News and Features

KERA Member Screening: Letters to Juliet

KERA will host a Member Screening of Letters to Juliet on April 27 at the Angelika Film Center in Dallas. Amanda Seyfried stars as a young woman who travels to Verona and starts responding to letters addressed to Juliet of Shakespeare fame. Vanessa Redgrave plays a woman who takes her advice to travel to the city in an attempt to track down a long-lost love.

Click here to print off a pass over at kera.org. And be sure to get there early – while the pass admits a member and a guest, seating is first come, first served.

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Saturday Spotlight: DADA Spring Gallery Walk

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Categorized Under: Local Events, Visual Arts

In the Saturday Spotlight, we’re going gallery hopping. The Dallas Art Dealers Association hosts its annual Spring Gallery Walk today. More than 35 galleries and museums will provide a setting for arts lovers to mingle and look at art. The McKinney Avenue Contemporary will host a pair of panel discussions at 10:30 a.m. and 1 p.m. Click here to download a map of participating galleries.

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Touring the Dallas Arts District

The mural at the Catholic Foundation Plaza

The mural at the Catholic Foundation Plaza

Guest blogger Gail Sachson, MFA, owns Ask Me About Art, offering lectures, tours and program planning. She is Vice-Chair of the Cultural Affairs Commission and a member of the Public Art Committee.

It’s true. For the 30-year dream to be fully realized, the Dallas Arts District does need shops and sidewalk cafes, but it also need YOU! It needs people strolling and sunning in the grass.  It needs people marveling at the mural at the Catholic Foundation Plaza and pulling up a garden chair in the Meyerson’s  sculpture garden. If developers see the area populated, they will be convinced that there would be good business for a bookstore, a coffee shop,  a gourmet food shop and a gallery or two.

So come on down! Familiarize yourself with what the District has to offer, and then tell your friends. Take the 90-minute architectural tour offered by the Dallas Center for Architecture in partnership with the Dallas Arts District. Join a trained docent on the first or third Saturday of the month at 10 a.m and learn the history and histrionics of the area’s evolution.

I took the tour the first Saturday in April. I strolled Flora Street, the spine of the District, with Greg Brown, Program Director of the Dallas Center for Architecture. Beginning at the Ceremonial Entrance to the Dallas Museum of Art on Harwood, we walked east down Flora.  The streets are named after the daughter and son-in-law of Farmer Peak, the original land owner. More recently, Dallas Mayor Jack Evans (1981-1983), who advocated to acquire the land for an Arts District, was honored by the city in 2000, when Fairmount, as it cuts through the District,  was renamed Jack Evans Street.

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USA Film Festival Announces Schedule

Apologies for just now getting to this, but the USA Film Festival announced its schedule Thursday afternoon. (I skipped out early yesterday to speak at a friend’s SMU journalism class. Note to self: add “college lecturer” to resume.)

The festival will be held April 28 – May 2 at the Angelika Film Center, which has been home to much of the current Dallas International Film Festival. Upon first glance, some of the highlights are:

Harry Brown – Michael Caine plays a widower whose neighborhood is overrun with crime. And while he may be getting older these days, he’s still spry enough to deliver a little vigilante justice.  (April 28, 7  p.m.)

Ondine – Neil Jordan directs fellow Irishman Colin Farrell in this story of a fisherman who finds a woman trapped in one of his fishing nets.  What starts out as a Disyneyesque romance turns dark when a figure from the woman’s past shows up.  (April 30, 7 p.m.)

His Name is Bob – Filmmakers Lisa Johnson, J. Sebastian Lee and Heather Lee spent six years documenting the life of an East Dallas homeless man who’s got a lifetime of stories to tell. (April 30, 7 p.m.)

We’ll have a more in-depth preview as we get closer to the festival. Until then, you can check out the entire lineup here.

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DIFF: Weekend Picks

Here’s your best bets for the final three days:

Friday

Neshoba – The big winner at this year’s Texas Black Film Festival looks at the racial troubles that continue to plague the town that gives the movie its title nearly 50 years after three civil rights leaders were killed there.  (4:30 p.m., Studio Movie Grill)

Saturday

The Shawshank Redemption – Frank Darabont is in town to receive the festival’s Star Award. And while he’s here, he’ll attend a screening of arguably his best film and participate in a Q&A after. (11 a.m., Magnolia)

Sunday

Cyrus – The great John C. Reilly plays John, a divorced man who meets Molly (Marisa Tomei) at at party.  The two share a connection, but John soon finds himself competing for Molly’s affections with her 21-year-old son (Jonah Hill).  (7 p.m., Studio Movie Grill)

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Vision Loss Doesn't Stop Fashion Designer

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Categorized Under: Local Events, Visual Arts

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The American Foundation for the Blind will host a fashion show today featuring the work a visually impaired designer. KERA’s Stephen Becker reports on how a loss of sight hasn’t meant the loss of a haute couture dream:

  • KERA radio story:
    • Click here to watch a video featuring Ermakov’s dresses.
    • Online version:

    Sergey Ermakov runs his hands down a red, formfitting strapless dress to see how it fits the model standing in front of him. He grabs an area where the fabric is slightly bunched and pulls it taught so that it clings just so.

    The Ukrainian fashion designer says it’s the best way to get a feel for the fit. Because he doesn’t speak English, he explains through his assistant, Svetlana Kryukova:

    KRYUKOVA: “Professional designers very often try to feel and to understand the dress by their arm and their fingers. It’s not because blind.”

    The designer will show more than 30 of his creations during a fundraiser for the American Foundation for the Blind on Friday at the Fairmount Hotel in Dallas.

    As producers put the finishing touches on the show Wednesday afternoon, American Foundation for the Blind President and CEO Carl Augusto pondered the unique opportunity that a visually impaired fashion designer presents.

    AUGUSTO: “We want to shatter the myth all the time as to what blind and visually impaired people can do. And we also want to tell the public that losing your vision doesn’t necessarily mean giving up your dreams or losing the way of life that you have.”

    Diabetic retinopathy caused Ermakov to begin losing his site at 11 years old. Now, 38, all he can make out is a bit of color. He still tries to draw his designs for his assistants in his studio back home. The rest he explains verbally. Once the dresses are made, it’s back to the touch technique to make sure all is right.

    Ermakov easily rattles of a list of designers who’ve influenced him: Galliano, De la Renta and Versace just to name a few. And he’s not shy in saying he hopes to be mentioned in the same breath as them one day.

    And Augusto, of the foundation, says there’s no reason he can’t accomplish that goal.

    AUGUSTO: “Sergey, as a world-renowned fashion designer, shows us that with the right attitude, with the right skills, with the right resources, blind and visually impaired people can be successful just like him.”

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    Friday Morning Roundup

    RECENT THEATER REVIEWS: B.J. Cleveland stole the show in Theatre Three’s staging of The 25th Annual Putnam County Spelling Bee last year. He again plays William Barfee, the bespectacled nerd in Theatre Arlington’s version, which Punch Shaw calls “hysterically funny.” (dfw.com) … A Song for Coretta at African American Repertory Theater doesn’t sound like it fares as well. The show in theory is supposed to honor the wife of Dr. Martin Luther King Jr., but when the play makes a left turn near the end, Lawson Taitte wonders, “whether the playwright is honoring Coretta Scott King or exploiting her memory to express its own preconceptions.” (dallasnews.com) … Meanwhile, M. Lance Lusk was nonplussed by Stolen Shakespeare Guild’s Pride and Prejudice. “The lackluster plainness of this production means no fun with Darcy and Jane,” he writes. (theaterjones.com)

    SILENCE!: Do you remember around this time last year the dust-up over the state’s refusal to provide incentive money for a film about the Branch Davidian compound? Well, the Thomas Jefferson Center for the Protection of Free Expression didn’t forget. It has given a Jefferson Muzzle award to the Texas Legislature. More about that on dallasnews.com.

    MUSIC BITS: Preston Jones walks us through The Regulator, the new album from Dallas’ Nicholas Altobelli. (dfw.com) … Good Records celebrates its 10th birthday on Saturday. Hunter Hauk asks Chris Penn, who co-owns the store with Tim DeLaughter, about what we can expect during the party/Record Store Day celebration. (quickdfw.com) … Thunder Soul, about a Houston high school band in the 70s, has been the most-talked-about film at the Dallas International Film Festival. But it seems that Carter High School was also recording at the time. (Unfair Park)

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    Video: Designer Sergey Ermakov

    Stephen allowed me to tag along with him (with a video camera, of course) as he covered a story about Ukrainian fashion designer Sergey Ermakov, who also happens to be visually impaired. Sergey is making his U.S. debut at Designing With A Vision in partnership with the American Foundation for the Blind. He also spoke with President and CEO of the American Foundation for the Blind, Carl R. Augusto. Check out Stephen’s radio story about our afternoon with Sergey.

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    Q&A: Artist Janet Chaffee

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    Categorized Under: Visual Arts

    Janet Chaffee’s paintings arouse the senses and tease the mind. Her work exudes a sensuality and serenity and invites an inquiry into a deeper part of self. Chaffee’s current visual narrative at Mighty Fine Arts, “Underneath and In-Between” charts an internal landscape. Although she works with precise memories, materials and dimension, she greets chance in her process. Chaffee fuses the tenderness of lace and science of form into one. The eye finds solace and space for private discourse in her elaborate cuttings, her encaustic paintings, and most recent spatial explorations. There is a delicacy in her hand and subtlety, as if leaning into the ear to whisper. Even her encaustic pieces hold a silent strength and thickness of marrow.

    She took time to visit with me this week at the Mighty Fine Arts gallery in Oak Cliff.

    Prussian Blue 2008 Ink, Dry Pigment on Paper, 5' x 6'crop

    Prussian Blue, 2008, ink, dry pigment on paper, 5' x 6'crop

    Tina Aguilar: The word playful comes to mind when I see this piece climbing the wall. This extension looks like velvet, and the other strand conjures up Corten steel for me. Tell me about it.

    Janet Chaffee: This piece is called Prussian Blue and originates from a Jasper Johns show at the Metropolitan Museum of Art, “Jasper Johns: Gray,” that I had seen in New York with catenary lines (tethers hanging from two different points not in a straight line) in them. Sometimes it is painted or printed, and in other paintings there is an actual string with a board that is angled away from the painting. This influenced me, and I thought “why not try that with lace.” These paintings seemed so structural or architectural. I wanted to play with the idea of a feminine looking catenary line as well as the structure and connections within community. It is about play – play with formal design.

    T.A.: How do you feel about the engagement between your work and the viewer?

    J.C.: I want the viewer to want to touch it really bad. I like the illusion of the paper looking like metal, because it kind of tricks people.

    T.A.: This other form has an ethereal quality to it with the haze of film borne out of your flocking process.

    J.C.: The “Magpie” series includes different pieces, and this is the most recent. I flocked it and used orange India ink to pull it away (from itself). The light in the gallery right now works with it, and I enjoy the different shadows that emerge. Even at night, the way the lights work seem to offer a new viewing.

    Magpies No. 4, 2009, ink, flocking on paper, 8' x 6'

    Magpies No. 4, 2009, ink, flocking on paper, 8' x 6'

    T.A.: Why Magpies?

    J.C.: Magpies came about simply, because I found the lace image. I am sure I was attracted to it, because I have done several early paintings containing birds. The birds were often used in place of the figure sometimes standing in for myself or other significant people in my life.

    T.A.: You started working with your lace influences in 2005. What was the first lace pattern or piece that you used or can remember using?

    J.C.: The first lace I used was some that my children’s great grandmother had given to me. She purchased it in Europe as the wife of a missionary. I don’t know what country, I can’t remember.  I still have the paintings it was embedded in.

    T.A.: I sense your whimsy, and these pieces make me smile. How does your work come together?

    J.C.: With the namesake of the show, “Underneath and In-Between,” all the marks that you see, all that are shown here, are meant to be there. I guess one of the things that’s the most fun is the idea and the excitement of, “Oh, I need to try this and see what happens” or the “what if’s?” There’s a freedom and liberty to my gestures. I like to see where my hand or my arm has been. I really like the recording of my moves.

    Numenous, 2009

    Numenous, 2009

    T.A.: To see the visual reminder or see what you have created must have an impact on you, an inspiration. How do you let your art out of your studio?

    J.C.: Some of these pieces have been in my studio for a long time, and the right time for them to be seen was now. I do surround myself with my work, my pieces, and objects that hold meaning for me. I need to remember, to see what I did a month ago. It helps build my vocabulary. I like to look, and there’s something inspiring about those contours we experience in creating and living.

    T.A.: What about the creation of your encaustic pieces?

    J.C.: Through my experiences with my mom dealing with cancer twice, I noticed the intensity of her scar. I started playing with this image of skin and stitching. The encaustic process is a skin of sorts that happens with wax and dry pigment. Then I thought about adding oil. Biomedical technologies fascinate me, and the idea of how a scar could be made attractive.

    T.A.: Where are you with your recent paintings?

    J.C.: I am deconstructing my work and considering how I can take it apart. Like in In between, where the oil painting has led me to where I am now – somewhat more of a minimal approach. I am trained as a painter, and I like to repurpose with my layers and extractions of my older pieces. This process allows a reality that I could never construct, and my recent work deals with connectors. It is reductive, and I learn how far back I can go or not.

    T.A.: How does your work trickle to students?

    J.C.: I am able to work with the conceptual process with my students and introduce this idea of sewing to them. The conceptual process is a higher level of critical thinking skills. For example, if you have a box full of tools, you can use it to solve questions with it and in different ways. When I am teaching, I want them to create something in both a reductive and additive manner. I want them to be able to choose.

    T.A.: Do you listen to music while you paint?

    J.C.: Yes, I listened to a lot of Lucinda Williams for some of these works and, lately, Van Morrison has been really good to me.

    “Underneath and In-Between” can be seen, in addition to the MFA Project Room exhibit by Heidi Lingamfelter, at Mighty Fine Arts gallery in Oak Cliff through May 9. Janet continues to teach as an Adjunct Professor in the Department of Art and Art History at the University of Texas at Arlington.

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    DIFF: Thursday Picks

    We’re nearing the end of the festival. If you haven’t made it out to see anything yet, no time like the present:

    TOUCH OF EVIL: This festival has been pretty good about mixing in a few choice repertory films over the years, and Touch of Evil fills the slot this year. You’ve probably already seen Orson Welles’ noir thriller starring Charlton Heston as a Mexican detective investigating dirty deeds done down along the U.S.-Mexican border. But the chance to watch Welles’ masterful opening tracking shot on the big screen makes it worth seeing again.  (7 p.m., Magnolia)

    CITY OF LIFE AND DEATH: If you saw (and liked) the American-made documentary Nanking a few years ago, here’s a chance to see a narrative telling of the Rape of Nanking made by Asian filmmakers. Stylishly shot in black and white, this 133 min. film has epic written all over it. (10 p.m., Magnolia)

    SOLITARY MAN: As slick and powerful as Michael Douglas can come across in films like Wall Street, he’s really made a career out of playing guys whose worlds are crumbling around them. Solitary Man looks like it could be the next film in that arc, which includes Fatal Attraction, Falling Down, Wonder Boys and others. In it, Douglas plays a titan of industry whose business and marriage collapse at the same time. (7:30 p.m., Magnolia)

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