Flavorpill New York Events

Looking at Music: Side 2 film series

2009-11-08T05:00:00Z

Sep 21 – Nov 30

Daily

@ MoMA The Museum of Modern Art

Held in conjunction with the Looking at Music: Side 2 gallery exhibition

In the early 1970s New York was a haven for young, renegade artists, many of whom doubled as musicians and poets. Art and music cross-fertilized with a vengeance, following a stripped-down, hard-edged, antiestablishment ethos. Some artists plastered city walls with self-designed posters or spray-painted monikers, while others commandeered abandoned buildings, turning vacant garages into makeshift theaters for Super-8 film screenings and raucous performances. Many found the experimental music scene more vital and conducive to their contrarian ideas than the handful of contemporary art galleries in the city. This screening series features films made by many of these artists, along with films that capture the spirit of New York City during that tumultuous era.

Idiot Savant

2009-11-08T05:00:00Z

Oct 27 – Dec 13

Tuesdays–Sundays

@ The Public Theater

WORLD PREMIERE Written and Directed by Richard Foreman With Willem Dafoe, Joel Israel, Alenka Kraigher, Elina Löwensohn, Eric Magnus and Daniel Nelson Marie asks the Idiot Savant, "But what makes certain words - magic?" What follows is a wild theatrical odyssey that could only have sprung from the fantastical mind of Richard Foreman (THE THREEPENNY OPERA), New York's legendary avant-garde genius. This new work is a philosophical comedy, in the great tradition of Ionesco and Preston Sturges. From precise existential and metaphysical acrobatics, to a ridiculous game of inter-species golf with a Giant Duck, IDIOT SAVANT is a fresh, bracing and hilarious exploration of the boundaries of the legitimate. Presented in association with Ontological-Hysteric Theater.

Click here for more information on Idiot Savant

Watteau, Music, and Theater

2009-11-08T05:00:00Z

Sep 22 – Nov 29

Daily

@ The Metropolitan Museum of Art

This is the first exhibition of Jean-Antoine Watteau’s paintings in the United States in 25 years! The remarkable exhibition shows the impact of music and theater in Watteau’s art, exploring the tension between an imagery of power, associated with the court of the Sun King, Louis XIV, and a more optimistic and mildly subversive imagery of pleasure, developed in opera-ballet and theater in the first years of the 18th century. In addition to works of art from the Met’s own collection, there are a number of major loans of paintings and drawings by Watteau and his contemporaries from other collections in the United States and Europe.

Image: Jean-Antoine Watteau (French, 1684–1721). Mezzetin. Probably 1718–20. The Metropolitan Museum of Art, Munsey Fund, 1934

Art of the Samurai: Japanese Arms and Armor, 1156–1868

2009-11-08T05:00:00Z

Oct 21 – Jan 10, 2010

Daily

@ The Metropolitan Museum of Art

Now on view at the Met is the most extraordinary and comprehensive exhibition of Japanese arms and armor ever to take place in the United States. Bringing together some 215 masterpieces, including 34 National Treasures (more than twice the number of National Treasures ever before allowed to leave Japan for a single loan exhibition), Art of the Samurai: Japanese Arms and Armor, 1156-1868 explores the greatest achievements of this unique aspect of Japanese art. Drawn exclusively from public and private collections in Japan, the exhibition showcases the finest examples of armor, swords, sword fittings and mountings, archery and equestrian equipments, banners, surcoats, and related accessories of rank such as fans and batons, as well as painted screens and scrolls depicting samurai warriors.

Image: Armor (gusoku) of Honda Tadakatsu. Edo Period (16th century). Private Collection, Japan. Important Cultural Property

Extended—Roxy Paine on the Roof: Maelstrom

2009-11-08T05:00:00Z

July 15 – Nov 29

Daily

@ The Metropolitan Museum of Art

Extended through November 29! American artist Roxy Paine (born in 1966) has created a 130-foot-long by 45-foot-wide stainless-steel sculpture, especially for the Museum’s Iris and B. Gerald Cantor Roof Garden. Giving viewers the sense of being immersed in the midst of a cataclysmic force, Maelstrom (2009) is Paine’s largest and most ambitious work to date. The latest in a diverse body of work, this sculpture is one of the artist’s Dendroids based on systems such as vascular networks, tree roots, industrial piping, and fungal mycelia. Set against Central Park and its architectural backdrop, the installation explores the interplay between the natural world and the built environment amid nature’s inherently chaotic processes.

Beverage and sandwich service are available on the roof from 10:00 a.m. until closing, including Friday and Saturday evenings.

Image: Roxy Paine, Maelstrom (detail), 2009, stainless steel. Courtesy of the artist and James Cohan Gallery, New York. Photograph: Sheila Griffin

Steve Wolfe on Paper

2009-11-08T05:00:00Z

Sep 30 – Nov 29

Daily

@ Whitney Museum of American Art

For over two decades, Steve Wolfe (b. 1955) has created objects and drawings of astounding craft and visual presence that investigate the intersections among material culture, intellectual history, and personal and collective memory. Working in the tradition of trompe l’oeil, his pieces often quite literally fool the eye on first inspection: tattered books, worn album covers, and vinyl records appear pristine but these are objects made from modeling paste, screenprints, drawings, and many other media, and they reproduce not just the thing but the individuality an object takes on as it is consumed by one or more individuals. Wolfe's objects are, in real life, ones that must be used and physically manipulated in some detailed way—books have every page turned, records every groove worn. The patina of time is thus inevitable and necessary, and leaves a record of the object’s meaning as it passes from the user's hand to mind. In essence, this is the subject of Wolfe’s work. Thus the tears, creases, and basic wear points to human contact rather that generic existence as a product become metaphors of enlightenment and culture.

Wolfe invests his creations with both personal history and personal touch: an almost erotic representation of the fact that one can fall in love with that which is ephemeral. Wolfe’s transformations of common objects require the viewer to re-think what they mean as such. Co-organized by Carter E. Foster, Curator of Drawings at the Whitney Museum of American Art, and Franklin Sirmans, curator at The Menil Collection, this exhibition and accompanying catalogue will focus on the artist’s works on paper, some of which are purely drawn, but many of which combine aspects of drawing, painting, collage, and printmaking.

Steve Wolfe (b. 1955), Untitled (Study for Eggplant/Gateway 2000 Cartons), 1996–97. Oil, screenprint, lithography, and modeling paste on two sheets of paper, 17 3/8 × 12 1/2 in. (44.1 × 31.8 cm) and 16 7/8 × 12 15/16 in. (42.9 × 40.5 cm). Whitney Museum of American Art, New York; purchase with funds from the Drawing Committee 98.10.2

American Stories: Paintings of Everyday Life, 1765-1915

2009-11-08T05:00:00Z

Oct 12 – Jan 24, 2010

Daily

@ The Metropolitan Museum of Art

From the decade before the Revolution to the eve of World War I, many of America’s most celebrated painters captured in their finest works the spirit of their respective eras. They recorded and defined the emerging character of Americans as individuals, citizens, and members of ever-widening communities. American Stories: Paintings of Everyday Life, 1765–1915 brings together for the first time more than 100 of these iconic pictures that tell compelling stories of life’s tasks and pleasures. The first overview of the subject in more than 35 years, the exhibition includes works from the Met’s own collection, along with loans from leading museums and private lenders.

Image: Mary Cassatt, 1844–1926. A Woman and a Girl Driving, 1881. Philadelphia Museum of Art, Purchased with the W. P. Wilstach Fund, 1921 (W1921-1-1). Photograph by Graydon Wood

Book Thug Nation

2009-11-08T05:00:00Z

Ongoing

Daily

@ Book Thug Nation

Whether you're on the hunt for the Faulkner corpus or just a sole Bellow tome, Book Thug Nation is the latest go-to for used fiction and martial-arts manuals — all under one Williamsburg roof. That last word actually represents a coup for the co-owners, four independent booksellers you've probably brushed past or bought from many a time on the sidewalks of Bedford Ave. Beside selling literary categories from A to Z on the cheap, this memorably named establishment also hosts readings, lectures, and even neighborhood meetings. Check the calendar for upcoming events.

Omar Mullick: Can't Take It With You

2009-11-08T05:00:00Z

Oct 8 – Nov 5, 2010

Daily

@ Gallery FCB

Call it Omar Mullick's 21st-century angle on The Americans. For his first solo show, the photographer hyphenates Robert Frank's landmark observance of the mid-century outsider with intimate, telltale documents of Muslim American life across our land of the free. Collected over seven years and with a title lifted from a Radiohead opening line, this exhibit offers a keen eye into the behind-the-veil aspects of the Muslim community, gracefully capturing madrasahs and halfway houses, children and the elderly. And by stilling the scenes in black and white, Mullick daisy-chains his democratic account to past chronicles of the ever-nebulous American experience.

Red Shoes (1948)

2009-11-08T05:00:00Z

Nov 6–19

Daily

@ Film Forum

Many a musical pales in comparison to this Technicolor fantasia — or Pantone tonic, if you will. Directed by Michael Powell and Emeric Pressburger, this wondrous production circles around Hans Christian Andersen's same-named fairy tale about a pair of ruby-reds that wear its owner to death. Moira Shearer stars as the star-crossed danseuse who — after a truly rapturous Shoes performance — must select Life or Art, here represented by composer-cum-beau (Marius Goring) and a haughty Diaghilev-like impresario (Anton Walbrook). Film Forum's new 35mm only makes for additional gasps of bliss.

Anish Kapoor: Memory

2009-11-08T05:00:00Z

Oct 21 – Mar 28, 2010

Daily

@ Solomon R. Guggenheim Museum

With the inauguration of the Deutsche Guggenheim in 1997, the Solomon R. Guggenheim Foundation and Deutsche Bank launched a unique and ambitious program of contemporary art commissions that has enabled the Guggenheim to act as a catalyst for artistic production. Anish Kapoor: Memory is the fourteenth commission project to be completed since the program’s inception and is the Guggenheim Foundation’s first collaboration with the artist, known for his expansive vision and profound aesthetics.

This show is curated by Sandhini Poddar, Assistant Curator of Asian Art.

For further information, please click here

Dan Flavin: Series and Progressions

2009-11-08T05:00:00Z

Nov 5 – Dec 23

Daily

@ David Zwirner

Dan Flavin organized fluorescent lights into eyeful towers, often leaving them untitled (with parenthetical dedications here and there) or with titles that were playfully descriptive (see: alternating pink and "gold"). This exhibition does as it claims, focusing on such works as the blue, square-unit rarity untitled (to Helga and Carlo, with respect and affection), which was part of his "barriers," and nominal three (to William of Ockham), a six-light salute to the philosopher of Razor illustriousness. Other sculptural configurations include nine, red-supreme works that comprise the 1968 series two primary series and one secondary, and a sequence of colorful late works.

Georgia O'Keeffe: Abstraction

2009-11-08T05:00:00Z

Sep 17 – Jan 17, 2010

Daily

@ Whitney Museum of American Art

Although Georgia O’Keeffe (1887–1986) has long been celebrated as a central figure in twentieth-century art, the abstract works she created throughout her career have remained overlooked by critics and the public in favor of her representational subjects. In 1915, O'Keeffe leaped into abstraction with a group of charcoal drawings that were among the most radical creations produced in the United States at that time. In these and subsequent abstractions, O’Keeffe sought to transcribe her ineffable thoughts and emotions. While her output of abstract work declined after 1930, she returned to abstraction in the 1950s with a new vocabulary that provided a precedent for a younger generation of abstractionists. By devoting itself to this largely unexplored area of her work, Georgia O’Keeffe: Abstraction is an overdue acknowledgment of her place as one of America’s first abstract artists.

The exhibition includes more than 125 paintings, drawings, watercolors, and sculptures by O'Keeffe as well as selected examples of Alfred Stieglitz’s famous photographic portrait series of O’Keeffe. The exhibition will be accompanied by a fully illustrated catalogue with essays by the organizers, excerpts from the recently unsealed Stieglitz-O’Keeffe correspondence, and a contextual chronology of O'Keeffe's art and life.

Georgia O’Keeffe, Red, Yellow and Black Streak, 1924. Oil on canvas, 39 3/8 x 31 3/4 in. (100 x 80.6 cm), Musée National d’Art Moderne, Centre Georges Pompidou, Paris. © Georgia O’Keeffe Museum/Artist Rights Society (ARS), New York. Photo: CNAC/MNAM/Dist. Réunion des Musées Nationaux/ Art Resource, NY

1962 New York Film Critics Circle

2009-11-08T05:00:00Z

Oct 23 – Nov 9

Daily

@ BAM Rose Cinemas

1962: The Yankees were Champs, Silent Spring raised hell about Earth, and "Bond, James Bond" leapt off the page with Dr. No. And, at year's end, the citywide newspaper strike precluded the New York Film Critics Circle from its annual laurels. BAM hosts the society's belated plaudits for a dozen of the best: the Duke (Hatari!, The Man Who Shot Liberty Valence) and Truffaut (Shoot the Piano Player, Jules and Jim) double up; Jerry Lewis contorts and deconstructs as The Errand Boy; and Agnes Varda's real-time gem, Cléo From 5 to 7, keeps company with husband Jacques Demy's sublime opus, Lola.

Augustus Saint-Gaudens in The Metropolitan Museum of Art

2009-11-08T05:00:00Z

June 30 – Nov 15

Daily

@ The Metropolitan Museum of Art

The Met’s unparalleled collection of American art includes some 45 sculptures by Augustus Saint-Gaudens (1848–1907), the American Beaux-Arts sculptor who worked in New York, Paris, and Cornish, New Hampshire. Through the lens of these sculptures as well as some related loans, Augustus Saint-Gaudens in The Metropolitan Museum of Art offers an evaluation of the artist’s groundbreaking role in the history of late 19th-century American sculpture and the Aesthetic Movement.

Image: Augustus Saint-Gaudens (1848–1907). Victory, 1892–1903; this cast, 1914 or after, by 1916. Rogers Fund, 1917 (17.90.1)