Archive for the ‘Boston Magazine’ Category

John Singer Sargent

Tuesday, June 29th, 1999

He was the preem­i­nent portrait painter of his day, and he gave it all up to paint land­scapes. His private life is a mystery. His brush­work is still dazzling. JOHN SINGER SARGENT seems to have walked out of the pages of a novel by Henry James, who wrote of him: “Yes, I have always thought of Sargent as a great painter. He would be greater still if he had done one or two little things he hasn’t — but he will do.”

Read the full article »

Paula Josa-Jones

Saturday, August 1st, 1998

It’s as if they were taking a journey through a land­scape and their eyes were caught by some­thing — a memory, or the frag­ment of a memory, or the memory of a past life — and that pulls them into the move­ment,” says PAULA JOSA-JONES of her new dance, GHOSTDANCE.

Read the full article »

Boston Baroque: Abduction from the Seraglio

Thursday, May 21st, 1998

Mozart’s early opera, ABDUCTION FROM THE SERAGLIO starts out light and comic, grad­u­ally grows deeper, more melodic, and more profound, and ends in perfect harmony. He wrote in 1781, at the age of 25, bringing together elements of high art and melo­drama into a new form that tran­scends them both. “It was a break­though for Mozart,” says Martin Pearlman, conductor and director of the Boston Baroque.

Read the full article »

Helen Pond and Herbert Senn

Sunday, December 1st, 1996

Boston Ballet’s new Nutcracker sets are the work of a designing couple, Helen Pond and Herbert Senn, who live in a Gothic house in Yarmouth­port which they have fully restored with Gothic carving, painted ceil­ings and “lots and lots of quadri­foils,” says Herbert. “We designed the house and the Nutcracker at the same time. Nutcracker is my life.”

Read the full article »

Christopher Hogwood

Sunday, December 1st, 1996

CHRISTOPHER HOGWOOD has stopped conducting in the tradi­tional “stuffed shirt” tails and white tie; he now wears a black silk shirt. It gives him the air of an artist — or a monk. The Maestro’s new clothes are a metaphor for his approach to music: not a dusty, life­less tradi­tion, but some­thing authentic, full of meaning, and alive.

Read the full article »

The Eliminator

Friday, November 1st, 1996

THE ELIMINATOR begins as a cop thriller, then turns into a spy movie, then a horror movie with flesh-eating zombies, then a myth­ical epic, and finally achieves tran­scen­dence with an ironic evoca­tion of William Butler Yeats’ great line of poetry, “A terrible beauty is born.”

Read the full article »

Aretha Franklin/ Diana Ross

Friday, August 2nd, 1996

When I was young, ARETHA FRANKLIN and DIANA ROSS repre­sented the two poles of women’s expe­ri­ence. Diana’s sweet, lyrical voice cele­brated a woman’s capacity to abandon herself completely to love. Aretha’s “Respect” was the ulti­mate expres­sion of a woman’s right­eous anger and self-respect. Now I see them both as present-day embod­i­ments of ancient Goddesses, projecting dazzling images of beauty, power, glamour, self-posses­sion, and grace.

Read the full article »

Brain Opera

Tuesday, July 2nd, 1996

The beau­tiful, beloved voice of LORRAINE HUNT began to rise and spread out through the room, in sweet, sad layers of sound, accom­pa­nied by a visual chorus of flashing colored lights, magi­cally trans­forming the empty, mechan­ical space into a few moments of unearthly beauty.

Read the full article »

Larissa Ponomarenko

Monday, July 1st, 1996

Ballet is all arti­fice; but she makes even the Snow Queen’s dazzling, deli­cate swirls seem easy and natural. From a distance, she seems fragile, ethe­real. But up close, you can see the muscles in her limbs, her graceful neck, her flex­ible spine. The years of dedi­ca­tion and disci­pline are sculpted onto her slender frame.

Read the full article »

Florence Ladd

Thursday, June 13th, 1996

The sea is a metaphor for trans­for­ma­tion, the possi­bility of crossing over, for becoming someone else, for change,” says FLORENCE LADD. “Every time Sarah crosses the sea, it changes her. I believe in the uncon­scious and the way the uncon­scious enriches our inter­pre­ta­tions of life.”

Read the full article »

Object as Insight: Japanese Buddhist Art and Ritual

Saturday, June 1st, 1996

Bodhisattvas with serene, all-embracing smiles; golden flower baskets for carrying lotus petals to purify a sacred space; ritual bronze chimes adorned with peacocks. “Each article is incred­ibly beau­tiful, but it’s only when all the arti­cles come together, evoking the pres­ence of the Buddha, that you can under­stand Buddhist art.”

Read the full article »

The Fire of Hephaistos

Wednesday, May 1st, 1996

These ancient bronzes, which have long since lost their golden gleam, are still numi­nous frag­ments of a vanished world. One statue of young man was recently pulled out of a river; his pale sea-green body is scratched and scarred; but he is still a lovely appari­tion, reminding me of some lines from Shakespeare’s “The Tempest”:
“Nothing of him that doth fade
But doth suffer a sea change
Into some­thing rich and strange.”

Read the full article »

Beth Soll / Richard Cornell

Monday, April 29th, 1996

Dancer Beth Soll and Composer Richard Cornell are working together on a dance inspired by a book by West African poet Amadou Hampate Ba. “It’s a long tale, an initia­tory alle­gory, a triumph of knowl­edge over fortune and power,” says Cornell. “A quest for God and wisdom,” says Soll.

Read the full article »

Mark Morris/Orfeo

Thursday, April 11th, 1996

It begins with a fune­real chorus in the antique style, with cornetto and trom­bones. And then Orpheus comes in, lamenting his lost love, and sings one single word. Eury­dice. He sings it three times. He doesn’t say much, but he says every­thing he needs to say, and the third time he sings it, it sends chills up your spine.””

Read the full article »

Herman Melville

Monday, April 1st, 1996

Give me a condor’s quill! Give me Vesu­vius’ crater for an inkstand! Friends, hold my arms! For in the mere act of penning my thoughts of this Leviathan, they weary me, and make me faint with their out-reaching compre­hen­sive­ness of sweep, as if to include the whole circle of the sciences, and all the gener­a­tions of whales, and men, and mastodons, past, present, and to come, with all the revolving panoramas of empire on earth, and throughout the whole universe.”

Read the full article »

Stephen McCauley

Friday, February 2nd, 1996

I suppose I read so many biogra­phies because I was trying to under­stand how people stum­bled through their days and their fail­ures and spun their miseries and despair into great art or path­breaking science or profound enlight­en­ment.”

Read the full article »

Richard Linklater

Thursday, February 1st, 1996

It’s unful­filled longing. It’s being young. Meet me at 20. I don’t know what I want to do. I kind of want to write. You want to be a artist, to express what’s going on in your life. It’s a way to lose your­self in your discon­tent. Other­wise you’d just go out and shoot and vandalize. Art is more internal.”

Read the full article »

Julian Schnabel

Wednesday, January 10th, 1996

The scene when BASQUIAT is painting — the Charlie Parker and Max Roach riff is from his record collec­tion. It’s very heady at that moment…Success is when you’re making the work of art. The moment of perfect sonorous bliss.”

Read the full article »

Basquiat

Tuesday, January 2nd, 1996

BASQUIAT captures the artist’s yearning and anguish, moments of bliss and the sheer phys­ical plea­sure of making art. His later descent into drugs, lone­li­ness, confu­sion and despair is truly tragic — you feel him pursued by the Furies of greed, racism, and disease, tracking him inex­orably down.

Read the full article »

Emma

Monday, January 1st, 1996

Holly­wood has fallen in love with JANE AUSTEN. Her scripts feature snappy dialogue; her plots follow the classic formula of girl meets boy; girl loses boy; girl gets boy; her story lines move deli­ciously from chaos and confu­sion to harmony and delight. The latest is EMMA, played to perfec­tion by GWYNETH PALTROW in Wedg­wood colors, Empire dresses and pearl-drop earrings.

Read the full article »

Judy Kensley McKie

Saturday, December 2nd, 1995

Working in bronze, that most ancient and enduring of mate­rials, JUDY MCKIE’s work reveals the power of art to console and heal. Her Bird Foun­tain has the silent, soaring pres­ence of great mourning monu­ments. “The water makes you feel calm and peaceful,” she says. “It’s nour­ishing. A life force.”

Read the full article »

Dialogue: John Wilson/ Joseph Norman

Friday, September 1st, 1995

JOHN WILSON is a clas­si­cally trained artist whose life’s work has been a search for enduring, spir­i­tu­ally charged images of African-Amer­i­cans. JOSEPH NORMAN weaves together all kinds of imagery into elab­o­rate compo­si­tions that are elegant, yet full of feeling. “For both of these artists, art remains an impor­tant way to think about what it means to be human and to have an inner life.”

Read the full article »

The Inferno of Dante

Sunday, January 1st, 1995

Dante’s vision of Hell is filled with terri­fying images of trans­for­ma­tion, yet its ulti­mate horror is its change­less­ness — the unre­pen­tant sinners whose punish­ment is to embody, forever, their sins. Centuries after its obscure Floren­tine villains have been forgotten, the poem still rings true as a drama of the inner life, because the heart of the poem is the hope that we can still be changed.

Read the full article »