Third year Visual Art students Ellen Soule and Liv Paul team up to create and present Just the Wind, a mixed-media exhibition that invites viewers to ask questions about the way they experience fear and trauma.
“It is a well-known expression that most people have encountered when hearing a strange noise that it was “just the wind” rather than an intruder – human, or spectral. Our joint exhibition focuses on the experience of our fears or traumas and how we process them. We want people to connect with a moment they remember hearing the phrase so that they immediately recognize their connection to the works. We hope that people will see their own fears represented in the visualizations of our personal fears, which are common in many people but create different reactions individually. ”
IMAGE: Liv Paul – Portrait of Ellen, ink drawing
Mon. – Thurs. 10am – 4pm.
Admission is free and all are welcome
Theatre @ York presents Middletown by Will Eno, featuring the acting students in the MFA program and directed by the esteemed Jackie Maxwell.
Lives of the inhabitants of Middletown transect in an emotional journey that takes them from the local library to outer space and beyond. The moving and funny play emerges as a meditation on loneliness, birth, death, and the anxieties of our contemporary lives.
Thursday, January 24 7:30pm Opening
Friday, January 25 2pm & 7:30pm
Saturday, January 26, 2pm
The Accolade Trio is comprised of York Music Professors Patricia Wait and Mark Chambers and Elizabeth Acker.
Admission is free. Maps & Directions
Patricia Wait, clarinet
Patricia Wait is a clarinetist with extensive performance credits as a soloist, orchestral and chamber musician. She has appeared with many leading Canadian artists and ensembles, including pianist Anton Kuerti and clarinetist James Campbell; the St. Lawrence String Quartet, Prague String Quartet and Purcell String Quartet; and the Canadian Opera Company Orchestra. She is also an active clinician and adjudicator.
Mark Chambers, cello
Mark Chambers is a conductor, cellist and early music specialist who has performed extensively in the US and Ontario as both a chamber musician and orchestral player. His research interests include Baroque music, period instrument performance practice, the ‘Tartini tone’, and scordatura, altered tunings for strings. He has authored several articles for the American String Teachers Journal and is a contributor to the New Grove Dictionary of Music and Musicians. He teaches cello and viola da gamba and conducts the York University Symphony Orchestra.
Elizabeth Acker, piano
Elizabeth studied piano, harpsichord and jazz at York University and received a Bachelor of Fine Arts. She continued her piano studies with Slavka Dimitroff and James Anagnason and is comfortable playing classical, musical theatre, jazz and contemporary music. Elizabeth has been teaching in Toronto for over 30 years and has earned a superb reputation as an accompanist, chamber musician and coach, teacher and adjudicator. Elizabeth plays for the Niagara Symphony, VOCA Chorus of Toronto, various chamber groups and is a busy accompanist at York University, University of Toronto and the RCM in Toronto. In the summer, she plays chamber music at ‘Heaven’ in N.Y. State and is a coach at the Vermont Music and Arts Centre.
JAZZ @ MIDDAY: Barry Elmes Quintet
Barry Elmes: Drums
Mike Murley: Tenor Saxophone
Kevin Turcotte: Trumpet
Lorne Lofsky: Guitar
Steve Wallace: Bass
The quintet will perform selections from their recently released CD “Dog’s Breakfast“.
Barry Elmes Quintet
Cornerstone Records (cornerstonerecords.com)
Drummer Barry Elmes first formed his quintet in 1991, and through the years it’s been a show- case for Canada’s finest proponents of mainstream modern jazz as well as the leader’s engaging compositions. Through the years, the group has had few personnel changes, adding to its sense of a collective personality.
The latest incarnation establishes its authority immediately with a performance of Freddie Hubbard’s Little Sunfl wer, a modal anthem of the 60s imbued here with new vigour, from bassist Steve Wallace’s pulsing ostinato through a string of sharply focused solos from trumpeter Brian O’Kane, guitarist Lorne Lofsky and tenor saxophonist Mike Murley, all of it carried along by Elmes’ secure and lively drumming which comes to the fore at the conclusion.
The material is divided between Elmes’ recent compositions and jazz standards. The former includes the witty title track, a subtle cool jazz episode that could readily substitute for a Mancini movie theme, while the floating Terminal 2 and the funky Pierre Berton’”Pig bring distinctly Toronto inspirations to the proceedings. The absolute highlights, though, are two standards. Murley brings a fine balance of silk, grit and lyricism to Spring Can Really Hang You Up the Most, while Lofsky’s touch is unerring, compounding a glassy electric guitar sound with a striking melodic conception on Beautiful Love, a sustained trio performance with Wallace and Elmes that makes one hope for a CD devoted to the three.
Stuart Broomer (Wholenote December 2017 / January 2018)
Blindness Meets the Devil: It’s true. Blindness did meet the Devil. And, they met on Queen Street West in Toronto. Now, blindness is constantly meeting itself and doing so in a variety of guises; sometimes as musical genius, at other times, as the pathos of lacking the most precious gift and, at still other times, as the devil. This paper explores blindness and how it meets itself. It “focuses,” at least peripherally, on the meaning of both blindness and the devil and of blindness and putative “madness”. It ends with a reflection of blindness as perception; blindness, too, has peripheral vision and, if focused, it can temporarily blind the power of sight.
The Feel of Blindness: This explores the feel of blindness, thus challenging the current, sighted, contemporary Western understanding and imaginary of blindness as something that is experienced only in the eyes. Blindness does not merely inhabit the eyes but rather, it is a full sensory experience. Making use of autoethnography and critical disability studies, my paper explicates how blindness is felt by the body before it is noticed by the eyes. The oft asked question, “When did you notice your blindness?” is one that imagines blindness as something that happens in the eyes alone. In this paper, I explore how the eyes may not always be the knowing sense of blindness. Blindness as a full body experience allows me to engage with the question of how I noticed my blindness differently. I do not know how long blindness had been with me before I noticed its presence. I suppose it began with a feeling rather than a noticing of something different. It was a feeling of difference that hinted at something. This paper explores the feeling of difference in the body that illuminates blindness.
Rod Michalko, University of Toronto (Emeritus) has taught sociology and disability studies in several Canadian Universities including, most recently, the University of Toronto. He is author of numerous articles and books including The Mystery of the Eye and the Shadow of Blindness (UTP 1998), The Two in One: Walking with Smokie, Walking with Blindness (Temple UP, 1999) and The Difference that Disability Makes (Temple UP, 2002). He is co-editor with Tanya Titchkosky of Rethinking Normalcy: A Disability Studies Reader (Scholars Press, 2009). Since retirement, Rod has turned to writing fiction. His first collection of short stories Things are Different Here (Insomniac Press) was published in 2017. He is currently completing his first novel, My Thick Persian Rug. All of his work, scholarly and fiction, begins in his experience of blindness. Rod reveals how blindness may be understood as framing the scenes and activities of everyday life.
Devon Healy, OISE is a blind PhD Candidate, award winning actor and active member in the Toronto arts community working with directors such as Guillermo del Toro on ‘The Strain.’ Her work explores how blindness makes an appearance in culture and is informed by disability studies, phenomenology and Erving Goffman’s dramaturgical model. Her most recent article, “Eyeing the Pedagogy of Trouble: The Cultural Documentation of the Problem Subject” can be found in the Canadian Journal of Disability Studies.
Co-sponsored by Peripheral Vision Lab, Sensorium Centre for Digital Arts and Technology, VISTA, The Departments of Theatre and Cinema and Media Arts, the Canada Research Excellence Fund, the Performance Studies (Canada) Speaker Series, and the Graduate Program in Critical Disability Studies.
We’re bringing Central Perk to you! Enjoy a tasty beverage, something sweet and a few performances at this semester’s first Winters Café.
Winters Café is a cozy environment where you can chill out and listen to a variety of performers: musicians, comedians, playwrights, poets – you name it! Board games and good fun is also encouraged.
Interested in performing? Sign up here!
Featuring the works of the students in the 4090 painting and installation classes, the Collective focuses on the exploration of contemporary questions and concerns regarding the body, the environment, urbanity, and cross-cultural overlays. A space for experimentation and new discoveries, the Collective invites you to ask critical questions of the art and of yourself and open up to a collection of work that is both completely unique and yet wholly connected.
the Collective is hosted in the Gales and Special Projects galleries, February 4th-14th.
Please join the artists at the closing reception on February 14th from 12:30-2:00pm for refreshments, engaging discussion, and celebration.
Monday to Friday, 10:30am – 4pm
Admission is free and all are welcome.
Faculty of Horror is coming to York! Alexandra West and Andrea Subissati tackle everything from New French Extremity to the Slasher genre through a critical feminist lens in their game-changing podcast, Faculty of Horror. Join Subissati and West as they discuss their careers in Horror journalism, academia and podcasting. Q&A to follow.
Sponsored by the York Graduate Film Student Association.
Admission is free and all are welcome
Admission is free. All welcome.
The Visual Art Speaker Series is organized by the Department of Visual Art & Art History in the School of the Arts, Media, Performance & Design.
Theatre @ York presents a studio production of Metamorphoses by Mary Zimmerman under the direction of Birgit Schreyer Duarte, featuring the third year acting students.
With the themes of loss, transformation, rebellion and the ever-present power of imagination Metamorphoses vividly juxtaposes the ancient and the contemporary in language and image to reflect the variety and persistence of story in the face of inevitable change.
Originally from Germany, Schreyer Duarte is a director, translator and dramaturg who enjoys introducing international work to Canadian audiences and tackling challenging scripts with actors. Most recently, she translated Deportation Cast for Theatre @ York, directed Noise at Randolph College for the Performing Arts and Hamlet at Shakespeare in High Park. She is also the dramaturg & artistic associate at Canadian Stage.
Thu. Feb 7, 7:30pm
Fri. Feb 8, 2pm and 7:30pm
Sat. Feb 9, 2pm
Admission is free, but seating is limited. Those wishing to attend are invited to sign up in advance for the performance of their choice. A sign-up sheet will be posted outside the door of CFT 139 in the Centre for Film and Theatre.
Rob Simms (Tanbur and Setar solos)
Professor, Rob Simms performs traditional and contemporary modal music from Iran
and related traditions played on long-necked lutes, tanbur and setar.
Professor Mark Chambers conducts the York University Symphony Orchestra in a concert featuring 2018 Concerto Competition winners.
David Yang, clarinet
Amanda Singh, soprano
Bilal Nasser, guitar
Gwyneth Chen, piano
Admission: $15 | $10 for students & seniors.
Box Office: Purchase tickets online or phone 416-736-5888