cityArts December 1, 2009 by CityArts NYC

DEC. 1-JAN. 11, 2009 Volume 1, Issue 11

Streetcar parks at BAM. Judith Jamison’s 20th anniversary with Alvin Ailey.

Clay Patrick McBride

Sietsema at MoMA.

A JANACEK BRUISER AND PUCCINI’S TRIPLE BILL: ‘From the House of the Dead’ and ‘Il Trittico’ at the Metropolitan Opera A scene from The Met’s From the House of the Dead

BY JAY NORDLINGER f the current offerings at the Metropolitan Opera, spend a second on two—the first being From the House of the Dead, by Leos Janacek. Not so long ago, Janacek was an obscure composer, or a specialized taste. But, thanks in part to the advocacy of the conductor Charles Mackerras, he is now mainstream. The Cunning Little Vixen, Jenufa and Katya Kabanova may not be staples, but they are far from unfamiliar. The Makropoulos Case is not far behind them. But From the House of the Dead has some catching up to do. It is Janacek’s last opera, composed in 1927, and it has not been staged at the Met until this year. The opera is based on Dostoevsky’s novel about life—brutal life—in a Siberian prison camp. Dostoevsky himself tasted that life, and one of the characters is an alter ego. The opera is packed with pain, cruelty, depravity, horror and despair— with a dollop of hope thrown in. What the Met has is a much-heralded production by Patrice Chéreau, the French director who is best known for his treatment of Wagner’s Ring. He did the centennial production (197680) at Bayreuth. His production of From the House of the Dead accords with the opera— looks like the story, reflects the score. That is high praise for any production. Of particular note is the lighting, completely apposite, and handled by Bertrand Couderc. Here is an interesting wrinkle: The titles—the lines of the libretto—are projected right onto the sets. At the Met, you can also use your seatback titles. So you have a choice. And here is another interesting wrinkle: At the end of Act I, a great mass of debris is dumped hard from above. This is a new one in an opera house, at least on me. Doing the conducting at the Met is EsaPekka Salonen, the Finn. He is typically a brisk, unsentimental conductor, and Janacek’s score suits him. The music is often churning and frenetic. The score gives the percussion section a workout, and, the night I heard them, the Met’s percussionists worked out fine. Same with the low brass, who were blattering and chilling. The sound of the orchestra, overall, was steely and unforgiving. This is not wrong in

AWAKE & SING on page 10

LetterFromtheEDITOR

Dutch New York Between East and West: The World of Margrieta van Varick

Tim Burton

Through January 3, 2010

t’s that time of year when we’re inundated with holiday offerings—everything from Nutcrackers to knitwear. To assist in the seasonal decisions, we’ve not only scoured the local scene for great cultural contributions, we also included a very special gift guide for the discerning art patron. We interviewed the people who are in charge of some of the finest museum gift shops the city has to offer to see what they think is extra special. Plus, we have a list of ideas for music lovers and a few of our favorite books that would make excellent presents. Speaking of gifts, in a year that’s been filled with stories of closures and struggling arts organizations, it’s inspiring to have Tim Burton’s “Untitled (Christmas Photo),” on view at MoMA something new open that will offer more access to cultural offerings. The David Rubenstein Atrium at Lincoln Center recently opened and will soon begin offering discount tickets for all 12 Lincoln Center organizations, as well as serving as a wonderful gathering space and venue for free performances. Plenty of others have reason to celebrate as well, including Judith Jamison, who marks her 20th year as artistic director of Alvin Ailey American Dance Theater with a festive five-week season that includes new works. Our critics also consider the gallery and museum exhibits, operas, theater and more that will continue to sustain us through these dreary days. Just remember: There are more than Sugarplum fairies to get you through the long winter nights ahead.

Euphrosynias Ulpias. Terrestrial globe, 1542. Copper, wood. New-York Historical Society. Gift of John David Wolfe.

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GIFTS Museums

cultural handicraft.” American Museum of Natural History, Central Park West (at W. 79th St.), 800-671-7035, www.amnhshop.com.

For the Mod Squad

For the Curated Experience Silk Scarf with banana leaves and lotus blossoms, $49.99

For the Classicist

Red Pen with Stamp, designed by Naoto Fukasawa, 2008, $50 The Shop at the Cooper-Hewitt National Design Museum is a special place. Redesigned and re-opened in 2004, it’s packed full of “odd and unseen” objects as well as a “very special playlist” of about 800 “very cool songs,” according to Gregory Krum, the director of retail for the shop. Krum is always on the prowl for one-offs and objets that are important within in the history of design or just plain fun, many of which he spots during studio tours and an extensive travel schedule. With so much to choose from, Krum said he’d be happiest if he were to receive the lamp designed by Carl Aubock’s studio in Vienna. “It’s so rare, special, beautiful, well-made and lovely.” But he also thinks a great gift for a guy would be the Red Pen with Stamp designed by Naoto Fukasawa. And if you want to be whimsical and romantic, get a gal one of the felt, handmade stuffed poodles or hounds: “beautiful and crazy looking!” Cooper-Hewitt National Design Museum, 2 E. 91st St. (at 5th Ave.),212-849-8355, www.cooperhewittshop.org.

Kate Gerlough began working part time at The Frick Collection after graduating with a degree in art history from Connecticut College. Now she’s the head of retail and visitor services at the museum, and she has the liberty of strolling among the many beautiful pieces looking for inspiration to create something new for the gift shop. That’s how she happened upon the Chinese vase dating from the Ch’ing dynasty (it was purchased by Henry Clay Frick in 1915 from the estate of J. P. Morgan). “I’d walked by the vase in the Library many times,” Gerlough said. “And I always wanted to use the pattern for something. I think it’s gorgeous.” It’s now a silk scarf pattern. She thinks a good gift for any man would be the Blueprint Mug or Tray ($12.95/$14.95), which is from an original 1913 blueprint of the north elevation of the New York home of Henry Clay Frick designed by the American architect Thomas Hastings. The Frick Collection, 1 E. 70th St. (betw. Madison & 5th Aves.), 212-288-0700, www.shopfrick.org.

For the Creative Rebel For products that celebrate a deep connection to the soul of their makers, look no further than the Museum of Arts & Design. The light and airy shop in the new Columbus Circle digs is always a great place to wander in a search for a

If you want to be assured that you are getting an exceptional buying experience, remember that every product offered at MoMA Design has been reviewed and approved by the museum’s curators. Lauren Solotoff, assistant director of merchandising for MoMA retail, has been a buyer with the museum Stephanie Albertson’s jewelry at the Museum for 11 years now and travels the world with the of Arts and Design merchandising team searching for innovation in new treasure thanks to Franci Sagar, VP for retail design and functionality. and brand development at the museum. At the moment, she’s most excited She says she’s looking for items for “the by a new group of art objects that everyday shopper” interested in beauty, were donated by trustee Peter integrity, things with a “sense of humor” Norton. “Every year since 1988, and value. If someone were to buy her Norton has commissioned an Recycled something special, she’d recommend artist that he admires to create an Flip-Top a piece of Stephanie Albertson’s art edition that he then sends Shoulder Bag jewelry. And something that may out to his personal friends, be fun for the whole family: Mia colleagues and members of Pearlman’s limited-edition laserthe art community,” Solotoff cut “VOLUTA” ($195). “They explained. “These objects can make it as a family in 15 have never before been minutes and have a spectacular available for purchase, but object to enjoy in their home.” Norton has generously The Store at MAD, 2 Columbus donated his remaining supply Circle, 212-299-7700, to us to raise funds for P.S. thestore.madmuseum.org. 1. It is a very rare, limited opportunity to own one of these items.” The item she most admires is Lorna Simpson’s “III (Three Wishbones in a Wood Box),” which retails for $350 and will only be available for a very limited time. Don’t worry, you can impress a discerning Natalia Sanchez-Caro is the senior lady friend with the Bubble Necklace ($115), buyer for the American Museum of Natural which is designed by two Italian sisters in History, and her mission is to find fun items Murano. The Recycled Flip-Top Shoulder Bag to support the museum’s goals of “discovery ($125) is hand-crocheted in Brazil by using and education.” Plus, there are a fair number more than 700 recycled aluminum flip top tabs. of adults who want “sophisticated, beautiful, And don’t forget cuff links for the guy who has one-of-a-kind, handmade gifts from around the everything. A Korean designer has created the world.” So, no wonder that Sanchez-Caro has a Fingerprint Cufflinks ($18), which look like hankering for the bear sculptures from the Inuit each has been imprinted with a thumbprint. art collection. “They are beautiful, signed, oneMoMA Design Store, 81 Spring St. (at Crosby of-a-kind works of art that support indigenous St.), 646-613-1367, MoMAstore.org

For the Nature Seeker

December 1, 2009 | City Arts

GIFTS Jazz

Gifts from the Proper Giver BY HOWARD MANDEL The best gift, we’re told, is one that comes from oneself, something endearingly personal that bespeaks genuine insight into the recipient’s inner wishes and demonstrates how the giver is uniquely able to provide what the getter wants. Yeah, that’s good for your closest intimates, but chances are your list includes people who don’t deserve tokens of such deep affection, or dear ones who expect something that shouts: “I spent on you!” So what to get the music lover who has everything? Something they’re unlikely to buy for themselves. Consider these suggestions: 1. Miles Davis, The Complete Columbia Album Collection. A boxed set to end all boxed sets, which screams “For the Boss, from the Staff.” This deluxe remastered edition gathers 52 of the iconic and iconoclastic trumpeter’s albums (from ’Round Midnight with John Coltrane, 1955-56, to You’re Under Arrest with John McLaughlin and John Scoﬁeld of his electriﬁed crew, 1985) as 70 CDs and a DVD slipped into sleeves replicating original LP art, with a 250-page book of annotation and historic photos. Issued in conjunction with a Paris museum exhibit titled “We Want Miles,” the box—er, chest—includes a bit of previously unreleased material, and is available only from Amazon.com, which lists it at $364.98 but offers a discount. It’s still not all of Miles: Leave space under the tree for Chronicle: The Complete Prestige Recordings (1951-56, eight CDs); Charlie Parker’s The Complete Savoy and Dial Master Takes (1944-48, three CDs), in which Miles is prominent; The Complete Miles Davis at Montreux (1973-1991, 20 CDs) and the probably never-to-be-released (but demo

copies exist) four-CD box The Last Word: The Warner Bros. Years. 2. Jazz Icons DVDs of vintage concerts. Numerous videos of stars from jazz’s past in performance exist, but items in the Jazz Icons series are of dependable production quality and available either individually (list price, $19.99) or in boxed sets of seven to nine ($99.99 to $159.99). Eight DVDs released as “Series Four” last October include full sets from the 1960s by organist Jimmy Smith, tenor saxophonist Coleman Hawkins, trumpeter Art Farmer, pianist Erroll Garner, clarinetistbandleader Woody Herman, drummer Art Blakey (with Freddie Hubbard on trumpet) and singer Anita O’Day. Two warnings: Not all jazz looks great as shot for old-school European television broadcasts and most jazz fans have preferences about who they’re eager to see. So if you know your potential recipient’s taste, picking and choosing among earlier Jazz Icons discs— including shows by Rahsaan Roland Kirk, Nina Simone, Oscar Peterson, Sonny Rollins, Cannonball Adderley, Bill Evans, Lionel Hampton, Count Basie, Dizzy Gillespie, Louis Armstrong, Ella Fitzgerald, Quincy Jones, Charles Mingus, Buddy Rich, Chet Baker and Thelonious Monk—might be more appropriate. Get ’em who they like and tie a bow around the batch. MUST TO AVOID: Ken Burns’ Jazz, the ponderous documentary in a 10-DVD set that’s only as in-depth as the World Book and features little music without someone yakking over it. 3. Season tickets. Live music is always a special event, and gift memberships are available for some of Manhattan’s most

Books

edited by Sue Williamson

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4. Musical instruments. I don’t suggest you wrap a Bosendorfer, but there are many odd toys that require no skill or technique, only an interest in making and perhaps controlling noise. I’ve had fun with portable roll-out pianos (they throw practiced keyboardists off but are great for sound effects), rhythm instruments (handcrafted percussion from Africa or Asia doubles as wall or table decor), bells and whistles. Boomwhackers, colorful light, tuned plastic tubes, are something the Blue Man Group or Stomp cast might come up with (sets available from $13 to $90). Suitable for kids (but send them outside to play). 5. The Year Before the Flood by Ned Sublette, the best book of the year on modern America’s roots music and growing up with its contradictions. The reader sees things through its singer-songwriter-author’s eyes, and feels like he’s playing in Ned’s band. $27.95 in hardcover.

continuing struggles today. As SouthAfrican author Nadine Gordimer explains in her moving forward, Williamson’s book does more than showcase the art; she uses it to explain what it means for an art form to be truly South African. (Christine Werthman)

South African Art Now The title may suggest only art of recent times, but Sue Williamson’s book opens up the world of South African art for the last four decades, taking readers from the years of apartheid to the present day. Indepth essays and photography accompany pictures of art in every medium, crafted by nearly a hundred South African artists. The more than 500 works in the book reﬂect a timeline of South African history, moving through art reﬂecting the resistance to the apartheid, democracy and freedom in the

exciting venues, including Roulette ($75 for a year’s free admission to the “Series of Experimental and Adventurous Music”— more than 100 concerts in 2009—and 20 percent discount on merchandise), the Jazz Gallery (good for discount ticket prices and free special events; $40 for students with IDs, $75 for singles, $125 for plus-ones), Jazz at Lincoln Center (numerous subscription packages, various beneﬁts), the Vision Festival ($75 for one year of admissions to events at student rates, $275 for all presented events free of any further charge). Of course, this idea can be turned into a one-night-out present anywhere jazz is played: the Jazz Standard, Iridium, Birdland, the Village Vanguard, Smoke, Small’s, Fat Cat, Lenox Lounge, Minton’s Playhouse, Zebulon, Barbes, BAM Café, etc. Give a cool card with the promise of a reservation at the recipient’s convenience, call ahead to make arrangements and invite yourself along.

Heads On and We Shoot: The Making of Where the Wild Things Are by the editors of McSweeney’s 1990s, the AIDS epidemic and the country’s

Maurice Sendak’s Where the Wild Things Are took on a new life when director Spike Jonze

presented its ﬁlm version this year. Heads On and We Shoot ventures behind the scenes of the visually stunning

their destruction or may have only existed in literary imagination. Unlike Italo Calvino’s “novel” Invisible Cities, which explores imagination through Marco Polo’s vivid descriptions of the built environment, author Glancey—who happens to be the architecture and design editor of The Guardian—is more concerned with man’s fallibility and destruction, as well as his creative powers. Sectioned by the ways in which buildings were “lost”—such as “Self-Destruction,” “Acts of God,” “Lost in Myth”—the book includes vivid

descriptions and illustrations. Although it may appeal to those with a more literary bent rather than architectural one, the inclusion of building plans may whet a discerning appetite to explore further. (Jerry Portwood)

Planisphere by John Ashbery At 81 years old, John Ashbery has already won a National Book Award, a Pulitzer Prize and two Guggenheim fellowships, but

with Planisphere, the latest collection from the man Harold Bloom has called “America’s greatest living poet,” Ashbery isn’t resting on his laurels. The 99 poems in this latest collection range from the terse “They Knew What They Wanted” to the lush title poem (all are arranged in alphabetical order) and are intelligent, winsome and lovely to read. Whether you enjoy the collection straight through or bit-by-bit, this book of previously unpublished work makes a serious case for the importance of reading poetry. (Joseph Harding)

movie, revealing the process that went into its creation. The tri-fold book features fullcolor photographs of the furry suits crafted by the Jim Henson Company and operated by performers on set to give the ﬁlm its realistic, non-digital look. The book also includes early sketches, storyboards and character designs, as well as text from Jonze and Dave Eggers, interviews with the cast and crew, early drafts of the screenplay and tales from the set, making it the ideal source for knowing all there is to know about going Wild. (CW)

Lost Buildings by Jonathan Glancey The black-and-white image of the Twin Towers on the cover may have been intended as a way to sell copies, but it does this book a disservice, making it appear to be an homage to the WTC destruction of 9/11. In fact, it’s a much more thorough account of hundreds of buildings that have either achieved mythical status through

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

Through Feb 7

metmuseum.org

Broadcast Sponsor of The Metropolitan Museum of Art

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

December 1, 2009 | City Arts

THEATER

Light and Desolation Edward Hopper hitches a ride on ‘A Streetcar Named Desire’ BY VALERIE GLADSTONE hen set designer Ralph Myers met with Norwegian actor and director Liv Ullman to discuss the revival of Tennessee Williams’ A Streetcar Named Desire for the Sydney stage, they spoke about Edward Hopper for his design. She understood the compatibility of Williams’ and Hopper’s visions and warmed to the idea. “Hopper stripped everything of extraneous detail,” Myers explained. “He depicted a noble emptiness. I kept that in mind as I developed the set.” Ullman’s Streetcar opened Nov. 27 at the Brooklyn Academy of Music’s Harvey Theater, and its four-week run has already sold out—in part because it stars Cate Blanchett in the role of Blanche DuBois. Audiences familiar with previous theatrical productions based on the original PulitzerPrize-winning play from 1947, however, might very well be surprised by the environment Myers has created. Instead of conjuring up mid-century New Orleans with an open courtyard and romantic details such as laced ironwork, common in earlier theatrical versions, Myers provides a minimalist setting for the feverish story based around Edward Hopper’s Joel Edgerton and Cate Blanchett in A Streetcar Named Desire. “Morning Light” and other solemn portraits of American solitude. “I wanted the space to be claustrophobic and imposing,” Myers He hoped to design a set that, like Hopper’s sions concerning the work. Day designed said. According to critics in Sydney and paintings, would be both realistic and abstract, one of the largest sets ever constructed at a Washington, D.C., where it opened most a setting that would make audiences feel Hollywood studio at the time—215-feet long recently and played in September, October like voyeurs, looking through a window and and 150-feet wide—recreating an entire New and early November, Myers’ set is one of the inadvertently witnessing a stranger’s loneliOrleans street that was meant to imply the revelations of this breathtaking revival. ness. He also felt that the apartment should total French Quarter, but he knew the drama In Ullman’s version, the drama unfolds be too small to contain all the people trying to would be played out in Stella and Stanley’s in a bleak apartment consisting of a bedroom live there. For reference, he thought back to a apartment. and kitchen-sitting room, with walls colored place where he lived as a student. “You know, “In the furnishings,” Day wrote at the a pale, sickly pink and furnished only with a a dirty flat where no one ever does the dishes,” time, “lack of interest dominates. Stella and plain table, a few chairs, a small sink and a he explained. Stanley are too concerned with themselves bed. The light bulbs are to be bothered by anything else. So we bare, the tiles chipped. Exhave second hand furnishings, décor that Myers hoped to design a set that, cept for a solitary window shows lack of money and lack of affection looking into the neighbors’ for good things. All of which is against like Hopper’s paintings, would be first-floor apartment, the Blanche’s nature.” both realistic and abstract, a upper section of the buildFor all of Blanche’s self-delusion setting that would make audiences ing consists of an oppresand pretension, she finally realizes the feel like voyeurs, looking through a sive wall of gray blocks. futility of her dreams, so painfully that The place looks tawdry, she falls to pieces. Like Day, Myers had window and inadvertently witnessing cramped and poor, yet it to invent the setting where these events a stranger’s loneliness. is here that Blanche fatally would most convincingly play out. He tries to find respite from her was inspired by feelings of anxiety in troubles by moving in with her married sister It’s been close to 50 years since art Hopper’s paintings, where desperation lies Stella (Robin McLeavey) and her animalistic director Richard Day collaborated with Elia just below deceptively quiet surfaces. For all brother-in-law Stanley (Joel Edgerton). Kazan on the powerful 1951 film starring the drama’s tumult, Myers felt that a more “I didn’t want to romanticize their poverty. Marlon Brando and Vivien Leigh, but subtle and compelling dimension added to its It’s ugly, not beautifully decayed,” Myers said. Myers reached some of the same concluresonance, as it does to Hopper’s work: the Lisa Tomasetti

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death-like stillness in loneliness. “One of my favourite [sic] painters is Vilhelm Hammershøi (Denmark 1864-1916),” Ullman wrote in a note to the cast, designers and crew, illustrated with paintings by Hammershoi and Hopper. “He inspired the first film I directed—and actually everything I have done since then: The Window. The Room. The Light. The Stillness. When we started our work on Streetcar, another painter was part of the ideas that the designers brought to me, namely Edward Hopper (USA 1882-1967): The Window. The Room. The Light. The Stillness. I know that people meeting and creating from opposite parts of the world somewhere will have the same understanding…in the silence of a painter’s vision.” Myers and everyone else connected with this landmark production amply fulfill Ullman’s desire to open a window onto a room filled with light and stillness, and characters so deep-felt that no one will ever forget them. A Streetcar Named Desire, through Dec. 20. BAM Harvey Theater, 651 Fulton St., Brooklyn, 718-636-4100; SOLD OUT, some partial view available, $40–$120.

ArtsinBrief

The Lincoln Center Commons BY SUSAN REITER Lincoln Center has been busy renovating, refurbishing, redesigning—and now expanding. In addition to the main campus, with its imposing cultural palaces and open public spaces, that stretches west from Columbus Avenue, there is now a new outpost of Lincoln Center across Columbus. The David Rubenstein Atrium, located mid-block between West 62nd and 63rd Streets, stretches from Broadway to Columbus, with entrances at both ends. Smartly designed and completely refurbished from its earlier, dowdy incarnation as the Harmony Atrium (which included a rock climbing wall), this sleek, welcoming space will serve as a gateway and information hub for the many Lincoln Center locations and offerings. It provides a place to meet before and after performances, as well as a one-stop resource for those planning to attend any of the myriad Lincoln Center performances. All the current brochures for the various seasons are available at the information desk, with helpful staff available daily from morning until after performances begin. And, for the ﬁrst time, a discount ticket program will be in place. Same-day half-price tickets will be sold, as available, for performances by all the Lincoln Center constituents (think of it as a sort of TKTS for opera, ballet, chamber music and more). In addition, the 7,000-square-foot atrium features a ’wichcraft café, offering sandwiches, desserts and coffee, free Wi-Fi access and restrooms. Plus, every Thursday evening the space becomes a performance venue in its own right, thanks to Target Free Thursdays. This series of free 8:30 p.m. events—offered 52 weeks a year (including Thanksgiving Day, Christmas Eve and New Year’s Eve this year)—will showcase representatives of the Lincoln Center constituent organizations as well as performing artists from community partner organizations and student ensembles. The Target Free Thursdays series launched Thursday, Nov. 19, when the space opened to the public all afternoon and evening. With Target providing a nearby tent with refreshments and giveaways for the occasion, the dry run gave the space quite a workout; 5,000 people had passed through by the time the evening concert was over. The Atrium opens ofﬁcially to the public Dec. 17, with the discount ticket program launching Jan. 7. Designed by Tod Williams Billie Tsien

Photo by Mark Bussell

It’s better than a climbing wall: free Thursday performances, discount tickets and more at the David Rubenstein Atrium

An exterior shot of the new David Rubenstein Atrium at Lincoln Center Architects, the husband-and-wife team that also designed the American Folk Art Museum in Midtown, the Atrium features striking 21-foot-high “vertical gardens” at its east and west ends. The lush plantings march dramatically up the wall in many shades of green. Near the Broadway entrance is a floor-to-ceiling fountain. A gray-and-yellow, felt wall installation on one fall faces a media wall that displays up-to-date information on events as well as video presentations. At the preview, the wonderfully funky and energized Asphalt Orchestra—part marching band, part jazz orchestra—inaugurated the space, marching from one area to another, demonstrating the Atrium’s clear, reverberant acoustics. In his welcoming remarks, Lincoln Center President Reynold Levy noted that a formerly “dreary, forlorn and virtually unused space” had been transformed into “an innovative new civic space.” Envisioning the Atrium as a “Lincoln Center commons,” he placed it in the context of the larger redevelopment goal: “making Lincoln Center more inviting to the public and more open to the currents of the city around us.” The next Target Free Thursday concert takes place Dec. 3 when Native-American flutist Aaron White is paired with classical flutist Shawn Wyckoff. For future programming information visit www.lincolncenter.org/atrium. December 1, 2009 | City Arts

DANCE

Modern Classics BY SUSAN REITER udith Jamison calls Clifton Brown “my muse,” and for her latest dance, Among Us (Private Spaces: Public Places), he is not only performing a pivotal solo role but also serving as her choreographic assistant. She developed her movement ideas with him before she began working with the full cast of 11. The piece, which has its premiere Dec. 4, is part of a festive Alvin Ailey American Dance Theater season (Dec. 2–Jan. 3 at City Center) that celebrates Jamison’s 20th anniversary as artistic director. Brown, an Arizona native who joined the Ailey troupe 10 years ago, is an unassuming but stellar dancer: lanky, quietly intense and eloquently controlled. He is also remarkably adept in many styles—something that is a prerequisite for an Ailey dancer these days, given the repertory’s variety—and can shift from the classical technique required for the title role in Maurice Bejart’s Firebird to the daring, muscular explosiveness of Twyla Tharp’s The Golden Section. As the Ailey troupe geared up for its annual ﬁve-week season, he was busy rehearsing a wide variety of works, old and new. But he admitted that the particular demands Jamison has shaped for him in the new work posed novel challenges. For Among Us (Private Spaces: Public Places), which is set in an art gallery, she envisioned Brown as a jin, or genie—a spirit force that appears in various Eastern and African cultures. Jamison incorporated an unusual array of dance forms, and for Brown’s deft, intriguing central role, she drew particularly on Bharata Natyam, an intricate, ancient style from southern India.

“Dancing with the Ailey company, we do all different kinds of dance, so I thought, ‘It’s dance, I can pick it up, no problem; I’ll just need a little while to process it,’” Brown said with a gentle laugh during a rehearsal break. “But it’s so different from the way I’m used to moving. I had to work for so long to get all the little details—with the hands, and the head. I still have a ways to go.” Brown learned the elements of Bharata Natyam from Sathi Pillai-Colucci, Jamison’s longtime executive assistant who is a classically trained Indian dancer. Jamison turned to her to help transmit the essential aspects of the style to the dancers. “The movement is so beautiful,” Brown said. “It seemed simple when she did it, but once I tried, it just didn’t come out at all. I just hope I do it justice and keep all the detail she showed.” In giving him choreography that drew on Bharata Natyam, Brown sensed that Jamison “was trying to make that exclusive to the Jin, set him apart from the others. He’s very otherworldly and omniscient. He’s able to shift things here and there. Others don’t necessarily see him. So he’s the only character that isn’t necessarily human.” His character, as well as the entire dance, was inspired by paintings that Jamison has made in recent years. The setting is an art gallery opening, and 11 of her artworks will be displayed on its walls. Through a series of vignettes, fantasy and reality blend, as characters reveal their more private aspects within this public setting. An original score by the innovative pianist-composer Eric Lewis provides widely contrasting sounds for each section of the dance, juxtaposing and blending

A Special Exhibition at

M. Sutherland Fine Arts, Ltd. 55 East 80th Street, Second ﬂoor New York, New York 10021 | 212-249-0428 | info@msutherland.com Gallery Hours: Nov 19-25th, 12-5 pm; otherwise by appointment

City Arts | www.cityarts.info

2009, Oil on canvas, 60 x 48 inches

Through January 16, 2010

Clifton Brown in Judith Jamison’s Among Us (Private Spaces: Public Places). inﬂuences in much the same way as Jamison’s choreography. Brown, who started dancing at four, recalls that his introduction to the Ailey company was a videotape he checked out of the library in Phoenix, Arizona. “I had gone to a dance convention and some teacher had told me, ‘You should go to the Ailey School.’ I was like, what’s that? So I decided to ﬁgure out what it was.” The video—a series of vintage choreography by Ailey, including Revelations —opened up his eyes to unknown possibilities of dance. “Before that, I had seen MTV dancing, as opposed to dance being the art form on display. So I got really excited when I saw that.” He attended a summer session at the Ailey School and successfully auditioned for the unique Ailey/Fordham BFA program. After a year, “I decided I wanted to dance professionally, or to go to school and not dance. I was having one of those life decision moments,”

he said. He auditioned successfully for the company, and the decision was made. Jamison took note of him from the start. A year after he joined Ailey, she created a featured role for him in Double Exposure. He has since assisted her in the creation of two other works for the company. He will be performing two different roles in the alternating casts of another Jamison work, Hymn, her very personal tribute to Alvin Ailey. Jamison’s achievement over the past two decades has been to sustain and enlarge Ailey’s vision, taking the company to new heights. Her personal stamp on the company is evident in the dancers she selects—each boldly individual, none cut from a speciﬁc mold. “She wants everyone to bring themselves as dancers to the stage,” Brown observed. “She’s not trying to drill us and make us do everything the same way. She wants what people can do as individuals to shine on stage.”

C H R I S T M AS

Barnaby Conrad III

Life Aquatic

Photo by Paul Kolnik

For Judith Jamison’s 20th anniversary with Alvin Ailey, she choreographed with her muse in mind: Clifton Brown

RE V E L S

Traditional Music, Dance & Stories of Ireland

December 11, 12, 13 Peter Norton Symphony Space 2537 Broadway at 95th St 212 864 5400

s y m p ho n y s p a c e . o rg

MUSEUMS

Blurring the Lines BY KARI MILCHMAN In a fall season that has included several marquee artist exhibitions, the emphasis of the Montclair Art Museum’s Cézanne and American Modernism show is less on the brand name and more on the movement he so influenced. The Montclair exhibit is the biggest in the museum’s 95-year history, and Dr. Gail Stavitsky, chief curator at MAM, has essentially been working on this exhibit ever since she received her Ph.D. from the Institute of Fine Arts, New York University in 1990. And it shows: Walking through the exhibit is like being immersed in an art history dissertation. So often the curator’s hand is invisible behind the art, reducing an exhibit to a series of intriguing pictures, rather than a display of imagery reflective of a given time and place. Not so here thanks to the attention paid to historical context and the careful pairing of works by American artists with influential works by Cézanne. It just so happens that in this case the time spans more than three decades (from 1907 to 1930) and the place covers two continents. The exhibit suggests important showings of Cézanne’s work to American artists, such as at the Paris home of Americans Gertrude and Leo Stein in the early 1900s, Alfred Stieglitz’s renowned gallery, 291, in 191011, the Armory Show of 1913, the Montross Gallery in 1916 and at museums such as the Metropolitan Museum of Art and the Museum of Modern Art in the 1920s. For Cézanne and American Modernism, pieces have been borrowed from eminent museums across the country to show how Americans

Dig It Paul Sietsema at MoMA BY ANDREW GOLDSTEIN Paul Sietsema is an explorer and perhaps even a mystic of sorts, as evinced by his uncanny, overlooked show at the Museum of Modern Art. Given enough patient looking, the Los Angeles-based artist’s drawings, sculptures and filmic work transport the viewer to a primordial place—a jungle confluence where the rivers of art and time meet. The centerpiece of the exhibition is a 16-minute film called “Figure 3.” Emitted in a darkened room from a noisily whirring projector, the film consists of mostly black-and-white stills of sculptures Sietsema made by painstak-

from various parts of the United States responded to Cézanne’s themes, process and style. Consequently, the show is a window into multiple artists’ oeuvres. In addition to the exhibit’s namesake painter, there are excellent pieces by Max Weber, Arshile Gorky, Marsden Hartley and Morgan Russel, as well as photographers Alfred Stieglitz, Paul Strand and Man Ray. In still lifes, landscapes, portraits and figures in nature, the viewer is repeatedly confronted with the immense influence of Cézanne—his ties to Impressionism and Cubism, his ventures into abstraction and his gestural, dynamic style on the whole. In most instances, the links go beyond stylistic to the very subject matter, as in the case of the shockingly similar “Mont SainteVictoire Seen from the Bibémus Quarry” completed by Cézanne in 1897 and that of Marsden Hartley’s 1927 “Mont SainteVictoire.” The pairing of Cézanne’s “Bathers” (1898-1900) and Abraham Walkowitz’s “Two Nudes Reclining on Grass” (1912-14) is another notable combination that will surely set art historians to scribbling in their notebooks. With Cézanne and American Modernism, the lines are blurred—both literally as an aesthetic tool and ﬁguratively, since the distinctions between artists’ various works disappear as it is revealed to the viewer how extensive was the effect of Cézanne’s approach on others. The show ultimately reveals that Cézanne and his American devotees all shared an interest in penetrating beyond the superﬁcial appearance of their subjects. How ironic then that in doing so

ingly replicating Eskimo, Oceanic and other non-Western ethnographic objects that he found pictured in out-of-print mid-century catalogues. Even flattened through the filmic gesture and abstracted through extreme closeups, Sietsema’s meticulously cracked and dirtencrusted pseudo-artifacts—pots, potsherds and woven items—bristle with materiality and process. This obsessive commitment to re-creation is displayed throughout the show. The majority of works are large-scale ink drawings, depicting in hyperrealistic detail such subjects as a photograph of a ship at sail (and also, in another piece, the photograph’s obverse), antique-looking text markings and a page from what appears to be an explorer’s journal. As with the objects in the film, one marvels at how long it must have taken to produce the drawings. And here is where Sietsema casts his spell.

Courtesy of Montclair Art Museum

Cézanne’s impact on American Modernism is explored

Max Weber’s “Strewn Apples,” 1923 the surface of their canvases became far more noteworthy than the subjects they depicted.

Cézanne and American Modernism, through Jan. 3. Montclair Art Museum, 3 South Mountain Ave. (Montclair, N.J.), 973-746-5555.

In the artist’s work, the clearly extensive studio time required to make the drawings and sculptures collapses the historic distance of the objects depicted, creating a sense of time out of loop—a chronical confusion that brings Sietsema, and transitively the viewer, on an imaginary journey toward the artifacts analogous to an anthropologist venturing into the mists. Other pieces in the show fetishize the studio as the site of this journey, such as two drawings that compare an archeological site (pick axes, debris) to the artist’s work ﬂoor (hammer, ink cup, debris); several drawings depict paint-can stains on newspaper such as one ﬁnds on an artist’s worktable. Two more pieces present a dark, obscured image of the artist’s own face, grizzled with what seems to be an unkempt beard. In these works, Sietsema often seems more interested in aligning the artist with the romantic idea of the hardy

explorer than in providing a critical view of post-colonial anthropology, or its idea of the reiﬁed “other”—though one piece, “Modernist Struggle,” seems to provide a nod toward that. Of course, this part of the artist’s project is balanced by works in the show that deal explicitly with the here and now, the market and the art economy. One 2009 piece, “Event Drawing,” depicts a copy of The New York Times, upside down, opened to a page displaying Roberta Smith’s review of Sietsema’s 2003 show at the Whitney. In the drawing, the newspaper is strewn with coins and bloody-looking ink. Another upside-down piece that functions as institutional critique shows a gossipy Times story about Henry and Marie-Josée Kravis, major MoMA donors, swanning around Art Basel Miami Beach. Art can be transportive, Sietsema seems to say, but it’s always grounded in material realities. December 1, 2009 | City Arts

Janacek, of course; but the composer need not be played that way. A couple of seasons ago, I had a complaint about the Berlin Philharmonic. They played Janacekâ&#x20AC;&#x2122;s Sinfonietta, and I said that the Berlinersâ&#x20AC;&#x2122; sound might be too beautiful for this music. True. But beauty of sound does not necessarily offend Janacek. The cast members in From the House of the Dead are manyâ&#x20AC;&#x201D;this is an ensemble operaâ&#x20AC;&#x201D;and I will mention just three of them: Peter Mattei is a charismatically mad Shishkov; Eric Stoklossa is a plaintive and touching (if slightly bleating) Alyeya and Willard White is a digniďŹ ed Gorianchikov. White is always digniďŹ ed, in anything. In all, the Met has given From the House of the Dead a very strong case. And here is a Janacek opera you may not know: The Excursions of Mr. Broucek, which is whimsical, weird and wonderful. It would be nice to see that upon a New York stage sometime. ne of the highlights of the 2006-07 Met season was a new production of Il Trittico, the three-opera evening by Puccini. Now that production is back. The three (short) operas, by the way, are Il Tabarro, Suor Angelica and Gianni Schicchi (whence we get â&#x20AC;&#x153;O mio babbino caroâ&#x20AC;?). The operas are not explicitly related, or even implicitly. But they go together. Suor Angelica is a bit like a slow

Ken Howard/Metropolitan Opera

AWAKE & SING from page 1

Tabarro Lucic as Michele in Il Trittico. movement. Gianni Schicchiâ&#x20AC;&#x201D;that one, sweet aria asideâ&#x20AC;&#x201D;is like a rollicking, zesty scherzo. There was superb singing three seasons ago, but the star of the show, at least the night I attended, was the conductor, James Levine. He made Il Trittico a nearly symphonic tour de force. Very often, the key performer in an opera is the conductor, no matter how important the singers and their roles are. Levine is not in the pit this year, succeeded by Stefano Ranzani, an Italian making his Met debut. On the night I heard him, he was competent: sometimes bland, short on character, but always competent. In Suor Angelica, actu-

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Laurent Pillot, Conductor Lawrence Edelson, Director Martin Lopez, Set Designer Miranda Hoffman, Costume Designer Josh Epstein, Lighting Designer

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ally, he was quite good, helping the opera to be appropriately dream-like. Singing in all three of the shows is the soprano Patricia Racette, one of our bestâ&#x20AC;&#x201D;one of our best singers, that is. She is an example of strength in lyricism. She makes a wondrous, sort of wet sound. And, as a fellow soprano of hers remarked to me at an intermission, she can â&#x20AC;&#x153;really spin itâ&#x20AC;?â&#x20AC;&#x201D;make that sound ďŹ&#x201A;y. There is always an aliveness through her voice. And, musically and technically, she is hard to argue with. Incidentally, is Racette, such a strong singer, sweet enough for â&#x20AC;&#x153;O mio babbino

caroâ&#x20AC;?? Yes, no problem. Another star of the three shows is the mezzo-soprano Stephanie Blythe. The voice is huge, and the singerâ&#x20AC;&#x2122;s ability to use it is equally so. She threatened to steal the show each time she appeared. Singing along with her, in two of the operas, is Jennifer Check, whose soprano is about as big as Blytheâ&#x20AC;&#x2122;s mezzo. A different kind of soprano, Heidi Grant Murphy, contributes her luminosity in Suor Angelica. Tenors? Try Aleksandrs Antonenko, who is a force in Il Tabarro. We could use more tenors of his lyric power and robust, conďŹ dent presence. Saimir Pirgu appears in Gianni Schicchi: fresh-voiced, eager and appealing. You may wish to know that Pirgu is an Albanian, an unusual thing to be in opera. I ďŹ rst heard him in Salzburg, years ago, where he sang in CosĂŹ fan tutte. His character disguises himself as an Albanianâ&#x20AC;&#x201D;that was kind of strange and noteworthy. About Jack Oâ&#x20AC;&#x2122;Brienâ&#x20AC;&#x2122;s production of Il Trittico, I will say what I said about ChĂŠreau and Janacek: The production goes with the opera, or in this case, operas. What Oâ&#x20AC;&#x2122;Brien does with these shows seems practically inevitable. And Il Trittico, it occurs to me, is a great operatic value: three showsâ&#x20AC;&#x201D;really good showsâ&#x20AC;&#x201D;for the price of one. And we must recognize the value of Puccini. Some people like to put him down. They will be forgotten, while Puccini goes on and on, deservedly.

DANCE

Get ready for Renée Fleming as the Marschallin in Der Rosenkavalier BY JOEL LOBENTHAL Recent experiences in studios, performance spaces and Lincoln Center citadels have conﬁrmed some fundamental, enduring and topical performance trends and traits. Namely, that ballet would like to please and to inspire admiration without seeming to ask for it. Postmodern dance seeks actively to repulse and discombobulate. And opera, it’s equally clear, is trying now to come down a bit closer to earth. Mid-November in a New York City Ballet rehearsal studio, Violette Verdy and Conrad Ludlow coached NYCB’s Janie Taylor and Tyler Angle in the duet that Verdy and Ludlow had created in Balanchine’s A Midsummer Night’s Dream 47 years ago. This was done under the auspices of the Balanchine Foundation, which arranges signiﬁcant meetings between Balanchine role creators and current interpreters. The work sessions are videotaped and can be viewed at the Library for the Performing Arts in Lincoln Center. The Midsummer duet comes in the ballet’s

second act, after all the Shakespearean plot twine has been rolled up and resolved. The two dancers are ostensibly entertainers at the joint wedding celebration, but they’re also seemingly meant to sum up true love’s course as the ballet’s multiple protagonists have experienced it. The duet is intimate and extroverted at the same time: Verdy noted the way that Balanchine ensures that “all the maneuvering is illustrated for the public.” The idiosyncrasies of ballet texts are always in danger of getting homogenized. Verdy reinstated a missing embellishment from the 1962 original, a shivering bourrée that she said had been a hallmark of Paris Opera Ballet star Yvette Chauviré. One day later, at the Baryshnikov Arts Center, BAC and the Performa 09 biennial presented recent work created by Deborah Hay and Yvonne Rainer, two women who might be called grande dames of the anything-but-baronial Judson Dance Theater movement of the 1960s. JDT didn’t really like ballet. It didn’t like dance looking too trained, too linear, too pretty. And 40

years later, you’d better believe that no shivering bourrées were included in this performance. Hay’s “If I Sing to You” showed six women arrayed in large part to look unsettlingly and gaudily indeterminate. Hay’s cast veered between marginal awareness of each other to lewdly invasive, acting out among themselves. They did sing, but as much at as to one another. In Rainer’s “Spiraling Down,” four women of divergent ages gave the impression of stepping in, and out, and on top of an audio voiceover text that they seem to have just found lying around somewhere. For the moment, the Balanchinean harmonies and idealization that had cast their spell just a day before had been wiped clean. And I didn’t mind a bit. Soprano Renée Fleming loves to move around on stage and, when asked to dance, she’s happy to—one of many arrows in the quiver of this highly accomplished diva. In Massenet’s Thaïs at the Met last season, she was ﬁrst spotted spinning through a Steve Nicks-inspired, dervish-like number, while as Dvorák’s water sprite Rusalka, she took to the serpentine sway, rising out of and back down into the depths of the deep. This season, in Richard Strauss’ Der Rosenkavalier, she is the Marschallin, an 18thcentury aristocrat who surrenders her young lover to a playmate his own age. The ﬁrst act of Rosenkavalier takes places in the Marschallin’s boudoir, through which

her lover troops. In this act, Fleming’s agility operated in the service of an evident desire to knock the opera off its pedestal a bit. She gave us a lot of horseplay, a lot of busyness and a lot of naturalistic fidgeting. Even when it came time for her famous reflective, somber monologue, referencing the passage of time in her life and in Everywoman’s, Fleming still didn’t want to stop moving. That made it harder for us to enter the Marschallin’s inner world. And that’s something that Strauss and his librettist, Hugo von Hofmannsthal, did want us to do. When Fleming returned in the third act to release her young swain from his affectional obligations, she was entirely different. Now all was regal composure, but this came as such a contrast to the first act that her impersonation seemed slightly disjointed. And disjointedness in an operative interpretation seems considerably more anomalous than at a Judson Dance Theater concert. Public and private interact in both Rosenkavalier and Midsummer, in which their onstage dialogue continues in January. Fleming’s Marschallin will be committed to high-definition posterity at the Jan. 9 performance. By then, New York City Ballet will be over its five-week Nutcracker immersion and deep into its winter repertory season, and Balanchine’s Midsummer will be among the works performed. L AW R E N C E R H O D E S , Artistic Director

Juilliard DANCE New Dances /Edition 2009 World Premiere Choreography by Andrea Miller, Fabien Prioville, Larry Keigwin and Aszure Barton 5 Performances Only Wednesday, December 9 through Saturday, December 12 at 8 Sunday, December 13 at 3 The Peter Jay Sharp Theater at Juilliard, 155 West 65th Street Photo: Nan Melville

On and Off the Pedestal

Choreography created for each class of Juilliard dancers, and performed by all the members of each class FREE tickets available at the Juilliard Box Office Monday – Friday, 11 AM – 6 PM, (212) 769-7406 • www.juilliard.edu

December 1, 2009 | City Arts

AttheGALLERIES Carroll Dunham Carroll Dunham is a naughty boy. His current exhibition, at the Barbara Gladstone Gallery, is a meditation, shall we say, on two female orifices. This is a disappointing exhibition from a gifted artist of whom I have been a huge fan. In the past, Dunham’s drawings and paintings of our chaotic universe— angry men, guns, organs and cities—have embodied, along with their anger, a hysterical sense of humor. Dark and funny, he portrayed a cartoon world that also dove into the modern psyche. His current paintings fall short. How many holes do you want to stare at? Gone is a sense of humor and irony. These paintings, most of which are titled “Hers,” seem to want to recreate the kind of male obsession reminiscent of early 20thcentury painters who painted the female nude over and over again. But Picasso and Matisse were experimenting with light, color and composition as well as examining the female form. Dunham has rendered everything nearly flat, both in perspective and paint quality. The focus is front and center on the two orifices, with an occasional detour past a giant nipple. The images just don’t transcend a kind of cartoon fantasy world. I wish they did. Every now and then, one of the exhibition’s paintings moves beyond its organs, and there is a lyrical play between the abstracted forms to which the body is reduced. And these paintings—“Hers (Night and Day #4)” and “Hers (Night and Day #6)”—are really interesting. In these two works, Dunham allows his brilliance with the drawn line to emerge. The surfaces are not quite as dimensionless or opaque, and hints of wandering line and brushstroke enliven the surfaces. Coincidently they are both breast paintings, where the organ is slightly off center. By not being so in-your-face with their content, these paintings let the viewer breathe a little. They become an interesting and humorous element in a larger, well, whole. (Melissa Stern) Carroll Dunham, through Dec. 5. Barbara Gladstone Gallery, 515 W. 24th St. (betw. 10th & 11th Aves.), 212-206-9300.

Egon Schiele As Printmaker No New York gallery has done more to further the reputations of the Austrian and German Expressionists of the early 20th century than Galerie St. Etienne. It has offered both the renowned (Oskar Kokoschka, Emil Nolde, Gustav Klimt, Kathe Kollwitz and Egon Schiele), as well as the lesser known, bringing to everyone’s attention the formidable works of psychological force and transparent sexuality produced by this extremely diverse group. So it is not surprising that the gallery would present a riveting exhibit of 47 prints and 18 drawings and watercolors by the highly dramatic Schiele in celebration of its 70 years of service to this exceedingly rich period in art history. Schiele (1890-1918) became famous—or one might say infamous—early in his short life for his disturbingly forthright self-portraits and nudes. Incredibly proliﬁc, he produced more than 3,000 works on paper and approximately 300 paintings. Rebellious, questioning and obsessive, he sought truth in the revelation of the body, hoping to discover the meaning of life in carnality. He was struck as strongly by the power of our subconscious desires as his fellow Viennese, Sigmund Freud. One need look no further than his startling woodcut “Head of a Man,” no doubt a selfportrait, to see that he was ﬁlled with anxiety. He drew the skeletal face with huge, crazed eyes and furrowed brow in a deceptively childlike style, using only a few circles and straight lines. But the portrait is not in the least childlike in its absolutely clear, unadorned exposure of his psyche. The watercolor and pencil “Self-Portrait-Bust” nicely complements the print. Though still very much the tortured artist, he appears more alive here, perhaps because he was younger. His eyes are less crazed and more challenging, his hair sticks

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“(Hers) Night and Day #6” by Carroll Dunham

out in all directions and the expression on his red voluptuous mouth—the picture’s only color— gives away nothing. Seeing his face, in fact his soul, laid bare gives the viewer unusual insight into the nudes. One sees these women through his eyes. Though sensuous, the gouache and pencil “Seated SemiNude” depicts a monumental woman drawn

like a Cézanne landscape and more masculine than feminine. With her legs spread apart, she is less inviting than confrontational. The drypoint “Squatting Woman” shares her inaccessibility. She may be naked, but her muscled legs and hips give the impression of hardness, not vulnerability. All their faces have a doll-like quality, cubes attached to ﬁerce and unknowable ﬂesh. One comes

away from the remarkable and extensive exhibit wondering if the incredibly skilled artist saw his subjects more as demons than tantalizing erotic partners. (Valerie Gladstone) Egon Schiele As Printmaker: A Loan Exhibition Celebrating the 70th Anniversary of the Galerie St. Etienne, through Jan. 23. Galerie St. Etienne, 24 W. 57th St. (betw. 5th & 6th Aves.), 212-245-6734.

“Head of a Man” by Egon Schiele

Self-Portrait: Reprise 1987-2009 Given the voluptuousness of Pat Steir’s “Waterfall” paintings, one might expect at least a smolder of sensuality from her depictions of the human body. Visitors to her installation at the Studio School, however, will find the gallery totally transformed, not with delicious veils of paint, but with rather cerebral plottings of the human body. Lining the walls of the gallery’s first room is a series of larger-than-life figures traced from Albrecht Dürer’s 1528 treatise on human proportions. Their ungainly precision and painstaking notations banish any thought of the sensuous. In the second room, details of ears, eyes, noses and mouths—some rendered slightly more sumptuously—have been copied from anatomical studies dating from the 16th through the 18th centuries. The taxonomic effect is enhanced by a delicate grid of yellow lines covering the walls, all of which have been stained from floor to ceiling with blue ink. Gallery literature reveals that the installation was a group effort; the artist was aided by many individuals, including her assistants and Studio School students. The clouding, mottled blue is the only reminder of Steir’s usually luscious surfaces— except, that is, for a single note of dripping red that the artist personally applied to one wall. Otherwise, the diagrammatic renderings and group-produced nature of the work distance us from every direct experience of the human body and personal expression. Selfportraiture may normally count among the most intimate and revealing of genres, but Steir’s title for this installation has turned this tradition on its head.

Pat Steir: Self-Portrait: Reprise 1987-2009, through Dec. 19. New York Studio School Gallery, 8 W. 8th St. (betw. 5th & 6th Aves.), 212-673-6466.

Norman Bluhm: A Retrospective Of Works On Paper 1948-1998 The sleekly appointed exhibition of workson-paper by the American painter Norman Bluhm (1921-1999), on display at Jacobson Howard Gallery, reminds us that affectation can be its own reward. Like Jack Tworkov, subject of a superlative retrospective that recently closed at UBS Art Gallery, Bluhm wasn’t a New York School pioneer, but a talented devotee: the innovations of Abstract Expressionism were pretty much cemented by the time he took them up. The challenge, then, lay in elaboration. Taking into account how the late work of both Tworkov and Bluhm puts to shame prime Robert Motherwell or Franz Kline, who’s to say the latter isn’t preferable? Two things become clear after traversing the 50some-odd years between Bluhm’s figure studies from the late 1940s to the looping, mandala-like pictures with which he finished his days: 1) Bluhm loved, sometimes impolitely, the female form; and 2) his touch—splashy but willful, brusque yet elegant—was pure theater. Bluhm was in thrall to de Kooning’s whiplash line, but less for its ability to embody flesh-and-bone than for its snaky, decorative élan: A given motif was an armature for looping calligraphy rather than a reason for being. Consequently, there’s a notable absence of tone in Bluhm’s work. The zooming abstractions from the mid-1960s transmute non-western aesthetics—the encompassing space of Chinese landscape painting, say—through New York School dramaturgy. The results are overheated but tasteful, exquisite and bland. Bluhm’s pictorial tics gained in range and fervor once the figure reasserted itself in the mid 1980s. Segmented compositions anchored by contorted limbs and defined through arabesques of perfumed color, the late pictures marry the conventions of religious art (think stained glass and Islamic ornamentation), Matisse’s icy hedonism and Venus of Willendorf-type fetishism. Bluhm isn’t as deep as all that—the work doesn’t dig; it skitters and slides—but as essays in style, the paintings have their attractions. (Mario Naves)

What cosmic shift has gripped the painter best known since the late ’80s for her highly expressionistic “Watercolor” paintings? None really, as the “Reprise” in the title reminds us. The disjunction between labels and entities has in fact absorbed the artist since at least the early ’80s, when she executed, with postmodern detachment, a series of paintings quoting various masters’ styles. Indeed, the Studio School installation represents only the latest incarnation of a project first realized at the New Museum in 1987 and reconfigured in several venues since then. As an artist, Dürer becomes the straw man in this exercise, his personality flattened just as much as the diagrams on the walls. But could that be part of the point? “Self-Portrait” is truly a likenessin-progress in that it portrays Steir’s ongoing thinking about representations of the figure. This personal dialogue with the depersonalizing forces of culture will be resurrected again next spring, when another crew will retrace Dürer at the Rhode Island School of Design. (John Goodrich)

conveys a landscape with abstracted tatters of cool green, dense pink and a spacious cerulean blue. It strikingly anticipates an early Jackson Pollock on another wall; brimming with coarse, undirected force, this small canvas conjures a row of storefronts out of slashes of deep red and astringent green and pink tints. Of the nearly dozen works by O’Keeffe, a strange, tiny, vacant-eyed portrait of an Indian doll (1935) especially intrigues. But for me, the 1917 pastel of a New Mexico mountain range by Marsden Hartley reveals stronger formal intuitions than either of the O’Keeffe landscapes ﬂanking it. Next to O’Keeffe’s elegant intimations, his taut contours and tense overlappings feel more like urgent graspings—one senses, over the horizon, the coming upheavals of Abstract Expressionism. (JG) Georgia O’Keeffe and Other Modernists, through Dec. 18. Gerald Peters Gallery, 24 E. 78th St. (betw. 5th & Madison Aves.), 212-628-9760.

Ferenc Berko “Denture Shop, Rawalpindi, India” by Ferenc Berko.

Cubism, the artists sharing principally an earnest appetite for the avant-garde. The exhibition’s title places Georgia O’Keeffe at center stage, and in their sheer number her works predominate over other mainstays of American modernism such as Joseph Stella, Max Weber and Arthur Dove. But for me the most stimulating moments occur in the show’s margins, in a handful of works by particularly restless and bristly temperaments. Darkly glimmering in one corner, a 1928 still life by John Graham resorts to veilings and scratchings of paint to forge—tangibly—the effect of flowers erupting from an ornate vase. (Now largely forgotten, Graham was in the ’30s one of this country’s most influential interpreters of School of Paris painting.) One of Joseph Cornell’s boxes from ca. 1957—featuring a cut-out bird perched before a wan, cracked background inscribed with French hotel addresses—sets a wistfully surreal tone. In Milton Avery’s deceptively peaceable shoreline scene from 1944, a bouquet of flowers on a foreground porch improbably rhymes with distant foaming surf. A series of three small paintings by Thomas Hart Benton are, for me, a revelation. The last, dated 1965, confirms my impression of an artist who conflated the obtusely theatrical with the formally robust. But the earliest of the three, dating from 1920, feelingly

Hungarian-born photographer Ferenc Berko (1916-2000) grew up in Europe in the 1930s, influenced by Bauhaus teachers Walter Gropius, Marcel Breuer and especially Laszlo Moholy-Nagy. Escaping to London with the rise of Nazism, he began a peripatetic career that took him all over the world, shooting pictures, making films, teaching and quickly becoming a formidable figure in photography. Considered among the 100 most important photographers of the 20th century, he excelled at portraits, nudes and abstractions, shooting over the years amazingly varied and powerful pictures that are now museums in the United States and Europe. He shot this outstanding selection of 48 vintage black-and-white photographs from the 1930s to the early 1950s. In the intimacy of a gallery, viewers have the opportunity to see close up his infinite skill at transforming his subjects into haunting shapes, shadows and forms. In a nude taken in Paris in 1937, a woman pulls her hair off the nape of her neck, her face hidden by her shoulder. One curl hangs loose, its curve echoing the curve of her breast. All soft angles in shades of gray, it conveys a quiet sweetness. Never repeating himself, he photographed a full figure nude in Chicago in 1950, whose fluid shape is reminiscent of those in Matisse’s “The Dance,” her arms outstretched, one leg in front of the other, all in shadow but for the tinge of light on her breast and forehead. His solarized nudes on the other

Norman Bluhm: A Retrospective Of Works On Paper 1948-1998, through Dec. 23. Jacobson Howard Gallery, 33 E. 68th St. (at Madison Ave.), 212-570-2362.

Georgia O’Keeffe and Other Modernists

“Study III” by Norman Bluhm

Gerald Peters’ rewarding, ambling installation of American modernists covers a broad swath: some 30 artists spanning roughly the ﬁrst half of the 20th century. The nearly 60 paintings, drawings and sculptures reﬂect a wide range of approaches, touching upon Regionalism, Precisionism and

“Colored Drawing, Canvas” by Arthur Dove

December 1, 2009 | City Arts

AttheGALLERIES hand look like Giacometti sculptures, elongated and ﬂoating in space. He lavished the same attention on objects and scenes as he did on nudes. By shooting “Chowpatty Beach, Bombay” from a distance, he caught an unearthly quality in the masses of people on the beach. In the breathtaking “Early Morning Market, Nowshera, India,” a woman walks across a courtyard, her shadow and those of a tree and animals like ghosts. She has her hand to her head, a simple gesture that gives the entire picture poignancy. While his images are more often poetic and sensual than humorous, his “Denture Shop, Rawalpindi, India” shows his wit and sense of irony. Outside a dark shop with a sign reading “Teeth,” huge models of dentures are displayed, one on top of the other, the shopkeeper just inside the entrance diminished by all his wares. Unifying all his photos is his inﬁnite care with every last detail of the composition. There is not a false note here. Only harmony. (VG) Ferenc Berko through Jan. 23. Gitterman Gallery, 170 E. 75th St. (betw. Lexington & 3rd Aves.), 212734-0868

Mercedes Matter: A Retrospective Exhibition On West Eighth Street resides the realization of one of Mercedes Matter’s obsessions—the New York Studio School, which she founded in 1964 as an antidote to art-scene faddishness. Currently on view at Baruch College is the manifestation of another, longer-lived passion: her art. This longoverdue, traveling retrospective of nearly three dozen drawings and paintings is an eye-opener; their intensity, determination and intelligence leave one wondering, why are they not better known? Mercedes Matter (1913-2001) immersed herself in art early on. The daughter of renowned painter Arthur B. Carles, by her early twenties she had

“Rossy de Palma,” 2009 by Ruven Afanador

studied or worked with Archipenko, Léger, Gorky and Hans Hofmann, the last of whom proved an enduring influence. Particularly close to Calder, Krasner, Pollock and Guston, she became the first female member of the celebrated Artists Club. So much exposure so early might have overwhelmed some artists. On the evidence of her work, however, she absorbed each influence in turn. A series of still lifes, landscapes and figure paintings from the late ’20s and early ’30s recalls her father’s patchworks of colors: flamingly intense, yet grounded. By the mid ’30s, Hofmann’s influence shows in abstracted still lifes of simmering, colored rectangles. Other works from these years incorporate Gorky’s suggestively biomorphic forms into taut compositions. Largest among these early paintings, the impressive “Tabletop Still Life” presents a table tilted upward to measure, with angular ferocity,

the ascending locations of plates and fruit. It could be a summation of Hofmann’s philosophy: the commitment to recreate the observed through rigorous geometries. Here Matter’s observations are as tender as they are fierce: the barely darkening beige of the edge of a gourd—or is it a pear?— conveys an entire illumination. In later works her planes of color divide into multiple, restless vectors. Punctuations of color in two 1950s landscapes crisply separate rock from tree from ocean surface. Matter, however, increasingly returned to the still life. The spreading tablecloth in one canvas (dated ca. 1962-64) emerges almost miraculously from shards of red, violet and orange. The drawing in these later still lifes sometimes overwhelms the color, the furious linear networks leaving hues little role but to fill in. But two large charcoal drawings (each uncertainly dated ca. 1978-1998) suffer no such dilemma. Both impart an austere monumentality to great heaps of objects, some of them recognizable as skulls, others unidentifiable yet compellingly integral to the momentum of forms. While Matter considered such drawings a means of learning through perpetual building and destroying, they are far more than demonstrations of process. They have a gravity and fullness that warrant a permanent place in the history of the New York School. (JG) Mercedes Matter: A Retrospective Exhibition, through Dec. 14. Sidney Mishkin Gallery, Baruch College, 135 E. 22nd St. (betw. Lexington & 3rd Aves.), 646-660-6652.

Ruven Afanador: Mil Besos The tragic history of humanity is not a story on which we easily reﬂect—despite our willingness to do so. So, in order to confront and expel our demons—or to sooth or incite one another—other means have been created, such as dance, song

and music. Flamenco is all three of these things. Flamenco performers tell the story of outcasts and peasants who trace their origins back many centuries to the Punjab in India, and to a mixture of ancient Gypsy, Andalusia, Greek, Jewish and Arabic cultures. The passionate dance, when done correctly, is meant to free the dancer’s duende or “soul” and photographer Ruven Afanador has used several famous Spanish dancers as his models, many of them well into their sixties. Flamenco dancers peak in their careers when classical and modern dancers are stepping down, because it’s believed that only life-worn women have the experience needed to convey the deep emotions required by the dance. Dressed in extreme costumes, all black, and wearing the dark makeup of the classic Greek tragedian, Afanador uses the stark, white Andalusian sunlight to enhance the graphic staging. The dancer’s dark bodies and bright faces flash before us in cinematic black and white. Like furies they excite and terrify. We see the expressive faces of “Rossy de Palma” (famous from Almodóvar’s early films), “Antonia la del Pipa” or “Pepa de Molina”—not classical beauties, but remarkable ones. As one moves through the exhibition, the photos become a tragic/comic theater, a play punctuated by moments of fabulous swirling, stomping beauty. Carefully art directed, the enticing visual rhythms allow you to feel the movement, and hear the sounds. But Afanador is aiming at the underlying reality of the dance, and at the secret rituals that passed the flamenco on and kept the important memories, rivalries and traditions alive. (Julia Morton) Ruven Afanador: Mil Besos, through Dec. 12. Throckmorton Fine Art, 145 E. 57th St., 3rd fl. (at Lexington Ave.), 212-223-1059. View an online video of the Mil Besos show at cityarts.info

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City Arts | www.cityarts.info

THEATER

Coitus Interruptus BY DAVID BLUM Sarah Ruhl’s new play is anti-climactic and unsatisfying, which adds a special layer of frustration since it’s ostensibly about climax and satisfaction. But In The Next Room (or the vibrator play) fails utterly at its intentions, a drawing-room drama as awkwardly constructed as its title—an intriguing ﬁrst-act setup followed by a mish-mash of missed opportunities in the second, and, of course, no happy ending. Its premise is promising enough: A doctor infatuated with the recent discovery of electricity has concocted a primitive vibrator that he uses to cheer up the depressed and deprived women who consult his practice. By the end of the promising ﬁrst act, we’ve witnessed a forlorn young wife transform into a giddy schoolgirl by virtue of her newly discovered orgasm. She shares her secret with the doctor’s clueless wife, and together—when the doctor disappears to his “club”—the girls go at it in his operating theater, “the next room.” We get the gag: They’re getting off. But where to go with this amusing, oddball premise? Ruhl, it turns out, has no

SHOP THE EXOTIC ONCE MORE…

idea. Until recently the 32-year-old playwright has managed a meteoric rise through the theater world, capped by her status as Pulitzer ﬁnalist for her 2004 effort, The Clean House. But with this ﬁrst Broadway production, she shows none of her earlier promise; instead, she has succumbed to the sort of obvious cliché and cheap humor that keeps the comfort level up and the emotions tamped down—and has delivered a second act full of plot and devoid of drama. With the doctor’s primitive vibrator as the device around which the storyline turns, Ruhl has boxed herself into a corner that leaves the audience cold. Will the women allow their newfound fondness for clitoral stimulation to translate into emotional freedom? Will they leave their stiff, overprotective husbands—who, we’re told, use umbrellas to ward off even the tiniest of raindrops—for men who can perform for them the same function as the machine? These quotidian questions we’ve all heard before surface in the second act, as Ruhl introduces a free-spirit painter and a wiserthan-thou wet nurse to push the boundaries

Joan Marcus

Little actual stimulation in Sarah Ruhl’s Broadway debut

Laura Benanti in In the Next Room. along. But there’s nothing here that hasn’t been already written about in a million selfhelp manuals and memoirs. To make matters worse, this Lincoln Center production depends for deepening on an actress whose chops are strictly comedic: the wonderful Laura Benanti, who won the Tony for her star turn in Gypsy. When she smiles, it’s as electric as anything Thomas Edison could have discovered, but alas, her darkness doesn’t translate into emotional charge. The wonderful, wigged Michael Cerveris (most recently of TV’s Fringe) plays her husband, the doctor, with appropriate stiffness and clueless humor, but can’t quite deliver on the play’s denouement—a scene

in which, naked, he must answer for the flaws of every man in history—in a way that seems anything but forced. It’s worth giving credit to director Les Waters and his production team for a gorgeous wardrobe design; I’d kill for the coat worn by supporting actor Chandler Williams, whose comic timing as a pompous, depressed British painter saved the second act from complete disaster. And the sumptuous two-room set gave its own gallant performance, especially during a soft snowfall sequence in the play’s final scene. But what would be more interesting is if Lincoln Center had given Ruhl’s first act to a director as a dramatic problem to solve. Or, even better, a different writer. I saw In The Next Room with a playwright who suggested that the second act should have been set in the present day, a sort of French Lieutenant’s Woman-type twist that might have better framed the questions at its heart. But by sticking to the shopworn world of the late 19th century, Ruhl cost herself any chance at originality and surprise. The result is a play that teases but doesn’t touch. In the Next Room, through Jan. 10, the Lyceum Theater, 149 W. 45th St. (betw. 6th & 7th Aves.), 212-239-6200; times vary, $46.50$96.50.

Park Avenue Plaza Atrium 55 E 52nd St 212.759.0606 www.daheshmuseum.org

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December 1, 2009 | City Arts

ArtsAGENDA OPENINGS

ICO GALLERY: “The Rhythmic Figure.” Opens Dec.

Gallery listings courtesy of

3, 606 W. 26th St., 212-966-3897. ACA GALLERIES: “Eccentrics, Misﬁts and Idealists.”

LENNON, WEINBERG, INC.: Denyse Thomasos: “New

Ends Dec. 5. “Abstract Ensemble.” Opens Dec. 10. James McGarrell: “Window Jazz Inventions.” Opens Dec. 10, 529 W. 20th St., 212-206-8080. A.I.R. GALLERY: “Mother/mother- *” Opens Dec. 2, 111 Front St. #228, Brooklyn, 212-255-6651. AC INSTITUTE: Lea Bertucci: “Crossing.” Marcy Chevali: “Without A Safety Net.” Shlomit Lehavi: “Time Sifter.” Elisabeth Molin: “Gaps.” Opens Dec. 10, 547 W. 27th St., 5th Fl., no phone. ALEXANDRE GALLERY: “Selected Works by Gallery Artists.” Opens Jan. 7, 41 E. 57th St., 212-7552828. BLUE MOUNTAIN GALLERY: Blue Mountain Gallery Artists: “The White Show.” Opens Dec. 1. Victoria Salzman: “Etchings: I thought I was invisible...” Opens Jan. 5, 530 W. 25th St., 4th Fl., 646-486-4730. BOWERY GALLERY: Rita Baragona & Tony Serio. Opens Dec. 1, 530 W. 25th St., 4th Fl., 646230-6655. CHEIM & READ: Diane Arbus: “In the Absence of Others.” Opens Jan. 7. William Eggleston: “21st Century.” Opens Jan. 7, 547 W. 25th St., 212242-7727. CROSSING ART GALLERY: Fareen Butt: “Mirage Landscapes.” Opens Dec. 4, 136-17 39th Ave., Queens, 212-359-4333. CUCHIFRITOS: Double A Projects: “Free Store Emporium.” Opens Dec. 5, 120 Essex St., 212420-9202. DEAN PROJECT: “Parallel States.” Opens Dec. 12, 4543 21st St., Queens, 718-706-1462. DANIEL REICH GALLERY: Christian Holstad: “The World’s Gone Beautiful.” Opens Dec. 10, 537 W. 23rd St., 212-924-4949. DENISE BIBRO FINE ART: Sara Crisp: “Intervals and Circles.” Ends Dec. 19. Chautauqua: “A Continuum of Creativity.” Opens Jan. 5, 529 W. 20th St., 4th Fl., 212-647-7030. DFN GALLERY: Barbara Nessim: “The Model Project.” Ends Dec. 5. “New Landscapes.” Opens Dec. 9, 74 E. 79th St., 212-334-3400. FOXY PRODUCTION: Simone Gilges. Opens Dec. 10, 623 W. 27th St., Ground Floor, 212-239-2758. FRONT ROOM GALLERY: “Multiples and Editions.” Opens Dec. 4, 147 Roebling St., Brooklyn, 718782-2556. GALLERY HENOCH: Holiday Group Show. Opens Dec. 1, 555 W. 28th St., 917-305-0003. GALLERY SATORI: Diane Carr. Opens Dec. 4, 164 Stanton St., 718-544-6155. HESKIN CONTEMPORARY: Julie Peppito: “Super Bumpy.” Opens Dec. 3, 443 W. 37th, Ground Floor, 212-967-4972.

Paintings.” Opens Dec. 3, 514 W. 25th St., 212941-0012. METRO PICTURES: Olaf Breuning. Ends Dec. 5. Robert Longo, David Maljkovic and John Miller. Opens Dec. 17, 519 W. 24th St., 212-206-7100. OPEN SOURCE GALLERY: John Coburn: “Fairlane Marauder.” Opens Jan. 2, 255 17th St., Brooklyn, 646-279-3969. PRINCE STREET GALLERY: Barbara Kulicke. Opens Dec. 1. William Stewart. Opens Jan. 5, 530 W. 25th St., 4th Fl., 646-230-0246. RANDALL SCOTT GALLERY: Julia Fullerton-Batten: “It’s a Wonderful Life.” Opens Dec. 10, 111 Front St., suite 204, Brooklyn, 212-796-2190. SLOAN FINE ART: LoCurto/Outcault: “markingtime.” Ends Dec. 12. “The Only Living Boy in New York.” Opens Dec. 16, 128 Rivington St., 212477-1140. STEVEN KASHER GALLERY: Christopher Thomas: “New York Sleeps.” Opens Dec. 3, 521 W. 23rd St., 212-966-3978.

ALAN KLOTZ: Melissa Ann Pinney. Ends Dec. 20, 511

W. 25th St., #701, 212-741-4764. ALEXANDRE GALLERY: Marvin Bileck: “Figurative

Etchings and Illustrations.” Ends Jan. 2. Emily Nelligan: “Recent Drawings.” Ends Jan. 2, 41 E. 57th St., 212-755-2828. ALEXANDER GRAY ASSOCIATES: Regina Silveira. Ends Dec. 12. J. Morgan Puett. Opens Jan. 6, 526 W. 26th St., #1019, 212-399-2636. AMERICAS SOCIETY: Fernell Franco: “Amarrados [Bound].” Ends Jan. 23, 680 Park Ave., 212249-8950. ANDREA MEISLIN GALLERY: Amy Simon. Ends Dec. 19, 526 W. 26th St., 2nd Fl., 212-627-2552. ANIMAZING GALLERY: The Art of Stop Motion. Ends Dec. 31, 54 Greene St., 212-226-7374. ART IN GENERAL: “Erratic Anthropologies.” Ends Jan. 9, 79 Walker St., 212-219-0473. ATM GALLERY: Min Kim: “New Works.” Ends Dec. 19, 542 W. 24th St., 212-375-0349. BLT GALLERY: Gerald Dearing & Steve Pyke: “Matter of Fact.” Ends Dec. 19, 270 Bowery, 2nd Fl., 212-260-4129. BRONX RIVER ART CENTER: “Dialects 1.2.” Ends Dec. 5, 1087 Tremont Ave., Bronx, 718-589-5819. CAUSEY CONTEMPORARY: Steven Dobbin: “Reclamation.” Ends Dec. 7, 293 Grand St., Brooklyn, 718-218-8939. CHEIM & READ: Lynda Benglis: “New Work.” Ends

FRANCISCO CASTRO LEÑERO

The Red, the Black and the White [2009] Acrylic on canvas 74 3/4” x 59”

GALLERIES

THE RED, THE BLACK AND THE WHITE Through 12 December, 2009

A Barry Feinstein photo of Bob Dylan, part of The Brooklyn Museum’s “Who Shot Rock And Roll” exhibit. Jan. 2, 547 W. 25th St., 212-242-7727.

Ends Dec. 23, 724 5th Ave., 212-247-2111.

CHERYL MCGINNIS GALLERY: Susan Hamburger: “Moral

Hazard.” Ends Dec. 18, 555 8th Ave., Ste. 710, 212-722-1144. CHRISTOPHER HENRY GALLERY: “The Map As Art.” Ends Jan. 10, 127 Elizabeth St., 212-244-6004. CLAMPART: Luke Smalley: “Sunday Drive.” Ends Dec. 19. Jill Greenberg: “New Bears.” Ends Dec. 19, 521-531 W. 25th St., Ground Floor, 646-230-0020. CUE ART FOUNDATION: Mores McWreath. Ends Jan. 9, 511 W. 25th St., Ground Floor, 212-206-3583. CUETO PROJECT: David Colosi: “Imaginary Numbers and Other Calculated Fictions.” Ends Jan. 1, 551 W. 21st St., 212-299-2221. D’AMELIO TERRAS: Tony Fehrer: “Blossom.” Ends Dec. 23. Yoshihiro Suda: “Front Room.” Ends Dec. 23, 525 W. 22nd St., 212-352-9460. DANIEL REICH GALLERY: Amir Mogharabi and Jeffrey Perkins: “Entendement.” Ends Dec. 1, 537 W. 23rd St., 212-924-4949. DAVID NOLAN GALLERY: Ian Hamilton Finlay: “Camouﬂage.” Ends Dec. 12, 527 W. 29th St., 212-925-6190. DAVID ZWIRNER: Dan Flavin: “Series and Progressions.” Ends Dec. 19, 519 W. 19th St., 212-5178677. DC MOORE GALLERY: Jane Wilson: “Recent Paintings.”

DEITCH PROJECTS: Kristin Baker: “Splitting Twilight.”

Ends Dec. 19, 18 Wooster St., 212-343-7300. DENISE BIBRO FINE ART: Sara Crisp: “Intervals and

Circles.” Ends Dec. 19, 529 W. 20th St., 4th Fl., 212-647-7030. Derek Eller Gallery: Dan Fischer: “Unique Forms of Continuity in Space.” Ends Dec. 19, 615 W. 27th St., 212-206-6411. DICKINSON: Alex Hoda: “Pipedreams.” Ends Dec. 18, 19 E. 66th St., 212-772-8083. DISPATCH: Krysten Cunningam: “Tangental.” Ends Dec. 13, 127 Henry St., 212-227-2783. EDUCATIONAL ALLIANCE/ERNEST RUBENSTEIN GALLERY: “Hope Lives: Artists of the Lower East Side.” Ends Dec. 17, 197 E. Broadway, 212-780-2300, ext. 378. EDWARD THORP GALLERY: “About Face.” Ends Jan. 6, 210 11th Ave., 6th Fl., 212-691-6565. EFA PROJECT SPACE: “One Every Day.” Ends Dec. 19, 323 W. 39th St., 2nd Fl., 212-563-5855. FLOMENHAFT GALLERY: Miriam Shapiro and Paul Brach: “Mimi and Paul.” Ends Dec. 19, 547 W. 27th St., suite 200, 212-268-4952. FRED TORRES COLLABORATIONS, INC: George Rahme: “It’s All There Already.” Ends Jan. 23, 527 W. 29th St., 212-244-5074. FREDERIEKE TAYLOR GALLERY: Olive Ayhens: “Nature/ Architecture.” Ends Dec. 23, 535 W. 22nd St.,

white show the

December 1-26, 2009

17 December 2009 - 21 January 2010 BEAUTY IS ETERNAL : Two Artists In Berlin Works on Paper

SATI ZECH - WERNER SCHMIDT Reception for the artists Thursday, December 17, 6pm-8pm

Howard Scott Gallery 529 West 20th Street | Tues-Sat 10:30-6 646 486 7004 | howardscottgallery.com

City Arts | www.cityarts.info

Reception December 3, 5-8pm White Music by Wayne Smith Performance by Kathleen Laziza Blue Mountain Gallery

530 West 25th Street, fourth ﬂoor New York, New York 10001 646 486 4730 www.bluemountaingallery.org

6th Fl., 646-230-0992. GAGOSIAN GALLERY: Roger Ballen: “Boarding House.”

Ends Dec. 23, 980 Madison Ave., 212-744-2313. GAGOSIAN GALLERY: Mike Kelley: “Horizontal Track-

ing Shots.” Ends Dec. 23, 555 W. 24th St., 212-741-1111. GAGOSIAN GALLERY: Richard Serra: “Blind Spot” and “Open Ended.” Ends Dec. 23, 522 W. 21st St., 212-741-1717. GALERIE LELONG: Sean Scully: “Recent Paintings.” Ends Dec. 12, 528 W. 26th St., 212-315-0470. GALLERY 456: “Reconsidering Identity.” Ends Dec. 18, 456 Broadway, 3rd Fl., 212-431-9740. GOFF + ROSENTHAL: Chiharu Shiota and GEGO: “Drawn Together.” Ends Jan. 9, 537 W. 23rd St., 212-675-0461. GRADY ALEXIS GALLERY: Andrea Arroyo, Felipe Galindo and Ric Pliego: “IMAGINaciones.” Ends Dec. 23, El Taller Latino Americano, 2710 Broadway, 3rd Fl., 212-665-9460. HANS P. KRAUS, JR. FINE PHOTOGRAPHS: “Silver Anniversary: 25 Photographs, 1835-1914.” Ends Dec. 18, 962 Park Ave., 212- 794-2064. HAUSER & WIRTH: Paul McCarthy: “White Snow.” Ends Dec. 24, 32 E. 69th St., 212-794-4070. HENDERSHOT GALLERY: “Architecturally… / Works on Architecture and Space.” Ends Jan. 16, 547 W. 27th St., suite 632, 212-239-3085. HOWARD SCOTT GALLERY: Francisco Castro Leñero: “The Red, the Black and the White.” Ends Dec. 12, 529 W. 20th St., 7th Fl., 646-486-7004. JACK SHAINMAN GALLERY: Richard Mosse. Ends Dec. 23, 513 W. 20th St., 212-645-1701. JAMES COHAN GALLERY NEW YORK: Bill Viola: “Bodies of Light.” Ends Dec. 19, 533 W. 26th St., 212714-9500. JASON MCCOY INC.: Rachel Hovnanian: “Power and Burden of Beauty.” Ends Dec. 22, 41 E. 57th St., 212-310-1996. JEFF BAILEY GALLERY: Jered Sprecher: “Digging In the Dirt.” Ends Dec. 23, 511 W. 25th St., 212-989-0156. JILL NEWHOUSE: Wolf Kahn: “Early Drawings.” Ends Dec. 19, 4 E. 81st St., 212-249-9216. JOHN CONNELLY PRESENTS: Marco Boggio Sella: “Virtual America” and “New Painting from L’Atelier Rouge.” Ends Dec. 5, 625 W. 27th St., 212-337-9563. KATHARINA RICH PERLOW: Yvonne Thomas: “Paintings 1950s-1960s.” Ends Dec. 10, 41 E. 57th St., 13th Fl., 212-644-7171. KLOMPCHING GALLERY: Antony Crossﬁeld: “Foreign Body.” Ends Dec. 19, 111 Front St., suite 206, Brooklyn, 212-796-2070. KOUROS GALLERY: Fred Otnes: “Collage Paintings.” Ends Jan. 2. Pilar Ovalle: “Natura Vincit: The Strokes of Origin.” Ends Jan. 2, 23 E. 73rd, 212-288-5888.

KS ART: R.M. Fischer. Ends Dec. 19, 73 Leonard

St., 212-219-9918. LEILA TAGHINIA-MILANI HELLER GALLERY: “In Stitches.”

Ends Dec. 19, 39 E. 78th St., 212-249-7695. LEO KOENIG, INC.: Nicole Eisenman. Ends Dec. 23, 545 W. 23rd St., 212-334-9255. LEROY NEIMAN GALLERY, COLUMBIA UNIVERSITY: “Hunger: New Paintings from Art Schools in Germany.” Ends Dec. 8, 310 Dodge Hall, West 116th Street and Broadway, 212-854-4065. LESLIE FEELY FINE ART: Kenneth Noland: “Shaped Paintings, 1981-82.” Ends Jan. 9, 33 E. 68th St., 212-988-0040. LIKE THE SPICE: Jenny Morgan and David Mramor: “Civil Union.” Ends Dec. 13, 224 Roebling St., Brooklyn, 718-388-5388. LISA COOLEY: Erin Shirreff: “Landscapes, Heads, Drapery and Devils.” Ends Dec. 20, 34 Orchard St., 347-351-8075. LMAKPROJECTS: Harold Ancart: “Within Limits.” Ends Dec. 6, 139 Eldridge St., 212-255-9707. LOHIN GEDULD GALLERY: Joseph Santore: “Recent Work.” Ends Dec. 24, 531 W. 25th St., 212-6752656. LOWER EAST SIDE PRINTSHOP: “New Works By Keyholder Artists In Residence.” Ends Jan. 17, 306 W. 37th St., 6th Fl., 212-673-5390. LUDLOW 38: Friedl Kubelka, Gerard Byrne, Ricardo Basbaum. Ends Dec. 13, 38 Ludlow St., 212228-6848. LUISE ROSS GALLERY: TL Solien: “To the West.” Ends Jan. 9, 511 W. 25th St., No. 307, 212-343-2161. M. SUTHERLAND FINE ARTS LTD.: Barnaby Conrad III: “Life Aquatic.” Ends Jan. 16, 55 E. 80th St., 2nd Fl., 212-249-0428. MARC JANCOU CONTEMPORARY: Jacques Louis Vidal: “You are What You Look At.” Ends Dec. 21, Great Jones Alley, 212-473-2100. MARIAN SPORE: Anna Lundh: “Conveyor Loop / Löpande Bandet.” Ends Dec. 31. “Untitled (fault).” Ends Dec. 31, 55 33rd St., 4th Fl., Brooklyn, 646-620-7758. MAX PROTETCH GALLERY: Siah Armajani: “Murder in Tehran.” Ends Dec. 23, 511 W. 22nd St., 212633-6999. MCKEE GALLERY: Philip Guston: “The Small Oil Panels 1969-1973.” Ends Dec. 31, 745 5th Ave., 212-688-5951. MEREDITH WARD FINE ART: Clara Tice: “Naughty or Nice: Dada Drawings.” Ends Jan. 15, 44 E. 74th St., suite 1, 212-744-7306. MIXED GREENS, GLOW ROOM PROJECT SPACE: Kim Beck: “Everything Must Go!” Ends Dec. 13. Kimberley Hart: “Scout.” Ends Dec. 23, 531 W. 26th St., 212-331-8888. MOMENTA ART: “Untreated Strangeness: George Porcari, Jorge Pardo, Naomi Fisher,” organized

by Chris Kraus. Ends Dec. 7, 359 Bedford Ave., Brooklyn, 718-218-8058. MONYA ROWE GALLERY: Josephine Halvorson: “Clockwise From Window.” Ends Jan. 16, 504 W. 22nd St., 2nd Fl., 212-255-5065. MORE NORTH: Hjörtur Hjartarson: “New Paintings.” Ends Dec. 6, 39 N. Moore St., 212-334-5541. NEWMAN POPIASHVILI GALLERY: Chris Fennell: “In Little Place a Million.” Ends Dec. 23, 504 W. 22nd St., 212-274-9166. NO GLOBE EXHIBITION SPACE: “Reaganography.” Ends Dec. 6, 488 Morgan Ave., 3rd Fl., Brooklyn, no phone. NOHRA HAIME GALLERY: Carol K. Brown: “Paperdolls.” Ends Dec. 5. Hugo Tillman: “Daydreams of Mine.” Ends Dec. 5, 41 E. 57th St., 212-8883550. NUMBER 35: Frederick Hayes: “Build an Empire.” Ends Dec. 6, 39 Essex St., 212-388-9311. NY STUDIO GALLERY: Eunjung Hwang: “1,3,8 Characters.” Ends Dec. 12, 154 Stanton St., 212-6273276. NYU 80 WASHINGTON SQUARE EAST GALLERIES: “Beginningless Thought/Endless Seeing.” Ends Dec. 19, 80 Washington Square E., 212-998-5747. NYU KIMMEL WINDOWS GALLERY: Collective. Ends Jan. 31, West Third Street and Laguardia Place, 212998-4900. OLD PRINT SHOP: American Prints & Drawings: 1750 to Present. 150 Lexington Ave., 212-683-3950. ON STELLAR RAYS: Tommy Hartung: “The Ascent of Man.” Ends Dec. 23, 133 Orchard St., 212598-3012. PACEWILDENSTEIN: David Hockney: “Paintings 20062009.” Ends Dec. 24, 534 W. 25th St. and 32 E. 57th St. 212-421-3292. PARTICIPANT INC.: Stuart Sherman: “Nothing Up My Sleeve.” Ends Dec. 20, 253 E. Houston St., 212-254-4334. PAUL RODGERS/9W GALLERY: Peter Sacks: “Paintings.” Ends Dec. 12, 529 W. 20th St., 212-484-9810. PETER BLUM SOHO: Helmut Federle: “Scratching Away at the Surface.” Ends Jan. 2, 99 Wooster St., 212-343-0441. PPOW GALLERY: “Looking Forward, Feeling Backwards.” Ends Dec. 5, 511 W. 25th St., Rm. 301, 212-647-1044. PRISKA C. JUSCHKA FINE ART: Emily Noelle Lambert: “Little Deaths.” Ends Jan. 2. Touhami Ennadre: “Under New York.” Ends Jan. 2, 547 W. 27th St., 2nd Fl., 212-244-4320. PS122 GALLERY: “If You Lived Here…You’d Be Home.” Ends Dec. 6, 150 1st Ave., 212-2884249. RAANDESK GALLERY OF ART: “ART2Gift.” Ends Jan. 8, 16 W. 23rd St., 4th Fl., 212-696-7432. RACHEL UFFNER GALLERY: Barb Choit: “Nagel Fades.”

Ends Dec. 20, 47 Orchard St., 212-274-0064. REAL FINE ARTS: Sam Pulitzer Hogg. Ends Dec. 6,

673 Meeker Ave., Brooklyn, no phone. ROBERT MANN GALLERY: Robert Frank. Ends Dec. 23,

210 11th Ave., 212-989-7600. RONALD FELDMAN FINE ARTS: Vitaly Komar: “New

Symbolism.” Ends Dec. 24, 31 Mercer St., 212226-3232. ROSE BURLINGHAM / LIVING ROOM GALLERY: Elisabeth Kley. Ends Dec. 15, 15 Park Row, suite 16E, 646-229-0998. SALON 94 FREEMANS: Barry X Ball: “Masterpieces.” Ends Dec. 12, 1 Freeman Alley, 646-672-9212. SASHA WOLF GALLERY: Anna Collette: “Dark Landscapes.” Ends Jan. 9. Steven B. Smith: “The Weather and a Place to Live.” Ends Jan. 9, 10 Leonard St., 212-925-0025. SIMON PRESTON GALLERY: Christian Cupurro, Mary Kelly, Klaus Mosettig. Ends Jan. 3, 301 Broome St., 212-431-1105. SMACK MELLON: Tracey Snelling: “Woman on the Run.” Ends Jan. 3. Michael Paul Britto: “Society’s Children.” Ends Jan. 3, 92 Plymouth St., Brooklyn, 718-834-8761. SOCRATES SCULPTURE PARK: “EAF09: 2009 Emerging Artist Fellowship Exhibition.” Ends Mar. 7, 3201 Vernon Boulevard, Queens, 718-956-1819. SPACESURPLUS: Diti Almog: “Paintings.” Ends Dec. 9, 325 Church St., 2nd Fl., 212-925-1367. SPATTERED COLUMNS: “Awakenings.” Ends Dec. 16, 491 Broadway, suite 500, 646-546-5334. SPUTNIK GALLERY: “The Journey Home.” Ends Dec. 3, 547 W. 27th St., room 518, 212-695-5747. SUE SCOTT GALLERY: Paola Ferrario: “Imprevisti/ Unforeseen.” Ends Jan. 10, 1 Rivington St., 212358-8767. SUGAR: “Contextualizing Formability.” Ends Jan. 2, 449 Troutman St., Brooklyn, 718-417-1180. TEAM GALLERY: Slater Bradley: “if we were immortal.” Ends Dec. 19, 83 Grand St., 212-279-9219. THE GALLATIN GALLERIES: “Finding Work: Representing Labor in Contemporary Art.” Ends Jan. 13, 1 Washington Pl., 212-998-7367. THE KITCHEN: “Besides, With, Against, And Yet: Abstraction and The Ready-Made Gesture.” Ends Jan. 16, 512 W. 19th St., 212-255-5793. THROCKMORTON FINE ART: Ruven Afanador: “Mil Besos.” Ends Dec. 12, 145 E. 57th St., 212-2231059. TRACY WILLIAMS, LTD.: Alyssa Pheobus: “To Have, Hold.” Ends Dec. 23, 313 W. 4th St., 212-2292757. TRIA GALLERY: “iPOP—A Mixed Media Installation by Serena Bocchino.” Ends Dec. 5, 531 W. 25th St., Ground Floor, 212-695-0021. TYLER ROLLINS FINE ART: Sopheap Pich: “The Pulse Within.” Ends Jan. 9, 529 W. 20th St., 10W,

BARBARA KULICKE PAINTINGS IN TWO GALLERY EXHIBITIONS SPANNING A DECADE OF FLOWER PAINTINGS FLOWERS I PRINCE STREET GALLERY 1 December 2009 - 2 January 2010 FLOWERS II HAL BROMM GALLERY 90 West Broadway, NYC 15 January - 27 February 2010

PRINCE STREET GALLERY

530 West 25th Street, 4th Floor New York, NY 10001 Hours: Tuesday-Saturday 11am-6pm 646 230-0246 www.princestreetgallery.org

Stephen Pentak Vertical Landscapes November 19 — December 23 VIII.IV, 2009, Oil on panel, 64 x 40 inches

KATHRYN MARKEL FINE ARTS

212 366 5368 | markelfinearts.com 529 W. 20th St. | Tues-Fri 10-6, Sat 11-6

December 1, 2009 | City Arts

ArtsAGENDA 212-229-9100. UBU GALLERY: “Metamorphosis Victorianus.” Ends

Jan. 30, 416 E. 59th St., 212-753-4444. UNDER MINERVA: “Quixotic Beast.” Ends Dec. 4, 656

5th Ave., Brooklyn, 718-788-0170. UNION GALLERY: “Space Jam.” Ends Dec. 12, 359

Broadway, 646-613-0434. VENETIA KAPERNEKAS GALLERY: “Capacity.” Ends Dec.

19, 526 W. 26th St., suite 814, 212-462-4150. WINKLEMAN GALLERY: Ivin Ballen. Ends Dec. 29, 637

W. 27th St., suite. A, 212-643-3152. ZACH FEUER GALLERY: Sister Corita Kent. Ends Dec.

5, 530 W. 24th St., 212-989-7700. ZIEHERSMITH: Matt Stokes: “these are the days.”

Ends Dec. 19, 516 W. 20th St., 212-229-1088. ZURCHER STUDIO: Katharina Ziemke: “The Thicket.”

Ends Dec. 8, 33 Bleecker St., 212-777-0790.

The American Cancer Society HOPE LODGE NYC. To purchase benefit tickets, please call 646-442-1646. Lectures provided by Royal Oak Society on Dec. 3 and 5. For additional show information please visit www.avenueshows.com. CHELSEA ART GALLERY TOUR: Guided tour of that week’s top seven gallery exhibits in the world’s center for contemporary art. Dec. 5, 526 W. 26th St., 212-946-1548; 1, $20. ONE OF A KIND SHOW AND SALE: The One of a Kind Show and Sale® NY is a holiday shopping show featuring the best in fine art and fine craft from hundreds of unique artists, artisans and designers from across North America. Dec. 11 through 13, Pier 94, 12th Avenue at West 55th Street, 800677-6278; times vary, $15 (adults), $12 (seniors & students), free (children 12 and under).

AUCTION HOUSES

MUSEUMS

CHRISTIE’S: New York Jewels. Dec. 10, 2, 20 Rock-

AMERICAS SOCIETY: Fernell Franco: “Amarrados

efeller Plz., 212-636-2000. DOYLE NEW YORK: Doyle at Home. Dec. 9, 10 a.m., 175 E. 87th St., 212-427-2730. ROGALLERY.COM: Fine art buyers and sellers in online live art auctions. 800-888-1063, www.rogallery.com. SOTHEBY’S: Important 20th Century Design. Dec. 17, 2, 1334 York Ave., 212-606-7414. SWANN AUCTION GALLERIES: Rare and Important Art Nouveau Posters. Dec. 16, 1:30, 104 E. 25th St., 212-254-4710.

[Bound].” Ends Jan. 23, 680 Park Ave., 212249-8950. BARD GRADUATE CENTER: “Dutch New York Between East and West: The World of Margrieta van Varick.” Ends Jan. 3, 18 W. 86th St., 212-501-3023. BRONX MUSEUM: “Intersections: The Grand Concourse Commissions.” Ends Jan. 3, 1040 Grand Concourse, Bronx, 718-681-6000. BROOKLYN ACADEMY OF MUSIC: “Next Wave Art.” Ends Dec. 20, 30 Lafayette Ave., Brooklyn, 718-636-4100. BROOKLYN HISTORICAL SOCIETY: “Public Perspectives: Brooklyn Utopias?.” Ends Jan. 3, 128 Pierrepont St., Brooklyn, 718-222-4111. BROOKLYN MUSEUM: “Reﬂections on the Electric Mirror: New Feminist Video.” Ends Jan. 10. “Who Shot Rock & Roll: A Photographic History,

ART EVENTS AVENUE ANTIQUES AND ART AT THE ARMORY: Featuring a

world-class selection from 50 prominent dealers. December 3 through 6 at the Park Avenue Armory. Dec. 2 Opening Night Preview Beneﬁt for

1955 to the Present.” Ends Jan. 31, 200 Eastern Pkwy., Brooklyn, 718-638-5000. CHELSEA ART MUSEUM: “Jean Miotte: What a Beautiful World.” Ends Dec. 31, 556 W. 22nd St., 212255-0719. COOPER-HEWITT NATIONAL DESIGN MUSEUM: “Design for a Living World.” Ends Jan. 4, 2 E. 91st St., 212-849-8400. THE DRAWING CENTER: Ree Morton: “At the Still Point of the Turning World.” Ends Dec. 18, 35 Wooster St., 212-219-2166. THE FRICK COLLECTION: “Watteau to Degas: French Drawings from the Frits Lugt Collection.” Ends Jan. 10, 1 E. 70th St., 212-288-0700. THE KITCHEN: “Besides, With, Against, And Yet: Abstraction and The Ready-Made Gesture.” Ends Jan. 16, 512 W. 19th St., 212-255-5793. THE METROPOLITAN MUSEUM OF ART: “The Art of Illumination.” Ends Jan. 3. “Art of the Samurai: Japanese Arms and Armor, 1156-1868.” Ends Jan. 10. “Eccentric Visions: The Worlds of Luo Ping (1733-1799).” Ends Jan. 10. “American Stories: Paintings of Everyday Life, 1765-1915.” Ends Jan. 24. “Velásquez Rediscovered.” Ends Feb. 7, 1000 5th Ave., 212-535-7710. THE MORGAN LIBRARY & MUSEUM: “William Blake’s World: New Heaven Is Begun” includes more than 100 works and two major series of watercolors. Ends Jan. 3. “A Woman’s Wit: Jane Austen’s Life and Legacy.” Ends Mar. 14, 225 Madison Ave., 212-685-0008. EL MUSEO DEL BARRIO: “Nexus New York: Latin/American Artists in the Modern Metropolis.” Ends Feb. 28, 1230 5th Ave., 212-831-7272. MUSEUM OF AMERICAN FINANCE: “Women of Wall Street.” Ends Jan. 16, 48 Wall St., 212-908-4110. MUSEUM OF ARTS AND DESIGN: “Ghost Stories: New Design from Nendo.” Ends Jan. 10. “Read My

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Pins: The Madeleine Albright Collection.” Ends Jan. 31, 2 Columbus Cir., 212-299-7777. MUSEUM OF JEWISH HERITAGE: “Beyond Swastika and Jim Crow: Jewish Refugee Scholars at Black Colleges.” Ends Jan. 4, 36 Battery Pl., 646-437-4200. MUSEUM OF MODERN ART: “Tim Burton.” Ends Apr. 26, 11 W. 53rd St., 212-708-9400. NATIONAL MUSEUM OF THE AMERICAN INDIAN: Andrea Carlson. Ends Jan. 10, 1 Bowling Green, 212-514-3700. NEW MUSEUM: “Urs Fischer: Marguerite de Ponty.” Ends Feb. 7, 235 Bowery, 212-219-1222. NEW-YORK HISTORICAL SOCIETY: “Nature and the American Vision: The Hudson River School at the New-York Historical Society.” Ends Mar. 25. “Lincoln and New York.” Ends Mar. 25. 170 Central Park West, 212-873-3400. NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS: “Lincoln Center: Celebrating 50 Years.” Ends Jan. 6. “Revolutionary Voices: Performing Arts in Central & Eastern Europe in the 1980s.” Ends Mar. 20, 40 Lincoln Center Plz., 212-870-1630. RUBIN MUSEUM OF ART: “Mandala: The Perfect Circle.” Ends Jan. 11. “The Red Book of C.G. Jung.” Ends Jan. 25, 150 W. 17th St., 212-620-5000. SOLOMON R. GUGGENHEIM MUSEUM: “Intervals: Kandinsky.” Ends Jan. 13, 1071 5th Ave., 212-423-3500. SOUTH STREET SEAPORT MUSEUM: “New Amsterdam: The Island at the Center of the World.” Ends Jan. 3, 12 Fulton St., 212-748-8651.

MUSIC & OPERA PAUL BADURA-SKODA: The pianist performs works by

Haydn, Beethoven, Brahms and Takács. Dec. 2, Carnegie Hall, 881 7th Ave., 212-247-7800; 8, $20 and up. MIKHAIL SIMONYAN: The violinist gives his New York recital debut as part of the Lincoln Center Great

Performers Coffee Concerts series. Dec. 6, Walter Reade Theater, Lincoln Center, 70 Lincoln Center Plz., 212-875-5600; 11 a.m., $20. MAGIC OF CHRISTMAS: The Fordham University Choir, under the direction of Robert Minotti, Ph.D., presents an evening of seasonal music and dance, featuring Irish tenor Andy Cooney. Dec. 8, Carnegie Hall, 881 7th Ave., 212-247-7800; 8, $35 and up. MARTINA FILJAK: The Cleveland International Piano Competition’s ﬁrst-place winner performs works by Ravel, Beethoven, Berio and Bartók. Dec. 14, Zankel Hall, Carnegie Hall, 881 7th Ave., 212247-7800 ; 7:30, $15. NEW YORK STRING ORCHESTRA: The New York String Orchestra celebrates its 40th anniversary, returning with its orchestra of young musicians to Carnegie Hall for two concerts conducted by artistic director Jaime Laredo. Dec. 24 & 28, Stern Auditorium, Perelman Stage, Carnegie Hall, 881 7th Ave., 212-247-7800; times vary, $19 and up. IL TRITTICO: Patricia Racette stars in all three one-act operas of Puccini’s ambitious operatic triptych. Ends Dec. 12, Metropolitan Opera; times vary, $20 and up. IL NOZZE DI FIGARO: John Relyea and Danielle de Niese star in this Mozart masterpiece comedy. Ends Dec. 12, The Metropolitan Opera; times vary, $20 and up. FROM THE HOUSE OF THE DEAD: Patrice Chéreau, renowned for his legendary centennial Ring cycle at Bayreuth, directs Janácek’s drama of human resilience inside a Russian prison. Ends Dec. 5, Metropolitan Opera, West 62nd Street (betw. Columbus & Amsterdam Aves.), 212-362-6000; times vary, $20 and up. SALUTE TO VIENNA: A cast of more than 75 singers, dancers and musicians performs works by Johann Strauss Jr., the “Waltz King.” Jan. 1, Avery Fisher Hall, Lincoln Center, 10 Lincoln Center Plz., 212-875-5030; 2:30, $55 and up.

JAZZ OSCAR PETERSON TRIBUTE: Three visionary jazz

pianists—Hiromi, Kenny Barron and Roger Kellaway—pay tribute to the legacy of Oscar Peterson, arguably the most inﬂuential jazz pianist of the last 50 years. Dec. 3, Zankel Hall, Carnegie Hall, 881 7th Ave., 212-247-7800; 8:30, $36 and up. THE MICROSCOPIC SEPTET: The jazz ensemble makes its only New York City stop on its current tour. Dec. 5, 92nd Street Y Tribeca, 200 Hudson St., 212-601-1000; 9:30, $20. AMY CERVINI QUARTET: Jazz Standard and Anzic Records celebrate the release of Lovefool, the new album by vocalist Amy Cervini, which features

an eclectic mix of songs, from Depeche Mode to Fred Hersch. Dec. 8, Jazz Standard, 116 E. 27th St., 212-576-2232; times vary, $20. CHICO HAMILTON: The jazz legend celebrates his latest album, Twelve Tones of Love. Dec. 8, Jazz Gallery, 290 Hudson St., 212-242-1063; times vary, $10 and up. ERIC REED: The jazz pianist returns with a blockbuster combination of Christmas favorites from his childhood and selections from his holiday album. Dec. 11, Miller Theatre, Columbia University, West 116th Street and Broadway, 212-854-7799; 8, $7 and up. STRUTTIN’ WITH SOME BARBECUE: Jazz Standard bids farewell to 2009 and rings in the New Year with six scintillating nights of celebratory music from “the Big Easy,” New Orleans. Pianist Henry Butler, saxophonist Donald Harrison Jr. and an all-star sextet brings the excitement of a Crescent City street parade to the stage as they romp and stomp through a boundless book of standard and original tunes. Dec. 29 through Jan. 3, Jazz Standard, 116 E. 27th St., 212-576-2232; times vary, $35 and up.

THEATER BURN THE FLOOR: Director-choreographer Jason

Gilkison’s dance showcase features high-octane variations on traditional ballroom dancing routines. Ends Jan. 3, Longacre Theatre, 220 W. 48 St., 212-239-6200. THE BROTHER/SISTER PLAYS: Tarell Alvin McCraney’s play trilogy, The Brother/Sister Plays. Ends Dec. 20, Public Theater, 425 Lafayette St., 212-9677555. FUERZABRUTA: Look Up: A visual dance-rave, techno-ride, Latino walking-on-the-ceiling ﬁesta from Buenos Aires. Open run, Daryl Roth Theatre, 101 E. 15th St., 212-239-2600. LET ME DOWN EASY: Legendary performer Anna Deavere Smith addresses health care and the human body in her latest one-woman show, which features material from interviews with Lance Armstrong, Anderson Cooper and Ann Richards. Ends Dec. 6, Second Stage Theatre, 305 W. 43rd St., 212-246-4422. LOVE, LOSS AND WHAT I WORE: Nora and Delia Ephron adapt Ilene Beckerman’s popular book of the same title. Ends Mar. 28, Westside Theatre, 407 W. 43rd St., 212-239-6200. THE PRIDE: A complex love triangle, replete with conﬂicting loyalties and passions, jumps from 1958 to the present and back in a maelstrom of fantasy, repression and rebellion in this new drama. Ends Mar. 20, MCC Theater at the Lucille Lortel Theater, 121 Christopher St., 212-279-4200. THE ROYAL FAMILY: Rosemary Harris, Ana Gasteyer and John Glover are among the theater veterans

populating this revival of George S. Kaufman and Edna Ferber’s 1927 backstage comedy. Ends Dec. 13, Samuel J. Friedman Theatre, 261 W. 47 St., 212-239-6200. A STREETCAR NAMED DESIRE: Liv Ullmann makes her U.S. directorial debut with the classic Tennessee Williams play, starring Cate Blanchett, Joel Edgerton and Robin McLeavey. Ends Dec. 20, BAM Harvey Theater, 651 Fulton St., 718-636-4100. SUPERIOR DONUTS: Pulitzer Prize-winner Tracy Letts returns with this comedy about an aging white donut shop owner and his young black employee. Open run, Music Box Theatre, 239 W. 45 St., 212-239-6200. THE 39 STEPS: This comic take on Alfred Hitchcock’s 1935 ﬁlm features a cast of four portraying dozens of characters. Ends Jan. 10, Helen Hayes Theatre, 240 W. 44 St, 212-239-6200.

DANCE THE JUDGMENT OF PARIS: Inspired by the Greek myth,

Company XIV tells an epic story of lust, love and tragedy. Dec. 3, 5 & 10, 303 Bond St., Brooklyn, 212-868-4444; 8, $20 and up. THE BARNARD PROJECT: Dance Theater Workshop presents the ﬁfth annual Barnard Project featuring the new works of Brian Brooks, Juliana F. May, Vicky Shick and Kota Yamazaki. Dec. 3 through 5, Dance Theater Workshop, 219 W. 19th St., 212-924-0077; times vary, $20. KOZLOVA’S NUTCRACKER: Valentina Kozlova’s Dance Conservatory Company returns to Symphony Space with its production of Tchaikovsky’s fulllength Nutcracker. Dec. 5, Symphony Space, 2537 Broadway, 212-864-5400; 4 & 8, $20 and up. MORTAL ENGINE: Conceived by the dynamic Australian troupe Chunky Move, Mortal Engine portrays a shimmering, ever-shifting world as the human ﬁgure metamorphoses into light, image and sound, and back again. Dec. 9 through 12, BAM Howard Gilman Opera House, Brooklyn, 718-636-4100; 7:30, $20 and up. HOLIDAY EXTRAVAGANZA: Dance Theater Workshop presents Doug Elkins and Friends in Fraulein Maria. Dec. 10 through 12 & 17 through 19, Dance Theater Workshop, 219 W. 19th St., 212924-0077; 7:30, $25 and up. NICHOLAS ANDRE DANCE: Nicholas Andre Dance premieres three works and performs repertory favorites. Passage with music by Sigur Ros and Until Blue with music by the Vitamin String Quartet. Dec. 17 through 20, Joyce SoHo, 155 Mercer St., 212-352-3101; 8, $15 and up. JOFFREY NUTCRACKER: Students of the Joffrey Ballet School dance Tchaikovsky’s The Nutcracker, choreographed by Davis Robertson, associate artistic director of the School, after the original production

by Petipa and Ivanov. Dec. 18 through 20, Skirball Center for the Performing Arts, 566 LaGuardia Pl., 212-254-8520; times vary, $12 and up.

FILM FILM IST: As part of the ongoing collaboration with

the Austrian Cultural Forum NY, Anthology presents a week-long run of FILM IST. a girl & a gun, the culmination of Gustav Deutsch’s breathtakingly ambitious series of found-footage works. Dec. 2 through 8, Anthology Film Archives, 32 2nd Ave., 212-505-5181; times vary, 9 (adult), $7 (seniors, students and children). THE GROUP: Based on the Mary McCarthy novel about depression-era Vassar grads, The Group follows eight young upper-class women in the years between their graduation and the begnning of WWII. The 1966 film features a first big role for Candice Bergen as a snooty lesbian. Dec 3., 92nd Street Y Tribeca, 200 Hudson St., 212-6011000; 7:30 pm, $12. SPANISH CINEMA NOW: The Film Society of Lincoln Center, in association with the Instituto Cervantes of New York, presents its 18th annual Spanish Cinema Now, spotlighting the best in contemporary film from Spain. Dec. 4 through 20, The Film Society of Lincoln Center, Walter Reade Theater, 165 W. 65th St., 212-875-5601; times vary. OPERA IN HD: Bizet’s Carmen live from Teatro alla Scala. Dec. 7, Symphony Space, 2537 Broadway, 212-864-5400; 2 & 8, $21 and up. NEWFILMMAKERS SERIES: This annual showcase for films overlooked by more-traditional festivals continues with weekly screenings. Through Dec. 23, Anthology Film Archives, 32 2nd Ave., 212-505-5181; times vary, $9 (adult), $7 (seniors, students and children). NUTS AND BOLTS: Machine Made Man in Films From the Collection: Futurism and film continue to be celebrated, as MoMA screens a series of films that focus upon robots, cyborgs, and other mechanical beings. Ends Jan. 2, The Museum of Modern Art, 11 W. 53 St., 212-397-6980; times vary, $20. THE CONTENDERS, 2009: This annual series highlights overlooked and underrated films from the past year. Through Jan. 13, The Museum of Modern Art, 11 W. 53 St., 212-397-6980; 7, $10 (adult), $8 (seniors), $6 (students).

LITERARY EVENTS SHERMAN ALEXIE: The National Book Award-winning

author introduces ﬁction from his exuberant and irreverent new collection, War Dances. Dec. 2, Symphony Space, 2357 Broadway, 212-8645400; 7, $27.

*race Institute PRESENTS

*DUGHQV RI -R\ Paintings by Joy Gush December 7, 2009 – January 15, 2010 Cocktail Reception Wednesday, December 16, 2009 5:30 - 7:00PM www.artbyjoygush.com 1233 Second Avenue (between 64th & 65th Streets)

New York City R.S.V.P. Vanessa Spoto Program Coordinator 212.832.7605

December 1, 2009 | City Arts

PainttheTOWN

By Amanda Gordon

Photos by Amanda Gordon

Photos by Michael Locasiano

TIM IN WONDERLAND We hope you’re reading, Tim Burton, because at the preview reception for your exhibition at the Museum of Modern Art, we asked your fans for their ideas on setting a dark, quirky Burton film in the dark, quirky City of New York (Batman Returns excluded). Eighth-grader Hannah Levine, who back in third grade wrote a sequel to The Nightmare Before Christmas (introducing a grumpy leprechaun into the mix), suggested the action take place in the Village or Brooklyn. Elizabeth Winnell said, “It’d be in Bushwick or Williamsburg, no, Red Hook, because it’s on the water with all these industrial, skeletal structures.” Cindy Jenkins pitched Corpse Bride 2, set on Wall Street, in which “Johnny Depp would play a redeemed Wall Street guy.” Tim Burton with MoMA Film Department curatorial assistant Goth fashion designer Kambriel pictured a scene at “the Jenny He and assistant curator Ron Magliozzi Artists Elizabeth Winnell Cloisters at midnight,” while Anastasia Heonis imagined and Martin Wittfooth “big Hello Kittys melting” as a plot line. MoMA associate conservator Roger Griffith, who usually works on Picassos, but for the Burton exhibition restored many of the film props, suggested Chinatown, “especially Doyers Street, because it is lined with Alizée Ferguson, dressed as Mrs. Lovett barber shops.” from Sweeney Todd, in “The East Village would work for his surrealist style,” said playwright a costume her grandand director Iris Rose. “Maybe there’s a secret underground entrance in mother made for her. Tompkins Square Park, and who knows where it leads? It would be a cross between Rent and Alice in Wonderland.” Makeup artist Paco Blancas also zeroed in on Tompkins Square Park, “because of all the different characters you can meet there…And because of all the amazing trees there.” Alizée Ferguson, a forensic science student who aspires to be a coroner, said she wants Burton to make a “realistic, but extremely creepy” vampire movie, “not a cartoon animation, but live action.” Lalena Vellanoweth simply said, “I just want to be Ed Wood.” Vellanoweth, an intern at the Metropolitan Museum of Art’s Costume Institute, dressed Ed Wood’s angora sweater in the Lalena Vellanoweth, Paco Blancas, MoMA associate exhibition. “Usually, you dress a piece naturally, but since Ed Wood wears this woman’s sweater, it conservator Roger Griffith and Carolina Bermudez Anastasia Heonis (“Acid Pop Tart”) needed to look unnatural.” and fashion designer Kambriel

Photo by Pauline Shapiro

At a ceremony at the Algonquin Hotel, eight playwrights each received $20,000 from the Helen Merrill Fund in The New York Community Trust, established by Merrill, a theatrical agent, at the time of her death. The annual prize went to Michael Golamco, Justin Sherin, Zakiyyah Alexander, Nilo Cruz, Deborah Laufer and Bathsheba Doran, Lanford Wilson and Michael Weller. Sherin’s Mickey Mouse is Dead, based on extensive research into McCarthyism at Walt Disney Studio, had a well-received run at 59E59 Theaters. He says he will use his Merrill money to travel to London to research his next play. From left to right, Michael Golamco, Justin Sherin, Zakiyyah Alexander, Nilo Cruz, Laufer, the author of End Days, about a Deborah Laufer and Bathsheba Doran at the ceremony for the Helen Merrill Fund family coping with the aftermath of the in The New York Community Trust. September 11 terrorist attacks, says her windfall will in part be spent on ﬁxing up her kitchen. Cruz, who won a Pulitzer Prize for Anna in the Tropics and was honored as an established playwright, has a musical set for a June premiere in Pasadena: Havana, about a writer who goes to Cuba for a short visit, but is tempted to stay longer. In addition to the Merrill award, Golamco recently became a member of New Dramatists in New York, and his Year Zero, about young Cambodian-Americans, received rave reviews during a run at Chicago’s Victory Gardens Theater in early fall. But Golamco remains modest, describing himself as an “award-winning young typist.” At the ceremony, colleagues remembered Merrill as famously frugal—she re-used envelopes and stamps—and recalled the heavy German accent with which she advised clients. She was also famously supportive: Christopher Durang recalled receiving a home delivery of homemade chicken soup from her, after he’d told her he was ill.

City Arts | www.cityarts.info

Photo by Amanda Gordon

THE WRIGHT STUFF

Pianist Bruce Levingston and arts supporter Yaz Hernandez attended the American Folk Art Museum gala at the Tribeca Rooftop, along with Noah Antieau—whose Red Truck Gallery’s Hard Time Mini Mall rolled into Soho last month—and Uma Thurman’s ﬁancée, Arpad Busson, who was honored. For more party coverage, visit www.cityarts.info. To contact the author or purchase photos, email Amanda.Gordon@rocketmail.com; bit.ly/agphotos

On display at

AVENUE

Antiques & Art at the Armory December 3 through December 6, 2009

SALLY BRODY, painter and print maker, is a member of the Atlantic Gallery where she has had numerous one-person shows. She paints the world around her, the landscapes of Columbia County, NY, as well as still lifes from her home in Brooklyn. She has had additional solo shows at The Brooklyn Botanic Garden, The Garrison Art Center, and Home Box Office, and has been part of numerous group shows in New York and around the country. She has designed tapestries for IBM as well as other commercial clients and her work appears in many private and corporate collections. Ms. Brody was born in Washington, D.C., educated at Smith College, the Art Students League and the Pratt Graphic Center, and she is a member of the Federation of Painters and Sculptors and a board member of the Rotunda Gallery. Emerging from a background in graphic design and illustration, DAVID GORDON turned to painting in oil and pastel, lithography, woodprints, and etching. He has exhibited in New York, with one-man shows of his pastels at the Tatitscheff Gallery in 2001, 2003, and 2004. His work has been published by Pastel Journal as well as in the book, Pure Color. In a review of his work, the New York Times stated: “Mr. Gordon… gives things like paper bags, bisected muffins, rumpled dishtowels and culinary hardware—scattered or in altar-like formation—a shimmering animation.” He lives and draws inspiration from life on the Upper West Side of Manhattan. ROSEMARY HAMILTON has been associated since 1973 with the Prince Street Gallery in New York City, where she has had numerous solo exhibitions.Her oils, watercolors and drawings reflect her interest in her im-

mediate environment. Treated with careful observation, the subjects of Ms. Hamilton’s paintings include quiet interiors and landscape situations, such as may occur in one’s backyard or in urban or suburban settings in New York, Pennsylvania and Alabama, all places where she has lived. Her work is in the Blue Cross Collection in Philadelphia and in numerous private collections. ROBERT JESSEL is figurative painter and member of Bowery Gallery in New York. His lively use of imaginative space in his artwork creates a tension between reality and expression. Mr. Jessel has exhibited widely in the NYC area with one-man shows at the Bowery Gallery and group shows at Kouros, Lori Bookstein, Denise Bibro, DFN and the National Academy Biennial show. He is also a member of Zeuxis, a national organization of still-life painters that will next exhibit at the Lancaster Museum in Pennsylvania. Educated at the Kansas City Art Institute, Mr. Jessel has lived in NYC since 1975. A painter and printmaker, MARION LERNER-LEVINE studied at the School of the Art Institute of Chicago with Paul Wieghardt, a painter who was influenced by the color theories of Paul Klee, and with still-life painter Laura van Pappelendam. She creates metaphorical still lifes and landscapes, based on the visual pleasures of everyday life at her home in Park Slope and in her studio by the Gowanus Canal in Brooklyn. Ms. Lerner-Levine has been honored by awards from the National Endowment for the Arts, the Adolph and Esther Gottlieb Foundation, New York Foundation for the Arts and the American Academy& Institute of Arts and Letters. Her work is in the collections of the Brooklyn

Museum, Bellevue Hospital, U.S. State Department, the Sprint Collection, Citibank, Bank of America, and the Bates College Art Museum in Lewiston, Maine. Before becoming a painter, ALAN PECKOLICK enjoyed a 35-year career as an internationally recognized graphic designer. His fascination for the graphic letterform underpins much of his work as he draws inspiration from historic signage and lettering from around the world. His designs have earned him over 500 graphic design awards from around the world, including six gold medals from The Art Directors Club of New York. Mr. Peckolick’s poster for Mobil Oil hangs in the permanent collection of the Guttenberg Museum in Mainz, Germany. His paintings are in numerous private collections in both the United States and Europe. STEPHANIE RAUSCHENBUSCH works in still life with landscape, both in oils and watercolors. She is a graduate of both Harvard and Columbia universities, and she has shown with Katharina Rich Perlow, DFN, and at the Noho Gallery. Ms. Rauschenbusch lives in Brooklyn in an arts-and-crafts house with a garden, and she is a docent at the Brooklyn Museum. MAX TZINMAN... Romania... Israel... Canada... New York City... cannibalizing the world. Perhaps best known for his crystal sculpture, “The Ideals of Aaron,” which was presented to Pope John Paul II in 2005, VON SCHMIDT’s work has also been included in exhibitions in the Anchorage Art Museum, the Nassau County Art Museum, and the Islip Art Museum, as well as numerous other exhibitions around the country. December 1, 2009 | City Arts

AVENUE

Antiques & Art at the Armory SHOW HOURS Wednesday, December 2

Friday, December 4

Opening Benefit for The American Cancer Society’s HOPE LODGE 5:00 p.m. to 8:00 p.m. Ticket required. Call 646.442.1626

11:00 a.m. to 7:30 p.m.

Thursday, December 3 11:00 a.m. to 5:00 p.m.

Saturday, December 5 11:00 a.m. to 7:30 p.m.

Sunday, December 6 11:00 a.m. to 5:30 p.m.

SPECIAL EVENTS & EXHIBITIONS DESIGNER BREAKFAST Friday, December 4 10:00 a.m.-11:00 a.m. Show Cafe Panel Discussion: Decorating With Antiques in the Modern World Moderated by author and TODAY Show contributor Suzanna Salk. Panelist include: Mario Buatta, Maureen Footer, Miles Redd and Guy Regal Register to attend by emailing designerbreakfast@manhattanmedia.com. Brooks Brothers “Generations of Style” a stunning photo retrospective celebrating nearly two centuries of the legendary retailer’s history. CityArtsGallery featuring distinguished New York artists.

City Arts | www.cityarts.info

ROYAL OAK FOUNDATION LECTURES THE ROYAL OAK FOUNDATION The American membership affiliate of the National Trust of England, Wales & Northern Ireland

Friday, December 4 4:00 p.m. to 5:00 p.m. A Family Affair: Treasures from the Rothschild Collection at Waddesdon Manor Presented by Dr. Ulrich Leben, Associate Curator of Furniture, The Rothschild Collection at Waddesdon Manor

Saturday, December 5 3:00 p.m. to 4:00 p.m. A Country’s Caretakers: The Collections and Treasures of Britain’s National Trust Presented by John James Oddy, Executive Director, The Royal Oak Foundation

avenueshows.com • 646.619.6030 • Admission $20

DECEMBER 2009 EXHIBITORS: Antique American Wicker

J. Gallagher

Luxury Catalogs

Guy Regal Ltd/Newel LLC

The Antique Enamel Company

Robert Lloyd

John Salibello Antiques

Art Of The Past

Joyce Groussman Estate and Fine Jewelry

Made In Russia

Pat Saling New York

Antiquities M.

Michael S. Haber Ltd.

Midori Gallery

Schillay Fine Art, Inc.

Asiantiques

Donald A. Heald

Milord Antiques

Hollis Reh & Shariff

John Atzbach Antiques

Hamshere Gallery

Zane Moss Antiques, Ltd.

Sherry Sheaf Private Jeweler

Dallas W. Boesendahl

Dawn Hill Antiques

Steven Neckman Inc.

Santos - London

Jeff R. Bridgman American Antiques, LLC

Hubert Gallery

Ophir Gallery

The Hunt Gallery

Percy’s Silver London

Moylan Smelkinson/ The Spare Room Antiques

Sue Brown Antique Rings

Imperial Fine Books

Phoenix Antiques

Perrisue Silver

Classic Rug Collection

Marion Harris

Sylvia Powell Decorative Arts

The Silver Fund

Larry Dalton

Larkspur & Hawk

Michael Pashby Antiques

Nula Thanhauser

Daniels Antiques

Stephen Kalms Antique Silver

Luther Quintana Studio

Earle D. Vandekar of Knightsbridge Inc.

European Decorative Arts

Howard Kaplan Designs

M.S. Rau Antiques, LLC

Harvey Weinstein Fine Antiques

FraMont

Robin Katz Vintage Jewels

Derek & Tina Rayment Antiques

Lynda Willauer Antiques

Gallery Afrodit

Lee Gallery Inc. Studio

Jeffrey Winter Fine Arts

December 1, 2009 | City Arts

212.549.0550