Campfire Cred: "K of D" Serves Storytelling with a Sweet Side of Spooky
http://www.stlmag.com/arts/theater/campfire-cred%3A-k-of-d-serves-storytelling-with-a-sweet-side-/
--Eileen G'Sell, St. Louis Magazine
http://www.stlmag.com/arts/theater/campfire-cred%3A-k-of-d-serves-storytelling-with-a-sweet-side-/
--Eileen G'Sell, St. Louis Magazine
Best Bets: Top of the list Friday October 10th
http://www.stltoday.com/entertainment/arts-and-theatre/hotlist/best-bets-soulard-oktoberfest-david-sanborn/article_e8d26d31-d38c-56de-9390-4b41dc180dad.html
--Judith Newmark Go! Magazine, St. Louis Post Dispach
http://www.stltoday.com/entertainment/arts-and-theatre/hotlist/best-bets-soulard-oktoberfest-david-sanborn/article_e8d26d31-d38c-56de-9390-4b41dc180dad.html
--Judith Newmark Go! Magazine, St. Louis Post Dispach
The Revisionist Inn presents Three Shades:
Bringing Classical Theatre Back to Cherokee Street
When Paul Fernandes first took the plunge into the rehabilitation of the
three old houses that comprise the current geography of The Revisionist Inn, he
was struck with the idea that the landscape of the back building and yard could
be transformed into a miniature outdoor Elizabethan theatre. This
summer’s three short plays attempt to recreate a renaissance theatre
experience rather than a modern one.
http://cherokeestreetnews.org/the-revisionist-inn-presents-three-shades-bringing-classical-theatre-back-to-cherokee-street/
--Anne McCullough, Cherokee Street News August 5, 2014
Bringing Classical Theatre Back to Cherokee Street
When Paul Fernandes first took the plunge into the rehabilitation of the
three old houses that comprise the current geography of The Revisionist Inn, he
was struck with the idea that the landscape of the back building and yard could
be transformed into a miniature outdoor Elizabethan theatre. This
summer’s three short plays attempt to recreate a renaissance theatre
experience rather than a modern one.
http://cherokeestreetnews.org/the-revisionist-inn-presents-three-shades-bringing-classical-theatre-back-to-cherokee-street/
--Anne McCullough, Cherokee Street News August 5, 2014
Great show tonight at a new (to me) venue
Excellent set from Beauty Pageant, transcendental participatory sonic exchange with Emily Hemeyer performing as Ghosts I Have Been, and it all started with an autoharp singing from Chicago's The Humminbird.
--Stephen Houldsworth, Patron of the Arts, Alumnus of The Community Arts Training Institute
Excellent set from Beauty Pageant, transcendental participatory sonic exchange with Emily Hemeyer performing as Ghosts I Have Been, and it all started with an autoharp singing from Chicago's The Humminbird.
--Stephen Houldsworth, Patron of the Arts, Alumnus of The Community Arts Training Institute
The Best St. Louis Noise/Experimental Shows: May 2014
http://blogs.riverfronttimes.com/rftmusic/2014/05/the_best_st_louis_noiseexperim_5.php
--Joseph Hess, The Riverfront Times, website
The Ten Best Concerts in St. Louis This Weekend:April 11 to 13
Black James w/ Zak Marmalefsky @ The Revisionist Inn 8 p.m. Check out some great quirky local music, projections and 8mm video ("The Myth of Vision") in this low-key art space on Cherokee Street to get an intimate, unique experience for your Saturday night.
--Mabel Suen, The Riverfront Times, website
Reflection: Revisionist Inn Provides High Quality Artistic Productions With Low-Level Promotion
http://news.stlpublicradio.org/post/reflection-revisionist-inn-provides-high-quality-artistic-productions low-level-promotion
--Sarah Hermes Greisbach, St. Louis Public Radio
This the second production I have seen at 1950 Cherokee Theater/Gallery and it was fabulous! The best dinner theater performance I have attended. Produced and directed by Paul Fernandes performed at 1950 Cherokee Street Theater/Gallery by local residents. Cherokee Street rules for evening entertainment!!!
-- Jacque Brown, Co-owner of The Curio Shoppe, Cherokee Street, St. Louis.
Best audience experience this lifetime. I drove away with 5 sleepy kids dreaming of Orpheus, Echo, Cleopatra, Joan of Arc... We were truly priviledged to witness Paul Fernandes and his troupe of cooks, artists, actors and musicians. More please!
-- Sarah Hermes Griesbach, Art Writer at The St. Louis Beacon
Our family witnessed another magical backyard theatre event on Cherokee. Director/host Paul Fernandes framed skipping vignettes inside a chapel of urban relics, lit by a scrap-pile fire. Dreams and reality spun and collided. Shakespeare's ship, seen both against a luminescent blue glass ocean and in shadow on an aged brick wall, sank in a wild Tempest. Father and son floated under harvest moon to be drawn out, then, again in uncertainty. - - Participants and audience members found their ears had grown pointier by morning.
-- Sarah Hermes Griesbach, Art Writer at The St. Louis Beacon
Art of the Sun, 2004
In another substantially less urbane example, in a street corner storefront in a busy
poor-to-middle income neighborhood in downtown San José, the Art of the Sun
Studio & Gallery had just opened within the last year. It is, essentially, a neighborhood
arts center. Owner Paul Fernandes, a local school teacher by day, has nicely renovated
the wood-frame structure, and inside a small, but cozy, gallery displays a variety of
sculptures and paintings. A flyer at the entrance announces a series of upcoming musi-
cal events, including independent bands and light shows. San José is not known for
seeding many of these types of neighborhood-based independent art spaces, so it was
intriguing that someone, on his own and with no institutional experience or funding
and with a “regular job as a school teacher,” could conjure up the energy to create such a space. Paul’s most recently printed flyer listed several summer art classes that the
studio offered for neighborhood youth. The classes included ceramics, theater and
puppetry, music, drawing, and mixed media.
A strong independent artistic vision motivates Paul. He tells me that he finally tired of
waiting for “things to happen” and “decided to do something.” Paul has many friends
–most of them avocational visual artists and musicians who want to do more with
their art but have not found a suitable venue for their aspirations. He says, “look
around this neighborhood: artists have so much to give back to the community.”
Repeatedly Paul states that the Art of the Sun Studio & Gallery sprang up without the
benefit of strategic planning, careful analysis of the arts environment locally, or the
existing assets and gaps in the neighborhood.
Paul’s work ethic is impulsive, possibly even romantic, and ideal to an interviewer. His
vision is grassroots and participatory. But, Paul and the Art of the Sun Studio and
Gallery are emblematic of a hybrid middle ground apparent in the informal arts—an
informal community dressed up in institutional garb—that I have encountered before
among so many of the visionaries injecting participatory incitements into Silicon
Valley’s arts scene. To the extent that being “alternative” is defined by these cultural
catalysts as non-institutional, the objective reality of running and sustaining an organi-
zation or a place clashes with their vision of themselves and their work. Paul mentions an existing Latino arts space in downtown San José (an established nonprofit in exis-
tence for more than 15 years) that he considers “alternative” as well, and wonders how
it might be possible to hold on to that “alternative” identity and still be financially sta-
ble. I sense that the challenges of paying the rent, holding two jobs, networking with
the neighborhood leaders and civic brokers, and sustaining this venue are already tak-
ing a toll on Paul Fernandes. How much longer will he will be able to sustain the
work? But then again, there are many “Pauls,” and each one more enthusiastic than the
other. As San José-based rapper, Encore, has said about his craft, the thing that keeps
these artists going is “pretty intangible...it’s a way of life” that cannot be reduced to
grants, paperwork, and the like. p.60
--Excerpted from:
THERE’S NOTHING INFORMAL ABOUT IT
PARTICIPATORY ARTS WITHIN THECULTURAL ECOLOGY OF SILICON VALLEY
By Maribel Alvarez PHD 2005
In another substantially less urbane example, in a street corner storefront in a busy
poor-to-middle income neighborhood in downtown San José, the Art of the Sun
Studio & Gallery had just opened within the last year. It is, essentially, a neighborhood
arts center. Owner Paul Fernandes, a local school teacher by day, has nicely renovated
the wood-frame structure, and inside a small, but cozy, gallery displays a variety of
sculptures and paintings. A flyer at the entrance announces a series of upcoming musi-
cal events, including independent bands and light shows. San José is not known for
seeding many of these types of neighborhood-based independent art spaces, so it was
intriguing that someone, on his own and with no institutional experience or funding
and with a “regular job as a school teacher,” could conjure up the energy to create such a space. Paul’s most recently printed flyer listed several summer art classes that the
studio offered for neighborhood youth. The classes included ceramics, theater and
puppetry, music, drawing, and mixed media.
A strong independent artistic vision motivates Paul. He tells me that he finally tired of
waiting for “things to happen” and “decided to do something.” Paul has many friends
–most of them avocational visual artists and musicians who want to do more with
their art but have not found a suitable venue for their aspirations. He says, “look
around this neighborhood: artists have so much to give back to the community.”
Repeatedly Paul states that the Art of the Sun Studio & Gallery sprang up without the
benefit of strategic planning, careful analysis of the arts environment locally, or the
existing assets and gaps in the neighborhood.
Paul’s work ethic is impulsive, possibly even romantic, and ideal to an interviewer. His
vision is grassroots and participatory. But, Paul and the Art of the Sun Studio and
Gallery are emblematic of a hybrid middle ground apparent in the informal arts—an
informal community dressed up in institutional garb—that I have encountered before
among so many of the visionaries injecting participatory incitements into Silicon
Valley’s arts scene. To the extent that being “alternative” is defined by these cultural
catalysts as non-institutional, the objective reality of running and sustaining an organi-
zation or a place clashes with their vision of themselves and their work. Paul mentions an existing Latino arts space in downtown San José (an established nonprofit in exis-
tence for more than 15 years) that he considers “alternative” as well, and wonders how
it might be possible to hold on to that “alternative” identity and still be financially sta-
ble. I sense that the challenges of paying the rent, holding two jobs, networking with
the neighborhood leaders and civic brokers, and sustaining this venue are already tak-
ing a toll on Paul Fernandes. How much longer will he will be able to sustain the
work? But then again, there are many “Pauls,” and each one more enthusiastic than the
other. As San José-based rapper, Encore, has said about his craft, the thing that keeps
these artists going is “pretty intangible...it’s a way of life” that cannot be reduced to
grants, paperwork, and the like. p.60
--Excerpted from:
THERE’S NOTHING INFORMAL ABOUT IT
PARTICIPATORY ARTS WITHIN THECULTURAL ECOLOGY OF SILICON VALLEY
By Maribel Alvarez PHD 2005
