Over the course of the sometimes jarringly eclectic 85-minute program, Fisher guides the New Hazlett audience through personal stories of rejection, partnership and divorce, and contentment.
A Love Supreme, a performance bridging classical opera and jazz, basked in vocalist Anqwenique Wingfield’s confidence.
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.
“This is a thing I’ve been trying to put into words forever,” Dr. Jason Mendez says to Dr. Tameka Cage Conley about pain, healing, and the conflict of trauma and joy. In their duologue Redemption: Sons, they have succeeded.
David Bernabo and Natalia Gomez spend a good deal of time trying to crack the system of a complex kinetic work.
“It’s not completely about the gesture of the figure, but also about the modeling—the detail of the hands, feet, and the rib cage.” The Object looks at sculptor Paul Bowden’s Two Figures, Front to Front.
Driven by dream logic and swept along by its charming “crankie” style, Cole Hoyer-Winfield’s Midnight in Molina at the New Hazlett Theater proved entertaining and refreshingly vivid.
On view at 707 Penn Gallery, Waxing & Waiting is a radical, orchestrated collection of science experiments.
“These pieces, in a structural flux, exist between solid and gelatinous forms.” David Bernabo and Natalia Gomez examine the enigmatic creations in Brandon Boan’s Waxing & Waiting.
In “A Black Man Made This Art,” a trio of coordinated shows including one at the Braddock Carnegie Library, D.S. Kinsel brings his agitational approach to themes of patriotism and oppression.