cityArts August 3, 2011

AUG. 3-SEPT. 13, 2011 Volume 3, Issue 13

IN THIS ISSUE A look at upcoming 9/11 tributes.

Previewing the Charlie Parker Jazz Festival.

MoMA presents photographer Boris Mikhailov’s Case History.

Sally Pettus’ “Green Car, Liberty Street” (August 2010).

PLUS: Travel with the Arts: Focus on the Berkshires; Second Stage continues its successful streak with All New People; Dara Birnbaum’s Arabesque; The Mark Morris Dance Group at Mostly Mozart.

InthisIssue 4 Dance JOEL LOBENTHAL looks at The Mark Morris Dance Group’s upcoming take on Stravinsky’s Renard boasting new choreography from Morris.

5 Theater MARK PEIKERT says that Zach Braff’s playwrighting debut, All New People, has been given a sleek and stylish production by Second Stage.

6 Travel for Art DONALD SOISIN gives readers a glimpse at what the Berkshires has to offer in the way of end-of-summer cultural events.

7 Jazz HOWARD MANDEL previews the upcoming Charlie Parker Jazz Festival— and why Madeleine Peyroux doesn’t quite fit in.

8 9/11 Tributes Our guide to the upcoming music, cabaret, photography and art that will pay tribute to the victims and heroes of September 11.

10 Museums Boris Mikhailov’s Case History isn’t as deeply disturbing as MoMA claims, according to John William Narins.

11 At the Galleries Reviews: Arabesque at Marian Goodman.

12 Classical JAY NORDLINGER cheers those performances when the orchestra is as good as the ballet company.

13 Arts Agenda Galleries, Auctions, Art Events, Museums, Classical Music, Opera, Theater.

On the Cover: Sally Pettus’ “Green Car, Liberty Street” (August 2010).

EDITOR Jerry Portwood jportwood@manhattanmedia.com MANAGING EDITOR Mark Peikert mpeikert@ manhattanmedia.com

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ArtsNews from the National Endowment for the Humanities in December to expand and reinstall its African art galleries, set to open in 2015. www.newarkmuseum.org. >>>

The New School for Drama has selected acclaimed actress Kathleen Chalfant as its 2011-2012 artist-inresidence. Chalfant, who was nominated for a Tony in 1993 for her performance in Angels in America and won Drama Desk, Obie, Lucille Lortel and Outer Critics

Circle awards for her role in Wit, will teach master classes to students during the fall and spring semesters and will speak in a town hall meeting to students about her work and experiences. “The New School has always been a mythical place for me,” said Chalfant. “I hope to reassure these aspiring actors that their commitment to art, though not always easy, is right and good.” www.newschool.edu/drama. >>>

On July 22, the Flea Theater

announced a new residency initiative, dubbed the Anchor Partner Program, to provide production space for other OffOff-Broadway hopefuls. Beginning in the fall, the Flea will begin working with and looking for suitable anchor partners —nonprofit theater companies that the Flea feels are well-suited to work in one of their coveted theater spaces. Through the new program, the Flea hopes to expand its work and audience and potentially put on performances 365 days a year. www. theflea.org.

LaPlacaCohen 212-675-4106

Audiences attending the 200 (!) shows featured in the 15th annual International Fringe Festival (Aug. 12–28) this year are in for a re-imagining of 20th-century culture high and low. The Bardy Bunch, written

by William Garvey, imagines the Brady bunch and Partridge family duking it out in a Shakespearean-style bloodbath, while Chris Rael has adapted James Joyce’s Dubliners into the chamber musical Araby.

Jersey Shoresical: A Frickin’ Rock Opera keeps the fest from feeling too higbrow, and The Legend of Julie Taymor, a musical about Julie Taymor’s doomed attempt at directing Spider-Man: Turn Off the Dark, keeps things topical and meta. But Fringe Fest is more than play; a number of State of the Industry panels will be happening over the course of the month on topics ranging from “What are we doing about indie theater?” to “The time for advocacy is now.” www.fringenyc.org. >>>

Publication: CITY ARTS Res#:

Jessica Sibelman, acclaimed composer, clarinetist and founder of the New York Chamber Virtuosi, will be able to add “educator” to her résumé after Aug. 10, when she’ll be speaking at 92Y Tribeca. The event she’s hosting, “From Symphony to Sonata: An Aural History of Classical Music,” is $16 a ticket and will include a multimedia presentation and “name that tune”-like games to teach audience members how to differentiate between different styles of classical music. www.92y.org. >>>

>>>

Through October 10

FRANS HALS

IN THE METROPOLITAN MUSEUM

7.341 X 8.5, 4C NEWS

The Newark Museum has reached yet another fund-raising success, receiving a $1 million grant from the Andrew W. Mellon Foundation to support the museum’s African arts initiative. The grant, announced July 18, will allow the museum to increase staff in its renowned African art department, among other things. “It’s like the fuel you put in a car,” said Christa Clarke, curator at the museum. For an institution that has seen its state funding cut by more than half, it’s not doing halfbad; the museum also received a grant

Insertion date: AUGUST 3, 2011

This year marks the 50th anniversary of the New York State Council on the Arts, and, naturally, celebrations are in order. The New York City Arts Coalition is leading the way with Fifty Years, Fifty Stories, an online video campaign that launched July 25. In 50 videos, various artists and administrators from the art world thank NYSCA for its funding and support.

Participants range from the well known, like American Ballet Theater, to the more obscure, like Lone Wolfe Tribe, a puppet theater for adults. The result? A digital thankyou card from the New York art world to the people who fund it. www.nycartscoalition.org.

metmuseum.org The exhibition is generously made possible by Bernard and Louise Palitz.

Frans Hals, Young Man and Woman in an Inn (“Yonker Ramp and His Sweetheart”), detail, 1623, The Metropolitan Museum of Art, Bequest of Benjamin Altman, 1913.

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DANCE

Move Like an Animal Mark Morris takes on Stravinsky’s ‘Renard’ as part of Mostly Mozart

By Joel Lobenthal his year, Lincoln Center’s Mostly Mozart Festival is letting some Stravinsky sneak in. His ballet-opera Renard, populated, or rather creatured, with Fox, Cock, Cat and Ram, arrives courtesy of Mark Morris, who has choreographed a new version of this short ballet-opera that was first staged for Diaghilev’s Ballets Russes in 1922. Morris’ Renard was given its world premiere at Tanglewood in June, and will be at the Rose Theater Aug. 18–20.

Stravinsky’s score is not only a storied incident in 20th-century music and ballet but a masterful revisit of one of the most venerable and richest veins of artistic imagination. Renard tips its hat to the way humans have been imitating the movement of animals for millennia. Sometimes we’ve utilized the formal beauty of their characteristic prowess. Sometimes we’ve mimicked them in the form of propitiatory rite and ritual to aid our subjugation and exploitation of them. In theatrical dance there is every possible response, from exalted hybrids like Swan Lake’s Odette to the barnyard menagerie in Renard.

Choreographers’ endless observation of

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resistance if volunteered by friends and family. And when it comes to speaking truth to power, it can be a lot safer to let the animals mouth the uncompromising.

Stravinsky’s text was based on Russian folk tales, but pertinent as well is the Reynard folklore that began in Alsace-Lorraine in the Middle Ages in which a fox hero was prone to saying untoward things about the aristocracy. Here in Renard, there’s also some fun poked at the Russian Orthodox Church.

members of the animal kingdom certainly rests in part on our fascination with the way they move; if not better, than more easily than we humans—move gracefully, that is. They have those finely honed, flexible bones, except when, like snakes, they’re entirely boneless. And there’s When it comes to speaking surely an admiration for truth to power, it can be a lot the way the animals, unlike us, don’t have to safer to let the animals mouth train, rehearse and diet— the uncompromising. their talent is just second nature.

Renard’s text, written by Stravinsky By virtue of the archetypal traits himself to be delivered by four singers, with which they are endowed in the also taps into literature’s no less pedigreed popular imagination, animals provide an propensity for putting recognizably human essentialism that also lets us know right sentiments into the maws of animals. away who we are dealing with. How many Readers as well as audiences love to theatrical or kinetic foxes have you met encounter anthropomorphism. An animal that were not sly? Sometimes indeed they onstage is as sure-fire a scene stealer as a can be too sly for their own good, as is the little kid. case with Stravinsky’s Renard. Twice he lures the Cock down from his perch and And we readers or spectators will quite almost succeeds in turning him into comfort possibly be able to hear some commentary food before he is foiled by an alliance of about our foibles without the rising hackles onlooking breeds. of defensiveness. Aesop’s fables can instruct Morris’s selection of Renard reminds us us in ways that might be sure to encounter

GAIL SCHOENTAG GALLERY Sag Harbor / New York

of how many bright and dance-hospitable scores Diaghilev used or commissioned that have today fallen into choreographic disuse. The music sounds something like a more intimate pendant to the more frequently choreographed Les Noces, which Stravinsky composed around the same time. (Bronislava Nijinska choreographed the original productions of both ballets.)

There are the same relentlessly percussive syncopated rhythms, and a similar threading of singers’ tonalities into the instrumentalists. Vocal parts are restlessly divorced from consistent adherence to a particular character.

Stravinsky called Renard a “burlesque.” Diaghilev had a long history of encompassing popular and knockabout genres into the academic classical dance.

In London in 1929, two months before his death, Diaghilev presented a revival of Renard with new choreography by Serge Lifar, in which identically costumed acrobats alongside the dancers made possible improbably timed exits and entrances by each character.

Morris has a showman’s instinct and a love of the comic and of the credulity of the child’s imaginative projection. I’ll look forward to seeing the way he responds to this delightful score. < Read more by Joel Lobenthal at Lobenthal.com.

Contemporary and American Art

LIMITS AND DESPERATE

Exhibition 10th of August - 20th of September Reception 13th of August 5PM - 11PM Featuring works from: Eric Decastro, Nathalie Grenzhaeuser, Florian Heinke, Clare Langan, Bjorn Melhus, Yves Netzhammer, Anke Roehrsscheid, Josef Schoeffman Paintings, photography, oil paintings and video Omaha Beach, (Cloud with Sea), 2003, 27” x 45”

112 Hampton St, Sag Harbor NY 11963 | office@gailschoentag-gallery.com | Contact: 631 595 3510 4

City Arts | www.cityartsnyc.com

Theater

All Good Things

By Mark Peikert f the things that actor-writer Zach Braff does well in his playwrighting debut All New People—and there are a few— the most surprising is that he has succeeded where other, more tenured playwrights have failed. In throwing together four strangers in a room for 90 minutes, Braff has come up with a convincing reason for them all to stick around: They don’t have anywhere else to go.

Not that audiences mind. As suicidal Charlie (Justin Bartha), chatty Brit realtor Emma (Krysten Ritter), drug-dealing fireman Myron (a deceptively doofus-y David Wilson Barnes) and imported Manhattan escort Kim (Anna Camp) swill booze, pop pills and smoke pot in an isolated beach house in New Jersey, they prove themselves worthy company, especially when embodied by as strong a cast as director Peter DuBois and Second Stage have assembled here. All of them have their own reasons for shirking solitude, and all of them have the outer shininess of deeply damaged individuals.

As it turns out, the impeccably chipper Emma is the most damaged of all, despite

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her insistent cheeriness. At her perkiest, Emma seems like Mary Poppins’ boozy younger sister, all spoonfuls of tequila and handfuls of Canadian anti-depressants.

Ritter’s British accent is a strain in the play’s first quarter, but we eventually warm up to both it and her.

The rest of the cast needs no warming up; all three come barreling out of the gate, snorting and stamping like thoroughbreds.

Bartha, his movie-star looks obscured by a thick beard, mostly sits by silently, occasionally interjecting notes of impotent rage at the strangers who have interrupted his suicide attempt (set to a Riverdance score). But it’s typical of the obliviousness of the generation that Braff is intent on poking and prodding that even at his most outrageous, Charlie’s new compatriots simply shrug their shoulders and continue their conversations. When he snarls to Emma that he has murdered six people, she looks at him silently, then asks, almost flirtatiously, “You’re not gonna murder me, are you?”

All New People has been given Second Stage’s usual slick production, this one complete with video projections of the darkest moment in the characters’ lives

Joan Marcus

Second Stage continues its successful streak with ‘All New People’

Anna Camp, Justin Bartha and Krysten Ritter in All New People. (featuring some well-known faces). Those are lavishly produced—and the televisionfriendly cast all look great—but not necessary, since they add almost nothing to the script that doesn’t sprout organically through the course of the dialogue. Instead, they’re little reminders that Camp and Ritter are best known for their TV work, which is a shame given that Camp is turning in a deliciously daffy performance as that oldest of archetypes: the hooker with the heart of gold.

Sent by Charlie’s old friend to cheer him up, Kim is startlingly nonchalant about her role. She’s been well paid for her services, and, given that her employer for the night looks like Bartha, doesn’t mind performing her duties one bit. Camp manages to tread—in stripper heels, no less—the fine

line between satire and humanity, leaving Kim a roaringly hilarious creature who is nonetheless affectingly sweet. Her toast to Charlie may end with a heartfelt plea that they do, eventually, have sex (“Coke makes me horny,” she giggles), but she also pulls out a ukulele, and in the unlikeliest and loveliest of endings, gently serenades her trio of lonely souls with a song she wrote herself.

The moment may be pure schmaltz, but it’s impossible to argue with its effect—or the fact that, as embodied by these four actors, these men and women have earned Kim’s chorus of “We’ll rally, rally around you.” < All New PeopleThrough Aug. 14, Second Stage Theatre, 305 W. 43rd St. (at 8th Ave.), www.2st.com; $75.

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Travel for Art

NYC doesn’t have a monopoly on culture—just check out these Berkshires offerings

By Donald Soisin f you are an art or music lover heading for the Berkshires between now and the end of summer, every day is a holiday picnic basket overflowing with artistic delights.

From chamber music to grand symphonic works, opera staged or in concert version, there are fireworks galore in this season’s offerings at festivals as close as Westchester and Litchfield counties, as well as more extended trips to the Finger Lakes.

Music Mountain, just off Route 7 in Falls Village, Conn., is the country’s oldest chamber music festival, with a full schedule including some jazz and free community events for the whole family.

This season, cozy, air-conditioned Gordon Hall will be filled with the sounds of the Amernet String Quartet playing Schubert, including the magnificent Quintet with guest cellist Yehuda Hanani (Aug. 6), and the Voxare Quartet with the wonderful flutist Eugenia Zuckerman playing Schubert and Beethoven (Aug. 14). Other artists, like the stalwart Colorado, St. Petersburg and Shanghai Quartets, will be there later in the month. Picnicking is welcome, and intermissions are a great time to browse the discounted books on the arts and travel. Bring your dancing shoes for an evening with The Whiskey Boys Aug. 13, the Galvanized Jazz Band Aug. 20 and Gunsmoke Aug. 27. The Friday night series features a Harold Lloyd silent movie comedy with live music on Aug. 19 (full disclosure: the pianist is yours truly, along with my wife Joanna Seaton on vocals and percussion), and, on Aug. 26, LatinAmerican tangos and vocals from Tempo del Fuoco. Visit www.musicmountain.org for all of the details.

Over the hill in Norfolk, Conn., is the Ellen Battell Stoeckel Estate, home to the Yale Summer Music School and the Norfolk Chamber Music Festival. There are nine more performances in August— free concerts by students on Thursdays and Saturdays, and an array of fireworks by big guns on the weekends. I’d pick the chamber dance evening on Aug. 5, with Poulenc’s flute sonata (Ransom Wilson, André-Michel Schub) and “Le Bal Masqué” followed by Stravinsky’s Histoire du Soldat, performed by the Full Force Dance Theatre. Or the Aug. 13 evening of Mozart with the Tokyo Quartet and guest violist Ettore Causa playing the sublime Quintet in G minor K. 516. And for Vivaldi and Handel played on period instruments, the Philharmonia Baroque Orchestra, a splendid San Francisco-based ensemble, makes a guest appearance Aug. 20. Point your browser to www.music.yale.edu/ norfolk for the full schedule.

Crossing the state line to Massachusetts, the Berkshires really begin to rise, with

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so much dance (Jacob’s Pillow), drama (Shakespeare & Company, the Berkshire Theater Festival), music and art that you won’t know what hit you. One of my favorite places to visit is the Norman Rockwell Museum in Stockbridge, which houses a huge collection of the artist’s paintings and drawings. One of the fun exhibitions at the moment is a dog show— that is, a show of Rockwell’s work involving man’s best friend. You’ll have a ruff time choosing your favorites. The exhibit bows out Nov. 11. There’s also an interactive display of the 3D animation art of Blue Sky Studios, creators of the Ice Age films; drawings by Sol Schwartz; an outdoor installation of robots—it’s at least a half day of exploration. Tickets, directions and more info at www.nrm.org or 413-298-4100 Another favorite, The Clark, is a jewel of a museum, with a superb French Impressionist collection, stunning American landscapes and Western scenes, early photography, master drawings and English silver. Among the current exhibitions, Pissarro’s People focuses on the artist’s representation of the human figure, although he is known for landscapes, and an accompanying Monday afternoon series augments the art with films about the politics of labor, such as The Tree of Wooden Clogs. Other summer highlights include a sculpture show by El Anatsui, one of Africa’s major artists, and large-scale photographs by a German couple, Candida Hüfer and Thomas Stroth. The museum’s excellent website (www.clarkart.edu) whets the appetite for the real thing.

Other venues for summer art and musical fun include MASS MoCA in North Adams, Mass., where Aug. 6 finds the complete version of Fritz Lang’s sci-fi silent film masterpiece Metropolis, accompanied by the Alloy Orchestra, three bangmasters from Cambridge. On the visual side of things, the former factory is the perfect place to house a contemplative collection on workers and objects from various work environments. Nearly 40 works by 25 emerging and established international artists have contributed. There’s also an Internet-themed exhibit and a number of other strange and exotic art works here at America’s largest contemporary art museum.

A click on www.massmoca.org or a call to 413-662-4111 will get you started.

Art and music also rub shoulders at The Mount in Lenox, Mass. The sumptuous estate, designed and built by Edith Wharton, is one of the very small number of National Historic Landmarks dedicated to women, and is a beautiful place to spend the day, strolling through its classical revival house and formal gardens or taking in a ghost tour, one of the jazz concerts or perhaps a lecture. Open every day,

Ozawa Hall at Tanglewood. more information can be found at www. edithwharton.org or 888-637-1902.

The biggest musical attraction in the Berkshires is, of course, Tanglewood.

The sumptuous estate in Lenox, Mass., is the perfect place to hear the world’s top soloists along with the Boston Symphony Orchestra, which unfortunately is minus the talents of James Levine this season, on doctor’s orders.

John Williams makes his annual visit to the Tanglewood Shed Aug. 20 for the ever-popular film night. The next weekend there’s a Beethoven bonanza. At the Aug. 27 morning open rehearsal (sometimes more fascinating than the concert itself), the extraordinary Lorin Maazel will put the finishing touches on his Beethoven’s Ninth performance for the following afternoon. In between, Itzhak Perlman will conduct and solo in both of the Romances for violin and orchestra, and undoubtedly bring the Saturday evening crowd to its feet with Beethoven’s Fifth Symphony. That’ll be it for the classics, but jazz and a wine and cheese festival will continue through Labor Day. For full concert info, visit www.tanglewood.org or call 888-266-1200. And take note of the package deals between Tanglewood and other Berkshire cultural landmarks.

Along the Hudson in Annandale, N.Y., Sibelius is the focus of the Bard Music Festival (Aug. 12–14 and 19–21) as part of its umbrella festival, SummerScape.

Starting with “Finlandia,” music director Leon Botstein, the American

Symphony Orchestra, and many guests will explore the full range of Sibelius’ work, his Scandinavian predecessors and contemporaries and his colleagues in Europe and North America. Seldom will there be an opportunity to hear such a wealth of Sibelius’ music without traveling to Helsinki. Not to mention getting acquainted with people like Erkki Melartin (1875-1937, the same as Ravel), whose lush and powerful scores owe a debt to Mahler. SummerScape has ticket information at www.fishercenter.bard.edu or 845-758-7900.

For opera way out of town, don’t miss the goings on at Glimmerglass, just north of Cooperstown, N.Y. This year’s quartet of productions: Bizet’s smoky Carmen, Irving Berlin’s gunsmoky Annie Get Your Gun, Cherubini’s sultry Medea and a double bill of new works. Further info at www. glimmerglass.org or 607-547-2255.

The Litchfield Jazz Festival, Aug. 5–7, is actually in Kent, Conn., and this year’s lineup features The Bronx Horns, The Clayton Brothers, a Ray Charles Tribute, the Jimmy Heath Big Band and much more.

All that jazz at www.litchfieldjazzfest.com or 860-361-6285.

Finally, pop, folk, jazz and roots abound at upstate venues like Club Helsinki in Hudson, N.Y., The Towne Crier in Pawling, N.Y., and Infinity Hall in Norfolk, Conn. Each has big-name artists and groups along with local talent for a full spectrum of sounds to keep you smiling on summer nights. <

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Jazz

Summer Jazz Blues

How is Madeleine Peyroux not Charlie Parker? Let’s count the ways.

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with Machito’s orchestra (arrangements

by Chico O’Farrill), released as the album South of the Border. And Latin jazz is an indelibly New York hybrid.

One might think Toots Thielemans, the Belgian harmonica player, sensitive guitarist and composer of the jazz waltz “Bluesette,” is an odd choice to headline in Harlem, but he long ago named Parker (along with gypsy guitarist Django Reinhardt) as an early influence.

Alto saxophonist Tia Fuller, whose tart, clipped style is direct Parker emulation, will perform, as well as Cécile McLorin Salvant, an intriguing, new-to-the-scene singer. From Florida, with a Haitian father and French mother, lately of Aix-enProvence, Salvant took first prize at the Thelonious Monk International Vocal Jazz Competition last fall. Her videos on YouTube show she sings the canon from Bessie Smith (“Alexander’s Ragtime Band”) to Bird (swinging hard, bopping fast and scatting).

The music at Tompkins Square is less obviously like Parker’s. Tenor saxophonist Archie Shepp surely reveres Bird, but arose in the 1960s as a Coltrane protégé and politically-oriented poet/dramatist.

He retains the social critique of his youth, with less growly power. Also appearing: Israeli clarinetist/saxophonist Anat Cohen, acclaimed for her bop speed and all-styles command, and 27-year-old pianist Gerald Clayton, a devotee of jazz tradition. That leaves singer Madeleine Peyroux. What’s to say, other than that her music’s of a different world?

Born in Athens, Ga., and raised in Brooklyn, Southern California and Paris, Peyroux is the child of academic hippies.

She’s paid some dues as a street busker and gained a reputation evoking Billie Holiday, Edith Piaf and Patsy Cline while strumming guitar and remaining stonefaced. In performance she’s loosened up a bit (I saw her at the 2010 Chicago Jazz Festival), but is essentially a chanteuse or contemporary folk-rock popper.

Peyroux doesn’t improvise, is more country than blues and has a small, undependable voice. It’s OK that she appears under Yardbird’s banner if her devotees stay to hear something with more genuine jazz value.

Oh, what’s the difference? Bird was no purist; he worked with strings, voices, in jam sessions… And anyway, jazz has always been broad enough to include anybody wanting to identify with it. Peyroux is daring to face these listeners, so we should let categories go. She’s singing for free on a late summer day, when anyone might indulge whimsy or caprice, lighten up, try something new or take it easy. Have a fling. <

Pissarro’s People Through October 2, 2011 Detail of Apple Harvest, 1888, by Camille Pissarro.

Dallas Museum of Art. Munger Fund

By Howard MaNdel he Charlie Parker Jazz Festival is Manhattan’s last free music fling of the summer. Two four-act afternoon-toevening concerts—Saturday, Aug. 27 in Harlem’s Marcus Garvey Park and Sunday, Aug. 28 in the East Village’s Tompkins Square Park—honor an iconic saxophonist who took melodic, chordally based improvisation about as far as anyone ever has.

Brilliant, sophisticated, marginalized and self-destructive, Charlie “Yardbird” Parker (1920–1950) was the model New Yorker. Born and raised in Kansas City, he arrived here at 19 to establish himself, made such an impression that a nightclub took his name and lived at the end of his life in an apartment within spitting distance from the Tompkins Square stage. It’s commonplace to say, but true, that he launched dazzling flights of spontaneous song on the wings of swing, the basics of the blues and an unmatched comprehension of previously little-explored harmonic extensions. Small band jazz never soared so wildly across barlines and into inspired tunefulness as when Bird and such worthy compatriots as Dizzy Gillespie, Miles Davis, Thelonious Monk and Max Roach created the modern jazz vernacular going on 70 years ago.

Bird’s work is verifiably classic, his recordings still available, enjoyed and studied—his legacy is still the standard others measure themselves against.

However ambitious, abstract or avantgarde an improviser wants to be today, they must contend with the language Parker’s beboppers came up with, and the fest’s bookings (thanks to the city parks department’s SummerStage staff) reflect that, with one apparent exception, singer Madeleine Peyroux—but keep reading, I’ll get to that.

At the Harlem event, expect reedsand-winds monster James Carter to show off all the things he knows about sax, learned from Bird and some of his avowed followers, like Ornette Coleman, John Coltrane and Sonny Rollins. Carter will do that because he’s the most voracious, competitive saxophonist of his generation.

He’s also a historian with a depth of sax analysis and information comparable to that of New York’s most vocal Bird fan, Phil Schaap of WKCR, who broadcasts Parker’s music every weekday on his radio show Birdflight, 8:20–9:30 a.m., 89.9FM. Carter plays everything from flute and sopranino through baritone and bass saxes. He’s naturally assertive, given to suave romantic impulses. His most recent recording is Caribbean Rhapsody— appropriate, since Charlie Parker memorably embraced Afro-Cuban pieces

A fresh look at one of the masters of French Impressionism

Sterling and Francine Clark Art Institute Williamstown, Massachusetts 413 458 2303

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Mark di Suvero at GOVERNORS ISLAND presented by STORM KING ART CENTER

through September 25, 2011 A special exhibition of large-scale works by the iconic American sculptor, sited across the 172-acre expanse of Governors Island.

Experience these dynamic steel works against sweeping views of New York City’s harbor and skyline.

APPS: Text STORM to 56512, or download “Storm King” from iTunes

Open Friday–Sunday, holiday Mondays Free ferries from Manhattan and Brooklyn MORE INFORMATION: stormking.org; govisland.com

August 3, 2011 | City Arts

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“The 9/11 Peace Story Quilt,” 2006.

Remembering 9/11: 10th Anniversary Tributes and Memorials with chances to pay homage to what happened that day. Here are just a few of the scheduled events:

9/11 10th Anniversary Reflections

Thomas Hampson.

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or the last decade, the end of summer has meant one thing to New Yorkers, even if only subconsciously: the anniversary of September 11, 2001. Hard to believe, but this year marks the 10th anniversary of the terrorist attacks, and New Yorkers still haven’t forgotten. Whether they’re celebrating the memory of the victims and the heroism of the first responders with paintings, concerts or, in true New York City fashion, down and dirty Downtown cabaret, August and September are filled

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This exhibition offers a chance for visitors to sift through the personal reflections of those who lived or worked in Downtown Manhattan on the day the Twin Towers fell. Volunteers are traveling the city, collecting the recollections of New Yorkers on Mylar cards that will be arranged and displayed along the pathways in Battery Park’s Garden of Remembrance on Aug. 4 and kept on display through September.

In conjunction with the exhibit, instrumental artists will hold free concerts Sept. 10 and 11, 2–4 p.m., in partnership with Feel the Music! on the south side of Ground Zero (at 120 Liberty St.) for reflection and remembrance.

For a chance to contribute to the 9/11 10th Anniversary Reflections project, visit www.tributewtc.org.

9/11: The World Speaks Multitudes of visitors stream through the Tribute WTC Visitor Center sharing personal experiences, tributes to victims and responders, and other remembrances.

9/11: The World Speaks is a collection of these visitor cards from the past five years, offering a window into the feelings and memories of local and international visitors to the site.

On Aug. 16, 6 p.m., Tribute WTC is holding a book launch at its space on 120 Liberty St., on the south side of Ground Zero. The event is free and open to the public.

For more information, visit www. tributewtc.org.

Heart of a Soldier Premiering Sept. 10 at 8 p.m. as part of the San Francisco Opera’s 2011-2012 season, Heart of a Soldier tells the story of Rick Rescorla, one of the most inspiring—and harrowing—tales to come out of 9/11. As head of security for a brokerage firm based in the World Trade Center, he led all 2,700 people under his care to safety before going back in, never to come out again. Now, Rescorla’s true-life heroism is a new opera, based on the book of the same name by James Stewart and starring Thomas Hampson. Composer Christopher Theofanidis assures potential audiences that the show “has a great deal of humor woven throughout, which is part of the humanity these characters bring to the story.” Rescorla’s story is both dramatic and larger-than-life, particularly in one respect that lends itself well to opera: Rescorla actually sang his colleagues down the stairs of the burning building.

9/11 Peace Story Quilt at the Metropolitan Museum of Art From Aug. 30 to Jan. 22, this colorful, three-panel story quilt will be on exhibition in the Ruth and Harold D. Uris Center for Education at the Met. In 2006, artist Faith Ringgold held a series of master classes with New York City students, ages 8–19, in which they made fabric squares relating to the theme of peace. Now, Ringgold has put those squares together to create a story quilt that highlights the effect 9/11 had on the city’s youth and the importance of cultural acceptance and tolerance in a post-9/11 world. The work will be displayed next to art that inspired the quilt itself, and on Sept.

11 the museum will present a “Sunday at the

Remembering 9/11 This photography exhibition, on view Sept. 9–Jan. 8, 2012, at International Center of Photography (1133 6th Ave.), shows how firefighters, construction workers, police officers, artists, photographers and ordinary citizens responded on that day 10 years ago when the Twin Towers fell. The exhibition includes a video installation, photos of thousands of artifacts found at the site and other poignant images.

For more information, visit www.icp.org.

Paintings From the Perimeter New York City-based artist Sally Pettus has collected a series of her paintings in this exhibit, opening Sept. 3 at KS Art (73 Leonard St.), that document scenes from the reconstruction of the World Trade Center site using oil on canvas. Paintings from the Perimeter catalogs the 10-plus paintings, from the perspective of an outsider looking down into the site, that she entered in the World Trade Memorial Site Competition in 2003.

In Remembrance and Renewal A Sept. 10 concert for New York in memory of 9/11 by the New York Philharmonic at Avery Fisher Hall, the program will feature Mahler’s Symphony

No. 2, Resurrection.

For more information, visit nyphil.org.

The 10th Anniversary Memorial Political Cabaret! at the Highline Ballroom On Sept. 11, at 7 p.m., this three-hour extravaganza at the Highline Ballroom, featuring stars from the Downtown New York City arts scene, promises to be a gritty, politically incorrect celebration of the memories, sense of togetherness and heartache that surround the events of 9/11, its aftermath and the way our relationship to “terror” and the U.S. government was forever changed. A potent brew of nudity, poetry, dance, song, comedic commentary and drag, the evening will be divided into three 45-minute acts, rising in political incorrectness. Act 1, “A Love Letter to New York; Act 2, “An America in Transition”; Act 3, “Oh NO you DI-INT!” The event’s promoters promise that the “third act [will be] the most lovingly outrageous thing you will see all year, meant to inspire desire and burn our artistic fire!” All proceeds go to the Uniformed Firefighters Association of New York’s Widow’s and Children’s Fund.

September 11 10th Anniversary Commemorative Concert Organized by Symphony Space, musicians from the New York Philharmonic and the Metropolitan Opera perform a commemorative tribute to the people of New York City on the 10th anniversary of September 11 at the Peter Jay Sharp Theatre, Sept. 11, 7 p.m. The evening’s program will include specially selected music and

Sally Pettus

Met” program with Ringgold to discuss the message of the exhibition. Rather than focus on the past, the quilt looks toward a better future, as is clear from the question posed on the top of the quilt: “What will you do for peace?”

“On Granite Wall, Liberty Street” (April 2011), Sally Pettus. poetry from David Amram, Brahms, Samuel Barber, Chopin, Lera Auerbach, Liszt, Schumann, Laura Kaminsky (New York premiere), Astor Piazzolla, Jon Deak (world premiere), Wagner, Drew Hemenger (world

premiere), Sean Hickey, Simon Mulligan (New York premiere), Justin Tokke and Franco Alfano (American premiere).

For more information, visit www.symphonyspace.org.

In Performance: Commemorating the 10th Anniversary of September 11, 2001 At 5 p.m. on Sept. 11 and 12, The Joyce Theater Foundation will present two free performances at the Nelson A. Rockefeller Park (north end of Battery Park City, west of River Terrace) to commemorate the 10th anniversary of 9/11. This special event will feature performances by the Limón Dance Company with Voices of Ascension; the Paul Taylor Dance Company with Orchestra of St. Luke’s; and a new work created by Jessica Lang especially for this occasion, among others to be announced.

The free event will feature general lawn seating on a first-come, first-served basis.

© Peter Foley

9/11 Memorial

Peter Foley, [Untitled], 2001, from here is new york: a democracy of photographs.

Half of the 16 acres at the World Trade Center site are dedicated to the 9/11 Memorial, which will be opened to the public for the first time on Sept. 12, after a closed ceremony the day before. The names of every person who died in the terrorist attacks of Feb. 26, 1993, and Sept. 11, 2001, are inscribed in bronze around the twin memorial pools that are the heart of the site.

Because of ongoing construction around the memorial, you’ll have to secure a visitor’s pass ahead of time online. The entrance is located at the northeast corner of Albany and Greenwich streets.

For more information and to register for a visitor’s pass, visit www.911memorial.org. < August 3, 2011 | City Arts

9

MUSEUMS

Making a ‘Case’ for Mikhailov MoMA presents the United States debut of a “deeply disturbing” Russian photographer

B

commentary. More interesting and provocative is the artist’s tightrope walk between differing approaches to photography. Much in this show underscores the documentary mode for which Mikhailov is known: the “human,” tilted and apparently unplanned camera angles; uncorrected red eye (unavoidably obtrusive in this large-scale format); night shots crudely forelit, as if taken with an amateur’s flash; and the uniform, “standard” sizing of the photographs. This is reinforced even by how the works have been hung: unframed and unmounted, pinned to the wall with a pair of thumbtacks (the bottom of each photograph curving away from the wall), like casual snapshots on a bulletin board. Such treatment is geared toward defusing the exaltation of art suggested by the museum context.

It would seem to urge us to view them as unplanned, spontaneously captured truth.

But in the work of a professional “Untitled” from the series Case History 1997-98. photographer, and even more so in a museum setting, all these are conspicuously considered devices. They presentation, making it obvious that the manifest not objective documentation photographer is consciously influencing the but the artistically contrived simulation source material. of documentation. Aggressively Mikhailov’s subject matter participates choreographed compositions further in the same inner conflict—in pointedly undermine the photographs’ apparent claim grubby surroundings, unappealing to objective chronicling (especially the subjects pull aside clothing to show us series in the “winter” section of the show, scabs, rashes and tattoos. Mikhailov sees grouped on the back wall and given the himself as representative of the late Soviet separate title of Requiem, although this is intelligentsia, characteristically opposed nowhere indicated). to the Establishment, and his depiction of Of course, there are always authorial the social underclass manifests a traditional choices, even in photography, but image opposition stance (the almost stereotypical selection, cropping and the like do not strike stance of the documentary photographer). at the heart of photography’s putative truthBut these works seem more aimed at the recording abilities. Contrived composition aestheticization of the grotesque. Making art goes beyond unavoidable choices of from ugliness is an equally defiant rejection

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City Arts | www.cityartsnyc.com

Courtesy the artist, Pace-MacGill Gallery, New York, and Galerie Barbara Weiss, Berlin

By John William Narins oris Mikhailov is among the more celebrated artists to emerge from the former Soviet Union since the fall of communism. This is all the more remarkable given that his medium is photography. One of his signature projects, Case History (the original title might be more accurately, if less fluently, rendered as “The History of a Disease”), is a series of 400 pictures of the homeless in Mikhailov’s native city of Kharkov, Ukraine. The Soviet state had ensured that homelessness was virtually nonexistent, but upon his return to Kharkov from a stay in Germany in 1996, Mikhailov was suddenly struck by the extent of societal transformation. The glitzy, all-tooconspicuous hyperconsumption that had become the international image of the postSoviet world came at a cost: the creation of a parallel underclass whose poverty and misery were at least the equal of the prosperity of the so-called “New Russians” (and “New Ukrainians”).

The first show in an American museum dedicated to Case History, MoMA’s exhibit (through Sept. 5) includes 19 of the 400 shots, billed as deeply disturbing—signs are even posted at the entrances, warning more squeamish visitors to think twice before entering. The photographs themselves are not as shocking as all that, but they do grab your attention. Their very scale is arresting; each photograph measures 93 by 50 inches.

The scale varies, so that the figures may be a bit smaller or larger than life-sized, but the images always seem too close for comfort.

Mikhailov’s subjects are thrust forward into our personal space and demonstratively uncover for us their breasts or genitals.

Nudity itself, however, can hardly provoke a modern audience. The choice of subject matter, too, is entirely traditional; from its early years, photography’s function as recorder of “objective truth” has associated it with journalism and social

of the salon aesthetics that Mikhailov’s generation automatically associates with official Soviet art.

The photographs included in this show were taken over a single year (from spring 1996 to spring 1997) and, as you circle the room, you pass through privation in four seasons.

Along with constants of subject matter and the standardized format and presentation of the photographs, this tends toward a harmonious presentation of intentionally discordant material. The approaches taken in the separate works, however, are so various as to undermine that sense of unity. It is as if each shot is influenced by a different aesthetic from the photographer’s inherited inventory of photographic genres.

Shots of a scruffy old man in a uniform and undershirt, raising an ax like a flag (a potential Raskolnikov?), or the contrived compositions of the Requiem group, derived from Russian orthodox iconography, clash with pictures designed to look like uncomposed candids. In one of the shots here (although there are others like it in the original series), the photographer includes himself in the frame, looking on intently as his subject bares his rash-covered buttocks. The move introduces the issue of voyeurism, of the potentially disquieting relationship between the photographer and his obviously vulnerable subjects. Elsewhere, the voyeur is only implied by the “exhibitionist” posing for the camera.

Mikhailov’s Case History amounts to an attempt to fuse seemingly incompatible visions of contemporary photography.

This is the chief underlying tension of the exhibition and, even if the extent of his success in resolving those tensions remains an open question, it is a fascinating quest. <

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JACOB’S YouTube Song of Love PILLOW MUSEUMS

A

D A N C E FESTIVAL 2011

Trisha Brown Dance Company

Courtesy: Marian Goodman Gallery, New York

By Valerie Gladstone cclaimed video pioneer Dara Birnbaum presents the exhilarating, probing multichannel video installation Arabesque at the Marian Goodman Gallery this summer, in one of the first solo exhibitions of her work in New York since 2001. Helpfully, it is exhibited with several of her channel pieces from 1975–76, psychological video self-portraits in which she explores the relationship between camera, subject and viewer. She has never forsaken her roots in the study of architecture and environmental design.

Nor has she outgrown the early influence of Italian architect Manfredo Tafuri’s theory A still from Dara Birnbaum’s Arabesque. that television was the real architecture of our time or the effect of the fact that in the to disappear, my life would go with it.” mid-’70s, the average American watched As interesting was Birnbaum’s discovery, seven hours and 20 minutes of television after listening to one virtuosic performance daily, according to the Nielsen ratings. This after another, that “Arabesque” became was enough to set her on her course. neutralized, losing its power through the After a history of deconstructing and pianists’ attempts to find its essence. critiquing the ideologies implicit in mass With these things in mind, she began culture—the newspaper scandal unfolding constructing her own engulfing Arabesque, in the U.K. could serve as a footnote to her which fills an entire room in the gallery. oeuvre—she now casts her penetrating gaze It includes video clips from YouTube of on interpretations of great classical music as represented in popular She sympathized with a woman media and what they who set aside her desire reveal about everyone and everything involved to compose to support her in their creation and husband through his periods of dissemination. She took as her point of reference depression and madness. the piano compositions “Arabesque, Opus 18,” composed by Robert Schumann for his different performances of the piece, played by wife Clara, and “Romanze 1, Opus 11,” women of all ages and backgrounds. These composed by Clara Schumann for her are juxtaposed with still footage from the 1947 husband Robert. She chose them because film Song of Love, a melodrama based on the of their romantic nature—in such contrast Schumanns’ life starring Katharine Hepburn, to our cynical times—and because she has which featured “Arabesque.” Through spent a good deal of her career examining these women, she implies, we hear Clara the power struggle between male and female Schumann, the voice of the suppressed and/ and the media’s exploitation of the role of or ignored woman Birnbaum has heralded women, most famously in “Technology/ throughout her career—in a sense, Clara Transformation: Wonder Woman” (1978/79), made Robert’s composition possible. We also which can be found in this show. hear and see great music, not live but passed In viewing the various interpretations through cameras, film and sound systems, so of these pieces on YouTube, she quickly far removed from the actual composition to discovered that Robert’s work was become something different—not rich and performed far more often than that of his moving but a pale copy. And this, of course, wife, even though hers is characterized by is how we experience so much of life now— a distinctive originality and complexity. more so even than when Birnbaum began She sympathized with a woman who set illuminating a culture that is based on and aside her desire to compose to support feeds off illusion more than reality. Through her husband through his periods of her stunning artistry, she forces us to look depression and madness, and later to into ourselves and examine how we live. It’s a care for their children after he died. A great gift and accomplishment. < panel in the exhibition quotes Clara’s guiding philosophy: “I need the love Through Aug. 26, Marian Goodman Gallery, which beautifies daily life—if that were 24 W. 57th St., www.mariangoodman.com.

Soloists of the Paris Opera Ballet August 3-7

Photos Lois Greenfield, Deen Van Meer, and Steve Murez

Artist Dara Birnbaum examines Clara Schumann via online videos

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August 3, 2011 | City Arts

11

ClassicalMUSIC&Opera

When Ballet and Music Are Equal Partners Rodion Shchedrin at Lincoln Center, plus Koji Attwood at Mannes

By Jay Nordlinger arly in its season, the Lincoln Center Festival highlighted the music of Rodion Shchedrin. Rather, the festival gave a taste of Shchedrin’s music—there’s a lot of it. He has become one of the most popular classical composers of today. Why’s that?

For one thing, he’s gifted, and deserves his popularity. For another, he has been championed by some important musicians.

These include the conductors Valery Gergiev, Mariss Jansons and Lorin Maazel. Readers may remember when Maazel and the New York Philharmonic premiered Shchedrin’s opera, or semiopera, The Enchanted Wanderer. That was in 2002. Since then, Gergiev has spread the work’s fame.

Shchedrin is a Russian, born in 1932. His name is pronounced “ShedREEN.” He has written music in many forms—piano sonatas, liturgies, ditties, what have you—and in many styles.

Shchedrin can be twelve-tone, and he can be unblushingly Romantic. You never quite know. In his corpus are five ballets, and he has a particular knack for this form.

This has almost surely contributed to marital harmony: Shchedrin’s wife is Maya Plisetskaya, prima ballerina assoluta.

Consider this: Shchedrin is one of the finest composers of our time; Plisetskaya is one of the finest dancers of all time. Are they the most talented couple on the planet?

There’s Andre Agassi and Steffi Graf to consider, too.

Appearing at the Lincoln Center Festival were the Mariinsky Ballet and the Mariinsky Theatre Orchestra, led

by Gergiev. These forces are from St. Petersburg, as you know (and not Florida).

They performed three Shchedrin ballets— well, two and a half, in a way. The first was Anna Karenina, from 1971, and the second was The Little Humpbacked Horse, from 1955-56. The next ballet was the Carmen Suite—Shchedrin’s 1967 arrangement of Bizet’s miraculous score. That arrangement is for strings and percussion, only. An interesting effect.

The opening night of Anna Karenina, in the Metropolitan Opera House, was a rather glam affair. I spotted some members of our own American Ballet Theatre in attendance.

There was a member of the ABT onstage, too: Diana Vishneva, who danced the title role. She is a principal for both the ABT and the Mariinsky.

Shchedrin’s score, like Shchedrin’s output in general, is varied. It is spiky and atonal; it is also tender and tonal. At one point, out of nowhere, we hear a piano piece, Chopinesque. The score is, above all, danceable—danceable in its every measure.

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City Arts | www.cityartsnyc.com

Stephanie Berger

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Mariinsky Ballet’s production of Anna Karenina, part of the Lincoln Center Festival.

And it expresses the drama that Tolstoy wrote, long ago.

When Gergiev entered the pit, there was huge applause: The audience figured it was in for some good music-making. And it was. How refreshing, to hear good musicmaking from a ballet pit! The ABT is not distinguished by its music-making, to put it as gently as possible. Often, the conducting and playing are pedestrian; sometimes they are leaden. A recent Sleeping Beauty was amazingly flatfooted, musically.

At Anna Karenina, a senior ballet critic sitting next to me said, “It’s so unusual to hear a good orchestra.” I cringed on hearing this remark, while acknowledging the truth of it. Ballet critics should hear good orchestras routinely. The music is not an unimportant ingredient of a ballet; it should not be an afterthought.

After Anna came the little horse—The Little Humpbacked Horse, based on a fairytale by Yershov, a fairytale known to all Russians, I’m given to understand.

Shchedrin’s score here is very different from the other one. You might not know the two were written by the same composer.

The score, appropriately enough, is like Yershov’s tale itself: fizzy, quirky and delightsome. It is also very funny. Indeed, Shchedrin’s score is, to a certain extent, a scherzo. We hear elements of jazz. And we also hear traditional Russian music, which Shchedrin loves. Speaking of love: He writes some love music, which is a bit on the sappy side, but nice all the same.

Ballet music is, to a degree, program music—music that sounds like something,

or tries to sound like something. Thus, the fireflies in this ballet have “firefly music.”

And an underwater scene has watery, woozy music—Wagner, in The Ring, is pretty good at this too.

Overall, Shchedrin’s Horse music is exultant and life-loving. You had to sit in your seat and grin. And Gergiev was positively electric, lending his abundant musicality to the proceedings. The Mariinsky orchestra followed his every move. The entire house seemed to tingle.

By the way, you could hardly get a seat for these ballets—which indicates, or may indicate, that the public is hungry for good stuff. For good pieces, well performed.

People can do without the trendy, the pretentious, the avant-garde, the academic.

Give them something substantive and inspired, and they will respond.

Finally, I’m tempted to ask, Can the Mariinsky orchestra and Gergiev come back and accompany the ABT in some Tchaikovsky ballets?

Music Old Yet New One of the ABT’s offerings last season was The Lady of the Camellias, which uses piano music of Chopin. (There is scarcely any other music by Chopin, true.) The company employed three pianists, all of whom played for each performance, and the outstanding one of whom was Koji Attwood, a young American. He played the slow movement of Chopin’s B-minor sonata in arresting, affecting fashion.

Some weeks later, he played a recital at the Mannes school, on the Upper West

Side. This was a recital in the International Keyboard Institute & Festival, that excellent enterprise run by Jerome Rose, the pianist and teacher, and his partner Julie Kedersha.

On the first half of his program, Attwood played music of Schumann, Chopin, Scriabin and Bortkiewicz. Who? Sergei Bortkiewicz, a Polish-Ukrainian-Russian pianist and composer who lived from 1877 to 1952. Attwood has championed Bortkiewicz, who deserves championing: The man was a smart, gifted Romantic. He would not be in the least out of place in the mainstream.

Attwood played everything with maturity, sobriety and command. He combined strength and subtlety, heft and lyricism.

He always obeyed—which is to say, followed—the musical line. And he always showed respect for the music. There was uncommonly little ego in this music-making.

At the same time, it was far from retiring.

The second half of the program was dominated by a transcription that Attwood himself made, of Schubert’s “Death and the Maiden” string quartet. Do we need a transcription of a Schubert quartet, given that there are many Schubert piano sonatas, some of which are underplayed? It is not a question of need. Attwood has made a fine transcription, one that sounds like a big Schubertian—or Beethovenian—piano sonata. My guess is, Schubert himself would approve.

For an encore, Attwood gave us a guitar piece, another of his transcriptions: Tárrega’s famous Recuerdos de la Alhambra.

It expressed what I can only describe as a happy melancholy. <

Alexandre Gallery: Will Barnet: “Works on Paper

from the 1940s & 1950s.” Opens Sept. 1, Fuller Building, 41 E. 57th St., alexandregallery.com.

Causey Contemporary: Jordan Eagles: “Solo Exhibition.” Opens Sept. 9, 92 Wythe Ave., Brooklyn, causeycontemporary.com.

Churner & Churner: Jordan Kantor. Opens Sept. 8, 205 10th Ave., churnerandchurner.com.

Consulate General of Argentina/Art Gallery: Elisa Pritzker & Roberto Azank: “Dual.” Opens Aug. 4, 12 W. 56th St., elisapritzker.com & mutualart.com.

DC Moore Gallery: Eric Aho: “Covert.” Opens Sept.

8. “9/11 Through Young Eyes.” Opens Sept. 8, 535 W. 22nd St., dcmooregallery.com.

Fraunces Tavern Museum: “Youth Remembers 9/11.”

Opens Sept. 1, 54 Pearl St., frauncestavernmuseum.org.

Galerie Lelong: Jane Hammond: “Light Now Dazzle Paintings & Photographs.” Opens Sept.

8, 528 W. 26th St., galerielelong.com.

Gallery 307: “Connections: Paintings & Quilts.”

Opens Aug. 8. “Paint On Walls.” Opens Aug. 18, 307 7th Ave., Ste. 1401, 646-400-5254.

James Cohan Gallery: Tabaimo: “Dandan.” Opens Sept. 9, 533 W. 26th St., jamescohan.com.

Lesley Heller Workspace: Loren Munk: “Location, Location, Location.” Opens Sept. 7. “DON’T FENCE ME IN... OR OUT.” Opens Sept. 7, 54 Orchard St., lesleyheller.com.

Noho Gallery: Art Cuestion: “Check Out Intimity.”

Opens Aug. 18. Malka Inbal. Opens Sept. 6, 530 W. 25th St., nohogallery.com.

The Pen & Brush, Inc.: Trixie Pitts: “New Works.”

Opens Aug. 11, 16 E. 10th St., trixiepitts.com.

Ronald Feldman Fine Arts: Pepón Osorio. Opens Sept. 10, 31 Mercer St., feldmangallery.com.

Visual Arts Gallery: “The Influentials: SVA Women Alumni Invite Artists Who Have Shaped Their Work.” Opens Aug. 29, 601 W. 26th St., 15th Fl., sva.edu.

Von Lintel Gallery: Roland Fischer: “Facades.”

Opens Sept. 6, 520 W. 23rd St., vonlintel.com.

Westside Gallery: “here is new york: a democracy of photographs.” Opens Sept. 6, 141 W. 21st St., sva.edu.

Exhibition Closings ACA Galleries: “Summer Group Exhibition.” Ends

Aug. 12, 529 W. 20th St., 5th Fl., acagalleries.com.

Andrea Rosen Gallery: Matthew Ronay: “Between

the Worlds.” Ends Aug. 12, 525 W. 24th St., andrearosengallery.com.

The Arsenal Gallery: Malcolm Pinckney & Daniel Avila: “Parks in Focus.” Ends Aug. 26, Central Park, 5th Ave. at 64th St., 3rd Fl., nyc.gov/parks.

The Beehive Salon: “Relativity.” Ends Aug. 13, 115 N. 7th St., Brooklyn, thebeehivesalonbrooklyn.com.

Blue Mountain Gallery: Ival: “Horse Drawn.” Ends Aug. 20, 530 W. 25th St., 4th Fl., bluemountaingallery.org.

Bowery Gallery: “20th Annual Juried Exhibition.”

Ends Aug. 20, 530 W. 25th St., bowerygallery.org.

Camel Art Space: “Cordially Yours.” Ends Aug. 14, 722 Metropolitan Ave., Brooklyn, camelartspace.com.

ClampArt: Jill Greenberg: “Glass Ceiling.” Ends Aug. 19. Jill Greenberg: “Horses.” Ends Aug. 19, 521-531 W. 25th St., clampart.com.

Consulate General of Argentina/Art Gallery: Elisa Pritzker & Roberto Azank: “Dual.” Ends Aug. 25, 12 W. 56th St., elisapritzker.com & mutualart.com.

D’Amelio Terras: “Affinities: Painting in Abstraction.”

From Thomas Moran’s A Pond in the Meadow (ca. 1880) The Battell Stoeckel Collection

2011

Exhibition Openings

Ends Aug. 19, 525 W. 22nd St., damelioterras.com.

David Findlay Jr. Fine Art: “Summerset.” Ends Aug. 24, 41 E. 57th St., Ste. 1120, davidfindlayjr.com.

David Nolan Gallery: Ciprian Muresan. Ends Aug. 12, 527 W. 29th St., davidnolangallery.com.

Edwynn Houk Gallery: Elliott Erwitt. Ends Aug. 19, 745 5th Ave., houkgallery.com.

Fred Torres Collaborations: Luca Pizzaroni: “Gone with the Wind.” Ends Sept. 2, 527 W. 29th St., fredtorres.com.

Frederico Sève Gallery: Gego: “Prints & Drawings 1963–1991.” Ends Aug. 18, 37 W. 57th St., 4th Fl., fredericosevegallery.com.

Gallery 307: “Connections: Paintings & Quilts.”

Ends Aug. 12. “Paint On Walls.” Ends Aug. 25, 307 7th Ave., Ste. 1401, 646-400-5254.

Gallery At New World Stages: “Flashback: Street Scenes by Daria Deshuk The Larry Rivers Years.” Ends Sept. 5, 343 W. 49th St., newworldstages.com.

Gary Snyder Project Space: Hisao Hanafusa: “Uchuiden.” Ends Aug. 12, 250 W. 26th St., garysnyderart.com.

George Billis Gallery: “The Buildings of New York: Part II.” Ends Aug. 20, 521 W. 26th St., B1, georgebillis.com.

Hendershot Gallery: “Of Memory & Time...” Ends Aug. 18, 195 Chrystie St., hendershotgallery.com.

Hollis Taggart Galleries: Theodoros Stamos. Ends Aug. 31, 958 Madison Ave., hollistaggart.com.

The Homefront Gallery: “PICTURE CoNsEqUeNcEs.” Ends Aug. 27, 26-23 Jackson Ave., Queens, thehomefrontgallery.com.

The IMC Lab + Gallery: “Elastic Identity.” Ends Aug. 25, 56 W. 22nd St., 6th Fl., theimclab.com.

Laurence Miller Gallery: “Past (Present) Future III.” Ends Aug. 11, 20 W. 57th St., laurencemillergallery.com.

Lesley Heller Workspace: “A Desert in the Ocean The View From Cill Rialaig.” Ends Aug. 19, 54 Orchard St., lesleyheller.com.

M55 Art Gallery: “In the Place We Live.” Ends Aug. 27, 44-02 23rd St., Queens, m55art.org.

Manhattan Athletic Club: Todd Gordon. Ends Sept.

10, 277 Park Ave., georgebillis.com.

Marlborough Chelsea: “POWHIDA.” Ends Aug. 12, 545 W. 25th St., marlboroughgallery.com.

McCaffrey Fine Art: Robert Rosenkranz: “Photographs.” Ends Sept. 10, 23 E. 67th St., mccaffreyfineart.com.

Mike Weiss Gallery: Kim Dorland: “For Lori.” Ends Aug. 27, 520 W. 24th St., mikeweissgallery.com.

Miyako Yoshinaga Art Prospects: “Interior.” Ends Aug. 13, 547 W. 27th St., 2nd Fl., miyakoyoshinaga.com.

Morgan Lehman: Laura Ball: “Animus.” Ends Aug. 20, 535 W. 22nd St., morganlehmangallery.com.

Noho Gallery: “Six in the City.” Ends Aug. 13. Art Cuestion: “Check Out Intimity.” Ends Sept. 3, 530 W. 25th St., nohogallery.com.

The Pen & Brush, Inc.: Trixie Pitts: “New Works.”

Ends Aug. 21, 16 E. 10th St., trixiepitts.com.

Purumé Gallery: “Remarkable Marks.” Ends Aug. 26, 11 E. 13th St., purumegallery.com.

Rick Wester Fine Art: “Hail Traveler!” Ends Aug. 12, 511 W. 25th St., Ste. 205, rickwesterfineart.com.

Robert Mann Gallery: “At the Water’s Edge.” Ends Aug. 26, 210 11th Ave., robertmann.com.

The Silver Room at Freddy’s Bar: “Madarts Group Show.” Ends Sept. 7, 627 5th Ave., Brooklyn, freddysbar.com.

Soho20 Chelsea: “16 Annual International Exhibition.” Ends Aug. 20, 547 W. 27th St., Ste. 301, soho20gallery.com.

Spanierman Gallery: “Fifteen Modern & Contemporary Artists.” Ends Sept. 2, 45 E. 58th St., spanierman.com.

JUNE 12 – AUGUST 20

ArtsAGENDA

norfolkmusic.org

Chamber Music Festival

•

Yale School of Music

Music Among Friends 860.542.3000 Robert Blocker Dean • Paul Hawkshaw Director

August 3, 2011 | City Arts

13

ArtsAGENDA Out of Town EVENTS & ATTRACTIONS BARD MUSIC FESTIVAL 2011 - SIBELIUS & HIS WORLD:

like building constructed by Shakers in 1834.

Ends Sept. 17, New Lebanon, N.Y., tannerypondconcerts.org.

DIA - BEACON:The gallery presents “Blinky Palermo: Retrospective 1964-1977,” & artist-led programs all summer long. Talks & walkthroughs are free with museum admission. Ends Oct. 10, 3 Beekman St., Beacon, N.Y., diabeacon.org.

ERIC FIRESTONE GALLERY: For “Nose Job,” Eric Firestone & Carlo McCormick scavenged the “boneyards” of the Arizona Desert, collecting nose cones from discarded air force planes.

Then, they invited a group of artists to give the noses a new face. The result is a wide range of works on a decidedly unconventional canvas.

Ends Aug. 21, Eric Firestone Gallery, 4 Newtown Lane, East Hampton, N.Y., ericfirestonegallery.com.

HUDSON VALLEY SHAKESPEARE FESTIVAL: Now in its 25th year, the festival this season features performances of “Hamlet,” “The Comedy of Errors” & Mark Brown’s adaptation of Jules Verne’s “Around the World in 80 Days.” Ends Sept. 4, 155 Main St., Cold Spring, N.Y., hvshakespeare.org.

JACOB’S PILLOW DANCE FESTIVAL: The festival features over 300 dance-related events, including 160 free & ticketed performances in a huge range of genres from performers from all over the world & a dance photography exhibit by Annie Leibovitz. Ends Aug. 28, 358 George Carter Rd., Becket, Mass., jacobspillow.org/festival.

MASS MOCA: The unwritten theme of Mass MoCA’s summer exhibitions is “larger-thanlife.” Enormous installations—by Nari Ward, Frederico Diaz, Katharina Grosse & others— dominate the galleries. As always, there’s also a phenomenal selection of dance, music & other performances. 1040 Mass MoCA Way, North Adams, Mass., massmoca.org.

MAVERICK CONCERTS: 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. Ends Sept. 4, Woodstock, N.Y., maverickconcerts.org.

THE MOUNT: Built by Edith Wharton in 1902, The Mount’s exhibits & cultural programs celebrate the late author’s interests. Check out opera excerpts at the “Summer Serenade” concert (free

Stefan Stux Gallery: “Al-Ghaib: The Aesthetics of

Technologies.” Ends June 24, 2012, Central Park West at W. 79th St., amnh.org.

Asia Society & Museum: “Ai Weiwei: New York Photographs 1983–1993.” Ends Aug. 14. “A Longing for Luxury.” Ends Sept. 11, 725 Park Ave., asiasociety.org.

Austrian Cultural Forum: “Fünf Räume.” Ends Sept. 5, 11 E. 52nd St., acfny.org.

Bronx Museum: “Bronx Calling: The First AIM Biennial.” Ends Sept. 5. “Taking AIM: 30-Year Anniversary Exhibition.” Ends Sept. 5, 1040 Grand Concourse, Bronx, bronxmuseum.org.

Brooklyn Historical Society: “Home Base: Memories of the Brooklyn Dodgers at Ebbets Field.”

Ends Aug. 14. “Painting Brooklyn: Stories of Immigration & Survival.” Ends Aug. 14.

“Inventing Brooklyn: People, Places, Progress.”

Ongoing, 128 Pierrepont St., Brooklyn, brooklynhistory.org.

Brooklyn Museum: “Timothy Greenberg-Sanders: The Latino List.” Aug. 19–Dec. 11. “19th-Century Modern.” Sept. 2–April 1, 2012. “Matthew Buckingham: The Spirit & the Letter.”

Sept. 3–Jan. 8, 2012. “Four Bathers by Degas &

The festival delves into the iconic Finnish composer’s music, historical significance & personal life with two weekends of talks, performances & festivities. Aug 12–14 & 19–21, Richard B. Fisher Center for the Performing Arts, Bard College, Annandale-on-Hudson, N.Y., fishercenter.bard.edu.

BARD SUMMERSCAPE: The 7-week-long festival features opera, dance, theater, cabaret, film & more. Ends Aug. 21, Richard B. Fischer Center for the Performing Arts, Bard College, Annandale-on-Hudson, N.Y., fishercenter. bard.edu.

BARRINGTON STAGE COMPANY: The theater company performs “The Game,” a sultry musical based on the novel “Dangerous Liaisons.” Aug. 11–28. Or catch “My Name is Asher Lev,” about a young Jewish artist caught in a struggle between art & faith. Aug. 18–Sept. 4, 30 Union St., Pittsfield, Mass., barringtonstageco.org.

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.

Ends Aug. 28, 200 Hurd Rd., Bethel, N.Y., bethelwoodscenter.org.

BRUCE MUSEUM: “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. Ends Aug. 10, 149 Girdle Ridge Rd., Katonah, N.Y., caramoor.org.

THE CLARK: An exhibition of the work of El Anatsui features the artist’s large-scale sculptures that weave literal Nigerian trash into Ghanian tradition. Ends Oct. 16. In “Spaces,” large-scale photographs by Candida Höfer & Thomas Struth capture the emptiness of public spaces.

Ends Sept. 15. “Pissarro’s People” provides a representative sample of the impressionist painter Camille Pissarro’s work throughout his career. Ends Oct. 2. 225 South St., Williamstown, Mass., clarkart.edu/museum.

CONCERTS AT TANNERY POND: Chamber & solo musicians perform classical, romantic & newer works in an intimate, casual setting—a barn-

Disappearance.” Ends Aug. 30, 530 W. 25th St., stuxgallery.com.

Steven Kasher Gallery: “Rude & Reckless.” Ends Aug. 19, 521 W. 23rd St., stevenkasher.com.

Susan Eley Fine Art: “Summer Selects.” Ends Sept.

9, 46 W. 90th St., 2nd Fl., susaneleyfineart.com.

Susan Teller Gallery: “Peggy Bacon & Her Circle.”

Ends Aug. 18, 568 Broadway, Rm. 502A, susantellergallery.com.

Tachi Gallery: Sasson Soffer: “The Abstract Experience.” Ends Sept. 10, 414 Washington St., tachigallery.com.

Visual Arts Gallery: “Things Fall Apart: Selections from the SVA MFA Fine Arts Department.”

Ends Aug. 13, 601 W. 26th St., 15th Fl., sva.edu.

Museums American Museum of Natural History: “Brain: The

Inside Story.” Ends Aug. 15. “The World’s Largest Dinosaurs.” Ends Jan. 2, 2012. “Frogs: A Chorus of Colors.” Ends Jan. 8, 2012. “Picturing Science: Museum Scientists & Imaging

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City Arts | www.cityartsnyc.com

with admission) at 3 p.m., Aug. 13, or guided Ghost Tours ($20) of the property on Monday & Friday nights through Oct. 28. 2 Plunkett St., Lenox, Mass., edithwharton.org.

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. Ends Sept. 4, Falls Village, Conn., musicmountain.org.

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

NORMAN ROCKWELL MUSEUM: The museum has a packed summer schedule, with tons of classes, workshops, tours & other programs for children & adults alike. Be sure to check out “Robot Nation” (ends Oct. 31), an outdoor exhibition of weatherproof 3D robot sculptures, & “Ice Age: To The Digital Age: The 3D Animation Art of Blue Sky Studios,” an interactive exhibition on digital animation. Ends Oct. 31, 9 Route 183, Stockbridge, Mass., nrm.org.

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.

TANGLEWOOD: There’s nothing we can say about the summer music festival that you haven’t already heard. On Aug. 14, Yo-Yo Ma & Emanuel Ax play Beethoven, Brahms & Schubert. John Williams leads the annual Film Night Aug. 20. Ends Sept. 4, Lenox, Mass., tanglewood.org.

VERED GALLERY: The gallery features Frank Stella: “Fully Volumetric Reliefs”—an exhibition of the artist’s sculptures—& a collection of portraits by Chuck Close. Aug. 6–30, 68 Park Place, East Hampton, N.Y., veredart.com.

WILLIAMSTOWN THEATRE FESTIVAL: “WTF” presents a summer-long series of great works by the likes of Henrik Ibsen & Tennessee Williams, plus late night cabaret (various nights), talks, workshops & a special free kids theater day (July 15). There’s even an evening of stand-up from Lewis Black (July 18), who also has a play in the line up. Ends Aug. 28, Williams College, Williamstown, Mass., wtfestival.org.

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. “Vishnu: Hinduism’s Blue-Skinned Savior.” Ends Oct. 2, 200 Eastern Pkwy., Brooklyn, brooklynmuseum.org.

Frick Collection: “In a New Light: Bellini’s St. Francis in the Desert.” Ends Aug. 28. “Turkish Taste at the Court of Marie-Antoinette.” Ends Sept. 11, 1 E. 70th St., frick.org.

International Center of Photography: “Remembering 9/11.” Sept. 9–Jan. 8, 2012. “Harper’s Bazaar: A Decade of Style.” Sept. 9–Jan. 8, 2012. “Signs of Life: Photographs by Peter Sekaer.” Sept.

9–Jan. 8, 2012. “Elliott Erwitt: Personal Best.”

Ends Aug. 28. “Hiroshima: Ground Zero 1945.”

Ends Aug. 28. “Ruth Gruber, Photojournalist.”

Ends Aug. 28, 1133 6th Ave., icp.org.

The Jewish Museum: “The Snowy Day & the Art of Ezra Jack Keats.” Sept. 9–Jan. 29, 2012.

“The Line & the Circle: Video by Sharone Lifschitz.” Ends Aug. 21. “Collecting Matisse & Modern Masters: The Cone Sisters of Baltimore.” Ends Sept. 25. “Maya Zack:

Living Room.” Ends Oct. 23, 1109 5th Ave., thejewishmuseum.org.

John Jay College President’s Gallery: “Faith Ringgold: Political Prints.” Ends Oct. 7, 889 10th Ave., 6th Floor, jjay.cuny.edu.

The Metropolitan Museum of Art: “9/11 Peace Story Quilt.” Aug. 30–Jan. 22, 2012. “Infinite Jest: Caricature & Satire from Leonardo to Levine.”

Sept. 13–March 4, 2012. “Alexander McQueen: Savage Beauty.” Ends Aug. 7. “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 Retrospective.” Ends Aug. 28. “Drawings & Prints: Selections from the Permanent Collection.” Ends Sept. 11. “The Andean Tunic, 400 BCE–1800 CE.” Ends Sept. 18. “Night Vision: Photography After Dark.” Ends Sept. 18. “Frans Hals in the Metropolitan Museum.” Ends Oct. 10. “Anthony Caro on the Roof.” Ends Oct. 30, 1000 5th Ave., metmuseum.org.

MoMA PS1: “Modern Women: Single Channel.” Ends Aug. 8. “Laurel Nakadate: Only the Lonely.”

Ends Aug. 8. “Nancy Grossman: Heads.” Ends Aug. 15. “Ryan Trecartin: Any Ever.” Ends Sept.

3. “Francis Alÿs: A Story of Deception.” Ends Sept. 12, 22-25 Jackson Ave., Queens, ps1.org.

Montclair Art Museum: “Will Barnet: A Centennial.”

Ends Aug. 21. “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., montclair-art.com.

The Morgan Library & Museum: “The Age of Elegance: The Joan Taub Ades Collection.” Ends Aug. 28.

“Illuminating Fashion: Dress in the Art of Medieval France & the Netherlands.” Ends Sept. 4.

“Jim Dine: The Gliptotek Drawings.” Ends Sept.

4. “Xu Bing: The Living Word.” Ends Oct. 2.

“Lists: To-dos, Illustrated Inventories, Collected Thoughts, & Other Artists’ Enumerations from the Smithsonian’s Archives of American Art.” Ends Oct. 2, 225 Madison Ave., themorgan.org.

El Museo del Barrio: “The (S) Files 2011.” Ends Jan. 8, 2012, 1230 5th Ave., elmuseo.org.

Museum at the Fashion Institute of Technology: “Sporting Life.” Ends Nov. 5, 7th Ave. at W. 27th St., fitnyc.edu.

Museum of American Finance: “Scandal! Financial Crime, Chicanery & Corruption That Rocked America.” Ends Oct. 29. “Alexander Hamilton: Lineage & Legacy.” Ends Dec. 30, 48 Wall St., moaf.org.

Museum of Arts & Design: “A Bit of Clay on the Skin: New Ceramic Jewelry.” Ends Sept. 4. “Otherworldly: Optical Delusions & Small Realities.”

Ends Sept. 18, 2 Columbus Cir., madmuseum.org.

Museum of Chinese in America: “Chinese Puzzles: Games for the Hands & Mind.” Ends Sept. 5.

“Unearthing: Works in Clay & Mixed Media

by Carole Wong Chesek.” Ends Sept. 19, 215 Centre St., mocanyc.org.

Museum of the City of New York: “The American Style: Colonial Revival & the Modern Metropolis.” Ends Oct. 30, 1220 5th Ave., mcny.org.

Museum of Jewish Heritage: “The Morgenthaus: A Legacy of Service.” Ends Sept. 5, 36 Battery Pl., mjhnyc.org.

Museum of Modern Art: “Carlito Carvalhosa: Sum of Days.” Aug. 24–Nov. 14. “Impressions of South Africa, 1965 to Now.” Ends Aug. 29.

“Boris Mikhailov: Case History.” Ends Sept.

5. “I Am Still Alive: Politics & Everyday Life in Contemporary Drawing.” Ends Sept. 19.

“Young Architects Program 2011.” Ends Sept. 19.

“Projects 95: Runa Islam.” Ends Sept. 19. “Cy Twombly: Sculpture.” Ends Oct. 3. “Crafting

Genre: Kathryn Bigelow.” Ends Oct. 3, 11 W. 53rd St., moma.org.

Museum of the Moving Image: “Jim Campbell: Exploded View (Commuters).” Aug. 30–Nov. 6.

“Trash Mirror.” Ends Aug. 15, 36-01 35th Ave., Queens, movingimage.us.

New Museum: “Charles Atlas: Joints Array.” Ends Aug. 28. “Ostalgia.” Ends Sept. 25. “Isa Genzken: Rose II (2007).” Ends Nov. 13, 235 Bowery, newmuseum.org.

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

Rubin Museum of Art: “Patterns of Life: The Art of Tibetan Carpets.” Ends Aug. 22. “Quentin Roosevelt’s China.” Ends Sept. 19. “Pilgrimage & Faith.” Ends Oct. 24. “Human Currents.” Ends Nov. 13. “Gateway to Himalayan Art.” Ends Jan. 1, 2012. “Masterworks: Jewels of the Collection.”

Ends Dec. 31, 2012, 150 W. 17th St., rmanyc.org.

Solomon R. Guggenheim Museum: “A Chronology: The Guggenheim Collection, 1909–1979.” Ends Sept. 11. “Lee Ufan: Marking Infinity.” Ends Sept. 28, 1071 5th Ave., guggenheim.org.

Studio Museum: “Spiral: Perspectives on an African American Art Collective.” Ends Oct. 23. “Evidence of Accumulation.” Ends Oct. 23. “Lyle Ashton Harris: Self/Portrait.” Ends Oct. 23. “as it was, as it could be.” Ends Oct. 23. “Harlem Postcards.” Ends Oct. 23. “StudioSound.” Ends Oct. 23, 144 W. 125th St., studiomuseum.org.

Whitney Museum of American Art: “Cory Arcangel: Pro Tools.” Ends Sept. 11. “Breaking Ground: The Whitney’s Founding Collection.”

Ends Sept. 18. “More Than That: Films by Kevin Jerome Everson.” Ends Sept. 18. “Lyonel Feininger: At the Edge of the World.” Ends Oct. 16. “Xavier Cha: Body Drama.” Ends Oct. 9.

“Designing the Whitney of the Future.” Ongoing. “Singular Visions.” Ongoing, 945 Madison Ave., whitney.org.

Auctions Christie’s: Christie’s Interiors. Aug. 30–Sept. 1,

times vary. Contemporary Indian. Sept. 13, 10 a.m. Southeast Asian Art. Sept. 13, 2. Japanese & Korean. Sept. 14, 10 a.m. & 2, 20 Rockefeller Plz., christies.com.

Doyle New York: Doyle @ Home & Contents of Abandoned Safe Deposit Boxes. Aug. 17, 10 a.m.

Asian Works of Art. Sept. 12, 10 a.m. The Estate of Douglas Fairbanks Jr. Sept. 13, 10 a.m., 175 E. 87th St., doylenewyork.com. iGavel: Online auctions of fine art, antiques & collectibles from a network of independent sources, igavelauctions.com.

ROGALLERY.com: Fine art buyers & sellers in online

live art auctions, rogallery.com.

Swann Auction Galleries: Shelf Sale. Aug. 25. 104

E. 25th St., swanngalleries.com.

Art Events Chelsea Art Gallery Tour: Enjoy a guided tour of the

week’s top 7 gallery exhibits in the world’s center for contemporary art. Sept. 10, 526 W. 26th St., nygallerytours.com; 1, $20.

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 nycgovparks.org for schedule & information.

Music & Opera Avery Fisher Hall: Joshua Bell, Takács Quartet,

Emerson String Quartet, Budapest Festival Orchestra, Mark Morris Dance Group & others perform in this year’s Mostly Mozart festival.

Ends Aug. 27, 70 Lincoln Center Plz., mostlymozart.org; $35+.

Lincoln Center Out of Doors: Now in its 41st season, the festival features over 100 free outdoor performances across the plazas of Lincoln Center.

Ends Aug. 14, lincolncenter.org.

Summer Sings: The New York Choral Society brings 6 well-known choral conductors to the Leonard Nimoy Thalia theater, where they lead audience members in singing works by Mozart, Verdi & others. Ends Aug. 24, Symphony Space, 2537 Broadway, symphonyspace.org; 7:30, $15.

Jazz Blue Note: Patty Ascher performs in celebration of

her new album. Aug. 22, 131 W. 3rd St., bluenote.net; 8 & 10:30, $10+.

Dizzy’s Club Coca Cola: Joe Chambers & his orchestra perform “Moving Pictures” & other works.

Sept. 13–18, Broadway at 60th St., jalc.org.

Ella Lounge: Always stylish Dandy Wellington & the Made to Measure Band perform modern jazz, swing, pop & more, with inventive new takes on classic tunes. Every Thursday, 9 Ave. A, ellalounge.com; 8, free.

Harbor Conservatory for the Performing Arts: Adam Cruz Sextet performs. Aug. 10, 1 E. 104th St., harborconservatory.org; 7:30, free.

The Moldy Fig Jazz Club: Wade Barnes & The Bottom Line Ensemble perform. Every Monday, 178 Stanton St., moldyfigjazzclub.com; 8, $5.

Zinc Bar: Aimee Allen performs original works & old standards. Aug. 15, 82 W. 3rd St., zincbar. com; 7, $8 cover & 1 drink minimum.

JUNE 30 – AUGUST 19, 2011 Gallery 1: A Desert In The Ocean— The View From Cill Rialaig curated by Catherine Howe

Cill Rialaig, Ballinskellings, Co Kerry, Ireland, 2010 Photo credit: Catherine Howe

54 Orchard Street NY, NY 10002 212 410 6120 lesleyheller.com

A Cultural Capital Without All the Crowds

by P. del Real Although tourists sometimes neglect to visit Madrid and head instead for the sexy design and sophistication of Barcelona to the east or the steamy tradition and flamenco dancing of Seville to the south, Spain’s landlocked capital is a cosmopolitan destination that offers both jaw-dropping cultural options and rich historical details, as well as a pleasing glut of old world and nouvelle cuisine.

American Airlines flies from JFK to Madrid daily, with flight 94 leaving New York at 5:25 p.m.

What better way to get started after your flight than with chocolate con churros? Similar to the sugared Mexican version, but not quite

by Atocha station. Although it’s the main hub for trains, the old 19th-century train station has been converted to a sort of rainforest, one that even gets regular sprinkler mists to keep things tropical, and is a relaxing place to take a break

as sweet, this is a quintessential breakfast/latenight Madrid treat that’s served at cafeterías, chocolaterías and churrerías throughout the city. We recommend you try the famous Chocolateria San Gines, located in the historic center of the city, which arguably serves the best in the

between cultural spots. It’s close by to the Retrio Park—a great people watching locale.

Another popular must-see is Palacio Real, and the royal palace is indeed a gem among the city’s numerous historical sites. After visiting, however, make sure to save time to visit the

city and has the sort of old world ambience that everyone craves. Plus, you’ll want to store up your energy for the amount of museum stomping in store for the trip.

The three main museums—The Prado, the

Templo de Debod. The Egyptian state donated the ancient temple to Spain in 1968 when it was threatened by the construction of the Aswan Dam. It was rebuilt in the Parque del Oeste, near the royal palace, and may seem familiar to New

Reina Sofia and the Thyssen-Bornemisza—are located near one another and could be consumed in a day (a group ticket, “El Paseo del Arte,” is even available), but that may be a bit of cultural overload. The Prado is one of the world’s premier art museums and its recent extension and renovation by starchitect Rafael Moneo may be subtle—creating much-needed space for the vast collection—but it hasn’t changed the main

Yorkers since it’s a cousin to the Temple of Dendur in the Metropolitan Museum of Art. After a shopping excursion in the fashionable Chueca neighborhood, you might want to cleanse your palate with something a bit more eccentric. Although it only takes place on Sundays, the El Rastro flea market in Lavapiés is certainly worth getting up for early (by 9:30 a.m. at the latest, we recommend). Wander through

draw: the hall of Velasquez paintings, including the stunning “Las Meninas.”

What’s so refreshing about this “Spanish Louvre” is that, despite the inevitable crowds, there’s nothing like the claustrophobic scrum of “Mona

this multicultural, ethnically diverse Madrid barrio and you’ll notice how quickly it’s being gentrified with more and more cafes, bars and galleries into one of the city’s coolest neighborhoods. Along with the antique shops (open ev-

Lisa” photo takers that one finds in Paris. Instead you’re left to admire the staggering rooms brimming with Goya’s dark “black paintings,” the

ery day of the week), El Rastro offers an odd assortment of relics—everything from vintage clothes and bags of rusty tools to toys and curi-

El Grecos and rooms full of Bosch (or as he’s known in Spanish, El Bosco). But don’t let all of that heady art history intake keep you from the Reina Sofia—with its exterior glass elevators and Jean Nouvel Ferrari-red extension—which houses Picasso’s incredible “Guernica.” That painting is also amazingly accessible (simply “protected” behind a velvet rope), and displayed near a trove of Dali’s paintings and other modern and contemporary masterpieces that don’t get shown

ous printed paraphernalia. Finish it all off with either the traditional bocadillo de calamares, a battered squid baguette sold in one of the many bars lining the main Rastro strip, or head for the atmospheric heart of La Latina for lunch in one of the many tapas bars around Plaza de la Cebada and Cava Baja.

Like New York City, it’s impossible to take in all Madrid has to offer in one visit, so after you return on your 10 a.m. American Airlines

often in many American museums.

After all this museum hopping, grab a bocadillo, or sandwich, and take a break at the near-

flight (which arrives at JFK at 12:25 p.m.) make sure to book your next trip. And bring your walking shoes.

Woman in El Rastro.

summer hours: wed-sat 11am-6pm

August 3, 2011 | City Arts

15

Quail Hollow Events 30th Anniversary

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Sixties Psychedelic icon exhibits his paintings & sculpture & creates several new works at the fair.

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National Geographic Wildlife Photographer debuts his new book on treefrogs.

SATURDAY 12pm: All She Wrote 2pm: Bill Robinson’s Wildlife Show 4pm: Marc Von Em

SUNDAY 12pm: Eric Ericson 1:30pm: Sweet Clementines 3:30pm: The Phantoms

MONDAY 12pm: The Cupcakes 2pm: Marcille Wallis

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