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Two well–known dystopian writers have come back after long hiatuses to publish additions to their most celebrated works. Both Margaret Atwood and Suzanne Collins have returned to the literary world during a time when social issues such as climate disaster and women’s rights are at the forefront of public consciousness.
To say the political climate at the inception of the travelling art exhibition 30 Americans was different from that of today would be an understatement. When the Rubell family first premiered the exhibition of contemporary art by African American artists in 2008, reviews of that first show glimmered with the shiny hope of an Obama presidency. In today’s context, the show holds simmering undertones of protest.
Shouts of “Onda, Onda!” rung through Iron Gate Theater as Onda Latina, Penn’s premier Latin dance troupe, presented the fall semester’s installment of their bi–annual showcase this past weekend. Onda Latina—affectionately dubbed “Onda” by troupe and audience members—has been performing since 1996. Founded entirely by students, the group's name translates to “Latin Wave” in English.
It's not until about half way through its runtime that Come From Away gives a firm indication of when it takes place. Even so, everybody knows by the end of the first song. The musical, written by Canadian composers and lyricists Irene Sankoff and David Hein and currently visiting Philadelphia on its national tour, tells the story of the aftermath of 9/11 through the lens of Gander, Newfoundland.
She’s an 86–year–old woman whose workout routine has become the subject of a bestselling book. She's been made into a bobblehead and a Halloween costume for young girls around the country. She is one of four women to ever sit on the Supreme Court, and, for many, her continued presence on the bench is of paramount importance. Ruth Bader Ginsburg is a trailblazer for women’s rights and has become, in recent years, a pop culture icon.
Anti–fascist cat posters, mugs labeled “FUCKING COFFEE,” pronoun buttons, pastel quilted potholders, and splatter–painted plates. This past weekend, West Philadelphia’s Black Hound Clay Studio held its second annual yard sale, and it was a hodgepodge to say the least.
When the musical Rent premiered on Broadway in 1996, it was an immediate cultural phenomenon and critical success. With four Tony awards—including Best Musical—and the Pulitzer Prize for Drama, Rent changed the theater world forever with its brash, honest, rock–based music, as well as its complex and sympathetic portrayal of those living with HIV/AIDS. Loosely based on Puccini's opera La Bohème, Rent—written by Jonathan Larsen—follows a group of impoverished young artists in 1990s New York City’s East Village, trying to live the bohemian life while grappling with homelessness, addiction, and the HIV/AIDS epidemic.
When you entered Killjoy’s Kastle, you walked through a giant rainbow arch, with pink and white letters spelling out “LESBIAN RULE” emblazoned above it. This is actually one of the more understated parts of the exhibit–meets–haunted–house. Inside, you’ll find an insane women’s studies professor, sex–positive and polyamorous vampire grandmothers, and more. Killjoy’s Kastle was marketed with the tagline “A Lesbian Feminist Haunted House,” and consisted of a performance and visual art installation on display at the Icebox Project Space from Oct. 16 to Oct. 27. Given its recent attention, the exhibit might open elsewhere in the near future.
Another day, another photograph of Robert Indiana’s LOVE sculpture.
I arrived at the Kelly Writers House for the Edible Books Party just before judges announced the prizewinners. Cakes, pies, breads, and other culinary creations were laid on tables around the arts café, half–eaten, with printed book covers placed in front of each one. Many of the covers were altered to reflect puns. For example, a tall stack of golden cinnamon buns stood behind a cover that read "The Bun Also Rises," a play on the title of Hemingway’s second novel.
I’ve always kept an eye out for LGBT literature when I’m choosing what book to read next, and I’m always drawn to the Young Adult section. Not only because so many LGBT novels about people my age end up in YA, but also because I am yearning for the deep romantic plot and happy endings heterosexual couples take for granted in nearly all media. Though YA is often looked down upon, especially for college students who may be pressured to read more "serious" literature, I've found many beautiful works of art in this section. These are my five favorite YA LGBT novels.
Bethany Rusen—founder and director of Black Hound Clay Studio—knows the struggle of having excessive clutter and a lack of studio space all too well. “All of my friends are artists, and we all run into the issue that as an artist you are making a lot of work,” Bethany said. “You have a lot of pieces that didn’t go quite right. Something’s a little bit damaged. Something’s just a little bit off. So as an artist you have this buildup of inventory that you can’t really sell at full price."
On the first Saturday evening of every month, the Philly Art Collective hosts the HERspace Women's Art Festival. HERspace’s goal is to provide female artists with a space to share and celebrate their artwork.
Podcasts are one of the fastest–growing forms of media in recent years. According to a CBS News poll, two–thirds of Americans listen to podcasts, and the New York Times reports that nearly one–third do so regularly. This is a far cry from a few years ago, when podcasts were a largely niche genre.
It's rare to find spaces in the bustle of today’s world that allow for uninterrupted appreciation of art in all its forms. So, when you do come across one of these spaces, it's difficult to forget. The Philadelphia Museum of Art’s Friday Nights series is one such art haven. The series presents a new musician virtually every Friday night, drawing from the Philadelphia music community and beyond. The artists hail from a wide variety of countries, backgrounds, and musical histories, with classical jazz, Americana, folk, and Latin music among the styles represented. But the unifying feature of all the artists is their ability to create their own distinct ambiance.
“Presenting the Damn Thing,” a solo exhibition of a collection of paintings, seeks to provoke a distinctly American dialogue. The creator of the exhibit and its artwork, artist Inga Kimberly Brown, brings a unique perspective to the conversation with how she brings her mixed media paintings to life.
The quiet, mostly monochromatic art now residing in the first floor gallery space of the Institute of Contemporary Art doesn’t immediately incite its viewers to protest. That is to say, when compared to the '90s–era work of the art collective fierce pussy, these newer works are both less explicit in their motivations and more detached in their directions, and not simply because the ICA provides no description in its labels. No, the new exhibition arms ache avid aeon: Nancy Brooks Brody / Joy Episalla / Zoe Leonard / Carrie Yamaoka: fierce pussy amplified, which opened last Friday, brings us the art from four members of that collective. This new exhibition holds a tone distinct from the protest pieces of fierce pussy’s early days, one that now shares a refreshed and nuanced iteration of their fiery old resistance.
Comedy is defined as “a dramatic work that is light and often humorous or satirical in tone.” Humor is defined as “The quality that makes something laughable or amusing; funniness.” Funny is defined as “causing laughter or amusement.” This means that comedy should be, well, funny. This may seem obvious, but the field of comedy is dominated by male figures making sexist remarks, such as Chris Rock saying "[Women] cry rape because they want money.” Or Dave Chappelle saying in his comedy special, “The Bird Revelation”, that the sexual assault allegations against Louis C.K. “made [him] laugh," stating that a woman “[sounded] weak” for not pursuing a career in comedy after Louis C.K. masturbated in front of her. These are all statements that are not only not funny, but also create a “boys club” environment in the comedy industry that excludes women.
What is the human condition, really? This is a question that demands meditation, restraint, commitment, and, when the answer comes in the form of video art, extreme patience. That answer takes shape in the Barnes Foundation’s latest special exhibition, I Do Not Know What It Is I Am Like, which displays seven works by Bill Viola, an American artist specializing in experimental video art. This exhibition, containing pieces from the years 1976 to 2009, looks with slow and quiet detail at our behaviors, our expressions, and our rituals as human beings throughout all of time.
Penn’s campus is full of memorable public sculptures. Who hasn’t taken a photo by the Love statue, or walked under Covenant—the official name for the tall red beams on Locust? Now, with a long–term loan from the Association for Public Art for 99 years, Penn's sculpture collection grows even bigger. The relocation of two large–scale, outdoor sculptures—Louise Nevelson’s Atmosphere and Environment XII (1970) and Sir Jacob Epstein’s Social Consciousness (1954)—began in mid–July. Atmosphere and Environment XII has been placed on Shoemaker Green, and the installation of Social Consciousness is well underway at the Memorial Garden Walkway.
Solutions by The State News