Arts & Culture

With the delicacy of a spider web and the rigorous logic of a chain reaction, three miles of sky blue cord stretch outward from the stage and into the seats, enveloping dancers and audience alike. Choreographer Brian Brooks is known for creating works defined by their cheeky wit, audacious visuals and superhuman endurance. In January, the Brian Brooks Moving Company will present Motor, a major new piece exploring notions of time, entropy and perpetual movement, as part of the Edison Ovations Series.

There is an undeniable romanticism to the sculpture of Patrick Dougherty. Working with the simplest of materials — sticks, branches and saplings — the North Carolina-based artist creates playful architectural forms that variously suggest nests, primitive shelters and fairy-tale castles. This fall, Dougherty enlisted dozens of students to help construct Double or Nothing, a new commission for the Sam Fox School of Design & Visual Arts.

Opera on the Kansas plains? Picnic, a recent work by American composer Forrest Pierce, centers on a handsome drifter whose arrival in small Midwestern town spells both liberation and catastrophe. At 8 p.m. Thursday and Friday, Dec. 15 and 16, the Washington University Opera Workshop will present excerpts from Picnic, which features a libretto by WUSTL’s Tim Ocel, and four other operas in the 560 Music Center Ballroom Theater.

In a culture defined by an indiscriminate onslaught of images, John Stezaker’s work conveys both a fascination with their lure and a critique of their seductive power. Using classic movie stills, vintage postcards, book illustrations and other found materials, the contemporary British artist brings new meanings to old pictures, adjusting, inverting and slicing them together to create collages that are at once captivating and unsettling, eerie and elegant, nostalgic and absurd. This spring, the Mildred Lane Kemper Art Museum will provide the only U.S. venue for John Stezaker, the artist’s first major solo museum exhibition.

Nicole Aldrich will make her public debut as director of both the Washington University Concert Choir and the new Washington University Chamber Choir in a free performance at 8 p.m. Friday, Dec. 9, in Graham Chapel. Titled “Blow, Blow, Thou Winter Wind: Music for Fall and Winter,” the program will include works by Johann Kuhnau, Giovanni Gabrieli, Gustav Holst and Johannes Brahms, among others.

Washington University’s Department of Music in Arts & Sciences will present its annual sing-along of George Frideric Handel’s oratorio Messiah at 3 p.m. Sunday, Dec. 11, in Graham Chapel. Nicole Aldrich, director of choral activities, directs the program. The performance, which lasts about an hour, will include the Christmas portion of Messiah as well as the “Hallelujah Chorus.”

The New York Times best-selling historian Douglas Brinkley and New Yorker cartoonist Roz Chast will present keynote addresses for “Celebrating Our Books, Recognizing Our Authors”, Washington University’s 10th annual faculty book colloquium. Organized by the Center for the Humanities in Arts & Sciences and the Washington University Libraries, the colloquium also will feature new book presentations by four faculty authors, as well as a display of all faculty books published during the past three years.

From the Arab spring to the London riots to the ongoing Occupy protests, themes of revolution, unrest and community are very much in the news today. They are also very much in the dance studio, as evidenced by Kinetic Field Work, the 2011 Washington University Dance Theatre concert. The annual showcase, which takes place in Edison Theatre Dec. 2, 3 and 4, will feature more than 50 student dancers, selected by audition, performing new and original works by seven faculty and guest choreographers.

The Sam Fox School of Design & Visual Arts will host a dedicaiton for a new, as-yet-untitled work by internationally known artist Patrick Dougherty at noon Monday, Nov. 21, on the south lawn of Givens Hall. The large woven-wood sculpture was designed and completed as part of a master class Dougherty led for students in architecture, landscape architecturea and the visual arts. The piece will remain on view through fall 2013.

For 56 seasons, the St. Louis Chamber Chorus — which describes itself as the area’s only “itinerant choir” — has devised a cappella programs that allow audiences to both visually and acoustically explore many of St. Louis’ most architecturally significant venues. On Nov. 20, the Chamber Chorus will pay its first visit to Washington University’s 560 Music Center. The concert, titled “A Mentor’s Memory,” will honor the academic setting with a series of works highlighting the relationships between celebrated classical composers and their most influential teachers.