A number of Center-supported projects and two Pew Fellows have been included in fall season highlights from The New York Times and The Philadelphia Inquirer.
The New York Times’ New Season preview included Temple Contemporary’s reFORM, a project that commissioned MacArthur and Pew Fellow Pepón Osorio to create a new installation that responds to recent Philadelphia school closings. “[Osorio] worked with teachers, students, parents and neighbors to gather chairs, desks and chalkboards for an ongoing ‘reactivated’ school that also functions as a participatory art installation,” wrote Martha Schwendener. The project was also a pick in The Philadelphia Inquirer’s fall arts guide, where Edith Newhall included it among the “22 local gallery exhibitions to feast your eyes on.”
Also included in The New York Times was Barbara Kasten: Stages, the first major survey of the Chicago-based artist’s work, presented by the Institute of Contemporary Art with Center support and traveling to the Graham Foundation this fall. Kasten’s “photographs and videos are based on architectural models she builds and photographs in her studio,” Schwendener noted.
Pew Fellow Alex Da Corte’s spring 2016 exhibition, Free Roses, at Mass MoCA also made the list. “The centerpiece of this extravaganza of consumer-inspired psychedelic art is an installation inspired by Arthur Rimbaud’s dystopic poem ‘A Season in Hell,’” wrote Schwendener for The Times.
The Center-funded Trisha Brown: In the New Body presented by Bryn Mawr College, with performances beginning October 18, was highlighted by both The Times and The Philadelphia Inquirer. “This nine-month series in Philadelphia…chronicles Ms. Brown’s groundbreaking career, from her redefinition of dance in the 1960s to her 21st-century inventions,” wrote The Times’ Siobhan Burke.
Also included in The Inquirer’s arts guide was Strange Currencies: Art & Action in Mexico City, 1990-2000, presented by the Galleries at Moore College of Art and Design with Center support. “Artists who lived and worked in Mexico City in the 1990s had much to mull—an economic crisis, increasing violence and poverty, and widespread political corruption—and the unorthodox, action-based works they produced were a direct reflection of that upheaval,” Edith Newhall wrote for The Inquirer.
The Philadelphia Inquirer’s Toby Zinman highlighted Theatre Exile’s production of Rizzo in her list of “21 theater performances to feed your inner thespian,” writing that the project “dramatizes Philly’s most controversial top cop, the larger-than-life Frank Rizzo, as he prepares for his 1991 mayoral campaign.” The development of Rizzo was supported by a Center planning grant.
The finale concert of the Mann Center’s Philadelphia Freedom Festival, “Gospel Meets Symphony,” has received widespread media attention.
Losang Samten is a visual artist and a 2004 Pew Fellow in folk and traditional arts.
In her concluding address as the Center’s visiting scholar, Kristy Edmunds discussed the importance of providing a platform for national and international artists alongside local artists.
Philadelphia Dance Projects produced the Local Dance History Project, reuniting five prominent Philadelphia dancers to examine the development of contemporary dance in the city.
Flesh and Blood & Fish and Fowl, which traveled to London in early 2011, received media attention from a number of publications.
Since the late 1970s, Danny Yung has established a reputation as one of Hong Kong’s most influential and pioneering artists.
Elevator Repair Service’s John Collins on why his theater ensemble embraces “a blissful ignorance” at the outset of a new project.
Pasión y Arte’s Philadelphia Flamenco Festival will host this film screening of Carlos Saura’s Bodas de Sangre (Blood Wedding), featuring a discussion with Michelle Heffner Hayes.
John Caird’s adaptation of Voltaire’s classic satire Candide received its American regional theater premiere.
Pulitzer Prize-winning composer Zhou Long is visiting professor of composition and director of Musica Nova at the University of Missouri, Kansas City Conservatory of Music.
Fatu Gayflor (Pew Fellow, 2014) learned music, dance, and traditional arts at an early age in rural Liberia. She states that her goal is “to use singing and songwriting to build cooperation and community among Liberians.”
Philadelphia Folklore Project and the Liberian Women’s Chorus for Change present a discussion with Dr. Cynthia Cohen, director of Brandeis University’s Program in Peacebuilding and the Arts, on the place of traditional and folk arts practice in reconciliation, anti-violence, and peacebuilding work in Philadelphia and beyond.