Reel Talk: Fall Film Preview

By Sean van der Heijden, Staff writerThere are a ridiculous amount of good movies coming out for Oscar seasons this year, but a few stand out form all the rest. If you love going to the movies as much as I do, try checking out these films this fall:

5. The Imitation Game: dir. Morten Tyldum, starring Benedict Cumberbatch, Keira Knightley, and Matthew Goode. Cumberbatch—who recently won an Emmy for his work on Sherlock—has been on a roll lately, and this movie looks to be no different. Focusing on the live of controversial mathematician Alan Turing, the film tracks his life as her works to solve Enigma code during WWII. If all of that sounds too technical, Turing was also shunned for being a homosexual and (spoiler alert) nobody really knows how he died. The Imitation Game opens in theaters on Nov. 21.

4. Gone Girl: dir. David Fincher, starring Ben Affleck, Rosamund Pike, Neil Patrick Harris, and Tyler Perry. Adapted by Gillian Flynn from her own novel, Gone Girl tells the story of a man who becomes a media sensation after his wife disappears and he is blamed for the murder. The whole cast is controversial—with Affleck and Perry standing out the most—but early reviews have been incredible and Rosmund Pike is supposed to give a chilling performance. Another team up with experimental composers Trent Reznor and Atticus Ross can’t hurt, either. Gone Girl arrives into theaters on Oct. 3.

3. Birdman: dir. Alejandro González Iñárritu, starring Michael Keaton, Edward Norton, Naomi Watts, Emma Stone, Amy Ryan, and Zach Galifianakis. After opening to rave reviews at the Venice Film Festival recently, Birdman is becoming the most hyped-about movie thus far this season. For those unaware with Iñárritu’s work (Babel, Amores Perros), he is a very experimental director, and the film is supposedly shot all in one take. Keaton’s performance, as well, is supposed to be just about the best thing he’s done. Birdman opens in limited release on Oct. 17.

2. Nightcrawler: dir. Dan Gilroy, starring Jake Gyllenhaal, Rene Russo, and Bill Paxton. A really edgy looking film (with an amazing trailer, by the way), this debut by Dan Gilroy is about a man who gets caught up in underground crime journalism in L.A. That is to say, he does some messed up stuff that’s questionably illegal and definitely immoral in order to get good news footage on breaking crimes. Gyllenhaal, who lost 20 lbs. for the role, looks fantastic, as does the film itself, which opens on Halloween night.

1. Interstellar: dir. Christopher Nolan, starring Matthew McConaughey, Anne Hathaway, Jessica Chastain, Casey Affleck, and everybody else ever. Nolan’s first film since The Dark Knight Rises, Interstellar is loaded with a bunch of new people Nolan has never worked with (plus Michael Caine), and looks spectacular. Based on the works of theoretical physicist Kip Thorne, Interstellar tells the story of a group of scientists who travel via wormhole throughout our universe in order to find another habitable planet for our race. This film seems a lot deeper and more thought-out than much of Nolan’s preceding work, and all the footage released so far suggests just that. Interstallar makes it’s way into theaters on Nov. 10.

While these five films happen to be the ones I am most looking forward to, there are plenty of others throughout the season. The Liam Neeson thriller A Walk Among the Tombstones comes out on Sept. 19, the Brad Pitt-starring WWII movie Fury comes out on Oct. 17, and the Bill Murray comedy St. Vincent comes out on Oct. 25. Later in the fall, there’s the Stephen Hawking biopic The Theory of Everything on Nov. 7, as well as Foxcatcher, which sees Steve Carrell (of all people) playing a creepy, schizophrenic wrestling coach and is supposed to be, well, creepy. That, along with Dumb and Dumber To, comes out on Nov. 14, with The Hunger Games: Mockingjay - Part 1 closing the season on Nov. 21.

I Was a Double: Making and Breaking Rules

By Connor Batsimm, Contributing writer I was a double

When we think of artists, we picture painters, sculptors, photographers, even graffiti artists, who begin with a handful of materials and end with something tangible. However, leading modern artist Sol LeWitt argues that the role of an artist is less about the production of a physical object and more about the formation of an idea. LeWitt, who died in 2007, created a variety of rules which artists have kept in mind while constructing their works of art. LeWitt has compared himself to a composer, stating “It’s as though I were writing a piece of music and somebody else is going to play it on the piano.” One of LeWitt’s pieces, Wall drawing #1202, a massive drawing of shaded rectangles composed entirely of pencil scribbles, is currently on display at Skidmore’s Tang Teaching Museum and Art Gallery, as a part of the ongoing “I Was a Double” exhibition. I Was a Double, which opened July 5 and is scheduled to run until Jan. 4 of the following year, features the works of artists, like LeWitt, who invent rules that can be used to create art. Unlike LeWitt, many of these artists went on to construct the actual piece themselves. The artwork displayed in I Was a Double features a variety of mediums. Thoughts on Crystals, created by Tony Feher, is made of bottles and red and blue marbles arranged to form shapes. Céleste Boursier-Mougenot’s piece, Untitled (Series #2), is an inflatable plastic pool filled with water, clorox, and porcelain bowls designed to bump against each other and produce noise. This piece came about in the idea that music can be made from anything. There are also several chairs and cushions created by modern artist and designer Johanna Jackson and her husband Chris Johanson. In addition to the visual art, I Was a Double also features a soundtrack composed by David Lang. Each piece of artwork also features a sentence written by the artist, describing his or her rule-making process. The sentence provided by Sarah Cain for her painting Separated at Birth, “I was a double until I was no more,” is what inspired the title of the exhibition. The word “double” can convey multiple meanings. On one level it can refer to a pair, duplicate, or doppelganger. It can also mean two musical instruments playing together, as well as the dual role played by many of the artists featured in the exhibition: inventing an idea and then executing it. Critics of modern art may be skeptical that all of the pieces featured in this exhibit are indeed art; however, this exhibit has something for everyone. It’s hard not to marvel at the simple beauty of Ruth Vollmer’s Intersecting Ovals or the dizzying patterns of Karin Davie’s In Out In Out Drawing #16 and #17. If nothing else, I Was a Double provides a fresh perspective on the age-old question of what exactly makes something art. For those interested in art of any form, this exhibition is not to be missed.

Book Review: Tell The Wolves I'm Home

Posted by Zoe Dartley

I may be bias in regards to Tell the Wolves I'm Home, by Carol Rifka Brunt, because-confession-coming of age books are a weakness of mine, especially when they're narrated by quirky-bordering-on-weird girls. (Am I giving too much away about my own adolescence?) Honestly, though, this book is truly special.

The year is 1987, and fourteen-year-old June Elbus is struggling with growing up in the shadow of her vivacious older sister, Greta. June is shy at school and can't seem to relate to her peers. Rather than socialize or star in plays like Greta, she would rather escape to the woods and pretend to be a medieval huntress. While her mother and father are caring and sympathetic, June finds the ultimate companion in her uncle, renowned painter Finn Weiss.

June's world is shaken at its core when Finn mysteriously dies of an illness her mother won't speak to June about. Stricken with AIDS, Finn leaves behind his devoted partner, Toby. June begins to receive mysterious packages containing sentimental memorabilia, trinkets from her relationship with Finn. This correspondence leads her to reach out to Toby, and the two develop a unique bond in order to help one another heal.

While the beating heart of the story lies in the relationship between June and Toby, it is woven with the intricacies of family heartbreak: June and her sister fail to connect with one other despite each of their desperate attempts to communicate, while June's mother grapples with her grief over the loss of her brother. The dynamic between the Elbus family becomes turbulent and complicated as each member tries to suppress their emotions. Of course, this increases the tension as it finally amounts to a boiling point.

Brunt expertly juggles the difficult task of poignantly narrating the inner-lives of each character while also flawlessly depicting the turbulent period of the late eighties, especially for gay victims of AIDS and their families. She articulates the devastation and confusion of the epidemic with brilliant sensitivity. The mystery that AIDS was at the time parallels the novel's own mystery, which occurs when Finn's last piece of art before his death - a portrait of June and her sister - begins to be vandalized, despite the fact that it is locked in a vault. This mystery haunts the story, adding an eerie page-turning effect to the already turbulent novel.

June is one of the most sympathetic characters that I have ever encountered- racked with grief larger than herself, she is drawn to but also jealous of Toby, who was kept secret from her and her family. As the two grow closer, June must confront her feelings for her deceased uncle: was she herself in love with him? Despite her quirks, June is also a fourteen-year-old girl, and she pines for the intense connection that her uncle and Toby had, as she tries to understand the frightening illness that riddled both of them.

While "Tell the Wolves I'm Home" juggles many themes, it is, above all, a story about love. Through masterful and emotional prose, the novel articulates the different types of love that humans are capable of, and how dazzling they can be.

Young Wanderlust by Evan Kenward Book Review

Posted by Blair Warren

College is an exciting transition into adulthood, full of friends and new experiences. What about after college, though? Do we find it necessary to jump right into our future, immediately stuck in a nine-to-five job and paying bills we didn't even know existed? The novel Young Wanderlust by Evan Kenward explores this question through his traveling with friends, meeting new people, and venturing out on his own. What he thought was just a post-grad road trip became an experience that changed his perspective on life.

Kenward began the journey in his home state of Massachusetts with two childhood friends. Their struggles began with car troubles, as does any good road trip story. This car's fragility and seeming mood swings is present through each passing state and pit stop. Throughout the novel, the reader is consumed not only with the development of the story but also with the tribulations of this old, distinctive car.

I'm glad I read this book while still in college, as it opened my eyes to the reality of my situation. As a college student, we often think we will be forever young with no truly extensive responsibilities, yet four years is not as long as it seems, and then all of a sudden we have mortgages and regularities, falling into the patterns of our parents. During college, Kenward spent a lot of his time taking day trips, going on hikes, and exploring what the nearby world had to offer, accompanied by friends. Yet he wanted to do more and see more. This began his plan to travel across the country, stopping at places like Michigan, Seattle and San Francisco, and even making his way to British Columbia in Canada. What is so fascinating about this story is the spontaneity, the friend dynamics that evolve after being stuck with each other for a long time, and the unexpected discoveries. Kenward shows his readers how truly beautiful this country can be and the magic of traveling not as a tourist, but as an explorer.

A constant theme in the book is the fluidity of characters and the ability to assimilate into different cultures through the mindset of acceptance of norms. Through Kenward's travels, he encounters many people and even stays with strangers greatly unlike him. He tries to be open-minded, though, letting subcultures mesh into his character. He is able to blend in with different types of people, making new friends and gaining different understandings of lifestyles and values.

Talking with Kenward, the themes in his novel persisted. He said, "Traveling and discovering new things is an education in the truest sense. I firmly believe, as a person and human being, that seeing things out of one's normal life is important for an individual."

He emphasized the significance of getting outside of one's comfort zone, branching out of one's life bubble, and not just seeing but understanding what is out there.

He said, "When you go back to your life after traveling, you have the ability to compare and contrast the way things are done in both places. This does a world of good."

After reading this book and talking with Kenward, I have gained a better perspective on the excitement of college, the reality of post-grad, and the importance of exploring what's out there. Although, according to Kenward, my perspective must also be based in experience. People should not rush into things, but instead, appreciate the little things and explore the beautiful, the natural, and the authentic. I recommend this book to anyone willing to appreciate the fluidity and freedom one can find in life.

In the final words of Evan Kenward, "If people like the book, pass it on and let other people know about it."

Tang Museum's Classless Society website wins international award

Skidmore College's Tang Teaching Musuem's Classless Society interactive feature received the award for the Best Small Museum Project on Friday, April 4, in Baltimore at the annual Museums and the Web conference.

Classless Society, which was on exhibit at the Tang from Sept. 7, 2013 through March 9, 2014, investigated class from various social and economic perspectives. Among a number of topics, the show considered class mobility, the different ways that class is visible, the reality of the American Dream and the myths surrounding it in the United States in the 21st century.

The special online feature (https://tang.skidmore.edu/app/public/webroot/files/uploads/classless_society/index.html) that complemented the gallery exhibition provides additional background and statistics. It also offers information about the artists and how their work reflects the complex issues surrounding class status in our so-called "classless society."

Museums and the Web is an international organization with more than 600 members from 40 countries who work at the intersection of museums and the digital world. The Tang was one of only 11 winners in the annual Best of the Web competition. Other winners this year include the Dallas Museum of Art, for innovation; the Imperial War Museums and National Archives of Great Britain, for use of collections; and the Museum of Modern Art, for education.

"This award recognizes how the Tang lives up to its mission by confronting important ideas through art from an interdisciplinary perspective," The Tang Museum's Dayton Director, Ian Berry, said. "Special recognition must go to Vickie Riley, the Tang's digital resources content producer, and to Joe Klockowski, an art major in Skidmore's class of 2014."

Riley and Klockowski developed the online feature last summer by blending data and audio and video of personal stories compiled during a "Classless Society Stories" project.

Classless Society was curated by Professor of English Janet Casey, Professor of Economics Mehmet Odekon, Rachel Seligman, assistant director for curatorial affairs for the Tang Museum and John Weber, founding director of the Institute of the Arts and Sciences at the University of California at Santa Cruz.

The full list of credits for the online feature is as follows:

Contributors and consultants: Janet Casey, professor of English; Mehmet Odekon, professor of economics; Rachel Seligman, Assistant Director for Curatorial Affairs, Tang Museum; John Weber Founding, Director of the Institute of the Arts and Sciences at UC Santa Cruz; Jenna Postler, Curatorial Intern, Tang Museum.

Design and production: Vickie Riley, Digital Resources Content Producer, Tang Museum; Joe Klockowski, Classless Society web site designer, Tang Museum.

Audio recordings: Gregory Carter, audio engineer; Chris Franzini, audio engineer; Frank Moskowitz, audio engineer.

Editorial: Susi Watts Kerr, former Senior Museum Educator, Tang Museum; Jay Rogoff, independent editor; Megan Hyde, Curatorial Assistant, Tang Museum.

Graphs: Joe Klockowski, Classless Society web site designer, Tang Museum.

Research: Susi Watts Kerr, former Senior Museum Educator, Tang Museum; Sophie Matyas, Curatorial Intern, Tang Museum; Jenna Postler, Curatorial Intern, Tang Museum; Beatrice Moller, Education Intern, Tang Museum; Liz Porfido, Education Intern, Tang Museum; Brett Hartman, Digital Resources Intern, Tang Museum.

Class Action for Skidmore Students (student organization).

Video: Brett Hartman, Digital Resources Intern, Tang Museum; Sophie Matyas, Curatorial Intern, Tang Museum.

Special thanks: Anthony Holland, associate professor of Music; participants in the Classless Society Stories Project; Class Action for Skidmore Students; Skidmore Office of Alumni Affairs.

The Classless Society web feature was supported by the Andrew W. Mellon Foundation, the Getty Foundation, the Henry Luce Foundation and the Friends of the Tang.

Untold Stories of War: "If All the Sky Were Paper" Performed on the Main Stage: Theater Review

Posted by Danny Graugnard

Andrew Carroll founded The Legacy project back in November 11, 1998. It was a national, all-volunteer project which aimed to seek and preserve wartime correspondence. Carroll tried to reach out to many people, asking them to preserve any letters they have received and sent to loved one in times of war. Letters collected were sent by soldiers and their families, and many date back as early as the American Revolution, each one revealing a personal narrative. With about 200 hundred letters, Carroll edited the book Letters of a Nation: A Collection of Extraordinary American Letters in 1991, and then edited War Letters: Extraordinary Correspondence from American Wars in 2001.

"If All the Sky Were Paper," written by Andrew Carroll, is based on his two books. The play activates the narratives told in these letters of wartime correspondence in a way that was delightful, endearing, sorrowful, and sometimes with a touch of dark humor.

We are taken through a journey with the narrator (presumably Carroll), played by Conor Mullen '14, as he tells us of the letters he found, pooled together, reconstructed and reimagined as the untold stories of the ones who wrote the letters. They are put together thematically; there were letters on censorship, of civilian casualties and more.

The play begins with the entire cast on the stage, where they will remain for its entirety. It was an uncommon and unexpected notion that works. With subtlety and impressive quick action; transitions between scenes were seamless, as actors changed costumes and persona right in the moment on stage, giving the play a dynamic feel that brought life into these letters. Each cast member, part of the ensemble, assumed new identities through monologues that were essentially the letters themselves. 

The set design doesn't change much, but what was most dynamic were the images projected in the background. With each narrative coming to life before us, photos of the people who wrote these letters overlooked the stage, driving the unique surrealism of watching the dead rise before you further and further. There are obvious technical hiccups that occurred when the images would scroll in the background, which was slightly distracting. At key moments of dramatic turning points, I found myself ignoring the images entirely.

In the end, the audience received a pleasant surprise when Andrew Carroll himself appeared on the stage for a quick Q&A session with the audience. When asked why he felt theater was the best medium, he replied, "we wanted to do something more theatrical. I love the the theater experience because you can change it. It made it possible for us to convey the stories in these letters with the focus on hope and reconciliation, and hopefully end romanticization of war."

By Andrew Carroll; directed by Larry Opitz; Danielle Turner, assistant director; Sonya G. Rosen '17, Michaela Whiting '16, assistant stage managers; costume designs by Patty Pawliczak; scenic, lighting, and projection design by Garett E. Wilson; Peter Kobor, assistant projection design; Kendall Gross '16, stage manager. At the main stage of JKB Theater. Running time: 1 hour 35 minutes with no intermission.

WITH: Brandon Bogle '16, David Brummer '14, Will Clark '16, Ryan Crotty '15, Conor Mullen '14, Christopher Naughton '17, Christine Pardos '14, Patrick Stanny '15, Callan Suozzi-Rearic '14, Sarabell Wrigley '15, Evy Yergen '16.

Unforgettable Performance of Cabaret Troupe's Little Shop of Horrors

Posted by Gwendolyn Plummer

When I was about twelve years old, my best friend's mom sat her and me down on the couch after school and told us she had found an old VHS in the basement. It was one of her favorite movies, and she was adamant that her daughter and I watch it immediately. So, we got comfortable on the couch with snacks and blankets as her mother popped in a VHS of Little Shop of Horrors.

Since that day, Little Shop has been one of my absolute favorite films. My best friend and I watched it at least twice a month and we used to walk around singing the songs to each other when we had nothing else to do. As expected, when I found out that this semester's big Cabaret Troupe production was going to be Little Shop, I was overwhelmed with excitement. I practically planned my entire weekend around attending the show and warned all of my friends beforehand that I would be singing along the entire time. I sat down in my seat in Filene excited and a little bit dubious - would a school, student-run production of one of my favorite movies live up to my ridiculously high expectations? As it turned out, I was in for a surprise.

Firstly, I was unaware how fundamentally different the musical actually is from the movie. The endings are completely different. In the movie adaptation, Seymour saves the day, allowing him and Audrey to live happily ever after "somewhere that's green," and as the camera pans out, a little Audrey II is seen growing ominously in their front garden. However, in the musical, Seymour is too late - Audrey dies, Seymour has to feed her to the plant, and eventually he gets eaten as well. Although this ending shocked me, it didn't upset me as much as it might have. After doing some research I learned that the original ending of the movie was the same as the musical, but it had to be changed after test audiences were displeased with the unhappy ending.

Aside from my initial shock over the ending, it took me until about halfway through the first act to warm up to the play, although that was due to my own bias and not a reflection on the production itself. Having seen the film countless times, I was  expecting the musical to be exactly the same. Obviously, that expectation was not met - yet in the best way possible.

At first, I was a little uncomfortable with the differences between the movie and the musical. But halfway through the first act, right around Cody Webber's big number as the sadistic dentist, I found myself smiling, laughing and singing along, completely immersed in this production that I had originally tried to resist. What had first made me uncomfortable about the production was the fact that the characters were not exactly the same characters I was used to seeing on the TV and I was having a hard time seeing them in that way. It took me some time, but I soon came to realize how well cast the production really was. In particular, Mark Thurner was practically a flawless Seymour. He was a perfect combination of wonderfully awkward and self-effacing, truly capturing the essence of the self-conscious but hopeful young man who suddenly finds himself thrust into money, fame and moral degradation. I felt that his portrayal of Seymour was the most on-point and in-depth of any. He truly was the star of the show. Cody Webber was also absolutely hilarious and somewhat frightening as Orin the dentist. He and Mark seemed to be impeccably cast in my opinion.

The production itself was completely hysterical, even funnier live than the actual movie, with some important moments of sincerity and seriousness. The pit orchestra (which was all freshmen) was extremely remarkable. For something entirely student run and student directed, Little Shop of Horrors was massively impressive, as most Cabaret Troupe productions are.

Although I went into Little Shop of Horrors with certain prejudices and expectations, the production exceeded all of my preconceived notions and blew my prejudices out of the water. The show reminded me of why I love Little Shop of Horrors so much and simultaneously showed me why a live production can have so much more life than a film.

Pro-Arts Tang Party seeks student proposals

All Skidmore students are invited to take part in the annual Pro-Arts Tang Party, scheduled for 8 p.m. on Friday, April 25, by submitting proposals for art installations that will be displayed around the Tang Museum's exterior. The works are unlimited in creative possibility-in the past, student projects have included interactive sculpture, performance art, videos projected on the museum's walls, and much more.

Students whose ideas are accepted for inclusion in the Pro-Arts Tang Party will be contacted individually. In order to send in a submission, a Skidmore student must fill out the submission form that includes a rough sketch of their idea by Sunday, April 6.  To submit the proposal, one can download and print out the submission form here. Forms will also be available at the Academic Representative bulletin board on the second floor of the Saisselin Art Building. One can then submit their form by placing it in the envelope on this bulletin board. For questions about the Pro-Arts Tang Party and about submitting ideas for installation art projects, contact Madeleine Burkhart at mburkhar@skidmore.edu.

  

Zankel hosts The Music of Indonesia

Posted by Kelsea Schimmel

Traditional Indonesian music, Gamelan, consists of a variety of percussion and other instruments including xylophones, drums, gongs and wooden stringed instruments.  Gamelan music is played in a variety of settings and occasions and can be associated with social events that mark a transition in an individual's life.  It may also be performed with puppet theater, an art form highly valued by Indonesians.  Today, Gamelan is an important aspect of shows, dances, rituals, and other performances in Indonesia.

On Thursday, March 20, Zankel hosted "The Music of Indonesia."  "The Music of Indonesia" featured special guest I Made Lasmawan, a Balinese drummer and composer.  Under the guidance of I Made Lasmawan, the performance comprised music from the Indonesian islands of Bali and Java.  The performance was a great success as both the performers and the audience members celebrated and took in the traditional Indonesian music.  If you were unable to attend the performance, it is available to watch on Zankel's live stream. 

Upcoming Turkuaz Performance at Putnam Den

Posted by Dave Obenour

Brooklyn's power/funk 9-piece, Turkuaz, will be playing their new CD local release show on Thurs. March 27 at Putnam Den. Utilizing almost as many instruments as influences, a Turkuaz show is an explosive experience. Even with nine people on the stage, many of the band's members pull double duty by pounding on a keyboard, adding back-up vocals or just keeping the energy going with some onstage dancing. Their new album, Future 86 is a great collection of studio renditions.

Turkuaz's third studio album, Future 86 is best bought with a few sweaty and crumpled up dollar bills fished out of your pocket directly after stepping off the dance floor. These eleven songs are the closest studio renditions of what fans have come to know and love from the band's live shows - big and brassy horn arrangements, guitar licks in spades, funky synths, and playful lyrics, all held down by a rhythm section as solid as the Brooklyn Bridge's foundation.

It was these live performances that actually delayed the release of Future 86. Hiring a new booking agent, Turkuaz has been hitting the Eastern US with much more regularity over the last year. With every show the band's cohesiveness grew and a number of songs were scrapped or rerecorded in favor of the sound being developed out on the road.

Within that improved sound are echoes of some classic LPs by artists like Parliament/Funkadelic, Talking Heads, Zapp, Rick James and maybe even a few select cuts from Motown's or Stax's back-catalogue. These may not be the touching points of a lot of the current "what's old is new" cool bands, but that suits Turkuaz just fine.

"In a way, I really like that our style is so closely tied to those types of classic artists and styles," says vocalist and guitarist, Dave Brandwein. "We certainly don't feel that we ride any trends or worry too much about staying modern or relevant in any particular way. We just play what we love."

Future 86 is the culmination of a recent creative outpouring from Turkuaz and it is their third release since just last November. The band has also released A Live Affair, a live download-only album and Covers Vol. 1, featuring renditions of classic songs by Jackie Wilson, Sly & The Family Stone and many more.

With no end in sight, the band is looking forward to heading down South and out West in support of the new CD and has already started working on a few new songs for an upcoming EP.

63A Putnam Street Saratoga Springs, NY | 518-584-8066 | 8:30pm | Ages 18+ | $8 ADV / $12 DOS | $5 surcharge if under 21 

If All the Sky Were Paper: Skidmore College Department of Theater Announces Spring 2014 Mainstage Production

The Skidmore College Department of Theater is pleased to announce its Spring 2014 production, If All the Sky Were Paper directed by Lary Opitz. Performances are April 10-13 and April 17-19. All shows are in the Janet Kinghorn Bernhard Theater on the Skidmore College campus at 8 p.m. except Saturday and Sunday matinees at 2 p.m.

If All the Sky Were Paper tells the story of war from the viewpoint of the men and women on the front lines, affected civilians, and loved ones on the home front. From the Revolutionary War to the recent wars in Iraq and Afghanistan, people have captured the horror, pathos and intensity of warfare in their letters. Tens of thousands of these letters have been handed down from generation to generation. Best selling author Andrew Carroll established the Legacy Project through which he has collected thousands of war letters. Carroll created this piece of verbatim theater based upon many of these letters.

Tickets are $12 general admission and $8 for students and senior citizens. Call the Skidmore Theater Box Office at (518) 580-5439 or email boxoffice@skidmore.edu for reservations.

New leadership slated for annual Solomon Northup Day: Skidmore College steps into new role

The story of Solomon Northup, a local African-American man abducted into slavery in 1841, is now known internationally thanks to the acclaimed Fox Searchlight adaptation of his autobiography Twelve Years a Slave. The film just garnered three Academy Awards-best picture, best supporting actress, and best-adapted screenplay-not to mention other accolades like a Golden Globe Award for best picture.

But a grassroots effort to raise awareness of this compelling story has been going on for the past 15 years, particularly Solomon Northup Day, an annual celebration launched in 1999 by Saratoga Springs resident and Skidmore College alumna Renee Moore.

The yearly tribute is now undergoing a change of leadership, as Moore hands the reins over to Skidmore College. The event will be jointly managed by the College's Black Faculty and Staff Group and the Office of the Dean of Special Programs.

Solomon Northup Day has traditionally been held on the third Saturday of July. In past years, the day's activities have included talks by experts and historians on a range of topics related to Northup's life, musical performances, readings and more. The event is typically attended by Northup descendants from around the country.

Last summer's Solomon Northup Day was held in the 250-seat Filene Recital Hall on the Skidmore campus and drew a capacity crowd. Through collaboration with Fox Searchlight, the program included film segments from 12 Years a Slave in advance of the movie's release as well as attendance by Lupita Nyong'o, winner of this year's Oscar for best supporting actress for her role as Patsey in the film. Nyong'o addressed the gathering, speaking about the emotional challenges she faced in portraying such tragedy and anguish.

"Given the success of last year's event, along with Skidmore's management capabilities and excellent facilities, it makes sense for the college to take over the organizing of Solomon Northup Day," Moore said . "I'm excited about the future prospects of the event, beginning this coming summer."

Moore's vision statement for Solomon Northup Day is to "bring to light all of the people involved in the struggle for freedom in the Americas and to encourage a better understanding of freedom and justice through the eyes of the African-American experience past and present, and to encourage youth participation in the struggle for freedom throughout the world."

"Skidmore is very pleased to continue and build on Renee Moore's important work in creating this Saratoga tradition. We think that over time, the event can attract not only more attention from the public but also from history scholars worldwide," said Skidmore's Dean of Special Programs Paul Calhoun,.

Challenging the Human Condition: Middletown performed in Skidmore's Black Box Theater

Posted by Danny Graugnard

Middletown made me laugh, but it also creeped me out. It made me a little sad, too. And those are the reasons why I loved every minute of it.

From the minute the public speaker, played by the ebullient Peter Johnston '14, appeared from the darkness of the stage I was engrossed and eager to see more of the absurdity that was surely to unfold from this sharply dressed man's presence. Unexpectedly, the fourth wall was broken which created an uncomfortable intimacy in almost every scene that proceeded it. We have the Black Box Theater to thank for it's immersive nature.

Director Dan Shure '14 said, "Having the production done in this particular space brings these characters and ideas into focus in a intimate way. The play features some direct address and contemplation on theater as a medium, so having the audience be so close together and doing it in a 3/4 round set up intensifies the theatricality of the play and forces the audience to closer examine what it is to be an audience member."

Indeed, the Black Box put me in the unique position of being close to the action on stage, as I sat stage right. I was surprised, shocked even, to find myself reacting to the actors and their behaviors. I leaned in as the librarian tried to show us the contents of the book she was reading from a few feet away. The flashlight from the cop shone on my face for a brief moment while it lingered on another audience member's face for a moment after, which made me sympathize with his growing discomfort. It was these kinds of moments when I felt involved in Middletown's dark, tense atmosphere that shockingly squeezed a few good laughs from me. One can't help but wonder how it manages to do that without making the humor feel out of place or awkward, given how disturbing the dialogue can be.

The dialogue is the most peculiar quality of Middletown; the short, vague language implants suffocating tension and dark undertones, found in-between the lines of dialogue. These characters that use this as a vehicle for inducing this tension have an astonishing ability to convey the little aspects of human nature through short, "sweet" dialogue. You don't need to look further than the interactions between Mrs. Swanson, played by Lily Donahue '15, and John Dodge, played by Zac Uslianer '14, for a more perfect example.

John Dodge is quick to criticize himself, "Just years of stuff. Sort of a metaphor for, yeah, no-just years of stuff, gunk... Whoah. I stood up too quick. My whole life, I don't think I ever stood up at the right speed. All life long, John Dodge in the wrong. 'All life long,' wow, that's hard to say."

Mrs. Swanson struggles to keep up with John's focus on himself, while interjecting her own presence, "Well, what am I supposed to say?... Are you alright?... We haven't known each other long, but do I seem different?" The dynamics between these are the essence of human nature in Middletown, and it's frankly disturbing, yet reflective.

 A few simple words make a lot of thought provoking conclusions. At times, it was blunt and morbid. Other times, it was cheerful and light.

"Good for you, dear," said the genteel librarian, played by Alexia Zarras '14. She maintains her cheery energy, "I think a lot of people figure, 'Why bother? I'm just going to die, anyway.' Let me just find the form." The morbidity in her dialogue is sandwiched with gracious mannerism, creating a jarring yet interesting syntax.

The production was also aesthetically delightful. I was quite impressed with the sound design in Middletown, which created an atmosphere that suited the tension and dark undertones of the play, but at the same time was never abrupt or distracting. The sound of crickets and wind really stood out during scenes that took place at night amidst that horrifying tension. The space scene was the centerpiece of the play aesthetically, as the lights projected the beautiful cosmos on the background and the sounds of the spaceship created a beautiful scene to watch. All which for a moment, helped disillusion the fact that we were in Black Box.

Will Eno's desire is to challenge us to face the deepest truths of human nature and expose the anxieties that we feel when we interact with each other, but acknowledge the fact that we do so for the sake of connecting with others. Middletown certainly challenged my perspective on everyday life with everyday people, be it a mechanic, a librarian, or a doctor. I will say that one may find it useful to maintain an open mind when experiencing Middletown. The play may be hard to digest for those of us who strive to find concrete meaning behind dialogue, because there isn't always an exact intended meaning to grasp in Middletown. In other words, if you prefer Mary Poppins over something that will actually make you ponder and challenge you on the human condition, then this play isn't for you. Nonetheless, I still encourage the typical Broadway enthusiast (tourist) to catch a production of Middletown for the sake of trying something new instead of watching Wicked for the third time. It's more about the dialogue and the way you interpret it yourself rather than simply watching the performance. That isn't to say the stage dictions weren't just as thought provoking as the dialogue. For example, it was quite fascinating to watch the landscaper, played by Xavier Hatten '14, pile rocks on top of the "Emergency" sign in a particular order, which may symbolize the audiences' struggle to find an understanding of the events that are transpiring from the experience.

Middletown

By Will Eno; directed by Daniel Shure '14; costume design by Lena Wellhoefer '14; lighting design by Mark A. Baird; sound design by Daniel Shure '14; stage manger, Gabrielle Nieporent '14

This Year's Juried Art Reception: Getting to know the artists

Posted by Gwendolyn Plummer

On Feb. 6, Skidmore's Schick Art Gallery unveiled this year's Juried Art Reception. Regarded as one of Schick's most exciting and highly anticipated events of the year, this year's gallery was no disappointment. Annually, a selection of art in every medium is presented to a prestigious guest juror. This year the role was fulfilled by Sanford Mirling, professor at Middlebury College and co-founder of Collar Works Art Space in Troy. Out of the 215 submissions that were presented before Mr. Mirling, 67 pieces were selected, nine of which were award winners.

Winnie Vaughan '14 is a studio art major and received the Schick Art Gallery award for her series of paintings centering on the role of the listener.

"Making and producing art has always felt like an extension of myself," Vaughan said. "Thinking about this role, I began to realize that no matter how well we know a person, our perception of someone will always be slightly different than someone else's because we are all unique and inherently experience the world differently."

In order to capture this sense of ambiguity and haziness, Winnie said she first photographed some friends as they spoke to her, a process during which many of them talked about personal issues and things that they had not shared with others. After taking photographs, Winnie then painted her interpretation of them. She said that she chose painting as her medium due to her long-standing love for it.

"I love how expressive [painting] can be, whether it is through brush stroke, color, composition or some combination of the three. Nothing is ever set in stone, either. For me, painting is all about building up layers and letting parts of it be transparent. I have always been inspired by human relationships and how we learn about ourselves through others," Vaughan said.

Kate Biel '15 is a studio art major and winner of the Renee Vandewater Award for her photograph entitled Lillian. She said she prefers photography as a medium for her own expression.

"Photography is exciting because it holds a reality effect that's powerful through manipulation," Biel said. "The medium itself holds a complex dichotomy between artistic influence and representation of life. [The winning photograph] came from a series of six that stemmed from my interest in dolls and how they represent our ideals and expectations of femininity - taken from a sinister standpoint."

Juror Sanford Mirling said that he did not understand the narrative put forward in her work, yet he kept attempting to and loved that.

"[I'm inspired by] reading, meditation, hiking, snippets of conversations with friends, the news, as well as artists themselves," Biel said.

 Another studio art major that was featured in the reception, Joe Klockowski '14, uses his art to focus on digital technology and the media age. Both of his pieces featured in the show, one oil painting and one digital media piece, centered on this idea.

"Both of these pieces were influenced by the same idea: interaction and experience, how digital technology is transforming the way we interact with and experience the world," Klockowski said. "I find the juxtaposition of these two experiences, the digital and the natural world, to be extremely interesting."

In particular, his painting interface combines these two inspirations by digitally interfering with a scene of nature.

"My goal is to create a visualization of the contemporary landscape, a landscape where people no longer intimately interact with nature but rather they interact with it through a digital interface such as digital photography or online images," Klockowski said, further stating that his work addresses the question, "What does it mean to interact in a digital culture?"   

One of the featured ceramic artists is studio art major Madeline Johnson '14. She stated that she prefers ceramics as her way of expressing herself.

"There is an immediacy and tactility to this medium which is so instantly satisfying and pleasing to work with," Johnson said. "I drew inspiration for my piece, Spheres, from all over the place - sea urchins, coral, microbes, architecture, aliens, fruits and Pac-Man."

Her art is, Johnson said, more often than not, unplanned in its beginning stages.

"That's the fun part, starting with an idea and then winding up with something completely different and discovering how unpredictable, unexpected, yet welcome these changes can be. Starting with Pac-Man and winding up with a ball of spikes is not something I could have predicted," Johnson said.

The gallery will remain up through March 16, open for the public to explore the works of these talented Skidmore students. 

Senior Daniel Shure to direct the Spring 2014 Black Box production of Middletown

Daniel Shure '14 will direct the Skidmore College Theater Department's upcoming Spring 2014 production of Middleton by Will Eno. Performances will be at 8 p.m. from Feb. 28 to March 5., excepting for a Sunday matinee at 2 p.m., and will take place in the Janet Kinghorn Bernhard Theater.

In Middletown, contemporary playwright Will Eno has created seemingly everyday characters with extraordinary abilities to articulate the deepest truths about being human: the clawing anxieties we cover up, the hopes and fears we cultivate and the desperate need for connection with others, overlaying a deeper fascination with how incredible it is to exist on this planet, in this universe.

The Theater Department's pre-professional program provides students with the opportunity to pursue the study of the theater arts within a liberal arts setting. Courses within the department afford training in the basic demands of the discipline-physical and vocal control, technique in acting and directing, technical and design skills-as well as the opportunity for advanced study, practical production experience, study abroad and off-campus internships.

Due to limited seating, interested parties should reserve at the Skidmore Theater Box Office by calling ext. 5439 or sending an email at boxoffice@skidmore.edu. Tickets are $12 for general admission and $8 for students and senior citizens.

A Saturday Night with Diane Coffee

Posted by Caroline Falls

Shaun Fleming, of Diane Coffee, is set to perform at Falstaff's this Saturday, Feb. 22,thanks to the efforts of Skidmore's Student Entertainment Company (SEC). Skidmore's own Los Elk will open for the visiting artist, with a performance to rouse the crowd for what's anticipated to be a very big night.

Foxygendrummerand Diane Coffee's front man Shaun Fleming is one of several drummers (including Joshua Tillman of Fleet Foxes) who made a detour from their native bands to create solo side projects of their own. Diane Coffee resulted from Fleming's relocation from glossy Los Angeles to the greyer New York City with Foxygen. There, with the kind of empty minutes having the flu and being quarantined in an NYC studio apartment can offer, Fleming experimented with cookware, iPhone apps, detuned guitars and other unusual instruments in creating what would become the debut Diane CoffeeEP,My Friend Fish. According to Fleming, this transition from west to east and a heavy dose of cabin fever-which kept him craving his hometown and reminiscing about "the good old days" in Agoura Hills, CA-was the right amount of drive required to generate the album, released last year.

The EP combines 60's psychedelics evocative of Fleming's work in Foxygen; yet, the songs you'll hear in My Friend Fish areso much greener. Fleming's sound is something hard to put a finger on-it's a hodgepodge of the new and the old. Take the Baroque pop of The Zombies, replace the plaintive voice of Colin Blunstone with the kind of feminine soul you'd catch with Diana Ross, and you're almost there. It's a salute to Motown, yet it manages to feel new and not overly nostalgic to the point where you'd rather just listen to Ross' Love Child.

The first track on the album, "Hymn," is crispy and 2-D; it utilizes the resonance of an aged and dusty record. Fleming performs a kind of s??ance, channeling the Beatles when he sings, "I'll treat you anyway that you want/won't tell nobody nothing at all," with the kind of sex appeal and funk Lennon would sing "joojoo eyeball" with, in Abbey Road's "Come Together." When the track slows down again, and Fleming sings, "I give you my word/though it's certainly one that you've heard/I think that you're cool/oh yeah, I'd catch a cold with you," he's Shaun Fleming of Diane Coffee again.

The final track on the album, "Green" consists of a mournful, psychedelic organ, indicative of The Zombies' "She's Not There," where Fleming laments his broken heart through a glittery kaleidoscope of reverb and percussion. Both tracks on My Friend Fish bookend an album of recycled yet classic sixties-style ballads that you'd expect to be sick of by now. But, Shaun Fleming of Diane Coffee holds his own. There's a good reason why Fleming's childhood career, as a voice actor on Disney Channel's Kim Possible, didn't swallow him into obscurity. Saturday's performance at Falstaff's will show you why. And missing it will leave you with a sorrowful Sunday that a serenade from Diane Coffee could have saved you from. 

Larynx

Posted by Rashawnda Williams

"The cancer has grown back," he croaks through the phone. "This time it's on the left side of my throat." He wheezes. "There isn't much the doctors can do." His body won't take the radiation. This isn't the first time the cancer has come back. It has come and gone like an unwelcome friend. I take deep breaths. I don't know what to feel. My throat burns, and my eyes glaze over. I feel like crying, but the tears won't come. Maybe I don't have any more left to shed. I hang up the phone.

"It's so hard to talk to him," I say to Ky'lend, my friend who just looks at me through his square rimmed glasses. Ky'lend doesn't respond. He shifts in his chair and tugs on his shirt. He reaches his hand to his hair as if to run his hands through it out of nervousness, but there is nothing there. He stops. A silent sentence passes between us; we both know what it is like to rarely see a parent. We know the pain of absence. We know the pain of sickness.

I have always known my dad as sick, it was a part of him, and it informed his nature; the cancer had always been there. When I was younger I never fully comprehended the extent of the disease, I couldn't explain it. The answer would be insufficient, incomplete. I would sound out the word just like they taught us in school. "Kan-sur". I would say how it is a noun and is pronounced with two syllables. I would explain how it's a serious disease in which some cells in the body grow faster than normal cells and destroy healthy organs and tissues. I could recite the textbook definition, but it's taken years to truly understand it. My understanding and perception of cancer is always changing. Cancer isn't a noun, but a verb. Cancer is alive, it grows and festers; when your heart beats it beats with it. It is as much a physical state as a mental one. It changes a person. It can kill both body and soul.

After the news from my father, I needed to clear my head. I say a quick goodbye to Ky'lend. I take more deep breaths. What did this news even mean? Was he going back to the hospital? Was he going to die?

            Death. So finite. So inevitable. You shouldn't speak of the possibility of death. And, a doctor shouldn't say, "I'm sorry, you have cancer."  He should say, "Your body will slowly break down. You will be at war with your body. It will fight hard, but you must fight harder."  I have never known my father without cancer. It has made his body frail and his face gaunt. It has taken the breath from a once strong man. It has eaten away at his throat leaving a patched up hole.      

Because of his tracheotomy, my father and I have never broken bread together. He no longer uses a fork or spoon to eat. He is forced to ingest bland chocolate flavored protein shakes. We never had those family dinners, where everyone would sit at the table and laugh while eating with our mouths open. Not us. I eat by myself, while he sits in the other room. He had a feeding tube, which goes from his stomach, right above his belly button directly into his stomach through the abdominal wall. It looks unnatural and uncomfortable to look at.

One time when I was in the CVS my mom caught me staring at a package of his favorite brand of protein shakes, Boost. It was Christmastime, I was about eleven, and I hadn't gotten my dad anything for the holiday. I had no idea what to get him since I didn't see him often. I wanted it to be good. My gifts had remained the same for every holiday. Christmas a DVD, Birthday a DVD, and Father's day a DVD. I guess I could feel guilty, but I didn't know what to get someone who spent so much time at home. Really though, I had no idea who he was and what he would like. I remember my mom suggesting I buy him the protein shakes for Christmas.

Since he receives disability checks and can only afford a modest apartment, my mom and I both knew paying for things other than rent was a struggle for him. I knew mostly from my lack of received Christmas or birthday presents over the years.  The ones I had gotten meant nothing because I was too young to remember, so maybe my guilt didn't mean anything either. Maybe my mom was being sarcastic about buying the protein shakes as a present. I wish I knew what she was thinking; I like to think she was serious. Like all the other holidays and future holidays I settled for a DVD.

 "What would you like to eat?" I said, my young round face and large gullible eyes stared at my father. It was during one of my rare summer childhood visits. Mealtimes were always sensitive; mostly my dad would cook for us. Even without going through the mechanical digestion process of chewing and swallowing, food he was a good cook. His years of aimlessly sitting in front of the TV watching the Food Network had paid off. Since I was the one visiting, the decision of what to eat wasn't mine, and I wasn't allowed to be picky.

"Pork Chops!"  My half-brother, my father's son, exclaimed. It was a delicacy I had never been able to try, pork was never allowed in my mom's house. The only pork I had tasted was cheap cafeteria pepperoni pizza and the only reason I had was because of a dare. My father was having one of his good days, not spitting phlegm into the mounds of paper towels he carried around. We were in the kitchen as he pulled out the frying pan. My nostrils filled with the scent of fried grease. My brother and I were shooed outside to play while he cooked.

When we stepped outside it was hot. I could feel the heat on my skin. After a short period I began to sweat. I looked to my half-brother; we stared at each other unsure of what to do as we stood around. He sat on the porch as I sat next to him; it was a game of Simon Says in my head. Whatever he did, I did. I didn't know what else to do. This wasn't my home. We headed back inside as my dad called us to the table to sit. I sat immediately because my plate had all ready been made. There were two pork chops and what looked to be potato salad on a paper plate. I never liked potato salad. It was slimy and had a tart sour flavor.

"Well aren't you going to eat"? I ask my dad with a full mouth before I bring a greasy chop to my lips. I knew that he didn't eat, but I always asked. I could never imagine not being able to eat.

As I think of the memory, I clutch my stomach and swallow repeatedly to control the urge to throw up. I had not tasted meat in a couple of years and the thought of eating dead animal flesh makes my stomach churn. Animals are my friends and I don't eat my friends. It wasn't the only thing upsetting my stomach. The thought of having to return to the hospital scared me and made me nervous. Hospitals were always white and cold. They lack empathy. Last year, he was hospitalized because of pneumonia. His immune system was as fragile as a china doll. He was so sick he was forced into a medically induced coma.

"You should go talk to him," the nurse said to me, "Sometimes people in comas can hear what you are saying." I thought what she was saying was bullshit. Despite that, I was desperate enough to try. I walked through the stark white hallway, the soles of my shoes squeaked. It all felt over exaggerated, like something out of a movie. Once I reached his door, I walked through, and walked to his bed. The room smelled faintly of mothballs and antiseptic. I didn't know what to expect when I saw him. I didn't know what a coma would look like up close. My father looked like he was sleeping. He looked peaceful. His physical appearance was noticeably deteriorating. He looked severely under weight and sickly. I didn't think people with darker skin could look pale but he managed to somehow.

Cancer stole the father that could have been. The one that my mom would still be in love with, skin dark as the night sky. Sometimes I imagine that I know the once tall, strong, robust man she fell for, eating medium rare steaks and burnt pork chops oblivious to the poison growing inside his body. He would hold his head up, and his teeth would gleam white and sparkly. The charming smile that all the ladies fell for, the way it contrasted against his ebony skin.

Cancer stole my childhood that could have been. We never went fishing nor went to the playground. We never had the hallmark daddy's girl relationship that many of my friends had. Whenever I see young girls with their fathers I feel jealous. I never even knew what it was like to take a walk with my father. He couldn't be outside for more than five minutes. If he stayed out too long he would become weak and drowsy. His breath would quicken and he would have trouble breathing. Being outside also causes him to spit mucus constantly as well as having a chronic cough. If he ever swallowed the mucus he could die. Any chance of doing "normal" things with him was almost impossible. We would never go to a movie or go out to dinner. He will never be in the audience at my fast approaching high school graduation. 

I've always been told I looked like my mother. I didn't share my father's skin, his lips, or even his nose, but his eyes. Eyes the color of tree bark, each groove telling a story. The more you looked at them, the more you can read the story. He gave me eyes that I have been told were beautiful many times over. For this I am grateful to my father. My eyes, his eyes, are one of my best physical attributes, if not the best, but they are my strength and my weakness. I can use them when I need too, but I usually avoid eye contact. It has gotten me into trouble, so I just glance at people here and there, never longer than a second. It only takes a second. I first noticed the resemblance while looking at a photo from his wedding. He looked robust and athletic. Confidence permeated through his eyes. That picture was taken before the cancer and before old age, since I could tell gravity has tugged down on his eyes. A weary old man replaces the athletic robust man in the photo; the confidence had been replaced by sadness. Everyone felt the tragedy. It was as if the cancer lay dormant for years. Emerging as I was pulled from my mother's womb, plotting out its lengthy existence.

If the cancer had not happened who knows how my life would be. Maybe I would have a better relationship with my father, maybe I wouldn't. Although I would like to imagine I would. We could go to places. We could do things outside of his small cramped apartment. We could talk on the phone for more than minutes at a time without him coughing or spitting into a paper towel.

Before I hung up the phone with my father that day, the news of cancer wasn't all he told me. My father told me that he was preparing for death. He told me he isn't afraid anymore, and that he has endured enough pain. The unspeakable is coming- the finite. I am not ready to except it. It may not come until next year or the year after, but it will happen soon. He won't be there when I graduate college, or to walk down the aisle with me to give away my hand in marriage.  He will never meet my husband or his grandkids.

All I can think is I should have fought harder to salvage our relationship. I should be making more of an effort to get to know him before "it" happens; at least I could have that. I can't get past the emotion, the anger and sadness of his disease. The anger and sadness I harbor somewhere deep inside of me because he was not the father I needed. Even though he has been as strong as he could be and has held on for years, it is not enough. I have come to realize I can't be mad at him. He has tried his best, and has given it all he could.

 What more can I do? What more can he do? I have prayed, but I know my disillusionment grows stronger every time I stand on my knees and clench my hands tightly. Sometimes in those moments of prayer I get lost and forget what I was praying for. I forget who I was praying for. Those moments I feel that it's just me in the world. I sit quietly waiting.  I don't know exactly what I'm waiting for, but it's like a wave of energy passes through me. Those split seconds of my life are beautiful. They are also painful. I feel clarity and understanding.

To release pain I have to forgive. Forgive myself, forgive my dad, and forgive the cancer. I can't be mad at him and I can't be mad at the cancer because all it wants is to be alive just like the rest of us.

People as Muse - 'Forms and Faces' exhibition, Sophia Baraschi-Ehrlich '16 and Morgan Gruer '16: The two student artists find inspiration in human faces and bodies

Posted by Blair Warren

'Forms and Faces', an exhibition that took place in the Case Gallery from February 1 to 10, featured works by Sophia Baraschi-Ehrlich '16 and Morgan Gruer '16. The two student artists experimented with color and contour in their depictions of the human body and visage. When put together in one exhibition, their works had a natural fluidity while still being characteristic of their own personal styles.

 "I've developed a different type of painting style here than I had before, with more broken, straight out of the tube colors that are intense and in random places. I really like doing that now and I want to do it all the time," said Baraschi-Ehrlich.

Gruer agrees with Baraschi-Ehrlich when it comes to the innovative, freeing use of color.

Gruer added, "I don't always use the traditional color of a specific body, yet the color seems to belong there. Each body is so different. Even if you draw or paint the same model, it always turns out differently and you always learn something new."

Inspiration for these two student artists is found in the work of impressionists through their emphasis on light and color. They agree that their styles are not representative of this art period, yet they follow the impressionist idea of depiction not based on precision of reality but rather on essence, form and color - what can be noticed beneath the surface.

Baraschi-Ehrlich explained, "There's always something behind a face. With a painting, the painter is the one who interprets the personality or emotion of the person. It's like you have to create movement in one still image."

The way that a person's disposition and mood is reflected on his/her face is the inspiration behind both of their works. To Baraschi-Ehrlich and Gruer, it is not solely about capturing the person's features. It is instead about capturing their stresses, happiness, thoughts and feelings.

"Since both of our focuses are on the human body, people pretty directly inspire us. I sketch a lot of people, even if it isn't these dramatic paintings, like when I'm at home or on the subway. I always have my sketchbook and I'm always drawing people under my sunglasses. I focus on facial expressions and body language a lot. People just fascinate me," said Gruer.

Their works seem to emulate their words through the use of color and curve, giving life to the people they depict. When asked if they have any favorites, they hesitated. Thinking about it, they realized they do not have any favorites and would not want to.

Gruer explained, "An artist is so critical of his/her work. There are things I like and dislike in every piece. I may like one the most at the time, but it can easily change as soon as I make something new. I think this is good. I want to keep making more and never get stuck on something I like, because then I would never be satisfied. Nothing would live up to it."

Ensuring that creativity is central to both of their lives, Baraschi-Ehrlich and Gruer will continue creating art, exploring and expanding their skills.

One Upon and Elevator Music to feature "sound pieces" of David Greenberger at the Tang Museum

Artist David Greenberger, of Greenwich, N.Y., will bring the accumulation of approximately 30 years of work combining music and conversations with the elderly to the Tang Teaching Museum for two listening experiences in David Greenberger: One Upon, which opens Feb. 15 and runs through April 13. His companion piece, Elevator Music 26-David Greenberger: one updown, also runs through April 13.

As an artist, musician, writer, NPR contributor, storyteller and performer, Greenberger has become well known for sharing conversations with the elderly that explore and reveal their individuality, integrity and humanity. At community centers, nursing homes, assisted-living residences and private homes, he has talked with older people in a way that focuses on who they are now rather than what they have lost. Working with musicians, he has combined fragments of those conversations with music into short sound pieces that give listeners a window into the minds of older people.

Greenberger's One Upon turns the Tang's mezzanine into an intimate theater space where one audience member at a time can listen to a two-minute live performance by the group A Strong Dog. The group features Kevin Maul on lap steel, dobro, and guitar; Mitch Throop on guitar, bass, and drums; and Greenberger doing monologues about the older people he spoke with.

Greenberger's monologues have attracted attention and accolades from various critics, including those of Rolling Stone, the New York Times and illusionist, author and musician Penn Jillette.

Greenberger completed graduate school in the late '70s with a BFA in painting and started to work as an activities director at a nursing home in Boston called the Duplex.
"He realized almost immediately that there was something really important going on there in the conversations he was having," said Tang Assistant Director for Curatorial Affairs Rachel Seligman, who curated both Greenberger exhibitions. "His whole career has been thinking about questions of aging and identity and relationships, and the way that as people get older we tend to set them aside, and we tend to mourn the loss of who they were instead of celebrating and engaging with who they are now. If you listen very carefully, they really are telling us about ourselves and what it means to be human."

The companion exhibition, Elevator Music 26-David Greenberger: one updown, takes place in the Tang Museum's elevator and features more than 100 short recorded pieces featuring Greenberger and a variety of celebrated musical collaborators, such as Terry Adams of the band NRBQ, Paul Cebar and the Shaking Ray Levis.

The two experiences are designed to complement each other, contrasting the chance hearing of recorded snippets in the elevator with purposeful listening at a live theater performance.

At a TED talk in Albany in 2011, Greenberger estimated he had had some quarter of a million conversations.

"I'm an artist and I'm also in the second half of my life," he said. "I think I've learned as a human being and grown as an artist by continuing to meet people who are living the last years of their lives. The differences between us are obvious, but it's the things that we have in common that are the most fulfilling to me. That's where you find the surprise and the mystery and the truth."

The public is invited to the Tang's Opening Reception for Winter/Spring Exhibitions from 6 to 7:30 p.m. on Saturday, Feb. 15, celebrating Greenberger's shows as well as Graphic Jews: Negotiating Identity in Sequential Art (Jan. 25 to April 13) and One Work (Jan. 25 to June 1).

Museum visitors are invited to enjoy Two-Minute Performances in a One-Seat Theater during the following live performance times:
? 3 p.m. to 6 p.m., Saturday, Feb. 15
? 4 p.m. to 7 p.m., Wednesday, Feb. 19
? 2 p.m. to 5 p.m., Sunday, March 9
? 11 a.m. to 2 p.m., Tuesday, March 18
? 6 p.m. to 9 p.m., Thursday, April 3

The Tang Museum is open from noon until 5 p.m. from Tuesday to Sunday, with extended hours through 9 p.m. on Thursdays. For more information, call x8080 or visit this website.

The Tang Museum's Classless Society exhibit examines ideas of social class and the American Dream: Recent proclamations on income inequality point to relevance of show?s themes

The Tang Teaching Museum is hosting the Classless Society through March 9, a show that raises questions about how people think about class in the current social and economic context, including the prospects for class mobility and the different ways that class is signaled and understood.
As visitors enter the exhibition, they have the opportunity to spin a large "wheel of fortune"- divided like a pie-chart to show the numbers of people in the lower income brackets in relation to the small sliver at the top of the heap. The wheel not only demonstrates income disparity in the U.S., but also symbolically determines how much of the exhibition you would be permitted to see, if access were based on your class position (color-coded tape marks the various sections of the show).
 The show also features works of contemporary art and materials drawn from popular culture that examine the nature of class, the viability of the American Dream and the reasons why the myth of a classless society persists.
Two Skidmore faculty members, Professor of Economics Mehmet Odekon and Professor of English Janet Casey, curated the exhibition in collaboration with former Tang Director John Weber and the Tang's Assistant Director for Curatorial Affairs, Rachel Seligman.

Odekon said he was surprised year after year to see how consistently students in his course "Economics of Income Distribution and Poverty" classified themselves as middle class.

"Nobody seems to admit belonging to any other class," he said.

Casey said she has been fascinated by the persistence of the beliefs that American society is functionally classless and that anyone can move up the societal rungs to achieve the American Dream.

"That's why immigrants come here," Casey said, "because they think there is a lot of mobility among the classes. But there is not."

"Some will find it controversial-hopefully," Weber said. "The system is not working for a lot of people, and that's very hard for a lot of Americans to think about, regardless of income."
The final event for Classless Society will take place at the Tang at 7 p.m. on Wednesday, March 5. The session will be "Dunkerley Dialogue" featuring show curators Casey and Odekon with artist Steve Lambert. The event is open to the public and free of charge.
For more information, call x8080 or visit the museum's website.