For the past twenty years, American artist Shannon Taggart (born 1975) has documented Spiritualist practices and communities in the United States, England, and Europe. The resulting body of work, Séance, examines the relationship of Spiritualism to human celebrity, its connections to art, science, and technology, and its intrinsic bond with the medium of photography. This exhibition presents forty-seven haunting images from the series, revealing the emotional, psychological, and physical dimensions of Spiritualism in the 21st century.
The Department of Theatre presents This Remains, an ensemble-devised performance directed by Susan Stroupe. In these times of turmoil, we invite you on a trip to the boundary land, the liminal space between the living and dead. The Oracles will read you, the Guides will lead you, and the Roamers…well, just watch out for them, lest you become one yourself.
The Department of Music presents the eleventh annual Livewire new music festival, featuring faculty artists as well as leading guest composers and performers, this year entitled Livewire 11: Rewired. Over an intensive three days, October 21, 22, and 23, Livewire presents renowned contemporary ensembles Yarn/Wire and Cantata Profana, hosts eminent guest composers Robert Morris and Victoria Cheah, and presents outstanding faculty and student musicians in a series of concerts.
The Center for Art, Design and Visual Culture (CADVC) presents Annet Couwenberg: Sewing Circles, on display from September 30 through December 11. The exhibition presents an overview of ten years of cultural research, digital experimentation, and finished artifacts by Couwenberg, who uses lace as a primary material. Through her creations, the artist asks how traditional textile construction can be modified or transformed by adapting it to digital fabrication processes.
The Livewire 11 new music festival concludes on Saturday night with a performance by the dynamic piano-percussion quartet Yarn/Wire in a mind-bending program of works by Klaus Lang and Misato Mochizuki. In Lang’s gorgeous work, time seems to stand still; while in Mochizuki’s explosive work, the theatricality of chamber music once more bursts to the fore.