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TONIGHT: Koresh Dance Company Performs “Ev-o-lu-tion”

Koresh Dance Company performs in "Ev-o-lu-tion." | Photo via Facebook, courtesy of Bicking Photography.

Koresh Dance Company performs in “Ev-o-lu-tion.” | Photo via Facebook, courtesy of Bicking Photography.

The Koresh Dance Company has been touring the world, showing off their amazing performances in Colorado, Texas, and Oklahoma in the past few weeks alone. Next week they head to Belarus and then to Art Basel Miami, the prestigious international celebration of the arts. But before they go globe-trotting, see them tonight at the Suzanne Roberts Theatre.

The dancers will perform their hit “Ev-o-lu-tion,” the work of artistic director and founder Ronen Koresh. The program uses movement to explore how humans would have – or could have – communicated at the dawn of time. Koresh asks, has our way of communicating really evolved or do we just use a different language? The piece uses guttural sounds and the body to investigate the raw side of humanity and whether we truly differ from our ancient ancestors.

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THE ONE: Curator Avis Berman on William Glackens’s Family Group

"Family Group" by William Glackens.

Writer and art historian Avis Berman is the curator of The Barnes Foundation‘s latest exhibit, “William Glackens.”  William Glackens was a Philadelphia-born painter and friend of art collector Albert C. Barnes. We asked Berman about Glackens as an artist, the exhibit, and its signature piece, Family Group (above). 

How and when was Family Group made? William Glackens always painted his environment, especially the immediate world around him, and one of the reasons for Family Group is that its contours changed.  He and his wife and son moved from a small apartment on Washington Square into a larger apartment on Lower Fifth Avenue in autumn of 1908.  The parlour or living room was subsequently decorated with richly patterned rugs and furniture, and Glackens wanted to capture that riot of color and texture, illuminated by streaming sunlight, after the room took shape.  It was clearly a challenge to incorporate four figures into that complex background, and he worked on it in 1910 and 1911. It is the largest canvas he ever painted, and one critic was amazed by its “power of organization” and “sustained effort.”

Who are the people featured in Family GroupThe people in Family Group are Edith Dimock Glackens, the artist’s wife, who is standing with her arm on the chair; her sister, Irene Dimock, who is seated below her, Edith and William Glackens’s four-year-old son Ira, and, at the far right, an old friend of Edith’s named Grace Dwight Morgan.

How did the painting compare with its contemporaries? Family Group was certainly more advanced than the work Glackens’s original Philadelphia gang, headed by Robert Henri and John Sloan, were doing, although it was not as avant-garde as abstract and semi-abstract as some of the younger American artists in the circle of Alfred Stieglitz.  But here Glackens charts his own path between. He’s moved beyond Impressionism and into territory pioneered by Henri Matisse—every surface is radiant, as Glackens begins to blur boundaries between background and foreground.  And as with Matisse, light transforms and idealizes material things.  Only a handful of American artists at that time were familiar enough with Matisse to experiment with his innovations, and it’s no surprise that one shocked reviewer called the canvas “a scream of color.”

What does the painting symbolize to you? Since the painting is titled Family Group, you might wonder why Grace Morgan, who is not a family member, is in it.  Originally she was not included in the picture, but when Glackens saw her in the colorful red-and-white dress she had just bought at Paul Poiret in Paris—making the other women’s garb look comparatively frumpy—he changed the entire composition and palette to put her in.  Morgan’s addition to the canvas symbolizes the necessity for progressive American artists to recognize and embrace contemporary currents in French art.  Glackens had already assimilated the discoveries of the Impressionists, Cézanne, and the Fauves, and in 1913 he would publish an article proclaiming the importance and value of French art.  In a sense, Family Group predicted these sentiments and made them sartorially concrete.

How does Family Group represent the exhibit as a whole? I wanted to talk about Family Group for several reasons.  First, it is an expression of Glackens’s aesthetic credo, as I’ve talked about in the previous question.  Second, it is critical to the history of the Barnes Foundation.  Family Group, along with other paintings similar in color and ambition, would have been in Glackens’s studio when Albert C. Barnes, who had gone to Central High School with Glackens, looked him up in late 1911 and renewed their friendship.  From the canvases he saw, Barnes would have been secure that Glackens understood modern painting. He knew that the artist could be trusted to be his eyes in Paris when he sent him to France in February 1912 with $20,000.00  to buy modern French art for him.  Glackens came back with 33 paintings and works on paper by, among others, Pablo Picasso, Vincent van Gogh, Pierre-Auguste Renoir, and Paul Cézanne, and his purchases represent the genesis of the Barnes Foundation’s collection.

Family Group also represents the exhibition because it was in the epochal International Exhibition of Modern Art of 1913, known as the Armory Show.  Glackens was an important advocate for the introduction of modern art in this country.  He was in the thick of such landmark exhibitions as the Armory Show, as well as The Eight in 1908, the Independents Show in 1910, and this painting is connected to his role as a significant cultural figure in the struggle for the acceptance of avant-garde painting in America.

William Glackens” will show at The Barnes Foundation now through Monday, February 2nd, 2015. 

Philly Historic Homes Get the Gingerbread Treatment at Shops at Liberty Place

For the fourth year in a row, the Fairmount Park Holiday Gingerbread House Display is ringing in the holiday season with gingerbread abodes. Local chefs have handcrafted 11 beautiful gingerbread mansions representing historic locations from all over the area. James Rodebaugh of Brûlée Catering, Chef Peter Scarola of R2L, and Drexel University’s Center for Hospitality all contributed works. The display is free and open to the public Monday through Saturday, 9:30 a.m. to 7 p.m., and Sunday noon-6 p.m., until November 21st at the Shops at Liberty Place.

The display (shown in the slideshow above) is a preview of the Historic Houses of Fairmount Park Holiday Tours. Visit six mansions from the 18th and 19th centuries all decked out for the holidays in grand style starting Wednesday, December 3rd. Admission to each house is $5 per person. Guided trolley tours and group tours are also available. For more information, click here.

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Kevin Hart Gets Behind the Wheel with Jerry Seinfeld

Screen shot 2014-11-07 at 11.12.37 AM

Jerry Seinfeld’s hit web series Comedians In Cars Getting Coffee premiered its fifth season yesterday, and wouldn’t you know it, it features comedians getting coffee. Seinfeld’s driving buddy this time is Philly’s Kevin Hart. If you love Kevin Hart, then enjoy the episode. If you don’t, well, it also features a 1959 Porsche RSK Spyder and a special cameo by Cosmo Kramer, a.k.a. Michael Richards. See the full video here. 

THE ONE: Artist Sarah Kaizar On “Mars Show”

"We've been here before, but it's new every time" by Sarah Kaizar.

“We’ve done this before, but it’s new every time” by Sarah Kaizar.

Local artist and Tyler School of Art grad Sarah Kaizar is showing her latest works in a solo exhibit called “Mars Show,” open now through November 30th at 3rd Street Gallery. We chatted with her about the show’s subject—mental health care and the Mars rover experiments—and its signature piece, “We’ve done this before, but it’s new every time” (above).

How and when did you create “We’ve done this before, but it’s new every time”? I’ve been working on this project on and off since August 2013. This piece is drawn with a mix of materials (pencil, ink, paint, tape, chalk, conté crayon, powdered graphite … ) on layers of vellum and acrylic resin. I have never worked this way before, so the drawing had a few false starts; you can actually see that process in the piece because of the translucency of the materials.

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