Culture

  • Art benefits

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    Ave, 2000
    lithograph with collage, 68/230
    Kiki Smith

    Good things come to those who go to art benefits. The Momenta benefit operates as a raffle — you pick a work among those remaining when your name is called. This time we had three tickets, and one of those was drawn first. We chose the Kiki Smith work pictured above. We also got a painting by Joey Kotting and a mixed media/collage work by Michael Cambre. It was one of our best experiences ever at such an event.

    Tomorrow (Wednesday May 5) we’re going to Groundswell‘s benefit. Tickets are $100 or 3 for $250 for the art raffle, or a minimum of $15 to go to the party. You get to a good party with a cool art crowd, and it’s a good cause. Groundswell brings artists and members of a given NYC community together to create a permanent mural in their neighborhood. More info on them is here.

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  • Things to see/do this weekend

    Go see SplitStream (April 30-May 1 at 7pm) at Dance Theater Workshop. It includes Ann Liv Young, of whom I’ve written before, Jonathan Berger, and Antonio Ramos. File under the theater side of “dance theater”, with a heavy emphasis on ”Lordy, what was that all about?” We loved it.

    Go to Momenta‘s benefit, held at White Columns, on Saturday, May 1. It’s one of the great art bargains in the city – a raffle of great art works for a $175 ticket. We’ll be there, so don’t pick any of our favorites if your number gets drawn sooner than ours.

    Go see Joe Ovelman at Oliver Kamm, closing tomorrow. Check out the review by Holland Cotter in today’s NY Times. It sounds like he’s wondering what Joe’s up to, but whatever it is, he likes it.

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  • Art to see in LA

    We just got a mailing about two shows at Marc Selwyn Fine Art in Los Angeles curated by Simon Watson/Scenic.

    The first is a show of works by Paul P. We’re big fans of Paul’s work and own a painting plus a couple of works on paper. The second is a group show that includes the likes of Christian Holstad, Terence Koh, Ann Craven, Wangechi Mutu, Scott Treleaven, and Joe Ovelman.

    Both open May 1 (6-8pm) and run through June 19.

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  • On Arab culture and literature

    Newsday has a nice essay today by Matthew Shenoda on Arab culture and literature. An excerpt:

    A survey of any of the major forces in contemporary Arab literature teaches us that while U.S. media have painted Arabs as villains of humanity, the truth is that dignity and a connection to place are central to Arab identity. We learn that the preservation of a peaceful life in one’s home is a major theme in Arab literature. We learn that resistance as an innate part of people who deeply love their home and their humanity comes second to a celebration of life. We learn a reverence for nature.

    In the midst of the horror of a U.S.-led war, we can look to Iraqi poet Saadi Youssef to understand that in his Basra, a child learns, “that when rain falls in mist/there will be no lightning at the end/of the horizon,/no thunder in the heart,/no wave on the river.” Is this child now grown to be a “thug,” as Rumsfeld claims, or is he a person yearning to reconnect with his land, to provide a place for his family to live and grow, a place in which to gaze out on a horizon that will not be dotted by missiles?

    In Darwish’s monumental memoir “Memory of Forgetfulness,” which chronicles his experience being exiled in Beirut during the 1982 war, he writes, “They can aim sea, sky, and earth at me, but they cannot root the aroma of coffee out of me.” Here we see coffee being used as an ancient symbol with roots in Abyssinia and Arabia to reflect a part of the very being of Darwish, a symbol rooted in the land, an aroma that cannot be erased by any amount of force.

    Syrian poet Adonis, too, speaks of his connections to place in his poem “Remembering the First Century,” when he writes, “A mountain speaks its name/to me./ After all, I have/some credentials.” His credentials are roots tracing back beyond written record – his credentials are centuries of lineage in that place.

    What many citizens of the United States do not have the opportunity to witness is the beauty of the Arab world, the way olive groves grace the landscape, the way children sit at the feet of their grandmothers, the way an ancient way of life has survived despite centuries of foreign occupation. And so perhaps the greatest understanding is for the people of the United States to see that Arabs are an ancient people, that the bombs over Iraq and the siege of Palestine are seeking to wipe out memory, the memory of history, of ancient and revered places, places we are all in some ways linked to.

    Perhaps we need to learn that if we wipe out and erase Iraq and Palestine, we will, as Qabbani has learned, see that we are striking out half our own lives. Think of the beauty, as Darwish does, next time you smell the aroma of coffee.

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  • Mr. David Zinn

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    Handel’s Tamerlano at 2003 Spoleto Festival U.S.A.
    photos by Lenore Doxsee

    Our good friend David Zinn, costume and set designer extraordinaire, has a new web site. We first saw his work as a little baby designer with Target Margin, with whom he continues to work, in addition to more famous venues such as New York City Opera and Santa Fe Opera.

    When we saw his Flavio at New York City Opera, the audience applauded the set changes.

    Tamerlano is an opera by Handel loosely based on the life of Timur, a conqueror and ruler in 14th century Central Asia. Suitably for an opera set in that region of the world, being produced last summer at an American music festival, David didn’t ignore what was going on at the time.

    In Handel’s rarely mounted Tamerlano, the defeated Bajazet…wore traditional sultan’s robes, while his corporate conquerors, barking orders and gleefully dividing the spoils, sported snazzy business suits. Mixing sexual and power politics, the libretto is nearly incomprehensible, but its centre–Bajazet losing his culture, his dignity and his daughter–is tragically clear. David Zinn’s cunning set was littered with ancient books and other looted treasures at the front of the stage, and endless, empty bookshelves at the rear.

    — Jack Sullivan, Opera Magazine

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  • Queercore

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    Triple Creme

    There I was, reading an article on queercore bands in Newsday. I thought I recognized the woman on the left of the main photo before I saw a caption. Oh my goodness! It’s Christina Mazzalupo! I didn’t recognize her at first because I’ve never seen her look so serious.

    Here is her web site, and her page on Mixed Greens.

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  • Tons o’ art

    Head over to James‘s site. He just put up several posts on recent art we’ve seen, with images.

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  • Deb Margolin interview

    Culturebot.org has an interview with the brilliant Deb Margolin. Her wondeful book “Of All The Nerve” is really expensive, since it’s from an academic press. Go see if Powell’s has a used copy.

    She will be doing work from her new “performance novel” as part of the Dixon Place Veterans Series in May and early June. I recommend going!

    A sample:

    Q: When is solo performance effective and when is it self indulgent?

    Self-indulgence… IÂ’m very careful about that word because I feel like thatÂ’s a word we can use to shut ourselves down. ThatÂ’s the word that the inner critic uses. Sentimental thatÂ’s another one, see there is no art without sentiment. As soon as you can drop down and reveal something about your own humanity, the minute you reveal something truthful about your own humanity, you shed light on the entire spectrum of human experience. ThatÂ’s why we go to the theater for the revelation, thatÂ’s why I go. I go to stare at people!

    You canÂ’t do it in the subway you canÂ’t do it on a bus. You go to the theater, you pay your money and you just stare at these people. ThatÂ’s what you do and no one is going to arrest you. ItÂ’s very exciting. The more specific you are with your character the more generally we see the whole human condition. And so I feel the only way to get at that could be labeled, in advance of finding the jewel of revelation, self indulgent.

    I donÂ’t worry about self indulgence. I donÂ’t worry that my work is self indulgent. I feel the need to step up and take responsibility for how my work signifies politically and I feel the need to be responsible for a passionate and articulate desire to speak. Those are my responsibilities. I donÂ’t say anything that IÂ’m not dying to say onstage. I say the things that I cannot die without having spoken about. And you know, thatÂ’s going to reveal something weird about my humanity and in so doing it will reveal something about the entire human condition. I trust that chain of events the way I trust IÂ’m wearing this jacket. I know that to be true I know very few things and thatÂ’s one of them. So I live my artistic life by that principle. IÂ’m not afraid of self indulgence as long as I am passionate to speak. I know that I will be revealing something important about humanity through my own humanity. Once you find your passion for speech, and your prerogative to speak, you are unstoppable.

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  • Williamsburg Friday openings

    Openings we’re going to tomorrow:

    Eyewash @ Boreas – group show that includes Joan Linder

    Jennifer Dalton at Plus Ultra

    Tim Laun at Parker’s Box

    Yun-Fei Ji at Pierogi 2000

    Eve Sussman at Roebling Hall

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  • Art Linkage

    James and I went to the “new and improved” Brooklyn Museum on Sunday. I don’t know if I like the new glass entrance, but I wasn’t totally offended by it either. The vibe was so good, with all kinds of people you might not always see at a museum, it was hard to be grumpy. I really enjoyed the Open House: Working in Brooklyn show. Because the variety of artists working in Brooklyn is so large, in a way it felt more diverse than the Whitney Biennial. It was fun to see all kinds of people walking through that show and commenting on the contempary work. Where else would I see an Orthodox Jewish family with kids watching an Anthony Goicolea video? While you’re there, don’t miss the Patrick Kelly show either. I loved it. I hadn’t realized Bette Davis had been such a fan of his.

    Tom Moody wrote about the Paper Rad show. Go read him.

    Carlos de Villasante organized a show in Miami that looks great. Franklin has photos.

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