cityArts January 12, 2010

JANUARY 12, 2010 Volume 2, Issue 1

Ralph Ford

Bringing Murakami’s ‘The Wind-Up Bird Chronicle’ to the stage has been as peculiar and challenging as the book itself Psychic Creta Kano meets with Toru Okada in a scenefrom Stephen Earnhardt’s The Wind-Up Bird Chronicle

R

BY JERRY PORTWOOD eading Haruki Murakami’s prose can be a frustrating endeavor.

Filled with surreal characters and moments—talking cats, mystical sex workers, magical jellyfish, mysterious amputees—his books are packed with inexplicable metaphors that don’t always seem to add up to anything substantial. While the Japanese writer possesses a rabid group of followers and each book is debated intensely in a multitude of languages, the ultimate conclusion of a story is often exasperating. The thought of adapting one of his stories, let alone an entire novel, would be an intimidating, even impossible, feat for most. Just think of all those fans who would hate you if you screwed it up.

That hasn’t stopped Stephen Earnhardt from attempting to make the story his own— and in a format he had practically no experi-

ence with before he began his undertaking more than six years ago. Earnhardt’s theatrical adaptation of Murakami’s The Wind-Up Bird Chronicle, an elaborate multimedia production, premieres at the Ohio Theatre Jan. 15 and is part of the annual Under the Radar Festival.

The mind-boggling enterprise encompasses puppets, human actors, video projections and sound effects and, perhaps, even a few serendipitous breaches of time and space.

“I wanted to create a theater of dreams,” Earnhardt explains during a recent weekday morning rehearsal. Located on a top-floor rehearsal room on the far West Side, amidst the hammering and cracking of construction at the soon-to-be-completed Jerome Robbins Theater, the actors and crew are awash in activity. Earnhardt attends to both creative and practical concerns, speaking to an assistant via Skype while a stage manager

herds actors into another room to prepare for voiceover recording. At the same time, a crew of puppeteers under Tom Lee’s direction begins to whisk practice puppets around the room, manipulating a childlike wooden bed, clothes attached to bamboo sticks and other puzzling implements made of string and rags. All of this energy feels less like a typical theater rehearsal than some sort of work camp for innovation.

Which should be expected since Earnhardt didn’t begin his creative life in the theater. He began as a classically trained percussionist at the prestigious Interlochen Arts Academy. When he entered the professional world, he shifted gears as director of production for Miramax Films during those heady years in the 1990s when the indie team changed the rules of cinema. He later directed and produced Mule Skinner Blues, a feature-

length documentary in 2002 about eccentric artists in a Southern trailer park.

In 2002, he found himself at a crossroads: He was 36 years old, stranded in Los Angeles when he wondered whether he would return to film or travel down a different path. He decided to book a trip to Southeast Asia and ended up spending 10 months traveling from Vietnam to Thailand, Laos, Cambodia and Indonesia.

“Along the way, people I’d meet kept handing me Murakami,” Earnhardt says. “I read eight of his books back to back. It shaped the next chapter of my life.”

In many of Murakami’s books, the central narrator is a lonely man in an urban environment without a clear purpose in life.

Earnhardt related to these characters in search

MURAKAMI on page 5

LetterFromtheeditor 26TH ANNUAL FOCUS! FESTIVAL AT JUILLIARD

Focus! 2010 Music at the Center: Composing an American Mainstream Joel Sachs, Focus! Director

FREE • 5 Concerts and Aaron Copland’s The Tender Land

JANUARY 22- 30 Peter Jay Sharp Theater at Juilliard, 155 West 65th Street

FRI, JAN 22

WED, JAN 27

Juilliard Orchestra Jeffrey Milarsky, conductor

PERSICHETTI Serenade No. 12, Op. 88 KIRCHNER Piano Sonata STILL Songs of Separation PISTON String Quartet No. 5 MENOTTI Ricercare and Toccata on a Theme from The Old Maid and the Thief SCHUMAN In Sweet Music: Serenade on a Setting of Shakespeare

COPLAND Nonet for strings BERNSTEIN Halil: Nocturne BARBER Knoxville: Summer of 1915 SCHUMAN Symphony for Strings (Symphony No. 5)

MON, JAN 25 New Juilliard Ensemble Joel Sachs, conductor

THURS, JAN 28

DIAMOND Concerto for Small Orchestra OVERTON Pulsations SCHUMAN The Young Dead Soldiers: Lamentation (Text: Archibald MacLeish) COWELL Symphony No. 13, “Madras”

ADLER Canto I: In Four Movements ROREM Night Music THOMSON Praises and Prayers SEEGER Suite for Wind Quintet SCHUMAN String Quartet No. 4 The Afiara String Quartet

TUES, JAN 26

SAT, JAN 30

7 PM Pre-Concert Conversation: Juilliard President Joseph W. Polisi and Joel Sachs BARBER Summer Music TALMA Piano Sonata No. 2 BEESON Love Song, Arietta, and Aria from The Sweet Bye and Bye MENNIN Sonata Concertante GOULD Benny’s Gig SCHUMAN Amaryllis: Variations for String Trio, based on an old English Round

One Performance Only!

Aaron Copland

The Tender Land Opera in Concert Copeland Woodruff, director Singers from Juilliard Opera Juilliard Orchestra David Effron, conductor

All Concerts at 8 PM FREE tickets JANET AND LEONARD KRAMER BOX OFFICE at Juilliard 155 West 65th Street, Monday – Friday, 11 AM – 6 PM. For further information, call (212) 769-7406 www.juilliard.edu/FOCUS

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D

espite the ice on the ground and brutal chill in the air, the doors were opened wide on a Wednesday morning before the holidays as men weighed down with tool belts trudged through with bundled boards and other building supplies. The weather wasn’t going to slow down the construction at the Baryshnikov Arts Center, which is planning on opening the new Jerome Robbins Theater at its existing facility, located at 450 W. 37th St., this spring. It’s an area of far West Chelsea that the mayor and many others have pinned their hopes on one day being a vibrant new neighborhood, but currently is most well-known for the twist of ramps to the Lincoln Tunnel. As usual, it’s those pioneers in the arts who are there first to stake their claim. Although adventurous audiences have found their way to this desolate area over the years (I first saw the Off-Broadway production of In the Heights at a theater here in 2007), the fact that the Wooster Group will be the theater in residence beginning this year—performing its iconic North Atlantic in March—will certainly attract an entirely new audience to an area not yet known for its cultural offerings.

After the rollercoaster of 2009, there’s plenty of optimism as we begin 2010. We are eager to see how the BAM Cultural District will shape up in the coming year after seeing recent plans for the renovation of the Strand Theater, which will certainly transform downtown Brooklyn. St. Ann’s Warehouse, which recently began its 30th anniversary season, is on the prowl for a permanent home after spending a decade in its warehouse space in Dumbo.

Of course, Lincoln Center continues its stunning renovations, and its ticket center at the David Rubinstein Atrium is now offering $20 discount tickets to many performances through Jan. 26. That fancy new restaurant on the Lincoln Center campus won’t be open soon enough, but in the meantime the Guggenheim has transformed a corner of its space into a new hotspot, The Wright, and the Museum of Arts and Design’s top-floor new dining destination, simply named Robert, is generating plenty of buzz.

With a new director appointed for the Smithsonian Institution’s Cooper-Hewitt, National Design Museum (which will also be undergoing its own renovations) and new blood at P.S. 1, we’re ready to see what the coming seasons will bring for two wonderful institutions that don’t always get their due.

In the meantime, Howard Mandel makes some predictions in this issue as to what he’d like to see happen in the city’s musical landscape (get ready for a jazz edition of American Idol?). Lance Esplund studies the works of the late Hyman Bloom on view at Yeshiva University Museum. And I take a closer look at a long-gestating production of an adaptation of Haruki Murakami’s The Wind-Up Bird Chronicle that is part of the Under the Radar Festival.

It’s one of the many exciting festivals—along with the Culturemart at the Here Arts Center and the Coil Festival at P.S. 122—taking place this month. I can’t think of a better way to start a new year.

Jerry Portwood Editor in Chief

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InBrief

The cast of Platanos & Collard Greens.

‘Star’ School

W.C. Fields said that you should never work with children or animals, but for the cast of the Off Broadway show Platanos & Collard Greens, that warning is easy to ignore.

The play, which focuses on overcoming stereotypes and prejudices between the African-American and Latino communities, is welcoming one lucky local student into its cast thanks to Everybody Is A Star, a program designed to introduce New York City high school students to theater.

“For most of our students, this was the first time attending a live performance,” said Tyona Washington, principal at High School of Excellence in Washington Heights, where the program was most recently held. “Students expressed their adulation and appreciation for having had the opportunity to see a live play they connected to.”

Middle and high school students who participate in Everybody is a Star see Platanos & Collard Greens and are asked to write an essay about what the lessons in the show meant to them. Judges at each school then select a winning essay and from that pool 10 students are chosen to audition before a panel of known radio personalities to be identified at a later date.

One of the first schools to use the program was the Rafael Cordero y Molina Intermediate School in Brooklyn. Last year the school

received a special invitation to see Platanos & Collard Greens, and principal Lisa Linder knew it was a production she wanted her students to experience.

“It exposes them to issues that they will definitely face, and I think there are messages within the program that teach them ways on how to deal with those issues,” Linder said.

Yvette Beasly, principal at IS 129 Middle School in the Bronx, welcomed the Everybody is a Star program into her school last month because she wanted to bring some sensitivity to the issue of prejudice—especially since the school’s demographic is half Latino and half African American.

“I know I can’t change everyone overnight but I hope I can open some closed minds,” Beasly said. “This is an easy way to talk about a topic that is often touchy.” (Dustin Fitzharris )

as well as a live performance,” says Yang. “It will be like our variety show!”

She’s not far off. The evening will feature not only the screening, but live performances from Damon & Naomi, as well as local favorite Sharon Van Etten and a post-film questionand-answer session moderated by Haden Guest, director of the Harvard Film Archive.

For anyone who’s familiar with Yang’s music oeuvre but unsure about her cinematic efforts, she says that her background in music and photography both influenced the work.

“I think it is more my experience as a photographer that informs my filmmaking—the framing, the light, but with the added element of time,” she says. “But maybe as a musician I am also sensitive to the ambient sound of a place as well as any ‘dialogue’ that is happening.”

But don’t be afraid that Yang, who was also in seminal band Galaxie 500 (that band’s three records are soon being re-released, each as a double CD with a pile of extras), has gone Hollywood—there are plenty of rock band antics going on here.

1001 Nights Only

Naomi Yang has always kept tour diaries, but on Jan. 30 at the 92YTribeca, Yang—one half of the indie pop duo Damon & Naomi— will share her innermost thoughts with a theater full of people as she screens 1001 Nights, a DVD tour diary accompanied by three short films and footage of live performances, for the very first time.

“Everyone thought it would be a festive way to celebrate the release, with a screening

Damon & Naomi.

January 12, 2010 | City Arts

InBrief “The tour diary is basically our life on the road from the inside,” says Yang. “Our travels, the friends we stay with, funny encounters, clips of opening bands—famous, not so famous, as well as just strange. [It’s] a sense of what it is like, and I hope funny.” (Abraham Polk)

Lay-Away Lichtenstein

The try-before-you-buy policy, popular in the automobile industry, has moved into the art world with nAscent Art New York’s Art Taster’s Circle. nAscent Art, an art event- and consultingbased business, launched the Art Taster’s Circle a couple of months ago with the intention of letting art buyers test-drive pieces before purchasing. In practice, the program allows an art buyer to select her favorite artwork from a catalog

january books of 50 emerging artists represented by nAscent and have the work installed in her home.

If after a month of staring at the painting on the wall, the potential buyer decides that the piece clashes with the knickknacks on her mantle, she may send it back to nAscent in exchange for a new piece. “It’s like a wineof-the-month club, but for art,” says Jennifer Wallace, nAscent’s co-founder. Fees come with the consultation, installation and renting of the art, but nAscent deducts up to 40 percent of the monthly fees you pay to keep a piece in your home (the initial consultation fee is $99, rental fees vary) from the retail price of the artwork if you decide to buy it. nAscent’s returnable art idea is atypical, according to some, because most people simply do not return art. “Generally, it’s just

On (Durable) Beauty

not something that usually happens,” says one Chelsea gallery employee who asked to remain anonymous, though he thinks that an exchange might be permitted if the piece were disliked by a gift recipient. Another Chelsea gallery worker in art sales says that art returns would be considered on a case-by-case basis.

Instead of renting art, this worker, speaking on condition of anonymity, suggests that, “For a layman, exercise your eye for at least a year to develop tastes” before purchasing an artwork. He does admit that purchasing art can be risky. “You like shoes?” he asks. “You’re going to like different things in the winter than you are in the summer. Your taste evolves in time.” But shoes have an easier return policy, no? “That’s why people take a long time to purchase a work of art.” (Christine Werthman)

DecorativeARTS

The sturdy porcelain from the Du Paquier factory finally receives a fitting presentation

By Brice Brown

In the world of 18th-century European porcelain, the Du Paquier factory—founded in Vienna by Claudius Innocentius du Paquier in 1718—is not as well known as its contemporaries, such as Meissen or Sévres.

In fact, this small Austrian factory would probably not even be awarded third or fourth place on most shortlists. Featuring more than 100 objects, Imperial Privilege at the Metropolitan Museum of Art marks the first extensive exhibition of Du Paquier porcelain in North America, and the accompanying catalogue—which includes objects never before reproduced—is the first large-scale publication on the subject.

It’s a curious situation, considering Du Paquier was right in the mix during the dawn of Europe’s porcelain age, becoming only the second factory to produce true, hard-paste porcelain. But history has a way of leveling the playing field, and the factory’s historical importance is simply overshadowed by the fact that its porcelain is just not elegant, transcendent or even very pretty to look at. Of course, that’s not to say Du Paquier’s entire production is dismissible. Nevertheless, locating the real aesthetic merits of these wares presents a challenge—and maybe even requires a leap of faith—because I’d wager it’s exactly Du Paquier’s particular style of decoration most people think of, with a slight cringe, when they hear the words “antique porcelain.”

The main draw of Du Paquier resides less in the purely visual experience and more in strong narrative qualities, a sense of whimsy inherited from the Baroque, and earnestness reflected in a painting style seemingly more intent on getting it right than on expressing

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emotion or beauty. When added together, these qualities subvert the intended notions of aristocratic refinement. Instead they manifest as approachable, endearing and authentic. And there is a certain beauty to be found in these characteristics, after all.

The pieces on view all have a sturdy feel—like a job well done—and in true Baroque tradition the surfaces are overcrowded with decoration. Reflecting popular decorating trends, Du Paquier objects were intended to fit like accents within an overall vignette composed of the Viennese Baroque style popular in the early 18th century, and not act as stand-alone pieces. It is perhaps for this reason the factory didn’t experiment with new body shapes, instead basing most forms on Baroque silver examples to create a seamless, overarching aesthetic.

Surface decoration on these objects tends toward a graphic, very precise and accurate sensibility, with a preference for severity over sensuality. Two styles of painting are worth singling out: the highly detailed black-and-white line drawings based on etchings, called schwarzlot, and the unique stippling effect created by Christian Frey.

Popping up on most pieces are wonderful moments of surprise. For example, there was a penchant for decorating areas not readily visible, such as painting the underbelly of a goofy-looking tortoise.

When Du Paquier porcelain is seen side by side with pieces by contemporaneous factories, we really see the clunky charm of these objects. For instance, look at Johann Kandler’s figure grouping for Meissen, “Lovers with Birdcage,” (1737) and Du Paquier’s version of the same grouping from

1737-44, both of which are on display in the exhibition. In the Meissen version, the quiet jostling of the two lovers’ limbs are composed to perfectly telegraph the weight of their kiss. The man’s hand hovers gingerly just above the birdcage, while his lover’s hand delicately caresses his cheek. The painting is silky, full of emotion. It’s a scene held at a distance, meant to reside in the imagination.

In the Du Paquier version, however, the two figures appear to have accidentally—perhaps drunkenly—collapsed onto each other. The man’s meaty hand, formed with considerably oversized fingers, looks about to shatter the birdcage. Elegant this isn’t, but the scene here ultimately feels more natural, real and, importantly, attainable.

A highlight of the exhibition is a large recreation of a dessert table set for a 1740 banquet for Archduchess Maria Theresa, inspired by an etching from the period. The setting is a successful evocation of the era; it is also the stage for a grand gastronomic play, where each piece of porcelain plays the role of supporting actor, reflecting the storytelling quality of Du Paquier porcelain. It’s a kind of keystone for understanding and appreciating how Du Paquier porcelain works best when seen in concert. But, eventually, the overall effect is similar to a Tony Duquette-designed interior: Many dreamy, grand gestures pull together to create a fantastical narrative, but upon closer inspection, the facade’s details fail to sustain interest.

Imperial Privilege: Vienna Porcelain of Du Paquier, 1718-44, through Mar. 21.

Metropolitan Museum of Art, 1000 5th Ave., 212-570-3828.

The Wire Primers: A Guide to Modern Music Edited by Rob Young

Touching on musicians from John Cage to Sun Ra to Fela Kuti, this briefing on must-know artists who fall into the categories “Avant Rock,” “Funk, Hip-Hop & Beyond,” “Jazz & Improvisation” and “Modern Composition,” offers informative overviews of the styles that have shaped modern song and in-depth explanations of the greatest albums of each genre. According to the introduction, a working title for this book was How To Buy Modern Music and, considering the recommendations for seminal records like The Fall’s Live At The Witch Trials, various Glenn Branca albums and 20 different titles featuring Ornette Coleman, that seems like it would have been a very apt title.

The Brooklyn Navy Yard

By John Bartelstone

Architectural photographer and former Port Authority engineer Bartelstone offers 95 photos from Brooklyn’s 250-acre Navy Yard taken since 1994. Pictures of industrial Brooklyn and of the majestic ships that dock between the Williamsburg and Manhattan bridges are breathtaking, giving viewers an unparalleled chance to peek inside what is still one of New York’s most active industrial sites. At this point, enough New York porn has been published that we never need to see skyscrapers, graffiti or grandmothers on stoops again, but Bartelstone’s shots from this remote and sometimes-forgotten corner of the world reminds us that there’s always another facet of the city at which to marvel.

Animals and Objects In and Out of Water Posters

By Jay Ryan

The Chicago-based artist Ryan literally began his career underground, printing brightly colored posters of rounded, unrefined animals in the basement of his apartment building. Since then, he has illustrated the Windy City’s music scene, designing posters for indie acts like The Decemberists and Built to Spill. In his second collection of posters, printed between 2005 and 2008, Ryan puts art into the craft. Bears ride bikes, cats watch a volcano explode—Ryan deftly tows the line between cute and creepy. In a short introduction, rocker Andrew Bird writes that, “each printed piece reach[es] beyond the band’s music.” Ryan’s posters leak a soft, sweet sound of their own.

MURAKAMI from page 1 of something. “I dreamed my way through Southeast Asia,” he explains.

According to Earnhardt, the trip reawakened his creativity. Although he wasn’t trying to work on a project, he began to envision what The Wind-Up Bird Chronicle, considered by many to be Murakami’s most important work, would be like as something other than a novel. The story didn’t naturally translate to a film format for Earnhardt, so he started imagining it as a theatrical production.

When he returned to the United States in October 2003, he wrote a grant for funds to adapt Murakami’s novel. Although he didn’t receive the grant money, the process of writing a treatment for the adaptation ultimately made the project seem more real and prompted Earnhardt to write a letter to Murakami directly, requesting a meeting—even if it was just 15 minutes—to explain his ideas for the adaptation.

Murakami took Earnhardt’s earnest request seriously, and the intensely private 60year-old granted him an audience. Earnhardt flew to Tokyo in 2004 not expecting much face-time with the reclusive writer; instead, the two hit it off and spent the entire day discussing Raymond Chandler and David Lynch, both of whom Murakami is a fan, and how an adaptation might proceed.

“He was incredibly generous and an amazing listener,” recalls Earnhardt. “I was extremely deferential and told him I was willing to move [to Tokyo]; I was willing to do anything... But he gave me complete artistic control.”

With Murakami’s blessing, Earnhardt embarked on his mission. He returned to Japan to get a feel for the culture. What he thought would be a two-month stay stretched into 10 months, as he began to develop the script and shoot footage that he hoped to later incorporate. Then he went about the difficult task of raising money and figuring out how to mount a production that would be grounded in layers of reality.

The original text weaves several narratives into a challenging detective story centered around Toru, a sort of beleaguered everyman who is confronted with a cast of unusual characters, such as a sex worker who claims to be a “prostitute of the mind” and a policeman who tells an horrendous story of his experience as a soldier left to die at the bottom of a well.

Grappling with the hallucinatory and revelatory, Earnhardt attended the Edward Albee playwright residency in 2006 and later brought in Greg Pierce, with whom he co-wrote a script that pares down some of the difficult plot points into a narrative that is a palimpsest of ideas, techniques and influences.

While the layering of video projections

will surely create a seductive, ephemeral stage experience—“Imagine watching a David Lynch movie onstage”—the implementation of experimental puppetry may be the most significant, and challenging, decision. The puppets will allow for something dark and otherworldly that will ultimately transcend the capabilities of typical live actors. Of course, that too has evolved over time. After workshops at 3-Legged Dog that incorporated the techy Downtown space’s three-dimensional video projection system, Earnhardt felt it distanced the actors from the audience. Then, in the spring of 2008, Earnhardt and Tom Lee—who has overseen all puppet design and direction, as well as set design for this production—attended a

three-week workshop in Tokyo that ultimately steered the entire production in a new way.

“The puppets act as mirrors for the actors,” Earnhardt explains. “They take on the roles and capture the dreamlike quality.”

Now, after years of workshops and collaborations with a slew of talented people who have assisted and inspired the indefatigable Earnhardt on his journey to bring The Wind-Up Bird Chronicle to the stage, he is ready to see what an audience will think of this adaptation. When he started he didn’t have all the pieces figured out, but as Earnhardt says in a quasi-mystical way that echoes Murakami’s own, “The universe rushes in to complete that.” <

Velázquez Rediscovered A hidden masterpiece is uncovered within the Met’s collection.

Through Feb 7

metmuseum.org Broadcast Sponsor of The Metropolitan Museum of Art

Diego Rodríguez de Silva y Velázquez, Portrait of a Man (detail), ca. 1630, The Metropolitan Museum of Art, The Jules Bache Collection, 1949.

January 12, 2010 | City Arts

ClassicalMUSIC

Pianists with French Accents A look at David Fray, Marc-André Hamelin and Jean-Yves Thibaudet

By Jay Nordlinger he world is swimming with pianists, as always, and we will have a look at three of them—all of them French, to one degree or another. (I’ll explain what I mean in a moment.) Our first pianist is no doubt French, a product of the Conservatoire in Paris. He is 28-year-old David Fray, pencilthin, with a Byronic profile—a face that works on CD covers. He sports long, pianist’s hair, which reminds me of an Irving Berlin lyric about Paderewski. Do you know it? “I’m so excited when I’m invited/ To hear that longhaired genius play.”

On a recent Friday morning—11 o’clock start—Fray joined the New York Philharmonic, guest-conducted by Esa-Pekka Salonen. Their concerto was a jewel of the French repertoire: Ravel’s Concerto in G major. Now and then, the performance turned messy, as pianist and orchestra had problems coordinating with each other. But we will concentrate solely on Fray’s playing.

Left to right: David Fray, Marc-André Hamelin and Jean-Yves Thibaudet.

This concerto is inflected by jazz and blues, and Fray brought out this element the piece. It sounded, not episodic, but like Street Y. He played an étude that has a dose of nicely. At the same time, he did not overdo a whole. Of Schumann’s Fantasy, he gave jazz, a whiff of the cocktail lounge. I thought, it. He struck a sensible balance between the an account both gripping and beautiful. He “Scriabin as reimagined by Burt Bacharach.” classical and the Gershwinesque. He proved a applied some Beethoven-like strength to this I also think that the piece may be a little long good pedaler, which is crucial in this concerto, music, not letting it be too dreamy. But he did for what it has to say—but it is an enjoyable and a good triller, which is also crucial. In not shortchange the tenderness that Schumann listen. My favorite Hamelin piece, of those I the beautiful slow movement, he did some provides. Hamelin’s performance reminded know? An addition to Beethoven’s Diabelli thumping, and we did not have an ideal us—reminded me—that the Fantasy is a work Variations, incorporating “Chopsticks.” singing line. But he helped make up for it by of the first order. choosing, with Salonen, a nice, breathable He began his recital with Haydn’s Fean-Yves Thibaudet, the Lyons-born star, tempo. To the speedy last movement, he minor Variations, a favorite of students and came to Carnegie Hall for a recital. He brought the desired clarity and dexterity. professionals alike. Even early on, he was had Ravel on his first half and Brahms on In this and a previous New York quite free with his rhythm, which was a pity: his second—and the Ravel was worth the appearance, Fray has shown price of admission, more than. Well, the a certain relaxed quality, Brahms was worth the price of admission an insouciance—a trait we too. The Ravel was worth double that Thibaudet is as great an associate with his tradition. price. Thibaudet began with the “Pavane Impressionist on the piano as Keep an eye on this for a Dead Princess.” This piece is usually longhaired Frenchman. smooth and mystical, as though coming Ravel is in composition. They from a very remote past. Thibaudet took were made for each other. hen Marc-André a different approach: He was kind of Hamelin took crunchy, even clanking, and bold. Still, the stage for his recital at the 92nd The music had not established its order. And he was convincing and musical, as he can be Street Y, a lady whispered to her it suffered throughout from some flabbiness, expected to be. husband, “He looks like a young Solzhenitsyn.” as well as from harsh accents. Hamelin can In the Miroirs, which followed, he was True. Hamelin is a Montrealer—an honorary play these variations better. Virtually faultless nonpareil. This is a group of five pieces, of Frenchman, you could say—and a big-time was his playing of Fauré’s Nocturne No. 6 which the most famous, probably, is “Alborada virtuoso. At the Y, he played two of the in D flat, which began the second half of the del gracioso.” Like all good Impressionists, biggest and best-loved pieces in the Romantic recital. Hamelin rendered this with exquisite Thibaudet had the right combination of clarity repertoire: Liszt’s Sonata in B minor and taste. At times, this nocturne sounds like and blur. He coaxed any number of colors Schumann’s Fantasy in C. (Liszt dedicated his another Fauré song, and you could almost from his piano. His technique was a marvel, piece to Schumann; Schumann dedicated his hear Janet Baker sing. capable of anything. Thibaudet plays with piece to Liszt.)

One nice thing about Hamelin is that he extremely relaxed arms—wet spaghetti— In his Liszt, Hamelin was kaleidoscopic, is a pianist who rolls his own—that is, he letting no tightness obstruct him. “Une barque like the sonata itself. He showed an exceptional composes. He likes to offer his compositions sur l’océan” sounded just like its title: a boat dynamic range, and he took care to unify at encore time, and he did so at the 92nd on the ocean. And never has “Alborada,” in

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my hearing, had a more infectious punch.

When Thibaudet was through with Miroirs, I had a snobbish thought (which is rare for me, I hastily say): “The people here have no idea how great the playing they just heard was.” A further thought was, “Thibaudet is as great an Impressionist on the piano as Ravel is in composition.” They were made for each other.

After intermission, he played Brahms’ Sonata No. 3 in F minor—a huge, sprawling piece, not very pianistic, almost a practice symphony. Thibaudet wrestled with it manfully, sometimes brilliantly. He does not have a really Brahmsian sound: a rich, fat, rounded sound. Thibaudet was sometimes brittle and spindly. But this did not matter a great deal. Perhaps unsurprisingly, he was best in the contemplative, lyrical slow movement—the movement that entails the least wrestling. He offered one encore, which was more Brahms: the Intermezzo in A, Op. 118, No. 2. He was admirably direct in it, giving the piece a fitting shape.

If you’re in the mood for a piano recital, we have plenty coming up in New York.

Radu Lupu, the veteran Romanian, will play in Carnegie Hall on Groundhog Day, Feb. 2.

Garrick Ohlsson will play the following day in Alice Tully Hall. Emanuel Ax will play in Carnegie Hall Feb. 10. And Rafal Blechacz, a gifted and exciting young Pole, will play Feb. 26 at the Metropolitan Museum. Pianists, we will always have with us, and some of them will be good. A few, thank heaven, will be great.

JAZZ

The Sounds To Come Predictions (and possibilities) about what’s next for jazz

By Howard Mandel Predictions, dreams, fears and fancies about upcoming jazz and new music are springing to mind as we leave the ’00s behind.

These things may not all happen at once—or even at all—but then again, they could indeed occur during 2010 or the decade that follows.

obscure venues across the U.S.? That way the program could exploit the comedy and chaos of road trips. Sponsorship might be available from instrument manufacturers, liquor companies and whoever’s selling tour buses these days. I envision manifold publicity opportunities for everyone involved, employing the social networking sites and maybe going viral as the pressure builds for young improvisers to come up with indelible choruses and daring new concepts.

The return of girl groups. One of the major jazz trends of the past 10 years has been the surge of women singers, with newcomers including (to name a few) Norah Jones, Digitalization unites pure pop, Esperanza Spalding, Pyeng Threadgill, Fay primitivism and the avant-garde. With Victor, Kendra Shank, Jennie Scheinman, laptops increasingly being used in perGretchen Parlato, Lisa Hearns and Leena formance by experimental musicians and Conquest, mid-careerists Cassandra Wilson, hardware and software developing at a rapid Judi Silvano, Claudia Acuña, Shelly Hirsch, pace, I am confident that the long-suffered Lisa Sokolov, Karrin Allyson, Daryl Sherman, gulf between what sweeps the nation, what Roseanna Vitro, Dena DeRose, Maryanne de momentarily intrigues people exploring their Prophetis, Mossa Bildner, Luciana Souza, Di- gadgets and what excites the most musiana Krall and Jane Moneheit. Plus, prominent cally sophisticated iconoclasts, innovators veterans include Dee Dee Bridgewater, Jay and pioneers may basically disappear. Who Clayton, Annie Ross, Sheila Jordan, Manwon’t want their personal blip, beep, bop hattan Transfer’s Cheryl Bentyne and Janis to compete for the income derived from Siegel. the better-selling ring tones? Harmolodics, Stylistically, their voices range widely, 12-tone composition, musique concrete (i.e., but wouldn’t it be fun and, time-wise, samples), microtonality—all will be subeconomical to hear them sing together in har- sumed by the groove, the pulse, the rhythm. mony and contrast? Betty Carter and Carmen McRae recorded something along these lines— Aren’t the Thelonious Monk Institute’s duets—in 1987, with annual instrumental competitions ripe mixed results. So instead, for reality-show treatment? Wouldn’t think of Odysseus’ sirens, Wagner’s Rhinemaidens jazz neophytes and devotees alike and the Pointer, Andrews flock to watch hopeful musicians worry, and especially the Boswell boast, rehearse and let off steam in the sisters. A glee club of male run up to their big moments onstage? vocalists? Thanks, but I’ll pass on that.

Farfetched, you say? Perhaps these American Idol, Jazz Edition. Aren’t the notions have been inspired by the dreadful Thelonious Monk Institute’s annual instruholiday music blasting from every store’s mental competitions ripe for reality-show soundsystem since the week before Thankstreatment? Wouldn’t jazz neophytes and devo- giving. Or they emerge from my deep desires tees alike flock to watch hopeful musicians to hear everything (except the eternal verities, worry, boast, rehearse and let off steam in the those songs Louis Armstrong called “the run up to their big moments onstage? Imagine good ol’ good ones”) not simply refreshed scenes from the judges’ deliberations—and the but revolutionized. The second decade of Monk competition judges have regularly been the last century was when ragtime came to the best current professional practitioners on full fruition, the blues percolated all but untheir particular axes—becoming as dramanoticed in remote precincts, the first “jass” packed as the thumbs up/thumbs down voting band recorded and Charles Ives established of Simon Cowell and his panel—yet much dissonance, grandeur and collage-like mashmore aesthetically educational. ups of hoary tunes with orchestral distortion Stretching out what has so far been the as distinguishing radical American “classical” Monks’ weekend of performances to fill an composition. I mention these accomplishentire television season will require some imagiments—which seem so remote and all but nation, but how about dispersing finalists to irrelevant today—only to emphasize that in perform for local fans and disguised officials in music really anything can happen.

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January 12, 2010 | City Arts

MUSEUMS

An Outsider, Deep Inside Himself

By Lance Esplund You may have never heard of the strange, wonderful, mystical painter Hyman Bloom, who died in August at age 96, just days before his retrospective Hyman Bloom: A Spiritual Embrace opened at the Yeshiva University Museum. If you aren’t familiar with Bloom’s work, or if your memory is cloudy, go see the roughly 50 paintings and drawings at YUM. The exhibition, organized by Katherine French, director of the Danforth Museum of Art (where it originated), closes Jan. 24. In this day and age of mostly slipshod, photobased figurative painting, Bloom’s visions are a revelation.

“Chandelier II” by Hyman Bloom.

Bloom, committed more to his work than to his career, has been pushed aside. This is not entirely the fault of the fickle and fashionable art world. Bloom’s marginalization is due in part to the fact that his work has consistently made people uncomfortable. It still does. But there are other reasons. As an artist, Bloom remained deeply engaged with a spiritual quest—an artistic path frowned upon, if not downright mistrusted, in these ironic times when artists are encouraged to pose, to conceptualize, to re-do Duchamp and to question the validity of art, rather than to explore serious questions.

Things started out well for Bloom. Despite his self-absorption in the studio, he had a long and prolific career—painting up to the

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very end. He was championed early on by critic Clement Greenberg, who, in the 1940s, referred to Bloom as “America’s greatest living painter.” (Soon, however, Greenbergian passions for Bloom cooled.) He was also prescient: Pollock and de Kooning claimed that Bloom was “the first Abstract Expressionist in America.” This is a misnomer. Bloom certainly fueled the flames of Abstract Expressionism, but along with a number of other American figurative artists who bucked the postwar obsession with non-objective art, he remained a figurative painter.

Bloom’s spiritual expressionism—in an art climate that favored abstraction, then Minimalism, Pop Art, Conceptualism and Postmodernism—felt out of touch if not out of this world. The last strike against Bloom (did I mention that he was also a cloistered Jewish artist—a rabbi embracing Jewish subjects?) may be that he resided in Boston. (Artists, bear that in mind when you next calculate how far your studio is from Chelsea.)

Both an Old-World European mystic and a Modern American visionary, Bloom is difficult to pigeonhole. He was born in 1913 in Latvia. In 1920 he and his parents immigrated to the United States, where he lived in Boston’s West End slums. He studied painting at the Museum of Fine Arts and, with his friend the artist Jack Levine, at Harvard University; and he worked for the WPA. During the late 1940s and early 1950s he taught at Wellesley College and at Harvard University. But he remained mostly at the fringes.

Bloom’s work was inspired by everything from tantric art, psychedelic drugs and the visionary prints of William Blake to the pictures of Velázquez, Rembrandt, Redon, Rouault, Chagall, Kirchner and Soutine. Unlike other American representational painters—including the celebrated 1960s Realists, the 1980s NeoExpressionists and the contemporary figurative painters who rely on photographs—Bloom painted from memory. Or, perhaps, like Rembrandt and Redon, he painted from someplace much darker and deeper. He produced imaginary, expressionistic and Symbolist visions of séances and the astral plane, as well as corpses disemboweled on autopsy tables and rabbis holding Torah scrolls.

The paintings of rabbis, which Bloom said were self-portraits, comprise nearly half the show. As a group, they are not the best works on view, but that makes them no less compelling. They are molten, ghoulish, offkilter paintings. On the surface they might remind some viewers of Francis Bacon’s portraits of popes, but Bloom’s incantations dig deeper. Part creation, part Armageddon,

Collection of Herbert J. and Hanna Bloom Zeiger.

The reclusive Jewish painter Hyman Bloom reminds us that spirituality is still a viable artistic path

“Torah Covers” by Hyman Bloom. the rabbi paintings are swirling, densely encrusted and seemingly bejeweled. Some are steadier than others. The best of the group (c.

1955) feels like a marriage between Rembrandt and Bonnard. Mostly, though, they are fueled by fear and trembling. They suggest de Kooning’s women and Soutine’s sides of beef and hanging dead fowl. The Old and New Testaments seem at odds in these works: I am reminded of crucifixions by El Greco and Grünewald; and of images of the Madonna (the rabbi) holding a demonically possessed Child (the Torah scroll). In these portraits, a subject he revisited throughout his career, the Torah is a living force—at times a burning building or the mouth of hell. The rabbi holds onto the Torah for dear life; or he wrestles it like a boa constrictor.

Figure, Torah and environment are inseparable—dissolved, engulfed, consumed.

The iridescent painting “Torah Covers” (c. 1956-58) looks like a city out of a Russian fairy tale. And “The Christmas Tree” (193839) shines like a burning bush. The most satisfying pictures in the exhibit, however, may be the works on paper. The small redchalk drawing “Conversation by Candlelight” (2006), of animated figures around a table, is reminiscent of Rembrandt. Bloom also produced large, dark, light-filled charcoal draw-

ings in which images twinkle like constellations. The two nearly six-foot-high charcoal drawings “On the Astral Plane: Cold Anger” (1966) and “On the Astral Plane: In a Cave” (1965), comprising indecipherable webs of demons, wild energies, figures and God knows what, suggest the beauty of Redon’s noirs and the topsy-turvy struggle of Schongauer’s print “The Temptation of St. Anthony.”

But this show also has its shortcomings: The selection of works is uneven. And I wish that it were housed in YUM’s larger galleries, and that there were more pictures and neutral wall colors. Some of the exhibition’s problems, however, stem from the artist. Bloom was a messy, romantic figure—a force of nature.

And his pictures reflect his catholic tastes.

Bloom had a lot to say—sometimes too much to say and too many ways in which to say it.

Despite all of this, Hyman Bloom: A Spiritual Embrace is a must-see. Bloom’s pictures can exhaust you, but they can also get under your skin. His art reminds us that choosing to put paint to canvas can still be a spiritual calling—a life’s pursuit worth much more than becoming a household name.

Hyman Bloom: A Spiritual Embrace, through Jan. 24. Yeshiva University Museum, 15 W. 16th St., 212-294-8330.

DANCE

Not Rocking The Boat

Robbie Nicholson, Craig DeRosa, Anthony Colantone, Rasta Thomas, Michael Keefe and Albert Blaise Cattafi in Rock the Ballet.

By Joel Lobenthal An increasingly powerful urge among ballet companies these days is to take the shortest and easiest routes to popularization. Dilution and gimmickry are rationalized as being necessary for the art form’s continued survival in a very hostile, anti-aesthetic environment.

The impetus to galvanize new or potential audiences by presenting ballet at its well-rehearsed, appropriately-cast and dimensionallyinterpreted best is considerably less apparent.

Rasta Thomas’ Rock the Ballet, starring his “Bad Boys,” closed Jan. 3 after three weeks at the Joyce Theater. It turned out to be less of a new wrinkle on ballet than an affirmation that a balletic source code is now essential to the programming of professional dancers.

Ballet may be imperiled, but no matter how popular the vernacular used, you can’t dance for hire without some kind of immersion in the elongated and uniquely faceted lines and shapes of this elegant style.

I was interested to see Rock the Ballet because, if anyone is qualified to perform a new hybridization, it is Thomas. Not yet 30 years old, he’s already done it all. Although he

doesn’t have the quintessential body or muscular stretch for ballet, he has enough training and ability to compensate. He’s also done modern dance and Broadway. But he’s never done one thing—long, jumping from project to project or company to company. His Bad Boys, however, have been around since 2005.

Adrienne Canterna-Thomas, Rasta’s wife, did most of the choreography for Rock the Ballet, and like him, she’s balletically trained and credentialed. She’s also onstage quite a bit, and she’s worth seeing. For her own choreography, she likes William Forsythe’s rubbery aerobicized vocabulary. For Rasta and the Boys, she came up with a marathon exercise in pow and bang: more aerobics, as well as acrobatics, and contemporary codified “street.” Young men strutting their stuff never seems to inspire exceptional choreography, and that’s certainly the case here.

One of the things that made Rock the Ballet seem like an over-extended music video was that the soundtrack was mostly a sampling of things for which music videos have already been made—and not too long ago. The playlist was too topical to seem like anything more than ex-

ploitation. Frequently the lyrics were projected on a screen and acted out or mocked by the performers. From time to time Rasta did some Romantic angst emoting that seemed derived from balletic imagery. There was also a lot of glitz sentiment: heart-on-my-sleeve, hand-to-heart stuff that could have washed right off the home screen.

Rock the Ballet is only partly a star turn for Thomas. His Bad Boys are more than a backup group. Each is varying shades of good. Thomas himself executed everything with energy and a show of enthusiasm, but it’s hard not to notice a certain cynicism and detachment behind his gleeful showboating.

There are dance moments, however, that are uniquely his. He’s qualified in martial arts as well as dance, and his high kick is something

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fierce and exciting.

Choreographically, Thomas himself was responsible for the low point of the show, when Thomas and the Boys wielded inflatable dolls, simulating orgasm and getting the dolls to do the same. This was grunge ballet crossed with sophomoric Animal House humor. And this to Maria Callas singing the “Habanera” from Carmen no less.

At 90-plus minutes, including one intermission, Rock the Ballet wasn’t snore-inducing, but it did turn monotonous despite—or perhaps because of—the performers’ unflagging high spirits. The over-choreographed freneticism didn’t allow the evening to build; kinetically it had no cumulative impact. If you want to rock the ballet, why don’t you really rock it?

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Rasta Thomas tries for a frenetic hybrid of ballet and street

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Haydn: Sonata Hob XVI:32 Brahms: Paganini Variations Wagner-Liszt: Isolde’s Liebestod from Tristan and Isolde Balakirev Islamey

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Schumann: Carnaval Barber: Sonata, Op.26

Tickets from $20, Carnegie Charge 212-247-7800 www.lacompetition.com This project is supported by a grant from the Louisiana Division of the Arts in cooperation with the Louisiana State Arts Council as administed by the Arts Council of Central Louisiana

January 12, 2010 | City Arts

AttheGALLERIES

Josh Dorman: New Works

“tc 81” by Michael Wolf.

Michael Wolf’s The Transparent City and Barbara Crane’s Private Views Two exceptional exhibitions, Michael Wolf’s The Transparent City and Barbara Crane’s Private Views, illuminate very different aspects of Chicago, providing viewers with a rich trove of memorable images from different periods in its history.

Wolf approaches the city from an architectural perspective in 30 recent photographs, large and small, of Chicago’s downtown, humanizing his scenes with shots of interiors taken with a telephoto lens. Crane, on the other hand, shot her 30 tightly cropped, richly colored 8” x 10”s only of people, closing in on them during summer festivals in the 1980s to catch their most intimate and unselfconscious moments. Though their subjects differ, both photographers approach the city in a literary manner, intent on putting a human face on a teeming metropolis. They prove engrossing storytellers.

Wolf’s images glitter with light from the hundreds of small box-like windows in the strikingly handsome skyscrapers. Shining silver, blue and white, they catch a speck of sky or the pink of sunset, or sometimes they are opaque and mysterious. The buildings could be part of a vast construction set. Nothing appears out of place in the ultra modern labyrinth. That is until the artist zooms into various rooms, catching a woman looking distressed, her hands cupping her face, a man putting with a golf club and another, barechested and tattooed, in front of a computer, talking on a phone. And so, the city is not as devoid of humanity as it appears at first glance.

Among Chicago’s best-known photographers, Crane went straight for the juicy part of the city in a decade when peaceniks still thrived. Armed

10

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with a Super Speed Graphic camera and Polaroid film, she zeroed in on men, women and children of every age, loving, celebrating and enjoying themselves. She showers the same attention on a baby, its sailor hat pulled over its eyes, as a young couple with thighs intertwined. Aware that bodies say as much about us as our faces, she shows us just the hands of a man on the handles of a walker and a child standing near its mother’s hips. In each picture, you sense an artist keen on celebrating life, and her pleasure seeps into your experience of her work. (Valerie Gladstone) Through Jan. 21. Aperture Gallery, 546 W. 27th St., 212-505-5555.

Sharon Lockhardt: Lunch Break

Critically acclaimed, Los Angeles-based photographer and filmmaker Sharon Lockhardt totally immerses herself in her subjects’ lives in order to better understand worlds foreign to her, not unlike photographer Mary Ellen Mark, who lived in an Indian brothel, an American mental hospital and with Seattle street kids for much the same reason.

Lockhardt’s previous exhibition, Pine Flat, shed light on ordinary children from a small American town. This time, she takes as her inspiration Duane Hansen’s sculptures of three workers on their lunch break on a construction site, and she lived close to workers at Bath Ironworks in Bath, Maine, to produce Lunch Break. The result is an eloquent examination of the hard and simple life of an overlooked community.

Using film and photographs to capture their lives, Lockhardt focuses on how the workers spend their lunch breaks and the rituals that they create around them. By shooting both moving and still images, she broadens our understanding of them, revealing their complexity. She could not have

attained this level of intensity employing only one medium. The encompassing installation, which she created with architects Gunewardena, shrewdly deepens the experience of viewing the exhibition, as we follow a single tracking shot to the area where the workers congregate for lunch and witness their activities. The soundtrack by composer Becky Allen and filmmaker James Benning combines the workers’ voices with music and industrial sounds, further plunging us into their lives.

Lockhardt complements her 83-minute film with 17 painterly composed images, as well as four diptychs and three triptychs. She shows us the men relaxing around an iron picnic table, eating sandwiches and talking in the bleak environment where they spend every day. Like Maine, the scenes play out in shades of gray, blue and beige.

In worn-down rooms, a few of them have set up makeshift stores to sell coffee, candy and doughnuts. Photos of baseball players decorate the walls behind them, and signs post the prices and a reminder, “Please Don’t Forget to Put Money in the Bank.”

She shot their lunchboxes as if they were portraits, giving them a disarming dignity. Whether starkly unadorned or decorated with colorful labels, they illuminate the personalities of the owners. Sometimes the boxes’ contents lay about them—a plastic fork, a lighter, a thermos—telling symbols of their owner’s needs and habits. Art rarely concerns itself with labor or laborers, which make Lockhardt’s venture especially gratifying. She knows, as Walker Evans surely did, that workers support every aspect of our lives and that they can be endlessly fascinating when seen through a sensitive prism. (VG) Through Jan. 30. Barbara Gladstone Gallery, 515 W. 24th St., 212-206-9300.

Squirreled away in the back room of Mary Ryan Gallery, you’ll find six small pencil drawings

by Josh Dorman, teeming panoramas rendered in velvety chiaroscuro and imbued with obscured, apocalyptic portent. Fans of Dorman’s signature work—kaleidoscopic amalgamations of vintage papers, outdated maps, scientific illustrations and finely delineated passages of acrylic paint—will recognize the strong element of fantasy and transhistorical settings. But that’s not to say they’ll applaud the things. If anything, the sampling of “straight” drawings proves how essential mixing media is to Dorman’s vision.

Notwithstanding Dorman’s estimable draftsmanship, the more tangible his fantasies, the more pedestrian they are. The physical and imagistic disjunction collage brings a droll artificiality—an absurdism, really—to his encyclopedic riffs on technology, nature and the fragility of memory. The literal piecemeal construction of, say, “Versus” is a vital component of its elegantly underplayed pairing of “The Tower of Babel” and “The Peaceable Kingdom.” The second-hand source materials— Dorman must spend hours scouring garage sales, used bookstores and grandma’s desk drawer for his yellowing inventory of period articles—endow the best pieces with a necessary sense of remove.

Without it, Dorman’s “Boschean” reveries would be mere entertainments, bereft of irony, invention or bite. So it is with the drawings.

It’s good, then, that Dorman’s cut-and-paste extravaganzas dominate the exhibition—they’re among his finest. The work’s crystalline execution is typical, as is the generous excess of imagery, but the increased philosophical concentration is new and welcome. It’s a spoiler’s game to pin-down the meaning of art as various (and fun) as this, but Dorman’s thoughts about the limits of human understanding are fairly patent. Pseudo-Biblical, pseudo-mythological, pseudo-Darwinian and uniformly wistful, Dorman’s art posits a cosmos where fact is forever embellished and sometimes hoodwinked by caprice. He may be more of a realist than we think. (Mario Naves) Through Feb. 6. Mary Ryan Gallery, 527 W. 26th St., 212-397-0669.

Modeling Grace: Two Centuries of American Sculpture Henry James insisted that sculpture reveals the public who values it no less than its subject.

The truth of that is on view in Hirschl & Adler’s concise, museum-quality survey of national consciousness. A splendid roster of names—from Hiram Powers to Thomas Eakins, Frederick MacMonnies and Paul Manship—reflects the spirit of American audiences from the decade preceding the Civil War, through the Gilded Age to the early 20th century.

It is a compelling window into those values American connoisseurs, in the generations under review, wanted struck in stone. The visual culture

“Versus” by Josh Dorman.

“Girl Dancing” by Bessie Vonnoh.

they promoted drew heavily on literature and scripture. With a cultural memory extending back to the classics, they favored mythological, allegorical and biblical motifs—ones that celebrated the moral imagination needed to sustain a new republic. And they paid hard cash for marble.

Here are two once-beloved 19th-century icons: Randolph Rogers’ “Ruth Gleaning” and “Nydia, Blind Flower Girl of Pompeii.” One derived from the Old Testament, the other from a wildly popular novel by Bulwer-Lytton. Emma Stebbins, mother of Bethesda Fountain, nods to Tennyson’s popularization of a Homeric episode with her marmoreal bust “The Lotus Eater.” Daniel Chester French’s lavish “Grecian Wisdom” is a surviving maquette from his monumental series celebrating civic and personal virtues. Evelyn Longman, the only woman French ever hired as an assistant, made her own debut with the celebrated bronze “Victory.” Its kinetic verve was adapted to “Electricity,” the gilded figure atop the famed AT&T building (now 195 Broadway).

Sculpted portraiture, wed to the history of patronage, gradually loses its hold. Public interest recedes as recognition of the subject fades. Yet the portraits here are seductive invitations to greet the past on its own terms. Saint-Gaudens’ delicate bas-relief of a tubercular Robert Louis Stevenson is an emblem of mortality. Others breathe soul into our textbook kin: an imposing Puritan Father, a painfully young Nathan Hale, a wakeful Robert Fulton. William Rinehart’s refined “Boy with a Bird’s Nest” wears a Roman tunic, a cue to the neoclassical tastes of his time. The entire gallery ensemble embodies the ordered fluency that made 19th-century cemeteries into popular outdoor sculpture parks.

Art Deco, premiered in Paris, was exalted in the hands of Manship, creator of Rockefeller Center’s “Prometheus,” and William Diederich.

Both are beautifully represented. Diederich’s puma weathervane is a captivating sample of his characteristic wildlife. And do not miss Bessie Vonnoh’s tremulous bronze “Girl Dancing.” It has the flutter of life about it. (Maureen Mullarkey)

As it turns out, they share not only a hardedged style but also a stubbornly analytical notion of pictorial space. Stylistically, their trajectories crossed at an early date. The neatly “tucked-in” corners of Held’s “Echo,” a minimalist composition with twin arcs, suggest Pearlstein’s cerebral deliberation. But Held’s three later canvases, dating from the ’70s through the ’90s, reflect his wholly different determination to manage space with microscopic logic across vast surfaces, first with outlines of prisms on white grounds, and then with Day-Glo-hued arrays of beams, ramps and checkerboards. With formidable literalism, they extend Cubist possibilities.

Pearlstein’s “The Capture” is a surprise; this early expressionistic canvas describes three writhing figures with thick strokes of ochre and purplish- and sienna-browns that anticipate, to some degree, the narrow, warmed palette of his later work. A nude from 1965 reveals his signature, flattened-affect style, with colors labeling, rather than animating, forms. Several paintings from the following decades add visual tensions—mirroring surfaces and rhymings of heads of humans and toys—though, plastically, these continue to register rather than ring. But not always: The modulated colors of a floor in a 1976 canvas illuminate, spaciously, a silvery stepladder and the model upon it.

Both artists’ work impresses for its quixotic intensity. But such concentrated willfulness —experienced in stereo—might leave one wondering: Is zeal of spatial delineation really the same as pictorial profundity? Artists as various as Titian, Courbet and Juan Gris often ignored spatial definition in order to locate their subject’s deeper character. For me, Held’s earliest pieces come closest to this intuitive, identity-shaping sense of space. The arcs of “Echo” pulse almost achingly between states of containing the background and of being contained by the canvas’ dimensions.

In his earliest painting here, a raw Ab Ex canvas from 1958, colors bluntly see-saw across its width, clambering through acid yellows, flaming red-oranges, piercing blue and tar-dense blacks.

Sensations, rather than concepts, lead the way, lending remarkable conviction to those concepts.

(John Goodrich) Through Feb. 13. Betty Cuningham Gallery, 541 W. 25th St., 212-242-2772.

Selected Works by Gallery Artists

A well-selected group show has the advantage of placing art works in a context that permits viewers to make their own judgments on where an artist fits in the established hierarchies. Knoedler’s

Through Feb. 6. Hirschl & Adler Galleries, 21 E. 70th St., 212-535-8810.

Pearlstein/Held: Five Decades

At a glance, few painting approaches would seem more different than the geometric abstractions of Al Held and the tightly rendered nudes of Philip Pearlstein. The two, however, became lifelong friends in the 1950s, when both experimented with Abstract Expressionism. Betty Cuningham’s current exhibition, which intermixes 14 paintings spanning both artists’ careers, invites us to look for commonalities of spirit.

“Sea and Rocks (Ten Pound Island)” by Milton Avery.

medley of post-World II artists, plus several recent ones, lets us do just that. Varieties of Abstract Expressionism reign in the main gallery. Widely recognized names (Helen Frankenthaler, Richard Pousette Dart, Milton Avery, David Smith) mix with less glittering but, for the most part, equally compelling ones. There are unexpected pleasures here. Older works are the most arresting—testimony to the gradual decline of Ab Ex from an innovative challenge to a style.

Herbert Ferber, better known as a sculptor, was a surprisingly satisfying painter. His subtle color sense and way of working surfaces make his moody 1962 abstraction a fitting complement to Avery’s lovely “Sea and Rocks” painted six years earlier.

Michael Goldberg, the last of the original New York School, was pigeonholed as a second-generation Abstract Expressionist and accordingly overlooked.

His dense, spare oil, “The Wife,” demonstrates the unfairness of received labels.

It is exciting to see Marca-Relli, a founding member of the New York School, and the Milanese décollagist Mimmo Rotella. The publicity-shy Marca-Relli carried collage to monumental proportions and unprecedented complexity by means of cut up and recombined canvases—part image, part event. Rotella’s perfectly scaled “Untitled,” a coloristic interplay of torn commercial papers dancing across a background no more than 16 inches high, makes clear the primacy of scale over size as a measure of creative seriousness. By comparison, John Walker’s 8-foot-high “Prism and Pool” looks overblown, even vacant.

Catherine Murphy’s “Plowed Driveway” intends a synthesis between abstraction and landscape. But the image, a magnified section of a patch of snowy driveway, never escapes lackluster description. For abstract “landscape,” Frankenthaler’s “Snow Basin” takes the brass ring.

Five undated works by James Castle—deaf, mute and illiterate—are clustered with recent works on paper by Maria Elena González and Susan York.

Taken one by one, Castle’s tiny, tactile washes on found paper are slight. Only as an ensemble viewed through the pathos of his biography does the work take on weight. His companions remain weightless. The youngest artists here, both women were nursed on minimal/conceptual postures.

González’s contrived approximations of Outsider awkwardness convey the requisite shallowness aforethought. Similarly, the motive behind York’s hovering graphite squares is as insubstantial as the images. (MM) Through Feb. 13, Knoedler & Company, 19 E. 70th St. 212-794-0550.

“Coronation of The Virgin” by El Greco.

The Origins of El Greco: Icon Painting in Venetian Crete As the Byzantine Empire crumbled before the Ottomans, the island of Crete, though a possession of Catholic Venice, became a preserve for Byzantine culture. Cretan workshops thrived in the 15th and early 16th centuries, cranking out icons to suit Orthodox and Catholic patrons alike. Currently on view at the Onassis Cultural Center, a selection of icons gathered from more than a dozen museums and collections captures this remarkable melding of stylized Eastern restraint and robust Western naturalism. By turns mesmerizing, poignant, strange and gaudy, the selection of icons wraps up, appropriately enough, with seven works by Crete’s native son, El Greco.

In the galleries’ subdued lighting, the first impression of nearly 50 icons, their jewellike colors glimmering through abraded and pitted surfaces, is nothing short of stunning.

The chronological installation begins with the static gracefulness of a Christ Pantokrator on a gold background that conforms closely to Byzantine traditions. By contrast, Saints George and Merkourios in a small panel boast fluid poses borrowed from Paulo Veneziano. The saints, however, stomp on foes (a dragon, and the Emperor Julian, respectively) according to Orthodox iconography. Dating somewhat later, the tidy, rhythmic intensity of a Saint George by the artist Angelos suggests Raphael as a medieval illuminator. A late 15th-century panel of Christ and the Samaritan woman reveals a striking new development: a spacious, jumble of buildings, fields and blue sky in place of the usual gold background.

The trend toward expansive gesture and naturalistic perspective and detail reveals the increasing influence of late Gothic art. The Cretan artists, though, borrowed selectively. A startling Pietà attributed to Nikolaos Tzafouris, based on a Bellini composition, models figures and fabric with rich, complex volumes—and silhouettes them against the traditional gold background. In another panel, the Virgin Mary, captured with Byzantine frontal austerity, gathers under her robes a dozen men modeled with the delicate sophistication of Carpaccio.

A number of late 16th-century icons by artists Klontzas and Damaskenos stand out for their mannerist compositions and crowding colors. More impressive to my eye is El Greco.

The flattened, angular forms of his early Cretan panels become broad gestures and vibrant colors in the paintings he produced during a decadelong stay in Italy. Painted later still in Spain, his “Coronation of the Virgin” reveals the El Greco we all know: streaming forms, brilliant highlights and otherworldly hues. We’ve come full circle, in a way: His panache would be anathema to the earlier artists here, but like them he exudes a spirit both chastening and joyous. (JG) Through Feb. 27, Onassis Cultural Center, 645 5th Ave., 212-486-4448.

January 12, 2010 | City Arts

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ArtsAGENDA Gallery openings

Gallery listings courtesy of

41 Cooper Gallery: “Rites of Passage: 1995-2009.”

Opens Jan. 21, The Cooper Union School of Art, 41 Cooper Gallery, 212-353-4200.

BRIC Rotunda Gallery: “the no place.” Opens Jan. 21, 33 Clinton St., Brooklyn, 718-875-4047.

Cuchifritos: Yumi Roth: “F.O.B.” Opens Jan. 16, 120 Essex St., 212-420-9202.

CUE Art Foundation: Raul Guerrero. Opens Jan. 21.

Carrie Olson. Opens Jan. 21, 511 W. 25th St., Ground Floor, 212-206-3583.

EFA Project Space: “Companion.” Opens Jan. 15, 323 W. 39th St., 2nd Fl., 212-563-5855.

Flomenhaft Gallery: Emma Amos. Opens Jan. 14, 547 W. 27th St., suite 200, 212-268-4952.

Gagosian Gallery: Elisa Sighicelli: “The Party Is Over.” Opens Jan. 14, 980 Madison Ave., 212744-2313.

Gagosian Gallery: Philip Taaffe: “Works on Paper.”

Opens Jan. 16, 555 W. 24th St., 212-741-1111.

Grey Art Gallery: “Downtown Pix: Mining the Fales Archives.” Opens Jan. 12, 100 Washington Square E., 212-998-6780.

Hauser & Wirth: Ida Applebroog. Opens Jan. 19, 32 E. 69th St., 212-794-4070.

Hendershot Gallery: “Trying Them On.” Opens Jan. 21, 547 W. 27th St., suite 632, 212-239-3085.

Heskin Contemporary: Erick Johnson. Opens Jan. 14, 443 W. 37th, Ground Floor, 212-967-4972.

Lehmann Maupin: Christian Hellmich: “The Array/ Transfer-Domino.” Opens Jan. 14, 540 W. 26th St., 212-255-2923.

Ludlow 38: Kriwet. Opens Jan. 16, 38 Ludlow St., 212-228-6848.

Marian Goodman Gallery: Steve McQueen. Opens Jan. 19, 24 W. 57th St., 212-977-7160.

Mike Weiss Gallery: Stefanie Gutheil: “Kopftheater.”

Opens Jan. 14, 520 W. 24th St., 212-691-6899.

PaceWildenstein: Richard Misrach. Opens Jan. 15, 534 W. 25th St., 212-929-7000.

Peter Blum Soho: David Reed: “Works on Paper.”

Opens Jan. 13, 99 Wooster St., 212-343-0441.

Priska C. Juschka Fine Art: Ryan Schneider: “Send Me Through.” Opens Jan. 14, 547 W. 27th St., 2nd Fl., 212-244-4320.

Sasha Wolf Gallery: Yola Monakhov: “Photography After Dante.” Opens Jan. 14, 10 Leonard St., 212-925-0025.

Smack Mellon: John von Bergen. Opens Jan. 16.

Michelle Weinstein. Opens Jan. 16, 92 Plymouth St., Brooklyn, 718-834-8761.

Sue Scott Gallery: Elisabeth Subrin: “Her Compulsion to Repeat.” Opens Jan. 23, 1 Rivington St., 212-358-8767.

Tibor de Nagy Gallery: Jane Freilicher: “Recent Paintings.” Opens Jan. 12, 724 5th Ave., 212-262-5050.

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City Arts | www.cityarts.info

Tyler Rollins Fine Art: Jimmy Ong: “Sitayana.”

Opens Jan. 14, 529 W. 20th St., 10W, 212-229-9100.

Von Lintel Gallery: David Maisel. Opens Jan. 21, 520 W. 23rd St., 212-242-0599.

Yancey Richardson Gallery: Alex Prager: “WeekEnd.” Opens Jan. 14, 535 W. 22nd St., 3rd Fl., 646-230-9610.

Yvon Lambert: Markus Schinwald. Opens Jan. 14.

Koo Jeong-A. Opens Jan. 14, 550 W. 21st St., 212-242-3611.

ZieherSmith: Eddie Martinez. Opens Jan. 14, 516 W. 20th St., 212-229-1088.

Gallery Closings 303 Gallery: Tim Gardner. Ends Jan. 16, 547 W.

21st St., 212-255-1121.

395 Flatbush Ave Extension: “Too Big To Fail: Big

Paintings.” Ends Jan. 23, 395 Flatbush Ave. Extension, Brooklyn, no phone.

AC Institute: Lea Bertucci: “Crossing.” Marcy Chevali: “Without A Safety Net.” Shlomit Lehavi: “Time Sifter.” Elisabeth Molin: “Gaps.” Ends Jan. 23, 547 W. 27th St., 5th Fl., no phone.

Alexander and Bonin: “Natural Sympathies: Sylvia Plimack Mangold and Lovis Corinth Works on Paper.” Ends Jan. 16, 132 10th Ave., 212-367-7474.

Ameringer|McEnery|Yohe: Helen Frankenthaler.

Ends Jan. 23, 525 W. 22nd St., 212-445-0051.

Andrea Rosen Gallery: “The Perpetual Dialogue.”

Ends Jan. 23, 525 W. 24th St., 212-627-6000.

Arario Gallery New York: Yue Minjun: “Smile-isms.”

Ends Jan. 16, 521 W. 25th St., 212-206-2760.

Austrian Cultural Forum NY: “1989 - Year of Miracles: Austria and the End of the Cold War.” Ends Jan. 15, Columbia University, 420 W. 118th St., 4th Fl., 212-319-5300.

Bernarducci Meisel Gallery: Roberto Bernardi and Raphaella Spence: “Beijing Project.” Ends Jan. 16, 37 W. 57th St., 212-593-3757.

Black & White Gallery: Elia Alba: “Busts.” Ends Jan. 17, 636 W. 28th St., 212-244-3007.

Canada: Joanna Malinowska: “Time of Guerrilla Metaphysics.” Ends Jan. 24, 55 Chrystie St., 212-925-4631.

Dalia Lucia Caravaggi Fine Art: Diego Jacobson: “Museography of the Soul.” Ends Jan. 30, 606 W. 26th St., 212-966-3897.

Danziger Projects: Milton Rogovin. Ends Jan. 16, 534 W. 24th St., 212-629-6778.

David Nolan Gallery: Steve DiBenedetto, Alexander Ross and James Siena: “Morphological Mutiny.”

Ends Jan. 23, 527 W. 29th St., 212-925-6190.

Farmani Gallery: Jim McHugh: “Let’s Get Lost.”

Ends Jan. 16, 111 Front St., suite 212, Brooklyn, 718-578-4478.

A detail from Wardell Milan’s Drawings of Harlem, at The Studio Museum in Harlem through Mar. 14.

First Street Gallery: “Fortieth Anniversary Exhibi-

tion.” Ends Jan. 23, 526 W. 26th St., suite 915, 646-336-8053.

Fred Torres Collaborations, Inc.: George Rahme: “It’s All There Already.” Ends Jan. 23, 527 W. 29th St., 212-244-5074.

Fun Times: Philip Naudé: “Multum In Parvo.” Ends Jan. 15, 257 3rd Ave., Brooklyn, 718-254-9255.

The Gallatin Galleries: “Finding Work: Representing Labor in Contemporary Art.” Ends Jan. 13, 1 Washington Pl., 212-998-7367.

Gallery Satori: Diane Carr. Ends Jan. 24, 164 Stanton St., 718-544-6155.

Gemini G.E.L. at Joni Moisant Weyl: “All Wrapped Up for the Holidays.” Ends Jan. 16, 980 Madison Ave., 5th Fl., 212-249-3324.

Grace Art Gallery: Joy Gush: “Gardens of Joy.” Ends Jan. 15, Grace Institute, 1233 2nd Ave., 212-832-7605.

Hendershot Gallery: “Architecturally… / Works on Architecture and Space.” Ends Jan. 16, 547 W. 27th St., suite 632, 212-239-3085.

Howard Scott Gallery: Sati Zech and Werner Schmidt: “Beauty Is Eternal: Two Artists in Berlin.” Ends Jan. 21, 529 W. 20th St., 7th Fl., 646-486-7004.

Kate Werble Gallery: “My Gay Uncle.” Ends Jan. 16, 83 Vandam St., 212-352-9700.

LaViolaBank Gallery: Kasper Sonne. Ends Jan. 18, 179 E. Broadway, 917-463-3901.

Like the Spice: Michelle Hinebrook and Nicki Stager: “Exposure.” Ends Jan. 17, 224 Roebling St., Brooklyn, 718-388-5388.

Lower East Side Printshop: “New Works By Key-

holder Artists In Residence.” Ends Jan. 17, 306 W. 37th St., 6th Fl., 212-673-5390.

M. Sutherland Fine Arts Ltd.: Barnaby Conrad III: “Life Aquatic.” Ends Jan. 16, 55 E. 80th St., 2nd Fl., 212-249-0428.

Matthew Marks Gallery: Peter Fischli and David Weiss: “Clay and Rubber.” Ends Jan. 16, 523 W. 24th St., 212-243-0200.

Matthew Marks Gallery: Peter Fischli and David Weiss: “Sun, Moon and Stars.” Ends Jan. 16, 522 W. 22nd St., 212-243-0200.

Matthew Marks Gallery: Peter Fischli and David Weiss: “Sleeping Puppets.” Ends Jan. 16, 526 W. 22nd St., 212-243-0200.

Meredith Ward Fine Art: Clara Tice: “Naughty or Nice: Dada Drawings.” Ends Jan. 15, 44 E. 74th St., suite 1, 212-744-7306.

Miyako Yoshinaga Art Prospects: Joseph Burwell. Ends Jan. 16, 547 W. 27th St., 2nd Fl., 212-268-7132.

Monya Rowe Gallery: Josephine Halvorson: “Clockwise From Window.” Ends Jan. 16, 504 W. 22nd St., 2nd Fl., 212-255-5065.

Number 35: Charles Dunn and Gary Rough. Ends Jan. 21, 39 Essex St., 212-388-9311.

Old Print Shop: American Prints & Drawings: 1750 to Present. 150 Lexington Ave., 212-683-3950.

Paula Cooper Gallery: “Photography.” Ends Jan. 15, 465 W. 23rd St., 212-255-1105.

Salon 94 Freemans: “Rock Garden.” Ends Jan. 16, 1 Freeman Alley, 646-672-9212.

Sloan Fine Art: Chris Berens: “The Only Living Boy in New York.” Ends Jan. 23, 128 Rivington St., 212-477-1140.

Sputnik Gallery: Andrey Vrady: “Reconquista.”

Ends Jan. 16, 547 W. 27th St., room 518, 212695-5747.

Susan Berko-Conde Gallery: “The Incredible Lightness of Being.” Ends Jan. 24, 521 W. 23rd St., 2nd Fl., 212-367-9799.

Under Minerva: Ben Angotti: “A Retrospective.” Ends Jan. 15, 656 5th Ave., Brooklyn, 718-788-0170.

Von Lintel Gallery: Antonio Murado. Ends Jan. 16, 520 W. 23rd St., 212-242-0599.

Zach Feuer Gallery: “Jr. and Son’s.” Ends Jan. 23, 530 W. 24th St., 212-989-7700.

Auction Houses Christie’s: Important American Furniture, Folk Art,

Silver and Chinese Export. Jan. 21, 22 & 25, times vary, 20 Rockefeller Plz., 212-636-2000.

Doyle New York: Doyle at Home. Jan. 13, 10 a.m., 175 E. 87th St., 212-427-2730.

Rogallery.com: Fine art buyers and sellers in online live art auctions. 800-888-1063, www.rogallery.com.

Sotheby’s: Important Americana. Jan. 22 & 23, times vary, 1334 York Ave., 212-606-7414.

Art Events Antiques and Americana at the Piers: Americana at

the Piers features 200 antiques dealers selling fine American antiques, and much of the variety and edgy material for which Stella Shows are known. Jan. 22, Pier 92, 12th Avenue at West 55th Street, www.stellashows.com.

Chelsea Art Gallery Tour: Guided tour of the week’s top seven gallery exhibits in the world’s center for contemporary art. Jan. 16, 526 W. 26th St., 212-946-1548; 1, $20.

SVA Art Lecture: Electronic media artist and SVA faculty member Perry Bard speaks about participatory culture and her current project Man With A Movie Camera: The Global Remake, which invites people around the world to create a mash-up of the 1929 Russian film. Jan. 19, School of Visual Arts, 133/144 W. 21 St., room 101C, 212-592-2010; 6:30, free.

The New York Ceramics Fair: Part of New York’s Winter Antiques Week, the fair brings together around 36 galleries offering all things “fired”– porcelain, pottery, glass, cloisonné and enamels.

Jan. 19, National Academy Museum, 1083 5th Ave., 212-369-4880.

Winter Antiques Show: The Winter Antiques Show marks its 56th year of providing curators, established collectors, dealers, design professionals and first-time buyers with opportunities to view and purchase antiques. The show benefits the East Side House Settlement, a community resource in the South Bronx. Jan. 22-31, Park Avenue Armory, Park Avenue at East 67th Street, 718-292-7392.

Museums American Museum of Natural History: “Traveling

the Silk Road: Ancient Pathway to the Modern World.” Ends August 2010. The Butterfly Conservatory. Ends May 2010, Central Park West at West 79th Street, 212-769-5100.

Americas Society: Fernell Franco: “Amarrados [Bound].” Ends Jan. 23, 680 Park Ave., 212249-8950.

Asia Society and Museum: “Devotion in South India: Chola Bronzes.” Ends Feb. 7, 725 Park Ave., 212-288-6400.

Bard Graduate Center: “Dutch New York Between East and West: The World of Margrieta van Varick.” Ends Jan. 24, 18 W. 86th St., 212-501-3023.

Brooklyn Academy of Music: “Archive Exhibition.”

Ends spring 2010. Penelope Umbrio: “Leonard’s for Leonard” and “5,537,594 Suns from Flickr (Partial) 5/30/09 - for BAM.” Ends Mar. 14, Peter Jay Sharp Building, 30 Lafayette Ave., 3rd Fl., Brooklyn, 718-636-4100.

Brooklyn Historical Society: “Public Perspectives: Brooklyn Utopias?” Ends Jan. 24, 128 Pierrepont St., Brooklyn, 718-222-4111.

Brooklyn Museum: “James Tissot: The Life of Christ.” Ends Jan. 17. “Who Shot Rock & Roll: A Photographic History, 1955 to the Present.”

Ends Jan. 31, 200 Eastern Pkwy., Brooklyn, 718-638-5000.

Chelsea Art Museum: Michael Rees: “Social Object: Sculpture and Software.” Ends Jan. 23, 556 W. 22nd St., 212-255-0719.

Cooper-Hewitt National Design Museum: “Quicktake: Rodarte.” Opens Feb. 11, 2 E. 91st St., 212-849-8400.

The Drawing Center: Iannis Xenakis: “Composer, Architect, Visionary.” Opens Jan. 15, 35 Wooster St., 212-219-2166.

The Frick Collection: “Exuberant Grotesques: Renaissance Maiolica from the Fontana Workshop.”

Ends Jan. 17, 1 E. 70th St., 212-288-0700.

Japan Society: “Serizawa: Master of Japanese Textile Design.” Ends Jan. 17, 333 E. 47th St., 212-8321155.

Jewish Museum: “Alias Man Ray: The Art of Reinvention.” Ends Mar. 2010, 1109 5th Ave., 212-423-3200.

The Kitchen: “Besides, With, Against, And Yet: Abstraction and The Ready-Made Gesture.” Ends Jan. 16, 512 W. 19th St., 212-255-5793.

The Metropolitan Museum of Art: “American Stories: Paintings of Everyday Life, 1765-1915.” Ends Jan. 24. “Velásquez Rediscovered.” Ends Feb. 7.

“North Italian Drawings, 1410-1550: Selections from the Robert Lehman Collection and the Department of Drawings and Prints.” Ends Jan.

31, 1000 5th Ave., 212-535-7710.

The Morgan Library & Museum: “Rome After Ra-

phael.” Opens Jan. 22. “A Woman’s Wit: Jane Austen’s Life and Legacy.” Ends Mar. 14, 225 Madison Ave., 212-685-0008.

El Museo del Barrio: “Nexus New York: Latin/American Artists in the Modern Metropolis.” Ends Feb. 28, 1230 5th Ave., 212-831-7272.

Museum of American Finance: “Women of Wall Street.”

Ends Mar. 2010, 48 Wall St., 212-908-4110.

Museum of Arts and Design: “Read My Pins: The Madeleine Albright Collection.” Ends Jan. 31, 2 Columbus Cir., 212-299-7777.

Museum of Jewish Heritage: “Beyond Swastika and Jim Crow: Jewish Refugee Scholars at Black Colleges.” Ends Feb. 21, 36 Battery Pl., 646437-4200.

Museum of Modern Art: “Bauhaus 1919-1933: Workshops for Modernity.” Ends Jan. 25. “Tim Burton.” Ends Apr. 26, 11 W. 53rd St., 212-7089400.

National Museum of the American Indian: “Identity

by Design: Tradition, Change and Celebration in Native Women’s Dresses.” Ends Feb. 7, 1 Bowling Green, 212-514-3700.

New Museum: “Urs Fischer: Marguerite de Ponty.”

Ends Feb. 7, 235 Bowery, 212-219-1222.

New-York Historical Society: “Nature and the American Vision: The Hudson River School at the New-York Historical Society.” Ends Mar. 25. “Lincoln and New York.” Ends Mar. 25. 170 Central Park West, 212-873-3400.

New York Public Library: “Candide at 250: Scandal and Success.” Ends Apr. 2010. “Mapping New York’s Shoreline, 1609-2009.” Ends June 26, Stephen A. Schwarzman Building, West 42nd Street and 5th Avenue, 917-275-6975.

New York Public Library for the Performing Arts: “Lincoln Center: Celebrating 50 Years.” Ends Jan. 16. “Revolutionary Voices: Performing Arts in Central & Eastern Europe in the 1980s.” Ends Mar. 20, 40 Lincoln Center Plz., 212-870-1630.

Noguchi Museum: “Noguchi ReINstalled.” Ends Oct. 24, 33rd Road at Vernon Boulevard, Queens, 718-721-2308.

Rubin Museum of Art: “The Red Book of C.G. Jung.”

Ends Feb. 15, 150 W. 17th St., 212-620-5000.

Skyscraper Museum: “China Prophecy: Shanghai.”

Ends Mar. 2010, 39 Battery Pl., 212-968-1961.

Solomon R. Guggenheim Museum: “Intervals: Kandinsky.” Ends Jan. 13, 1071 5th Ave., 212-423-3500.

Spazio522: Bonnie Edelman: “Sermo Per Equus.”

Ends Jan. 24, 526 W. 26th St., suite 522, 212929-1981.

Studio Museum in Harlem: “Wardell Milan: Drawings of Harlem.” Ends Mar. 14. “30 Seconds off an Inch.” Ends Mar. 14, 144 W. 125th St., 212-864-4500.

Music & Opera The Allen Room: American Songbook performers:

Marianne Faithfull. Jan. 13. Rebecca Luker.

Jan. 14. David Hidalgo and Louie Perez of Los Lobos. Jan. 15. Martha Plimpton Sings? Jan. 16, 6th Fl., Frederick P. Rose Hall, Lincoln Center, Broadway at West 60th Street, 212-258-9958; times vary, $40+.

Alice Tully Hall: Bernarda Fink, mezzo-soprano, with Anthony Spiri, piano. Jan. 24. Peter Wispelwey, cello, with Paolo Giacometti, piano.

Jan. 24, Starr Theater, 1941 Broadway, 212-6714050; times vary, $45+.

Avery Fisher Hall: Bronfman, Prokofiev and Rachmaninoff’s Symphony No. 2. Jan. 12, New York Philharmonic, Lincoln Center, 10 Lincoln Center Plz., 212-875-5030; 7:30, $43+.

Brooklyn Center for the Performing Arts: Brooklyn College presents the Grammy-winning gospel group The Clark Sisters. Jan. 23, Walt Whitman Theatre, Brooklyn College, 2900 Campus Rd., Brooklyn, 718-951-4500; 8, $30+.

Carnegie Hall: Vienna Philharmonic Orchestra. Jan. 15-17. Europa Galante. Jan. 21, 881 7th Ave., 212-247-7800; 8, $58+.

Manhattan School of Music: The American String Quartet, joined by violist Michael Tree, performs works by Brahms and Beethoven. Jan. 17, John C. Borden Auditorium, 120 Claremont Ave., 917493-4429; 3, $10+.

Metropolitan Opera: Der Rosenkavalier: Renee Fleming and Susan Graham reign supreme in Richard Strauss’s romantic comedy. Ends Jan. 15.

Simon Boccanegra: Five decades into a legendary Met career, Plácido Domingo makes history singing the baritone title role. Opens Jan. 18, West 62nd Street (betw. Columbus & Amsterdam Aves.), 212-362-6000; times vary, $20+.

Peter Jay Sharp Theatre: Calypso Rose, a living legend in the calypso world, brings her vibrant and irresistible music from her native Tobago. Jan. 15. Bulgaria’s famed saxophonist Yuri Yunakov and his 6-member ensemble present Gypsy music from Bulgaria and Macedonia. Jan. 23, Symphony Space, 2537 Broadway, 212-864-5400; 8, $18+.

Jazz Dizzy’s Club Coca Cola: The Jazz Masters Quintet

with Bobby Hutcherson, Cedar Walton, David Williams, James Spaulding and Al Foster. Jan. 13-17, Frederick P. Rose Hall, Jazz at Lincoln Center, Broadway at West 60th Street, 212-2589595; 7:30 & 9:30, $15+.

Frederick P. Rose Hall: The Jazz at Lincoln Center Orchestra performs the music of Tito Puente and

MINIATURES

Nohra Barros, Roisin Bateman, Kathy Buist, Simon Gaon, Ann Marie Heal, Elsie Taliaferro Hill, Younghee Choi Martin, Robert Pillsbury, N.H. Stubbing, Susan Sugar, Lewis Zacks

Robert Pillsbury “Danube Reflection #2,” 2008, graphite on paper, 2 x 5 3⁄₈ inches

NABI GALLERY 137 W 25, NYC 10001 212-929-6063 WWW.NABIGALLERY.COM

January 12, 2010 | City Arts

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ArtsAGENDA Dizzy Gillespie. Jan. 15 & 16, Jazz at Lincoln Center, Broadway at West 60th Street, 212-2589595; 8, $10+.

Jazz Gallery: Chad Taylor and Circle Down. Jan. 14.

Pedro Giraudo Jazz Orchestra. Jan. 15 & 16. Brandon Lee Quintet. Jan. 21. Gregg August Sextet.

Jan. 22. Jonathan Finlayson Quintet. Jan. 23, 290 Hudson St., 212-242-1063; times vary, $5+.

Jazz Standard: George Coleman Quartet. Jan. 15-17.

Mingus Orchestra. Jan. 18. FLY. Jan. 21-24, 116 E. 27th St., 212-576-2232; times vary, $25+.

Leonard Nimoy Thalia: Jazz impresario George Wein shows images from his extensive historic photo album, shares anecdotes and welcomes Israeli clarinetist Anat Cohen and guitarists Howard Alden and Gene Bertoncini for a performance.

Jan. 21, Symphony Space, 2537 Broadway, 212864-5400; 7:30, $12+.

Village Vanguard: Fred Hersch Trio. Jan. 12-17. Lee Konitz Trio. Jan. 19-24, 178 7th Ave. South, 212255-4037; times vary, $35+.

Dance Company XIV: Snow White. Jan. 16 & 17. Le Serpent

Rouge. Jan. 15 & 17. The Judgment of Paris.

Jan. 14, 303 Bond St., Brooklyn, 212-868-4444; times vary, $15+.

New York City Ballet: Romeo and Juliet. Opens Jan. 13, David H. Koch Theater, Lincoln Center, Columbus Avenue at West 63rd Street, 212-8705570; times vary, $20+.

Dance Theater Workshop: Dance Theater Workshop kicks off the Urban Bush Womenâ&#x20AC;&#x2122;s 25th anniversary season with Zollar: Uncensored, Jawole Willa Jo Zollarâ&#x20AC;&#x2122;s early investigations into the sensual and the power of women. Jan. 20-23, 219 W. 19th St., 212-924-0077; 7:30, $25.

Richard Alston Dance Company: Alston creates

dances to music by Stravinsky, Philip Glass and Hoagy Carmichael. Jan. 12-17, Joyce Theater, 175 8th Ave., 212-691-9740; times vary, $10+.

Kalanidhi Dance: As part of the INBOUND Festival, Maryland-based Kalanidhi Dance presents Yaatra (Journey), an evening of time-honored choreography by Dr. Vempati Chinna Satyam and new works by Annirudhan Vasudevan, Kishore Mosalikanti and Anuradha Nehru. Jan. 22 & 23, Joyce SoHo, 155 Mercer St., 212-3523101; 8, $12 and up.

Theater As You Like It: The Bridge Project presents Shake-

speare, as Mendes and company explore outcasts, power and magical lands. Opens Jan. 12, BAM Harvey Theater, 651 Fulton St., 718-636-4100.

Billy Elliot: This Tony-winning adaptation of the 2000 film chronicles a young British boyâ&#x20AC;&#x2122;s desire to dance ballet in a poverty-choked coal-mining town. Open run, Imperial Theatre, 249 W. 45 St., 212-239-6200.

Bye Bye Birdie: This classic musical about rock-androll fan worship gets its first Broadway revival, with stars John Stamos and Gina Gershon. Ends Jan. 24, Henry Millerâ&#x20AC;&#x2122;s Theatre, 124 W. 43 St., 212-239-6200.

Chicago: The long-running revival of Kander and Ebbâ&#x20AC;&#x2122;s musical about sex, murder and celebrity continues to razzle-dazzle. Open run, Ambassador Theatre, 219 W. 49 St., 212-239-6200.

Erosion: Andrew Rothkin directs Nicholas Linnehanâ&#x20AC;&#x2122;s story of a young gay manâ&#x20AC;&#x2122;s depression resulting from his inability to maintain relationships. Opens Jan. 13, Spoon Theater, 38 W. 38th St., 5th Fl., 866-811-4111.

Finianâ&#x20AC;&#x2122;s Rainbow: The 1947 musical fable about a

mischievous Irishman, his headstrong daughter and a stolen pot of gold follows its well-received Encores! run with a move to Broadway. Open run, St. James Theatre, 246 W. 44 St., 212-239-6200.

Fuerza Bruta: Look Up: A visual dance-rave, technoride, Latino walking-on-the-ceiling fiesta from Buenos Aires. Open run, Daryl Roth Theatre, 101 E. 15th St., 212-239-2600.

Hair: The American Tribal Love-Rock Musical: Diane Paulusâ&#x20AC;&#x2122; celebrated revival of the 1967 hippie-centered musical continues its rocking Broadway run. Open run, Al Hirschfeld Theatre, 302 W. 45 St., 212-239-6200.

In the Heights: This heartfelt and high-spirited love letter to Washington Heights features a salsa and hip-hop flavored score by Lin-Manuel Miranda.

Open run, Richard Rodgers Theatre, 226 W. 46 St., 212-221-1211.

Medea and Its Double: Seoul Factory for the Performing Arts (SFPA) interprets Euripidesâ&#x20AC;&#x2122; Medea as two characters with different mentalities, torn between two minds as a mother and a lover.

Ends Jan. 24, La MaMa E.T.C., 74A E. 4th St., 212-475-7710.

Memphis: A New Musical: Set in the titular city during the segregated 1950s, this musical charts the romance between a white DJ and a black singer as rock-and-roll begins to emerge. Open run, Shubert Theatre, 225 W. 44 St., 212-239-6200.

Next to Normal: A woman and her family struggle to cope with her bipolar disorder in this emotional, Tony-winning musical. Open run, Booth Theatre, 222 W. 45 St., 212-239-6200.

Oleanna: The David Mamet classic about the relationship between a male professor and his female student. Open run, John Golden Theatre, 252 W. 45th St., 212-239-6200.

The Phantom of the Opera: Prep yourself for the

forthcoming sequel by seeing (or re-seeing) Andrew Lloyd Webberâ&#x20AC;&#x2122;s Gothic musical romance.

Open run, Majestic Theatre, 245 W. 44 St., 212-239-6200.

Search and Destroy: Nick Meo directs a revival of Howard Korderâ&#x20AC;&#x2122;s portrait of nefarious business practices and moral degradation in the Reagan era. Opens Jan. 14, Kraine Theater, 85 E. 4th St., 212-868-4444.

South Pacific: Rodgers and Hammersteinâ&#x20AC;&#x2122;s musical in its first Broadway revival. Ends May 30, Lincoln Center Theater, 150 W. 65th St., 212239-6210.

Superior Donuts: Pulitzer Prize winner Tracy Letts returns with this comedy about an aging white donut shop owner and his young black employee. Open run, Music Box Theatre, 239 W. 45 St., 212-239-6200.

Wind-Up Bird Chronicle: At once a detective story, an account of a disintegrating marriage and an excavation of buried secrets from World War II, this surreal mystery follows Toru Okada as he searches for his wife who has inexplicably vanished. Opens Jan. 12, Ohio Theatre, 66 Wooster St., 212-966-4844.

Wishful Drinking: Carrie Fisherâ&#x20AC;&#x2122;s comic memoir chronicles the actressâ&#x20AC;&#x2122; roller-coaster career and struggles with addiction. Ends Jan. 17, Studio 54, 254 W. 54 St., 212-719-1300.

To submit a gallery listing, please visit www.artcat.com/submission. For any other type of submission, please email all relevant information to cityarts@manhattanmedia.com at least three weeks prior to the event. Listings run on a space-available basis and cannot be guaranteed to appear.

IK8I9H?8; je SEPTEMBER 15, 2009 Volume 1, Issue 6

For digital editions, archives and more, go to

www.cityarts.info 14

City Arts | www.cityarts.info

PREVIEW

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By Amanda Gordon

ROPING THEM IN At the MASS MoCA benefit at Angel Orensanz Foundation, Orly Genger was having a rare untangled moment. Genger works with rope to make massive sculptural installations. In the spring she’ll debut her largest project to date, at MASS MoCA, the contemporary art space on the site of a former factory in North Adams, Mass. So how much rope will she use? Genger has a tractor-trailer’s worth of the knotty stuff at her disposal. It all came from lobstermen in Maine, who’ve been replacing their rope with a new type that is safer for whales. The rope “smells like fish and the ocean and it’s got little plant life attached to it,” says Genger.

Though once the rope is primed and painted, “the smell will probably dissipate.” Now that’s a surf-andturf tale.

Orly Genger

Clockwise from left: Principal Dancers Janie Taylor and Ashley Bouder; Barry Friedberg and Charlotte Moss (who has a new blog, C’est Inspiré); Principal Dancer Maria Kowroski and Martin Harvey, with photographer Erin Baiano and NYCB Principal Dancer Gonzalo Garcia; Katherine Brown, NYCB executive director, and former Lincoln Center chief Nathan Leventhal; Principal Dancers Megan Fairchild and Andrew Veyette

GOOD VIBRATIONS How to get through the wind and the cold? The New York City Ballet is better than a winter coat: the dancers, to my eye, are always beckoning warmer times of sweet air and new blossoms. It certainly felt that way at the ballet’s opening night gala, where guests had spring fever: “There’s such a good positive vibe in the room. It’s contagious,” said industrialist David H. Koch, who gave $100 million for the recent renovations of the theater, where the postperformance supper was held. “I’ll have trouble getting to sleep tonight.”

Filmmaker and trapeze artist Sarah Sophie Flicker was inspired by the world premiere ballet by Peter Martins to John Adams’ Naive and Sentimental Music. The ending “made me crazy,” Flicker said.

“They were so acrobatic and graceful and strong.” Of course, the ballet also knows how to entertain: Maybe guests were feeling the sugar high from Glorious Foods’ fantastical Baked Alaska, a dish that has helped many through the winter months.

NOTES AND NEXTS

(l-r): David Henry Hwang and David Liu; Lucy Liu and Beatrice Chen, MOCA’s director of education; Akiko Yamazaki and Mei-Mei Tuan; S. Alice Mong, MOCA’s director

THE NEW MUSEUM The Museum of Chinese in America gala at Capitale was a night for personal story telling with an emphasis on Chinese American pride. Actress and UNICEF ambassador Lucy Liu, one of several honorees, told of her decision to major in Asian languages and culture at the University of Michigan. “It was really the first time I could learn about myself,” she said. That was because growing up in Queens, working at Baskin Robbins on Sundays and being forced to go to Chinese school on Saturdays, “there was never a day off for being Asian in America.”

For playwright David Henry Hwang (M. Butterfly, Tarzan) and his wife, Kathryn Hwang, the museum in Chinatown, known as MOCA, is a place to teach their children how far Asians have come in America. “I was pointing out to my son a part of an exhibit that describes how it used to be illegal for his mom and dad to be married,” Mrs. Hwang, who is non-Asian, said.

“He said, ‘That’s stupid.’”

The new building is a “cultural home,” said Mr. Hwang of the museum’s new headquarters, designed by Maya Lin, which opened last fall.

“I’m personally very moved by the space,” said museum patron David Liu. “The first time I saw it was a very emotional experience. I’m happy it’s just a few blocks from my office.”

Allegro, Agitato, Ka-Ching! In its first on-air pledge drive last month, WQXR, the classical music station acquired by WNYC, took in $300,000, far and beyond its $100,000 goal.

We wonder what would have happened had its previous owner, The New York Times, gone begging.... The Save the Date has gone out for the Frick Collection’s Young Fellows gala. The shiny gray card with a silver foil diamond in the center announces the Diamond Deco Ball Feb. 25, a party with an Art Deco theme, to honor the museum’s 75th anniversary. Chairwomen are Allison Aston, a PR maven; Lydia Fenet, who plans special events at Christie’s; Joann Pailey, a fashion editor at Elle; Coralie Charriol Paul, as in Charriol, the Swiss jewelry and watch maker; and landscape designer Elisabeth Saint-Amand. Not exactly a bunch of Dorothy Parkers, but they do exemplify a quotation attributed to the Deco wit: “Take care of the luxuries and the necessities will take care of themselves.”

For more party coverage, visit www.cityarts.info.

To contact the author or purchase photos, email Amanda.Gordon@rocketmail.com; bit.ly/agphotos January 12, 2010 | City Arts

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Museography of the Soul January 8 th - January 30 th , 2010 Opening Reception: Thursday, January 14th @ 8pm

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