This Sunday from 1 to 6 p.m., you can go from the Anchor to the LoveBomb and all around town. It’s the second annual 1708 Gallery artists' studio tour and covers not only the city’s geography but its artistic and cultural history and life.
It’s connected to the gallery’s 35th anniversary and its annual auction on Saturday, March 29. But unlike the white gloves used to present the art at the formal festivities, this tour takes you into studios that are established and those that are still in the making.
Director Emily Smith explains that the initial impulse was to offer an opportunity for the public to gain access to working spaces and practices of artists. “We’d like to cultivate a collector’s base,” she says. Based on the success of the first tour last spring, the gallery chose to connect it more closely to the auction. The featured artists are contributing work to the bidding.
The participants include those who've been involved with 1708 for decades, as well as some artists who are new to the area and others who work in established spaces or who have moved to different places in town. “It reflects the spectrum and also allows people to see the seriousness with which the artists are working. We want to share that in a way that’s fun, engaging and rewarding. We hear often how our general audience likes to interact with the artist. They want to know, ‘How did you make that?’ What were they thinking about in the place where they made it.”
Artist’s studios are a bit of a mystery to whose who perhaps have not been in one. There’s the curiosity: Are the spaces messy or tidy, color coordinated or splatters everywhere? “It’s enlightening to see the reality,” Smith says.
Last year’s tour comprised three close together areas, but the 2014 version will take visitors across the city. “This demonstrates the adaptability of an artist,” Smith says, “I’m going to make a space for myself and do it here. It’s intriguing.”
And full disclosure: Having married into it, I’ve sunk work gloves into rubbish heaped behind the building near Hull and Pilkington streets that my partner-in-art Amie Oliver is rehabilitating to serve as studios for herself and others.
If you want to know how to find them, after the auction ticket purchase, which includes the tour, you’ll receive a map. If you can’t make the auction, separate admission is $35 per person through the 1708 website or by calling 1708 Gallery at 643-1708.
Finally, the 1708 Auction, “35 Candles,” is on March 29. The honorary chair is New York-based painter Kristen Baker, who burst upon the scene with paintings that referenced auto racing. The new work created for 1708 Gallery’s Annual Art Auction is emblematic of this signature style. Baker is not new to Virginia, though. Her painting The Prig is in the collection of the VMFA.
“35 Candles” includes live and silent art auctions, featuring work from more than 50 of the region’s artists. Baker is contributing a large work and an edition of silk screens, all made especially for the event.
There’s also a raffle for three custom portraits including a Man’s Best Friend Portrait by Matt Lively, a Free-Motion Embroidered Portrait by Michael-Birch Pierce and a Miniature Papier-Mâché Portrait by Rachel Leah Cohn.
Raffle tickets are $20 each or six for $100, and can be purchased in advance at 1708 Gallery. The drawing will be held at the auction, though the winner does not have to be present.
Coming up: pictures of musicians and communities off the main highways and an African American musician who collects the paraphernalia of hate groups and a freeform collective on their way to greater recognition inaugurates a music series, right here in old Richmond town, down on Broad Street.
Things start all up and down the Arts District in advance of the First Fridays event.
Tonight (Thursday) from 5 to 8 p.m at the Candela Gallery, there's a preview and artist talk by Lisa Elmaleh for her "American Folk" exhibition and Applachian style music from fiddler Ben Townsend and perhaps others.
Candela’s Amy Ritchie explains how Brooklyn-based photographer Elmaleh goes on the road with a truck that she sleeps in and where she develops her collodion tintypes. She becomes part of the communities she visits. “We think of Appalachian folk music as of the past,” Ritchie says, “but Lisa’s photographing solid, well-thought-of musicians who are keeping this tradition alive. What’s interesting to her is that these are all present-day people very much entrenched in an American tradition. They are alive and breathing, but they have a timeless quality.”
They are not coated by a mainstream sheen. Nor are the images blown up for some false sense of heroics, but human sized – not quite ordinary.
Candela isn’t showing the tintypes — an alternative traditional process — but archival pigment prints, a technical term for a digital print. Thus, a form that goes back more than a century is brought into the present.
Brandon Thibodeaux, “Birds in Field, Mound Bayou, MS,” 2010
Sharing the bill is Brandon Thibodeaux’s “When Morning Comes.” The Dallas-based photojournalist takes digital photographs produced as archival digital prints. Ritchie explains that Thibodeaux went on a “personal vision quest” into the Deep South. He became enamored of communities where Starbucks and 7-Elevens aren’t on every corner. “He met people in these places, established relationships over time and started photographing them.” His work possesses elements of portraiture although the land and architecture figures into them, too. “He’s an outsider coming in to see the community as opposed to how the community sees itself.”
Tonight and/or tomorrow, look for musicians photographed by Elmaleh to provide their interpretation of the scene, including Aviva Steigmeyer and Roy Pilgrim of the Keezletown Strutters, who are coming by arrangement of Elmaleh.
Nearby Candella, at 7:30 p.m., the Black Iris studio gallery presents Love & Radio's newest creation, "Silver Dollar.” This follows along the present exhibition, "Public Eye: A Civil Rights Case Study" an investigation into the worlds of surveillance, race and power as seen in the visual and aural archives of the Richmond Police Department, extended through March 15. New York City's Village Voice will soon print its take on that show.
Curator Benjamin Thorp explains that the Love & Radio creator, Nick van der Kolk, after gigs in Chicago and Oakland, recently moved to Richmond. Since Black Iris is a recording studio, Thorp brings in sound art as parallel programming. He wants to have more of these “listening sessions” when the occasion arises. Silver Dollar is about African-American musician Daryl Davis, who is obsessed by collecting paraphernalia about supremacist groups.
This is a story about understanding hate and the varied ways society reacts to it. The audio presentation will be followed by a Q&A with van der Kolk. Love & Radio is the multiple-award-winning radio program. “It’s the only NPR show with an explicit content warning tag,” Thorp says. The suggested donation for the event is $5 (no one will be turned away), with $4 drinks, and proceeds go to Connor's Heroes.
Tomorrow evening (Friday) around 9 p.m., Thorp is inaugurating what he’d like to see as another series. It begins with Matthew and the Arrogant Sea (MATAS) “giving an intimate performance in the speakeasy-style bar” in the back of the gallery. The group is headed for an upcoming performance on NPR's Tiny Desk Concert series. “What I’d like to see is a “Tiny Band” series to start here; after stopping in at the galleries along Broad, they can come by and see a show like this.” But MATAS isn’t tiny, even if the space is intimate.
MATAS’ multiple and rotating personnel — 15, count’em — revolve around the central singer songwriter, Matthew Gray. One critic says that the band moves “effortlessly through different genres, rendering pop, country, folk, and psychedelic rock in spare and compelling form, and another poetically says the members are a “straggly fleet of ships, each bearing a small, sweet story, drifted over some unknown ocean and into Gray’s head. There's a suggested donation of $5 to $7, $4 drinks, with proceeds also going to Connor's Heroes.
San Francisco Chronicle writer Joshua Kosman posed this query pertaining to Richmond-raised and Northern California-based Mason Bates’ approach to modern symphonic composition:
How radically is Bay Area composer Mason Bates shaking things up with his works for orchestra and electronics? It sort of depends on whom you ask.
"Everybody gets so hung up on, 'Oh my God, there's electricity involved,' " Bates said during a recent interview. "But really, this is just part of the evolution of the orchestra, which I find to be a limitless medium. It's like the world's greatest synthesizer."
Bates, who attended St. Christopher's School here, is in town this weekend with his home team, the Richmond Symphony, that he grew up experiencing, to perform a violin concerto that he wrote specifically for performance by visiting violinist Anne Akiko Meyers. Meyers is an energetic player; in a recorded conversation with symphony music director Steven Smith, Bates describes her as “a real firecracker.”
While this concerto doesn’t include his interest with electronica, it uses acoustic instruments in different ways. The string section, for example, includes tapping on their cellos and basses, and there are exotic percussive insruments like Thai gongs and Tibetan prayer bells. You can listen to his conversation with Smith here:
While in town, Bates also returned to St. Christopher’s on Friday to hold a master class workshop with area students. For the concert, he shares the card with the Shostakovich Symphony No. 10. The program, in the Carpenter Theatre at CenterStage, is at 8 p.m. on Saturday (March 1), and 3 p.m. Sunday (March 2). Tickets are $5 to $76. For a preview, here's a previous performance by Meyers of the Bates piece.
The concept came to her in 2011 while, well, portraying a mermaid in Cozumel, Mexico, for a photographic shoot by Chris Crumley. Which is really where our tale begins.
“While down there, they were having Carníval and I got on a float as part of the festivities. I wanted to get back down there but instead I figured, heck, I can’t go to Cozumel every Carníval, so why not do it in Richmond?”
She participated with the Ground Zero Dance Co. when its Dogtown Dance Theatre opened in Manchester. When her Mardi Gras brainstorm hit, she called Ground Zero artistic director Rob Petres about hosting a Mardi Gras-style event in and around the center to benefit the company.
This makes some sense; Richmond is an old town that grew out of the mercantile trade along its docks, wharves and canal. Out in Fulton, Rockett’s and Shockoe were taverns and hostelries that catered to mariners. Rambunctious is one word that might describe their characteristics.
In these recent decades of attempting to reshape itself as the next this or that, perhaps the city should’ve looked toward sisters of another sorority – Charleston, S.C., Savannah, Ga., and New Orleans, towns that: a) can party, b) and then have varying degrees of guilt about it later – but possess a built-in repentance system. Richmond cannot compete with The City That Care Forgot, and despite itself is trying to shake its tendency to turn into a Footloosesque City That Fun Forgot. Elli, for at least two days, wants to make Richmond “The Little Easy.”
Richmond isn’t on the Gulf Coast or near the Caribbean, and the weather in March can be on the chilly side. Morris says, “I wanted a parade, and they felt like since it’s a theater, take advantage of this space and make a real unique event.”
The concept has grown this year to three hours of performances upstairs in the theater. The sense of a street festival is retained by programming almost non-stop action as though parade units came swinging up to the spectators to vie for their attention.
The two separate events were created to accommodate more kids and families that may have too many obligations on the actual Fat Tuesday though both, Morris says, are definitely child-friendly. Lily Lamberta of All the Saints Puppets will lead the Tuesday parade.
The theme his year is Rio de Janeiro, “because Carníval happens in many different countries,” Morris says. She’ll be dressed for it, making her easy to find. “I’ll have this huge headdress to be a Mardi Gras Mama — I’m doin’ it up for Rio.”
Costumes, by the way, are encouraged. Bring an appetite, too. Food trucks will be around, as will Brazilian dishes made on the premises. There’ll also be salsa and samba music to get you moving.
The parade takes a mile-long route that wraps around Dogtown Dance Theatre, along Bainbridge and Porter streets. One day, Morris hopes it’ll grow enough to go along Hull Street. But for now, the parade is a block off the main drag. The participants include the Virginia Commonwealth University Bhangra dance troupe and the VCU Poppers dance group.
The Armstrong High School marching band is also scheduled for Saturday. I mean, how can you have a parade without a marching band?
Saturday is strictly for automobile floats — a business may enter for $75, nonprofits or groups, $30, and registration is allowed up until Friday evening.
Tuesday is the non-motorized parade. “We got walkers, bicyclists, if you have a donkey or a horse, skateboarders — but no motorized vehicles. That’s for Saturday."
The parade is from 5:30 to 6:30 p.m. and the show runs from 7 to 10 p.m. Tickets are $10, but free for those younger than 12.
Other performers will include Host of Sparrows Aerial Dance, Khalima Dance — last year she wore a costume that lit up — the Dogtown Hoop Mafia and, of course, Starlet Scarlet’s Pole Pressure pole dancing competition. No, really.
And modern dance by Annielille Gavino-Kollman.
An addition to the festivities this year is one of those living statues like you’ll see in the French Quarter. “I’ve wanted to have one in the mix for years,” Morris says. “The thing is, we have a pretty strong corps of people that puts it on and without them, it would never happen. Normally, the day of event, I just show up and have fun.”
Controversial Russian punk rockers, Virginia women battling to protect their personhood, the interrelationships of next-door neighbors — all this, and Orlando Jones, are part of the Third Annual Richmond International Film Festival that gets underway Thursday (Feb. 27) and runs through Sunday (March 2). RIFF is bigger than ever, with more than 20 countries represented, a variety of seminars and workshops, and screening category sessions range from science fiction and time travel to family and community.
“There’s a good and bad to that,” says founder Heather Waters about the growth. “The good is that we’ve quadrupled in size since we started. This year, I was smart enough to get 15 volunteers, but this is a year-round effort. Filmmaker Magazine is coming in to cover us us. We have all these people, filmmakers coming in, bigger events, more press to do — more of everything.”
RIFF has grown from last year’s 23 films to 69 in 2014. In addition to feature films and shorts, there are music videos, because Waters intends to expand the festival to include that part of the business of show. She’s incorporated musical components from the beginning, including performances during the final awards presentations. In Richmond, with a flowering of varying kinds of music, she’d be remiss if it wasn't included, and it dovetails with her vision of embracing partnerships.
She talked to the management of the Redskins Training Camp for a concert, but it didn’t work out — this year. She is getting out of the movie theater with a bike ride on Saturday to the Hardywood Park Craft Brewery. This is to complement the world premiere of Half The Road: The passion, pitfalls and power of women’s professional cycling on Saturday at 12:30 p.m., with a discussion with director and pro cyclist Kathryn Bertine. After the film's 10 a.m. Byrd Theatre screening, Bertine will also lead RVAers on a community bike ride that will end at Hardywood, where a party commences with food trucks, beer and live music by the Trongone Band. The event is open to the public, and free. The Hardywood portion takes place from 1 to 4 p.m.
Later that same evening at the Sound of Music studios, beginning at 6 p.m., a series of music videos will be headed by a 63-minute documentary, Pussy v. Putin, in its North American premiere, with post-show conversation about the controversial punk music collective Pussy Riot, which enraged Russian President Vladimir Putin.
Closer to home, on Friday, 6:30 p.m at the Virginia Historical Socoiety, is the 80-minute documentary by Christopher Englese Political Bodiesabout 2013’s debate on women’s reproductive rights that was carried to the statehouse steps. “It’s a powerful documentary because it includes all sides,” Waters says. “It features all the big significant players. It just took Best Documentary at the Austin Film Festival.”
On Sunday, March 2, at 1 p.m., also at the VHS, is director Phil Wall’s Unbelievable Is Believable about the Virginia Commonwealth University Rams basketball team going to the Final Four. Members of the team and coaches will be present for a moderated conversation afterward.
The VIPs this year come from Finding Neighbors by indie director Ron Judkins, who just premiered the film at the Austin Film Festival. Judkins has received nominations for five Oscars due to his achievements in sound — winning for Steven Spielberg’s Saving Private Ryan and Jurassic Park. His nominations also include Schindler's List and Lincoln. Waters says, “He’ll be here five days conducting extensive Q&As, and he’ll be in the Thursday James River Writer’s panel, this time held at The Camel.”
The 19-minute Magic Bracelet, during the 11 a.m. Thursday session Youth, Family, Community, was produced by the Make A Film Foundation, which creates movies for dying children. The film’s writer, Rina Goldberg, has since died. “Her mom, Stacy Goldberg, stepped in to produce and she and co-producer Tamika Lamison of the Make A Film Foundation will be here for five days and they’ll participate in the James River Writers panel. Lamison was the subject of a Richard Foster profile. Director Jon Poll (Charlie Bartlett, Meet the Fockers) put together a cast of: Bailee Madison, Hailee Steinfeld (who appeared in True Grit), Jackson Rathbone, Kaitlin Doubleday, JK Simmons (Juno's cad), James Van Der Beek Jr. and Surf Dog Ricochet.
The other name-known VIP — RIFF's biggest so far — is Orlando Jones, the actor/comedian/ producer, now on Sleepy Hollow. He’s here for his graphic action animated action short film, called Tainted Love. “It’s a really, really cool film, that mixes combines animation with live action. Deanna Russo is also in it. He’ll be here all four days, also doing standup at the Hippodrome that Saturday night.”
In time, Waters wants RIFF to become a career-launcher, like the Toronto, Sundance and South by Southwest festivals. In her view, it’s now our turn to welcome filmmakers from around the world and make an enduring positive impression. “And part of the strength, I think, for Richmond is showcasing that this is a friendly place to shoot and rich with locations. I can say as a director and producer that it’s not always about the bottom-line figures, it’s also about culture you’re shooting in, if they’re open to collaboration.”
The RIFF also includes an “in-house” production. This year’s is The People v. God, a grand prize script winner from Paul Undari in the Creative World Awards. Waters directed this one, and it’s slated for feature-length treatment. It features, Natalie Racoosin and Philip Raybourn, The psychological thriller was shot at the Virginia Center for Architecture’s Branch House. “We used Japanese cinema influences to pull out a thriller. A 14-year old-girl is being tried for the murder of her parents and she claims God did it.”
Waters grew up in Nashville, Tenn., but spent time in Los Angeles and ended up in Altanta with local television. It was a critical time to see Georgia go through a huge transformation from doing next to no films to the administration of former Gov. Sonny Purdue, a small business advocate who took a chance on an incentive plan led by an arts and film team. The film and entertainment production components will be pumping an estimated $1 billion dollars into that state’s economy. Then there’s the studios in Wilmington, N.C.
Waters says, “I don’t like it when people tell me ‘No.’ When people said I can’t do all this, and I said, ‘Why not me?’ I think everybody needs to have that attitude and we can make what happened in Georgia happen here in five and not 10 years.”
Waters shares the small success stories that indicate to her that bigger things are inevitable. While filming last year’s Strive on the city tennis courts in Byrd Park in the sleet and cold, the city’s permit and parks liaison, Allen Rothert, stayed there to help Waters and company re-create the U.S. Open.
Rothert’s most recent assigment had been with Steven Spielberg's Lincoln. "He said, ‘I was with Spielberg last week, I’m with Heather Waters today, I’m here long as you need me,’ " Waters says. The experience of L.A. director Jonathan Schwartz was a powerful one. “Yes the incentives are important,” she says, “and this sounds — showbiz, maybe? — but heart counts. Having heart, in the end, counts a huge amount.”
Individual screening general admission is $10; admission for a screening and a panel event is $12. The VIP Full 4-Day Festival Pass (includes all 65-plus screenings over the four days, panels, Q&As, mixers, music showcases, Red Carpet Awards tickets, and more): $225. See the event site for information.