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Violinist Tim Fain and Composers Concordance do it right with an all new concert in New York

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Greetings from New York City, and welcome to my column! Here, I write about new music and media, and the people who create the art. Check it out.

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On a warmish November night, I attended a packed new music event put together by Composers Concordance, violinist Tim Fain, and an influential cohort of cutting-edge composers. The concert, A House of Many Rooms, featuring violinist Tim Fain with pianist Timo Andres, took place on November 8, 2015 at (Le) Poisson Rouge, a downtown venue on Bleecker Street that boasts a beguiling, flickering red fish at the entrance and a reputation for fresh sound all its own.

TimFainStreetOn the program were compositions by Kevin Puts, Dan Cooper, Milica Paranosic, and Christopher Cerrone, along with the world premieres of Beirut is A House of Many Rooms, by Randall Woolf, and Natural, by Gene Pritsker. Most pieces were related to physical places.

Dan Cooper’s well-integrated El Planeta Rojo had the feel of an electro-acoustic score for animation. A sound world of mournful violin phrases hovering lazily over angular electronic grooves, echoing a distant, orderly universe, created a fine sense of what dreaming about Mars could actually sound like. Arches, by the Pulitzer Prize-winning composer Kevin Puts, provided a blissful playground for Tim Fain’s articulated bowing in the seemingly abstract Caprice-Aria scheme, while Milica Paranosic’s Al’ Airi Lepo Sviri, set to a poignant video by Carmen Kordas, brought about a progressive treatment of common, if all too easily appropriated, misconceptions about the role of the feminine in traditional cultures. A sense of pre-industrial pure was present in Gene Pritsker’s Natural, an electro-bucolic pairing of samples recorded in nature with bursts of analog electronics and violin lines. The accompanying visuals mimicking early video technology were created by the composer.

As an expat myself, my pulse quickened at the opening of Randall Woolf’s Beirut is A House of Many Rooms. The heavily romantic opening motives well supported the unabashedly romantic notions I harbor for Sarajevo, my birthplace. By weaving the sounds of the ‘oud, Lebanese singers, city noises and a solemn violin operating mostly in lower registers (as if culled from a Jerzy Grotowski play), Woolf achieved a moving tribute to the essence of “Beirut, the Paris of the Middle East”. His score, not unlike the city itself, cradles western and eastern cultural idioms, and many more besides. The sense of excitement forged through coexistence was deepened by an accompanying film expertly shot in Beirut by Mary Harron and John C. Walsh, one that reveals the nature of communal life reminiscent of Peter Greenaway’s work. This is impressive given that the film was made after the music was completed.

Winner of the 2015 Samuel Barber ‘Rome Prize’, Christopher Cerrone was represented by a crafty work that combined 1990s minimalist language with gestural pop in a sonata form. For this piece, Fain teamed up with Timo Andres who shone brightly at the piano with a crystalline sound and attractive dramatic timing.

Described by the Boston Globe as a “charismatic young violinist with a matinee idol profile, strong musical instincts, and first rate chops,” Tim Fain’s offerings that night confirmed the Globe’s judgment and then some. Fain is an extremely sensitive interpreter who, with an assured yet understated virtuosity, pulled the utmost from every score. He proved to be a charming host and showed impressive panache, even during a tech glitch which temporarily prevented the start of one piece. But most of all, Fain imbued the night with a sense of purpose and the need for contemporary composition –a feat hard to achieve in a town with over 250 concerts per night and where new music ensembles and soloists, and their audiences, seem to multiply overnight in every borough.

The funds for the event came from a number of arts foundations, including the New York State Council on the Arts, New Music USA, and private donors.

Connections ‘n Picks

An “enterprising new music organization” according to The New York Times, Composers Concordance presents over 15 concerts every season, attracting over eighty top musicians to perform, along with visual artists, technologists, choreographers, and filmmakers. The beginnings of the organization are tied to the vision of the composer and electronic music pioneer Otto Luening. Now in its 30th season, Composers Concordance is a hard-working endeavor through which many talented composers have a chance to be heard and many an innovative technological tool tried out. I pick Directors Gene Pritsker and Dan Cooper who co-curate the programs. I pick my fellow Associate Directors for the 2015-16 season Milica Paranosic, Peter Jarvis, and Melissa Grey. Many creations done for and by the organization are released through Composers Concordance Records, and distributed by Naxos. I pick the label for its innovative thinking and appetite for cultural change. I pick the NYC audience that came out in force and knew how to reward the artists. I pick Tim Fain for saying “yes.”

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Reflections, Intentions

The Poisson Rouge program illuminated the world’s many corners and offered a sense of hope for a contemporary music that reflects a glorious, multifarious and yet essentially undivided existence. This feeling of promise –now more of a rarity in a post-Paris world– is what interests me as a citizen and a creator; this promise inspires me to write, and create, what I do. With the world around us kicking like a wounded colt, the resolve to trust the possibility of the positive voices now multiplying, giving us a wiser version of ourselves through the arts, is a choice to be made. Reverse-engineering, please! For the audience on Nov. 8, this concert represented a solid opportunity to choose well. It also made plain that Tim Fain has the capacity to play a larger role outside of the concert hall if he chooses to do so.

Get in touch and let me know about what inspires you artistically in your corner of the globe. And, if all else fails, you can always like me on Facebook.

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Public art that brings a smile to your face

MD Staff

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Artists observe a link between spending time in these spaces and a feeling of relaxation, safeness and peace of mind. Photo by Georgina Avlonitis

This International Day of Happiness on 20 March reminds us that life is happier when we’re together. It urges us to focus on what we have in common, rather than on what divides us.

One thing that has the power to bring us closer together is art. Art can also bring us closer to nature, helping to blur the boundaries between the “concrete jungles” of our cities and outside spaces.

This International Day of Happiness we sought inspiration, especially among young people, in public urban art. Despite being drawn to cities for a myriad of reasons, for many of us, happiness is closely tied with our proximity to nature and green spaces. Humanity evolved in close connection with nature, and a need for its presence is woven deeply into our consciousness.

“Connecting to our living environment through enjoying public art in urban spaces can change how we understand the world, help us relax and reduce stress and anxiety, and provide memorable experiences,” said Garrette Clark, UN Environment’s Sustainable Lifestyles Programme Officer.

“Sustainable living and lifestyles are about reducing negative environmental impacts as well as spending more time and resources on the experiences that add value to our lives.”

One example is Conservation Conversation Corners, in Johannesburg, South Africa and Livingstone, Zambia. This project involves four young artists—South African upcycler Heath Nash, Zambian sculptor Owen Shikabeta, Zambian painter Mwamba Chikwemba and South African installation artist Mbali Dhlamini.

Using mural paintings, public participation and sculpture, they visually and physically transform urban public spaces to reconnect their users with nature.

These artists observed a link between spending time in these spaces and a feeling of relaxation, safeness and peace of mind. Some stated that the only time they really felt safe and happy in these—and other—cities was when they felt connected with nature.

Twenty-eight-year-old Mbali Dhlamini observed: “As a woman in Jozi, you always feel like you need to keep eyes at the back of your head. We stay on our guards and alert at all times, whether walking or driving in the city, because of the crime here. How wonderful it would be to feel free and at peace. Nature has that. Nature gives us that. We need to access it and conserve it more in our towns and cities.”

Public art like this is playing an important role in shaping urban neighbourhoods, boosting a sense of community, and bringing people together.

In 2008, for the first time more people lived in urban areas than in rural ones. Urbanization is occurring everywhere and at unprecedented speed—especially in Africa. Urban populations in Africa are expected to triple in the next 50 years, and urban space is expected to increase by more than 700 per cent between 2000 and 2030.

Reflecting on how we can better bring nature into ever-expanding urban spaces, public art can help us provide access to green spaces in cities as a potential source of happiness.

A growing number of scientific studies demonstrate the power of nature to positively affect our health, well-being and happiness, and in 2017, National Geographic identified the greening of urban areas as one of the top five aspects shaping the future of cities.

Isabel Wetzel, Associate Human Settlements Officer at UN-Habitat and Greener Cities Partnership liaison between UN Environment and UN-Habitat, added: “The beneficial relationship between nature and happiness in urban areas is apparent – and public art can provide a beautiful channel to express it.

“Art has the power to connect people from different backgrounds and generations, and green public spaces have a positive impact on the health of the residents.

“Highlighting the need for nature restoration and conservation of our green and blue ecosystems in urban areas through public art is a powerful way to reconnect people, particularly young people, with the natural world.”

So, if you, your family and your friends are feeling unhappy in your city—seek urban green spaces, and if they don’t exist yet, create them!

UN Environment

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5 Museums You Don’t Want to Miss in Athens

MD Staff

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The National Archaeological Museum is the largest museum in Greece. Although its original purpose was to secure finds from 19th century excavations in and around Athens, it gradually became the central national institution, enriched with finds from all over the country. With more than 11,000 exhibits, its abundant collections provide a panorama of Greek civilisation, from the beginnings of prehistory to late antiquity.

MUST SEE: The famous gold mask of Agamemnon and the Antikythera mechanism. Address: 44 28is Oktovriou St, Athens.

The Benaki Museum was the first private museum established in Greece and has three satellite spaces in hip areas around Athens. Its flagship building can be found in the first-class district of Kolonaki, housed in one of the biggest and most impressive neoclassical buildings in the city. This private collection was cultivated by Antonis Benakis, a wealthy cotton merchant, in memory of his father Emmanuel Benakis. You’ll find artefacts from Greek pre-history right through to the Mycenaean and Classical eras, continuing with items related to such pivotal events as the fall of Constantinople and the Greek War of Independence.

MUST SEE: The reconstruction of mid-18th century reception rooms found in stately mansions in Greek Macedonia, featuring the original gilded ceilings and wood-panelled walls. Address: 1 Koumbari St & Vasilissis Sofias Av, Kolonaki.

The Museum of Cycladic Art also found in Kolonaki, showcases a fascinating collection gathered by the late shipping magnate Nicholas Goulandris and his wife Dolly. Housed in a stately mansion that was built in 1895, this private collection expands over four levels. The artworks give insights into the ancient civilisations of the Cycladic Islands. The semi-abstract figurines inspired Cubism and 20th century artists like Picasso and Brancusi. Intricately painted amphorae (vases) are also on display.

MUST SEE: The renowned male figure believed to come from Amorgos, is one of the very few represented in the upright pose, it is the only known male figure of these monumental dimensions. Address: 4 Neophytou Douka St, Kolonaki.

Visiting the Byzantine and Christian Museum provides an oasis from city life. The building, nestled in a peaceful, well-kept courtyard that is set back from the road, was built in 1948 in a Tuscan Renaissance style and is an architectural rarity in Athens. The permanent exhibition is placed over several levels covering 18 centuries of art and culture. You will be reminded of how much power and influence the Byzantine Empire wielded and the legacy it left behind. More than 25,000 exhibits with rare collections of pictures, scriptures, frescoes, pottery, fabrics, manuscripts and more.

MUST SEE: A rare 13th Century mosaic icon of the Virgin Mary from Constantinople, one of only 40 known to exist. Address: 22 Vasilissis Sofias Av, Kolonaki.

Consistently rated as one of the best in the world, the Acropolis Museum is located at the edge of the southern slope of the Acropolis and should be visited before or after your visit to the ancient city. Devoted to the Parthenon and its surrounding temples, it showcases and protects the surviving treasures from the Acropolis. The collections touch on the Archaic and Roman periods moving all the way through to the 5th century AD. An obvious emphasis is placed on the 5th century BC, considered the pinnacle of Greece’s artistic achievement.

MUST SEE: If you’re short on time, don’t miss the Parthenon Gallery (Level 3) and the five caryatids (Level 1) that are the original maidens that once held up the roof of the southern porch of the Erechtheion. Address: 15 Dionysiou Areopagitou St, Athens.

TIP: The Benaki Museum, Museum of Cycladic Art and Byzantine and Christian Museum are all within walking distance of each other.

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Andy Warhol: From A to B and Back Again

MD Staff

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Andy Warhol, Ethel Scull 36 Times, 1963; Whitney Museum of American Art, New York; jointly owned by the Whitney Museum of American Art and The Metropolitan Museum of Art; gift of Ethel Redner Scull; © The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS) New York

The San Francisco Museum of Modern Art (SFMOMA) announces the exclusive West Coast presentation of the critically acclaimed exhibition, Andy Warhol—From A to B and Back Again on view from May 19 through September 2, 2019. Spanning the artist’s 40-year career and featuring more than 300 works on three different floors of the museum, the exhibition includes paintings, drawings, graphics, photographs, films, television shows as well as a personal time capsule of ephemera. The retrospective features examples of the artist’s most iconic pieces in addition to lesser-known abstract paintings from later in his career. Uncannily relevant in today’s image-driven world, Andy Warhol—From A to B and Back Again provides new insight into Andy Warhol himself by examining the complexities of this enigmatic artist more than 30 years after his death in 1987. The show’s title is taken from Warhol’s 1975 book, The Philosophy of Andy Warhol (From A to B and Back Again), a memoir featuring the artist’s musings on fame, love, beauty, class, money and other key themes that frequently appear in his work.

“He’s a complicated figure and a complicated artist,” said Gary Garrels, Elise S. Haas Senior Curator of Painting and Sculpture at SFMOMA. “His inner emotions, his psychic self were not his subject matter. Warhol is constantly labeled a Pop artist, but all that happened within a couple of years and then he moved on and the work goes quite dark and explores questions of gender and sexual identity, fame, subcultures. At the time of his death, the consensus was that Warhol was no longer relevant. But the last major retrospective in 1989 was a wake-up call: this is an artist we have to reckon with.”

First presented at the Whitney Museum of American Art in New York and curated by Donna De Salvo, Deputy Director for International Initiatives and Senior Curator at the Whitney, with Christie Mitchell, senior curatorial assistant, and Mark Loiacono, curatorial associate, this exhibition provides an opportunity for new generations to reconsider Andy Warhol, one of the most influential, inventive and important American artists. Warhol’s understanding of the growing power of images in contemporary life anticipated our social media-focused world and helped to expand the artist’s role in society making him one of the most recognized artists of the 20th century.

Andy Warhol—From A to B and Back Again also showcases SFMOMA’s impressive holdings of many of the artist’s most important works including National Velvet (1963), Liz #6 (Early Colored Liz) (1963), Triple Elvis (Ferus Type), (1963), Silver Marlon (1963), Robert Mapplethorpe (1983) and self-portraits.

THE EXHIBITION

Andy Warhol—From A to B and Back Again will be presented on three floors of SFMOMA: two, four and five.

On the museum’s second floor, two galleries of works on paper offer a detailed look at Warhol’s earliest drawings from the 1940s and hand-drawn commercial illustrations created for advertising in the 1950s. These early drawings lay the groundwork for many of the techniques and approaches he would use throughout his career. This portion of the exhibition includes delicate, gilded collages and sketches of shoes for the Miller Shoe Company, and illustrations for publications such as Glamour Magazine and The New York Times.

On display in SFMOMA’s fourth-floor special exhibition galleries, the exhibition takes visitors chronologically through the arc of Warhol’s career and his production in painting, drawing, photography, film and installation. The first half of the exhibition opens with his best known work from the creatively active period of 1960–68, with his earliest paintings such as Dick Tracy (1961) and Superman (1961), followed by the groundbreaking, iconic Pop Art paintings, Green Coca-Cola Bottles (1962), 192 One Dollar Bills (1962) and the sculpture, Brillo Boxes (1969, version of 1964 original). The exhibition then highlights Warhol’s depictions of celebrities, including Elvis, Elizabeth Taylor and Jacqueline Kennedy. In a dedicated black box gallery adjacent to the early Pop Art work, samples of Warhol’s films and videos will be on view including his series of Screen Tests featuring Ethel Scull, Edie Sedgwick and Billy Name (1964–65).

Subjects take a darker turn in Warhol’s Death and Disaster paintings (1963–64) memorializing car crashes, the electric chair and a benign yet sinister can of tuna fish contaminated with botulism. An eye-popping gallery filled with 16 colorful Flower paintings (1964) will be installed on top of Warhol’s Cow Wallpaper (1966) for a bold immersive experience. Visitors will have a chance to experience Silver Clouds, Warhol’s sculptural installation of shiny Mylar balloons created in 1966, the point at which he declared himself to be done with painting.

Warhol’s work of the 1970s and 1980s focuses on post-Pop artwork, which Garrels observes are “very unknown to most people.” In these galleries Warhol shifts his focus with a massive portrait of Chairman Mao (1972), followed by a gallery featuring photographs and paintings of trans women and drag queens from the 1970s, which provide a look into Warhol’s fascination with the elusiveness and complexity of gender and identity. A separate suite of photographic self-portraits of Warhol in drag provides a different view into the artist’s carefully cultivated persona. A large single gallery is dedicated to Warhol’s grand experiments with abstract painting, featuring a gold Shadow painting (1978) and two large-scale Rorschach paintings (1984). Warhol’s influence on the young artists of the East Village in the 1980s is highlighted through collaborative works created with Jean-Michel Basquiat and Keith Haring. Also on display is an unpacked personal time capsule, one of 610 created over the course of the artist’s life.

Two galleries in the museum’s fifth floor Pop, Minimal and Figurative Art presentation feature a 1970s “facebook” of wall-to-wall grids of large-scale silk-screened portraits representing a “who’s who” of celebrities, cultural icons, gallerists, athletes and business leaders. These galleries feature nearly 40 portraits such as Halston (1975), Dominique de Menil (1969), Liza Minnelli (1978), Pelé (1977), Leo Castelli (1975), Mohammad Reza Shah Pahlavi (1976) and Gianni Versace (1979–80), as well as the artist’s mother, Julia Warhola (1974). For the subject, a Warhol portrait provided social validation and an immediate status symbol; for Warhol these commissions were a consistent revenue stream that supported his studio and desire to explore other more personal ventures. Warhol’s television shows and videos are on display in the city gallery on this floor.

THE ARTIST

Andy Warhol was born Andrew Warhola in Pittsburgh, PA in 1928. In 1949, he graduated from Carnegie Institute of Technology (now Carnegie Mellon University) with a Bachelor of Arts in pictorial design.  Shortly after graduation, Warhol moved to New York City, where he would live for the rest of his life, and began what would become a vaunted career as a commercial artist, for which he earned numerous awards and accolades. Despite his commercial success, Warhol was determined to pursue a career as a fine artist. He first exhibited his work at the Hugo Gallery in 1952, though he did not gain recognition in the fine art world until 1962 when the Ferus Gallery in Los Angeles staged his groundbreaking exhibition of Campbell’s Soup Can paintings. Through the 1960s, Warhol exhibited at Ferus, Stable Gallery, Castelli Gallery, Sonnabend Gallery and internationally to great acclaim. He established “the Factory” in 1963, the same year he began his pioneering work in film. In 1965, Warhol announced his “retirement” from painting to pursue filmmaking full-time; underground films such as Empire (1964) and The Chelsea Girls (1966) remain some of his most influential works.

In 1968, Warhol was shot in a near-fatal assassination attempt, but by 1969 he had founded Interview magazine and his interest in producing work across all media—including sculpture, video and performance—was reignited. In 1975, Warhol published The Philosophy of Andy Warhol (From A to B and Back Again) and by the late 1970s had expanded his practice to cable television shows with Andy Warhol’s Fashion, Andy Warhol’s Fifteen Minutes and Andy Warhol’s T.V. Warhol’s work of the late 1970s and 1980s exhibits an increased interest in abstraction and collaboration and often reflexively returns to his own earlier work and iconography. His late work speaks to a voracious interest in current events and enthusiasm for artists from the East Village scene such as Keith Haring and Jean-Michel Basquiat, with whom he collaborated. In February 1987, Warhol died after a brief illness following routine gallbladder surgery. The Andy Warhol Diaries, his infamous account of his own life from the mid-1970s up to his death, was published posthumously in 1991.

Major exhibitions during Warhol’s lifetime include his first institutional solo exhibition at the ICA Philadelphia in 1965, a 1968 exhibition at the Moderna Museet, Stockholm, a 1970 retrospective organized by the Pasadena Art Museum, which traveled extensively and Andy Warhol: Portraits of the 70s organized by the Whitney Museum in 1979–80. The final exhibition of his work during his lifetime, at Robert Miller Gallery, New York, in January 1987, debuted a new series of stitched photographs.  Warhol’s work is collected by significant institutions across the world including major repositories at SFMOMA, the Whitney Museum of American Art, Tate, The Museum of Modern Art, The Art Institute of Chicago, The Museum Brandhorst, Munich, The Museum Ludwig, Cologne, The Marx Collection at the Hamburger Bahnhof, Berlin, the National Gallery of Art, Washington, D.C. and the Andy Warhol Museum, Pittsburgh.

CATALOGUE

The exhibition is accompanied by a full-color, 400-page scholarly monograph edited by Donna De Salvo spanning all periods of Warhol’s career and including paintings, sculpture, drawings, prints, videos, photographs, archival and printed material, installations, films and media works. A contextualizing essay by De Salvo is complemented by essays and contributions from Jessica Beck, Okwui Enwezor, Trevor Fairbrother, Hendrik Folkerts, Bill Horrigan, Bruce Jenkins, Branden W. Joseph, Barbara Kruger, Glenn Ligon, Michael Sanchez and Lynne Tillman, as well as a plate section with 450 images. The catalogue is published by the Whitney and is distributed by Yale University Press.

San Francisco Museum of Modern Art
151 Third Street
San Francisco, CA 94103

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