beinspired

Australian Apologies

j solomon — Wed, 13 Feb 2008 15:31:00 +0000

Is it ever too late for an apology? No. An apology, no matter when it comes is an acknowledgement of wrongs, of pain and suffering caused. This is an interesting article on an apology issued to Aboriginal communities in Australia.

http://www.nytimes.com/2008/02/13/world/asia/13aborigine.html

Jerome Bell

j solomon — Tue, 13 Nov 2007 18:54:00 +0000

Jerome Bell, “Pichet Klunchun and myself”

i really enjoyed this performance. it raised interesting questions about definitions of contemporary performance and jerome bell was brilliant (perhaps exploitive) in using this as a forum for responding publicly to criticisms of his work.

in this conversation/demonstration style event, Bel interviews Pichet with the sort of ethnographic questions about tradition Thai dance that foreign observers, particularly European observers, ask about the work. it is an interesting re-picturing of the issues around eurocentrism, inter-culturalism, cultural globalization and contemporary performance.

can curators working from a eurocentric perspective see Pichet as a contemporary choreographer? he defines himself as such, describing and beautifully demonstrating how he takes the traditional dance he’s mastered to create a new form of dance; yet he’s promoted here as the traditional Thai dancer. Would the Eurocentric world of current contemporary performance presenting allow us to see this work as contemporary or does it always position Pichet as “the Other”?

I’m interested in learning more about Pichet’s work. in this context Jerome’s work ot me feels a bit empty and indulgent, but i enjoyed watching him and hearing him speak about his work and would definitely love to experience more of it.

Kara Walker @ Whitney

j solomon — Tue, 13 Nov 2007 18:17:00 +0000

On “Kara Walker: My Complement, My Enemy, My Oppressor, My Love”

i’m still trying to understand the title. hours after i visited the Whitney Museum, i realized that i was the only black woman on the third floor gallery viewing this show. perhaps that explains why the comments i overheard seemed strange and made me slightly uncomfortable. i couldn’t really enjoy the show; but then i’m not sure the material is enjoyable in a typical sense. the work enters my emotions in ways i never completely expect. i love kara walker’s work. i love the subtlties, humor, satire, just the sheer complexity of it.

this show, her first major museum survey, organized at the Walker Art Center in Minneapolis (how is it that such a place exists in Minneapolis and not Pittsburgh), includes a range of silhouette works, journal notes and “moving pictures” (which i didn’t know or remember she made). i love the challenge of it.

but this show is difficult to observe and take in the truth of it. that is the truth of the stereotypes (not that the stereotypes are true but of their existence in real life) and of the historical record of blacks and race in world. to acknowledge these stereotypes as true in this context of the Whitney Museum, the only brown skin (other than that of the security guards) in a sea of white faces (that of mostly older ladies who didn’t understand) was slightly, only slightly uncomfortable.

i wondered...what does kara hope to invoke in the hearts and minds of these white ladies? does she care? i’m sure she does, most artists care and have an agenda even if they don’t admit it. but i wondered what do these ladies feel? Does this work conjure the wave of emotions i feel -- anger, disgust, frustration, sadness, pride? is this a critique or simply a reflection? i wondered how familiar does one need to be with the history of plantation slavery in america to read these images (many of the ladies in the show claimed to not understand, “what is this?” i heard over and over again…“its disgusting” i heard many, times as i walked through the gallery. why do we need to see “[this] over and over again,” i overheard many times.

it’s worth seeing. this work needs to be discussed again and again. the fact that this show is in a major museum in NYC seems testament to the fact that we’ve made progress, right? we’re one step closer to eradicating racism in america, right? not sure.

Issac Julien and Russell Maliphant

j solomon — Tue, 13 Nov 2007 17:56:00 +0000

Isaac Julien and Russell Maliphant, “Cast No Shadow”
i was not familiar with russell malipant’s work enough to understand why a collaboration between him and julien would make sense. but im familiar with julien’s work, so the idea of a performance work with his films, was intriguing.

i remember the first time i saw a julien film, it was part of a collection of films from the New Museum of Contemporary Art. i don’t remember the title but the work immediately struck a chord.

“Cast No Shadow” a commissioned work of Performa 07, Dance Umbrella and Sadler’s Wells, festured three Julien films: True North (2004) - a story of Matthew Henson, the African American explorer, now considered the first man to set foot on the North Pole; Fantome Afrique (2005) filmed in the capital city of Burkina Faso, Ouagadougo, the heart of the african film scene; and Small Boats (2007) a new film, about the crossing of African immigrants across the Mediterranean to Europe. i was absorbed by the films i can’t say the same for the dance work.

honestly, it was hard to stay with the movement; the dance felt more like a distraction. i just didn't understand what was happening and why. fortunately though the dancers were beautiful movers, just enough to keep my attention.

but i kept thinking, "what's wrong here?" "what should a live performance of/with julien films look and feel like?" i’m not sure, but there was something fundamentally wrong and the live performance just did not match the vibrancy of the films.

yet, i’m glad i saw it… to see this kind of work broadens my sense of what’s possible to see and experience...it is inspiring to see.

Philly Woman of the Week

j solomon — Tue, 09 Oct 2007 03:22:00 +0000

my week ended but it was nice to be Philly Woman of the week.

http://www.philly.com/philly/phillywomen/Janera_Solomon.html?referrer=google

rise

j solomon — Tue, 09 Oct 2007 03:07:00 +0000

Tonight i had the pleasure of attending a rehearsal of Vanessa German's piece, "rise" premiering this week for the August Wilson Center's "First Voice" Festival. its an incredible privilege to be part of the creation of a new piece of art and Vanessa is that type of artist who is so generous and open in her process. in this piece she's working with newcomer, Kellee Maize, spoken word performers, Rebecca Cooper and Laverne Hotep and a film artist. the piece has an incredible collage of poetry, music and images.

the challenge of making art that is meaningful for artists and audiences must be met with more support in our community if we are going to have a thriving scene. artists here are paying for the creation and presentation of their work most of the time. i want to see us do better.

Review of "Drawn In" in Pittsburgh City Paper

j solomon — Fri, 08 Jun 2007 20:16:00 +0000

The "Drawn In" exhibition is a beautiful architectural exhibit currently on view at the August Wilson Center in Pittsburgh.

Here is my review:
http://www.pittsburghcitypaper.ws/gyrobase/Content?oid=oid%3A25144

wooster group

j solomon — Sun, 15 Apr 2007 18:25:00 +0000

this is my second festival as "visual and performing arts curator" with the Philadelphia Live Arts Festival (www.livearts-fringe.org), a really great, 16day, contempory arts festival that happens every september. in that capacity i play a role in selecting works as well as creating "context" for the presentation of that work.

i've been thinking a great deal about our upcoming presentation of the wooster group's "emperor jones" wondering how it can trigger necessary conversations about race in contemporary art and culture. since i haven't seen the work (i wasn't able to make the limited NYC run last year) and i didn't have any role in selecting, it seems a bit more challenging to question it. instead, as i do with all of our shows, i've been reading past reviews and basically everything i can get my hands on about the work.

and my answers for the question, "why" aren't satisfying. there's something about the notion of "blackface" as a theatrical device by a contemporary theatre company that makes me very uncomfortable. i'm still sorting out why. these are my initial questions that i hope will inspire conversation.

(1) For some the problem with blackface is that it perpetuates the archetypal stereotypes of black Americans. Some argue that blackface set a precedent for the presentation of black culture in America and around the world. Does the use of it today serve to continue these ideas? Does it hold the same meaning and cultural function as it once did or is there some other function.

(2) Since minstrelsy and blackface continue to be lucrative means or packaging, marketing and disseminating black culture, is the Wooster Group’s use of this device culturally insensitive? And is that okay? Who decides?

(3) Why is “blackface” an appropriate theatrical device for contemporary theater? What purpose does it serve? And does its use in Wooster Group’s Emperor Jones render the work, in essence, “for whites only?”

these questions spark others.

celebrating women

j solomon — Fri, 13 Apr 2007 20:34:00 +0000

as part of a celebration of women in the arts in Pittsburgh, the Hazlett Theater organized a series of interview sessions between women working in the arts in Pittsburgh in three categories: founders, pioneers and instigators. in my usual fashion, i didn't really prepare for my video session (little makeup, black sweater, jeans and brown boots) only to arrive to find that impeccably dressed, distinguished, beautiful and very smart, Carol Brown was my interview partner.

If you don't know her, she is one of those amazing women. the kind with long lists of accomplishments. strong and beautiful. poised, always together. articulate and smart and very, very passionate. best known here as the founder and first president of The Pittsburgh Cultural Trust. It hadn’t occur to me to ask who my interview partner would be, figuring that whoever it was, we'd just talk and answer the questions. to my surprise it turned out to be one of Pittsburgh's (and nationally) respected women in the arts; and all i could think about was that my nails weren't done and my hair was doing its best of bad hair days.

well as always (perhaps the "good luck" kicking in) the conversation/energy between us was fabulous. Inspiring. we didn't need the interview questions (which worked out as i had only glanced at them briefly!) we just started to talk. about women and the need for models. for opportunity. about how times have changed. there are more women in the leadership positions in the arts today than before; more models to inspire young women.

anyway, it occurs to me that i have in fact been very fortunate. i've always had strong women models in my life. we are a family of women. i have four sisters. my grandmothers and my aunts are all independent. strong. opinionated and beautiful. my mother is amazing (crazy at times in that sort of crazy, west indian, black woman sort of way) and amazingly resilient...as young girls, we had many examples of ways to be, to live.

perhaps its my single sex education, but being a woman has always felt particularly powerful for me. i've had allies. from my "big sister" at oakland catholic who told me to unfold the waist of my skirt because it was too short. i was a freshman, it was my first week of school and my mom didn’t hem my skirt, it didn’t even occur to me to hem it. until i arrived at school and the girls in typical private school fashion had raised the lengths of their skirts above the approved below the knee limit. so i decided to "roll" my skirt as the others had done. and shiree (i don’t remember my last name) pulled me aside and told me i didn't have to act like everyone else, i could (and should) be myself. i don't remember her words exactly, but it left a lasting impression. not so much what she said, but that she took the time and had the courage to say it.

its been that way ever since. lots of women, pulling me aside, whispering kind, supportive, words of wisdom and encouragement. Always reminding me that i'm special, strong, and talented; deserving of all of the best things life has to offer. perhaps i'm lucky after all.

"Drawn In" CP Review

j solomon — Sat, 07 Apr 2007 00:15:00 +0000

"Drawn In" is full of great work and it was difficult to limit myself to the 600 or so words...what's great about this show is that even if you are not an architecture fan, you can get into it; its more than . like the designs for a prototype of a female urinal (J. Yolande Daniels) or the Amanda Williams "Blackness Study." its inspiring to see a show that allows for such a wide range of ideas.

my review of the work in "Drawn In" at the AWC in the Pittsburgh City Paper --
http://www.pittsburghcitypaper.ws/gyrobase/Content?oid=oid%3A25144

Interesting article - William Forsythe

j solomon — Wed, 21 Feb 2007 23:12:00 +0000

http://www.nytimes.com/2007/02/18/arts/dance/18solw.html?ex=1329368400

"Drawn In"

j solomon — Mon, 19 Feb 2007 17:32:00 +0000

"Drawn In" is a great exhibition of African and African american architects organized by Felecia Davis for the August Wilson Center (Pittsburgh). It includes some great works by artist/architects Darrell Fields, Amanda Williams and Carlos Peterson.

when you go make sure you leave yourself plenty of time. The show includes works by 22 architects; I spent about two hours.

Paul Robeson

j solomon — Wed, 14 Feb 2007 16:25:00 +0000

Paul Robeson is an inspiration. I'm planning to check out this new box set. “Paul Robeson: Portraits of the Artist,” a four-DVD package that contains seven feature films, a documentary on Robeson’s life and art, and a booklet full of essays.

Vanessa German "Objectification"

j solomon — Mon, 12 Feb 2007 14:03:00 +0000

Vanessa opens a new show this week at Gallerie Chiz.

Gritty Brits: New London Architecture @ CMOA

j solomon — Mon, 12 Feb 2007 03:01:00 +0000

In general architecture exhibitions are tough. Perhaps designed for architects, the material doesn't always "grab" immediately. And otherwise interesting design comes across dull. This show is no exception.

On view at Carnegie Museum of Art, Heinz Architectural Center (Pittsburgh) http://www.cmoa.org/exhibitions/exhibit.asp#void

Though it included one of my favorite architects, David Adjaye, "Gritty" lacks energy the meaty title suggests. The photographic images seemed dull, and the placement of the models dont' make sense. It felt difficult to orient oneself, -- i overheard one visitor lament, "i can't tell what i'm looking at." everyone seemed genuinely puzzled.

The installation includes two models, I think, a text panel and a film. The film is very interesting virtual tour of his "Dirty House" work and the "Idea Store Whitechapel." Yet, we don't really get a sense of Adjaye's process -- the way his projects seamlessly enter the context within which they exist (neighborhood/streets/culture).

i paid most attention to Adjaye; but there's other interesting work in the show including the urban planning work from Muf Architects.

Overall, not a winner; definitely not the excitement of the Zaha Hadid's Guggenheim show last summer. But if you're into architecture and design, and happen to be in Pittsburgh, its worth checking it out.