Taught by Professor Jean Locey in the fall of 2017, ART 3604: Alternative Processes offers a stunning collection of works in Night Light, an exhibition held in Tjaden Hall. The class was an exploration of non-lens based photographic processes, centering around the creation of imagery through the painting of photosensitive emulsion on paper followed by a subsequent exposure to light. Kylie Corwin ’18, one of the five featured artists, remarks that, “this class challenges our contemporary perception of photography as a medium by teaching analog techniques that are not only historic but also labor intensive, thus enriching our appreciation for the physicality and vastness of the photographic medium.”
Originally used for the reproduction of diagrams and notes, the cyanotype is a photographic printing process that results in products with varying intensities of the titular cyan shade — hence the term, blueprint. However, the technique has since been extensively utilized by artists for a multitude of intentions. Jérai Wilson ’20 features this method in Recycled.
Once an architecture student at Cornell, William Lim has since had a transformative effect on the artistic landscape. His style is concise yet evocative, and his works represent a compelling intersection between art and architecture — a sublime pursuit of elegance removed from the exclusive preserve of the museum. In addition to his role as a prolific creator he has maintained an impressive art collection, exercising a particular emphasis on representing the artists of his native Hong Kong. Located in the John Hartell Gallery in the Sibley Dome until March 15, William Lim: The Architect and His Collection exhibits a stunning selection from the artist’s collection and from his own works. One of the particularly moving pieces of the exhibition is Pastoral Music by Samson Young.
What did you do in the 24 hours starting from Friday at 6:30 p.m.? A group of students were creating something incredible from scratch. Festival 24, which started in 2008 with only theatre productions, recently added film and dance performances to showcase the work of other students in the Performing and Media Arts department. Festival 24 challenges students to produce a story from a one-word theme in 24 hours. Playwrights stayed up all night to write a 10-minute play.
Drawing the Line, open until June 10 at the Johnson, displays over a century of drawing history from European artists. In particular, the exhibit celebrates both the drawing as a sovereign entity as well as an often-ignored component of the artistic process in its entirety. In this way, Drawing the Line forces the audience to closely reevaluate pre-existing notions of where and how beauty is to be found. A drawing technique with a history of over six centuries, gouache differs from watercolor in that it produces a distinctly more opaque finish. In an untitled composition from 1915, Pablo Picasso intermingles both gouache and watercolors.
More often than not, when the words “religion” and “gender identity” appear together, conflict ensues. But that’s not what happens in the Kitchen Theatre Company’s production of Brahman/i: A One Hijra Comedy Show. Written by the award winning playwright Aditi Brennan Kapil as the first part of her Displaced Hindu Gods Trilogy, Brahman/i takes the form of a standup comedy show performed by the intersex main character “B,” and sheds light on the often overlooked experience of the I in LGBTQIA+. Through personal anecdotes, some hilarious and some deeply moving, B narrates a unique journey of self-discovery as an Indian-American navigating the rocky landscape of growing up as a Hijra, an individual born with traits of both sexes. Through B’s monologues, other characters come to life; An unpredictable but wise aunt, loving parents, annoying cousins and classmates, and the Hindu creator god Brahma, in a way audiences have not seen before.
If, for the past couple of weeks, you’ve been following either the art world’s murmurings or the Most Popular Petition category on change.org, you would be well aware of the Guggenheim’s recent Animal Rights-related quagmire, a tiff with PETA advocates which resulted, on Sept. 25, in the removal of three pieces from its fall blockbuster exhibition. Whether or not you’ve been keeping close tabs on both, you likely missed the fact that the show in question, Art and China After 1989: Theater of the World, opened to the public this past Friday, Oct. 6. What reviews it has received have been, for the most part, somewhere between tepid and enthusiastically restrained (or else just petty), colored by and large by the Guggenheim’s milquetoast reaction and concession to those accusing it of complicity in animal rights violations. The 70 artist, 140 work-strong exhibition, which was supposed to be a milestone for U.S. reception and awareness of contemporary art from Chinese artists (Holland Cotter, in his review for the New York Times, calls it a show capable of reminding us that the country of 1.4 billion has given the world more than Ai Weiwei), has, it seems, been too profoundly marred by the museum’s willingness to nix some art at a cry of “Wolf!” This cry began in the form of a change.org petition — written by Stephanie Lewis, directed at the Guggenheim’s curators, administrators and corporate sponsors and subsequently backed by People for the Ethical Treatment of Animals — which garnered nearly 800,000 signatures.
When Tony Kushner’s Angels in America: A Gay Fantasia on National Themes premiered in 1991, it won a smattering of awards for its intense exploration of pressing, contemporary topics. A bit more than a quarter century later, the social issues and themes explored in the play are ever-relevant, and as the first show in their 2017-18 season, Ithaca College presents the first part of the play, Millennium Approaches, directed by Robert Moss. Angels in America is set in late 1985 in Manhattan, and follows a large cast—a gay couple, Prior Walter (Will Thames) and Louis Ironson (Josh Wilde); a Mormon couple, Joe (Ryan Ballard) and Harper Pitt (Steph Seiden); and Joe’s mentor Roy Cohn (Keenan Buckley), a lawyer with extremely questionable ethics (based on the real-life Roy Cohn). Their stories and lives overlap and intersect in weird and sometimes fantastical ways as the story moves through experiences of the AIDS crisis, homophobia, racism, and political tension and corruption. As revelations of illness and secrets come about, relationships deteriorate and an overwhelming fear of the future seems to cripple the characters.
Opera Ithaca flaunted a raw and striking sold out performance of Pagliacci Saturday night. The site-specific production housed in Ithaca’s very own Circus School remained authentic to the Ithacan aesthetic — small and impactful. The show, directed by Zachary James, tells the story of an ensemble of circus performers trapped in a dramatic love triangle. The company, already embraced and well loved by the Ithaca community, is entering its fourth season. Though Ithaca Opera has finished its final performance of Pagliacci, the company has five remaining shows lined up for their 2017/18 season including The Mystery of the Magic Flute, Gilbert and Sullivan’s Pirates of Penzance, and Carmen.
Convergence, Rebecca Rutstein’s exhibit on view at the John Hartell Gallery in Sibley Dome, is full of visual paradoxes that play with the eye, mind and soul. One glance into the gallery space draws the viewer into a state of total optical stimulation, complete with an experience that includes captivatingly rhythmic patterns and whirlwinds of unexpected colors. A deeper look at the collection prompts a realization of the true genius of visual contradiction, all skillfully created by Rutstein. Rutstein, a Cornell alumna (M.F.A. class of 1993) has participated in ocean mapping expeditions that spanned from the Galapagos Islands to California and from Vietnam to Guam. Convergence is fundamentally inspired by the ocean maps, geography, geology and water of these trips.
“Maybe it’s a fact we all should face / everyone makes judgments based on race”. This lyric, from the musical Avenue Q, was one of the first things that popped into my mind as I walked out of Smart People at the Kitchen Theatre — a play that delves unreservedly into the difficult, yet ever so relevant conversation of race, prejudice and, most importantly, our fear of that conversation itself. Written by the award-winning playwright Lydia R. Diamond and directed by the talented Summer L. Williams from Company One Theatre in Boston, Smart People is wildly funny, gripping and remarkably thought-provoking at its core. It dares us into the daunting task of thoroughly reevaluating ourselves and the world around us. With an innovative opening sequence involving projections of various news headlines and the voice recording of Barack Obama’s 2008 presidential campaign announcement, the play unfolds around four main characters: Brian, a white neuroscience professor at Harvard who has dedicated himself to finding a neurological explanation for racism and prejudice; Ginny, Brian’s fellow psychology professor at Harvard who studies and counsels Asian American women suffering from anxiety and depression; Jackson, Brian’s best friend, a black surgeon in residency; And Valerie, a young black actress who participates in Brian’s study and later works for him as a research assistant.
Richenburg’s works, once exhibited in the Ninth Street Show of 1951, along with canvases of Pollock, Krasner and the de Koonings, have since become neglected. The Johnson’s exhibit finds it necessary to remind spectators, frequently, not to confuse Richenburg with his better-known soundalike, Rauschenberg — who, ironically, was one of the first artists to break from abstract expressionism. Once part of the avant-garde New York School, Richenburg moved away from the city and its art scene in 1964, when he felt that his experimental teaching practices were being restricted by the Pratt Institute. He moved north. In 1964, he became a professor at Cornell University.