the arts paper october 2015

The Arts Paperartists next door 4 kristina newman-scott 6 tim parrish 8 creative conservation 18

a free publication of the Arts Council of Greater New Haven • newhavenarts.org October 2015

page 10

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CWOS 2015

2 • newhavenarts.org october 2015 •

staff

Cynthia Clair executive director

Debbie Hesse director of artistic services & programs

Lisa Russo advertising & events coordinator

Winter Marshall executive administrative assistant

David Brensilver editor, the arts paper

Amanda May Aruani design consultant

board of directors

Eileen O’Donnell president

Rick Wies vice president

Daisy Abreu second vice president

Ken Spitzbard treasurer

Wojtek Borowski secretary

directorsLaura BarrSusan CahanRobert B. Dannies Jr.Todd JoklMark KaduboskiJocelyn MamintaJosh MamisRachel MeleElizabeth Meyer-GadonFrank MitchellMark PotocsnyDavid SilverstoneDexter SingletonRichard S. Stahl, MD

honorary members

Frances T. “Bitsie” ClarkCheever Tyler

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Kristina Newman-Scott

Q&A with State’s Culture Director

4 Artists Next Door

Elm Shakespeare Welcomes Goodheart

8 Collaborative Conservation

New Techniques Meet Old at IPCH

18The Roundtable: Tim Parrish

From Memoir to Op-Ed Page

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october 2015

The Arts Paper

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• october 2015 newhavenarts.org • 3

In putting this issue together each year, there comes a moment when I say to myself, “If it’s October …” It’s a nod to the late Tim Russert, and refers, of course, to Artspace’s an-nual City-Wide Open Studios festival. Now in its 18th year, the program continues to grow in scope and pur-pose (if I may borrow again, this time from the feature story you’ll find on page 10). More than 350 artists are participating in this year’s CWOS festival, which, once again, makes use of the Goffe Street Armory and invites art lovers to visit artists’ stu-dios in Hamden, New Haven, North Haven, and West Haven, and in Erec-tor Square, and has established a presence in Westville (just wait until you read what’ll be happening there),

a community that Artspace’s gallery director, Sarah Fritchey, describes appreciatively as a true “artist col-ony.” The theme of this year’s festival, “Dwelling,” has inspired some very compelling work from artists who are relatively new to the area, a reflection of the community-building Helen Kauder, Artspace’s executive director, and her colleagues enthusiastically pursue through art.

Between CWOS weekends — yes, that’s a hint that I’d like you to expe-rience the festival — enjoy Lucy Gell-man’s article about the fascinating work that’s being done at the Institute for the Preservation of Cultural Her-itage, in West Haven, and meet (if only by way of this publication) Elm Shakespeare Company’s new produc-

ing director, Rebecca Goodheart, with whom Hank Hoffman sat down for his monthly Artists Next Door fea-ture, and the State of Connecticut’s recently appointed director of culture, Kristina Newman-Scott, with whom I conduction a Q&A-style interview.

This issue of The Arts Paper also includes a column — the first of two parts — by author Tim Parrish, who teaches fiction and memoir writing at Southern Connecticut State Univer-sity and is the co-coordinator of the university’s MFA program in creative writing. In his column, Tim shares his recent experiences summarizing his memoir Fear and What Follows: The Vi-olent Education of a Christian Racist for an op-ed piece a New York Daily News editor solicited days after Dylann Roof murdered nine African Ameri-can churchgoers in Charleston, South Carolina. The second part of Tim’s column will appear in the November

issue of The Arts Paper. Next month, after this year’s CWOS

festival has come to an end, The Arts Paper will keep you out and about with an article about Placing Literature, an online database of specific locations that appear in books.

We hope you enjoy the stories pre-sented herein and that you’ll remem-ber to recycle this print publication once you’ve finished reading it.

All together now: “If it’s October …”

Sincerely,

David Brensilver, editorThe Arts Paper

In the Next Issue …

october 2015

The Arts Paper

On the Cover

A coed, college preparatory day school for grades 7-12 203.397.1001 • New Haven, CT • hopkins.edu

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Oct. 28, Nov. 18 & Dec. 19, 2015

During the Entire Month of October!

A rendering of Dennis and Amy Daniels’ instal-lation 3/4 Dwelling. The installation will be part

of this year’s City-Wide Open Studios. See story on pages 10 & 11. Image

courtesy of the archi-tects and Artspace.

The November issue of The Arts Paper will include an article about the Yale Cabaret, which is currently in its 48th season. Pictured here: Baize Buzan as Ada in Yale Cabaret’s April 2015 production of Jessica Rizzo’s Sister Sandman Please. Photo by Joey Moro/courtesy of Yale Cabaret.

Letter from the Editor

october 2015

The Arts Paper


A New (Haven) Champion of the Bardartists next door

hank hoffman

A passionate person since she was a child, Rebecca Goodheart said, “I was always too big, too loud, too intense, too dramatic — ‘Use your inside voice, Becky!’”

But she found a focus for her passion in the plays of William Shakespeare. After hanging out with an older sister, participating in an af-ter-school Shakespeare program, Goodheart — then 13 — was entranced.

“I went home that day — I can see the light in the room, I can smell it, feel the air. I opened up the play and found the words [spoken by Juliet], ‘My bounty is as bound-less as the sea, my love is deep, the more I give to thee the more I have because both are infinite,’” Goodheart remembered, in an in-terview at New Haven’s Edgerton Park. “And I said those words aloud … and it was the first time I wasn’t too much. I had to stretch to fill those words.”

Goodheart is the new producing director of the Elm Shakespeare Company, taking over from founders James and Margaret Andreassi. The company has staged plays by Shakespeare (and others) in Edgerton Park for 20 years along with running extensive educational programs for young people in the New Haven community.

Over a 20-year career as an actor, director, and teacher specializing in Shakespeare and voice (she teaches the Linklater method), Goodheart has worked with more than a dozen Shakespeare theaters throughout the United States. She was the director of training for the San Francisco Shakespeare Festival from 2010-2013 and, prior to that, producing artistic director of the Maryland Shakespeare Festival, an equity theater she founded in 1999. She earned her BFA from the Tisch School of the Arts at New York University and a master of letters in Shakespeare and Re-naissance literature and an MFA in directing from the American Shakespeare Center at Mary Baldwin College, in Staunton, Virginia.

She expressed enthusiasm about Elm Shakespeare’s tradition of artistic excellence, the company’s educational efforts, and strong financial base. “The succession from founder to next major chapter of any institution is a huge undertaking and can be fraught with peril,” Goodheart noted. “I see my very first obligation and call to steward and fill the very big shoes left by Jim and Margie.

“The next step is asking the question — as a community and a community of artists: What is needed and what is desired?” Goodheart observed. “I suspect that will be expanding and deepening our educational programs.”

As far as Goodheart’s personal approach

to the staging of Shakespeare is concerned, she said that the “original practices” school has had a deep influence on her. Asked to elaborate, she explained that observing original practices is “the pursuit of creating 21st century theater by understanding and exploring early modern theater practices.”

Among the institutions dedicated to original practices are The Globe in London, the American Shakespeare Center (where Goodheart did her graduate studies), the At-lanta Shakespeare Tavern, and the Maryland Shakespeare Festival.

While Goodheart said she “is not slavishly addicted to them,” there are certain princi-ples shared by original practices theaters. One is universal lighting — audiences and actors share the same lighting pool. Other principles include embracing the relationship between the actors and the audience; “em-bodied language,” which recognizes Shake-speare’s rhetoric as a “physical, visceral experience;” and the notion of “serious play.”

Of particular concern to Goodheart is the actor-audience connection. “These plays were written before the ‘fourth wall’ existed,” she noted. Shakespeare’s plays have staying power in part because “there is a dialogue between the actor and the audience. The stories being told are about what it means to be human. And they are told in a way that the audience has more access to their own humanity.”

As an audience member, you never forget you are in a theater — or, in the case of an Elm Shakespeare production, in a field — but you are also in Illyria, the setting of this past summer’s Elm Shakespeare production of Twelfth Night.

“There is an ambiguity between the char-acter and the performer that is delicious within the plays,” said Goodheart, “When Macbeth says, ‘It is a tale told by an idiot, full of sound and fury, signifying nothing,’ it is both an actor and Macbeth on stage speaking to an audience that is both audi-ence and his conscience and the denizens of Scotland.”

When Goodheart speaks of “embodied language,” she is referring to Shakespeare’s rhetoric as language meant to be heard rather than written. “If we can give our-selves over to the rhythmic patterns of the language, it will take us where Shakespeare wants us to go,” Goodheart said.

Goodheart recalled that at the last the-ater she worked, audience members would ask after the show, “Why did you translate the play?” She found the query puzzling. The plays are in English — modern English even — “’it’s not Beowulf.”

“And then they’d say, ‘But I can under-stand it!’” Goodheart said. “When we em-body language, it stops being archaic.”

As for “serious play,” Goodheart noted, “He was a playwright who wrote plays that were played in playhouses by players. They didn’t become ‘works’ until about 150 years later.” Shakespeare’s plays were popular entertainment, and still are.

“One of the things I love about Shake-speare in the park is that everybody gets to let their hair down. Have a glass of wine, have a picnic. The kids can play in the grass,” Goodheart said. “We have this great art and we take the art very seriously, but everything we do is done with a sense of play. These are plays that can matter

in our lives, but we don’t have to engage with them as if they were a dose of ‘cultural medicine.’”

Asked what the plays offer contemporary audiences, Goodheart said, “If you asked me that question even three years ago, I would have said it had to do with the lan-guage.” But after working on Shakespeare internationally — in the Czech Republic, Brazil, and Germany, among other locales — she observed, “Everybody does Shake-speare and they all speak of Shakespeare as if he was theirs. He speaks for them.

“So it’s not just in the language. The meter, a lot of the poetry, the rhetorical things I’m talking about — they don’t show up in other languages,” Goodheart said.

The cross-cultural appeal of Shake-speare’s oeuvre resides in the stories, as-serted Goodheart. Collectively, they teach us “what it is to be human — what it is to love, what it is to hate, the good of what is human, the bad of what is human.” They span the gamut, encompassing acts of gross cruelty — Gloucester getting his eyes poked out in King Lear — as well as such sublime moments as Juliet falling in love when she is 14.

“They give words to the biggest, most expansive versions of ourselves. As both audience and artists, we get to live in and find expression for tidal waves of experi-ence and emotion that we all feel and that daily life doesn’t allow us to give expression to,” said Goodheart.

“And the other thing is, they are really good stories!” Goodheart added. “They have music, dancing, laughter, and jokes and are really funny.” n

rebecca goodheart takes the helm at elm shakespeare company

Rebecca Goodheart. Photo by Sydney Angel.

october 2015

The Arts Paper


debbie hesse

have been thinking about how things have changed since I was first intro-duced to the social-media universe

in 2009 through a show I organized called Status Update, which was held at Haskins Laboratory and featured artists who were exploring social media not only as an impetus for art but as art. The show included live Twitter feeds, painted Facebook portraits selected randomly from online profiles, status updates performed as haiku, images aggregated through Google searches, and dizzying videos that layered music and text from multiple social-media sites into discor-dant expressions. Energy was high as we all explored this new realm, which was ripe for artist ingenuity. Security, priva-cy, and lost archives were some of the prevalent themes explored in an exhibit that insightfully foretold our current state of affairs.

It is no surprise that, today, artists working around the world connect and share their work, ideas, and common concerns about their artistic practices and lives on Facebook, which is how a show in which I recently participated — Going Big, at Offline, an interdisciplinary gallery space at Central Booking Gallery in New York City — evolved. The show, which was on view in late July and Au-gust, was the brainchild of artists Suzan Shutan (Connecticut) and Susan Carr

(Massachusetts). Shutan and Carr in-vited artists they knew from Facebook — and with whom they’d been sharing art and ideas for years — to participate.

“Social media is the next best thing to walking a red carpet,” Shutan said. “Its informality allows you to reach out to people in the position of sharing de-velopmental ideas, as well as those able to help your career. Engaging with them in both personal posts about family or travel and critical viewpoints can some-times get ‘spotlighted.’ Participating in an encouraging atmosphere that is inter-generational and multicultural allows for growth of a community of kindred cre-ative spirits. They, too, can offer oppor-tunities in both far-flung locations and better-known metropolitan centers.”

The ambitious project brought to-gether 111 artists in the ironically named gallery space, Offline. The sense of spirit and cooperation throughout the entire process was heartening. Equally compelling was the unique parallel show that unfolded on the Going Big Facebook page, which instigated unique, nuanced social interactions and inspired curato-rial spinoffs. Going Big moved artists and visitors alike, seamlessly, between the physical and virtual worlds and deftly framed the impact social-media plat-forms have had on creative practices. n

Status Update was the subject of a July 2, 2009 New York Times article headlined

“Where Art Meets Social Networking Sites.”

Debbie Hesse is the Arts Council’s director of artistic services and programs.

Being Online at Offlinethe ac sounds off on...

Going Big, at Offline at Central Booking, in New York. Photo by Fred Gudzeit.

the impact of social media on creative practices

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The Arts Paper


Q&A with Kristina Newman-Scottdavid brensilver

n May, Kristina Newman-Scott began her tenure as the State of Connecti-cut’s director of culture, a position

created from one with a much broader description and range of responsibilities within the Department of Community and Economic Development, following a reor-ganization of that agency. Newman-Scott was hired specifically for her arts back-ground, having previously served as the City of Hartford’s director of marketing, events, and cultural affairs. Before that, Newman-Scott served as director of visu-al arts at Real Art Ways, in Hartford, and as director of programs at Boston Center for the Arts, and has worked in film and television production. She earned an undergraduate fine-arts degree from the Edna Manley College of the Visual and Performing Arts, in her native Kingston, Jamaica. What follows is an email inter-view conducted in August.

Q: What are some of the common con-cerns artists and arts organizations have expressed to you since May, and what have been your responses? How can individual artists and arts organizations have their voices heard in Hartford?

A: The message I hear over and over again is that there isn’t enough funding and arts organizations across the state are concerned with a lack of operating support. Most of the funding that is avail-able to arts organizations today comes with restrictive programmatic parame-ters. The restrictions that are placed on these funds often pigeonhole efforts from the organization into areas that may not align with their core mission. This makes it increasingly difficult for them to focus on their areas of expertise and can po-tentially dilute the very reason they exist. On the other hand, artists themselves are agile enough to infuse their creative vision into these programmatic channels. Now that (Connecticut Office of the Arts) is providing funding opportunities for individual artists, the response has been very positive. Supporting the entire breadth of the arts field is our number one priority.

Q: How will the reorganization of the Department of Economic and Com-munity Development (and your role therein) be more effective in supporting the state’s artists and arts and cultural organizations?

A: I think the intention behind sepa-rating the arts and historic preservation from other divisions was to allow for more focused efforts and direct support from the commissioner. Having worked as a practicing artist, a curator, and arts administrator, I’ve been deeply rooted in the arts for my entire working career. This gives me the ability to truly connect with artists/arts organizations in an authentic and meaningful way — as I know what it is like to be in their shoes.

Q: Are you in a position to work with departments outside the DECD — the Department of Education, for instance — to make sure that all residents have access to arts programming, and that the arts are in good hands as we look to the future?

A: Yes — the commissioner [Catherine Smith] is always looking for opportunities for synergy between the DECD and other state agencies. I’m particularly motivated to leverage artistic perspectives and cre-ative strategies whenever there is an op-portunity to do so because bringing those perspectives into any such conversations will likely lead to innovative outcomes. Over the last three months I’ve met with several agency leaders to talk about just this topic and am very optimistic about moving forward on targeted initiatives over the next year. Stay tuned.

Q: In a general way, how might artists and arts organizations better position themselves to receive state support?

A: Generally, for artists or arts organi-zations funded by the Office of the Arts, the selection process is highly competi-tive. Therefore it is imperative for artists and arts organizations to be performing at the highest level. This would include improving grant-writing skills, better awareness of national arts strategies, and closer engagement with their own communities. The staff here at the Office of the Arts looks forward to providing support to arts organizations in all three of these areas.

Q: How might artists and arts organi-zations think about positioning them-selves to be less dependent on state support?

A: In artistic practice, the benefactor has always played an important role. Over the last several decades that role has shifted from individual benefactors to the state. We have to find ways to high-light the idea that investment in the arts is good for the economy.

Q: In what ways, besides funding, can the state support artists and arts orga-nizations?

A: Artists and arts organizations are part of a much larger ecosystem. We attempt to raise the level of discourse and demonstrate the relevance of artistic practice to that ecosystem. Part of our role is to provide access to proven models of artist-driven economic development and innovative methods for community building. This might look like: a series of tool-kits developed in partnership with our constituents that respond to their specific and varied needs; more focused convenings (free and accessible) with our regional and national partners; and ensuring that the leaders of our nine Des-ignated Regional Service Organizations (DRSO) across the state are at the table to advocate for and educate us about the needs of their own communities.

Q: Have you con-ceived any specific statewide programs as you work to pro-mote the arts in our communities? Are there any programs you established in Hartford that might be reimagined on a statewide scale?

A: While I’m com-ing into this job with substantial program-matic experience, I’m taking a very strategic approach to this new position. I am listening to all stakeholders in the community and am working with them to develop practices that will strengthen our arts infrastruc-ture. We know that the best solutions come from a variety of perspectives, and we need to allow for those conversations before charting a new path.

Q: If the arts serve as an economic en-gine, as we know they do, shouldn’t the state invest in the arts?

A: The state absolutely invests in the arts; we are in the top 10 nationwide in terms of per capita state investment for the arts. Connecticut is fortunate to have a long history of very strong support for the arts from both the executive and legislative branches. Obviously, the last budget cycle was challenging for many programs. However, we have a very strong foundation on which to build.

Q: How can the state’s arts sector be leveraged to address social-justice issues?

A: I know of many artists and art or-ganizations that do great work within the social-justice movement across the state such at Jeffrey Green, Titus Kaphar, Judy Dworin, and Wally Lamb’s work with the incarcerated. I have been inspired by the amazing work done by these art-ists. From my own personal experience working with Jessica Mindich and the Raise the Caliber project, which launched a national campaign to end illegal gun violence in Hartford, I recognize the arts’ unique power to address the most com-plex of social-justice issues. I’m inter-ested in exploring how the Office of the Arts can better connect and strengthen this work.

Q: Can place-making initiatives be applied to the entire state? Or, is place-making something that should focus on individual towns, cities, and cultural centers?

A: I believe that place-making, while it can be a powerful approach to cel-ebrating the unique connections be-tween culture and place, is essentially one tool among many.

Q: How does the approach to arts-related policy in your native Ja-maica differ from the approach we take here in the United States and from state to state?

A: Having left Jamaica more than a decade ago I’m not sufficiently familiar with current Jamaican policy on the arts to compare it with U.S. policy and policy from state to state. Arts policy is appropriately shaped to each individual place and as a field we do best when we take inspiration from the strongest work of our peers, wherever they may be. One of the most exciting aspects of this position is my participation in na-tional and international dialogue.

Q: How might you call on your vi-sual-art- and television-production experience as you work to support the arts here in Connecticut?

A: I chose to stay in Jamaica for art college versus studying abroad. The limited resources taught me to be curi-ous and agile in a way that I think has served me well. Whether it was visual arts, TV/radio production, or curatorial work, I was ready to immerse myself. So, for me it’s less about the specific skills of my past and more about how I got here. No one person has all the right answers. What I do bring is a genuine curiosity and hunger for under-standing. My hope is that this will be a good place to start. n

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connecticut’s director of culture

Kristina Newman-Scott. Photo submitted.

october 2015

The Arts Paper


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Somewhat Off the Wall a Successphotos by amanda may aruani

Somewhat Off the Wall was a great success! Guests and artists mingled together at the Gallery at EleMar for the seventh incarnation of this fabulous event.

We’d like to thank the 49 artists who each donated three original works of art. Without their donations and artistic talent, Somewhat Off the Wall would not have happened. We’d also like to acknowledge the volunteers who helped install the artwork and provided food service for the reception.

Huge thank-yous are offered to our spon-sors for their generous support: Suzio York Hill, Walter and Martha Maguire, Thomas A. Martin and Harold S. Spitzer, Mark J. Potocsny – First Vice President/Financial Advisor of Morgan Stanley Wealth Man-agement, Wells Fargo Advisors, and EleMar New England Marble & Granite.

We’re also grateful for the support of the following local restaurants and businesses: Affiliated Foot and Ankle Surgeons, Barra-cuda Bistro & Bar, Eubank Frame, Hull’s Art Supply and Framing, Kumo Japanese Hibachi Steakhouse, Odonnell Company, P&M Or-ange Street Market, Project M.O.R.E., Trader

Joe’s, Whalley Glass, and Whole G Cafe.And we greatly appreciate the fabulous

door prizes provided by Coastal Wine & Spir-its, Levy Dental Group, Long Wharf Theatre, Salon H, and Skappo Italian Wine Bar.

Event-goers enjoy Somewhat Off the Wall during the Arts Council fundraiser at the Gallery at EleMar in New Haven.

Arts Council board member and event sponsor Mark Potocsny, left, with board President Eileen O’Donnell.

Arts Council board member Jocelyn Maminta. Left to right: Artist Ronnie Rysz with his wife, Tori, and artist Roxanne Faber Savage.

Left to right: Barbara and Richard Feldman with artist Vanilia Majoros. Left to right: Artist Karen Ciocca with Todd and Christina Thomas.

october 2015

The Arts Paper


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From Memoir to Op-Ed Page tim parrish

was sheened in late-June sweat and house dust from cleaning — a sort of down-home feeling for a Louisiana

transplant. I’d promised myself I was going to give my eyes, brain, and anxiety a break and not go on my computer that day, but of course I took a break from the mop and gave in. An email popped up from the op-ed editor at the New York Daily News: “Looking for a personal/psychological/sociological piece in wake of Charleston church murders on growing up racist and how families and communities must confront simmering hate. Any interest in writing something?”

It was just days after Dylann Roof had murdered nine people in South Carolina, and both horror and recognition, though sadly not shock, were still filtering through me. I’d been raised a racist, had acted out on those beliefs until as a teen I rejected my powerful racist Svengali’s urging to burn some black people’s house as retribution

for the stabbing of a friend — until the fol-lowing year I had the sense knocked into me during a racial gang fight at school, a fight I’d convinced myself was a way of pro-tecting my neighborhood and parents from African Americans who were moving in. I’d convinced myself that I was taking a stand in the name of honor after some black classmates had broken into a hardcore rac-ist’s house and beaten up his grandmother. My path and the reasons for taking it were complex: fear; a desire for acceptance from my father, my church and many around me; a skewed sense of masculinity.

I had explored all these things at length in my memoir, Fear and What Follows: The Violent Education of a Christian Racist, a book the Daily News editor knew about and the reason he’d contacted me. For two years, on-and-off the road, I had talked about my racist upbringing, my actions, and my ongo-ing struggle with the indoctrination that still exists deep within me, had spoken often about how I believe that most of white

America, even liberal America, is still indoc-trinated and that racist thought can be sub-tle and insidious and often unknown. And sitting in front of my computer, I realized that, at least unconsciously, I’d structured something in my head relevant to the Roof murders. I asked about deadline and word count. “Seven p.m. 1,500 words.” I said yes. Then I sat back. It was 1 p.m.; I had a haircut appointment; I needed to shower; I had a date with my girlfriend, Sarah; and I realized I hadn’t structured anything as short as 1,500 words. But I’d agreed, so I picked up my notebook and began scrawling.

The draft poured out from a theme. The poisonous thinking that had fueled

Roof had also fueled me, and even though his action was nightmarishly extreme, the way of thinking that drove him comes not only from right-wing media outlets but also from many of our institutions and mass media, a way of thinking that most white Americans, even liberal Americans, must root out and constantly deprogram. After

revisiting the process of self-recognition

the roundtable

Tim Parrish’s memoir was published in August 2013 by the University Press of Mississippi.

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october 2015

The Arts Paper


less than two hours, I fired off the draft, showered, and went to my barber. When I came home, there were five emails with five revised drafts from three different editors. I thanked my hair for taking me away, because now I only had to deal with the suggestions in the latest email. Those suggestions were a combination of smart structural and thematic advice combined with edits that showed almost total lack of sensitivity for fresh prose and the style of the piece. I tamped down my literary fuss-iness, focused on the piece as provocative genre, and arrived somewhere between what I and the editors wanted. I also sent the revision to Sarah, who’s also a writer, and she helped me clean up two meta-phors. By 6:30 p.m., the editors and I had reached agreement on the final draft. The piece was scheduled as the main op-ed in the Sunday News.

I sat back and breathed. For my last two small-press books, I hadn’t even had an editor, had worked only with a copy edi-tor after the manuscript was accepted, a strange and isolated experience. I’d also worked for years on the memoir and had the novel in my hands, though shelved part of the time, for 10 years. Now I had a piece that I’d written, submitted, received feedback on, re-vised, resubmitted, further edited, resubmitted, etc., and had accepted over a span of six hours with personal hygiene and haircut in between. The feeling was both satisfying and dis-orienting. I went to get Sarah to have a small celebration of sorts, the irony of celebrating a piece of writing spurred by the slaughter of African Americans and by the most intractable problem in America as clear to me then as it has been since my memoir was pub-lished. I sensed, but didn’t fully anticipate, that my awareness wouldn’t at all stanch the accusations of exploiting suffering.

The next day it began to sink it that within 24 hours, my 1,500-word condensa-tion of an idea central to my 200-plus page memoir would potentially have an audience hundreds of times larger than the book’s audience. My petty self reveled in this, since a number of New York agents, the few larger presses I’d tried, and, most dis-missively, my hometown and alma mater’s press, had passed on the book. However, the more sensible part of me began to take in that the admission of my past as a racist and my confession about still struggling with racist thoughts were about to expose me in a way that wasn’t comparable to what had gone on before, even though I’d regularly been in the spotlight of literary events and my book had been the first-year read at my school, Southern Connecticut State University, where I put on several events and visited numerous classes to discuss it.

I was also thinking over the differences in process between writing the op-ed and

writing the memoir that made the op-ed possible. I’d labored over the book for seven years. At times the personal mining, guilt, shame, rage, self-loathing, hatred, resultant depression, and reckoning had nearly taken me down and had certainly damaged at least one serious relationship. I hadn’t really wanted to write the book, but the post-9-11 fear and hysteria gripping the country, plus the Bush administration’s use of fear-mon-gering and jingoism to gain support to attack Iraq, brought up feelings about my own past that I knew I had to get on paper. I am a writer who discovers through process, and in writing fiction I always know the first however-many-drafts will reflect the process of learning who my characters are and what the story is. Drafting a memoir was far more intense. It meant peeling back layers of myself, made sitting down to write like walking through a forest of lightning.

I’d scolded myself for saying I suffered while I wrote this book. Others had also scolded me, their charge being that I have no right to mention my suffering while ad-mitting to contributing to the suffering of African Americans. I understand this point

while knowing that I would never compare my suf-fering in coming to self-recognition and attempting to share my experience to the experience of any Black person in America. But suffer I did before I was even close to understanding where the narrative focus had to be and what the balance between dramatic rendering of the events of my young

life and the less-natural-feeling exposition about racism was to be. The subject matter and the ethical issues of what to reveal about whom, how to fairly represent people from my perspective, what inflammatory language was needed to convey my truth, and on and on were infinitely complicated and unresolved, and are so even now. And then there was my laboring over every word, sentence, paragraph, and chapter, and my ongoing dissatisfaction with my prose as I read it aloud after publication. In short, I was careful, meticulous, sensitive, and thoughtful at every step. Then in one afternoon I had churned out some of the same material and made quick concessions to language. Several friends basically said, “Yeah, but it’s only The Daily News, not The Times, so consider the audience and whether anybody will even read it.” n

To be continued in the November issue of The Arts Paper.

Tim Parrish teaches fiction and memoir writ-ing at Southern Connecticut State University

and is the co-coordinator of the university’s MFA program in creative writing. His memoir, Fear and What Follows: The Violent Educa-

tion of a Christian Racist, was published in August 2013 by the University Press of Missis-sippi. His novel The Jumper was published in

October 2013 by Texas Review Press.

Tim Parrish teaches fiction and memoir writing at Southern Connecticut State University. Photo courtesy of Mr. Parrish.

“(Drafting a memoir) made sitting down to

write like walking through a forest

of lightning.”-Tim Parrish

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The Arts Paper


david brensilver

he goal of Artspace’s annual City-Wide Open Studios festival, if it’s fair to identify a single, overarch-ing one, is to facilitate connections

between artists and audiences, the latter including but not limited to collectors, cura-tors, academics, and members of the local community.

Now in its 18th year, City-Wide Open Stu-dio takes place over the course of the month of October, with events and artwork on view at Artspace, the Goffe Street Armory, in art-ists’ private studios in Hamden, New Haven, North Haven, and West Haven, and in Erector Square. More than 350 artists will have work on display during the festival. To help make the above-mentioned connections, Artspace has called once again on an impressive roster of guest curators.

“In my experience,” Artspace’s gallery director, Sarah Fritchey said, “it’s a personal connection to an artwork that makes you fall in love with it and buy it. But if you’re running from studio to studio without taking a quiet moment to contemplate the work or meet the artist, then you’re missing the point. The curators help slow down the looking process.”

Olu Oguibe, a practicing artist and an art professor at the University of Connecticut, will lead tours of three artists’ studios — one in Hamden and two in New Haven — during “Transported Weekend.” Such visits, he said, get artists “to speak about their work, which is not something that artists do all of the time.” Studio visits, Oguibe said, encourage artists to think about areas of their work on which they might not otherwise focus too much; provide opportunities for visitors to learn more about an artist and potentially buy a piece of his or her work; and serve as pub-licity events. His role in leading studio tours will be to guide the experience for all involved and to tease out certain areas for discussion.

Jennifer Gross, chief curator and deputy director of curatorial affairs at the deCordova Sculpture Park and Museum in Lincoln, Mas-sachusetts, pointed out that “relationships happen out of something like this.” Prior to joining the staff at deCordova, Gross spent 13 years as curator of modern and contempo-rary art at the Yale University Art Gallery. She appreciates the importance of CWOS. “It’s one of the things that speaks to the vibrancy of the artist community in New Haven,” she said.

Gross regularly visits artists’ studios

throughout New England, particularly with an eye on deCordova’s biennial festival. In other towns, she said, she meets artists who work largely in isolation. The opportunity that CWOS affords artists — an opportunity to share work and ideas — “speaks to the vital-ity of New Haven.”

“The reason for creating an open-studio event emerges from two desires: first, the desire to know something more about an artwork and an artist; and second, to remove institutional gatekeepers. We learn a lot about a body of work by seeing it in an artist’s dwelling space,” Fritchey said. “Arguably, one could think about the studio environment itself as a supplement to an artist statement. How much light is there? How big is the space? How messy? What music is playing in the background? Is there food? A bed? Plants? Is there evidence of other artists or guests? And then how do these environ-mental conditions make their way into an artwork?”

“Dwelling” is the theme of this year’s CWOS festival. It’s one that Fritchey believes “is central to all open-studios events, not just Artspace’s.”

“The more specific question of ‘how we dwell as an artist community’ has come to

the foreground as CWOS has evolved into a four-week festival” and expanded to provide exhibition opportunities, in venues like the Goffe Street Armory, for artists from beyond the Greater New Haven area — those “whose studios could not realistically be reached over the course of one weekend.

“‘Dwelling,’” Fritchey said, “points to a second truth about contemporary artist communities — how to survive as artists or art practitioners.” It also brings into question how the community is “involved or even con-sidered” in the planning of art festivals.

CWOS, she said, calls on artists “to re-spond to and account for our shared time and space.” That focus reminded her of controversial German philosopher Martin Heidegger’s 1951 essay Building, Dwelling, Thinking — particularly Heidegger’s question: “What is the state of dwelling in our precari-ous age?”

“To dwell does not necessarily mean to ‘inhabit’ or ‘to build,’” Fritchey said. “To dwell acknowledges the possibilities of finding structure through language and hospitality, among other things.”

“Dwelling,” Artspace’s executive director, Helen Kauder, said, is “also connected to what goes on in your mind … and that, in a

“Dwelling” on Meaning CWOS Celebrates, Builds Community

Julian Rose leads a studio tour during “Transported Weekend” 2014. Image courtesy of Artspace.

T

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The Arts Paper


sense, is what makes us human.”The 80,000-square-foot drill hall at the

Goffe Street Armory, a venue to which the CWOS festival returns this year for “Alterna-tive Space Weekend,” will serve as a space in which artists Dennis and Amy Daniels, Hong Hong, and Nick Pfaff explore that theme from various angles.

Dennis and Amy Daniels, who work at Gregg Wies and Gardner Architects and Newman Architects, respectively, have cre-ated an installation called 3/4 Dwelling, one that, according to their proposal, “is not illu-sive, but is incomplete.” The installation is a partially constructed — or deconstructed — living space, one that “will be almost entirely left to interpretation.” In the proposal, the husband and wife team explain: “We propose making a blueprint on the floor of what might be found in a typical dwelling unit. This blue-print not only illustrates what could be there, but also what might have been there at one time and is now gone.”

In conceiving 3/4 Dwelling, Amy said, she and Dennis started with the question: “What does it mean to dwell?

“As architects, we’re not artists, so the personal agenda is hard to define,” she said. “It’s more about putting people in a spatial arrangement that might allow for the unex-pected.”

The idea behind the installation is to create “a sense, also, of playfulness,” Dennis said. A door, within the installation, for example, will open onto a full-length mirror.

Hartford-based artist Hong Hong, who came to the United States from China at age 8 and earned a BFA from the State Univer-sity of New York at Potsdam and an MFA from the University of Georgia, has created an installation called I Cannot Feel the Ten-der-Headed Rain/Perhaps We Do Not Yet Exist, a series of overlapping wall-like panels con-structed from 9,000 Mylar cylinders (each about 54 inches long and less than an inch in diameter) that respond to the breeze that enters through the drill hall’s windows and reflect changes in light. Hong’s interest is in exploring that which is ever-present but that we don’t necessarily notice. While her in-stallation references large-scale architecture in scope, the work is designed to reflect the ever-changing environment in which it sits.

“You’ll be immersed in an installation,” she said, “that creates a prismatic, shifting view,” one that also references the act of dwelling on something that ceaselessly flickers in one’s mind.

In pursuit of creative work that calls on this year’s theme, Artspace has partnered with the Yale School of Architecture’s Building Project, in which first-year students design and build a tiny “single-family house in an economically depressed neighborhood,” as described on the Yale School of Architecture website. The project, which has been unfold-ing since summer at 193 Winthrop St., and is scheduled for completion early this month, is supported by Thach Pham, of the private equity firm HTP Ventures, and NeigborWorks New Horizons, an organization that helps to build affordable homes. A similar project was completed last summer at 179 Scranton St.

The partnership, Kauder said, offers Artspace an opportunity to “activate an empty space,” and to offer more opportuni-ties for artists.

“The idea for the collaboration is to make the house a comfortable place for neighbor-

hood residents to visit,” Fritchey said. “By adding artwork to the interior rooms of the space, we hope to make people, even those not looking to buy the house, comfortable with moving through it and looking around.” Elinor Slomba, project manager for Project Storefronts and the founder of Arts Inter-stices, an organization that helps develop creative startups and organizations, is “over-seeing the selection and installation of the works” inside and outside the house, Fritchey said.

An element of CWOS that’s new this year is a project designed to include the Westville neighborhood in the festival. During “Trans-ported Weekend,” a steamroller will be used in a massive printmaking project.

“The Westville Village Renaissance [Alli-ance] project is one that I care deeply about,” Fritchey said. Last year, only a handful of Westville artists participated in CWOS, and their absence was palpable. If I had to identify a town in Connecticut that most resembles what we think of when we talk about an ‘art-ist colony,’ I’d point to Westville.”

Clearly, CWOS has grown in scope and purpose over the past 18 years. And this year’s theme, “Dwelling,” seems to reflect all that the festival seeks to achieve.

“The reason for a theme for City-Wide Open Studios,” Fritchey said, “is only to en-courage greater exchange between the par-ticipating artists and visitors. If a theme can pose a question, or act as what curator Helen Molesworth calls an ‘object-problem,’ then we’re in a good place to get a conversation started.” n

Artspace’s City-Wide Open Studios festi-val kicks off with an October 2 reception at

Artspace. “Alternative Space Weekend” takes place at the Goffe Street Armory October 10 and October 11, followed by “Transported Weekend”

October 17 and October 18, “Erector Square Weekend” October 24 and October 25, and

programs that continue into November. Visit CWOS.org for detailed information.

A sketch of Hong Hong’s installation I Cannot Feel the Tender-Headed Rain/Perhaps We Do Not Yet Exist. Image courtesy of the artist and Artspace.

Yale Universit Y art GallerYFree and open to the public1111 Chapel Street, New Haven, Connecticut | 203.432.0600 | artgallery.yale.edu Free membership! Join today at artgallery.yale.edu/membership.

The Ceramic Presence in Modern Artselections from the linda leonard schlenger Collection and the Yale University art Gallery

through January 3, 2016

Classes & Workshops 1253 Whitney 1253 Whitney Ave., Hamden. 203-780-8890. 1253whitney.com. Thursday Social Dance. A rotating schedule of contra, square, and swing dance. Beginner friendly, always live music from local musicians, refreshments, dance callers and teachers, and a fun time at a local culture center with a beau-tifully renovated dance hall. Come meet your neighbors with a social dance, a traditional way to meet new people. Dances held on Thursdays, 7-10:15 p.m., through December 24. Contra Dance. Join the fun on Thursday, October 1, with caller Steve Holland and live band led by Stacy Phillips in the beautiful, newly restored auditorium. 7-9:30 p.m. Milonga Tango. Join professional dancer Mar-iana Fresno on Saturday, October 10, for a beginner tango lesson at 7 p.m. and dance the night away from 8 p.m.-12 a.m.

ACES Educational Center for the Arts 55 Audubon St., New Haven. 203-777-5451. aces.org/eca. Acting Classes for Kids and Teens. Pantomime, improvisation, theater games, movement, and the staging of a one-act play. Age groupings: 7-11 and 12-15 years. Performance at end of session. Call Ingrid Schaeffer at 203-795-9011 or email [email protected] for more infor-mation. Classes offered through May 7, 9 a.m.-12:30 p.m. Please call for class fees.

Branford Art Center 1229 Main St, Branford. 860-334-4642. Branford Art Wellness Workshops for Kids. Art-mak-ing activities have been shown to improve social, emotional, cognitive, and motor skills of children. This class is designed for ages 3-5. Through the use of paint, collage, puppetry, and imagina-tion, Yvonne Gordon (MAAT, BFA) will foster self-esteem, realization, social interaction, and community building. Classes offered every Tues-day, 10-11:30 a.m., through October 20. $12.50 per class, materials included. Register through Branford Parks and Recreation by calling 203-488-8304. After-School Art for Wellness. Class taught by Yvonne Gordon. Every Tuesday afternoon, 4-5:30 p.m., through October 20. $12.50 per class, ma-terials included. Register through Branford Parks and Recreation by calling 203-488-8304. Pre-School Art for Wellness Workshop. Class taught by Yvonne Gordon. Every Thursday morning, 10-11:30 a.m., through October 22. $12.50 per class, materials included. Register through Branford Parks and Recreation Department by calling 203-488-8304. Photography Classes for Middle School Children. Learn to shoot better pictures whether on a DSLR or a smart phone. Professional photographer Cathy Wilson Ramin will teach children (recom-mended age 10-14 years) the fundamentals of lighting and composition to go beyond the selfie and take photographs that others will envy. Call Cathy to register at 203-554-0365 or send email to [email protected]. Every other Fri-day, 4-5:30 p.m., through November 13. $150.

Fall Photography Classes. Professional photogra-pher Cathy Wilson Ramin will teach the funda-mentals of DSLR camera settings, lighting, and composition through hands-on classes. Partici-pants will meet at the Branford Art Center to go through a few tips and then head outdoors for practical implementation. To register, call Cathy at 203-554-0365 or send email to [email protected]. Every other Sun-day, 4-5:30 p.m., through November 15. $125.

Branford Green 1229 Main St, Branford. 860-334-4642. Fall Acting Classes at the Branford Art Center. Lori Lowe (SAG-AFTRA) has been a professional actor for more than 25 years. She recently completed her first full-length screenplay that will begin film-ing in 2016. Lori has more than 200 commercial, TV, theater, and film credits. She teaches acting in New York and Connecticut. To register for this six-week series, contact Lori at [email protected] or 203.804.0033. Classes offered every Tuesday, 7-9:30 p.m., through November 10. $165 for the six classes or $30 drop-in fee.

Connecticut Natural Science Illustrators Yale Pea-body Museum Community Education Center, 117 Frontage Road, Orange. 203-934-0878. ctnsi.com. Classes and Workshops Drawing and Painting Trees. Fall semester classes begin October 8 and run through until December. Please check online for listings and registration. Classes, offered on Wednesdays, 1-4 p.m. and on Saturdays 10 a.m.-1 p.m., include Drawing and Painting Birds, Drawing and Painting Trees, Drawing Butterflies in Colored

Pencil, and Drawing Mammals. Instructors are Dorie Petrochko and Jan Prentice. Visit website or call for fee information and to register. Nature Drawing, Painting Classes. We offer a wide range of art courses from Beginning Drawing to Mixed-Media Painting. For more information visit ctnsi.com, send email to [email protected], or call 203-695-1215. Classes offered Monday-Sun-day, 10 a.m.-5 p.m., through November 22.

Corina Studio at Erector Square 315 Peck St., New Haven. 203-871-9146. corinadotdash.blogspot.com/ p/encaustic-workshops.html. Visual Arts Classes. For those of you who want to work independently but surrounded by other creative minds, you will benefit from this moni-tored on-going class. Instructor always available for guidance, and/or critique if/when needed. You can work from photographs, we can set up a still life. From portraits to the figure to still lifes, landscape, or abstract work. Class offered Tues-days, 4-6 p.m. (pre-teens) and 5-8 p.m. (adults) through October 27. Adults (three-hour session, some materials included): $75, or $675 for 10 sessions, good for three months. Pre-teens, (two-hour session, materials included): $50, or $400 for nine sessions (good for three months) or $225 for five sessions (good for two months).

Dorothy Hafner Studio 42 Maple Lane, Westport. 203-292-5995. dorothyhafner.com.Art Glass Workshops with Dorothy Hafner. Workshops in the fine art of glass fusing with Dorothy Hafner, one of America’s leading glass artists. Participants

october 2015

The Arts Paper


CALENDAR

Mexicans, an exhibit of images by photographer Sven Martson, is on view at the Kehler Liddell Gallery through October 11. Pictured here is Martson’s Sunday in the Park, Mérida, Yucatán. Image courtesy of Kehler Liddell Gallery.


yale institute of sacred music presents

All events are free; no tickets required. ism.yale.edu

thursday, october 15:30 pm marquand chapel409 prospect st.

Patricia Hampl The Art of the Wasted Day: A ReadingYale Literature & Spirituality Series presented in collab-oration with Yale Divinity Student Book Supply

saturday, october 107:30 pmmarquand chapel409 prospect st.

Emma Kirkby and Jacob Lindberg The Golden Age Revived17th-century songs

saturday, october 17 7:30 pm st. mary’s church5 hillhouse ave.

Yale Schola CantorumMasaaki Suzuki, conductorBach: Lutheran Masses

Art Installation Specialists, LLCDesign, Installation, and Art Shippingartinstallationspecialistsllc@gmail.comartinstallationspecialistsllc.com

New Haven 203 387 2539 Guilford 203 533 8512

&

Gabriel DaSilva 203 982 3050 | Paul Cofrancesco 203 752 8260PAINTINGS • TAPESTRIES • EXHIBITIONS • SCULPTURE

2496 Boston Post Road899 Whalley Avenue

D A S I LVA- G A L L E RY.C O M

october 2015

The Arts Paper

MASTER OF ARTS IN ART THERAPY

EXPLORE ART & THERAPY

albertus.edu/maat 800-394-9982 We have faith in your future.

Explore a career using the therapeutic benefits of the arts in a highly personal, comprehensive program - the only Master of Arts in Art Therapy Program in the State of Connecticut.

Earn your Master of Arts in Art Therapy from Albertus Magnus College and enrich lives by combining psychology and art in your career as a liscensure-eligible Art Therapist.

Professional & Graduate Studies

works on loanPaintings by George Stubbs

The Metropolitan Museum of ArtThrough November 8, 2015

Selections from the Yale Center for British ArtYale University Art Gallery

Through November 29, 2015

Ford Madox Brown, The Irish Girl, 1860, oil on canvas laid on board, Yale Center for British Art, Paul Mellon Fund

Branford Alps Farmers MarketThe best of CT GROWN products under one Big Top Tent !

A community event every Thursday 4:00-7:00 PMthru October 29. 17 Alps Road, Branford, CT.

See us on Facebook.

october 2015

The Arts Paper


learn to design, cut, and compose in colored glass, making colorful multi-layered plates, platters, and panels for wall mounting. No prior experience re-quired, only the desire to explore the magic of color and light. Workshops offered through October 31. All tools, materials and equipment provided. $350. 12-5 p.m.

Institute Library 847 Chapel St., New Haven. 203-562-4045. institutelibrary.org. Storysharing at the Institute Library. The group gives its members an opportunity to share stories in a very informal atmosphere. The stories may be of any kind – traditional folk tales, myths, stories of personal experience, etc. The group is open to all levels of experience, so people with no formal experience of storytelling can try things out in a supportive atmosphere. The groups meets on the third Thursday of each month, through December 17. Free. Please register at eventbrite.com/e/storysharing-at-the- institute-library-tickets-16262893753. 5:30-7:30 pm.

ISM Great Hall 409 Prospect St., New Haven. 203-432-5062. ism.yale.edu/events/parish-based-music-schools. Workshop — Parish-Based Music Schools: Develop-ing a Community Program. One-day workshop for church leaders and musicians, offering practical tools to create and sustain a thriving music instruc-tion program in churches. October 24, 9:30 a.m.-4 p.m. $20 for lunch and materials.

The Grove 760 Chapel St., New Haven. 203-676-7133. companyofwriters.net. Fiction, Poetry, and Memoir-Writing Classes. We offer supportive, challenging workshops for writers to cultivate their individual voices. Classes offered in New Haven and online. Special one-day seminars also offered featuring such nationally known writers as Amy Bloom. Classes are held every Wednesday, 7 p.m., through November 18. $450-$475. Storytelling Seminar Speak Up cofounder and 16-time Moth StorySLAM and GrandSLAM champion Mat-thew Dicks will be teaching a day-long workshop on the art of storytelling. This is a workshop designed for people with little or no previous storytelling expe-rience and seeks to meet the goals of a wide range of participants. Full description online. One-day semi-nar, 9 a.m.-4 p.m., on October 24. $150.

Dance

4-5 Sunday-Monday Eiko Otake: A Body in Places Davison Art Cen-ter, Aslop House, Wesleyan Center for the Arts, Dancer/choreographer Eiko Otake, Visiting Artist in Dance and East Asian Studies, presents a series of intimate performances as part of her solo project A Body in Places. In this dance of solitude and fra-

gility, Eiko will explore the characteristics of each specific place and exchange an intimate gaze with each viewer. Sunday at 3 p.m., 4 p.m., and 5 p.m.; Monday at 7 p.m., 8 p.m., and 9 p.m. Davison Art Center, Aslop House, Wesleyan University Center for the Arts, 301 High St., Middletown. 860-685-3355. wesleyan.edu/cfa.

11 Sunday Alarmél Valli Internationally acclaimed Indian dancer and choreographer Alarmél Valli turns the traditional Bharatanatyam style into subtle, deeply internalized, personal dance poetry in her Con-necticut debut at the conclusion of the 39th annual Navaratri Festival. 3 p.m. Crowell Concert Hall, Wesleyan University Center for the Arts, 50 Wyllys Ave., Middletown, CT. 860-685-3355. wesleyan.edu/cfa.

15-17 Thursday-Saturday Fall Senior Thesis Dance Concert A collection of new works presented by senior choreographers as part of their culminating projects for the dance major. All three nights at 8 p.m. Patricelli ‘92 The-ater, Wesleyan University Center for the Arts, 213 High St., Middletown. 860-685-3355. wesleyan.edu/cfa.

30-31 Friday-Saturday Fall Faculty Dance Concert: Shake A rambunctious and tender duet born out of a seven-year friendship between Wesleyan University artist-in-residence Iddi Saaka and Bates College assistant professor of dance Rachel Boggia. The world premiere of their first co-choreographed work features their shared love of vibratory movement, smooth breath, and cheesy humor. Starts at 8 p.m. both nights Patricelli ‘92 Theater, Wesleyan University Center for the Arts, 213 High St., Middletown. 860-685-3355. wesleyan.edu/cfa.

Exhibitions Artspace Artspace, 50 Orange St., New Haven. 203-772-2709. cwos.org.Opening Night of CWOS 2015. A large opening reception at Artspace will kick off the City-Wide Open Studios festival. One work by each CWOS participating artist will be on display throughout the festival. The evening coincides with First Friday on Ninth Square and the Fantasmagorie exhibition of light and illumination on Orange Street that extends into the night. October 2. 5-8 p.m. Free.

Branford Green Branford Art Center Gallery and Workshop, 1229 Main St., Branford. 860-334-4642. Sculpture and Painting Opening. Unk DaRos, an up-coming sculptor and former first selectman of Bran-

ford, and New York-based artist Hugh Elton, will be featured in this reception event. Wine and lite bites. Saturday, October 17, 7-9 p.m. Free.

City Gallery 994 State St., New Haven. 203-782-2489. city-gallery.org.CWOS@CityGallery. As part of Artspace’s City-Wide Open Studios festival, City Gallery presents 18 artists featuring work in painting, printmaking, sculpture, paper-making, photography, and mixed media. October 1-25. Thursday-Sunday, 12-4 p.m. CWOS Transported Weekend hours: October 17 and October 18, 12-5 p.m. Free.

College of East Asian Studies Gallery at Mansfield Freeman Center Wesleyan University Center for the Arts, 343 Washington Terrace, Middletown. 860-685-2330. wesleyan.edu/ceas/exhibitions.“Tripod Complex” Exhibition. This show features monumental scrolls by Ian Boyden ’95 that are his meditation on the remains of ancient trees after a forest fire in Washington state. On view through December 11. Hours: Tuesday-Sunday, 12-4 p.m. Closed Saturday, October 24, through Wednesday, October 28; and Tuesday, November 24 through Tuesday, December 1. Free.Nirvana — Carbon Inks, Burning Forests, and the Bud-dhist Endgame. Ian Boyden ‘95 discusses how his long-term exploration of the material and ecology of a forest fire took an unexpected philosophical turn when he presented his work to a Chinese audi-ence. October 1. 4:30 p.m. Free.

Creative Arts Workshop 80 Audubon St., New Haven. 203-562-4927. creativeartsworkshop.org.Two Exhibitions. Creative Arts workshop is delighted to run concurrent exhibitions: the New England Guild of Book Workers traveling exhibition Geog-raphies, an interpretation of New England by 26 artists, and Figures and Paper, the works of Shirley Binin, who overlays gouache paints and mono print techniques onto her hand-made paper pulp. On view through October 30. Hours: Monday-Friday, 9 a.m.-7 p.m.; Saturday, 9 a.m.-12 p.m. Free.

DaSilva Gallery 897 Whalley Ave., New Haven. 203-387-2539. dasilva-gallery.com.Default Notice by Ronnie Rysz. A suite of collages representing foreclosed homes in New Haven. This body of work is a record of the fragility of owner-ship, revealing the casualties of the burst of the housing bubble and continuing the conversation about financial practices and protections in post-re-cession America. On view October 9-31. Hours: 10 a.m.-5 p.m. Artist reception to be held on Friday, October 16, 6-8 p.m. Free.

Davison Art Center Wesleyan University Center for the Arts, 301 High St., Middletown. 860-685-2500. wesleyan.edu/dac. “Phantom Bodies” — Photographs by Tanya Marcuse. This exhibition features haunting photographs by Tanya Marcuse that evoke absent bodies in the United States, England, Florence, and Vienna. On view through December 13. Hours: Tuesday-Sun-day, 12-4 p.m., Saturday, October 24 through Tuesday, October 27; and Tuesday, November 24 through Monday, November 30. Free.

Dehn Gallery 903 Main St., Manchester. 860-647-6030. manchestercc.edu/mcc-on-main/dehn-gallery.Violent Nature. A group exhibition with artists Co-rina S. Alvarezdelugo (painting), Dave Barowski (installation), Jim and Ruth Bremer (sculpture), Richard Harden (painting), Linda Lighton (sculp-ture), Olu Oguibe (sculpture and photography), Jane Rainwater (drawings), Margaret Roleke (sculpture), Rita Valley (books), and Mark Williams (paintings). On view through November 14. Hours: Tuesday-Saturday, 11 a.m.-8 p.m. Free.

Environmental Science Center, Yale University 21 Sachem St., New Haven. 203-689-5342. “Many Voices, One Song,” Painting Exhibition Fea-turing Ava Orphanoudakis. The creative process for Ava is an act of contemplation inspired and guided

by her love for nature and her deep concern for the environment. Painting is one way that she honors and give thanks to the earth. In this latest series of mixed-media works, Ava focuses on the earth’s ele-ments. Her aim is to express the interconnectedness within Nature. On view through December 18. Hours: Monday-Friday, 9 a.m.-5 p.m., and Saturday-Sunday, October 17-18, 12-6 p.m., as part of City-Wide Open Studios. Free.

Essex Meadows Art Gallery 30 Bokum Road, Essex. 860-767-7201. essexmeadows.com.A Brush with Nature. Five members of the Connecticut Natural Science Illustrators — Susannah Graedel, Cindy Gilbane, Linda Miller, Dorie Petrochko, and Jan Prentice — will be exhibiting their drawings and paint-ings at the Essex Meadows Gallery through October 25. Formore information, send email to ctnsi.info@gmail or call 203-695-1215. On view through October 25.

Ezra and Cecile Zilkha Gallery, Main Gallery Wes-leyan University Center for the Arts, 283 Washington Terrace, Middletown. 860-685-3355. wesleyan.edu/cfa/zilkha.R. Luke Dubois — In Real Time. Genre-defying com-poser, artist, and performer R. Luke DuBois creates maps, scores, and videos that use real-time data flows and media footage to raise questions of artistic agency, privacy, and fair use. On view through De-cember 13. Hours: Tuesday-Sunday, 12-5 p.m. Closed Wednesday, November 25, through Monday, Novem-ber 30. Free.

Kehler Liddell Gallery 873 Whalley Ave., New Haven. 203-389-9555. kehlerliddell.com.New Member Exhibit. Kehler Liddell Gallery introduces its newest artists in a show that’s on view through October 11. The show features works by Laura Barr, Roy Money, Liz Antle-O’Donnell, Jaime Ursic, and Kathleen Zimmerman, and runs concurrent with Mex-icans, a photography exhibit by Sven Martson. See website for gallery hours. Free.Mexicans. Kehler Liddell Gallery is pleased to present this photography exhibit by New Haven artist Sven Martson. It will be on view through Sunday, October 11. See website for gallery hours. Free.

Mystic Arts Center 9 Water St., Mystic. 860-536-7601. galleryoneCT.com.The Artists of Gallery One at Mystic Arts Center. The work is by a diverse group of mid-career artists who utilize current modes of expression in a variety of contemporary media. The hanging intentionally em-phasizes connections between representational and abstract work. On view through November 7. Gallery hours are 11 a.m. to 5 p.m. daily. Artists: David Brown, Ashby Carlisle, Catherine Christiano, Bette Ellsworth, Mary Fussell, Gray Jacobik, Rick Lacey, Judith Bar-bour Osborne, Constance Patterson, T. Willie Raney, Diana Rogers, Rick Silberberg, Victoria Sivigny, and Jill Vaughn. Free.

New Haven Museum 114 Whitney Ave., New Haven. 203-562-4183. newhavenmuseum.org.From Clocks to Lollipops: Made in New Haven. This exhibition at the New Haven Museum highlights an astonishing variety of goods that were, and some that still are, produced in the Elm City. It features more than 100 objects, advertisements, trade cards, photo-graphs, with a wide-ranging and sometimes humor-ous look at the products made in New Haven. On view through December 31. Adults $4, seniors $3, students $2, those younger than 12 admitted free.

Paul Mellon Arts Center at Choate Rosemary Hall 333 Christian St., Wallingford. 203-697-2423. www.choate.edu/page.cfm?p=574.Mirrors and Windows. An exhibition of mixed-media paintings and sculptures by artists Corina S. Alva-rezdelugo and Kari Cholnoky. On view through Octo-ber 24. Reception: October 2, 5:30-7:30 p.m. Hours: 9 a.m.-9 p.m. Free.

Susan Powell Fine Art 679 Boston Post Road, Mad-ison. 203-318-0616. susanpowellfineart.com.Poetic Landscapes by Dennis Sheehan and Curtis

Dance, drama, private and group music instruction and ensembles.

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The Arts Paper


Hanson. Inspired by memories of New England, Dennis Sheehan’s radiant oils are painted primarily from his imagination and capture the serenity and beauty of his natural surroundings. Curtis Hanson’s meditative paintings reflect the quiet in landscapes and are observed directly from nature. Atmosphere is paramount as their paintings are felt as much as seen. On view October 2-31. Opening reception: Friday, October 2, 5-8 p.m. Gallery hours: Tues-day-Saturday, 11 a.m.-5 p.m.; Sundays; and any time by appointment. Free.

Town Hall Gallery Arts Council of Greater New Haven, 617 Orange Center Road, Orange. 973-266-4000. Nature Speaks. An abstract mixed-media show by Betsy Ratner. On view through October 31.

Yale Peabody Museum of Natural History 170 Whitney Ave., New Haven. 203-432-5050. peabody.yale.edu.Samurai and the Culture of Japan’s Great Peace. Through more than 150 objects, many of which have never been on display, this exhibition explores the fascinating history of the samurai from their violent beginnings to the 250-year Great Peace that marked the final period of their reign. On view through January 3, 2016. Hours: Monday-Saturday, 10 a.m.-5 p.m., and Sunday, 12-5 p.m. $5-$9.

Film 10 Saturday Lasya Kavya: The World of Alarmél Valli A film by award-winning director Sankalp Meshram about the internationally acclaimed dancer and choreog-rapher Alarmél Valli. The screening will be followed by a conversation between Ms. Valli and associate professor of dance Hari Krishnan. This event is part of the 39th annual Navaratri Festival. Saturday, October 10, 2 p.m. CFA Hall, Wesleyan University Center for the Arts, 287 Washington Terrace, Mid-dletown. 860-685-3355. wesleyan.edu/cfa.

Galas & Fundraisers

9 Friday City-Wide Open Studios Curator-Led Patrons Tours In celebrating this year’s theme, “Dwelling,” Artspace’s third annual patrons tour will be under the Armory’s giant domed house. Enjoy an evening of intimate guided tours with scholars and curators to preview the City-Wide Open Studios festival at the Goffe Street Armory. Dinner fare catered from an array of our favorite food trucks. Goffe St Armory, 290 Goffe St., New Haven. 203-772-2709. cwos.org.

30 Friday Halloween Costume Party and Poetry Slam October poetry slam and adult community Hal-loween costume contest. Win prizes! Categories: Most Original, Scariest, and Most Innocent. 6-10 p.m. Branford Art Center Gallery and Workshop, Branford Green, 1229 Main St., Branford. 860-334-4642.

Kids & Families

Musical Folk First Presbyterian Church, 704 Whitney Ave., New Haven. 203-691-9759. MusicalFolk.com.Musical Folk — Offering Music Together Classes for Babies and Toddlers. A fun creative music and move-ment program for babies through children 5 years old and the ones who love them. Come sing, dance, and play instruments in an informal setting. Classes and demonstration classes are ongoing throughout the year. Classes are offered through November

24. Classes are held daily (morning, afternoon, and weekend classes available) at various locations in New Haven, Woodbridge, Hamden, East Haven, and Cheshire. Demonstration classes are free. 9:30 a.m.-5:30 p.m. Ten-week semester is $216 and includes a CD and book. Each semester features a new collection of music. Four semesters per year.

Shubert Theatre 247 College St., New Haven. 203-562-5666. shubert.com.Clifford The Big Red Dog — Live! Clifford comes to life on stage in a big way in this interactive musical experience the whole family will love. Join Clifford, Emily Elizabeth, and all their friends from Birdwell Island as they embark on an adventure filled with singing, dancing, and more. Share in the values of Clifford’s big Ideas: share, play fair, be kind, and help others. Saturday, October 24, 11 a.m. and 3 p.m. Prices vary by seat location.

Music 1 Thursday Dvorák, Grieg, and Lash The season begins with Dvorák’s Seventh Symphony and the first install-ment of the NHSO’s newest commission, the Lash/Voynich Project. New Generation Artist Michael Brown returns to the stage of Woolsey Hall for Grieg’s Piano Concerto in A minor. KidTix and Blue Star Tickets sponsored by Frontier. 7:30 p.m. $15-$74. KidTix and Blue Star Tickets available. $10 Student tickets available. New Haven Symphony Orchestra, Woolsey Hall, 500 College St., New Haven. 203-865-0831. NewHavenSymphony.org.

7 Wednesday Dance and Music Talk/Performance A talk and performance by associate professor of dance Hari Krishnan and adjunct assistant professor of music B. Balasubrahmaniyan as part of the 39th annual Navaratri Festival. The performance will be ac-companied by adjunct assistant professor of music David Nelson on mridangam, and Fugan Dineen MA ’05, Ph.D.’15 on nattuvangam. 4:15 p.m. Free. Wesleyan University Center for the Arts, CFA Hall, 287 Washington Terrace, Middletown. 860-685-3355. wesleyan.edu/cfa.

9 Friday B. Balasubrahmaniyan — Vocal Music of South India Vocalist and adjunct assistant professor of music B. Balasubrahmaniyan is joined by adjunct assistant professor of music David Nelson on mridangam and violinist K.V.S. Vinay as part of the 39th annual Navaratri Festival. 8 p.m. $12 general

public; $10 senior citizens, Wesleyan University faculty/staff/alumni, non-Wesleyan students; $6 Wesleyan students. Wesleyan University Center for the Arts, Crowell Concert Hall, 50 Wyllys Ave., Middletown. 860-685-3355. wesleyan.edu/cfa.

10 Saturday Guest Artists: Emma Kirkby and Jakob Lindberg Emma Kirkby, soprano, and Jakob Lindberg, lute, perform 17th century songs in a program called “The Golden Age Revived.” 7:30 p.m. Free Yale Institute of Sacred Music, Marquand Chapel, 409 Prospect St., New Haven. 203-432-5062. ism.yale.edu/calendar.

Sri Rajesh Vaidya Sri Rajhesh Vaidya’s veena (plucked string instrument) playing will be accom-panied by N. Mohanaraman and R. SriGanesh on mridangam, D. Chandrajit on tabla, and Saihari on gatam. This concert is part of the 39th annual Na-varatri Festival. Co-sponsored by the Raga Club of Connecticut. 4 p.m. $18 general public; $15 senior citizens, Wesleyan faculty/staff/alumni, non-Wes-leyan students; $6 Wesleyan students. Wesleyan University Center for the Arts, Crowell Concert Hall, 50 Wyllys Ave., Middletown. 860-685-3355. wesleyan.edu/cfa.

Sharp’s Appalachian Harvest England’s Brian Pe-ters and America’s Jeff Davis perform a multimedia show devoted to the collection of folk songs and music gathered by English folklorist Cecil Sharp in the Southern Appalachians. Songs and tunes are accompanied by readings from his diaries, and his photographs of the singers and mountain life. 8-10:30 p.m. $15 non-members, $12 members, $5 for kids 12 and younger. Branford Folk Music Soci-ety, First Congregational Church of Branford, 1009 Main St., Branford. 203-488-7715. folknotes.org/branfordfolk.

Feelin’ Groovy! Songs of the Seventies 1970s hits adapted for the New Haven Symphony Orches-tra featuring singers Jayne Kelli and AJ Swearingen. Works by Joni Mitchell, Carole King, James Taylor, Fleetwood Mac, and others. Hamden Pops Series sponsored by Whitney Center. KidTix and Blue Star Tickets sponsored by Frontier. 2:30 p.m. $35/$49. KidTix and Blue Star Tickets available. $10 Student tickets with ID. New Haven Symphony Orchestra, Hamden Middle School, 2623 Dixwell Ave., Ham-den. 203-865-0831. www.NewHavenSymphony.org

11 Sunday Fred Simmons — Turn of the Century Quartet The Turn of the Century Quartet, featuring private lessons Teacher Fred Simmons on piano, adjunct professor of music and African American studies

Jay Hoggard on vibraphone, and visiting assistant professor of music and private lessons teacher Pheeroan akLaff on percussion returns to The Rus-sell House. 3 p.m. Free. Wesleyan University Center for the Arts, The Russell House, 350 High St., Mid-dletown. 860-685-3355. wesleyan.edu/cfa.

Feelin’ Groovy! Songs of the Seventies 1970s hits adapted for the New Haven Symphony Orches-tra featuring singers Jayne Kelli and AJ Swearingen. Works by Joni Mitchell, Carole King, James Taylor, Fleetwood Mac, and others. Shelton Pops Series sponsored by RD Scinto KidTix and Blue Star Tick-ets sponsored by Frontier. 3 p.m. $35/$49. KidTix and Blue Star Tickets available. $10 Student tickets with ID. New Haven Symphony Orchestra, Shelton Intermediate School, 675 Constitution Boulevard North, Shelton. 203-865-0831. NewHavenSymphony.org.

13 Tuesday Graduate Composers’ Introductions Concert Graduate student composers of the Wesleyan University Music Department present their original works. 8 p.m. Free. Wesleyan University Center for the Arts, World Music Hall, 40 Wyllys Ave., Mid-dletown. 860-685-3355. wesleyan.edu/cfa.

17 Saturday Yale Schola Cantorum — Bach: Lutheran Masses BWV 234 and BWV 235 Masaaki Suzuki, conductor with Juilliard415. 7:30 p.m. Free. Yale Institute of Sacred Music, St. Mary’s Church, 5 Hill-house Ave., New Haven. 203-432-5062. ism.yale.edu.

Martin Hayes and Dennis Cahill Violinist Martin Hayes and guitarist Dennis Cahill are two leading artists in traditional Irish music. Their adventur-ous, soulful interpretations of traditional tunes are recognized the world over for their exquisite musicality and irresistible rhythm. There will be a pre-concert talk by Wesleyan University graduate music student Cleek Schrey MA ‘16 at 7:15 p.m. 8 p.m. $22 general public; $20 senior citizens, Wes-leyan faculty/staff/alumni, non-Wesleyan students; $6 Wesleyan students. Wesleyan University Center for the Arts, Crowell Concert Hall, 50 Wyllys Ave., Middletown. 860-685-3355. wesleyan.edu/cfa.

18 Sunday Great Organ Music at Yale: Thomas Murray Music of Duruflé, Grieg, Theofanidis, Parker, and others. 7:30 p.m. Free. Yale Institute of Sacred Music, Woolsey Hall, 500 College St., New Haven. 203-432-5062. ism.yale.edu/event/ great-organ-music-yale-thomas-murray-1.

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18 Sunday (continued)Wesleyan University Orchestra and Choir The Wesleyan University Orchestra and Wes-leyan Concert Choir present music by Charles Ives, Johann Sebastian Bach, and Pyotr Ilyich Tchaikovsky under the direction of adjunct assis-tant professor of music Nadya Potemkina. 3 p.m. Free. Wesleyan University Center for the Arts, Crowell Concert Hall, 50 Wyllys Ave., Middle-town. 860-685-3355. wesleyan.edu/cfa.

20 Tuesday Graduate Concert: Cecilia Lopez A concert of music by Gustavo Ribicic (for mixed media and small ensemble) and video/sound pieces by Cecilia Lopez. 9 p.m. Free. Wesleyan University Center for the Arts, CFA Hall, 287 Washington Terrace, Middletown. 860-685-3355. wesleyan.edu/cfa.

22 Thursday Al Jarreau — Benefit for Christian Community Action Al Jarreau’s unique vocal style is one of the world’s most precious treasures. His inno-vative musical expressions have made him one of the most exciting and critically-acclaimed performers of our time with seven Grammy Awards, scores of international music awards, and popular accolades worldwide. 7:30 p.m. Prices vary by seating location.. Shubert Theatre, 247 College St., New Haven. 203-562-5666. shubert.com.

25 Sunday Bach Cantata 80: “Ein feste Burg” Reformation Sunday concert with choirs of Bethesda and First Presbyterian Church, with soloists and orchestra, directed by Patrick McCreless and Lars Gjerde. Bach Cantata 80, “Ein feste Burg ist Unser Gott,” and other choral music. Free parking. Reception to follow. 4 p.m. Freewill offering. Bethesda Music Series, Bethesda Lutheran Church, 450 Whitney Ave., New Haven. 203-787-2346. bethesdanewhaven.org.

29 Thursday Northern Lights Festival The New Haven Symphony Orchestra and Yale School of Music celebrate the anniversary of Jean Sibelius with a festival of music featuring Scandinavian com-posers. This program featuring Sibelius and Nielsen captures their wintry inspirations and celebrates the beauty of Nordic music and light. KidTix and Blue Star Tickets are sponsored by Frontier. 7:30 p.m. $15-$74. KidTix and Blue Star Tickets available. $10 student tickets with ID. New Haven Symphony Orchestra, Woolsey Hall, 500 College St., New Haven. 203-865-0831. NewHavenSymphony.org.

Special Events 8 Thursday Henna and Chaat Henna art and sampling of chaat (savory snacks), hosted by Shakti, Wesleyan Uni-versity’s South Asian Students’ Association, as part of the 39th annual Navaratri Festival. 7 p.m. Free. 252 Church Street, Middletown. 860-685-3355. wesleyan.edu/cfa.

10 Saturday Bhojanam (Feast) Treat yourself to vegetarian Indian delicacies at the Bhojanam (Feast) following the 4 p.m. concert by Sri Rajesh Vaidya. This event is part of the 39th annual Navaratri Festival. Spon-sored by Haveli India Restaurant. 6:30 p.m. $15. 45 Wyllys Ave., Middletown. 860-685-3355. wesleyan.edu/cfa/events/2015/10-2015/10102015bhojanam-feast.html.

10-11 Saturday-SundayCity-Wide Open Studios: Alternative Space Weekend The Alternative Space weekend sets New Haven’s CWOS apart from other open studio week-ends by offering artists from across Connecticut, and those who are interested in creating site-specific works, a unique backdrop to showcase their talents. 12-6 p.m. Free. Goffe Street Armory, 290 Goffe St., New Haven. 203-772-2709. artspacenh.org.

11 Sunday Saraswati Puja (Hindu Ceremony) This religious service, led by A. V. Srinivasan, marks the most auspicious day of the year for beginning new en-deavors. The audience may participate and bring instruments, manuscripts, and other items for blessing. This event is part of the 39th annual Na-varatri Festival. 11 a.m. Free. 40 Wyllys Ave., Mid-dletown. 860-685-3355. wesleyan.edu/cfa.

13 Tuesday October Meeting and Massimino Critique Artist John Massimino will share his experience on how to make a good painting better as he critiques art-work done by those in attendance. He will give indi-vidualized suggestions on how to improve, finish, or take work in another direction, for the benefit of all who attend. Massimino holds a BFA from Hartford Art School and taught at Paier College of Art. Cof-fee and conversation at 7 p.m., brief business meet-ing at 7:15 p.m., artist’s program at 7:30 p.m. Free and open to the public. 2901 Dixwell Ave., Hamden. 203-494-2316. hamdenartleague.com.

17 Saturday Sicilian Cultural Day Join us for a taste of Sicilian culture led by the members of the Sicilian Folk band

Terra Sangue Mare. The day starts at 2 p.m. with a folk dance workshop. The premiere of Terra Sangue Mare’s short folk operetta starts at 7 p.m. Join us for a wine tasting at 8 p.m. Finally, at 9 p.m., Terra Sangue Mare performs their Sicilian folk repertoire. Dancing is encouraged! $20 for non-members for the whole day, $10 for just the workshop, $15 for just the evening events. $15 for 1253 members for the whole day, $5 for the workshop, and $10 for just the evening. 1253 Whitney, 1253 Whitney Ave., Hamden. 203-780-8890. 1253whitney.com.

24-25 Saturday-Sunday City-Wide Open Studios: Transported Weekend This weekend features artists in their private stu-dios throughout New Haven, West Haven, North Haven, and Hamden. Artspace will offer guided bike and shuttle tours to many of the studio loca-tions. 12-6 p.m. Free. 50 Orange St., New Haven. 203-772-2709. artspacenh.org.

City-Wide Open Studios: Erector Square Weekend Erector Square (315 Peck St.) acts as a hub of ar-tistic activity in Fair Haven. A high concentration of artist studios — housed in a former Erector Set factory — make it an especially exciting place to be during Open Studios. Explore the personal studios of hundreds of local artists on your own or through a guided tour. 12-6 p.m. Free. 315 Peck St., New Haven. 203-772-2709. artspacenh.org.

Talks & Tours 7 Wednesday Artful Lunch Series: Terttu Uibopuu One artwork, one speaker, 15 minutes. Join the Friends of the Davison Art Center for presentations by visiting assistant professor of art Terttu Uibopuu about her favorite work in the Davison Art Center collection. Bring your bag lunch and enjoy coffee, homemade cookies, and conversation following the talk 12:10 p.m. Free. Wesleyan University Center for the Arts, Davison Art Center, Aslop House, 301 High St., Middletown. 860-685-3355. wesleyan.edu/cfa.

Theater

Daniel Beaty Performs Mr. Joy In this tour-de-force solo show by award-winning actor, singer, writer, and composer Daniel Beaty, a Harlem community is disrupted when the Chinese immigrant’s shoe repair shop, a neighborhood pillar for decades, does not open its doors. October 9. 8 p.m. $19 general public; $17 senior citizens, Wesleyan University faculty/staff/alumni, non-Wesleyan students; $6

Wesleyan students. 271 Washington Terrace, Mid-dletown. 860-685-3355. wesleyan.edu/cfa.

Rent The Southern Connecticut State University Theater Department presents the Tony Award- and Pulitzer Prize-winning musical Rent, loosely based on Puccini’s opera La boheme. Directed and cho-reographed by Larry Nye with musical direction by Kaia Monroe Rarick. October 9, 10, 15, and 16 at 8 p.m.; October 17 and 18 at 2 p.m. $10 for general public, $5 for SCSU faculty/staff and SCSU student guests, $5 for all non-SCSU students, free for SCSU students. Lyman Center of Performing Arts, 501 Crescent St., New Haven. 203-392-6100. tickets.southernct.edu.

The Book of Mormon The New York Times calls it “the best musical of this century.” The Washington Post says, “It is the kind of evening that restores your faith in musicals.” It’s The Book of Mormon, the nine-time Tony Award-winning Best Musical from the creators of South Park. Contains explicit lan-guage. For more information, visit BookofMormonTheMusical.com. October 13-18. Tuesday, Wednesday, and Thursday at 7:30 p.m.; Friday at 8 p.m.; Saturday at 2 p.m. and 8 p.m.; Sun-day at 1 p.m. and 6:30 p.m. Varies by performance and seat location. Shubert Theater, 247 College St., New Haven. 203-562-5666. shubert.com.

Dractastic! Award-winning Pantochino Productions presents this wildly funny rock musical version of the Dracula legend especially for family audiences. Book and lyrics by Bert Bernardi. Music by Justin Rugg. October 23-November 1. Fridays at 7:30 p.m.; Saturdays at 2 p.m. and 5:30 p.m.; Sundays at 2 p.m. $18 online, $20 at the door. 40 Railroad Ave-nue South, Milford. 203-937-6206. pantochino.com.

The deadline for advertisements and calendar listings for the November 2015 edition of The Arts Paper is: Monday, September 28, at 5 p.m. Future deadlines are as follows: December 2015: Monday, October 26, 5 p.m.January/February 2016: Monday, November 23, 5 p.m.March 2016: Monday, January 25, 5 p.m.April 2016: Monday, February 29, 5 p.m.May 2016: Monday, March 28, 5 p.m.June 2016: Monday, April 25, 5 p.m.July-August 2016: Tuesday, May 31, 5 p.m.

Calendar listings are for Arts Council members only and should be sub-mitted online at newhavenarts.org. Arts Council members can request a username and password by sending an e-mail to communications@ newhavenarts.org. The Arts Coun-cil’s online calendar includes listings for programs and events taking place within 12 months of the cur-rent date. Listings submitted by the calendar deadline are included on a monthly basis in The Arts Paper.

The Arts Paper advertising and calendar deadlines

The Yale Institute of Sacred Music presents soprano Emma Kirkby, left, and lutenist Jakob Lindberg, in an October 10 program of 17th century songs. Photos courtesy of the artists/YISM.

Call For Artist Members Kehler Liddell Gallery in New Haven is seeking applications from new prospective members. Visit kehlerliddell.com/membership for more information. Artists To celebrate the Nutmeg State, Two Roads Brewery heralds the return of its “CONNartist” con-test. Artists 21 and older can create art in any form (from watercolors to sculpture, etc.) celebrating Connecticut. Whether it’s Connecticut’s beautiful geography, its people, the state’s creative ingenuity, or anything else, there should be plenty to inspire artistic creativity! Rules and submission guidelines are on the Two Roads website, tworoadsbrewing.com/CONNartists2015. Artists have until October 2 to submit their art digitally (no physical art will be accepted). The winner will have their art displayed on a 30-foot fermenter inside the brewery and win $1,000. Also, five first-place finalists will receive $250. The unveiling will take place at the brewery in November. Artists Seeking fine artists and artisans in all media for Arts Center Killingworth’s 2015-2016 Spectrum Gallery exhibits, including the Holiday Show. For artist submission, visit spectrumartgallery.org or send email to [email protected]. Spectrum Gallery and Store, 61 Main St., Center-brook. Artists The Gallery Review Committee of The New Alliance Gallery at Gateway Community College is looking for artists to submit their resumes and images for possible exhibition in the 2015 and 2016 calendar years. Please send your resume and cover letter along with a DVD of not fewer than 20 and no more than 25 images to: Gallery Review Com-mittee, Gateway Community College, 20 Church St., Room S329, New Haven, CT, 06510. Artists The Tiny Gallery: a very big opportunity for very small art. The Tiny Gallery is a premiere space for “micro” exhibitions in the historic Audubon Arts District, located within the lighted display “totem” outside Creative Arts Workshop, at 80 Audubon St., in New Haven. The Tiny Gallery is open to the public 24 hours a day, seven days a week, 365 days a year. Submissions will be considered on a rolling basis and should include a written proposal, artist statement, and images of artwork. Call 203-562-4927 x. 14, send email to [email protected], or visit creativeartsworkshop.org/tiny. Artists, Board Members, and Volunteers Seces-sion Cabal, a New Haven-based group of outsider artists working in theater, film, visual art, and other mediums seeks people for its board, sponsors, volunteers with fundraising experience, and art-ists working in all mediums who agree with the organization’s mission and create radical, brave work. Prospective volunteers, board members, and sponsors: Please send a brief introduction. Artists: Please email a letter of interest/introduction with examples of your bravest work. More (and contact) information at art-secession.org. Artists/Writers The Perch, the arts and literary journal of the Yale Program on Recovery and Community Health is looking for submissions for its third issue. The journal aims to present a wide range of voices on mental health and recovery — both from established writers and from new, emerging authors and artists. Visual art, poetry, and prose (fiction and essays) are welcome. See theperch.submittable.com/submit for more infor-mation.

Photographers Are you a fan of photography? A program of the Arts Council of Greater New Haven, the Photo Arts Collective aims to cultivate and sup-port a community of individuals who share an in-terest in photography through workshops, lectures, exhibitions, portfolio reviews, group critiques, and special events. The Photo Arts Collective meets the first Thursday of each month at 7 p.m. at the Kehler Liddell Gallery, 873 Whalley Ave., New Haven. Singers The award-winning Silk’n Sounds Chorus is looking for new members from the area. We invite women to join us at any of our rehearsals to learn more. We enjoy four part a cappella harmony in the barbershop style, lively performances, and won-derful friendships. Rehearsals are every Tuesday from 6:30-9 p.m. at the Spring Glen United Church of Christ, 1825 Whitney Ave., in Hamden. Contact Lynn at 203 623-1276 for more information or visit silknsounds.org. Singers The Greater New Haven Community Chorus seeks singers for the 2015-2016 Season! Rehearsals are held on Thursdays, 7-9:15 p.m., at the First Presbyterian Church, 704 Whitney Ave., New Haven. The ensemble’s December 12 “Holiday Collage” concert will feature audience favorites including Vivaldi’s Gloria, Handel’s Coronation An-them “The King Shall Rejoice,” “The Twelve Days of Christmas” (arranged by Bob Chilcott), and Leroy Anderson’s “Sleigh Ride,” as well as works by Lau-ridsen, Gawthrop, Olofsson, and others. 203-303-4642. www.gnhcc.org Volunteers Learn new skills, meet new people, and be part of a creative organization that gives to the community. Teens are welcome and earn commu-nity service credit. The Arts Center Killingworth is a non-profit arts organization. Visit artscenterkillingworth.org for more details or call 860-663-5593. Volunteers Volunteers needed to help with an art exhibition the size of a city! Artspace needs volun-teers to help us this October with the 18th annual City-Wide Open Studios, a two-month festival and open studios event featuring more than 350 artists across greater New Haven. To find out more about Artspace and CWOS volunteer opportunities, please contact Shelli Stevens at [email protected].

Services Art Consulting Services Support your creativity! Low-cost service offers in-depth artwork analysis, writing, and editing services by former arts news-paper editor, current art director of the New Haven Free Public Library, and independent curator of many venues. Call Johnes Ruta at 203-387-4933, visit azothgallery.com, or send email to [email protected]. Art Installation Specialists, LLC An art handling company serving homeowners, art professionals, offices, galleries, and museums. We offer packing, long-distance or local shipping, and installation of paintings, mirrors, plaques, signage, tapestries, and sculpture, as well as framing, pedestals, exhibit design, and conservation. Contact Paul Cofrancesco at 203-752-8260, or Gabriel Da Silva at 203-982-3050, send email to [email protected], or visit artinstallationspecialistsllc.com. Art Supplies for Sale Artist downsizing. Stretchers, primed and unprimed canvas rolls, stretched can-vases, frames, glass, studio furniture, huge beautiful paper, and more for sale. Please send email to

[email protected]. Formerly Bethany Art Studio, now located in Hamden. Birthday Parties Did you know that Creative Arts Workshop is available for birthday parties? Have your birthday party in an art studio. CAW faculty members will lead the party in arts or crafts proj-ects, lasting approximately one and a half hours, leaving time for cake, presents, and memory-mak-ing. Choose from a variety of themes and projects. For more information or to schedule a party, call the office at 562-4927. A fantastic idea for children of all ages. Chair Repair We can fix your worn-out chair seats if they are cane, rush, Danish cord, Shaker Tape, or other woven types! Celebrating our 25th year! Work is done by artisans at The Association of Artisans to Cane, a project of Marrakech, Inc., a pri-vate nonprofit organization that provides services for people with disabilities. Open Monday-Thurs-day, 8 a.m,-4 p.m. 203-776-6310. Creative Events/Crafting Parties Our beautiful light-filled space in East Rock is the perfect spot to host an intimate creative gathering or party. We’ll work with you to provide the programming, snacks, drinks, and decorations that will make your event memorable. Rent our space for up to three hours. thehvncollective.com. Historic Home Restoration Contractor Period appropriate additions, baths, kitchens, and remod-eling. Sagging porches, straightened/leveled, wood windows restored, plaster restored, historic, mold-ing and hardware, Vinyl/aluminum siding removed, wood siding repaired/replaced. Connecticut and New Haven Preservation Trusts. RJ Aley Building Contractor (203) 226-9933. [email protected] Japanese Shoji Screens Designed for Connecticut homes. Custom built for windows, doorways, or freestanding display, they allow beautiful filtered light to pass through while insulating. For a free quote, contact Phillip Chambers at 203-888-4937 or send email to [email protected]/Contemporary Dance Classes Taught by Annie Sailer. Ongoing adult, intermediate level classes. Mondays, 6-7:30 p.m., and Thursdays (time to be announced) in the New Haven area. Contact Annie for location. $15 per class. [email protected]. anniesailer.com. Private Art Instruction For adults and children. Learn in a working artist’s studio. Ideal for artists, home-schooled youngsters, and those with special needs. Portfolio preparation offered. Draw, paint, print, and make collage in a spacious light-filled studio at Erector Square in New Haven. Relaxed and professional. I can also come to you. Lessons created to suit individual. References available. Send email to [email protected]. Professional Art Installation Professional art in-staller for residential and commercial work. More than 17 years’ experience in museums, galleries, hospitals, and homes in New York City, Providence, New Haven, Chester, etc. Rate is $30-$40 an hour, no job too small or large. Contact Mark at (203)772-4270 or [email protected]. More infor-mation and examples at ctartinstall.com. Web Services Startup business solutions. Creative, sleek Web design by art curator for art, design, architectural, and small-business sites. Twenty-five years’ experience in database, logistics, and en-gineering applications. Will create and maintain any kind of website. Hosting provided. Call 203-387-4933, visit azothgallery.com, or send email to [email protected].

Writing Workshops The Company of Writers is a new creative community for writers of all ages and levels of experience. We offer prose and poetry workshops, in-person and online services, a sum-mer writers’ conference for teens, and a manuscript consultancy for book-length material. All our fac-ulty are published authors, and many are teachers, editors, or publishers. Course descriptions available online at companyofwriters.net, or by contacting Terry at 203-676-7133. We all have a story to tell. What’s yours?

Space Artist Studio West Cove Studio and Gallery offers work space with two large Charles Brand intaglio etching presses, lithography press, and stain-less-steel work station. Workshops and technical support available. Ample display area for shows. Membership: $75 per month. 30 Elm St., West Haven. Call 609-638-8501 or visit westcovestudio.org. Community Living Space Rocky Corner, the first cohousing community in Connecticut, is seeking new members. It’ll be built on 33 acres in Bethany, near New Haven, will feature 30 homes (including 13 affordable ones), a 4,500-square-foot common house with workshop, kitchen, etc., and an organic farm. Visit rockycorner.org or send email to [email protected] to learn more. Live/Work Space ArLoW (Arts Lofts West). Fabulous lofts in New Haven’s first artist-housing development. The units contain high ceilings with flexible options for living and working spaces. Great natural light and interior spaces. Please contact Lynn Calabrese c/o Wm. M. Hotchkiss, manage-ment agent, at 203-772-3200 x. 20 for a rental application. Studio Space Thirteen-thousand square feet of undeveloped studio space available in old mill brick building on New Haven harbor. Conveniently located one minute off I-95, Exit 44 in West Haven. Owners willing to subdivide. Call (609) 638-8501. Studio Space Branford Center. Artist Co-Op, 1229 Main St. Sixteen-hundred square feet of retail space on historic Main Street in downtown Branford. Total turnkey co-op space for up to five artists. Unique space includes two overhead garage doors and storage. In addition there will be a “pop up” space that will allow for a four-month rotation of space throughout the year. Tremendous visibility, strate-gically located at three-way traffic signal. Pricing includes Internet, POS, Facebook, and website. Pric-ing starts at $495 per month.

The Arts Council provides the job and bulletin board listings as a service to our membership and is not responsible for the content or deadlines.

october 2015

The Arts Paper


BULLETIN BOARD

JobsPlease visit newhavenarts.org for up-to-datelocal employment opportunities in the arts.

october 2015

The Arts Paper


lucy gellman

hree weeks into August, Soyeon Choi was putting the final touches on William Booth Grey’s Pisum Sativum,

her new favorite project from the works on paper collection at the Yale Center for British Art. Just a few easels and stools away, Chief Conservator Mark Aronson had returned to J.M.W Turner’s Port Ruysdael, enlightened with a new perspective from a scientist who had stopped by to offer her opinions on the piece the day before. Just across from him, Matt Cushman leaned back for a moment, and examined the work that still needed to be done on a portrait ostensibly by Louis Rigaud, painted for the International Cotton Exposition in 1884 and now part of the Yale Peabody Museum of Natural History’s col-lection. It was 10 a.m., and already the three were having a more productive day than would have been conceivable a year before, when they were all working in separate labs.

Welcome to a normal workday at the Institute for the Preservation of Cultural Heritage (IPCH), where this kind of interdis-ciplinarity forms the backbone of the institu-tion. Made possible by a 2011 gift from Yale alumni Lisbet Rausing and Peter Baldwin and housed in Yale University’s West Campus Collections Study Center, the IPCH com-prises 212,000 square feet of up-to-date “laboratories and browsable storage,” mak-ing it a tremendous new resource for both the university, which does not yet offer a formal course of study in object-based con-servation, and the New Haven community.

That holistic approach is helping Yale lead the field in conservation — the safekeeping of cultural heritage paired with an acute un-derstanding of and commitment to the ob-ject’s initial function and material — in a new way. Objects conservators from the Yale Center for British Art (YCBA), Yale Univer-sity Art Gallery (YUAG), and Yale Peabody Museum of Natural History do their work alongside professional scientists, culminat-ing in a practice that is both progressive and exacting, traditional and cutting-edge.

“Since I came here, it’s so wonderful to have scientists nearby,” said Choi, whose conservation background is in works on paper. “They come by to look at objects with us ... having them nearby to see what we are working on has definitely made the conservation of objects stronger. It has really helped to be in the same space with paint-ings conservators, objects conservators, and see what they’re doing. Sometimes we exchange ideas, tools ... it’s very nice.”

Indeed, there is remarkable institutional commitment to collaboration. Take, for in-stance, Dr. Paul Whitmore, a conservation

scientist whose Microfading Tester (MFT) has allowed curators to track light sensitivity for works in their collections. In its first few years in use at the YUAG and YCBA, it has already proved invaluable, saving pieces like Leopoldo Méndez’s 1º de mayo … Comité Na-cional de la Confederación de Trabajadores de México, sensitive for its fugitive magenta ink, from irrevocable light damage when it was exhibited last year.

“Paul Whitmore’s Microfade Tester has proven to be an exceptionally effective tool for predicting the rate at which pigments will fade into the future, and thereby has pro-vided Yale’s curators and conservators with invaluable data when calculating acceptable exposure times and gallery light levels for light-sensitive materials,” said Lisa Hoder-marsky, senior associate curator of prints and drawings at YUAG, when asked how the science of the MFT translates on a curatorial level.

Another example is Chelsea Graham, a digital-imaging specialist whose training in digital archaeology and natural history has allowed her to step into a new technological role at the institute. Collaborating with the University’s Center for Engineering Inno-vation and Design (CEID), she and others at the IPCH have been able to embark on documentation and research-based projects that, through use of 3D scanned and printed materials, explore creation and replication

processes to get a more accurate idea of the initial object.

There’s a highly communal nature to her work, too. With YUAG staff photographer Rich House, Graham is using a new system of Reflective Trans-formation Imaging (RFT) — consist-

ing of a UFO-shaped dome that houses 45 lights, each projecting at a unique angle — to capture how the surface of an object inter-acts with light. Once an angle is detected, House shoots the object, and Graham uses software that allows scholars to look at one digital photo collage of the object from 45 different angles.

Already, Graham and House have used the system for both international and local scholarship, sending RFT images halfway across the world for a scholar interested in a Babylonian tablet written in cuneiform, and using RFT much closer to home to study de-composing tombstones at the Center Church on the Green.

“We have a collaborative space here,” Gra-ham explained. “It’s been really neat for me because I have a specific background. I had these hopes for working with museum col-lections ... it’s been a great marriage of my in-terests. To see what certain technologies can yield and how big of an impact it can have on some of the research ... it’s incredible.”

Conservators like Aronson, whose back-ground is in paintings conservation, also stress this comprehensive approach when considering the impact of the institute on their work.

“By working in a collective lab, where col-lections are gathered together from across campus, you are exposed to a variety of con-servation, technical, and aesthetic puzzles. You can easily gather a group of experts and colleagues who are not normally in the same room together to discuss what you’re trying to do and get yourself out of the bubble that you tend to put yourself in while ... working at smaller labs,” he said. “We’re bringing to-gether a lot of different eyes.”

But the IPCH, according to inaugural di-rector Stefan Simon, is just getting started. While it has already established itself as very much at the forefront of 21st century conservation techniques, Simon has his eye on the future, with two very clear goals in

mind: a green, or sustainable, space, and a more global approach to the work he and the IPCH staff members are doing. Beyond other questions he and the IPCH’s curators are raising — how one controls the illicit traf-ficking of fakes and forgeries, for instance — these stand out as issues gaining increasing momentum and urgency as the field and the institute move forward.

“Conservation needs to be done in a sustainable way,” he said, praising the sus-tainable museum as a model. “That means it costs money, it costs energy, you have to work with facility ... Yale has been a leader in the current debate. IPCH wants to bring that discussion also to museums. To say for example: What is a good climate in the conservation labs? In storage? How can this building be used in a more sustainable way? Nobody would think that this is the first thing, right, for the preservation of cultural heritage ... but it is. It is because it is a chal-lenge that is affecting all the museums in the world. You bring all this together ... that’s what everybody looks at now.”

That’s half of the future he envisions. Re-sponding to disasters both natural — Nepal’s devastating earthquake, in particular — and manmade — ISIS’ destruction of cultural and religious sites in Tripoli, Tikrit, and most recently Palmyra — is the other. While that has already started on a local level, he sees it as ultimately expanding to a global one. It’s a matter, he says, of professional responsibility.

“Terrorism has identified cultural heritage as a target. We can’t just sit in New Haven and be happy when the earthquake in Nepal is ruining the cultural heritage ... we have to think about disaster response, emergency preparedness with partners at Yale and be-yond. That’s definitely where our institute should go.

“Cultural heritage is more than just stones,” he said. “It’s giving people back their history.” n

Where Collaboration Fuels Conservation

IPCH conservation assistants Erntz Jeudy, left, and Racine Joseph, with portraits by Haitian artist Louis Rigaud of Nissage Saget and Henri Christophe. Image courtesy of IPCH.

A side-by-side comparison of the headstone of Sewsanah White, from the New Haven Crypt at Center Church on the Green, reflects the value of Reflective Transformation Imaging. Image

courtesy of Chelsea Graham, IPCH.

T

member organizations & partners

The Arts Paper


Arts & Cultural Organizations

1253 Whitney1253whitney.com

A Broken Umbrella Theatre abrokenumbrella.org, 203-868-0428

ACES Educational Center for the Artsaces.k12.ct.us203-777-5451

Alyla Suzuki Early Childhood Music Educationalylasuzuki.com203-239-6026

American Guild of Organistssacredmusicct.org

Another Octave - CT Women’s Chorus

anotheroctave.org

ARTFARMart-farm.org

Arts Center Killingworthartscenterkillingworth.org860-663-5593

Arts for Learning Connecticutwww.aflct.org

Artspaceartspacenh.org203-772-2709

Artsplace: Cheshire Performing & Fine Artcpfa-artsplace.org203-272-2787

Ball & Socket Artsballandsocket.org

Bethesda Music Seriesbethesdanewhaven.org203-787-2346

Blackfriars Repertory Theatreblackfriarsrep.com

Branford Folk Music Societyfolknotes.org/branfordfolk

Center for Independent Studycistudy.homestead.com

Chestnut Hill Concertschestnuthillconcerts.org203-245-5736

The Choirs of Trinity Church on the Greentrinitynewhaven.org

City Gallerycity-gallery.org203-782-2489

Classical Contemporary Ballet Theatre

ccbtballettheatre.org

Connecticut Dance Alliancectdanceall.com

Connecticut Gay Men’s Chorusctgmc.org800-644-cgmc

Connecticut Natural Science Illustratorsctnsi.com203-934-0878

Creative Arts Workshopcreativeartsworkshop.org203-562-4927

Creative Concerts203-795-3365

CT Folkctfolk.com

DaSilva Gallerygabrieldasilvagallery.com203-387-2539

Elm City Dance Collectiveelmcitydance.org

Elm Shakespeare Companyelmshakespeare.org203-874-0801

Encore Music Creationsencoremusiccreations.com

Firehouse 12firehouse12.com203-785-0468

Gallery One CTgalleryonect.com

Greater New Haven Community Chorus

gnhcc.org203-624-1979

Guilford Art Centerguilfordartcenter.org203-453-5947

Guitartown CT Productionsguitartownct.com203-430-6020

Hamden Art Leaguehamdenartleague.com 203-494-2316

Hillhouse Opera Companyhillhouseoperacompany.org203-464-2683

Hopkins Schoolhopkins.edu

Hugo Kauder Societyhugokauder.org

The Institute Libraryinstitutelibrary.org

International Festival of Arts & Ideas

artidea.org

International Silat Federation of America & Indonesia

isfnewhaven.org

Jazz Havenjazzhaven.org

John Slade Ely Houseelyhouse.org 203-624-8055

Kehler Liddell Gallery203-389-9555kehlerliddell.com

Knights of Columbus Museumkofcmuseum.org

Legacy Theatrelegacytheatrect.org

Linda S. Marino Artlindasmarinoart.com

Long Wharf Theatrelongwharf.org203-787-4282

Lyman Center at SCSUwww.lyman.southernct.edu

Madison Art Societymadisonartsociety.blogspot.com860-399-6116

Make Havenmakehaven.org

Marrakech, Inc./Association of Artisans to Cane

marrakechinc.org

Meet the Artists and Artisansmeettheartistsandartisans.com203-874-5672

Milford Fine Arts Councilmilfordarts.org203-878-6647

Music Havenmusichavenct.org203-215-4574

Musical Folkmusicalfolk.com

Neighborhood Music Schoolneighborhoodmusicschool.org203-624-5189

New England Festival of Ibero American Cinema

nefiac.com

New Haven Balletnewhavenballet.org203-782-9038

New Haven Choralenewhavenchorale.org203-776-7664

New Haven Oratorio Choirnhoratoriochoir.org

New Haven Museum newhavenmuseum.org203-562-4183

New Haven Paint and Clay Clubnewhavenpaintandclayclub.org203-288-6590

New Haven Preservation Trustnhpt.org

New Haven Symphony Orchestranewhavensymphony.org203-865-0831

New Haven Theater Companynewhaventheatercompany.com

One True Paletteonetruepalette.com

Orchestra New Englandorchestranewengland.org203-777-4690

Pantochino Productionspantochino.com

Paul Mellon Arts Centerchoate.edu/artscenter

Play with Graceplaywithgrace.com

Reynolds Fine Artreynoldsfineart.com

Royal Scottish Country Dance Society, New Haven Branchnhrscds.org

Shoreline Arts Alliance shorelinearts.org203-453-3890

Shubert Theatershubert.com203-562-5666

Silk n’ Soundssilknsounds.org

Silk Road Art Gallerysilkroadartnewhaven.com

Susan Powell Fine Art 203-318-0616susanpowellfineart.com

Site Projectssiteprojects.org

The Company of Writers203-676-7133companyofwriters.net

The Second Movementsecondmovementseries.org

Theater Department at SCSU/Crescent Players

southernct.edu/theater

Vintanthromodern vintanthromodernvintage.com

Wesleyan University Center for the Artswesleyan.edu/cfa

West Cove Studio & Gallerywestcovestudio.com 609-638-8501

Whitney Arts Center203-773-3033

Whitney Humanities Centeryale.edu/whc

Yale Cabaretyalecabaret.org203-432-1566

Yale Center for British Artyale.edu/ycba

Yale Institute of Sacred Musicyale.edu.ism203-432-5180

Yale Peabody Museum of Natural History

peabody.yale.edu

Yale Repertory Theatreyalerep.org203-432-1234

Yale School of Music203-432-1965music.yale.edu

Yale University Art Gallerywww.artgallery.yale.edu

Yale University Bandsyale.edu/yaleband203-432-4111

Creative Businesses

Access Audio-Visual Systems203-287-1907accessaudiovisual.com

Blue Plate Radio203-500-0700blueplateradio.com

Fairhaven Furniturefairhaven-furniture.com203-776-3099

Foundry Music Companywww.foundrymusicco.com

The Funky Monkey Café & Gallerythefunkymonkeycafe.com

Hull’s Art Supply and Framinghullsnewhaven.com203-865-4855

Toad’s Placetoadsplace.com

Community Partners

Department of Arts Culture & Tourism, City of New Havencityofnewhaven.com203-946-8378

DECD/CT Office of the Artscultureandtourism.org860-256-2800

Fractured Atlasfracturedatlas.org

JCC of Greater New Havenjccnh.org

Overseas Ministries Study Centeromsc.org

The Amistad Committeectfreedomtrail.org

Town Green Special Services District

infonewhaven.com

Visit New Havenvisitnewhaven.com

Perspectives … Gallery at Whitney CenterLocation: 200 Leeder Hill Drive, South Entrance, HamdenHours: Tuesdays and Thursdays, 4-7 p.m., and Saturdays, 1-4 p.m.

Shared Resources Group exhibition curated by Debbie Hesse and Melanie Carr that examines participa-tory, relational, and interactive art.Dates: On view through January 8, 2016

Sumner McKnight Crosby Jr. Gallery Location: The Arts Council of Greater New Haven, 70 Audubon St., 2nd Floor, New HavenHours: Monday-Friday, 9 a.m.-5 p.m.

Spectra 2015Photo Arts Collective (PAC) Annual Members ShowDates: On view through October 30

ReenvisionAnnual Members ShowDates: November 10-December 23Reception: Artist Reception and holiday celebration Friday, November 13, 5-7 p.m.

Arts AwardsLuncheon ceremony: December 4 at the New Haven Lawn ClubFor tickets, visit newhavenarts.org or call (203) 772-2788.

Advice from the ACNeed help finding exhibition space/opportunities, performance/rehearsal space, or developing new ways to promote your work or creative event? Debbie Hesse, the Arts Council’s director of ar-tistic services and programs, will be available for one-on-one consultations. Call (203) 772-2788 to schedule an appointment.

Photo Arts CollectiveThe Photo Arts Collective is an Arts Council program that aims to cultivate and support a community of individuals who share an interest in photography, through workshops, lectures, exhibitions, portfolio reviews, group critiques, and events. The Photo Arts Collective meets the first Thursday of the month at the Kehler Liddell Gallery, 873 Whitney Ave., New Haven, at 7 p.m. To learn more, send email to [email protected].

For more information on these events and more visit newhavenarts.org or check out our mobile events cal-endar using the Arts, Nightlife, Dining & Information (ANDI) app for smartphones.

arts council programs

The Arts Paper

Perspectives ... Gallery at Whitney Center. Balam Soto.

Sumner McKnight Crosby Jr. Gallery. Beverly Peterson Stearns.

Perspectives ... Gallery at Whitney Center. Ellen Hackl Fagan.

Sumner McKnight Crosby Jr. Gallery. Penny Cook.

the arts paper october 2015

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