The view of Turkey in Strohl Art Center is as if at the end of a telescope, condensed close-ups by six women in that crossroad country, six women with six notions, six topic sentences, six ideas. The show then is focused still tighter when squeezed into the intimate Bellowe Family Gallery on the second floor.Continue reading
Just a tiny show — 20 pictures by 13 artists — and all on paper, small to medium size, no overstatement, no heroics, no shouting. Simply pencil, ink, watercolor on some, pastel, spray paint.Continue reading
Together or apart?: VACI’s ‘Contemporary Couples’ troublesome on the whole, but features stellar individual work
Under love’s heavy burden do I sink. —Romeo
Well, that is a bit dramatic … though that was Shakespeare’s point, wasn’t it?Continue reading
The horrors had begun. The “Night of Broken Glass” was Nov. 9, 1938. It was the beginning of the “Final Solution.”
In the spring of 1939, English composer and pianist Benjamin Britten traveled to Canada and then to the United States, where he remained for three years. He came up with the idea for a concerto for violin and orchestra — it was to be his Opus 15, completed that year, premiered the next and modified by the composer throughout the next two decades.Continue reading
OK, here it is; truth be out: There’s a special brand of artists who truly are a strange breed. I’m not arguing for Vincent van Gogh-Jackson Pollock eccentricities. Most artists live quite regular lives.Continue reading
This may be the 56th Chautauqua Annual Exhibition of Contemporary Art — a juried rite of entry for each season — but it is the first one in my long memory that hangs together and works as a unit, rather than as a random gathering of different parts, fine as they may have been. Credit the gift to the new director of the Albright-Knox Art Gallery in Buffalo, Janne Sirén.Continue reading
This is a small world, big idea story. A story about a place that stretches through more than a century of time; a place where it also seems easy to connect the dots; a place where the dots add up to notions far larger than what seems possible.Continue reading
The noise-makers were out again Thursday evening for Maestro Andrew Litton: the super-sneezer timing an entry with the timpani in the soft beginning of Mahler’s “‘Titan’ Symphony,” and then the dogs and a few of the others.
But at the end of the evening, which included communication with Mendelssohn and Mahler, the audience walked out amazed at the wonder. It was the amazing wonder of a symphony orchestra so well led and so well informed, and of an artist as tuned to the gods as Anne Akiko Meyers, the master violinist who has made such a mark with her global performances of Mendelssohn’s esteemed Violin Concerto in E Minor.
She arrived in flowing summer whites and with her Stradivarius, and she quickly acknowledged her readiness. In this concerto, the solo instrument starts right in, and one knew it was going to be special. Not special based on fancy flourish, though there were plenty of chances for that. With Meyers, it was played not for drama, but for delectation; not for flash, but for all that is fine. Her artistry has no need for razzmatazz.Continue reading