Archive for the ‘Interviews’ Category

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.”

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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.

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A Midsummer Night’s Dream

Thursday, September 12th, 1996

Shake­speare’s A Midsummer Night’s Dream is about a royal wedding, lovers lost in an enchanted forest, magic spells, and fairy sprites. But mostly it is about imag­i­na­tion. In the course of the play, as the char­ac­ters move in and out of the world of dreams, certain words repeat over and over again: Fancy. Imag­i­na­tion. Dream. Vision. Trans­ported. Trans­fig­ured. Trans­formed.

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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.

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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.”

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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.

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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.””

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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.”

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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.”

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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.”

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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.”

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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.

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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.”

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Working Proof: Experimental Etching Studio

Saturday, November 21st, 1992

Ten years ago, I spent a very happy summer working at Exper­i­mental Etching Studio, so I was delighted when the Boston Public Library invited me to help shape a conver­sa­tion among a group of artists from this extra­or­di­nary print­making coop­er­a­tive.

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Camille Paglia

Monday, May 4th, 1992

Moment by moment, night flickers in the imag­i­na­tion, in eroti­cism, subverting our striv­ings for virtue and order, giving an uncanny aura to objects and persons, revealed to us by artists.” “The sea, Dionysian liquid nature, is the master image in Shake­speare’s plays. It is the wave-motion within Shake­spearean speech which trans­fixes the audi­ence even when we don’t under­stand a word of it.”

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The Sound Artist: Hans Peter Kuhn

Monday, February 18th, 1991

Sound art is more open and much closer to life than music. Music is a filtered expe­ri­ence. I’m not a composer. I don’t want the emotional view bound or directed in any one direc­tion. I want to keep it open. I’m always trying things out. I hear some­thing and I can pick it up and react in minutes. I’m inter­ested in every­thing that makes a noise.”

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Ilya Kabakov/Soviet Conceptual Art

Sunday, January 6th, 1991

When you look up, all those frag­ments convey a vertig­i­nous sense of disin­te­gra­tion, and decay. But when you look down, every­thing is compressed onto a single shiny surface, and it’s beau­tiful. All that debris — all that waste and pain — is trans­formed into art.

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Matt Mullican

Friday, July 6th, 1990

Being inside MATT MULLI­CAN’s instal­la­tion is like being inside Matt Mulli­can’s mind — a dizzying expe­ri­ence. He’s constantly clas­si­fying and re-ordering every­thing. “It’s the first time I’ve arranged my meaning as objects in space depicting my meaning,” he says.

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Judy Kensley McKie and Todd McKie

Friday, June 15th, 1990

In 1969, TODD and JUDY MCKIE painted banners with the signs of the Zodiac for Wood­stock, which people pulled down to use as tents and blan­kets in the rain. Judy began making furni­ture in the early 70s to furnish their apart­ment. One day she impul­sively carved two crouching figures into the arms of a butcherblock couch.

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Gyorgy Kepes

Saturday, March 10th, 1990

GYORGY KEPES paints with a mixture of oil paint and sand, which gives his work a rough, earthy texture. He likes to tell the story of Antaeus, a hero who was the son of Mother Earth and could never be defeated as long as he touched the earth. Painting with sand is Kepes’s way of touching the earth.

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Simon Schama’s CITIZENS

Tuesday, March 7th, 1989

CITIZENS, Simon Schama’s wonderful new book about the French Revo­lu­tion, is espe­cially fasci­nating to people who care about Art, because it is in many ways a book about the power of images to trans­form the world.

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Otto Piene

Saturday, May 1st, 1982

As a very young man, OTTO PIENE saw the sky reflected in a sea at long last calm: “The feeling of being reborn has never left me.” Out of this rebirth came “a love for the sky, the desire to point at it, to show how beau­tiful it is, how it makes us live and feel alive.”

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Sky Art Conference

Friday, January 1st, 1982

Artists and scien­tists. working in neon, laser, steam, smoke, video, pyrotech­nics, film, inflated and flying sculp­ture, and other celes­tial navi­ga­tions, cele­brate the sky as a medium of expres­sion, trans­mis­sion, and space.

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The Sketchbooks of Le Corbusier

Tuesday, December 1st, 1981

LE CORBUSIER created his own myth through the organic gener­a­tion of forms. His genius constantly renewed itself, pulling new phenomena into the orbit of his thought and recre­ating them in the puri­fied, monu­mental yet human forms of his archi­tec­ture.

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Flora Natapoff

Thursday, October 1st, 1981

The surface of a FLORA NATAPOFF painting is a place where battles have been fought, cities and temples built up and brought down, and on which there has been a wrestling with angels. The means of expres­sion are abstract – marks on paper and scraps of paper that must always hold their own. But the energy to work comes from looking at some­thing that moves her.

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