The dysfunctional moon described by Calvinos story and the exhibition title could not appear more timely than today, as we face the instability of our own planet and society, our movement is drastically restricted, and we are forced to turn inward.
Born on Long Island in the 1960s, Fitzpatrick has somehow retained an unconditional enthusiasm for the simple textures of the world, a tendency that usually disappears with the onset of adulthood.
Not long before COVID-19 rendered in-person art viewing a faint memory, I walked into a dimly lit gallery where clusters of illuminated words appeared to float in space, like the digital rain of the Matrix. Yet unlike computer code, I could read these clusters of textthey were conversations, poems, confessions. What can I ask you that nobody seems to ever ask you? one began. After months of being in that funk, I got accustomed to it, another one continued.
If art is to play a role in political change, the first step is to get it out of the galleries and into the streets. Silky Shoemakers Billboard Project, a series of four graphically striking anti-Trump billboards installed in rural Pennsylvania, is one example.
Its my first time at the Laurie Beechman Theatre, a cozy basement cabaret space thats been around since 1983 and has retained much of its original charm. A dazzling woman wearing a shiny grey two-piece is scat singing to jazz music, performing the most creative cover of What Are You Doing the Rest of Your Life? that I have ever heard.