The Whitney Biennial is a bellwether of
new trends in the contemporary art world. Or, at least, on what is most
important in the eyes of the curators charged with choosing a particular
year’s participating artists — and what’s important to those artists,
“Sometimes it’s hard to explain what we do
because it’s still evolving,” says Philip Valois, designer and
co-founder of Reptiles+Rainbows, a multidisciplinary design studio he
began in early 2013 with designer, art director and life partner, Carla
I don’t have the bandwidth nor does CityBeat
have enough space to write often about community theaters — groups of
volunteers who produce and perform in shows, often for audiences in a
specific neighborhood — but that’s not because they don’t do a good job.
Since our botched invasion and futile
occupation of Iraq, there have been several excellent accounts of this
costly, deadly debacle —unfortunately all written from the perspective
of American and other Western-based writers.
For Alice Aycock, whose public sculpture can be found in cities and parks worldwide, “Super Twister” — her new aluminum-and-steel piece at the CARE/Crawley Building on the UC Medical Center campus — represents ideas about chaos she has spent a lifetime pursuing.
On May 7, 1937 — exactly 77 years ago this week — the Cincinnati May Festival presented the American premiere of The Ordering of Moses, an oratorio by Robert Nathaniel Dett, an African American composer, conductor and professor.
Cincinnati Shakespeare Company’s presentation of the rarely produced The Two Noble Kinsmen is a noble feat, as it put CSC in the company of only six modern theater companies who have also “completed the canon” by performing all 38 of Shakespeare’s plays.
When scholars refer to William
Shakespeare’s canon — his “complete works” — they typically count 38
plays, written between 1590 and 1612. Only six modern theater companies
have staged them all, and Cincinnati Shakespeare Company is set to join the ranks this week.