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TEAPOTS! 12 Invitational Exhibition



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Onastasia Youssef Associate Editor / Performing Arts


Rachel Saul Rearick Associate Editor / Visual Arts

Megan McLachlan Associate Editor / Film

A neighborhood publication focusing on the creativity and ingenuity of the arts in Pittsburgh. For more information email

SOCIAL MEDIA CONSULTANT Kate Dierdorf Sermet CONTRIBUTING WRITERS Jonathan Warner Onastasia Youssef Christine Wells Megan McLachlan Rachel Saul Rearick Pat McArdle David Bernabo Arlan Hess

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invitational exhibition

10 TRAUTE ISHIDA artist spotlight

spring events around the city

32 WEARING THE PANTS women of the pittsburgh opera

15 ART OF COLLECTING with pat mcardle

35 WHAT’S ONSTAGE spring stage schedule

19 VIBRANT COLORS of crystal latimer

37 IMPACTFUL CINEMA jewish film festival

22 OUT OF THE BOX talking art with john eastman



THROUGH CLAY with yoko sevino-bove

Issue 5 Cover featured the studio of Taylor J. Ciarallo located at Radiant Hall (Susquehanna)

shortlist for spring

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ARTSPGH contents

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teapots! Written By Christine Wells


Invitational Exhibition

The exhibit Teapots! 12, running April 6 through May 26 at the Morgan Contemporary Glass Gallery, takes the ritual of tea drinking and the functionality of the traditional teapot and blows it out of the (steeping) water. This annual exhibit is in its twelfth year and showcases the work of 55+ artists, each presenting their own twist on the vessel. Thirteen regional artists are featured in this year’s exhibit, with the remaining artists being from all across the United States. Each teapot is a unique interpretation, utilizing ceramics, glass, metal, fiber, wood and more. These are not the teapots reminiscent of a teatotalling grandmother. While some are functional, many are not, allowing the artist to expand their creativity and art form outside the confines of the ordinary teapot vessel into the realm of extraordinary. According to gallery owner Amy Morgan, “Our show continues to surprise me through each artist’s unique interpretation of the teapot. What I find most appealing every year is the subtlety of the form, as some artists express their design concepts though a formal structure, while others do so through abstraction and figural work.” Such is the case with the piece created by glass artist, Robert Bender. His teapot titled “Fountain” portrays a headless human figure in a seated position. Bender says he is “drawn to the magnetic symbolic power that everyday objects hold, especially when used in the figurative context. Observations of the heart and mind are what I am searching to reflect and comment on.” The whimsical piece created by Missouri artist Susan Taylor-Glasgow combines the head and legs of a female human with the body of a hen. Glasgow explains that her works explore the “complex dichotomy of women’s roles within the household” and the “concept of domestic expectations and traditional roles of men and women.”

Artist Tom Hubert is a lifelong resident of Erie, PA, and a Professor of Art at Mercyhurst University. His porcelain teapot “Cherry Handle Teapot” takes on a more traditional teapot form but with a complex layering effect. He explains that his works “explore depth of surface, alternating layers of sprayed underglaze, thin sprayed layers of slip and arts | Issue 6


thick brushed layers of slip which then allow for interesting carving techniques.” The various layers and depths of glaze thicknesses create a beautiful surface. While some of the teapots in the exhibit utilize materials some may expect, such as clay and glass, others are created from more surprising materials. Pamela MacGregor’s piece “Totem Teapot” is a stacked form of three teapots made from traditional wet felting. “Wet felting energizes me, constantly pushing me to pursue exciting new engineering challenges. I approach each work with a new intensity, always in total awe of the process,” states the artist of her art form. She adds, “When the gallery invited me to make a teapot years ago, I took on the challenge with only a few months to figure out how to get the wool to respond to my demands. I completed the task and The Kamn Foundation purchased the first one. Who knew felted teapots would go viral in the felting world.”

As a result, McGregor has been invited to teach felted teapots in the US, Australia, The Netherlands, Ireland and the UK. The Kamn Teapot Foundation collection is considered one of the largest and most comprehensive in the world. “Teapots have long inspired the inventiveness of creative souls - artists, designers, and architects,” according to founders Gloria and Sammy Kamn. Several teapots from this annual exhibit have found a home in the Kamn Teapot Foundation’s collection. The Morgan Contemporary Glass Gallery is located at 5833 Ellsworth Avenue in Shadyside. The Teapots! 12 exhibit runs April 6th through May 26. Gallery hours are Tuesday through Friday 11 am to 5 pm and Saturdays 12 pm to 5 pm. For more information call 412-441-5200 or visit

"Our show continues to surprise me through each artist's unique interpretation of the teapot." 10

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TRAUTE ISHIDA artist spotlight

Born in 1936 Traute Ishida grew up on a dairy farm in the rural, northern region of Germany, SchleswigHolstein. She graduated from the Art College of Kiel in 1958. After finishing school, Traute travelled to Bavaria and Switzerland, working on textile designs to support her art. By 1962, she made her way to New York City. Eventually Traute would settle in Hockessin, Delaware for over 2 decades with her husband, Susumu Ishida, and 3 children. This was a very prolific time of her life as her work evolved from painting to rug making to expressionistic wall-hangings in fibers and back to paint. No matter what the medium was, Traute’s work was and is highly atmospheric, giving a sense of weather, shifting air and light.

Traute had numerous solo and group shows in New York City and Washington, D.C.; including a group show at the Corcoran Gallery of Art where her work was exhibited with artists like Louise Nevelson and Georgia O’Keeffe. In addition to working on her art, Traute taught art at Lincoln University in PA. Traute and Susumu moved to Pittsburgh in 1990. Shortly after that, she was diagnosed with an auto immune disease, Primary Biliary Cirrhosis, a debilitating disease that attacks the liver, preventing her from continuing her artwork. This ultimately led to a liver transplant at UPMC in 2010. Since the transplant, Traute has been able to resume creating art. She now works with colored pencils on paper.

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THE ART OF COLLECTING and why it’s good for the soul Written by Pat McArdle Photos by Hayden Rose

Many articles on “Art” and “Art Collectors” have been written. They often tell us about collections that contain artist names that we are familiar with, the number of paintings and sculptures in the collections and how those collections came into being. This article gives you an opportunity to localize with some twists on Art and Art Collecting.

I came to Pittsburgh in 1966 to attend Robert Morris; at least I occasionally attended. It was the 60s and there were lots of “extracurricular activities!” I knew that I was not cut-out for a desk job. I held a succession of occupations; structural ironworker, cab driver and tractor trailer driver. I owned an indoor plant shop in Squirrel Hill in the 70s. After that, I started to hold record show conventions; this led to my becoming a concert promoter in the 80s.

If you enjoy the experience of going to the Carnegie Museum, the interactions that happen on an opening night at a gallery, having conversations with artists you know and maybe just the overall feelings you get, being around original creations, then maybe you might enjoy living with “art,” if you don’t already. My art life came about through music. Growing up in Ford City in the 1950s & 60s, I couldn’t get enough music. My radio was constantly tuned into Porky Chedwick & Mad Mike followed by Terry Lee. Music and art, as I have come to find out, are simpatico. Thinking back on it, I was mesmerized by one piece of art while I was still in grade school at St. Mary’s. Every school day was started with an eight o’clock Mass. I was a choir boy. Up in the choir loft, I was face-to-face with St. George “The Dragon Slayer.” He was in the most beautiful stained glass window that also had a fantastic castle on a hill. 16

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I brought REM to Pittsburgh for two concerts (1985 and 1986). In 1987, I asked Michael Stipe where I could find Howard Finster, knowing that they were friends. Finster was a preacher and a visionary artist. I had seen Howard on the Johnny Carson Show and his whole “persona” had an impact on me. So, I made a pilgrimage to Paradise Garden, Georgia, and my whole life changed. I guess, my art education came from the album covers that I collected. Besides the “groovy” pictures of bands, some albums had cover art by famous artists; Picasso, Warhol, Hieronymus Bosch, among others. I have always enjoyed hanging with artists and musicians, maybe it’s something about their “outlook on life.” Before meeting Howard Finster, I had a few works of art done by friends. After meeting Howard, things went into overdrive. I became, as he referred to me, as his “man in Pittsburgh.” I continued to promote concerts, but I also got involved with Howard by making t-shirts, publishing prints of his images and putting on gallery shows of his artwork. Through Howard, I had entered the “art world.” Those are my bona fides. Now for a few words on

becoming a “world-class” art collector in Pittsburgh. It’s too late - period. G. David Thompson was that guy. He’s gone now, but he has left a terrific art legacy. As a memorial to his son David, he gave the Henry Moore sculpture at the front entrance of the Carnegie, along with 90 other works. Thompson also gave the huge Calder mobile at the Pittsburgh Airport to Allegheny County. The full G. David Thompson saga has yet to be written. Now, I suggest that you make an art purchase or two in the next couple of weeks. Why wait? As long as the rent has been paid, groceries taken care of, you are up to date with the movies and have been sufficiently entertained, you’ve waited long enough. Having a couple of sculptures & a few paintings in your personal space is not a luxury, it is a necessity! Getting a full treatment at a spa is a “luxury.” Enriching your life with original art is a “necessity.” Plus, the expenditure for both is about the same. Original art has lasting power. The power to soothe, to excite and to heal.

& beyond. Take a look. Go to First Fridays on Penn Avenue in Garfield, Art all Night in Lawrenceville, visit a gallery, or best of all, ask the artist if you can make a visit to their home or studio. Allow your art friends to show you how the “magic” happens. Now finally, how about the “Intimidation Factor” surrounding the purchase of Art. We see the art, but do we understand the art? What about all those isms: surrealism, cubism, purism? It seems to me that somehow, unwittingly, the thought has been in order to have art, you gotta know all about art. Of course, it’s a pleasure to read about famous artists, the various Schools of Art and the impact of art on our civilization through throughout the history of mankind. Woah.....just talking about you getting an original creation for your own personal edification. All the “art speak” can come later if you find an interest in it. Now is the time to skip the spa treatment this week and spend that hundred bucks on art. Join the “Art World.” Like Howard Finster says “it’s Unbelievable and like a Dream!”

I believe artists have a need to create and an urge to express. This they do for themselves, with the hope that you may see their work and derive pleasure from it. So, when you purchase art, you are validating the artist’s work and providing them with confidence. Creation often involves frustration and despair. When you buy a piece of art, you have played your part in keeping originality and talent afloat. That’s a noble and rewarding gesture. So, where are all these artists? All over Pittsburgh, we are witnesses to the power and transformation of Art: Garfield, Homewood, Wilkinsburg, Homestead, Braddock, the Hill

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CRYSTAL LATIMER vibrant beautiful chaos Written by Jonathan Warner

It’s mostly turquoise and soft pink with a hint of yellow - soothing tropical pastels interrupted by a copper Conquistador’s lance and territorial flags. The colors move - an indigenous people wrestling to remain, now in focus and now lost beneath the stabbing horses’ hooves that trample adobe dwellings into the background. I step closer as my eyes trace the soft acrylic paints slashed by metallic gilding, reading the story braided into the patchwork of Mexican tiles that underpin the visual narrative. It’s a vibrant overlapping chaos, full of violence and fraught with questions ...and it’s beautiful.

says. She talks me through the typical phases of her creative development. “First, I’ve got to put everything down on the canvas at once - it’s a real mess! Then I start experimenting with it - pulling different ideas and mediums into the foreground to see what works.” She relates what an emotional rollercoaster it can be to craft a truly compelling piece - the phases of frustration, exhilaration, doubt, and clarity that accompany the course of creative flow. “I’ve had to develop my perseverance and learned to just be patient with it until I can see where it needs to go.”

“I always try to push the boundaries of paint,” says Crystal Latimer. We sit cross-legged on a couch at her exhibition studio in Nova Place looking up at a wall hung with large canvases. The works are bold and bright - loaded with an intriguing complexity that demands more than a quick glance. Like the one that first drew my eye, almost all of Crystal’s pieces address the colonization of Latin American cultures. Half Costa Rican, it’s a theme close to her heart and heritage. Though raised in western PA, as a child Crystal often visited members of her mother’s family who remained in their Central American home. She also did an artist residency in 2014 at the Joaquin Chaverri Fabrica de Carretas in Sarchi, Costa Rica, where she studied the country’s tradition of painting oxcart wheels with ornate designs. These influences manifest themselves with the appearance of numerous “carretas,” in her paintings along with frequent florals and tropical green tones. Though now confident in both her technique and artistic niche, Crystal actually didn’t begin making art until high school when she found herself in a painting class. Despite the late start, she has since cemented her spot in Pittsburgh’s creative community, seen demand grow for her distinctive art, and learned to embrace a thrilling journey of self-discovery through her work.

Each artist develops differently, but Crystal says she traces much of her success and growth as an artist back to her education. With degrees from Slippery Rock University (BA) and Indiana University of Pennsylvania (MA & MFA), she leans heavily on her technical training to craft her strong, bright compositions. For Crystal, there was great value in smaller schools with outstanding art programs where she was able to work closely with professors, mentors, and fellow students to hone her skill and find her own creative style. “You really need to learn the rules before you can push the boundaries effectively - Slippery Rock and IUP equipped me so well for that.” she says.

I look back up to a different piece hanging on Crystal’s wall, wondering how she develops this pattern of tiles, graffiti tags, and subtle corporate logos that sweep together to form another lovely chaos. “Well, it’s a process - you’ve got to trust it and really live it out with each piece,” she


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As we talk, Crystal repeats again and again the importance of “community”- the community she first developed and still maintains within the academic art world from her schooling but now also the larger Pittsburgh city network. While the Steel City’s art market may not be as big or renowned as that of other cities, Crystal says that Pittsburgh is decidedly special in its enthusiasm and support for local artists. “People here are genuine champions for artists! You can tell they are rooting for us to succeed and it’s sort of this hardworking, neighborly effort that is characteristic of Pittsburgh as a city.” Crystal says that resources and opportunities for local artists have grown markedly over the past few years. She emphasizes her own deep gratitude to be part of such a welcoming and encouraging creative scene - “It’s the biggest thing for me really - just to be a part of such a great artistic community and contribute to its growth.”

It seems that Pittsburgh appreciates Crystal as much as she does the city. Distinguished with the Juror’s Choice Award at the 2016 Three Rivers Arts Festival, her work has been featured extensively in galleries, universities, and corporate buildings throughout the city - even in Pittsburgh International Airport! Why do her pieces resonate with people? “Conceptually, it’s very heavy,” she says, “and aesthetically, just a little different than what you’d usually see here in Pittsburgh.” Crystal also shares that she is thrilled to represent the Latino community, portraying their warm culture and highlighting the challenges of their complicated history with her brush and paints. In a city that doesn’t feature a large Hispanic population, Crystal hopes that her artwork encourages Latinos to embrace their rich heritage as she has learned to do. “I’ve definitely grown closer to my family and learned so much

about the history through the art,” she says. “Now I feel like I’m truly a part of the culture.” So what is next for Crystal in 2018? Along with some Pittsburgh group shows and a visit to her alma mater in Slippery Rock, she will be painting 6 - 10 new pieces for the Chautauqua Institute Show in western New York. Chautauqua kicks off its summer season on June 24th, and Crystal is enthused to be featured in the exhibit “Ties that Bind,” which will incorporate lace as its central aesthetic. Between composing the new paintings and teaching at Penn State New Kensington (yes, she’s an adjunct professor of art too!), Crystal will be busy - but don’t let that stop you from swinging by her Nova Place gallery. If you don’t find her there, she’s probably down in Costa Rica drawing inspiration from the bright jungle flowers or a bustling outdoor market for a new painting!


April 19th (Thai Thursday) thru May 30th |

present the art of


Reception - April 27th arts | Issue 6





JOHN EASTMAN Written by Onastasia Youssef


What inspires you to create daily? I’m very open and an observant person to the environment around me all of the time. So I get influenced often. It could be by looking at a product, how it’s designed, or a building exterior or space within, art and sculpture, and music, particularity symphonic and on the other end of the spectrum, deep beat EDM. I take away something all of the time when exposed to new places, things, other people’s work. It’s why I travel so often. From what you take away or learn, rubs off on you and you form an idea for something you want to do, developing that influence into a concept of your own. It could be a shape, a color, anything that flags me, and then I develop that concept into something that I want to make. This is why the arts and culture are so important for people to be exposed to, to broadens your view of things, of life, and helps shapes you as a person. Being observant and open is vital to an interesting life I think. I’m attracted to minimalist things, so the lesser the better, in a building, room, design, etc. I may enter a building that I’m drawn to, and once inside fall in love with how the brickwork or ceiling is done, or how the concrete floor is poured, and it gets me thinking. I’ve been that way my entire life. In an age where so much work is politically charged, what unique place do you think minimalism still holds in contemporary art? I think that is a perfect question to ask at this time of our country. We are blasted everyday with news, social media posts, unsure of what truth is, unsure what to trust, what is credible, manipulated and our data used without thinking about it. Much of it is politics and marketing efforts. We’ve lost sight of what really matters in life, to have a good and fruitful life. It’s all very loud static as when the TV is off-channel and the sound blaring. Minimalism, whether in contemporary art, or life I believe, levels that playing field, or at least makes a big dent in it. It is harder to design something simple and amazingly functional, than to add dozens of features that in the end, really doesn’t make it better, only more complicated. I came from the tech world whereas years

ago, apps were designed to function with a minimal amount of code, because memory and permanent storage devices were of small capacity and very expensive. You can now almost run a small country on a laptop or even phone with apps. As devices have become less expensive with more capacity, we over do everything on the interface side, blasting people with all, functions, data, imagery, etc. Spectacle art is a good example. Minimalism is important not just in art, but in design. It enables people to be functional in an easier manner, for less money, and saves their thinking for what is important... observation, impressions that they form about what they are looking at, hearing, or experiencing, whether it be art, design, spaces, or product. Furthermore, the more minimal, the less outside influence from outside sources that are trying to tweak your thinking, opinions, and actions. What is your process for painting and sculpture like? I almost always work in series, so I’m a long term planner. I am drawn into the world of abstract minimalism. As I move forward in my art and design career, I find I am getting deeper and deeper into that, whereas the object, the surface and negative space that it resides on, and even the building that it sits in, are of minimalist design... leaving the observer to form their own opinion and meaning. There are not too many accidents that turn into work. I develop conceptual sketches for work I want to do on small pieces of paper all of the time, sometimes working out color schemes with colored pencils, or small paint brushes, then expand them multiple times until I work out my idea and I’m happy with it, then I go into production. I often do the same when working with wood, early stage concepts with drawings, notes, materials, etc. For 2018, you’ll be represented by BoxHeart Gallery in Bloomfield. Can you tell us more? BoxHeart now represents my work in Pittsburgh. I’ve exhibited with them several times over the past years, including their Inter/National Exhibit in 2008, a personal thrill for me. I submitted my work for them to formally represent me last year and they accepted me, something I’m grateful for and very happy about. arts | Issue 6


BoxHeart is the kind of gallery that you wish every gallery was like. If you go to their website,, you see immediately that they are first rate. Nicole Capozzi, and Josh Hogan, are fantastic to work with, greatly talented, understanding of the art world as a business, and as artists, and patient, understanding, and creative in their relationships with artists. There is a reason that they have survived and grown over the past 17 years to become one of the best Pittsburgh galleries while others have closed. I think a lot of it comes down to what type of personality people have and how they choose to interact with other people as professionals. I have work in inventory there now, and I’m at the early stages of planning my work for a 2019 exhibit on their second floor gallery. Likely they will paintings and perhaps an installation, but I am soon going to be discussing this with them, again, a great benefit in working with them.

THE SERIES WORK INCLUDES: Flat Surfaces Flat surfaces (5 pieces to date) in which I’ve used canvas alternatives in the form of materials (flat) that have been resurfaced or formed, and previously existed as something else such as wood, corrugated cardboard, metal, and are of matte finish, with a focus abstract object with a significant amount of blank or negative space, bringing forth or celebrating the negative space (surface) itself as well as the abstract object painted or drawn on it.

UMO Series UMO (U=You) + (M=ME) + (O=Others) began as a ink on vellum series of large scale drawings in 2003. I am planning to extend this series to large scale (36” by 54” paintings and new drawings, with new faces and body shapes.

Signals Signals is a series of mixed media work including wood, paintings, and objects in which abstract objects consisting of lines, circles, rectangles, squares, and numbers, are applied in sometimes formula like style. I.E. ( + - = 01) The objective of this work is for individuals to obtain their own meaning or message by looking at the signals. What do you have planned for 2018? 2018 brings a host of fun, exciting, and hard work for many things. Some include exhibit preparationproduction for a BoxHeart exhibit in 2019. I mentioned that I work in series, and there are 3-4 of them I am hoping to produce work for and exhibit going forward into late 2018 and 2019. And of course my covering of buildings with Corrugated Sheet Metal Facades for the Art Centric Community Development I am doing in the town of Swissvale, where I have two studios. I hope to expand my commercial furniture and design side of things as well by introducing new builds and designed product.

Help Help Help Help is a planned mixed media installation of 8 painted coats with red and black crosses on front and back, installed across the center of a room, hanging from a thick coil. A printed writing piece (2” by 3”) with black and red cross graphic is spread across the floor on both sides of the hanging coats. The viewer is limited to 12Ft access to the coats by the printed cards which are takeaways for the viewer.

Sheds Sheds - corrugated sheet metal, wood frame, color coded poly-carbonate roof panels featuring primary colors 8 Ft by 8 Ft. -- 4 sided structure with color coded poly-carbonate roof. ADA compliant. Thinking Sheds” A designed small private space in a public setting, void of distraction, that enables visitors to reflect on thoughts, perhaps a quick meditation. An accompanying web app enables visitors to log their thoughts and share with others. 24

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Pittsburgh is home to a nationally recognized ceramicist, Yoko Sekino-Bove. One of the humblest women I know, Yoko would not start out by telling anyone of her impressive list of solo or major group exhibitions and awards; nor would she list the residencies, fellowships, or scholarships that she has been granted. But that’s why I’m here-to let this region know what a gem we have among us. The list is far too long to state everything, but a quick sampling of places that Yoko has shown work include the Kolva-Sullivan Gallery, Racine Art Museum, Ogden Museum, Red Lodge Clay Center, KOBO Gallery, Baltimore Clayworks, Redux Boutique, Charlie Cummings Gallery, and Noyes Museum of Art.

Written by Rachel Saul Rearick 26

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Born in Osaka and growing up in Tokyo, Japan, Yoko received a Bachelor’s of Fine Arts in Graphic Design from Musashino Art University, prior to moving to the United States 23 years ago. When she arrived, she landed in the state of California and headed to Glendale Community College, as a way to become familiar with the country. She was still practicing to become proficient at English, so her college advisor did what he did with most international students, he put Yoko into a ceramics class. Yoko told me that was a way to help students copy what others were doing, while getting a better handle on the language. She said to me that she “sucked spectacularly” during her first semester of ceramics, so she felt she must return for a second semester, to perfect her skills. When it was 6 years later and Yoko was still taking ceramics classes, her professor at the time encouraged her to consider a Master’s Degree in Ceramics. It was the late 90’s and Yoko had a day job in graphic design, but said she saw the field becoming high-jacked by technology. “Everything became confined to computers, and came from the box. I wanted to make something that people could touch,” she told me. Hitting that mid-life crisis, Yoko started applying to ceramic shows, to determine whether she had a chance or if she “still sucked spectacularly.” Concurrently, she had to consider her status as a citizen. Yoko had spent her first 10 years in the states on a student Visa, without a green card. At some point, her company brought her on as an H1B employee. If she were to head to graduate school, she’d need another student Visa; knowing that she couldn’t find a sustainable job as a ceramicist. Fast forward to Yoko completing a graduate degree in ceramics from the University of Oklahoma, when she decided to finish out her Visa extension somewhere warm before returning to Japan, and headed to the Armory Art Center in West Palm Beach, Florida. It was there that her course changed directions, after meeting her now husband, artist Jim Bove. The two eventually headed to Pennsylvania, after Jim accepted a teaching job at California University of Pennsylvania. Yoko was hoping to eventually teach at the college level herself, but made the most of her personal studio in the meantime. Cranking out wheel thrown pottery and teapots, Yoko has made a name for herself over the years. What started out as a hobby has become a full-fledged career. In addition to mastering the craft, Yoko achieved that goal of becoming a teacher, and now leads students on the journey of clay at Seton Hill University. arts | Issue 6


During the month of March 2018, NCECA (the National Council on Education for the Ceramic Arts) will be holding a conference in Pittsburgh at the David Lawrence Convention Center. Yoko has been selected as the Demonstrating Artist Coordinator for the conference, as well as she will have her work featured throughout the City in various locations. Pittsburgh Center for the Arts invited Yoko to be the solo exhibition artist at their site, with her work on display from March 9th through April 22nd. She will also be featured in an NCECA affiliated group exhibition at BE Gallery in Lawrenceville, and her work will be represented at the conference expo by 18 Hands Gallery from Texas. Yoko’s work speaks of her personality; down to earth, hilarious, and beautifully refined. You can see more of her pottery by visiting her website (, or you can purchase her work at one of the events mentioned above, during the run of events that coincide with NCECA.




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3/24-4/21 | OPENING 3/24 6-10PM



4/28-5/26 | OPENING 4/28 6-10PM


6/2-6/30 | OPENING 6/2 6-10PM 407 BUTLER STREET, ETNA PA 15223


ART PREVIEW spring event picks Spring is a time for renewal, and these art exhibits are completely fresh. For art that not only pops but challenges, these shows - that dive into identity and culture and find new ways to approach traditional media - these are the shows to see.

Jesse McLean: When It Rains, It Pours

March 2nd-April 14th | FREE | Silver Eye Photography | Lawrenceville

In the age of Alexa, our relationship with technology seems to be transformed every day. Artist Jesse McLean puts the limitations of these mediums under the microscope and reexamines its seemingly irreversible impact on the human experience and our interactions with the living and nonliving entities around us.

Deana Lawson

March 15th-July 15th | $19.95 for regular admission | Carnegie Museum of Art | Oakland

Front and center in the Forum Gallery at the CMOA will be the bold work of photographer Deana Lawson. Her unapologetic art captures the lives of Africans and African-Americans throughout the diaspora across continents and reclaims voice for the ignored and oppressed in a conventionally white space.


April 6th-June 3rd | FREE | SPACE Gallery | Downtown

May 2018 marks the 200th birthday of the (in) famous philosopher Karl Marx. This upcoming show, curated by Kathleen Newman and Susanne Slavick, brings together works from global artists who will take on contemporary economic and social dilemmas through the use of Marx’s image and ideas.

Jason Forck: Untitled and Tiffany Simmons: Matriarchs April 17th -May 18th | FREE | Boxheart Gallery | Bloomfield

This Spring is a two-for-one at Boxheart. Glass artist Jason Forck - who has been featured at the Pittsburgh Glass Center, the Phipps Conservatory and more - brings his unique designs to in an upcoming solo exhibit on the first floor. Right above, on the second floor of the space, will be the ephemeral paintings of Tiffany Simmons. On April 21st, there will also be a public reception for both shows.

Christopher Boring: As I Stroll

April 7th-April 28th | FREE | Panza Gallery | Millvale

Christopher Boring will display two bodies of artwork at the Panza Gallery which, according to the artist, “depict a physical and metaphorical walk through life.” “Along The Path” is a series of still life rock paintings, while “Yinz” is a series of paintings of local neighborhoods and sidewalks the artist walks each day. arts | Issue 6


WEARING THE PANTS: Women of the Pittsburgh Opera Bring Breeches Roles to Life

I took one of my best friends - a classical music aficionado and Pittsburgh Symphony fan - to see The Marriage of Figaro, one of the most anticipated performances of the Pittsburgh Opera’s 2017/2018 season. This would be his first opera. The curtain came up, the lights went down, and a few songs in, the lovesick boy Cherubino bounded onto the stage. My friend leaned over to me and whispered, “Is that a woman?” Since the early days of opera in the 17th century, women have taken on some of the most dynamic and engaging roles, including those of young boys. Vocally, the compositions for these characters tend to be in a higher range, often sung by a mezzosoprano or, in the past, by castrati (the infamous superstars of the old opera, eunuchs whose voices remained unchanged since childhood). Both of these performers were able to perform the physically demanding arias over the orchestra that young male singers would be injured attempting to sing at their age. Director of the Pittsburgh Opera Christopher Hahn explained, “Mozart understood that he would sometimes want a young man, a teenager possibly, someone whose voice hadn’t broken yet in the action of the story. Clearly, they would never have a boy do was a simple calculation made that they will have a woman playing a boy. It made sense - the voice is high, they would wear pants. Everyone just immediately accepts the convention. Because they really loved the different kinds of ranges of women’s voices, it allowed them to have another woman’s voice. They could have a plummier, more lyrical sound for this role but then maybe they could have a very high, piping stratospheric sound for the boy played by a woman.” 32

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Written By OnastasiaYoussef

Because these roles were originally intended for female voices, the tradition continues to this day. “We’re not just adhering to original practices,” Hahn continued, “but we’re doing it because you have to use a female voice - a composer is musically composing exact notes with exact sounds. Our job as an opera company is to interpret and present what the composer wrote, we don’t have flexibility. And say ‘Oh, if he would have had a boy, he would have used a boy, we’ll put a boy in there.’ It would never work.” The Pittsburgh Opera’s 2017 and 2018 performances will feature a total of three of these roles, known traditionally as breeches or pants roles: Richard from Richard the Lionheart, Cherubino in The Marriage of Figaro, and Pip the Cabin Boy in the contemporary opera Moby Dick. Leah de Gruyl, Jacqueline Echols, and Corrie Stallings are the three singers who have brought these dramatic, comedic and tragic roles to life. Corrie Stallings, a guest artist living in Pittsburgh and young mezzo-soprano who has performed across the United States and in France, tells us how she got into the role of Cherubino.

Above: Jacqueline Echols performs as Pip in Moby Dick Right Page: Leah de Gruyl performs as the Page of Herodias in Salome Photo Credit: David Bachman

“Vocally, it’s all the same for the most part. There’s not much difference because all the emotions that pants roles feel, you have those as a female too. But there’s definitely a difference in the physicality and the way you’re carrying yourself, especially when you’re not singing or talking and how you fit into a scene. How would Cherubino stand in the back of a room while there’s a bunch of stuff going on? While no one is seemingly looking at him, what would he be doing? Those are the real mental shifts you have to make when playing a pants role.” Stallings added, “Women playing pants roles often go way too far to the other extreme. They try to play this really butch manly character. When I do a pants role, I often spend a lot of time in rehearsal looking around the room at man and seeing how they hold themselves.” A resident artist at the Pittsburgh Opera, mezzo-soprano Leah de Gruyl - who most recently was Marcellina in The Marriage of Figaro - has played two pants roles during her time here, including the Page from Strauss’ Salome and Richard from Richard the Lionheart by Handel, a role originally written for a castrato. “The biggest challenge for me during Richard the Lionheart,” she said, “was keeping a stately masculine gait - the way I stood, the way I walked…I got the note not to sashay all the time.” Of course, becoming a boy onstage means that the costuming department has the chance to be truly creative when dressing their female performers. Leah de Gruyl said, “I’m kind of a curvier lady, so our costume department has a lovely lady named Rosa and she created what she called a boob binder for me, and so before every show, she would smash me into that thing. Also, I wear a beard onstage, so they spirit gum a beard

“I think it’s really fun to throw yourself into a completely different character and sex,” onto my face. Singing with a beard on isn’t necessarily challenging, but a little worrisome that it might fall off while singing.” Jacqueline Echols is a veteran soprano and former educator. Having performed in numerous and well-loved operas, including Porgy and Bess, across the country, she has also played Pip the Cabin Boy prior in Moby Dick and will be visiting in 2018 as a guest artist to reprise the role. “Lenny, who was the director of the last production, is also a Tony-award winning director and writes plays on Broadway,” she reminisced about her transformation into Pip. “He was like, ‘You know, I just can’t think to see you

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an actor. He’s a lot of fun to play as a character - there’s no limitations on him. He can just sort of react however he would react, he doesn’t have to play the count or all these different parts. He’s a royal young man who gets to describe his emotions and how difficult they are without there being any consequences. He’s very fun, I very much enjoy playing him. Although the pants roles may seem to defy convention and have left some audience members confused, most are simply enthralled by the incredible talent and enthusiasm these actresses have brought to their performances, and, for opera, this is no surprise. While the Pittsburgh Opera’s production of Moby Dick is not until

March 2018, Echols said of her past performances as Pip, “I get a lot especially from first timers. They are ecstatic. They loved the show. They would come in and say that they thought they wouldn’t like it… ‘Okay, Moby Dick is a snore.’ Actually it’s not. There was not a pause. It was ongoing and it kept telling the story. The set was so inviting that you felt like you were in the boat with everybody so a lot of people were like “Man this was just exciting.’ I can’t wait to hear and see this new set and what this has in store…” Corrie Stallings as Cherubino from Le nozze di Figaro Photo Credit: David Bachman

right now as a boy with how you’re built and how you carry yourself.’ He told the wardrobe, ‘Put some baggy clothes on her or something. I can still see her shape.’” As with any role, the actresses fell in love with the characters they played and were extremely excited to get the chance to take on their stories. “I love playing a boy,” Stallings gushed, “I think it’s really fun to throw yourself into a completely different character and sex, and see what it’s like to explore that side of things as

“I’ve just been having this really hard time and you saved me today. You made me feel alive... Everyone needs that once in awhile.” 34

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“We’ve had two shows and after each one, people come up to me and say ‘You were my favorite part of the show,’” Stallings said. “I can’t take much credit. Mozart wrote it so perfectly, and the character is just sort of perfectly placed in the opera when you need a little bit of silliness and a little bit of just humanistic behavior. So what I love about Cherubino is he’s always sort of lightening the mood.” “There was this boy who came up to me and he had just moved from California,” de Gruyl told us, “and he came up to me and said ‘I’ve just been having this really hard time and you saved me today. You made me feel alive.’ That’s profound. If you allow it, opera can invade you and transport you. Everyone needs that once in awhile.”


ONSTAGE Musical Theater


Up and Away Cabaret at Theater Square Jan. 25-April 15

Beethoven Concerto Cycle No. 1 Heinz Hall April 6-8

60’s Rock N Roll Remember Live Benedum April 7 The Midtown Men Heinz Hall April 13-15 LaChanze Cabaret at Theater Square April 16 Avenue Q The Musical Gargaro Theater May 3-13 Perfect Wedding Cabaret Theater Square May 10 - August 12 Love, Lust & Rock n’Roll Heinz Hall May 11-13

Bill Murray and Jan Vogler Heinz Hall April 7 Burt Bacharach with the Pittsburgh Symphony Orchestra Heinz Hall April 10 Tchaikovsky Violin Concert Heinz Hall April 20 - 22 Verdi’s Requiem Heinz Hall April 27-29 The Elixer of Love Benedum April 21-29 Augustin Hadelich Returns Heinz Hall May 18-20

Cinderella Heinz Hall May 22-27

Beethoven Concerto Cycle No. 4 Heinz Hall June 8-10

On Your Feet Benedum June 12-17

Yo-Yo Ma with the PSO Heinz Hall June 9

Titanic Benedum June 22- July 1

Ax Plays Beethoven’s “Emperor” Heinz Hall June 15-17

Broadway Divas Heinz Hall June 22-24

Ben Folds with the Pittsburgh Symphony Heinz Hall June 20 Elixer of Love photos by Lynn Lane for the Houston Grand Opera

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Dramatic Theater

Theater Locations

Titanic New Hazlett Theater April 5-8

Benedum Center 237 7th Street, Pgh. 15222

The White Chip City Theatre April 7- May 6

Byham Theater 101 6th Street, Pgh. 15222

Buer’s Kiss New Hazlett Theater April 12

Cabaret at Theater Square 655 Penn Ave., Pgh. 15222

Thaddeus Phillips: Inflatable Spaces Kelly Strayhorn Theater April 13-14

O’Reilly Theater/ Pittsburgh Public Theater 621 Penn Ave. Pgh. 15222

Hamlet O’Reilly Theater April 19-May 20 The Diary of Anne Frank New Hazlett Theater May 4-13 Bill Shannon: Touch Update Kelly Stayhorn Theater May 11-12 Nomad Motel City Theatre May 12- June 3 Blak Rapp M.A.D.U.S.A.: Mary’s DaughterMemoirs of an Activist Kelly Strayhorn Theater May 25-26 Escape Velocity New Hazlett Theater May 31 Reduced Shakespeare Company in William Shakespeare’s Long Lost First Play O’Reilly Theater May 31-July 1

Heinz Hall 600 Penn Ave., Pgh. 15222 August Wilson Center 980 Liberty Ave., Pgh. 15222 New Hazlett Theater 6 Allegheny Square E., Pgh. 15212 412-320-4610 Kelly Strayhorn Theater 5941 Penn Ave., Pgh. 15206 412-363-3000 City Theatre 1300 Bingham St., Pgh. 15203 412-431-2489 Gargaro Theater 327 South Main St., Pgh. 15220


Maks, Val, Petra Live on Tour: Confidential Benedum | April 10 Body Traffic Byham | April14 Shen Yun Performing Arts Benedum | May 8-10 West Side Story Suite + In The Night + Fancy Free Benedum | May 4-6 Harmony of Your Heart Byham | May 12 newMoves Contemporary Dance Festival Kelly Strayhorn Theater | May 18-19 Bodiography Spring Concert Byham | June 2 36

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Hayden Stanes, Tatyana Lubov and the compan y of Rodgers and Hammer stein’s Cinderella


Every year, the JFilm Festival presents international Jewishthemed films promoting Jewish culture, tolerance, and commonality across different religions and backgrounds. The 2018 festival will take place over 11 days from April 26 to May 6.

IMPACTFUL. CINEMA. Written By Megan McLachlan Photos by Porter Loves Creative

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“This year marks the 25th anniversary of the JFilm Festival,” said Film Pittsburgh’s Office and Communications Manager, Candace Opper, “so we’ll be celebrating with some extra special festivities and events.”

of different topics, this year, some themes have emerged.

The 2018 lineup includes 20 narrative and documentary films from all across the globe—plus, special guests, visiting filmmakers, “Film Schmooze” discussions after the viewings, and parties.

Other films portray a moment in history, while also shedding light on current events.

“The festival opens on April 26 with a screening of Heading Home: The Tale of Team Israel, an uplifting documentary about baseball, patriotism, and personal growth. Jonathan Mayo, Pittsburgh’s own MLB. com reporter who is featured in the film, will join audiences for a Q&A following the screening, before the festivities move to an after-party.” While the festival aims to draw a wide range of films on a variety

“There are a number of films involving music: one character is a concert pianist, another is in a rock band, another is about a composer’s new work.”

“One of the films is an inside look at the signing of the Oslo Accords in 1993 [the set of agreements between the Government of Israel and the Palestine Liberation Organization which established Palestinian self-rule]. It’s hard to look back at history and not to ruminate on our current political climate.” But whatever the subject, the festival offers something for everyone, with films crafted with deft storytelling and diverse representation. The audience also votes on who will win the Best Documentary and

Best Narrative film recognitions. “The films appeal not only to Jewish audiences, but audiences interested in contemporary film, social issues, and cultural tolerance. The festival also offers the audience opportunities to engage with visiting filmmakers and connect with other film lovers in Pittsburgh.” The JFilm Festival is just one of three festivals Film Pittsburgh puts on, with others including ReelAbilities (awareness and appreciation of individuals with disabilities) and Pittsburgh Shorts (contemporary short films from around the globe). “Film Pittsburgh aims to bring people together by presenting impactful independent cinema.”

The full film lineup (including venues) will be available when tickets for the 2018 JFilm Festival go on sale on Wednesday, March 28.

Andrew Leo Hair Salon 5518 Walnut St. - Shadyside



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GALLERY GUIDE Welcome to the LOCALarts Gallery Guide. We created this space to highlight and appreciate all the galleries doing great things in the Pittsburgh area. Our goal is become a place where art lovers and artists can find out about upcoming shows, open galleries taking artists submissions, and events that otherwise may not see the light of day. As we begin building our listings, we may have unintentionally left out some galleries. If we did, please accept our apologies in advance, and please make sure to email to be included in our next edition. Robin’s Nest Gallery & Gift Shop


5504 Penn Ave., Pgh. 15206

Boxheart Gallery 4523 Liberty Ave., Pgh. 15224

Unsmoke Systems Artspace

Mark Evers Antiques and Art Gallery

1137 Braddock Ave., Braddock 15104

4951 Centre Ave., Pgh. 15213

Concept Art Gallery 1031 S. Braddock Ave., Pgh 15218

Four Winds Gallery 5512 Walnut St., Pgh. 15232

Maser Galleries 5427 Walnut St., Pgh. 15232

Morgan Contemporary Glass Gallery 5833 Ellsworth Ave., Pgh. 15232

Bunker Projects Mendelson Gallery

5106 Penn Ave., Pgh. 15224

5874 Ellsworth Ave., Pgh. 15232

Pittsburgh Center for the Arts 6300 Fifth Ave., Pgh. 15232

The Frick Pittsburgh 7227 Reynolds St., Pgh. 15208

Gallery 4 206 S. Highland Ave., Pgh. 15206 Thegallery4us

Percolate Gallery

Union Project

317 S. Trenton Ave., Pgh. 15221

801 N. Negley Ave., Pgh. 15206


Fieldwork Gallery 4925 Penn Ave., Pgh. 15224

International Children’s Art Galleries 5020 Penn Ave., Pgh. 15224

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GALLERY GUIDE Most Wanted Fine Art

Crown Antiques & Collectibles

5015 Penn Ave., Pgh. 15224

Chatham University Art Gallery

Mostly Mod & ARTica Gallery

5798 W. Woodland Rd., Pgh. 15232

5110 Penn Ave., Pgh. 15224

Penn Avenue Pottery 1905 Penn Ave., Pgh. 15222

Silver Eye Center for Photography 4808 Penn Ave., Pgh. 15224

Artisan Tattoo Gallery 5001 Penn Ave., Pgh. 15224

University Art Gallery Univ. of Pgh. 650 Schenley Dr., Pgh. 15260


The Clay Penn

Pittsburgh Glass Center 5472 Penn Ave., Pgh. 15206

South Hills Art Center

Lotenero Art $ Design Studio

1017 Brookline Blvd., Pgh. 15226

2708 Penn Ave., Pgh. 15222

Nations Art Gallery & Framing

Shaw Galleries

301 South Hills Village Mall, Pgh. 15226

805 Liberty Ave., Pgh. 15222

The Artsmiths of Pittsburgh

Society for Contemporary Craft

James Gallery 413 S. Main St., Pgh. 15220

SPACE 812 Liberty Ave., Pgh. 15222

3583 Butler St., Pgh. 15201

Gallery G Glass Inc.

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2100 Smallman St., Pgh. 15222

Borelli Edwards Art Gallery be Gallery

3710 Liberty Ave., Pgh. 15201

5000 Forbes Ave., Pgh. 15213



4400 Forbes Ave., Pgh. 15213


CAPA Gallery 111 9th St., Pgh. 15222

819 Penn Ave., Pgh., 15222

Carnegie Museum of Art

Miller Gallery at Carnegie Mellon University

Art of Steel 2125 Penn Ave., Pgh. 15222

Future Tenant Art Space

519 E. Ohio St., Pgh. 15212

511 Penn Ave., Pgh. 15224

707 Penn Ave., Pgh. 15222

11 E. Crafton Ave., Crafton 15205

The FEIN Art Gallery

5006 Penn Ave., Pgh. 15224

707 - 709 Penn Gallery

Le Poire Fine Art Studio & Gallery

1635 McFarland Rd., Pgh. 15216

The Irma Freeman Center for Imagination

1018 Fifth Ave., Pgh. 15219

Gallery On 43rd Street 187 43rd St., Pgh. 15201


412 . 922 . 9800



GALLERY GUIDE Wood Street Galleries

North Hills Art Center

601 Wood St., Pgh. 15222

3432 Babcock Blvd., Pgh. 15237

NORTHSIDE / MILLVALE / Introspec 1026 Progress St., Suite B405, Allegheny, 15212

Mattress Factory Art Museum 500 Sampsonia Way, Pgh. 15212

Randyland 1501 Arch St., Pgh. 15212

The Andy Warhol Museum 117 Sandusky St., Pgh. 15212

Panza Gallery 115 Sedgwick St., Millvale, 15209

Ton Pottery 220 North Ave., Millvale 15209

Merrick Art Gallery

Sweetwater Center for the Arts

1100 Fifth Ave., New Brighton 15066

200 Broad St., Sewickley 15143


Electric Art & Objects Gallery

FIreborn Studios

Sewickley Gallery & Frame Shop

2338 Sarah St., Pgh. 15203

Hart’s Art On Consignment 1905 E. Carson St., Pgh. 15203


412 . 821. 0959

Artist Image Resource 518 Foreland St., Pgh. 15212

ART SUPPLY STORES Blick Art Materials

South Bank Galleries

Top Notch Art Supply

1300 E. Carson St., Pgh. 15203

411 S. Craig St., Pgh. 15213

Vessel Studio

Sojourner Art Gallery 434 Orchard Place, Pgh. 15210

Studio Eight27 827 E. Warrington Ave., Pgh. 15210

Eclectic Art & Objects Gallery 8275 Ohio River Blvd., Emsworth 15202

549 Beaver St., Sewickley 15143

5534 Walnut St., Pgh. 15232

2008 E. Carson St., Pgh. 15203

April 7 - 28

Bock-Tott Gallery 507 Beaver St., Sewickley 15143

30 s. 6h St., Pgh. 15203

Michael Hertrich Art and Frame


8275 Ohio River Blvd., Emsworth 15202

Michael Berger Gallery

117 S. 16th St., Pgh. 15203



Jesse Best Gallery 216 E. 7th St., Homestead 15120

Abandoned Pittsburgh Gallery

Artist & Craftsman Supply Pittsburgh 5603 Hobart St., Pgh. 15217

Pittsburgh Center for Creative Reuse 214 N. Lexington St., Pgh. 15208

LOOM Exquisite Textiles 2124 Penn Ave., Pgh. 15222

Crystal Bead Bazaar 4521 Butler St., Pgh. 15201

Stamp Fanci 460 Perry Hwy., West View 15229

203 E. Ninth Ave., Homestead 15120

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Spring Books 2018 Written by Arlan Hess

Autopsy, Donte Collins.

Named the Most Promising Young Poet in the country by the Academy of American Poets, Written after the death of his mother, his evocative and stylistic work addresses adoption; foster care, LGBTQ identity, and race issues as they intersect with loss and grief.

Let’s All Die Happy, Erin Adair-Hodges.

This winner of the 2016 Agnes Lynch Starrett Poetry Prize offers poems that make readers metaphor in the most unlikely places and forces readers to re-evaluate what they know about family, religion, and politics. Gorgeous cover, too.

Here Lies Memory: A Pittsburgh Novel, Doug Rice.

town as seen through the eyes of two families struggling to survive love and trauma. Greek in

nature of memory in the visual age. Buy two copies: One to keep and one to give away.

Iraq + 100: Stories from Another Iraq, Hassan Blasim, ed. The editor asked 10 Iraqi

writers to imagine what their country would be like in a century. The result is a collection of

cannot help but ask what role she played in the birth of this surreal and inhumane world.

An Unkindness of Ghosts, Rivers Solomon. resonate with readers of all ages. Unkindness explores the realities of race, gender, and neuroatypicality on the HSS Matilda, a nomadic generation ship that resembles the Titanic prequel and sequel are already in progress.


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Whereas, Layli Long Soldier. repeatedly fails us when we try to capture the humanity of such things as identity, art, and apology. Though Long Soldier doesn’t want to be pigeonholed as a representative speaker of Native Americans, hers is an incisive voice we all need to hear.

Good Booty: Love and Sex, Black and White, Body and Soul in American Music, Ann Powers.

The distinguished NPR music critic paints a sweeping portrait of popular music. From 19th-century Deep South gospel music to 20th-century made-for- TV teen idols, Powers illustrates how erotic appeal and hip-twisting bodies reveal what America truly thinks about race, gender, and sex.

Town is By the Sea, Joanne Schwartz and Sydney Smith.

Set in a Cape Breton mining town, this children’s book reaches far beyond its intended age range (4-9) and will especially resonate with western PA families who have histories in the mills and mines of the region. Because the images tell a deeper story than the boy’s narration, parents may control how much of the story they want to reveal to younger readers. Breathtaking in its balance of light and dark, simple and complex.

The New Odyssey: The Story of the Twenty-First Century Refugee Crisis, Patrick Kingsley.

Having followed Kingsley’s Periscope and Twitter feeds while he was stationed in the Middle East as migration correspondent for The Guardian, I was drawn to these long form portraits of the people he met and to his lucid analysis of the on-going situation. Amazing insight from a young, compassionate mind.

12 Rounds in Lo’s Gym: Boxing and Manhood in Appalachia. Todd D. Snyder.

neur father (“Lo”) in this family memoir cum social commentary on class and gender in a small West Virginia coal town. If you read Hillbilly Elegy and think you understand Appalachia, this is an essential counterpunch.

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One Piece at a Time, By Hand, In Lawrenceville 3453 Butler St.~Pgh, PA 15201

412.486.2016 | 888.268.1138

LOCALarts Pittsburgh  

It's the sixth edition of our arts-centric publication

LOCALarts Pittsburgh  

It's the sixth edition of our arts-centric publication