Category: Visual Arts

REVIEW: Jennifer Holms, lecture and reading

Kayla Silverstein 1 Comment

Thursday evening, I sat in the Stern Auditorium of the UMMA, perhaps my favorite auditorium on campus, to hear Jennifer Holms give a lecture about her life as a children’s author. Quirky, energetic, and quite hilarious, she enraptured us with the stories behind her three Newbery awards and success as a published author.

Holms had four brothers growing up, and she mentioned how greatly that environment continues to influence her life as an author today. She discussed that her motivation to start a graphic novel series for young girls was because she remembers growing up, only having comic books about boys to read: Superman, Spiderman, and Batman. Holms saw young girls as an audience that was largely lacking in their own comic books of sorts, and wrote her series “Babymouse” to fill the gap. “Babymouse” tells the story of a small mouse named Babymouse and her experiences in school, struggling with adolescence, boys, lockers, and running for class elections. She is cute, relatable, loves pink, and eats a lot of cupcakes. Since I too love pink and eat way too many cupcakes, I think I may have to start reading these books.

Holms’ lecture touched on her 3 Newbery award winning novels: Turtle in Paradise, Our Only May Amelia, and Penny from Heaven. As an aspiring young writer myself, I was so interested to hear how all of her stories stemmed from the experiences and traditions passed along in her family. I saw so much passion as she spoke about the subjects of these stories, that I understood at least a core reason why she’d so deserved those awards.

As an introduction before Holms’ lecture, a woman got up and spoke about why we continue to love and appreciate children’s literature now that we are older. She mentioned how it reminds us of how we began as readers; that childlike wonder of knowing you’ve finished your first chapter book. I think this lecture reminded me too of what that feels like.

In the end, I’m obviously so glad I went. It was definitely a dream come true to hear one of my childhood idols, Jennifer Holms, give a talk. Moral of the story, if I were to give one, would be read your e-mails. There are so many opportunities here in Ann Arbor, and I definitely would have missed it if I hadn’t actually read some of those English department newsletters. Hope to see you at the next reading!

PREVIEW: Festifools

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FestiFools

Ever been walking in downtown Ann Arbor in April and all of a sudden been accosted by a horde of gargantuan, raging puppet heads? That would be FestiFools— unless some other wild force is taking the town that we don’t know about.

“FestiFools is a non-profit production of the STARTProject, a University of Michigan LLoyd Hall Scholars Program initiative.” Several years ago, professor Mark Tucker incorporated the age old idea of puppet theater into his LHSP class “Art in Public Spaces,” in which 20 non-art majors crafted gigantic puppets and took them to the streets of Ann Arbor. Today, other departments of the university and townies of all kinds are invited to work in groups or individually to craft puppets for the parade (specific qualifications for entry enumerated on the website). Now, the community event has an affiliation with the city of Ann Arbor beyond the boundaries of the university.

Inspired by Italy’s Carnevale di Viareggio,the parade makes political and social commentary through the use of puppetry. According to their creed, “FestiFools brings students and community volunteers together to create unique public art that is free and accessible to everyone. Specifically, we make huge-mongous papier-mâché puppets and march them around downtown Ann Arbor on a Sunday early in April.”

Last year was FestiFool’s sixth year running, but it was the first year they included FoolMoon. Puppets take the street by moonlight. In Keeping with LSA’s Winter 2012 theme semester, the theme of this year’s FullMoon parade is “Language.” Every Sunday for the past month, build-your-own Luminary workshops have been taking place at Workantile on Main St in preparation for the midnight promenade. On Sunday March, 25th, the UMMA held a workshop as well. There are instructions on how to make a luminary as well as info on the closest spots to town to buy a kit- if you feel inspired to get crafty- on the Festifools website.

Don’t miss this whimsical, comical, fantasmic parade of art and joy that is unique to Ann Arbor.

Click here to get to the Festifools YouTube channel and watch some funky videos from last year’s parade.

And check out the FestiFools website for more information, and some light comedy. They’ve got a pretty decent sense of humor.

APRIL 3, 2011 (4:00-5:00PM) // ANN ARBOR'S ANNUAL STREET FESTIVAL OF HUGE PUPPETS & RANDOM ACTS OF APRIL FOOLISHNESS

REVIEW: The Prison Creative Arts Project

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The Prison Creative Arts Project

You may have friends around campus who are involved in “PCAP.” And seems that people who are rave about it. My sophomore year roommate took the course and now subsequently works for the on-campus organization. The experience nearly changed her entire course of study from medicine to social work. Last spring,  I attended her final project exhibition. It took place at a prison in Jackson, Michigan where she and a partner had been working for the entire semester to create  a play.. I will never forget walking in the courtyard of the jail to a small class room near the cafeteria where a group of incarcerated, middle aged men perform a play they had spent four months writing. These men had very clearly grown to admire and value my 5’2” roommate as a mentor and guide. The experience was, needless to say, incredibly formative and powerful.

PCAP is offered at UofM as both a course through the Department of English Language and Literature and by the School of Art and Design.  The course, led by professor and curator Buzz Alexander, trains students to facilitate workshops in the arts in state prisons, juvenile facilities, or Detroit high schools. Mediums include creative writing, theater,  dance, mural, music, photography, quilt making, and video. His wife, Janie Paul, teaches a corollary course through the Art school which is geared specifically toward instructing in the visual arts. Since is genesis in 1990, PCAP has facilitated hundreds of workshops and has garnered huge success in its mission.

“Our process is respect and a spirit of collaboration in which vulnerability, risk, and improvisation lead to discovery.”

“We make possible spaces in which the voices and visions of the incarcerated can be expressed.”

“We believe that everyone has the capacity to create art”

“Art is necessary for individual and societal growth, connection, and survival”

“Art should be accessible to all”

Most of the incarcerated participants in the workshops have never explored the arts provided. This, to me, is unbelievable, because hen you see the work it appears to be profoundly professional. There is a quality of depth and emotion in these pieces that communicates a potent sense of experience. Two years in a row, this exhibit has been one in which I truly lose myself in the gallery, absolutely entangled in the grit of the celebrated creations. To read bios of some of these artists, or artists from previous years, as well as see and read samples of their work, check out the PCAP website and click on “Gallery.” There, you will also find more information the current exhibit as well as related programs that you can be involved in.

There are several important events happening on campus this week as a part of the culmination of another year of the organization’s hard work. These presentations are incredibly powerful, so don’t miss them! And if you don’t make it in time, at least take a stroll through the gallery in the Dude. The artwork is truly impressive (it is also for sale!) and will surely move you deeply as a witness.

The 17th Annual Exhibition of Art by Michigan Prisoners

March 20-April 4, 2012
U-M Duderstadt Center Gallery
Gallery Hours: Sunday-Monday 12pm-6p, Tuesday-Saturday 10am-7pm

Closing Reception to be held at 5:30 pm on April 4th, 2012

The Michigan Review of Prison Creative Writing: Book Reading and Release Celebration

Friday, March 23rd 2012

7-9 pm

Pendleton Room of The Michigan League

The Michigan Review of Prisoner Creative Writing, Vol. 4: On the Corner of Nihilism and Hope

“Join us as we enjoy selections of the beautiful and unabashed poetry, prose, and fiction of Michigan’s best incarcerated writers. We come together to celebrate and honor the talent and vision of these hidden voices. Friends, family members, and advocates will be reading on behalf of their incarcerated loved ones.”

Youth Speak

Saturday, March 24th, 2012

1-3 pm

Wolverine Room in The Michigan Union

“Please join us as a group of Detroit youth come together to discuss serious issues of urban living. It will be a facilitated dialogue with these bright young leaders about the challenges they face, and then an open discussion with all in attendance about these same challenges.”

Artists Panel

Sunday, march 25th, 2012

3-5 pm

Duderstadt Center Gallery

“Join us as a panel of formerly incarcerated artists discuss the works in this year’s show and the process of creating art behind bars. The event is moderated by U-M School of Art and Design Professor Janie Paul.”

Below are some snapshots from this year’s exhibit

REVIEW: Take Six: New Jazz Compositions

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I learned about “Take Six” from a musician friend who plays piano for the ballet class following mine. After class last week, I asked  if he had any gigs coming up and he informed me of this innovative performance happening at the UMMA. On Saturday, February 17th, the museum held a musical progressive called “Take Six: New Jazz Compositions.” The museum was staged with six musical sets; six combinations of musicians played six original compositions inspired by six works of art in the University’s collection. The audience progressed from stage to stage at ten minute intervals, experiencing an hour’s worth of varied pieces. A kind of musical chairs, literally. Better yet, the set repeated itself four times throughout the afternoon. So if you missed any composition in the rotation, there was opportunity to catch it a second, third, or fourth time. Now that’s some repetitive Phillip Glass stuff right there.

I stayed for one full round of playing. Because of that, however, I think I missed the full affect of the progressive. The pieces remain the same, yet each iteration is unique in its rendition. The spaces the sets occupied included the Apse near the main entrance, the Forum near the gift shop, the Commons across from Angell Hall, and two floors of the Vertical Gallery near the DialogueTable. It would have been ideal to stage the performances beside the pieces that inspired them, but that would have been spatially challenging, especially since the last is no longer on display.

A progressive is a curious and interactive manner of experiencing artwork in its various forms. The performance format inspired dynamic conversation both between the audience and the musicians, as well as the musicians and the artists each chose as his muse. Instrumental reflections of brushstrokes and color pallets included drums, piano, bass, saxophone, clarinet, flute, trombone, and more. The combinations were written and performed by students and faculty from the School of Music’s Jazz Department.

The entire project was clearly a demonstration of strong talent and commitment. It seemed to be hard work to prepare, but a breeze to partake in. All the audience had to do was heed the shepherd’s call and meander with the flock. Easy following, easy listening. Personally, I truly enjoyed the event. Wandering about the art museum with the soundtrack to my visual experiences playing aloud for all to hear, what better way to spend a Saturday afternoon?

Below are images of the six auricular-visual pairings, to give you an idea of what you can’t see or hear from where you’re sitting.

Boyhood of Lincoln by Eastman Johnson

on view in the gallery of European & American Art

Inspired The Boy Lincoln by Keaton Royer

Shrine Figure (edjo) by Akpojivi of Orhokpko, Nigeria

on view in the gallery of African Art

Inspired The Spirit of the People by Alekos Syropoulos


Twilight by Dwight William Tryon

on view in the gallery of European & American Art

Inspired Something Hidden by Kevin McKinney

The Dead Soldier by Jospeh Wright of Derby

on view in the gallery of European Art (1650-1830)

Inspired The Mourning Widow by Demetrius Nabors

Smoke Rings June 14, 2001 by Donald Sultan

on view in the Vertical Gallery

Inspired Smoke Rings by Sam Crittenden

Sparrow on a Bamboo Branch by Kanô Gyokuraku

Japanese Art, currently not on view

Inspired Sparrows by Ryan Wolfe

REVIEW: GAH-muh-lan

Kayla Silverstein

There’s nothing better than relieving all your anger and frustration on a gong. The resounding noise fills the room as you wail on that thing with all you’ve got. It’s incredibly satisfying. If you are like me and lack the proper funds for Javanese instruments, you probably don’t have one lying around. That’s why it’s good to stay informed about music events, especially Gamelan ones.

I walked in on the music co-op’s (MCEQ) event tonight with guest-speaker, Susan Walton, an RC professor who teaches about Indonesian music and dance. It was a little awkward at first, seeing as I’m not actually a member of MCEQ; however, with my camera and notepad, I felt somewhat dignified for being there. The tiny stage was littered with various red and gold painted instruments while Walton began with a brief introduction. She explained that Gamelan refers to an ensemble of Indonesian instruments. The Gamelan we were playing tonight was from central Java, an island off of Indonesia (hence, Javanese). She warned us that the instruments within the Gamelan are believed to be alive and, therefore, cannot be stepped over in fear of getting bitten (which is true because, as she related, she stepped over one before and got so badly bitten, she ended up in the ER).

Once the instruments were in organized disarray, she gestured for us to take our places on pillows, bare-footed, in allotted positions. She gave us simplistic melodies to mimic, numbering the notes accordingly. We repeated on our instruments, and actually managed to stay synchronized enough to create a decent sound. It reminded me of that music you hear that sounds, well, “asian,” but you can’t quite put your finger on where or why it sounds like that (or what that even means). It was incredibly awesome. Once we got good at our little tune, Walton came in on the drum, improvising with rhythmic syncopations. Just when I feared my arms were going to fall off from holding up the gong, she signaled the final refrain by changing up the rhythm on the drum. Dramatic pause, then I finished the song as instructed with a final gooooonnggg (she unfortunately failed to inform me in advance that it was supposed to be “much quieter.” My arm is still sore from how hard I hit that thing…).

It was truly a spectacular event hosted by music co-op and led by us, under the instruction of Susan Walton. I’m so glad I came and I’m excited to hear what other great events music co-op has in store. And, who knows, maybe I’ll even sign up for Walton’s one credit Javanese music class next semester!

Review: Creation. Life. Legacy.

Sarah

Metallic industrial, organic robotic, digital bug, fluttering verbs.

Form can sometimes be constricting, only allowing for certain expressions while disallowing others. While watching Merce Cunnigham Dance Company perform, I could not align what I was watching with any concrete words. How to translate a dance performance into a concise review seemed like a daunting task, but alas, I will do my best.

Merce Cunningham
Merce Cunningham

For those of you unfamiliar, Merce Cunningham is one of the most innovative choreographers of the last century. Spanning across genre and discipline, Merce Cunningham is perhaps most known for his longtime collaboration with partner and radical composer, John Cage, also working with fellow artistic visionaries such as Rauschenberg, Lichtenstein, and Warhol. The Legacy Tour honors Cunningham, who passed away in July 2009, as well as his 70 years of expansive work. Culminating in 2011 with the disbanding of the company, this is the last time his work will ever be performed and UMS was one of the lucky few locations to host the Company. (Check out this Merce Cunningham Interview)

The curtain was up before I had time to anticipate what was hiding behind it. Blinding spotlights on impossible elevation of cinderblock walls. Large green recycling bins and containers, exposed with sheet metal and wooden planks. As anyone’s guess, this was the natural look of the Power Center. My attention was drawn to an acrylic white court surrounded by luminescent astroturf as 4 dancers in steely athletic wear arched across space, while many others watched in the background.

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