I’m pleased to present another art review from Hollins University art professor Ruth Epstein’s art criticism class, this written by junior Abigail Minor. “STATE OF THE ART: Virginia Crossroads” remains on display through Feb. 23.—MikeA

STATE OF THE ART: Virginia Crossroads
By Abigail Minor

Works by nine regional artists battle for attention on the walls, floor, small tables and racks in a single white gallery at the Taubman Museum of Art in State of the Art: Virginia Crossroads. John Clingempeel, David Freed, Ann Glover, Charles Goolsby, Reni Gower, Chris Gregson, Sam Krisch, Taliaferro Logan, and Robert Sulkin hail from Virginia, a requirement that creates surprising depth.

Standout pieces include Robert Sulkin’s imaginary mix-media machines. Found objects such as lights, wire, tires and skeletal fragments, generate repetitive forms and spontaneous sparks, frozen in the medium of photography. In Man and Beast, Sulkin’s gripping scene of tension between organic and manufactured objects, an animal skull and vertebrae arch to follow the circular forms of a bicycle and wagon wheel, respectively, held together with ropes and wires.

John Clingempeel’s distinguished paintings on plywood display a deep understanding of the interaction between light and dark. Using beeswax to build up thin layers of color, Clingempeel deconstructs natural elements into abstraction. The artist’s charcoal compositions, lacking in color, evoke a different, somber mood. In Untitled (2011) tendrils extend upward from a nucleus of white at the bottom right toward the top of the canvas, slashing through the dark charcoal strokes. The contrast of white and black, intermingled with greys, presses the lighter elements of the composition into the viewers’ space.

Equally distinctive are Reni Gower’s hanging strips of mesh and metal grating, covered with vibrant paint splatters. Like three-dimensional Pollocks, Gower’s constructions pleasantly assault the eye with a visual feast of color, texture, and no discernable pattern.

A mix of traditional media and innovative techniques, State of the Art: Virginia Crossroadspresents an impressive array of work from the region. Curators thoughtfully pieced together a multitude of styles and subjects that Virginia artists are choosing to explore today.

Classical music reviewer Timothy Gaylard praised concertmaster Akemi Takayama as the consistent highlight of RSO’s sold out performance Sunday. Did you go? Do you agree with Gaylard’s review? Let me know in the comments.

Roanoke Symphony celebrates strings
By Timothy Gaylard

On Sunday afternoon, the Roanoke Symphony, under Maestro David Stewart Wiley, played in Shaftman Performance Hall at Jefferson Center to a virtually sold-out house. The afternoon was considerably brightened by the artistry and musicianship of Akemi Takayama, the concertmaster of the orchestra, who was featured as soloist in works by Beethoven and Vivaldi.

Altogether, it was a celebration of the great string section of the symphony and of the baroque and classical periods. Wiley presided over some of the afternoon as a basso continuo player at the harpsichord.

The concert began with the popular Pachelbel “Canon in D.”Here the streamlined orchestra gave a transparent and expressive account, well-shaped and moving inexorably forward to a satisfying end.

This was followed by the lesser-known “Battaglia” of the baroque composer Heinrich Biber. The ensemble reveled in the humor and surprisingly modern techniques and effects required by the composer. At one point, the polytonal effects caused Wiley and several players to look questioningly at the scores in front of them, sparking some spontaneous laughter from the audience.

Takayama then played ravishingly as violin soloist in Beethoven’s Romance No. 1 in G. From her opening unaccompanied theme to the quiet conclusion, she displayed a thorough command of her instrument and a complete understanding of the elegance in Beethoven’s early period classical style.

Click here to read the rest of the review.

Theater reviewer Nona Nelson is bullish about the latest Mill Mountain Theatre/Hollins Playwright’s Lab production, “The Matador.” Have you seen it? Do you agree with her review? Share your thoughts in the comments.

Linear plot fans need not shy away from absurdist ‘Matador’
By Nona Nelson

The experience of absurdist theater is similar to viewing abstract art. Appreciation will be based on the emotions the work inspires and each patron will take away a different perspective from the piece.

“The Matador” — a one-act play written by Robert Plowman and directed by Todd Ristau now in production on the Waldron Stage of Mill Mountain Theatre — is an entertaining, funny and poignant work of abstract art that will likely touch each theatergoer in a different way.

A sparsely decorated stage becomes a small, surreal world containing four characters: A resplendent matador, a bull in boxing shorts, a femme fatale reporter and a boy from the slums.

The characters orbit one another around the stage, reciting rapid-yet-lyrical dialogue that is often laugh-out-loud funny. Within each character is a different struggle.

The bull and the matador battle in the public arena, each relying on the other for relevance, while also battling inner demons. Both the man and the beast vie for the attention of the woman. The child seeks a hero, someone in which he can place his trust and hope for himself and his family.

Click here to read the rest of the review.

The Matador
Where: Mill Mountain Theater’s Waldron Stage, 20 E. Church St., Roanoke
When: Tonight, 8 p.m.; Saturday, 2 p.m. and 8 p.m.; Sunday 2 p.m.
Cost: $10
Contact: 556-5396 or www.millmountain.org

I’m pleased to present another art review culled from Hollins University art professor Ruth Epstein’s art criticism class, this one written by freshman Haley Ortiz. “Anne Ferrer: Hot Pink” remains on display through April 13.—MikeA

A Criticism of “Anne Ferrer: HOT PINK”

By Haley Ortiz

Hot Pink, an installation now on view at the Taubman Museum,  was made exclusively for the space by Paris-based artist Anne Ferrer, whose sculptures emulate plants, human organs, sea creatures, clothing, and limbs.  In this work, she stitched together pieces of ripstop nylon sailcloth in various shades of pink — quirky festival colors — creating a large, playful sculpture.

The sheer size of Ferrer’s piece is awe-inspiring , demanding attention. Upon entering the space, one sees it from below, a writhing life form suspended in air. The patches create shapes that swirl beautifully.  The conical spirals are similar to those of colorful lollipops, and with its pointed protrusions, the piece resembles a rhinoceros that a child might win in a carnival game or a large balloon in a parade.

Viewed from above, on the second floor, the organic flow of Hot Pink evokes, for me, various aspects of character. Each shade of pink represents a shade of one’s personality; each tentacle represents an arm reaching out in hope; each cone represents a tentacled arm retracted defensively, as if in an attempt to save itself. The nylon patches and stitch-work symbolize the composite nature of personality. The vibrant colors of the patches celebrate the vibrancy and beauty of life.

I’m pleased to present this guest review of the Taubman Museum of Art’s exhibition of Fabergé objects from the collection of Roanoke arts patron Dan Hodges, written by Hollins University sophomore Mikaela Murphy, a student in Hollins professor Ruth Epstein’s art criticism class. The Fabergé exhibition opened in May 2012 and closed Jan. 19. My thanks to Mikaela and Ruth for this interesting take on what the show signified. —MikeA

A review of Fabergé: The Hodges Family Collection

By Mikaela Murphy

If objects could speak, the cacophonous screams of the deposed Romanov aristocracy would emanate from the Fabergé pieces on display at the Taubman Museum. A compilation gathered by Daniel L. Hodges, Fabergé: The Hodges Family Collection features the creations of various workmasters from the St. Petersburg based House of Fabergé from the mid-1880’s onward until the fall of Imperial Russia. All pieces in the collection display an equal elegance and useless beauty that is well-suited for the curio cabinets of the appallingly rich. But in reality, these are not frivolous trinkets; they are reminders of the bloody end of the class that owned them, whose photogenic likenesses stare, frozen, from within the ornate frames and lockets. Photos of the four young Romanov Grand Duchesses in a soft pink enamel and gold frame bring to mind their murders at the hands of equality-seeking Revolutionaries. The girl’s round faces pout from behind miniature oval panes of glass, the last vestiges of their innocent youth preserved.

Other pieces do not elicit such an emotional response. On the Imperial Presentation Cigarette Case (produced prior to 1899) rests a crown encrusted with diamonds amid a sea of swirling deep blue enamel. Also remarkable was the large paperweight featuring a sterling serpent coiled around a gleaming turquoise stone. Like the serpent enticing Eve to take the forbidden fruit, the snake’s gelid expression is symbolic of ruthless greed; it dares the viewer to desire the excesses that were the undoing of Russia’s bourgeoisie.

Much the same as the precious metals and gems from which the Fabergé pieces were crafted, Russia’s nobility rose from the earth like the peasants who worked the land, calling into question the legitimacy of their reign. Essential to this exhibition’s resonance with American audiences it its timing. Given recent economic hardships, one can only hope that the message of the opulent Faberge pieces will not be lost: Material wealth, no matter how desirable, should never take precedence over humanity.

Theater reviewer Nona Nelson admits to being charmed by Roanoke Children’s Theatre’s Junie B. in Jingle Bells, Batman Smells!”

Have you seen it? What did you think? Let us know in the comments.

Theater review: ‘Junie B’ a holiday treat for kids and parents, too
By Nona Nelson

Kids will be giddy with holiday joy after seing Junie B. Jones in Roanoke Children’s Theater’s production of “Junie B. in Jingle Bells, Batman Smells!”

A smile will likely light up the faces of adults, too.

The sassy 6-year-old of the Barbara Park’s book series comes to life in this play written by Allison Gregory, as Junie B. and her classmates in Room One celebrate the holidays in the days leading up to winter break.

The season is not without stress for Junie B., though. She worries about performing carols on stage with her class, how to find extra money to buy herself a coveted toy at the school’s gift sale, and of course, she’s always dealing with her nemesis, May the tattletale.

May’s spying, peeping and tattling puts a damper on all of Junie B.’s holiday fun – including adding parody lyrics and interpretive dance steps to liven up “Jingle Bells” – and her constant fighting with May could land her in the principal’s office or, worse yet, on Santa’s naughty list.

Just to make things even “worser” for Junie B., she pulls May’s name in the class’s Secret Santa drawing.

Will the plucky first-grader take the opportunity to teach blabbermouth May a lesson, or will she learn that it’s better to be a giver and not be “shellfish”?

Click here to read the rest of the review.

Theater reviewer Nona Nelson had a grand time at Attic Productions’ “The Christmas Express.” Did you see it yourself? What did you think?

Review: Take Express; straight to the Christmas spirit
By Nona Nelson

“The Christmas Express” rolled into Fincastle’s D. Geraldine Lawson Performing Arts Center last week, powered by Attic Productions, and bringing with it the kind of holiday glow that gathering around a tree with a cup of eggnog and a plate of warm snickerdoodles inspires.

The sweetly sentimental story, written by playwright Pat Cook and directed for Attic by Peggey Rowland, takes place in the train station of Holly, a depressed small town, in the 1950s. A once-bustling hub of community activity, the tired old station seldom sees a traveler these days, much to the chagrin of the snippy station manager, Hilda Trowbridge, who harbors dreams of escaping Holly for travel to faraway places.

The day before Christmas Eve, she resists urging from Satch, the station’s porter, to spruce up the tired old station with decorations. She only reluctantly agrees to go caroling with the other quirky townsfolk and brings a genuine bah-humbug attitude toward the holiday season.

That changes when a mysterious stranger, Leo Tannenbaum, arrives via an unscheduled train. Tannenbaum has a way of making Satch and the other townies believe that a little hope can go a long way in making their lives better, while the skeptical Hilda questions the stranger’s motives and sanity. Before long, Tannenbaum is working minor miracles in the lives of Holly residents, from decking the halls of the train station to solving the marital discord of a newlywed couple, Jerry and Donna Fay, to giving advice on urban planning.

Besides Tannenbaum’s contagious optimism infecting everyone around her, pessimistic Hilda has other things to worry about. Mr. Fairfax, an auditor sent from the railroad, is taking an inventory of the sparsely furnished station, a move she is convinced means the railroad is about to close the station right after Christmas.

Click here to read the rest of the review.

Yesterday, noting that that Franklin County moonshine-based crime drama “Lawless” has just debuted on DVD, I called for comments and reviews. Local reviewer Dusty Wallace of the “Dusty on Movies” blog has sent me a rough-and-tumble review of this rough-and-tumble film that I’m sharing for your enjoyment. If you have any comments to share, please do, and check out Dusty’s blog for his take on many other films, including those made in our region. —MikeA

Lawless
Directed by John Hillcoat
Starring Tom Hardy, Shia LaBeouf and Guy Pearce
Runtime 116min – Rated R
4 Stars (out of 4)

Review by Dusty Wallace

There are a lot of things to consider when watching “Lawless”. Is it factually accurate? Is that how depression-era Franklin County actually looked? And was it really that violent? Were Chicagoan gangsters constantly making trips to the mountain moonshine stills? I have none of those answers.

Matt Bondurant, the author of the film’s source novel, “The Wettest County in the World”, is the grandson of Jack Bondurant who serves as the film’s main character and part-time narrator. Though I’m sure he did plenty of research for his novel, I would question the validity of stories passed down through generations of moonshiners by word-of-mouth. These kinds of stories are generally told at family gatherings. Family gatherings are generally accompanied by large volumes of moonshine in Franklin County, especially when that family is historically famous for its white lightning. Large volumes of moonshine are generally not good for verbally communicating factual information.  Also worthy of consideration is a character who survives illness, a throat slashing, and multiple gunshot wounds. Maybe I’m wrong. Maybe the story is closer to truth than legend. Since there’s no real way for me to verify or dismiss any of it,  I’ll just have to ignore the topic altogether. Besides, separating fact from fiction has little bearing on whether or not one will enjoy a film.

The Bondurant family consists of three brothers; Forrest (Tom Hardy), the ringleader, Howard (Jason Clarke), the muscle, and Jack (Shia LaBeouf), the baby brother. Jack’s brothers are his envy. He wants their confidence and status. Constantly he tries to convince them he’s ready to become a bigger part of the moonshining operation but is met with harsh rebuttal. They force him to learn everything the hard way, but also try to protect his innocence. It’s a 190 proof catch-22.

The catalyst for violence comes in the form of Special Deputy Charlie Rakes psychotically played by Guy Pearce. Rakes is an enforcer for the new Commonwealth’s Attorney and he’s brutally effective. Neither Rakes or the C.A. are prohibitionists mind you, they simply want their cut. Until their arrival it only took a few ethanol-filled mason jars to convince local lawmen to look the other way. Most are resistant to the expensive payoffs but Rakes destroys enough stills and bashes enough heads to change their minds. The Bondurants aren’t so easily swayed. Read more »

Have you seen “Pinkalicious”? What did you think? Let me know in the comments.

Audiences will get tickled ‘Pinkalicious’
By Nona Nelson

“Pinkalicious: The Musical” tickles the audience positively pink.

The whimsical fantasy is the latest production of Roanoke Children’s Theatre.

The play, based on the first in a series of books by sisters Elizabeth Kann and Victoria Kann, opened Wednesday night to a nearly sold-out preview performance at the Taubman Museum of Art. There are enough laughs in the script, also penned by the Kann sisters, for adults and kids to enjoy.

Pinkalicious Pinkerton is a headstrong little girl, devout in her love of the color pink with a sweet tooth that is satisfied only by overindulging in pink cupcakes.

Eating too many of the pastel pastries causes her to turn pink, and at first she is delighted with the transformation. But she soon learns that her new hue has consequences, especially when she is playfully pestered by insects mistaking her for a giant pink peony.

A visit to a singing-and-dancing doctor delivers a diagnosis of pinkitis, a rare condition that can only be cured with a healthy diet of green food (What? No pink-icillin?)

Now it’s up to Pinkalicious’ overworked parents and devoted younger brother Peter to encourage her to add greens to her diet.

Click here to read the rest of the review.

Did you folks see “Antigone”? What did you think? Let us know in the comments.

Stalemates in ‘Antigone’ bring to mind today’s political ones
By Nona Nelson

While the story of “Antigone” is certainly a tragedy, Gamut Theatre’s presentation of the tale of the doomed daughter of Oedipus is also thought-provoking and entertaining.

Based on a play by Sophocles, this updated version demonstrates the danger of unyielding politic rhetoric and the far-reaching consequences of clinging to ideology beyond reason. About 40 people attended Thursday’s opening night performance.

The story takes place in Thebes, a kingdom torn apart by civil war that pitted brother against brother. Polynices and Eteocles, sons of the dead king Oedipus, killed each other in a power struggle for control of the kingdom, which following their deaths is ruled by their uncle, Creon.

King Creon has declared Eteocles a hero and Polynices a traitor and has ordered that Polynices’ body remain rotting on the battlefield, denying him the ceremonial and religious burial afforded to Eteocles.

That decree doesn’t sit well with Antigone, the youngest sister of the dead princes. Despite the threat of the death penalty for defying the order, she is determined to bury Polynices so his soul will find eternal rest.

Antigone spends the briskly paced first act getting her affairs in order while preparing herself to face Creon’s judgment. Actress Linsee Lewis-Noto plays the title character with the perfect blend of temerity and vulnerability.

Click here to read the rest of the review.