before
after
in Troy, New York:
Friday, April 29, 2016
Saturday, April 23, 2016
Friday, April 22, 2016
Thursday, April 14, 2016
Wednesday, April 13, 2016
Saturday, April 9, 2016
Blondell Cummings (1944 - 2015)
I knew Blondell. I met her in about 2008, which was the year that we both joined the same women's social group. I always wanted to interview her for marjorie-digest, but Blondell was shy and modest about her many accomplishments and very interesting life.
I lost touch with Blondell in about 2012.... but I would think of her from time to time and remember pieces of the great conversations we had on so many different topics. I learned today that she passed away last year and there was a memorial for her last October that can be viewed on YouTube.
Rest in peace, Blondell. I only knew you a short time, but you truly possessed great gifts and had a wonderful spirit.
from Dance Magazine
from the NYTimes
I lost touch with Blondell in about 2012.... but I would think of her from time to time and remember pieces of the great conversations we had on so many different topics. I learned today that she passed away last year and there was a memorial for her last October that can be viewed on YouTube.
Rest in peace, Blondell. I only knew you a short time, but you truly possessed great gifts and had a wonderful spirit.
Blondell Cummings, dancer and choreographer, in 1991.
The National Endowment for the Arts designated one of her works, “Chicken Soup,”
as an American masterpiece in 2006.
from Dance Magazine
from the NYTimes
Sunday, April 3, 2016
from "Slowly He Starts"
“I did not know him, I knew my idea
of him.”
― Sharon Olds
Jack Vettriano, "Yesterday's Dreams"
Saturday, April 2, 2016
at MoMA
coming soon!
in the NYPost
Edgar Degas: A Strange New Beauty
"Edgar Degas is best known as a painter and chronicler of the ballet, yet his work as a printmaker reveals the true extent of his restless experimentation. In the mid-1870s, Degas was introduced to the monotype process—drawing in ink on a metal plate that was then run through a press, typically resulting in a single print. Captivated by the monotype’s potential, he immersed in the technique with enormous enthusiasm, taking the medium to radical ends. He expanded the possibilities of drawing, created surfaces with a heightened sense of tactility, and invented new means for new subjects, from dancers in motion to the radiance of electric light, from women in intimate settings to meteorological effects in nature. The monotype also sparked a host of experiments for Degas, who often used the medium as a starting point from which an image could be reworked and revised. This process of repetition and transformation, mirroring and reversal, allowed Degas to extend his approach to the study of form. The profound impact of his work with monotype can be seen in his variations in different mediums of key motifs, revealing a new kind of artwork that was less about progress or completion than endless innovation."
in the NYPost
Edgar Degas: A Strange New Beauty
"Edgar Degas is best known as a painter and chronicler of the ballet, yet his work as a printmaker reveals the true extent of his restless experimentation. In the mid-1870s, Degas was introduced to the monotype process—drawing in ink on a metal plate that was then run through a press, typically resulting in a single print. Captivated by the monotype’s potential, he immersed in the technique with enormous enthusiasm, taking the medium to radical ends. He expanded the possibilities of drawing, created surfaces with a heightened sense of tactility, and invented new means for new subjects, from dancers in motion to the radiance of electric light, from women in intimate settings to meteorological effects in nature. The monotype also sparked a host of experiments for Degas, who often used the medium as a starting point from which an image could be reworked and revised. This process of repetition and transformation, mirroring and reversal, allowed Degas to extend his approach to the study of form. The profound impact of his work with monotype can be seen in his variations in different mediums of key motifs, revealing a new kind of artwork that was less about progress or completion than endless innovation."
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