A month after Norte Maar’s hugely successful Brooklyn Performance Combine at the Brooklyn Museum, the event is being recognized for its celebration of Brooklyn based artists and performers. Critic, James Panero in his monthly column in The New Criterion, juxtaposed the inclusive nature of the event with the seemingly exclusive even divisive omission of artists in the Brooklyn Museum’s current exhibition Crossing Brooklyn.
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James Panero, one of the great art critics of our time, dedicates his entire Gallery Chronicle in the November issue of The New Criterion to the discussion of the To be a Lady exhibition…”
“I can pretty much imagine how the show To be a Lady: forty-five women in the arts took shape. Jason Andrew, the curator of this exhibition of female artists that spans a century and focuses significantly—but not exclusively—on abstract painting and sculpture, has one of the most observant eyes in art.
It is hard to believe that Norte Maar’s original ballet The Brodmann Areas has finished its final run at the Center For Performance Research. With a cross-genre, multi-media collaborative approach to developing the original ballet – and its accompanying visual and audio components – the countdown to opening was highlighted in the advance press:
Bushwick Daily featured a preview that included a conversation with choreographer Julia Gleich, which can be found here. Joined by director Jason Andrew, as well as the Brodmann‘s crew of dancers, Gleich also spoke with WNYU’s CityWide arts and culture program. CityWide stopped by during the last day of rehearsal to get the details on what host Lucas Green calls “a particularly visceral collaborative product.” For audio, please click here.
Norte Maar thanks all who attended, and appreciates the overwhelmingly positive reviews of the project. As ARTINFO‘s Benjamin Sutton commented after attending opening night, “the resulting brain (and eye) candy forms a wildly varied but consistently nourishing whole that manages to integrate contemporary ballet, classical and modern (and postmodern) music, visual and performing art wonderfully.”
Critic James Panero of The New Criterion also found plenty to ponder in this brainy performance. His review of Brodmann Areas in the May Issue of the publication offers a comparison with last years ballet:
“With visual artists, sound artists, and dancers all coming together, last year was something of a celebratory free-for-all, a sprawling jam session with one guitar hero after the next compounding the awesomeness until your thoughts turned to the line at the Porta-John. “Brodmann,” in contrast, took on the subject of cognition and didn’t dance around the big thoughts. Tight, far more spare than a year before, the performance brought the dance up front while still collaborating with Bushwick artists such as Paul D’Agostino, who created rapid projections out of his triptych cardboard collages. This time Ryan Anthony Francis, as musical director, also arranged a score to link the various parts into a coherent theme.”
Panero ends with a nod to the collaboration between director/choreographer Julia Gleich and neural scientist Denis Pelli on peripheral vision. Panero’s complete review can be found here. For Panero’s review from last year’s production, In the Use of Others for the Change click here.
(image via Hyperallergic.com)
Norte Maar has been a proud member and facilitator, uniting artists and defining the creative neighborhood of Bushwick. Last Thursday The Bogart Salon hosted the first of what was announced to be a series of panels discussing the Bushwick art scene. Hosted by Peter Hopkins of Bogart Salon and moderated by Hrag Vartanian of Hyperallergic, guests panelists include Deborah Brown, artist and owner of StorefrontBushwick gallery, Thomas Burr Dodd, owner of Brooklyn Fireproof, culture writer Carolina A. Miranda of C-Monster fame and Marco Antonini, the gallery director of Nurture Art.
L Magazine in reporting on the panel quoted Norte Maar Director Jason Andrew:
How, then, to preserve this community in the midst of such rapid and widespread change? “If you want a cautionary tale,” [William] Powhida said, “Pierogi (in Williamsburg) is a place that has stayed true; it wasn’t washed away in the tide of money.” Jason Andrew, who runs the arts organization and gallery Norte Maar in his apartment, concurred with this sentiment about staying true to a scene’s origins. He warned: “The one thing that kills Bushwick is organization […] What keeps Bushwick interesting is the spontaneity.”
Art critic James Panero of The New Criterion commented from the audience that he hoped to see the continuation and preservation of the apartment gallery community. Speaking of apartment galleries, Paul D’Agostino of Centotto had the most poignant comment of the evening stating, “I’ve heard it said that ‘history doesn’t repeat itself, but it rhymes,’ and I think that’s relevant here.”
As the neighborhood continues to change, Norte Maar will continue to do what it does for as long as it can with spontaneity and collaboration at it’s heart!
For additional reports on the panel follow the links below:
In the most recent issue of cultural review The New Criterion, editor James Panero featured Brooklyn-based Audra Wolowiec‘s sculptural installation Concrete Sound in his monthly column Gallery Chronicle. Originally appearing in the January 2012 print edition of the journal, Panero’s piece offered a survey of successful recent shows presented by several Bushwick favorites, Norte Maar’s penultimate exhibition of last year- featuring Wolowiec, Man Bartlett, and Lindsey Walt– among them.
“Woloweic’s concrete forms resonated with the room’s sound environment, at least metaphorically so,” Panero writes of the work. He goes on to comment on the Bushwick arts scene at large, noting that “by going local, Bushwick does not rail against the art establishment of museums, auction houses, mega-collectors, and celebrity Chelsea galleries,” but rather, “sets up a viable, alternative culture of arts patronage.” He hails Wolowiec’s project, commissioned by Norte Maar, as a stellar example of “how high concept can interact with the low-tech limitations of the neighborhood.”
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