cityArts April 6, 2011

Apr. 6-Apr. 19, 2011Volume 3, Issue 7

IN THIS ISSUE: Is there a divide between black and white jazz?The thrills & chills of De Palma

pLUS:Chelsea cultural highlightsSOFA New York returnsPruitt’s Warhol statue a hit

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s t r a u s s Serenade (1881)Music for winds from Strauss’ pre-Wagner youth, shaped by his father—a horn player and Mozart devotee.

h a r t m a n n Concerto funèbre (1939) Hartmann wrote Nazi-defying music from within Germany; this concerto mourned the Czech annexation.

m o z a r t Rondo, K. 373 (1781) Composed in Vienna just before Mozart quit the Salzburg court; this concerto movement masks his frustration.

m o z a r t Adagio, K. 261 (1776) Written for an uncouth Italian violinist who dismissed the young Salzburger’s Adagio from the Fifth Concerto.

h ay d n Symphony No. 104 (1795) The final entry from “the father of the symphony,” composed in London and performed for healthy profit.

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2 City Arts | www.cityartsnyc.com

EDITOR Jerry Portwood [email protected]

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ASSISTANT EDITOR Deb SperlingART DIRECTOR Jessica BalaschakCONTRIBUTING ART DIRECTOR George WidmerSENIOR ART CRITIC Lance EsplundSENIOR MUSIC CRITIC Jay Nordlinger SENIOR DANCE CRITIC Joel LobenthalCONTRIBUTING WRITERS: Valerie Gladstone, John Goodrich, Amanda Gordon, Howard Mandel, Maureen Mullarkey, Mario Naves, Nicholas Wells

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InthisIssue8 DESTINATION: CHELSEAA look at the cultural highlights of the neighborhood, from Printed Matter to the Center for Jewish History. Plus: gallery 307 at the Carter Burden Center for the Aging.

10 AT THE GALLERIESreviews: Mel Kendrick at David Nolan Gallery; Celia reisman at Paul Thiebaud Gallery; Mark Morrisroe at Artists Space; emily roysdon at Art in General; Art/Sewn: Tradition: Innovation, Expression at Five Myles.

12 CLASSICALJAY nordLinger on André Previn and Kiri te Kanawa at Carnegie Hall; monodramas at City opera.

13 DANCEJoeL LoBentHAL reflects on Cunningham’s choreography.

14 JAzzHoWArd MAndeL questions the black/white divide that persists in jazz.

15 THEATERMArK BLAnKensHiP asks david gallo about his quiet Broadway set

for High.

16 ARTS AGENDAgalleries, Art events, Museums, Classical Music, opera, theater, out of town

19 PAINT THE TOWN By AMANDA GORDON

ON The cOver: Michael eden’s “grey Bloom,” which will be on view at soFA new York April 14-17, sofaexpo.com.

Opening ReceptiOn: thuRs ApRil 14 | 5-9pm

BOB CLYATTSCuLpTureexhiBiTiOnApril 14 - May 1, 2011

An American CraftsmanManhattan at Times Square Hotel 7th Ave Corner of 52nd St212.399.2555AnAmericanCraftsman.com

April 6, 2011 | City Arts 3

Twist and ShoutThere is no easy approach into the work of

Brian De Palma. The director, known for his hyper-stylized thrillers and grand-scale epics, often revels in the slick perversity for which he’s routinely attacked. Blunt preoccupations with sex and death (often at the same time), along with a darkly comic streak and a worldview that teeters on the edge of nihilism, result in a repeatedly uncomfortable viewing experience. You’re invited to watch, but feel dirty for doing so. De Palma Suspense—a new series at BAMCinematek April 8-20—focuses only on the films that thrill and chill.

It opens with the introductory chapter of the director’s compulsions: Sisters (April 8). Danielle (Margot Kidder), a struggling actress and model living in Staten Island, brings home a guy she met on a hidden-camera prank-show and introduces him, fatally, to her twin sister Dominique. A murder occurs, the nosy neighbor catches a glimpse while looking out her window and the narrative spins wildly toward an operatic crescendo. Here, the obsessions are already fully formed: castration, role reversal and voyeurism are all present and teased out in ways that echo through the rest of De Palma’s career.

Alfred Hitchcock provides the obvious reference point and bald elephant in the room. The appropriation of visual and narrative motifs from the celebrated auteur (so many you lose count after a while) cause critics to look down on De Palma as a hack slinging imitations, but it’s what the director does with these signs and symbols that makes his work unique; in short, the infusion of a manic energy and a comic irreverence for the genre conventions essential to his work.

A device the director returns to often is the idyllic opening which turns tragic, and is flipped around one more time: the character wakes up from a dream or the scene is revealed to be a movie within the movie.

Other times, the horror becomes the catalyst that springs the film into motion. The most famous is undoubtedly Carrie (April 10), with its now infamous opening scenario of female innocence turned horror. Less known is Obsession (April 12), made the same year as the previously mentioned film but steeped in an altogether different atmosphere. The story, written by Paul Schrader, opens with a flashback of the perfect nuclear family, which the director quickly unravels with unnerving glee. This story of betrayal and second chances is intensified by the architecture of New Orleans and Rome, which tower over the characters and close in on the frame.

The biggest surprise of the BAM series isRaising Cain (April 18), a film that deserves a bigger audience. John Lithgow, a De Palma regular, is Carter, the over-loving father with a sketchy past, twisted family dynamic and a plan that involves stealing children for a child-psychology experiment. It’s the most self-consciously ridiculous film the director ever made, and also the most fun—the impious handling of his own well-worn tropes is refreshing, and it proves a synthesis of the director’s obsessions up to this point, much more than the self-serious Femme Fatale (April 19), also playing in the series. The only film that comes close is an early oddity, the overzealous rock-opera Phantom of the Paradise (April 9), a retelling of Phantom of the Opera that has developed a cult following over the years but manages to unfortunately stay out of most serious discussions of De Palma’s work.

This comedic bent, subversive and cynical, is also dark and disturbing. This will be Brian De Palma’s lasting influence on the cinema; when the director says, “I’m a real gallows humorist,” it’s easy to believe him. So don’t worry: in The Fury (April 11), when a character’s head fantastically explodes into a million pieces, it’s all right to laugh. We’ll all be right behind you. [Craig Hubert]

InBrief

A scene from Obsession.

Sculpture Objects & Functional Art Fair

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Factory FinishPedestrians walking through Union

Square might not know that the nondescript building at Broadway and East 17th Street was actually Andy Warhol’s famous Factory, the epicenter of his mass-market Pop Art industry. They probably don’t know that he used to stand on the street corner handing out copies of Interview magazine to the drug addicts and misfits that occupied the park in the 1970s.

But artist Rob Pruitt and his 10-foot-tall chrome rendering, dubbed “The Andy Monument,” are trying to pay homage to an icon of the New York art world and bring Warhol back to the Downtown scene.

“The reason I moved to New York was Andy Warhol and everything he represented. This is my tribute to this man,” Pruitt said last week as he lifted the covering from the monument, commissioned by the Public Art Fund and on display until Oct. 2. Pruitt looked up at the statue of Warhol circa 1977, dressed to reflect the times in a Brooks Brothers tweed jacket and Levi’s 501 jeans, a Polaroid camera around his neck and a Bloomingdales bag in his hand, and after a long pause and with satisfaction in his voice said, “I’ve never seen it outside in daylight before.”

Pruitt’s giddiness at that moment could not be masked. For Pruitt, the personal connections to Warhol are an endless list of memories and interactions. “Being a teen in suburban D.C. in the early ’80s, there weren’t a lot of gay heroes. Andy Warhol jumped out at me as someone I could relate to,” Pruitt said.

Everything in his past seems to have led up to this moment. This is a man who named his four childhood cats—Andy, Halston, Calvin and Liza—after Warhol and his friends. A man who, at the age of 14, brought dozens of cans of Campbell’s tomato soup and boxes

of Brillo pads to a Warhol book signing. Pruitt still regrets not taking an unpaid internship working for Warhol in the early ’80s when he moved to New York to study at Parsons.

But his admiration has finally come full circle. The monument’s chrome finishing makes it a definite standout among the area’s marble and concrete statues that seem to blend into their surroundings. In full Warhol style, there’s nothing shy or quiet about the piece. Pruitt decided on the shiny finish as a cue to Warhol’s first New York factory, which was wallpapered in silver foil, but also to “shift the focus to the essence of the man rather than superficial details like wrinkles and lines.”

“In the bright light of day, many of my sculpting imperfections wouldn’t be noticed,” Pruitt said, something he thinks Warhol would have found very clever. “He was a genius at taking deficits and making magic out of it.” [Annie Lubin]

Brokering for TimeFirst they came for Coney Island High,

Religious Sex and Dojo—and now it might be time for another East 8th Street landmark to disappear. Horse Trade Theater found out last week that 94 St. Marks Place, the building that houses its experimental UNDER St. Marks theater venue, is up for sale for a decidedly unfriendly-to-arts-groups price of $5,750,000.

“USM is the most magical performance space. In many ways it is the heart of Horse Trade Theater Group,” says Heidi Grumelot, Horse Trade Theater’s artistic director. “It is the home of our open mic, four monthly storytelling shows, eight monthly improv shows, burlesque, stand-up... and it is has hosted so many amazing theater artists. The sheer number of people its closing would affect is mind boggling. USM has such an amazing history as a performance space, it really represents all that is great about independent theater in New York and all that is great about the East Village.”

Indeed, rather than succumbing to sudden closure, Horse Trade Theater plans to start a capital campaign to raise enough money to purchase 94 St. Marks themselves. “Horse Trade Theater is poised for a wonderful expansion,” Grumelot says. “We are looking forward to all of the possibilities owning our own space might realize… We have been interested in acquiring our own space for a while, and now, we just have to make it happen.” [Paulette Safdieh]

If You Like It, Put a Ring On It

How would you like to see a delightful, miniature porcelain room made by Chris Antemann, an elegant silver lacquer box designed by Shinya Yamamura, a baroque necklace made by Jennifer Trask from a 17th-century gilded frame and a sleek brooch

created from eggs, carbon fiber, steel and resin by Sergey Jivetin? These stunningly beautiful and unusual objects—along with informative, free lectures—are all part of the preeminent contemporary design and decorative arts fair, SOFA New York, which takes place April 14–17 at the Park Avenue Armory.

For four days, over 50 galleries from around the world will gather to present museum-quality works, while at the same time in the lecture hall, prominent scholars, curators, museum directors, critics, authors and artists will offer their expertise. Interested in learning how designers translate surrealism into wearable jewelry? Jeannine Falco, curator at the Museum of Arts and Design, will explain. Artist Geoffrey Mann will describe how he fuses traditional applied art and high-tech digital fabrication processes in his narrative works.

“The fair was created to give focus to galleries presenting the best works by artists associated with the applied arts and design,” says Mark Lyman, founder and president of SOFA New York, Santa Fe and Chicago. “What’s especially interesting this year is the number of creative young artists who

are experimenting in alternate material and processes.”

The event has been a favorite among Museum of Arts and Design patrons and collectors. This year, the museum plans a special, pre-opening, behind-the-scenes tour of the show led by MAD curators, an opening night VIP dinner in the Armory’s grand Tiffany Room and private tours of top collectors’ architecturally significant homes. “What’s great is that, every year, new galleries take part, as well as the established,” says Holly Hotchner, MAD museum director. “It keeps you up to date with what’s going on in the field.”

Suzanne Lovell, a Chicago-based designer and collector, says she wouldn’t miss the event. “I always know that I am going to see the best work in ceramics, textiles, basketry and sculptural object, and by world-renowned experts. It’s a thrill to interact with so many inspired dealers and passionate collectors in one location,” Lovell says. “And it’s always a joy to meet the artists and craftsmen in the presence of their work.”

English dealer Joanna Bird shares her

CONTINUED on page 6

4 City Arts | www.cityarts.info

InBrief

Pruitt with his Warhol.

Massimo Lunardon’s “Esseri IV,” on view at SOFA New York, April 14-17.

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enthusiasm. This year, she represents artists Mann and Chien-Wei Chang. As an example of Mann’s striking pieces, Bird singles out his “Nocturne,” which is a chandelier made of woven nylon that looks like porcelain but can be packed flat. Chang makes shovels, ladles and chalices because, Bird explains, he loves the stories that develop around the use of well-made tools. “But he transforms them into objects of beauty by recreating them in silver,” she says.

With such variety, SOFA could be overwhelming for first-time visitors. But Lyman offers a solution: “Ask questions of the gallery owners who are well versed in the conceptual basis of the art they represent. Spend time in the lecture hall listening to artists, curators, writers talk about the art. Think about how you could make your world more interesting by collecting from this fantastic world of art.” [Valerie Gladstone]

InBriefCONTINUED from page 4

The History of American Graffiti, by Roger Gastman and Caleb Neelon

Authors Roger Gastman and Caleb Neelon, both former graffiti artists, claim, “Graffiti, in so many ways, is often a yelling contest.” There are hundreds of books about the graffiti movement that began in the ’70s, but now you can ignore them all: The History of American Graffiti

is the definitive source. The 397-page textbook, categorized by chronology and subcategorized by American city, presents the history of graffiti as no book prior. A note before the table of contents sets the tone: that the earliest pioneers of this art form initially regarded themselves as “writers” and the term “graffiti” as derogatory, many of whom still do. To compile such a comprehensive text, the authors consulted artists who were there at the beginning, those who had “gone on to become teachers, artists, janitors, small-business owners, addicts, musicians, law enforcement officers, murderers, restaurateurs, Pulitzer Prize winners and self-made millionaires.”

Directory, by Ari Marcopoulos“Marcopoulos captured an entire era,” said artist Barry McGee. “He can now stop taking photos.” Dutch photographer Ari Marcopoulos demonstrates his ability to see art in mundane, habitual urban life with Directory, a collection of his work and true documentation of American subculture. Dominated by black-and-white images of graffiti art and intimate portraits of his teenage sons, Marcopoulos embodies a generation of youthful indifference. His photographs take place in his hometown, Sonoma, as well as overseas. Marcopoulos vividly captures the fragile border between man’s world and nature’s world with striking and spontaneous images, including one of the ocean crashing against a man-made fence in Japan. Directory mocks our world dominated by smart phones and laptops, questions our perceived sense of power over nature and finds beauty in the unexpected.

The Collected Plays of Tennessee WilliamsThis two-volume box set contains a

total of 21 plays by Tennessee Williams,

the playwright famous for his contributions to American theater. The plays, including Pulitzer Prize-winning Cat on a Hot Tin Roof and Tony Award-winning The Rose Tattoo, are all first book editions written by Williams for general readers, as opposed to the acting editions that often followed for staging. Williams’ early career is represented by the first volume, with works including his famous A Streetcar Named Desire and several one-act plays like 27 Wagons Full of Cotton. The second volume covers the plays published by Williams between 1957 and 1980, which were more shocking and adventurous than his early ones. The 13 plays include the violent Sweet Bird of Youth and The Milk Train Doesn’t Stop Here, which is currently enjoying an Off-Broadway revival.

art Books

The Pearl Theatre Company an-nounced its 2011-2012 season at New York City Center Stage II with works by Eugène Ionesco, William Shakespeare, Bernard Shaw and Eugene O’Neill. The four-play set begins in September and single tickets will be available in August…On April 14, Vogt Gal-lery will have its grand opening with the show REFLECTING ABSTRACTION, curated by Dean Daderko and with the work of Sadie Benning, Abigail DeVille, Nina Hoff-mann and Ulrike Mueller. Vogt will feature mostly mid-career artists from the Americas and Europe… Theatre Development Fund, a non-profit service organization for the performing arts, announced that Michael Naumann will be the organization’s new managing director and will begin his duties May 9. Before his new position, Naumann served as director of finance and administra-tion at Manhattan Theatre Club… The Storm King Art Center, a sculpture park north of the city, is now open to the public for its 2011 season. The center will highlight two special exhibitions in honor of its 50th anniversary, 5+5: New Perspectives and The

View from Here: Storm King at Fifty… Metro-politan Museum of Art director Thomas P. Campbell announced that Limor Tomer will be the Museum’s General Manager of Concerts & Lectures, effective May 2. Limor is currently the executive producer for music at Classical 105.9 FM WQXR and adjunct curator for performing arts at the Whitney Museum of American Art… Jacob’s Pil-low Dance Festival has launched Jacob’s Pillow Interactive, an online video collection of highlights from the festival from 1937-2010…Playwrights Horizons announced the first five productions of its 2011-2012 sea-son, including the world premiere of Rapture, Blister, Burn, a play by Pulitzer Prize finalist and Obie Award winner Gina Gionfriddo to be directed by Peter DuBois… Performa announced the fourth visual art performance biennial of Performa 11, which will take place Nov. 1-20 throughout the city. Performa 11 will feature performances from over 100 con-temporary artists…The Museum for African Art received a contribution of $3 million from the Ford Foundation, which supports the final construction stage of the museum’s

new Fifth Avenue location. The building will open this fall with a lobby named after the foundation… On April 15, BOMB magazine celebrates its 30th year with a gala and silent auction at Capitale. Marina Abramovic, Richard Armstrong, Betsy Baker and Francine Prose are the event’s honorees…MCC Theater at the Lucille Lortel The-atre was named the “Culture Spot” for April by NYC & Company, the official market-ing, tourism and partnership organization of the city. The theater will offer two-for-one performances of The Other Place as part of this designation… Beginning June 19, the Parrish Art Museum of Southampton will exhibit Dorothea Rockburne: In My Mind’s Eye, a career retrospective of the artist. The ex-hibition will survey Rockburne’s work from the 1960s to the present and will include the notable “Scalar.” In My Mind’s Eye will re-main on view until Aug. 14 and is timed with the museum’s mid-summer gala July 9…City Winery announced its spring and summer residencies, including Allison Moorer and Steve Earle, Rhett Miller, John Hiatt, Dar Williams and Nick Lowe…This May,

LOUISE BOURGEOIS: The Fabric Works, a catalog book of the artist’s work edited by Germano Celant, will be published. Bourgeois is most known for her large-scale sculptures, including steel spiders… The Tribeca Film Festival Art Awards Exhi-bition will be held April 20-23 and 25-17 at the New wYork Academy of Art, where New Yorkers and festival attendees will be able to view the work of 11 major contem-porary artists. The work displayed will then be given to the prize-winning filmmakers at the festival’s awards ceremony April 28… Starting May 1 and continuing through mid-November, the 11th annual Summer on the Hudson will include the West Harlem Piers Park. With this inclusion, the event will become the largest free summer festival in the city… The Metropolitan Museum of Art has announced that it will hold a special “Spring Break” Met Holiday Monday, April 25, giving families an extra chance to visit the museum together. Met Holiday Mon-days are limited public viewings of certain exhibitions on days when the museum is traditionally closed.

ArtsNews

Veronique Guerrieri’s “Baby Smiling.”


Now known for the hundreds of commercial galleries that have transformed Chelsea into the

epicenter of the New York art world, the neighborhood continues to offer an array of other cultural destinations that deserve to be appreciated. Here we highlight a few of the locations that continue to offer vibrant, creative opportunities from theater to film, dance to archival treasures.

Museum at FITBilled as “the most fashionable museum

in NYC,” the Museum at FIT has featured everything from Vivienne Westwood’s 1980s designs to the recent evolution of Japanese fashion. September will bring with

it a look at Daphne Guinness’ inimitable style, featuring nearly 100 garments and accessories from Guinness’ personal collection. Until then, check out the His and Hers exhibit, which examines the way clothing influences gender roles. That

means get ready for some big-shoulder power suits! 227 W. 27th St., 212-217-4558, fitnyc.edu.

Printed MatterAlthough originally located in Tribeca, this

non-profit organization dedicated to artists’ books and publications has been in Chelsea for a decade and is a place we constantly return to for inspiration. Thousands of books and limited-edition zines—dating back to the 1970s—range from works by unknown and emerging artists to blue-chip artists like Richard Prince and Edward Ruscha. Although artist AA Bronson recently stepped aside as the director, it remains a haven for noncommercial artist production. 195 10th Ave., 212-925-0325, printedmatter.org

The SVA Theatre The School of Visual Arts leaves no

stone unturned when it comes to their public events at the Milton Glaser-designed movie house, hosting everything from film screenings (Angela Lansbury was the special guest at a screening of The Manchurian Candidate last month) to a public forum in which graduating students in the MFA Design Department premiere their products. Under that kinetic statue of Glaser’s (a postmodern take on Tatlin’s famous tower) are some oddball arts treats. 333 W. 23rd St., 212-592-2980, svatheatre.com.

the cell The first thing people typically notice

of this cultural space is the “Falling Man” sculpture attached to the exterior over the entryway. It’s the work of neon artist Craig Kraft, and has become the de facto calling card of the quirky space.

Nancy Manocherian, the founding artistic director of the theater, intends the cell to be a 21st-century salon, and the eclectic theater and art programming continues, from an anthology of works by Beckett and an evening of music that includes the “escapades of a Danish-Israeli, opera-singing tank commander” to Darrell Larson’s “Mythic Gossip” lecture series about Hollywood gossip. 338 W. 23rd St., 646-861-2253, thecelltheatre.org.

EXIT ArtThis cultural center will celebrate 30

years next year, and it continues to function as a gallery with non-commercial installations and events, often finding emerging artists that have gone on to wide acclaim. We love the open atmosphere with the neon lights shining in the windows in this fairly derelict corner of Chelsea. The current exhibit, Geometric Days, is of new paintings (curated by Papo Colo) that remain anarchic in their own way. 475 10th Ave. # 1, 212-966-7745, exitart.org.

Dance Theater Workshop /New York Live ArtsThis destination for contemporary dance

and movement is going through yet another transformation. Dance Theater Workshop will remain the destination for cutting-edge projects (SITI Company, Anne Bogart and Charles Mee present Under Construction this month) until the end of July. But they are partnering with Bill T. Jones/Arnie Zane Dance Company and will transition into New York Live Arts in August in preparation for its inaugural season. We all wait to see what this new stage will bring. 219 W. 19th St., 212-691-6500, newyorklivearts.org.

Rubin Museum of ArtMaking a name for themselves as

a museum dedicated to art from the Himalayas, the Rubin Museum of Art features exhibitions like the upcoming Human Currents, a collection of Hannes Schmid’s color photographs and “aerial-angled movies” that capture the energy and color of the Maha Kumbha Mela festival, the largest recorded gathering of human beings on earth. The popular Harlem in the Himalayas jazz series continues April 15 with Scott Robinson. 150 W. 17th St., 212-620-5000, rmanyc.org.

The KitchenAlthough its location has moved over the

years, The Kitchen has remained committed to experimental works and celebrates its 40th anniversary this year in its current home, where it has been since 1987. For a taste of its eclectic programming, check out 21c Liederabend op.2, a three-day art song festival (April 7–9) produced by Beth Morrison Projects, Opera On Tap and VisionIntoArt. That’s followed by Aluminum Music—a distillation of Aluminum Nights, the legendary marathon music and art party thrown by The Kitchen in 1981—on April 15 and 16. The drift of creative works toward commodity may seem inevitable, but this bastion of individuality remains. 512 W. 19th St., 212-255-5793, ext. 11, thekitchen.org.

The Art BazaarAt times it can seem impossible for an

artist to get a shot at gallery representation. That’s why gallerist Michael Lyons Wier established Art Bazaar in 2009 as a chance for anyone to submit work, on a “first-come, first-served” basis, and get a chance to exhibit in all mediums in a gallery space and sell directly to collectors (for a small registration fee). So far Art Bazaar has shown over 400 artists, and it remains a scrappy place to discover emerging talent. Currently Oscar Dotter is presenting the huh what show—which includes paintings and other items—through the end of April. 175 7th Ave., 646-588-5252, theartbazaar.com.

Center for Jewish HistoryHome to five preeminent Jewish

institutions—the American Jewish Historical Society, the American Sephardi Federation, the Leo Baeck Institute, the Yeshiva University Museum and the YIVO Institute for Jewish Research—dedicated to history, culture and art, the center is also an affiliate of the Smithsonian. Whether you’re interested in the old and rare books, the art collection (posters, paintings, sculptures and more) or the lectures and films that are presented, it’s one of the resources that might get overlooked but deserves your support. 15 W. 16th St., 212-294-8301, cjh.org.

A recent exhibit at The Art Bazaar.

A display at Museum at FIT

destination: Chelsea


By Annie LuBin

Arnold Wechsler’s colorful, dreadlocked Rastafarian-like portrait is painted on a wall of Gallery 307. Titled “Elvis

Presley at Burning Man,” it was inspired by Wechsler’s recent trip to the annual desert arts festival.

What makes this piece particularly interesting is not the juxtaposition of Presley at the radical artist utopia, but the fact that Wechsler created this piece after attending the event at the ripe age of 80.

And for Wechsler and his contemporaries, the perfect place to showcase this piece is Gallery 307, an 800-square-foot space in Chelsea, funded by the Carter Burden Center for the Aging and used to exhibit the art of elderly professional artists who might not be able to get their work shown in the trendy galleries of the city.

“This gallery is giving a voice and a wall to older professional artists,” Marlena Vaccaro, the gallery’s director and curator, says. “Once people turn 60, it doesn’t mean they stop being vital or viable.”

On a recent weekday afternoon, Gallery 307 opened out of random luck about a year and a half ago. The space was originally being used as storage for the “elder craftsmen” adult art classes. Carter Burden took over when the program lost funding. When Vaccaro saw how the space was being used, she immediately thought, “Why not go further and not just teach art but open a viable exhibition space?”

Since its opening, the gallery has hosted 11 shows and a series of artist talks. Vaccaro has received submissions from over 400 artists interested in exhibiting in the gallery. All featured artists must be over 60 (Vaccaro jokes that this is the only case when

fiftysomethings try to lie about being older), but Vaccaro emphasized that the gallery is as selective and critical as any other space. “This is not a gallery for older people who take art classes at the senior center,” she insists.

Still, the focus of the gallery is very much in line with the Carter Burden mission, which promotes the wellbeing of the elderly with a variety of programs and social services.

Petitt was astounded by how helpful Vaccaro and the Carter Burden Center were, handling the publicity, reception and, according to Petitt, going above and beyond what a normal gallery would do.

Although Vaccaro thinks she has earned the scorn of the gallery community for her views about the status quo and stigmas in the art world, that has not stopped her from being vocal about what she sees as blatant ageism. “The thing galleries have against older artists is they claim their work has stopped being current,” Vaccaro says. “I don’t see that. Their work is as strong as it was. Things go up and down in waves but value in important work never goes away.”

To emphasize this point, Vaccaro likes to tell the story of Eva Costabel, an 86-year-old Holocaust and cancer survivor who recently showed at Gallery 307. After the exhibit’s run, her first solo show in over 50 years, she looked back at the months of prep and scrutiny, the turnout and the reception, and told Vaccaro: “I really feel like my career is going to take off.”

And for Carter Burden, Gallery 307 and Vaccaro, being able to inject a second life into older artists is what it’s all about.

For more information, please visit burdencenter.org.

One of the photographs by Sara Petitt on view at Gallery 307.

Sara

Pet

itt

Art Never AgesCarter Burden Center for the Aging’s Gallery 307 gives professional older artists another look


Celia Reisman: PaintingsIf sheer quirkiness might be the strategy

for much art of our time, Celia Reisman’s first exhibition at Paul Thiebaud’s New York gallery offers something different: an authentically strange mixture of the wise and the naïve. Her landscapes honor the visual aspect of nature, albeit in slightly simplified forms and heightened colors. But an intense and peculiar focus on details gives her unremarkable subjects an exotic cast; her paintings seem at once self-possessed and compelled by peculiar observations.

People almost never appear in her paintings, but their accoutrements constantly do, taking on human portent. In one canvas, a child’s small plastic slide—a mere slip of curling dark red—resolutely anchors the bases of tall, spindly trees; no human is in sight, but houses seem to crowd and converse. In another painting, a wedge of burning orange-red holds convincingly as a distant roof glimpsed between nearer buildings. Reisman’s astute sense of color, weighing and balancing hues and intensities, gives a delicate but palpable force to the sunlight illuminating these details. Such moments glow with an almost surreal intensity—though Surrealism never showed quite so affectionate a touch.

Similarly, colors animate a blossoming tree at the center of one the largest paintings in the show, the 5-foot-wide “Valverde.” Pink tints of petals, vibrant despite their paleness, resonate deliciously before their shadowed counterparts of deep mauves and silvery

violets. The hues capture, tangibly, an interior depth enclosed by the brilliant canopy.

One can quibble. The artist doesn’t locate the greater elements of this canvas with the same assurance; the wide horizontals of a foreground sidewalk and a distant field are weighted equally, flattening distances and leaving the flowering tree almost stranded as a plastic event. As with the other large paintings in the exhibition, the overall coloration of “Valverde” shies from dramas of momentum and scale, and some viewers will miss the exhilaration of broad rhythms resolving in detail. One can imagine the artist striking a deal with nature, at least in regard to drawing; when working in large dimensions, she faithfully observes rather than aggressively constructs, and absorbs rather than imposes on her subjects the way Cézanne or Bonnard did, and to climactic effect. And, arguably, this might enhance her paintings’ aspect of peculiar self-possession.

But I found myself repeatedly drawn to nearly a dozen small still lifes in the exhibition. In these, the artist’s drawing seems to anticipate the movements between hues, locating forms with a spirit equal to the energy of each color. These jewel-like paintings include “Night Pears,” in which the stems of fruit spell out the length of a basket in momentous intervals. It feels as big as any painting in the gallery. [John Goodrich]Through April 30, Paul Thiebaud Gallery, 42 E. 76th St., 212-737-9759.

Mel Kendrick: Works from 1995 to NowThe wonder of Mel Kendrick’s

sculptures, the subject of an exhibition at David Nolan Gallery, is how deftly they skirt kitsch. The irksome thing about Kendrick’s sculptures is that the artist may well be unaware of the daredevilry he’s pulled off.

Kendrick has been a steady presence in the New York art scene for some 30 years, his riffs on Constructivist principles having proved reliably smart and commendably un-flashy. But the Nolan show, a gathering of works spanning the years 1995 to (as the title has it) “now,” is the first time Kendrick has done more than elicited my cautious

respect. He’s made me simultaneously question whether I’ve underrated or overrated him. Better to be nettlesome than a non-entity. Now, I’m paying attention.

Credit Blockheads, a suite of diminutive sculptures in Nolan’s back room, wherein Kendrick hollowed out chunks of wood and reconfigured them into a set of lumberyard totems. It’s a remarkably straightforward investigation of mass and void that benefits from stark means and deadpan comedy. The piece is this far from cute and that far from academic. Blockheads is a surprise—it’s not every post-minimalist who’ll admit to having a sense of humor.

“Haverford Houses,” by Celia Reisman.

“Plug and Shell,” by Mel Kendrick.

AttheGALLERIES


“Untitled [Self-Portrait],” by Mark Morrisroe.

It’s the works in the front gallery that generate amazement and head scratching. Kendrick does the same thing as with Blockheads, except he hollows out trees and subsequently places the interior pieces—re-configured puzzle-style—alongside the remaining shells. There’s a mathematical pleasure to be had in matching up the sections, in comparing hand-cut portions with their bark-laden exteriors.

Still, there’s something pedantic in presenting them as before-and-after installations, as if one or the other section was insufficiently engaging on its own merits. This is where Kendrick skirts kitsch—in putting the whys, wherefores and “now do you get it?” basis of his process on full display. Hey, Mel, you want to say, let us do some of the heavy lifting.

Predigesting art for easy consumption isn’t necessarily a turn-off, but it is condescending. Which is why the stately and solo “Black Trunk” is the most effective of Kendrick’s array of confused intentions and irresistible effects. [Mario Naves] Through April 30, David Nolan Gallery, 527 W. 29th St., 212-925-6190.

Mark Morrisroe: From This Moment On When Mark Morrisroe died in 1989, a

vast collection of photographs, artist zines, Polaroids and photograms were found among his belongings. Pat Hearn, the late art dealer, preserved the collection until her death in 2000. Now, a career retrospective organized by Switzerland’s Fotomuseum Winterthur has brought his work back to New York, and is currently on view at Artists Space.

It’s hard to imagine an artist whose life and work were more intertwined. Morrisroe photographed his friends and himself, in his apartment, at the beach and in their bars. He worked prodigiously until the day of his death, from AIDS. Morrisroe used photography not to document a night or occasion, but to render it surreal; to investigate, then, the mediation of reality and artistic representation.

Growing up in Boston, he became part of the so-called Boston Photography School, along with friends Nan Goldin and David Armstrong. Like his contemporaries, Morrisroe began documenting the fledgling punk scene in Boston, fusing art and life in new ways. Manipulations made in the darkroom added an extra layer of involvement to Morrisroe’s work.

His most significant technical contribution is the “sandwich print,” in which two negatives are exposed simultaneously, creating one image with silky textures and dreamlike resonance. In “After the Laone (In the Home of a London Rubber Fetishist, Dec 82),” a body lies on its side across an unmade bed. The back is to the camera, and an arm hangs unnaturally around the curvature of the spine.

It’s hard to imagine late 20-century

art in an alternate universe, untouched by the tragic and untimely deaths of so many denizens. If the world around him was rife with paranoia and depression, it’s not evident in Morrisroe’s spirit. A displayed copy of his zine, Dirt, announces, “We the editors of Dirt Magazine get the impression that you our readers are misunderstanding us. We are really very cute and naive, only pretending.” [Nicholas Wells]Through May 1, Artists Space, 38 Greene St., 212-226-3970.

Emily Roysdon: PositionsVisual threads of minimalist geometry and

ambiguously improvised movement permeate Emily Roysdon’s new exhibition at Art in General. Incorporating work made during a stint at Berkeley, Positions is a continuation of her many multidisciplinary projects, which include the feminist queer arts collective LTTR, numerous film and photo projects and collaboration with the band MEN.

Roysdon’s work is ultimately about words, a happy surprise to any writer. Working with a dialectic consideration of language, the artwork focuses on the use of space and its regulation as it negotiates through dual meanings to develop what Roysdon calls “ecstatic resistance.” Three silk-screened panels set up a vocabulary of movement and form. Using the gallery as armature, wall space behind the panels is silk-screened with images of bodies, caught in a variety of poses. These positions, both choreographed and improvised, articulate the tensions between regulation and “free movement.”

“Sense and Sense,” a site-specific project based in Sergels torg, a public square in Stockholm, explores the space between choreography and political representation. In a diptych video, the performance artist MPA slowly traverses the black and white triangular-tiled square. By mimicking a natural walk while lying on her side, MPA creates the illusion of free movement in what must be a labored and meditative process.

By locating the performance in a public square, Roysdon utilizes the two meanings of the word “movement,” as physically moving through space and a political front. The exhibition notes that the site serves as a meeting point for all political protests in Stockholm. Sergels torg’s geography—sunken below street level and central to the city—alludes less to a panopticon than to the Colosseum, where captives were openly watched for amusement. [NW]Through May 7, Art in General, 79 Walker St., 212-219-0473.

Art/Sewn: Tradition, Innovation, ExpressionIn their 1978 essay “Femmage,” the

artists Miriam Schapiro and Melissa Meyer posited collage as a medium inherently suited to women, linking it to scrap booking, quilt-making and other creative outlets typically pegged as “craft” or “woman’s work.”

In the brochure accompanying Art/Sewn: Tradition, Innovation, Expression, an exhibition at Five Myles, curator Ward Mintz iterates similar points about Feminism, “women’s pastimes” and art historical hierarchies, even managing to slam, albeit obliquely, that perpetual arch-villain Clement Greenberg for daring to distinguish between craft and art. Mintz is worried the viewer won’t see the aesthetics for the stitching.

Forgetting for a moment that it’s a critic’s job to make distinctions, it’s worth pondering if categorization does matter, particularly in a culture where “anything goes” is a rule of thumb. Mintz states that the eight artists featured in Art/Sewn—Emily Barletta, Denise Burge, Elisa D’Arrigo, Linnea Glatt, Janet Henry, Cyrilla Mozenter, Jessica Rankin and Anna Von Mertens—“inevitably [raise] the question, ‘But is it art?’”

Given the quality of the pieces on view, it’s clear that each artist is cognizant of the associations and preconceptions engendered by working with needle and

thread. How could they not be, particularly when D’Arrigo cites her grandmother’s embroideries as a touchstone and Mozenter confesses to having once felt “sort of snooty” about craft?

Categorical distinctions do matter, if only because every creative endeavor has its own peculiar imperatives; without a thorough grounding in them, an artist is nothing more than a dabbler. D’Arrigo’s haunting effigies, Mozenter’s stoic deflations of Minimalist precedent and Burge’s goofy meditations on the environment aren’t hampered by this reality; they’re powered by it. And so it goes with the rest of the artists. But is it art? Methinks the curator doth protest too much.

The more pertinent issue raised by Art/Sewn is “When isn’t it art?” This seems an altogether more fruitful, if potentially uncomfortable, question that Mintz shimmies around. Happily, the artists simultaneously embrace and trample over it. [MN]Through May 8, Five Myles, 558 St. Johns Pl., Brooklyn, 718-783-4438.


The Autumnal and the AnomicAndré Previn and Kiri Te Kanawa at Carnegie Hall; monodramas at City Opera

By Jay NordliNger

Carnegie Hall has been hosting a Japan festival, which has included a concert by the NHK Symphony Orchestra. NHK,

in Japan, is more or less the PBS, or, better, the BBC. The orchestra started out as the New Symphony Orchestra in 1926. It came under NHK in 1951.

The Carnegie Hall concert started with something unscheduled: Bach’s “Air on the G String.” This is the piece you play when you wish to be elegiac. And the orchestra was recognizing, if that’s the word, the horrendous earthquake in Japan. Conducting them was André Previn, that veteran and versatile musician. The air began with a clunky entrance—the players were not together—but proceeded decently.

The scheduled program began with a piece by Takemitsu, the first Japanese composer many of us really knew. This was a little exercise called Green, composed in 1967. It sounds like Debussy with a Japanese gloss. Come to think of it, Debussy sometimes sounds like Debussy with a Japanese gloss—as in “Pagodes,” from Estampes, the piano set. Previn conducted Green in a nicely nuanced way.

Then he turned to Strauss’ Four Last Songs. And the soloist was a famous and beloved Strauss soprano, Kiri Te Kanawa—Dame Kiri, Kiri the Kiwi. It’s impolite to talk about age, but what the heck: She is 67. Four years ago, she gave a farewell recital in Carnegie Hall, and she was superb. It made you think, “Does she really have to give up recitals?” Last year, she appeared at the Metropolitan Opera in Donizetti’s Daughter of the Regiment. She did a comic turn, the Duchess of Krakenthorp, and did it enjoyably.

How did the Four Last Songs go? First, let me say that Dame Kiri looked smashing, as always. She was elegant, regal—beautiful. The songs did not go very well. There was little flow to them. The spell—that Straussian spell—was never cast. Soprano and orchestra were often out of sync. And her voice, considerably smaller than it used to be, was covered by the orchestra, mercilessly.

But: There were some excellent moments, and one song, “Beim Schlafengehen,” was almost good. In all the songs, Dame Kiri breathed like a champion, and she exuded her natural musical intelligence. For years, a rap against her has been that, really, she’s not so swift. I have always thought this rap itself not so swift.

After intermission, Previn conducted the orchestra in Prokofiev’s Fifth. They got through it, essentially—read through it. The performance rarely rose above the routine.

But it was amazing simply to see and

hear Previn and Dame Kiri at all. They’re both what you might call autumnal musicians. And those Strauss songs, of course, are just about the most autumnal music ever written. Previn is not terribly old, by conductor standards: 82. But, on this evening, he seemed infirm. It was hard for him to get into and out of his chair (placed on the podium). He reminded me a little of Stoki—Leopold Stokowski—in the last stage of his career. An impressive stage that was, too.

Even at his weakest, Previn will always seem to me the coolest kid on the block. And he is one of the most musical people we have ever known.

Need a Monodrama Be Monotonous?

City Opera has been putting on an evening of monodramas—three pieces for soprano and orchestra. About

10 years ago, William Bolcom wrote a very good such piece, Medusa (to a text by Arnold Weinstein, his longtime collaborator). Catherine Malfitano sang it in Carnegie Hall, rivetingly. It was one of the highlights of that season.

City Opera’s monodramas are La Machine de l’être, by John Zorn, who, like Bolcom, is a contemporary American composer (never mind the French title); a standard Schoenberg work, Ewartung; and Neither, by the late American Morton Feldman. Zorn’s score is of a familiar

kind—a very familiar kind. It is busy, squirmy, fidgety. There is lots of soft, or chimey, percussion. I am ever amazed at the conformity of modern composers. The rebels are those who write “old-fashioned” melodies and such.

The production director for La Machine de l’être, and the other two pieces, is Michael Counts. Before the curtain rises, as the audience is filing in, he has two people stand at the foot of the stage. These are a man and a woman, both dressed in men’s clothes. They are pouty, sulky, blank—you know the look. They’re doing what I think of as the “Fosse loll.” Later in the Zorn piece, we see rows and rows of burqa’d figures, some of whom are dressed interestingly underneath. We also see giant speech bubbles, as in cartoons. At times, funky, psychedelic images are flashed on them.

What does it all mean? Surely, insiders know. But it’s nice when productions are comprehensible to outsiders, i.e., the audience. You don’t have to be obvious. But comprehensibility is no sin.

A few years ago, I interviewed an official at the Salzburg Festival, who said that his favorite composers were Schumann, Liszt (as I recall) and Morton Feldman. Did he mean it, or was he just being cool? I can’t say for sure. Sometimes a person’s poses become his reality. Neither, written with Samuel Beckett, is

another of Feldman’s studies in stasis—a frozen, or trudging, thing. The soprano is a Johnny One Note, literally. Or almost literally. She sings one or two notes. She spends a lot of time on G. Is Neither another “Air on the G String”?

I don’t know about you, but, for me, a little anomie goes a long way. So does a little soullessness. And this is an evening filled with those and related qualities. To me, it seemed as long as Les Troyens and Götterdämmerung combined. The performers could not be faulted, not on the night I attended. All three sopranos—Anu Komsi (in the Zorn), Kara Shay Thomson (in the Schoenberg) and Cyndia Sieden (in the Feldman)—were capable and game. Conductor George Manahan was an alert manager of affairs, as usual.

And Counts’ production, or productions? Are they imaginative and compelling? Or are they arty and pretentious? In all honesty, I can’t decide. I lean toward the negative. But I can’t say the productions do a disservice to the pieces.

I wonder if you, like me, sometimes have the feeling of being the only one in the room who hasn’t drunk the Kool-Aid. Or the only one who sees a buck-naked emperor, where others see a splendidly robed fellow. “This is your kind of thing if it is your kind of thing,” critics sometimes like to say. A cop-out, but not necessarily untrue. <

ClassicalMUSIC&Opera

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Ensemble in Feldman’s Neither at New York City Opera.


By Joel loBenthal

What’s so esoteric about kicking up your leg? That’s what I thought when I saw Merce Cunningham’s

company last week at the Joyce Theater, part of the year-long farewell tour that was occasioned by Cunningham’s death in 2009.

Cunningham was at once the most recondite of the high-modern dance master choreographers—largely because of the eardrum-assaulting music that he chose—and yet one of the most loosely, naturally physical choreographers around. Balletic battements are softer and more sequentially extended than their brasher Broadway equivalent, the high kick. Cunningham’s articulations of the step fall between these two extremes, a natural outgrowth of his own training. He began with tap dance, continued on to the cloistral crucible of Martha Graham’s studio in the 1940s and subsequently embraced classes at Balanchine’s School of American Ballet.

As was shown during last week’s Joyce season, Cunningham’s work became more hermetic as he got older, usually jettisoning passages of sustained emotional dialogue that could be readily discerned by the spectator. It was a different story back in 1958, when Cunningham made his Antic Meet, a delightful dance that was seen in New York last week for the first time in four decades. The dancers begin the piece not only meeting, but greeting each other with the stance of their bodies. Their lopings and swishings describe a population that could be parading down Fifth Avenue or across an Arcadian woodland. There is an erotic playfulness, a direct mutual acknowledgement that we don’t see as much of in the later works. Antic Meet continues to unfold as a series of charades and send-ups, in which Graham herself is spoofed. It’s all good—and it’s all grist for his satiric mill.

Over the years, Cunningham’s company got much larger. There are six dancers in the cast of Antic Meet, while there are 13 in 1993’s CRWDSPCR, which opened the Joyce program. This piece teems with controlled, patterned, pseudo-chaos. At one point, Cunningham gives us three simultaneous tempi, as the dancers occupy three distinctly delineated registers of the stage. Upstage they are still, while the mid-stage rank moves slowly; downstage, the dancers are agitated. In later pieces like CRWDSPCR, the dancers often seem to

be task-oriented, continuously passing the baton in the service of some exalted, united, enigmatic purpose.

Like Graham herself, Cunningham never wanted to get off stage. In 1999’s Occasion Piece, 51-year-old Mikhail Baryshnikov seemed like a veritable Tom Sawyer next to Cunningham as they danced in some type of fractured tandem. Already in 1982, when Cunningham made Quartet, which was the middle dance on the program I saw at the Joyce, he was facing a solution to the already vexing question: What to keep doing with himself on stage? He was then in his early-sixties, much older than any of his dancers and distinctly, gnomishly, set apart from them in his own choreography. Usually

he didn’t move with them; rather, he cut his own independent path through them. In Quartet, he poetically distinguishes himself and justifies his onstage presence, making as explicitly archetypal as he could the age disparity between himself and everyone else. The Cunningham role (the choreographer spelled at the Joyce by Robert Swinston, himself now the group’s senior dancer as well as its director) is on a voyage of discovery as well as recollection. The balance of the small ensemble moves not as satellites to his sun, but rather as autonomous spurts and spasms. Perhaps they are jolts of his memory, perhaps simply life processes that are now largely extraneous to his movement-restricted cerebrations and contemplations.

All three of the pieces I saw at the Joyce had been revived especially for this season: The final year of the Cunningham company has indeed been planned as a momentous one. The Joyce season was the first of four New York touchdowns that they will make this year. They will be at the Lincoln Center Festival July 16 and then at the Brooklyn Academy of Music Dec. 7–10. Finally, at the Park Avenue Armory Dec. 29–31, we’ll see them perform a series of site-specific “Events,” a Cunningham specialty in which excerpts from his repertory were blended and bled and overlapped. And with that, the company will disband. <

Spring MercenessCunningham’s choreography doesn’t have to seem as obscure as its reputation maintains

Dance

Cunningham’s work became more hermetic as he got older, usually jettisoning passages of sustained emotional dialogue

that could be readily discerned by the spectator.

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Alan Gilbert Conductsthe Juilliard Orchestraat Avery Fisher Hall

Photo: Peter Schaaf

Friday, April 15 at 8

THE JUILLIARD SCHOOL | Joseph W. Polisi, President


By Howard Mandel

In jazz, the racial rift that has long plagued our nation is continuously, simultaneously both healed and re-torn.

Musicians and listeners alike proclaim a meritocracy, meaning anyone who can play an instrument trumps skin color, ethnicity or nationality at birth. Yet audiences are still often self-segregated, overwhelmingly either white or black (everybody loves Latin jazz!). Bands have a funny way of not being very diversified. Recently, two local “festivals” demonstrated how all God’s chillun’ barely meet, probably despite, rather than due to, organizers’ intentions.

The Brooklyn Jazz Underground is, in its own words, “an association of independent artists with a shared commitment to creativity and community,” and it “aims to build greater awareness of original music emerging from Brooklyn, N.Y.” Likewise, the Central Brooklyn Jazz Consortium is “an organization of venues and individuals committed to the development and preservation of Jazz and related art forms throughout the Borough of Brooklyn.” If only these groups worked together.

The BJU comprises six musicians—five men, one woman—all around the age of 40, from a variety of backgrounds: Danish, Catalan, Canadian and from Pelham (in northern California) and Manhattan (via Philly). Saxophonists Adam Kolker and Dan Pratt, bassists Anne Mette Iversen and Alexis Cuadrado, trumpeter David Smith and drummer Rob Garcia, have all had college-level musical training, teach as adjuncts, are composers as well as improvisers and generate original works that they typically produce themselves, when not serving as support players to more famous jazzers across the range of the genre.

They held a fifth annual festival in which all members led combos, often featuring the others, at Cornelia Street Café in Manhattan over two nights last week. They present themselves and friends on Sunday nights at Sycamore, a flower shop and bar in Brooklyn’s Ditmas Park. Garcia, the BJU’s spokesman, is also executive director of the B-based collective Connection Works, which runs a Brooklyn Jazz Wide Open concert series (its next show, April 13, features saxophonist Joe Lovano and bassist Scott Colley at the Brooklyn Conservatory in Park Slope). Connection Works runs performance workshops for tweens and teens, free to all comers, at Douglas Street Collective (next happening June 4).

The CBJC is rather different. As a fan- and business-supported grassroots group, its mission statement asserts interest in “the development of audiences and the nurturing

of institutions and individuals throughout Brooklyn that deal with Jazz as well as other African-American cultural expressions… to build coalitions by working collective and sharing information with the aim of reestablishing the spiritual and emotional connections between African-American artists and their communities.”

Their Central Brooklyn festival runs throughout April—which the Smithsonian promotes as “Jazz Appreciation Month”—with events at more than a dozen locations, mostly in Fort Greene, Bed-Stuy and Crown Heights. The highlights include pianist Doug Carn’s Quartet April 11 at the club For My Sweet (1103 Fulton St.); fest artistic director Jeff King’s band at The Inkwell (408 Rogers Ave.) April 14; and an April 16 panel discussion on the “Women Behind the Music” followed by pianist Goussy Célestin’s trio at Bed-Stuy Restoration Place. There’s a childrens’ program, blues and jazz jams, a Brooklyn Jazz Hall of Fame and Museum Induction and awards and so on.

Neither the Central Brooklyn Jazz Coalition nor the Brooklyn Jazz Underground is ideologically exclusionary. However, I sat in on a CBJC festival panel last spring, and I heard attendees complain that white folks have taken over jazz, that black youth don’t know the music and so Brooklyn’s black culture/community is endangered. Several Central Brooklyn jazz aficionados expressed a palpable sense of embattlement, seemingly dismayed rather than pleased that musicians had drawn listeners from beyond their immediate circles, who came to the fest’s associated bars, restaurants and boutiques with money to spend. But isn’t that what a festival is all about?

If the Underground is distant from the Central Brooklyn coalition’s concerns, Garcia suggests, “Maybe it’s stylistic. They tend to present more straight-ahead, conventional jazz, whereas we lean toward newer trends, experimental kinds of things.” Well, not quite. His coterie has a progressive, but not radical or rebellious, bent, while CBJC mainstays—such as trumpeter Ahmed Abdullah, proprietor of Sistas’ Place—are as apt to draw on the legacy of Sun Ra, one of the furthest out of all American musicians ever.

A deeper look at Brooklyn Jazz Underground programs finds they’ve presented several younger black artists—most recently, brilliant drummer/composer/pianist Tyshawn Sorey. But the perception of a divide between black and white jazz, even in Brooklyn, persists. Does this column perpetuate that, or reveal complexities? Maybe both at once. Given history and reality, could it be otherwise?<

The Jazz DivideWhy does the divide between black and white jazz persist?

JAzz

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Thursday, April 14, 7:30 Zankel Hall at Carnegie HallWorks by Beethoven, Bartok,

Debussy and Chopin

Objects of Exchange: Social and Material Transformation on the Late Nineteenth-Century Northwest Coast

Above: “Champion vase,” Qing dynasty. Cloisonné enamel on cast copper alloy; gilded bronze.Phoenix Art Museum, 1982.209 a,b.

Below: Mask, attributed to sdiihldaa/Simeon Stilthda (c. 1799-1889), Haida. Wood, paint, leather, metal.Courtesy of the Division of Anthropology, American Museum of Natural History, 16/376.

Gallery Hours: Tuesday through Sunday from 11:00 am to 5:00 pm.Admission: $7 general, $5 seniors and students.Admission is free Thursday after 5:00 pm. For information about tours for adult and school groups, call (212) 501-3013 or e-mail [email protected]. To learn about the Bard Graduate Center and its upcoming exhibitions, visit bgc.bard.edu.

Exhibitions on view

January 26–April 17

Cloisonné: Chinese Enamels from the Yuan, Ming, and Qing Dynasties


By Mark Blankenship

Sometimes, a Broadway set demands your attention. A musical extravaganza wouldn’t feel the same, for instance, without a trap door and a spinning castle and maybe a pontoon boat made of sequins that floats by in the second act.

Some Broadway sets, however, are designed to speak in whispers. Take David Gallo’s work on High, Matthew Lombardo’s drama about an ex-alcoholic nun (Kathleen Turner) whose demons emerge when she counsels a teenage junkie (Evan Jonigkeit). His set is made from white walls and white furniture, and it’s automated so that pieces slide and pivot to suggest new rooms. Watching them move is like watching the world fall gently into place.

That’s a marked contrast to the volatile emotion of the script, which pushes characters to dark places as they grasp for redemption.

Gallo’s subtle design focuses our attention on the plot. “I wanted there to be texture and a form that was realistic, but I think by painting everything with a unity of color, it abstracts things just enough,” he says. “You don’t get too bogged down in the particulars. The set gives you a sense of place, but it doesn’t try too hard to tell the story.”

But even though it’s not overwhelming the plot, the set deepens our understanding of it. Turner’s character, Sister Jamison, has several moments where she steps out of the play to address us directly, describing her own troubled past and her thoughts on God. In those moments, the white walls disappear, leaving Sister Jamison alone on stage, standing before of a massive wall of stars.

“We were trying to give [the production] a sense of openness, while also giving it a sense of confinement and claustrophobia,” Gallo says. “I guess that sounds contradictory, but the walls define the smallness of a room, yet there’s a greater sense of open space. [The characters] can stay confined in some of the

more realistic and heavy scenes and then sort of drift off in a more abstract way.”

But Gallo was rarely “interpreting” his design as he created it. Often, he was just responding to the practical needs of the play. When a table rolls on stage, for instance, it might seem symbolic, but Gallo simply

wanted to avoid the awkwardness of having an actor schlep it on. “Everything that we put on stage is very carefully chosen,” he says, “but I don’t find any greater meaning, sometimes, other than a mood or a necessity or an emotional response.”

But a subtle set suggests meaning all the same, inviting audiences to lean forward and decipher what it’s saying. <

Mark Blankenship edits TDF Stages, Theatre Development Fund’s online magazine about live performance.

Getting “High” on Bare White WallsDavid Gallo and the quiet Broadway set

Theater

Kathleen Turner and Evan Jonigkeit on the High set.

Dav

id G

allo

Des

ign

“You don’t get too bogged down in the particulars. The

set gives you a sense of place, but it doesn’t try too hard to

tell the story.”

Rosemary Hamilton

New Paintings and Water Color Studies

Through April 23, 2011

Tuesday - Saturday11:00 a.m. - 6:00 p.m.

Gallery Talk and ReceptionSaturday April 16, 3 p.m.

Front Yard, oil on linen, 20”x 30”, 2011Prince Street Gallery520 West 25th Street NYC 10012 | 646-230-0246 | www.princestreetgallery.org

AT NEW YORK CITY CENTER STAGE II

www.pearltheatre.org

By David DavalosDirected by J.R. Sullivan

Running through April 17, 2011

By David DavalosBy David Davalos

Photos by Sam H

ough

They were all at...

Before Elsinore...Before Hell...

Sean McNall as HamletScott Greer as Dr. Faustus Chris Mixon as Martin Luther

Before The Reformation...

“Hilarity, thy name is ‘Wittenberg.’” -The New York Times

Subscribe for the best discussion of the arts in New York CityOur e-newsletter delivered to your inbox once a week

www.cityarts.info | 212.268.8600


Exhibition opEningsAn AmericAn crAftsmAn GAllery: Bob Clyatt. Opens

Apr. 14, 790 7th Ave., 212-399-2555.AtlAntic GAllery: Sally Brody & Susan Golgan:

“Prints from Ancram.” Opens Apr. 6, 135 W. 29th St., 212-219-3183.

Benrimon contemporAry: Changha Hwang: “Three-Fold.” Opens Apr. 7, 514 W. 24th St., 2nd Fl., 212-924-2400.

Denise BiBro fine Art: Jerry Meyer: “Civilization & Its Discontents.” Opens Apr. 14, 529 W. 20th St., #4W, 212-647-7030.

GAllery 307: Hedy O’Beil: “On Paper: 2006-2011.” Opens Apr. 7, 307 7th Ave., Ste. 1401, 646-400-5254.

HAlf KinG GAllery: Andrew McConnell: “Ghosts of the Sahara.” Opens Apr. 12, 505 W. 23rd St., 212-462-4300.

Hollis tAGGArt GAlleries: Manierre Dawson: “(1887-1969) A Catalogue Raisonnè.” Opens Apr. 7, 958 Madison Ave., 212-628-4000.

lesley Heller WorKspAce: Elisabeth Condon: “Climb the Black Mountain.” Opens Apr. 13. “New Monuments.” Opens Apr. 13, 54 Orchard St., 212-410-6120.

liKe tHe spice GAllery: Eric LoPresti: “Different Country.” Opens Apr. 8, 224 Roebling St., Brooklyn, 718-388-5388.

ny stuDio GAllery: Yuliya Lanina: “Birds & Bees.” Opens Apr. 7. Zev Jonas: “Passage.” Opens Apr. 14, 154 Stanton St., 212-627-3276.

morGAn leHmAn: Eric Beltz: “Trance Farm.” Opens Apr. 7, 535 W. 22nd St., 212-268-6699.

noHo GAllery: Arlene Baker: “Altered Spaces.” Opens Apr. 12, 530 W. 25th St., 4th Fl., 212-367-7063.

orcHArD WinDoWs GAllery: Eddie Rehm: “Belliger-ence.” Opens Apr. 11, 37 Orchard St., 917-600-0807.

purumé GAllery: “Landscape Re-Imagined.” Opens Apr. 6, 11 E. 13th St., 212- 206-0411.

stefAn stux GAllery: Ruud van Empel: “Wonder.” Opens Apr. 7, 530 W. 25th St., 212-352-1600.

stepHAn stoyAnov GAllery: Matthew Sandager: “Scotland.” Opens Apr. 7, 29 Orchard St., 212-343-4240.

stepHen HAller GAllery: Ron Ehrlich: “Equipoise.” Opens Apr. 7, 542 W. 26th St., 212-741-7777.

suDArAm tAGore GAllery: Tom Doyle: “Space Embraced.” Opens Apr. 7, 547 W. 27th St., 212-677-4520.

visuAl Arts GAllery: “Poisoned Apples & Smoking Lamps: Interpreting Fairy Tales & Adventure Stories.” Opens Apr. 8, 601 W. 26th St., 15th Fl., 212-725-3587.

WAlter WicKiser GAllery: Ralph L. Wickiser: “A Retrospective of the Reflected Stream.” Opens Apr. 9, 210 11th Ave., Ste. 303, 212-941-1817.

Exhibition ClosingsABrons Art center: Jane Benson: “The Splits.”

Ends Apr. 16. “The Days of This Society Are Numbered.” Ends Apr. 16, 466 Grand St., 212-598-0400.

Aicon GAllery: “Past Traditions/Present Discourses: South Asian Pre-Modern Works of Art & Mu-hammad Zeeshan.” Ends Apr. 16, 35 Great Jones St., 212-725-6092.

AmerinGer mcenery yoHe: Esteban Vicente: “The Garden Paintings.” Ends Apr. 16, 525 W. 22nd St., 212-445-0051.

tHe ArsenAl GAllery: Shane McAdams: “Fresh Green Beast.” Ends Apr. 15, The Arsenal in Central Park, 5th Ave. at 64th St., 3rd Fl., 212-360-8163.

ArtsAGENDABill HoDGes GAllery: “Nao.” Ends Apr. 14, 24 W.

57th St., 6th Fl., 212-333-2640.Bitforms GAllery: “Touched: A Space of Relations.”

Ends Apr 16, 529 W. 20th St., 212-366-6939.Boxoffice: Eric Rhein: “Transmutation.” Ends Apr.

9, 421 Hudson St., #701, 917-669-6098.cAusey contemporAry: “Michel Demanche...

Corrected to 20/40.” Ends Apr. 10. “Christine Sciulli: Tangle.” Ends Apr. 10, 92 Wythe Ave., Brooklyn, 718-218-8939.

cHristinA rAy: Brian Leo: “The Post Ironic.” Ends Apr. 17, 30 Grand St., Ground Fl., 212-334-0204.

D’Amelio terrAs: Dario Roberto: “The Minor Chords Are Ours.” Ends Apr. 16, 525 W. 22nd St., 212-352-9460.

Denise BiBro fine Art: Roslyn Meyer: “Water Play.” Ends Apr. 9. Daniel Borlandelli: “Vendaval.” Ends Apr. 9., 529 W. 20th St., #4W, 212-647-7030.

DorsKy GAllery: “Extravagant Drawing.” Ends Apr. 10, 11-03 45th Ave., Queens, 718-937-6317.

fincH & ADA: “The Pleasure is All Mine.” Ends Apr. 8, 548 W. 28th St., finchandada.com.

floWers: Tai-Shan Schierenberg: “Psychogeogra-phy.” Ends Apr. 9, 529 W. 20th St., 212-439-1700.

forum GAllery: Robert Cottingham: “The Empire Theater.” Ends Apr. 9, 730 5th Ave., 212-355-4545.

GAGosiAn GAllery: Rudolf Stingel. Ends Apr. 16, 555 W. 24th St., 212-741-1111.

GAllery35: “Artists in Exile: Forgotten Iraqi Refu-gees in Syria.” Ends Apr. 10, 30 E. 35th St., 212-683-4988.

GAllery HenocH: Robert Jackson: “From Ridiculous to Sublime.” Ends Apr. 9, 555 W. 25th St., 917-305-0003.

HeiDi cHo GAllery: Peter Reginato: “POLY-CHROME.” Ends Apr. 16, 522 W. 23rd. St., 212- 255-6783.

HesKin contemporAry: Susan Still Scott: “Corporeal-ity & Other Things of Grace & Beauty.” Ends Apr. 9, 443 W. 37th St., Ground Fl., 212-967-4972.

Homefront GAllery: Hidemi Takagi: “Blender.” Ends Apr. 9, 26-23 Jackson Ave., Queens, 347-827-0553.

leHmAnn mAupin: Angel Otero. Ends Apr. 17, 201 Chrystie St., 212-254-0054.

leicA GAllery: wowe: “Nightclubbing: New York Nightlife in the 80s.” Ends Apr. 16. Alan Behr: “Naked at the Ball.” Ends Apr. 16, 670 Broad-way, 212-777-3051.

loHin GeDulD GAllery: Kevin Wixted: “Conver-gence.” Ends Apr. 16, 531 W. 25th St., 212-675-2656.

luise ross GAllery: Bill Traylor: “A Master on Card-board.” Ends Apr. 16, 511 W. 25th St., #307, 212-343-2161.

m55 Art GAllery: Iris Levinson. Ends Apr. 9, 44-02 23rd St., Queens, 718-729-2988.

mAGnAn metz GAllery: Duke Riley: “Two Riparian Tales of Undoing.” Ends Apr. 9, 521 W. 26th St., 212-244-2344.

mArvelli GAllery: Juliana Romano: “This Place is Safe.” Ends Apr. 9, 526 W. 26th St., 2nd Fl., 212-627-3363.

mAry ryAn GAllery: Donald Sultan: “Soot & Shine: New Works.” Ends Apr. 9, 527 W. 26th St., 212-397-0669.

mccAffrey fine Art: Hitoshi Nomura, Sigmar Polke & Yukinori Yanagi: “Works in Progress.” Ends Apr. 16, 23 E. 67th St., 212-988-2200.

monyA roWe GAllery: Nadia Ayari: “This Place.” Ends Apr. 16, 504 W. 22nd St., 2nd Fl., 212-255-5065.

neW century Artists GAllery: “New Expressions

2011.” Ends Apr. 7, 530 W. 25th St., Ste. 406, 212-367-7072.

nicole KlAGsBrun GAllery: Robert Barry, Peer Bode, Nikolas Gambaroff, Raymond Hains & Ryan Sullivan. Ends Apr. 9, 526 W. 26th St., #213, 212-243-3335.

noHo GAllery: Bruce Laird: “New Year/New Work.” Ends Apr. 9, 530 W. 25th St., 4th Fl., 212-367-7063.

tHe pAce GAllery: Tara Donovan: “Untitled (My-lar).” Ends Apr. 9, 545 W. 22nd St., 212-989-4258.

tHe pAce GAllery: Robert Mangold. Ends Apr. 16, 32 E. 57th St., 212-421-3292.

perloW GAllery: “Gallery Spring Selections.” Ends Apr. 15, 980 Madison Ave., 212-644-7171.

postmAsters GAllery: Oskar Dawicki: “Phantom Pain.” Ends Apr. 9, 459 W. 19th St., 212-727-3323.

ricK Wester fine Art: Sandi Haber Fifield: “Between Planting & Picking.” Ends Apr. 16, 511 W. 25th St., Ste. 205, 212-255-5560.

siDney misHKin GAllery: “Spirit Rock, Sacred Moun-tain: A Chinese View of Nature.” Ends Apr. 6, 135 E. 22nd St., 646-660-6652.

smAcK mellon: David Henderson: “A History of Aviation - Part 2.” Ends Apr. 10. Shannon Plumb: “The Window Series.” Ends Apr. 10, 92 Plymouth St., Brooklyn, 718-834-8761.

spAniermAn moDern: Clifford Smith. Ends Apr. 9, 53 E. 58th St., 212-832-1400.

srAGoW GAllery: Alphonse van Woerkom: “Face Value.” Ends Apr. 9, 153 W. 27th St., 212-219-1793.

st. peter’s cHurcH: Barbara Brocklebank: “Well Red.” Ends Apr. 11. Michael Gold: “R.I.P. Sayulita: Honoring The Dead in a Mexican Cemetery.” Ends Apr. 11, 619 Lexington Ave., 212-935-2200.

susAn eley fine Art: Allison Green: “Deeply Rooted.” Ends Apr. 14, 46 W. 90th St., 2nd Fl., 917-952-7641.

tAlWAr GAllery: Allan deSouza: “Trysts Tropicales.” Ends Apr. 9, 108 E. 16th St., 212-673-3096.

tyler rollins fine Art: Agus Suwage. Ends Apr. 9, 529 W. 20th St., 10W, 212-229-9100.

WestBetH GAllery: “Grid/Off the Grid, Eight Paint-ers.” Ends Apr. 17, 57 Bethune St., 212-989-4650.

WHite columns: “UPDATE #2.” Ends Apr. 16. Robin Graubard. “Incomplete.” Ends Apr. 16. Ari Marcopoulos: “Directory.” Ends Apr. 16. “Archive in Progress.” Ends Apr. 16. “Pages from A Magazine: CAMERAWORK.” Ends Apr. 16, 320 W. 13th St., 212-924-4212.

yAncey ricHArDson GAllery: Victoria Sambunaris: “The Border.” Ends Apr. 9, 535 W. 22nd St., 646-230-9610.

MusEuMsAmericAn folK Art museum: “Perspectives: Forming

the Figure.” Ends Aug. 21. “Quilts: Masterworks from the American Folk Art Museum.” Ends Oct. 16, 45 W. 53rd St., 212-265-1040.

AmericAn museum of nAturAl History: “Brain: The Inside Story.” Ends Aug. 15, Central Park West at W. 79th Street, 212-769-5100.

AsiA society & museum: “A Prince’s Manuscript Un-bound: Muhammad Juki’s ‘Shahnamah.’” Ends May 1. “A Longing for Luxury.” Ends Sept. 11, 725 Park Ave., 212-288-6400.

AustriAn culturAl forum: “Alpine Desire.” Ends May 8, 11 E. 52nd St., 212-319-5300.

Bronx museum: “Stargazers: Elizabeth Catlett in Conversation With 21 Contemporary Artists.” Ends May 29. Alexandre Arrechea. Ends June 6, 1040 Grand Concourse, Bronx, 718-681-6000.

BrooKlyn HistoricAl society: “Home Base: Memo-ries of the Brooklyn Dodgers at Ebbets Field.” Ends Apr. 24. “It Happened in Brooklyn.” Ongoing, 128 Pierrepont St., Brooklyn, 718-222-4111.

BrooKlyn museum: “Norman Rockwell: Behind the Camera.” Ends Apr. 10. “Tipi: Heritage of the Great Plains.” Ends May 15. Sam Taylor-Wood: “Ghosts.” Ends Aug. 14. “Lorna Simpson: Gath-ered.” Ends Aug. 21. “reOrder: An Architectural Environment by Situ Studio.” Ends Jan. 15, 2011, 200 Eastern Pkwy., Brooklyn, 718-638-5000.

cooper-HeWitt nAtionAl DesiGn museum: “Color Moves: Art & Fashion by Sonia Delaunay.” Ends June 5. “Set in Style: The Jewelry of Van Cleef & Arpels.” Ends June 5, 2 E. 91st St., 212-849-8400.

fricK collection: “Rembrandt & His School: Mas-terworks from the Frick & Lugt Collections.” Ends May 15, 1 E. 70th St., 212-288-0700.

internAtionAl center of pHotoGrApHy: “Wang Qingsong: When Worlds Collide.” Ends May 8. “Jasper, Texas: The Community Photographs of Alonzo Jordan.” Ends May 8. “Take Me to the Water: Photographs of River Baptisms.” Ends May 8. “The Mexican Suitcase: Rediscovered Spanish Civil War Negatives by Capa, Chim & Taro.” Ends May 8, 1133 6th Ave., 212-857-0000.

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

JeWisH museum: “The Art of Matrimony: Thirty Splendid Marriage Contracts from the Jewish Theological Seminary Library.” Ends June 26. “Maria Kalman: Various Illuminations (of a Crazy World).” Ends July 31. “The Line & the Circle: Video by Sharone Lifschitz.” Ends Aug. 21, 1109 5th Ave., 212-423-3200.

mercHAnt’s House museum: “New York’s Civil War Soldiers - Photographs of Dr. R.B. Bontecou, Words of Walt Whitman.” Opens Apr. 14. “Lessons Learned: The Books that Taught the Tredwells.” Ends Apr. 25, 29 E. 4th St., 212-777-1089.

tHe metropolitAn museum of Art: “Poetry in Clay: Korean Buncheong Ceramics from Leeum, Sam-sung Museum of Art.” Opens Apr. 7. “Richard Serra Drawing: A Restrospective.” Opens Apr. 13. “Stieglitz, Steichen, Strand.” Ends Apr. 10. “Our Future Is in the Air: Photographs from the 1910s.” Ends Apr. 10. “The Emperor’s Private Paradise: Treasures from the Forbidden City.” Ends May 1. “Cézanne’s Card Players.” Ends May 8. “Katrin Sigurdardottir at the Met.” Ends May 30. “Rugs & Ritual in Tibetan Buddhism.” Ends June 26. “Rooms with a View: The Open Window in the 19th Century.” Ends July 4. “Haremhab, The General Who Became King.” Ends July 4. “Guitar Heroes: Legendary Crafts-men from Italy to New York.” Ends July 4. “After the Gold Rush.” Ends Jan. 2, 2011, 1000 5th Ave., 212-535-7710.

tHe morGAn liBrAry & museum: “Mannerism & Mod-ernism: The Kasper Collection of Drawings & Photographs.” Ends May 1. “The Changing Face of William Shakespeare.” Ends May 1. “The Diary: Three Centuries of Private Lives.” Ends May 22, 225 Madison Ave., 212-685-0008.

el museo Del BArrio: “Luis Camnitzer.” Ends May 29, 1230 5th Ave., 212-831-7272.

museum of AmericAn illustrAtion At tHe society of il-lustrAtors: “R. Crumb: Lines Drawn On Paper.” Ends Apr. 30, 128 E. 63rd St, 212-838-2560.

museum of Arts & DesiGn: Patrick Jouin: “Design & Gesture.” Ends Apr. 17. “The Global Africa Project.” Ends May 15, 2 Columbus Cir., 212-299-7777.


MuseuM of Jewish heritage: “Last Folio: A Photo-graphic Journey with Yuri Dojc.” Ends late sum-mer. “Fire in My Heart: The Story of Hannah Senesh.” Ends Aug. 7. “The Morgenthaus: A Legacy of Service.” Ends Sept. 5, 36 Battery Pl., 646-437-4200.

MuseuM of Modern art: “Paula Hayes, Nocturne of the Limax maximus.” Ends Apr. 18. “On to Pop.” Ends Apr. 25. “Abstract Expressionist New York.” Ends Apr. 25. “Counter Space: Design & the Modern Kitchen.” Ends May 2. “Contemporary Art from the Collection.” Ends May 9. “Picasso: Guitars 1912-1914.” Ends June 6. “Looking at Music 3.0.” Ends June 6. “German Expressionism: The Graphic Impulse.” Ends July 11. “Impressions of South Africa, 1965 to Now.” Ends Aug. 14. “I Am Still Alive: Politics & Everyday Life in Contemporary Drawing.” Ends Sept. 19, 11 W. 53rd St., 212-708-9400.

MuseuM of the City of new york: “Ain’t Nothing Like the Real Thing: How the Apollo Theater Shaped American Entertainment.” Ends May 1. “Move-able Feast: Fresh Produce & the NYC Green Cart Program.” Ends July 10, 1220 5th Ave., 212-534-1672.

MuseuM of the Moving iMage: “DOLLS VS. DICTA-TORS.” Ends Apr. 10. “Real Virtuality.” Ends June 12. Chiho Aoshima: “City Glow.” Ends July 17. “Behind the Screen.” Ongoing, 36-01 35th Ave., Queens, 718-777-6888.

new MuseuM: “Museum as Hub: The Accords.” Ends May 1. “George Condo: Mental States.” Ends May 8. “Lynda Benglis.” Ends June 19, 235 Bowery, 212-219-1222.

new york PubliC library: “Radioactive: Marie & Pierre Curie, A Tale of Love & Fallout.” Ends Apr. 17, Stephen A. Schwarzman Building, Print Gallery & Stokes Gallery, E. 42nd St. & 5th Ave., 917-275-6975.

noguChi MuseuM: “On Becoming An Artist: Isamu Noguchi & His Contemporaries, 1922-1960.” Ends Apr. 24, 33rd Rd. at Vernon Blvd, Queens, 718-721-2308.

Queens MuseuM of art: “The Indo-American Arts Council’s 8th Annual Erasing Borders Exhibition of Contemporary Indian Art of the Diaspora.” Ends Apr. 10, NYC Building, Flushing Mead-ows Corona Park, Queens, 718-592-9700.

rubin MuseuM of art: “Grain of Emptiness.” Ends Apr. 11. “The Nepalese Legacy in Tibetan Painting.” Ends May 23. “Body Language: The Yogis of India & Nepal.” Ends July 4. “Patterns of Life: The Art of Tibetan Carpets.” Ends Aug. 22, 150 W. 17th St., 212-620-5000.

soloMon r. guggenheiM MuseuM: “The Deutsche Bank Series at the Guggenheim: Found in Translation.” Ends May 1. “The Great Upheaval: Modern Art from the Guggenheim Collection, 1910-1918.” Ends June 1. “Kandinsky at the Bauhaus, 1922-1933.” Ongoing, 1071 5th Ave., 212-423-3500.

studio MuseuM: Stephen Burks: “Man Made.” Ends June 26. Benjamin Patterson: “In the State of FLUX/us: Scores.” Ends June 26. “Sculpted, Etched & Cut: Metal Works from the Permanent Collection.” Ends June 26. “Collected. Vignettes.” Ends June 26. “Vid-eoStudio: Playback.” Ends June 26. “Studio-Sound: Ojo.” Ends June 26. “Harlem Postcards Spring 2011.” Ends June 26, 144 W. 125th St., 212-864-4500.

whitney MuseuM of aMeriCan art: “Modern Life: Edward Hopper & His Time.” Ends Apr. 10. Slater Bradley & Ed Lachman: “Shadow.” Ends Apr. 10. “Legacy: The Emily Fisher Landau Collection.” Ends May 1, 945 Madison Ave., 212-570-3600.

Auctionsdoyle new york: Doyle + Design. Apr. 12, 10 a.m.

Important Estate Jewelry. Apr. 13, 10 a.m. Books, Photographs & Prints. Apr. 20, 10 a.m. Coins, Bank Notes & Postage Stamps. Apr. 20, 4, 75 E. 87th St., 212-427-2730.

Christie’s: The Feminine Ideal: An Important Private Collection of Photographs. Apr. 7, 10 a.m. Crossing America. Apr. 7, 2. Photographs. Apr. 8, 10 a.m. & 2. Fine & Rare Wines. Apr. 9, 10 a.m. New York Magnificent Jewels. Apr. 12, 10 a.m. & 2. Russian Art. Apr. 13, 10 a.m. & 2. 500 Years: Decorative Arts Europe, includ-ing Oriental Carpets. Apr. 14 & 15, times vary. A Trumbauer Estate on The Philadelphia Main Line. Apr. 15, 2. 20 Rockefeller Plz., 212-636-2000.

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

swann auCtion galleries: Fine Books & Manu-scripts. Apr. 7, 10:30 a.m. Early Printed Books. Apr. 11, 10:30 a.m., 104 E. 25th St., 212-254-4710.

Art EvEntsChelsea art gallery tour: Enjoy a guided tour of

this week’s top 7 gallery exhibits in the world’s center for contemporary art. Apr. 9, 526 W. 26th St., nygallerytours.com; 1, $20.

i’M nobody! who are you?: The Chocolate Factory presents Maya Ciarrocchi’s multi-channel video installation with projected life-sized video por-traits exploring the emotional response of both subject & viewer. Opens Apr. 9, 5-49 49th Ave., Queens, 718-482-7069; times vary, free.

JaPannyC: Carnegie Hall & others present part two of this citywide festival of Japanese arts & cul-ture, with a lineup of over 40 events, including performances by the NHK Symphony Orchestra led by Andre Previn, Martha Graham Dance Company, Deerhoof & Friends, & others. Ends Apr. 9, times, prices & locations vary. carnegie-hall.org/japannnyc.

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

sofa ny: The 14th International Exhibition of Sculp-ture Objects & Functional Art bridges the worlds of design, decorative & fine art. Apr. 14-17, Park Avenue Armory, Park Ave. at 67th St., sofaexpo.com; times & prices vary.

the tribeCa filM festival art awards exhibition: The Tribeca Film Festival invites the public to view works—by 11 major contemporary artists—which will later be awarded to winning Festival filmmakers. Opens Apr. 20, New York Academy of Art, 111 Franklin St., tribecafilm.com; times vary, free.

unsound festival: Unsound, Fundacja Tone, the Polish Cultural Institute of New York & the Goethe-Institute of New York present this 10-day celebration of underexposed Eastern European creative music spanning a multitude of genres & featuring work from Brian Eno, Morton Subotnick & others. Ends Apr. 10, times, prices & locations vary. unsound.pl/en.

Music & opErA92nd street y: Takacs Quartet performs the final

concert in its 3-part all-Schubert series. Apr.

LaPlacaCohen 212-675-4106 Publication: City A

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Masterworks Jewels of the Collection Opening March 11, 2011

This exhibition is supported in part by an award from the National Endowment for the Arts. Art Works.

Dharmapalas, Tibet, Geluk Order, 18th century, Distemper and gold on cloth, C2007.21.1 (HAR 65787)

RMA-0004-CityArts_Mar9_4.917x5.541_v2.indd 1 3/1/11 6:15 PM

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9, $52+. Violinist Gil Shaham & pianist Orli Shaham perform a world premiere by Israeli composer Avner Dorman & works by Bonime, Achron & others. Apr. 16, 1395 Lexington Ave., 212-415-5500; 8, $57+.

Abron Arts Center: John Zorn hosts “A Concert to Benefit Japan Earthquake Relief” featuring Norah Jones, Thurston Moore, Jesse Harris, Ikue Mori & many others. Apr. 8, 466 Grand St., 212-598-0400; 6:30 & 9:30, $35+.

Avery Fisher hAll: Legendary violinist Itzhak Perl-man & the New York Philharmonic perform film scores & works by Tchaikovsky, Mozart, Schubert & others. Apr. 11, 7:30, $35+. Alan Gil-bert conducts the Julliard Orchestra in Mahler’s “Symphony No. 9.” Apr. 15, 10 Lincoln Center Plz., 212-875-5656; 8, $15+.

DAviD h. KoCh theAter: New York City Opera presents Stephen Schwartz’s first opera, the gripping psychological thriller ”Séance on a Wet Afternoon.” Opens Apr. 20, 20 Lincoln Center, 212-721-6500; times vary, $12+.

el teAtro Del Museo Del bArrio: In its 87th season, Blue Hill Troupe presents Gilbert & Sullivan’s “H.M.S. Pinafore,” to benefit The Carter Burden Center for the Aging. Apr. 8-10 & 13-16, 1230 5th Ave. 866-811-4111; times vary, $25+.

GilDer lehrMAn hAll: Dolora Zajick, mezzo-soprano, & Nathaniel Peake, tenor, perform as part of The George London Foundation Recital Series. Apr. 10, 225 Madison Ave., 212-956-2809; 4:30 $45+.

iMMAnuel lutherAn ChurCh: Vocal ensemble Charites performs “17th Century Female Perspectives on the Dissolution of Beauty,” with works by 17th-century women composers & poets. Apr. 13, 122 E. 88th St., 212-967-9157; 1:15, free.

MerKin ConCert hAll: Merkin Hall presents “Pulse: Pursuit of Presence,” demonstrating the evolu-tion of percussion in American chamber music with works by John Cage, Steve Reich & others. Apr. 16, 129 W. 67th St., 212-501-3300; 8, $12

the MetropolitAn operA: Alan Held & Waltraud Meier sing the leads in a four-performance revival of Alan Berg’s “Wozzeck.” Apr. 6, 9, 13 & 16, Lincoln Center, 212-362-6000; times vary, $25+.

Miller theAtre: As part of the Composer Portraits series, Either/Or performs the U.S. premiere of work by Israeli composer Chaya Czernowin. Apr. 15, Philosophy Hall at Columbia Univer-sity, 212-854-7799; 8, $25.

stern AuDitoriuM: The Yale Glee Club celebrates its 150th anniversary with a gala concert featuring the Yale Symphony Orchestra. Apr. 8, Carnegie Hall, 881 7th Ave., 212-247-7800; 7:30, $20.

Weill reCitAl hAll: Greg Kallor, whose performances mix classical work, improvisation & his own compositions performs original work & works by Rachmaninoff, Chick Corea, Stravinsky & others. Apr. 20, Carnegie Hall, 881 7th Ave., 212-247-7800; 8, $35.

Jazz55 bAr: The Sean Smith Trio plays music from their

new CD, “Trust.” Apr. 13, 55 Christopher St., 212-929-9883; 7, free.

JAzz stAnDArD: Ambrose Akinmusire Quintet performs to celebrate the release of Akinmusire’s album “When The Heart Emerges Glistening.” Apr. 14-17, 116 E. 27th St., 212-576-2232; times vary, $25+.

JAzz stAnDArD: Moroccan mezzo-soprano, composer & producer Malika Zarra performs in up to 5 languages. Apr. 19, 116 E. 27th St., 212-576-2232; times vary, $20+.

Miles CAFé: Pascalito’s Quartet performs. Apr. 17, 212 E. 52nd St., 212-371-7657; 5:30, $10 cover, $10 minimum.

sMoKe: George Coleman Quartet performs in celebra-tion of Smoke’s 12-year anniversary. Apr. 8 & 9, 2751 Broadway, 212-864-6662; times vary, $35.

st. peter’s ChurCh: International Women in Jazz holds its 5th annual festival, an all-day event showcasing & honoring women in jazz, with Antoinette Mon-tague, Melba Joyce, Taeko, Andrea Wolper Trio & others. Apr. 9, 619 Lexington Ave., international-womeninjazz.com; 12:30-9:30, $20.

tribeCA perForMinG Arts Center: Edward Ellington II & The Ellington Legacy Band perform. Apr. 7, Borough of Manhattan Community College, 199 Chambers St., 212-220-1460; 8, $40.

Dance92nD street y: Dancers from Montclair State Uni-

versity, NYU & 360 Dance Company perform works by Weidman, Maslow, Dudley & Yuriko. Apr. 15, 12, free.“High On Dance: The Next Generation,” its 6th annual showcase of work by local high school choreographers. Apr. 17, 1395 Lexington Ave., 212-415-5500; 3, $10.

Ailey ii: The Alvin Ailey American Dance Theater’s youthful second company presents a two-week, 14-performance season with two alternating programs. Ends Apr. 17, The Ailey Citigroup Theater, 405 W. 55th St., 866-811-4111; times vary, $45.

Anne bluMenthAl & DAnCers: The San Francisco-based company performs Blumenthal’s dance essay “Plu-to in Capricorn,” with guest artist Barbara Mahler. Apr. 8, 92nd Street Y/Harkness Dance Center, 1395 Lexington Ave., 415-294-0222; 8, $15.

CAtherine GAllAnt/DAnCe & DAnCes by isADorA: The companies present original choreography & works from the Isadora Duncan repertoire. Apr. 16 & 17, City Center Studio 4, 130 W. 56th St., 800-838-3005; times vary, prices vary.

ChunKy Move: The genre-defying dance company presents the New York premiere of Byron Perry & Antony Hamilton’s “I Like This,” about two men on a quest to design, analyze & control an environment. Ends Apr. 9, Joyce SoHo, 155 Mercer St., 212-242-0800; times vary, $18.

DAnCebrAzil: The high-energy, Capoeira-based company performs Jelon Vieira’s “A Jornada.” Opens Apr. 12, The Joyce Theater, 175 8th Ave., 212-242-0800; times vary, $10+.

DAnCe unDer the inFluenCe: Ron Brown, Sean Curran & Nelida Tirado present performances inspired by art forms outside the realm of dance. Apr. 13, The Jerome & Simona Chazen Building at the Mu-seum of Arts & Design, 2 Columbus Cir.; 7, $18+.

Juliette MApp: The choreographer presents “My Gary Albanians,” a personal work about her fam-ily’s immigration from Albania to Gary, Indiana, & the struggles of the American worker. Apr. 13-16, Dance Theater Workshop, 219 W. 19th St., 212-691-6500; 7:30, $20.

leDoh/sAlt FArM: The company presents the New York premiere of “COLORMEAMERICA,” a satirical, Butoh-based multimedia performance exploring the relationship between power & freedom. Apr. 14-16, Joyce Theater, 175 8th Ave., 212-242-0800; 8, $20.

neW yorK theAtre bAllet: The company presents Keith Michael’s “The Alice-in-Wonderland Follies,” a fast-paced, hour-long parody of the classic tale incorporating burlesque, acrobatics, African Juba & other dance forms. Apr. 8 & 9, Florence Gould Hall, 55 E. 59th St., 212-355-6160; 7, $25.

pilAr rioJA: The Flamenco dancer’s spring engage-ment includes the premiere of “Habanera,” a new Flamenco dance highlighting the creative influences of African & Caribbean rhythms on Spanish dance, set to music by Cuban composer Guillermo Portabeles. Opens Apr. 7, Repertorio

ArtsAGENDA

Espanol’s Gramercy Arts Theater, 138 E. 27th St., 212-225-9999; times vary, $25.

russiAn nAtionAl bAllet theAtre: The company performs its acclaimed interpretation of “Swan Lake.” Apr. 17, Brooklyn Center for the Perform-ing Arts, Walt Whitman Theatre at Brooklyn College, 2900 Campus Rd., Brooklyn, 718-951-4500; 2, $27+.

stephen petronio CoMpAny: The company performs Petronio’s “Underland,” inspired by the songs of Nick Cave, with projected imagery by Ken Tabachnick & Mike Daly. Ends Apr. 10, The Joyce Theater, 175 8th Ave., 212-242-0800; times vary, $10+.

suMMAtion DAnCe CoMpAny: The company pres-ents a dance benefit for Japan, with an encore performance of “Keep Your Feathers Dry.” Apr. 9, NYU Tisch Dance, 111 2nd Ave., 5th Fl., summationdance.org; 8, $20.

vAlentinA KozlovA DAnCe ConservAtory CoMpAny: The company performs its spring concert, with a program of excerpts from classical ballets & Margo Sappington’s contemporary works. Apr. 16, Symphony Space, 2537 Broadway, 212-864-5400; 7, $30.

viA DAnCe ColleCtive: The collective invites the public to its monthly open rehearsal series, “...VIA CON-VERSATIONS,” with refreshments & a chance to meet the dancers. Apr. 14, Red Bean Studios, 320 W. 37th St., theredbeanstudios.com; 7:30, free.

TheaTerA lonely MAn’s hAbit: This new play catches play-

wright Tennessee Williams revisiting memo-ries, sometimes humorous, sometimes painful, recorded in his journal. Ends Apr. 16, the cell, 338 W. 23rd St., 800-838-3006.

A shot AWAy - personAl ACCounts oF MilitAry sexuAl trAuMA: Drawing from real-life interviews, the Red Fern Theatre Company documents the epidemic of sexual violence within the American military. Ends Apr. 17, LABA Theatre, 344 E. 14th St., 866-811-4111.

AnD then you Go on: Bob Jaffe draws from 13 of Samuel Beckett’s works, spanning 44 years, in his tribute to the writer. Ends Apr. 16, the cell, 338 W. 23rd St., 800-838-3006.

AWAKe in A WorlD thAt enCourAGes sleep: Raymond J. Barry’s tense three-character play examines love, politics & economic hitmen in a world of endless war. Ends Apr. 24, Theater for the New City, 155 1st. Ave., 212-254-1109.

booM toWn: Las Vegas-based circus troupe Cirque Mechanics presents the New York premiere of a high-flying, Wild West-themed adventure where performers use props & settings as circus equip-ment. Opens Apr. 8, New Victory Theater, 209 W. 42nd St., 646-223-3010.

brinG us the heAD oF your DAuGhter: The Amoralists present the world premiere of Derek Ahonen’s unconventional & non-judgmental examination of the lives of two lesbian partners—one black, one Jewish—& a daughter accused of cannibal-ism. Ends Apr. 24, 9th Space at P.S. 122, 150 1st Ave., 212-352-3101.

the buKoWsKi proJeCt: Ute Lemper presents her “theatrical poetic project in music” drawing from Charles Bukowski’s life & work. Apr. 14-16, Abron Arts Center, 466 Grand St., 212-352-3101.

en el tieMpo De lAs MAriposAs: “In the Time of the Butterflies,” based on Julia Álvarez’s historical novel, tells the story of the Mirabal sisters & their fight against a dictatorial regime in the Domini-can Republic. Ends June 25, Repertorio Español, 138 E. 27th St., 212-225-9999.

lA CAsA De bernArDA AlbA: Tyrannical mother Bernar-da Alba attempts to dominate her five unmarried daughters, all of whom harbor a secret passion for the same man. Ends May 27, Repertorio Español, 138 E. 27th St., 212-225-9999.

Mr. M: The Czechoslovak-American Marionette The-atre performs the first American stage adaptation of “Mr. Theodore Mundstock,” a psychological drama, at times darkly humorous, about a man who hardens his body & mind in preparation for the concentration camps. Opens Apr. 14, Theater for the New City, 155 1st. Ave., 646-505-5708.

reservoir: The Drilling Company announces a return engagement of Eric Henry Sanders’ drama—based on Buchner’s “Woyzeck”—about the homecoming of a Middle Eastern war vet-eran. Ends Apr. 17, The Drilling Company, 236 W. 78th St., 3rd. Fl., 212-868-4444.

the solDier DreAMs: Theatre East presents Daniel MacIvor’s story of a comatose man who dreams of his secret life, as his loved ones struggle to come to terms with his loss. Ends Apr. 9, The-atre Row, 410 W. 42nd St., 212-714-2442.

WittenberG: The Pearl Theatre Company performs the New York premiere of David Davalos’ new comedy, which sees Doctor John Faustus & Rev-erend Martin Luther battling for the allegiance of a star pupil at Wittenberg University in 1517. Ends Apr. 17, New York City Center Stage II, 131 W. 55th St., 212-581-1212.

yAle Center For british Art: “Art in Focus: William III” examines an 18th-century lead sculpture of King William III, and will also feature portraits of William III, coins, medals and contempo-rary sculptures in various media, exploring the contested image and legacy of William III (1650-1702). Ends July 31, 1080 Chapel St.‚ New Haven‚ Conn., 203-432-2800.

AlDriCh ConteMporAry Art MuseuM: “Timothy White: Portraits,” an exhibition focused on powerful and engaging photographic por-traits of iconic film and music figures. Ends June 5, 258 Main St., Ridgefield, Conn., 203-438-4519.

MontClAir Art MuseuM: “Robert Mapplethorpe Flowers: Selections from the JPMorgan Chase Art Collection,” a retrospective of the famous photographer’s lesser-known studies of flowers, which he viewed as “[not] very different from body parts,” connecting them to his other bodies of work. Ends July 17. Also on display is “War-

hol and Cars: American Icons,” which examines Warhol’s interest in cars as products of American consumerism. The show features more than 40 drawings, prints and photographs spanning 1946-1986. Ends June 19, South Mountain Ave., Montclair, N.J., 973-746-5555.

the riChArD b. Fisher Center For the perForMinG Arts: Directed by Benjamin Mosse, “La Ronde” is a play written in 1900 about the morals and social classes of the era. Ends Apr. 10, The Richard B. Fisher Center for the Performing Arts, Bard College, Annandale-on-Hudson, N.Y., 845-758-7900.

FrAnCes lehMAn loeb Art Center: “Thomas Row-landson: Pleasures and Pursuits in Georgian England” displays a humorous insight into the mentality of Georgian society through 72 wa-tercolors and prints that examine both private and public pleasures of the era. Ends June 12, 124 Raymond Ave., Box 703, Poughkeepsie, N.Y., 845-437-5237.

Out of Town EVENTS & ATTRACTIONS


PainttheTOWN By Amanda Gordon

Courtesy of Muse, the arts and leisure section of Bloomberg News; [email protected]. Photos by Amanda Gordon/Bloomberg

The Green SceneAt Christie’s, bidders like actor Sam Waterston put up

their paddles to protect the coral reefs of Belize, the wolves of the Rockies and the glaciers of the Himalayas.

It was the second annual Green Auction: Bid to Save the Earth, benefiting Central Park Conservancy, Conservation International, Oceana and the Natural Resources Defense Council.

“There are some superficial events in New York City,” said Seth Meyers, head writer for Saturday Night Live and the auction’s emcee. “I probably have friends who are at a vodka launch. And I’ll have to tell them, ‘Sorry I wasn’t there, I was saving the Earth. Hope you had fun with your vodka’.”

This party did have vodka, as well as chardonnay and Champagne. The food, by the restaurant Rouge Tomate, included grass-fed beef tartar and arctic char crudo.

“I love the diversity of nature,” said actress Diane Kruger. The second part of the evening was devoted to Runway to

Green, for which designers created outfits that reflect a planet-friendly interest in sustainable manufacturing.

Model Coco Rocha and others showed 32 looks, including a yellow-and-brown batik gown by Thakoon and a wedding dress by Oscar de la Renta made from 100-percent organic natural ivory cotton-tulle.

Model Kate Dillon said of nature, “I love how it puts me in my place.”

Along the runway, Vogue editor Anna Wintour had a front-row seat with her daughter, Bee Shaffer. Also observing was Lauren Santo Domingo, co-founder and creative director of Moda Operandi, which gives consumers the chance to buy clothes off the runway before they hit stores.

After the fashions, rapper Nicki Minaj performed in a green beehive wig.

TaSTe Of accOmpliShmenTThomas Keller wore an Isaia suit, and Duff Goldman

wore Seven jeans and an ostrich-leather jacket to the Culinary Institute of America Leadership Awards Gala.

The event at the Marriot Marquis in Manhattan brought out an eclectic crowd to raise money for scholarships. Guests included financier Mario Gabelli, New York City Education Chancellor Cathie Black, interior designer Adam Tihany and the chairman and co-chief executive of Chipotle Mexican Grill Inc., Steve Ells.

Modeling his outfit on stage, Goldman, the Food Network’s Ace of Cakes star, confessed he didn’t learn high style from his one-time boss at the French Laundry, where he worked after graduating from the Culinary Institute of America in Napa Valley.

Goldman also apologized to Keller for abruptly quitting that job.

“I was making a sweet mission fig puree, beautiful in color, almost lavender,” Goldman said. “I used rice-wine vinegar instead of simple syrup and I got chewed out, and that night I bailed. I’m sorry.”

Goldman made the dessert for the evening: cardamom and pistachio carrot cake, in the shape of the award statue that all the honorees received.

The real statues went to Paul Bocuse, named Chef of the Century, and Daniel Boulud as Chef of the Year. Tim Ryan, the president of the Culinary Institute, said many trends today can be traced to Bocuse. To illustrate, he produced a photograph of Bocuse showing the rooster tattoo on his arm.

Le Bernardin executive chef Eric Ripert, in his toast to Boulud, said one of his nicknames is “the Energizer Rabbit.” Ripert continued: “When we’ve been partying with our friend, he is so often saying, ‘Oh c’mon, it’s only 5 a.m.’”

a muSical eveninGAt Jazz at Lincoln Center, the

nonprofit Young Concert Artists celebrated its mission of helping musicians to begin solo careers. Artists are chosen by audition and given promotional support with two prestigious concerts.

“When I won this, I was 15, and I was extremely shy and frightened,” said violinist Karen Gomyo, one of the alumni of the program who performed earlier.

“One of my mentors in science, James Watson, who discovered DNA, is here tonight,” said the organization’s chairman, William Haseltine, shortly before lamb chops were served. “I like having the chance to give others a leg up too.”

Gomyo and three others performed Maurer’s “Sinfonia Concertante for Four Violins in A minor.”

Chef Thomas Keller, Natalie Ripert and chef Eric Ripert.

Anna Wintour, editor-in-chief of Vogue, and Natalie Mas-senet, chairman and founder of Net-a-Porter. The designs featured in the Runway to Green are currently available for purchase at the Net-a-Porter website. They will also be sold in stores in the fall.

Seth Meyers kicks off the Bid to Save the Earth auction. “I hope we raise enough money to buy the earth one more year,” he said.

Adrenis Sosa, a model and face of Lancome.

Karen Gomyo, violinist and Young Concert Artists alumna.

Terry Winters, Wave Hill, 2011Support for exhibitions is provided by the Lily Auchincloss Foundation, Inc., Milton & Sally

Avery Arts Foundation, The Greenwall Foundation and the New York State Council on the Arts, celebrating 50 years of building strong, creative communities in New York State’s 62 counties.PHILIP

FREDTERRY Wave HillW 249 & Independence Ave • Bronx, NY • www.wavehill.org • 718.549.3200

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

TAAFFE TOMASELLI WINTERS

ALCHEMY & INQUIRYApril 3–June 19

cityArts April 6, 2011

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Transcript of cityArts April 6, 2011