Tag Archive for Center for the Arts

16th Annual Wesleyan Jazz Orchestra Weekend to Feature a “Day of Percussion”

The 16th Annual Wesleyan Jazz Weekend is on April 28-29, 2017.

The 16th Annual Wesleyan Jazz Orchestra Weekend is on April 28-29.

At the end of April, Wesleyan University’s concert halls will be filled with the sound of rhythm during the 16th Annual Wesleyan Jazz Orchestra Weekend, on Friday, April 28 and Saturday, April 29. The weekend will kick off with the traditional performance by the Wesleyan University Jazz Orchestra and Jazz Ensembles on Friday evening. New this year, on Saturday, there will be percussion clinics hosted by the Connecticut Percussive Arts Society, followed by an evening concert by Eli Fountain’s Percussion Discussion.

Jay Hoggard, professor of music and African American studies, explained the idea behind this ambitious project. “For the first time ever, we’re combining the Wesleyan student ensembles and the Connecticut Percussive Arts Society program,” he said. “We thought that would be an interesting combination, but instead of doing it over a series of multiple weekends, as we have done in the past, it’s going to be one day with multiple performances, about 20 minutes each.”

Playwright Emily Mann in Conversation with Quiara Alegría Hudes

Emily Mann

Director and playwright Emily Mann will give a talk at Wesleyan on March 28.

Director and playwright Emily Mann will give a talk at Wesleyan on March 28 as part of the Performing Arts Series of the Center for the Arts. Mann will be in conversation with Wesleyan’s Shapiro Distinguished Professor of Writing and Theater Quiara Alegría Hudes.

“Emily Mann is a revered theatrical auteur,” said Hudes, a Pulitzer Prize-winning playwright who teaches playwriting to beginning and advanced writers at Wesleyan. “An accomplished playwright, director, and artistic director of a leading regional theater, Mann is known for her probing inquiry into our nation’s most urgent issues. Her art has time and again advanced the national conversation.”

Hudes believes those in attendance will benefit from hearing Mann’s views on the arts. Hudes explained, “The audience can expect to hear from a pioneer and trailblazer about what it means to have a vision, how to build and sustain an artistic vision over decades, and how word meets flesh at the intersection of the script and stage.”

“I am honored to be joining Quiara Alegría Hudes at Wesleyan for what will no doubt be an exciting day, both in our class workshop and our public conversation in the evening,” said Mann. “I am very much looking forward to an engaging talk with Quiara, discussing a wide range of topics including the state of the American theater, the American playwright, and opening doors to a whole new generation of voices.”

Known for her politically edgy and documentary style, Mann is currently in her 27th season as artistic director and resident playwright of the Tony Award-winning McCarter Theatre Center in Princeton, N.J. In 2015, she received both the  Helen Merrill Distinguished Playwrights’ Award, and the Margo Jones Award, given to a “citizen of the theater who has demonstrated a lifetime commitment to the encouragement of the living theater everywhere.”

A Conversation with Emily Mann will take place in Memorial Chapel at 7 p.m., Tuesday, March 28 and is free and open to the public.

CFA Performing Arts Series Concert to Feature Italian Baroque Chamber Music

Photo by Andy Kahl

Tempesta di Mare will perform on March 31, concluding the 2016-2017 season of the Center for the Arts’ Performing Arts Series. (Photo by Andy Kahl)

Members of the Philadelphia-based ensemble Tempesta di Mare will perform baroque chamber music from Venice and Naples on period instruments for the Connecticut premiere of A Tale of Two Italian Cities in Crowell Concert Hall at 8 p.m., Friday, March 31.

This performance by Tempesta di Mare is part of the Performing Arts Series at the Center for the Arts, and the conclusion of the 2016-2017 season.

“These performances feature a wide array of world-class musicians, cutting-edge choreography, and groundbreaking theater,” explained Sarah Curran, director of the Center for the Arts. “We’re excited to include a baroque chamber orchestra this year and we think the audience will love experiencing the sounds and culture of Italy.”

The audience can expect to hear music that reflects the two cities’ different cultures, explained Richard Stone, co-director of Tempesta di Mare. “Venice was Italy’s party town, while Naples was where you’d go to university or, if you were a musician, to conservatory,” said Stone. “Neapolitan music grabs its listeners with a heady intensity, while the Venetian music catches you with technical brilliance. That’s the generalization though. Naples’ music could get pretty wild, and Venetian music can get pretty cerebral. They’re both great musical worlds to dive into.”

Celebrating their 15th anniversary season, the members of the ensemble performing at Wesleyan will play recorder, violin, cello, lute and harpsichord on trios, quartets and concerti written by Antonio Vivaldi, Alessandro Scarlatti, Dario Castello, Andrea Falconieri, Francesco Mancini and Giovanni Legrenzi.

Tickets can be purchased through the Wesleyan University Box Office. Tickets are $28 for the general public; $26 for senior citizens, Wesleyan faculty/staff/alumni, and non-Wesleyan students; and $6 for Wesleyan students and youth under 18.

New Center for the Arts Exhibition Explores Duality

Multimedia artist Clarissa Tossin discusses her artwork at the IN STEREO event and artist walkthrough on February 7, 2017. Photo by Perceptions Photography.

Multimedia artist Clarissa Tossin discusses her artwork at the IN STEREO event and artist walkthrough on Feb. 7. (Photo by Perceptions Photography)

In the Ezra and Cecile Zilkha Gallery sits an old Volkswagen Brasília, surrounded by a sampling of artwork in all different mediums. This the Center for the Arts’ latest exhibition, Stereoscopic Vision, which fuses photography, sculpture, and video from different bodies of work by Brazilian-born artist, Clarissa Tossin. Stereoscopic Vision highlights the dualities between natural and manufactured; two and three-dimensions; co-dependent economies; intention and actuality; and the United States and Brazil.
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For Tossin, who is based in Los Angeles, this is her first solo exhibition in the northeast. Tossin considers herself a multimedia artist. “I work with installation, video, photography and sculpture in an expansive way, which allows me to incorporate other mediums to the work and move freely among these disciplines” she explained. “I’m interested in looking at architecture, not only from its physical qualities, but the ways it signifies and is used.”

Besides this exhibition, Tossin is preparing to shoot a new film called Maya Blue, which will premiere in September at Pacific Standard Time: LA/LA, a Getty Foundation initiative that explores the connections between Los Angeles and Latin American art. “The film examines the influence of Mayan architecture on Frank Lloyd Wright’s Hollyhock House, an important LA landmark,” she said. “The piece will document a performance responsive to the site, in which a woman engages with the house’s architectonic features with choreography drawn from ancient Mayan traditions.”The free

The free exhibition is on display through Sunday, March 5. The Zilkha Gallery is open Tuesdays through Sundays from noon to 5 p.m. Additionally, Wesleyan artists in music, poetry, and dance are participating in IN STEREO, a series of pop-up performances that are related to or inspired by Tossin’s work. The Feb. 21 performance spotlights dancers and choreographers.

NEA Supports Center for the Arts, Wesleyan U. Press

As part of a recent National Endowment for the Arts grant, Wesleyan’s Center for the Arts was awarded funds for the 2017-2018 Breaking Ground Dance Series. Upcoming performances this season include the return of Urban Bush Women, performing the Connecticut premiere of ‘Walking with 'Trane’ on March 3.

As part of a recent National Endowment for the Arts grant, Wesleyan’s Center for the Arts was awarded funds for the Breaking Ground Dance Series. Upcoming performances during the 2016-2017 season include the return of Urban Bush Women, performing the Connecticut premiere of ‘Walking with ‘Trane’ on March 3.

The National Endowment for the Arts approved more than $30 million in grants as part of the NEA’s first major funding announcement for fiscal year 2017. Included in this announcement are Art Works grants of $30,000 for Wesleyan’s Center for the Arts‘ Breaking Ground Dance Series and $25,000 to support Wesleyan University Press in the publication and promotion of books of poetry.

The Art Works category focuses on the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and the strengthening of communities through the arts.

The Breaking Ground Dance Series at the Center for the Arts, now in its 17th season at Wesleyan, features cutting-edge choreography, world-renowned companies and companies pushing the boundaries of the art form. Upcoming performances this season include the return of Urban Bush Women on March 3. The company will be performing the Connecticut premiere of ‘Walking with ‘Trane,’ an ethereal investigation conjuring the essence of John Coltrane, inspired by the musical life and spiritual journey of the famed jazz saxophonist.

Past companies from the U.S. and abroad that have been featured on the Breaking Ground Dance Series include Bebe Miller Company, Camille A. Brown, Compagnie Marie Chouinard, Reggie Wilson/Fist & Heel Performance Group, Ronald K. Brown/EVIDENCE, Chunky Move, Kyle Abraham/Abraham.In.Motion, and Margaret Jenkins Dance Company. The Center for the Arts partners with Wesleyan’s Dance Department and a subcommittee of their faculty and students to select the companies and plan their residencies.

“Dance is arguably the most under-supported of the performing arts, so funding from the NEA significantly enhances the CFA’s ability to bring dance artists of the highest caliber to Connecticut audiences,” said Laura Paul, interim director of the Center for the Arts. “And beyond the dollars, it is a real point of pride to have the NEA as a funding partner.”

Wesleyan University Press will publish authors Kamau Brathwaite, Camille Dungy, Shane McCrae, Erin Moure, Evie Shockley and Gina Athena Ulysse, who is professor of anthropology and feminist, gender and sexuality studies at Wesleyan. Books will be accompanied by online reader companions, and will be promoted through author readings and workshops, social media, and the press’s website, among other means.

“We are delighted to have the support of the National Endowment for the Arts for the poetry titles that will be published in 2017,” said Wesleyan University Press Director Suzanna Tamminen. “The books coming out this year are tuned to concerns about the planet, about violence in the streets, faraway and in our own homes. At the same time these poems uplift us, and break us out of routine molds of thought. Over the years, this kind of support from the NEA has helped us to reach thousands of people, with readings at libraries, universities, public parks, museums, theaters, schools, bookstores and clubs. We are very excited about this year’s books, and grateful to the NEA for supporting the Press and these works of art.”

A portion of the grant will also enable reading tours for each author.

“The arts are for all of us, and by supporting organizations such as Wesleyan University’s Center for the Arts and Wesleyan University Press, the National Endowment for the Arts is providing more opportunities for the public to engage with the arts,” said NEA Chairman Jane Chu. “Whether in a theater, a town square, a museum, or a hospital, the arts are everywhere and make our lives richer.”

Center for the Arts Announces New Director

Sarah Curran (Photo courtesy of ToniBird Photography).

Sarah Curran (Photo courtesy of ToniBird Photography).

Sarah Curran, who is currently associate director of the Stanford Arts Institute, has been selected to lead Wesleyan’s Center for the Arts beginning on Feb. 20, 2017.

Curran succeeds Pamela Tatge, who left the university after 16 years to serve as executive director of Jacob’s Pillow Dance Festival. Laura Paul has served as Interim Director of the Center for the Arts since February.

“We are excited to welcome Sarah Curran to Wesleyan,” said President Michael Roth. “Sarah is a collaborative leader, and I know that our faculty and students look forward to working with her to curate programming that elevates and integrates the arts across the campus and enhances their teaching and learning.”

Curran brings to the job more than ten years of experience in arts programming, a creative interdisciplinary curatorial practice, wide knowledge of contemporary performance, and a deep understanding of academia. At the Stanford Arts Institute, where she was previously director of programming and partnerships, Curran designed a sustainable mobile art studio built by students; built a research residency program to allow artists to spend their time doing academic research to inform new projects; expanded an arts immersion program, taking students to different cultural capitals across the U.S.; and created the 72 Hour Musical Project, in which teams of students wrote the basis for a new musical over the course of a weekend. Prior to coming to Stanford, she worked with the Tribeca Film Festival, Martha Graham Dance, and the Chicago Humanities Festival.

Curran is a graduate of Wesleyan’s Institute for Curatorial Practice in Performance (ICPP). She earned a master’s degree in performance studies from New York University, and a bachelor’s degree in religion, theater, and dance from Princeton University.

“I am thrilled to join the Center for the Arts at Wesleyan, a school I have long admired for its integration of the arts into the fabric of campus life,” said Curran. “I look forward to building on the great work already taking place at the Center.”

Wesleyan’s Navaratri Festival Celebrates 40th Anniversary

Navaratri, one of India’s major festival celebrations, is a time to see family and friends, enjoy music and dance, and seek blessings for new endeavors. Wesleyan’s 40th annual festival, held Oct. 28-Oct. 30, celebrated traditional Indian music and dance.

The Navaratri Festival is presented by the Center for the Arts and the Music Department, with leadership support from the Madhu Reddy Endowed Fund for Indian Music and Dance at Wesleyan University, and additional support from the Jon B. Higgins Memorial Fund, the Raga Club of Connecticut, Haveli Indian Restaurant, and individual patrons.

Pictured is the Navaratri Festival: B. Balasubrahmaniyan performance, Oct. 28 at Crowell Concert Hall: (Photos by Sandy Aldieri)

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Schorr’s Flying Carpets Exhibition Explores Childhood Memories, Creative Process

Professor of Art David Schorr offered a WESeminar preview to the opening of his newest exhibition, "Flying Carpets," now in Wesleyan's Zilkha Gallery.

Professor of Art David Schorr offered a WESeminar preview to the opening of his newest exhibition, Flying Carpets, now in Wesleyan’s Zilkha Gallery. (Photo by Cynthia Rockwell)

On Nov. 1, Professor of Art David Schorr’s Flying Carpets—New Paintings by David Schorr opened at Wesleyan’s Ezra and Cecile Zilkha Gallery with a standing-room-only reception and gallery talk by the artist. This solo exhibition and the site-specific installation, Flying Carpets, revisits Schorr’s childhood days spent playing on his grandmother’s Persian rugs. A few days earlier, on Oct. 29, Schorr had previewed this opening in an WESeminar for Family Weekend.

In his remarks, Schorr shared the artists’ process through which the series came to be. “One of the questions my students ask is, ‘Where do ideas come from?’” he began. “And alas, I have no easy answer. I can say where an idea begins, but often like a working title which is discarded, my ideas are not born fully formed and as I try to give them form I am actually trying to understand what it really is I am trying to say…..

“What I do care most about from the start is whether the idea that I am chasing is a potent metaphor for my viewers. I don’t need to know that the images they are seeing what I am seeing. I do need some assurance that these images are stirring memories or thoughts or emotions in my viewers. And only then do my own doubts begin to abate and I can keep working on…”

Beginning with a conversation about childhood moments spent playing with toy vehicles on grandparents’ carpets—and the memories he saw that this triggered in his friends, Schorr traced the creative path, following the evolution of this series from the image of sturdy metal toys against the colors and patterns of the carpet, to the sense of play and abandoned boundaries that childhood imagination imbued in each.

Schorr’s Flying Carpets Paintings on Display Oct. 27-Dec. 11

David Schorr, Red Roadsters, 22 x 22 inches, gouache and silverpoint on linen.

David Schorr, Red Roadsters, 22 x 22 inches, gouache and silverpoint on linen.

Flying Carpets: New Paintings by David Schorr, a solo exhibition and site-specific installation by Professor of Art and Chair of the Art and Art History Department David Schorr, will be on view in the Main Gallery at the Ezra and Cecile Zilkha Gallery from Oct. 27 through Dec. 11. Gallery hours are Tuesday through Sunday from noon to 5 p.m. Gallery admission is free.

In this latest body of work, Schorr revisits childhood days spent playing on his grandmother’s Persian rugs. Vibrantly colored taxis and race cars drive over paisley designs, while model planes soar midst coffee cans and mailing labels. In his practiced technique of combining gouache with silverpoint drawing on linen, he recreates the richly colored world of his young imagination.

In each of the paintings, the artist contrasts familiar toys from the mid 20th century with images that hint at the exotic and expansive world beyond his Chicago home. Trains and dump trucks traverse floating prayer rugs next to the turbaned man from a coffee company’s logo. The steel models recall an era before plastic, during an earlier day of commercial travel when the possibilities of exploration and discovery felt infinite and even exotic.

The public is invited to attend the Opening Reception from 4:30 to 6:30 p.m. Nov. 1 in the Ezra and Cecile Zilkha Gallery, with a gallery talk by David Schorr at 5 p.m.

Schorr also will speak during a preview of his exhibit from 2 to 4 p.m. Oct. 29 in the gallery. This talk is held in conjunction with Family Weekend.

The works in this exhibition are courtesy of Ryan Lee Gallery in New York. Schorr is represented by the gallery, who will present Flying Carpets in January 2017. For more information see the Center for the Arts website.

Siry Details the History of Center for the Arts in Architectural History Journal

Joe Siry

Joe Siry

The Wesleyan Center for the Arts was featured in The Journal of the Society of Architectural Historians (JSAH), the main U.S. peer-reviewed scholarly journal for architectural history, in an article written by Joseph Siry, the Kenan Professor of the Humanities, professor of art history. The article, titled “Roche and Dinkeloo’s Center for the Arts at Wesleyan University: Classical, Vernacular, and Modernist Architecture in the 1960s,” detailed the extensive history and creative motives behind the impressive 11-building complex.

From 1962, under the presidency of Victor Butterfield (in office 1943–67), Wesleyan’s trustees committed the college to develop into a small university, and in 1964 they commissioned a master plan that identified the eventual site of the Center for the Arts as an integral part of the expansion. The overall goal, in the words of the trustees, was to “reaffirm the relevance of liberal arts in a world of
increased specialization.”

The $11.8 million Center for the Arts was designed in the fall of 1965, at a time when Wesleyan had an endowment of $151 million for a student body of about 1,240.

Officially opening in the fall of 1973, the Wesleyan CFA’s “minimal aesthetic has invoked a sense of timelessness.” From the faculty committee tasked with choosing an architectural firm that met specific guidelines outlined by President Butterfield, to the subsequent hiring of Kevin Roche and John Dinkeloo, and then the eventual construction of the CFA, the buildings were created as a “clear and impressive formal statement of what they would be used for, but at the same time, expresses what they stand for and represent,” Siry writes. “As modernist architecture, what these buildings lack in handcrafted ornament they compensate for in material and spatial effects.”

This bird’s-eye view photograph shows the of the 1966 Center for the Arts model.

This bird’s-eye view photograph shows the of the 1966 Center for the Arts model.