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Even more impressive than the sheer amount of raw knowledge Bill Janovitz puts on display is the way he expertly elaborates on Leon Russell’s familiar resume highlights to create a full, three-dimensional portrait of a very complicated artist (and person).
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This exhibition provides a very thoughtful lesson in appreciating the poetry of practical objects.
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Inside‘s visceral demonstration of the alienating capacity of technology and the reduction of art to rich people’s toys may be a bit pat, but the film finds the space within these cliches to stage a compelling human drama.
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The 11-piece group frontloaded its 90-minute set for immediate impact, answering the biggest challenge — replacing the vocal charisma of David Byrne — with a communal approach.
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It is stunning to see these flags of beads and sequins on cloth, and the adjectives keep on coming — hypnotic, baroque, beguiling, hallucinatory.
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As the age of Covid-19 more or less wanes, Arts Fuse critics supply a guide to film, dance, visual art, theater, author readings, and music. More offerings will be added as they come in.
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Don’t let the redundancy of much of this album’s repertoire dissuade you. On all the vital metrics, Liebestod delivers
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Featuring a transcendent performance by Bill Nighy, Living inspires viewers to look inward, and then outward, gently begging us to muster whatever power we have to seize the day.
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Projects such as Birthright: A Black Roots Music Compendium extricate the resilient voice of the people from the cacophony of current ideological intervention.
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Missy Mazzoli’s scoring is generally airy and virtuosic, yet Dark with Excessive Bright doesn’t seem to add up to more than the sum of its parts.
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