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In Art on
May 22, 2017

All About Alvin Ailey

Dance is a metaphor for how we get through life. It’s about timing, it’s about daring, it’s about grace, it’s about intensity, it’s about overcoming difficult steps—but then, finally, it’s about finding joy.” ~ Robert Battle, Artistic Director of Alvin Ailey American Dance Theater

Alvin Ailey American Dance Theater in Mauro Bigonzetti’s Deep. Photo by Paul Kolnik

Ibeyi music pulsed through Zellerbach Hall, the energy was electric, and the bodies moving across the stage shared their gifts with the audience freely. Alvin Ailey American Dance Theater had come to California, and I felt a deep sense of gratitude sitting in the balcony and experiencing the soul cleansing ceremony the choreographer, Mauro Bigonzetti, titled Deep.  During intermission, I downloaded the music.  I needed something to take me back to that dance after the dancers left the stage.

“Carry away my dead leaves
Let me baptize my soul with the help of your waters
Sink my pains and complains
Let the river take them, river drown them
My ego and my blame
Let me baptize my soul with the help of your waters
Those all means are so ashamed
Let the river take them, river drown them”

~River, Ibeyi

After intermission a completely different kind of dance was performed—one that explored the depth of human relationships, social norms, and even mental illness, but was much more lighthearted and laced with humor. This was Walking Mad.

Alvin Ailey American Dance Theater in Johan Inger’s Walking Mad. Photo by Paul Kolnik

The music was different too. The familiar bull fight Bolero by Ravel helped us see that these issues and social scenarios are truly timeless even if the dance is contemporary. As the choreographer himself put it:

“The famous ’Boléro’from Ravel, with its sexual, almost kitschy history, was the trigger point to make my own version. I quickly decided that it was going to be about relationships in different forms and circumstances. I came up with the idea of a wall that could transform the space during this minimalistic music and create small pockets of space and situations. Walking Mad is a journey in which we encounter our fears, our longings and the lightness of being.” ~Johan Inger

I loved the use of the wall that bisected the stage; the doors symbolizing, perhaps, opportunities and the entirety of the wall signifying the mental stumbling blocks we create for ourselves and the impediments that life presents us with that can make relationships challenging.

After “Walking Mad” the audience was treated to Ella. Ella Fitzgerald is a jazz-age icon. This work, choreographed by artistic director Robert Battle pays a beautiful tribute to the Queen of Jazz.

Alvin Ailey American Dance Theater in Robert Battle’s Ella. Photo by Paul Kolnik

Using a live concert recording of Fitzgerald performing the song “Airmail Special,” Ella matches the iconic singer’s virtuosic scatting with lightning-fast, articulated movement in an irresistible tour-de-force that left me (and the dancers) breathless.

Finally, the moment every Alvin Ailey devotee waits for came, Revelations. This is the dance that really brought Alvin Ailey American Dance Theater its acclaim.

Alvin Ailey American Dance Theater in Alvin Ailey’s Revelations. Photo by Paul Kolnik

Revelations, choreographed by Alvin Ailey, debuted in New York City on January 31, 1960–nearly 60 years ago. The dance tells the story of African-American strength breaking free from from slavery and embracing freedom through a suite of dances set to spirituals like “Wade in the Water” and blues music.  

If you have a chance to see Alvin Ailey perform, I cannot recommend it enough, it is a wonderful experience that will stay with you long after the curtain falls.


In Art on
May 1, 2017

Katie Marks: Breaking the Mold

Plutarch once said: “No man ever wetted clay and then left it, as if there would be bricks by chance and fortune.”

Every craft takes practice, patience, perspiration and inspiration. The art of ceramics—one of the most ancient of arts is no exception. In her Seattle studio, Katie Marks wets ordinary clay, and creates everyday objects that are extraordinary works of art. While Katie has a mentor, professional ceramicist Matthew Patton, and has had some formal training, she credits most of her initial ceramics learning to the power of the internet–watching youtube.

Her history is best explained by the artist herself on her shop’s webpage:

I have been creating things since before I can remember starting with play-doh moving to polymer and now finally with ceramics. I took 3 ceramics classes at my local community college in 2008 but it wasn’t until after I acquired my first wheel in 2010 that I attended the University of Youtube. You can learn anything on the internet…Most things are wheel thrown gas fired porcelain but I experiment from time to time with electric fired work. Art is life…”

From unicorns to crystals, Katie takes the banal coffee cup and elevates it to art. But, just as Plutarch pointed out, clay just doesn’t become something brilliant or useful overnight. It isn’t ever that simple.  Katie describes her creative process as very cerebral:

I usually spend a good 3 months coming up with an idea in my head. I like to work out all the problems I will face in my head before I try to make it exist in the real world.  I also like to do sketches of ideas before I make them so I can see a 2d version of what I‘m making just in case the design is actually quite “rubbish” and I just couldn’t see it [in my head]. But, then I can make changes and build off of it and something pretty happens. Then after all the thinking and sketching I make things. It’s like 80% thinking, and 20% doing.”

After seeing the world Katie Marks envisions through her pieces, I think it is safe to say we all would love to live there. Each piece has a unique way of combining the terrestrial and the extraterrestrial, making her imaginative fantasy land feel like it could actually be an existing alternate universe or a piece of organic material from another galactic planet or 4th dimension.

She gives us a hint of how she achieves this by stating the following:

I have two main inspirations lately. The crystal pieces are inspired by the idea that if all the materials I use in clay and glazes were left in the ground, they [would] form natural crystal structures. I like the idea of using my human brain to manipulate the earth into looking like what it would do naturally but with my own interpretation of it. I also spent a month in Maui in the beginning of the year and I was so inspired by the sunsets that I saw there and I wanted to make mugs that looked like them so you could drink out of a sunset. I love putting my version of love and wonder into my work and I hope people can feel it when they look at or use my pieces.”

Katie does not do commissions or wholesale orders. I personally find that refreshing and brilliant. In my opinion commissions and wholesale orders would effectively stymie the creative process. It elevates each piece to a true work of art, not something imagined by anyone else or mass produced.

Katie announces when her next batch of ceramics will be posted on her etsy shop “Silver Lining Ceramics” on social media. If you are interested (and let’s be honest, who isn’t?), her newest collection will go live on Etsy this Friday, May 5th at 3PM PST.


In Art, Literature, Philosophy on
April 24, 2017

To Be or Not to Be Bohemian

On a spring day in 1423 in the Kingdom of Bohemia (modern day Czech republic) a declaration was made and a letter signed which stated that Bohemia was officially a sanctuary state for illegal Roma immigrants, and asked that others throughout Europe treat these people with the same hospitality:

We, Zikmund, King of Hungary, Bohemia, Dalmatia, Croatia, …, Our loyal Ladislav, Duke of his Gypsy people, humbly beseeches us for affirmation of our special leniency. Receive then his civil appeal and don’t refuse this letter. In the case that the aforementioned Ladislav and his people appear in whichever place in Our Empire, in any town or village, we recommend that you show to him the loyalty which you would show to us. Protect them, so that Duke Ladislav and his people may live without prejudice within your walls.”

As these immigrants traveled from Bohemia throughout Europe, they became known as Bohemians.  They were nomadic by nature, and quick to assimilate into the cultures they traveled to.

Fast forward 500 years to a spring day in another sanctuary state: California. A group of journalists gathered in the Astor hotel in San Francisco to start a club comprised of artists, authors and philosophers whose aim it was to leave the cares of the urban world behind them and reflect on the higher things that made life worth living. The club needed a name that aptly described its members and its mission. It became known as “The Bohemian Club”.

Isn’t it interesting how words are shaped and evolve through time to express ideas, and communicate thoughts and feelings? Bohemian. Think it. Say it. What comes to your mind? Maybe you think of the peace, love, and Donny Osmond era; San Francisco flower children; and lots of macramé.  Maybe you only go back that far. Back to the 70’s when the word Bohemian was synonymous with the word Hippie.

Or, maybe you go further back. Back to the roaring 20’s; back to Zelda and Scott Fitzgerald, flapper culture and feminist awakenings; back to anti-establishment speakeasies and abstract art. That was a time when cubism was just coming onto the scene, and philosopher Albert Camus’ absurdist writing was giving a voice to what many were contemplating about existence.

Or, maybe you stay right here in the present day. You think about digital nomads, location independence, and hipsters dressed in Urban Outfitters chic.  Side question…are hipsters really Bohemian? Or, are they Fauxhemian (posers trying to look like the real thing)?

What does Becoming Bohemian even mean? Can it be clearly defined? Is the fact that there is no clear definition itself descriptive of what a Bohemian truly is: something that has no box, no home, and no label? While difficult to pin down with any degree of specificity, one common thread woven through history as far back the Kingdom of Bohemia emerges, and that thread is freedom. Bohemianism is all about freedom: freedom from oppression, freedom of thought and expression, and freedom to explore the world.

I want to become Bohemian because I want to be truly free.  I want to become Bohemian because I want to live rather than simply exist. I want to become Bohemian because I honestly don’t see any other alternative. This is the lifestyle I wish to cultivate. If the ultimate existential question is “to be, or not to be”, the answer to all of that existential angst, I am convinced, is to become Bohemian.

I plan to explore Bohemianism through the lenses of my Bohemian Idols: artists, thought leaders and philosophers, innovators, world travelers and anthropologists. I will write about my findings here.

Do you want to join in the quest to Become Bohemian? Subscribe to be a part of the community, and receive our monthly newsletter. In addition, if you have a Bohemian Idol you think I should research, please let me know in the comments below.

Yours freely,

~Bohemian in Training~

In Art, Philosophy on
April 10, 2017

Out of Angola: Jackie Sumell

 Everything can be taken from a man but one thing: the last of the human freedoms—to choose one’s attitude in any given set of circumstances, to choose one’s own way.
~Viktor E. Frankl, Man’s Search for Meaning

It all started with a simple question: “What kind of house does a man who has lived in a six-foot-by-nine-foot-cell for over thirty years dream of?”

This is the question art activist Jackie Sumell asked Herman Wallace in her first letter to the Louisiana State Penitentiary inmate in 2003. Little did Herman and Jackie know that simple question would develop into an international art project, a book, and a documentary each focused on opening  doors by creating conversations about the issues with isolation, interrupting the status quo, and pushing humankind in the direction of compassion, kindness, and prison abolition.

On a less broad, and more close to home level, building Herman’s house was a transformative experience for both Jackie Sumell and Herman Wallace.  Wallace stated:

[This project] helps me to maintain what little sanity I have left, to maintain my humanity and dignity. It’s probably the best move that I’ve ever made in my life. ~Herman Wallace

Show Me The Numbers!

Numbers can be beautiful. They can be a means of communication; a way of creating a common language—the language of the universe—as physicists are wont to say. But numbers are also emotionless; they can be viewed as sterile and dehumanizing when they reference human beings. Indeed, most believe it is degrading to be seen as just a number. Those running prisons understand this psychology, and that is why when an inmate arrives, their name and human identity is removed and replaced by a number. In 1971 after being convicted of robbery, Herman Wallace entered the gates at Angola and became 76759. One year later, he would be wrongfully convicted of murder and spent 41 years in solitary confinement.

Jackie Sumell helped Brooklyn Library visitors to understand and experience the psychological impact of being viewed as a number and forcibly isolated from society and human interaction through her exhibit #76759: Featuring the House that Herman Built. She gave Democracy Now a tour of the exhibit here:


These are the dimensions of a solitary confinement cell. These are also the dimensions of the garden beds at Solitary Gardens. As described by its website:

Solitary Gardens is at the intersection of public art, alternative land-use and social sculpture. The project imagined by artist jackie sumell, will utilize garden beds designed after six-by-nine-foot American solitary cells as a physical platform for collaboration, education, and commiseration to facilitate unexpected exchanges between persons subjected to solitary confinement and volunteer communities on the “outside.” The six-by-nine-foot beds are “gardened” by prisoners, known as Solitary Gardeners, through written exchanges with volunteers. The Solitary Garden’s beds become the classroom for prison abolition curriculum as well as portraits of those buried in a system designed exclusively to punish.

Solitary Gardens’ ecological and social footprint will counterbalance that of the prison complex. As the gardens grow, the cells will be overcome by plant life, demonstrating that no matter what harm we humans impose on ourselves and the planet, nature, like human hope, love, and the imagination, will always win in the end.

You can hear the artist herself discuss the project more extensively here:

It was inspiring to watch and listen to her discuss elements of the project with me and a group of people gathered at Berkeley Art Museum last month. She told the story of  Angola, sharing that the prison itself was built on what was once a plantation and the home to many slaves who performed the backbreaking forced labor to keep that plantation alive.

The plants in the solitary gardens honor that heritage and speak to that history by planting plants like tobacco and cotton as symbols of slavery.

The Angola 3:

3 is another important number associated with Herman Wallace.  This is because he was one of The Angola Three prison inmates – Robert Hillary King, and Albert Woodfox were the other two – who were put in solitary confinement in Louisiana State Penitentiary, a.k.a. Angola Prison, in April 1972 after the killing of a prison guard.  All three of them maintained their innocence, and all three would eventually be freed. You can listen to an Amnesty International podcast featuring Albert Woodfox here.

3 is also significant because there is a 3 word phrase in the English language: “I love you” that, Jackie Sumell would say is the solution to wrongful convictions and the inhumane conditions of solitary confinement.

In a lecture she gave at the Berkeley Art Museum last month, she made these powerful statements about love: “empathy is the answer” and “when we love, we evolve.”

Through her work with Herman’s House and The Solitary Gardens, Sumell is trying to help humanity develop empathy and evolve beyond the limbic fight or flight, hate and fear mental state that leads us to isolate those we fear from those we love and creates a system founded on “othering” to a system that is inclusive and communal. But, as Sumell closed her remarks, she reminded the audience that “there is so much more work for love to do.”

Bibliography and Further Reading:

Man’s Search for Meaning | Viktor Frankl

Hermans’s House | Project Website

Solitary Gardens | Project Website

Amnesty International Podcast | Albert Woodfox

Arts + Design Mondays | Art, Activism, and Freedom in the American Carceral State, with jackie sumell

Frontline | What Does Solitary Confinement Do To Your Mind?