Quartet Vector 218, Peabody Classical Guitar Quartet, at The Mainstay April 26

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Quartet Vector 218, the Peabody classical guitar quartet under the direction of Julian Gray that includes a doctoral candidate, a masters student and two recipients of the Charlie Byrd Memorial Endowed Scholarship, will bring a program of Bizet, Gershwin, Regondi, Giuliani, Brouwer and more to the Mainstay in Rock Hall Maryland on Sunday April 26 at 4:00 p.m. The program is part of the Mainstay’s concert series “The Byrd Series: Celebrating Charlie’s 90th.” Admission is $15.

Quartet Vector 218 combines the talents of four of The Peabody Institute at Johns Hopkins University’s finest classical guitarists, Young Ik Jang, Andrew Marino, Young Jun Lim and Young Won Kim, all of whom study under the internationally known guitarist Julian Gray. Their program will feature the quartet playing “Three Preludes” by George Gershwin and “The Carmen Suite” by Georges Bizet. Each member of the quartet will also play solo pieces including works by Asencio, Dowland, Ponce, Guiliani, Regondi, Piazzolla and Brouwer.

Quartet Vector 218 (Staircase)

Baltimore, MD based guitarist and teacher Andrew Marino has performed throughout his native New York State, Maryland, and beyond as a soloist and in chamber groups. Recent performances include recitals at The Walters Art Museum and Emmanuel Episcopal Church of Baltimore, and performances for Baltimore Musicales of the First Christian Church and at the Classical Guitar Society of Upstate New York. He is a prizewinner in several competitions, including the Crane School of Music Chamber Music Competition and Appalachian State University’s GuitarFest Competition. An active teacher in the Baltimore/DC area, he is on the faculty of the International School of Music in Bethesda, MD and Cockeysville Music Education Center in Cockeysville, MD. He also teaches the Guitar Methods course at Peabody to music education majors and graduate certification students. Marino holds the degree of Master of Music in Guitar Performance/Pedagogy from the Peabody Conservatory where he was awarded a full assistantship. He graduated summa cum laude from the Crane School of Music of the State University of New York at Potsdam with a Bachelor of Music in Guitar Performance and currently studies with Julian Gray in the Doctor of Musical Arts program at the Peabody Conservatory where he is a full-time graduate assistant.

Korean guitarist Young Ik Jang was born in Tokyo, Japan and moved to Korea at age six. He started classical guitar at age 10 and also studied violin, piano, clarinet, and computer music. At age 11, he began classical guitar studies with Byeong-Woo Lee, who became his musical mentor. Since then he has performed frequently as a soloist and member of a guitar quartet. He won first prize in the Seoul Baroque Competition in 2004. He received his Bachelor of Music from Peabody in 2013. Young Ik is now pursuing a Master of Music in Julian Gray’s studio at Peabody Institute of Johns Hopkins University with a Graduate Assistantship award.

Young Jun Lim is 21 years old and a junior at Peabody Institute of Music of Johns Hopkins University where he is pursuing his bachelor in Classical Guitar Performance in the studio of Julian Gray. He has been studying classical guitar for 7 years. He graduated from Freedom High School in Loudoun County VA and was a student of Mr. Samuel Wong to whom he credits his strong inspiration and passion for classical guitar. Young is currently studying under Julian Gray and is a recipient of the Charlie Byrd Memorial Endowed Scholarship in Guitar. He has won high school competitions and has been an open division semi-finalist in national guitar competitions. He received the award for Excellence in Art from the National Society of Arts and Letters, and has performed multiple times at the Kennedy Center as chamber and solo performer.

Young Won Kim is a guitarist from South Korea. He began his studies at nine years old on the violin, and then switched to Classical guitar to study with Dae-Kun Jang, an internationally known guitarist. He started winning competitions at the age of twelve, and won first-prize in the Seoul Philharmonic Orchestra Competition in 2011. Young Won is now pursuing Bachelor of Music Degree in the Peabody Institute of Johns Hopkins University in the studio of Julian Gray, supported by the Charlie Byrd Memorial Endowed Scholarship.

The Mainstay (Home of Musical Magic) is the friendly informal storefront performing arts center on Rock Hall’s old time Main Street.

For information and reservations call the Mainstay at 410-639-9133. More information is also available at the Mainstay’s website http://www.mainstayrockhall.org.

RiverArts Studio Tour Registration Due By May 15

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Call for Studio Tour artists: registration is due May 15 for the tour on October 24 & 25, and October 31 & November 1.

Now in our 16th year, RiverArts Studio Tour is one of the biggest tours on the east coast. We believe this year will be even bigger and better and we hope you will be a part of it. If you need studio space to show your work, or you want to share studio space with another artist please indicate your preference on your registration form.

New this year – Online Registration! Registration will be done entirely online this year by visiting our registration page – http://chestertownriverarts.org/events/studio-tour/studio-tour-2015registration-form/

This will allow us to collect your media and links more effectively to help with promotion of the event.

Registration is due by May 15. Once your reservation is received, you will get additional information regarding the Tour, Gallery Show and Reception at RiverArts. You must be a member of RiverArts to participate. To make sure your membership is up-to-date or to become a member, call RiverArts, 410-778-6300, and they’ll check your membership status.

Kent Chamber Music’s Final Concert for Season on Saturday

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On Saturday, April 18, at 7 pm, Kent Chamber Music presents the final concert of its 2014 – 2015 season at Hotchkiss Recital Hall, Gibson Center for the Arts, Washington College in Chestertown. Returning for a 5th straight year, the Peabody Consort will perform Music of Three Faiths – a selection of music from the 13th, 14th and 15th centuries.

Screen Shot 2015-04-17 at 8.57.01 AMThe Peabody Consort is a select group of early music students, alumni and guest artists from the Peabody Conservatory of Johns Hopkins University in Baltimore. Founded and directed by Mark Cudek, Director of the Early Music program at the Peabody Conservatory, the Consort was formed in 1996 for a tour of Rome, Italy. Musicians in the groups are Mark Cudek, cittern, doumbec, riq; Jeffrey Grabelle, bass viola da gamba; Brian Kay, oud; Aik Shin Tan; flute and recorders; Julie Bosworth, Abigail Chapman and Grace Srinivasan, sopranos; and Niccolo Seligmann, vielle.

As you can see from the list of instruments, the musicians will be performing on period instruments. The instrumentation is varied to match the demands of a variety of repertoire and includes recorder, viola da gamba, plucked strings (cittern), percussion and solo voice or voices.

Our concerts are informal and audience-friendly, with the musicians commenting on the music they perform and welcoming questions from listeners. After the concert, meet and mingle with the musicians while enjoying refreshments.

We hope you have enjoyed all of our 2014-2015 concerts, made possible by your generous donations and the financial support of the Hedgelawn Foundation and Kent County Arts Council.

Tickets are $15 at the door. Visit our website at www.kentchambermusic.com or call 410-810-1834 for more information about the program and performers.

Trout Fishing in America at The Mainstay, April 24

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Trout Fishing in America brings their folky, campy, rootsy and fun-loving show to the Mainstay in Rock Hall, Maryland on Friday April 24 at 8:00 p.m. Admission is $20.

TroutFishing hr4Trout Fishing in America is the long-standing and yet seemingly unlikely musical partnership of Keith Grimwood and Ezra Idlet. As individuals, they are about as different as one can imagine. Together, they blend seamlessly in a way that has captured the imagination (and hearts) of audiences of all ages for over three decades.

The band is in town to do a school program sponsored by People’s Bank, the Rock Hall Elementary School PTA and the Mainstay at RHES and will stick around to do their wonderfully entertaining show for grown-ups in the evening. Known as stars in the world of children’s music, this Trout Fishing in America show for adults will be a bit more sophisticated but youngsters are welcome too. One of the hallmarks of TFIA’s music is that their kids’ music is enjoyed by adults and kids are entertained by their music for grown-ups.

Ezra Idlet plays guitar and banjo and stands 6’8″ tall. Keith Grimwood on bass stretches to 5’5 1/2″ on a humid day. Ezra is more playful and extroverted while Keith is more serious and reserved but they each bring out the best in the other and the joy that comes from this musical interaction is contagious and impossible to deny.

The San Jose (CA) Mercury News described them best when they said, “Their songs are folky and intelligent, part country, part roots, a mix of cheeky lyrics and soulful harmonies. Their live shows blend campy humor and instrumental prowess …The power of their music is that they write kids’ songs that grownups can share without feeling embarrassed or lowbrow. And they write grown-up songs that don’t bore kids.”

The duo has earned four Grammy Nominations and recently released “Rubber Baby Buggy Bumpers”. Try saying that five times fast! The CD features tongue twisters, mind-benders, spooky situations and instantly identifiable slices of a kid’s life. In September 2010, they the first full length CD for adults in 11 years a folk/pop CD called “Lookin’ at Lucky.” Included in their catalog is a children’s book/CD “Chicken Joe Forgets Something Important” published through Secret Mountain. The spoken-word tale is followed by 11 original songs relating to the story. Real people and animals in Keith and Ezra’s lives inspired the characters in the songs.

Grimwood began playing music professionally when he was still in his teens. In school, he made the Texas All-State Orchestra four years and later earned a degree in music from the University of Houston. At 22, he landed a position with the Houston Symphony Orchestra. He put himself through college playing pop music in local clubs and that led to his fortuitous meeting with Ezra Idlet.

Idlet attended McClennan College in Waco, Texas on a basketball scholarship. He was a “One-and-Done” player, but not exactly because of his incredible basketball skills. Instead, he decided to leave college and pursue his true love, a lifetime of playing music. In 1976, Idlet and Grimwood met as members of the Houston based eclectic folk/rock band St. Elmo’s Fire. They became the best of friends and musical partners and when St. Elmo’s dissolved in 1979, Trout Fishing in America (named for Keith’s love of Richard Brautigan’s writing and Ezra’s love of fishing) was officially born.

Always independent, their label, Trout Records was in the first wave of artist owned labels to successfully record and market independent music. In 2008, Performing Songwriter Magazine chose Trout Fishing in America as one of the top 100 most influential independent artists in the past 15 years. Their infectious mix of folk/pop and family music is the result of their diverse backgrounds as well as growing up in the musical melting pot that is Texas. Their recordings have garnered three National Indie Awards, multiple Parents Choice and NAPPA Gold awards, the American Library Award, as well as four Grammy nominations.

In 1992, they relocated their families to the Ozark Mountains of Northwest Arkansas. Besides being a lovely place to live and raise a family, this central location helped to expand their touring territory to all 50 United States and several Canadian provinces.

Since the beginning, they have played shows for adults as well as kids. Sharing knowledge and encouraging art has become another musical mission of TFIA. In the past few years, they have developed a variety of songwriting workshops for teachers and students that illustrate how art and music come from the fabric of everyday life. Their willingness to make fun of our most annoying habits in one song, then touch our hearts with tender and passionate images of family life in the next is what makes the connection between Trout Fishing in America and their audiences of all ages so real.

The Mainstay (Home of Musical Magic) is the friendly informal storefront performing arts center on Rock Hall’s old time Main Street.

For information and reservations call the Mainstay at 410-639-9133.

More information is also available at the Mainstay’s website http://www.mainstayrockhall.org.

Guitar Legend to Rock Garfield May 8

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Guitar Player Magazine dubbed him the “Titan of the Telecaster.” Rolling Stone said he’s “an American treasure” and “one of our best.” No matter what you call him, Bill Kirchen is a founding father of the Americana movement, now at the peak of his impressive career. He’ll bring his killer band (David Carroll on bass and Rick Richards on drums) to the Garfield Center in Chestertown on Friday, May 8.

Kirchen was originally known as co-founder and lead guitarist of Commander Cody and His Lost Planet Airmen, one of the first and only rock-n-roll bands to infuse their honky-tonk sound with pure, blood-and-guts country roots and western swing. It was Kirchen’s indelible guitar licks that drove their hit, “Hot Rod Lincoln,” into the Top Ten in 1972, a song that eventually took on a post-Cody life of its own. Today, Kirchen’s extended version of “Hot Rod Lincoln” is his universally loved signature masterpiece, a pumped up joyride through the last 60 years of guitar-god history, described as “epic” by Rolling Stone.

Bill Kirchin, with Rick Richards and David Carroll

Bill Kirchen, with Rick Richards and David Carroll

In 2001, Kirchen received a Grammy nomination for his instrumental “Poultry in Motion.” The following year he was inducted into the Washington Area Music Association Hall of Fame, neatly sandwiched between John Phillip Sousa and Dave Grohl. Kirchen has recorded and/or played guitar live with a who’s who of Americana and Roots Rock ‘N’ Roll, among them Gene Vincent, Link Wray, Bo Diddley, Hazel Dickens, Doug Sahm, Hoyt Axton, Emmylou Harris, Maria Muldaur, Dan Hicks, and Nick Lowe. Bill is pretty sure that he is the only person to have, in a single year, stood on stage and played with both Ralph Stanley and Elvis Costello.

Kirchen has released 10 cd’s on his own; the latest, Seeds and Stems, is a studio album that manages to capture the essence and vibe of Kirchen’s live shows: his astounding guitar virtuosity and near-magical, joyous connection with his audience. Featured are some perpetual crowd-pleasers from the Cody days, like “Too Much Fun” and “Rockabilly Funeral”; also a sublime, poignant take on Dylan’s “It Takes Alot to Laugh, It Takes a Train to Cry”, and an amusing bonus track with old friend Jorma Kaukonen, finger-picking through a tune that asks the musical question, “Are You Talking ‘Bout Love or Are You Talkin’ ‘Bout Chicken?”

Bill is currently touring with his all-star, all-Austin band: Rick Richards on drums and David Carroll on bass. Richards has made records and toured with Ray Wylie Hubbard, among many others. This brought him to the attention of Ringo Starr, whose recommendation led to the last three stadium tours drumming with Joe Walsh. David Carroll has played bass with a who’s who of Austin artists, including stints with Billy Joe Shaver and Jerry Jeff Walker and a run with Ray Price.

Friday night promises to be a show you won’t want to miss, a breath-taking display of Telecaster mastery covering the gamut of Americana roots influences.

From Monoprints to Rubens: New Exhibitions at the Academy Art Museum

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The Academy Art Museum has announced the opening of five new exhibitions in April 2015. Rosemary Cooley: World View opens on April 11 and is on display through July 19, 2015.

Rosemary Cooley, Odysssey II, 2014, carborundum intaglio, hand coloring, 24k gold leaf, Rives BFK paper, 20" x 16".

Rosemary Cooley, Odysssey II, 2014, carborundum intaglio, hand coloring, 24k gold leaf, Rives BFK paper, 20″ x 16″.

A life of travel and living in Asia, Africa, and South America has broadened Rosemary Cooley’s artistic vision, which she translates into the world of printmaking. A fascination with art and architectural history informs her work, and fragments of script, stamps, and the human line add soul and spirit to her woodcuts, lithographs, etchings and monoprints. Chance associations which occur in the human psyche may be revealed in the found images Cooley layers with inked plates which are passed through her etching press on fine rag paper. She is actively exhibiting in Washington, DC at the Washington Printmakers Gallery, and has shown her work at the Stimson Center, the Dadian Gallery, The Old Print Gallery, the Cosmos Club and NIH, and other places. Rosemary is past President and Board Member of Washington Printmakers Gallery, and her work is in the collections of Georgetown University, Delbarton School, the Corcoran Gallery of Art, the Martha Jefferson Hospital, Charlottesville, VA, the National Headquarters of Jesuit Colleges and Universities, the Library of Congress and in private collections in the United States, South Africa, Belgium, Sweden, Venezuela, France, England, Italy, New Zealand, Japan and China.

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Frederick Hammersley, Waiting, 1974, charcoal pencil on paper,7 5/8 x 7 1/2 in., AAM 2013.009.14, Gift from the Frederick Hammersley Foundation, Albuquerque, NM, Copyright Frederick Hammersley Foundation.

Recent Acquisitions: Frederick Hammersley II , an exhibition of the works of Frederick Hammerlsey will open on April 18 and be on display through July 5, 2015. In 2013 the Museum received a donation of 45 works on paper by Frederick Hammerlsey, consisting of 10 computer drawings; 6 prints; 18 drawings; and 11 paintings. The oeuvre was a generously gift from the Frederick Hammersley Foundation, Albuquerque, NM. Frederick Hammersley was born in 1919, in Salt Lake City, UT and died in 2009 in Albuquerque, NM. He was raised in Idaho and moved to Los Angeles after serving in World War II to study at Chouinard Art Institute in Los Angeles. He soon developed a style of abstraction that incorporated geometric forms in his paintings that were called hard-edge painting, a style unique to Southern California. Hammersley was also a professor, teaching first at Jepson Art Institute in Los Angeles and later at Pomona College, Chouinard, and the University of New Mexico. Hammersley’s artwork can be found at The National Gallery of Art, Albright-Knox Art Gallery, Corcoran Gallery of Art, the Fogg Museum, and Los Angeles County Museum of Art, among many others, and now also on Maryland’s Eastern Shore.

Carol Minarick brings her Easton studio to the Academy Art Museum in Carol Minarick: Beowulf and A Series That Is Not A Series. For Minarick the freedom of the studio environment makes possible the melding of ideas and substances in unexpected ways.  Not believing in preplanning or sketching she allows materials—from stones to tar paper—to emerge in new configurations.  She cites sumi-e, or the Eastern black-painted discipline she studied at the Corcoran School Art.   “The first mark sets the stage then everything else is a response,” she says. Carol Minarick has had more than 20 solo exhibitions in the United States and Canada and is a Fellow of the Virginia Center for the Creative Arts.  She lives in Easton with her husband Joe and joins other artists on installations and commissions.  A major collaborative work is her Lost Synagogues of the Holocaust, now in the collection of the United States Military Academy at West Point. Carol Minarick: Beowulf and A Series-That-Is-Not-a-Series will open April 18 and be on display through July 19, 2015.

Artist Ray Turner lives in Pasadena, California, where he received his BFA from Art Center College of Design. Post graduation, he became a professor of painting at his alma mater. Turners’ work has been exhibited in museums and galleries throughout the United States. Turner began painting portraits for the current body of work and traveling museum exhibition called Population in 2007. The idea was to paint portraits of the uncelebrated to the celebrated people from a cross section of the populace in communities across America. The subjects would then become part of the growing body of work that represented their communities and respective museums. The exhibition is currently touring the United States and abroad began at the Pasadena Museum of California Art. It has shown in eight museums and Turner’s work is in many permanent and private collections. Still growing in number the body of work has currently has over 500 portraits. Population is an installation based body of work, painted on 12 inch squares of sapphire glass, which are then displayed on a color field grid that becomes their back ground. Ray Turner: Population will be on display April 25 through July 5, 2015 with Curator Tours on May 8 at 12 noon and June 10 at 12 noon.

The exhibition, From Rubens to the Grand Tour, focuses on two paintings by Peter Paul Rubens 1577-1640), the famous painter from the southern Netherlands and his expert knowledge of the antiques, and of the Romans in particular. The time period covered also includes the 18th and into the 19th centuries. The focus of the exhibition is on his Agrippina and Germanicus, on loan from the National Gallery of Art, Washington, and its “counterpart” Roman Imperial Couple, on loan from the Ackland Art Museum, The University of North Carolina at Chapel Hill.

Rubens painted the two double-profile paintings upon his return to his native Antwerp in Flanders (present-day Belgium) after a long sojourn in Italy. Rubens had collected and brought back with him Roman coins, medals and carved cameos, which may have inspired the artist to paint the profile portraits. The concept of the exhibition is based on the Museum’s Curator Anke Van Wagenberg’s article “A Matter of Mistaken Identity – In Search of a New Title for Rubens’s ‘Tiberius and Agrippina’,” in Artibus et Historiae (2005). The Museum will receive on loan several objects relating to numismatic collecting, including the 12 Roman coins dating to the first century A.D. from Augustus to Nero, from the American Numismatic Society in New York, while The Walters Art Museum, Baltimore, contributes – among others – collector coin boxes, of the kind that Rubens may have brought back with him. The exhibition is curated by Anke Van Wagenberg. From Rubens to the Grand Tour opens on April 25 and will be on display through July 5, 2015 with Curator Tours on May 8 at 12 noon and June 10 at 12 noon.

These Academy Art Museum exhibitions are sponsored by the Talbot County Arts Council and the Maryland State Arts Council. For further information, visit academyartmuseum.org or call 410-822-2787.

 

Art Review: “Earthwork” at Massoni Gallery by Mary McCoy

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It’s pure pleasure to view “Earthwork,” an exhibit of handsome, well-crafted works at the Carla Massoni Gallery through May 3. As part of “Art of Stewardship,” Chestertown’s month-long series of exhibits and events, it celebrates the natural world and aims at encouraging the desire to be a good steward of the earth, but the question that looms over the show is “Can such art really make a difference?”

This is not a show of confrontational art, and there’s no gloom and doom environmental rhetoric. Instead, “Earthwork” takes a remarkably positive stance reflecting gallery director Carla Massoni’s feeling that it’s only when you come to love and appreciate something, that you naturally develop a strong desire to nurture and care for it.

Rob Glebe, “BeeCause,” mild steel, metal stain and lacquer

Rob Glebe, “BeeCause,” mild steel, metal stain and lacquer

Environmental art can range from angry protest art to actively engaged work such as Mel Chin’s use of plants to extract heavy metals from contaminated soil in his “Revival Fields” and Mierle Laderman Ukeles’s installations and performances educating the public about urban waste as artist in residence with the New York City Department of Sanitation. The works in this exhibit fall politely somewhere in between, leaving it a matter of opinion how effective they are in raising environmental awareness.

The show’s most specifically issue-oriented piece is Blake Conroy’s “GMO.” An absolute show-stopper, it’s a large, breathtakingly intricate panel of many superimposed layers of laser-cut paper. From a distance, you clearly see an image of ripe ears of corn still on the stalks, but step closer and curious things happen. The image dissolves into a frail web of paper and holes as you realize you’re seeing each layer exactly repeated by the one underneath, just as the genes of genetically modified corn are identical. Just below the corn is an unobtrusive line of text giving the dictionary definition of “monoculture.” From loss of seed diversity and dependence on possibly toxic herbicides to patent issues and the consequences to native species, the implications of GMO monocultures form a large and controversial subject. Leaving viewers to consider its ramifications for themselves, Conroy mischievously points the finger at the main player by highlighting certain letters spaced widely across the line of text. They read: “Monsanto Monsanto.”

Many of the show’s works touch on specific environmental concerns, if only through their titles. Like Conroy’s, some of them presuppose knowledge of these issues. Karen Klinedinst’s quartet of photographs of milkweed pods in sepia tones are striking simply for their achingly beautiful textures and forms, but knowing that milkweed, the host plant of the endangered monarch butterfly, is being largely eradicated from agricultural lands through the use of the herbicide glyphosate, gives them a deep and touching pathos.

Similarly, Rob Glebe’s remarkable large steel sculpture “BeeCause,” while strangely fascinating for the “otherness” of its huge bees at work filling their honeycomb, is really about the pollinator crisis. Animated and alien, Glebe’s bees call to mind old, scary movies like the 1954 film, “Them,” with its giant ants, in a neat allusion to nature out of balance. Considered in terms of the pollinator crisis, the sculpture’s scale gives it a surreal power that points to the magnitude of the problem.

Many of the show’s 21 artists, Glebe included, will be familiar to those who frequent the gallery, but there several artists new to the gallery bring in fresh energy. There’s an effervescent dance running throughout Katherine Allen’s stitched and painted fabric pieces, and the scribbled pencil marks in Susan Hostetler’s “Flock in Funnel Formation” masterfully evoke the dynamic swirl of flocks of blackbirds in flight. A sprinkling of red dots seems a curious addition until you realize they form a spiral, the basic shape of the birds’ path. More rustic than the gallery’s usual fare, Marcia Wolfson Ray’s engaging sculptures made with dried plant materials from marsh elder bushes to hosta leaves explore the delicacy and rhythmic structures of plant growth.

Wolfson Ray’s focus on natural materials is shared by many of the artists giving the show a satisfying feeling of physicality. Vicco von Voss’s burnt black walnut shelf speaks of the natural forces of growth and fire while celebrating the strength and solidity of the wood. Rectangles of richly textured encaustic (pigment suspended in beeswax) give Karen Hubacher’s abstract panels a luscious, earthy feeling, and Carol Talkov’s mosaics, while weak in composition, are captivating for their collections of bits of slate, marble, quartz crystals, pyrite and jasper.

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Carol Talkov, “Migration (Drought),” stone, limestone, travertine, marble, chrysocolla, apatite

Much of the show’s strength derives from Massoni’s knack for finding relationships between artworks. As is usual for this gallery, the works are hung in such a way that the power of each augments those around it and suggests a wider, more encompassing view. If Michael Kahn’s elegantly serene photograph, “Lilypad Reflection,” with its delicate reflections of clouds in water, was not hung directly above von Voss’s sculptural wall shelf, “Estuary,” you might never notice the nearly identical skim of pale shapes left by a fungus in the grain of the wood.

The ability to sensitize the eye and, by extension, the mind is one of art’s greatest strengths, and this show is intended to do just that. Expanding the concept to the written word, visual images are partnered with evocative poetry in an inspired collaboration between painter Marcy Dunn Ramsey and eco-poet Meredith Davies Hadaway. A stack of copies of Hadaway’s new book, At the Narrows, shares a corner of the gallery with a group of Ramsey’s tiny, intimate gouache waterscapes painted in response to the poems. Their titles are tantalizing snippets of Hadaway’s work that tempt the visitor to read more.

These interactions between works of art are a hint at the premise of this exhibit and of the “Art of Stewardship” project as a whole, that it takes more than individual effort to affect change. Collaboration and the open sharing of ideas are all important to developing sustainable ways to live on this earth. The first stage is to raise awareness; the next is to find solutions to the many challenges to the earth’s well-being. A look at the “Art of Stewardship” schedule of events finds everything from environmentally focused art exhibitions, concerts and storytelling to panel discussions on stewardship issues to community trash cleanups of trails and waterways.

“Art of Stewardship” has become a collaboration between several organizations including the Massoni Gallery, RiverArts, Garfield Centre for the Arts, Washington College, and the Town of Chestertown. It’s a humble, grassroots effort and will need to be duplicated in many other communities, large and small, to make any real difference for the planet earth. Still, it’s a start, and it’s worth noting that it is based on a tried-and-true model of dynamic balance: Nature itself is one big collaboration.

Easton: Christ Church Concert Series Presents Kobayashi-Gray Duo Sunday

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This Sunday, April 19, the award-winning Kobayashi-Gray Duo will perform as part of Christ Church Easton’s 2014-15 Concert Series. Beginning at 4:00 p.m. at the Academy Art Museum on the corner of South and Harrison Streets, this program all music lovers will surely want to hear. While the program opens with Beethoven’s Sonata in E-flat Major, Opus 12, number 3, it will feature the work of numerous composers, many of whom are American. The rather popular Graceful Ghost Rag by William Bolcom written in 1979 as well as Three American Pieces by Lukas Foss are among them.

Screen Shot 2015-04-14 at 2.40.18 PMThe Kobayashi-Gray Violin and Piano Duo made its international concert debut as winner of the prestigious United States Information Agency Artistic Ambassador auditions, touring South America and the West Indies. “The Duo’s skill, energy, and love for the music were all evident in this performance which brought the audience to its feet demanding an encore.” Succeeding tours included the 2002 International Workshops in Stavanger, Norway, the Western and Eastern Cape Provinces of South Africa (2003) and the country of Thailand (2012). The Duo is in demand throughout the world for its skillful presentations of the standard repertoire as well as its specialty of the works of more than twenty-five 19th through 21st century women composers, eight of which are featured in world premiere recordings produced by Kobayashi-Gray Duo.

The Christ Church Concert Series gratefully acknowledges the Talbot County and Maryland State Arts Councils for their ongoing support of this and other musical presentations. While the concert is free to the public, a freewill offering will be received to support the series. For questions call 410-822-2677.

QA Centre for Arts Offers Up Evening of “Boxer Shorts” May 8

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The Queen Anne’s County Centre for the Arts welcomes the Brown Box Theatre Project for their spring production, BOXER SHORTS on May 8th.

BOXER SHORTS is an evening of enchanting and interrogative short plays that explore the space between sleeping and waking, thinking and knowing, living and dying. This production will be performed on Friday, May 8, 2015 at 8:00 pm at the Centre for the Arts and will feature these four esteemed works:

Play by Samuel Beckett – An absurdly thrilling exposé of three adulterous lovers by the legendary Irish playwright,

Talk to Me Like the Rain and Let Me Listen – by Tennessee Williams – A poetic exploration of the reality of desperation, fantasy, and delusion between two isolated lovers by one of America’s most beloved playwrights,

The New World Order by Harold Pinter – An examination of the practice and implications of torture in a gripping dark comedy by the influential English playwright, and

Personal Belongings by Diana Raznovich – This comedic one woman show by revolutionary Argentinian playwright is a searing portrait of a self-proclaimed diva rummaging through a sea of unclaimed baggage.

“We are pleased to be able to partner with the Queen Anne’s County Department of Tourism to provide an opportunity for audiences to experience live theatre with such a wide range of rarely produced work. BOXER SHORTS is sure to provide a most engaging evening of entertainment.” Executive Director Belinda Cook stated.

Kyler Taustin, Artistic Director and Delmarva native, explained, “Our company offers something different to the Delmarva theatre scene, and this production is sure to be a unique theatrical experience. We are very excited to present these diverse voices and engage in a meaningful dialogue with our audience.”

BOXER SHORTS will appear in Queen Anne’s on Friday, May 8 at 8:00 p.m. at the Queen

Anne’s County Centre for the Arts at 206 S Commerce St. in Centreville. Tickets are $25 per person.  Please visitwww.queenannescountyarts.com to purchase.

The Queen Anne’s County Arts Council, Inc., is a non-profit organization committed to promoting, expanding and sustaining the arts.  All donations are 100% tax deductible.