![]() ![]() But Bradshaw’s adaptation of Chekov’s “The Seagull” marks the first time he adapted a play written in another period for a modern audience. His play “Southern Promises” is a loose adaptation of slave narratives and “JOB” was based on the biblical story. Thomas Bradshaw has frequently adapted written work for the stage. 2 as part of the PBS documentary series “POV.” From 19th-century Russia, with a race dimension What would you do? Would you purchase a gun? Would you start a family foundation? Would you run for political office? How would you manage the trauma?” “What if a major part of your life’s narrative was shaped by the murder of the people you love? Your father, your brother, your cousin, your son. ![]() “My answer to this question is a series of questions,” he said. So, what makes this story relevant to audiences today? Williams told Northwestern Now that over the course of working on the film, he discovered that the film was as much about trauma as about gun violence in the Black community. He was also drawn to it because two of his relatives had been murdered in Philadelphia. He chose Philadelphia as a site because at the time it had more unsolved murder cases in the Black community than any other city. Williams wanted to shed light on the killings in the Black community, often by other Black people, that were not being talked about. The idea for his current project, “Murders that Matter,” took root in 2014 after the killings of Michael Brown and Eric Garner by police officers prompted widespread societal outrage. Movita Johnson-Harrell channels her grief into a foundation and campaign to address gun violence. His work aims to highlight injustices as well as the efforts of those working to make a difference. Marco Williams explores the trauma of gun violenceĭocumentary filmmaker Marco Williams tells American stories through the lens of the Black American experience. Read about other recent faculty projects and emerging trends in the arts. Perhaps they are even part of the performance.įar from comprehensive, this brief roundup highlights other recent projects by faculty artists who are practicing what they teach. Passersby can watch the silent play of cryptic communication between the windows now through Oct. “But the forms and presentation are strong, so although it takes a moment for the eye to adjust, nothing is lost in this setting.” “A challenge of working in this context was the reflective nature of the windows,” Kent said. They are the largest and heaviest works of this type she has created to date. Each work is distinct yet in harmonic conversation with the other.Ĭomprised of walnut, unprimed Belgian linen and acrylic paint, Kent worked with a fabricator to create the large wooden frame and inlaid canvas. ![]() The lit-up windows make the work available to the public at all hours - even at night when the museum is closed.Ī pair of 6-foot-wide by 8-foot-high paintings of richly colored geometric shapes are fitted into inlaid wood. The architecture of MoMA’s exterior windows provides a theatrical setting for Kent’s work. Painters have collaborated with performers for a long time.” “It makes sense with my practice that the language can move from the canvas to the room and be performed by the body. ![]() “With each project, the prompts and situation change, which switches the conditions in which the language is operating,” Kent said. Kent’s installations have become increasingly multidimensional, with shapes emerging from walls, and sculptures and furniture pieces placed within the exhibition space, such as her recent solo exhibition at MCA Chicago. A twin, Kent is fascinated by the shorthand communication between people who are kin and close, but says that coded language can take place between any two intimates. Kent spent years painting on paper and canvas as she developed a visual language of abstract shapes and color and discovered the borders of that language. “When I’m given the opportunity to work in a space that is a part of an existing architecture, it’s always a challenge - but also a moment of discovery for all involved,” she said. The sound of a brush moving across canvas could be heard while painting in her studio as Kent spoke to Northwestern Now about her exhibition at The Modern Window at MoMA. Caroline Kent’s artistic practice is about language, often mysterious and sometimes unspoken. ![]()
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