Lynn Riggs

Social engagement: politics, resistance, and art

2018 in Review, Part 5: Oregon ArtsWatch visited creators in all media who are addressing problems ranging from racism to climate change

The world is indisputably in a precarious position — not just politically and socially, but economically and even ecologically. It is a moment of crisis. Artists play a crucial role in moments like these, helping the rest of us arrive at a shared cognition of what is — of seeing, sensing, and feeling that roil of life in a way that clarifies, opens eyes, and maybe even showing us a way forward.

What struck me in compiling this year-end reading list on socially engaged art in Oregon is the extent to which artists strove not simply to see and interpret, but to peel back layers, to reveal what is largely hidden — either by design or by accident — by institutions, by geography, and even by the telling of history. There may be no “new” stories to tell, but too many stories haven’t been heard by those who need to hear them, by people who perhaps want to see, but don’t know how.

So dive into this compilation. There’s a bit of everything: visual art, theater, music, conceptual art, literature. And, of course, the usual disclaimer: The choices here are highly subjective and presented in no particular order, and obviously are not intended to be comprehensive.

 


 

Witnesses in a churning world

Artist Hung Liu says “Official Portraits: Immigrant” (2006, lithograph with collage) is one of three self-portraits representing stages of her life.

Sept. 27: ArtsWatch’s Bob Hicks checked out a fall show at the Hallie Ford Museum of Art in Salem called Witness: Themes of Social Justice in Contemporary Printmaking and Photography. It featured a lineup of artists who look at the world through a lens that is both personal and cultural, and in a way that connects our present moment with history.

“The idea of art as a pristine thing, separated from the hurly-burly of the everyday world and somehow above it all, is a popular notion,” Hicks wrote. “But a much stronger case exists for the idea of art as the expression of the roil of life, in all its messiness and cruelty and prejudices and passions and pleasures and occasional outbursts of joy. Art comes from somewhere, and that somewhere is the world in which we live.”

The article is a mini-tour of the exhibition itself, with nearly 20 pieces accompanied by the artists’ personal statements reflecting the roil and rebellion of their creative processes.

 


 

David Ludwig: Telling the Earth’s story through music

Chamber Music Northwest performs ‘Pangæa.’ Photo: Tom Emerson.

July 27: “Pangæa was the single huge continent on Earth encompassed by one vast ocean over 200 million years ago – eons before dinosaurs, much less humans,” musician David Ludwig writes in the program notes for composition of the same name. “It was an entirely different planet than one we’d recognize today, lush with life of another world.” That’s the world Ludwig interpreted musically in the West Coast premiere of Pangæa, a piece inspired by the ancient Earth, and the threat of extinction as a result of human-caused climate change. Matthew Andrews talked to him about this extraordinary piece of music for ArtsWatch. Best of all: You can listen to it yourself.

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The hidden history of ‘Oklahoma!’

Contemporary reinterpretations of the classic American musical may be getting back to its root: It's based on a play by a gay Cherokee man.

By DANIEL POLLACK-PELZNER

Seventy-five years ago, as Rodgers and Hammerstein’s new musical Oklahoma! was beginning its sellout run on Broadway, the Times ran an indignant letter from Eva Paul, of Provincetown. “It is rather amusing to notice the insouciance and naïve bravado with which all the perpetrators of Oklahoma! eliminate all mention of Lynn Riggs,” she wrote. “After all, did he or did he not give them a plot to which they more or less adhered and a galaxy of characters which none of them ever approached in their other undertakings?”

Original poster for “Oklahoma!” on Broadway, 1943. Wikimedia Commons

He did: a decade earlier, Riggs had enjoyed a brief Broadway success at the Theatre Guild with his play Green Grow the Lilacs, which evoked the cowboys and farmers of his childhood in Indian Territory, before Oklahoma became a state. Traditional folk songs and picturesque dialogue enlivened a courtship triangle: whether Laurey, a young homesteader, would go to a party with Curly, a cocky cowboy, or Jeeter Fry, a rough farmhand. In 1942, the Guild’s producer, Theresa Helburn, saw a revival of Green Grow the Lilacs and thought it could furnish the material for an American folk opera on the model of Porgy and Bess, which the Guild had also staged. She engaged Richard Rodgers—his partnership with Larry Hart dissolving as Hart fell prey to alcoholism and depression—to compose the music and Oscar Hammerstein—longing for a hit after a series of flops with his Show Boat partner, Jerome Kern—to adapt Riggs’s play and write the lyrics.

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