Nearly 20 years ago, I made my first visit to the Greater Hartford Academy of the Arts at its original site, just past Colt Park in Hartford, heading south on Wethersfield Avenue.
I pulled into a parking lot protected by a tall, chain-linked fence. It acted like a divider between a worn-out apartment building in the deteriorating neighborhood, and the old funeral parlor that had been resurrected as Hartford’s arts magnet high school.
The school has come a long way since then. Last month, it was honored as the nation’s top arts school by the Arts Schools Network.
Packed inside a small travel bag and tucked away on a shelf in her cozy New Haven studio, artist Corina Alvarezdelugo keeps her precious scraps of fabric protected. Beyond valuable, these throwaways come in various textures, colors, and playful patterns, gathered long ago in her homeland of Venezuela.
As his collection of paintings was spread across two tables, I asked artist Juan Colon about the large watercolor that’s become the postcard image for "Cityscapes: Uncommon and Familiar Beauty," an exhibition opening this Friday at the Art Connection Studio in Hartford.
Back in 2010, a resolution was passed by U.S. House of Representatives making the second week of September "Arts in Education Week" -- a week designed to spotlight the role and importance of the arts in our schools.
At age 83, Ming Cho Lee knows the difference between a world that works and one that doesn’t, certainly when it comes to the stage. For the past six decades, the National Medal of Arts recipient and Tony Award winner has conjured up some of the most memorable scenic worlds of the American theater.
Elena Del Vecchio Rusnak could take The Lovely Bones and re-imagine it as a haunting, dream-like work of modern dance.
For her biographic short on Isadora Duncan, Rusnak skillfully mixed dialogue with choreography, shaping them into a soliloquy of sound and movement that brought to life the exotic 19th-century dance icon.
Emerging from the shadows carrying a lifeless naked body, a primal-like figure takes a deliberate path in slow procession to center stage. When he finally arrives at the pool of white light, he lays down the load onto a jet-black pedestal, an altar of some kind; and this, his offering to someone, somewhere.
When jazz vocalist Dianne Mower makes her way through a jam-packed house onto the tiny Japanalia stage on Saturday night in Hartford’s West End, odds are it will be an emotional and unifying moment for everyone within earshot.
You could make the case that America’s obsession with sports really took hold thanks to baseball in the 1950s. When Broadway producer/director/writer George Abbott turned to "Damn Yankees" as his next musical in 1955, the timing couldn’t have been more perfect.
It was evident from Saturday’s grand finale of "Hartford Loves Poetry: A Community Celebration" that the city loves the sound and soul of its many voices. It was also proof that people are thirsty for authentic human stories told aloud by their neighbors that creatively reflect ancestry and history.
Red Grooms dreams big, and draws large. Using paint, colored pencils, charcoal, and crayon, his super-sized canvases about life within the art world won’t just warm your heart; they will enlarge it three-fold.
Music can involve us beyond the act of mere listening. At the current exhibition at The Aldrich Contemporary Art Museum in Ridgefield, you will need all five senses. Be prepared to get physical. With an eye and ear toward expanding our understanding of music and art, The Aldrich has brought together the work of five gifted contemporary artists in a series called Music, through March 9.
When he’s not playing professor at the Rhode Island School of Design, artist Mark Milloff sculpts, paints, and envisions gigantic pastel drawings. He also moonlights as a musician. But all things being equal, he’d rather be fishing.
Like so many holiday traditions, "The Nutcracker" is upon us once again. With numerous Connecticut productions of the classic fairy tale ballet, the 12th annual production by the Eastern Connecticut Ballet is a stand-out for a number of worthy reasons.
When Charlie Chaplin and other silent film stars faced the challenge of carrying over their talents into "talkies," these proved to be much-anticipated events. On Friday in Bethlehem, international mask artist Larry Hunt, a local, will actually let his voice do the real talking on stage. Hunt has built a career on non-verbal storytelling, and has performed at venues around the world for over 25 years.
Each of the three singers has a solo career, but when they come together, the women of the Juice Vocal Ensemble perform a wide range of music. Alto Kerrie Andrew spoke with CPTV. "We can sing very difficult virtuosic new music," she said, "or we can sing folky stuff, or have a go at a bit of beat boxing, or be told what to in an opera or improvise, or work with electronics. So we like to think that’s fairly individual for our group, that we’re pretty diverse."
There’s a hypnotic vocal harmony that is both soothing and mysterious in "Didn’t Leave Nobody But the Baby," sung a cappella by the Juice Vocal Ensemble on their album Songspin. It’s as if I’m standing over a child’s crib and hear warm breathing and shushing and sighing. It’s sense-o-round that wraps around me. Then, suddenly, I wonder: who are these voices? Where’s the baby? Everything, okay?! The music has moved me. And Juice has done its job.
Winner of NBC’s "The Voice," Javier Colon, is a rare combination of talent, star-power, and humility. His extraordinary tenor voice and “acoustic soul” style bring spiritual integrity and musical sophistication to his pop song chart.
The growing collection of original work Colon has developed over the last several years often showcases personal stories about relationships and his family life.
We’ve become full-time fame seekers. Admit it: no matter what age, walk of life, or social standing, just being friended or liked by no one in particular makes our day. We create online personas, instantly publish, and look to find inspiration from the reality television that surrounds us. There, we can root for real cops, middle-class castaways, and cut-throat cooks.
The past and present intersect in the plays of Charles Mee. Known for taking those hefty Greek tragedies and re-imagining them for today’s audiences, his works like "Big Love" ask us—no, challenge us--to give some serious personal thought to our social responsibility as citizens.