In celebration of the opening of The Snowy Day and the Art of Ezra Jack Keats this week, Deborah Pope, head of the Ezra Jack Keats Foundation, shared the following essay by her father, Martin Pope, with us. Martin and Deborah’s heartfelt words help express the true joy the Skirball feels in presenting this wonderful exhibition.
Because my father and Ezra Jack Keats were best friends, I grew up thinking Ezra was my uncle. He had not yet written The Snowy Day when I was of an age to read picture books and so when he did, I couldn’t really grasp the magnitude of his accomplishment. Nor could I, as a child, understand the fact that my father, Martin Pope, was a world-renowned scientist. For me, these two men were present as playfellows, co-conspirators, and cheerleaders.
The essay below was written by my father for the opening of The Snowy Day and the Art of Ezra Jack Keats at The Jewish Museum in New York City, now at the Skirball. I would like to add a few words to his. The experience of poverty and prejudice might have hardened my father’s and Ezra’s hearts; instead, it made each of them, in his own way, determined to work against the perpetuation of such injustice. Their deep affection for and belief in one another fed their resolve to escape from deprived childhoods and realize their dreams, one in science and one in art. Integral to their plans was marking their path—the path of books, friendship, and imagination—to help coming generations of children find their way to better lives. Even now, at the age of 95, I think you will hear in my father’s words the depth of his continuing dedication to their shared childhood dreams.
Ezra Jack Keats (left) and my father, Martin Pope (right). Different paths, same road.
My story with Ezra began eighty-one years ago, in the East New York section of Brooklyn, so often pictured in his books. We met in summer school; he was fourteen and I was twelve. Ezra had failed algebra because he wasn’t interested in math, I failed because I corrected my teacher. Our bond as friends was cemented that summer. Continue reading →
When I look at anything, I see mathematics in it. There is not an object or natural phenomenon that does not seem mathematical in nature to me. According to cosmologist Max Tegmark—as quoted in the July 2008 Discover story Is the Universe Actually Made of Math?—”There is only mathematics; that is all that exists.” Though the way I see the world may be strange to some, I am not the only one who sees it this way!
Taper Courtyard pond at the Skirball. What principles of geometry apply here? Photo by Thomas Amiya.
Every exterior and interior of every structure at the Skirball Cultural Center has a mathematical aspect, as well as a cultural purpose—from the geometry of the slate tiles in the Taper Courtyard (where music fans gather for Sunset Concerts and other programming) to the “tent of welcome” in the Ziegler Amphitheater.
Recently, I’ve been working to create a Math Trail through the Skirball, a walking tour in which students and teachers use the sights and sounds of the campus to complete mathematical challenges. The project is inspired by the Skirball’s current exhibition, Global Citizen: The Architecture of Moshe Safdie. One example of math in architecture that we’ll be using on the Skirball Math Trail can be found in the Ziegler Amphitheater.
Ziegler Amphitheater, on the south side of the Skirball campus. Photo by Thomas Amiya.
Slope = rise/run = change in height divided by distance moved forward = 5.5 in/12.5 in = 0.44 = 44/100 = 11/25
Problem: Begin at the stage and measure the height and depth of a stair step. Estimate the slope of the stairs. Describe your process. Continue reading →
Summer is coming to an end, and with it some of my favorite things about being in Los Angeles at this time of year, like the outdoor summer concerts that take advantage of the clear, crisp nights of the city. The best part about a majority of these concerts is that they are inexpensive and often free! What most attracts me to these summertime music events is reaffirmed each time I attend one: that music has the profound ability to bring people from all different backgrounds and ages together. It builds a sense of community, which is no easy task in a city as extensive as Los Angeles. Music reminds us to celebrate our lives, the people around us, and the beautiful city we are given the opportunity to live in. While there are many free summer offerings all over Los Angeles, each one offers a unique type of experience from the other.
Last year, as part of my Getty Multicultural Undergraduate Internship at the Los Angeles Department of Cultural Affairs, I was able to watch a Grand Performances: Lunch Box Noon Concert featuring the pop-folk band The Belle Brigade. The downtown Los Angeles atmosphere, with its tall, gleaming buildings that enclosed the outdoor concert, provided a feeling of togetherness and acted as an oasis to the chaotic and constant flux of its metropolitan surroundings. Set up next to an outdoor fountain, the small amphitheater allowed audience members to congregate in a more intimate space, where children, teens, and adults alike could sing along and dance all while enjoying their lunch boxes, which were handed out to audience members prior to the show. Set appropriately at noon, the performance took advantage of the perpetual sunshine this city is known for.
It was awesome to see my summer music experience come full-circle, when, while working as the Getty Multicultural Undergraduate Intern at the Skirball this summer, The Belle Brigade kicked off their Sunset Concerts series on July 25. As this was my first Sunset Concerts experience, I really did not know what to expect from this outdoor, all-ages music event. Unsurprisingly, in a similar way to their performance at last year’s Grand Performances concert, The Belle Brigade was able to make audience members dance and smile with their infectious melodies and catchy lyrics. The warm, starry night enveloped the attendees, providing a comforting and carefree vibe. The Taper courtyard filled with people of all backgrounds and ages: a family with four kids, racing each other from the parking lot to the venue; a young couple with their own picnic; and even local band Harriet, Continue reading →
Thank you, Erik Shveima, for sharing your “Sunset Concerts Math” with us. We hope our SkirBlog readers come see for yourselves how these equations add up. Click here for tips on how to make Sunset Concerts a great night out! And we hope to see you tonight for Sierra Leone’s Refugee All-Stars!
Erik Shveima is a Los Angeles–based artist with a fondness for illustrated blogs, so much so that he is responsible for two: Mixed Media Daily and, most recently, Or Best Offer.
It was with a young girl’s excitement that I learned the Skirball would be presenting The Hits, the Life, and the Lost Lyrics of Allan Sherman, a conversation between author Mark Cohen and journalist/film producer Tom Teicholz about the legacy of song parodist and comedian Allan Sherman. Mark Cohen has written the first biography of Allan Sherman and I am excited to learn more about this voice that had such an impact on my childhood. I still remember listening to Allan Sherman’s songs when they were released. We had a record player in the room I shared with my sister, and that’s where we listened to his records. I don’t remember how many albums we had, but we played the songs over and over and laughed ourselves silly—including my parents. Of course, the song I remember most is from the homesick kid at sleepaway camp: “Hello Muddah, hello Faddah, here I am at Camp Granada …”
Listen to Sherman’s “Hello Muddah, Hello Faddah” here:
We really appreciated this humor for at least two reasons: First, I went away to a girl scout camp and was so homesick and unhappy, Continue reading →
Ever since I made the decision to leave the security of a paid day job to be a full-time graphic novelist, my goal has been this: to pursue what I love.
When Jordan Peimer, Vice President and Director of Programs at the Skirball Cultural Center, asked me to work on moderating a panel about graphic novels—a subject that aligns perfectly with the current exhibition Gary Baseman: The Door Is Always Open—my first thought was, “Cool, I’m completely not cut out for this.” But after some deliberation, and considering the heavy-handed Who’s the Lars von Trier of Comics approach, I concluded I’d do what I have done my whole career: follow my heart. This has always led me down the path of success, and undoubtedly would not fail me now.
There is a Los Angeles pride in me that has always considered the Skirball to be a hallmark of L.A. arts and culture for the past decade. I knew each member of this panel had to be an Angeleno. Continue reading →
I took this photo of our graphic designer, Simon Ford, as he jotted notes in front of the Rainbow Arbor, where a “Red Sea” scene will be.
Following up on my last SkirBlog post, I wanted to share more about the design of Exodus Steps, but time, time, time! We’ve been working away at it late, late, late. The story’s so big, and the Skirball campus is so full of possibilities, we’ve gotten carried away with ourselves. This is going to have to be fast.
Since agreeing with the Skirball we were going to make Exodus Steps, we have (cutting out all the tedious administrative/visa waiver stuff that no one wants to hear about, least of all me):
Re-read the book and identified all the must-have, could-have, and don’t-need scenes.
Written a draft script.
Decided who needs to say how little to make the story function and have some degree of character/humanity. (Remember, we’re cutting all the text into vinyl speech bubbles, so no one is allowed to soliloquise.)
Thought about what objects the audience needs to see/interact with to tell the story and make the thing look attractive. (As in most movies, we’d like the story to be told by sight and action rather than words.)
Footsteps in the courtyard, ready to be followed.
Designed most of the props, including feet. As this is the eighteenth edition of the Steps Series we have a fairly extensive archive of designs from previous shows so cow, sheep, dog, and horse footprints don’t need designing. Simon Ford, our graphic designer, has created a new line of footwear for Exodus Steps as we aspire to show gradations of social class/wealth in ancient Egypt through the footprints—which admittedly is a little ambitious (the Sherlock Holmes stories were amongst our inspirations for the series). Continue reading →
Years ago I was thinking about “teach-yourself-to-dance” floor mats and how it was unfair that dance had these but theatre didn’t. I imagined that with some ingenuity we could right this wrong. All we needed was an organization to allow us to plaster their building with adhesive vinyl.
In 2008 mac birmingham, our local arts centre, was looking to commission a piece to mark its closure for rebuilding. We pitched the vinyl idea to them, and given that much of the building was due to be demolished anyway, they figured we couldn’t do too much harm.
Stan’s Cafe Dance Steps. Photo by Ed Dimsdale.
Making Dance Steps was tricky, as we didn’t know how “teach-yourself-theatre installations” worked. We’d never met one before. We had to make up the rules ourselves. We had to learn the art of applying vinyl stickers, which in some cases is more complicated than it sounds (though in other cases my three-year-old daughter was happy to help and couldn’t believe sticking stickers was my JOB!). Continue reading →