Category: Art & Entertainment

Look — up in the sky — it’s a bird, it’s a plane! No — it’s the Boca Raton Museum of Art’s new headliner, Beyond the Cape! Comics and Contemporary Art.

The exhibition offers a new look at the relationship between contemporary artists and graphic novels and comic books.

Many of today’s most high-profile artists have been influenced by this genre and the exhibit takes a deeper look at how graphic novels and comics address societal issues of race, class, gender and politics.

“It’s exciting to see younger audiences express strong interest in this exhibition,” Kathleen Goncharov, the museum’s senior curator, said.

Goncharov — aided by Calvin Reid, senior news editor at Publishers Weekly and a comic book expert — has selected an eclectic, playful, and sometimes wickedly burlesque collection of video, photographs, sculpture, prints, and drawings in addition to rare comics and contemporary and historic animation for display.

The installation features more than 80 works by 40 artists, including Christian Marclay, Kerry James Marshall, Elizabeth Murray, Joyce Pensato, Raymond Pettibon, Peter Saul, Kenny Scharf and Michael Zansky among others. Works by Takashi Murakami and Yositomo Nara, who specialize in Japanese comics, or manga, are also highlighted.

“There is a long history here, in Europe and in Japan, between comics and fine art,” Zansky, whose work is prominently displayed, said. “Comics have a large influence in the culture and on contemporary artists.  This exhibit showcases artists who are attracted to (the) quirky visuals and subversive content of adult comics.”

Zansky comes to the world of comics naturally. His father was Louis Zansky, who drew for the circa 1940s Classic Comics series of graphic adaptations of famous literary works. Michael Zansky’s Walking Figure, a 16-foot-high carved, burnt, and painted plywood panel of a giant foot on an octagonal foundation, is based on the Colossus of Constantine, a gargantuan marble statue of the Roman Emperor Constantine the Great.

The work is displayed at the entry to the exhibit, next to and juxtaposed with Manuscript, a giant hennaed hand by Indian American artist Chitra Ganesh.

The show looks beyond the 1960s Pop Art movement, led by New York-centric artists such as Andy Warhol and Ray Lichtenstein, and features the “other” art movements from the ‘60s and ‘70s such as the Hairy Who and Bay Area Funk Art. Hairy Who artists Gladys Nilsson, Jim Nutt, and Karl Wirsum, along with works by underground comic book artists such as R. Crumb, Aline Kominsky-Crumb, and Mimi Pond are also featured.

A highlight of the show is Chicago artist Kerry James Marshall’s comic series Rhythm Mastr, which documents violence in his hometown. Known for his flat, colorful paintings of contemporary black America, Marshall’s work is in high demand.

Although comics and graphic novels are part of a genre dominated by men, a number of women are highlighted in the show. New York artist Jody Culkin, in particular, raises the feminist bona fides of the exhibit with A Prophetic Drama. The 9-minute animated comic is based loosely on a play about mummies coming to life in the British Museum, written in 1875 by Harriet Hosmer, a celebrated 19^th-century sculptor who also enjoyed dabbling in science fiction writing.

Also featured are Chitra Ganesh, figurative artist Elizabeth Murray and Jamaican feminist artist Renee Cox, known for upending sexist and racist stereotypes with her art. Beyond the Cape! runs through Oct. 6.

Back in the 1960s, vocalist Lou Christie sang a pop tune called Two Faces Have I. In the ‘90s, two famed puppet/mask designers took that concept to create masks for the live stage version of Disney’s The Lion King.

The idea not only worked, it roared.

Since The Lion King debuted on Broadway in 1997, more than 90 million people worldwide have experienced its visual artistry and reveled in its award-winning score.

Based on the eponymous animated Disney film, the stage adaptation features music by Elton John and lyrics by Tim Rice. Six indigenous African languages are spoken throughout the show and extraordinary costumes often exceed the expectations of show planners and audiences.

The Lion King has just passed through South Florida. In mid-spring, the Serengeti was recreated behind the footlights at the Kravis Center for the Performing Arts in West Palm Beach. The production, with its array of performers and elegant scenery, completed its run at the Adrienne Arsht Center in Miami on May 26.

The show that packed those two venues combined the talents of Disney Theatrical Productions with the redoubtable capabilities of Julie Taymor, the show’s director, costume designer, and —with Michael Curry — mask co-designer.

Taymor is the first woman to win a Tony Award for Direction of a Musical. Curry is owner and operator of Michael Curry Design, which creates live performance-oriented devices for Cirque du Soleil, Super Bowl shows, the Olympics, and was the creative force behind New York City’s millennium event in 2000.

With a nod to Christie’s song title, the masks for most lead characters are attached to the top of the actors’ heads, meaning their faces as well as their animal avatars can be identified. The masks drop to cover faces when characters reveal their more animalistic sides.

Background performers are fitted with more stylized devices or puppet-style gear, including bicycle-like equipment for herds of running gazelles; stilts and neck extensions for giraffes, and a vast amount of rigging and structuring for elephants. The stampede, critical to the plot, is artfully crafted in a manner that defies explanation. But it appears so real and works so well in the show.

Taymor said once she discovered she needed to show both the human and animal traits of The Lion King characters, she labored to convince Disney of her concept. That involved creating three versions of the character Scar, three Zazus, and two Timons, and presenting all to Disney’s then-CEO, Michael Eisner. He gave the thumbs-up.

The musical is a sweet love story between a father and son — Mufasa, the lion king at the opening and his son and successor, Simba. Later comes the sweetheart tale of the mature Simba getting to know his betrothed, Nala.

Taymor explained the imagery of the masks. “Obviously, Mufasa is the sun. That’s why you have the circle [the song, Circle of Life]. He’s very much about symmetry and radiation, the sun god. Simba and Nala are in that world of Mufasa.” Of her experience with The Lion King, Taymor said: “It’s the most fun thing I’ve ever done in my life.”

There must be at least two considerations to label something as art. The first is … there must be the recognition that something was made for an audience of some kind to receive, discuss or enjoy. … The second point is simply the recognition of skill.”

Brannon McConkey

At Stacey Mandell’s first solo exhibition, Letters to Our Younger Self, at the Miami Dade College Hialeah Campus Art Gallery, there could be no doubt in a viewer’s mind the artist was sharing, successfully, the way she experiences the world and that her work was an extension of her personality. Her unique art form encompasses words, emotions, culture, but also activities of daily life and current events.

Mandell uses shorthand words and phrases — whether actual Gregg shorthand, cursive writing, even Braille — as an abstract gestural form, in which the form’s meaning provides an abstract narrative on the canvas.

“I believe we have much more in common than we may think — love and gratitude, diversity and inclusion, identity and culture, encourage and nurture. Saying ‘please’ and ‘thank you,’” Mandell said. “These are expressions of the soul. We all share the same hopes, dreams, and fears. We all have good days and bad days.

“My artwork is the physical manifestation of the expressions of my soul,” she said. “My messages are the conversations contained in the artwork.” xhibition curators Noor Blazekovic and Alejandro Mendoza, in a joint statement, said they were fascinated how Mandell frames an idea and communicates it to an audience. “What sets her creative work apart from other human expression is that she is creating in the world of non-verbal communication — she uses different tools: shorthand, words, visual images, movement, ideas, and more — to create feelings, thoughts, images, and ideas in the audience to communicate her particular message that as creator she wants to share. The intent is to inform, move, and open the audience’s mind and perspective to seeing the world in a different light than before.”

One work that shows that “different light” is This is not a blank Steno pad, a 5-foot-high acrylic-on-canvas image of the familiar off-green paper notebook. We may know it’s called a steno pad, and many of us of a certain age understand these notepads, with the spiral at the top for easy page-flipping, were popularized in their use by actual stenographers — secretaries, court reporters, close-caption writers in yesteryear’s TV industry, and the like.

Mandell has more than a passing familiarity with proper penmanship. A devotee of punctilious handwriting since her mother taught her cursive in grade school in rural central Illinois, Mandell made her way in the world — in quite the circuitous way, as it turned out — depending on Gregg Shorthand. After graduating from college prepared to teach music and math, Mandell instead took a clerical job where she had to learn shorthand.

“Learning Gregg Shorthand was a turning point on my career path,” Mandell said. From there, she became a legal secretary and, later, jumped to law school, employing her shorthand skills at every point.

“Throughout my 20-year legal career, I utilized shorthand to take notes and draft documents,” Mandell said. During that span, she said, she became fixated on using shorthand to communicate different ideas in a very different way — to express herself as an artist.

Once she left lawyering behind and relocated to South Florida when her husband retired, Mandell decided to pursue that idea.

This is not a blank steno pad was her first work in her steno pad series. It’s as much a statement about her present as it is about her view of our present culture: Much like the absence of ink and scrawl on Mandell’s canvas, the very jobs it represents — or, at least, the job titles — are now part of the past.

Mandell’s steno pad is blank, she said, “because of technology; no one uses it for its intended purpose anymore. It represents the dying art of a beautiful, phonetic language.” Mandell said after she painted the pad of paper, she’d planned to add to it a number of life lessons — in shorthand, of course. “But every time I thought about writing on it, I stopped. I could not bring myself to write on this one,” she said. “I finally realized this one meant more than anything I could express with shorthand.”

Students from Marjory Stoneman Douglas High School in Parkland are still recovering from the horrific act of an irrational gunman who shot and killed 17 students and staff – and wounded an equal number of innocents – in a vile and violent attack Feb. 14 that shattered the joy of a Valentine’s Day and the solemnity of Ash Wednesday.

But those impacted by the shooting haven’t respond in kind. The spirited and courageous student body, staff and parents turned to their strong suit — visual and performing arts — to stem the drumbeat of anger and steady the will to seek vengeance for a senseless act.

In the short span from mid-February to the end of the school year, a barrage of volunteers worked feverishly to organize two concerts to memorialize those who died and underscore the determination of the young men and women, teachers, administrators, mothers and fathers who are leading MSD High into the future. They built their campaign around a quote from conductor and musical luminary Leonard Bernstein, who believed that music was one of the most effective means of creating understanding and peace in the world.

By nurturing music and arts, he said, we can actualize a world “in which the mind will have triumphed over violence.”

On the night of May 22, the first of two response events took place. Called “What We Play is Life,” a Jazz Night concert, took place at the Coral Springs Performing Arts Center. Joining three MSD jazz bands were three world-renowned musicians: Jazz pianist Herbie Hancock, trombonist Wycliffe Gordon, and Cuban clarinet and sax player Paquito D’Rivera.

On June 1, the Church by the Glades on Lakeview Drive, Coral Springs, was filled nearly to capacity for the more classical version of Jazz Night called “Our Reply.”

“This featured the MDS Wind Symphony, which just performed in New York at Carnegie Hall; the MSD Clarinet Choir, Brass Choir, Trombone Choir, and Color Guard,” said Luis Piccinelli, director of instrumental music at Coral Springs Middle School and one of those who helped organize the performance.

The show drew thunderous applause and a multitude of standing ovations as student musicians and guest performers provided what Piccinelli called “an amazing musical experience.”

“We hope this performance will help with healing, as well as raise money for the Alex Schachter and Gina Montalto funds, two band students we tragically lost in the shooting.” Memorial foundations have been set up for each.

To honor Alex, one of the opening numbers featured trombonists lined up across the entire stage. Alex’s dad, Max, was seated in the front row with other Schachter family members.

Later, they took to the stage and Max talked about “my little boy.” He told how his 14-year-old son loved music. “He wanted to play trombone in one class and euphonium in another.”

Max also recounted how he joined the band parents, and “I got to see Alex mature and grow. All his band work paid off.” Dad cried as he thought back to the terrible Valentine’s Day when “17 families descended into hell. That monster shot my son through a window.” He swore he would not halt his campaign for improved security “until all schools are safe.”

Before leaving the stage, he announced he was giving a $25,000 gift to his son’s scholarship fund.

To honor their fallen colleague, Gina Montalto, 14, the MSD Color Guard presented a feature performance of “Hallelujah” in her memory. The touching tribute ended with the girls surrounding and saluting an empty chair with a flower placed on the seat.

Her father, Tony, and brother, Anthony, spoke to the crowd. “As this community moves forward and heals, our families will never be the same.” He thanked the musicians and color guard members “who gave to the memorial foundation for Gina Rose Montalto.”

He concluded his talk by reading one of Gina’s poems, and told how happy she was to have become a member of the Eagle Regiment in 2017.

Taking part in the performance on the expansive stage of the church abutting the Everglades were Joseph Alessi, principal trombonist, and Anthony McGill, principal clarinetist, both from the New York Philharmonic Orchestra.

The June 1 show featured a world premiere of a piece composed and dedicated to the MSD students. Called “Until Morning Come,” the composition was written by Andrew Boss, who was present in the audience. The arrangement was said to “convey a peaceful message, a homage to those who passed away and for those who live on.”

Other guests who came to be part of the concert were Gary Green, director of bands emeritus at the University of Miami, and Frank Ticheli and Johan de Meij, both composer/conductors.

Alexander Kaminsky, director of bands at Marjory Stoneman Douglas, conducted many of the musical numbers at the “Our Reply” show as well as during the “What We Play is Life” concert. “Bad things happen in this world,” he told the audience on May 22. “We have to make the world a better place, and this is going to do that.”

The earlier show included a prologue, with the Coral Springs Middle School jazz band performing in the courtyard while food was served to the audience from the Cheesecake Factory. Volunteer staff members provided goodly portions of sliders, salads, pot stickers, and cheesecake options. Money raised at the event benefited the MSD and Coral Springs Middle School music programs and the Alex Schachter Scholarship Fund.