cityArts December 14, 2010

James Ewing/Courtesy of Park Avenue Armory

DEC. 14, 2010-JAN. 11, 2011 Volume 2, Issue 20

IN THIS ISSUE: Peter Greenaway views the Old Masters with cinematic eyes.

Armond White speaks to Jeffrey Wright about A Free Man of Color.

A guide to gift shop treasures.

A view of Leonardo’s Last Supper: A Vision by Peter Greenaway installed in the Park Avenue Armory.

InthisIssue 5 Dance

JOEL LOBENTHAL swoons over the costumes of vintage stage stars at the Lincoln Center Library for the Performing Arts.

6 Gifts

BONNIE ROSENBERG whisks through wonderful gift shops to combat winter weariness.

8 Theater

ARMOND WHITE speaks to Jeffrey Wright about his acting choices in A Free Man of Color.

9 Visual Art & Cinema

NICHOLAS WELLS ponders Peter Greenaway’s cinematic vision of da Vinci’s “Last Supper.”

10 At the Galleries

Reviews: Kristen Morgin at Zach Feuer Gallery, Laura Battle at Lohin Geduld Gallery, Judith Godwin at Spanierman Modern, Frank Lind at 210 Gallery, Renoir at Hammer Galleries; Rudy Burckhardt at Tibor Nagy

12 Classical

JAY NORDLINGER checks in with Leif Ove Andsnes and the Risor musicians at Carnegie Hall.

15 Jazz

HOWARD MANDEL explores how jazz grows by fusion with other genres.

17 Arts Agenda

Galleries, Art Events, Museums, Classical Music, Opera, Theater, Out of Town.

19 Paint the Town by Amanda Gordon EDITOR Jerry Portwood jportwood@manhattanmedia.com MANAGING EDITOR Adam Rathe arathe@ manhattanmedia.com ASSISTANT EDITOR

Christine Werthman ART DIRECTOR Jessica Balaschak CONTRIBUTING ART DIRECTOR

Wendy Hu

SENIOR ART CRITIC Lance Esplund SENIOR MUSIC CRITIC

Jay Nordlinger

SENIOR DANCE CRITIC

Joel Lobenthal

CONTRIBUTING WRITERS:

Valerie Gladstone, John Goodrich, Amanda Gordon, Howard Mandel, Maureen Mullarkey, Mario Naves

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InBrief

art books

Interrogating theClaude Interrogator Lanzmann is known to be

a prickly and assertive interviewer. The 85-year-old is the combative director of Shoah, considered to be the most authoritative and exhaustive film on the Holocaust. He was recently in New York to speak about his nine-hour documentary, which celebrates its 25th anniversary this year and will be re-released this week. The film will be shown at Lincoln Plaza Dec. 10 for a two-week exclusive and then moves to the IFC Center Dec. 24.

“You look sad,” he tells me as we sit in the dining area of the Four Seasons hotel lobby. I smile and laugh and tell him that I’m just tired. “You are tired? We are all tired,” he says, dryly. It’s the beginning of our 30-minute argument.

Perhaps Lanzmann’s declarative statement about my own appearance shouldn’t have been so surprising.

Lanzmann’s aggressive, discursive style is evident from a close viewing of Shoah, in which both Nazis and Holocaust survivors are, at times, treated with the same impatience (in a scene from “First Generation,” Shoah’s first half, Lanzmann is visibly shaking his leg while waiting for a Treblinka survivor to finish speaking).

Lanzmann inserts himself into the frame of several of his interviews to establish a human face to his self-assigned role as his subjects’ “interrogator.”

Lanzmann’s brand of humanism is fundamentally intellectual: He affords them respect, primarily for the experiential details they can bring to his historic tapestry, but he does not freely extend any sustained empathy beyond that. Lanzmann is interested in what memories his subjects still keep with them and what can still be filmed of the locations they describe; that is the essence of Lanzmann’s aggressive questioning.

After watching Shoah and reading other interviews with Lanzmann, it was clear there would be topics we could not discuss without raising his ire. He’s had to answer the same questions for years now— something that might annoy anyone—but would especially upset Lanzmann. Most of the time, he alternates between talking to his interview subjects with amazement and outright impatience.

“I am the man who makes them [his subjects] give birth to the truth,” Lanzmann explains when asked how he imagined his role in making Shoah. “I am like the midwife of truth.” When asked what responsibilities that entails, Lanzmann is unyielding: “The responsibility of establishing the truth.”

His need for total control informs his stance in Shoah, which is essentially a monumentally long discussion of an event, examined from multiple perspectives.

The Encyclopedia of New York City: Second Edition, edited by Kenneth T. Jackson

A scene from Shoah.

Refusing to talk specifically about what the level of public discourse on the Holocaust was like at the time of the making of Shoah, Lanzmann does provide an anecdote that speaks volumes about his method and his process. Before secretly interviewing a former guard at Treblinka—since the guard was a hostile witness, Lanzmann snuck a camera in—Lanzmann laid out his expectations for the man. “‘Look: I am not the Church, and I am not a prosecutor. I am not a Nazi hunter; we are not here for this. You are my master and I am your pupil—teach me how you did this execution, the process of killing in Treblinka. How did you do—how was it?’”

Lanzmann did not forgive or embrace this man: merely puzzle over what he did and what remains of his actions today. Anything short of that would be disrespectful. [Simon Abrams]

The Krugier Legacy When the Madison Avenue outpost of

the Jan Krugier Gallery closes at the end of this year, the doors will shut with a quiet click rather than a slam. Known for its collection of Picassos, Cézannes and Klees, as well as more contemporary pieces from artists like Jean-Michel Basquiat, the Krugier Gallery decided to close its Upper East Side location and will maintain its retail space in Geneva, Galerie Krugier & Cie. Some pieces will also be sold on consignment from the nearby Feigen Gallery.

“Krugier was one of the most serious dealers in the world,” says Richard L. Feigen, owner of his eponymous gallery located a few blocks south on East 69th Street. “He had extraordinary taste and we lose some of that taste.”

Many friends and patrons of the gallery have dropped by to say farewell after the news was announced earlier this fall.

Unfortunately, the collection was already packed and making its way across the pond.

“Although the official close date is

December 31, there’s nothing on the wall,” says Sara Kay, a representative of the Krugier Gallery. “When people came by to see us and the things on view, everything was already in Geneva.” The logistics were tricky because of the upcoming holidays, according to Kay, so the art ended up being shipped early to make sure everything got done in the right timeframe.

Jan Krugier founded his first gallery in Geneva in 1962 at the recommendation of his friend, artist Alberto Giacometti. When he died in 2008 in Switzerland, at the age of 80, many noted the end of an era.

Krugier was known for showcasing a broad range of artists and genres, as well as for forging a career-making relationship with Pablo Picasso’s granddaughter, Marina, after Krugier attempted to save her brother from a suicide attempt. Although Pablito died, Krugier earned Marina’s trust and she came to him to advise her after her grandfather died. Many have said Krugier loved collecting more than he did dealing, and that showed in the choices he made for his galleries.

Krugier’s daughter, Tzila Krugier, was the gallery director in New York for over 15 years and lives in Geneva. She “decided that the most efficient and effective way to conduct our business is to consolidate all operations in Geneva,” according to an October press release.

Tzila intends to focus on the expansion of the gallery’s collection of contemporary art in Geneva and developing the Jan Krugier Foundation in memory of her father. The gallery plans to unveil details on those projects, which will include exhibitions of the family’s private collection, in early 2011.

The Feigen and Krugier galleries will continue to host joint shows in New York, and Tzila plans to remain active in the New York scene. According to Feigen, they are in talks about an exhibit of important drawings, although no dates have been set.

[V.L. Hendrickson]

Fifteen years since its original printing, this comprehensive guide to the city and its history has been long overdue for an update. While a bit on the dry side for the modern-day Wiki enthusiast, the book boasts a thorough and cohesive understanding of New York, and some excellent conversational fuel for cocktail hour. Did you know, for instance, that around 1907, a bagel-making apprenticeship was more competitive than medical school admission? The oversized tome, which clocks in at over 1,500 pages, is a necessary addition to any bookshelf sturdy enough to hold it.

From A Basement In Seattle: The Poster Art of Brad Klausen

For nine years, Brad Klausen was the in-house graphic designer for Pearl Jam and produced stunning, political designs for rock band posters and paraphernalia. Charting his extensive artistic career as a poster designer for everything from Japanese environmental causes to Widespread Panic, this book pairs the artist’s anecdotes with sketches and finished product on facing pages. His sensitivity to the Earth and the human condition is evident in each endeavor, though his written storytelling is no match for the depth of his visual linguistics. An introduction by grunge god Eddie Veder is just the icing on the flannel cake.

Leo Fuchs: Special Photographer From The Golden Age of Hollywood,

by Leo Fuchs

Leo Fuchs filled the unique historical void between the advent of stardom and the first paparazzo cameraman by befriending and photographing movie stars on behalf of prominent magazines. His book is an intimate window to a time of exotic location shooting, rear projection special effects and shining cinematic stars.

Containing photographs and extensive anecdotes of such timeless talents as Marlon Brando, Shirley MacLaine, Doris Day, Rock Hudson, Alfred Hitchcock, Paul Newman and Audrey Hepburn, this book is perfect for any nostalgic cinephile.

December 14, 2010 | City Arts

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InBrief Great Grates Years ago when he was living on East

9th Street, Kenny Scharf was rarely invited to toss graffiti up onto the gate of a shop; he would just out and paint. These days, however, the artist, who recently put a mural up at the corner of Bowery and East Houston Street and will be part of a street art exhibit next year at The Los Angeles Museum of Contemporary Art, gets a lot more respect.

As part of a project called Gatescapes, Scharf has been asked to spray-paint more than 100 of the roll-down grates that cover the doors of closed shops—and none might be as close to the artist’s heart as the gate of Dorian Grey Gallery, just across East 9th from a building Scharf once called home.

“I lived on that street, and I looked across at my old building. And there are a lot of memories there,” Scharf says. “[The block] still has pretty good flavor. They don’t have guys selling weed in the street anymore—it was the weed street back then—so that kind of flavor is gone, but everything’s changing all the time.”

Christopher Pusey, who runs the gallery, thinks that Scharf’s work—which is gracing the gates of cafes, drycleaners and boutiques all over town—is well-suited to his gallery, which is attempting to keep alive

in the East Village exactly the flavor Scharf mentioned.

“Part of it was him coming back and giving something back to his street,” he explains. “A gallery like ours has opened up down here, pushing contemporary art and working with emerging and street artists together.” And it probably didn’t hurt that Scharf had a piece in the gallery’s recent show, Sounds From a Distance.

And while there will be plenty of gates eventually, Dorian Grey lucked out by being an early stop for Scharf—and perhaps the only art gallery included in the project.

“For this project, there are like more than 100 gates all over Manhattan,” the artist explains. “I started doing them two or three weeks ago, but now it’s getting so dark and cold that it’s getting difficult with store owners because I can’t paint on the gates unless the store is closed. I want to wait until spring to do the rest.”

So, while Scharf is running around town creating limited edition works, he says that they’re for the enjoyment of the public and he doesn’t expect anyone to profit off of his spray painting.

“I don’t think they’ll take the gates,” he says. “I’m not signing them, and I don’t think they’ll get sold. They’ll get painted over eventually, but that’s the way it goes.

It’s the law of the street.” [Adam Rathe]

ArtsNews The first-ever New York City Ceramic Festival is hot out of the kiln this holiday season. Over 250 ceramicists across Manhattan, Queens and Brooklyn are opening their studios through Dec. 18... Seventeen-year-old Lyons Wier Gallery has overcome growing pains with its recent relocation to Chelsea.

The inaugural program of the new location, Here & Now, opens Jan. 8, and features a group of realist gallery artists... Ella Yang transforms the Gowanus Canal from a Superfund site to a picturesque slice of nature in her new book, Gowanus: The Canal and Its Environs... Representational and figurative landscape lovers wandering through Soho have a new home in Axelle’s second gallery space, located on West Broadway between Houston and Prince streets... Lehmann Maupin Gallery revealed its spring lineup, which takes off with the New York debut of Angel Otero in February. Season highlights include the latest literary-inspired collaboration of Kids of Survival and Tim Rollins, and the eighth show of multi-media work by Tony Oursler...

After 30 years as the Helen Goldsmith Menschel Director of the Jewish Museum, Joan Rosenbaum announced her plans to retire in June. During her lengthy tenure, Rosenbaum doubled the size of the Fifth Avenue museum and initiated the endowment, which has now

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grown to $92 million. “Joan Rosenbaum is the most influential leader this institution has had in its 106-year history,” explained Board Chairman Joshua Nash...In honor of its 75th anniversary as a public museum, The Frick Collection is offering free admission Dec. 16. Shiny new collective gallery StandPipe rings in December with its premiere show, which opened Dec. 9. Mexican painter Olivié Ponce hosts his first solo New York exhibit at the Chelsea gallery... The Metropolitan Museum teased us with the announcement that Alexander McQueen’s designs will be featured in the Spring 2011 Costume Institute Retrospective, scheduled to open May 4... DCKT Contemporary’s New Year’s resolution must be to move, because in January the gallery relocates from Bowery to Eldridge Street. On Jan. 7, follow the neon coyotes of Irvan Morazan’s headdress in a procession of spiritual transference from the old to the new location to the tunes of a subway Mariachi band... After 34 years of nomadic wandering, renowned nonprofit National Dance Institute finally has a permanent home. With the help of L+M Development Partners and Goldman Sachs, Harlem’s P.S. 90 has been transformed into NDI’s Center for Learning and the Arts and a block of residential condominiums.

Clothes Make the Performer An exploration of stage costumes reveals the power of glitter and glamour

by Joel Lobenthal In the Lincoln Center Library for the Performing Arts’ On Stage in Fashion exhibit, don’t miss the 10-minute excerpt from the 1915 silent The Whirl of Life. It contains invaluable performance footage of Irene and Vernon Castle, the leading ballroom dance couple of the ragtime era. They strut, glide, high-step and spin divinely, with a style all their own, a prowess to rival Fred and Ginger (who portrayed the Castles in a 1939 biopic). And alongside them goes Irene Castle’s Lucille Duff-Gordon dance dress, billowy and fluffy, echoing, enlarging, accompanying every dip and twirl.

This footage might be called a textbook demonstration of the function of stage costume, which ideally enhances as well as permits the particular human locomotion it contains. The exhibit—a collaboration with the Museum of the City of New York—contains costumes worn by dancers and opera singers, as well as mistresses of spoken drama and comedy over the last 100 years. (Almost no men’s costumes are included.) Dance, of course, makes the most stringent demands on aerodynamic functionalism, but almost equally kinetic and collaborative are the costumes of vintage stage stars.

Included here are a half-dozen couture creations from the 1920s that were originally worn by actress Ann Andrews. I interviewed her in the 1980s—when she was a little old resident of an East Side nursing home—so it was particularly riveting to regale these tokens of her days of glory. Andrews came from California society and, whether working or not, was able (until she lost her money in the 1929 crash) to afford her own extensive couture wardrobe. The stage clothes here, however, were presumably paid for by her producers, although they all could have been worn straight to a party after the curtain came down. But sheathed with beads and embroidery, how extra special these must have been when they shimmered under the stage lights.

Just as crucial are artifacts from two great stars who most assuredly did not come from high society: Ina Claire and Gertrude Lawrence. Instead they had been reared in the grind of rough-and-tumble show business, before transforming themselves into avatars of high style onstage and off, preserving a core of scampishness that allowed them to embody the grace of politesse without its constraints.

If you had told these women that, today, performers in Broadway shows speak in voices enhanced by electrical amplification, they would have probably snickered in scorn. In those days, a non-negotiable requirement of their profession was the ability to emit stage whispers that could be

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heard in the second balcony.

Step It Up

Likewise, when I began going to watch the Alvin Ailey troupe 35 years ago, I never dreamed that much of their repertory would eventually wind up being danced to taped music. Since the Alvin Ailey American Dance Theater prides itself on being wellfunded, its resort to canned sounds has irritated me a little more than it does when other companies go down the same costcutting route.

Taped music has so far certainly not diminished the Ailey company’s success, but in order for live performances to maintain market share and viability, they need to resemble as much as possible actual live performances. Artistic as well as marketing considerations are at work.

The organization selects good recordings, and the company always puts on a mighty fine show. But dancers’ spontaneity and experimentation are discouraged when musical phrasing, accents and inflections are unvarying. And of course the sound itself is never as vibrant as it is live.

However, things are looking up a little bit. In its New York seasons at City Center (through Jan. 2), Ailey has retained a few performances with live sound; this year there will be 10 of those shows. (Of course, on the other hand, “Suite Otis,” performed to Otis Redding’s own recordings, would have an entirely different affect were live singers delivering Redding’s own hits.)

Outgoing artistic director Judith Jamison is even going to conduct some performance of Revelations herself! Returning to spark a number of shows will be the Jazz at Lincoln Center orchestra led by Wynton Marsalis.

Certainly, a step in the right direction.

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GIFTS

Enter Through the Gift Shop A whirlwind tour of the best gift shops at our cultural institutions

O n e O f A Ki n d G i f t s

Three-dimensional star and snowflake ornaments from The Met.

A

rt museum gift shops can fill me with ennui—everything I want, but nothing I need. But what better place to shop for your art-loving, tchotchke-adoring friends? Fueled by holiday cheer, I went on my tour de gift shops in search of the perfect stocking stuffers.

—Bonnie Rosenberg

The Cooper-Hewitt National Design Museum

5’ Glass Sculpture

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Museum gift shops don’t want for arty knick-knacks. During the holiday season, they can be a buyer’s best friend. But some items are a cut above the kitsch and are downright cool. The Cooper-Hewitt National Design Museum has those items in spades.

Bring your gamer friend back to his or her Atari days with an Icon Watch ($70).

A play on the pixilated 1980s gaming graphic, the watch co-opts the retro image.

Luckily, enough time has passed that the figure is nostalgic, not annoying.

For the conspiracy theorist in your life, buy a Spy Coin ($36). Poised for a private message, the hollow coin can also moonlight as a Halloween accessory— think James Bond.

The VaseMaker ($35) requires an extra step of the recipient. Designed to sit atop a vessel of your choosing as a sort of vase veneer, the VaseMaker brings another functional possibility to glasses, fishbowls or even other vases.

The Pito Water Kettle ($450), designed by Frank Gehry, brings architectural genius into your kitchen.

This kettle organically combines steel and wood, and comes with your choice of boiling tones. It’s not quite the

Guggenheim: Bilbao, but it’s a Gehry all the same.

Soap on a rope never seemed so friendly as when Tamanohada Welcome Soap ($40) plays on this assonant item by taking the shape of a red Tai fish, which in Japanese culture is associated with good fortune.

Pomegranate soap should always bring such good tidings.

The Rocko Flake Sled ($12) will bring joy to any child or adult—makeshift snow crafts can take a backseat this year. After all the gifts are opened, run to the nearest hill and revel in the speed only a design museum sled can provide.

The New Museum

If the holiday season leaves your loved ones a little unhinged and obligatory yuletide joy has taken its toll, opt for the New Museum’s Rorshock in Color game ($18.95). Ink blots meet Technicolor in this self-diagnostic card game. Hope for visions of sugarplums.

Christmas Eve might yield a better

Felted Wool Porcupine Pillow from MAD.

night’s sleep if you had the proper bedtime story. You’ll never go without with David Shrigley’s Bedtime Story Pillowcase Set ($75). This handwritten tale is the perennial nighttime read. The New Museum has more to offer in the way of bedroom décor: Kiki Smith’s pillowcase set features silk-screened trees, lights and birds ($85).

When the gift exchange comes to a close, be sure to hand out THANKS Visible Markers ($60). Lend your gratitude more visual weight with these thankful tokens. Words just don’t cut it anymore.

Pito Water Kettle designed

by Frank Gehry and available from CooperHewitt.

The Metropolitan Museum of Art

The Metropolitan Museum of Art boasts the largest archive in New York City.

It’s no shock then that its gift shop is just as expansive. Borrowing inspiration from every wing—Egyptian to American, Ancient to Modern—the Met Store is likely to have whatever art-themed trinket your gift list requires.

Although holiday jewelry usually looks like it belongs on a very festive gradeschool teacher, The Met offers elevated seasonal wear that’s perfectly acceptable to whip out once a year. The Snowflake Necklace and Drop Earrings Set ($210) acknowledges the change of seasons and saves your loved ones from donning anything with a reindeer on it.

Give the gift of opulence this year with Russian Imperial Egg Candleholders ($45).

For a table fit for a czar, spring for the matching placecard holders ($45) that mom and grandma will love.

The Met not only houses art, it encourages it. The Tabletop Easel ($115) is ideal for the friend that fancies him or herself an accountant-, doctor- or baristaslash-artist.

Scarves go with any outfit and fit everyone. Adapted from a color woodcut

by Maurice Pillard Verneuil, the Peacock Feather Jacquard Shawl ($75) marries popular fashion and art history. Klimt, Tiffany and Art Deco motifs also grace museum scarves.

If you’re tapped out of gift ideas, nondenominational ornaments are a safe bet.

With a back-up 2010 Three-Dimensional Star and Snowflake Christmas Ornaments Set ($85), you won’t be caught emptyhanded when a co-worker gives you surprise Santa oven mitts.

The Museum of Arts & Design

Santa sweaters, fruitcakes and snow globes have their place, but design innovation begets the best holiday gifts.

The Museum of Arts & Design has a wide-

range of items in its gift repertoire, many of which would fit happily underneath the Christmas tree.

To coincide with its Global African Project exhibit, MAD’s gift shop is featuring the latest in Contemporary African art objects. Sacrificing function for design, the Felted Wool Porcupine Pillow ($448) by Ronel Jordaan is a hybrid art piece-throw pillow. Its sub-equatorial origins may even inspire a Christmas vacation to South Africa.

Strides have been made in menorah design. Diane Ferland’s Large Glass Menorah ($350) marries a fused-glass body with a thin metal frame. The shock of bright color in the glass distinguishes this candelabrum from its wrought-iron brethren.

When there is no stiff drink to be had come Christmas day, the fixings for one will have to do. The Whiskey Lover Gift Set ($68) includes two hand-blown tumblers and six Whiskey Stones made of Vermont Soapstone. Now you can have your whiskey on the rocks without watering down your drink. Maker’s Mark not included.

Paper takes a more lively form in Rover, a recycled paper pet ($148). Crafted from strands of woven newspaper, the pup is a silent and obedient substitute for the real thing.

Abanico Bookends (individual $120, pair $240) accent any long-cultivated personal library. Designed by Seth Rolland, the accordion-like pieces are carved from a single piece of ash.

To supplement a supply of designenriched household goods, the museum will also host a jewelry trunk show.

Stephanie Albertson’s jewelry line will debut at the museum Jan. 9 from 5 to 8:30.

Shoppers can browse the accessories while sipping holiday refreshments. Ho, ho ho!

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December 14, 2010 | City Arts

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Theater

Six Degrees of Jeffrey Wright The greatest actor of his generation finally gets a part worthy of his formidable talents

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City Arts | www.cityartsnyc.com

T. Charles Erikson

W

By Armond White hen Jeffrey Wright’s unforgettable performance as Muddy Waters in Cadillac Records was overlooked by movie prize-givers in 2008, he moved on. Ahead of him was A Free Man of Color, a play that theater visionary George C. Wolfe had commissioned in 2003 during his tenure at The Public Theater, and is currently being produced by Lincoln Center Theater. Playwright John Guare created a lead role—Jacques Cornet, the 19th-century Louisiana freed slave—commensurate with Wright’s talent and political awareness. The role of Cornet, whose transition to freedom coincided with the Louisiana Purchase and the territorial exploration of Lewis and Clark, showcases Wright’s talent. In other words, Wolfe and Guare were situating Wright in history in a way that makes up for the marketplace neglect of Cadillac Records and the achievement it represented for the cultural appreciation of black artists from Muddy Waters to Wright himself.

When asked about his crafty role in this ambitious work, Wright explains, “A number of things interested me about it, but what excited me was that George commissioned a play of classical properties.”

A Free Man of Color takes Wright away from the glib, trivial pretenses of some of lesser film projects (Syriana, Ride with the Devil, Lady in the Water) and brings him into undeniable focus, as even his better film projects (Manchurian Candidate, W., Casino Royale) have not.

Starting with his role as Belize in the original New York production of Angels in America, his first film-lead in Basquiat, his Martin Luther King, Jr., in Boycott, his scene-stealing turn in Wolfe’s Lackawanna Blues, his ingenious Muddy Waters and now a full-fledged showcase in A Free Man of Color, Wright has created a panoply of characterizations that chart six degrees of his artistry. Quiet as it’s been, he is the most impressive and potential-rich acting figure in American theater and film right now.

Centerstage in the epic A Free Man, Wright gets to demonstrate the meaning of acting and theater by translating those activities into the existential dilemma of an African American whose very being— and every action—reflects political and historical significance. Cornet begins as a farcical figure taking advantage of his culture’s racist, sexual presumptions but then testing them. The test shows the limits of “freedom”—the far, circumscribing reach of racism—as well as the unlimited scope of human imagination.

Using Cornet to represent an actor’s predicament, Guare revisits thoughts on race and society that animated his 1980s epic Six

Jeffrey Wright (seated center) with Mos and the company in a scene from A Free Man of Color.

Degrees of Separation. In that serio-comedy— now a part of cultural lingo describing social interconnectedness—a young black man posing as Sidney Poitier’s son swindled a group of wealthy white New Yorkers. It was a classic situation of liberal pretenses confounded by the misunderstood anxieties of a social outcast. This time Guare tweaks the situation by highlighting its resemblance to the theater’s grandest farcical traditions— from Molière to Wycherly, including a sophisticated version of minstrelsy as when Cornet and his manservant, Murmur (played

by Mos) trade surreptitious, subliminal, almost telepathic asides.

This affords Wright the opportunity to comment on his own artistic and social circumstance within a purely playful yet profound situation. “The play provides the chance to act out some classical gestures,”

Wright says. “There’s heightened language within a special American context. It’s rare that American actors get to act in that usually European environment.” He’s referring to the aspect of make-believe, exaggeration and controlled expressiveness that are key to the art of acting and the spectacle of theater. It’s a privilege that black American actors are seldom given.

“Cornet is a would-be actor and storyteller. It’s a play of poetic freedom,” Wright emphasizes. “Theater is abstract by nature, but we as actors are sometimes hindered by realism.”

That’s the key to both A Free Man of Color and to Wright’s remarkable bluesman in Cadillac Records; Wright gave one of the signal film performances of the new millennium. He glorified the idea of Muddy Waters while making him

a recognizable man of his time and caste.

Wright brought out the soulful pragmatism of Southerner McKinley Morganfield, who became a Chicago legend. Wright’s Muddy understood his own cunning and his exploitation, too—just like Guare and Wolfe’s conception of Cornet.

The experience of making Cadillac Records was difficult, Wright says.

Its excellence is a fact not sufficiently impressed upon Wright due to the film’s inadequate public reception—even though its reputation and regard builds with every new viewer. Yet, Wright admits, “We had a group of actors that really brought it to the set. We all discovered how much we adored these artists and their art: They crafted a whole universe out of dirt.” As good a description as any of the miraculous toil in the arts. <

Peter Greenaway’s Original Fake The filmmaker creates a 3D experience of da Vinci’s ‘Last Supper’ to rival the original

James Ewing

P

By Nicholas Wells eter Greenaway’s films—such as The Belly of an Architect or The Cook, the Thief, His Wife & Her Lover—have always dealt with different forms of betrayal, usually between spouses and lovers. His new installation focuses on a betrayal at the center of Western culture and art. In Leonardo’s Last Supper: A Vision By Peter Greenaway, the filmmaker illuminates da Vinci’s centuries-old painting through a near perfect “clone” of the original and breathtaking cinematic devices.

Greenaway has made it his mission to re-educate the public as to how to interact with art. “Just because you have eyes doesn’t mean you can see,” he explained during a speech he made at a recent event for the installation. In our textbased society, familiar images have been reproduced and satirized so many times, he argues, that we have lost the ability to truly see them. “Last Supper” is intended as the second in a list of 10 paintings— that will potentially include Picasso’s “Guernica,” Seurat’s “La Grande Jatte” and even perhaps Michelangelo’s “Last Judgment”—with which Greenaway plans to engage in his innovative manner. Using technology to create a stunning visual experience, he says he hopes to “create a dialogue between 8,000 years of art and 115 years of cinema.”

For the most part, this installation is visually stunning. After a ridiculously triumphant travel experience, titled “Italy of the Cities”—which was conceived for the Italian pavilion at the 2010 World Expo in Shanghai—visitors are allowed to enter the main event. A three-dimensional replica of the refectory at Santa Maria delle Grazie has been built in the Park Avenue Armory’s drill hall. At one end of the room “hangs” the clone of Leonardo’s “Last Supper,” dimly lit and exuding surprising power. Centered in the room before the painting is a plastercast rendering of the table in the painting, complete with food, wine glasses, the purse of silver that Judas was given for his betrayal and St. Peter’s knife.

A spotlight illuminates the painting and sweeps slowly across the figures assembled at the table. Shadows from outstretched hands and bodies dance across the scene in a seemingly three-dimensional still life.

Sunlight streams in from the gridded ceiling and moves across the sky in two accelerated days. Then moonlight floods the room like a prison searchlight, casting an eerie blue light, revealing the guests frozen in their shocked positions.

The visuality of the projection is more impressive and believable than most contemporary 3D movies. At times the scene appears as a Bavarian woodcarving,

Leonardo’s Last Supper: A Vision by Peter Greenaway installed at the Park Avenue Armory. at times as a plaster cast of itself, with a spotlight dispersing color as it slowly pans.

Wine spills from the table only to disappear as a light passes over. Greenaway revels in the technology available to him and makes good on his challenge that “it’s a responsibility of all contemporary artists to use contemporary tools of technology.”

Leonardo would be proud.

For no clear reason, other than to train one’s attention on the spectacle, the sequence runs twice and is accompanied by a exultant score that includes Vivaldi and Gabrielis. In the most visually interesting bit, the hands of the assembled are highlighted. Their individual positions could be a series of hand studies, or a warmup exercise for a shadow-puppet class.

After the Vision, viewers are ushered back to the antechamber to see a version of Greenaway’s analysis of Veronese’s “Wedding at Cana.” The painting, a subtle refutation of the Protestant Reformation, depicts the site of Christ’s first miracle, turning water into wine. Greenaway’s

installation, complete with booming voiceover, focuses on individual characters from the painting and we hear their private conversations on the miracle they have just witnessed.

In “Last Supper,” attempting to divorce the visual aspects from text, Greenaway fails to engage in the dialogue he hopes to facilitate. In affording the guests from “Wedding at Cana” voices to narrate their involvement in the event, he created the dynamic, cinematic experience he hopes to achieve in “Last Supper.”

The elements pointed out in Peter Greenaway’s Vision are all things that could be observed easily in a close reading of the painting in an art appreciation class.

Perhaps fearful of being lumped in with author Dan Brown, however, he fails to note Judas reaching for the first piece of bread or the Northern Italian cosmology in the table arrangement. He has utilized the research of “many art historians” in accomplishing the Vision, but without text or words, there is no actual dialogue, and many of the visual

cues are lost in translation.

But what of the copy itself? The painting is recreated down to the smallest detail and is virtually indistinguishable from the original. Factum Arte, the company that produced the clone, used 3D scanning, color matching and a high-definition panoramic photo process to duplicate both “Last Supper” and “Wedding at Cana.”

The original “Last Supper” began to deteriorate just four years after completion, and viewings are still limited to a few people a day. During Milan’s Design Week, organizers decided to make use of Greenaway’s clone to allow more people to see the “Last Supper” than could be accommodated in the refectory alone. Patrons could choose to wait in line for hours for a quick peek at Leonardo’s masterpiece or reserve a seat to experience Greenaway’s vision of the painting. So we are ultimately left pondering whether this clone is a fake original or an original fake. < December 14, 2010 | City Arts

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AttheGALLERIES passing, as other pedestrians look on or ignore them, their lives important for just this moment because he came upon them.

They are terrifically human and humane.

[Valerie Gladstone] Through Jan. 8, 2011, Tibor de Nagy, 724 5th Ave., 212-262-5050.

Frank Lind: Oils & Water

“Untitled (Mexico),” by Rudy Burckhardt.

Rudy Burckhardt: Children

It would seem as if the easiest thing in the world would be to take a good picture of a child, but once you see Rudy Burckhardt’s collection of 14 photographs in this illuminating exhibition, you’ll realize that few photographers get anywhere near the possibilities; his talent for capturing the exuberance and tenderness of youth is truly amazing. Shot during his travels in the 1940s and ’50s, the images catch children playing, thoughtful, joyful and sad, in New York City, Europe, the Caribbean and North Africa.

But they also gain their effectiveness very much through his care with composition. “Playing Ball,” taken in Mexico, shows four children, each one occupied differently. A girl throws a ball against a stone wall. A little boy, clad only in underpants, grins in the doorway, while

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an even smaller one sits preoccupied on a stoop. Another girl, back to the camera, holds some kind of food in her hand. They are brought together by his eye and also by his understanding of children. One imagines they are either siblings or good friends, passing the day in mundane ways but alive and interested in what’s around them. Far more rambunctious is the group pictured in a Naples alley, making faces, pinching one another, smiling, disconcerted and very definitely happy about being photographed. You feel their energy. Far more subdued and ladylike are the two girls in a street in Curacao. They shyly look at the camera, one simply accepting and the other sweetly curious.

In all his photographs the street matters, for that’s where he found his subjects and where probably so many of them spent a lot of their time. You feel time

Eccentricity in art isn’t a virtue unless it’s bolstered by aesthetic merit, by how well an artist uses the materials of his medium to endow personal quirks with body and purpose. Having said that, skill alone (or force of will) can’t generate eccentricity; ersatz eccentricity is a hollow thing, a pose by which the artist advertises his own prerogatives. It’s not a pretty sight—look at John Currin and his witless affectations currently on display at the uptown branch of Gagosian Gallery.

Frank Lind, whose paintings are at 210 Gallery in Brooklyn, is less flagrant than Currin—he’s not flagrant at all, in fact— but he is preoccupied with similar motifs, among them traditional modes of picture making, art history and nude women. Nude, not naked: Whatever salaciousness resides in Lind’s canvases is offset by sardonic and not un-tender curiosity. What, he wonders, would John Singer Sargent’s “Madame X” look like without her evening gown? There she is at 210, rendered with wry gravity and from a model who isn’t a sloping array of serpentine contours, but is refreshingly ordinary in body type.

Lind does the same to other Sargent paintings—starkly in a reconfigured version of “The Sisters Vickers” and with silky intent in “Fumee d’Ambre Gris,” wherein all that remains of the raiment covering a “stately Mohammedan”—that would be Henry James’ description—is a lifted veil. Elsewhere, Lind creates a suite of paintings depicting a model juxtaposed with landmarks of Western painting and engages in a step-by-step construction of a single image, from drawing to grisaille to finished product.

What on earth is Lind up to? Perhaps he’s re-claiming the male gaze from feminist readings of art history. Or maybe he’s engaging in postmodernist caprice. (Did I mention the “Sea Level” paintings, oddly didactic exegeses on global warming and, less overtly, Winslow Homer?) What Lind is mostly up to is paying homage, albeit with laconic tongue almost imperceptibly wedged in cheek, to painters he loves. “Great fun, this,” Lind says of his “visceral” dialogues with history. It’s a not unproblematic accomplishment, but how eccentric would the pictures be if they went down easily?

Not at all, and that’s to Lind’s credit and our consternation. [Mario Naves] Through Jan. 4, 2011, 210 Gallery, 210 24th St., Brooklyn, 718-499-6056.

Renoir

How wonderful to have the opportunity to see paintings by Renoir in a gallery rather a museum. Because it feels like a home, you can more easily experience their intimacy, as well as see them more closely.

Curated by the Hammer Gallery’s new president and director Howard Shaw, the show of 25 oils and pastels, dating from the mid 1880s through 1912, focuses on significant works from the last 30 years of the artist’s life. Most of them are portraits of family members, young women, classical nudes and bathers. Characterized by his famed sensuality, they afford viewers the pleasures of experiencing a master in full command of his skills and luxuriating in the subjects closest to his heart. While still an impressionist, concerned with the shimmering interplay of light and color on surfaces, he also became more classical in his later years, influenced by Raphael, Titian and Rubens as well as the French 18th-century painters.

This classicism is particularly evident in “Baigneuse en chemise au bord de la mer,” where a bather sits languorously next to the sea, her white dress slipping off her shoulder, her gaze caught by something in the distance. One doesn’t have to see her expression to know she is completely relaxed, contemplative and easy in nature. Though the woman is dressed in a pink dress and seated in a green, formal chair in “Femme au fauteuil vert (Gabrielle),” she conveys the same sense of ease as the bather, her hands at rest in her lap, her rounded curves indicating a love of comfort and food. There has been much written about Renoir’s love of domesticity and one sees it growing even more intense in these works, especially touchingly in “Claude Renoir dessinant (Coco ecrivant),” which

“Fumee d’Ambre Gris,” by Frank Lind.

“Crusade,” by Judith Godwin.

shows a girl writing, her arms folded on the desk, a beginner caught up in learning a new skill. Through his tremendous empathy for his subjects, he brings us into their lives and thereby enriches ours.

[VG] Through Jan. 5, 2011, Hammer Galleries, 475 Park Ave., 212-644-4400.

Judith Godwin

Judith Godwin has been an Abstract Expressionist since the heyday of the movement, never winning the attention of her more famous colleagues like Jackson Pollock and Franz Kline, but producing exciting canvases that show the strong influence of architecture and dance. Fierce, strong and expressive, her abstractions combine rich color and vigorous movement to create intriguing moods. Though she has not left her roots, she has also added other dimensions to her works, bringing into them an awareness of the turmoil and destructiveness in much of contemporary life. This darkness and immediacy only adds to their potency.

The geometric “Black Cloud” shares shapes and colors with works by Kline, but her juxtaposition of large black shapes conveys a far more ominous mood than his, their weight heavy and full or foreboding.

Lighter and more fluid, “Blue No II” flies across the canvas, with many blues of sky and water, several strokes creating a phantom sailboat and perhaps a gull, wings outstretched, in flight. “Capricorn” swirls like a whirlpool, gray and orange and green shapes colliding, while streaks of black and white cut through them like knives. “Desert Kahn” is rosier than many of her works, as she uses warm desert colors like pinks and oranges, but she never goes soft, the lines as piercing as they are in all her paintings, alive, sharp and insistent. That describes perfectly what she creates and why she deserves our full attention.

[VG] Through Dec. 30, Spanierman Modern, 53 E. 58th St., 212-832-1400.

Kristen Morgin: New York Be Nice

I can only assume that the title of Kristen Morgin’s New York debut exhibition, New York Be Nice, is a plea for a kind review, because it bears no relation to the work itself. It’s an odd title for a body of work that references neither New York nor niceness. Rather, this is a show that seeks to conjure a kind of nostalgia for American pop culture that owes little or nothing to New York City.

Zach Feuer Gallery has been populated with Morgin’s meticulously made, unfired clay sculptures of old comic and schoolbooks, toys and other images of childhoods past. One piece, “The Repeating Table,” is a long arrangement of objects. Set up on a roughly made wooden table, the faux objects on one side precisely mirror the real ones on the other. These tableaux of objects are technically fascinating and

impressively crafted, but the effect is static and dead feeling, like specimens in a laboratory. After one marvels at the workmanship, there’s not much else there.

Other sculptures repeat the conceit.

Kid-sized tables littered with the refuse of childhood are quiet and empty feeling.

The work could be seen as sad—where have all the children gone?—but instead there is a pervasive sense of numbness to this show. As objects, rather than as art, one can’t help but like the faded colors and nostalgic objects that Morgin has made. They’re like finds at a flea market or junk store in Williamsburg. But, sadly, that’s where they stop.

The parodying of pop culture, even when technically skillful, still must pack an ineffable punch in order for the work to transcend as inspired or inspiring art.

[Melissa Stern] Through Dec. 18, Zach Feuer Gallery 548 W. 22nd St., 212-989-7700.

Laura Battle: Recent Work

Residents of Morris Heights—or, at least, those who travel regularly on the 4 train—are confronted with a choice in destinations upon entering the Burnside Avenue station: Manhattan or the galaxy’s farthest reaches?

How To Get To The Moon, a series of decorative windows by Laura Battle and commissioned by the MTA, combines patterning, diagrammatic structures and the “timeless geometries found in the cosmos” in the hope of bringing to straphangers a sense, however fleeting, of measure and calm.

That’s a tall order and a noble one, too, but public art invariably sacrifices

intimacy for the sake of immediacy.

The project must have been vexing for Battle, because so much of her vision is dependent on intimacy—on the nuances of touch, the meticulous layering of motifs, gentle elisions of color and a symbolic vocabulary that borders on the hermetic.

Battle’s recent works on paper and canvas at Lohin Geduld Gallery— schematic networks realized through the patient accumulation of ruled marks and deftly orchestrated pictographs— are almost stridently anti-public in their delicacy. They bring to mind any number of sources without pledging strict allegiance to one or the other. Pictorial characteristics reminiscent of Leonardo’s “Vitruvian Man” as much as Paul Klee’s “Twittering Machine” as much as Tibetan mandalas, cuneiform, Sol Lewitt, an EKG monitor and, for all I know, a AAA roadmap can be found in Battle’s encompassing pictures without being stymied by any of them.

Which is to say that Battle, like any artist worth her salt, transforms influences by embedding them within the peculiarities of individual vision.

Try pulling the pictures apart; you can’t. Each picture is its own talismanic machine, wrapped snuggly within the logic of its highly intuitive and precisely tuned crafting. And, boy, do they redefine contemporaneity. Jackson Pollock meets Piranesi at the base of the Great Pyramid of Giza—at the dawning of the 21st century, no less.

And from there, Battle’s work takes off. [MN] Through Dec. 23, Lohin Geduld Gallery, 531 W. 25th St., 212-675-2656.

“Document,” by Laura Battle.

December 14, 2010 | City Arts

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mmentary,

N OW O N V I E W

ClassicalMUSIC

The Right Sound Norwegians in New York and Mozart at the Met

By Jay Nordlinger had no conductor, just a concertmaster eif Ove Andsnes is one of the best who provided some leadership. They were pianists in the world. He is an excellent graceful, precise and confident. In general pianist, too. Sometimes you can be tone, they were not too rough and not too one of the best and not so excellent: retiring, but rather just right.

It depends on the age in which you live.

Speaking of just right: After Andsnes, a 40-year-old Norwegian, recently intermission, Fröst and Andsnes came out spent some time in New York, and he had to play Berg’s Four Pieces for clarinet and many friends with him. piano, Op. 5. These are pretty much perfect Every instrumentalist’s bio says two little pieces, and they were pretty much things: that he is a champion of new perfectly played. And I will say this about music and that he is an active participant Andsnes: In writing or speaking, we talk in chamber music. (What a non-active about “le mot juste,” just the right word. participant is, I don’t know.) Andsnes plays Well, Andsnes has an amazing ability to his share of new music. And he is certainly find “le son juste,” just the right sound. an avid chamber musician. That’s another The concert ended with a two-piano cliché you find in the bios: “avid chamber version of The Rite of Spring. Big old musician.” Andsnes is an artistic director of grands were wheeled out for Andsnes and the Risor Chamber Music Festival, held in Hamelin. Stravinsky’s shocker of a ballet little Risor, on Norway’s southeastern coast. was truly made for orchestra. It needs the They have a wooden-boat festival there, too. array of orchestral colors. But it was fun It was with his fellow Risor musicians to see and hear 20 fingers go at it. I have that Andsnes came to New York. They spoken of Andsnes and sound. This pianist played four concerts in Carnegie Hall— also has an uncanny sense of rhythm: which and that’s a pretty big gig, for a little served Stravinsky very well. At some points, Scandinavian music festival. But Andsnes is you could have cut the jolting tension with a big-deal pianist. a knife.

The first concert opened with Bartok’s By the way, wouldn’t it be nice to see Contrasts for violin, clarinet and piano. The the two-piano repertoire revived? It is a original clarinetist was Benny Goodman; large and rich rep, and so is the four-hand our clarinetist was Martin Fröst, the stylish (i.e., music for two pianists at a single Swede. (Benny had style too, as you piano). It has been a long time since Gold know.) The pianist was not Andsnes, but & Fizdale. Are the Labèque sisters still Marc-André Hamelin, the virtuoso from doing their act? Anyway, there are niches Montreal. And the violinist was Oyvind to fill.

Bjora, who I believe is homegrown: Norwegian. The threesome played Bartok’s But Can They Sing? (Yes.) piece correctly and, for the most part, Mozart’s Così fan tutte is a six-singer thoughtfully. The instruments were nicely show, and the Metropolitan Opera hired in balance. I’m not sure so many violin an enjoyable cast for a recent run. The sounds had to be so ugly, however. surprise for me was William Shimell, in I remember something a conductor once the role of Don Alfonso. He replaced said to me about the final movement of the Wolfgang Holzmair, a better-known Sibelius Violin Concerto: “Why do people baritone who withdrew before the first think it has to be ugly?” performance. (The word from the Met The concert continued with Honegger, was a sinus infection.) Shimell was sly and his Symphony No. 2, a symphony for strings. Just strings is a good idea: as I have actually heard audience Grieg, Tchaikovsky, Sam members gasp when Isabel Barber and others have known. Honegger does Leonard takes the stage. something striking at the end. He brings in a lone She looks a little like Audrey non-string instrument, Hepburn, if Hepburn had a trumpet. He wrote his piece in Paris, during remembered to eat something. the Nazi occupation. So it is easy to say that it’s “about” that. Actually, music without words refined, an elegantly conniving bastard. is seldom “about” anything. In any event, Don Alfonso says, “I’m a good actor,” Honegger’s Symphony No. 2 is a welland Shimell was. Also, in his costume, crafted, interesting and enduring piece. complete with wig, he looked a bit like our And it was admirably played by a group composer, Mozart. Don Alfonso’s partnercalling itself the Risor Festival Strings. They in-crime, the maid Despina, was portrayed

L Meet the Morgenthaus, a family who embraced the promise of America. Learn how, over three generations, they changed the course of world events, American politics, and Jewish history.

Explore an interactive family history at: WWW.MJHNYC.ORG/MORGENTHAUS Edmond J. Safra Plaza 36 Battery Place in Lower Manhattan 646.437.4202

This exhibition is made possible through generous funding from The Isenberg Family Charitable Trust, Marina and Stephen E. Kaufman, Lois and Martin Whitman, Jack Rudin, and New York State Senator Eric T. Schneiderman.

MEDIA SP ONSORSHIP G E N E RO U S LY P ROV I D E D BY

Closed Saturdays and Jewish holidays

PHOTO: Henry Morgenthau, Sr., shown with Henry Morgenthau, Jr., and his children Joan, Henry III, and Robert.

Celebrate the New Year with CityArts The best in Music Art Dance Theatre and Film next issues :

January 12 & January 26

cityarts.info Subscribe to our weekly e-newsletter, a free guide to the best in NYC! For information about advertising and sponsorship opportunities contact: Kate Walsh, Publisher, 646 442 1629, kwalsh@Manhattanmedia.com or visit www.cityartsnyc.com.

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Rebecca Welz Steel Nets New Sculpture

17 December 2010 –18 January 2011

JUNE KELLY GALLERY JenniferTaylor

166 Mercer Street, New York, NY 10012/212-226-1660

November 3-December 19, 2010

Leif Ove Andsnes performing with the Risor Festival Strings at Carnegie Hall.

by Danielle de Niese, who was a treat: She had charm, sparkle and sass.

Fiordiligi and Dorabella were Miah Persson and Isabel Leonard. The former did some plonking phrasing, and her aria “Come scoglio” was poorly shaped: The house did not have its structure (and what a house). But this Swede has many virtues, including nimble Italian.

Isabel Leonard sang incisively and understandingly. Sometimes her singing is just a touch cold, a touch severe, but then she saves it with some lilt. The boys, Ferrando and Guglielmo? They were Pavol Breslik and the always-popular Nathan Gunn. Both handled their roles with panache. Breslik had some problems in “Un’aura amorosa.” He grabbed, lurched and strangled. (I am speaking of vocal problems, mind you, not a lack of physical restraint.) But he was game.

Let it be said that this cast was exceptionally attractive, in a Hollywood way. The women were starlet-level. I have actually heard audience members gasp when Isabel Leonard takes the stage. She looks a little like Audrey Hepburn, if Hepburn had remembered to eat something. And if you’re a cast this good-looking, you had better sing well: Otherwise your hiring in an opera will

be suspect. This cast passed.

Our conductor was William Christie, a notable in the period movement—a movement that practically took over the world. In his hands, the overture was absurdly, indefensibly fast. The music had no chance to be itself. The orchestra sounded like mosquitoes, buzzing around, without the substance that Mozart needs and deserves. But Christie was not uniformly fast: Sometimes he was slow, or, to use the polite word, expansive. “Un’aura amorosa” was soupy, saggy and limp. Was that the conductor or the tenor? In any case, it’s time to stop with complaints: On the whole, Christie conducted with sense and satisfaction. And he had a very capable harpsichordist in the pit, Bradley Brookshire.

The production was that of Lesley Koenig, from 1996. It does not “subvert” the story, which is to say undermine and ruin it. Therefore, it is unmodern. Therefore, it is very much welcome. Crisp and colorful, this production looks like Mozart’s music, and Da Ponte’s libretto. Cori Ellison’s translation had them laughing in their seats.

Translation in the opera house: That idea, though hotly controversial, was a really good one. <

Falling, 2004, oil on linen, 32” x 25”

Gallery 1: Claire Seidl new paintings Gallery 2: “Building Beauty” Brenda Garand Ruth Hardinger Ted Larsen Jim Osman

Grace Knowlton

gallery hours: wed-sat 11am-6pm, Sun 12-6pm 54 Orchard Street NY, NY 10002 212 410 6120 lesleyheller.com December 14, 2010 | City Arts

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“a beautiful show... fantastic! If you ever get a chance to see it, you should.”

— Joy Behar, co-host of aBc’s The View

Jan 6–16, 2011, LincoLn center DaviD H. KocH THeaTer CenterCharge 212-721-6500 | www.DavidHKochTheater.com/events Based in New York, Shen Yun Performing arts is the world’s premier chinese dance and music company.

Jazz

’Tis a Season of Fusion There’s enough electricity being used on jazz bandstands of Manhattan this month to light up the tree at Rockefeller Center

By Howard Mandel tylistic mash-ups and collaborations defying genres, musical exotica and crossover populists are attractions in the clubs. Good ol’ “jazz-jazz” is still with us: What would life be if there were no piano trios or upbeat swing? But the big noise is being made by the energies of rock, rhythms of funk and freedoms of jazz in glorious collision. Ring in the new fusion, just like the old fusion: splashy, virtuosic, fun.

This trend started early in December, when guitarists John Scofield and Robben Ford brought their Chicago Blues Project to The Blue Note. It reached an early apogee as punk-jazz double-necked guitar star David Fiuczynski led a quintet— with searing alto saxophonist Rudresh Mahanthappa and John “Medeski, Martin and Wood” Medeski on keyboards—last week at Iridium.

Fuze is a wielder of a fretted-and-fretless ax who fronts the appropriately outrageous Screaming Headless Torsos, yet is also full-time faculty at Berklee College of Music in Boston. He first worked with Medeski, who likes to stack organs and synths atop his piano, on the album Lunar Crush. That production was issued in 1994 but has not staled—it can be considered the launch of Fusion 2.0. Mahanthappa has tapped into his ancestral Indian culture on albums including the 2008 poll-winner Kinsmen, but this year, on the CD Apex and on tour, showed how fast, high and hard he could blow in tandem with equally rapacious post-bebop altoist Bunky Green. Mahanthappa met Fiuczynski in an ensemble convened last year by drummer Jack DeJohnette, and they struck fire. Expect down and dirty psychedelia, jam band rave-ups and perhaps an overwrought ballad from this group. May the spirit of Jimi Hendrix, who would have been 68 years old Nov. 27, look down and smile.

There’s another chance to hear Mahanthappa, with Grammy-nominated pianist Vijay Iyer and guitarist Rez Abbassi, both fellow improvisers of South Asian parentage, at Cornelia Street Café Dec. 17 and 18. One of the appealing survival traits of jazz is its ability to invite/engage/absorb influences that don’t come directly from its African-American heritage but that don’t supercede it, either. And so South AsianAmerican jazz fusion isn’t a much further stretch than samba jazz, which drummer Duduka Da Fonseca, pianist Helio Alves, guitarist Romero Lubambo, trumpeter Claudio Roditi and vocalist Maucha Adnet— all Brazilian-born—bring to Dizzy’s Club at Jazz at Lincoln Center Dec. 14 through 19.

Their gig is subtitled “The Bossa Nova years,” so assume its emphasis will be on the cool languor of Rio rather than the party

S

Open Registration December 8, 2010 Classes Begin January 24, 2011

Paquito D’Rivera fervor of carnival. OK, but how does this samba jazz compare to the tango jazz that Havana-born clarinetist Paquito D’Rivera and native Argentine bassist Pablo Aslan’s company present at Dizzy’s Dec. 20 through 26 (no shows Christmas day)? If you have to ask, you’d better hear them both. Suffice it to say melodically-based, harmonically adventurous instrumental improvisation à la our home-grown, widely exported, Congressionally anointed “national treasure” jazz is the common thread.

But back to blazing fusion, rather than the melting pot variety. Mike Stern, a speedbopper who earned his spurs pioneering Miles Davis’ comeback in 1981, has two gigs at Iridium. Dec. 22 through 26, Christmas day included, he’s one of four generations of Milesonians in ensemble with late-’50s drummer Jimmy Cobb, mid-’60s bassist Buster Williams and mid-’70s reedsman Sonny Fortune.

Dec. 29 through 31, Stern directs an all-star quartet with electric bassist Victor Wooten, drummer Dave Weckl and saxophonist Bob Malach. Listen for streaming 16th notes and complex-compound backbeat.

Now switch to pop-jazz: Smooth trumpeter Chris Botti is at the Blue Note for three weeks, from Dec. 13 through Jan. 2, with nine pieces including strings. At City Winery, Aaron Neville lifts his angelic New Orleans rhythm ‘n’ blues voice with his brother Charles on sax in a quintet, Dec. 21 and 22. At the Jazz Standard, urbane and turbaned organist Dr. Lonnie Smith warms up with his trio from Dec. 28 through New Year’s Day with a soul-steeped big band.

Crossover enough for ya?

Finally, the startling reach and subtle ironies of the Bad Plus, at the Village Vanguard Dec. 28 through Jan. 2, show what fusion has become. Pianist Ethan Iverson is a jazz classicist who knows modernism inside out, and recasts contemporary pop anthems—“Smells Like Teen Spirit,” “How Deep Is Your Love,” “We Are The Champions”—so their bones glow. Bassist Reid Anderson is a steady, handsome anchor and drummer Dave King is the trio’s explosive inner force. Bad is good, cool is hot, square is hip, jazz grows by fusion. For happy holidays, turn up the music. <

Kathleen Caraccio, “Universe”

5 East 89th Street New York, NY 10128

The National Academy School offers artistic instruction for artists of every level. We’d be happy to help you choose the class that’s right for you. Call us at 212.996.1908 or visit us at www.nationalacademy.org to learn more and to register.

CityArts-Ceramics:Layout 1

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N E W L O C AT I O N

BOHEMIAN NATIONAL HALL 321 E. 73rd ST. Bet. 1st & 2nd Ave.

JANUARY 19–23 12TH ANNUAL

THE NEW YORK

CERAMICS FAIR 32 Select International Dealers Offering Ceramics, Glass & Enamels

PREVIEW January 18

Tuesday, 5–9 p.m.

Individual Tickets $90 includes wine and hors d’oeuvres and repeat admission.

CHIPSTONE LECTURE SERIES

8 Lectures presented call 310.455.2886 or visit: newyorkceramicsfair.com

FAIR HOURS Wed–Sat 1 1am-7pm Sun Noon-5pm No Admittance Sunday after 5:30pm

Admission $20 daily MEDIA SPONSORS

includes catalogue

INFORMATION 310.455.2886 www.newyorkceramicsfair.com www.caskeylees.com December 14, 2010 | City Arts

15

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ArtsAGENDA Exhibitions Abrons Art Center: “The West at Sunset.” Open

now, 466 Grand St., 212-598-0400.

ACA Galleries: “Small & Everlasting.” Open now.

John Dobbs: “Equilibrium/Disequilibrium.”

Open now, 529 W. 20th St., 5th Fl., 212-2068080.

Agora Gallery: Nathan Sawaya: “RED.” Ends Dec. 14, 530 W. 25th St., 212-226-4151.

Alan Klotz: Jon R. Friedman: “Selected Works.”

Ends Dec. 23, 511 W. 25th St., No. 701, 212741-4764.

Allan Stone Gallery: Alfred Leslie & John Chamberlain: “Collage.” Ends Dec. 23, 113 E. 90th St., 212-987-4997.

Animazing Gallery: Tom Everhart. Ends Dec. 29, 54 Greene St., 212-226-7374.

Anna Kustera Gallery: Mimi Smith: “New Work.”

Ends Dec. 23, 520 W. 21st St., 212-989-0082.

APF LAB: Colleen Asper & Ted Mineo: “Touche.”

Ends Dec. 16, 15 Wooster St., 347-882-9175.

Atlantic Gallery: “EAT/ART - A Visual Feast.”

Ends Dec. 23, 135 W. 29th St., Ste. 601, 212219-3183.

Axelle Fine Arts: Goxwa: “Epiphanies.” Ends Jan. 1, 535 W. 25th St., 212-226-2262.

Benrimon Contemporary: Simon Patterson: “Anthology.” Ends Dec. 18, 514 W. 24th St., 2nd Fl., 212-924-2400.

Bernarducci Meisel Gallery: Cheryl Kelley: “Pedal to the Metal.” Ends Jan. 8, 37 W. 57th St., 212593-3757.

Blue Mountain Gallery: “Evolution of a Gallery: Green Mountain to Blue Mountain 1968-2010.”

Ends Dec. 30, 530 W. 25th St., 4th Fl., 646486-4730.

Bowery Gallery: John Bradford: “Painting the Biblical Narrative.” Ends Dec. 31, 530 W. 25th St., 646-230-6655.

Causey Contemporary: Elise Freda: “Where Earth Meets Sky.” Opens Dec. 17. Carri Skoczek: “Las Matadoras.” Opens Dec. 17, 92 Wythe Ave., Brooklyn, 718-218-8939.

Cinders Gallery: Maya Hayuk: “Heavy Light.”

Ends Dec. 22, 103 Havemeyer St., Brooklyn, 718-388-2311.

Claire Oliver: Michael Anderson: “The Street Is My Palette.” Ends Dec. 30, 513 W. 26th St., 212-929-5949.

ClampArt: Lori Nix: “The City.” Ends Dec. 19, 521531 W. 25th St., Ground Floor, 646-230-0020.

Dacia Gallery: “Emerging Colors.” Opens Dec. 16, 53 Stanton St., 917-727-9383.

David Zwirner: Michael Heizer. Ends Dec. 21.

Raymond Pettibon: “Hard in the Paint.” Ends Dec. 21. Luc Tuymans: “Corporate.” Ends Dec. 21, 525 W. 19th St., 212-517-8677.

DCKT Contemporary: Laura Lobdell: “Traces of Color.” Ends Dec. 30. Sophie Crumb. Ends Dec. 30, 195 Bowery, 212-741-9955.

Dorian Grey Gallery: “Group, New York.” Open now, 437 E. 9th St., 516-244-4126.

Exit Art: “Graphic Radicals: 30 Years of World War 3 Illustrated.” Open now. “Fracking: Art & Activism Against the Drill.” Open now, 475 10th Ave., 212-966-7745.

Famous Accountants: Andrew Ohanesian. Ends Dec. 19, 1673 Gates Ave., Brooklyn, no phone.

Figureworks: “Exploring 100 Years of Figurative Art: Part 1 - The Edith Halpert Influence.” Ends Dec. 19, 168 N. 6th St., Brooklyn, 718-486-7021.

Fog Gallery: Joe the Shark: “The Unsung Heroes of Burlesque - Take 2.” Ends Dec. 18, 508 W. 26th St., 5th Fl., no phone.

Forum Gallery: Linden Frederick: “Night Neighbors.” Ends Jan. 8, 730 5th Ave., 212-355-4545.

Friedman & Vallois Gallery: Daniel Buren: “Hun-

dred Vases.” Ends Dec. 23, 27 E. 67th St., 212-517-3820.

Gagosian Gallery: Jean Pigozzi: “Johnny STOP!” Ends Dec. 23, 980 Madison Ave., 212-744-2313.

Gallery 307: “Works on Walls II.” Ends Dec. 30, 307 7th Ave., Ste. 1401, 646-400-5254.

Gallery Henoch: John Evans. Open now, 555 W. 25th St., 917-305-0003.

Gasser Grunert: Blair Thurman: “Aus unseren Kellern” (From Our Cellars). Ends Dec. 27, 524 W. 19th St., 646-944-6197.

Half Gallery: Donald Shambroom: “Bloodbath.”

Ends Dec. 22, 208 Forsyth St., no phone.

Hasted Kraeutler: Nathan Harger. Open now, 537 W. 24th St., 212-627-0006.

Haunch of Venison: Peter Saul: “Fifty Years of Painting.” Ends Jan. 8, 1230 6th Ave., 212-259-0000.

Hauser & Wirth: Monika Sosnowska. Ends Dec. 18, 32 E. 69th St., 212-794-4070.

Hirschl & Adler Modern: Frederick Brosen: “Recent Watercolors.” Ends Dec. 30, 21 E. 70th St., 212-535-8810.

Horton Gallery, Lower East Side: Saul Becker: “Newfoundland.” Ends Dec. 30, 237 Eldridge St., 212-253-0700.

Icosahedron Gallery: “Conventional Wisdom.”

Ends Dec. 23. “Into the Void.” Opens Jan. 8, 606 W. 26th St., 212-966-3897.

J. Cacciola Gallery: Elizabeth Berdann, Carol Mothner & Koo Schadler. Opens Jan. 6, 617 W. 27th St., 212-462-4646.

James Gallery: “Deep Impressions: Willie Cole Works on Paper.” Ends Jan. 8, CUNY Graduate Center, 365 5th Ave., 212-817-7392.

Japan Society Gallery: “The Sound of One Hand: Paintings & Calligraphy by Zen Master Hakuin.” Ends Jan. 9, 33 E. 47th St., 212-8321155.

Jason McCoy Inc.: “Galaxy & Cosmos.” Open now, 41 E. 57th St., 11th Fl., 212-310-1996.

Jeffrey Leder Gallery: Donna Levinstone: “Pastel Landscapes.” Ends Jan. 9, 1105 44th Rd., 3rd Fl., Long Island City, 212-924-8944.

June Kelly Gallery: Philemona Williamson. Ends Dec. 14. Rebecca Welz: “Steel Nets.” Opens Dec. 17, 166 Mercer St., 212-226-1660.

Katharina Rich Perlow: Sally Michel: “Figures & Landscape - Selected Paintings.” Ends Dec. 18, 980 Madison Ave., 3rd Fl., 212-644-7171.

Kathleen Cullen Fine Arts: “Explicit.” Ends Jan. 3, 526 W. 26th St., Ste. 605, 212-463-8500.

Keyes Art Projects: Michael Rosch: “Small Curves.”

Ends Jan. 4, 551 W. 21st St., Ste. 409, 631-7258610.

Kim Foster Gallery: “Anonymous.” Ends Dec. 24, 529 W. 20th St., 1st Fl., 212-229-0044.

Klompching Gallery: Jim Naughten. Ends Dec. 18, 111 Front St., Ste. 206, Brooklyn, 212-796-2070.

Laurence Miller Gallery: “Ojos Privados: A Selection of Photographs From the Personal Collection of Laurence Miller.” Ends Dec. 24, 20 W. 57th St., 212-397-3930.

Le Salon d’Art: Lisa DuBois: “Figments of My Imagination.” Ends Dec. 31, 90 Stanton St., 212-777-6008.

Leica Gallery: “Leica Focuses on LIFE.” Ends Jan. 8, 670 Broadway, 212-777-3051.

Leila Taghinia-Milani Heller Gallery: Pouran Jinchi: “Entropy.” Ends Dec. 21. Afsoon: “The Fairytale Continues.” Ends Dec. 21, 39 E. 78th St., 212249-7695.

Lennon, Weinberg, Inc.: Peter Davis, Laura Larson & Cindy Workman: “Sleight of Hand.” Ends Dec. 30, 514 W. 25th St., 212-941-0012.

Lesley Heller Workspace: Claire Seidl. Ends Dec. 19. Deborah Brown: “The Bushwick Paintings.”

Opens Jan. 12. “Fractured Earth.” Opens Jan. 12,

54 Orchard St., 212-410-6120.

Leslie Feely Fine Art: “Naked Art: Jules Olitski &

Anthony Caro, 1964-1978.” Ends Dec. 23, 33 E. 68th St., 5th Fl., 212-988-0040.

Leslie/Lohman Gay Art Foundation: Carlo Pittore.

Opens Dec. 15, 26 Wooster St., 212-431-2609.

Lombard-Freid Projects: William Earl Kofmehl III: “Dear Father Knickerbocker, I Just Googled You.” Ends Dec. 21, 518 W. 19th St., 212-9678040.

Ludlow 38: “Jeremiah Day/Simone Forti/Fred Dewey.” Ends Dec. 19, 38 Ludlow St., 212-2286848.

Lyons Wier Gallery: “Here & Now.” Opens Jan. 8, 542 W. 24th St., 212-242-6220.

Magnan Metz Gallery: Raul Cordero: “Make It Plain.” Ends Dec. 23, 521 W. 26th St., 212-2442344.

Marvelli Gallery: Anders Petersen: “City Diary.”

Ends Dec. 30. Christer Strömholm. Ends Dec. 30, 526 W. 26th St., 2nd Fl., 212-627-3363.

Maxwell Davidson Gallery: George Segal: “Women.” Ends Dec. 23, 724 5th Ave., 212-759-7555.

McKenzie Fine Art Inc.: Ursula Morley Price. Ends Dec. 18, 511 W. 25th St., 212-989-5467.

Michael Mut Gallery: “Animated Objects.” Opens Dec. 16, 97 Ave. C, 212-677-7868.

Midoma Gallery: Jason Gluskin: “Urban Expressions.” Open now, 545 8th Ave., Ste. 750, 917-432-2667.

Mike Weiss Gallery: Kim Dorland: “New Material.”

Ends Jan. 8, 520 W. 24th St., 212-691-6899.

Morgan Lehman: James Meyer: “After Kafka.” Ends Dec. 23, 535 W. 22nd St., 212-268-6699.

Narthex Gallery: Laura James. Ends Jan. 9, St. Peter’s Church, 619 Lexington Ave., 212-935-2200.

Noho Gallery: Ludmila Aristova: “Illuminations.”

Ends Dec. 24, 530 W. 25th St., 4th Fl., 212367-7063.

Nohra Haime Gallery: Eve Sonneman: “Sight/ Sound.” Open now. Julie Hedrick: “Red.” Ends Dec. 24, 730 5th Ave., Ste. 701, 212-888-3550.

NY Studio Gallery: “TRASH.” Ends Jan. 8, 154 Stanton St., 212-627-3276.

OK Harris Works of Art: Masaaki Sato, Keith Long, Marilynn Gelfman, Mark Perrott, Richard Bottwin & Leonard Dufresne. Ends Jan. 8, 383 W. Broadway, 212-431-3600.

Old Print Shop: Su-Li Hung: “Paintings, Prints, Poetry.” Ends Dec. 18, 150 Lexington Ave., 212683-3950.

Onishi Gallery: “Reality, What Reality?” Ends Dec. 15, 521 W. 26th St., 212-695-8035.

The Pace Gallery: Keith Tyson. Open now, 510 W. 25th St., 212-255-4044.

The Pace Gallery: Lucas Samaras. Ends Dec. 24, 534 W. 25th St., 212-929-7000.

The Pace Gallery: Hiroshi Sugimoto. Ends Jan. 8, 545 W. 22nd St., 212-989-4258.

Palitz Gallery: Marco Maggi: “American Ream.”

Open now, 11 E. 61st St., 212-826-0320.

Park Avenue Armory: “Leonardo’s Last Supper: A Vision by Peter Greenaway.” Ends Jan. 6, 643 Park Ave., 212-616-3930.

Patrons’ Gallery: J.P. Grieco: “Current Paintings.”

Opens now, Salmagundi Club, 47 5th Ave., 212-255-7740.

Phoenix Gallery: Leslie Carabas, Beth Cartland, Busser Howell, Gary Paul Stutler & Christa Toole. Ends Dec. 22. Laura Westby: “Tears of the Sun.” Ends Dec. 22, 210 11th Ave., 212-2268711.

Phyllis Stigliano Gallery: “Take Me Home: Paper Silhouettes by Barbara Ensor.” Ends Dec. 31, 62 8th Ave., Brooklyn, 718-638-0659.

Priska C. Juschka Fine Art: Nicky Nodjoumi: “Invitation to Change Your Metaphor.” Ends Dec. 30, 547 W. 27th St., 2nd Fl., 212-244-4320.

Renaissance Studios: “Adam Van Doren: Paintings.”

Ends Dec. 18, 130 W. 57th St., 212-581-0541.

Ronald Feldman Fine Arts: Andy Warhol: “Warhol’s

Andys.” Ends Dec. 23, 31 Mercer St., 212-2263232.

Salomon Contemporary: Alexis Rockman: “Thunderdome.” Ends Dec. 18, 526 W. 26th St., No. 519, 212-727-0607.

Salon 94: Hanna Liden & Nate Lowman: “Come As You Are Again.” Ends Jan. 12, 12 E. 94th St., 646-672-9212.

Sasha Wolf Gallery: Paul McDonough: “New York Photographs 1968-1978.” Ends Jan. 8, 548 W. 28th St., 212-925-0025.

Skoto Gallery: Tesfaye Tessema: “Symphony in Colors.” Open now, 529 W. 20th St., 5th Fl., 212-352-8058.

Slate Gallery: Charles Koegel: “Any Colour You Like.” Ends Dec. 19, 136 Wythe Ave., Brooklyn, 718-387-3921.

Soho Photo Gallery: Norman H. Gershman: “Besa: Muslims Who Saved Jews During World War II.” Opens Jan. 4, 15 White St., 212-226-8571.

Sous Les Etoiles Gallery: Ichigo Sugawara: “The Bright Forest.” Open now, 560 Broadway, Ste. 205, 212-966-0796.

Spazio 522: Rino Li Causi: “Paintings & Sculpture.”

Ends Jan. 1, 526 W. 26th St., Ste. 522, 212-9291981.

Sputnik Gallery: Ekaterina Rozhkova: “Veil of Happiness.” Ends Jan. 8, 547 W. 27th St., 5th Fl., 212-695-5747.

Stephen Haller Gallery: “Spectrum.” Ends Jan. 11, 542 W. 26th St., 212-741-7777.

Studio 601: Paul Kolker: “The Pandora Syndrome...

Go Gesundheit!” Opens Dec. 16, 511 W. 25th St., 212-367-7300.

Sue Scott Gallery: Pat Steir: “The Nearly Endless Line.” Ends Jan. 9, 1 Rivington St., 212-3588767.

Susan Eley Fine Art: “Burlesque: New York to Hollywood.” Open now, 46 W. 90th St., 2nd Fl., 917-952-7641.

SVA Gallery: Ayala Gazit: “Was It a Dream.” Ends Dec. 18, 209 E. 23rd St., no phone.

Tache Gallery: Yuriy Ibragimov. Ends Jan. 8, 547 W. 27th St., No. 602, 347-453-7903.

Taxter & Spengemann: Max Schumann. Ends Dec. 23, 459 W. 18th St., 212-924-0212.

Team Gallery: Chris Vasell: “The Estate of Chris Vasell.” Ends Dec. 18, 83 Grand St., 212-2799219.

Thomas Erben Gallery: Lu Chunsheng & Birdhead.

Ends Dec. 23, 526 W. 26th St., 4th Fl., 212645-8701.

Tibor de Nagy Gallery: Joe Brainard, Jess & John O’Reilly: “Selected Works.” Ends Jan. 8. Rudy Burckhardt: “Children.” Ends Jan. 8, 724 5th Ave., 212-262-5050.

Tria Gallery: Casey Vogt & daniel Baltzer: “Background Noise.” Open now, 531 W. 25th St., Ground Floor, 212-695-0021.

Tyler Rollins Fine Art: Tiffany Chung: “Scratching the Walls of Memory.” Ends Dec. 31, 529 W. 20th St., 10W, 212-229-9100.

Ubu Gallery: Judit Reigl: “Unfolding Unfolding.”

Open now, 416 E. 59th St., 212-753-4444.

Visual Arts Gallery: “Between Picture & Viewer: The Image in Contemporary Painting.” Ends Dec. 22, 601 W. 26th St., 212-725-3587.

Von Lintel Gallery: Zou Cao: “Everlasting Classic.”

Open now, 520 W. 23rd St., 212-242-0599.

Walter Wickiser Gallery: “A World of Calligraphy.”

Ends Dec. 30. “Ueki Family’s Departure.” Ends Dec. 30, 210 11th Ave., Ste. 303, 212-941-1817.

Westside Gallery: “Emerge to Be Seen.” Ends Dec. 22. “Ground Control.” Opens Jan. 8, 133/141 W. 21st St., 212-592-2145.

December 14, 2010 | City Arts

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ArtsAGENDA Out of Town EVENTS & ATTRACTIONS THE ALDRICH CONTEMPORARY ART MUSEUM: The

Aldrich Contemporary Art Museum presents Gary Lichtenstein’s “35 Years of Screenprinting,” an exhibition of 48 of his screenprints since 2004. A master printer & Connecticut native, Lichtenstein has worked with more than 90 other artists during his 35-year career.

Many of his works contain an explosion of color on large-scale canvas, “blurring the boundary between painting & printmaking.”

Ends Jan. 2, 258 Main St., Ridgefield, Conn., 203-438-4519, www.aldrichart.org.

CHISHOLM GALLERY EXHIBITION AT CANYON RANCH RESORT & SPA: The Chisholm Gallery presents

the works of Alexandra Eldridge in “Beyond the Corners of the Known World” & of Sheila Isham in “Cosmic Earth Oasis Series.” The bright colors & whimsical depiction of flora & fauna make these works a feast for the eyes.

Ends April 6, 165 Kemble St., Lenox, Mass., 413-637-4100, www.chisholmgallery.com.

MONTCLAIR ART MUSEUM: Donated from a private

collection, “Potters, Patrons & Promises: Gifts from Audrey & Norbert Gaelen” showcases Native American pottery, paintings, sculptures & glass. This generous gift to the Museum greatly enhances its collection of Native American contemporary art. Ends Jan. 2, 3 S. Mountain Ave., Montclair, N.J., 973-7465555, www.montclairartmuseum.org.

ROSENDALE THEATRE: The Rosendale Theatre pres-

ents Aleah Long & En Full Circle’s Winter

Zach Feuer Gallery: Kristen Morgin: “New York

Be Nice.” Ends Dec. 18, 548 W. 22nd St., 212989-7700.

Art Events Clay Festival 5: The Clay Festival celebrates its fifth

year by showcasing 20 works of New York’s ceramic artists. Dec. 18, St. Anthony’s Church, Houston & Sullivan Streets, 212-226-5249; 12-7, free.

NYC Ceramic Festival: Members of New York City’s ceramic arts community open their doors & showcase their talents for collectors & holiday shoppers for the first time. Ends Dec. 18, locations vary, www.brickhouseny.com.

Soho/L.E.S. Gallery Tour: Take a tour of the week’s top seven gallery exhibits. Dec. 18, 39 Wooster St., 212-946-1548; 1, $20.

Auctions Doyle New York: Doyle at Home. Jan. 12, 10 a.m.,

175 E. 87th St., 212-427-2730.

Noho Gallery: The gallery hosts its sixth annual

auction. Bid online at www.nohogallery.com or in person at the gallery. Final live bids will occur at the gallery Jan. 15. Dec. 28-Jan. 15, 530 W. 25th St., 4th Fl., 212-367-7063.

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

Swann Auction Galleries: Rare & Important Art Nouveau Posters. Dec. 15, 1:30, 104 E. 25th St., 212-254-4710.

Music & Opera Avery Fisher Hall: The National Choral Council

18

City Arts | www.cityartsnyc.com

Solstice Musical Celebration. Dec. 18, 408 Main St., Rosendale, N.Y., 845-658-8989, www.rosendaletheatre.org.

RIVERWINDS GALLERY: Come & celebrate Buone

Feste at RiverWinds Gallery. This unique shopping experience features one-of-a-kind gifts by local artists. New this year is the first RiverWinds book, “Artistic Appetizers: Art & Food.” Beautiful pictures of art & delicious, simple recipes grace the pages & make this book an excellent present. Ends Dec. 31, 172 Main St., Beacon, N.Y., 845-838-2880, www. riverwindsgallery.com.

WADSWORTH ATHENEUM: The Connections Gallery

presents Pepón Osorio’s “En la barbería no se llora” (No Crying Allowed in the Barbershop).

Five of the original chairs from an exhibition in 1994 in which Osorio transformed a vacant store into a traditional Latino barbershop are on view. The chairs feature hundreds of objects, images, video screens & music, all expressing Osorio s view that the barbería represents the institutionalized Latino machismo. Ends Jan. 9, 600 Main St., Hartford, Conn., 860-278-2670, www.wadsworthatheneum.org.

YALE CENTER FOR BRITISH ART: “The Independent Eye:

Contemporary British Art from the Collection of Samuel & Gabrielle Lurie,” 30 paintings & 14 works on paper. Ends Jan. 2, 1080 Chapel Street‚ New Haven‚ Conn., 203-432-2800, www.ycba.yale.edu.

presents the 43rd annual Handel’s “Messiah” Sing-In with music director Martin Josman.

Dec. 21, 10 Lincoln Center Plz., 212-875-5656; 8, $32+.

Avery Fisher Hall: Alan Gilbert conducts an allTchaikovsky New Year’s Eve concert with Lang Lang. Dec. 31, 10 Lincoln Center Plz., 212-8755656; 8, $69+.

Avery Fisher Hall: Russian pianist Yulianna Avdeeva, the first-prize winner of the 16th international Frédéric Chopin Competition, performs Chopin’s Piano Concerto in E minor with the New York Philharmonic. Jan. 4, 10 Lincoln Center Plz., 212-875-5656; 7:30, $40+.

BAM Harvey Theater: Irish poet Frank McGuinness presents a new version of Henrik Ibsen’s “John Gabriel Borkman.” Jan. 7-Feb. 6, 651 Fulton St., times vary, $25+.

Carnegie Hall: Musica Sacra presents its annual performances of Handel’s “Messiah.” Dec. 21 & 22, 881 7th Ave., 212-247-7800; 8, $25+.

Church of St. Ignatius Loyola: Benjamin Britten’s “Ceremony of Carols” features carols from around the world & from our own tradition. Dec. 19, 980 Park Ave., 212-288-2520; 4, $40+.

Church of St. Mary the Virgin: The Green Mountain Project again brings the recreation of Monteverdi’s “Vespers of 1610” to a New York audience. Jan. 2, 145 W. 46th St., 917-3499347; 7, free.

Connelly Theatre: Amore Opera presents Johann Strauss II’s “Die Fledermaus.” Ends Jan. 2, 220 E. 4th St., 888-811-4111; times vary, $30+.

Merkin Concert Hall: Mozart, Elgar & Bartók feature in A Far Cry Chamber Orchestra’s performance, the first-ever chamber orchestra presented in the Tuesday Matinees series. Jan. 11, Kaufman Center, 129 W. 67th St., 212-501-3300; 2, $16.

The Metropolitan Museum of Art: The Pacifica

Quartet performs Shostakovich. Jan. 22 & Feb. 19, 1000 5th Ave., 212-535-7710; 7, $45.

The Metropolitan Museum of Art: Alan Gilbert conducts members of the New York Philharmonic as part of the CONTACT! series. Dec. 17, 1000 5th Ave., 212-535-7710; 7, $20.

Metropolitan Opera: “Don Carlo.” Ends Dec. 18.

“Pelléas et Mélisande.” Ends Jan. 1. “Carmen.”

Ends Jan. 13. “Don Pasquale.” Ends Feb. 19. “La Bohème.” Ends Feb. 25. “Il Trovatore.” Ends Apr. 30, West 62nd Street, betw. Columbus & Amsterdam Aves., 212-362-6000; times vary, $25+.

Solomon R. Guggenheim Museum: Isaac Mizrahi narrates Sergei Prokofiev’s children’s classic, “Peter & the Wolf.” New York City Opera’s George Manahan will conduct the Juilliard Ensemble.

Dec. 17-19, 1071 5th Ave., 212-423-3500; times vary, $10+.

Solomon R. Guggenheim Museum: George Steel conducts the Vox Vocal Ensemble & the Graham Ashton Brass Ensemble in the annual concert of holiday music in the museum’s rotunda.

Dec. 19 & 20, 1071 5th Ave., 212-423-3500; 6:30, free.

St. Joseph’s Church: The Greenwich Village Singers present a concert of seasonal choral music. Dec. 17, 371 6th Ave., 646-355-0641; 8, $20+.

WMP Concert Hall: Violinist Mialtin Zhezha & pianist Naoko Zhezha Imafuku perform works

by Schubert, Brahms & Kreisler. Dec. 15. Cellist Tony Rymer & pianist Zenan Yu perform works

by Schumann, Poulenc & Piazzolla. Dec. 22, 31 E. 28th St., 212-582-7536; 12:30, $10.

Zankel Hall: Soprano Renée Fleming performs a solo recital with pianist Hartmut Höll. Jan. 11, Carnegie Hall, 881 7th Ave., 212-247-7800; 8, $22+.

Jazz 55 Bar: The Sean Smith Trio performs. Dec. 21, 55

Christopher St., 212-929-9883; 7, two-drink minimum.

David Rubenstein Atrium: The Chris Byars Quartet performs music inspired by the 1950s bop tradition, as part of Lincoln Center’s Rhythm Road project. Dec. 30, Lincoln Center, betw.

West 62nd and 63rd Streets, 212-875-5000; 8:30, free.

Dizzy’s Club Coca Cola: Percussionist Duduka Da Fonseca & pianist Helio Alves lead a concert of samba jazz & bossa nova. Dec. 14-19, Jazz at Lincoln Center, Frederick P. Rose Hall, Broadway at West 60th Street, 5th Fl., 212-258-9595; times vary, $15+.

Jazz Standard: Jazz Standard honors the late tenor saxophonist Johnny Griffin with a performance by a Big Soul Band of its own. Dec. 14 & 15, 116 E. 27th St., 212-576-2232; times vary, $25.

Jazz Standard: Drummer Francisco Mela performs with pianist Vijay Iyer & bassist Larry Grenadier. Dec. 22 & 23, 116 E. 27th St., 212-5762232; times vary, $25.

National Jazz Museum in Harlem: Pianist Jonathan Batiste performs & leads a talk on jazz culture’s relevance in today’s society. Dec. 15, 104 E. 126th St., Ste. 2C, 212-348-8300; 7, free.

National Jazz Museum in Harlem: Saxophonist Greg Osby performs with special guests. Dec. 16, 104 E. 126th St., Ste. 2C, 212-348-8300; 6:30, free.

Smalls Jazz Club: The Sean Smith Quartet performs.

Dec. 29, 183 W. 10th St., 212-252-5091; times vary, $20.

Smoke: The Steve Turre Quartet performs with tenor saxophonist Bill Harper. Dec. 24-26, 2751 Broadway, 212-864-6662; times vary, $30.

Tribeca Performing Arts Center: Jack Kleinsinger’s

Highlights in Jazz returns for its 38th year. The first of its four programs, titled Dynamic Duos, features Bucky Pizzarelli & Howard Alden, Wycliffe Gordon & Jay Leonhart, & Anat Cohen & Rossano Sportiello. Jan. 6, Borough of Manhattan Community College, 199 Chambers St., 212-220-1460; 8, $37.50+.

Dance Alvin Ailey American Dance Theater: AAADT, led by

Judith Jamison in her final year as artistic director, presents seven premieres & new productions in addition to repertory favorites in its holiday run at New York City Center. Ends Jan. 2, New York City Center, 131 W. 55th St., 212-581-1212; times vary, $25+.

Les Ballets Trockadero de Monte Carlo: Celebrate the holiday season with the Trocks when these dancer-comedians parody classics like “Swann Lake” and contemporary pieces like “Patterns in Space.” Dec. 14-Jan. 2, The Joyce Theater, 175 8th Ave., 212-242-0800; times vary, $10+.

Compagnie Philippe Saire: For its Joyce debut, the company performs “Lonesome Cowboy.” Jan. 6-9, The Joyce Theater, 175 8th Ave., 212-2420800; times vary, $10+.

Contemporary Dance Showcase: The 14th annual showcase features adventures from Japan & East Asia, including Ryohei Kondo, Maki Morishita, Ahn Ae-soon Dance Company & Yu Yen-Fang.

Jan. 7 & 8, Japan Society, 333 E. 47th St., 212832-1155; 7:30, $20+.

Dance Gotham: The fifth annual presentation of “Dance Gotham” features choreographic works from Garth Fagan Dance, Kate Weare Company, Keigwin & Company & others. Jan. 9, NYU Skirball Center, 566 LaGuardia Pl., 212-3523101; 7, $10.

Jerome Robbins Theater: Choreographer Aszure Barton explores the human psyche in “Busk.”

Dec. 17 & 18, Baryshnikov Arts Center, 450 W. 37th St., 646-731-3200; 8, $25.

Joffrey Ballet School: The school presents a new rendition of “The Nutcracker,” created by Gelsey Kirkland & Misha Chernov. Dec. 17-19, John Jay College, Gerald Lynch Theater, 899 10th Ave., 212-254-8520; times vary, $20+.

Limon Dance Company: These performances feature choreography by Jose Limon, Jiri Kylian & the premiere of company member Jonathan Fredrickson’s “Chrysalis.” Dec. 14 & 15, Baryshnikov Arts Center, 450 W. 37th St., 646-731-3200; 8, $20+.

Manhattan Movement & Arts Center: The center presents the aerial circus showcase of the Your Move! series. Jan. 9, 248 W. 60th St., 212-7871178; 6, $10.

Mark Morris Dance Group: “The Nutcracker” gets a hilarious but reverent re-imagining in the company’s production of “The Hard Nut.” Dec. 15-19, BAM Howard Gilman Opera House, 30 Lafayette Ave., 718-636-4129; times vary, $25+.

Mayumana: The Tel Aviv-based theater company fuses physical movements with beats & rhythms in its production “Momentum.” Ends Jan. 2, New Victory Theater, 209 W. 42nd St., 646223-3010; times vary, $11+.

New York City Ballet: The company performs “The Magic Flute,” the comedic tale for all ages, set to a score by Riccardo Drigo. Feb. 2, 4, 6 & 8, David H. Koch Theater, 20 Lincoln Center, 212721-6500; times vary, $20+.

Uptown Dance Academy: The 15th annual “Black Nutcracker” benefit performance includes compositions from Duke Ellington, music from The Commodores & live African drums. Dec. 16, Apollo Theatre, 253 W. 125th St., 212-9875030; 7, $30+.

PainttheTOWN

By Amanda Gordon

Photos by Amanda Gordon

Ailey chairwoman Joan Weill, with the company’s artistic director designate Robert Battle and current artistic director, Judith Jamison.

Honorary gala chairwoman Alfre Woodard and Pauletta Washington.

Ailey dancers Antonio Douthit and Kirven James Boyd.

You Can Dance

Ailey dancer Aisha Mitchell.

Life in New York can keep you on your toes, but watching the opening night performance of Alvin Ailey American Dance Theater can put you into the stratosphere. Take it from the audience members who attended the company’s gala supper after the performance Dec. 1.

“It makes me want to go back to my room and study,” said the Rev. Jesse Jackson.

And what is he currently contemplating? “Right now I’m reading a book by the president of Union Theological Seminary. It’s called Trauma and Grace. It’s wonderful.”

The program at City Center included Revelations, an iconic work created by Ailey to celebrate African-American culture of the South. On this special evening, marking the work’s 50th anniversary and Judith Jamison’s last turn as artistic director, it was performed with live on-stage music by Sweet Honey In the Rock.

Patricia Blanchet, the widow of 60 Minutes journalist Edward Bradlee, said that as she watched, she thought about the first time she saw Revelations, when she was 5 years old. “It brought me to my feet then, and it still does,” she said. “And that’s the mark of truly great artistic creativity.”

Board member Agnes Hassell said someone she had invited to the gala had turned her down, with the disheartening explanation, “How many times can I see Revelations?” “I take that very personally,” Hassell reflected. “To me, Revelations is a rebirth, every single year.”

On perhaps a less spiritual note, it must be said that every single year, the gala supper after the performance is a chance to... dance the Electric Slide. Because among the things Ailey performances inspire, moving is high on the list.

And so in between the courses of arugula salad and cornish hen, the 1,000 guests filled the dance floor. Board member Catherine Davis tested out moves she has learned in Ailey’s extension classes on hip-hop and Zumba.

The supper honored Ailey’s chairwoman Joan Weill, and raised $2.7 million.

Ailey dancer Hope Boykin.

Ailey board member Agnes Hassell, Justine Lyn and Alyssa Hassell.

Santita Jackson and her dad, The Rev. Jesse Jackson.

Carl Spielvogel, Tedla Khan, Barbaralee Diamonstein-Spielvogel and Morgan Richardson.

Jessica and Natan Bibliowicz.

Ailey dancers Kirven James Boyd, Khilea Douglass, Constance Stamatiou, Yannick LeBrun, Rachael McLaren and Marcus Jarrell Willis

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

To contact the author or purchase photos, email Amanda.Gordon@rocketmail.com; bit.ly/agphotos.

December 14, 2010 | City Arts

19

The Strauss Symphony of America Klaus Arp

conductor (Frankfurt-Vienna)

Katarzyna Dondalska soprano (Warsaw-Berlin)

Dániel Vadász tenor (Budapest)

Dancers from KIEV-ANIKO BALLET OF UKRAINE

January 1, 2011 — 2:30 pm AVERY FISHER HALL LINCOLN CENTER Tickets: (212) 721-6500 www.lincolncenter.org INFO: salutetovienna.com 1-800-545-7807 Presented by Attila Glatz Concert Productions.