Eye Candy
’Tis the season, so it would be churlish to pick holes in Christopher Hampson's glorious confection, adapted from Peter Darrell's iconic work.
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The Martha Graham Dance Company filled some of the Metropolitan Museum’s most impressive spaces for two full days with pop-up performances of six Graham solos choreographed in the 1930s. The works were presented in dialogue with the current exhibition “Art for the Millions: American Culture and Politics in the 1930s,” an exploration of how artists expressed political messages and ideologies through a range of media. The nation, during that period─much as it is today, was polarized with political division and social upheaval, and artists used their craft to connect with the public and transmit ideologies. Martha Graham held strong opinions on social issues and the human condition. These inspired much of the work she created in the 1930s, not long after founding her company in 1926. Many of the solos presented at the Met were either lost or forgotten after a period of not being performed and are skillful reconstructions by former company members from photographs.
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’Tis the season, so it would be churlish to pick holes in Christopher Hampson's glorious confection, adapted from Peter Darrell's iconic work.
FREE ARTICLELike two cicadas advancing, springing instep with each other, Tra Mi Dinh and Rachel Coulson manifest from the shadows of the deep stage of the new Union Theatre.
Plus“I can’t even stand it,” exclaimed Tina Finkelman Berkett about the Perenchio Foundation grant that her dance troupe, BodyTraffic, recently received.
PlusBeneath a tree also over a century old is where I meet dancer and artist Eileen Kramer, and where the 60-minute loop will end. And it feels fitting, on the heels of her recent death on November 15, 2024, at 110-years-of-age, to start here, at effectively the end of Sue Healey’s screening of On View: Icons.
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