The Arts Paper July/August 2105

The Arts Paperartists next door 4 arresting patterns at artspace 6 elm shakespeare 8 jazz fest 10

a free publication of the Arts Council of Greater New Haven • newhavenarts.org July | August 2015

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staff

Cynthia Clair executive director

Debbie Hesse director of artistic services & programs

Kyle Hamilton director of finance

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Winter Marshall executive administrative assistant

David Brensilver editor, the arts paper

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board of directors

Robert B. Dannies, Jr. president

Eileen O’Donnell vice president

Lois DeLise second vice president

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directors

Daisy AbreuLaura BarrWojtek BorowskiSusan CahanTodd JoklCharles KingsleyJocelyn MamintaJosh MamisElizabeth Meyer-GadonFrank MitchellMark MyrickUma RamiahDavid SilverstoneDexter SingletonRichard S. Stahl, MDRick Wies

honorary members

Frances T. “Bitsie” ClarkCheever Tyler

The Arts Council of Greater New Haven promotes, advocates, and fosters opportunities for artists, arts organizations, and audiences. Because the arts matter.

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Arresting Patterns

Artspace Exhibit Explores Race and the Criminal Justice System

4 Artists Next Door

Hank Hoffman InterviewsPainter Zachary Keeting

8 New Haven Jazz Festival

“Women in Jazz” Celebrated

10Elm Shakespeare Company

Twelfth Night will be Andreassis’ Final Act

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The Arts Paper

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• july | august 2015 newhavenarts.org • 3

Letter from the Editor

In April, we introduced you to Daniel Fitzmaurice, who, in January, succeeded Susan Smith as executive director at Creative Arts Workshop. The previous November, we published an article about Jason Hiruo, the principal at ACES Educational Center for the Arts, who’s now been on the job for two years. In this issue of The Arts Paper, we’re pleased to introduce you to Dan Gurvich, the opera singer-turned nonprofit administrator who, in May, suc-ceeded Lawrence Zukof as head of Neighborhood Music School.

Indeed, new faces are arriving on Audubon Street, just as familiar ones are moving on from local arts organiza-tions. James and Margaret Andreassi, who, for 20 years, have delighted Edgerton Park audiences with memorable productions of works by Shakespeare and others, will, following this summer’s staging of Twelfth Night, step down from their roles as the Elm Shakespeare Company’s artistic director and managing director, respectively.

Elm Shakespeare Company productions have been a staple of summer life in New Haven, as has the annual New Haven Jazz Festival, which, with this year’s lineup, celebrates “Women in Jazz.” This year’s festival will be dedicated to the memory of the late Martha Meng, a local attorney who served on the board of Jazz Haven, which produces the festival. Barbara Lamb, who retired in 2011 from her position as director of the City of New Haven’s Department of Cultural Affairs, will be honored by Jazz Haven with the organization’s “Unsung Heroes” award for all she did for the festival during her years at City Hall. Another shoreline staple, the Chestnut Hill

Concerts series, once again offers audiences world-class chamber-music concerts at the Katharine Hepburn Cul-tural Arts Center in Old Saybrook.

Another welcome constant in the Greater New Haven area is the seemingly limitless creativity of the artist community and the tireless efforts of those who take pride in promoting their work. Hank Hoffman tells us in his Artist Next Door profile of painter Zachary Keeting that the artist’s recent works “project a virtuosic inten-sity” and “imply universes of unleashed emotion.” While Keeting’s paintings have been exhibited in various galler-ies in New Haven and beyond, an impressive collection of works by iconic and less-well-known artists can be seen in public spaces all around the Elm City. And those pieces are now easily located, thanks to Site Projects’ re-cently launched “interactive digital catalogue.”

As they so frequently do, the folks at Artspace have curated an exhibition that’s as important as it is compel-ling. As Lucile Bruce tells us, “Arresting Patterns: Race and the Criminal Justice System grapples with one of the most urgent concerns of our time: the devastating effect of the criminal justice system on people of color.” We encour-age you to explore the exhibit at Artspace.

We hope you enjoy the stories presented herein and that you’ll remember to recycle this print publica-tion once you’ve finished reading it. n

Sincerely,

David Brensilver, editorThe Arts Paper

In the Next Issue …

july | august 2015

The Arts Paper

On the Cover

Lydia Barnett-Mulligan, left, as Thaisa, and Paul Pryce as Pericles in Elm Shake-

speare Company’s 2014 production of Pericles. This year the company will be pres-

ent Twelfth Night. See pages 8 and 9 for stories. Photo by Mike Franzman.

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Department of Economic andCommunity Development

O�ce of the ArtsCarolyn

Foundation

For enrollment and schedule information contact:

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Summersession

Summersession

July 6–31

The September issue of The Arts Paper will include information about the Con-necticut Folk Festival, at which, for the second consecutive year, Bill Fischer (pictured) will call a contra dance. The festival is scheduled to take place on

September 12 in Edgerton Park. Photo courtesy of CT Folk.

july | august 2015

The Arts Paper


Keep on Pushingartists next door

painter zachary keeting accepts the modernist challengehank hoffman

s an introverted high-school stu-dent prone to secreting himself in his bedroom listening to rock and roll, Zachary Keeting discovered

a larger world in perusing art books at the library. When he began to paint, he chose to “emulate the artwork that spoke to me most strongly” — the canon of the Modernists—Joan Miro, Georges Braque, and others.

“I didn’t know anything about it,” Keeting said in an interview at his New Haven stu-dio. “It just looked like bravery. It looked like full empowerment. As a shy kid, that was alluring.”

In paintings dating back to the late 1990s and the turn of the 21st century, Keeting’s artwork is abstract but rich with personal symbolism, geometric forms, and what he described as a “truncated language.” There is no discounting the virtuosic intensity of these works.

These paintings, Keeting said, were “all strategy, up in my head, cerebral.” If not rep-resentational, they were overtly referential, inspired by experiences in Keeting’s life. A road trip out west. Witnessing a drowning in Newfoundland on the first day of a 2001 residency. He incorporated some oblique text and recognizable icons such as magnets (to symbolize attraction).

His current works also project a virtuosic intensity. But in contrast to paintings from 1998-2003, they feel more unruly, tempes-tuous. They imply universes of unleashed emotion.

The more recent paintings — like those he made more than a decade ago — are “images of rumination, pictures of my own mind.” But, he added, they could also be “group scenarios.”

“I like the paintings to have multiple characters within them operating simultane-ously,” he said. As an example, he referred to a recently completed diptych mounted on the studio wall. “There are a couple of zones of intense activity,” he noted. “I try and sep-arate out those zones so each part of the painting has a different temperament.”

Where his early works were “all strategy,” Keeting now complements his strategic orchestration of shapes — often achieved with torn pieces of newsprint — with a highly improvisational approach to paint handling. Gestural brush strokes and quick decision-making generate movement and energy. If something doesn’t work, it can be painted over.

“The paintings feel like they’re kind of loose ab-ex paintings,” Keeting noted, refer-ring to abstract expressionism. “But they’re built very slowly with a lot of consideration.

“There’s a lot of rapid-fire energetic re-lease going on,” Keeting said. He strives “to get more body, more movement, more flux in the work, to allude to the wild transition of living.”

The Modernist impulse continues to chal-lenge him. He is a constant — at times, almost ruthless — critic of his own work and process. He finishes paintings, wraps them, and stacks them in his archive. Unwrapping a few from time to time, he takes stock of his progress. Some still speak to him, “feel true.” But other times there’s disappointment. He said there are a lot of paintings from the years 2006 through early 2009 that he has reworked and painted over.

What most often causes him to rework a painting is spying moments of timidity, “when I look at them and remember cowardice,” Keet-ing said. Rote behavior is a tendency he fights against, the unwillingness to take a chance.

He wants his paintings to have “different resolutions.” Pointing to four paintings com-pleted within the past couple of months, he noted that they share stylistic elements. “But I try and have the compositions be unique, the proportions be unique, and the color situations be different from painting to painting,” he said.

Keeting marks 2005 as the year in which he consciously effected a major transition in his approach. “I destroyed almost everything I made,” Keeting said. “What was wrong was the edges. The edges were too fascistic, too assured.

“I wanted the paintings to breathe with uncertainty,” Keeting said. “Where things come together, there should be complexity.”

Echoing the Bob Dylan lyric “I was so much older then, I’m younger than that now,” Keeting explained, “As I’ve gotten older, I feel less sure about things.

“I think in my 20s, I was a little more cock-sure. There was right and wrong,” recalled Keeting. “Looking back on those paintings, they feel very truthful. I’m proud of how overt the subject matter and content is. But I can’t make those paintings anymore.”

The stylistic evolution involved shifting from opacity to transparency and from tight, defined — almost geometric — edges to more amorphous forms.

“When I was young, I was intimidated by the possibilities of painting. So I approached it with a reductive mindset — I took touch out of the picture,” Keeting said. All edges were sharp and masked; colors were solid and flat.

Because “acrylic has a tendency to want to dry and look like a beach ball,” Keeting in 2003 began to add gloss to his paint. He was seeking livelier surfaces, “more lus-cious, more sensual, sexier — to tell more of my story as an animal, as a creature of longing.”

He further expanded his variety of paint-ing maneuvers with open brushwork, spill-ing, scraping, shaking, and blotting. Without being an attempt to “represent” nature, his present work feels connected to nature be-cause Keeting is “holding the reins loosely” — letting the paint do what it wants to do.

And he attacked the problem of his edges. In earlier paintings, everything was taped out. Keeting still uses masking tape to create shapes but now seeks “naturalistic” edges that have “organic exactitude” rather than “mathematical exactitude.”

Edges are no longer necessarily definitive. “If I want a section to be buttoned up, I play that off another area in the painting that’s a little unruly for contrast,” Keeting said. Some painting maneuvers remain “safely within the confines of the mask. At other times — depending on the needs of the painting — they’ll blow out of the bound-aries and contaminate other parts of the painting.

“I keep pushing, trying to go further and further,” Keeting said. Further toward what? “Extreme vulnerability,” he replied. Unde-niable presence. “I’m pushing towards full empowerment, that Modernist thing I saw in Miro.” n

A

Zachary Keeting. Photo by Marie-France Lemay.

Zachary Keeting’s December (2) (acrylic on canvas). Image courtesy of the artist.

july | august 2015

The Arts Paper


Judy Sirota Rosenthal ~ [email protected] ~ www.sirotarosenthal.com

Photography

Intimate and Timeless

the ac sounds off on...

Erasing Boundaries with Language of Artdebbie hesse

Can two hours of creative expression help channel and nurture inner strength, confidence, and the positive focused resolve required to propel forward in the face of imminent challenges? This question led me to develop a series of artist-led workshops held at various area community and social-service venues serving groups outside the mainstream arts scene.

On a recent afternoon, nine refugees, three of whom had just arrived here from the Democratic Republic of Congo only five days earlier, miraculously found themselves painting, creating, and laughing — jovial in a safe, welcoming community. These artists were all clients at Integrated Refugee and Immigrant Ser-vices, an organization that helps resettle refugees.

Teaching artist Shaunda Holloway demonstrated fabric-painting techniques on Plexiglas. I could feel the pulse of en-ergy and excitement, and the quiet buzz in the room as participants, completely transfixed and engaged in the moment, gathered around the plastic-covered

table. Shaunda applied pressure, work-ing the brayer in a circular motion to transfer images onto prepared lengths of fabric that would become uniquely cre-ated scarves. Two hours flew by, barely enough time to squeeze in an afternoon’s worth of printmaking instruction. For all of the participants, two hours immersed in a creative endeavor was a welcome break from the challenges that lie ahead: Immediate basic survival needs have to be met within a narrow time frame — finding an apartment, a job, a school, a health clinic, clothing, food.

Mask-maker Enok LaViera also worked with refugees at IRIS. For Enok, the ob-ject, music, and the historic narrative behind our cultural icons are inseparable. His workshop offered a rich, immersive experience that included stories, song, and dance. Enok held a mask to his face, as if it were imbued with magical powers. He broke out into a spirited dance as he led an attentive group through successive steps of constructing and painting. Once finished, the group, adorned in uniquely painted masks, completely swept up by the music and the moment, paraded through the cramped offices and into a

large conference room, stunning a solemn meeting of tie-clad board mem-bers. I worried that the board might not appreciate a sudden, unexpected interrup-tion, yet the parade ultimately, at some level, was a reminder of the organization’s objective — to help refugees make a dif-ficult transition to a new world, a new life.

In many of the workshops, no one spoke English. An intriguing “tele-phone-like” ex-change ensued when Shaunda spoke in English, an IRIS vol-unteer translated her instructions into French, and a Con-golese refugee then translated those instructions from French to Swahili while, simultaneously, an Iraqi refugee translated from English to Arabic. Yet, for the most part, no translations were needed. Art is its own universal language that crosses all communication bound-aries. Rashmi Talpade, who conducted a few doll-making workshops this past year, agreed.

“The most interesting aspect of this workshop was the language barrier, which proved no barrier at all,” she said. “I spoke not a word of Spanish and at least six of the nine participants spoke no English; however we had no trouble com-municating.”

Likewise, neither gender nor age of-fered a barrier to creative pursuit. Folks at Tower One, a retirement housing community, were initially reluctant to try their hands at beading due to ar-

thritis, cataracts, and other physical constraints, yet became enthralled by the tantalizing, brightly colored beads in front of them and soon overcame their fears long enough to construct beaded dolls. At workshops held at the Dixwell/Newhallville Senior Center and the Stet-son Branch of the New Haven Free Public Library, men started out “just watching”

as women cut fabric and fashioned Af-ro-Caribbean dolls with artist Elaine Pe-ters. At the end of two hours, they were all doll-makers, crafters, and storytellers.

Whether these projects involved drawing mandalas in a quiet, Zen-like setting, beading, or mask-making while listening to lively bomba rhythms, all of these artist-led workshops have al-lowed individuals, many of whom had never made artwork of any kind before, to transcend their daily routines and challenges and feel transformed in in-tangible ways. The artists leading the workshops, too, experienced a sense of transformation through sharing a part of themselves and their art with an eye to a greater purpose. n

Debbie Hesse is the Arts Council’s direc-tor of artistic services and programs.

Ridha Ahmed works on a print at IRIS.

Shaunda Holloway demonstrates fabric-painting techniques.

“The most interesting aspect of this work-

shop was the language barrier, which proved

no barrier at all.” — Rashmi Talpade

july | august 2015

The Arts Paper


Arresting Patterns Opens at Artspace

lucile bruce

pening this month at Artspace, Arresting Patterns: Racial Bias and the Criminal Justice System grap-

ples with one of the most urgent concerns of our time: the devastating effect of the criminal justice system on people of color. The multi-part exhibition, curated by Artspace gallery director Sarah Fritchey with assistance from artist Titus Kaphar, confronts the underlying issue of structural, systemic racism. Citing the theorist Sally Haslanger, Artspace offers this definition: “Structural racism is an act of oppression or social/political wrongdoing against one or more races that is made possible by our collective arrangements.” These “collective arrangements” exist in every sector of our society — housing, economics, education, health, employment, public safety, and the courts.

Kaphar, a New Haven resident and grad-uate of the Yale School of Art, provided the inspiration for the Artspace show. His work The Jerome Project addresses racism in the criminal justice system through an artistic lens at once personal and statistical. Works from The Jerome Project are included in Ar-resting Patterns, along with Kaphar’s piece Yet Another Fight for Remembrance, his 2014 portrait of protestors in Ferguson, Missouri, commissioned by Time magazine.

Arresting Patterns also features works by several other contemporary artists includ-ing Maria Gaspar, Dread Scott, and Laurie Jo Reynolds.

“I’ve searched for works that use repeti-tion, historical or numerical, to show that racial bias is rooted in the past and repeats itself,” Fritchey said. “I’m interested in the many strategies artists have developed for

visualizing human-rights violations.”For three weeks preceding the exhibition

opening, Kaphar will mentor a group of high school students in Artspace’s 15th annual Summer Teen Apprenticeship Pro-gram. He will be joined by artists Dexter Singleton and Aaron Jafferis of the New Haven-based Collective Consciousness Theatre. Researcher Leland Moore will col-laborate with the team to provide statistics and research. The project centers around the subject of the exhibition and, the artists hope, will provide young people with time, space, and different art forms to explore an issue that is powerfully present in their lives every day.

In the following interview, Kaphar talks about The Jerome Project, his approach to teaching, and how artists can be agents of social change.

Q: What will the high school students be doing in your Summer Apprenticeship Program?

A: I’m not a project-oriented teacher. You may be in my class, but when all is said and done, you may not have something to put on the refrigerator. It’s not my primary goal. I’m guiding my students toward figuring out how to use art as a tool to communi-cate what’s going on with them. Sometimes it means a product, but not always. It’s always a significant experience. I do a lot of listening. I let students know that this is a safe environment where we can talk about really hard issues. Otherwise, we could be making coffee cups in any sort of art class anywhere. My approach is more self-guided. I did a version of this workshop at the DeAnza College Euphrat Museum of Art in California. We focused on criminal justice for the entire three-week process. The project involved different artists as well as other people who were not involved in the arts. We set up a research station, and the folks who were not arts people were feeding us research — such as, “Did you know they are determining prison beds based on third-grade reading scores?” We created a variety of artistic work in

response. The Artspace Summer Appren-ticeship Program will be similar in terms of process, but beyond that I can’t say what will happen.

Q: How do you take a statistic and work with it to the point where it becomes something visual, something artistic?

A: My process is similar to the students’ process, but not as direct. At this point in my practice, I trust myself enough to know that if I have the information in me, it will find its way out. I read a lot. I do as much research as I can. Certain books have had an impact on me recently: Arresting Citi-zenship by Amy Lerman and Vesla Weaver;

exhibit explores racial biasin criminaljustice system

O

Titus Kaphar’s The Jerome Project (Asphalt and Chalk) III, 2014, chalk on asphalt paper.

Dread Scott’s two-channel HD projected video Stop, 2012.

july | august 2015

The Arts Paper


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Michelle Alexander’s The New Jim Crow. A number of things I’ve read have found their way into my work. I start with whatever visually stands out for me.

The Jerome Project is a very personal body of work that became very public very quickly. I was adopted when I was 15 years old. I left my father’s house because I’d had enough of dealing with his addic-tion. A family in California took me in and raised me. Fast forward 15 years: I was at my grandmother’s house and my father wanted to talk to me. I didn’t really want to, but he insisted and eventually we met. I told him I wanted to film the conversation. He agreed. He talked for three hours about his life including his experiences with the prison system. I went back to Connecticut and looked him up on the Internet. I found his mug shot, which didn’t surprise me, but then I found 99 other men with the exact same name, all with criminal justice histo-ries. This became the basis for The Jerome Project. I created portraits of each man with the same name as my father.

As a result of these websites, returning citizens are never able to leave their past behind. You have to pay to have your face removed, and then you might appear on another website. My father’s name was a racial identifier. If I put into the search en-gine any popular African American name of a certain year, I would get the same result — lots of men. These people are struggling with not being able to get away from their criminal records. For me, this isn’t about guilt or innocence. How are we as a society treating these people? How do we rein-corporate them? Do we bring them back into the fold, or do we not? In The Jerome Project, the tar that covers the men’s faces started as a way of indicating how much time each person had spent in the crimi-nal justice system, but as the project has evolved, it’s become as much about pro-tecting their identities. I struggle with how I may be participating in the very thing I’m critiquing. I’ve had to find ways to protect

the people involved. I don’t expect I will be making this work for the rest of my life, but this is what’s happening in me right now.

Q: How do you think artists can partic-ipate in undoing structural racism in the United States?

A: Artists can’t, but citizens can. Inso-much as we as artists participate in our de-mocracy, we have an opportunity to engage in change and alter the fabric of our society. I think there’s a romantic notion that the art itself will do the job. I’ve been involved in the art world too long to believe that. I struggle myself with wondering what I’m doing. Is the art world actually interested in the issues, or is it interested in the creation of a product? I don’t think any piece on its own has the ability to change policy, but it may inspire and encourage. It may say to someone who’s alone in the struggle, that there are other people interested in the struggle. If we as artists are unwilling to engage in the conversation outside the art world, I’m not sure what the art by itself can do. n

Visit Artspace at 50 Orange St., in New Haven, and online at ArtspaceNH.org.

Maria Gaspar’s digital print Wretched and Paramount #1 (Extreme Landscapes Series; Google study of Cook County Jail in Chicago), 2014.

“The truth is,

I don’t really

look at social or

political art … I

look at art I love.”—Titus Kaphar

(Some of) Titus Kaphar’s Favorite Artists:

Diego VelázquezWillem de Kooning

Rupert GarcíaDemetrius OliverTavares Strachan

If You Go

Arresting Patterns: Racial Bias and the Criminal Justice System

On View: July 17-September 12Opening Reception: Friday, July 17, 5-8 p.m.Performance by the Summer Teen Aprenticeship Program: 6 p.m.Closing Conference: Saturday, September 12, 12-6 p.m.

july | august 2015

The Arts Paper


Elm Shakespeare Celebrates 20 Years andreassis prepare to step downamanda may aruani

he idea for the Elm Shakespeare Company came to James Andreassi while he was walking his dog. At the time, he lived next to Edgerton Park

and was strolling with his loyal friend and it just struck him: “What if we did Shakespeare here?”

He was reacting to the life of an actor. After time at the American Conservatory Theater in San Francisco, the American Repertory Theater in Cambridge, touring across China, and countless national productions, he simply wanted to be near his wife and two small chil-dren.

“We decided we wanted to spend at least some time in New Haven; Margie had family here. And that was 30 years ago. We kind of fell in love with the place,” James said.

“The timing was great,” Margaret added. “It was around when the festival (The International Festival of Arts & Ideas) started. There was money around. We were able to find the initial base of supporters.”

“We were fortunate to have a seasoned board of di-rectors from the beginning to help us reach out to the right people and help us get started,” James said.

He cited Bitsie Clark (former executive director of the Arts Council of Greater New Haven), who introduced him to Jamie Burnett and Fred Santore, the “late, great” Edgar Rosenblum at Long Wharf Theatre, who literally

took out a yellow legal pad and showed Andreassi how to make a budget, and Louise Endel, who “connects everyone in this community,” for helping tremendously during the early years of the company.

Born during a surge of artistic and economic growth in the 1990s, the company is celebrating its 20th year and welcoming big changes to come. After being at the helm for two decades, James Andreassi will be stepping down as artistic director. Margaret will be stepping down as managing director, as well, after being with Elm Shake-speare in an official capacity for 12 years.

“Retire ... it sounds like I am going to get a floral shirt and play shuffle board,” James said. “Even though I play a mean game of shuffleboard, I will remain active. It’s an important time for the company.”

“As founders of this company, it’s important to make strategic moves to keep it moving into the future,” Mar-garet said. “And hanging on indefinitely was not that strategic choice. We are both stepping down and we have restructured the leadership positions.”

According to the Andreassis, the Elm Shakespeare Company board and a transition team will have a new artistic director in place by October 1. But there is a show to put on first.

This year, Elm Shakespeare Company will present Twelfth Night in Edgerton Park, August 20-September 6.

“I chose it because it’s my last show and my favorite play,” James said.

It is also his favorite production in the history of the company. The first time Elm Shakespeare Company pre-sented Twelfth Night was 17 years ago.

“Part of the reason I am nostalgic about it is that the first time I directed, I directed because we didn’t have the money to pay a director. I mean, I was an actor. But with Twelfth Night, it was the first time I felt a sense of security and confidence as a director. It marked my feel-ing about myself as a director,” James explained.

The company has gone through many changes, in-cluding a seasonal staff that has doubled from that of the first year. With the help of Long Wharf Theatre, the company began in 1995 with its Elm Scholar educational program, which continues to this day with residencies, performances, and programs in local schools.

In 1996, the company staged its first free Shakespeare in the park production, The Tempest.

“It was remarkable,” James said. “That first summer we had five performances. Jamie (Burnett) and I looked at each other and said if we get 250 people per night, we’d be happy. On the final night we had 1,000 people and we realized it was well-timed.”

“The next year, Jamie built terraces in and out of the oak trees. It was insanely magical,” James said. “We rap-idly outgrew the upper lawn.”

Some of the “bloopers” the Andreassis have expe-rienced over the years include having to tie down an entire set in preparation for Hurricane Irene, when an actor almost missed her cue and was sprinting through the woods with her microphone on (repeating “Shit, shit, shit” over the PA system), and one instance when James lost consciousness after falling off the stage as he acted in Richard III.

“I had an infection in my leg that nearly killed me,” he said. “One of the other actors jumped down and said, ‘My liege, are you alright?’ because I was playing the king. I came to and ordered him onstage, because Rich-ard III was such a creep, and I got back up onstage and finished the show.”

“I remember watching from the back when he fell and we were like, ‘That was not in the script,’” Margaret re-membered.

“There are just so many stories,” James said. n

Visit elmshakespeare.org for more information.

T

Margaret and James Andreassi. Photo courtesy of Elm Shakespeare.

The set of Elm Shakespeare Company’s 2011 production of Measure for Measure was designed by Vladimir Shpitalnik. Photo by Mel Morales. Mark Zeisler as Banquo in Elm Shakespeare’s 2012 production of Macbeth. Photo by Mike Franzman.

“With Twelfth Night, it was the first time I felt a sense of security and confidence as a director. It marked my feeling about myself as a director.”

— James Andreassi

july | august 2015

The Arts Paper


steve scarpaphotos by michael franzman

ames Andreassi, the Elm Shake-speare Company’s longtime artistic director, recalls very well his first ex-perience working on the play Twelfth

Night. He was about 20 years old, playing the small but important role of the Sea Cap-tain. He remembers his first entrance. “We stumbled on stage and Viola says, ‘What country, friend, is this?’ and I said, ‘This is Illyria, lady,’” Andreassi recalled.

Illyria. It’s a beautiful word, especially when articulated by Andreassi’s resonant voice.

“There is something about the sound of that word — you might as well say that we are in a magical realm. It’s a fantasy world where people can pretend they are another sex and nobody bats an eye. The name Il-lyria, for me, conjures mystery and romance, and intrigue,” Andreassi said.

Andreassi believes he can find all of those things in Moorish Andalusia, an area on the coast of southern Spain he’s particu-larly drawn to. So, he’s going to employ his crack squadron of designers, a team he has worked with for much of the company’s history, to create that world amid the stone walls, tall trees, and grassy lawn of Edger-ton Park. Elm Shakespeare’s production of Twelfth Night, directed by Andreassi, will be staged August 20 through September 6.

It’s not the first time re-reading one of Shakespeare’s plays has evoked a very par-ticular place for Andreassi.

“Last summer, when I was reading Peri-cles, it screamed to me of the West Indies, the period of colonialism and plantations.

That made that show in my head galvanize for me,” he said.

It’s clear that Andalusia hits him the same way in terms of Twelfth Night. He can run off a laundry list of reasons why Andalusia would be an excellent stand-in for Illyria in Shakespeare’s vibrant tale of mistaken iden-tity, gender confusion, and lost love.

“It’s the heat,” Andreassi explained. “It’s the melding of cultures of Spanish and Moorish. It has the kind of passion that would engender duels.”

Vladimir Shpitalnik, Elm Shakespeare Company’s set designer for the past two seasons, has designed a set that reflects the rich diversity of Andalusian culture. Greeks, Romans, and Muslims were just a few of the great societies to flourish in the region, in addition to the native Spaniards. Elements of the Alhambra, originally a small fortress constructed in 889 and later a royal palace and UNESCO World Heritage site, will be in-corporated into the design. He also intends to tangibly represent the fluidity of gender at play in the work. For example, Duke Ors-ino’s realm has a more feminine feel, while the grieving Princess Olivia’s quarters has a more masculine sensibility.

“The fun thing about working with Vlad, in addition to working as a set designer, he designs costumes from time to time. He re-ally, really studies the play. It’s like having a partner. He’s got a director’s sensibilities, in some respects, in terms of trying to create places where interesting things can hap-pen,” Andreassi said.

Music plays an extremely important role in the play. After all, the first line spoken is “If music be the food of love, play on.” The famous Spanish composers Enrique Grana-

dos and Paco de Lucia were touchstones for Andreassi as he delved further into the play’s milieu. Feste, the fool telling truth to power throughout the play, will sing several original flamenco songs, using Shake-speare’s lyrics and music written by sound designer Nathan Roberts.

Andreassi intends for Elizabeth Bolster’s costumes to show the heat of the culture, literally and figuratively, not slavishly adher-ing to a particular time period. The actors do need to be able to perform a comic sword fight later in the play, Andreassi said.

“This region is hot. I want everyone to look comfortable and sexy,” he said.

Jamie Burnett, the company’s lighting designer since 1995, has a special relation-ship with Andreassi. They work in a sort of shorthand. Burnett watches a few rehears-als and makes notes. Then he comes back

to Andreassi with a complete plan, one that always happens to be something that the director is completely happy with.

Illyria can be a lot of things to a lot of peo-ple, Andreassi acknowledged. It’s an ancient name marking the rocky and beautiful coast of Croatia, a place Shakespeare himself had never seen. Yes, there is magic in the word, a sense of a dreamy, different reality. But Illyria is also a prompt for creativity, and Andreassi and his band of conjurers plan to create a world where under a hot sun a young woman posing as a young man can find love of all kinds. n

All performances of Twelfth Night begin at 8 p.m. in Edgerton Park and are free with a suggested donation. Bringing a blanket, chair

and picnic is encouraged. For more information about the show, visit elmshakespeare.org.

Twelfth Night

Aaron Moss, pictured here as Ross, in Elm Shakespeare Company’s 2012 production of Macbeth, plays Duke Orsino in Twelfth Night.

Raphael Massie, seen here as Simonides in Elm Shakespeare Company’s 2014 production of Pericles, plays Sir Toby Belch in Twelfth Night. Lydia Barnett-Mulligan, seen here as Marina in Elm Shakespeare’s

2014 production of Pericles, plays Viola in Twelfth Night.

J

andreassi reimagines setting

july | august 2015

The Arts Paper


new haven jazz festival celebrates female artists

david brensilver

his year’s New Haven Jazz Festival, scheduled to take place on Saturday, August 22, on the New Haven Green, will celebrate “women in jazz,”

with local jazz artist Isabella Mendes and four-time Grammy Award-nominee Karrin Allyson.

“It’s all about a celebration of women who have participated in some way with jazz,” Jazz Haven president and director Craig O’Connell said, explaining that the program focuses specifically on female vocalists. Mendes will open the show for Allyson, following a per-formance by a youth ensemble led by Jazz Haven board member Jesse Hameen II, a per-cussionist who chairs Neighborhood Music School’s jazz and rock studies program.

Jazz Haven has produced the annual New Haven Jazz Festival since 2008. Previously, it was an event presented by the City of New Haven. Barbara Lamb, who retired in 2011 as director of the city’s Department of Cultural Affairs, will be recognized with Jazz Haven’s “Unsung Heroes” award, an honor the organi-zation bestows on those who help to promote jazz in the local area. The award has previ-ously been given to the Monk family (drum-mer and bandleader T.S. Monk, son of the legendary Thelonious Monk, headlined the 2012 festival), Kim Futrell, from the city’s De-partment of Arts, Culture, and Tourism, and local jazz musician Jeff Fuller, who teaches at ACES Educational Center for the Arts and Neighborhood Music School.

While Jazz Haven has produced the New Haven Jazz Festival since 2008, the city, O’Connell, said, which used to organize the event, continues to provide funding and ser-vices.

“I was really disappointed when the city pulled the plug on it,” Lamb said, still lament-ing that moment following the 2006 festival.

Lamb said Jazz Haven’s decision to cele-brate women in jazz “speaks volumes to their interest in recognizing all members of the community.”

“I think everything that the Jazz Haven folks have done has been phenomenal,” she said.

The “Unsung Heroes” award takes its name from the 2001 documentary Unsung Heroes: The Music of Jazz in New Haven, which local filmmaker and Quinnipiac University professor Rebecca Abbott produced for Jazz Haven.

This year’s festival, O’Connell said, will be dedicated to the memory of Martha Meng, an attorney at the New Haven-based law firm Murtha Cullina who served on Jazz Haven’s board and died in February 2012. Meng, O’Connell said, “was a huge asset to the organization” and brought him in to succeed Doug Morrill, who founded the organization in 1996 with jazz pianist Harold Danko.

In celebrating female jazz artists, O’Connell admits that it’s an “overwhelmingly male” scene.

“To me, it’s not just about women in jazz,” Mendes said, pointing out the importance of recognizing individuals for their talents and abilities, regardless of gender.

Mendes referenced Freedom of Expression: Interviews with Women in Jazz, a forthcoming book of interviews with female jazz musicians by Chris Becker. Mendes also talked about Ellen Seeling, a trumpet player who was in-terviewed for Becker’s book. Seeling teaches at the University of California, Berkeley, is a founder (with saxophonist Jean Fineberg) and the director of the Montclair Women’s Big Band, and chairs a nonprofit organization called JazzWomen and Girls Advocates, whose mission is to “promote the visibility of women and girl instrumentalists of all ethnic-ities in jazz and to advocate for their inclusion in all aspects of the art form.” That group has pressured the Jazz at Lincoln Center Orches-tra to open its hiring practices.

In late April, Seeling’s group held a rally in New York, calling on Jazz at Lincoln Center to hold blind auditions when filling an orchestra vacancy. In a press release issued at the time by the organization Equal Rights Advocates, Seeling was quoted as saying, “The Jazz at Lincoln Center Orchestra has never had a permanent woman member.” A response from Jazz at Lincoln Center indicated that

while the organization has presented female performers and has women on its staff and board, “we are adopting a new se-lection procedure for substitute and full-time members” of the or-chestra.

“This is a labor and an access issue for women instrumental-ists in jazz,” Seeling said during a recent

telephone interview, explaining that “it’s not about music at all.”

While Mendes and Allyson are both vocal-ists, each is an accomplished pianist, as well.

Mendes, a New Haven resident, moved with her family to the area from her native Sao Paulo, Brazil, at age 15. While she’d grown up listening to a mix of Brazilian music and the likes of Billie Holiday, Ella Fitzgerald, An-tonio Carlos Jobim, and Eliane Elias, it wasn’t until she studied with Fuller at ACES Educa-tional Center for the Arts, during her senior year at Hamden High School, that she began developing her jazz chops.

“He really opened my mind to jazz,” Mendes said of Fuller, “and now he’s in a band with me.”

In the spring, Mendes released Sambeleza Live, a collection of Brazilian jazz tunes, in-cluding one original, “Blame Destiny.” The recording features Mendes on piano and vocals, Fuller on bass, and Joe Carter on guitar, with guest artists Ali Ryerson on flute, Adriano Santos on drums, and Ze Mauricio

on percussion. Blame Destiny, a CD of original music, was due out in June.

Mendes, who earned an engineering de-gree from Worcester Polytechnic Institute and an MBA from Southern Connecticut State University, works by day at the Yale School of Engineering. That field, which, like the arts, is analytical and creative in nature, is “not completely disconnected” from music, she said. And the scene here in New Haven, she opined, is happening.

“We have a really nice community here of jazz performers,” Mendes said, a “very tight community of musicians.” n

The New Haven Jazz Festival takes place on Saturday, August 22, on the New Haven Green.

The free concert will begin at 6 p.m. with a youth-ensemble performance, led by Jesse Ha-

meen II, and will continue with performances by the Isabella Mendes Quintet (6:45 p.m.) and the Karrin Allyson Quartet (8 p.m.). The New Haven

Jazz Festival is free and open to the public. Learn more at jazzhaven.org.

Local Musician Isabella Mendes, Grammy Nominee Karrin Allyson to Perform

T

Isabella Mendes. Photo by Corey Lynn Tucker Photography.

Karrin Allyson. Photo by Gary Tinnes.

july | august 2015

The Arts Paper


Visit the George Stubbs paintings on loan from the Yale Center for British Art

George Stubbs and the Art of the ThoroughbredOn display at the Metropolitan Museum of Art through Nov. 8, 2015

1000 Fifth Avenue, New York CityGallery 629, Drue Heinz Gallery

George Stubbs, 1724–1806Lustre, Held by a Groom (detail)ca. 1762, oil on canvasYale Center for British ArtPaul Mellon Collection

The Character of Keysdavid brensilverphotos courtesy ofchestnut hill concerts

any times, cellist Ronald Thom-as has been asked if the key in which a particular piece of

music is composed is important. And many times, he’s responded that the key is very much a part of the character of a piece.

In programming this year’s Chestnut Hill Concerts series, for which he serves as artistic director, Thomas chose to focus each concert on a particular key. Each program will begin with a dis-cussion about different tonal centers, what different keys sound like (which is subjective, of course), and how tem-pered tuning affects the character of different keys. Even after the adoption of equal-tempered tuning and its applica-tion to fixed-pitched instruments like the piano, Thomas said, composers chose keys carefully with an eye on evoking certain emotional responses.

“Equal temperament,” explained sim-ply, is a tuning system in which the 12 notes of an octave are equally spaced, which makes each key sound “in tune” relative to the others, despite the fact that this system adjusts “pure intona-tion.”

Thomas’ idea is to give audiences “something else to have their minds active about at a concert.”

Of course, this year’s Chestnut Hill Concerts program is also “just a cross section of great music.” Having a theme is fine, Thomas said, as long as it helps the program work. A program of Russian love songs, he joked, is not one that would serve the music.

Thomas’ interest in programming con-certs focused on four specific keys is to demonstrate to audiences that different keys have different characters, even with the modern tuning system. He’ll begin each program with a discussion on the subject. One way he’ll demonstrate the differences between “just intonation,” the system in which intervals between notes are kept pure, and “equal temperament,” the system in which interval spacing is made consistent to ensure that keys sound more or less uniform, is by playing a harmonic sequence on the cello, then hav-

ing the same notes played on the piano.He’s looking forward to introducing au-

diences to something about which many are unaware. While the mood each key evokes is subjective, Thomas is eager to let concertgoers hear the differences.

As is the case each August, the Chest-nut Hill Concerts series showcases ex-traordinary musicians performing some of the most magnificent works from the chamber-music repertoire. n

The Chestnut Hill Concerts series is held on Fridays in August at the Katharine Hep-burn Cultural Arts Center, in Old Saybrook.

Concerts begin at 8 p.m. Visit chestnuthillconcerts.org or call the

organization in Madison at (203) 245-5736 for ticketing information.

Left to right: Violinist Steven Copes, pianist Mihae Lee, and cellist Ronald Thomas perform during a recent concert.

Chestnut Hill Concerts Artistic Director Ronald Thomas.

M

concert series explores tonal centers

Chestnut Hill Concerts ScheduleAugust 7: Key of DBeethoven: Serenade for Flute, Violin, and Viola in D major, Op. 25Prokofiev: Flute Sonata in D major, Op. 94Schumann: Piano Trio No. 1 in D minor, Op. 63Catherine Gregory, flute, Jesse Mills, violin, Tien-Hsin Cindy Wu, viola, Ronald Thomas, cello, Rieko Aizawa, piano

August 14: Key of E-flat Beethoven: Clarinet Trio in E-flat major, Op. 38Brahms: Clarinet Sonata in E-flat major, Op. 120, No. 2Beethoven: Trio in E-flat major, Op. 70, No. 2 Tien-Hsin Cindy Wu, violin, Romie de Guise-Langlois, clarinet, Ronald Thomas, cello, Randall Hodgkinson, piano

August 21: Key of ARavel: Trio in A minorSchubert: Viola Sonata in A minor, D. 821 (“Arpeggione”)Elgar: Quintet in A minor, Op. 84

Todd Phillips, violin, Catherine Cho, violin, Cynthia Phelps, viola, Ronald Thomas, cello, Mihae Lee, piano

August 28: Key of C Bach: Cello Suite No. 5 in C minor, BWV 1011Brahms: Piano Trio No. 2 in C major, Op. 87Faure: Piano Quartet No. 1 in C minor, Op. 15Steven Copes, violin, Mark Holloway, viola, Ronald Thomas, cello, Mihae Lee, piano

Performances take place at the Katharine Hepburn Cultural Arts Center, in Old Saybrook. Concerts begin at 8 p.m. Visit

chestnuthillconcerts.org or for more information.

Schedule and performance information courtesy of Chestnut Hill Concerts.

july | august 2015

The Arts Paper


Image: Johannes Vermeer, Girl with a Pearl Earring, ca. 1665. Oil on canvas. Collection of the Mauritshuis, The Hague

YALE UNIVERSITY ART GALLERY

Jørgen Wadum, Keeper of Conservation at the National Gallery of Denmark and Director of the Centre for Art Technological Studies and Conservation (CATS) in Copenhagen, examines Rembrandt van Rijn’s paint handling from his early years in Leiden, the Netherlands, to his mature Amsterdam period. Wadum discusses works by Rembrandt’s students and analyzes the illusionistic painting techniques of Johannes Vermeer. Wadum was previously the Head of Conservation at the Mauritshuis, The Hague, where he directed the conservation of Vermeer’s View of Delft (ca. 1660–61) and Girl with a Pearl Earring (ca. 1665). Presented in conjunction with the Summer Teachers Institute in Technical Art History, generously funded by the Samuel H. Kress Foundation.

Painting Techniques: From Rembrandt to Vermeer

Wednesday, July 29, 2015 12:30 pm

Jørgen Wadum

Free and open to the public | artgallery.yale.edu

Lecture

Gurvich Begins Tenure at NMS

david brensilver

n late May, Dan Gurvich observed a performance presented by Neighbor-hood Music School preschool students,

then listened for a few minutes to a Vintage Voices rehearsal.

“It’s just great that that’s happening and this is happening at the same time,” he said of the programs designed for preschoolers and seniors, respectively.

Just a handful of weeks earlier, Gur-vich, an opera singer by training — and the executive director of College Audition Advantage, a summer program at Music Mountain that prepares young vocalists for college and festival auditions — had offi-cially succeeded Lawrence Zukof as Neigh-borhood Music School’s executive director. Zukof retired in June 2014 after 18 years in that position.

Born in Russia and raised in Seattle, Washington, and Rochester, New York, Gurvich earned his undergraduate degree in music from the State University of New York at Geneseo and his master’s degree from Boston University, before attending Cornell University’s Samuel Curtis Johnson

Graduate School of Management, from which he earned an MBA.

In a recent interview at NMS, Gurvich explained that he devoted his 20s to music and then, in his 30s, seeking family and geographic stability, began gradually “pull-ing away from performance.”

He’d toured with an opera company and lived and worked as a musician in New York, before relocating to Ithaca, where he studied and worked as an administrator at Cornell University’s College of Veterinary Medicine.

In 2010, Gurvich and his wife moved to Fairfield County, where he worked for three-and-a-half years as the chief financial officer for the Stamford-based Cornell Uni-versity Veterinary Specialists, a for-profit organization owned by the university. In 2013, eager to work for a wholly nonprofit entity, Gurvich became the chief operating officer at the Norwalk- and Darien-based social-services organization Person-to-Per-son. Gurvich hadn’t heard of Neighborhood Music School when he was recruited by the organization but “felt ready and eager to step into an executive-director position.”

Among the areas he’s focused on at

NMS are program development, financial stabilization, and the general perception of the school.

The organization, he said, is widely per-ceived as a music school — an organization that offers instrumental lessons, primarily to children from affluent families.

“We’re a lot more than that,” he said. Still, with goal being “to position us as

a vibrant community arts center,” Gurvich would like to add to the school’s offerings and make sure those are widely accessible.

“One of our core missions is access,” he said, pointing out that the school can’t expand its financial-aid offerings until it’s more financially secure.

“Currently, we cover about 14 percent of our budget from contributed revenue, about 5 percent from investment income, and the remainder comes from tuition,” Gurvich said in an email. “I would love to significantly increase the share of contrib-uted revenue, as this would help us to fulfill our dual mission of excellence and access. Substantially increasing contributed reve-nue would enable us to continue to recruit and retain top faculty and top students. At the same time, it would enable us to

expand our financial-aid program, making it possible for all students who wish to take advantage of our offerings to do so — re-gardless of their financial circumstances.”

addressing accessibility, perception top priorities list

I

Dan Gurvich. Photo courtesy of Neighborhood Music School.


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july | august 2015

The Arts Paper

If NMS faces a particular challenge, in Gurvich’s mind, it’s being able to provide arts training that’s both excellent and ac-cessible. The organization has an annual enrollment of more than 3,000 students.

“Fundraising for our existing programs and creating new fund-able programs ap-pears to be the answer,” he said.

Another challenge the school has, ac-cording to Gurvich, is telling its story.

“To date,” he said, “a lot of our marketing has focused on ‘what’ we do, rather than

on ‘why’ we do it,” by which he means “the power of self-expression, the power of community, and power of the arts to change lives. Our faculty’s commitment to these core values, their passion for teach-ing, is palpable right away when you spend time at NMS. We have to do a better job of communicating that passion beyond our walls to engage a broader demographic.

“In many ways,” Gurvich said, “we are already a ‘vibrant community center.’ … Not only have we greatly expanded our class and ensemble offerings in instrumen-tal music … but we have also grown our dance, theater, and vocal offerings. At this point, we are really as much of a ‘school for the performing arts’ as we are a ‘music school’ — and we will continue to move boldly in that direction.”

That means expanding offerings for students of all ages, from preschoolers to seniors. And with more accessibility, he hopes, will come a change in the percep-tion that NMS caters to young instrumen-tal musicians from affluent families.

“We need to address that perception,” he said, “and we need to broaden our brand.” n

“At this point, we are really as much of a ‘school for the

performing arts’ as we are a ‘music school’ — and we will continue

to move boldly in that direction.”

— Dan Gurvich

14 • theartspaper.com january/february 2014 •

city wide open studiosjuly | august 2015

The Arts Paper


Today at Evergreen Woods, “Good morning” greetings will fill the air … the invigorating aroma of fresh coffee will waft from the café … friends will meet at the pool for a swim … the bridge club will gather … the Club Room will fill in the late afternoon … the night’s special will be ordered … good books will be read, followed by a great night’s sleep.

Now is the time to visit Evergreen Woods. You will be able to choose from a nice selection of light-filled, artfully designed apartment homes for a worry-free lifestyle.

And, if extra support services are ever needed, we’ll bring them to you in your apartment or you can take advantage of our specially designed supportive care neighborhood or rehabilitation and health center.

Please call Shannon or Susie at 203-488-8000 to schedule your visit. They will give you the information you need to determine if choosing Evergreen Woods is right for you.

88 Notch Hill Rd.N. Branford, CT 06471

www.EvergreenWoods.com

Enjoy More Great Days and Nights

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Site Projects Launches Digital, Public-Art CatalogSite Projects recently launched an “inter-

active digital catalogue” of public, outdoor art in New and around New Haven. Users logged on to artsitesnewhaven.com can lo-cate “art sites near me” or search for works on an interactive map. The catalog features images and the locations of, and detailed information about, such familiar works of public art as Felice Varini’s Square with four circles, a 2010 mural at Temple Plaza (Tem-ple and Chapel streets) that Site Projects commissioned from the artist.

Roy Lichtenstein’s stainless-steel sculp-ture Modern Head, Maya Lin’s memorial fountain The Women’s Table, Alexander Calder’s sculpture Gallows and Lollipops, Yvette Mattern’s laser installation Night Rainbow / Global Rainbow New Haven, Elec-troland’s LED installation College Faces, and murals by Swoon (Caledonia Curry) and BiP (Believe in People, the calling card of an anonymous graffiti artist) are just a handful of the works cataloged, and each links to the artist’s website.

According to language at artsitesne-whaven.com, the catalog was “created to inform and encourage tourists and residents to explore the city’s public spaces” and will continue to expand to include more works.

Visit artsitesnewhaven.com.

• january/february 2014 theartspaper.com • 15

city wide open studiosjuly | august 2015

The Arts Paper


Arts Council Celebrates 50th Birthday with a ‘60s PartyThe Arts Council is grateful to the

following individuals and businesses for helping us celebrate our 50th birthday in style:

First Niagara, our generous sponsorErector Brewing CollectiveFashionistaLuminous EnvironmentsOrdinaryJudy Sirota RosenthalSam GoldenbergAnd a big thank you to party planner

extraordinaire Coleen Campbell! Photos by Judy Sirota Rosenthal.

Lindy Lee Gold , left, and Andy Wolf.

Bitsie Clark, left, and Crystal Emery.Arts Council staff, past and present.

Maryann Ott. Left to right: Priscilla and Bob Dannies with Sally and Stephen Glick.

TheArtsCouncil

‘60s Satisfaction.

16 • theartspaper.com january/february 2014 •

city wide open studios


july | august 2015

The Arts Paper

CALENDAR

Classes & Workshops Artsplace 1220 Waterbury Road, Cheshire. 203-272-2787. www.cpfa-artsplace.org. Summer Art Classes and Workshops. Exciting art camps for elementary school-aged students, fine art lessons for preschool ages through adult. Workshops in large variety of media including watercolor, pastel, oil, acrylic, pottery, collage, shibori dye, drawing, anime, and animation. All supplies included. Call for more information or visit website. Monday-Saturday, June 29-August 1. $25-$235. 9 a.m.-8:30 p.m.

Connecticut Natural Science Illustrators Yale Peabody Museum Community Education Center, 230 West Campus Drive, Orange. 203-934-0878. www.ctnsi.com. Summer Art Classes. We offer many art classes, through August 29, that are inspired by nature. For more information and to register, visit web-site, send email to [email protected], or call 203-934-0878. Monday-Saturday, 9 a.m.-5 p.m. Art Classes in Natural Science Illustration. We offer a wide range of courses, through August 25, from beginning drawing to mixed-media painting, botanical drawing, and plein air sketch-ing at the West Campus Urban Farm. Visit web-site for more information. Monday-Saturday, 10 a.m.-4 p.m.

Neighborhood Music School Audubon St., New Haven. 203-624-5189. neighborhoodmusicschool.org. Junior Chamber Winds. A high-quality, weeklong chamber-music experience, June 29-July 3, with daily master classes for beginning/intermediate students in grades five through eight (flute, oboe, clarinet, bassoon, and French horn). One year of playing is recommended. No cham-ber-music experience required. June 29-July 3.Tuition: $385. 9 a.m.-12 p.m. Chamber Winds. Intermediate or advanced high school, college, and adult players will enjoy this opportunity to play and learn in a collaborative setting with other experienced musicians. In-cludes master classes and a final performance (flute, oboe, clarinet, bassoon, and French horn). July 6-July 10. Tuition: $385. 9 a.m.-12 p.m. Summer Rocks! Ages 10 and older. This weeklong intensive workshop features songwriting, perfor-mance, overview of recording, and much more. This year’s theme is “Women in Rock.” Each day you’ll be a part of: instrument-specific master classes, mini-classes, including songwriting and instrument-effects processing, the basics of live sound, voice, and more. August 10-August 14. Tuition: $585. 9:30 a.m.-5:30 p.m. Summer Jazz. Ages 13 through adult. A five-day intensive that offers small ensembles, a big band, theory, master classes, and jam sessions with Neighborhood Music School faculty and

guest clinicians. The week culminates with a student concert. Minimum of two years’ expe-rience. August 3-7. 9:30 a.m.-5 p.m. Tuition: $585. Neighborhood Music School, 100 Audu-bon St., New Haven. 203-624-5189. neighborhoodmusicschool.org.

Exhibitions Artspace 50 Orange St., New Haven. 203-772-2709. artspacenh.org. Gollum: Monsters of Ruin and the Techno-Sublime.Artists include Jerry Blackman, Carlos Jimenez Cahua, Mike and Claire, Johannes DeYoung, Joyce Pensato, Boo Ritson, and Gordon Skinner. Crown Street Window installations by Mistina Honscom and Petra Szilagyi. On view through July 3. Wednesday and Thursday, 12-6 p.m.; Fri-day and Saturday, 12-8 p.m. Free. The Answer is Dark. Featuring artists: Debra Baxter and Margot Quan, Dana Cohen, J.P. Culli-gan, William Downs, James Duval, Alan Neider, Fehti Meghelli, Alan Neider, Thomas Stavovy, and Jonathan Waters. On view through July 3. Wednesday and Thursday, 12-6 p.m.; Friday and Saturday, 12-8 p.m. Free.

City Gallery 994 State St., New Haven. 203-782-2489. city-gallery.org. Voicings. New work by Meg Bloom, Phyllis

Crowley, Kathy Kane, and Karen Wheeler, including sculpture, photography, painting, and digital mixed media. Four unique voices combine and offer visual counterpoints. Opening reception: Friday, July 10, 5-7 p.m. On view July 9-August 2. Gallery is open Thursday-Sunday, 12-4 p.m.; or by appointment. Free.

Congregation Beth Shalom Rodfe Zedek Gallery 55 East Kings Highway, Chester. 860-526-8920. PeterWnekPhoto.com. Soul of the Landscape. Arts Council member Peter Wnek presents an exhibition of fine art photography celebrating the beauty and spirit of woodlands and waterways. On view through July 28. Free.

Creative Arts Workshop 80 Audubon St., New Haven. 203-562-4927. creativeartsworkshop.org. Intelligent Objects: CAW Annual Juried Show This exhibition explores those artistic objects which appear to be responsive to our existence, or at least demand an empathy if not an emotion, that we give to sentient beings. Intelligent Objects are those art-works that act as independent agents and explore the cross-section of analog and digital media. On view June 12-July 18. Monday-Friday, 10 a.m.-5 p.m.; Saturday, 10 a.m.-12 p.m.

DaSilva Gallery 897 Whalley Ave., New Haven. 203-387-2539. dasilva-gallery.com. Anteles Martinez. An exhibition of oil paintings on board, on view through July 10. DaSilva Gallery is open Wednesday-Saturday, 10 a.m.-5 p.m. Free.

The Guilford Art Center’s annual Craft Expo takes place July 17-19 on the Guilford Green. The juried show, which is in its 58th year, features work by more than 180 craft artists. Photo by Ben Cowper, courtesy of GAC.

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city wide open studios


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Elle Design Studio 1 Main St., Chester. 860-526-8470. galleryoneCT.com. The Artists of Gallery One at Elle Design Studio. Member artists include David Brown, Ashby Carlisle, Catherine Christiano, Bette Ellsworth, Mary Fussell, Gray Jacobik, Judith Barbour Osborne, T. Willie Raney, Diana Rogers, Vic-toria Sivigny, and Jill Vaughn. On view through August 30. Hours: Tuesday-Saturday, 11 a.m.-6 p.m.; Sunday, 10 a.m.-4 p.m. Free.

Fred.Giampietro Gallery 1064 Chapel St., New Haven. 203-777-7760. giampietrogallery.com. Joe Wardwell. With works by Jana Paleckova. On view through July 16. Gallery hours: Mon-day-Saturday, 11 .m.-6 p.m. Free.

JCC of Greater New Haven 360 Amity Road, Woodbridge. 203-387-2522. jccnh.org. In the Shadows: A Photography Exhibit by Aviva Klein. This traveling photography exhibit is a portraiture exploration of agunot, also known as “chained women.” Agunot are women who have been unable to procure a gett, or divorce document, from their husbands, so they cannot remarry. This is a serious issue in the Orthodox Jewish world. On view through July 30, during building hours. Free.

Kehler Liddell Gallery 873 Whalley Ave., New Haven. 203-389-9555. kehlerliddell.com. Momentary Landscapes. Investigating the con-versation between natural and manmade land-scapes, this exhibit presents a series of linoleum block prints and various forms of collage by art-ist Liz Antle-O’Donnell. One of two new exhibits on view through July 5. Free. Hello, I Must Be Going: American Pastoral. Cap-turing a serendipitous story of America today, award-winning photographer Hank Paper pres-ents a collection of contemporary pastoral pho-tographs. On view through July 5. Free.a Artist As Curator. The gallery’s 25 member artists invite favorite fellow artists to participate in a group show. This invitational exhibit features accomplished, local artists working in a variety of media. It will run from July 9 through August 30, with an opening reception to take place in early July. Watch for details on the gallery’s website. Free.

Knights of Columbus Museum 1 State St, New Haven. 203-865-0400. kofcmuseum.org.a Answering the Call: Service & Charity in the Civil War. As America marks the 150th anniversary of the end of its Civil War, the Knights of Colum-bus Museum commemorates the event with an exhibition featuring the involvement of Catholic soldiers, chaplains, and nurses during the four-year conflict. On view through September 20. Open daily, 10 a.m.-5 p.m. Free admission and parking.

New Haven Museum 114 Whitney Ave., New Haven. 203-562-4183. newhavenmuseum.org.a From Clocks to Lollipops: Made in New Haven. An exhibition that highlights an astonishing vari-ety of goods that were, and some that still are, produced in the Elm City. Featuring more than 100 objects, advertisements, trade cards, pho-tographs, with a wide-ranging and sometimes humorous look at the products made in New Haven. On view through December 31. Open Monday-Saturday and first the Sunday of each month. Adults $4, seniors $3, students $2, chil-dren younger than 12 admitted free.

Scranton Public Library 801 Boston Post Road, Madison. 203-281-3253. Emily Bett Retrospective. Fifty years of paintings,

prints, and pottery by Hamden resident Emily Bett will be on display. Bett studied at the Art Institute of Chicago and holds a BFA from the University of Chicago. She received an MFA in printmaking from Southern Connecticut State University. A unifying theme in this show is crisp, bright color, along with everyday scenes or objects seen in a new way. On view August 4-30. Opening reception: Thursday, August 6, 6-8 p.m. Library hours: Monday-Thursday, 9 a.m.-9 p.m.; Friday, 9 a.m.-5:30 p.m.; Saturday, 9 a.m.-12 p.m. Free and open to the public.

Susan Powell Fine Art 679 Boston Post Road, Madison. 203-318-0616. susanpowellfineart.com. Realistically Speaking. Seven realists explore dif-ferent takes on Realism. Featured artists include Del-Bourree Bach, Dan Brown, Grace M. DeVito, Vincent Giarrano, Michael Naples, Cora Ogden, and George Van Hook. On view through July 6. Tuesday-Saturday 11 a.m.-5 p.m.; Sunday; and by appointment. Summer Along the Shore. An exhibit featuring more than 20 award-winning artists. On display are 70 marine and beach scenes, marsh views, shoreline landscapes, and trompe l’oeils, ranging

in style from Realism to contemporary Impres-sionism. Each painting evokes the memory of an everyday summer moment. On view July 10-Au-gust 31. The public is invited to an opening recep-tion to meet the artists on July 10, 5-8:30 p.m. Gallery hours: Tuesday-Saturday, 11 a.m.-5 p.m.; Sundays; and by appointment. Free.

The Institute Library 847 Chapel St., New Haven. 203-562-4045. institutelibrary.org. Finding Urpflanze: Drawings Through Collaboration. Work by Fritz Horstman, Martha Lewis, and Sol-ange Roberdeau. On view through July 12. Mon-day-Friday, 10 a.m.-6 p.m.; Saturday, 11 a.m.-2 p.m.

The New Haven Lawn Club 193 Whitney Ave., New Haven. 203-777-3494. nhlawnclub.com. One Source. Black and white paintings by Anne Doris-Eisner and photography by Roy Money. Two artists use the same source, the natural world, to reveal the interconnectedness of all being. Open-ing reception: July 16, 5-7p.m. Public viewing every day, 9 a.m.-5 p.m. On view July 16-September 8. Free.

Yale Peabody Museum of Natural History 170 Whitney Ave., New Haven. 203-432-5050. pea-body.yale.edu.

Samurai and the Culture of Japan’s Great Peace. Through more than 150 objects, many of which have never been on display, this exhibition explores the fascinating history of the samurai from their violent beginnings to the 250-year Great Peace that marked the final period of their reign. On view through January 3, 2016. Mon-day-Saturday, 10 a.m.-5 p.m.; Sunday, 12-5 p.m. $5-$9. Survival and Souvenirs: Connecticut’s Indigenous Basketmakers. Basket making was an early survival strategy for Connecticut’s indigenous families and communities throughout the 19th and 20th centuries. On view through August 31. Monday-Saturday, 10 a.m.-5 p.m.; Sunday, 12-5 p.m. Free.

Yale University Art Gallery 1111 Chapel St., New Haven. 203-432-0600. britishart.yale.edu. The Critique of Reason: Romantic Art, 1760-1860. The first major collaborative exhibition between the Yale University Art Gallery and the Yale Center for British Art, this exhibit offers an un-precedented opportunity to bring together trea-sures of the Romantic art movement from the collections of both museums. On view through July 26. Museum hours: Tuesday-Friday, 10 a.m.–5 p.m.; Thursday until 8 p.m. (September–June); and Saturday–Sunday, 11 a.m.–5 p.m. The gallery is closed Mondays and major holidays. Admission is free and open to the public.

Kids & Families

Creative Arts Workshop 80 Audubon St., New Haven. 203-562-4927. creativeartsworkshop.org.Adventures in Art: Summer Programs for Young People. Give your child an adventure in art this summer, with week-long programs in drawing, painting, pottery, mixed media, and more. Stu-dents may register for as many weeks as they choose — from a single week to the full eight. Early drop off and extended day programs available. Call 203-562-4927 or register online today. Ongoing through August 14. Elm City Dance Collective Connecticut Capoe-ira and Dance Center, 1175 State St., Suite 207, New Haven. 860-451-9421. elmcitydance.org.Amazon Adventure: Capoeira, Samba, and Creative Movement Workshop. For ages 7-10. Participants will embark on a weeklong journey introducing them to the culture that is home to the Ama-zon rainforest. Participants will learn capoeira, music, acrobatics, dance, and Brazilian folklore. Influenced by sounds and sights of the rain-forest, they will explore creative movement to make and perform pieces of their own. Registra-tion required. Workshop is one week long and offered the weeks of August 3 and August 9, Monday-Friday, 9 a.m.-3 p.m., with late pickup available for an additional charge. Register on-line. $250 per child, $475 for two children from same family.

Musical Folk First Presbyterian Church, 704 Whitney Ave., New Haven. 203-691-9759. MusicalFolk.com.Music Together Classes. Offering music-together classes, a fun creative music and movement program for babies through 5 year olds and the ones who love them! Come sing, dance, and play instruments in an informal setting. Classes and demonstration classes are ongoing throughout the year. July 13-August 21. Classes are held daily (morning, afternoon, and weekend

In the Shadows: A Photography Exhibit by Aviva Klein is on view through July 30 at the Jewish Federation of Greater New Haven. The exhibit takes as its subject agunot, women whose religion prevents them from securing divorce papers from

their husbands. Image courtesy of the JFGNH.

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classes available) at various locations in New Haven, Woodbridge, Hamden, East Haven, and Cheshire. Demonstration classes are free. 9:30 a.m.-5:30 p.m. Ten-week semester is $216 and includes a CD and book. Each semester features a new collection of music. Four semesters per year.

Music July

Grill and Chill Summer Concert Series Come out to the JCC Patio to enjoy some free live music and Kosher barbecue by Abel’s avail-able for purchase! July 1: Mark Schwartz. July 15: Rickie Lee. July 29: Greg Borino. Series Sponsor: Coachman Square at Woodbridge. July 1 Event Sponsor: HealthyCT. 5-7 p.m. Free. Food avail-able for purchase. JCC of Greater New Haven, 360 Amity Road, Woodbridge. 203-387-2522. jccnh.org.

3 Friday Colin Carr, Cello, and Jonathan Yates, Piano Carr and Yates, guest faculty members at this year’s Music Mountain master-class series, per-form Bach: Suite No. 1 for Cello in G Major, BWV 1007; Beethoven: Sonata for Cello and Piano No. 3 in A Major, Op. 69; and Bach: Suite No. 6 for Cello in D Major, BWV 1012. 7:30 p.m. $35 at the door, $30 in advance. Music Mountain, Music Mountain Road, Falls Village. 860-824-7126. musicmountain.org.

4 Saturday Jeff Newell’s New-Trad Quartet Thrilling au-diences from the Atlantic to the Rockies since 1994, Jeff Newell’s New-Trad Quartet — the Brass Band you can fit in your pocket — show-cases the rich musical history of New Orleans and the roots of American music, combining instruments and elements of a traditional New Orleans brass band with those of a modern jazz

group. 6:30 p.m. $30 at the door, $27 in ad-vance. Music Mountain, Music Mountain Road, Falls Village. 860-824-7126. musicmountain.org.

5 Sunday Arianna String Quartet The holiday weekend continues with the Arianna String Quartet and guest cellist Colin Carr performing Mozart: String Quartet in D Minor, K. 421; Boccherini: Cello Concerto in G Major, G. 480; and Grieg: String Quartet No. 1 in G Minor, Op. 27. 3 p.m. $35 at the door, $30 in advance. Music Moun-tain, Music Mountain Road, Falls Village. 860-824-7126. musicmountain.org.

11 Saturday Vince Giordano and The Nighthawks Vince Giordano and The Nighthawks return for another summer at Music Mountain playing the best of big-band jazz from the 1920s and ‘30s — the Golden Age! 6:30 p.m. $30 at the door, $27 in advance. Music Mountain, Music Mountain Road, Falls Village. 860-824-7126. musicmountain.org.

12 Sunday Peter Serkin and Julia Hsu Peter Serkin and Julia Hsu, piano four-hands, present a benefit concert. The program includes Schumann-Bizet: Six Etudes in Canonical Form for Pedal-Piano, Op. 56; Bizet: Selections from Jeux d’Enfants, Op. 22; Mozart: Sonata in B-flat Major, K. 358; Schubert: Lebensturme in A Minor, D. 947; Schubert: Theme and Variations in B-flat Minor, D. 603. 3 p.m. $60. Music Mountain, Music Mountain Road, Falls Village. 860-824-7126. musicmountain.org.

14 Tuesday Music for a Summer’s Eve Wallingford resident Patricia Louise Corbett performs Broadway show tunes along with some popular opera arias. 6:30 p.m. Admission is free. Wallingford Library, 200 North Main St., Wallingford. 203-623-8262. wallingfordlibrary.org.

18 Saturday The New Black Eagle Jazz Band If you like the uplifting and soulful music of New Orleans, you’ll love the sound of The New Black Eagle Jazz Band! They’ll bring their huge and eclectic repertoire of jazz from the 1920s and ’30s to Music Mountain! Don’t forget your dancing shoes! 6:30 p.m. $30 at the door, $27 in ad-vance. Music Mountain, Music Mountain Road, Falls Village. 860-824-7126. musicmountain.org.

19 Sunday Enso String Quartet with Soyeon Kate Lee, Piano Enso String Quartet and pianist Soyeon Kate Lee perform Moravec: Dialogue with the Past I; Schumann: String Quartet in A Major, Op. 41, No. 3; and Dohnanyi: Piano Quintet No. 1 in C Minor, Op. 1. 3 p.m. $35 at the door, $30 in ad-vance. Music Mountain, Music Mountain Road, Falls Village. 860-824-7126. musicmountain.org.

21 Tuesday Twilight Tuesdays Concerts: Sambaleza Join us for a relaxing evenings of music under the stars! The series kicks off with Neighborhood Music School faculty member Jeff Fuller, Joe Carter, and Isabella Mendes, featuring Brazilian

Donald Blumberg Photographs: Selections from the Master Sets is on view August 21 through November 22 at the Yale University Art Gallery. Pictured here is an untitled gelatin silver print from Blumberg’s series In Front of Saint Patrick’s Cathedral, 1965–67. Yale University Art Gallery, Janet and Simeon Braguin Fund. Copyright Donald Blumberg, courtesy of YUAG.

This Union Army frock coat, on loan from Mr. Jeffrey Cook, was worn by Capt. Lawrence O’Brien of the Ninth Con-necticut Infantry during the Civil War. The garment is part of Answering the Call: Service & Charity in the Civil War, on view through September 20 at the Knights of Columbus

Museum. Image courtesy of the museum.

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music with a jazz twist. The artists add original compositions to a mix of bossa novas, sambas, baião, and ballads. Rain or shine! Picnic food welcome. 6:30 p.m. Reserved ticket price is $30 for general table seating only. Non-reserved table $35. Neighborhood Music School, 100 Audubon St., Park of the Arts, New Haven. 203-624-5189. neighborhoodmusicschool.org.

25 Saturday Swingtime Big Band Plays the Best of the Swing Era Swingtime Big Band returns for their eighth-annual Music Mountain appearance, thrilling concert audiences and ballroom danc-ers alike with authentic recreations of the time-less swing music of such great big-band leaders as Count Basie, Artie Shaw, Benny Goodman, and Tommy Dorsey. 6:30 p.m. $30 at the door, $27 in advance. Music Mountain, Music Moun-tain Road, Falls Village. 860-824-7126. musicmountain.org.

26 Sunday Avalon String Quartet Sunday afternoon wel-comes Avalon String Quartet with guest artists Jan Opalach, bass-baritone, and Jonathan Yates, piano, performing a unique program of the two seminal French string quartets of Ravel and Debussy, along with songs of those com-posers and their contemporaries. 3 p.m. $35 at the door, $30 in advance. Music Mountain, Music Mountain Road, Falls Village. 860-824-7126. musicmountain.org.

28 Tuesday Twilight Tuesdays Concert Special Event: A spectacular evening of jazz honoring the late jazz legend Leonard “Red” Balaban, bassist, tuba player, and house band leader at Eddie Condon’s in New York. Featured musicians in-clude Paul Bempke and others who performed with Red. Help us celebrate his life! 6:30 p.m. $30, includes boxed dinner (for this event only). Limited seating. Neighborhood Music School, 100 Audubon St., Park of the Arts, New Haven. 203-624-5189. neighborhoodmusicschool.org.

August

4 Tuesday Twilight Tuesdays Concert: Jazz Saxophonist Wayne Escoffrey This Summer Jazz Scholar-ship Concert features renowned saxophonist, recording artist, and Neighborhood Music School alumnus Wayne Escoffrey. Also featur-ing NMS jazz students who are helping to raise support for Summer Jazz Scholarships. 6:30 p.m. Reserved ticket price is $30 for general table seating only. Non-reserved table $35. Neighborhood Music School, 100 Audubon St., Park of the Arts, New Haven. 203-624-5189. neighborhoodmusicschool.org.

11 Tuesday Twilight Tuesdays Concert: Connecticut Harp Circle The evening opens with the Connecticut Harp Circle, founded by Neighborhood Music School faculty member Haley Hewitt. Featured performer TBA. Please call for details. For more information, contact Julius Stone, events and volunteer coordinator, at [email protected] or 203-624-5189, x. 17. 6:30 p.m. Reserved ticket price is $30 for gen-eral table seating only. Non-reserved table $35. Neighborhood Music School, 100 Audubon St., Park of the Arts, New Haven. 203-624-5189. neighborhoodmusicschool.org.

Voicings, an exhibition of new work by Meg Bloom (top left), Kathy Kane (top right), Karen Wheeler (bottom left), and Phyllis Crowley (bottom right), including sculpture, photography, painting, and digital mixed media, is on view at City Gallery July 9 through August 2.

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Special Events

Guilford Art Center Craft Expo In celebration of its 58th year, Guilford Art Center’s annual Craft Expo will bring more than 180 nationally-recog-nized craft artists to the historic Guilford Green. This highly competitive juried show ranks as one of the premier craft shows in New England and the country. Also includes silent auction, craft demonstrations, food trucks, and live music. July 17, 12-9 p.m.; Saturday, July 18, 10 a.m.-7 p.m.; Sunday, July 18, 12-5 p.m. Adults $9, seniors $7, GAC members, children younger than 12, and active members of the military admitted free. Guilford Green, 33 Whitfield St., Guilford. 203-

453-5947. guilfordartcenter.org.

Talks & Tours July

1 Wednesday Gallery Talk: “From Sculpting in Wood to Sketching on Stone” Lucy Gellman offers an overview of printmaking practices from woodcut to lithography. Gellman discusses the evolution of processes and the role of technology, pondering the question, What makes a print a print? 12:30 p.m., Yale University Art Gallery, 1000 Chapel St., New

Haven. 203-432-0600. artgallery.yale.edu.

8 Wednesday Gallery Talk: “Tiny Temples: Portals to the Pre-

columbian Past” Jennifer Reynolds-Kaye exam-ines the gallery’s collection of art of the ancient Americas. Focusing on a model of the ballgame (ca. 100 b.c.-a.d. 250) and a reconstruction of the Bonampak murals (a.d. 790-92), Reyn-olds-Kaye contextualizes Precolumbian art and society. 12:30 p.m. Yale University Art Gallery, 1000 Chapel St., New Haven. 203-432-0600. artgallery.yale.edu.

15 Wednesday Gallery Talk: “Whistler’s Legacy: The Etching Revival in America” Heather Nolin, curator of the exhibition Whistler in Paris, London, and Venice, explores select works by Whistler’s American contemporaries, William Merritt Chase, Frank Duveneck, Childe Hassam, and Joseph Pennell. Nolin discusses how Whistler’s

etchings influenced the art and development of his contemporaries. 12:30 p.m. Yale University Art Gallery, 1000 Chapel St., New Haven. 203-432-0600. artgallery.yale.edu.

Theater

Trip to Broadway: An American in Paris Charter bus from the JCC of Greater New Haven to see hit Broadway musical An American in Paris. Pick up at 9 a.m. Arrive in New York at 11 a.m. Lunch on your own or with your friends. Reconvene at the Palace Theatre for 2 p.m. matinee. Wednes-day, July 22. Wednesday. 9 a.m.-8 p.m. $170 for JCCGNH members, $195 for non-members. JCC of Greater New Haven, 360 Amity Road, Wood-bridge. 203-387-2522. jccnh.org.

The Hamden Arts Commission’s free summer concert series features performances by Charlie Thomas’ Drifters and Jay Siegel’s Tokens (July 10), Taylor Dayne with opening act DJ Bry (July 17), Kansas (July 24), and The Family Stone with opening act Blessing Offor, a former Hamden resident who competed recently on the NBC’s The Voice (July 31). All concerts begin at 7:30 p.m. and take place in Town Center Park, in Hamden, and are free and open to the public. Photos courtesy of the Hamden Arts Commission.

Taylor Dane.

Charlie Thomas’ Drifters.

Jay Siegel’s Tokens.

Kansas.

Call For Artists For Arts Center Killingworth’s 2015-2016 Spectrum Gallery exhibits, including the October Autumn Arts Festival and Gallery Show. Seeking fine artists and artisans in all media. For artist submission, visit spectrumartgallery.org or email [email protected]. Spectrum Gal-lery and Store, 61 Main St., Centerbrook.

Artists The Gallery Review Committee of The New Alliance Gallery at Gateway Community Col-lege is looking for artists to submit their resumes and images for possible exhibition in the 2015 and 2016 calendar years. Please send your resume and cover letter along with a DVD of not fewer than 20 and no more than 25 images to: Gallery Review Committee, Gateway Community College, 20 Church St., Room S329, New Haven, CT 06510.

Artists The Tiny Gallery: a very big opportunity for very small art. The Tiny Gallery is a premiere space for “micro” exhibitions in the historic Audubon Arts District, located within the lighted display “totem” outside Creative Arts Workshop, at 80 Audubon St., in New Haven. The Tiny Gal-lery is open to the public 24 hours a day, seven days a week, 365 days a year. Submissions will be considered on a rolling basis and should include a written proposal, artist statement, and images of artwork. Call 203-562-4927 x. 14, email [email protected], or visit creativeartsworkshop.org/tiny.

Artists The Loft Artists Association, in Stamford, announces an open call for an art show called Lineal Investigations, which will focus on new di-rections in line. Lines can be hard, sharp, straight, or geometric. They can be organic, smooth, soft, flowing, loopy, or wavy. Works can range from tra-ditional graphite and charcoal drawings to works from all mediums. The key feature is the line! Deadline: July 13. Exhibition September 10–Oc-tober 11 at The Loft Artists Gallery. Juror: Robbin Zella. Cash and other awards totaling $1,000. Dig-ital entry form and Prospectus at loftartists.com.

Artist Members Kehler Liddell Gallery in New Haven is seeking applications from new prospec-tive members. Visit kehlerliddell.com/member-ship for more information.

Photographers Are you a fan of photography? A program of the Arts Council of Greater New Haven, the Photo Arts Collective aims to cultivate and support a community of individuals who share an interest in photography through work-shops, lectures, exhibitions, portfolio reviews, group critiques, and special events. The Photo Arts Collective meets the first Thursday of each month at 7 p.m. at the Kehler Liddell Gallery, 873 Whalley Ave., New Haven.

Singers The award-winning Silk’n Sounds Chorus is looking for new members from the area. We invite women to join us at any of our rehearsals to learn more. We enjoy four part a cappella har-mony in the barbershop style, lively performances, and wonderful friendships. Rehearsals are every Tuesday from 6:30-9 p.m. at the Spring Glen United Church of Christ, 1825 Whitney Ave., in Hamden. Contact Lynn at 203 623-1276 for more information or visit silknsounds.org.

Volunteers Learn new skills, meet new people, and be part of a creative organization that gives to the community. Upcoming volunteer oppor-tunities: Jazz NightOut Concert at The Katharine Hepburn Cultural Arts Center in Old Saybrook and October Outdoor Autumn Arts Festival on the Madison Town Green. Teens are welcome and earn community-service credit. The Arts Center Killingworth is a non-profit arts organization. Visit artscenterkillingworth.org for more details or call 860-663-5593.

Volunteers Volunteers are a vital part of Artspace’s operation. Volunteering with Artspace is a great way to support the organization, meet new people, and develop new skills. Our volun-teers provide a service that is invaluable to making Artspace function smoothly. We simply couldn’t operate without the tremendous support of our volunteers. To find out more about volunteer opportunities, please contact Grey Freeman at [email protected].

Services Art Consulting Services Support your creativ-ity! Low-cost service offers in-depth artwork analysis, writing, and editing services by former arts newspaper editor, current art director of the New Haven Free Public Library, and independent curator of many venues. Call Johnes Ruta at 203-387-4933, visit azothgallery.com, or send email to [email protected].

Art Installation Specialists, LLC An art-handling company serving homeowners, art professionals, offices, galleries, and museums. We offer packing, long-distance or local shipping, and installation of paintings, mirrors, plaques, signage, tapestries, and sculpture, as well as framing, pedestals, exhibit design, and conservation. Contact Paul Cofrancesco at 203-752-8260, Gabriel Da Silva at 203-982-3050, email [email protected], or visit artinstallationspecialistsllc.com.

Art Supplies For Sale Artist downsizing: For sale: stretchers, primed and unprimed canvas rolls, stretched canvases, frames, glass, studio furniture, huge beautiful paper, and more. Please contact [email protected] Formerly Bethany Art Studio, now located in Hamden.

Birthday Parties Did you know that Creative Arts Workshop is available for birthday parties? Have your birthday party in an art studio. CAW faculty members will lead the party in arts or crafts proj-ects, lasting approximately 1 1/2 hours, leaving time for cake, presents, and memory-making. Choose from a variety of themes and projects. For more information or to schedule a party, call the office at 562-4927. A fantastic idea for children of all ages. Chair Repair We can fix your worn-out chair seats if they are cane, rush, Danish cord, Shaker Tape, or other woven types! Celebrating our 25th year! Work is done by artisans at The Association of Artisans to Cane, a project of Marrakech, Inc., a private nonprofit organization that provides services for people with disabilities. Open Mon-day-Thursday, 8 a.m,-4 p.m. 203-776-6310.

Creative Events/Crafting Parties Our beautiful light-filled space in East Rock is the perfect spot to host an intimate creative gathering or party. We’ll work with you to provide the programming, snacks, drinks, and decorations that will make your event memorable. Rent our space for up to three hours. thehvncollective.com.

Historic Home Restoration Period-appropriate additions, baths, kitchens, and remodeling, sag-ging porches straightened/leveled, wood windows restored, plaster restored, historic molding and hardware, Vinyl/aluminum siding removed, wood siding repaired/replaced. Connecticut and New Haven Preservation Trusts. R.J. Aley Building Con-tractor 203-226-9933. [email protected].

Japanese Shoji Screens Designed for Connecticut homes. Custom built for windows, doorways, or freestanding display, they allow beautiful filtered light to pass through while insulating. For a free quote, contact Phillip Chambers at 203-888-4937 or email [email protected].

Modern Dance Instruction Modern dance classes based on the Hawkins technique taught by Annie Sailer. Intermediate level, young, and mature dancers welcome. Visit anniesailer.com. 347-306-7660. [email protected].

Private Art Instruction For adults and children. Learn in a working artist’s studio. Ideal for artists, home-schooled youngsters, and those with spe-cial needs. Portfolio preparation offered. Draw, paint, print, and make collage in a spacious light-filled studio at Erector Square in New Haven. Relaxed and professional. I can also come to you. Lessons created to suit individual. References available. Email [email protected]. 315 Peck St., New Haven. 203-675-1105. lizpagano.com.

Professional Art Installation For residential and commercial work. More than 17 years’ experience in museums, galleries, hospitals, and homes in New York City, Providence, New Haven, Chester, and elsewhere. Rate is $30-$40 an hour, no job too small or large. Call Mark at 203-772-4270 or send email to [email protected]. More informa-tion and examples at ctartinstall.com.

Web Services Startup business solutions. Cre-ative, sleek Web design by art curator for art, design, architectural, and small-business sites. Twenty-five years’ experience in database, logis-tics, and engineering applications. Will create and maintain any kind of website. Hosting provided. Call 203-387-4933, visit azothgallery.com, or send email to [email protected].

Writing Workshops The Company of Writers is a new creative community for writers of all ages

and levels of experience. We offer prose and poetry workshops, in-person and online ser-vices, a summer writers’ conference for teens, and a manuscript consultancy for book-length material. All our faculty are published authors, and many are teachers, editors, or publishers. Course descriptions available online at compa-nyofwriters.net, or by contacting Terry at 203-676-7133. We all have a story to tell. What’s yours?

Space Artist Studio West Cove Studio and Gallery offers work space with two large Charles Brand intaglio etching presses, lithography press, and stainless-steel work station. Workshops and technical support available. Ample display area for shows. Membership: $75 per month. 30 Elm St., West Haven. Call 609-638-8501 or visit westcovestudio.com.

Community Living Space Rocky Corner, the first cohousing community in Connecticut, is seeking new members. It’ll be built on 33 acres in Beth-any, near New Haven, will feature 30 homes (including 13 affordable ones), a 4,500-square-foot common house with workshop, kitchen, and other amenities, and an organic farm. Visit rockycorner.org or email [email protected] to learn more.

Live/Work Space ArLoW (Arts Lofts West). Fabulous lofts in New Haven’s first artist-hous-ing development. The units contain high ceilings with flexible options for living and working spaces. Great natural light and interior spaces. Please contact Lynn Calabrese c/o Wm. M. Hotchkiss, management agent, at 203-772-3200 x. 20 for a rental application.

Studio Space Thirteen-thousand square feet of undeveloped studio space available in old mill brick building on New Haven harbor. Conve-niently located one minute off I-95, Exit 44 in West Haven. Owners willing to subdivide. Call 609-638-8501.

Studio Space Branford Center. Artist Co-Op, 1229 Main St. Sixteen-hundred square feet of retail space on historic Main Street in down-town Branford. Total turnkey co-op space for up to five artists. Unique space includes two overhead garage doors and storage. In addition there will be a “pop up” space that will allow for a four-month rotation of space throughout the year. Tremendous visibility, strategically located at three-way traffic signal. Pricing includes Internet, POS, Facebook, and website. Pricing starts at $495 per month.

The Arts Council provides the job and bulletin board listings as a service to our membership and is not responsible for the content or deadlines.

july | august 2015

The Arts Paper


BULLETIN BOARD

JobsPlease visit newhavenarts.org for up-to-datelocal employment opportunities in the arts.

The deadline for advertisements and calendar listings for the September 2015 edition of The Arts Paper is: Monday, July 27, at 5 p.m. Future deadlines are as follows:October: Monday, August 31, 5 p.m.November: Monday, September 28, 5 p.m.December: Monday, October 26, 5 p.m. Calendar listings are for Arts Council members only and should be submitted online at newhavenarts.org. Arts Coun-cil members can request a username and password by sending an e-mail to [email protected]. The Arts Council’s online calendar includes list-ings for programs and events taking place within 12 months of the current date. Listings submitted by the calen-dar deadline are included on a monthly basis in The Arts Paper.

The Arts Paper advertising and calendar deadlines

member organizations & partners

The Arts Paper


Arts & Cultural Organizations

A Broken Umbrella Theatre abrokenumbrella.org, 203-868-0428

ACES Educational Center for the Artsaces.k12.ct.us203-777-5451

Alyla Suzuki Early Childhood Music Educationalylasuzuki.com203-239-6026

American Guild of Organistssacredmusicct.org

ARTFARMart-farm.org

Arts Center Killingworthartscenterkillingworth.org860-663-5593

Arts for Learning Connecticutwww.aflct.org

Artspaceartspacenh.org203-772-2709

Artsplace: Cheshire Performing & Fine Artcpfa-artsplace.org203-272-2787

Bethesda Music Seriesbethesdanewhaven.org203-787-2346

Blackfriars Repertory Theatreblackfriarsrep.com

Branford Folk Music Societyfolknotes.org/branfordfolk

Center for Independent Studycistudy.homestead.com

Chestnut Hill Concertschestnuthillconcerts.org203-245-5736

The Choirs of Trinity Church on the Greentrinitynewhaven.org

City Gallerycity-gallery.org203-782-2489

Civic Orchestra of New Havenconh.org

Connecticut Dance Alliancectdanceall.com

Connecticut Gay Men’s Chorusctgmc.org800-644-cgmc

Connecticut Natural Science Illustratorsctnsi.com203-934-0878

Creative Arts Workshopcreativeartsworkshop.org203-562-4927

Creative Concerts203-795-3365

CT Folkctfolk.com

DaSilva Gallerygabrieldasilvagallery.com203-387-2539

Elm City Dance Collectiveelmcitydance.org

Elm Shakespeare Companyelmshakespeare.org203-874-0801

Encore Music Creationsencoremusiccreations.com

Firehouse 12firehouse12.com203-785-0468

Gallery One CTgalleryonect.com

Greater New Haven Community Chorus

gnhcc.org203-624-1979

Guilford Art Centerguilfordartcenter.org203-453-5947

Guitartown CT Productionsguitartownct.com203-430-6020

Hamden Art Leaguehamdenartleague.com 203-494-2316

Hamden Arts Commissionhamdenartscommission.org 203-287-2546

Hillhouse Opera Companyhillhouseoperacompany.org203-464-2683

Hopkins Schoolhopkins.edu

Hugo Kauder Societyhugokauder.org

The Institute Libraryinstitutelibrary.org

International Festival of Arts & Ideas

artidea.org

International Silat Federation of America & Indonesia

isfnewhaven.org

Jazz Havenjazzhaven.org

John Slade Ely Houseelyhouse.org 203-624-8055

Knights of Columbus Museumkofcmuseum.org

Legacy Theatrelegacytheatrect.org

Linda S. Marino Artlindasmarinoart.com

Long Wharf Theatrelongwharf.org203-787-4282

Lyman Center at SCSUwww.lyman.southernct.edu

Madison Art Societymadisonartsociety.blogspot.com860-399-6116

Make Havenmakehaven.org

Marrakech, Inc./Association of Artisans to Cane

marrakechinc.org

Meet the Artists and Artisansmeettheartistsandartisans.com203-874-5672

Milford Fine Arts Councilmilfordarts.org203-878-6647

Music Havenmusichavenct.org203-215-4574

Music Mountainmusicmountain.com860-824-7126

Musical Folkmusicalfolk.com

Neighborhood Music Schoolneighborhoodmusicschool.org203-624-5189

New England Festival of Ibero American Cinema

nefiac.com

New Haven Balletnewhavenballet.org203-782-9038

New Haven Chamber Orchestranewhavenchamberorchestra.org

New Haven Choralenewhavenchorale.org203-776-7664

New Haven Free Public Librarynhfpl.org203-946-8835

New Haven Oratorio Choirnhoratoriochoir.org

New Haven Museum newhavenmuseum.org203-562-4183

New Haven Paint and Clay Clubnewhavenpaintandclayclub.org203-288-6590

New Haven Preservation Trustnhpt.org

New Haven Symphony Orchestranewhavensymphony.org203-865-0831

New Haven Theater Companynewhaventheatercompany.com

One True Paletteonetruepalette.com

Orchestra New Englandorchestranewengland.org203-777-4690

Pantochino Productionspantochino.com

Paul Mellon Arts Centerchoate.edu/artscenter

Play with Graceplaywithgrace.com

Reynolds Fine Artreynoldsfineart.com

Royal Scottish Country Dance Society, New Haven Branchnhrscds.org

Shoreline Arts Alliance shorelinearts.org203-453-3890

Shubert Theatershubert.com203-562-5666

Silk n’ Soundssilknsounds.org

Silk Road Art Gallerysilkroadartnewhaven.com

Susan Powell Fine Art 203-318-0616susanpowellfineart.com

Site Projectssiteprojects.org

The Company of Writers203-676-7133companyofwriters.net

The Haven Collectivethehvncollective.com

The Second Movementsecondmovementseries.org

Theater Department at SCSU/Crescent Players

southernct.edu/theater

Wesleyan University Center for the Artswesleyan.edu/cfa

West Cove Studio & Gallerywestcovestudio.com 609-638-8501

Whitney Arts Center203-773-3033

Whitney Humanities Centeryale.edu/whc

Yale Cabaretyalecabaret.org203-432-1566

Yale Center for British Artyale.edu/ycba

Yale Glee Clubyale.edu/ygc203-432-4136

Yale Institute of Sacred Musicyale.edu.ism203-432-5180

Yale Peabody Museum of Natural History

peabody.yale.edu

Yale Repertory Theatreyalerep.org203-432-1234

Yale School of Music203-432-1965music.yale.edu

Yale University Art Gallerywww.artgallery.yale.edu

Yale University Bandsyale.edu/yaleband203-432-4111

Creative Businesses

Access Audio-Visual Systems203-287-1907accessaudiovisual.com

Best Video 203-287-9286 bestvideo.com

Blue Plate Radio203-500-0700blueplateradio.com

Fairhaven Furniturefairhaven-furniture.com203-776-3099

Foundry Music Companywww.foundrymusicco.com

The Funky Monkey Café & Gallerythefunkymonkeycafe.com

Hull’s Art Supply and Framinghullsnewhaven.com203-865-4855

Toad’s Placetoadsplace.com

Community Partners

Department of Arts Culture & Tourism, City of New Havencityofnewhaven.com203-946-8378

DECD/CT Office of the Artscultureandtourism.org860-256-2800

Fractured Atlasfracturedatlas.org

JCC of Greater New Havenjccnh.org

Overseas Ministries Study Centeromsc.org

Town Green Special Services District

infonewhaven.com

Visit New Havenvisitnewhaven.com

july | august 2015

The Arts Paper

• july | august 2015 artnhv.com • 23

SO MUCH MORE THAN JUST AN ART SUPPLY STORE!

Creative Fun, Rain or Sun

1144 Chapel St.Open 7 Days 203.865.4855

HullsNewHaven.com

Art & Craft Supplies for all Ages Cards, Games, Novelties & Creative Gifts

Journals • Fine Writing Pens • Decorative Papers Custom Framing • Ready-Made Frames

PHOTO © MELANIE STENGEL

Eclectic exhibitions of works by local and regional artists

Ball & Socket Arts is a new arts and community center under development in Cheshire, CT.

For more info visit ballandsocket.org

Opening June 13, 2015 weekends through September Sat. & Sun. 11 am–5 pm

F R E E

Ball & Socket Arts Art Garage 530 West Main Street Cheshire, CT

bsa_artgaragead_arts_15.indd 1 5/28/15 3:18 PM

Y institute of sacred music

Performances · Lectures and morePresenting

Great Organ Music at Yale · Yale CamerataYale Schola Cantorum · Yale Literature and Spirituality Series

and more

For latest calendar information call 203.432.5062 or visit ism.yale.edu

A Thank You to Audubon Arts on the Edge Sponsors The Arts Council would like to thank to the following

sponsors for their help in making Audubon Arts on the Edge possible:

First NiagaraAudubon Arts and Retail DistrictCity of New Haven Parks DepartmentThe Community Foundation for Greater New HavenThe Ethel and Abe Lapides FoundationPfizerSuzio York HillThe Werth Family Foundation

Audubon Arts on the Edge is organized by the Arts Council of Greater New Haven, Creative Arts Workshop, ACES Ed-ucational Center for the Arts, Neighborhood Music School, and the New Haven Ballet. Photos by Marilyn Catasus.

Tacthol Camara of Neighborhood Music School. New Haven Ballet.

Perspectives … Gallery at Whitney CenterLocation: 200 Leeder Hill Drive, South Entrance, HamdenHours: Tuesdays and Thursdays, 4-7 p.m., and Saturdays, 1-4 p.m.

Side by Side: Part II Artists Who TeachDates: July 8 - September 10

Sumner McKnight Crosby Jr. Gallery Location: The Arts Council of Greater New Haven,

70 Audubon St.,

2nd Floor, New HavenHours: Monday-Friday, 9 a.m.-5 p.m.

Make Art Work Group show by artists participating in the Arts Council’s Make.Art.Work. programDates: June 25 - September 4Reception: July 9, 5-7 p.m.

Advice from the ACLocation: Da Silva Gallery Custom Framing, 2496 Boston Post Road, GuilfordDate: Thursdays, July 16 and July 23, 1-4 p.m.Need help finding exhibition space/opportunities, per-formance/rehearsal space, or developing new ways to promote your work or creative event? Debbie Hesse, the Arts Council’s director of artistic services and pro-grams, will be available for one-on-one consultations. Call (203) 772-2788 to schedule an appointment.

Photo Arts CollectiveThe Photo Arts Collective is an Arts Council program that aims to cultivate and support a community of individuals who share an interest in photography, through workshops, lectures, exhibi-tions, portfolio reviews, group critiques, and events. The Photo Arts Collective meets the first Thursday of the month at the Kehler Liddell Gallery, 873 Whitney Ave., New Haven, at 7 p.m. To learn more, send email to [email protected].

Arts On AirNext Show: July 20, 12-1 p.m. on WPKN 89.5FM and streaming at wpkn.orgListen to the Arts Council’s Arts On Air broadcast every third Monday of the month during WPKN’s Community Programing Hour. Hosted by Matt Reiniger, the Arts Council’s communications man-ager, Arts On Air engages in conversations with local artists and arts organizations. Links to past episodes are available at artnhv.com/on-air.

Writers’ CircleLocation: Arts Council of Greater New Haven, 70 Audubon St. 2nd floor, New HavenVisit newhavenarts.org and the Arts Council’s Facebook page for information about the next writers’ circle session.

Somewhat Off the WallSave the Date for Somewhat Off the Wall, a unique fundraiser to benefit the Arts Council of Greater New Haven.Date: Saturday, September 12Location: The Gallery at EleMar, 99-107 Shelton Ave., New HavenNumbered tickets available for $100. When your ticket number is called, you select and take home a piece of original artwork! $40 event tickets do not include artwork. Party begins at 5 p.m., draw-ing of ticket numbers begins at 7 p.m. Contact [email protected] for more information.

For more information on these events and more visit newhavenarts.org or check out our mobile events cal-endar using the Arts, Nightlife, Dining & Information (ANDI) app for smartphones.

arts council programs

The Arts Paper

Somewhat Off the Wall. Laura Barr.

Sumner McKnight Crosby Jr. Gallery.Kiara Matos.

Perspectives ... Gallery at Whitney Center. Christopher Cozzi. (Detail).

Sumner McKnight Crosby Jr. Gallery.Ivan Tirado.

Somewhat Off the Wall. David Ottenstein.

Somewhat Off the Wall. Ronnie Rysz.

The Arts Paper July/August 2105

Documents

Transcript of The Arts Paper July/August 2105