Recession-Proof Artists and Critics
May 20, 2009
Hundreds of artists responded to The New York Times’ request for stories and thoughts on how the economy is affecting their lives and work. Read about the variety of responses. Some people are upbeat and hopeful while others are pessimistic. And still others are motivated and more committed than ever to pursue their art. Watch this video – both inspiring and sad – about Alexander Conner, a recent college graduate who is pursuing his career as an artist while making about $12,000 per year. His commitment, focus, and even his weekly bread-making are admirable, but only time will tell whether his long-term goal of “sustainably making art” is feasible.
Meanwhile, a recent segment on Studio 360 by Jonathan Mitchell discusses how arts critics must reinvent their role in light of layoffs and closings of newspapers and magazines. Not surprisingly, the focus is on individuals who have turned to blogging. They might not be getting paid, but they’re passionate about arts criticism and engaging with readers (check out the Performance Club discussion about last week’s New Economy Smack Down). Douglas McLennan, the editor of ArtsJournal, mentions that arts bloggers now make up “a rich stew of voices”, while Sasha Anawalt, the director of arts journalism programs at the USC Annenberg School for Communication, suggests that arts bloggers have enabled a larger pool of artists to gain recognition. She says, “Once you’re out there and someone’s blogged about you, you exist.” True, recognition is gratifying – for both artists and arts bloggers. But in a way, artists and their critics are in the same boat. Too often, neither can make ends meet doing what they love to do. This is sad and problematic, but the boom in arts bloggers (which I’m proud to be a part of) and the perseverance of artists – reflected in both the Times article and the Studio 360 clip – illustrate the strength and passion of the arts community even during troubling times.
Tragic Love, Live from Lincoln Center
May 19, 2009
Sterling Hyltin and Robert Fairchild rehearsing Romeo + Juliet, photo by Paul Kolnik, 2007
On Thursday evening, May 21, “Live from Lincoln Center” on PBS will broadcast New York City Ballet’s production of Romeo + Juliet, choreographed by Peter Martins. Check your local listings for the exact time of the broadcast.
In spite of all the hype and wonderful behind-the-scenes videos leading up to the May 2007 premiere of Romeo + Juliet, I was disappointed with the production when I saw it at that time. Unexceptional choreography and dreadful costumes weaken the ballet, while its youthful dancers are its primary strength (Sterling Hyltin and Robert Fairchild, who created the title roles, both received well-deserved promotions shortly after the premiere). I remember feeling particularly frustrated by the choreography’s hazy portrayal of the plot. Some critical moments in the ballet, such as when Friar Laurence marries the star-crossed lovers, were so rushed and insubstantial that they were lost to the audience. Considering that I had this problem from an orchestra seat, I imagine that the plot looked even blurrier to audience members in the balconies.
Although I don’t plan on attending a performance of R+J this season, it might be worth tuning in for the televised broadcast, which will probably remedy (or at least conceal) some of the ballet’s problems by utilizing a combination of close-ups and wide angles in order to convey both plot and movement. A Playbill article by Pia Catton discusses the process of transferring the live production to the screen, which involves collaboration among Martins, “Live from Lincoln Center” executive producer John Goberman, and director Alan Skog. As it turns out, eight cameras will be placed throughout the theater so that the director can choose from a variety of vantage points throughout the ballet, with input from Martins. Catton writes:
“Each shot is transcribed into a camera script and given a number so that each cameraman will know his role in the sequence. But at this stage, it’s all written down in pencil: Even though it may look good to the director, the choreographer gets to have his say. Skog and Martins go over the ballet shot by shot to see if there are trouble spots or if a change in the choreography is needed.”
It should be interesting to see if a televised version of this production is more coherent than the live performance. The costumes probably won’t be any less distracting, but the ability to zoom in on the action might more effectively convey the plot. Tune in this Thursday, May 21.
ad hoc Ballet at the Joyce SoHo
May 17, 2009
Candice Thompson and Tammi Shamblin in HER, photo by Steven Schreiber
It’s rare to see a contemporary ballet company delve into uncomfortable issues that are often considered taboo. Abstract, plotless works are the norm, with occasional superficial portrayals of male-female relationships. But Deborah Lohse’s admirable ad hoc Ballet goes against the grain in HER, a full-length premiere at the Joyce SoHo that addresses female intimacy, desire, aggression, and the continuously redefined relationship between two women. The dancers sensitively convey the complexities of their conflicting characters while showing highly technical movement that is beautifully warped from its balletic foundation.
An opening solo for Lohse sets the stage for the rest of the work. Standing naked in front of video projections (by Eva Barnett) that scrutinize Lohse’s body, she seems to be adjusting to living in her own skin as she curls her torso or stretches limbs. Lighting by Amanda Ringger alternately softens or sharpens to hide or reveal her body. At one point, Lohse throws herself flat against the side wall of the stage as harsh light fully exposes her. She looks pained, helpless, and unwilling as she reveals all.
Reluctant exposure of the body is a theme in the second section as well, along with the painful reality of rejected affection. Tammi Shamblin portrays a timid, curious young woman who adores and craves approval from the strong yet reserved Candice Thompson. To the electronic sounds of Ladytron and Stefan Weisman’s delicate music for piano and violin, they dance in unison, distorting balletic lines to display marvelously twisted shapes. Thompson is remotely aware of Shamblin’s watchful, eager eyes, and after recognizing that she has been uninvited from the scene, Shamblin exits.
photo by Steven Schreiber
Yet, she remains naively persistent in her quest for acceptance as she sweetly delivers frosted cupcakes to Thompson, who politely accepts them but quickly loses interest. Thompson’s frustration with such a needy creature is initially withheld, but becomes increasingly apparent as she explodes with aggression and repeatedly slams Shamblin against a wall (exactly where Lohse stood naked under harsh light), claiming her power in the relationship. Measuring the space between their chests with a tape measure, she creates a boundary between the two and establishes conditions for future interactions. Aggression shifts to tenderness in a curiously fleeting duet before Thompson’s aggression re-emerges as she pushes Shamblin into a small white chair – more suitable for a doll than a grown woman – and pulls off her shoes and silk top. One can sense the impending mortification as Shamblin clutches her naked torso with Thompson menacingly standing over her.
The cupcakes were Shamblin’s endearing gift, but they are Thompson’s weapon as she sadistically forces Shamblin to eat them one by one. A woman’s generosity and desire for approval have been literally rejected and rammed down her throat. Embarrassed, trembling, and covered in frosting, Shamblin stretches her mouth and limbs in a final solo as she continues to give of herself – not to Thompson this time, but to the sea of audience members who have witnessed her humiliation.
There is double meaning behind the act of unwillingly consuming cupcakes. Not only does it display a woman’s cruelty toward another, but also a woman’s relationship with food. In this case, the situation is heightened by the fact that the woman happens to be a slim, toned dancer. Sitting slumped over in a chair, with bright lights highlighting her naked body while being forced to devour food might be a female ballet dancer’s worst nightmare. Lohse could have chosen to mime this section, but using real cupcakes allows for a more sensual, potent portrayal.
The dancers’ commitment to their roles is commendable. They successfully capture and express the shifting pain, pride, and pleasure that their characters feel. One woman is as aggressively cruel as the other is painfully vulnerable, and most startling is how true these characters are. Everything about HER is honest, real, and powerful.
Long Live Summer Arts Festivals
May 14, 2009
PeepDance at Central Park SummerStage 2008, photo by Evan Namerow
In case you missed it, last week The New York Times published listings for summer festivals in dance, theater, classical music, and pop. For those inclined to escape the city this summer to get their dance fix, there’s the Jacob’s Pillow Dance Festival in Massachusetts, the Bates Dance Festival in Maine (a teaching festival with many performances and lecture-demonstrations), and the Vail International Dance Festival, directed by former New York City Ballet principal Damian Woetzel. Here in New York, there’s the site-specific Sitelines Series, the popular Central Park SummerStage (where I had a great time last summer watching and photographing Tami Dance Company in PeepDance), and the free Lincoln Center Out of Doors series, along with several others.
Among the many theater festivals, perhaps the best-named and most intriguing is The Antidepressant Festival, produced by the same folks at The Brick Theater who brought us the $ellout Festival and the Pretentious Festival. According to the Times, the Antidepressant Festival, which will include nineteen productions, is “meant as a diversion at a time of plummeting stocks and rising unemployment.” Fortunately, all performances are under $15. That should keep festival-goers happy.
Rocco Landesman Chosen to Lead NEA
May 13, 2009
President Obama has picked Broadway producer Rocco Landesman to be the next chairman of the National Endowment for the Arts. Here’s an excerpt from The New York Times article about the appointment:
“Choosing Mr. Landesman, 61, signals that Mr. Obama plans to shake things up at the endowment. While a major source of money for arts groups around the country, it has historically been something of a sleepy bureaucracy, still best known to some for the culture wars of the 1990s.
Since then, the agency has been trying to rebuild its image on Capitol Hill, along with its budget. The current allocation stands at $145 million, and though Mr. Obama has requested $161 million for 2010, that is still short of its high of $176 million in 1992.
Mr. Landesman, who would fill the post vacated by Dana Gioia, is expected to lobby hard for more arts money. But he is not famous for his skills as an administrator or diplomat. Rather, he is known for his energy, intellect and irreverent — and occasionally sharp-elbowed — candor.”
I know very little about Landesman, but wonder if energy and passion are enough to strengthen the NEA and increase funding for the arts. It sounds like some of the other candidates for the position have more arts administration and policy experience – certainly essential in these uncertain times. Tonight’s New Economy Smack Down will undoubtedly be brimming with debate as the panelists tackle a variety of issues, but hopefully they’ll shed some light on the appointment of Landesman and what it might mean for the NEA and the arts community.
