The airport also announced that it has reinstalled “Strip Mines,” a three-panel, 41-foot tapestry of wool on linen by Slippery Rock artist Akiko Kotani. The work, originally commissioned by the Allegheny County Bureau of Cultural Programs in 1984 for Greater Pittsburgh International Airport, was removed for renovations at the airport.
Something that not many people know about you: “I studied Chinese for three years. I’m tri-lingual – English, Chinese and French. I’ve been speaking French for about five years. I picked up Chinese for three years in high school. … I dropped [it this year]. If I hear it and they’re not speaking too fast, I can understand it. The characters are still pretty hard. I haven’t really mastered it. I probably never will because I dropped it. But I can read books and write letters.”For what they're worth, a Pittsburgh Post-Gazette article and a tweet from a 93.7 The Fan producer say he is fluent.
After more than a year in development, Umami is finally open in Lawrenceville, writes Pittsburgh Magazine today. “Everything fell through. Eclipse (an alternative location) fell through. Investors fell through. There were plenty of delays and obstacles once we started working in this space, too,” he says. Li spent the last year teasing Pittsburghers with line-out-the-door-popular pop-ups while he fought through the delays.
If you’re unfamiliar with the concept of izakaya, think of it as the Japanese equivalent to a really fun neighborhood pub: there’s crushable, inexpensive, but also well-prepared food that’s meant to go hand-in-hand with a good drink or two.
“After going to Japan many times and seeing the culture of street food and bar food that they have there, I decided I wanted to replicate that here. It’s never been done in Pittsburgh in the right way,” says Li, who from 2008-2015 was the executive chef of the now-closed Tamari. Umami marks a return to his culinary roots; before moving to Pittsburgh in 2005, Li was a sushi chef at Morimoto restaurant in Philadelphia.
Join us for HOW, a series of hands-on workshops for adults and teens. Learn from skilled craftspeople. Dig in and try things out in a creative, supportive environment. Join us for one or all of these free programs. Materials provided.The library is located at 4400 Forbes Ave. (map), accessible by over a dozen different buses that service Oakland.
Chinese calligraphy is a traditional art form of writing characters using a brush and ink, which has developed over many centuries. You will learn step-by-step how to apply ink with the special brush, write Chinese characters, and take a piece of art home with you.
No registration is necessary for these sessions. Seating for all workshops is available to 20 participants on a first-come, first-served basis. You'll want to come early to be sure you MAKE it on time
Cheung’s practice focuses on the intersection of personal history, identity, and place. Through installation and video, Cheung explores the seemingly banal details of our everyday lives that can harbor important messages about race. The naming conventions of house paints such as Chinatown Orange, 50YR 18/650, found in home improvement stores and sold by Glidden Paints, is one example of how stereotypes are deeply rooted in our commercial society. For this window installation, Cheung places large plastic banana trees painted in bold, Chinatown Orange. One can find references to Warhol’s 1966 Velvet Underground album cover, now an iconic image of the screen-printed banana, with the exposed fruit on the inside of the cover. Store products hang within and emerge from the trees—a juxtaposition that speaks to the close connection between identity and commercial consumption.On May 14, the museum will host an Artist Talk with Cheung at 2:00 pm.
Blank-faced Tetsuya Watari stars as the titular wanderer, a gifted yakuza enforcer trying to stay true to his own idea of honor. The film traffics in a lot of familiar crime movie archetypes: the pretty girl kept on the sidelines; the father-son relationship between Watari and Ryuji Kita, his trying-to-go-straight boss; and all the complicated lines of loyalty and betrayal that come into play when a rival gang tries to muscle in on Kita’s turf. The story is engaging enough, and Watari makes for an appropriately implacable (but still soulful) lead, but what sets the film apart from countless others telling a similar tale are the lengths [director] Suzuki goes to in order to make each scene a feast for the eyes. Violent reds, purples, greens, and blues paint the screen, and the editing forgoes traditional cinematic logic in favor of impressionistic cuts and a jagged, jazzy rhythm. Through it all, Suzuki walks a knife-edge of ironic sincerity, poking at yakuza clichés in an attempt to reveal some larger, wordless truth.Showtimes and ticket information are currently online. The single-screen theater is located at 4115 Butler Street (map).
