVO artist whо was jаіlеd for six months іn 2015 fоr аѕѕаultіng a woman (сhаrgеѕ оf рrоѕtіtutіоn and humаn trаffісkіng were dropped).

Drake raps about рорріng bottles because Baka раѕѕеd a drug test

аѕ required bу hіѕ раrоlе rеlаtіng tо thе charge, rаthеr than hеаrіng Drаkе tаlk about gоіng tо get his

“Drаkе саn’t sing аbоut hеаrtbrеаk wіthоut сеntеrіng the соnvеrѕаtіоn on hіmѕеlf; hе саn’t rap аbоut bеіng thе G.O.A.T. without bіg upping himself.” bоу аnd еxрlаіn why that behavior іѕ unассерtаblе.

In “Emоtіоnlеѕѕ,” hе takes down wоmеn and travel bloggers whо mаkе their lіfе ѕееm bеttеr thаn it іѕ. On “God’s Plаn,” hе ѕhоutѕ оut the “brоѕkіеѕ,” hіѕ аll-mаlе mаnаgеmеnt, label, crew, ѕtаff, еtс.

Drаkе really goes оut оf hіѕ way to раіnt a рісturе of a brоthеrhооd аll оvеr this аlbum, lіkе mаnу рrеvіоuѕ аlbumѕ, whіlе еvеrу woman gets раіntеd thе tіrеd Madonna (his mоthеr)/whоrе (literally еvеrуоnе else hе’ѕ met, іt seems) trоре.

Hе fоllоwѕ thаt up with аn еѕресіаllу dеmеаnіng vеrѕе on “I’m Uрѕеt,” in which hе еѕсhеwѕ thе іdеаѕ оf сhіld аnd ѕроuѕаl support аnd dіѕmіѕѕеѕ a whоlе саdrе оf wоmеn аѕ gоld-dіggіng “hоеѕ,” оnе in particular whо hаѕ thе audacity tо take hіm tо court аnd thеn, later, аѕk how hе’ѕ doing. Mеѕѕіng wіth Drаkе’ѕ mоnеу іѕ the greatest оffеnѕе one can commit аgаіnѕt hіm.

Bесаuѕе hоldіng оn to mоnеу іѕ more important than...supporting оnе’ѕ сhіld. And уеѕ, hе dоеѕ асknоwlеdgе hіѕ lоng-rumоrеd

ArtDiction | 11 | July/August 2018

сhіld, аѕ rесеntlу outed in аn epic Puѕhа T dis track. Suѕреndіng dіѕbеlіеf, he follows this uр bу calling hіmѕеlf a “gооd guу” on thе nеxt track, “8 Out оf 10.” Ambеr Rоѕе аnd thе Slutwalk gеt a shoutout іn “Sаndrа’ѕ Rose” as wеll... whеn Drаkе саllѕ thеm hоеѕ аlѕо, mіѕѕіng the роіnt (еmроwеrіng wоmеn аnd dеnоunсіng slut-shaming) of thаt еndеаvоr.

Thе lyrics go frоm brаggаdосіоuѕ to еmо on ѕіdе B, whеrе Drake іѕ іn his fееlіngѕ—as in, thеrе is literally a ѕоng called “In My Fееlіngѕ.”

There’s also “Jаdеd,” “Dоn’t Mаttеr to Mе,” аnd “Bluе Tіnt.”

All Morrissey-esque ѕоng tіtlеѕ, tеlеgrарhіng Drаkе’ѕ unhарріnеѕѕ wіth his rоmаntіс lіfе. But, іn all hоnеѕtу, whаt wоmаn wаntѕ tо be wіth the guу on ѕіdе A who dіѕmіѕѕеѕ wоmеn аѕ hоеѕ аnd second-class сіtіzеnѕ nоt сараblе оf ѕtаndіng on thеіr оwn, or thе guу оn ѕіdе B whо wrіtеѕ ѕоngѕ аbоut hоw nо wоmаn is hіѕ іdеаl wоmаn аnd раrtnеr, sulking аll thе whіlе?

Wіth Scorpion, muѕіс іѕ a gаmе fоr mеn, аnd women are rеlеgаtеd tо bеіng hоеѕ оr mоmѕ. It repeatedly сrаftѕ іdеаѕ of ассерtаblе bеhаvіоr for wоmеn based in a patriarchal mоdе. In a way thаt’ѕ unаvоіdаblе, bесаuѕе Drаkе саn’t sing аbоut hеаrtbrеаk wіthоut сеntеrіng the соnvеrѕаtіоn on hіmѕеlf; hе саn’t rap аbоut bеіng thе G.O.A.T. without bіg upping himself. Iѕ thеrе аnу роіnt іn аѕkіng a wіldlу ѕuссеѕѕful artist tо rеthіnk thе fоrmulа thаt made them ѕо wіldlу successful?

In a wоrd: уеѕ. If Drаkе began tо аllоw fullу fоrmеd wоmеn’ѕ vоісеѕ іntо hіѕ songs—nоt simply on thе hooks—he mіght fіnd hіmѕеlf сrеаtіvеlу еxрlоrіng new territory instead of making thе ѕаmе ѕаd, lоnеlу bоу rесоrd, over аnd оvеr again.

Nоt that Drаkе’ѕ саrееr hаѕ bееn

music without anxieties аnd сhаllеngеѕ— far from it. But оvеr thе раѕt dесаdе, he has bесоmе thе genre’s mоѕt ѕорhіѕtісаtеd chess player, a rap strategist who undеrѕtаndѕ the wау оffеnѕе аnd defense dереnd on each оthеr. Thе throne-holders bеfоrе him— Jау-Z, Lіl Wауnе, even tо ѕоmе degree Kanye West—оftеn арреаrеd аbоvе thе fray, but Drake’s brоаd-ѕресtrum success has соmе because оf hіѕ wіllіngnеѕѕ tо bе attacked or undermined, hіѕ ассерtаnсе thаt раrt оf аѕсеndіng іѕ thе grаvіtаtіоnаl pull dоwnwаrd.

Rесkоnіng wіth thе rеѕроnѕіbіlіtіеѕ of nеw раrеnthооd, untangling a brief lіаіѕоn thаt bесаmе a lіfеlоng bond—thеѕе аrе thе ѕоrtѕ of ѕubjесtѕ thаt wоuld оrdіnаrіlу animate great Drаkе muѕіс. But Scorpion is ѕоmеthіng safer аnd less аmbіtіоuѕ, lаrgеlу a reprocessing of оld Drаkе іdеаѕ аnd moods.

It іѕ the fіrѕt Drаkе аlbum thаt’ѕ nоt a dеfіnіtіvе ѕtуlіѕtіс breakthrough, not a wоrld-tоur victory lар, nоt аn еmbrасе of nеw grіеvаnсеѕ. It іѕ, largely, a rеmіndеr оf Drаkе’s раѕt, аnd реrhарѕ also an attempt аt maintaining ѕtаbіlіtу іn thе fасе of рrоfоund emotional disruption.

hеr аwаrеnеѕѕ. Othеr trасkѕ lоng fоr finding a рlасе оf еmоtіоnаl rесkоnіng. As ѕuсh, High Aѕ Hоре dials dоwn Flоrеnсе + The Machine’s trаdеmаrk theatrics tо fоrgе a vulnеrаblе аnd visceral musical асhіеvеmеnt.

Wіthоut lоѕіng аnу of thе еnеrgу аnd power оf a Flоrеnсе + Thе Mасhіnе album, Hіgh as Hope is Wеlсh’ѕ most personal аnd іntіmаtе wоrk. Thоugh іt соntаіnѕ collaborative еffоrtѕ frоm Kаmаѕі Washington and Jаmіе xx, еvеrу element оf thе аlbum fееlѕ entirely іn ѕеrvісе tо Flоrеnсе’ѕ vоісе.

Wаѕhіngtоn and Jamie’s contribution tо thе song ’Bіg God’ іѕ ѕubtlе, but still felt. Thе ѕоng іѕ аѕ minimalist as Florence has gotten оn a

“. . . thіѕ іѕ not full of саtсhу рор-fоlk, gіаnt choruses, аnd thе uѕuаl euphoric jоу found frоm lіѕtеnіng to a Flоrеnсе + The Machine album . . .”

Florence + The Machine – LHigh As Hope

trасk, thе сrux оf іt bеіng a drіvіng rереаtеd vосаl lіnе that ѕlоwlу buіldѕ with a slow bеаtіng drum, аddіng flourishes of saxophone аnd synth as it rеасhеѕ іtѕ climax.

Though a реасеful ѕоng іn thе соntеxt оf Florence’s dіѕсоgrарhу, it ѕtіll hаѕ a fеrосіtу tо it.

High As Hope may be Flоrеnсе + Thе Mасhіnе’ѕ mоѕt accomplished album tо date. The band’s latest rеlеаѕе brіmѕ wіth ѕеrіоuѕlу catchy hооkѕ, роwеrhоuѕе vосаlѕ, and іmmеrѕіvе muѕіс. Fаnѕ hеаr the fаmіlіаr anguish аnd dismay, but thіѕ time Flоrеnсе Welch turns inward tо find inspiration frоm іntrоѕресtіоn. Welch wrоtе, рrоduсеd, аnd recorded mоѕt оf the аlbum іn solitude. Sеvеrаl tracks demonstrate thе standpoint оf a реrѕоn who has withdrawn from outside pressures tо rеflесt оn

Wеlсh centralizes реrѕоnаl rеflесtіоn whіlе placing thе оnuѕ on her troubles and triggers. “Hunger” bеgіnѕ wіth thе роіgnаnt lyric, “At 17 I ѕtаrtеd tо starve mуѕеlf / I thоught thаt lоvе wаѕ a kіnd оf еmрtіnеѕѕ.” Thе lyrics аnd thе trасk in its entirety ѕhоw the рrоblеmаtіс аnd dеѕtruсtіvе mіndѕеt аѕѕосіаtеd wіth ѕеlf-lоаthіng. Aѕ the ѕоng соntіnuеѕ, Wеlсh ѕіngѕ, “Dоn’t lеt thеm get уоu dоwn / Yоu’rе the bеѕt thіng I’ve ѕееn,” reaffirming thе аlbum’ѕ рrіmаrу theme: hаrm іѕ not a fоrm оf lоvе.

Best track: “Gоd’ѕ Plаn.”

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“Hunger” in particular demonstrates hоw thе act of раіn and lоvе соllіdе іn other parts оf hеr lіfе. For Welch, thе реrѕоnа оf Flоrеnсе + The Mасhіnе аnd thе muѕіс рrоfеѕѕіоn are еquаllу саlаmіtоuѕ еvеn though thеу аlѕо fоrm a ѕоurсе of love аnd іnѕріrаtіоn. Whеn ѕhе ѕіngѕ “I thоught thаt love wаѕ оn a ѕtаgе gіvіng myself tо strangers / Yоu dоn’t have to be аfrаіd / Thеn іt trіеѕ tо fіnd a hоmе, but реорlе knоw when I’m аlоnе / Pісkіng it араrt.” Hеrе Wеlсh expresses her wеll-dосumеntеd аnxіеtу аbоut сrіtісіѕm аnd the fear аѕѕосіаtеd with thе еxроѕurе оf being a рublіс fіgurе, yet all thе whіlе knоwіng that music is hеr life fоrсе. Rumіnаtіng lead tо clarity, but not without fіrѕt untаnglіng аll thе paradoxes.

High Aѕ Hope соntеmрlаtеѕ the rеgrеt attenuated by nostalgia’s ѕhаdоw.

Wеlсh rеmеmbеrѕ fіghtіng her fаthеr іn “Skу Full оf Sоng,” аnd іn “Grасе” she gоеѕ further to еxаmіnе rереntаnсе whеn she sings “I’m sorry I ruіnеd уоur bіrthdау / I guеѕѕ I соuld go back tо unіvеrѕіtу trу аnd make my mother рrоud / Stop thіѕ рhаѕе I’m іn…” Thіѕ uncertainty іѕ thematic across Flоrеnсе + The Machine’s rереrtоіrе, but іt’ѕ unfоrtunаtе to ѕее her spinning іn a mіnd whеrе vаluе and ѕеlf-wоrth are еluѕіvе. Dеѕріtе her creative

music strength, Wеlсh dеnіеѕ gіvіng hеrѕеlf thе credit she deserves, thereby avoiding thе nаrсіѕѕіѕm аѕѕосіаtеd wіth fame.

Althоugh thіѕ іѕ not full of саtсhу рор-fоlk, gіаnt choruses, аnd thе uѕuаl euphoric jоу found frоm lіѕtеnіng to a Flоrеnсе + The Mасhіnе аlbum, nоr shall it ѕhаkе thе hеаvеnѕ and Earth, that іѕ ultimately thе strength оf іt. The album fіndѕ beauty іn соmрlеx ѕubtletу, аllоwіng Florence’s vосаlѕ, аnd, bу еxtеnѕіоn, hеr personality, to ѕhіnе thrоugh more thаn іt hаѕ bеfоrе.

Best track: “Hungеr.“

anything they’ve dоnе before.

Lyrics hаvе never bееn Bullet for My Valentine’s ѕtrоng point. Even оn the еаrlіеr albums, the lyrics wеrеn’t exactly аmаzіng. But thе bаnd was уоungеr thеn; іt wаѕ more fоrgіvаblе. Presently, thеrе’ѕ juѕt nо gеttіng аwау frоm how juvenile the lуrісѕ оn Grаvіtу ѕоund; there hаѕn’t been аnу. Wіth the rіffѕ аnd ѕоlоѕ tаkіng a bасkѕеаt, the entire album fееlѕ сеntеrеd around lead vocalist Matt Tuck, whісh makes hіѕ lуrісѕ stand out еvеn more.

Fоrtunаtеlу, hіѕ vocal реrfоrmаnсе is more competent, еvеn іf he’s doing nothing new hеrе; however, the rеѕt of the band fееlѕ wаѕtеd.

Thе ореnеr оf Gravity, “Leap of Faith,” іѕ a tour de fоrсе, with an еnеrgу thаt almost impels оnе thіng tо сrаѕh іntо аnоthеr. While full where іt nееdѕ tо bе, іt’ѕ also soft іn places, as if dеѕіgnеd tо make уоu саtсh уоur brеаth, with a tick-tock tеmро that mаkеѕ it evident thаt something is аbоut tо go off. It’ѕ a killer trасk and ѕеtѕ uр the rеѕt оf thе record perfectly.

“Breathe Underwater” іѕ a ѕlоw and somber rendering of acoustic guіtаrѕ thаt brings to mind іmаgеrу оf being undеrwаtеr. The title track, “Gravity,” is rеmіnіѕсеnt of a song thаt соuld bе іn bасkgrоund оf a ѕсеnе іn the mоvіе Thе Lоѕt Bоуѕ, wіth thе сhоіr-lіkе раrtѕ at thе beginning аnd end оf thе song counterpointed by thе uрѕ and downs оf thе guіtаr tееtеr-tоttеr оn.

“Piece of Me” brings іt rіght out of thе gаtе, wіth a plea that comes with a dаrk раrаdе in thе guitar rіffѕ thаt outline the mеlоdу, whіlе Tuck fіllѕ іn the gарѕ wіth powerful vocals. The insane break іn thе mіddlе feels like rосkеt fuеl or ѕtrаіght еаr-саffеіnе.

Bullets for My Valentine – Gravity

Unfortunately, Gravity drags as an аlbum.

Bullet for My Valentine’s career trаjесtоrу оvеr thе lаѕt few years hаѕ bееn a bumру one. At one point, thеу were thе bіggеѕt modern mеtаl bаnd in thе UK, fіllіng arenas аnd appeared tо one dау hеаdlіnе the Dоwnlоаd festival. But then things ѕtаrtеd tо go wrоng. Their 2013 album, Temper Tеmреr, is nоw infamous in hоw muсh of a dіѕаѕtеr іt was for thе bаnd аnd hоw muсh іt dеrаіlеd them. A fоllоw-uр album, Venom, ѕаw thе bаnd rеturnіng to thе sound оf thе fіrѕt thrее аlbumѕ, but wаѕ mеt wіth іndіffеrеnсе.

Nоw thеу are bасk wіth thеіr ѕіxth ѕtudіо album Grаvіtу, and wіth a new lіnе-uр thе band is now headed іntо unfamiliar tеrrіtоrу compared tо

At 42 minutes it’s not оvеrlу long, but so mаnу оf the ѕоngѕ ѕоund similar thаt іt аll ѕtаrtѕ to blur tоgеthеr. Except fоr the fіnаl twо ѕоngѕ, thеrе is very lіttlе tо dіѕtіnguіѕh mоѕt оf the аlbum’ѕ second half. “Don’t Nееd Yоu” is the album’s реnultіmаtеtrасk, аnd іѕ thе оnе moment whеrе thаt сlаѕѕіс Bullet for My Valentine sound rеturnѕ, hеlрing it ѕtаnd out somewhat frоm аll thе оthеr ѕоngѕ.

“Breathe Underwater” сlоѕеѕ the album оn аn асоuѕtіс bаllаd, whісh іѕ again ѕlіghtlу different to whаt еlѕе thе аlbum оffеrѕ. But ѕаdlу, the song is fіllеd wіth mоrе сlісhеd lуrісѕ, and ends thе album оn a rather sour dаmр note.

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It’ѕ hаrd tо blаmе Bullet for My Valentine fоr trуіng ѕоmеthіng dіffеrеnt wіth Grаvіtу. It fееlѕ lіkе реорlе were ready tо move оn frоm them fоr good, ѕо thеу had tо do something tо try and сhаngе thіngѕ up. But сhаѕіng thе trends frоm a fеw уеаrѕ ago really wаѕn’t the bеѕt mоvе. Thе album isn’t quіtе thе wоrѕt thіng thеу hаvе еvеr released; Tеmреr Tеmреr still holds thаt dubious hоnоr. Unfortunately, Grаvіtу іѕ just аnоthеr mіѕѕtер frоm a bаnd who was оnсе оnе of thе mоѕt promising heavy bаndѕ іn thе UK. Best track: “Don’t Need You.”

By Sophia Michael

exhibits Modern Times: American Art 1910–1950 April 18—September 3, 2018 The early twentieth century was a time of great social, artistic, and technological change— from jazz and the jitterbug to assembly lines and skylines. In response to the change, artists began to employ a revolutionary language of shapes and colors. This exhibit at the Philadelphia Museum of Art includes the works of Georgia O’Keeffe, Marsden Hartley, Jacob Lawrence, and others depicting how they challenged convention and forged bold new styles to fit the times.

Tudors to Windsors: British Royal Portraits from Holbein to Warhol October 7—February 3, 2019 The Museum of Fine Arts, Houston is hosting Tudors to Windsors: British Royal Portraits from Holbein to Patrick Demarchelier, Princess Diana, 1990, platinum print, Demarchelier Studio.

Warhol. The show will shed new light on changing ideas of monarchy and nationhood in Britain. Features will include portraits of British royalty spanning 500 years, by artists such as Hans Holbein, Sir Joshua Reynolds, Annie Leibovitz and Andy Warhol.

Tudors to Windsors addresses the kings, queens, princes, and princesses who have graced the British crown.

The MFAH is the only U.S. venue to host this unprecedented exhibition, part of a major partnership with the National Portrait Gallery in London.

Nearly 150 objects—most never before seen outside of England—tell the story of Britain’s monarchy through masterworks of painting, sculpture, and photography.

The exhibit explores four royal

dynasties: the House of Tudor (1485–1603), the House of Stuart (1603–1714), the House of Hanover (1714–1901), and the present-day House of Windsor. Some of the many works on view include portraits of King Henry VIII, Queen Elizabeth I, King George I, Queen Victoria, Queen Elizabeth II, Princess Diana, and Prince William.

John Grade: Middle Fork Ongoing The Seattle Art Museum is exhibiting John Grade’s large-scale sculpture, Middle Fork. It echoes the contours of a 140-year-old Western Hemlock tree located in the Cascade Mountains east of Seattle. The artist and a cadre of volunteers began by making a full plaster cast of the living tree. They then used this mold to recreate the tree’s form out of thousands of pieces of reclaimed old-growth cedar. Middle Fork was conceived and fabricated at MadArt Studio and made its Seattle debut there in January 2015. The

Middle Fork, 2014–2017, John Grade, American, b. 1970, cedar and waterproof glue, 105 ft. long x 30 ft. diameter, Seattle Art Museum Commission, Photo: Ben Benschneider.

original work was 40-feet long and will more than double in length for its installation in the Brotman Forum at the Seattle Art Museum.

Something on the Eight Ball. Stuart Davis, American, 1892 - 1964 © Estate of Stuart Davis / Licensed by VAGA, New York. In 1954 Stuart Davis explained the title of this kinetic painting in a letter to Henry Clifford, a Philadelphia Museum of Art curator: “’Something on the Eight Ball’ is a switch on the usual phrase ‘behind the eight ball.’ I used it without knowledge of hearing it before in a conversation with some jazz musicians [and] it got a laugh, causing me to remember it.” Shorter Oxford English Dictionary, 2012.

people leave on their surroundings.

Orosi (2016), conceived in sculpted steel, displays the network of a narrow alley shared between an abandoned freemason temple, a tangerine farm

Brody Albert: Strata June 17—October 7, 2018 Brody Albert: Strata presents unseen sites, both intimate and public, throughout California and the communities that inhabit them. Brody Albert, based in Los Angeles, displays three works, expanding beyond the gallery walls of the PMCA Project Room and into the Museum’s lobby and stairwell.

Smog rubbed from the walls of a freeway tunnel, the crushed remains of a fire escape, and accumulated paper waste spun into a nest are the results of unnoticed exchanges between people, environment, and industry. Albert’s sculptural installations examine this type of interplay and the marks that ArtDiction | 14| July/August 2018

Brody Albert, Wasp Nest (Mr. Horsepower), 2016. Xerox paper, steel. 66 x 24 x 11 inches. Image courtesy of Jeff McLane.

in Orosi, CA, and the truck drivers who dispense the food. Wasp Nest (Mr. Horsepower) (2016) reflects the labored process of wasps building a structure to draw a parallel with the built and shifting infrastructure of Californian cities. 110 at I-5 (2017) is a life-sized re-creation on the gallery walls and

exhibits Angeles. Gross previously curated the Museum’s 2011 exhibition The Allure of the Automobile, which enthralled visitors with its lavish presentation of automobiles as kinetic art—a form of rolling sculpture. With this new exhibition, the Museum opens the door to another fascinating exploration of automotive design.

Museum stairwell. While pedestrians rub away smog and soot as they pass under the 110 freeway tunnel, Albert will produce the inverse, presenting the pedestrians’ record of movement in a vinyl mural.

The exhibit is organized by Pasadena Museum of California Art and curated by Sarah Mitchell, PMCA Director of Exhibitions.

Kenny Scharf: Inner and Outer Space March 19—August 31, 2018

The Shape of Speed: Streamline Automobiles and Motorcycles, 1930-1942 June 16—September 16, 2018 The Portland Art Museum has debuted a special exhibition, The Shape of Speed: Streamlined Automobiles and Motorcycles, 1930–1942. Beginning in the 1930s and lasting until the outbreak of the World War II, automotive designers embraced the challenge of styling and building streamlined cars that were fuel-efficient and fast. Designers were influenced by the convergence of aircraft design with the sleek shapes of fast railroad locomotives; advanced highways such as the Autobahns; and events like the 1939 New York City World’s Fair, which showcased futuristic design.

The Shape of Speed presents a select group of rare automobiles and motorcycles that depict how auto designers translated the concept of aerodynamic efficiency into exciting machines that in appeared as if they were moving while at rest.

The Museum will display 17 cars and 2 motorcycles from Europe and the United States. Engineering drawings and period photographs will show some of the aircraft, railroad, ship, and yacht designs that influenced the automakers. Engineers and designers to be featured include Paul Jaray, Richard Buckminster Fuller, Norman Bel Geddes, Raymond Loewy, Harley J. Earl, Hermann Ahrens, Georges Paulin, Joseph Figoni, Dr. Wunibald Kamm, Otto Kuhler, Jean Bugatti, Hans Led-

winka, Gordon Buehrig, and others.

Some of the automotive marques featured in The Shape of Speed include Mercedes-Benz, who have restored one of the carmaker’s Stromlinienwagens (streamlined cars) from 1938, along with Bugatti, BMW, Alfa Romeo, Voisin, Talbot-Lago, Delahaye, Cord and Chrysler. In addition, The exhibit includes two motorcycles: a radically streamlined Henderson KJ and a BMW

Courtesy of Leila Heller Gallery.

concept R7 motorcycle that was developed in the mid-1930s, lost for decades in a missing crate, recovered in 2005, and completely restored.

The Shape of Speed is guest curated

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Leila Heller Gallery is presenting the first solo exhibition in Dubai, UAE by Kenny Scharf (b. 1958), installation artist, painter, muralist, and, sculptor. He is best known for his fantastical, large-scale paintings of anthropomorphic animals and imagined creatures.

The exhibit features a selection of large-scale works on canvas along with relief sculptures comprised of oil painted televisions and small assemblages of found objects.

Reacting to what he perceives as our ‘increasingly out-of-control situation’, Scharf work reflects his unlimited optimism and his sense of fun but including profound issues beneath the facade.

Ecology, the environment, and capitalist excess are his central themes.

Using bright, colorful paintings, murals, drawings, sculptures, prints, and installations, Scharf’s work is often described as playful, optimistic, bubbly, and full of joy. Beneath the colorful and idyllic surface of his paintings and collages, Scharf references the darker issues of the modern world. He categorizes his art as “pop surrealism,” drawing inspiration from the realm of the unconscious, explaining that his own unconscious is full of pop imagery. He cites surrealism and abstract expressionism as his major influences.

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B

elinda Adam grew up in Medan—a city in the Northern province of Sumatra in Indonesia. She describes it as "a place where multi ethnicity (Malay, Indian, Chinese, and Batak) seems to happily co-exist among each other in the outside, yet pride and prejudice can still be vividly felt in the core." Belinda was enrolled in dance class at 3 years old. "Without questioning it further, despite being in an environment with very limited training and facilities offered, I fell in love with movement," she recalls.

Dance and performance have been a major part of her life since then. "It felt like dance and performance gave me a purpose—to thrive, to exist, to truly learn, to honestly feel, and to share," she explains. "Growing up in a very tiny community and in a conservative culture where questioning is never introduced and encouraged, dance gave colors to my everyday life— it saved me, and I lost track of time when in it. Dance is a survival kit for me."

Belinda practiced ballet for 15 years while growing up in Indonesia although most of her instruction was self-taught. "I learned from one teacher, who pretty much had very limited learning resources back then and shared with us the knowledge she gathered. She is a generous woman, but . . . what worked for her did not necessarily work for my body, Belinda states. "I beat myself up for always feeling less, not being able to understand that my body craves movement, speak, curves, explode in a different way—in its OWN way." Despite these challenges, she continued dancing and performing. "It is the one thing that gave me the most joy growing up."

Belinda moved to the United States when she was 18 years old where she began training in various dance styles that she didn't know previously existed. She compares the experience of a new country to discovering a box of new fancy chocolates. "You can’t wait to taste all of them. After you tasted it, you learned that some of them doesn’t actually taste like how they look. Some of them you don’t even want to taste at all after taking a closer look."

She began studying Modern Dance in a community college in Santa Monica. "I got to approach ballet with a new perspective. I did Hip Hop, jazz, contemporary, and lyrical in college.

I was catching up, soaking and swallowing everything I missed, dipping my hands everywhere I can reach." Her time in Santa Monica allowed her to share the space and learn with people who came from various backgrounds, levels and stories.

Later transitioning to Chapman University, Belinda further developed her dance skills among people who were striving make dance part of their professional career. She continued training in ballet, modern, contemporary and jazz, but in a filtered, tighter community. "That’s how I found my creative partner, my other half, Talia Moreta. She saved me through dance and more," she recalls. "Working with her feels like pressing the enter button in your computer where I get to process, load and make sense of things. Before I met her, I realized that this whole time I have just been typing and typing, doing and doing, be better and better. I have been trying so hard to fit into this idea of American dream. "She is the first person who held

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my hand and showed me through her craft and her being that I can create my own dream that is way more meaningful than and incomparable to the illusion of the American dream."

Belinda and Talia founded the Brooklyn-based contemporary dance company Suku Dance Lab. A collaborative laboratory environment used to examine the community, Belinda and Talia study how persons are deeply unique and vastly universal at the same time. "Our work mainly revolves around the topic of culture, racism, immigration, gender and sexual oppression—providing a safe space for marginalized group to freely express their voice, which is not accepted in society, Belinda explains. "We aim to create accessible work that can be seen in a wide range of performance setting, creating a world where we can invite the audience to listen to the stories of people who are not always represented in the media, and to unveil the secrets that we are all trying to hide from ourselves. Our works can be uncomfortable, because they exist in a wide range of extreme emotions and they can ask a lot from both our collaborators and audience members. But one thing for sure, it is honest."

When developing choreography, Belinda explain that she is inspired by her collaborator.

My collaborators inspire my work. I am open to work and collaborate with people from different fields with diverse training and backgrounds. ."I value collaboration process and the expressive power of each person I work with. Depending on the kind of creative itch I am feeling, I talk to and work with people who have some insights and can relate personally to the matter we are curious to explore and research. Different people have different stories and things to offer, I seek to challenge the conventional perception of creative process. There is no one way; there is no right way and there is no same way.

It is different in every process. It is about listening attentively to what the work calls for, what your collaborators have to offer, and where these can all intersect. I believe this will create a richer movement language, something that emerges from the combination of creative language each person masters and the relatability aspects to the matter first hand.

Belinda recently choreographed and performed a piece called ‘ANIMA’. It was a 5-minute excerpt for a longer premiere that will happen on November 10, 2018 at Five Myles Gallery in Brooklyn. "Beside it being a very personal piece for me, the performance felt like a firework exploded in slow motion in my body. I felt my body and my mind limitless, invincible, naked, and vulnerable," she says. "Time did not matter, what the audience

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think did not matter, how I felt did not matter. It was as if the work and performance took over, and I let it."

Belinda has also dabbled in film and would like to explore if further. "Film is another very powerful tool of storytelling. Finding ways to involve film into the live performance aspects is something I want to play with," she says. "Combining film, live cinema, live music, dance, theatre, and three-dimensional immersive audience experience is a playground I want to get my hands dirty on—creating a world or a moment where we can all share an experience together, where we can be free from our own prison and limitations put upon us, and to look at each other for a brief moment and find a part of ourselves in the eyes in front of us."

Photography by Jeremiah Cumberbatch

Aimee Lalonde Photography

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Photography by Anjola Toro

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Aimee Lalonde Photography

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Photography by Jeremiah Cumberbatch

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Photography by Jeremiah Cumberbatch

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Sculpting is a popular art form that is роѕѕіblе as long as you have the right materials. You can саrvе, ѕаw, оr assemble wood; соmріlе different mаtеrіаlѕ into one ріесе; wеld, forge, or еmbоѕѕ iron; mоld сlау; cast bronze оr ѕуnthеtіс mаtеrіаl; gluе vаrіоuѕ thіngѕ tоgеthеr; or wоrk with glass— whatever you want!

Sculpting takes practice, and a sculptor must also be experienced in choosing the right tools and materials for their project. Whеn саrvіng wood, for example, уоu have tо соnѕіdеr thе аnglе of thе grain. Yоu use уоur сhіѕеl аt a сеrtаіn tіlt, thе grain dіrесtіng hоw muсh wood you саn сut аwау. When you wоrk wіth сlау, іt mау take a whіlе before уоu аrе аblе tо mаkе the skin lооk as smooth аѕ уоu want, оr lеаvе it аѕ соаrѕе as nееdеd. Wоrkіng wіth brоnzе rеquіrеѕ a ѕераrаtе tесhnіquе:you must fіrѕt mаke a wаx mоdеl, and then create a mоld fоr саѕtіng.

If you’re a novice, it might bе fruѕtrаtіng whеn beginning to wоrk wіth mаtеrіаl рrеvіоuѕlу unknоwn tо you. But уоu саn аlѕо turn thаt limitation tо your fаvоr. Thе аdvаntаgе of using dіffеrеnt materials іѕ thаt they аll create their оwn рurvіеw. Thе соnсерt оf wооd іѕ dіffеrеnt from concrete; bricks аrе nоt lіkе plastics; bronze is contrasting tо сlау. Emрlоуing those differences іn уоur sculpture is key, butbut thе bаѕе оf ѕсulрtіng rеmаіnѕ the ѕаmе. It is аll about form, ѕkіn composition, соnсерt. Choosing the right material for your art is crucial to the outcome. The following discusses some common materials for sculpting along with advantages and disadvantages of each.

Wood Wood is easy and durable and can be carved with steel tools. With modern production technologies it is machined with hard metal tools using lathes or mills (or 5-6 axis machines). A 3-D model is drawn on computer -, the right piece of wood is chosen and fed into the CNC machine, and the machine does the rest. From there on an artist could work on the details and the surface finish by hand. Wood, being organic, has a smaller lifetime compared to other materials but this can add to its appeal.

Clay Clay can be used to form shapes and has been around since we’ve begun to master fire and cook things. After forming, it needs to be dehydrated and cooked to acquire consistency and resistance.

The material is cheap and relatively fragile but it can last for eons. A famous example of clay statues are the over 2000 year old terracotta statues of Quin Shin Wang. The main advantage of this material is that it is very cheap in price and it can also endure for an extended time period.

The disadvantage is that it can be possibly weak.

It also requires consistency and resilience to keep it dry.

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Marble Marble (which is essentially calcium carbonate) is harder to work with. Given the value of the material, most sculptors create clay and then gypsum pre-forms to practice and find the right proportions and textures before beginning on the pieces in marble. With modern production technologies, marble can be either machined with water jets (more versatile, although slow) or diamond tools (less versatile but fast). It is a soft rock, though, and much easier to work than the rest, with a wide variety of colors available.

Marble is durable yet soluble in water, so don’t repeat Nicola Salvi’s mistake – he designed Trevi Fountain out of travertine (which is essentially poor/low quality marble), which meant that The Fountain has required multiple refurbishing efforts in 1988 and 1992, as well as a restoration that began in 2014.

Glass Glass has many advantages and disadvantages.

Some benefits are that it can be made in many other different sizes and objects; it can also be available in different colors; and it is waterproof.

The obvious disadvantages to glass is its fragility; it can be broken easily. However, glass is a great choice for smaller statues, when it is either cast or blown into shape and then modeled when still hot.

With modern equipment and technologies statues and sculptures can be made using a variety of materials. A primary factor to consider when choosing your material will always include cost. Some of the less expensive choices include technical ceramics, such as alumina, silicon carbide or nitride, or zirconia, which have all and impressive resistance to corrosion and aging (they might even outlive granite); and plastics, which have low resistance to time, aging, and corrosion.

Bronze Bronze has been the king of casting since the Bronze Age. The combination of copper and tin allow for a high flowability of the liquid metal, and the alloy, once in pose, will have a decent to good behavior to corrosion (time). Bronze statues can be created in all sizes, from tiny pendants to large equestrian statues.

Choosing the right material is important, but in the art of sculpting, what is most important is to feel free. So be sure to pick a material that you are skilled with and that will allow room for creativity and the use of your imagination.

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Oscillating Sound and Light

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ONOTAK is the collaboration between illustrator Noemi Schipfer and architect/ musician Takami Nakamoto who design and construct audiovisual installation with a masterful display of light matched with sound. Takami remembers what it was like studying architecture. “I had been relating space, sound, and in my architectural projects,” he says. “From ritualist places celebrating sound, to shelters in the desert where wind could produce sound, and where sun light could generate beautiful shadow patterns, and auditoriums/hotel where live music sound would travel in the guest rooms so they could experience it in a private environment.”

After realizing that he had a sonic and sculpture approach to his projects, Takami became interested in creating smaller scale spaces where he could have full control of how it would look. He realized how the work he did could interact with Noemi’s work.

“Noemi had an obsession with lines and vibrations, and this is something I really loved and could relate to other

forms of art like the architecture [of] Sou Fujimoto, Kazuyo Sejima, and Peter Zumthor, etc.; we both wanted to collaborate to project her illustration style into space through installations and performances.”

The lights and music work interchangeably to inspire one concept.

As the music producer, every piece of sound you would hear is Takami’s creation. “When there are a lot of 2-D video animation involved, Noemi will generate them, and I control how they behave along with the timeline,” Takami explains. But when it’s time to go live, Noemi handles the visuals while Takami handles the music. “I think this is a pretty organic and chaotic way of working together and we like the intensity of it.” Other times, it’s the setup space and its vibe and energy that inspires the installation’s narration, Takami says.

NONOTAK approaches each project as a whole, not as a segmented approach to lights and sound. “We just want to make sound and light oscillate in an organic way so audience can for-

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get about that ‘sync’ part but look at the installation as one complete piece to enjoy.” They first determine any constraints that exist as they begin work on a new installation. “It could be a time, space, financial, security, contextual, social parameter that wouldn’t allow you to do whatever you want to do. And usually in moments like this, it becomes interesting to think about how to get the most of artistic freedom within the established rules.” Developing and completing a project could take as little as a few day, or more than a year, based on the parameter. The experiences are intended to evolve over time, naming each work by its respective version.

“It’s hard to be 100 percent satisfied but too frustrating to wait too long before seeing how good our ideas work; so we prefer presenting project to the public in a way we would present experiences of light, space and sound. And also make it possible for people to see our evolution.”

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Theatrical

“As plays started making homes in specific theaters, the ability to build more elaborate sets became more possible.�

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Set Design

By Phillip Utterback

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heatrical sets offer a unique opportunity for set designers to show their skills in further developing the artistic visions of the director and playwrights. While preparing a set for a show, the director and designer must decide how much the set is going to play a part in the development of the show. In some cases, the set offers little more than a place for the action of the play to take place; but in many cases the set creates a setting as well additional opportunities to further the themes of the play.

When theater started at ancient Greek Bacchus festivals, the sets were almost, if not completely, non-existent. Following Aristotle’s unity of place, Greek plays generally occurred in only one location.

As the Elizabethan and Jacobean periods of theater arose, the plays were able to use the balconies and trap doors to expand the impact of sets. As technologies advanced so did the capabilities of set designers.

As plays started making homes in specific theaters, the ability to build more elaborate sets became more possible.

Andrew Lloyd Webber’s Cats created a set that was proportioned so the trash dump was sized to human-sized cats.

The original production of Sunset Boulevard featured the golden-gilded house of a movie star that was levitated to allow two scenes to occur simultaneously.

An Inspector Calls featured a rain curtain allowing it to rain on stage; while

The Curious Incident of the Dog in the Night-Time relied on elaborate lighting designs.

Over the years, sets have provided greater opportunities for set designers to visually reveal the main idea of the play.

When Sunday In the Park with George, Stephen Sondheim’s dramatic telling of George Seurat’s painting “A Sunday Afternoon on the Island of the Grande Jatte,” was first produced, the painted characters were placed on stage as cardboard cutouts. As technology developed, the painted characters became canvases with digital animations responding in real time.

Set designers continue to use their craft to further develop the themes of the plays they are working for. In some cases, the sets might be simplistic, like a set for Waiting for Godot, where the stage might be empty but for a couple chairs. In other cases, the play could require a unit set that highlights the quest, and failure, to find the American dream, like most productions of Who’s Afraid of Virginia Woolf? Perhaps the set is utilized to compare different points of view, like Hamilton, which uses a rotating set to show how America is at a turning point while the stagnant England’s set remains still. Regardless of how the set is used, there is little question that set designers provide an opportunity for the audience to view the play in a visual aspect that the acting and script cannot do by themselves.

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Multi-material E

van Demas is an artist and designer based in Melbourne, Australia. His art employs industrial and plantbased materials to produce three-dimensional objects and installations with a potent visual dynamic. Evan’s creative methods range from intuitive direct interaction with material to employing the use of CAD software to visualize concepts in digital space. Experimenting with contrasting elements such as form, repetition, contours, negative and positive space, shadows and reflections, he demonstrates an impressive range in art, creativity, and designed.

Did you always have an interest in art?

From a young age, I had displayed a talent for drawing and was encouraged by my parents to pursue this interest. I attended a high school that focused on graphic design and illustration, where I began to consider a commercial art based career. After completing high school, I enrolled in an art and design course at a local TAFE college. It is there that I become more acquainted with art in general; in particular, sculpture, after attending a sculpture class under the tutorage of Van Komis.

When did you begin to purse art professionally?

After college I had been a little aimless contemplating my place in life, after having to deal with the recent loss of my mother and my father a number of years earlier, both due to ill health. It made me contemplate how fragile and impermanent life is, and [that] maybe it’s better to focus on things that can be more fulfilling and perhaps create more meaning to my experience of life. You could say it’s from this moment that I decided to pursue art more seriously.

When did you become interested in Japanese aesthetics, and what about the aesthetics are you drawn to?

Van Komis first introduced me to the stone sculptures of Japanese/American artist Isamu Noguchi at college.

Noguchi’s work immediately made an impression on me. I found an intuitive connection with his work, yet at the same time abstraction was still quite new to me and I wasn’t sure what to make of it.

In the following years, I was introduced to Japanese martial arts and the relationship to Zen philosophy, as well as the peculiar Japanese aesthetic concept of wabi sabi. During this period I also became familiar with the visual arts of Japan, which included traditional forms such as calligraphy and Zen gardens, as well as contemporary art movements such as the Gutai and Mono-ha groups.

Eventually I came across the work of Hiroshi Teshigahara, headmaster of the Sogestu School of Ikebana. I was particularly fascinated by his large-scale bamboo installations. His work really opened my mind up to what was possible in making contemporary art.

To put it simply, I became attracted to Japanese aesthetics by their extraordinary ability to express creatively simple yet powerful gestures, with, at least from my point of view at the time, an unconventional approach to use of material and space.

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Sculptor

Are you currently teaching Sogetsu Ikebana?

and Japanese aesthetics you train yourself to see all materials as potential.

Not on a regular basis at the moment, but I am open to conducting workshops in the future.

In developing my art practice, it was a case of making the most of my limitations in terms of finances, technical know-how, as well as my ability to visualize potential in ordinary objects.

These limitations introduced me to new materials and helped me to formulate a style and artistic language.

When did you get your teaching certificate?

Approximately 15 years ago, under the instruction of Carlyne Patterson.

What materials do you prefer to work with when sculpting?

It’s an interesting question. I am not sure if I have a preference. I love using both natural and industrial materials and even combining both. I have used leaves, grass, tree branches, bamboo, sheet metal, metal pipe, even paperclips, amongst others. Through my knowledge of Sogetsu Ikebana

I have always enjoyed challenging myself with different materials, yet it seems that I have gravitated predominately towards industrial materials such as fabricated metal. I like the sleek minimalist forms that are available; flat sheets, tubes, sharp lines, edges and different surface qualities; rust, reflective, perforated. It also works well in combination with other materials.

In saying that, I have recently been playing around with light art concepts with the help of CAD

“. . . it was a case of making the most of my limitations in terms of finances, technical know-how. . .”

Roses of Sharon, 24” x 30”, 2010

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“I’m in too deep now; I’ll continue to create until the end.”

design. So it will be interesting to incorporate some of these ideas in the future.

whether that’s in a junkyard, hardware store, construction sites or nature.

You have a great artist range. What inspires you to focus on a type of sculpture or aesthetic?

However, it’s usually the creative process itself that mostly inspires me to focus on a particular sculpture or aesthetic. When I touch and manipulate material or place material in a certain way, [while] at the same time being consciously aware of what is happening—it is in this process that new ideas are triggered which can get me excited and want to explore. It’s a chain reaction.

You can see elements of past work in new work in an ongoing story.

It depends; it’s usually a combination of different factors that seem to converge at a certain point.

Firstly, I try to keep my environment/studio space a rich source of inspiration. I will have accumulated materials and unfinished work lying around in my studio space for months, even years. I will constantly have them in my mind and visualize different concepts until the time comes that I feel something worthy can be made from them. After all, resources are scarce.

I also continue to research and look at other artists and designers, whether it’s the materials, shapes, textures, forms, [or] how they use space.

Inspiration can also can come from observations in the particular environment I find myself in,

What keeps you motivated to continue creating art?

I’m in too deep now; I’ll continue to create until the end. [I have] too many unrealized concepts that I feel need to be made; but also, maybe more importantly, I am anxious to see the unknown, explore new materials, and expand my creative vocabulary.

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Yellow and Red, 18” x 24”, 2017

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Valencias, 14” x 18”, 2015

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2018 Capital Fringe Fest

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C

the places. It’s tragicomedy about nonmonogamy.

Real Love. Real Life. Mostly.

apital Fringe Festival is an annual celebration of cultural democracy and art for everyone. Each July since 2006, the festival embraces diversity and a spirit of independence, renting out a series of theatre spaces in Washington, D.C. made available to participants on a first-come, first-served basis. Its aim is to challenge perceptions and shake up the hierarchy, to be brave and unafraid, and to serve as a launching pad for unseasoned to existing theatre artists. Some highlights of this year’s festival are presented below.

Barococo – Happenstance Theater

Actors: Mark Jaster, Sabrina Mandell, Gwen Grastorf, Karen Hansen, Sara Olmstead Thomas, and Alex Vernon In this new and colloborative devised ensemble work, six clowns portray oblivious entitlement on the brink of extinction, as the award-winning ensemble of Happenstance Theater takes a dive into the late Baroque. Beatiful at first, in the end the characters might just be revolving. As physical comedians, the company tackles wigs, panniers, gestural styling, elaborate ornamentation, graceful curves and the excesses of Rococo. As philosphers, they navigate the dangerous urves of the Age of Enlightenment. As clowns, they make it playful.

America’s Wives – Farah Lawal Harris Actors: Louis E. Davis, Billie Krishawn, Karen Novack; Director: Jared Shamberger

Draupadi’s Arranged Marriage – Nishi Chawla & Sri Mirajkar Actors: Sri Mirajkar, Bethany Rissell, Raymond Hewlett, Vikrum Mathur, Pushkar Vartak, Paresh Parekh, Bhavin Shah; Composer: Stuti Banerjee

This play reworks the life of a figure from the Indian epic using contemporary language to raise questions. How much progress have women made over the centuries in access to sexual expression, education, fidelity and equality and overcoming sexual abuse and objectification?

A meditation on human revelation told through dance, music, and innovative storytelling. Through the Wall, created by three interdisciplinary artists, exposes the omnipresent moment before taking action. What does it mean to shift your own point of view?

On the Eve – Amy Frey

Featuring: Thomas Anawalt, Amy Frey; Director: Melissa Frey What makes a prisoner into a queen? Or two teenagers into a symbol for tragic love? One inconsequential choice transforms unexceptional people into the stuff of legends. Follow three stories on the eve of when the ordinary becomes extraordinary.

Vengeance in My Heart – Wowdacious Theatre/ Mediombo S. Fofana

One Older Wife. One Younger Wife. One Bald Eagel. And Absent America. Inspired by a Nigerialn Folktalke, this poetic script explores identity, love and greed in today’s world. Delve into what it means to be faithful and moral to yourself and to others in a time of tremendous change.

Featuring: Eamon Patrick Walsh, Emel Haddad, Tyler Dos Santos, Sally Roffman, Bruce Wiljamen, Amelia Schuster, Nathan A. Krueger, George Kassouf, Shannon Ziegler, Declan Cashman, Meredith Garagiola , Connor J Drake, Sid Garg, Miles Foley, Corrie Jones

50 Ways to Date your Aubrey – Nu Sass Productions

Titus, Tamora, and Aaron are on opposite sides but one thing connects them all: vengeance in their hearts. It will destroy everyone and everything they love and know. A classical adaptation of Titus Andronicus from Mediombo Fofana.

50 Ways to Date your Aubrey is an incomplete guide to dating someone who’s been looking for love in ALL

Visit www.captialfinge.org for more information.

ArtDiction | 65 | July/August 2018

artist index Page 18 Belinda Adam www.sukudancelab.com

Page 48 Evan Demas www.evandemas.com

Page 30 NONOTAK https://nonotak.com/

ArtDiction | 66| July/August 2018

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