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Dance Theatre of Harlem, under new Artistic Director Robert Garland, is definitely looking toward the future. The question, though, is how does it remain connected to twentieth-century icons such as George Balanchine while moving forward?
It takes but an instant with Whitney’s work to appreciate the value of gesture and line. The quality of active, energized mark-making runs through the show like a current of electricity. It seems to be there from the start, and in a way it was, but it isn’t truly charged until the artist has an epiphany in the printmaking workshop of Robert Blackburn. When he lays ink down on mylar, it retains his touch.
Over the course of one weekend in June, the Brooklyn International Music Festival is just one of the many initiatives created by the husband-and-wife team of Geoff and Lynette Wiley, who founded Jalopy in 2006 as a home for traditional music. Their focus had been on American folk music, but they have found common ground with roots music from around the world.
The Guest Critic is charged with suggesting a topic or theme that can be explored and debated for this special section of the Rail. On the occasion of the re-staging of Jenny Holzer’s 1989, architecturally encompassing piece at the Guggenheim, I have chosen the theme of site-specific Art. To my mind, Holzer’s Guggenheim project is one of the great site-specific works of my generation. It is also part of a larger history that has grown in some very interesting ways.
When a whale dies out in the ocean, its body often sinks to the ocean floor where it becomes what’s known as “whale fall”—a sudden, concentrated, long-term food source for ocean scavengers. Elizabeth O’Connor’s debut novel begins with a whale beaching on an isolated island off the coast of Wales.