cityArts May 18, 2011

May 18-JUNE 15, 2011 Volume 3, Issue 10

IN THIS ISSUE: The many faces of artist Richard Dupont The benefits of fast, cheap, fun theater

PLUS: Wave Hill’s psychedelic visual trip Next from the Romanian New Wave Readying for piano this summer

JACOB’S PILLOW

InthisIssue 6 vISUAL ART

JoHn goodriCH experiences spring in the air and on the gallery walls at Wave Hill.

D A N C E FESTIVAL 2011

8 ARTIST FOCUS: RICHARD DUPONT

June 18 – August 28

KAri MiLCHMAn examines whether a famous name helps or hinders an artist at work.

10 CLASSICAL JAY nordLinger highlights some of this summer’s musical fixes.

12 AT THE GALLERIES reviews: sweet toof at Factory Fresh Gallery; Chris Marker at Peter Blum Chelsea and Soho; Hunter reynolds at Participant Inc.; Living in Havana at Marlborough Gallery; Matt Keegan at D’Amelio Terras; solo exhibitions at Soho Photo Gallery.

“ Two-plus months, more than 300

the Pillow isn’t messing

Collage Dance Collective; photo Christopher Duggan

total dance-related events, companies traveling from all over the globe:

around.“

– The New York Times

Becket, MA, 2 hours from Boston • see full schedule online

413.243.0745 • jacobspillow.org

You’ll Love My Sullivan County Catskills!

14 DANCE Both ballet and Broadway impress JoeL LoBentHAL with ways of expertly melding song and dance.

15 WINE Hungarian tokaji undergoes a ‘sweet’ renaissance.

16 THEATER MArK PeiKert investigates a handful of theater companies that have opted for faster projects; playwright Jonathan Marc sherman explains the parental anxiety in Knickerbocker.

18 ARTS AGENDA galleries, Art events, Museums, Classical Music, opera, theater, out of town.

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23 PAINT THE TOWN By AMANDA GORDON On The COver: Artist richard dupont with one of his head sculptures, currently on view at Carolina nitsch Project room. Photo by sophie elgort.

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InBrief

Director Radu Muntean’s Tuesday, After Christmas.

From Romania, With Love Looking at the opening moments of

Tuesday, After Christmas—on tap for a two-week run at Film Forum beginning May 25—it’s not wrong to think what we have before us is a love story. In a beautifully composed long take, two lovers—Paul (Mimi Branescu) and Raluca (Maria Popistasu)—playfully jostle one another in bed. The scene, lit beautifully by the late-afternoon sun, looks strangely familiar on the surface. But the longer the moment is held, the more time the viewer has to read and absorb the intricacies of the relationship on screen. Everything is not what it seems: Paul wears the cracked mask of self-confidence, always on the verge of revealing itself; Raluca believes too strongly in the role she’s performing.

When conversation casually turns to Paul’s wife and daughter, the tone takes one of its many shifts. This is a story of adultery rather than love, and the unwinding of the intervening marriage.

It’s a staggering scene, which sets the prevailing mood for the film at hand.

Director Radu Muntean is a major figure in the oft-celebrated Romanian New Wave, a burgeoning group of filmmakers who represent less a consistent movement than a smattering of exceptional talent who geographically collide. What Muntean does share with his contemporaries is an acute sense of the subtleties and nuances in human interaction, achieving a realism that is understated rather than forced.

A crucial scene deep into the film has Paul clandestinely ditching his family for a surprise drop-in on Raluca, who is visiting her mother for the holiday. She’s in the shower when Paul arrives, leaving he and the mother, who very clearly has objections toward his relationship with her daughter, to go through the painful motions of domestic manners. With only a few lines of dialogue, the two actors manage to convey a whole world of

shifting emotions. It’s rare that a scene in which so little happens can be this emotionally charged.

Part of what makes Tuesday so remarkable is its lack of judgment. It’s easy to take sides in a film of this nature, but the portrait presented here is more balanced. The wife isn’t driven to madness; the husband doesn’t fatally pay for his sins.

The thriller aspect slapped on to similar material is also absent from Tuesday. The most dramatic moments in the film are achieved through the antithesis of standard convention, and the narrative is pushed forward by an unbelievable amount of tension and discomfort. When will the truth be revealed? How will it be revealed?

Tuesday, After Christmas is undoubtedly a film of questions, but it makes no qualms about not supplying answers. It’s a tough conceit to swallow, but the film’s refusal of cheap morality is engrossing and, ultimately, invigorating. [Craig Hubert]

ArtSeveral Mart websites offer visitors a chance

to buy art without getting up from the couch, but a visit to Artspace.com will save you more than a trip to a gallery: It’ll save you a trip around the world.

Artspace, which was launched in March

by Catherine Levene and Christopher Vroom, partners with an impressive list of artists, cultural institutions and galleries, broadening the audiences with which these partners can share their work and increasing accessibility for people who might not otherwise purchase artwork.

As of this writing, Levene and Vroom have confirmed new partnerships with a number of galleries, including 303 Gallery, Elizabeth Dee Gallery, Marianne Boeksy Gallery, Metro Pictures, SikkemaJenkins and Sonnabend Gallery in New York, as well as Galeri Nicolai Wallner in Copenhagen, Galeria Luisa Strina in São Paulo and White Cube in London.

Artspace will announce several additional new partner galleries and institutions

over the course of the coming weeks, as the organization seeks to expand both its national and international influence.

Existing partner institutions around the country include the Guggenheim, the Brooklyn Museum, the Berkeley Art Museum, MCA Chicago and many others.

Artspace visitors can browse limited edition prints and works in other mediums—many commissioned specially for the site—at prices as low as $100, with more important collectors’ pieces listed at over $10,000. Artspace also plans to offer original and one-of-a-kind works starting this summer. Membership is free and gives users access to private sales; it also offers first dibs on special edition works at limitedtime reduced prices.

“It’s really quite an impressive group of artists that we’re bringing all together in one place,” says Levene. “I can name a handful right now who are in shows in New York: Richard Tuttle, Curtis Mann, An-My Lê, Glenn Ligon... This is sort of unprecedented. And people can buy their work, and connect with these artists, follow their process and really stay engaged over time with the artist that they’re collecting.”

Vrooms adds, “No cultural institution in the world has said ‘no’ to partnering with us, because it’s a huge value proposition for them. Our ethos as a company is to support creative culture around the world: to link people to great artists, great institutions and great galleries, and make everyone understand that they can live with great art. We offer works by world-class artists at prices that have never been available before. You don’t have to think about it for a month. It’s the same as a hockey game, or a good bottle of wine.”

[Deb Sperling]

Bothering to be Bewitched “I know it sounds maudlin,” says

choreographer David Parker, probably

one of the least maudlin and funniest artists in dance today. “But I wanted to do something for my father, who died a year and a half ago. I created a piece with what he liked best about my work: references to Hollywood musicals, vaudeville and the American Songbook.”

But in setting out to please his dad, who happened to be master mystery novelist Robert B. Parker, David didn’t realize that he would actually be venturing into new territory. Though known for witty works with all these elements, he has never really been required to sing, as he will in Misters and Sisters, which premieres at Joe’s Pub June 2. In fact, this dance-theater cabaret—chronicling his performing life with longtime Bang Group partner Jeffrey Kazin and including fellow members Nic Petry and Amber Sloan—even dares to be straightforward. “After all these years of being ironic,” Parker says, un-ironically, “I found I wanted to be sincere.”

To prepare for Misters and Sisters, Parker and Kazin have been preparing by taking singing and acting lessons, and discovering along the way their not-very-repressed, inner Broadway leading men. Both grew up in the Boston suburbs in the 1970s, feeling disaffected and bored by their milieu, “sissy boys,” Parker says, who were out of touch with everything but Hollywood musicals.

“We were saved by those movies,” he explains. “They are why I started to dance.”

With those films as touchstones, Parker began choreographing the piece, looking for duets for tenors and baritones to match their voices, and using songs with counterpoint, like “Baby, It’s Cold Outside,” and “I’m Old Fashioned.” Of course, “dream ballets,” those fantasies within the story that were a prerequisite in so many of those old films, had to be included as well. In those moments, all that matters is the dancing.

Though Parker has made full-evening works before—such as his comic version of The Nutcracker, titled Nut/cracked—he says he’s never paid much attention to narrative.

For the new piece, however, he is much more deliberate. Waxing lyrical about their new direction, Kazin says, “It’s a natural progression. I have wanted to do musical theater since I was 6 years old, and I’m sure David has, too. It’s wonderful to sing.”

[Valerie Gladstone]

It Takes a Village (ofWatch Designers) out for Colorbots this month.

No, we’re not talking about an assistant in Diane von Furstenberg’s fashion studio.

Rather, people will maneuver these small robots to create a large-scale work of art during the Parsons Festival. Thousands of students bustle through the classrooms and studio spaces at Parsons The New School for Design—pursuing higher education May 18, 2011 | City Arts

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Night & Dreams Presented by Mirror Visions Inc

Weill Recital Hall at caRnegie Hall Painting: René Magritte, Le 16 septembre (1956)

tuesday, May 24, 2011 | 8:00 pm Tom Cipullo - Nightmare at the Windermere Hotel (World Premiere) and Insomnia (NY Premiere) Scott Wheeler - Wasting the Night Yehudi Wyner - A Mad Tea-Party With songs by: Respighi, Satie, Rimsky-Korsakov, Grieg, Schubert, Sibelius

Tickets: $25 Students and seniors: $15 Available at the Carnegie Hall Box Office (57th Street and 7th Avenue), by calling CarnegieCharge at 212-247-7800, or at www.carnegiehall.org

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On view

May 18–July 31, 2011

Knoll Textiles, 1945–2010 Gallery Hours Tuesday through Sunday from 11 am–5 pm Thursday from 11 am–8 pm Admission $7 general, $5 seniors and students.

Admission is free Thursday after 5 pm.

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City Arts | www.cityarts.info

For information about tours for adult and school groups, call (212) 501-3013 or e-mail tours@bgc.bard.edu.

To learn about the Bard Graduate Center and its upcoming exhibitions, visit bgc.bard.edu.

InBrief degrees in a variety of creative fields—and most New Yorkers never get a peek behind those closed doors. Now the school has lifted that perceived barrier with its first cross-disciplinary festival—which kicked off May 7 and runs through May 23— inviting curious neighbors in to enjoy students’ talents in a big way.

The Parsons Festival is the first art and design festival showcasing both student and faculty talent, and it takes place in both galleries and more unconventional spaces, featuring around 200 events in a range of fields such as architecture, design and technology, environmental studies, fine arts, illustration, photography and, of course, fashion.

“We wanted to compress and consolidate the dynamic energy of our end-of-year experience,” says Radhika Subramaniam, co-organizer of the festival and director of the Sheila C. Johnson Design Center. “I’m always keen to spill out of the gallery and into the public space.”

Brendan McCarthy, 32, is one of 19 MFA students showing thesis work at The Kitchen as part of the fest with his sculptural installation, “The Lifeguard Project.”

The New School is synonymous with forward-thinking education, and this festival is no exception. “The school’s pushing this idea of cross-disciplinary studies,” explains Thomas O’Grady, 30, another MFA student exhibiting thesis work at The Kitchen. “It opens up discussions between different kinds of traditional subjects: They want this to be an open thing where you can all collaborate.”

According to McCarthy, in the past, “people usually came to see the fashion shows or the digital technology shows.

But now we’re all in the same place, and we’re advertised across several of the same platforms… It can only help to start promoting the notion that these disciplines aren’t necessarily all that separate.”

Neha Majithia, 26, will also be showing at The Kitchen. As she explains, “A good part about the festival is that everyone gets an opportunity to show to a very international crowd.” Majithia, who came to New York from India over two years ago to earn her second MFA, hopes the festival will provide her with opportunities to work in New York after she graduates.

The festival begins to wrap up May 21 with a community-oriented block party along West 13th Street (between Fifth and Sixth avenues) that includes everything from an outdoor lounge area created by students by inflating and decorating 30 industrial cargo bags, to a fashion photo booth where the public can be styled and model fashions by Parsons students.

“It helps to show to a lot of people we can’t normally reach,” Majithia says.

“We’ve been showing to our fellow

students and faculty, but this is the first time my art is out in the world with real spectators.” [Annie Lubin]

‘Savage’ Sounds

If given the chance, Josh Gosling would have written entirely new music. But since Alexander McQueen: Savage Beauty, which opened at the Metropolitan Museum of Art May 4, is a retrospective of the late fashion designer’s work, it only seemed appropriate to pair the clothes in the exhibition with the music that Gosling, McQueen’s longtime music supervisor, originally played as they went down the runway.

“It was really important as a historic document, so regardless of whether some of the music is from 10 year ago and I thought I could do it better now, it’s important to keep it exactly as it was,” says Gosling, who makes electronic music under the name Mekon and used to play in the seminal experimental art-rock band Psychic TV. “I could write music for that exhibition all day long, but it’s important to see it exactly as it was. I think it hangs together better for that, to be presented exactly how he wanted it.

So the 100 or so outfits and assorted other ephemera collected from McQueen’s 19 years as a cutting-edge fashion designer are encased in a sort of sonic resin. A Bjork song, “Frosti,” plays alongside dresses in the “Romantic Exoticism” galleries, which features a number of notable McQueen pieces, including those from his 2005 fashion show staged as a chess game.

And in another room a three-minute version of “Atlantis,” a longer piece that Gosling composed with industrial music legend Raymond Watts, sits in the air while museum goers take in McQueen’s spring and summer 2010 “Plato’s Atlantis” collection. When visitors stop to admire a hologram of Kate Moss that was part of the Fall/Winter 2006 runway show, the haunting music is perfectly suited yet somehow familiar. It’s John Williams’ theme from Schindler’s List.

“He would take something from pop culture and pair it with an image you wouldn’t expect and it would totally change your feeling about that music,” says Gosling.

“I remember there being a lot of opposition to that, but he stuck to his guns. He wouldn’t tell people his plan until the last moment so they couldn’t talk him out of it.”

The fact that music was so important to McQueen—“There was lots of back and forth, far more than you would do normally”—whose shows were famous for going beyond the boring old model-trotsrunway formula, made the posthumous celebration that much more affecting, says Gosling. “It’s very strange going back and finding all of the pieces of music. I hadn’t looked at those things in however long and it was very weird, very evocative.”

[Adam Rathe]

ArtsNews

A studio view of Alan Wolfson’s “Canal Street Cross-Section” on view at Museum of Arts & Design’s Otherworldly exhibit.

art, historical artifacts and other valuable items from the Steinway Mansion and other estates. The first two parts were held March 26 and April 30, with the March 26 auction bringing in over $300,000... The Metropolitan Museum of Art announced that, in 2015, it will take over the Whitney Museum’s Breuer building on Madison Avenue at East 75th Street, when the Whitney moves downtown. Groundbreaking on the Whitney’s new site on Gansevoort Street in the Meatpacking District will begin this summer. As per the agreement, the Met will occupy the building for at

least eight years… In other buildings news, The Museum of Modern Art is buying the building of the $32-million-in-debt American Folk Art Museum on West 53rd Street. With this acquisition, MoMA will now be able to connect its galleries on both sides of the block. Folk Art Museum chairman Laura Parsons says that the undisclosed amount MoMA has paid for the building will cover the debt that the institution has racked up. The museum will retain its smaller Lincoln Square branch, and may take some of its collection from the West 53rd location on the road.

Richard Serra Drawing A Retrospective

LaPlacaCohen 212-675-4106 Publication: CITY ARTS Insertion date: MAY 18, 2011

Through August 28 The exhibition is made possible in part by the Jane and Robert Carroll Fund.

It was organized by the Menil Collection, Houston.

MET-0066-Serra_CityArts_7.341x8.5_May18_v1.indd 1

metmuseum.org Richard Serra, September, 2001, paintstick on handmade paper, Private collection. © Richard Serra. Photo: Rob McKeever.

5/12/11Arts 5:47 PM May 18, 2011 | City 5

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The Kitchen recently announced the appointment of Tim Griffin as its new executive director and chief curator.

Griffin, who served as editor of Artforum for seven years, will begin his tenure in September... On May 9, The 52nd Street Project—a non-profit organization that pairs children with adult mentors to create new theater—held its 30th anniversary gala, dubbed He Started It, to celebrate founder Willie Reale. The evening was hosted by Lewis Black and featured appearances

by Frances McDormand, Duncan Sheik, Bela Fleck and others... On May 7, Nicole Klagsbrun Project opened its new gallery space, at 524 W. 24th St...

Artist Alexander Melamid announced the launch of the Art Healing Ministry in Soho. The new health clinic will use various art-based techniques to alleviate symptoms of various physiological and psychological conditions... Creative Time will kick off its new international exhibition, Living as Form, May 18, with a free public talk by curator and art historian Claire Bishop, in the Rose Auditorium at The Cooper Union.

The exhibition, which includes over 100 artists and projects, will run from Sept. 23 through Oct. 16 in the Essex Street Market Building... The American Theatre Wing announced the appointment of Heather Hitchens as its next executive director, effective June 5. Hitchens, who has almost 20 years of experience in performing arts administration, served as the executive director of the New York State Council on the Arts... On May 24, Sol LeWitt’s Structures: 1965–2006 opens in City Hall Park. The outdoor exhibition will feature 27 three-dimensional works created over the course of more than 40 years... On June 7, Otherworldly: Optical Delusions and Small Realities opens at The Museum of Arts and Design. The exhibition features smallscale, hand-made renderings—dioramas, snow globes, installations and more—of artificial environments and “alternative realities,” crafted with extreme attention

to detail and engagement with the physical process of art-making... On May 12, The American Classical Music Hall of Fame held a luncheon to celebrate its 2010 inductees at The Juilliard School. The inductees were Baltimore Symphony Orchestra conductor Marin Alsop, composers William Bolcom and Philip Glass, The Emerson String Quartet, Dr. Joseph William Polisi, ASCAP and BMI... The Capo Auction House in Long Island City will hold part three of its Steinway Mansion contents auction May 21. The auction features antique furnishings, fine

VisualART

A Trip Through Psychedelia

BY JOHN GOODRICH ew Yorkers who have never visited Wave Hill in the Bronx have missed out on one of the city’s most effulgent and enchanting displays of nature.

This 28-acre estate—at various times the home of Theodore Roosevelt, Mark Twain and Arturo Toscanini—boasts beautifully tended flower gardens, woodlands and stands of ornamental trees, as well as spectacular views of the Hudson River and Palisades.

It is also home to the Glyndor Gallery, which currently offers an exhibition tailormade for the setting: work by Philip Taaffe, Fred Tomaselli and Terry Winters, all artists noted for their idiosyncratic interests in the botanical. Invited to Wave Hill by senior curator Jennifer McGregor and independent curator Raymond Foye, the three artists met there last fall to view the grounds and plan the exhibition. The results are the nearly 40 drawings, paintings and prints in Alchemy and Inquiry, on view through June 19. If this title suggests a blending of romantic mysticism and methodical investigation, both qualities resonate in the work— which is inspired variously by botanical illustrations, tantric diagrams, computer graphics and consumer culture.

The scent of wisteria lingers as one enters the gallery, where each artist’s work occupies a separate, sunlit room. The most exuberantly decorative works are Taaffe’s 10 pieces, which reflect his usual technical virtuosity and encyclopedic store of graphic images. Several of these mixedmedia works resemble flattened terrariums—or perhaps sheets of book-pressed specimens—recording nature in elegant, incandescent hues. Sea shells and corallike growths, incised with precise ridges, jostle with ferns and pods, often repeated identically through stencil or silkscreen processes. Scraped-out vestiges of other images lend a humming depth to the backgrounds, adding to the deliciously atmospheric effect of the twilight-hued “Sea Vent I,” with its grainy, translucent assortment of coral and seaweed (or are they brains and worms?). Taaffe’s two largest works appear to have been produced through his marbling technique: In “Cereus Chrysocentrus,” delicate, spidery

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City Arts | www.cityartsnyc.com

Taaffe: Jean Vong/Courtesy of Gagosian Gallery . Tomaselli: Erma Estwick/Courtesy of James Cohan Gallery

The works on display by Philip Taaffe, Fred Tomaselli and Terry Winters at Wave Hill offer a mystical visual journey

Philip Taaffe’s “After Alcyonarial” (above) and Fred Tomaselli’s “The Dust Blows Forward, The Dust Blows Back.” rays stretch across a background of lozenges that float, lazily, in a sea of torn pinks and blues. It could be a psychedelic oceanographer’s chart.

Winters may be the most theory-driven of the artists. In recent years, his familiar gridded images, evoking neural networks and architectural webs, have yielded to more organic forms, while still retaining their strong organizing impulse. In four robust drawings at Wave Hill, petal-like shapes emerge symmetrically from backgrounds of fragmented patterns suggesting trellises.

A single painting of a faceted spore or blossom, set against vaguely biological forms in electric blues and greens, evokes the dissonance of the information age rather than a comforting synthesis. The powdery white surfaces of nine relief prints from the “Pollen” series suggest another anomaly: rough-hewn snowflakes. Throughout,

Winters’ images possess a raw earnestness, pitting the organic against the geometric.

In this company, Tomaselli comes off the truest apostle of postmodernism, embracing not just its appropriations but its role-playing and subversions as well.

He has also produced the exhibition’s wittiest work. Three paintings arrange tiny, peculiar images of nature with tantric intensity, overlaying them with his familiar layer of resin that seems to both inter and intensify the ornate effect. (Completely absent are the colorful pills that decorated his early works.) In “Dahlia” (2011), collaged images of flowers, beetles, eyes, jewels, snakes and moths, sealed beneath the resin, are organized into flame-tipped petals by countless colorful lines painted on its surface. Dots radiate to the edges, while painted bull’s eyes proliferate, echoing the collaged eyeballs beneath. Here, even the auras have auras—which appears to be the point, as Tomaselli examines perceptions of the mystic as much as mysticism itself.

His diverse work includes five velvety gray photograms of leaves, their centers

blossoming with concentric spasms of color. On another wall, two digital prints modify front pages of the New York Times; one alters a photograph of hospitalized victims of a Baghdad bombing, so that the bandaged victims are completely enveloped in a flowery pattern. Four other works at first seem to be pages from birding guides, but on closer inspection, the birds turn out to be multicolored collages of garments— plumage indeed!

Tomaselli seems driven as much by a glittering strangeness of effect as a reverence for nature. And in fact, it could be said that all three artists show less interest in the gravitas of traditional pictorial composition than the vivid possibilities of technique, concept and imagery. For them, nature seems a garden of earthly delights, but without the chastening demands of a higher order; there’s nothing here quite like the edginess of Hieronymus Bosch or William Blake. But Alchemy and Inquiry offers plenty of rewards on its own terms, complementing the resplendent sights of a spring day at Wave Hill. <

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5/10/11 5:09 PM

The Many Faces of Richard Dupont

Photos by Sophie Elgort

Never a ‘starving artist,’ Dupont still struggled to break into New York’s elite art world

Artist Richard Dupont’s head-shaped sculptures cast out of solid archival polyurethane resin are currently on view at Carolina Nitsch Project Room.

by Kari MilchMan ou probably wouldn’t recognize Richard Dupont from the many works he’s done based on his own form. A collection of fleshy-pink men for his much-talked-about solo show at Aby Rosen’s Lever House in 2008.

“Phantom” (2007), the larger-than-life etching of his hand recently acquired by the Museum of Modern Art. Or his latest series, polyurethane resin castings of his head filled with the detritus of his life, which opened at Carolina Nitsch Project Room earlier this month and are on view through June 25.

Since 2004—when he paid a visit to the

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City Arts | www.cityartsnyc.com

Wright-Patterson Air Force Base in Ohio and left with a digital full-body scan of himself—Dupont has been creating these self-portraits that have very little to do with the self.

“I’ve used my own body as sort of an armature for a lot of the work I’ve done over the last seven years,” the wiry artist explains. “I created this virtual form and that became raw material for all kinds of work: print-making, drawing, sculpture.”

Whereas early works explore surveillance through technology, Dupont’s latest series can be tied to the idea of self-surveillance: how people have taken to documenting and

recording their own lives in thorough detail. me—that was kind of a shock.”

It’s an almost-warm afternoon at the Then, after school, Dupont moved artist’s studio on Varick Street near Spring, to New York and did what most young and Dupont is surrounded by massive creative types do to support their sculptures of his head. It’s all very Alice interests: work odd jobs. “I was teaching in Wonderland. From that same laser homeless kids art. I was bartending. I scan, Dupont made the mold that formed took drum classes,” Dupont says of his these hollow canisters in which he then post-college years. It was some time placed, time capsule-style, the random before the art world took note. Slowly, “junk” and found objects he accumulated he was able to devote himself more to over nearly a decade. There are 12 in all, his art, and began contributing to group each containing items ranging from the shows here and in Europe. Then, in personal—photographs, his child’s shoe, 2004 when Dupont was 35, he caught a stuffed animals—to the generic: steel wool, break—a big one. a crushed beer can, Styrofoam peanuts.

“Tracy Williams decided to give me “For these, I wanted the physiognomy a show, a large sculptural installation of the face to almost disappear and be consisting of three figures that were later overtaken by what’s inside,” Dupont says as bought by MoMA,” Dupont remembers. he examines his likeness.

“Our heads are filled with junk all the time.

“Our heads are filled with junk all It gets fed into us even as we try to live clean the time. It gets fed into us even lives. The metaphor is as we try to live clean lives. The fairly straightforward and obvious, but that’s what I metaphor is fairly straightforward like. It has an immediacy and obvious, but that’s what I like. that I think is important.”

What’s less obvious It has an immediacy that I think is is the artist’s attempt to important.” disempower himself as the creator of these pieces.

“I am basically working upside down and inside out, so I can’t completely control what’s “After that, everything changed for me. happening,” Dupont says of his process.

There was a tremendous energy that came “Initially, I wanted to avoid any type of out of the response to that show.” intentional composition. Of course, that’s But in all those years as a “struggling impossible—somehow you find a way artist,” was the Dupont family name a to make choices. Even if an item is just help or hindrance? The fleeting jewelry dumped in there arbitrarily, it becomes collections, the chick lit, the small film a gesture and immediately looks like I roles—social prominence can help put you intended a certain effect. I’m interested out there, but success and critical acclaim in that line: Where does control end and don’t always follow. “I don’t really think accident begin? Working this way, I never about this too much now,” Dupont says, know exactly what I’m getting until the carefully. “In the beginning, I wondered end. I love that there’s always an element if this door opened or closed for this of chance.” reason. If I had chosen a different career, it The playfulness of this series belies the would probably have worked more to my hard work Dupont has put in to get to the advantage. The art world doesn’t care— point where his art earns solo shows and people are not interested in a ‘Dupont.’” a place at renowned New York museums.

So he, just like anyone, went the oldHeir to a chemicals fortune and plugged fashioned way: focusing on his work and into the business and New York social hoping the right people would notice. scenes—his father is a private investor and “The major decision makers are an insular his mother is a Frick (she remarried)— pocket—not really an economic pocket, Dupont’s connections didn’t gain him but more of an intellectual pocket,” Dupont immediate access to the art world. As an says of the power players in his field. “The undergrad, he studied art at Princeton. art world is more impenetrable than the “The best thing about Princeton is social world or the business world by far. it’s so close to New York, so we had all It’s a tiny club, and just like any club, it has these visiting artists,” Dupont says. “The guidelines for membership and is difficult Guerrilla Girls staged a week of events. to get into. It’s the same as any other Jackie Winsor came and talked. One day, exclusive world, whether it be Wall Street I was in my studio and turned around and or Hollywood. No matter who you are and Roy Lichtenstein was standing right behind where you come from, you have to make

POWER INCARNATE: Allan Stone’s Collection of Sculpture from the Congo

May 14 – September 4, 2011

BRUCE MUSEUM

1 MUSEUM DRIVE GREENWICH, CT brucemuseum.org

TheArt StudentsLeague of NewYork Polyurethane resin casts of Dupont’s head filled with different types of “junk.” a name for yourself through hard work, perseverance and hopefully hitting the right notes once in a while.”

Hitting the right notes is the hard part.

“Everyone comes with their own set of subjective points of view. Everyone has a different favorite piece, a different reason why. It’s so arbitrary,” Dupont says. “So finding support is curious. I have done shows that I thought would sell out the first day and nobody buys a thing. Then I do something else that I think is really challenging and no one is going to get, and everybody goes crazy and wants to be involved. There really is no rhyme or reason sometimes.”

Despite the subjectivity, Dupont has garnered enough of a following to allow him to keep working—which, according to him, is the whole point. His success hasn’t gone to his head, and although he’s often seen at various parties and social functions with wife and gal-about-town Lauren Dupont, he’s hardly become a regular fixture in the gossip pages. “Everyone talks about how

artists need to be celebrities, but that’s just not the case,” Dupont says, firmly. “There is a handful of artists whose work is about creating this post-Andy Warhol idea of the artist persona, but most artists I know don’t put this caricature of themselves out into the media. They are a very quiet group who keep to themselves and are more interested in doing the work.”

And in his case, the work has taken Dupont far—and will take him farther still.

With a show this fall in Seoul and another in Berlin later this year, Dupont has come a long way from his days as a bartenderslash-drummer. And though he and Lauren recently left Tribeca for the East 60s, Richard has no plans to leave New York any time soon.

“It’s funny how people are so territorial, so tribal and neighborhood-oriented,” he muses. “It’s kind of ironic because, really, it’s all just the same thing now no matter where you live. It’s too expensive. There aren’t many artists left in the city.” Well, there’s at least one. <

Red Dot Exhibition of Award-Winning Students June 6 – June 17 Reception June 7 6:00 – 8:00 pm The Phyllis Harriman Mason Gallery The Art Students League of New York 215 West 57th Street

Gallery hours: Monday – Friday 9:00 am – 8:30 pm Saturday, 9:00 am – 4:30 pm Sunday, CLOSED

FREE and Open to Public 212-247-4510 info@artstudentsleague.org www.theartstudentsleague.org

May 18, 2011 | City Arts

9

Check Out Manchester: Competitive Yet Historic

ClassicalMUSIC&Opera

Getting Musical Fixes This Summer

American Airlines can get you there with its daily, nonstop flight from JFK

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City Arts | www.cityartsnyc.com

Some friendly suggestions

roger Mastroianni

Though tourists flock to London for the culture and Edinburgh for the history, it’s no wonder that Manchester ranks as the United Kingdom’s third most visited city, a unique and vibrant metropolis that offers the best of both.

For a convenient, direct flight to Manchester, consider American Airlines’ daily nonstop Flight 210, departing from John F. Kennedy International Airport at 8:25 p.m. and arriving in Manchester at 8:45 a.m. the following morning. American flies the route with a Boeing 757 aircraft with 16 seats in Business Class and 166 seats in the Economy cabin.

Manchester is known for its intense rivalries: with Birmingham for the title of “Capital of Northern England,” and with nearby Liverpool due to their fiercely competitive football clubs. Birmingham may win in terms of population, but Manchester easily comes out on top overall thanks to its many museums, historic sites and thoroughly modern cultural attractions. A relatively compact city of about 460,000 (2.6 million in the greater metropolitan area), Manchester makes for an exciting and easy getaway, handily accessed via one of the U.K.’s largest airports.

Our weekend adventure began in the city center with a ride on the Wheel of Manchester, the 42-carriage Ferris wheel that opened in 2007. A more compact answer to the London Eye, the Wheel delivers unparalleled views of the city, rising 180 feet at its highest point. It’s a great place to get your bearings and understand the layout of the town.

After taking in this modern marvel, we ventured back to the medieval era with a visit to breathtaking Manchester Cathedral. The church dates to the 13th century, at least, though some estimates of the holy site go even earlier. It’s a spectacular example of the Gothic style, with a fascinating history to boot.

Continuing on the historical tip, we meandered south to Castlefield, the site of the original Roman fort Mancunium, which gives the city its name. The area saw the construction of a series of canals in the 1760s to fuel the local cotton industry—and is now widely considered to be the sparking point of the Industrial Revolution. The Museum of Science and Industry, housed in a lovely Victorian rail station, gives a fairly comprehensive look at the city’s distinctive role in spreading the Machine Age to the rest of the world.

All of this time travel had left us famished. We took in a quick pint at one of Manchester’s quirkiest drinking dens, Peveril of the Peak, on Great Bridgewater Street, before moving on to the Castle Hotel. The lively pub is known for its Manchester Egg, a tangy pickled egg served with black pudding—probably not for the squeamish.

Although Manchester has no shortage of attractions for science buffs interested in the likes of steam engines, there’s plenty to see and do for the rest of the family. The next day, we ventured north to lush Heaton Park, Manchester’s 600-acre greenspace, which boasts an 18-hole golf course, an animal farm, gorgeous English gardens and a museum. Closer to town, we discovered the stunning Imperial War Museum North, housed in a striking waterfront building designed by Daniel Libeskind. Another architectural gem sits nearby on Salford Quays: The Lowry, opened in 2000, is home to two theaters, a dance studio and a vast array of art galleries.

We gathered our thoughts with a quick drink at the Terrace Bar, one of the Lowry’s many pubs, then decided to do some shopping. A Manchester native had suggested we stop by Afflecks Palace, which turned out to be an eclectic collection of trendy boutiques on Church Street in the Northern Quarter.

All this sightseeing and shopping had left us hungry for some grub. We journeyed south to Manchester’s famous Curry Mile, a busy row of mainly Bangladeshi and Pakistani restaurants on Wilmslow Road. The eateries were packed and, surprisingly, open late, some serving until 4 a.m. to catch the nightlife crowd.

Manchester may be known for its competitive nature, but we found the locals to be relaxed and generally more helpful that busy Londoners. Birmingham may wince, Liverpool may moan, but one thing’s for certain: For a charming and full weekend getaway, Manchester can’t be beat.

The Cleveland Orchestra comes to New York this summer for the Lincoln Center Festival.

By Jay NordliNger ummer is around the corner, and musical life in this city won’t stop. You can skip away to Bard, Caramoor or Glimmerglass, of course. But you can also stay here in the big bad city. I will give my sense of the highlights.

The New York Philharmonic’s season—regular season—runs late. Later than anybody’s. Their last performance will be June 25. But, three days later, they’ll begin a brief summer season. This consists of two concerts—pops concerts, you can call them—which will be given three times each. The first is titled “Tchaikovsky and Other Romantics.” The second is, appropriately enough, a “Star-Spangled Celebration.” Sousa marches will not be excluded.

Conducting these concerts will be a British gent named Bramwell Tovey, who is a good musician and a charming talkerto-the-audience—especially when he lays off politics, which he has proven is not his specialty.

The Lincoln Center Festival is enticing: It goes from July 5 to August 14. The Cleveland Orchestra will be part of it, in a series called “Bruckner: (R)evolution.”

People are getting awfully cutesy with titles, aren’t they? Not long ago, I learned that

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there’s a period-practice group at Juilliard called—get these italics and whatnot— “Juilliard415.” (The number refers to the tuning of A in Baroque times.)

Leading the Cleveland Orchestra will be its music director, Franz Welser-Möst.

A Linz boy, he feels a special kinship with Bruckner, who was another Linz boy. No fair mentioning a couple of other guys from that town (Hitler and Eichmann).

Another orchestra at the festival will be the Mariinsky Orchestra, partnered with the Mariinsky Ballet. (We used to know this crowd as the Kirov.) Valery Gergiev will conduct two ballets by Rodion Shchedrin, a Russian composer born in 1932. From time to time, I interview musicians, and I often ask them what living composers, if any, are worth listening to. Several have said, “Shchedrin.” That includes Gergiev, and Lorin Maazel.

Incidentally, Shchedrin is married to one of the greatest ballerinas in history, Maya Plisetskaya. You could make an argument that they’re the most talented couple extant.

Let me mention one more element of the Lincoln Center Festival: a new opera, Selma Jezkova, by the Danish composer Poul Ruders. It is based on a movie, Lars von Trier’s Dancer in the Dark (2000). I have heard other works by Ruders, and have not

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Leon Fleisher, piano Jaime Laredo, violin Jennifer Koh

Natasha Razina

been bowled over. So why do I bring up this opera? Well, we’re all supposed to be “supportive” of new music, right? Go team.

The Metropolitan Opera is offering some recitals, from July 11 to July 28. They will not be in the opera house: They will be in parks, in all five of the boroughs. And the price will be right: free. Each of the recitals will feature three “rising Met stars,” to quote company PR. I can’t vouch for the singers. But I can vouch for the pianist who will accompany them, Bradley Moore. He is an excellent musician.

Will a piano be properly heard in the parks? No idea. We’ll see.

On the Upper West Side, Mannes College will host the International Keyboard Institute & Festival, presided over by Jerome Rose, a pianist and teacher, and his executive director, Julie Kedersha. The festival will last two weeks, from July 17 to July 31. There will be a slew of piano recitals—something like 25. Some names The Mariinsky Ballet and Mariinsky are familiar (e.g., Marc-André Hamelin).

Orchestra partner for performances during Many names are not. Maybe those names the Lincoln Center Festival. deserve to be familiar.

Among the lesser-known pianists Baroque Orchestra, plus cast, in a concert is Koji Attwood, a talented guy in the performance of Handel’s opera Orlando.

Lisztian mold: He’s the type to compose Will it be genuinely musical, or will it be his own transcriptions. A veteran, wizardly hoot-hoot, scratch-scratch? Root for the pianist is in the lineup: Cyprien Katsaris. former (obviously).

He has more technique than five average I have never heard Juho Pohjonen, a pianists put together, and plenty of Finnish pianist, but some of my friends musicianship, too. have, and they rave about him. We’ll be The festival gives you a chance to hear many pianists, yes. But I’ll tell Recitals are becoming fewer you what I especially and fewer, even as opera, appreciate about it: It gives you a chance to chamber music and some other hear much piano music, things are flourishing. (The a great deal of repertoire.

Recitals are becoming death-of-classical-music people fewer and fewer, even as don’t want you to know that, opera, chamber music and some other things are but it’s true.) flourishing. (The deathof-classical-music people don’t want you to know that, but it’s true.) able to judge for ourselves in a Festival Lincoln Center’s Mostly Mozart Festival Orchestra concert that has him playing will dominate August: running from the a Mozart concerto. In the hour before 2nd to the 27th. Iván Fischer will lead this concert, he will play a mini-recital: a his Budapest Festival Orchestra, and, of Mozart sonata. He will play a full recital course, a cast of singers, in Mozart’s Don later on in the festival, a program of Haydn Giovanni. He is a spiffy musician. (Fischer, and Mozart.

I mean, though there’s much to be said Another recital will be given by a for Mozart, too.) Pablo Heras-Casado, a pianist named Jenny Lin—whom I mention promising young Spanish conductor, will because, frankly, she makes me think of lead the Mostly Mozart Festival Orchestra Jenny Lind, the 19th-century soprano and in a concert that also includes Joshua Bell, “Swedish Nightingale.” the violinist. He’ll play the Bruch Concerto.

I am high on a French conductor (There are three of them, but when we say named Jérémie Rhorer, whom I heard in “Bruch Concerto,” we mean only one.)

Salzburg last summer. He will conduct The orchestra’s music director, Louis the Mostly Mozart Festival Orchestra Langrée, will lead an all-Beethoven this summer. I’m also high on Monsieur concert. It boasts Christine Brewer, who Langrée and his closing program of the will sing an excerpt from Fidelio. She is an festival: which will include Schubert’s underrated soprano—and she’s practically Symphony No. 8 and Mozart’s Requiem. made for the music she will sing. Nicholas Both works are unfinished. Kind of cute, McGegan will conduct the Philharmonia the programming, right? <

2007 Kennedy Center honoree Leon Fleisher and his close friend Jaime Laredo perform music by two of his favorite composers— Bach and Schubert.

SCHUBERT: Two Sonatinas for Violin and Piano BACH: Chaconne from Partita No. 2 in D minor, BWV 1004 (arr. Brahms for Left Hand) BACH: “Sheep May Safely Graze” from Cantata No. 208 (arr. Egon Petri) SCHUBERT: Sonata for Violin and Piano A major, D. 574, “Grand Duo”

This concert is supported in part by The E. Nakamichi Foundation. The 92Y In Focus series is supported by an endowment gift from Joan L. and Dr. Julius H. Jacobson, II.

GET your TICKETS ToDAy! Order online and save 50% on service fees at 92y.org/Fleisher or call 212.415.5500.

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AttheGALLERIES There are some knockout individual images, but the sheer volume of pictures of essentially the same subject becomes somewhat numbing. The collective effect is that of a collection of film stills, a group of studies of its subjects, rather than a cohesive narrative about them. As if looking through the windows of a passing subway car, we register briefly the small dramas within and then quickly move on to the next window.

Knowing Marker’s eccentric cinematic vision, perhaps this is exactly what he has in mind. [Melissa Stern] Through June 2, Peter Blum Chelsea, 526 W. 29th St., 212-244-6055 and Peter Blum Soho, 99 Wooster St., 212343-0441.

Hunter Reynolds: Survival AIDS

“Battle Of The Buff,” by Sweet Toof.

Sweet Toof: Dark Horse Why so long in the tooth? After losing 10 friends “in a series of freak accidents,” a Danse Macabre sensibility has gripped London-based, veteran graffiti writer Sweet Toof. In Dark Horse, his first solo show in the U.S., Sweet Toof invades Bushwick’s Factory Fresh Gallery with his iconic swollen gums and pearly whites.

Approaching the gallery, a mural runs along the top of an adjoining building, spilling over into the gallery’s backyard.

Sweet Toof’s familiar incisors continue onto the gallery walls, in the doorways’ trim and the paintings themselves. The pieces are populated by skeletons, decked out in patterned pants and stovepipe hats, equipped with brightly primed paint rollers to make their mark on society.

In “Giddy Up,” one of the larger canvases, a group of skeletal horsemen ride away from two Trojan Horses tagged with “Stoof” and “Fard.” Both rider and steed bare Sweet Toof’s maniacal mandibles, grinning in triumph over their latest conquests. A dark, billowing cloud hovers over the scene—or is it smoke from the cultural fires set by this cadaverous

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City Arts | www.cityartsnyc.com

cadre of Cheshire cats?

A common criticism of streetcum-gallery artists is that reduced to a canvas, tags lose their inherently anti-establishment ethos, and come across more like photographs—a sort of handmade take on the genre of graffiti documentation. Sweet Toof’s energetic style and subject matter—which draws heavily on 17th-century European guild and Vanitas painting—captures graffiti’s confrontational spirit and translates it through metaphor and technique into a gallery setting. [Nicholas Wells] Through May 22, Factory Fresh Gallery, 1053 Flushing Ave., Brooklyn, 917-682-6753.

Chris Marker: Passengers While viewing the gigantic exhibition of photographs by Chris Marker at the Peter Blum Gallery, I was struck by one question: How much of a role should context play in understanding and appreciating an artist’s work? To explain, Marker is a legendary figure in cinema history, having made the movie La Jetée, from which countless filmmakers have derived inspiration. He’s

kind of an insider guy, an underground artist whose unique vision has endured through decades of changes in the art world.

Yet if I did not know any of this, how would I feel about the 200 or so photographs currently on exhibit at both branches of the Peter Blum Gallery?

Passengers is an exhaustive show of digital photos of people on the Paris Metro, taken from 2008-2010. Capturing his subjects by what appears to be a spy camera, Marker then plays with the images, using Photoshop to tweak color and tone.

He plays with textural aspects of the images, many of which look grainy, as if the film had been “pushed’ in an older film developing process. The majority of the images are of women—old, young, lost in thought and sleeping. The overall effect is of a world of disconnected people and environments. Marker’s subjects stare off into the distance. Very few of his subjects are looking at the camera, subverting the very notion of portraiture.

A student of Marker’s history recognizes the exhibition as another step in his visual evolution. However, without this context, the show might read as a little tedious.

Americans are famous—and derided— for not knowing their history. Hunter Reynolds counters this dangerous deficiency with a profound and wrenching series that commemorates a particularly heinous period in our recent past. Living with HIV/ AIDS since 1984 and an early member of ACT UP, he has long fought the prejudices and misconceptions surrounding the disease, both as activist and artist. In many formidable ways, he has used contemporary events as the backdrop or inspiration for riveting works of art, among them the Blood Spot series, Mummification performances and Photo Weavings.

Between 1989 and 1993, he started collecting every article relating to AIDS/ HIV in The New York Times, which he then presented on walls, tables or read in performances. Storing them in boxes, he only opened them recently to create 20 60-by-48-inch pieces, each composed of 120 photographs he sewed together to resemble quilts or tapestries. They are shown in the gallery, in this site-specific installation.

Splashes of blood spread across collages of news stories. In “Laughing at AIDS,” the headlines read “Father-Son Drama Over the Gay Ban,” “Nureyev Did Have AIDS,” “Blood Gives AIDS Virus to Over 300 Germans,” as well as numerous obituaries of men felled by AIDS. In “Gay Is Not OK,” a mummified body, wrapped in a plastic shroud, stretches across an article about fights in schools about gays. In the middle of “We Die In The Streets,” a blackand-white photograph of an AIDS rally, a mummy wrapped in yellow and black, stands erect amid the chaos. A multi-faceted work of tough and touching beauty, Survival AIDS should ensure that this period is never forgotten. [Valerie Gladstone] Through June 5, Participant Inc., 253 E. Houston St., 212-254-4334.

Living in Havana Few countries arouse as much curiosity as Cuba. Its politics, music, dance, countryside and poverty conspire to

Rancano’s created the powerful “Noble ser 2,” a sculpture of an iron shovel, its handle covered in nails, perched on a block of wood, ready to dig a grave.

As Corina Matamoros, chief curator at the Museo Nacional de Bellas Artes in Havana, described the work in this exhibition, “It draws us inward to the dark corners, to the coarseness of the materials and their implied meanings, to the sublimely humble, to the environment that brings the works together, to Habana profunda (deep Havana).” [VG] Through June 18, Marlborough Gallery, 40 W. 57th St., 212-541-4900.

Matt Keegan: I Apple NY

“99 East Broadway, New York, NY,”

by David Monderer.

make it especially intriguing, especially to Americans who have long been prevented from visiting legally. Seeing the work of Cuban artists who live in Havana provides a fascinating window into life there, especially since those in this exhibit rank among the country’s most accomplished.

Abel Barroso expresses his political views in tactile wood sculptures like “Visa para El Dorado,” which shows a hand stamping a visa, a false promise of paradise.

Kcho’s fierce charcoal drawing on canvas, “R.D.P,” depicts a confining world, made no freer by boats, used symbolically to suggest the hazardous journey of Cubans across the Strait of Florida. He contributed the exhibit’s largest work, “El Camino,” consisting of two huts connected to each other by a tunnel constructed of inner tubes from tires. One hut is furnished with symbols of poverty and the other with those of comfort, a commentary on man’s aspirations to a better life, and the difficulty—and perhaps ambiguity— surrounding its achievment.

Against a red-and-black background, Roberto Diago constructed impenetrable columns of small squares, linked by steel wire, in “Estudio 1,” a tapestry of pain.

His forbidding “La energia del mundo,” consists of a metal sheet painted to resemble a boarded-up wall, decorated with a black mask and the word “yo.” William Perez’s “Luz propia,” a sculpture of Plexiglas, encases a portrait of José Martí, the leading Cuban revolutionary in the war for independence from Spain. The head and face are covered in tiny fiber optic lights, elegantly preserving the past. Ernesto

A collection of photographs, sculptures and printed texts, Matt Keegan’s composite vision of New York City captures the gaudy and the gritty, the mundane and the maniacal, and the everyday moments that inundate us. Like everything else in the city, Keegan builds on what came before, inviting collaboration and openly riffing on influences. A fawning interview with Milton Glaser serves as the exhibition’s press release, while Glaser’s famous “I ♥ NY” logo is reworked here—in collaboration with David Reinfurt—with a bright red apple in place of the heart.

The backbone of the exhibition is a series of photographs depicting New York in public, wrapping around the gallery at eye level. Organized loosely in a geographical order, the photographs are mounted on sheet metal spray-painted in the colors of New York bridges, with names like “George Washington Bridge Grey” and “Pulaski Red.” The images are the sort of thing that creeps into you subtly. Their power is in the repetition of seeming mundanity: a bird’s-eye view of a busy street corner, those ubiquitous ConEd subway posters, and two women lounging on brownstone steps in the sun. Keegan’s selection of images presents a vision of the social sphere of the city, but also prompts his audience to build their own narrative through connections.

The exhibition subtly explores various sides of conflict in New York’s development: the different waves and counter-waves that make this a unique city. In the video “Biography / Biographer,” for example, Keegan’s father talks about working as a teenager at a golf club patronized by Robert Moses, while a number of the photographs depict the West Village, that jumble of mismatched streets once home to Jane Jacobs.

Maybe this is the phenomenon by which, in a place as densely populated as New York, any change has a rippling effect and will be rebuilt and recast by future generations.

Towards the end of the interview-turnedpress release, Glaser reflects on how New York has changed since he first put “I ♥ NY” to paper: “There is less inexpensive housing for people on every level… But the vitality of the city, the energy of the city,

and the ambition of the city really keep you alive.” [NW] Through June 18, D’Amelio Terras, 525 W. 22nd St., 212-352-9460.

Monderer resolves this by taking a series of photographs and creating a composite picture of an unobstructed building.

The results are striking.

Solo Exhibitions It’s not often that we A series of Hugh Bell look at New York photographs, now on display buildings in isolation, at the Soho Photo Gallery, the way we might look at shows us great jazz musicians a mountain, or a waterfall. caught in moments of silence.

Monderer’s pictures are Billie Holiday stands in her a treat because they force dressing room, squinting and us to see things in a new holding a cigarette. Charlie way: By largely removing Parker holds onto his saxophone these buildings from the and looks mournfully into the teeming city all around distance. These are intimate them, he forces us to ignore moments. The musicians here the forest for the trees. are not sacred figures but simply There are two other people, engaged in the business newly mounted shows at of living. One photo in particular Soho Photo. Flying Eggplant stands out. Thelonious Monk Number 5 is a whimsical, sits at his piano in a cap and rather endearing series jacket, his face totally focused.

by Richard Gardner. At But the photo cuts off the piano.

Auschwitz: A Remembrance All we can see is Monk from (by Wayne Parsons) is a set of the shoulders up, so that he moving, almost mundane pictures looks, really, like any working from the infamous camp. There man concentrating on the are shots of empty gas canisters, task at hand. a railroad tie from the platform “Mummification If Bell’s exhibit shows where prisoners were sent on to their Skin,” by Hunter us musicians without music, deaths. Some of the pictures remind Reynolds. the David Monderer exhibit us forcibly that Auschwitz is now (downstairs at the same gallery) a museum; one photo is captioned shows us New York City buildings without “sign indicating emergency exit for tourists people. It’s not easy to take pictures of at Auschwitz.” And so the story evolves. tenements. New York’s streets are too [Kate Prengel] narrow to allow long camera shots, and Through July 3, Soho Photo Gallery, 15 the constant traffic obstructs our view.

White St., 212-226-8571.

“Visa para El Dorado,” by Abel Barros.

May 18, 2011 | City Arts

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DANCE

ari Mintz

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A dance number in How to Succeed in Business Without Really Trying.

www.cityartsnyc.com | 212.268.8600

DRAWING WOODCUT ETCHING

How to Succeed Song-and-dance expertly melded in disparate venues

By Joel loBenthal told myself to take it easy. Make it begood-to-yourself month. So I headed over to Broadway with my 8-year-old niece Adelaide to see the latest revival of How to Succeed in Business Without Really Trying. Halfway through the first act, Adelaide penned her review: “So far, so great. Hilarious.” And really no less than she, I enjoyed the way that escapism, fun and fantasy—with a steady jab at corporate and inter-personal duplicity—were being liberally dispensed.

In true operetta/musical-comedy tradition, How to Succeed’s ensemble breaks into dance as well as song for any flimsy pretext whatsoever. When Daniel Radcliffe, as a young man in an unprincipled hurry, and John Laroquette, as the harried man at the top, paean the glories of “old Ivy,” a platoon of football players suddenly invade the scene and throw Radcliffe a few plays.

Sometimes the dancers are commentary, sometimes they seem simply to pick up their cues according to the theatrical imperative that since the orchestra is playing, they’d better start moving as well.

Six weeks into the run, there wasn’t a trace of staleness in How to Succeed’s ensemble. They performed with a machinetooled precision any efficiency expert would have praised. Director-choreographer Rob Ashford intelligently heeded whatever mood or genre was indicated, and cleverly went microcosmic, picking for his ensemble all different kinds of faces and builds.

Uptown at Lincoln Center, ballet is a more uptight art form. Its aspirations to the sublime are daunting, while its emphasis on finesse makes it the most demanding, the most exposed of all dance styles. And the gauntlet thrown down by the great dancers of the past can seem to weigh heavily on current interpreters. Doing something new always seems like a huge relief and release to the dancers of New York City Ballet, no less than any other company. NYCB dances premieres with great enthusiasm and confidence, as was shown during last week’s opening of The Seven Deadly Sins.

Making Seven Deadly Sins especially

I “Landscape” 2010, 10.5” x 14.5”

by Flavia Bacarella

“Factory Building Surrounded by Tree” 2008, 10” x 10” by Marion Lerner-Levine

Through SaTurday, May 21, 2011

Chased across the Pampas

VAN DEUSEN Paintings and Drawings

Blue Mountain Gallery 530 W. 25th Street 4th Floor New York, New York Through May 21, 2011

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City Arts | www.cityartsnyc.com

oil on canvas

refreshing for both cast and audience is the fact that it is not a standard ballet but rather a theater piece, directed and choreographed

by Lynne Taylor-Corbett. It is performed to a virtual bacchanal of cynicism and disillusion crafted by Kurt Weill and Bertolt Brecht in 1933. (Balanchine choreographed versions of it in 1933 and 1958, but no record that’s at all comprehensive remains.) Brecht’s lyrics don’t pull a punch about the ways of the world, while Weill’s music churns in a corrosive lowboil, seductively forlorn.

Dual incarnations Anna 1 (singing) and Anna 2 (dancing) are sent into the world to make enough money to allow their family to move from cabin to Victorian pile. Anna 1 is girded with every defense and thoroughly determined to compromise whenever possible, whereas Anna 2 is rashly prone to letting her emotions direct her wherever they may. Seven Deadly Sins is powered by satirical inversion, by which the sister(s) thrive by agreeing to condemn as proscribed transgressions that are often the healthier expressions of human spirit. We get a show business encapsulation of this principle when Anna 2’s artistic ambition on the cabaret floor is denigrated as “Pride” which she must renounce by throwing off her Grecian draperies and getting down to bump-and-grind business.

Patti LuPone sang Anna and Wendy Whelan danced her, and both were outstanding. At 44, Whelan here enjoys a career triumph. Often standing not turned out but in parallel position, pointe shoes left in her dressing room, she was not ballerina— but everywoman. The fact that she seemed a little plumper than is customary gave her apparently bare legs sensuous allure. She moved like a great dance actress: alternately liquid and exploratory, passionate, fragile and finally broken, while LuPone mounted the stairs to their new home in triumph.

Taylor-Corbett intelligently told both the little and big stories, framing the vignettes with depth of kinetic field and broadness of archetypal vista. It was exhilarating to experience the way that both How to Succeed and Seven Deadly Sins give us the dance as well as the song of it, expertly melded. <

WINE

Hungarian Wine Enjoys ‘Sweet’ Renaissance Noble Tokaji will leave your guests speechless

By Josh Perilo of Hungary. While this is not a flat-out taste so much wine from so many endorsement for their product alone, I think different countries in so many styles, that they make a Tokaji that is a great place to it often takes a retasting to remind me of start. I encourage everyone to try as many a region that I love. This is the case with different producers’ products as you can. the little-known type of wine I’m writing The first offering I tried was the Royal about this week.

Tokaji 2007 Red Label, 5 Puttonyos Tokaji (pronounced Tok-eye) is ($37.99 at Beacon Wines and Spirits, 2120 from Hungary and it has a 500-year-old Broadway at W. 74th St., 212-877-0028). tradition. For many reasons, this dessert This gave me exactly what I expected from wine has had a tough time making a name a typical, mid-level Tokaji. No surprises, for itself. For a long time, there were many but still extremely enjoyable. The pungent wines from other areas of Europe that also scents of Earl Grey tea and blood orange called themselves Tokay or Tokai, but had wafted from the glass. The flavor notes were nothing to do with the original Hungarian a tad thin, but still presented a good amount wine. There was also the dark shadow of fresh orange, lychee nut and an orchidof Communism, which kept production laden finish. down and export of the product virtually The second offering I tasted was impossible. Finally, after the fall of the possibly one of the most impressive dessert Berlin Wall, production started again and, it wines I have had in the last 10 years. It could be argued, Tokaji is now experiencing was, in fact, what inspired me to write the a sort of renaissance. column this week. The Royal Tokaji 2000 The wine itself is unlike anything else Betsek First Growth, 6 Puttonyos ($88.95 on the planet. The primary grape used at Sherry-Lehman Wine and Spirits, 505 in the blend that makes up these wines Park Ave. at E. 59th St., 212-838-7500) is the Furmint grape, native to Hungary. left me speechless. There was butterscotch, Harslevelu (another local grape) and hazelnut, honey roasted almonds and Muscat de Lunel are also used in smaller candied orange on the nose. A bright amounts for blending.

The grapes are harvested very late in the traditional There was also the harvesting season, which allows them to develop dark shadow of Communism, botrytis cinerea, or “noble which kept production down, rot,” a growth that shrivels the grapes and leaves a and export of the product very concentrated, highsugar fruit in its wake. virtually impossible.

This is the same growth that affects the grapes of Sauternes and helps produce the dessert acidity underpinned the heady and rich wines of that region. notes of caramel, tea, blanched almond and Tokaji is nothing like Sauternes, cinnamon on the finish. A bargain at this however. These wines are allowed to price. oxidize as they ferment, which gives them At an even higher price tag, there is qualities that you might find in a higher-end the Royal Tokaji 1999 Mezes Maly Great sherry. They also have an extremely long First Growth, 6 Puttonyos ($149.99 at shelf life, due to the high sugar content, so Chelsea Wine Vault, 79 9th Ave., betw. once a bottle is opened, it can be served for W. 15th & W. 16th Sts., 212-462-4244). months to come.

The nose is mild with notes of burnt sugar Tokaji is also given a different and cedar, and the palate has a surprising designation than any other dessert wine. amount of spice. Fresh ginger, white pepper On every label, there is a reference to how and allspice are balanced out by notes of many “Puttonyos” the wine has achieved. grapefruit peel.

This refers to the amount of residual sugar While the price may be higher than present in the wine. The higher the number, your average bottle of vino, this is not the higher the sugar content, which also your typical, everyday wine. One bottle means the later in the season the grapes can last for a very long time, and the were harvested. impression it leaves on your guests will I was lucky enough to taste the current last even longer. < offerings from Royal Tokaji, a producer of Tokaji from many different regions Follow Josh on Twitter: @joshperilo.

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www.carolinawinebrandsusa.com

May 18, 2011 | City Arts

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Theater

Fresh Off the Page

A trio of theater companies explores the concept of less development, more immediacy

By Mark Peikert n an age in which it’s almost impossible to open a Broadway show without a TV or film star in the cast, Downtown theater is still something of a palate cleanser, a place where people are passionate about the theater and not the bottom line. While more commercially-minded companies may workshop a play for months or even years, a handful of theater companies are choosing not to over-think it, and instead put up plays before the feeling of spontaneity has evaporated.

In fact, the theater company Blue Coyote, which will open its latest series of short plays under the title Standards of Decency 3: 300 Vaginas Before Breakfast on June 2, is dedicated to the notion that too much development can drain a play of its freshness—and the company of its cash.

“It wasn’t always a conscious decision, but it has become our standard practice,” Kyle Ancowitz, one of Blue Coyote’s founding members, says. “It just helps us get things done, really. We don’t find a need to develop something to death.

We’ve always been able to move from a new script, a new draft, because we have playwrights who work with us for such a long stroke of time we’re familiar with getting their fresh work immediately and moving to a production in four months.

The show we have coming up is one of our Standards of Decency evenings. Those are always 10-minute plays requested from playwrights, always on a theme. And those usually go from incubation to production within three months.”

The New York Neo-Futurists have also long hosted a short-play series, Too Much Light Makes the Baby Go Blind, which operates as both a testing ground for new playwrights and a chance to see developing talent at low cost. Earlier this month, however, the company opened fulllength play Locker 4173b, about what the contents of storage lockers up for auction in the Bronx said about their former owners.

The contents were exhaustively archived by writers and performers Christopher Borg and Joey Rizzolo (with a team of assistants) over the course of six months, and the piece had a few readings among the company before the first audience preview. That short incubation period allowed a sense of timeliness that might have been lost had Borg and Rizzolo spent more time working and reworking their script.

“I think that part of what has been so well-received about the piece is that it’s reflective of a lot of things that are going on now for people of all classes,” Rizzolo explains. Rizzolo and Borg’s work was made easier, however, by the framework they had constructed for themselves as

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City Arts | www.cityartsnyc.com

kyle ancowitz

I

ersatz early 20th-century archaeologists, excavating the lives of the lockers’ owners.

“There was a blueprint for how to go about it,” Rizzolo says. “It was a task. It was, ‘Let’s use whatever we find and create something out of that.’ And that task was based on things that are going on right now, like the fact that there is a huge upswing in the number of personal storage spaces going up for auction, and that is a microcosm in the greater trend of foreclosure.”

Playwright Steven Cole Hughes agrees with the blueprint concept. A writer working with theater company aMios, Hughes is part of their currently running NYCycle 4: Secondary Sources, the fourth installment of aMios’ series of three 30-minute plays, all of which come with a series of instructions and must be ready for public consumption within three months.

“I’ve been writing plays for a long time, but only in the last few years has it actually become a career and I’ve had commissions and things like that,” Hughes says. “And I find I work so much better when a) there’s money attached and b) when I have deadlines! And this thing we’re working on now, not only are there deadlines, but there are instructions. Christian [Haines, artistic

director] will give us all these things. ‘Your play has to be set in this month, in New York, and you have to include this line in your play.’ It’s really fun to have this stuff.”

Hughes is a fan of the brief development process that defines the NYCycle series, but he’s leery of adhering to it too often.

“I don’t know if I prefer it,” he says.

“It’s definitely great for this. If this was all playwrighting was, I think that would be weird. I’ve been saying to the other two writers that they kind of have a skewed idea of what playwrighting is. They’re both talented writers, but neither of them had any playwrighting experience before. So they both have this idea that this is what writing a play is, when really it’s not.”

That “skewed idea” can also lead to some moments of refreshing awkwardness and impressive talent. When Blue Coyote commissioned five playwrights to explore the place where technology, sex and relationships intersect for Standards of Decency 3, “We caught our playwrights kind of off-guard,” Ancowitz says. If they think about pornography and the Internet, they don’t share their thoughts, normally.

And sometimes that misfires, but it always feels like something fresh.”

anton Nickel

Joe Curnutte (left), Jim Ireland and Carter Jackson in “Yes Yes Yes,” part of Blue Coyote’s Happy Endings.

Joey Rizzolo (left) and Christopher Borg in the New York Neo-Futurist production of Locker 4173b at The Monkey.

Whether the lack of development is a selling point for audiences is beside the point. According to Ancowitz, “One of the great things about NYC as a theater town is that there are a variety of theater companies with different methods of working.”

Besides, as Ancowitz and Blue Coyote have found: “Faster is cheaper and more fun.” <

Bundle of Joy?

In his play ‘Knickerbocker,’ Jonathan Marc Sherman contemplates the anxiety parents face

By V. L. Hendrickson laywright Jonathan Marc Sherman writes what he knows. From his dorm room days to his struggles with substance abuse, Sherman translates the experiences of his own life to comedies for the stage. Sherman’s most recent play, Knickerbocker, which opens May 19 at The Public Theater as part of the Public LAB series, was inspired by his mental ruminations in the months preceding the birth of his son.

“I knew from my own experience with my family that history gets revisited,” Sherman says. “I wanted to write about how it felt to me for my kids—so I wouldn’t some day say, ‘Oh, no, I wasn’t terrified.’”

The play follows New Yorker Jerry from just after he and his wife, Pauline, find out they are going to have a son to the day before her scheduled C-section. Jerry grapples with his impending fatherhood from the safest place he knows: His favorite booth at Village diner Knickerbocker. His friends, family and even an ex-girlfriend rotate in and out of the seat across from him.

As the fetus grows from the size of a peach to, perhaps, a coconut, Jerry and Pauline throw around baby names and Jerry’s friends ask him if he’s really ready, some even telling him that it’s all a horrible mistake. Jerry’s father, Raymond, tries to calm his son’s fears and definitely to stop buying every book published on the subject of parental readiness.

According to Sherman, when he was writing the play, he thought a lot about how parenthood has changed since his own father took on the role in 1968. He landed on the idea of the sonogram, which was just gaining popularity when Sherman was born.

“Parents have that many more months of knowing ‘We’re going to have a boy’ or ‘We’re going to have a girl,’” Sherman explains. “You don’t have that old-school surprise on the day of.”

The play was originally written in late 2006, when Sherman’s wife was nearing the end of her pregnancy. The couple now has two children, a 4-year-old son and a 15-month-old daughter.

“It’s very odd to go back to that head space of ‘I’m terrified’ right after I’ve dropped my son off at pre-school,” Sherman says.

The play took Sherman about three months to write, which was faster than his other works, like Sophistry, produced in 1993 with Ethan Hawke and Calista Flockhart, and Things We Want, directed

by Hawke in 2007. But, the “rewriting takes just as long,” he says, adding that the script is still not fixed, despite the fact that the play debuted in Williamstown in 2009.

“I just changed a line yesterday [during

P

rehearsal],” he admits.

Sherman shows up for every rehearsal, partially because he sees them as the social part of his job, rather than the hermit part.

But he also finds seeing the actors construct the characters and build their performances helps the material evolve.

“I’m trying to see everyone’s point of view,” Sherman says. “One actor or, in this case, seven fantastic actors, is there to see just one person’s point of view.” Seeing

them perform and answering their questions helps Sherman see “what’s true, but needs to be deepened, or what feels a little false.”

This “elastic” quality of playwriting is one of the things Sherman likes about the art form and one of the reasons he didn’t become a novelist (his bad grammar is the other, he jokes). Although the script won’t be sent off to the printer, the lines do need to be nailed down as the show gets closer to its opening. Sherman is “over the moon” about

PARSONS PARSONS FESTIVAL

the show’s inclusion in The Public LAB’s season, both because of The Public itself and the LAB’s standard $15 ticket price.

“I know as an audience member, I have a better time when I haven’t spent a ridiculous amount of money on a ticket,” he says. The audience for these events is “younger, more diverse and more engaged,” he adds.

Despite his years of playwriting experience, Sherman is still surprised by the little things he thinks he already knows.

“It’s silly to be surprised by something you’ve been surprised by before,” he says.

“But it’s simple listening and truthful human behavior that are interesting. The bells and whistles are not so interesting.” <

MAY 7–23

FESTIVAL

MAY 7–23, 2011

DISCOVER THE NEXT GENERATION OF ART AND DESIGN LEADERS

Parsons The New School for Design invites you to a two-week festival featuring thesis exhibitions and critiques, thought-provoking public programs, interactive installations, gallery openings, workshops, and special events.

BLOCK PARTY WWW.NEWSCHOOL.EDU/PARSONSFESTIVAL SATURDAY, MAY 21 West 13th Street (between Fifth and Sixth Avenues) 11:00 a.m.–5:00 p.m.

2011

WWW.NEWSCHOOL.EDU/PARSONSFESTIVAL Sponsored in part by

May 18, 2011 | City Arts

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ArtsAGENDA 212-593-3757.

Exhibition opEnings

BlAnk spACe: “Basic Elements.” Ends May 28, 511

A.I.R. GAlleRy: Stephanie Bernheim: “Palm Project.”

Blue MountAIn GAlleRy: Burt van Deusen: “Paintings

W. 25th St., Ste. 204, 212-924-2025.

Opens May 25, 111 Front St., #228, Brooklyn, 212-255-6651.

Axelle FIne ARts GAleRIe soho: Philippe Jacquet.

Opens June 4, 472 W. Broadway, 212-226-2262.

BARd GRAduAte CenteR: “Knoll Textiles, 1945-2010.”

Opens May 18, 18 W. 86th St., 212-501-3000.

Blue MountAIn GAlleRy: Rosemary Dunbar: “By Hand: Postcards from China & The Calligrapher’s Dreams.” Opens May 24, 530 W. 25th St., 4th Fl., 646-486-4730.

CAllAhAn CenteR GAlleRy: Mary K. Connelly & Ella Yang: “Being There.” Opens June 2, St. Francis College, 180 Remsen St., Brooklyn, 718-5222300.

CAusey ConteMpoRARy: Alan Binstock: “Way Stations II.” Opens May 20, 92 Wythe Ave., Brooklyn, 718-218-8939.

CultuReFIx GAlleRy: Eric Finzi: “Murmurs.” Opens May 20, 9 Clinton St., 646-863-7171. doRIAn GRey GAlleRy: “NO RULES, East 9th Street Revisited, 1951-2011.” Opens May 19, 437 E. 9th St., 516-244-4126. lesley helleR WoRkspACe: Grace Knowlton: “New Sculpture & Photographs.” Opens May 25.

“Four Sculptors 1968–1980.” Opens May 25, 54 Orchard St., 212-410-6120.

MARlBoRouGh ChelseA: “Living in Havana.” Opens May 19, 40 W. 57th St., 212-541-4900.

MoRGAn lehMAn GAlleRy: Andrew Schoultz: “Unrest.” Opens May 19, 535 W. 22nd St., 212268-6699. noho GAlleRy: “Dawn of a New Age.” Opens June 7, 530 W. 25th St., 212-367-7063. phoenIx GAlleRy: Allan Gorman: “sTRUCKtures.”

Opens May 25, 210 11th Ave., 212-226-8711. stARBuCks: John Lloyd & Jane Talcott: “Brooklyn Town & Country.” Opens June 1, 166 7th Ave., Brooklyn, janejohnstudio.com.

ZüRCheR studIo: “Reverie.” Opens May 23, 33 Bleecker St., 212-777-0790.

& Drawings.” Ends May 21, 530 W. 25th St., #403, 646-486-4730.

BRuCe sIlveRsteIn GAlleRy: “Night.” Ends June 4.

Maria Antonietta Mameli: “Long Takes.” Ends June 4, 535 W. 24th St., 212-627-3930.

CAusey ConteMpoRARy: Alan Binstock: “Way Stations II.” Ends June 12, 92 Wythe Ave., Brooklyn, 718-218-8939.

ChInA InstItute GAlleRy: “Along the Yangzi River: Regional Culture of the Bronze Age from Hunan.” Ends June 12, 125 E. 65th St., 212744-8181.

ChuRneR & ChuRneR: Anthony Campuzano: “Waters’ March.” Ends June 11, 205 10th Ave., 212-675-2750.

ClAMpARt: Karen Gunderson: “Constellations, Moons, & Water.” Ends June 11. Monika Merva: “The City of Children.” Ends June 11, 521-531 W. 25th St., Grnd Fl., 646-230-0020. dAvId FIndlAy JR. FIne ARt: John Opper: “Works from the 1950s–80s.” Ends May 26, 41 E. 57th St., 212-486-7660. dC MooRe GAlleRy: Jacob Lawrence: “Builders.”

Ends June 4. Mary Frank: “Transformations.”

Ends June 4, 535 W. 22nd St., 212-247-2111. denIse BIBRo FIne ARt: Jerry Meyer: “Civilization & its Discontents.” Ends May 28, 529 W. 20th St., 4W, 212-647-7030. dM ConteMpoRARy: “It’s a Fine Line | Obsession & Will.” Ends June 10, 39 E. 29th St., 2nd Fl., 212-576-2032. eAsy stReet GAlleRy: Chad G: “Not in Kansas Anymore.” Ends June 15, 155 Grand St., Brooklyn, easystreetbrooklyn.com. edelMAn ARts: Doug Argue: “The Study of Infinite Possibilities.” Ends May 20, 136 E. 74th St., 212-472-7770.

Fuse GAlleRy: Leilani Bustamante: “Disintegration.”

Ends May 28, 93 2nd Ave., 212-777-7988.

GeoRGe BIllIs GAlleRy: Jefferson Hayman. Ends June 11. Stephen Magsig. Ends June 11, 521 W. 26th St., B1, 212-645-2621.

Goethe-InstItut WyoMInG BuIldInG: Marc Brandenburg: “Version.” Ends June 4, 5 E. 3rd St., goethe.de/newyork. hAl kAtZen GAlleRy: Laura Ann Jacobs: “Bound to Beauty.” Ends June 7, 459 Washington St., 212-925-9777. hAlF kInG GAlleRy: Andrew McConnell: “Ghosts of the Sahara.” Ends June 7, 505 W. 23rd St., 212-462-4300. hpGRp GAlleRy ny: “Plato’s Cave: Photographs by Donald Lokuta.” Ends May 28, 529 W. 20th St.,

Exhibition Closings AMeRInGeR MCeneRy yohe: Iva Gueorguieva: “A Stitch

in Graft.” Ends May 27, 525 W. 22nd St., 212445-0051.

AndReA Rosen GAlleRy: Katy Moran. Ends June 11, 525 W. 24th St., 212-627-6000.

BenRIMon ConteMpoRARy: “Red Country Pictures.”

Ends June 18, 514 W. 24th St., 212-924-2400.

BeRnARduCCI.MeIsel.GAlleRy: Roberto Bernardi.

Ends May 28. Raphaella Spence. Ends May 28. Rey Milici. Ends May 28, 37 W. 57th St.,

“The Modern Procession,” by Francis Alÿs at the Museum of Modern Art. 212-727-2491.

InstItute FoR the study oF the AnCIent WoRld: “Nubia:

Ancient Kingdoms of Africa.” Ends June 12, 15 E. 84th St., 212-992-7800.

J. CACCIolA: Linda Christensen & Maureen Chatfield. Ends June 4, 617 W. 27th St., 212-4624646.

JACk shAInMAn GAlleRy: Radcliffe Bailey: “Outer Spaceways.” Ends May 21, 513 W. 20th St., 212-645-1701.

Jen BekMAn: Michelle Muldrow: “Cathedrals of Desire.” Ends June 5, 6 Spring St., 212-219-0166. kloMpChInG GAlleRy: Lisa M. Robinson: “Oceana.”

Ends June 10, 111 Front St., Ste. 206, Brooklyn, 212-796-2070. lAuRenCe MIlleR GAlleRy: Bruce Wrighton: “At Home.” Ends May 26, 20 W. 57th St., 212397-3930. lehMAnn MAupIn GAlleRy: Kara Walker. Ends June 4, 201 Chrystie St., 212-254-0054. leICA GAlleRy: Nicholas Vreeland: “Return to the Roof of the World.” Ends June 4, 670 Broadway, 212-777-3051. lohIn Geduld GAlleRy: Ying Li: “Recent Paintings.”

Ends May 21, 531 W. 25th St., 212-675-2656. luIse Ross GAlleRy: John Dilg: “Primitive Pets.” Ends June 4, 511 W. 25th St., #307, 212-343-2161. luxeMBouRG & dAyAn: “Unpainted Paintings.” Ends May 27, 64 E. 77th St., 212-452-4646.

M55 ARt GAlleRy: Ed Rath: “Under the Influence.”

Ends May 22, 44-02 23rd St., Queens, 718729-2988.

MAGnAnMetZ GAlleRy: “Resurfaced.” Ends May 28, 521 W. 26th St., 212-244-2344.

MARk MIlleR GAlleRy: Andrea Arroyo: “Sacred Women.” Ends May 31. Felipe Galino: “Used/ Reused.” Ends May 31, 92 Orchard St., 212253-9479.

MARlBoRouGh GAlleRy: “Constructivists: George Rickey & Kenneth Snelson.” Ends May 28, 40 W. 57th St., 212-541-4900.

MARlBoRouGh GRAphICs: Robert Motherwell: “Prints from the 1970s.” Ends May 28, 40 W. 57th St., 212-541-4900.

MCkenZIe FIne ARt: Don Voisine. Ends June 11, 511 W. 25th St., 212-989-5467.

MIChAel RosenFeld GAlleRy: Romare Bearden: “Collage: A Centennial Celebration.” Ends May 21, 24 W. 57th St., 7th Fl., 212-247-0082.

MIke WeIss GAlleRy: Yigal Ozeri: “Garden of the Gods.”

Ends June 11, 520 W. 24th St., 212-691-6899. nAnCy MARGolIs GAlleRy: Gina Ruggeri. Ends June 4, 523 W. 25th St., 212-242-3013. nARthex GAlleRy: Ann Sherwin Bromberg: “Weaving Retrospective.” Ends May 22, St. Peter’s Church, 619 Lexington Ave., 212-935-2200. neW yoRk studIo sChool: “MFA Thesis Exhibition.”

Ends May 25, 8 W. 8th St., 212-673-6466. nICole klAGsBRun GAlleRy: Amy Granat: “Cars, Trees, Houses, Beaches.” Ends May 28, 526 W.

Dan Gualdoni

New Paintings May 12 - June 11

Marge Chapman and

June Felter May 9 - June 16, 2011

www.markelfinearts.com New York, NY 212.366.5368 Coastal Redux #70, 2011 Oil, ink, glue medium on panel 21”x 19”

18

City Arts | www.cityartsnyc.com

Images from left: Marge Chapman, Out of the night, Mixed Media, 40 x 43 inches June Felter, Table, Hat, and Stripes, Watercolor, 22 x 30 inches

Grace Institute 1233 Second Avenue (between 64th & 65th Streets) New York, NY 10065 Susan Rush: 212-628-1389

M-Th 9am-9:30pm | Fri 9am-5:30pm

26th St., #213, 212-243-3335.

Noho Gallery: Marla Lipkin: “The Sea Calls to

Me.” Ends June 4, 530 W. 25th St., 4th Fl., 212-367-7063.

Nohra haime Gallery: Antonio Segui: “A Retrospective Exhibition: 1966–2010.” Ends June 10, 730 5th Ave., 212-888-3550.

Not Just aNother Nail saloN Gallery: Ellen Levin.

“Disturbance.” Ends May 22, 511 W. 20th St., Grnd Fl., 646-734-4771.

Paula CooPer Gallery: “Locations.” Ends June 11, 521 W. 21st St., 212-255-1105.

Peter Blum - Chelsea: Chris Marker: “Passengers.”

Ends June 4, 526 W. 29th St., 212-343-0441.

Peter Blum - soho: Chris Marker: “Passengers.”

Ends June 4, 99 Wooster St., 212-244-6055.

PhoeNix Gallery: Gretl Bauer: “Works On Paper/ Sculpture.” Ends May 21, 210 11th Ave., Ste. 902, 212-226-8711.

Pleiades Gallery: Sheryl Ruth Kolitsopoulos: “Hellenic Impressions.” Ends June 11, 530 W. 25th St., 4th Fl., 646-230-0056.

PriNCe street Gallery: Flavia Bacarella & Marion Lerner-Levine: “Woodcuts, Etchings & Drawings.” Ends May 21, 530 W. 25th St., #402, 646-230-0246. rhV FiNe art: Noah Loesberg. Ends June 12, 683 6th Ave., 718-473-0819. rouGe 58: “Amuse Bouche.” Ends May 20, 555 Metropolitan Ave., Brooklyn, rouge58.com. sChool oF the iNterNatioNal CeNter oF PhotoGraPhy: “ICP-Bard MFA Thesis Exhibition.” Ends May 22, 1114 6th Ave., 212-857-0001. sidNey mishkiN Gallery: Alberto Casado & Rocío García: “Cosas Ocultas.” Ends June 1, 135 E. 22nd St., 212-802-2690. sikkema JeNkiNs & Co.: Kara Walker. Ends June 4, 530 W. 22nd St., 212-929-2262. sloaN FiNe art: “Kin.” Ends May 28. “Kammeropolis.” Ends May 28, 128 Rivington St., 212-4771140. soho20 Chelsea: Lucy Hodgson: “Unnatural Disasters.” Ends May 28, 547 W. 27th St., Ste. 301, 212-367-8994. soho Photo Gallery: R. Wayne Parsons: “At Auschwitz: A Remembrance.” Ends June 4, 15 White St., 212-226-8571. sPaNiermaN moderN: Jack Roth: “Color Line Equations.” Ends June 11, 53 E. 58th St., 212-8321400. suNdaram taGore: Susan Weil: “Reflections.” Ends June 4, 547 W. 27th St., 212-677-4520. team Gallery: Jakob Kolding: “Blocks.” Ends June 11, 83 Grand St., 212-279-9219. team Gallery: David Ratcliff: “Portraits & Ghosts.”

Ends June 11, 47 Wooster St., 212-279-9219. teNri Cultural iNstitute oF New york: Simon Din-

nerstein: “The Fulbright Triptych & Related Works.” Ends June 10, 43A W. 13th St., 212645-2800. thomas erBeN Gallery: “15 Years Thomas Erben Gallery.” Ends June 4, 526 W. 26th St., 4th Fl., 212-645-8701. throCkmortoN FiNe art: “Portals of Transformation: Mezcala Temples.” Ends June 4, 145 E. 57th St., 212-223-1059.

VoN liNtel Gallery: Tim Maguire. Ends June 4, 520 W. 23rd St., 212-242-0599. w. m. Brady & Co.: Marc de Montebello: “Monotypes.” Ends May 26, 22 E. 80th St., 212-2497212. walter wiCkiser Gallery: Ralph L. Wickiser: “A Retrospective of the Reflected Stream.” Ends May 21, 210 11th Ave., Ste. 303, 212-941-1817.

MuseuMs ameriCaN Folk art museum: “Perspectives: Forming

the Figure.” Ends Aug. 21. Eugene Von Bruenchenhein. Ends Oct. 9. “Quilts: Masterworks from the American Folk Art Museum.” Ends Oct. 16, 45 W. 53rd St., 212-265-1040. ameriCaN museum oF Natural history: “Frogs: A Chorus of Colors.” May 28–Jan. 8, 2012. “The Butterfly Conservatory: Tropical Butterflies Alive in Winter.” Ends May 30. “Body & Spirit: Tibetan Medical Paintings.” Ends July 17. “Brain: The Inside Story.” Ends Aug. 15. “The World’s Largest Dinosaurs.” Ends Jan 2. Central Park West at W. 79th St., 212-769-5100. asia soCiety & museum: “A Longing for Luxury.”

Ends Sept. 11, 725 Park Ave., 212-288-6400.

BroNx museum: “Stargazers: Elizabeth Catlett in Conversation With 21 Contemporary Artists.”

Ends May 30. “Alexandre Arrechea: Orange Tree.” Ends June 6. “Lobby-for-the-TimeBeing.” Ends June 6. “Urban Archives: Happy Together.” Ends June 6, 1040 Grand Concourse, Bronx, 718-681-6000.

BrooklyN historiCal soCiety: “Painting Brooklyn: Stories of Immigration & Survival.” Ends Aug. 14. “It Happened in Brooklyn.” Ongoing, 128 Pierrepont St., Brooklyn, 718-222-4111.

BrooklyN museum: “Thinking Big: Recent Design Acquisitions.” Ends May 29. “Four Bathers

by Degas & Bonnard.” Ends Aug. 14. Sam Taylor-Wood: “Ghosts.” Ends Aug. 14. “Lorna Simpson: Gathered.” Ends Aug. 21. “Skylar Fein: Black Lincoln for Dooky Chase.” Ends Aug. 28. “Body Parts: Ancient Egyptian Fragments & Amulets.” Ends Nov. 27. “reOrder: An Architectural Environment by Situ Studio.” Ends Jan. 15, 2012, 200 Eastern Pkwy., Brooklyn, 718-638-5000.

CooPer-hewitt NatioNal desiGN museum: Set in Style:

The Jewelry of Van Cleef & Arpels.” Ends June 4. “Color Moves: Art & Fashion by Sonia Delaunay.” Ends June 19, “2 E. 91st St., 212849-8400.

FriCk ColleCtioN: “In a New Light: Bellini’s St. Francis in the Desert.” May 22–Aug. 28, 1 E. 70th St., 212-288-0700. iNterNatioNal CeNter oF PhotoGraPhy: “Elliott Erwitt: Personal Best.” May 20–Aug. 28. “Hiroshima: Ground Zero 1945.” May 20–Aug. 28.

“Ruth Gruber, Photojournalist.” May 20–Aug. 28, 1133 6th Ave., 212-857-0000.

JaPaN soCiety: “Bye Bye Kitty!!! Between Heaven & Hell in Contemporary Japanese Art.” Ends June 12, 333 E. 47th St., 212-832-1155.

Jewish museum: “The Art of Matrimony: Thirty Splendid Marriage Contracts from the Jewish Theological Seminary Library.” Ends June 26.

“Maria Kalman: Various Illuminations (of a Crazy World).” Ends July 31. “The Line & the Circle: Video by Sharone Lifschitz.” Ends Aug. 21. “Collecting Matisse & Modern Masters: The Cone Sisters of Baltimore.” Ends Sept. 25, 1109 5th Ave., 212-423-3200. merChaNt’s house museum: “New York’s Civil War Soldiers - Photographs of Dr. R.B. Bontecou, Words of Walt Whitman.” Ends Aug. 1, 29 E. 4th St., 212-777-1089. the metroPolitaN museum oF art: “Katrin Sigurdardottir at the Met.” Ends May 30. “Rugs & Ritual in Tibetan Buddhism.” Ends June 26. “The Washington Haggadah: Medieval Jewish Art in Context.” Ends June 26. “Rooms with a View: The Open Window in the 19th Century.” Ends July 4. “Haremhab, The General Who Became King.” Ends July 4. “Guitar Heroes: Legendary Craftsmen from Italy to New York.” Ends July 4. “Alexander McQueen: Savage Beauty.” Ends July 31. “Pastel Portraits: Images of 18th-Century Europe.” Ends Aug. 14. “Poetry in Clay: Korean Buncheong Ceramics from Leeum, Samsung Museum of Art.” Ends Aug. 14. “Richard Serra Drawing: A Restrospective.” Ends Aug. 28.

“Anthony Caro on the Roof.” “The Andean Tunic, 400 BCE–1800 CE.” Ends Sept. 18. “Night Vision: Photography After Dark.” Ends Sept.

18. Ends Oct. 30. “Historic Images of the Greek Bronze Age: The Reproductions of E. Gilliéron & Son.” Ends Nov. 13. “After the Gold Rush.”

Ends Jan. 2, 2012, 1000 5th Ave., 212-535-7710. moNtClair art museum: “Warhol & Cars: American Icons.” Ends June 19. “Will Barnet: A Centennial Celebration.” Ends July 17. “Robert Mapplethorpe Flowers.” Ends July 17. Will Barnet: A Centennial Celebration.” Ends July 17. “Engaging with Nature: American & Native

American Artists (A.D. 1200-2004).” Ends Sept.

25. “What Is Portraiture?” Ends Nov. 4. Motor Lodge: An Installation by Dan Funderburgh.”

Ends Fall 2012, 3 S. Mountain Ave., Montclair, N.J., 973-746-5555. the morGaN liBrary & museum: “Illuminating Fashion: Dress in the Art of Medieval France & the Netherlands.” May 20–Sept. 4. “Jim Dine: The Gliptotek Drawings.” May 20–Sept. 4.

“Lists: To-dos, Illustrated Inventories, Collected Thoughts, & Other Artists’ Enumerations from the Smithsonian’s Archives of American Art.” June 3–Oct. 2. “The Diary: Three Centuries of Private Lives.” Ends May 22. “The Age of Elegance: The Joan Taub Ades Collection.” Ends Aug. 28, 225 Madison Ave., 212-685-0008. el museo del Barrio: “The (S) Files 2011.” June 14–Jan. 8. “Luis Camnitzer.” Ends May 29, 1230 5th Ave., 212-831-7272. museum at the FashioN iNstitute oF teChNoloGy: “Sporting Life.” May 25–Nov. 5. “Art & Design Graduating Student Exhibition.” Ends May 24, 7th Ave. at W. 27th St., 212-217-4558. museum oF ameriCaN FiNaNCe: “Alexander Hamilton: Lineage & Legacy.” Ends July 12. “Scandal!

Financial Crime, Chicanery & Corruption That Rocked America.” Ends Oct. 29, 48 Wall St., 212-908-4110. museum oF arts & desiGN: “Flora & Fauna, MAD about nature.” May 24–Nov. 6. “Otherworldly: Optical Delusions & Small Realities.” June 7– Sept. 18. “Judy Chicago Tapestries: Woven by Audrey Cowan.” Ends June 19. “A Bit of Clay on the Skin: New Ceramic Jewelry.” Ends Sept. 4.

“Stephen Burks: Are You A Hybrid?” Ends Oct. 2, 2 Columbus Cir., 212-299-7777. museum oF ChiNese iN ameriCa (moCa): “Unearthing: Works in Clay & Mixed Media by Carole Wong Chesek.” Ends Sept. 19, 215 Centre St., 212-619-4785. museum oF the City oF New york: “The American Style: Colonial Revival & The Modern Metropolis.” June 14–Oct. 30. “Moveable Feast: Fresh Produce & the NYC Green Cart Program.” Ends July 10. “Joel Grey: A New York Life.” Ends Aug. 7, 1220 5th Ave., 212-534-1672. museum oF Jewish heritaGe: “Last Folio: A Photographic Journey with Yuri Dojc.” Ends late summer. “Fire in My Heart: The Story of Hannah Senesh.” Ends Aug. 7. “The Morgenthaus: A Legacy of Service.” Ends Sept. 5, 36 Battery Pl., 646-437-4200. museum oF moderN art: “Crafting Genre: Kathryn Bigelow.” May 18–Oct. 3. “Boris Mikhailov: Case History.” May 26–Sept. 5. “Projects 94: Henrik Olesen.” Ends May 23. “Projects 95: Runa Islam.” May 27–Sept. 19. “Looking at Footpath, oil, 24 x 24”, 2011

RUTH BERNARD A New Start- Landscapes

May 24 - June 18 Reception: Thursday, May 26, 5-8pm Bowery Gallery 530 West 25th Street # 404 NYC 10012 | 646-230-6655 | www.bowerygallery.org May 18, 2011 | City Arts

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ArtsAGENDA Out of Town EVENTS & ATTRACTIONS BARD SUMMERSCAPE: The 7-week long festival

features opera, dance, theater, cabaret, film & more. Richard B. Fischer Center for the Performing Arts, Bard College, Annandale-onHudson, N.Y., fishercenter.bard.edu.

BETHEL WOODS CENTER FOR THE ARTS: Bethel Woods’ summer line-up includes artists ranging from the New York Philharmonic & The Boston Pops, to Janet Jackson, Selena Gomez, Lynyrd Skynyrd, Styx & Sublime.

July 3–Aug. 28, 200 Hurd Rd., Bethel, N.Y., bethelwoodscenter.org.

BRUCE MUSEUM: “Arctic Sanctuary: Images of the Arctic National Wildlife Refuge.” Ends May 29. “iCreate! Teen Art.” June 4–26. “Human Connections: Figural Art from the Bruce Museum Collection.” Ends June 5. “Three Sisters & Corn Maidens: Native American Maize Cultivation & Customs.” Ends July 3.

“Power Incarnate: Allan Stone’s Collection of Sculpture from the Congo.” Ends Sept.

4. 1 Museum Dr., Greenwich, Conn., brucemuseum.org.

CARAMOOR INTERNATIONAL MUSIC FESTIVAL: The nearly 7-week long, genre-bridging summer music festival brings together folk, world, classical music & more, plus 4th of July fireworks & a host of other special events. June 25–Aug. 10, 149 Girdle Ridge Road, Katonah, N.Y., caramoor.org.

CLARK ART INSTITUTE: “Romantic Nature: British and French Landscapes.” Ends Sept. 30, 225 South Street, Williamstown, Mass., clarkart. edu/museum.

GOODSPEED OPERA HOUSE: “Cutman: A Boxing Musical” is the dramatic story of a young Jewish boxer who must choose between achieving his lifelong dream and defying his faith. Ends June 5. In “My One And Only: A Tap Dance Extravaganza!” the glamorous 1920s come roaring back to life when a barnstorming aviator falls for a bathing beauty. Ends June 25, Goodspeed Opera House, 6 Main Street East, Haddam, Conn., goodspeed.org.

HUDSON VALLEY SHAKESPEARE FESTIVAL: Now in its 25th year, the festival this season features performances of “Hamlet,” “The Comedy of Music 3.0.” Ends May 30. “Picasso: Guitars 1912–1914.” Ends June 6. “Looking at Music 3.0.” Ends June 6. “German Expressionism: The Graphic Impulse.” Ends July 11. “Francis Alÿs: A Story of Deception.” Ends Aug. 1. “Impressions of South Africa, 1965 to Now.” Ends Aug. 14.

“I Am Still Alive: Politics & Everyday Life in Contemporary Drawing.” Ends Sept. 19, 11 W. 53rd St., 212-708-9400.

Museum of the Moving Image: “Two by Ken Jacobs.”

May 20–July 7. “Trash Mirror.” May 24–Aug. 15. “Real Virtuality.” Ends June 12. Chiho Aoshima: “City Glow.” Ends July 17.“ Behind the Screen.” Ongoing, 36-01 35th Ave., Queens, 718-777-6888.

New Museum: “Apichatpong Weerasethakul: Primitive.” May 19–July 3. “Gustav Metzger: Historic Photographs.” May 19–July 3. “Cronocaos.”

Ends June 5. “Museum as Hub.” Ends July 3.. “Lynda Benglis.” Ends June 19. “Shirana Shahbazi.” Ends June 19. “After Hours: Murals on the Bowery.” Ends July 2. “Isa Genzken: Rose II (2007).” Ends Nov. 13, 235 Bowery, 212-219-1222.

The New York Public Library: “Celebrating 100 Years.” Ends December 31, Stephen A. Schwarzman Building, 5th Ave. at 42nd St., exhibitions. nypl.org/100.

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City Arts | www.cityartsnyc.com

Errors” and Mark Brown’s adaptation of Jules Verne’s “Around the World in 80 Days.” June 14–Sept. 4, 155 Main St., Cold Spring, N.Y., hvshakespeare.org.

MAVERICK CONCERS: The country’s longest-running summer chamber music festival celebrates its 96th consecutive season, commemorating the 20th anniversary of Leonard Bernstein’s death, the birth of Liszt & the music of Mahler.

Woodstock, N.Y., maverickconcerts.org.

MONTCLAIR ART MUSEUM: “Warhol and Cars: American Icons.” Ends June 19. “Robert Mapplethorpe Flowers: Selections from the JPMorgan Chase Art Collection.” Ends July 17, South Mountain Avenue, Montclair, N.J., 973-746-5555, montclair-art.com.

MUSIC MOUNTAIN FESTIVAL: In its 82nd season, the air-conditioned summer festival spans 4 centuries of chamber music, plus big band, jazz, country & other special events.

June 19–Sept. 4, Falls Village, Conn., musicmountain.org.

NORFOLK CHAMBER FESTIVAL: Young artists & established musicians alike perform in a summer—and beyond—series of classical music concerts, with many events free and open to the public. June 23–Oct. 20, Ellen Battell Stoeckel Estate at Routes 44 & 272, Norfolk, Conn., music.yale.edu/norfolk.

NORMAN ROCKWELL MUSEUM: “Witness: The Art of Jerry Pinkney.” Ends May 30. “Travels with Norman.” Ends June 19, Norman Rockwell Museum, 9 Route 183 Stockbridge, Mass., nrm.org.

Solar: Jesus Matheus will present “New Work” in paintings, sculptures, and works on paper.

Through June 20, 44 Davids Lane, East Hampton, N.Y., artsolar.com.

STORM KING ART CENTER: “5+5: New Perspectives.”

Ends Nov. 14. “The View From Here: Storm King at Fifty.” Ends Nov. 14, Old Pleasant Hill Rd., Mountainville, N.Y., stormking.org.

YALE CENTER FOR BRITISH ART: “Thomas Lawrence: Regency Power and Brilliance.” Ends June 5. “Art in Focus: William III.” Ends July 31, 1080 Chapel Street‚ New Haven‚ Conn., ycba. yale.edu.

Rubin Museum of Art: “The Nepalese Legacy in

Tibetan Painting.” Ends May 23. “Body Language: The Yogis of India & Nepal.” Ends July 4. “Patterns of Life: The Art of Tibetan Carpets.”

Ends Aug. 22. “Quentin Roosevelt’s China.”

Ends Sept. 19. “Masterworks: Jewels of the Collection.” Ends Dec. 31, 2012, 150 W. 17th St., 212-620-5000.

Solomon R. Guggenheim Museum: “Hands-Peter Feldman.” May 20–Nov. 2. “The Great Upheaval: Modern Art from the Guggenheim Collection, 1910-1918.” Ends June 1. “A Year With Children.” Ends June 15. “Kandinsky at the Bauhaus, 1922-1933.” Ongoing, 1071 5th Ave., 212-423-3500.

Studio Museum: Stephen Burks: “Man Made.” Ends June 26. Benjamin Patterson: “In the State of FLUX/us: Scores.” Ends June 26. “Sculpted, Etched & Cut: Metal Works from the Permanent Collection.” Ends June 26. “Collected.

Vignettes.” Ends June 26. “VideoStudio: Playback.” Ends June 26. “StudioSound: Ojo.” Ends June 26. “Harlem Postcards Spring 2011.” Ends June 26, 144 W. 125th St., 212-864-4500.

Wave Hill: “Alchemy & Inquiry: Philip Taaffe, Fred Tomaselli, Terry Winters.” Ends June 19.

“Claudia Weber.” Ends June 19, W. 249th St. at Independence Ave., Bronx, 718-459-3200.

Whitney Museum of American Art: “Designing the

Whitney of the Future.” Opens May 26. “Cory Arcangel: Pro Tools.” May 26–Sept. 11. “Glenn Ligon: America.” Ends June 5. “Dianna Molzan: Bologna Meissen.” Ends June 19. “Breaking Ground: The Whitney’s Founding Collection.”

Ends Sept. 18, 945 Madison Ave., 212-570-3600.

Auctions Bonhams: American Paintings, Drawings &

Sculpture. May 24, 1 p.m. The Seaman’s Church Institute Collection of Maritime Paintings & Decorative Arts. May 25, 10 a.m. Life on Board: Maritime Paintings & Works of Art. May 25, 1 p.m. 20th Century Decorative Arts. June 7, 1 p.m. Fine Writing Instruments, June 14, 1 p.m., 580 Madison Ave., 212-644-9001.

Christie’s: Important American Paintings, Drawings & Sculpture. May 18, 10 a.m. Printed & Manuscript Americana. May 19, 10 a.m. Latin American Sale. May 26 & 27, times vary. A Park Avenue Interior by Mark Hampton. June 6, 2.

500 Years: Decorative Arts Europe. June 7, 10 a.m. & 2. Old Master Paintings. June 8, 10 a.m.

Antiquities. June 9, 10 a.m. New York Important Jewels. June 14, 10 a.m. & 2, 20 Rockefeller Plz., 212-636-2000.

Doyle New York: European, American, Modern & Contemporary Art. May 25, 10 a.m. Belle Epoque: 19th & 20th Century Decorative Arts. June 8, 10 a.m., 175 E. 87th St., 212-427-2730. iGavel: Online auctions of fine art, antiques & collectibles from a network of independent sources, igavelauctions.com.

Phillips de Pury & Company: Design. May 25, 2. Editions. June 8, 2, 450 Park Ave., 212-940-1220.

ROGALLERY.com: Fine art buyers & sellers in online live art auctions, rogallery.com.

Sotheby’s: American Indian Art. May 18, 10 a.m.

American Paintings, Drawings & Sculpture. May 19, 10 a.m. Textiles, Rugs & Carpets. May 19, 2.

Magnificent American, Historical Documents.

May 20, 10 a.m. John Lansing’s Notes from the United States Constitutional Convention.

May 20, 2. Latin American Art. May 25 & 26, times vary. A Discerning Eye: Latin American Masterpieces. May 25, 7. Fernando Botero: A Celebration. May 25, 7. Antiquities. June 8, 2.

Old Master Paintings & Sculpture. June 9, 10 a.m. Old Master & 19th Century European Art. June 10, 10 a.m. Important 20th Century Design.

June 15, 10 a.m., 1334 York Ave., 212-606-7000.

Swann Auction Galleries: Important Photobooks & Photographs. May 19, 1:30. Maps & Atlases, Natural History & Historical Prints, Ephemera.

June 2, 1:30. American Art/Contemporary Art. June 9, 10:30 a.m. & 1:30, 104 E. 25th St., 212254-4710.

Art Events American Crafts Festival: The 35th annual festival

features 400 master artisans displaying & selling an estimated $40 million worth of original creations, plus food, live music & craft-making demonstrations. June 11–19, Lincoln Center Plaza, craftsatlincoln.org; free.

Artists-in-Residence Work & Show Festival: BMCC Tribeca Performing Arts Center presents dance, music & theater performances by 6 emerging & re-emerging artists with new works developed over the past year as part of PAC’s AIR hallmark program. May 26–June 19, 199 Chambers St., tribecapac.org; 7:30, $10+.

Chelsea Art Gallery Tour: Enjoy a guided tour of this week’s top 7 gallery exhibits in the world’s center for contemporary art. June 4, 526 W. 26th

St., nygallerytours.com; 1, $20.

Convergence in Red Hook: The Brooklyn Waterfront

Artists Coalition presents its Spring Pier Art Show, with 1000 works by 300 artists, live music performances, a silent auction & more. Ends June 12, 499 Van Brunt St., Brooklyn, bwac. org; free.

Dance Parade & DanceFest: The 5th annual parade— in which over 10,000 dancers take over the streets & perform 73 different dance forms— kicks off at Broadway at 21st St & culminates in a festival of free classes & performances in Tompkins Square Park. May 21, danceparade. org; 1, free.

DanceAfrica 2011: The 34th annual festival—this year entitled “Encounters: African, Cuban, & American Rhythms”—celebrates African & African American dance, music & culture with performances, an outdoor bazaar, a late-night dance party, master classes & more. May 21–30, bam.org; times, prices & locations vary.

Gotham Dance Festival: 10 choreographers present 6 programs, performed by 4 companies, plus matinee performances from 6 emerging dancers & choreographers. June 1–12, The Joyce Theater, 175 8th Ave., 212-242-0800; $10+.

Lower East Side Festival of the Arts: Theater for the New City presents its free annual festival of theater, music, dance, performance art, aerial acts & more. May 27–29, Theater for the New City, 155 1st Ave., theaterforthenewcity.net; free.

Museum Mile Festival: The 33rd annual festival unites 9 major museums along 5th Ave., for a free evening of special exhibitions, live music & street entertainment. June 14, 5th Ave. from E. 82nd to E. 105th St., museummilefestival.org; 6, free.

Music is Life: Helene Ruiz, The Williamsburg Music Center & The Urban Individualists present a tribute to Gerry Eastman, with music-inspired artworks & live music by Gerry Eastman’s band.

May 20, The Williamsburg Music Center, 367 Bedford Ave., 718-384-1654; 8, $5 minimum donation & 2-drink minimum.

The Planet Connections Theatre Festivity: The eco-friendly, socially-conscious theater festival works with non-profit organizations & uses green theater practices to present over 50 productions.

June 1–26, planetconnections.org; times, prices & locations vary.

Rhythm in the Kitchen: The Hell’s Kitchen Cultural Center presents the 4th edition of its 2-day jazz festival. May 27 & 28, The Church for All Nations, 417 W. 57th St., hkculturalcenter.org; $15+.

The Roses: Paul Kasmin Gallery, in conjunction with New York City’s Department of Parks & Recreation & the Fund for the Park Avenue Sculpture Committee, presents Will Ryman’s “The Roses,” a site-specific installation of towering rose blossoms. Ends May 31, Park Ave. Mall betw. E. 57th & E. 67th Sts., paulkasmingallery.com.

Sing New York!: The New York Choral Consortium announces the inaugural year of a new annual choral music festival, with 2 months of performances from over 50 New York City choral groups. Ends June 15, singnewyork.org; times, prices & locations vary.

Sol LeWitt - Structures, 1965-2006: The Public Art Fund presents a free, outdoor career retrospective of LeWitt’s work, with 27 works spanning over 40 years. Opens May 24, City Hall Park, publicartfund.org.

Summer on the Hudson: Riverside Park announces the 11th year of New York’s largest free festival offering over 75 blocks of free summer events, including films, live performances, an open-air dance party & more. Ends Nov. 11, Riverside Park & West Harlem Piers Park. Visit nycgov-

parks.org for schedule & information.

Summerworks 2011: Clubbed Thumb presents its

16th annual festival of new plays, with 3 works

by American playwrights. June 5–25, HERE, 145 6th Ave., here.org; 8:30, $18+.

Tribeca New Music Festival: New music artists perform world premieres & other works in 6 concerts at Merkin Concert Hall, Galapagos Art Space & the cell. May 23–June 10, nyae.org.

Underground Howl: The Lower East Side Archives & local artists & creative venues present a monthlong events series with musical performances, theater productions, a parade & more. June 3–30, 212-591-0729; times, prices & locations vary.

Vision Festival: The 16th annual festival honors the achievements of 70-year-old free-jazz artist Peter Brötzmann, with 7 days of innovative experimental music, dance, poetry & art. June 5-11, Abrons Arts Center, 466 Grand St., visionfestival.org; $30+.

Music & Opera Abron Arts Center: Object Collection performs their

unconventional opera, “Innova,” with text borrowed from gangster films, political manifestos & plagiarized performance art. Ends May 22, 466 Grand St., abronartscenter.org; dates & times vary, $20.

Abrons Arts Center: “Keys to the Future,” New York’s only festival of contemporary solo piano music features 10 pianists, 19 composers, 3 premieres & 27 recent works. May 24–26, 466 Grand St., 212-598-0400; 8, $20.

Carnegie Hall: The Collegiate Chorale presents “Something Wonderful: An Evening of Broadway with Deborah Voigt,” featuring guest artist Paolo Szot & the American Symphony Orchestra conducted by Ted Sperling. May 19, 881 7th Ave., 212-247-7800; 7, $25+.

The Connelly Theatre: Amore Opera ends its season with Bizet’s “Carmen.” Ends May 29, 220 E. 4th St., 888-811-4111; $40.

The Church of the Holy Trinity: The New Amsterdam Singers present “With a Lily in Your Hand: American Works in the Romantic Style,” with works by Dominick Argento, Morten Lauridsen, Fenno Heath & others. May 26, 316 E. 88th St., 212-568-5948; 8, $20+.

Church of St. Ignatius of Antioch: Polyhymnia presents “Misterios Ibéricos,” with vocal works

by Tomás Luis de Victoria, Francisco Guerrero & others. May 21, 552 West End Ave., 917-8384636; 8, $25.

Church of St. Ignatius of Antioch: The New York Virutuoso Singers & The Society for Universal Sacred Music present “The World of the Spirit,” with world premieres from Roger Davidson & Nancy Wertsch, & music from J.S. Bach & Benjamin Britten. May 22, 552 West End Ave., 212-279-4200; 3, $25.

Drom: Recorder player Nina Stern, percussionist Glen Velez & oud player Ara Dinkjian perform in “Rose of the Compass,” a CD release concert with works from Medieval Italy, the Middle East, the Balkans & more. June 7, 85 Ave. A, 212-777-1157; 7:30, $10+.

Good Shepherd Chapel: Soprano Ann Panagulias & pianist/composer Richard Pearson Thomas perform in “J’ai deux amours... un Cabaret Artistique,” with works by Debussy, Poulenc & others. June 5, 543 Main St., Roosevelt Island, goodshepherdchapel.net; 2:30, free.

The Hispanic Society of America: The Sylvan Winds perform in “An Evening in the Gardens of Spain,” with works by Ravél, Bizet, DeFalla & others. May 19, 613 W. 155th St., 212-222-3569; 6:30, free.

The Jerome L. Greene Performance Space: Meredith

Monk performs new arrangements of her work, “Songs of Ascension.” May 18, 44 Charlton St., 866-811-4111; 7, $20.

Merkin Concert Hall: Jessica Sibelman & The New York Chamber Virtuosi present “An Evening of Fantasy,” featuring the world premiere of Sibelman’s “Cinderella Suite,” a new version of Tchaikovsky’s “Sleeping Beauty,” & Wieniawksi’s “Faust Fantasy.” May 22, 129 W. 67th St., 212-501-3300; 8, $25.

St. Mark’s Church In-the-Bowery: Harpsichordist Elaine Comparone & The Queen’s Chamber Band end their season with an annual program of world & New York premieres. June 5, 131 E. 10th St., 212-280-1086; 2:30, $25.

Jazz Apollo Theater: The Jazz Foundation of America

presents its 10th annual “A Great Night in Harlem” concert, with over 40 jazz, R&B, blues & rock performers including Macy Gray, Lou Reed & Roberta Flack & special guests including Danny Glover & Michael Imperioli. May 19, 253 W. 125th St., 212-245-3999 x 10; 7, $55+.

Birdland: Marcos Valle with special guest Wanda Sa & others perform in “BoccaBrasil,” a program of Brazilian popular music & BossaNova. Ends May 21, Birdland, 315 W. 44th St., 212-5813080; 8:30 & 11, $30+.

BMCC Tribeca Performing Arts Center: Now in its 13th season, the “Lost Jazz Shrines” series celebrates the 52nd St. jazz scene of the 1930s–1950s. May 20, 27 & June 3, 199 Chambers St., 212-2201460; 8:30, $25.

Cornelia Street Cafe: Jane Ira Bloom trio performs works from Bloom’s latest project, “Wingwalker.” May 22, 29 Cornelia St., 212-989-9319; 8:30, $10.

Jazz Standard: Legendary jazz drummer Roy Haynes performs with his Fountain of Youth Band. May 18–22, 116 E. 27th St., 212-5762232; $35.

The Kitano: Jay Clayton trio performs. May 25, 66 Park Ave., 212-885-7119; 8 & 10, $15 minimum.

St. Peter’s Church: Harmonie Ensemble New York, with soloists Lew Tabackin & Lew Soloff, perform Henry Mancini’s music from “Peter Gunn.”

June 1, 619 Lexington Ave., 212-935-2200; 1, $10 suggested donation.

The University of the Streets: The Dom Minasi Trio, featuring Ken Filiano & Jay Rosen, performs in “Takin’ The Duke Out Again!” May 25, 130 E. 7th St., 212-254-9300; 10, $10.

Zinc Bar: Dimitri Vassilakis & band perform to celebrate the 50th anniversary of Candid Records & the release of his new album, “Across The Universe.” June 6, 82 W. 3rd St., 212-477-ZINC; 7, $10 plus 1–2 drink minimum.

Dance Ballet Nacional de Cuba: The company makes a

rare New York appearance, performing “La Magia de la Danza,” a program of excerpts from well-known classical ballets like “Giselle,” “The Nutcracker” & “Swan Lake.” June 8-11, BAM Howard Gilman Opera House, 30 Lafayette Ave., Brooklyn, 718-636-4100; 7:30, $25+.

Beamer-Solomon Halau O Po’ohala: The Hawaiian company presents “Eia Ka Hula: Behold The Hula,” a presentation with hula dance, live musical accompaniment, ancient chants, famous paintings & Hawaiian stories & history. June 3, 2537 Broadway, 212-864-5400; 8, $35.

Dance - Under the Influence: Curated by CityArts’ own Valerie Gladstone, “Under the Influence” unites visual arts-minded dancers & choreographers in performances of tap, ballet, flamenco,

club & other dance forms. May 18, Museum of Arts & Design, 2 Columbus Circle, 212-2997777; 7, $18.

Dancers Over 40: The company performs “I’m Not Lola: A Tribute to Gwen Verdon,” to honor the late performer, with Lee Roy Reams & Harvey Evans. May 23, St. Luke’s Theater, 308 W. 46th St., 212-239-6200; 8, $40+.

Danza Contemporanea de Cuba: As part of its U.S. debut, the company performs work by Swedish & Spanish choreographers, set to disco, hip-hop, swing, jazz & more. Ends May 22, The Joyce Theater, 175 8th Ave., 212-242-0800; $10+.

Murray Spalding Mandalas: To commemorate the life & work of the late Murray Spalding, the company performs “XIII,” which weaves themes from 12 of Spalding’s works into a single movement. May 27 & 28, Danspace Project at St. Mark’s Church-in-The-Bowery, 131 E. 10th St., 212-674-8194; 8, $18.

Nancy Meehan Dance Company: The company, in its 40th season, presents “The Coast...Moving,” “12 Feet on a Wooden Plane,” & “Guest to Star 2.”

May 20 & 21, St. Mark’s Church In-the-Bowery, 131 E. 10th St., 866-811-4111; 8, $18.

New York Jazz Choreography Project: The company presents its semi-annual all-jazz dance concert, with works from emerging & well-known choreographers. May 21 & 22, The Joan Weill Center for Dance, 405 W. 55th St., 212-8684444; $20+.

Performing the Border: Nandini Sikand’s Sakshi Productions & Daniel Phoenix Singh’s Dakshina Company present a joint program of Odissi & Bharata Natyam dance with a modern dance influence. May 20, Ailey Citigroup Theater, 405 W. 55th St., 212-352-3101; 8, $25.

Rebecca Stenn Company: The company performs “Fantasy, Lies, Hubris & Voyeurism,” to the music of Chopin, as part of the Soaking WET series. May 19–22, West End Theatre, 263 W. 86th St., 2nd Fl., rebeccastenncompany. com; $20.

The Seldoms: The Chicago-based company performs the New York premiere of “Stupormarket,” about the economic crisis, & New Keynesian & Neoclassicist thought. June 10–11, Joyce SoHo, 155 Mercer St., 212-242-0800; 8, $18.

Theater Adams’ Apples: John Strasberg’s Accidental Reper-

tory Theater presents his own work, inspired

by Chekhov’s “Cherry Orchard,” honoring Chekhov’s spirit with a new set of contemporary characters. Ends June 5, The Living Theatre, 21 Clinton St., 212-868-4444.

As It Is In Heaven: 3Graces Theater Company presents a 10th anniversary revival of Arlene Hutton’s play, which portrays a 1830s Shaker community, shaken by the arrival of a newcomer. May 21– June 11, Cherry Lane Studio, 38 Commerce St., 212-239-6200.

The Atmosphere: A group of Wall St. yuppies takes a cue from Bernie Madoff, with unexpected results. May 19 & 20, The Brooklyn Music School & Playhouse, 126 Saint Felix St., Brooklyn, 718-638-5660.

La Casa de Bernarda Alba: Tyrannical mother Bernarda Alba attempts to dominate her five unmarried daughters, all of whom harbor a secret passion for the same man. Ends May 27, Repertorio Español, 138 E. 27th St., 212-225-9999.

Danny & Sylvia - The Danny Kaye Musical: Brian Childers & Kimberly Faye Greenberg star in this adaptation of the real-life love story of creative partners Danny Kaye & Sylvia Fine.

Open run, St. Luke’s Theatre, 308 W. 46th St., 212-239-6200.

En el Tiempo de las Mariposas: “In the Time of the

Butterflies,” based on Julia Álvarez’s historical novel, tells the story of the Mirabal sisters & their fight against a dictatorial regime in the Dominican Republic. Ends June 25, Repertorio Español, 138 E. 27th St., 212-225-9999.

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.

Future Anxiety: In the near future, a generation forced to flea an uninhabitable Earth copes with limited resources & suspicious natives on a new planet. Ends May 26, The Flea Theater, 41 White St., 212-352-3101.

Happiness: The Drilling Company presents its 20th short play project, with eight short works commissioned by the organization & performed backto-back in each of 12 performances. Ends May 29, The Drilling Company Theatre 236 W. 78th St., 3rd Fl., 212-868-4444.

I Plead Guilty: Based on the Moscow theatre siege of 2002, Natalia Pelevine’s play takes the audience hostage, while a journalist & a terrorist find common ground as women. May 18–22 & 25–29, Gene Frankel Theater, 24 Bond St., 212-868-4444.

Knickerbocker: Jonathan Marc Sherman’s New York Premiere, part of The Public Theater’s Public LAB season, finds an expectant father in his favorite restaurant booth, confronting his fears about parenthood. Ends May 29, The Public Theater, 425 Lafayette St., 212-967-7555.

La Luz de un Cigarrillo - Una Historia Dominican-York: Teatro LATEA presents a glimpse into the lives of a Dominican family living in Manhattan, in Dominican Spanish with English subtitles. Ends June 5, CSV Cultural & Educational Center, 107 Suffolk St., #200, 212-529-1948.

Manipulation: After everyone she trusts takes advantage of her, the frustrated Cristina finally finds a way to break free from the cycle of torment.

Open run, Cherry Lane Theatre, 38 Commerce St., 212-239-6200.

No hay mejor amigo, Ni peor enemigo: A major-league Latino baseball player’s career is jeopardized when he refuses to sing the national anthem after his brother dies in the Iraq war. Presented in Spanish with simultaneous live English translation. Open run, Repertorio Español, 138 E. 27th St., 212-889-2850.

One Drop: Based on the true story of the writer’s family, Andrea J. Fulton’s play centers around a mulatto in 1800s Louisiana, struggling to decide whether or not to “pass.” Ends June 11, Paul Robeson Theatre, 40 Greene Ave., Brooklyn, 212-868-4444.

The Shaughraun: The Irish Repertory Theatre presents Dion Boucicault’s over-the-top, melodramatic comedy set against a background of the secret Fenian Uprising in Ireland in 1866. Ends June 12, 132 W. 22nd St., 212-727-2737.

Tearing Down the Walls: Daniel Beaty’s new musical follows a 30-year-old virgin in a close-knit Harlem community, as she makes a life-altering decision. Ends May 26, Riverside Theatre, 91 Claremont Ave., 212-870-6784.

The Tenant: Turtle Mountain Production Company presents Bill Donnelly’s “Twilight Zone”-y tale of sexual tension revolving around a young couple, their pet parrot & a Korean immigrant who finds her way into all of their lives. Ends May 22, The Producers’ Club Theaters, Crown Theater, 358 W. 44th St., 212-868-4444.

Winter Wedding: A translated version of the late Hanoch Levin’s play finds an Israeli family caught in a tug-of-war between a wedding & a funeral.

Ends May 22, Theater for the New City, 155 1st Ave., 212-254-1109.

May 18, 2011 | City Arts

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RESTAURANTS 1770 House Almond Restaurant Babettes Beacon Beachhouse Blue Parrot The BoatHouse Cittanuova Estia’s Little Kitchen The Frisky Oyster Fresno Georgica The Grill at Pantigo Gurney’s Pasticceria Jamesport Manor Inn La Plage Love Lane Kitchen LT Burger Luce & Hawkins Montauk Lake Club

WINERIES Ackerly Pond Vineyards Baiting Hollow Farm Vineyard Bedell Cellars Bouké Wines Castello di Borghese Channing Daughters Winery Clovis Point Comtesse Thérèse Corey Creek Vineyards Croteaux Vineyards Diliberto Winery Duck Walk/Pindar Vineyards Jamesport Vineyards Jason’s Vineyard Long Island Meadery Macari Vineyards & Winery Martha Clara Vineyards Mattebella Vineyards

Montauk Yacht Club Mosaic Muse Restaurant Nick & Toni’s Noah’s Oasis Old Mill Inn Race Lane Rugosa Savanna’s Scrimshaw Serafina Southfork Kitchen Southampton Social Club Starr Boggs Stone Creek Inn Townline BBQ Turtle Crossing Tutto Il Giorno Vine Street Café

FEATURING

McCall Vineyards Onabay Vineyard One Woman Vineyards Osprey’s Dominion Vineyards Palmer Vineyards Peconic Bay Winery Pellegrini Vineyards Raphael Roanoke Vineyards Scarola Vineyards Shinn Estate Vineyards Sparkling Pointe Suhru Wines The Grapes of Roth Vineyard 48 Waters Crest Winery Wölffer Estate

Dylan Lauren of Dylan’s Candy Bar Sarabeth Levine of Sarabeth’s Gourmet Author Silvia Lehrer

The Food & Wine Event in the Hamptons hosted by Chef Marcus Samuelsson

SATURDAY, JULY 16, 2011 Sayre Park

154 Snake Hollow Rd., Bridgehampton, NY, 11932 Host Chef Marcus Samuelsson

Buy tickets at danstasteoftwoforks.com $225 VIP/$150 General Admission

Master of Ceremonies FOX 5 Anchor Rosanna Scotto

V.I.P. Reception 6:30–7:30 P.M. | General Admission 7:30–10:00 P.M. This event will benefit East End food pantries through the Have a Heart Community Trust!

Must be 21+ to attend | For additional information, call 631-227-0188

PainttheTOWN

Patrick Cole

By Amanda Gordon

Gayle King and Ellen Barkin.

Ron Howard and David Letterman.

At around 10 o’clock on Monday, May 9, Lady Gaga arrived in a glowing egg positioned on top of a cart filled with cakes and macaroons.

Escorted by brawny men in sleeveless Roman tunics, the cart rolled past hedge-fund founders Dan Och, David Einhorn, Steven A. Cohen, Ken Griffin and more than 4,000 others gathered in the Jacob K. Javits Convention Center for the Robin Hood Foundation benefit.

Soon “the Gaga,” as emcee Brian Williams called her, emerged onstage wearing a cream outfit that exposed her midriff.

“I’d like to thank all the rich people for donating tonight,” she said. “And when I say rich, I mean rich in spirit.”

By the time she was serving up “Bad Romance,” the event had raised $47.4 million for the foundation, which helps New Yorkers in need.

Earlier, guests heard from Tony Bennett before confronting a medley of cold beef, chicken, kale and artichokes.

And one guest had punched in the amount of $400,000 into a wireless device at his table to win a recording session with will.i.am of the Black Eyed Peas. There was also plenty of time for air-kissing and mingling.

Evan Agostini/PictureGroup

GoinG GaGa

Lady Gaga at Robin Hood Foundation benefit.

Let’s Dance Tamara Tunie pulled off a mini Law & Order reunion May 12 at Harlem Stage, the performing arts venue in Upper Manhattan.

Tunie, a board member, brought in Jesse Martin and S. Epatha Merkerson as emcees, while she herself did a star turn as auctioneer at the landmark theater, a scenic conversion of a former pumping station for the Croton Aqueduct. The exterior of the building looks like a castle; inside, a grand arch frames the theater.

You can’t ask for a more perfect setting to conjure up the spirit of Fats Waller, the jazz great who once jammed at Small’s Paradise, the Harlem dance club.

That time was remembered in the world premiere of “The Fats Waller Dance Party,” commissioned by Harlem Stage from pianist, composer (and MacArthur genius) Jason Moran and singer and bassist Meshell Ndegeocello.

The music was all over the jazz map, and the mood scale ranged from an island groove to a romantic slow beat. Moran, wearing a white T-shirt and pale suit, performed at piano and keyboards, joined by Ndegeocello in a sweater, jeans and big pink-frame glasses.

The duo was backed by trumpet, trombone, bass and drum, and some young, edgy dancers who stomped their feet, swiveled their hips and wove their way around the dinner tables, luring guests to join them.

Derek Fordjar and LaChanze.

Tamara Tunie, The Harlem Stage board member who organized the evening.

Courtesy of Muse, the arts and leisure section of Bloomberg News; agordon01@bloomberg.net. Photos by Amanda Gordon/Bloomberg

May 18, 2011 | City Arts

23

One of the

greatest living

works of art

Photo: Benjamin Swett

Spring is the perfect time to visit Wave Hill, a spectacular public garden and cultural center in the Bronx, overlooking the Hudson River.

“The most beautiful spot in the five boroughs.”

– Manhattan User’s GUide “One of America’s most fascinating public gardens.”

– AOL

Target Free Days

®

Target sponsors free Tuesday and Saturday morning admission to Wave Hill, providing public access to the arts in our community.

Getting here is easy!

Purchase a MetroNorth Getaway package and receive discounts on round-trip rail fare and admission to Wave Hill.

Free shuttle; schedule at www.wavehill.org.

W 249 & Independence Ave • Bronx, NY • www.wavehill.org • 718.549.3200

Wave Hill