The Arts Paper - June 2014

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June 2014


<ul><li><p>artists next door 4 arts &amp; ideas 8 rock notes 17 long wharf 18 </p><p>New Haven, CT</p><p>FESTIVAL 2014</p><p>JUNE 14-28</p><p>ARTIDEA.ORG</p><p>The Arts Papera free publication of the Arts Council of Greater New Haven June 2014</p><p>Transformation &amp; Tradition</p></li><li><p>2 june 2014 </p><p>staff</p><p>Cynthia Clairexecutive director</p><p>Soonil Chundirector of finance</p><p>Julie Trachtenbergdirector of development&amp; marketing</p><p>Debbie Hessedirector of artistic services &amp; programs</p><p>Bobbi Griffithdirector of membership&amp; advertising</p><p>Stephen Grantcommunications manager</p><p>Winter Marshallexecutive administrative assistant</p><p>David Brensilvereditor, the arts paper</p><p>Amanda May Aruanidesign consultant</p><p>board of directors</p><p>Robert B. Dannies, Jr.president</p><p>James Alexandervice president</p><p>Lois DeLisesecond vice president</p><p>Ken Spitzbardtreasurer</p><p>Mark Potocsnysecretary</p><p>directors</p><p>Daisy AbreuWojtek BorowskiSusan CahanLindy Lee GoldCharles KingsleyKenneth LundgrenJocelyn MamintaJosh MamisElizabeth Meyer-GadonFrank MitchellMark MyrickVivian NabetaEileen ODonnellBill PurcellDavid SilverstoneDexter SingletonRichard S. Stahl, MD</p><p>honorary members</p><p>Frances T. Bitsie ClarkCheever Tyler</p><p>The Arts Council is pleased to recognize the generous contributions of our business, corporate and institutional members.</p><p>executive champions</p><p>The United Illuminating Company/Southern Connecticut Gas</p><p>Yale University</p><p>senior patronsKnights of ColumbusL. Suzio York Hill </p><p>CompaniesOdonnell CompanyWebster Bank</p><p>corporate partnersAT&amp;TFirehouse 12Fusco Management </p><p>CompanyGreater New Haven</p><p>Chamber of CommerceYale-New Haven Hospital</p><p>business patronsAlbertus Magnus CollegeJewish Foundation of </p><p>Greater New HavenLenny &amp; Joes Fish TalePelli Clarke Pelli ArchitectsQuinnipiac UniversityWiggin and Dana</p><p>business members</p><p>Bar</p><p>Beers, Hamerman &amp; Company</p><p>Brenner, Saltzman &amp; Wallman, LLP</p><p>Duble &amp; OHearn, Inc.Griswold Home Care</p><p>foundations and government agencies</p><p>The Community Foundation for Greater New Haven</p><p>Connecticut Arts Endowment Fund</p><p>DECD/CT Office of the Arts</p><p>Emily Hall Tremaine Foundation </p><p>The Ethel &amp; Abe Lapides Foundation</p><p>First Niagara FoundationThe George A. and Grace L. </p><p>Long FoundationThe Josef and Anni Albers </p><p>FoundationNewAlliance FoundationPfizerThe Wells Fargo </p><p>FoundationThe Werth Family </p><p>Foundation</p><p>media partners</p><p>New Haven Independent</p><p>WPKN</p><p>The Arts Council of Greater New Havenpromotes, advocates, and fosters opportunities for artists,arts organizations, and audiences. Because the arts matter.</p><p>The Arts Paper is published by the Arts Council of Greater New Haven,and is available by direct mail through membership with the Arts Council. </p><p>For membership information call 203.772.2788. </p><p>To advertise in The Arts Paper, call Bobbi Griffith at the Arts Council.</p><p>Arts Council of Greater New Haven70 Audubon Street, 2nd Floor New Haven, CT 06510</p><p>Phone: 203.772.2788 Fax: 203.772.2262</p><p></p><p></p><p>In an effort to reduce its carbon footprint, the Arts Councilnow prints The Arts Paper on more environmentally friendly paper</p><p>and using soy inks. Please read and recycle.</p><p>Arts &amp; Ideas 2014</p><p>Program delves into identity and experience</p><p>4 Artists Next DoorHank Hoffman sits down with Graham Honaker</p><p>17 Rock NotesQ&amp;A with Martha Redbone 18 Split Knuckle Theatre Long Wharf presents Storrs-</p><p>based company</p><p>8</p><p>June 2014</p><p>The Arts Paper</p><p>NEW HAVEN, CT</p><p>FEATURING</p><p>DIANNE REEVES WITH THE NEW HAVEN SYMPHONY ORCHESTRA</p><p>LALAH HATHAWAY &amp; RUBEN STUDDARD</p><p>LA SANTA CECILIA</p><p>TRACES - LES 7 DOIGTS DE LA MAIN</p><p>ARGUENDO - ELEVATOR REPAIR SERVICE</p><p>DAVID GREIGS THE EVENTS U.S. Premiere </p><p>REGINA CARTER </p><p>and much, much more!</p><p>FESTIVAL 2014 JUNE 14-28ARTIDEA.ORG /ArtIdea @ArtIdea</p></li><li><p> june 2014 3</p><p>Letter fromthe editorIn this edition of The Arts Paper, we showcase the Inter-national Festival of Arts &amp; Ideas, which takes place June 14 through June 28. In April, I sat down with the festi-vals executive director, Mary Lou Aleskie, and the orga-nizations programming director, Cathy Edwards, to talk about this years theme, transformation and tradition.</p><p>In addition to that article, weve included in these pages a column by Aleskie welcoming Arts Paper read-ers to the festival, and a Q&amp;A-style interview that Arts Paper contributor Stephen Chupaska did with Martha Redbone, wholl perform a free concert on June 15 on the New Haven Green. Weve also included a schedule of festival events, which we hope will entice you into visiting for detailed information about all of </p><p>this years programs.This issue of The Arts Paper also introduces readers to </p><p>the Split Knuckle Theatre, a Storrs-based, Lecoq-inspired company that will present a play called Endurance this month at Long Wharf Theatre. The work examines lead-ership in the face of adversity by shifting back and forth between a Hartford insurance executives angst as the country slips into the recent economic crisis and Ernest Shackletons doomed voyage to the Antarctic aboard the Endurance.</p><p>In his regular Artists Next Door feature, Hank Hoffman introduces us to Graham Honaker, writing: Artist Gra-ham D. Honaker IIs overarching concept is to avoid con-ceptualizing his work when its in process. By refusing to impose his own narrative in fact, deliberately resisting the temptation to do so he leaves his works open to the active interpretations of viewers.</p><p>And weve taken the opportunity with this edition of The Arts Paper to tell readers about a community engage-ment project the Arts Council recently organized to help </p><p>fund other artists and arts organizations participatory initiatives. </p><p>In the July-August edition of The Arts Paper, well pre-view Elm Shakespeare Companys production of Pericles, which will be staged in August in Edgerton Park.</p><p>We at the Arts Council hope youll enjoy this months complement of articles and that youll attend one or more programs at this years International Festival of Arts &amp; Ideas and we hope that youll remember to recycle this print publication once youve finished reading it. Sincerely,</p><p>David Brensilver, editorThe Arts Paper</p><p>The July-August edition of The Arts Paper will preview Elm Shakespeare Companys produc-tion of the Bards Pericles, which will be staged in August in Edgerton Park. Last year, the com-pany staged Julius Caesar. </p><p>Photo courtesy of Elm </p><p>Shakespeare Company. </p><p>June 2014</p><p>The Arts Paper</p><p>In the next issue On the CoverThe Grammy </p><p>Award-winning Latin music group </p><p>La Santa Cecilia (pictured) performs </p><p>a free concert with opening act Nation </p><p>Beat on the New Haven Green on </p><p>June 28 as part of the International </p><p>Festival of Arts &amp; Ideas. </p><p>Photo by Humberto Howard.</p></li><li><p>June 2014</p><p>The Arts Paper</p><p>4 june 2014 </p><p>hank hoffman</p><p>rtist Graham D. Honaker IIs overarching concept is to avoid conceptualizing his work when its in process. By refusing to impose his own narrative in fact, </p><p>deliberately resisting the temptation to do so he leaves his works open to the active interpretations of viewers.</p><p>Honakers artwork melds elements of painting, collage, and sculpture. His dense creations float im-agery and objects clippings from old magazines, stenciled faces, commercial packaging ephemera, Polaroid pictures, brush strokes, and poured paint between layers of clear epoxy resin, as though an assemblage were captured in amber.</p><p>In his artist statement, Honaker, who moved to Connecticut from his native New Mexico five years ago, writes, The visual information that fills the objects that I create are, as it were, samplings of random radio waves traveling through space and time. While a single bit of information might seem arbitrary, a convergence of many equally arbitrary bits of information tell a story of our humanity.</p><p>Interviewed at his home studio, Honaker elabo-rates, saying, Given enough information, the brain will come up with some sort of connection no mat-ter how arbitrary the separate bits of information are.</p><p>The layering process is an aesthetic choice. I have no conceptual need to put these things in </p><p>layers, Honaker says. I like the extra dimension it gives to the painting by casting shadows and things like that. Because these things whether you call them paintings or sculptures, whatever they are, I dont have a real definition for what I do they change throughout the day depending on what light is on them. I like that aspect.</p><p>I had been thinking of my works as paintings so they had to have a flat surface, Honaker says. A year ago I was very into the idea that everything was covered (by epoxy resin) and there was a smooth surface and when something had texture it wouldnt be tactile.</p><p>But over the past year he has let go that distinc-tion. He is willing, on a piece-by-piece basis, to allow his surfaces in a commissioned work in progress that includes circuit boards to be more sculptural.</p><p>Honaker usually builds out to five or six layers de-pending on the size of the piece. (The epoxy resin, which fully covers every layer, doesnt come cheap.) His works start with a base of arbitrary color or </p><p>pattern, creating texture. The second layer usually features collage elements.</p><p>When he starts a piece he may have a folder at hand with clippings he finds interesting. He is drawn to magazine imagery from the 1940s through the 1960s, relishing its period aesthetic, color satu-ration, and the quality of the paper. When the paper soaks up the epoxy resin, the printing on both sides becomes visible, an effect he enjoys.</p><p>It was also the moment when advertising agen-cies were beginning their research into, and use of, subliminal messaging, Honaker notes. Ironically, Honaker himself is not encoding subliminal mes-sages but his aesthetic suggests he might be.</p><p>The deluge of information is eye-catching. Be-sides the magazine cutouts and the areas of poured paint or broad dry brush strokes, Honaker makes frequent use of portrait imagery painted through his own hand-cut stencils and thin geometric line patterns suggestive of maps. The latter motif is informed both by Honakers affection for the Bau-haus and prompted by the profusion of wiring in his basement studio.</p><p>You think youre supposed to follow the line but the line is pretty arbitrary. Its not going to take you anywhere theres no revelation at the end, he says, laughing.</p><p>Honakers attraction to stenciled faces, he says, comes from his love of portraiture. He claims he doesnt have the patience to actually paint portraits but cutting the stencils can take up to three hours. Their use in his works evokes both Pop Art and ag-itprop. Many of the faces are recognizable figures from the world of entertainment and politics. But Honaker often uses stencils of people who are just ordinary people, which adds to the mystery of his pieces.</p><p>Honaker says that each addition or negation by which he means adding an element that partially or fully covers up a previous element informs the next move.</p><p>His color selection is intuitive, often not looking at which color he is selecting. Unexpected colors are welcome because they might set him off in a direction he consciously would not have gone.</p><p>It speaks to my whole process. If I were to con-sciously choose this color or that, I wouldnt be able to take a cue from that, says Honaker. Its kind of like chess. I make a move and then I have to deal with it. </p><p>He also places random pieces of collage and then responds to them.</p><p>Half the time, the ones I think are really cool get covered up, Honaker says. Its part of the process. I cant think of anything as really precious to the piece because that kind of ruins what Im trying to do.</p><p>I do run into (situations) where I see a theme starting to form. Naturally, Id like to run with it but I try really hard to go against that urge, Honaker says. Im not trying to tell a story or put something together particular to my life experience or any memory I might have.</p><p>The artwork is basically just like an archive of where weve been and where were going as hu-mans, Honaker explains. Each individual has a different way to connect to different moments in the painting. </p><p>Open to interpretationThe multilayered artwork of Graham Honaker</p><p>Graham Honakers The Car Salesman. Image courtesy of the artist.</p><p>A</p><p>artists next door</p><p>Graham Honaker at work. Image courtesy of the artist.</p></li><li><p>arts council staff</p><p>When OluShola Cole, the Arts Council of Greater New Havens community programs coordinator, left the organization in May 2013 to attend graduate school at the Maryland College Institute of Art, the Arts Councils executive director, Cindy Clair, asked herself, How do we achieve that same program goal with fewer resources?</p><p>With Cole gone and feeling that Exact Change the Arts Councils annual presenta-tion of live performances on CT Transit buses in and around New Haven was a program that had run its course, Clair proposed to the organizations Board of Directors that $10,000 be set aside to assist artists and organizations connect with new audiences. </p><p>In September, the Arts Council solicited proposals for community projects that invite the public to actively participate in the cre-ative process. Grants ranging in amount from $1,000 to $2,500 were awarded to the orga-nizers of four unique projects. </p><p>Increasing opportunities for community engagement came from discussions the Arts Council had during a 2010 innovation project called New Pathways for the Arts, and through a more recent program called Reintegrate, which the Arts Council has described as an initiative that fosters relationships and dialog between the scientific and artistic communities in the region.</p><p>The goal of the community engagement ini-tiative was to offer funding to facilitate projects that engage audiences in new ways.</p><p>The Arts Council values community engage-ment and providing accessible programs, Clair said. Were at our best when we partner with artists and arts organizations.</p><p>From a collection of 20 proposals received in October 2013, the Arts Council chose to fund four projects that Clair said engaged audiences </p><p>outside traditional arts venues.Through the Trees, a project conceived by </p><p>Nick Pfaff and Hanna Plotke that addressed gun violence in New Haven, stemmed from a memorial to the victims of the shooting that took place at Sandy Hook School Ele-mentary School in Newtown, Conn., in De-cember 2012. Pfaff and Plotke had worked with the Connecticut Commission on Children and Healing Newtown to curate an exhibit called Seeking to Heal: Makers Contribute to Newtown, a collection work by students from around Connecticut that expressed feelings about the shooting. </p><p>In their proposal, Pfaff and Plotke wrote, While working to get submissions of art from students in Connecticut we became aware that there was a substantial deficit in submissions of artwork and response from urban communities.</p><p>And like Newtown, New Haven has been plagued by violence, and untimely deaths of youth.</p><p>What resulted with funding from the Arts Council and funds raised through a Kickstarter campaign was Through the Trees, an interactive art project in which students were invited to The Lot, on Chapel Street, t...</p></li></ul>


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