“I hadn’t seen a story where mental health in the black community was tackled, one, at all; two, with comedy; and three, as a musical comedy”: For the New Hazlett’s CSA Program, Monteze Freeland puts the finishing touches on his play Kalopsia.
We visit painter Jamie Earnest’s studio to talk collage, painting politics, and solving problems.
Lindsay Fisher, a professional dancer and educator, is preparing her New Hazlett performance Over Exposed, a program that peels back the curtain on the vulnerable in all of us.
“For the first time in my life, I suddenly found myself in a duet”: Videographer Mike Cooper shares the story behind the unexpected creation of his own artistic form.
Layers of colored fabric continually unfold, generating new patterns, textures, and shapes in Hannah Thompson’s “Proxemics.”
Matthew Conboy gifts local art to Pittsburgh newborns. For The Glassblock, he shares the details of his Start with Art program’s financials.
A Love Supreme, a performance bridging classical opera and jazz, basked in vocalist Anqwenique Wingfield’s confidence.
Composer Laura Kaminsky and artist Rebecca Allan discuss nature, political art, and the Pittsburgh Opera’s upcoming performance of Kaminsky’s As One.
Smoke, electricity, micro-organisms. Fashion designer Iris van Herpen takes inspiration from the natural world and uses unnatural techniques to bring her work to life.
Long-distance collaborators Barbara Weissberger and Eleanor Aldrich use illusion to play with material and material to play with illusion.