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DTSTAMP:20260407T201332
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SUMMARY:Kel Mur: Converge at Pyle Center
DESCRIPTION:Soft bodies clasp together like puzzle pieces in Converge: Studies Of Cohabitation\,  a show in which multimedia conceptual artist Kel Mur explores what it means to share a home with her romantic partner. By displaying plaster molds of their bodies wrapped around each other\, with strips of bedsheets soaked in wax enveloping them\, Mur demonstrates the tension between the resilience and tenderness of a relationship. Wax as a material is soft and pliable when it is warm. But when it is cold\, it is hard and easily breakable. Love can be understood the same way. And these sculptures painstakingly capture the fineness of this level of intimacy. \nMur likens the different studies to a cocoon—something that encloses another thing to protect it. The lovers\, in all their tenderness\, try to defend one another. Their limbs are wrapped around each other’s backs as armor. The ethos of the artwork is unflinching and unafraid. It shows how living together involves building a safe space that cultivates change and growth for people\, much like a chrysalis. It is permeable and vulnerable but still has the capacity to hold those inside it. As the people inside grow together in and around each other\, the cocoon grows around them as well. The home adapts and this is seen in the ways the figures shift and change around the space. \nWhat strikes me most about Converge is how it points us to our capacity for grace and mercy. We come together in our frailness\, humanity\, and vulnerability and hold tightly to the ones we love until we feel their hearts beating close to ours. It is a great risk\, but I forget it as soon as I see the two become one. When I see the figures\, I can imagine them breathing one another’s air\, living in one another’s skin\, and I remember the joy of knowing and being known by someone so deeply that we live and move and have our being in them and with them. Oh\, what beauty. \n—Hannah Keziah Agustin \nNote: Gallery hours for this show are 7 a.m. to 4 p.m. during the week and during special events on weekends and evenings.
URL:https://tonemadison.com/event/kel-mur-converge-at-pyle-center/
LOCATION:Pyle Center\, 702 Langdon Street\, Madison\, 53706\, United States
CATEGORIES:Art
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DTSTART;TZID=America/Chicago:20230204T140000
DTEND;TZID=America/Chicago:20230204T153000
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CREATED:20230130T083839Z
LAST-MODIFIED:20230622T232152Z
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SUMMARY:Encore In Black And White at Mary Dupont Wahlers Theatre
DESCRIPTION:A still from “Elephant In The Room” features three actors. Rikki Christman (right) points a toy gun at Joe Wahlers (left\, seated). James Burreson stands cloaked in the shadows near the center of the frame in front of a vintage coffee shop backdrop. \nEncore Studio For The Performing Arts celebrates their 23rd year as Wisconsin’s premier theater company for people with disabilities with a four-film\, 75-minute suite that pays homage to silent and early sound era cinema. “Encore In Black And White” premiered at the Mary DuPont Wahlers Theatre (just off of Fish Hatchery Road) on Friday night\, January 27. It continues across four additional days (January 28 and 29 at 2 p.m.\, February 3 at 8 p.m.\, and February 4 at 2 p.m.). Tickets are available directly through Encore as suggested donations of $15 per general patron\, and $5 for people with disabilities\, students\, and seniors. \nWorking with four different writers riffing on four archetypal genres from the dawn of modern cinema\, universal director Heather Renken has an exemplary opportunity under this program’s umbrella to exhibit her experience and insight with local actors\, not only in longstanding connections to Encore Studio (serving as artistic associate for over a decade)\, but with Broom Street Theater and Children’s Theater Of Madison as well. \nRenken contributed on the writing side to the third short\, a colorful spin on noir tropes titled Elephant In The Room. In her recent interview with Channel 3000‘s Doug Moe\, Renken graciously cites Encore actor James Burreson’s passion for detective stories as the catalyst to its realization. \nOther screenwriters who helped bring “Encore In Black In White” to fruition include Clarice Lafayette\, who wrote the zippy piece of horror that opens the night\, Redemption. Sarah Jo Schoenhaar’s take on century-old slapstick emerges in Bona Fide\, and KelsyAnne Schoenhaar’s witty musical comedy of To Heiress Human closes the screening event on a spirited note (literally). Stick around afterward for a Q&A with the cast and crew. \n—Grant Phipps
URL:https://tonemadison.com/event/encore-in-black-and-white-at-mary-dupont-wahlers-theatre-4/
LOCATION:Mary Dupont Wahlers Theatre\, 1480 Martin St\, Madison\, WI\, 53713\, United States
CATEGORIES:Culture,Film
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DTSTART;TZID=America/Chicago:20230204T180000
DTEND;TZID=America/Chicago:20230204T205000
DTSTAMP:20260407T201332
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SUMMARY:Big Brown Eyes & Hot Saturday at UW Cinematheque
DESCRIPTION:In “Big Brown Eyes\,” Eve Fallon (Joan Bennett) hands detective Danny Barr (Cary Grant) his gun back. \nSophisticated and handsome but not afraid to get silly\, Cary Grant was one of Hollywood’s most beloved leading men. Before he became synonymous with Hitchcock thrillers and madcap romantic comedies\, he came up through Hollywood in the 1930s; and you can catch a 35mm double feature of Grant’s early starring roles at UW Cinematheque this Saturday starting at 6 p.m. \nPlayfully blending film noir and dialogue-driven comedy\, Big Brown Eyes (1936) features Grant and Joan Bennett as a police detective and his manicurist-turned-reporter girlfriend who’s trying to catch a gang of murderous jewel thieves. With its pulpy plot punctuated by Grant and Bennett trading rapid-fire wisecracks\, Big Brown Eyes is a charming warm-up for the screwball comedies Grant would make over the next few years. Director Raoul Walsh worked in seemingly every genre during his long career\, and he deftly balances the hard-boiled crime elements with colorful characters and snappy banter. \nA racy pre-Code romance with surprising sexual politics\, Hot Saturday (1932) stars Nancy Carroll as Ruth Brock\, a small-town bank teller who lives for weekend parties with her friends. Despite the drunken escapades\, Ruth has maintained her reputation\, but a rebuffed date decides to teach her a lesson by spreading a rumor about Ruth and big-city playboy Romer Sheffield (Grant). Ruth is branded a promiscuous hussy and loses her job overnight due to “loose morals.” Desperate to preserve her honor\, Ruth convinces her recently returned childhood flame Bill Fadden (Western regular Randolph Scott) to propose to her\, but finds the malicious gossip hard to escape. \nWhen William A. Seiter directed Hot Saturday\, Hollywood was increasingly under attack by conservative rural America\, who were outraged by the titillating films supposedly corrupting their youth. It’s easy to view the film as a rebuke of small-town America’s supposed moral high ground—Hot Saturday’s town of Marysville is populated by scowling\, puritanical gossips and their depraved\, horny sons. Compared to the yokels Ruth hangs out with\, Romer is a catch. Dressed in a white suit\, Grant portrays him as an urbane\, charming rogue\, a preface to the many redeemable cads he’d play later in life. \n—Ian Adcock
URL:https://tonemadison.com/event/big-brown-eyes-hot-saturday-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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