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The Met’s new Ring, 50 years of Pace, Pina Bausch’s last splash, Jonas Mekas’ Boring Masterpieces, Cherry Jones on stage and more cultural highlights of the season.


Arabella Steinbacher,

APR 29, 2011

Rudolf Buchbinder,


Yoshitomo Nara’s “White Riot” (1995) is currently being exhibited at Asia Society’s retrospective, Yoshitomo Nara: Nobody’s Fool.

MAR 19, 2011



Vadim Gluzman,

W W W. O R P H E U S N Y C . O R G

JAN 29, 2011

at Carnegie Hall

Kate Royal,

2010-2011 Season

DEC 4, 2010


Garrick Ohlsson,



Fall Preview OCT 14, 2010

Image courtesy of the artist.

SEPT. 14-SEPT. 27, 2010 Volume 2, Issue 14

9/2/10 10:51 AM


InthisIssue 7 Museums

defined by quality and design

LANCE ESPLUND on Yoshitomo Nara: Nobody’s Fool at the Asia Society.

8 Fall Preview,

Visual Art

Highlights from the upcoming gallery and museum season.

10 Fall Preview,

September 30–October 3, 2010

Theater and Film

What to look forward to this season in theater and film.


12 Gallery Beat

Johnnie Winona Ross at Steven Haller Gallery, Eddie Ochoa at Pandemic Gallery, Joan Synder at Betty Cuningham Gallery and Patrick Webb at The Painting Center, Derrick Guild at Allan Stone Gallery and Linda Mieko at Nancy Hoffman Gallery.

14 Classical Music JAY NORDLINGER looks at what autumn has in store for your ears.

18 Dining Where is the best place to eat near your favorite cultural institution? CORYNNE STEINDLER finds out.

23 Paint The Town The Selkirk Wine Coolers: A highly important set of four Regency silver wine coolers made for the 5th Earl of Selkirk by Royal silversmith Benjamin Smith of London 1808—N. & I. Franklin

The Park Avenue Armory 643 Park Avenue | New York City

AMANDA GORDON takes a look ahead at the season’s most exciting and glamorous events.



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Valerie Gladstone, John Goodrich, Amanda Gordon, Howard Mandel, Maureen Mullarkey, Mario Naves Americans in Alliance with the National Trust of England, Wales and Northern Ireland









For lecture series & show information please visit or call 646.442.1627


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Controller Shawn Scott Accounts Manager Kathy Pollyea Send all press releases to CityArts is a division of Manhattan Media, publishers of New York Family magazine, AVENUE magazine, Our Town, West Side Spirit, New York Press, City Hall, Chelsea Clinton News, The Westsider and The Blackboard Awards. © 2010 Manhattan Media, LLC | 79 Madison Avenue, 16th Floor, New York, NY 10016 | t: 212.268.8600, f: 212.268.0577 |


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Guillermo Kuitca.

Moving Art Target If you’re going to get trapped in an

A Decamaron: DecadeDavidofCohen’s David Decade of

Exhibitions at the New York Studio School,



“...explosively emotional and intensely theatrical...”—The TIMeS (UK)

Photo: Jan Szito

elevator this fall, make it the Moving Room in art gallery Sperone Westwater’s new building on the Bowery, designed by Sir Norman Foster. Painted bright red, this elevator moves up and down the building’s glass facade, “providing an amazing visual attraction,” according to the gallery’s director, Angela Westwater. So at least passersby will know you’re trapped. As for what’s inside: From Sept. 22 to Nov. 6, the 12-by-20-foot cab will feature “Le Sacre” by Argentine artist Guillermo Kuitca. The work consists of 54 small mattresses painted with maps of real and imagined places, placed vertically on every inch of wall space (except the steel elevator doors). In past exhibitions, the mattresses have appeared on wood legs on the floor— recalling their original use as beds, scenes of “dreams, sex, death, life,” Kuitca says. In the Moving Room, the viewer will be, according to Kuitca, “enclosed and immersed within.” The viewer will also be moving, very slowly, between the second and third floors, where Kuitca’s new paintings will be on view as part of larger exhibit Guillermo Kuitca: Paintings 2008-2010. The new Bowery building—which has been estimated to have cost in excess of $20 million—has an elevator in the rear for the transport of visitors and freight, so the Moving Room is a whimsy, as well as a gallery space that artists will have the option to show in. “I think there are some artists who would say, ‘I don’t want to touch that, I can’t imagine what I would do,’” Westwater says. “And there are others who will say, ‘Let me think about that.’” [Amanda Gordon] Sept. 22-Nov. 6, Sperone Westwater, 257 Bowery, 212-999-7337.

2000-2010 is an ambitious exhibition celebrating Cohen’s decade-long command of the gallery at the New York Studio School. The title nods to Bocaccio’s Decamaron, a collection of stories told by 10 storytellers over 10 days, and the allusion is both clever and fitting. Under Cohen’s guiding initiative, the gallery has presented a kaleidoscope of contemporary art as lively, multifarious and sometimes conflicting as the tales of the exhibition’s medieval namesake. This year, Cohen steps down as gallery director to devote himself more fully to writing and publishing. He leaves a position on which he placed his personal stamp as no other previous director. He and the gallery have seemed so much a unit, it is hard to think of it having existed before his tenure. London-born, Cohen came to New York in 1999 and, in a surprisingly short time, established himself as a major critical presence. Within a year of arriving, he guest-curated his first exhibition at the NYSS and was invited on staff in 2001. Now, some 50 exhibitions later, he is leaving to meet the increasing demands of writing and publishing. Cohen has followed the model of Peter Fuller, founding and editing his own publication, the online magazine artcritical. Along the way, Cohen inaugurated the influential “Gallery-Going” column at The New York Sun (disclosure: I once worked at the Sun as a critic), established the well-attended monthly Review Panel at the National Academy Museum and conducted a popular series of interviews with artists at the NYSS. In addition, Cohen has authored several books and contributed criticism to a variety of consequential publications. It has been an astonishing run. No small part of Cohen’s standing is a sensibility shaped by his regard for the finest British critics of the age: Peter Fuller (d.1990), David Sylvester (d. 2001) and painter Patrick Heron (d. 1999). Cohen describes himself—a tad wickedly, perhaps—as a conservative critic. The

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September 14, 2010 | City Arts



This Fall at

Living for Art: The Dorothy and Herbert Vogel ColleCtion

September 24, 2010–January 2, 2011 50 gifts of contemporary art from the collection of this Features remarkable couple known more for their passion for art than for material wealth.

essential, if at times subdued, truth of that lies in his appreciation of John Ruskin, a sympathy he shares with Fuller. Decamaron provides an illustrative sampler of works from shows that Cohen organized himself or traveling ones he brought to the NYSS and modified. In its effort to be comprehensive, the exhibition is something of a tumult. But as testimony to Cohen’s commitment to showcasing a crosssection of contemporary art, it is undeniably impressive. There is a wealth of fine surprises in it by too many artists to name— including Dorothea Rockburne, Andrew Forge, Sean Scully, Philip Pearlstein, Ellsworth Kelly, Thomas Nozkowski, Lois Dodd, Mercedes Matter, R.B. Kitaj and Rudy Burkhardt. What was said of Sylvester applies easily to David Cohen: He understands the game of art, and he has sharpened our understanding of it over these 10 years. [Maureen Mullarkey] Through Oct. 10, New York Studio School, 8 W. 8th St., 212-673-6466.

3 South Mountain Ave., Montclair, NJ 07042 973-746-5555 |

Helen Mirren in The Tempest.

Feasting on Cinema The New York Film Festival, the city’s

premiere film fest, has been lambasted over the years for being too exclusive, academic and, as A.O. Scott wrote in The New York Times last year, “as the grimmest in memory.” But recent additions to the programming staff—many of whom are now in their thirties—has shown a marked contrast with what appears to be higherprofile and more mainstream titles. This year’s opening night film, for example, is the hotly anticipated The Social Network from director David Fincher, and the closing night film is Clint Eastwood’s Hereafter, which stars Matt Damon. That doesn’t mean that there aren’t many foreign art films, but it does seem to speak to a broadening of the audience the Festival wishes to attract.


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art books People You’d Like to Know, by Herb Wise Fueled by a love of folk, blues, jazz and rock, Wise toured the U.S. covering music festivals during the 1960s and ’70s. From his travels comes People You’d Like to Know, a collection of candid portraits including Bob Dylan, Frank Zappa, Joan Baez and The New York Dolls. The most powerful images however, spotlight less well-known names such as Percy Randolph, Shaky Jake Woods, Elizabeth Cotton and Taj Mahal. Together, Wise makes tribute to a past era that still reverberates today. New York At Night, by Jason Hawkes A specialist in aerial photography, Hawkes tackles the challenge of capturing New York City’s twinkling lights while hovering above them in a helicopter. Overcoming the difficulty of low-light settings and jaw-dropping expenses (flying in a chopper can cost nearly $1,800 an hour), Hawkes delivers stunning results. With text by New York Times journalist Christopher Gray, New York At Night transforms skyscrapers, midtown traffic and bridges into a fantastic landscape of sparkles in the night. America By Car, by Lee Friedlander Visions of cruising along American highways have long been embedded in popular culture. America By Car, by photographer Lee Friedlander (whose current exhibit at The Whitney shares a title and many images with the book) is an exploration of this idea that has so stoked the public imagination. Compiled over the last 10 years, this collection of black-andwhite photographs, all taken from the perspective of being inside of a car, traverses various landscapes across the United States—stretches of lonely highway, scraggly roadside bric-abrac, residential blocks, churches, gas stations, restaurants, streets crowded with traffic—and provide a conglomerate portrait of the manyfaced, complex thing we refer to as “Americana.” Yoshimoto Nara: Nobody’s Fool, by Melissa Chiu and Miwako Tezuka Anyone seeking a comprehensive collection of Yoshimoto Nara’s work need look no further: Nobody’s Fool, released this month, is a compendium of artwork by the internationally acclaimed artist that spans 20 years of his career. The emotionally bruised, lonely, sometimes menacing girls and animals for which the artist is best known are splayed across a variety of mediums, from acrylic paintings and mixed media to drawings on scraps of paper that often served as early sketches for paintings. Nobody’s Fool also highlights the influence of music—particularly punk and rock—in Nara’s work. This massive volume is in conjunction with a retrospective exhibit of Nara’s art that opened at the Asia Society Sept. 9.

ArtsNews Oct. 14 is Gallery Night on 57th Street, and all along the street, 47 galleries will stay open until 8 to welcome in art lovers. Among the shows to see will be two featuring Picasso’s works on paper, one at Throckmorton Fine Art and another at John Szoke Editions… Sept. 24 will be a busy night in Dumbo as the three-day Dumbo Arts Festival, featuring installations, performance, visual art, open studios and more, kicks off. In addition to music by Tom Verlaine and the exciting-sounding “Steampunk Salon Saloon,” author Jonathan Lethem will use the event to launch the paperback of his recent, New York-based novel, Chronic City… Beginning Sept. 21, the Dia Art Foundation’s website ( will feature “24-Hour Venus,” a work the foundation commissioned from Stockholm-based artist Cecilia Edefalk. The piece consists of a five-minute, time-lapse video of a scene the artists photographed over an entire day—the summer solstice, in fact—in Västeraspa, Sweden. Viewers can watch the video all the way through or pick a particular time of day to focus on… On Sept. 21, the second annual Fall Downtown festival will kick off, and each of the 11 participating cultural organizations will host a celebratory event: HERE will offer a gallery opening and happy hour, Dance New Amsterdam will host an open house, The Flea Theater presents the premiere of Solas Nua and Georganne Aldrich Heller’s The Prophet of Monto and more. Visit for a full festival schedule… cultureNOW has launched its “Museums Without Walls” iPhone app, which features information on over 4,000 cultural sites in New York, none of which are stuck inside. “We have found a way for New

Yorkers to view cultural sites à la carte,” says Abby Suckle, president of cultureNOW. “If you want to view Picasso without having to pay museum admission, simply type in his name and within seconds, we can show you where to find three of his works of art. With our app, culture is easily accessible and fits right in the palm of your hand.”… Blood Into Gold: The Cinematic Alchemy of Alejandro Jodorowsky, the first American retrospective of the Chilean director’s films, will open at The Museum of Arts and Design Sept. 23 and will feature six films (including Santa Sangre and The Holy Mountain) as well as a class with the director himself… The Horse Trade Theater Group recently announced Heidi G. Grumelot as its new artistic director. Grumelot joined the staff at Horse Trade Theater Group in 2008. She is co-creator and producer of the monthly storytelling show TOLD and the founding director of The Drafts, an acting ensemble responsible for development of over 40 original plays to date as part of a monthly reading series. She is also the resident coordinator for Horse Trade’s six resident theater companies… Through Sept. 26, the 4heads Collective celebrates the final weekends of the third annual Governors Island Art Fair, an exposition of paintings, photographs, sculpture, video and installation pieces from independent artists and galleries. Visitors may stroll through the abandoned army barracks-turned-display rooms, enjoy live music, works by performance artists and interactive programming. Hop on the Governors Island Ferry, departing every 30 minutes on Saturday and Sunday in September from downtown Manhattan, to catch the fair’s closing party Sept. 26.

One of the new staff members is 32-year-old Scott Foundas, associate director of programming, who is also a recent transplant from Los Angeles, where he had been the film editor and critic at LA Weekly. Foundas downplays the influence of younger members on the selection committee and says the NYFF has always had a reputation for a broad range of excellent films. “Godard has been screened during the festival something like 25 times,” Foundas says. “We really look for the cream of the crop. You can come every night and see the best films in the world.” That may be the case, but the Film Society of Lincoln Center also presents another daylong series this week, “John Hughes: We Can’t Forget About Him,” which may have never been slated without Foundas’ support. The retrospective of the director’s work takes place Sept. 19, and is a

significant achievement for Foundas. “It’s something I’ve been working on pretty much since day one,” Foundas explains. “One of the fascinating things about John Hughes, for all the post-mortem tributes to him, is that in his lifetime he was not recognized by critics or the industry outside of a commercial base. He was not nominated or received any of the major awards. It’s really only in his death that he’s been appreciated.” As the organization continues to evolve—with two new spaces set to open early next year—and seeks to attract newer and younger audiences, we will have to wait and see how Foundas and the other members of the selection committee continue to program for new generations of film fans. In the meantime, the world’s cinema awaits. [Jerry Portwood] New York Film Festival, Sept. 24-Oct. 10,


Scenes of the City: Prints, Drawings & Paintings of New York 1900-2000

Sept 21

19th & 20th Century Prints & Drawings

Sept 30

Printed & Manuscript Americana

Oct 7

African-American Fine Art

Oct 14

19th & 20th Century Literature Art, Press & Illustrated Books

Oct 19

Fine Photographs & Select Photobooks

Oct 28

Old Master through Modern Prints

featuring Whistler, his contemporaries and followers Nov 4


Nov 9

Early Printed, Medical, Scientific & Occult Books

Nov 15

Rare & Important Travel Posters

Nov 18

American Art / Contemporary Art

Dec 9

Maps & Atlases, Natural History & Historical Prints, Ephemera Important Photobooks & Photographs

Dec 15

Rare & Important Art Nouveau Posters

Dec 1 Childe Hassam, Washington's Birthday, Fifth Avenue and 23rd Street, etching, 1916. Estimate $8,000 to $12,000. At auction September 16.

Catalogue Orders and General Inquiries: 212 254 4710, ext 0. 104 East 25th Street • New York, NY 10010 View catalogues and bid online at

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The Con of Cute By Lance Esplund Neo-Pop entrepreneur Yoshitomo Nara, who is being honored with a three-floor mid-career retrospective at Asia Society Museum, is a fad—not an artist. He came onto the scene in the late 1980s (the 1990s in America), and has risen to global stardom, especially in his native Japan, where he has a cult following resembling that of a rock star. Yoshitomo Nara: Nobody’s Fool, organized by Melissa Chiu and Miwako Tezuka, is the first New York museum exhibition devoted to Nara, and the first time Asia Society has dedicated its entire space to a single contemporary artist. Yet despite the piped-in music and the more than 200 objects (drawings, paintings, sculptures, ceramics, poems, memorabilia, photographs, graphic design and interactive installations) on view, this self-indulgent show—more spectacle or gloss than exhibition—is extremely thin and underwhelming, like a carnival ride that is over seemingly before it has begun. Nara makes big, smooth, highgloss plastic sculptures, as well as invented cartoonish portrait paintings on monochrome backgrounds, of puppies and children with big eyes—doe-, mischievous, sinister. His favorite subjects are impishly rebellious little girls, some of whom wield musical instruments or weapons in their tiny mitten-hands. His paintings are thin, washy, graphic and formless, occasionally as large as billboards. At times he adds glitter to the paint or he cloisters his little girls in rough-hewn shacks, where, spot-lit like Byzantine icons, they must be viewed—venerated—through waisthigh portholes. Nara scribbles aphorisms relating to violence and rebellion; isolation, loneliness and sentimentality; or classic rock, new wave and punk rock music across his artworks. Ramona, one of his recurring characters, is named after The Ramones; and the retrospective’s subtitle, “Nobody’s Fool,” refers to the title track of Dan Penn’s 1973 Southern soul album, whose jacket is displayed at Asia Society in an installation of 100 late ’60s and early ’70s LP record album covers from the artist’s personal collection. Besides all of Pop art—especially Warhol—Nara’s sources include Mike Kelly’s stuffed-animal wall hangings, Disney characters, Kewpie Dolls, Jeff Koons’ puppies, Hello Kitty, Barbara Kruger, Henry Darger, Ukiyo-e, psychedelia, manga and grunge graphics. But Nara also has a folk art, or hillbilly, side, evident in his unwieldy, child-scaled clapboarded structures made of old lumber—their interiors decorated with the artist’s

Courtesy of the Artist

It’s not as innocent as it may seem inside Yoshitomo Nara’s child-friendly playhouse

“Untitled (Nobody’s Fool)” (1998 ), on view at the Asia Society through Jan. 2.

paintings, drawings and doodles. Part Grimm’s fairytale and part Peewee’s Playhouse, the structures often have high-pitched roofs with scalloped shingles and are awash in pastel paint and colored lights. At Asia Society, where wooden walls and walkways, candy-colored platforms, carnival lighting, cushions, curtains and sculptures made of stuffed animals have been installed, and where a number of the artist’s playhouses have been constructed and can be explored, the museum has been transformed into a child-friendly funhouse—which spills outside and onto Park Avenue.

Children—perhaps even the child inside you—will love his work. But it is all a lot of manipulation, pap and flimflam. Obviously, Nara, a circus-ringmaster of ceremonies, knows exactly what he is doing—what fantasies he is concocting. He knows just what the public wants— what acts to feature and what bells to ring. At Asia Society, Nara has installed a bad family photograph of his own adorable young child in one of his little rooms. And outside the museum, ensconced on

Park Avenue’s mediums, at East 67th and 70th streets, he has installed two 12-foottall smooth, white, fiberglass little girls. Looking at the sculptures recently, I saw a toddler, straining to touch one of the figures, being restrained and pulled away by her mother. I read somewhere that scientists have discovered that the same chemical released in our bodies when we feel love is released when we see the features of a child—large eyes on large heads. The biological reason for this, they explain, is self-protective, evolutionary: just when you get close enough to strangle your colicky infant, you look into her face and feel love. Walt Disney, who gave all of his characters the facial features of children, instinctively understood this. And so does Nara. Walking through his show, as if drugged, one feels a kind of cuddly, warm-and-fuzzy feeling toward the artworks—which pacify and soothe. And children—perhaps even the child inside you—will love his work. But it is all a lot of manipulation, pap and flimflam. On the other hand, Nobody’s Fool, which is sure to be a box office hit, is just good-business as usual. Museums are increasingly mounting booming exhibitions that appeal not to our highest, but, rather, to our lowest—our most childish—instincts. The outlandish success of MoMA’s Tim Burton and Pixar retrospectives suggest that perhaps it is foolish not to make every museum a children’s—or at least more childfriendly—museum; and that—art be damned—the path to success, artistic or otherwise, is always that of popularity, money and fame. Like the Brooklyn Museum’s unflinching and unapologetic embrace of Nara’s outrageously overhyped fellow countryman and businessman Takashi Murakami (with whom Nara shared a room when they were both guest professors at the University of California, in 1998), Nobody’s Fool is a celebration of stardom and commercialism—if not arrested development. Although Nara’s recent ceramics show minuscule promise that the artist has a feeling for form, nothing else in this exhibition can be considered a serious work of art. In mounting Nobody’s Fool, Asia Society has taken a stance. They have made it clear that they are more interested in promoting the pop-culture phenomena of Asia—in becoming just another gear in the art world’s massmarketing machine—than in promoting Asian art. Through Jan. 2, 725 Park Ave. at 70th Street, 212-288-6400. September 14, 2010 | City Arts


museums & galleries

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Franz Xaver Messerschmidt 17361783: From Neoclassicism to Expressionism If you’ve scared a child by telling her not to make faces because it may stay that way, this exhibit may be the creepy truth. The first exhibition in the United States devoted exclusively to this major late18th-century Austro-Bavarian sculptor, the Messerschmidt exhibit focuses on the artist’s creepy-cool “character heads.” Neue Galerie, Sept. 16-Jan. 10. 50 Years at Pace You’ll have to spend some time between the four different locations to check out Picassos, Giacomettis and Pop Art masterpieces, but the effort will be well rewarded. With pieces on loan from collectors, this is going to go down in the history books (and you can pick up the catalog to commemorate it). Pace Gallery (four locations), Sept. 17Oct. 23.

The Spanish Manner: Drawings from Ribera to Goya While we’ve seen plenty of Goya, this is the first museum exhibition to be held in New York City devoted to the broad tradition of Spanish draftsmanship, and includes works on loan from the Met, the Hispanic Society of America and extraordinary sheets from The Morgan Library & Museum, the Princeton University Art Museum, the Philadelphia Museum of Art and individual collectors. The Frick, Oct. 5-Jan. 9. The Last Newspaper Curious why every newspaper is going gaga over this exhibit? Well, it’s built into the title, so we all feel we must give it some ink. The artwork in this exhibit will be from William Pope.L, Wolfgang Tillmans and Aleksandra Mir. But most everyone seems excited about the working “newsroom” that produces a weekly printed paper. See? Now you can appreciate all of our hard work by seeing the process of creating it. The New Museum, Oct. 6-Jan. 9. Jeff Koons: Exaltation Strange after all these years that Koons’ art can now be considered safe (blame it on those cutesy stainless steel balloon animals). But now seems like the time to remember when he was the enfant terrible (albeit at a more advanced age) and making sculptures and portraits of himself and his pornstar wife La Cicciolina. If you don’t want to slap your husband for leering, we recommend staying at home. Luxembourg & Dayan, Oct. 6-Jan. 21.


Mark Twain: A Skeptic’s Progress 
 If you enjoy poring over the scribblings and pontifications of legendary writers and thinkers, then here’s a granddaddy of an exhibit. Coinciding with the 175th anniversary of Twain’s birth, this joint exhibit is presented by The Morgan and The New York Public Library—which hold two of the world’s great collections of manuscripts and rare books by the iconic author. It includes more than 120 letters, notebooks, diaries, photographs and drawings associated with the author’s life and work, and is supplemented by Twain’s correspondence, drawings and illustrations, photographs and several 3-dimensional artifacts. Morgan Library & Museum, Sept. 17-Jan. 2 Nueva York (1613-1945) We know about the waves of immigration to the city, but the influence of Spain and Latin America is often overlooked. Organized by the New-York Historical Society and El Museo del Barrio, this landmark exhibit will span from the founding of New Amsterdam in the 1600s as a foothold against the Spanish empire to the present day, and includes a special documentary created by Ric Burns. El Museo del Barrio, Sept. 17-Jan. 9.

Modern Life: Edward Hopper and His Time Anytime the Whitney decides to mount a Hopper exhibit, it seems to be a blockbuster. Since we’re tired of seeing this museum so empty when the throngs are packing other nearby exhibits, it’s about time. And maybe there will be something new to learn from these quiet masterpieces. Whitney Museum of American Art, Oct. 28-April 10. Grain of Emptiness: Buddhist Inspired Contemporary Art You may be familiar with the Tibetan mandalas in the museum’s permanent collection, but this exhibit features five contemporary artists—Sanford Biggers, Theaster Gates, Atta Kim, Wolfgang Laib and Charmion von Wiegand—which are all inspired by Buddhist notions of emptiness and impermanence and Buddhist ritual practice. And, get ready, because the exhibition’s paintings, photographs, videos and installations will be complemented by performance art. Rubin Museum of Art, Nov. 5-April 11.

Frame by Frame i was watching

the city drown Kathy Anderson, photographer, New Orleans Times-Picayune


katrina Deadlier than Camille, more devastating than Andrew, 2005’s Katrina left shock, frustration and ruin in its wake. Five years later, the Newseum combines accounts from reporters who were there with original artifacts, moving photographs and dramatic newspaper front pages. Together, these elements tell the behind-the-scenes story of the most destructive hurricane in U.S. history. Experience the intensity of “covering Katrina,” only at the newseum.

555 Pennsylvania Ave., N.W. Washington, DC 20001 |

Me Myself & I Starring Brian Murray and Elizabeth Ashley, this Edward Albee play is about a mother who can’t distinguish between her twin sons. May not be promising for the boys, but it’s a great season opener for us. Playwrights Horizons, Opened Sept. 12. Brief Encounter A highly theatrical adaptation of the classic weepie (itself based on a Noel Coward short play), this production has prestige and theatrical magic written all over it. Studio 54, Opens Sept. 28. The Pitmen Painters Transferring from a sold-out run at London’s National Theatre, this new play from Lee Hall (Billy Elliot) tells the tale of British miners who turn to paint and canvas to express themselves—instead of dance. Samuel J. Friedman Theatre, Opens Sept. 30.

sister, in this comedy directed by Sam Gold (Circle Mirror Transformation). Roundabout Underground, Opens Oct. 6. A Life in the Theatre Patrick Stewart and T.R. Knight headline this season’s David Mamet revival, about two actors who work together at different stages in their careers. Schoenfeld Theatre, Opens Oct. 12 . Bloody Bloody Andrew Jackson A hit last season at The Public, this tongue-in-cheek, rock’n’ roll musical takes audiences on a rollicking ride through the life of President Andrew Jackson. Benjamin Walker reprises his critically lauded role as Jackson. Bernard B. Jacobs Theatre, Opens Oct. 13. La Bete David Hyde Pierce, Joanna Lumley and Mark Rylance bring this revival of David Hirson’s 1991 comedy (set in the 17th century and written in iambic pentameter) back to Broadway. Comedic golden boy Matthew Warchus (God of Carnage) directs. Music Box Theater, Opens Oct. 14.

Mrs. Warren’s Profession Stage star Cherry Jones leaves Hollywood behind to return to Broadway for the first time in four years in this revival of George Bernard Shaw’s controversial play about a madam and her daughter. American THEATER Airlines Theatre, & FILM Opens Oct. 3.

Driving Miss Daisy Vanessa Redgrave and James Earl Jones return to the stage in the first ever Broadway production of Alfred Uhry’s classic twohander. Golden Theatre, Opens Oct. 25.

Tigers Be Still A substitute art teacher finds herself in the middle of a dizzying array of wacky characters, from a gun-toting boss to couch-bound

After the Revolution A young woman is forced to question her adulation of her blacklisted grandfather in Amy Herzog’s portrait of a leftist


The Heist Festival Film Forum’s caper-centric series features an exciting selection of diffuse features, from Walter Matthau as a parachuting bank robber in Don Siegel’s Charley Varrick to “The Wrong Trousers,” Nick Park’s best Wallace & Gromit short film. Be sure to take advantage of Film Forum’s two-for-one double feature ticket special to catch such inspired pairings as Blue Collar, Paul Schrader’s directorial debut, and Robert Wise’s Odds Against Tomorrow, which stars Ed Begley, Gloria Grahame, Robert Ryan and Shelley Winters. Also don’t miss Un Flic, JeanPierre Melville’s masterfully tight-lipped final film and Richard Fleischer’s demented Armored Car Robbery. Film Forum, Oct. 1-21.

Yeonghwa: Modern Korean Cinema MoMA has come up with a tantalizing lineup of new Korean films that neither revolves around typical popular gangster films nor romcoms nor films by recognized auteurs. This slate of political comedies and period pieces looks irresistible. Highlights include Im Sang-Soo’s remake of Kim Ki-young’s The Housemaid and Woochi, a time-traveling comedy about a 16th-century Taoist monk who fights demons in modernday South Korea. Museum of Modern Art, Sept. 22-30. Blood Into Gold: The Cinematic Alchemy of Alejandro Jodorowsky The Museum of Arts and Design screens all but one of Chilean guru/ filmmaker/comic book writer Jodorowsky’s movies starting in late September. On Sept. 25th, the 81-year-old head will discuss his art and philosophy in person. Museum of Arts and Design, Sept. 23-Oct. 8.


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trials of the titular African-Americans for raping two white women, Scottsboro Boys boasts one of the most jangling and electric scores and inventive staging (from Susan Stroman) in recent years. The Lyceum Theatre, Opens Oct. 31.

Jonas Mekas Selects: Boring Masterpieces This summer, seminal American avant-garde filmmaker and Anthology Film Archives co-founder Jonas Mekas began the “Boring Masterpieces” series. The paradoxically popular series showcased lengthy offerings like Masaki Kobayashi’s

Joan Marcus


Zachary Booth and Elizabeth Ashley in Me, Myself and I.

American family coming to grips with its own history. Playwrights Horizons, Previews begin Oct. 21. Spirit Control This drama, by Beau Willimon (Farragut North), follows an air-traffic controller who must talk a passenger through an emergency landing after the pilot suffers a heart attack. City Center Stage I, Opens Oct. 26. The Break of Noon Starring David Duchovny as a man who survives an office shooting during which he saw the face of God, Neil LaBute’s latest morality play also stars Amanda Peet. Lucille Lortel Theatre, Opens Oct. 28. The Scottsboro Boys Songwriting legends Kander and Ebb’s final show, The Scottsboro Boys, transfers from Off-Broadway’s Vineyard Theatre. A minstrel show retelling of the arrest and The Human Condition (close to 10 hours) and Andy Warhol’s eight-hour, single take Empire. Mekas continues the series with Warhol’s Sleep, Andrei Tarkovsky’s Solaris and Jack Chambers’ Hart of London. Anthology Film Archives, Oct. 7, Nov. 13, Dec. 17. To Save and Project: The Eighth International Festival of Film Preservation MoMA hosts this vital film festival, dedicated to the rediscovery and preservation of predominantly foreign classics. This year’s festival opens with a newly restored print of Luchino Visconti’s The Leopard and continues with pre-code melodrama The Story of Temple Drake, a 1933 adaptation of William Faulkner’s novel Sanctuary. Other highlights include Manoel De Oliveira’s Acto de Primavera, Volker Schlondorff’s The Tin Drum and J’Accuse, Abel Gance’s 1919 Civil War epic. Museum of Modern Art, Oct. 15-Nov. 14. Scary Movies 4 This Halloween, the Film Society at Lincoln Center reprises their eclectic and

Middletown Playwright Will Eno, who was Pulitzer-nominated for Thom Pain (based on nothing), returns to the stage with a “powerful and poignant” play about life in a small town, starring Linus Roache, Heather Burns, Michael Park and The Mary Tyler Moore Show’s Georgia Engel. The Vineyard Theatre, Opens Nov. 3. Women on the Verge of a Nervous Breakdown A musical adaptation of the Pedro Almodóvar film, Women has a David Yazbek score and enough star wattage to light up the marquee: Patti Lupone, Sherie Rene Scott, Laura Benanti and Brian Stokes Mitchell. The Belasco Theatre, Opens Nov. 4. The Merchant of Venice Al Pacino brings his Shylock to audiences for the third time, following a film and this year’s Shakespeare in the Park production. The Broadhurst Theatre, Opens Nov. 7. The Collection & A Kind of Alaska: Two Plays by Harold Pinter Two Pinter plays, written almost 20 years apart, comprise this doublestuffed evening from the Atlantic Theater Company. Classic Stage Company, Opens Nov. 21. invigorating program of both classic and contemporary horror films. While the slate has not been announced as of yet, last year’s line-up featured such enticing titles as Spanish kiddie slasher Who Could Kill a Child?; Antonia Bird’s modern gothic masterpiece Ravenous; Horror of Dracula, Hammer Studios’ definitive Dracula spinoff; Aussie eco-thriller Long Weekend; Jerzy Skolimowski’s rarely screened The Shout; and Tom Savini and George Romero’s sadly underappreciated 1990 remake of Night of the Living Dead. Walter Reade Theater, Oct. 28-31. Roman Polanski: Short Films Polanski’s adaptation of Thomas Harris’s The Ghost Writer not only started the year off with a bang, it was also a welcome reminder of why he’s a master of contemporary cinema. His pervasive, scathing and totally unique brand of black humor and characteristic preoccupation with existential themes of being young, hungry and doomed is endlessly rewarding. One can be sure that the short films BAM screens will accentuate Polanski’s typical wit and angst. BAMCinématek, Nov. 1-2.

AttheGALLERIES entrench the figure of Woman in exposure and objectification. In “A Songsinger,” layering is done so meticulously that only on close inspection does the viewer realize that the music’s spirit, emitted from the singer in weaving tendrils, is not just an array of impossible overlaps. While the references harken back to an ancient, more nostalgically mystical time, there is something utterly current about Ochoa’s work. They are momentary and pretentiously referential, and reek of the clean yet bland composition of streetfashion blogs. [Nicholas Wells]. Through Sept. 18, Pandemic Gallery, 37 Broadway, Brooklyn, 917-727-3466.

Patrick Webb: Punchinello as Other and Caren Canier: Paintings

“A Wonder,” by Eddie Ochoa.

Eddie Ochoa: Amalgamation

Amalgamation is the process of transforming multiple entities into a single form, and it works as both an inspiration and physical manifestation in Eddie Ochoa’s work. While looking for pictures of his deceased mother, Ochoa came across collages of construction paper and comic book pages he had made as a child. For this show at Pandemic Gallery, he reintroduced his childhood pastime into his practice, combining influences from different stages in his life into paperdoll collages. Mystical and folkloric traditions from around the world permeate Ochoa’s work, especially iconography of the Puebloan people of the American Southwest. “The See Through Horse” and “A Wonder”


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incorporate the starry skies and red mesas of Ochoa’s native El Paso into backgrounds that relate to the figure pasted into them. Other pieces are pasted over insipid backgrounds; figures lost in space and context. In “Lilith,” the first wife of Adam, who is often associated with the serpent in Eden, is reinterpreted with the skeletal wings of a bat, the sumptuous hair mentioned in Goethe’s Faust, and turquoise hips and leg bones. The feminism implied in disassociating Lilith from the serpent and her subservience to Adam is the only contemporary–ism recognizable in Ochoa’s work. But a Tibetan mandala covering her genitals and the bat wings—respectively suggesting the mystery and lure of the universe and the Book of Isaiah’s relegation of birds of the night as “unclean”—further

In the art-gestalt of our time, quirkiness can be a major virtue—indeed, practically an end in itself. The two painters currently on view at The Painting Center unabashedly embrace the quirky, even while employing fairly traditional media and subjects. And, as is often the case, it’s the inherent possibilities of paint that make the results more than merely trendy. Patrick’s Webb’s first solo exhibition represents his fifth show concentrating on Punchinello, the tragic/comic Commedia dell’Arte character that the artist has incorporated, over the years, into contemporary scenes at western saloons, health clubs, beaches and gay bars. This exhibition’s title, Punchinello as Other, highlights the alienated determination of the character, even as he’s swept—huge, drooping nose and all—into modern bustling sidewalk scenes titled after Mozart operas. The finely sculpted faces, rhythmic silhouettes and minutely choreographed gestures affirm Weber’s enthusiasm for Piero della Francesca and Balthus, and his drawing of these figures, in fact, attains a measure of the gentle hieraticism of Piero’s imagery, even if his colors don’t build with quite as much momentum. Other large paintings in the show depict Punchinello unloading various objects from trucks: here boxes; there, lumber. In one canvas, five Punchinellos unload a piano. My own favorite painting belongs to a third series of smaller paintings titled “Married Life.” In this depiction of a couple at Sunday brunch, colors work beautifully to give weight to a comically sad scene; the tawny grays of an opened newspaper, set against retiring reds, greens and blues, conveys all the intransigence of a wall between Punchinello and his spouse. In the gallery’s project room, Caren Canier’s footloose but tidy appropriations bring an immediate appeal to her mixedmedia works of painted and collaged images. Two larger pieces, featuring dense assemblies of people, smiling blearily at us from parade gatherings or beach

outings, speak of wholesome, downhome pleasures. Other pieces describe rather weird and exotic assemblages of historical flotsam; in “Ulysses,” a dapper man with a straw boater appears again and again, striding amongst Phoenician boats, Hellenistic sculpture and an immense ancient Greek bowl. And still other works are simply weird: roomfuls of counterposed, tapering figures borrowed from Elie Nadelman, which commit to paint what the sculptor modeled only in materials like bronze or wood. A Surrealism-tinged nostalgia animates all such scenes, charged, it seems, equally by the artist’s affection and her sardonic wit; her inventions pile up as fast as brushstroke—or collaged material—can muster. Particularly appealing is the domestic scene in the small “Dinner at Home”: picture Vuillard’s intimacy suffused with phosphorescent color. How might medieval minstrels or de Chirico figures share worlds with Muybridge’s photographs? Perfectly naturally, it turns out, in Canier’s peculiar images. [John Goodrich]

Through Oct. 2, The Painting Center, 547 W. 27th St., Ste. 500, 212-343-1060.

Linda Meiko Allen: Atmospherics

The show’s title says it all. Allen’s images cascade like clouds, tumble like waves and flow like lava, fluid and amorphous. Free floating and seductive in shades of gray and black, they are enlivened with touches of pale gold and orange. They could be skyscapes, seascapes or simply dreams; they draw you into their currents. To obtain these effects, she layers pigment on plastic, building up the surface, then transferring the shapes to paper and finally applying them to aluminum or wood panels and drawing in detail with ink. “Atmospherics XIII Revolver” looks like a solar explosion of small gray and tan shapes, a starburst of energy. “Atmospherics XV” could be a clash of titans, each side dense, powerful and ominous, in a battle that might have sprung from the imagination of a modernday Michelangelo. Every one of these stirring paintings has the capacity to propel you into a sometimes frightening, sometimes engrossing world. For instance, “Atmospherics I – Air” looks like water spilling over a skeletal grid, its pale grayness offset by rectangular bars of rust and orange. In “Atmospherics II – Fire,” a series of orange and gray cubes interrupts the organic pale gray shapes, like a dose of reality in an unfettered universe. For all the care that clearly goes into their composition, her works could be descendants of Pollack’s spatter paintings, as they also fly free and wild, offering viewers the thrill of a roller coaster. You

are never sure where you are or where you are going but you wouldn’t choose to be anywhere else. [Valerie Gladstone]

Through Oct. 19, Nancy Hoffman Gallery, 520 W. 27th St. 212-966-6676.

Joan Snyder: A Year in the Painting Life

In this ravishing show of 15 paintings, Snyder fills her entrancing canvases with muted colors, allowing them to drip and spread like growth in nature, mysterious but purposeful. Reminiscent of the early stroke paintings that first brought her to the public’s attention in the 1970s, these works also include burlap, fabric, pastel, dirt, herbs and seeds that provide texture, and tie them all the more closely to living things. They seem lit by an inner light that gives them depth, so that looking at them feels like peering into pools of water where there is limitless activity beneath the surface. The pale “Rosebuds White Fields” could be a snowy field in winter, when only tiny specks of pale green emerge from the earth. Splotches of orange fall upon it like rays of sun, and the deep red rosebuds sprinkled over the surface could as easily be spots of blood, signaling tiny deaths. It’s a place of faint breath. Far more active and dense, “Big Blue Two” is gold and blue and red, the droplets here ever more blood-like, though the scene could be a ghost ship sailing on squares of blue. It has the quality of Asian miniature, blurred but depicting an ancient and eternal rite of passage. All her works exhibit a refreshing confidence. One can almost feel her applying the strong swaths of color, her gestural language clear and loud. She chooses a darker palette for “Brooklyn,” where strips of white are interspersed with tans and clumps of blue. Sometimes, it appears as if she could be a long lost cousin of Rothko, noisier and more rambunctious than he but certainly related to him by her use of space and ability to find silence in color. Let’s hope she never puts down her brush. [VG] Through Oct. 30, Betty Cuningham Gallery, 541 W. 25th St., 212-242-2772.

Derrick Guild: After Eden

Prick hundreds of contemporary paintings and the air goes out of them. Prick a fine botanical and it bleeds. With Derrick Guild’s florilegium of oversized, counterfeit botanical paintings, a prick gets you some of both: a little blood and a bit more air than is needed. Blood is the best part. The lifeblood of historical botanicals flows from an obligation to be both true and beautiful, a transcendent unit. This dual nature of botanical art—scientific in purpose, aesthetic in conception and execution—is turned on its head by Guild. After Eden is a collection of

fastidiously imagined botanical fictions. These impossible plant forms, meticulously realized, owe themselves to the artist’s 22 months on Ascension Island. A British dependency in the mid-Atlantic with only three indigenous plants, the island’s lush rain forest has been an ongoing work of human ingenuity since the mid-18th century. What British botanists achieved in real life, Guild mimics on canvas. These are the botanical equivalent of capriccios, fantastical species of flowering plants instead of invented architectural ruins. Truth to tell, Guild’s made-up hybrids could have been conceived as easily back home in Edinburgh. “Ascension Plant V (Broughton Street Botanical)” admits as much. Rising to 6.5 feet, its branch of disparate blooms is every inch a studio whimsy. Inspired rummaging through illustrated herbals or the books available from Edinburgh’s Royal Botanical Gardens (off Boughton Street) would yield the same pictorial results. The accompanying catalog patter strains to transform Guild’s tour de force into a long-faced commentary on colonialism, creationism, “the imperative of consumption” and related Big Thoughts. It is meant to convince the viewer there is more here than meets the eye. Presenting Guild as a political painter provides fashionable, if muddled, cover for what is, at heart, nothing more—though certainly nothing less—than a delicious trompe l’oeil romp. Historical botanicals were worked in watercolor on paper; Guild’s improbable species are done in oil on canvas. His forgeries of aged paper look older, more stained and crumpled, than the real thing. He foregoes the gamesmanship of earlier practitioners of trompe l’oeil, e.g. William Harnett and John Peto, by pumping up dimensions. Some will see the work as a partial send-up of the ancient trompe l’oeil tradition; others will see kitsch— note the small sculptures—dressed as social commentary. Lighter hearts will enjoy it best. They can find here a visual counterpart to Marianne Moore’s insistence on “imaginary gardens with real toads in them.” [Maureen Mullarkey]

Through Oct. 23, Allan Stone Gallery, 113 E. 90th St., 212-987-4997.

Johnnie Winona Ross

The loveliness of Johnnie Winona Ross’ paintings elude translation into either reproduction or verbal description. Compositional clarity and order can be conveyed only at the cost of intimacy with the small, exquisite freedoms that loosen the architecture to let in air and light. For all the apparent minimalism of his compositions, built on the familiar grid, there is nothing minimal in the translucence of his surfaces. The hard-won radiance of them—

“Deep Creek Seeps (Red Bluff),” by Johnnie Winona Ross.

tinted with spare bands of pale color— suggests that contemplative emptiness sought by mystics in abnegation and forbearance. These are the most silent paintings to emerge from the minimalist impulse, so noisy with its own vaunted frugality. Ross’ work has been compared to that of Bridget Riley, Mark Rothko and Dan Flavin. Each comparison is accurate enough, in its way, but not adequate. While Riley’s optical patterns can dazzle, her surfaces are arid and allusions to landscape are largely rhetorical. Ross does not intend to dazzle but to press light from color and line. Flavin’s light is fluorescent, dependent on electricity and in debt to Thomas Edison. By contrast, the radiance of Ross’ labor-intensive painting emerges from within, the result of pure pigment mixed with granulated marble, layered and burnished with a potter’s stone. It is in its light—even more than in recumbent parallels suggestive of horizon lines—that Ross’ allusions to landscape take on reality. Here is the keen ambient light of the New Mexican desert that provides place names for the paintings’ titles: “Deep Creek Seeps-Red Bluffs,” “Corn Creek Seeps,” “San Solomon Seeps.” Lustrous whites evoke bleached bones. His colors are those of scorched sand and distances decolorized by heat and haze. Deeper shades appear sparely, in

slender bundles of vertical lines that weep down the horizontals. This year’s “Lost Creek Seep” is simple in its geometry but intricate in lambent shifts of color within the bounds of level planes. Three identical color belts, separated from each other by glowing white bands, stretch horizontally across— and beneath—the polished surface. Their uniformity is broken into thirds, lengthwise, by a slow warming of color in the central division. The effect calls to mind Rothko’s effort to find that point where the visible glides into the invisible. But Rothko’s gestures toward light were breaks in a reigning gloom. Ross’ incandescent works approach the ecstatic. No small part of that sense of exaltation is the artist’s jeweler’s eye and love of craft. No detail—from hand-forged tacks at fastidious intervals along the stretchers to his pigment compounds—escapes the attention of a wakeful sensibility. There is something countercultural in the way these paintings assert themselves as the work of hands. Contemporary fashion for listless conceptualism abandons concern for art’s origin in the vital bond between concept and labor. Implicit in the beauty of Ross’ works is the aesthetic dimension of skilled labor. [MM] Through Oct. 16, Stephen Haller Gallery, 542 W. 26th St., 212-741-7777. September 14, 2010 | City Arts


The First Semester

Our critic makes some recommendations: from a ‘Ring’ to a clarinet recital


By Jay Nordlinger

Yves Renaud/Metropolitan Opera

he music season is a little like the school year: It goes from September to June. And just as there is summer school, there are summer festivals. Let’s talk about the first “semester” of the 2010-11 season. This is a short semester, running from September—and late September at that—until Christmas. I’d like to make some recommendations: recommendations of concerts, recitals and opera performances that ought to be good. Then again, they may not be. Begin at our number-one hall, Carnegie. Its season kicks off Sept. 29 with four concerts by the Vienna Philharmonic, one of the greatest orchestras in all the world, along with the Berlin Philharmonic. At Carnegie, the Vienna group will be led by two conductors, at different stages in their careers: Nikolaus Harnoncourt, the veteran Austrian, and Gustavo Dudamel, the young Venezuelan. When they are wonderful, they are really wonderful. And then there are less inspired nights. Two soloists will be A view of the multi-million dollar set for the Met’s Das Rheingold. appearing on these Vienna programs: Lang Lang, the pianist, and Yo-Yo Ma, the cellist. he will be there if his back is cooperating. Gelb’s finest achievement is to have raised Both of these musicians are very, very hitFingers crossed for cooperation. He, and the level of conducting on non-Levine or-miss. Fingers crossed for hits. Wagner, will have some excellent singers, nights. And those are increasing. Another greatly uneven musician is including Terfel, wielding the spear as At the New York Philharmonic, Valery Gergiev, the Russian conductor, Wotan. But then, will there be a spear? Joshua Bell will play the Sibelius Violin who will lead his Mariinsky Orchestra— The Met is staging a new Ring production Concerto—the concerts featuring him, and formerly the Kirov Orchestra—in four by Robert Lepage, and some directors find Sibelius, begin Oct. 6. And Dec. 2, Sir concerts starting Oct. 20. The concerts such items as spears offensively literal and Colin Davis will take the podium and keep will offer Mahler symphonies. Gergiev old-school. it for two concerts. He will have at his side, can be wizardly and transcendent; and he On Oct. 11, René Pape will begin a for one of them, the great German soprano can be blah. Again, fingers crossed. On run in the title role of Mussorgsky’s Boris Dorothea Röschmann, who will sing Oct. 27, the aforementioned Ma will play Godunov. His conductor will be that Mahler. In the other concert, Sir Colin will a recital. And Nov. 13, Simon Trpceski, Mussorgsky master, Gergiev. La bohème is conduct two composers in whom he has few the Macedonian pianist, back starting Oct. 16, and that peers: Mozart and Elgar. will join the Baltimore title role will be shared by two On Oct. 31—in the afternoon, before Symphony Orchestra, singers from east of Vienna, trick-or-treating begins—the Dresden conducted by Marin both of them superb. First Staatskapelle will play in Avery Fisher Alsop, for Prokofiev’s Piano comes Maija Kovalevska, Hall. That’s under the auspices of Great Concerto No. 3. Trpceski from Latvia, and then Performers at Lincoln Center. Along with is an old-fashioned comes Krassimira Stoyanova, the Westminster Choir, the orchestra will be CLASSICAL Romantic and a superfrom Bulgaria. Also superb is conducted by Daniel Harding in Brahms’ & OPERA virtuoso. Puccini’s opera—and Franco German Requiem. The solo singers will be Bryn Terfel is quite possibly Zeffirelli’s production, as well. Christiane Karg and Matthias Goerne, who the most likable person in all of Don’t be fooled by the popularity of have beautiful voices and other musical music. He will give a recital Nov. 17. He either. assets. On Nov. 13, in Alice Tully Hall, the may do some crooning, rather than proper Donizetti’s Don Pasquale returns Oct. Latvian National Choir will sing Bach and singing, but he also may put on a clinic 29, with Levine in the pit (back permitting) Arvo Pärt—a very good idea. Three nights in singing: proper singing. And he will and a delightful cast of Anna Netrebko, later, in the same hall, Paul Jacobs will play be, count on it, likable. On Nov. 20, Matthew Polenzani, Mariusz Kwiecien and Bach on the organ—another very good idea. Pinchas Zukerman, the violinist, and Yefim John Del Carlo. Netrebko may not be the And Dec. 5, in the Walter Reade Bronfman, the pianist, will give a recital purest bel canto singer, but she is a stellar Theater, the formidable clarinetist Martin together. They are mature musicians—and opera performer. So is Elina Garanca, who Fröst will play a recital. On his program are I don’t refer to years, but rather to wisdom. will reprise her portrayal of Carmen, Bizet’s some clarinet staples, including Debussy’s And their composers on this evening are eternal gypsy, starting Nov. 4. Garanca is Première rapsodie—curiously enough, there Mozart, Beethoven and Brahms. That is a too small for the role—that is, her voice is— is no second one—and the Poulenc Sonata. respectable lineup, you might agree. but she smolders like mad. This recital is at 11 o’clock on that Sunday Opening Night at the Metropolitan And Dec. 17, Sir Simon Rattle will morning. Great Performers must figure that Opera is Sept. 27, and music director James come in to conduct Debussy’s Pelléas et New Yorkers don’t go to church. I’m sure Levine will be in the pit for Das Rheingold, Mélisande, with a most promising cast. You they know what they’re talking about. the first opera in Wagner’s Ring. That is, could argue that general manager Peter Returning to the opera, but this time


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to Carnegie Hall, where, Oct. 25, the Opera Orchestra of New York will present a double bill. It includes Cav but not Pag. In the usual course of things, Mascagni’s Cavalleria rusticana is paired with Leoncavallo’s Pagliacci. This time, however, Cav’s partner will be a rarity: La Navarraise, by Massenet. On the stage will be several top-drawer singers, including Garanca, Roberto Alagna—and a mezzo out of the past, Mignon Dunn. Finally, visit the Metropolitan Museum, which has music as well as paintings, medieval armor and the like. The cellist Gautier Capuçon and the pianist Gabriela Montero make a fine team, and they will be teaming up for a recital Nov. 13. And are you ready for Christmas in November? Chanticleer’s annual Christmas concert, given multiple times, begins Nov. 30. Buy now—shop early—because the concerts sell out, and understandably so. Oh, one more thing: I’ve noticed that I have recommended three performances that take place on the night of Nov. 13. Musical life can present hard choices. Then again, we’re lucky to live in a city where such choices have to be made. classical & OPERA Six Degrees of Marvin Hamlisch This won’t be a cheap concert, but it’s sure to be a fun night. Hamlisch’s quirky personality and his place as a social fixture and sometime companion of the beautiful at gilded events have obscured his actual accomplishments. Yes, he wrote the James Bond song “Nobody Does It Better.” He also composed the underrated score to A Chorus Line. Most of the surviving stars of that show join up with Robert Klein, Liz Callaway, Victor Garber and Lesely Gore in a benefit for the Actors Fund. Symphony Space, Oct. 4. New York Philharmonic: Sibelius Violin Concerto New Philharmonic conductor Alan Gilbert has gotten off to a quick start, and the fall offers a number of appealing Philharmonic programs. Particularly enticing is the return of violinist Joshua Bell playing Sibelius’ passionate “Violin Concerto.” Also on the program are two deserved audience faves: Strauss’ “Don Juan” and Debussy’s “Afternoon of a Faun.” Both Bell and Gilbert have reputations as nice guys. This is a chance to see the nice guys finish first. Avery Fisher Hall, Oct. 6. Metropolitan Opera: Boris Godunov The most talked about new Met production this fall will be the opening

night performance of Das Rheingold. There’s lots of curiosity about the sets, which replace the hugely popular ones of Otto Schenk built during the tenure of former Met director Joseph Volpe. A better bet for a great show is the new production of Boris Godunov, with astonishing baritone Rene Pape in the title role. Valery Gergiev will, with proper immodesty, conduct Modest Mussorgsky’s music. Pape and Gergiev are huge talents, and, good or bad, what results is not apt to be dull. Metropolitan Opera House, Oct. 11. Philadelphia Orchestra plays Liszt and Prokofiev Carnegie Hall’s season doesn’t really get going until a week of concerts by the Vienna Philharmonic, starting Sept. 27. Vienna may be the best orchestra in the world, but that’s reflected in the price of the ducats. Orchestra seats run up to $220, and even back balcony tickets have a $62 face. Better buys may include the Philadelphia Orchestra and the Mariinsky Theatre. The season also includes everyone from sapphic superstars the Indigo Girls to the English Concert and comedy from Craig Ferguson. Former Montreal Symphony maestro Charles Dutoit, who specializes in the 19th-century French repertory rendered in smooth, elegant renditions, now guides the Philadelphia Orchestra. It hits town with gifted young American pianist—and Upper West Side blogger—Jeremy Denk. The program features Liszt’s triumphal “First Piano Concerto,” a short piece by Henri Dutilleux and selections from Prokofiev’s Romeo and Juliet. Bring a date. This should be lively and romantic—even without the ballerinas in tutus. Carnegie Hall, Oct. 12. Orpheus Chamber Orchestra with Garrick Ohlsson Does this sound like a movie starring Bruce Willis: a great team of veterans who know the ropes join forces with a seasoned pro who’s just about the best? You can hear the results when Orpheus and pianist Garrick Ohlsson perform Berg’s Lyric Suite and Beethoven’s “Piano Concerto #4.” Carnegie Hall, Oct. 14. Miller Theater Lunchtime Concerts: Aaron Copland The energetic leadership of current New York City Opera supremo George Steel made Columbia’s Miller Theater one of the most talked-about places for classical music making in New York. Let’s hope his departure doesn’t change that. One reason to continue to pay attention this fall is Miller’s series of lunchtime concerts. If you’re among the many New Yorkers who’ve joined the ranks of the unemployed—or you can play hooky for a day—take note of the theater’s offering of great programs of delicious music by American composers like Samuel Barber and Aaron Copland. The tickets are free, but you should call to reserve your seats. A special highlight will

be three concerts in which soprano Sarah Wolfson sings Copland’s rarely performed songs based on poems of Emily Dickinson. Then the young, NPR-featured Voxare Quartet performs Copland’s piano quartet. Miller Theater, Oct. 18-20. Fredryk Chopin International Piano Competition This is the bicentennial year of Chopin’s birth, so what better way to celebrate than by listening to—and watching—top young interpreters of his music in a day-long competition? The composer himself would have liked the price: just $25 for advance tickets. Symphony Space, Oct. 19. Mariinsky Theatre: Mahler Second Symphony Valery Gergiev leads the Mariinsky Orchestra in Mahler’s Second, the so-called Resurrection Symphony. As Mahler has become more and more popular, it becomes easier and easier to find performances of his symphonies. Hence, last year saw both Avery Fisher and Carnegie performances of his monumental Eighth Symphony, and this year both offer performances of the Sixth. Here’s a chance to catch the great—and almost equally immense and gorgeous— Second. Carnegie Hall, Oct. 20. New York City Opera: Christine Brewer The City Opera opens its second season since its return with a run of performances of Leonard Bernstein’s A Quiet Place. Less talked up but possibly even more of interest is a one-night stand by great dramatic soprano Christine Brewer. The musical choices are eclectic, ranging from Harold Arlen to Wagner. An appealing mix of high and low. David H. Koch Theater, Oct. 28. Manhattan School of Music: Kurt Masur Conducts The Manhattan School—like Juilliard— offers great free and low-priced concerts almost every week of the school year. Especially terrific are MSM’s jazz and big-band shows. Those in the know already know to check the school’s website. One concert this year bears special mention: Revered former New York Phil conductor Kurt Masur will lead a specially selected student orchestra in Schumann’s Fourth Symphony, the Beethoven Leonore Overture and Shostakovich’s Fifth. Tickets are just $20, $12 for students and seniors. And you can even call for rehearsal tickets and hear the program for free. John C. Borden Auditorium, Nov. 12. Orchestra of St. Luke’s: Faure Requiem How often do you hear—or hear of—an all-Faure program? The lack is striking granted how simple and lovely his music is. One of the town’s best orchestras performs his beloved Requiem and his less-often offered “Cantique de Jean Racine.” St. Thomas Church, Nov. 12.








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September 14, 2010 | City Arts


Jazz Giants Cast Long Shadows A season of octogenarians, with some youngsters to match By Howard Mandel


here are the great jazz musicians of today, the blazing up-n-comers, the new stars? They are all around us in New York and beyond, but overshadowed by surviving masters of the past half-century-plus. Saxophonist supreme Sonny Rollins celebrated his 80th birthday at the Beacon Theater Sept. 10; pianist and composer Muhal Richard Abrams, also 80, is featured in the first fall concert of the AACM (Association for the Advancement of Creative Musicians) Sept. 24; peerless drummer Roy Haynes, deft and vigorous at age 85, opens the season for Jazz at Lincoln Center Sept. 25. All of them steal thunder— though not on purpose— from younger but mature players who’d like to claim supremacy in an art that’s more about the present than the past. But these elders are not resting on laurels or walking through victory laps; they are vital, creative artists in the now. Chalk their longevity up to great medical care in

the United States, or to their own genes and virtuous lifestyles, or to the workouts they get onstage. Or just sheer luck. Whatever the reason, Rollins, Abrams, Haynes and fellow octogenarians Frank Wess (88), Jimmy Scott (85), Bucky Pizzarelli (84), Lou Donaldson (84), Randy Weston (84), Lee Konitz (83), Mose Allison (83), Sheila Jordan (82), Junior Mance (82), Cecil Taylor (81), Barry Harris (81), Ornette Coleman (80) and Jim Hall (80) are either scheduled or available to be heard this month and thereafter. Experience provides wisdom, of course, so typically these musicians know how to pace themselves, but most of them are congenitally eager to test themselves rather than lay back. Rollins, for instance, has a long-established working group led by trombonist Clifford Anderson, his nephew. Though that ensemble serves as a cushion for their leader’s tenor sax improvisations and Sonny launches himself with familiar (yet wide-ranging) themes, he pushes himself to always reach high, never repeat. And for purposes of inspiration, Sept. 10 he set himself up with guest stars


trumpeter Roy Hargrove (still a kid at 41), bassist Christian McBride (merely 38) and aforementioned guitarist Jim Hall, another of the old school who eschews selfreiteration and cliché. Muhal Richard Abrams (birthday Sept. 19) has had a year festooned with honors, leading a new orchestra piece at Lincoln Center as an NEA Jazz Master last January, continuing with a Lifetime Achievement Award from the Vision Festival in June. A founding member of the longest-enduring artist-run organization in the history of the United States, the AACM, he has instructed and inspired at least three more generations of restlessly curious and unapologetically individualistic musicians, who have attained career peaks of their own besides making unforgettable music. On Sept. 24 he performs at the Community Church of New York (40 E. 35th St.) with one of these: George Lewis (58), the trombonist and innovator with advanced electronics who directs Columbia University’s Center for Jazz Studies. Also on the bill is 66-year-old reeds specialist and composer-bandleader Henry Threadgill with his quintet Zooid, which has gained unique cohesion and drive since I reviewed them in these pages in Fall 2009.

Roy Hanes opens JALC season Sept. 25.

Roy Haynes has been the hippest dude on the bandstand for decades. He’s said he’s “into lyrics and melodies,” and those attentions have led him to become one of the most immediately responsive, meaningfully nuanced painters-with-percussion in jazz history. His beat never rests. Haynes leads his Fountain of Youth Band Sept. 25, featuring the exciting alto saxist Jaleel Shaw (who’s 32), and will also play with an all-star group comprising altoist Kenny Garrett (49), pianist Danilo Perez (44), bassist Dave Holland (64 this Oct. 1) and, sure enough, trumpeter Wynton Marsalis (turning 49 this Oct. 18). That combo is truly all-star, each participant a leader in his own right, all of them internationally famous. We’re likely to see them all achieve the highest regard as jazz elders—should we live so long.

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Deck Shuffling & Wing Flapping Seismic shifts begin when the New York City Ballet opens the dance season

Crossing the Line Festival: Hoghe & Bel Two European dance artists who made powerful impacts are presented as part of the French Institute/Alliance Francais’ ambitious festival. Raimund Hoghe joins forces with Conglese dancer/choreographer Faustin Linyekula at Dance Theater Workshop for Sans-titre, a work which examines the deeply rooted connections between people across age, culture and geography. Jerome Bel returns with Cedric Andrieux, a visual autobiography of the former Merce Cunningham dancer, presented at the Joyce. Dance Theater Workshop, Sept. 16-18; Joyce Theater, Sept. 18-19.

Bill Cooper

Batsheva Dance Company in Ohad Naharin’s Project 5 The extraordinary, instinctive dancers of this Israeli company perform a mix of familiar and new material in this bare bones Naharin work, the newest being B/ olero, a hypnotic duet. Alternating male and female casts perform during the run. Joyce Theater, Sept. 21-Oct. 3.

Male swans in Matthew Bourne’s Swan Lake, at New York City Center Oct. 13-Nov. 7.

by Joel Lobenthal raditionally, the New York City Ballet has given two long seasons: the first opened in November and ran until the end of February, encompassing over a month of The Nutcracker. The second was a two-month run in spring. This year, it’s New York City Ballet that opens the fall dance season, and there will be four shorter seasons, the first opening Sept. 14. And that is certainly a good idea. For, over the course of these long, long runs, it has been customary for injuries to accumulate and dancers’ energy to flag, even as they were forced to contend with the responsibilities of breaking in new programs. NYCB’s tossing out its old calendar perhaps reflects its realization that businessas-usual at the ballet is no longer possible. Attendance is down and one reason is the high price of tickets. Fall for Dance’s ability to sell out City Center for the entirety of its 10-day run is surely a reminder of how much wider the dance audience could be with more accessible pricing. For its part, NYCB has priced all tickets at $25 and $50 on its Sept. 14 opening night. Inevitably, artistic decisions are marketing decisions as well, since they are in part what determine if the company will be marketable. When you mention The Nutcracker, however, you’re talking marketability squared. It is ballet’s great cash cow—perhaps its only one. In the past, American Ballet Theatre has



performed Nutcrackers created by current and ex-company heads Kevin McKenzie and Mikhail Baryshnikov. Now it turns to Alexei Ratmansky, who begins his third year as the company’s artist in residence. Ratmansky’s new Nutcracker will mark ABT’s return to the Brooklyn Academy of Music, where it performed in the 1960s and ’70s. The production opens there Dec. 22 and runs for 10 days, thus becoming something of a gauntlet thrown down to NYCB, which will be by then deep into its own Nov. 26-Jan. 2 season of George Balanchine’s Nutcracker. Unfortunately, ABT’s Nutcracker season at BAM comes at the expense of the fall seasons at City Center that they’ve been having since 1997 (with the exception of last year, when they went instead to Philharmonic Hall). City Center has been the place for ABT to offer an alternative to the overwhelmingly full-length fare that it performs at the Metropolitan Opera every spring. This season, at least, ABT is betting everything on its new Nutcracker. All this is well and good—or at least ingenious—on the parts of ABT and NYCB. But last spring’s runs by both troupes laid bare the need for more rigorous performance standards. Despite the enormous amount of dance talent each company possesses, too much of what gets on stage seems a matter of expediency. A consistently higher level of performance is a marketing strategy not to be sneered at.


Both companies perform Swan Lake in productions that trim the ballet and try to make it conform to different contemporary criteria of relevancy. But Matthew Bourne’s Swan Lake—which returns to New York Oct. 13 for a threeweek run at City Center—takes another approach entirely. He turns the original on its ear by casting men in the dual swan incarnation of Odette/Odile. The corps of swans, traditionally all women, is also now all men. Bourne has created entirely new choreography for all concerned. The men aren’t on pointe, as they would be in a drag incarnation of Swan Lake, so it doesn’t seem like parody, and they’re a rather bristling flock of birds to be sure. The fact that the principal roles are taken by leading men from classical ballet companies links it to a traditional bastion of classicism. Yet it also seems as much musical revue as anything else: There are moments of absurdity redolent of Monty Python. Bourne gives Lake an overtly gay spin that resonates with contemporary affirmation, but he also seems to position his production as an outlier on the continuum of gender roles in the ballet repertory: These images of both women and men are fantasy creations with an ambiguous edge. Bourne’s Swan Lake is a stroke of marketing acumen as well as creative audacity. Since 1995 it has enjoyed openended runs in London, New York and all around the world. Eliminating the burden of repertory overhead, its financial dividends are greater than anything possible in ballet—out-grossing, I’m sure, even The Nutcracker.

Platform 2010: certain difficulties, certain joy Last year, Danspace Project inaugurated its Platform series, for which choreographers are invited to curate a series of performances. Results can be counted on to be intriguing, unexpected—even provocative. At these events, you’re likely to find anything but the tried and true, and to make exciting new discoveries. Trajal Harrell curates this multi-week series, which introduces several European artists— Cecilia Bengolea, François Chaignaud, Aitana Cordero and Emmanuelle Huynh— and commissions works from local artists Daria Fain, Patricia Hoffbauer and Larissa Velez-Jackson. Also featured is the return of DD Dorvillier’s No Change or “freedom is a psycho-kinetic skill” first presented by Danspace in 2005. Danspace Project (and other venues), Sept. 22-30. Doug Varone and Dancers: Stripped No, they’re not removing their clothes, but Varone’s ensemble of committed, juicy movers will showcase excerpts from a work-in-progress on Italian themes and repertory excerpts in these informal studio presentations—a chance to savor his adventurous, full-bodied choreography while waiting for the troupe’s March Joyce season. 92nd Street Y Harkness Dance Center, Sept. 24 & Nov. 5. Fall for Dance It’s back and better than ever—five programs (performed twice) featuring as diverse and impressive an array of dancers, CONTINUED on page 22 September 14, 2010 | City Arts


Curtains Up on the Newest Food Scene

Mark Bussell

The culinary arts move in on a once-sleepy corner of the Upper West Side

A view of the lawn roof of Lincoln, the new destination restaurant at Lincoln Center.

By Corynne Steindler There’s a slew of reasons to head up to Lincoln Center—and not just because you have tickets to the Philharmonic. Swanky bars, tasty sandwich shops and new restaurants are popping up all around the Plaza. When you think of Manhattan’s West 60s, surely men in cardigans and wispy girls in ballet flats come to mind. But check out our picks for the area’s top spots for a quick lunch, lavish dinner, chic cocktails and great brunch. You might even consider getting off the 1 train at 66th Street, bypassing the opera, and skipping straight to the culinary arts portion of the neighborhood. FOOD Lincoln 142 W. 65th St. At the heart of Lincoln Center’s overhauling redevelopment project is its long-planned restaurant, aptly named Lincoln. The 150-seat Italian eatery, scheduled to open to the public at the end of September, is run by chef Jonathan Benno, who lists Per Se on his resume. The space, which reportedly cost $20 million to build, features a glass-enclosed dining room. When you go, ask to sit on the side that overlooks the Plaza’s reflecting pool (with Henry Moore sculpture) and grove of


City Arts |

newly planted trees. But it may not matter since the whole point is a 60-foot-by-17foot glass-walled kitchen that offers its own theatricality. Designed by Diller Scofidio + Renfro, the West 65th Street space boasts a grass-covered parabolic rooftop—which, of course, you won’t need a reservation to lounge on. The Empire Hotel Rooftop 44 W. 63rd St. Packed with party hoppers Thursday through Saturday, The Empire Hotel Rooftop Bar & Lounge is a lone hotspot in a sea of quiet cafes and sidewalk eateries. With sweeping views of Upper Manhattan, the 12th floor of the Empire Hotel boasts two outdoor roofdecks with ample couch seating and cocktail service. If you’re not into the whole “hot and crowded” scene, the decks are separated by a strip of indoor seating that provides a cooler (and usually quieter) option. After a story arc on Gossip Girl, the Empire Hotel will only get more crowded this season, so make sure to arrive early to snag a spot before the Midtown rush floods in for happy hour. ‘wichcraft 61 W. 62nd St. While not a scarce source of lunch fare around the city, the Tom Colicchio chain

is a neighborhood newbie in the Lincoln Center area. Thirty-somethings snack on fancy sandwiches while checking in to Foursquare at the café’s David Rubenstein Atrium outpost, located at Columbus Avenue and 62nd Street. In a continued effort to bring the community together, the space also serves as a visitor’s center and box office for upcoming concerts and events in the area. The first of the season will be Sept. 23, when Mexican singer and composer Juan Pablo Villa presents an improvisational concert of his work from La Grita de Baba. Need to know what else is coming up? Ticket info is projected onto the wall of the bustling café.

Plaza Kiosk Lincoln Center Plaza If you’re not in the mood for sit-down lunch, grab a sandwich and a frozen margarita from the Plaza Kiosk. The kiosk sits directly in front of Avery Fisher Hall and even offers pre-packed picnics that can be enjoyed up on the grassy roof of Lincoln. Open from 11 a.m. to 8 p.m., the little stand is a worthy stop on your way to Central Park, or if you’re just killing some time and resting your feet. There is rarely a line, and the staff is friendly at this little outdoor bodega. Closed Sunday and Monday.


Ed’s Chowder House 44 W. 63rd Street Unlike many of its high-end counterparts in the area, Ed’s Chowder House manages to be upscale but not stuffy—swanky not scene-y. Plus, the food is delish. Ed’s offers a diverse menu specializing in seafood, and the décor, complete with white-planked walls and photos of wharfmen, give off a coastal vibe. Linger over a five-course meal, or just grab a seat in the bustling bar. Our pick: the chowder sampler, tuna sliders and a dirty martini.

Robert at MAD 2 Columbus Circle This mod and retro-themed restaurant, located on the ninth floor of the Museum of Arts and Design, is great for a romantic date or cocktails with pals. The recent addition to Columbus Circle is a stone’s throw from the mall madness of the Time Warner Center and its hoity-toity choices. You can also make it a date before a concert at Jazz at Lincoln Center or, if you can’t get into one of the fab performances in the glass-walled Allen Room, Robert offers you a killer view of Central Park. The extensive menu offers lunch and dinner menus and fun, flirty cocktails to boot!

ArtsAGENDA Gallery Openings

Gallery listings courtesy of

Amador Gallery: “4 & 20 Photographs by Chris

Killip.” Opens Sept. 15, 41 E. 57th St., 6th Fl., 212-759-6740. Aperture Gallery: “Paul Strand in Mexico.” Opens Sept. 16, 547 W. 27th St., 212-505-5555. +aRt: Jason Covert: “Carnivora.” Opens Sept. 16, 540 W. 28th St., no phone. Benrimon Contemporary: Shay Kun: “Exfoliations.” Opens Sept. 25, 514 W. 24th St., 2nd Fl., 212924-2400. Bryce Wolkowitz Gallery: Airan Kang: “Light Reading.” Opens Sept. 17, 505 W. 24th St., 212-243-8830. Chambers Fine Arts: Feng Mengbo: “Yi BiTe.” Opens Sept. 16, 522 W. 19th St., 212-414-1169. China Institute Gallery: “Woodcuts in Modern China, 1937-2008: Towards a Universal Pictorial Language.” Opens Sept. 16, 125 E. 65th St., 212-744-8181. David Zwirner: Al Taylor: “Rim Jobs & Sideffects.” Opens Sept. 14. John McCracken: “New Works in Bronze & Steel.” Opens Sept. 16, 519 W. 19th St., 212-517-8677. Davidson Contemporary: Kiel Johnson: “Listen Here, Busker!” Opens Sept. 23, 724 5th Ave., 212-759-7555. Flomenhaft Gallery: Joan Barber: “Exhibiting Woman.” Opens Sept. 16, 547 W. 27th St., Ste. 200, 212-268-4952. Franklin 54 Gallery + Projects: Elisa Pritzker: “Zipped.” Opens Sept. 14, 526 W. 26th St., Rm. 403, 917-821-0753. Friedman Benda: Gottfried Helnwein: “I Was A Child.” Opens Sept. 16, 515 W. 26th St., 212239-8700. Gagosian Gallery: Marc Newson: “Transport.” Opens Sept. 14, 522 W. 21st St., 212-741-1717. Gagosian Gallery: Gregory Crewdson: “Sanctuary.” Opens Sept. 23, 980 Madison Ave., 212-7442313. Gallery 307: Abe Nover: “Found Out.” Opens Sept. 16, 307 7th Ave., Ste. 1401, 646-400-5254. Gallery Henoch: Mel Leipzig: “Artists, Architects & Others.” Opens Sept. 16, 555 W. 28th St., 917-305-0003. Gary Snyder Project Space: “Audrey Flack Paints a Picture.” Opens Sept. 16, 250 W. 26th St., 212-929-1351. Haunch of Venison: Patricia Piccinini: “Not As We Know It.” Opens Sept. 16, 1230 6th Ave., 212259-0000. International Print Center New York: “Emerging Images: The Creative Process in Prints.” Opens Sept. 16, 508 W. 26th St., Rm. 5A, 212-9895090. J. Cacciola Gallery: James Lahey: “Guido’s Rhombus.” Opens Sept. 14, 617 W. 27th St., 212-462-4646. Keith de Lellis Gallery: “New York: A Bird’s-Eye View.” Opens Sept. 16, 1045 Madison Ave., #3, 212-327-1482. Kunsthalle Galapagos: Ryan Humphrey: “Look for the dream that keeps coming back.” Opens Sept. 15, 16 Main St., Brooklyn, 718-222-8500. Lesley Heller Workspace: Judith Page: “Night Walk.” Opens Sept. 15. “Cambre & Prior: Hypothesis of Psychodelia.” Opens Sept. 15, 54 Orchard St., 212-410-6120. Margaret Thatcher Projects: Fran Siegel: “Transient Borders.” Opens Sept. 16, 539 W. 23rd St., Ground Floor, 212-675-0222. Marvelli Gallery: “Minima Moralia.” Opens Sept. 18, 526 W. 26th St., 2nd Fl., 212-627-3363. McCaffrey Fine Art: Hitoshi Nomura: “Making Time.” Opens Sept. 15, 23 E. 67th St., 212-988-2200.

“Wheel of Fortune (Vanitas),” by Audrey Flack on view at Gary Snyder Project Space. Marlborough Gallery: Dale Chihuly. Opens Sept.

16, 545 W. 25th St., 212-463-8634. Nabi Gallery: James Britton. Opens Sept. 16, 137 W. 25th St., 212-929-6063. Nohra Haime Gallery: Michael Heizer: “Markings.” Opens Sept. 14. Adam Straus: “Air & Water or: Everything’s Fine Until It’s Not.” Opens Sept. 14, 41 E. 57th St., 212-888-3550. Pace Gallery: “50 Years at Pace.” Opens Sept. 17, 32 E. 57th St., 534 W. 25th St., 545 W. 22nd St. & 510 W. 25th St., 212-421-3292. Pratt Manhattan Gallery: “You Are Here: Mapping the Psychogeography of New York City.” Opens Sept. 24, 144 W. 14th St., 2nd Fl., 212-6477778. Priska C. Juschka Fine Art: Dana Melamed: “Black Tide.” Opens Sept. 16, 547 W. 27th St., 2nd Fl., 212-244-4320. Raandesk Gallery of Art: Jason Bryant: “Trilogy.” Opens Sept. 16, 16 W. 23rd St. 4th Fl., 212-6967432.

Rick Wester Fine Art: Jonathan Smith: “Untold Sto-

ries.” Opens Sept. 16, 511 W. 25th St., Ste. 205, 212-255-5560. Salomon Arts Gallery: “Delugians.” Opens Sept. 16, 83 Leonard St., 4th Fl., 212-966-1997. Spazio 522: Pam Connolly: “here+there.” Opens Sept. 15, 526 W. 26th St., 212-929-1981. Steven Kasher Gallery: “Max’s Kansas City.” Opens Sept. 15, 521 W. 23rd St., 212-966-3978. Stux Gallery: James Busby: “white & black.” Opens Sept. 16, 530 W. 25th St., 212-352-1600. Susan Eley Fine Art: Jacques Chuilon & Kim Luttrell: “Divas, Divos & Deities.” Opens Sept. 15, 46 W. 90th St., 2nd Fl., 917-952-7641. Susan Inglett Gallery: Eric Fertman. Opens Sept. 16, 522 W. 24th St., 212-647-9111. SVA Gallery: “The Book Show.” Opens Sept. 23, 209 E. 23rd St., no phone. Swiss Institute: Roman Signer: “Four Rooms, One Artist.” Opens Sept. 15, 495 Broadway, 3rd Fl., 212-925-2035.

Tyler Rollins Fine Art: Manuel Ocampo. Opens

Sept. 16, 529 W. 20th St., 10W, 212-229-9100.

Viridian Artists: Don Zurlo: “The Inconstant

Illusion.” Opens Sept. 14, 530 W. 25th St., 212414-4040. Woodward Gallery: Knox Martin: “Women: Black & White Paintings.” Opens Sept. 15, 133 Eldridge St., 212-966-3411.

Gallery Closings Abrons Art Center: Beth Livensperger: “Visible

Storage.” Ends Sept. 26, Henry Street Settlement, 466 Grand St., 212-598-0400. Anita Shapolsky Gallery: Ernest Briggs & Seymour Boardman: “Modern Sensibilities.” Ends Sept. 25, 152 E. 65th St., 212-452-1094. Bonni Benrubi Gallery: “Summer Place.” Ends Sept. 25, 41 E. 57th St., 212-888-6007. David Nolan: “Summer Group Show.” Ends Sept. 25, 527 W. 29th St., 212-925-6190.

September 14, 2010 | City Arts


ArtsAGENDA DC Moore Gallery: Charles Burchfield:

“Fifty Years As a Painter.” Ends Sept. 25, 724 5th Ave., 212-247-2111. M55 Art: Celine McDonald: “New Paintings.” Ends Sept. 19, 44-02 23rd St., Long Island City, 718-7292988. Skylight Gallery: “Beautiful Black Brooklyn.” Ends Sept. 25, BSRC, 1368 Fulton St., 3rd Fl., 718-6366949. Visual Arts Gallery: “Where Is My Vote?: Posters for the Green Movement in Iran.” Ends Sept. 25, 601 W. 26th St., 15th Fl., 212-592-2145. Westside Gallery: “Valetudo: Art and Healing in Provence.” Ends Sept. 18, 133/141 W. 21st St., 212-592-2145.

Museums American Folk Art Museum: “Perspec-

Jan. 15, Pier 17 at South Street Seaport, 800-745-3000. Studio Museum: Zwelethu Mthethwa: “Inner Views.” Ends Oct. 24. “Usable Pasts.” Ends Oct. 24. “Inside the Collection: Interiors from the Studio Museum.” Ends Oct. 24. “Hi-Res: Expanding the Walls 2010.” Ends Oct. 24. “Harlem Postcards.” Ends Oct. 24. “StudioSound: Dj/rupture’s Radio GooGoo.” Ends Oct. 24, 144 W. 125th St., 212-864-4500. Whitney Museum of American Art: “Sara VanDerBeek.” Sept. 17-Dec. 5. “Off the Wall Part 1: Thirty Performative Actions.” Ends Sept. 19. “Christian Marclay: Festival.” Ends Sept. 26. “Off the Wall Part 2: Seven Works by Trisha Brown.” Sept. 30-Oct. 3. “Heat Waves in a Swamp: The Paintings of Charles Burchfield.” Ends Oct. 17. “Lee Friedlander: America by Car.” Ends Nov. 28, 945 Madison Ave., 212-570-3600.

tives: Forming the Figure.” Ends Aug. 2011, 45 W. 53rd St., 212-2651040. American Museum of Natural History: “Race to the End of the Earth.” Ends Christie’s: Indian & Southeast Asian Jan. 2, Central Park West at West Art. Sept. 14, 2. South Asian Modern 79th Street, 212-769-5100. & Contemporary Art. Sept. 15, 10 a.m. Japanese & Korean Art. Sept. 15, 2. The Brooklyn Historical Society: “It HapSze Yuan Tang Archaic Bronzes from pened in Brooklyn.” Ongoing, 128 the Anthony Hardy Collection. Sept. Pierrepont St., Brooklyn, 718-22216, 10 a.m. Fine Chinese Ceramics & 4111. Works of Art. Sept. 16, 3:30, Sept. 17, Brooklyn Museum: “Work of Art: The 10 a.m. & 2. Impressionist Modern. Winner.” Ends Oct. 17. “Healing Sept. 21, 10 a.m. First Open. Sept. 22, the Wounds of War: The Brooklyn 10 a.m. Fine & Rare Wines. Sept. 24, Sanity Fair of 1864.” Ends Oct. 17, 10 a.m., 20 Rockefeller Plz., 212-636200 Eastern Pkwy., Brooklyn, 7182000. 638-5000. BAM’s Next Wave 2010 opens Sept. 21 with Laurie Anderson. Cooper-Hewitt National Design Museum: Doyle New York: Belle Epoque: 19th & “National Design Triennial: Why 20th Century Decorative Arts. Sept. 15, Design Now?.” Ends Jan. 9, 2 E. 91st St., 21210 a.m., 175 E. 87th St., 212-427-2730. Museum at the Fashion Institute of Technology: 849-8400. “Eco-Fashion: Going Green.” Ends Nov. 13, Fine art buyers & sellers in online Seventh Avenue at West 27th Street, 212-217live art auctions. 800-888-1063, www.rogallery. Discovery Times Square Exposition: “King Tut NYC: 4558. com. Return of the King.” Ends Jan. 2, 226 W. 44th St., no phone. Museum of Arts & Design: “Portable Treasuries: Silver Swann Auction Galleries: Scenes of the City: Prints, Jewelry From the Nadler Collection.” Sept. 26. Drawings & Paintings of New York 1900-2000. The Drawing Center: Gerhard Richter: “Lines Which “Dead or Alive.” Ends Oct. 24, 2 Columbus Sept. 16, 1:30. 19th & 20th Century Prints & Do Not Exist.” Ends Nov. 18. Claudia Wieser: Cir., 212-299-7777. Drawings. Sept. 21, 10:30 a.m. & 2:30, 104 E. “Poems of the Right Angle.” Ends Nov. 18, 35 25th St., 212-254-4710. Wooster St., 212-219-2166. Museum of Jewish Heritage: “The Morgenthaus: A Legacy of Service.” Ends Dec. 2010, 36 Battery International Center of Photography: “The MexiPl., 646-437-4200. can Suitcase: Cuba in Revolution.” Sept. 24-Jan. 9, 1133 6th Ave., 212-857-0000. Museum of Modern Art: “Matisse: Radical Invention, 1913-1917.” Ends Oct. 11. “Underground Gallery: Intrepid Sea, Air & Space Museum: “27 Seconds.” BAM 2010 Next Wave Festival: The Brooklyn London Transport Posters, 1920s-1940s.” Ends Ends Nov. 21, Pier 86, West 46th Street & 12th Academy of Music hosts its annual festival. Feb. 28, 11 W. 53rd St., 212-708-9400. Avenue, 212-245-0072. Now in its 28th year, Next Wave comprises 16 music, dance, theater & opera performances, in Jewish Museum: “South African Photographs: David New Museum: Rivane Neuenschwander: “A Day addition to artist talks, art exhibitions & more. Goldblatt.” Ends Sept. 19. “Fish Forms: Lamps Like Any Other.” Ends Sept. 19. Amy Granat: Performance artist Laurie Anderson opens the by Frank Gehry.” Ends Oct. 31. “Shifting the “Light 3 Ways.” Ends Sept. 19. Brion Gysin: 2010 edition with her multimedia work DeluGaze: Painting & Feminism.” Ends Jan. 30, 1109 “Dream Machine.” Ends Oct. 3, 235 Bowery, sion. Sept. 21-Dec. 19, BAM, 30 Lafayette Ave., 5th Ave., 212-423-3200. 212-219-1222. Brooklyn, 718-636-4129, The Metropolitan Museum of Art: “Hipsters, Hustlers New York Public Library for the Performing Arts: & Handball Players: Leon Levinstein’s New “Talking Pictures.” Sept. 20-Nov. 27, 40 Lincoln Dumbo Arts Festival: The three-day art extravaganza York Photographs, 1950-1980.” Ends Oct. 17. Center Plz., 212-870-1630. features more than 500 local & international Doug & Mike Starn on the Roof: “Big Bambu.” artists presenting visual art, installations, perforNoguchi Museum: “California Scenario: The Courage Ends Oct. 31. “Vienna Circa 1780: An Imperial mance art, open studios & more. This year, the of Imagination.” Ends Oct. 24. “Noguchi ReSilver Service Rediscovered.” Ends Nov. 7, 1000 festival also includes street musicians, parades, INstalled.” Ends Oct. 24, 33rd Road at Vernon 5th Ave., 212-535-7710. dance & family programming. Sept. 24-26, 45 Boulevard, Queens, 718-721-2308. Main St., Brooklyn, www.dumboartsfestival. MoMA PS1: “Greater New York.” Ends Oct. 18, 22-25 Rubin Museum of Art: “The Nepalese Legacy in com; times vary, free. Jackson Ave., Queens, 718-784-2084. Tibetan Painting.” Ends May 23, 150 W. 17th St., 212-620-5000. The Morgan Library & Museum: “Mark Twain: A Dumbo Dance Festival: The festival features work Skeptic’s Progress.” Sept. 17-Jan. 2. “Roy Lichfrom more than 100 dance artists in Brooklyn’s Skyscraper Museum: “The Rise of Wall Street.” tenstein: The Black-and-White Drawings.” Sept. contemporary dance scene. Sept. 23-26, 45 Main Ends Oct. 2010, 39 Battery Pl., 212-968-1961. 24-Jan. 2. “Degas: Drawings & Sketchbooks.” St., Brooklyn,; times Society of Illustrators: “Blow Up.” Ends Oct. 16, Sept. 24-Jan. 23, 225 Madison Ave., 212-685vary, free. 128 E. 63rd St., 212-838-2560. 0008. Solomon R. Guggenheim Museum: “Julie Mehretu: First Irish Theatre Festival: Now in its third year, Grey Area.” Ends Oct. 6, 1071 5th Ave., 212New York’s annual festival celebrates the best of El Museo del Barrio: “Nueva York (1613-1945).” 423-3500. Irish theater. Ends Oct. 4, various locations, 212Sept. 17-Jan. 9. “Voces y Visiones.” Ends Dec. 727-2737,; times vary, $55+. 12, 1230 5th Ave., 212-831-7272. South Street Seaport: “Tigers the Exhibition.” Ends Leland Brewster


Art Events


City Arts |

Governors Island Art Fair: The exposition of

independent artists and galleries enters its third year this fall and once again features a diverse selection of work from around the world. Every Saturday & Sunday in September, Governors Island, 212-673-9074,; 11 a.m., free. New York Musical Theatre Festival: Catch 27 musical productions, a developmental reading series and special events at the seventh annual festival. Sept. 27-Oct. 17, various locations, www.nymf. org. Soho Arts Walk: The walk, now in its third year, continues to celebrate the Soho arts scene through a collaboration with the neighborhood’s galleries. Every third Thursday through September, Soho, Soho/L.E.S. Art Gallery Tour: Partake in a guided tour of the week’s top seven gallery exhibits in the downtown center for contemporary art. Sept. 25, 39 Wooster St., 212-946-1548,; 1, $20.

Music & Opera Avery Fisher Hall: Alan Gilbert conducts Wynton

Marsalis with the Jazz at Lincoln Center Orchestra at the Opening Night Gala. Sept. 22, 10 Lincoln Center Plz., 212-875-5656; 7:30, $73+. Bryant Park: The Brooklyn Philharmonic performs as park of the Bryant Park Fall Festival. Sept. 18, West 40th Street & Fifth Avenue; 6:30, free. Central Park: Mahala Rai Banda, Selim Sesler & the New York Gypsy All-Stars, Tecsoi Banda & the Yuri Yunakov Ensemble perform for the The Black Sea Roma Festival, a celebration of gypsy music from Turkey, Bulgaria, Ukraine & Romania. Sept. 26, SummerStage; 3, free. Feinstein’s: Eddie Bruce debuts his tribute show of works by English singer-songwriter Anthony Newley. Sept. 26, Loews Regency, 540 Park Ave., 212-339-4095; 8:30, $30+. Metropolitan Opera: Wagner’s Das Rheingold opens the Metropolitan Opera’s new season. Sept. 27, West 62nd Street betw. Columbus & Amsterdam Avenues, 212-362-6000; 6:45, $85+. Miller Theatre: The Voxare String Quartet, pianist Stephen Gosling & soprano Sarah Wolfson perform works by Samuel Barber as part of the theater’s Lunchtime Concerts. Sept. 14 & 15, Philosophy Hall, Columbia University, 212-8547799; 12:30, free. WMP Concert Hall: Violinist Gil Morgenstern’s Reflections Series launches its season with The Voice of the Violin, featuring Laurie Anderson as narrator. Sept. 16, 31 E. 28th St., 212-582-7536; 7:30, $15+.

Jazz Cornelia Street Cafe: Jazz drummer, composer &

educator Ari Hoenig leads his quartet in two sets. Sept. 18, 29 Cornelia St., 212-989-9319; 9 & 10:30, $15. Dizzy’s Club Coca-Cola: Dizzy’s presents performers this month as part of the Coca-Cola Generations in Jazz Festival. Charles McPherson & Randy Brecker with the New Jersey City University Jazz Ensemble. Sept. 14-19. Karrin Allyson & Sheila Jordan. Sept. 20-22. Triumph of Trumpets: Jon Faddis, Terell Stafford & Sean Jones. Sept. 2326. Sadao Watanabe with Danny Grissett, Ben Williams & Jonathan Blake. Sept. 27 & 28, 33 W. 60th St., 212-258-9595; times vary, $15+. Jazz Standard: Marc Cary Focus Trio. Sept. 14 & 15. Steve Grossman Quartet. Sept. 16-19. Mingus Orchestra. Sept. 20. Antonio Sanchez Quartet. Sept. 21 & 22. Taylor Eigsti Trio & Becca Stevens. Sept. 23-26, 116 E. 27th St., 212-576-

2232; 7:30, 9:30 & 11:30, $20+.

Rose Theater: Grammy-winning drummer Roy

Haynes opens the 2010-11 Season, performing alongside Wynton Marsalis, Kenny Garrett & others. Sept. 25, Jazz at Lincoln Center, Time Warner Center, Broadway at W. 60th St., 212721-6500; 8, $30+.

Dance Batsheva Dance Company: Israel’s national dance

company brings Ohad Naharin’s Project 5 to New York audiences for the first time. Sept. 2126 & Sept. 28-Oct.3, The Joyce, 175 8th Ave., 212-242-0800; times vary, $10+. Carrie Ahern Dance: The company presents SeNSATE, adapted for the underground, multi-level vault space. Sept. 18,19, 25, 26 & Oct. 2 & 3, The Vaults, 14 Wall St., 800-838-3006; times vary, $15+. Chae Hyang Soon Dance Company: The company brings the core traditions of Korean dance to life as part of Dynamic Korea: Dance & Song. Sept. 19, Queens Theatre in the Park, Flushing Meadows Corona Park, 718-760-0064; 3, $27. Faye Driscoll: After a week of sold-out shows this past spring, Driscoll’s There is so much mad in me returns for four nights only. Sept. 22-25, Dance Theater Workshop, 219 W. 19th St., 212691-6500; 7:30, $20. New Chamber Ballet: The Miro Magloire’s company opens its new season with ballets by Magloire and choreographer Emery LeCrone. Sept. 18 & 19, City Center Studio 4, 130 W. 56th St., 212868-4444; 8, $12. New York Baroque Dance Company: The company, along with Concert Royal, presents the American premiere of Jean Philippe Rameau’s Zéphyre. Sept. 21 & 22, Peter Jay Sharp Theater, Symphony Space, West 95th Street & Broadway, 212-864-5400; 8, $15+. New York City Ballet: The company performs Balanchine’s “Serenade,” Martins’ “Grazioso” & Robbins’ “The Four Seasons.” Sept. 14, David H. Koch Theater, Lincoln Center Plaza, Columbus Avenue at West 63rd Street, 212-870-5570; 7:30, $20+. International Contemporary Ensemble: The company presents excerpts from composer Kaija Saariaho’s only ballet, MAA, prior to its U.S. premiere at Miller Theatre. Sept. 20, Peter B. Lewis Theater, Solomon R. Guggenheim Museum, 1071 5th Ave., 212-423-3587; 7:30, $10+.

Theater Billy Elliot: This Tony-winning adaptation of the

2000 film chronicles a young British boy’s desire

to dance ballet in a poverty-choked coal-mining town. Open run, Imperial Theatre, 249 W. 45th St., 212-239-6200. Chicago: The long-running revival of Kander & Ebb’s musical about sex, murder & celebrity continues to razzle-dazzle. Open run, Ambassador Theatre, 219 W. 49th St., 212-239-6200. Danny & Sylvia - The Danny Kaye Musical: This musical love story depicts the relationship between Danny Kaye & his wife & creative partner, Sylvia Fine, who wrote many of Kaye’s most famous songs. Open run, St. Luke’s Theatre, 308 W. 46th St., 212-239-6200. Dietrich & Chevalier: Marlene Dietrich & Maurice Chevalier were the top film stars at Paramount Pictures in the 1930s. Married to others, they fell in love & remained friends for life. Jerry Mayer’s musical stars Robert Cuccioli, Jodi Stevens & Donald Corren. Open run, St. Luke’s Theatre, 308 W. 46th St., 212-239-6200. Fuerza Bruta - Look Up: A visual dance-rave, technoride, Latino walking-on-the-ceiling fiesta from Buenos Aires. Open run, Daryl Roth Theatre, 101 E. 15th St., 212-239-2600. In the Heights: This heartfelt & high-spirited love letter to Washington Heights features a salsa & hip-hop flavored score by Lin-Manuel Miranda. Open run, Richard Rodgers Theatre, 226 W. 46th St., 212-221-1211. Memphis - A New Musical: Set in the titular city during the segregated 1950s, this musical charts the romance between a white DJ & a black singer as rock-and-roll begins to emerge. Open run, Shubert Theatre, 225 W. 44th St., 212-239-6200. Next to Normal: A woman & her family struggle to cope with her bipolar disorder in this emotional, Tony-winning musical. Open run, Booth Theatre, 222 W. 45th St., 212-239-6200. The Phantom of the Opera: Prep yourself for the forthcoming sequel by seeing (or re-seeing) Andrew Lloyd Webber’s Gothic musical romance. Open run, Majestic Theatre, 245 W. 44th St., 212-239-6200. Therapy Rocks: One woman finds solace, love and comedy in therapy. Sept. 27-Oct. 6, Urban Stages, 259 W. 30th St., 212-352-3101. Vision Disturbance: Recent Guggenheim Fellowship recipient Richard Maxwell directs Christina Masciotti’s new play about a woman who loses her husband and the vision in one of her eyes. Ends Sept. 18, Abrons Art Center, Henry Street Settlement, 466 Grand St., 212-598-0400. The Woman Who Fell From the Sky: Ralph Lee Mettawee River Theatre Company reprises its 1997 production, which draws its story from the Iroquois creation tale. Sept. 17-19, Garden of the Cathedral of St. John the Divine, Amsterdam Avenue at 111th St., 212-929-4777.

September 15 - October 24, 2010 Gallery 1:

Judith Page, “Night Walk” Gallery 2:

“Cambre and Prior: Hypothesis of Psychodelia” Juan José Cambre and Alfredo Prior Judith Page, June 26 (Boom Box and Beaver), Tar Gel, mixed media, 13 X 24 x 11 in., 2010

Gallery Hours: wed-sat 11am-6pm, sun 12-6pm

54 Orchard Street NY, NY 10002 212 410 6120




Through October 2, 2010


Closing Reception Saturday, October 2, 4 - 6 p.m.




530 West 25th Street, 4th Floor New York, NY 10001 646 230-0246


September 14, 2010 | City Arts



Sept 25, 2010 163 97th Street

(between Columbus & Amsterdam Aves)

11am–5pm | Benefiting PS 163

Laurent Philippe

Family Friendly Outdoor Artisan Market Supporting Local Schools

A scene from Pina Bausch’s Vollmond.

DANCE from page 17 companies and choreographers as you’ll find anywhere. Tickets—still just an amazing $10—are always scarce, but there are cancellation lines before each show. Worth it to score one, so good luck! City Center, Sept. 28-Oct. 9.

artisan vendors live children’s entertainment green market • raffle prizes fun family giveaways • face painting interactive demonstrations • and more! M A R T E on 97 th FALL SCHEDULE Sept. 25: Family MARTE Oct. 2: Craft MARTE

Oct. 23: Volunteer MARTE

Oct. 9: Sports MARTE

Oct. 30: Halloween MARTE

Oct. 16: MARTE Fall Festival

Nov. 6: Health MARTE | | 212.268.0501 22

City Arts |

Tanztheater Wuppertal Pina Bausch in Vollmond (Full Moon) Bausch’s company has attracted fervent audiences at BAM for over 25 years, but this will be its first appearance since the eminent and influential choreographer’s 2009 death. They will perform her 2006 work that explores male-female relationships on a stage nearly filled with water. Brooklyn Academy of Music, Sept. 29Oct. 9. BAC Flicks: Mondays with Merce Expect a flurry of live local performances by the Merce Cunningham Dance Company in 2011, but meanwhile, this exemplary monthly series (to continue throughout 2011) screens major Cunningham dance films by Charles Atlas. It opens with the world premiere of Interscape and includes BIPED, Split Sides and the New York premiere of Ocean. Each screening opens with an episode of the illuminating ongoing web series “Mondays with Merce.” Baryshnikov Arts Center, Oct. 4 (benefit), Oct. 11, Nov. 15, Dec. 20. Ralph Lemon’s How Can You Stay in the House All Day and Not Go Anywhere? Ralph Lemon’s first new work to be seen in New York City in six years is a four-

part multimedia project exploring themes of human connection, loss and the elusive but ever-compelling possibility of grace (with a related film event at The Kitchen Oct. 17). Brooklyn Academy of Music, Oct. 13-16. Garth Fagan Dance Fagan’s singular, powerful dancers return to mark the company’s 40th anniversary with a world premiere by Fagan, major revivals and the first work choreographed by veteran member Norwood Pennewell. Joyce Theater, Nov. 9-14. Jonah Bokaer’s Anchises You can count on Jonah Bokaer—an elegant, slightly enigmatic former Merce Cunningham dancer—to present something fascinating and unexpected in his smart, sophisticated collaborative projects. He joins forces with the design firm Harrison Atelier for a work that gives visual and physical expression to themes of aging, use and reuse of materials, and the role of space in determining the body’s range and potential. The stellar multi-generational cast includes Valda Setterfield and Meg Harper. Abrons Art Center, Nov. 17-21. Aszure Barton’s Busk One of the most intriguing, astute young choreographers around, Aszure Barton has been busy with outside commissions hither and yon (Juilliard, Hubbard Street Dance), but she finally has a chance to show New York her latest work for her own troupe. Busk explores the visual architecture of movement, color and sound. Baryshnikov Arts Center, Dec. 17-18.


By Amanda Gordon

A New Season

T Rusty O’Kelley, New 42nd Street President Cora Cahan and Bernard Gersten.

A tell-tale sign of the gala season: petit fours for every table.

he invitations have arrived. They are nothing as fancy as they once were (goodbye, velvet-covered card stock), but they still offer warm-hearted events to support cultural causes. Yet, as you scan the names on the committees and Google the names of the entertainers, you wonder: Is this the party for me? Below, we offer a few events you might consider and what to expect. There are plenty of reasons other than dress code to attend the Rubin Museum of Art’s Nine Rivers Gala. Such as the Pan Asian fare that surpasses most gala cuisine. And, at just six years old, what can be deemed as a highly accomplished transformation of a former Barney’s department store into a paradise of Himalayan art. This particular gala will put the focus on the education center that is now under development. Speeches are during the cocktail hour, setting the scene for a relaxing dinner in the galleries, where an exhibition of contemporary Tibetan art as well as a recently installed introduction to Himalayan art are on view. And don’t worry about attending a benefit for a small, niche museum; this one has street cred The Met can envy, with “climb Mt. Everest” sleepovers for kids and a spotGinny Akhoury, interpreting on program of music, film and talks. Marina Abramovic, Charlie Kaufman and David Himalayan Haute Couture at the Byrne all shared their innermost thoughts during the Red Book Dialogues last season. As for Rubin Museum’s gala. interpreting that dress code: a sari, colorful scarf or turban with your tailored suit will do. Oct. 5, Rubin Museum of Art, 150 W. 17th St., 212-675-9474, ext. 25. You’ve got to hand it to Carnegie Hall: In an effort to attract young patrons, it’s pulling out all the stops. Last year the venue’s Notables group put together a panel discussion on video games. This year the topic is drugs and rock ‘n’ roll. The event, dubbed “Redemption Song,” will feature drummer Steven Adler (Guns N’ Roses, Adler’s Appetite) reading from his book My Appetite for Destruction: Sex, and Drugs and Guns N’ Roses, Darryl “DMC” McDaniels (Run-DMC) reading from his book King of Rock: Respect, Responsibility and My Life with Run-DMC, and blues, folk and jazz musician and singersongwriter Rickie Lee Jones is performing. The after-party is at the aptly named Providence Lounge, where you will find some pretty earnest believers in what Carnegie Hall represents. These folks are especially enthused by the new institute that offers music training to children. Oct. 5, Carnegie Hall, W. 57th St. & 7th Ave., 212-903-9734. Where does Broadway go a bit off-kilter? At The New Victory Theater, which is why the gala orchestrated by the theater on behalf of its owner, the New 42nd Street, is so fun. The theater’s calendar caters to families and children with shows like Puss and Boots, Circus Incognitus and Nearly Lear. The honoree at the event is actor/clown Bill Irwin and we couldn’t think of a more perfect adult to embody the spirit of the place. The one person you should meet: the theater’s head, Cora Cahan, whose advocacy for the arts and Times Square is boundless. Others listed on that invite include Liev Schrieber, Jonathan Demme, Anne Hathaway, Kathleen Turner and Nathan Lane. Nov. 5, The New Victory Theater, 209 W. 42nd St., 646-223-3082.

Bert Wells and New York Public Radio’s ceo, Laura Walker; Jad Abumrad, host of WNYC’s RadioLab

Carnegie Notables Shaun Granato, Sarah Coleman, and the group’s co-chair Jimmy Zankel. At right: Carnegie Notables Carin Cahn and Noah Landow.

New York Public Radio offers the fun, informative conversations that you always dreamed of having when you moved to New York, but that the din of subway cars, garbage trucks and your heavy-footed upstairs neighbors jinxed. Just like that, for free, radio invites you in on a discussion of slow food or what people think about listening to music at work or what’s going on at City Hall. And the bricks-and-mortar Greene Space puts you right there, with Battles of the Bands and Mike Daisey’s radio show experiments. We’re not guaranteeing the podium remarks at the gala will be as good as the radio listening experience, but with Ira Glass and Alec Baldwin as emcees, and actress and singer Kristin Chenoweth and violinist Anna Akiko Meyers performing, it will be some show. And you may even come within clinking-cocktails distance of WNYC’s Brian Lehrer, Leonard Lopate or Jonathan Schaefer, or WQXR’s Midge Woolsey, Elliott Forrest and Jeff Spurgeon. Nov. 15, Gotham Hall, 1356 Broadway, 212-244-4300. Also, the New York Philharmonic opens its season with the premiere of a Wynton Marsalis composition Sept. 23… The Met Opera’s chandeliers rise Sept. 27… New York City Ballet moves its fall gala from its pre-Thanksgiving spot to Oct. 7 to accompany its new early-fall season. Sarah Jessica Parker is honorary chairman, and a new work by Benjamin Millepied is on the program… The Collegiate Chorale opens its season at Carnegie Hall Oct. 13 with Brahms’ Alto Rhapsody and A German Requiem… New York City Opera’s season opens Oct. 28 with a concert featuring Christine Brewer… Opening night of American Ballet Theatre’s new Nutcracker at BAM is Dec. 23. For more party coverage, visit To contact the author or purchase photos, email; September 14, 2010 | City Arts






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Corporate Sponsor for Roy Haynes Concert

Jazz at Lincoln Center proudly acknowledges our season sponsors:

cityArts September 15, 2010  

The September 15, 2010 issue of cityArts. CityArts, published twice a month (20 times a year) is an essential voice on the best to see, he...

cityArts September 15, 2010  

The September 15, 2010 issue of cityArts. CityArts, published twice a month (20 times a year) is an essential voice on the best to see, he...