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This week's Culture Vultures recommend:

Grime Time, Actors Training Center, and The Talent Code

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Dave Mata, DJ and Reader People Issue subject, is flipping through:

Grime Time magazine In the past several decades, people's appreciation for outsider art has grown considerably, yet there are still fringe areas that remain undocumented. Whether for lack of an audience, fear of the Man, or just plain ignorance, there's been a serious gap in the documentation of Chicago's graffiti scene. I'm not referencing the last ten years' art-school vomit of ironic wheat-pasters, but the guys that keep it old-school with rattle cans, fill-ins, trains—you know, the scary stuff. Grime Time brings back the feel of a 90s punk fanzine. The photocopy-style zine features interviews and pictures of a much less glamorous side of modern street art. Limited runs have been available at Quimby's bookstore, and a T-shirt designed by Chaz Boriquez (LA) is currently available at the National Museum of Mexican Art. Other limited clothing items, and maybe some old copies of the zine, are available at the Howard Street Gallery in Evanston.

Actors Training Center
  • Actors Training Center

Hugh Iglarsh, writer and critic, seeks a new perspective at:

Actors Training Center As a theater critic, having too often summarized the quality of an actor's performance in a word or two, I figured it was time to see things from the other side of the proscenium. And so I headed off to the Actors Training Center in Wilmette for an introduction to the thespian arts. "Acting for the New Actor" was the title of the class. Of the dozen or so participants, a couple had real theatrical aspirations, but most of us were there for other reasons: a housewife whose first language was not English needed some way to express herself; a one-time trader aimed to slough off the grime of commerce and find a new direction. The class was better than therapy—less costly, better exercise, more playful. Ryan, our instructor, could be gentle or demanding as the situation dictated, pushing us past cramping inhibitions and insecurities into the lighter and freer realm of movement, feeling, impulse. I see others' performances differently now, with more of an eye for the risky choices, the transparent moments of intention and feeling.

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Cliff Colnot, conductor and teacher at DePaul University, clears his doubts with:

The Talent Code As a teacher of music, working with primarily college-age musicians, I have long been interested in the concepts of "genius" and "greatness," and what is the genesis of those characteristics. I have often thought that people were born with "genius" and then have reconsidered and believed that, in most cases, genius was mythological and it could be taught. A friend of mine in New York City suggested that an insight into this conundrum might be found in the recent book The Talent Code by Daniel Coyle. After reading the book several times, I was able to more thoughtfully and consistently see how "genius" and "greatness" can, in fact, be nurtured and grown rather than having them be relegated to enigma and predestiny. I recommend this book to anyone who has struggled with the antecedents of "genius."

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