George E. Lewis is the Edwin H. Case Professor of American Music at Columbia University. A 2002 MacArthur Fellow and a member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Lewis’ compositions are documented on more than 140 recordings, and have been presented by the BBC Scottish Symphony Orchestra, Boston Modern Orchestra Project, Talea Ensemble, Dinosaur Annex, Ensemble Pamplemousse, Wet Ink, Ensemble Erik Satie, Eco Ensemble, and others, with commissions from American Composers Orchestra, International Contemporary Ensemble, Harvestworks, Ensemble Either/Or, Orkestra Futura, Turning Point Ensemble, San Francisco Contemporary Music Players, 2010 Vancouver Cultural Olympiad, IRCAM, Glasgow Improvisers Orchestra, and others. Most recently, Lewis has served as Ernest Bloch Visiting Professor, University of California, Berkeley; Paul Fromm Composer in Residence, American Academy in Rome; and Resident Scholar, Center for Disciplinary Innovation, University of Chicago. Lewis received the 2012 SEAMUS Award from the Society for Electro-Acoustic Music in the United States, and his widely acclaimed book, A Power Stronger Than Itself: The AACM and American Experimental Music (University of Chicago Press, 2008) received the American Book Award and the American Musicological Society’s first Music in American Culture Award. Lewis and Benjamin Piekut are co-editors of the forthcoming (2015) two-volume Oxford Handbook of Critical Improvisation Studies.
Lewis served as a Center 2003 panelist in Pew Fellowships, and he participated in “Music and Identity: The Risks and Rewards of Boundary-Crossing,” a 2010 Center symposium that explored the artistic journeys of musicians and composers whose work exemplifies the risks and the rewards of crossing stylistic, social, and cultural boundaries. In summer 2014, he wrote the keynote essay for the Center’s Question of Practice series on co-authorship.
The Institute of Contemporary Art at the University of Pennsylvania is widely known for giving artists exhibitions at critical points in their careers.
Hipolito “Tito” Rubio is a musician and a 2004 Pew Fellow in folk and traditional arts.
The Philadelphia Chamber Music Society serves the Greater Philadelphia region and the field of music by presenting a rich and compelling variety of chamber music and recital programs performed by exceptional international and Philadelphia-based artists at affordable prices.
Al-Bustan premiered two new compositions inspired by Andalusian poetry in a concert featuring a classical Arab chamber ensemble, the Al-Bustan Takht Ensemble; a Western choir, The Crossing; and Palestinian vocal soloist Dalal Abu Amneh.
In 1995 the Center awarded Pew Fellowships to 16 Philadelphia-based artists, and grants to 23 dance and music organizations in the greater Philadelphia region.
Darsie Alexander is the chief curator at the Walker Art Center in Minneapolis, MN.
This month in Fellows Friday news: Alex Da Corte prepares for a major exhibition at ICA Philadelphia, and new albums from Orrin Evans, Mary Lattimore, and Chris Forsyth have generated buzz. We also say goodbye to jazz violinist John Blake, Jr.
Wendy Sutter is widely acclaimed as a cellist by critics in The New York Times, The Washington Post, The Los Angeles Times, and many others. In 2015, Sutter served as an LOI panelist in Performance.
As part of its Then and Now: Jazz Cubano series, Montgomery County Community College’s Lively Arts Series hosts Ninety Miles, a trio that blends traditional bebop with Latin and Afro-Caribbean influences.
The prize, established in 1981, “recognizes exemplary and provocative work by young practitioners and provides a public forum for the exchange of their ideas.”
Natasha Bakht is an Indian contemporary dancer and choreographer. In 2015, she was a panelist in Performance.
Abendroth is a poet and a 2013 Pew Fellow whose book ]EXCLOSURES[ is newly available this month from Ahsahta Press.