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I am so vey excited to have published the last ART TIMES ink on paper issue as we have gone Green and Global with arttimes online. Check back regularly for current announcements, blogs, videos, essays, advertisersí information and up-to-date Calendar and Opportunity Listings. There are so many more possibilities being online. We invite your input with your blogs, videos and suggestions.

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Battlefields at BAM by Brian Hanson-Harding
Glimpses: In Which a Casual Traveler Ruminates on Passing Scenes- 1989-2011 lastest post in Raymond J. Steiner's Blog
From Bootleg to Time Machine by Wendy Caster
International Festival vs Fringe at Edinburgh, Scotland Justine Bayod Espoz
Roanoke VA, Explore Trains, Music, Museums, Fine Arts and Crafts w/ Cornelia Seckel
Road Trip to the Berkshires Cornelia Seckel
Flamenco the Antonio Gades Way by Dawn Lille
David Smith's Star Cage (1950) Ina Cole
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Letter from the Publisher Going Global and Going Green
By Cornelia Seckel
Cornelia Seckel laying out Vol. 1 No. 1

It has been a hard decision but we have “bitten the bullet” and we have gone Global and Green. This past Summer issue of ART TIMES marked the beginning of our 33rd year, our 314th Issue and our final ink on paper Issue. Click here for the story of how we began can be found.
For the past year I've been engaging in Facebook, Instagram, and Twitter and started a blog that takes the place of my Culturally Speaking column. . (see essay)

Cornelia Seckel laying out Vol 1 No 1

Peek and Piques: Thirty-Five years in Partnership with Cornelia Seckel
By Raymond J. Steiner

Thirty-Five years in Partnership with Cornelia Seckel, thirty-two of which spent in founding, publishing and building ART TIMES has been, for both of us, a heady, mind-expanding and extremely educational experience. ..(see essay)

Theater: Battlefields at BAM
By Brian Hanson-Harding
David Smith Star Cage

Thirty years after staging his groundbreaking nine-hour theatrical take on The Mahabharata at what was then the BAM Majestic Theater, director Peter Brook recently took to the stage of that theater (now called the Harvey) to answer questions after a performance of Battlefield, a new (and considerably shorter) play based on what he called a “fragment” of the ancient Indian epic.
(see essay)

NEW Art: David Smith's Star Cage (1950)
By Ina Cole
David Smith Star Cage
David Smith Star Cage

In the 1950s David Smith became a leading figure in the development of welded steel sculpture, which constituted a key direction taken by American artists after the Second World War. Smith’s previous experience of working on the construction of cars and locomotives gave him knowledge of the infinite possibilities of this material. Star Cage, therefore, offers a potent dichotomy in the way it flows effortlessly and organically, yet is constructed of industrial material used to support or embellish almost every public structure. (see essay)

NEW Theater: From Bootleg to Time Machine
By Wendy Caster
Ethel Merman in Gypsy
Ethel Merman in “Gypsy”

The Internet would seem to be the opposite of theatre. The Internet has eternal records of people’s every folly; theatre has ephemeral evenings of careful decisions, committed work, skill, and art. The Internet fits into your phone; theatre takes an entire building. The Internet happens whenever you want; theatre happens at a particular time and place. And, most importantly, the Internet is canned, while theatre is live. And yet…
Say, for example, you wish you could see Ethel Merman in Gypsy. Who doesn’t? Google Ethel Merman Gypsy and then click on “videos,” and you’ll find audiotaped bits from the original production, as well as silent film, plus Merman singing “Everything’s Coming Up Roses” on TV at various ages (see essay)

NEW Dance: The Antonio Gades Way
By Dawn Lille
Antonio Gades

In a Spain filled with summer performances, the Porto Ferrado Festival in Sant Feliu de Guixols is among the oldest. One of the highlights this year was Fuego, a ballet inspired by the music of Manuel de Falla’s El Amour Brujo and presented by the Company Antonio Gades.
Antonio Gades (1936 – 2004) was Spain’s greatest dancer and choreographer. The three films he made with the director Carlos Saura, Blood Wedding, Carmen and El Amour Brujo, brought his concept of flamenco to millions throughout the world, allowing them to witness him as a dancer as well. (see essay)

Antonio Gades

NEW Theater: A Matter of Scope: International Festival V. Fringe
By Justine Bayod Espoz
Resident Island Dance Theatre
Resident Island Dance Theatre

August in Edinburgh is unlike any experience I’ve ever had, both as a performing arts professional and as an aficionado. For nearly an entire month, the Scottish capital becomes a living, breathing, pulsating stage, where everyone both a player and an audience member. In the city’s hallowed, historic theaters, the Edinburgh International Festival (EIF) struts its stuff by programming the large scale and visually impressive works of prestigious companies, while the Edinburgh Festival Fringe turns cityscapes into alternative venues for up-and-coming artists and small-scale companies. (see essay)

Theatre: The Same River Twice
By Wendy Caster
Vivien Leigh, Marlon Brando
Vivien Leigh, Marlon Brando

The Greek philosopher Heraclitus believed that you can never step into the same river twice because the water is ever-flowing—and also you have changed. Nor can great plays be held in place. The recent Young Vic production of A Streetcar Named Desire at St. Ann’s Warehouse in Brooklyn underlined this fascinating fact. (By the way, this essay assumes a familiarity with Streetcar and therefore contains spoilers.) (see essay)

Profile: Marlene Weidenbaum
By Raymond J. Steiner
Amenia Silos in the Snow by Marlene Wiedenbaum
Amenia Silos in the Snow

Soulful. More usually applied to the art of sound — music, especially — the word soulful, or profound — even spiritual — just barely describes the oeuvre of Marlene Wiedenbaum. Whether landscape, figurative, still life (or a combination of figure and landscape such as “Sisters”), her paintings not only project outward toward the viewer but also invite — nay, compel — the onlooker to enter its vibrant, nearly irresistible magnetism. (see essay)

Speak Out: The Transformative Power of Rehabilitation
By Edwin V. Santana
The positive experience RTA grants me raises my confidence level to skyscraper heights. However, going home to join the Alvin Ailey American Dance Theater or becoming the next John Legend or even co-starring alongside Scarlett Johansson in a block-buster movie is unrealistic. But continuing in my self-development to make better life choices isn’t. No longer am I on a destructive path; and no longer am I a threat to society. I am ready, and prepared to face everyday hardships and stresses of life as a citizen of the community. And that’s a debt I will forever owe to the transformative power of RTA. (see essay)

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