Arts and culture

The New Guard (Dwell)

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I wrote three short pieces on up-and-coming designers for the Now 99 issue of Dwell, published in May 2012. Click here for digital version; pdf of pages available here.

Artist Community: Rhode Island (Art New England)

BigTown Gallery • Rochester, VT • www.bigtowngallery.com • May 2–June 10, 2012

Aaron SiskindThe nonconcentric circles of Dale Chihuly’s eight-piece baskets fit neatly together within the largest basket, but inside they overlap and protrude into each other’s spheres. Nearly all of them touch.

It’s a fitting metaphor for the mixed-media exhibition Artist Community: Rhode Island at BigTown Gallery, exploring the work of nine artists who lived or worked in Rhode Island.

Although bound by geography and a modernist sensibility, at first glimpse the artists have little in common: photography, sculpture, works on paper, painting, and design are all represented, ranging from Hugh Townley’s woodworks to Bunny Harvey’s Vermont landscapes. Digging deeper into each artist’s biography reveals closer sympathies.

Why Being Fearless Matters So Much: A Conversation With Zaha Hadid (Forbes.com)

Originally posted 1.26.2012 at www.Forbes.com

‘The only thing I could have done to make them accept me was to water everything down — and I wasn’t prepared to do that.’

Zaha Hadid by Steve Double.When architect Zaha Hadid walks into the Philadelphia Museum of Art, conversation stops. Dressed all in black,she strides purposefully across the vast exhibition hall, her presence nearly dwarfing even the mural-sized Marc Chagall stretching from floor to ceiling behind her.

Hadid’s larger-than-life persona is a frequent topic of conversation in the architecture world, and in concert with the gravity-defying, curvilinear buildings she creates, has earned her a reputation as the diva of architecture. It’s a term applied by admirers and critics alike, to which she responds bluntly “You wouldn’t call me a diva if I were a guy.”

Persian Visions: Contemporary Photography from Iran (Art New England)

The Fleming Museum, University of Vermont • Burlington, VT • www.uvm.edu/fleming • Through May 20, 2012

Ahmad Nateghi, Untitled, 1998

By turns abstract, edgy, and haunting, the photographs in Persian Visions: Contemporary Photographs from Iran fully transcend the geographic boundaries imposed by the exhibition title. These are not the images that have flashed across American television screens for the past ten years; they’re far subtler than that, muting everyday violence with digital multimedia, blurred focus, and the ever-present veil motif.

Subject matter simmers just beneath the surface, at times brought to a rolling boil by Fleming curator Aimee Marcereau DeGalan’s decision to juxtapose the contemporary prints of the traveling exhibition (toured by International Art & Artists, Washington, D.C.) with nineteenth-century photographs of the Middle East in a complementary show.

A West Coast "Knitting Lady" Sets Up in Burlington (Seven Days)

Originally appeared in the print version of Seven Days Feb. 8, 2012.
Maggie Pace

In her former Bay Area neighborhood, Maggie Pace was known simply as “the Knitting Lady.” Neighbors and fans of her knitting patterns, kits and yarns would drop by for sidewalk sales at her knitting store, Pick Up Sticks, or tune in to her segments on the PBS TV program “Knit and Crochet Now!” to emulate crafty know-how.

These days, Pace is a little more incognito.

She moved to Burlington in December 2010 when her husband got a job with Dealer.com. That new position went hand-in-hand with the couple’s decision to reevaluate their lives.

“Steve and I were both overwhelmed,” Pace says. “We had a clear goal in mind to simplify and reenvision what success meant to us. We wanted to have personal fulfillment in our work and refocus on family life, so Burlington felt like a great fit.”

Nemesis Brings a 1930s Adventure Story to Stage, and Sludge Monsters to Earth (Seven Days)

Originally appeared in the print version of Seven Days on Jan. 18, 2012.

The Intergalactic NemesisTheater audiences can’t help but shift to the edge of their seats when they hear these four sounds: Thump … thump … thump … creeeeeeeeeeeeeak. The combination conjures up images of castles, Igor and ominous wooden doors with deadbolts, doesn’t it?

That’s exactly what Foley, or sound-effects, artist Buzz Moran will be counting on in an upcoming performance of The Intergalactic Nemesis at Burlington’s Flynn Center for the Performing Arts. Originally a live radio play in Austin, Tex., and now a touring stage show, Nemesis is billed as a live-action graphic novel. The sci-fi story, set in 1933, features a reporter and her assistant, a mysterious librarian, and sludge monsters from the planet Zygon that are, of course, threatening planet Earth. Hence the “intergalactic nemesis.”

The show is performed with three stationary actors, one keyboard player and one Foley artist. The stage backdrop features more than 1000 hand-drawn comic-book images projected in high def.

Digitizing a Treasury of Objects at the Fleming Museum (Seven Days)

Originally appeared in the print version of Seven Days on Dec. 14, 2011.

Nicola Astles, Margaret Tamulonis, Aimee Marcereau DeGalan

Janie Cohen walks through the stacks on the top floor of the University of Vermont’s Fleming Museum of Art, running a finger along the shelves and pointing out favorites. Ancient Native American pottery shares a shelf with pre-Columbian artifacts, which perch next to small-scale European sculpture. Cohen, the museum’s executive director, stops to point out a tattered-looking collection of maps created by Napoleon and his troops, then continues down to the end where the paintings hang. A nearby table displays smoking apparatuses, under consideration for a winter exhibition; a row of hunting spears hangs above a drawer full of Native American beadwork.

This area of the museum — where the Fleming keeps its treasures — is generally off limits to visitors. It’s one of three on-site storage vaults, and it’s crammed with objects dating from 3500 BC to the present day. Cohen knows them all. Visitors, even regular ones, probably haven’t seen a quarter of the collection.

The Shelburne Museum Shuts Down for Winter, But Not Everything Hibernates (Seven Days)

Originally appeared in the print version of Seven Days on Nov. 23, 2011 and posted here: http://www.7dvt.com/2011shelburne-museum-shuts-down-winter-not-everythin...

taking down the lighthouse signIn Beach Lodge, the bears are hibernating. The temperature is a chilly 45 degrees, and the windows will soon be boarded up, leaving the taxidermy Ursus in darkness. It’s creepy in here.

Outside, groundskeepers, curators, gardeners, carpenters and conservators rove the grounds in golf carts, their activity recalling a scene from Richard Scarry’s Busytown. Twenty-three gardens have already been cut back and composted; the carousel has been disassembled and stored.

Welcome to the end of the season at the Shelburne Museum, where workers have indeed been busy battening down the hatches for winter. It’s an aspect of the museum the May-to-October crowd never sees. And, in a way, that’s too bad, because the process of buttoning up 39 historic buildings over 45 sprawling acres is itself an interesting “exhibition” with history lessons.

A Proliferation of the Absurd

By Lindsay J. Warner

“Above all, theater must not be realistic,” the narrator intones during the prologue of the BalletX/Wilma Theatre collaboration Proliferation of the Imagination.

Consider yourself duly warned.

What unfolds is a joyful, absurd, funny and utterly ludicrous take on Guillaume Apollinaire’s Les Mamelles de Tirésias (The Breasts of Tirésius), whose plot, as described in the prologue, is as “simple as a periscope.”

Be warned in that respect, too. A dramatic non sequitur in execution, Proliferation of the Imagination follows no set rules of cause and effect. It revels in the execution, but, true to Surrealist edicts, exists to further the goals of the movement, rather than to present a holistic production (remember that Apollinaire first coined the term “Surrealism” in the preface of Les Mamelles de Tirésias). 

Artist Orna Willis a captive of color in her Northern Liberties loft (The Philadelphia Inquirer)

When Orna Willis looks at the skeins of embroidery floss hanging from the wall in her home studio, it's not just a visual treat.

"Color has such a strong effect on me," Willis said, "that it gets mixed up in my senses until I don't know if I'm seeing it or hearing it or tasting it."

For Willis, an artist who creates intricate designs for her online fiber, fabric, and metal gallery and store, the pegboard is like grapes to a winemaker. "All I need to do is turn around and look at it, and it gets my creative juices flowing," she says.

So when Willis and her husband, Reid, both 53, moved with their 9-year-old daughter, Nina, from a McMansion in Ann Arbor, Mich., to a loft in Northern Liberties six years ago, color became her muse for the 2,950-square-foot blank canvas.

Today, the house is awash in artwork, much of it by Willis' 30-year-old daughter, Shiri Wolf, mixed with a few highlights by other artists including Andy Warhol and Piero Fornasetti. The main living room evokes warmth as well as space, with vignettes throughout: groupings of Scandinavian glassware, or large, prolifically growing terrariums. Willis' favorite design elements are those created of objects that she and her husband have accumulated in their travels to South Africa, Italy, Spain, Cambodia, and Israel, where Willis grew up. But nothing dictates the character of the rooms so much as the color.