Tuesday, June 8, 2010

A Night Supporting Arts for All

By Guest Blogger, Jennifer Gunther
Jennifer is the Executive Director of VSA Arts of Delaware and an advocate for appropriate and fulfilling access to the Arts for all. Artwork by Ryan Griffin, age 5.

Once referred to by a funder as “a well-kept secret that everyone should know about”, VSA Delaware (VSADE) is a statewide organization that promotes expression through the Arts, with particular focus on opportunities for individuals with disabilities. The evening of Friday, June 4, delivered an experience in “our world of Art”, with an exceptional exhibit: the Celebration of Creativity (COC) 2010 Friends Reception at the Arts Center/Gallery at Delaware State University.

The exhibit is a collection of more than 65 works by artists with disabilities who have participated in VSADE Artist-in-Residency programs. For participants, the program provided the chance for their work to be professionally recognized. In addition, the reception provided a musical performance by the Delaware Young Soloist awardee, Jeffrey Wu. Jeffery, a 15-year-old student at the Brennan School in Newark, noted that creative and artistic accomplishments are possible when opportunity is provided. The COC 2010 exhibit will continue through Wednesday, June 30, at the Arts Center/Gallery; in September, it will travel to additional exhibition sites throughout the state.

Perhaps I am a bit partial, but I believe VSADE is one of those organizations that should never be a “well-kept secret”! We at VSADE hope that everyone will acknowledge the Arts as a powerful education tool for everyone, regardless of ability or disability!

See http://www.vsadelaware.org/.

P.S.: As I write this, I have just returned from the opening ceremonies of the VSA International Festival at the Kennedy Center in Washington DC (www.vsarts.org). I was enthralled by the conceptual dance of artist Bill Shannon, the amazing vocals of Prudence Mabhena and the delightful talent of Patti LaBelle. It was a great night for the arts and disability.

Saturday, June 5, 2010

New Voices on the Wilmington Loop

Since he was one of the first artists to join our readers when we started the blog last year, I hastened to Urban Avenue at 221 Market to see Life of a Hip Hop Photographer: Andre’ Wright. Wright was greeting all comers, young and old, who walked in to the clothing shop where he had his exhibit and portfolios. Wright is young and has already been working as a photographer for magazines like Corner Store, YRB, Format, XXL, Floss, Nubuzz Photo. He is an enterprising artist with an edgy technique who shows the harsh cityscape as well as its soft beauty. He has already photographed some famous hip-hop stars. When you meet young talent and energy like that which Andre’ exudes, you know you have met a man with a future in the Arts!

To see his online portfolio, visit http://www.coloroflifephotography.blogspot.com

Another exciting discovery was three potters who have created beautiful cool-color glazes for pots, bowls and mugs which were on display at the Delaware Center for Horticulture’s Trolley Bazaar. Jerry Jennings was not there as Linda West and Rachel Bevis manned their table, when I dropped by to ask them about their website and where they sold pottery. Surprised at my question, they explained that they were taking a pottery course at the Delaware Art Museum and didn’t sell pottery anywhere. They should be giving some courses! I quickly fetched them a brochure about Delaware by Hand and hope they join so we can all buy their beautiful work. Shall we call them Potters Three? Tre Ceramiche? Pictured below: Rachel Bevis and Linda West.

And last, but not least, I paid a visit to the most reluctant artist of them all. John Kurtz decided when he hit 65 that he could pull his paintings out from under sofas and behind bookshelves and display them. Yes, the well-established rug man (JD Kurtz/New Moon Rugs) is really an artist who has studied at the Pennsylvania Academy of Fine Arts, the Accademia di Belle Arti in Florence and served as a combat artist in Viet Nam. I preferred his wilder, satirical works to those which reminded me of fauvists and Eric Hopper. He has neither titles nor prices nor does he want to display or sell any of it. How reluctant can you be?

I named one of Kurtz’ paintings which really captured my imagination "The Italian Family". A big father figure in red, a stiff uncle in a suit, the belittled father figure all rounded out by a Madonna figure in a gauzy gown. When I told Kurtz the title I had chosen, he said that people see what they want to see. We will if you let us, Mr. Kurtz!




Thursday, June 3, 2010

Brandywine Baroque: Bold and Beautiful

I have been lucky enough to attend a good portion of the Brandywine Baroque’s annual Dumont Concerts two years in a row. These concerts are a weekend-long celebration of harpsichord music, played by noted international performers. The unbelievable musicianship is almost a shock to experience in this beautifully refurbished barn, nestled in Delaware’s pristine countryside. Flintwoods is the only place in the world with two restored harpsichords by Dutch builder, Ioannes Ruckers. There are a total of eight harpsichords in the collection; however, the Dumont instrument, after which the series is named, was being repaired.


Davitt Moroney returned again this year to perform at the opening concert, and spoke about “mean tone” tuning during the lecture. “Mean tone” tuning is unlike the well-tempered tuning to which our modern ears are accustomed. Instead of using the harmonics of octaves and fifths, this system relies on the relationships of perfect thirds. My friend Barbara, a concert pianist, and I struggled to find a way to describe his perfect execution of Baroque timing: “It isn’t the rubato, it isn’t the Luftpause; somehow, each note is placed exactly where it should be.”


Moroney and Brandywine Baroque Founder Karen Flint sat down together at the 1635 Rucker harpsichord to play Nicholas Carleton’s Praeludium and a Verse. Only one part of the manuscript survived, so Moroney created his portion, slipping in some interesting educational tidbits for his audience. Though I missed the Saturday lectures, I learned something about the tuning, and why the thirds are tuned according to the key of the piece. It was fascinating to hear a passage sound wonderful on one instrument and almost dementedly sour on another for which it wasn’t intended.


Flint did a lovely job with the Pieces in D minor by Elizabeth Jacquet de La Guerre. An expert on de La Guerre, Flint treated us to an interesting biographical background on this exceptional composer.


Arthur Haas performed a varied program, beginning with a Prélude by Louis Couperin, the granddaddy of harpsichord composition and scholarship. A portion of his program--pieces by four Italian composers--was performed on the Italian harpsichord, built by Domenicus Pisauriensis. Partite sopra La Monica by Girolamo Frescobaldi simply sparkled on this very “earthy” sounding instrument, which had been tuned with these works in mind. Each note and phrase Haas played was thoughtfully executed, and performed in a joyful, physical way.


Also in attendance was John Phillips, a master harpsichord builder and technician, who tuned the instruments before the concerts and during the breaks. The audience enjoyed watching the speed and precision of his craft during pauses in the program.

See www.brandywinebaroque.org.