Tag Archives: Will Rawls

CLAUDIA RANKINE AND WILL RAWLS — WHAT REMAINS

“I’m still thinking about the potential of using abstraction to speak to identity: How can these two things fit together when identity is so much about announcing, concretizing, and naming, and abstraction is about undoing? Of course, abstraction has roots in something real…

“What does it mean to break apart language, and its history, and to work with it pictographically? Dance has this process built into it already: its visual and affective impact scrambles language. It produces and speaks other languages of and about the body.” — Will Rawls*

WHAT REMAINS—a collaboration between poet and playwright Claudia Rankine, dancer/choreographer Will Rawls, and filmmaker and photographer John Lucas exploring how “erasure and exposure shape black American life”—comes to MCA/Chicago’s Warehouse this week.

Performers include Leslie Cuyjet, Jessica Pretty, and Tara Aisha Willis. The sound design is by Jeremy Toussaint-Baptiste, production design by David Szlasa, and costume design by Eleanor O’Connell.

Tonight, the museum presents Rankine and Rawls for a discussion about their practice.

TALK—CLAUDIA RANKINE WITH WILL RAWLS

Tuesday, December 4, at 8 pm.

Museum of Contemporary Art, 220 East Chicago Avenue, Chicago.

 

WHAT REMAINS

Wednesday through Sunday, December 5, 6, 7, 8, and 9, at 7:30 pm.

MCA Warehouse, 1747 West Hubbard Street, Chicago.

*”Will Rawls: 1000 Words,” Artforum, October 2018, 194.

Claudia Rankine, Will Rawls, and John LucasWhat Remains. Photographs © Julieta Cervantes, courtesy Live Arts Bard.

JANE JACOBS

“[Jane Jacobs’] name still summons an entire city vision—the much watched corner, the mixed-use neighborhood—and her holy tale is all the stronger for including a nemesis of equal stature: Robert Moses, the Sauron of the street corner. The New York planning dictator wanted to drive an expressway through lower Manhattan, and was defeated, the legend runs, by this ordinary mom.” — Adam Gopnik*

Robert Moses—the “master builder” of New York’s expressways who dreamed of leveling Soho—met his match in Jane Jacobs, author of THE DEATH AND LIFE OF GREAT AMERICAN CITIES.** This 20th century battle—the forces of suburbanization vs. middle-class New Yorkers who did not want to destroy their city to save it—is the focus of CITIZEN JANE: BATTLE FOR THE CITY, the new documentary by Matt Tyrnauer screening this week at USC.

 

CITIZEN JANE: BATTLE FOR THE CITY, Monday, April 24 at 7 pm. Free with reservation:

cinema.usc.edu/events/event.cfm?id=16830

BROCCOLI THEATRE, USC SCHOOL OF CINEMATIC ARTS, Los Angeles.

 

CITIZEN JANE: BATTLE FOR THE CITY opens at the Nuart on Friday, April 28.

NUART THEATRE, 11272 Santa Monica Blvd., West Los Angeles.

landmarktheatres.com/FilmCalendar/Nuart_calendar_2017_0310_0511.pdf

 

This summer, the RIVER TO RIVER FESTIVAL in Lower Manhattan will feature excerpts from A MARVELOUS ORDER, a new opera about Jacobs and Moses. Written, composed, and designed by Joshua Frankel, Judd Greenstein, Will Rawls, and Tracy K. Smith, the work will be performed in the transit/shopping hub Fulton Center.

 

A MARVELOUS ORDER, June 15–18.

RIVER TO RIVER FESTIVAL, FULTON CENTER, 200 Broadway, Manhattan.

 

*Adam Gopnik, “Jane Jacobs’ Street Smarts,” The New Yorker, September 26, 2016.

newyorker.com/magazine/2016/09/26/jane-jacobs-street-smarts

**See: theguardian.com/books/2011/oct/14/jane-jacobs-death-and-life-rereading

Jane Jacobs, 1961. Image credit: New York World-Telegram and the Sun Newspaper Photograph Collection

Jane Jacobs, 1961.
Image credit: New York World-Telegram and the Sun Newspaper Photograph Collection