Unveiling Utopias: Art, Community, and Resilience in Philadelphia's New Exhibitions
The Radical Power of Collaborative Creation: Moki Cherry's Immersive Art Worlds and Her Partnership with Don Cherry
Utopian ideals frequently encounter criticism for their perceived impracticality; however, two concurrent exhibitions at Philadelphia's Fabric Workshop and Museum prompt a re-evaluation of these notions. \"The Living Temple: The World of Moki Cherry\" immerses visitors in the dynamic universe co-created by Moki Cherry and her spouse, the renowned trumpeter Don Cherry, during the 1970s. This exhibit vividly illustrates how Moki's textile art and paintings served not merely as backdrops but as integral components of their performances, crafting an all-encompassing experience. The collection, the most extensive presentation of her work in North America, features iconic pieces like a jacket designed for Don, alongside posters, sketches, videos, and photographs that underscore the profound impact of collective artistic endeavors—where individuals unite to generate music, narratives, and visual expressions.
The Artistic Journey and Vision of Moki Cherry: From Swedish Origins to Global Influences
Born Monica Karlsson in 1943 near the Arctic Circle in Sweden's Sámi territory, Moki Cherry's early life involved frequent relocations due to her parents' professions. At 19, she pursued studies at Stockholm's Beckmans Designhögskola, an avant-garde institution for design and fashion. Don Cherry, originating from Oklahoma City and raised in Watts, Los Angeles, was already a celebrated figure in experimental music, known for his collaborations with Ornette Coleman, when he encountered Moki in Stockholm in 1963. By 1967, facing financial hardship, racial discrimination, opposition to the Vietnam War, and the commercialization of music, Don relocated to a rural Swedish schoolhouse with Moki. There, in July of that year, they orchestrated \"Movement Incorporated,\" an event that brought together musicians at a workers' association, marking the genesis of their collaborative artistic journey.
Transforming Performance Spaces: Moki Cherry's \"Collage Music\" and Environmental Art
The collaborative performances orchestrated by Moki and Don Cherry transcended traditional concert settings. Chairs were replaced by floor coverings, electric lights by candles, and Moki's vibrant paintings adorned the walls. Amidst the swirling incense, projected slides complemented Don's \"collage music\"—a rich fusion of rhythms and concepts influenced by his interactions with South African pianists like Abdullah Ibrahim, North African musicians, and his studies of Indian music. This pioneering exploration eventually contributed to the development of what is now recognized as World Music. These events were akin to Fluxus art \"Happenings\" prevalent in American cities, distinguished by Don Cherry's sonic contributions and Moki Cherry's creation of immersive \"environments.\"
Moki Cherry's Artistic Evolution and Enduring Legacy: Connecting Humanity and Nature
Moki dedicated herself passionately to painting and sewing, often working right up to and even during performances, where she also actively participated through movement and dance. Reflecting on their initial success, Moki recalled, \"We discovered the venue and invited musicians and dancers. I created posters, designed the stage, and painted live with the music. It was a sell-out and well-received, which encouraged us. We had found something that worked and brought immense joy.\" Her artistic development paralleled their musical journey, with the Fabric Workshop's exhibition tracing her creative output from her student days at Beckmans to her later work in a Long Island City studio. While some pieces served practical purposes, like the cover for Don Cherry's 1972 album Where's Brooklyn?, others, such as her luminous totems crafted from wood and translucent materials, were expansive and evocative. Throughout her oeuvre, Moki, who passed away in 2009, consistently explored natural forms, bridging the human experience with the broader ecological world.
Challenging Perceptions: Moki Cherry's Utopian Vision and Her Family's Reflections
An untitled artwork from 1967 by Moki Cherry presents a Fauvist landscape that eschews conventional topography, instead capturing the energetic vibrations and emanations that she and Don jointly celebrated and investigated. Despite years of her letters to galleries being unacknowledged, Moki dedicated herself to establishing a school for young people in Sweden, nurturing her family, and transforming their Stockholm schoolhouse and New York apartment into living art pieces. Her guiding principle, \"Home is stage, stage is home,\" encapsulated utopian ideals that, while successful, were frequently misconstrued or dismissed. Her daughter, Neneh Cherry, during a presentation at the Fabric Workshop with her own daughter, Naima Karlsson, a musician and archivist managing Moki's estate, expressed frustration with the \"spaced-out hippies\" label. She highlighted her mother's deep appreciation for beauty and order, recalling Moki's assertion, \"We're rich in so many ways,\" even during times of financial scarcity, underscoring a profound ambition to cultivate a more beautiful world.
A Harmonious Juxtaposition: Lisa Alvarado's \"Talismans for a Theater of Resilience\"
The resonance of \"The Living Temple\" is amplified by its pairing with \"Talismans for a Theater of Resilience,\" an exhibition by Chicago-based artist and musician Lisa Alvarado (b. 1982), presented in an adjacent gallery. During her residency at the Fabric Workshop, Alvarado, whose work has been featured in prestigious venues like the Whitney Biennial, crafted two monumental hanging pieces, each nearly 20 feet by 10 feet. These installations, created using screen-printing and experimental dyeing techniques, are bathed in light meticulously adjusted by Alvarado's manipulation of the gallery windows. The interplay of colored gels evokes an ancient celestial calendar, while a symphony of sounds—including ceiling bells, rain sticks disguised as clocks, and an ethereal drum—permeates the space, creating a truly immersive experience.
Alvarado's Artistic Process: Geology, Vibrational Aesthetics, and Ancestral Narratives
Similar to Moki Cherry, Lisa Alvarado initiated her installation with a contemplative engagement with the landscape, focusing on the geophysical realm. During her residency, Alvarado, deeply interested in the subtle interactions between individuals and their surroundings—a concept she terms \"vibrational aesthetics\"—explored the local geology at Bryn Mawr College, accompanied by the workshop's technicians. She shared a fascinating insight on opening day: \"Crystals are uncomfortable being underground. That's why they move.\" (Bryn Mawr's geology department, established in 1896 by Florence Bascom, a pioneering woman in the U.S. Geologic Survey, is legendary.) Alvarado previously stated that \"the transitions of nature\" ignited her childhood curiosity, highlighting the profound influence of the natural world on her artistic perspective.
Weaving History and Heritage: Alvarado's Banners of Resilience
Alvarado's captivating banners intertwine natural cycles with historical currents, particularly referencing the cyclical nature of migration, reminiscent of her own ancestors' experiences during the forced repatriation of Mexican-Americans in the 1930s. (California later acknowledged this injustice with the Apology Act for the 1930s Mexican Repatriation Program in 2005.) Through the dyeing process, colors fluidly blend, and abstract forms emerge from the fabric assemblage, merging geology with iconography. These symbols pay homage to the United Farm Workers' flag, a labor union co-founded in 1966 by Cesar Chavez, Dolores Huerta, and Gilbert Padilla. Alvarado incorporates Aztec imagery of eagles as her talismans, imbuing them with resonant themes of strength and ultimate triumph.
A Collaborative Resonance: Music, Art, and Community at the Fabric Workshop
The success of both exhibitions lies in their collaborative spirit, a hallmark of the Fabric Workshop, a hub for artists to experiment with materials and concepts, and Ars Nova, a Philadelphia-based arts organization. Ars Nova, inspired by the enduring legacy of John Coltrane, champions not only collaboration but also improvisation as vital forces for renewal and community engagement. At the opening, within the immersive environment created by her banners, Alvarado performed with the Natural Information Society, the Chicago-based ensemble founded by her husband, Joshua Abrams. This group, known for crafting \"long-form psychedelic environments influenced by jazz, minimalism & traditional musics,\" presented \"Perseverance Flow,\" an event sponsored by Ars Nova.
The Sonic Journey of \"Perseverance Flow\": A Harmonious Resolution
The performance, \"Perseverance Flow,\" commenced with a gradual rhythm established by Abrams on a gimbri, a three-stringed, skin-covered instrument from Sub-Saharan Africa. Alvarado's hand-pumped harmonium filled the space with rich chords, while Mikel Patrick Avery's drum kit unleashed a bass drum beat amidst atmospheric percussion. Jason Stein's bass clarinet produced sounds reminiscent of ocean swells and piercing winds, creating a tapestry of intersecting rhythms that evoked the sensation of a shifting, oceanic environment. After an hour that seemed to pass in mere moments, Alvarado's chords guided the audience to a serene conclusion, calming the auditory landscape. The room continued to resonate with the lingering vibrations, the chords finding their resolution, leaving the audience with a profound sense of transformation.