ROUND-UP May 13-31, 2019

Happy end of May! Enjoy two reviews and an interview!

• "Chains and flowers evoke beauty and togetherness in 'Recombinants' at C. R. Ettinger Studio." Philly Artblog, May 13, 2019.

Joan Wadleigh Curran’s show at the C.R. Ettinger Studio, Recombinants, is not a series of works that uses depictions of plants and other flora to make a statement about climate change, or one that places images of dead blossoms into some vanitas-style context about human nature. It’s simply about what it is–the recursive, fragile, and ultimately stubborn forms of nature that continue to appear around us in all sorts of settings. Curran’s works stand on their own as tributes to, and explorations of, the way natural forms link us all together by occurring and recurring throughout history, place, and time.

• "Lydia Rosenberg: The Complete Subject." this is tomorrow, May 16, 2019.

"There are several layers to Lydia Rosenberg’s highly conceptual, experimental exhibition ‘The Complete Subject’, currently on view at Napoleon, each relying upon people’s individual perceptions of meaning. What you get out of ‘The Complete Subject’ absolutely depends on your tolerance for this kind of self-perpetuating thought experiment. Occasionally frustrating and potentially a little too self-referential, ‘The Complete Subject’ nonetheless rewards thoughtful consideration and a willingness to delve into recursive, philosophy-seminar-esque ideas about seeing, translating, and understanding."

• "The Hustle Composer Anne Dudley On Her Creative Process And Storytelling Through Music: BUST Interview." Bust Magazine, May 31, 2019.

"Q: Is there a project that you see as the essence of your method or style? 

"A: I like to keep fooling people by doing completely different things all the time. Thirty years ago, I was in an avant-garde pop group called The Art of Noise, and we just used samples all the time and a lot of electronic keyboards and that was that. Then, I did a TV series which was based around 1920s jazz, and then I did American History X, which is very serious classical choral stuff. I do genuinely like to keep doing different things, which can confuse people, because people like to pigeonhole. They like to say, “oh, [this composer] does comedy scores” or “[that composer] does very dramatic scores.” I think most composers would hate people to think that they only did one sort of thing."