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Last Thursday, a group of Duke undergraduates, Theater Studies faculty, a Durham community member and a Skyped-in California Institute of the Arts professor hunkered down around a large table in the Bryan Center design studio.
A few weeks ago, the New York Times published an editorial by Susan Cain entitled “The Rise of the New Groupthink.” It might’ve been in the Sunday Review, because those are the days when I fish through pages of arts events and travel destinations and snarky commentary on contemporary literature until I’d like to say that I experience all of this source material in some way. But I don’t, really, because my vicarious experience is limited to a physical and intellectual processing of the text rather than walking through Damien Hirst’s exhibit at the Gagosian or taking up the latest in the contemporary-male-fiction-canon a friend recently referred to as “d**k lit.”
Jeffrey Page is an Emmy-nominated choreographer whose work, which blends African, hip-hop, funk, soul and jazz dance styles has been featured on So You Think You Can Dance?, The Beyoncé Experience Tour and the MTV’s Video Music Awards, among other television programs. This month, Page will visit Duke to create a new piece for the African Dance Repertory class, which will be performed at Choreolab, the Dance Program’s mainstage spring production, on April 21 and 22. Recess’ Michaela Dwyer chatted with Page, hoping to hone in on his choreographic approach, which actress, dancer, choreographer and Fame star Debbie Allen called “so pure and so authentic.”
The first time I heard of Edward Albee’s 1962 play Who’s Afraid of Virginia Woolf? was in my 11th grade American Literature class. I recall thumbing through an enormous packet of contemporary American plays our teacher had compiled for us to choose and act out, breezing by lighthearted, accessible farces (i.e., Clare Boothe Luce’s The Women, a Mean Girls of the 1930s—the drama I ultimately chose) to puzzle over the absurd plotlines and characters of writers like Edward Albee. I flipped between descriptions of three of his plays—The Zoo Story, The American Dream and Who’s Afraid of Virginia Woolf?—longing to see their weirdness and dysfunction come to fruition within my classroom’s 10 by 10-foot performance space.
In a way, CAM Raleigh (Contemporary Art Museum Raleigh) resembles a split-level house. An expansive top-floor exhibition space spills into connecting middle ground; beneath it are interconnected gallery rooms. Echoing this preoccupation with the creative potential of space and the ways in which physical properties interact, CAM’s two current exhibitions, Deep Surface: Contemporary Ornament and Pattern and ID:ENTITY: Self: Perception + Reality, challenge how we engage with art on a surface level. When we encounter unique sculptures, do we want to touch them? Can clothing take on meaning beyond wearability and aesthetic decoration? How do we construct our identity through the objects, physical and digital, that surround and engulf us?
I’m not sure what keeps attracting me to soft-spoken indie romances: muted sunlight captured on lovers’ faces; stilted, enormously frustrating, mumbly dialogues; soundtracks that reveal themselves as either dismissable or obsession-worthy after just two tracks. Like Crazy, from Director Drake Doremus (director of 2010’s delightfully titled Douchebag), has all of these qualities—with the added bonus of slightly more consequential student visa problems—and remains an incohesive, bubbly aura of twenty-somethings suspended and confused within the real world.
If you’ve been to Dublin, you’ve likely heard of an area downtown called Temple Bar. In the tour books, it’s mostly characterized as the one-stop shot to fulfill your romanticized notions of drinking in Ireland: getting wistful over a pint of Guinness with an old, newsboy-capped bloke who could be named, vaguely, O’Donoghue or O’Flagerty. Maybe you’ll meet him in the Literary Pub Crawl while brushing shoulders with second- and third-generation Irish-American tourists attempting to commune with Joyce and Wilde. The shoulders you brush might be covered in garish windbreakers, but you’re there, and you’re engaging with some notion of Irish culture, and that’s what matters, right?
The gallery on the second floor of 111 West Parrish Street in downtown Durham carries an odd moniker. But, according to founder and local artist John Wendelbo, there’s something fitting to the name of the new Carrack Modern Art gallery.
For more than 20 years, Duke alum Daniel Ellison has worked in the Triangle area as an attorney and advocate focusing on the arts. At Duke, Ellison teaches “Legal Issues for the Performing Arts” and “Non-Profit Cultural Institutions,” both cross-listed among several departments. Recess’ Michaela Dwyer interviewed Ellison to get a perspective on his unique pairing of law and the arts.
At Duke, and at colleges and universities nationwide, there seem to be more and more student-led discussions surrounding gender and its relation to power dynamics. Does the media objectify men as much as women? Is feminism necessarily political? Does feminism even still exist in the 21st century?
To most, Hopscotch Music Festival means nothing more than its title—that is, a long three-day stream of concerts and gigs in downtown Raleigh. For those seeking to supplement their festival experience with more than just music, however, Hopscotch will again present a series of daytime panels featuring musicians, writers, artists and critics discussing everything from narrative songs to the burden of traditional musical influence.
The scene opens Saturday night, May 21, 2011.
Although small in scale and packed into a traditional gallery space, the Ackland Art Museum’s new exhibit, DE-NATURED: German Art from Joseph Beuys to Martin Kippenberger, packs a punch. Featuring works by bigger names such as performance and installation artist Beuys and photographer Thomas Struth, DE-NATURED crosses artistic disciplines to explore the state of contemporary German art.
This weekend, more than 200 local artists will participate in a cultural event that is quintessentially Durham.
Aptly titled Pieces: Recent Work, Susan Alta Martin’s new photography and sculpture exhibit at Golden Belt demonstrates the artistic coherence of piecing together different mediums.
I am so sick of the word “hipster.” I’d argue that its current noun/adjective duality (“Look at that hipster!” vs. “That’s so hipster!”) only makes the word more reductive. Though we live in a world of fluid witticisms and ever-evolving methods of communication, our continued use of “hipster” falls flat.
Senior Luou Zhang will travel to China for the second summer in a row, this time with a team of dancers in the world’s second largest international dance competition, only behind the Olympics.
When dance instructor Andrea Woods Valdes moved from New York City to Durham, and took on the role of a professor at Duke in addition to her art, she knew it would take some adjusting.
What do we talk about these days when we talk about dancing? The perceived authenticity of Natalie Portman’s pirouettes in Black Swan? Seasonal fallout from countless productions of The Nutcracker?
Whether in art forms or houses, Ralph Lemon makes a habit of defying limitations.
