On Nov. 5, The Metropolitan Museum of Art unveiled Venetian Glass by Carlo Scarpa The Venini Company, 1932–1947. Born in 1906 in Venice Italy, Carlos Scarpa studied architecture at the Accademia di Belle Arti in Venice and graduated in 1926 with the qualification of being “professor of architectural drawing.” Between 1926 and 1932, he worked at M.V.M. Cappellin glassworks. During Scarpa’s next position at Venini Glassworks (1932 and 1947) his talents redefined the art glass-blowing. The medium of glass-blowing is a tradition that spans centuries on the Venetian island of Murano. Scarpa and the Venini factory became the leaders of innovation experimenting with surface texture, silhouettes and color.
The exhibition features close to 300 selected pieces, which are organized chronologically and divided into groups according to technique. Two of the techniques showcased are bollicine, named for the bubbles of air trapped inside, and mezza filigrana, the art of blowing glass as thinly as possible into objects weighing just a few ounces each. Venetian Glass by Carlo Scarpa The Venini Company, 1932–1947 will run until March 2, 2014 and was made possible in part by the Jane and Robert Carroll Fund.
Photos courtesy of The Metropolitan Museum of Art
In a joint acquisition with the San Francisco Museum of Art, The Metropolitan Museum of Art premiered William Kentridge’s The Refusal of Time (2012) on October 22; the exhibit will run through May 11, 2014. A five-channel installation is billed as “a thirty-minute meditation on time and space, the complex legacies of colonialism and industry, and the artist’s own intellectual life.” Kentridge was born in 1955 in Johannesburg, South Africa where he still lives and works.
The Met will host three Gallery Talk events in conjunction with this exhibit. The dates are as follows:
Saturday, January 4, 2014, 11:00 a.m.–12:00 p.m.
Sunday, January 5, 2014, 11:00 a.m.–12:00 p.m.
Saturday, February 22, 2014, 11:00 a.m.–12:00 p.m.
Gallery Talk is free with Museum admission
Photo: Henrik Stromberg
Video: Antonio Limonciello
My earliest memory of Lou Reed was hearing his music and saying, “I wanna write like that.” His voice…his poetry – it’s artistic perfection. When I heard of Lou Reed’s passing, I was devastated. We want our artistic heroes to be immortal but our flesh doesn’t work that way. It wrinkles, it ages, it fades and dies. Thankfully we have his music, brimming with energy and moments accompanied by sound. I would like to share some of my favorite Lou Reed songs. After all his music tells his story better than I ever could. RIP Lou Reed!
Last year this time I had no electricity. I was disconnected from family, friends and the entire world. I was on the road maneuvering around downed trees and power lines, searching for non-perishable food to feed my parents and myself as well as gas to feed my vehicle. Anxiety was starting to settle in; my gas gauge was at a quarter of a tank and I had no idea when the gas trucks would arrive. Darkness was descending and my Blackberry’s battery life was dwindling. It had been a long time since I had been frightened on Halloween. I felt as if I was starring in my own post-apocalyptic drama.
When Sandy hit the NYC-Metro area I, like many others, was ill-prepared. I heard the warnings but I didn’t take them seriously. I didn’t run out and stock up on canned goods, candles and water. This is NYC and New Jersey I thought, we’ll be fine. Around 8:30 that evening my home went dark. From my windows I watched the transformers blow one by one, sparking electric flashes of blue light. One by one I watched as the surrounding blocks and homes in my neighborhood lost the life source of the 21st century. As I stared into the candlelight illuminating my bedroom, wondering what time it was, I was suddenly humbled by the tremendous power of Mother Nature. Two days after Halloween, the lights in my house came back on and I was able to view the full devastation of what Sandy had left in her wake. I was thankful that Sandy only cost me a few days of inconvenience, but horrified and saddened to see and hear the stories of those who had lost everything.
As the anniversary of Hurricane Sandy approached a feeling invaded the air, it was almost palpable. A year later and many of us have had the opportunity to go back to normal. For some the ghost of Sandy still lingers, still possessing a stranglehold on their lives. Recovery is slow going but I stand firm in the belief that those who were severely affected by the storm will receive the resources necessary to rebuild. One thing I know about this area is we may get knocked down, but we get back up better than before.
Beginning October 1, The Met debuts a rare 15-century handwritten copy of the Mishneh Torah by the renowned medieval scholar Moses Maimonides. The work will be showcased in The Lawrence A. and Barbara Fleischman Gallery of Late Medieval Secular Art among other 15th-century works from Europe and will remain at The Met through January 5, 2014.
Created in Northern Italy around 1457 by Marco Barbo, Bishop of Treviso, the Hebrew text includes the eight final books of the Mishneh Torah, or “Repetition of the Law,” the first systematic collection of Jewish law. Amassed between 1170 and 1180 by rabbi, physician, and philosopher Moses Maimonides, the Mishneh Torah is organized by subject matter and contains six large painted panels decorated in exquisite pigments and gold leaf and 41 smaller illustrations with gold lettering decorating the opening words of each chapter.
The beautifully adorned text was acquired jointly by The Metropolitan Museum and The Israel Museum in Jerusalem in April. Prior to its presentation at the Metropolitan, the manuscript underwent restoration at the Israel Museum, where it has been on long-term loan since 2007 and on view to the public since 2010. The Mishneh Torah was purchased for The Israel Museum by René and Susanne Braginsky, Zurich; Renée and Lester Crown, Schusterman Foundation and Judy and Michael Steinhardt. It was purchased for The Metropolitan Museum of Art with Director’s funds and Judy and Michael Steinhardt Gift.
When it comes to love stories, none is more well-known than that of Juliet and her Romeo. William Shakespeare literally wrote the book (or should I say play) on the notion of star-crossed lovers. The adaptations of this classic are endless, yet the public never tires of the story of love gone awry. So it goes that after 36 years, William Shakespeare‘s Romeo and Juliet has returned to the stage of the Richard Rodgers Theatre.
Director David Leveaux’s version of Romeo and Juliet takes Shakespearian English and injects it into modern setting. Another added twist to the original plot is the subject of race – the Montagues are a white family and the Capulets are black. Hollywood hottie Orlando Bloom and Broadway sensation Condola Rashad play the young, ill-fated lovers. All these elements should’ve have produced results that were more explosive than a NASA rocket launch to the moon. Instead, it was more the equivalent of high school chemistry nerds experimenting after class – yeah; there was a little smoke, but no real fire (except for the random bursts of fire on stage).
Although I wasn’t expecting Romeo and Juliet to declare their love on Facebook, I also didn’t expect the term ‘modern’ to be interpreted in such a banal fashion. The set, which consisted of a ginormous bell, an elevated plank of wood for a balcony, and a wall that contained a Renaissance secco, was uninspiring and a poor match for the lush verse of one of William Shakespeare’s greatest works. The first time Orlando Bloom appears on stage he is riding a motorcycle, and while that might be modern it is also clichéd. At the Capulet’s soiree, I thought the choreography would carry an element of hip-hop or krunking, something other than the interpretations of African dance that were exhibited on stage. The nurse walking a bicycle to deliver a message to Romeo and the parkour climbing of the graffiti-ridden mural does add a nod to a more modern era; however these devices failed to deliver on such a promising idea.
The cast seem to hurry through the dialogue as if they were just trying to get it over with. Shakespearean English is a mouthful, literally, but the pace was so rushed that some of the beauty of Shakespeare‘s poetry was lost in this interpretation. While Orlando Bloom and Condola Rashad certainly looked as if they had the potential to rival the flames that occasionally appeared on stage, their scenes together were undersupplied of the heat necessary for me to believe that these two would rather die than live life apart. Brent Carver, Christian Camargo and Jayne Houdyshell’s portrayals of Friar Laurence, Mercutio and the Nurse were an absolute pleasure to watch and brought balance to this production.
Director Baz Luhrmann attempted a modern interpretation Romeo and Juliet on screen in 1996, back when I thought modern versions of Shakespeare were a sacrilege, and it actually became one of my favorite depictions of this classic love story. Perhaps Leveaux should’ve taken a few notes from this film. After 36 years, this Romeo and Juliet ascended to no grander heights nor did it plateau to a great theater low. All and all it was steady and flat, just like the boards of the balcony – wooden and just plain regular.
Photos: Carol Rosseg
What does actor Samuel L. Jackson, Warner Bros., John Grisham and Wynwood Press have in common?
The answer: A TIME TO KILL
The September breeze brings with it a new season and on Broadway it means the start of the fall shows. In October, A Time to Kill will make its Broadway debut, also marking the debut of an adaptation of a work from best-selling author John Grisham. Adapted for the stage by Tony Award-winning playwright Rupert Holmes A Time to Kill stars fellow Tony Award winner Tonya Pinkins and Emmy Award winner Tom Skerritt. In case you forgot, A Time to Kill tells the emotionally charged, now-iconic story of a young, idealistic lawyer, Jake Brigance, defending a black man, Carl Lee Hailey, for taking the law into his own hands following an unspeakable crime committed against his young daughter. Their small Mississippi town is thrown into upheaval, and Jake finds himself arguing against the formidable district attorney, Rufus Buckley, and under attack from both sides of a racially divided city. This drama is a thrilling courtroom battle where the true nature of what is right and what is moral are called into question.
NOW I HAVE A QUESTION FOR YOU FAMERS…DO YOU LIKE FREE TICKETS?
Of course you do. And if you can finish this Carl Lee Hailey quote, then you could win yourself a pair of tickets to see A Time to Kill.
“Yes they deserve to die and I hope they burn in _________!”
Please leave your answer as a comment and your email address will be automatically entered to win the tickets. Contest ends 5 p.m. September 27, 2013. Don’t miss your opportunity to see this powerful story on stage, ENTER. GOOD LUCK!
A Time to Kill begins previews at The John Golden Box Office (252 West 45th Street) on September 28 and opens on October 20. To learn more about the show please visit:
You didn’t have to read Shakespeare’s Romeo and Juliet in high school to know that it is the most famous story of unrequited love to ever exist. Countless renditions of this classic story have been told on stage and screen with 36 years passing since it’s been on Broadway, but this fall the story of the ill-fated lovers of Verona will be back on a Broadway stage once again. Romeo and Juliet begins previews at the Richard Rodgers Theatre on August 24 and opens on September 19. This latest interpretation of Romeo and Juliet is directed by five-time Tony Award nominee David Leveaux and stars film star Orlando Bloom, making his Broadway debut, and two-time Tony Award nominee Condola Rashad in the lead roles. Shakespearean English will be spoken; however the setting will have a modern aesthetic.
As this iconic love story is first introduced to us in school, Tixs for Students is running a special promotion: A limited number of $20 tickets for each performance are available for college students. Tickets may be purchased in advance either at the box office with valid ID or online, exclusively through TIX4STUDENTS.COM. Limit of two tickets per order; price does not include facility fee. Educators can also purchase a limited number of $20 tickets for each performance are available for educators. Tickets may be purchased in advance at the box office with valid ID. PLEASE NOTE: Educator tickets are only available for purchase at the box office. Limit of two tickets per order; price does not include facility fee.
BUT YOU DON’T HAVE TO BE STUDENT TO WIN A FREE PAIR OF TICKETS TO SEE ROMEO AND JULIET! All you have to do is leave a comment answering these two simple questions:
- Who is Condola Rashads’ mother? (Hint: She played Bill Cosby’s wife on an iconic ‘80s sitcom)
- Who played Orlando Bloom’s father in Kingdom of Heaven? (Hint: He also played Zeus, father of the Gods, in the remake of Clash of the Titans and in the sequel Wrath of the Titans)
Comment as many times as you like to increase your chances of winning. The winner will be announced on August 20 at 5 pm EST. GOOD LUCK FAMERS!
To learn more about Romeo and Juliet, check out the following sites:
From June 20-22, Monte/Muller Move! played at New York Live Arts. Monte/Muller Move! combined five works from choreographers Jennifer Muller and Elisa Monte and showcased the power and majesty of these two dance companies.
The first performance was the world premiere of Grass by Jennifer Muller. Inspired by Walt Whitman’s Leaves of Grass and featuring cellist Julia Kent, whose haunting solo truly captured the spirit of the ballet. As people trample daily on a grassy knoll or a sector of a park, do did these dancers slide and thrust their bodies onto the blades of the astro turf stage. Colliding, then separating again, emoting the thread of impermanence.
The second, Unstable, premiered in 2012. Choreographed by Elise Monte, Unstable was a primal ritual with bodies rolling on the stage. Slow and sensational, the imagery of the wall shadows created added another dimension.
Elise Monte’s Shattered premiered in 2000 and is a fast paced spectacle for the eye. Like lightning when it strikes the impact hits with a precision that only a force of nature can. Explosive, this piece pumps with high-octane adrenaline.
Premeiring in 1996, Volkmann Suite was choreographed by Elise Monte and is a stunning display of beauty and strength. The power lifts displayed throughout the piece complimented the dancers carved frames and reminded me of moving sculptures.
The last performance was also by Jennifer Muller and featured excerpts of the ballet Speed, which debuted in 1974. Filled with fast changes, the piece was considered a tour de force when it first premiered. MONTE/MULLER MOVE! at New York Live Arts was made possible through New York Live Arts’ Theater Access Program, a comprehensive subsidized rental program benefiting a diverse group of dance and theater companies and producing organizations.
Photos courtesy of Krizer Graber Communications, LLC
One of my favorite jazz albums is Miles Davis’ Sketches of Spain. Released in 1960, it is considered to be a textbook blending of jazz, European classical and world music. The melodies are haunting and delicate. Last Saturday, I found myself dangling from the same subtle, yet lingering lines found in Nancy Friedemann’s work.
Currently showing at The Gallery @ 1GAP is Friedemann’s latest exhibition of works titled, On the Margins of a Portrait Places. With a nod to Minimalism and The Pattern Decoration Movement, the exhibit is comprised of large panel pieces and smaller paintings. With a black backdrop, Friedemann creates a mash-up of nature and the roots of her Columbian heritage. As the absoluteness of the noir framework attempts to consume the viewer’s eye completely, Friedemann creates depth and refinement by adding illustrations of lace and botanical imagery to contrast the darkness. Together Friedemann’s works present a modern interpretation of yin and yang – a tango between masculine and feminine. One of the aspects I appreciated from viewing On the Margins of a Portrait Places is Friedemann’s use of Minimalism. I was able to get a true sense of the intricacy of the brush strokes and how the use of color brought the paintings to life.
Located inside Richard Meier on Prospect Park, a residential building, On the Margins of a Portrait Places will be on display at The Gallery @ 1GAP until August 2013.
Photo: F.A.M.E NYC Editor