Kerry James Marshall, at the Met Breuer exhibition until January 29, boldly claims center stage in American art with his show entitled “Mastry.” A Chicago-based painter, Marshall seizes the spotlight at the center of conversations about American art at the center of the country’s art scene in New York. His mastery unfurls over a grand expanse of work, complemented by his own selections from the Metropolitan Museum’s collections, a curated sidebar that testifies to his confident deployment of art history in his own work. History, genre, cityscape, portrait – Marshall draws from the visual riches of the past, transforming Western art traditions into his own language. His cityscapes suggest how his paintings reclaim space. Continue reading
LaMama Theatre on East Fourth Street is where puppets, monsters and actors cavort, presenting classic and cutting-edge performance, whooping and hollering in many languages to stage just about any variety of theater from around the globe.
In March, in the space named after the founder, Ellen Stewart, the Czechoslovak-American Marionette Theatre partnered with Dvorak American Heritage Association to present “The New World Symphony: Dvorak in America,” by Vit Horejs. A jazz trio led by James Brandon Lewis on sax threaded musical commentary on the live and puppet action, adding a contemporary flavor to tales of Dvorak’s musical journeys through American sounds. Continue reading
They drove ambulances, bandaged the wounded, fed the hungry, ran hospitals and orphanages and raised money. The men and women who volunteered in Europe during the early years of the Great War – when the United States maintained neutrality – forged a template for modern humanitarian efforts.
Their work helped to pioneer ways to negotiate aid around the interests of warring countries, and created the infrastructure for food relief and other efforts. These activities are featured in The Volunteers: Americans Join World War I, 1914-1919, a new teacher’s curriculum launched in conjunction with an exhibition at the National World War I Museum in Kansas City, opening in April. Continue reading
“The street has provided generation after generation with a mystical flash of belonging… experiences of mortal peril, dissipation and adventure…” writes Ada Calhoun in her new book St. Marks’s Is Dead. Her wry and witty journey through history notes that each generation plunged in the excitement and grunge of the Lower East Side street proclaims its own moment “the golden age,” while bemoaning subsequent events as the death of the place’s “true essence.” That heart might be an immigrant’s dream, revolution, creativity, dissent, fashion experiment or altered consciousness.
Her bedlam of voices making these claims is entertaining and illuminating, the voluble chatter of participants, residents, business folks and dissidents who gave the street its gritty allure. Calhoun conducted over 200 interviews to assemble this history, and they range from obscure rantings of yesteryear to tales of the poor and famous. You will hear from Leon Trotsky, W.H. Auden, Debbie Harry, Klaus Nomi, street people, skate-boarders, drag queens and theater operators. Emma Goldman, famed anarchist, ran the Modern School for a while, where ardent revolutionaries could learn from the works of Mikhail Bakunin and Karl Marx. Pamela Moore, a pulp novelist of the 1960s described the creative invasion of the 1950s as “their own brand-new Beatnikville where the artists had moved in on the Slavic factory hands and all lived together in glorious, outrageous, dedicated poverty!” Continue reading
Since colonial times, the port city of New York has sent ships, goods and ideas to the Caribbean which in turn dispatched its own flow of staples, people, symbols and imaginative language North.
In the new show at Harlem’s Wintner-Tikhonova Fine Art Gallery open till Jan. 17, Caribbean artists show varieties of imagination rooted in that history of exchange. Francks Deceus from Haiti offers an abstracted photographic image of a dapper suited man in derby hat imprinted on an outlined version of a worker’s jumpsuit, evoking the urban and rural amalgam that haunts the identity of so many New Yorkers hailing from the Caribbean. Continue reading
Art deco murals, decorative brick work, mosaics – not quite what you expect to encounter at a women’s prison. The Bayview Women’s Correctional Facility at 550 West 20th Street in Manhattan was built in 1931 as a YMCA for merchant sailors. Converted to a prison, it was closed after Superstorm Sandy flooding and is now being converted to a Women’s Building. As an adaptive reuse, the main building will be preserved with some elements that reflect the history, even as the site is re-purposed as a women-focused community facility. Continue reading
Every kind of bad name was pasted on them: delinquents, hussies, misfits, fallen, flirts, incorrigbles.
For much of the 20th century institutions run by various religious orders such as the Congregation of the Sisters of Charity of the Good Shepherd housed and disciplined young women who had – possibly – transgressed society’s rules. Continue reading
Artist Camilla Huey has a close to the skin interpretation of founding father Aaron Burr. While we know about his schemes to gain and keep political power, Huey tempts us to think about Burr’s gender politics. Was the former Vice-President who shot Alexander Hamilton in a duel, a full-fledged Lothario, or might there be another story?
The film “The Loves of Aaron Burr: Portraits in Binding and Corsetry” premiering at Symphony Space at 95th St. and Broadway in Manhattan on Saturday, November 14 at noon offers a much more complicated and nuanced view of the man and his significant female others. As Thomas Paine wrote in that revolutionary era “If we take a survey of the countries and the ages… we will find the women adored and oppressed. Man who has never neglected an opportunity of exerting his power, in paying homage to their beauty has always availed himself of their weakness… at once their tyrant and their slave.” Continue reading
Malcolm X- Rally for Birmingham, 1963. by Larry Fink. Images Courtesy of Ilon Art Gallery
“If new thought can enter the mind, even for a moment, then change has a chance,” writes JT Liss. His photographs search for those figures and visions that allow us to see new ways and think new thoughts.
Ilon Gallery’s show Harlem: Life in Pictures on view in a classic 1890s brownstone, demonstrates how historic images of figures that have become iconic can acquire new resonance when displayed along fresh takes on a neighborhood that has been a cradle of creativity for well over 100 years. Continue reading
Magic rites in the jungle seal the fate of a love triangle in the long-forgotten opera of H. Lawrence Freeman restaged on Friday and Saturday at Columbia University’s Miller Theatre. Voodoo was composed in 1914 and had its last performance in 1928. The music and libretto come from a composer who was a friend of Scott Joplin. author of more than 20 operas, and founder of the Harlem Renaissance’s Negro Grand Opera Company. The revival features Gregory Hopkins of Harlem Opera Theatre conducting in a production that drew on collaboration with the Harlem Chamber Players and the Morningside Opera. Continue reading