The POOL Pop Up Theater
The New Ohio Theater

154 Christopher Street Suite 1E
New York, NY 10014

DATES:
Nov. 1 at 8pm;
Nov. 5 at 5pm;
Nov 7 at 2pm;
Nov. 8 at 8pm;
Nov. 11 at 8pm;
Nov. 13 at 2pm;
Nov. 14 at 8pm;
Nov. 17 at 8pm;
Nov. 19 at 5pm;
Nov. 20 at 8pm)

SUPERSTITIONS
By Emily Zemba
Directed by Jenna Worsham
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Grieg finds a penny on the ground. When he tries to offer it to a stranger sitting near him — it sparks an absurd and frightening conversation about “bad luck.” Superstitions is an 8-character unconventional comedy about navigating personal and national terrors. Who knew the ridiculous could be so terrifying?
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Featuring: Celeste Arias*, Latoya Edwards*, Nicholas Gorham, David Greenspan*, Iliana Guibert*, Rebecca Jimenez*, Ricardo Vázquez*, and Naren Weiss*. *Actors Equity

Check out thepoolplays.org for cast and design information! In addition, there you will find the most current information on COVID-19 restrictions. To attend a performance you must show proof of vaccination with ID verification for admittance into the theatre. Masks are required for all audience members. However, performers will not be masked.

TICKETS: The Pool is all about expanding access to the stage, both for artists and audiences! Pay-What-You-Choose tickets are all General Admission at $5, $25, or $50. On show days, in person, audiences can choose any price (availability permitting).

MORE INFO: https://ci.ovationtix.com/34708/production/1076696

DAVID GREENSPAN He is the recipient of six Obies, including an award in 2010 for Sustained Achievement.

October 27 through November 19, 2021

David Richard Gallery, LLC
211 East 121 ST | New York, NY 10035
2nd floor
P: (212) 882-1705

www.davidrichardgallery.com

An exhibition that looks critically into this pivotal and transformative period following the artist’s move from San Francisco in 1958. Like the preceding decade, during the mid-1950s with Gectoff’s arrival in the Bay Area, the 60s were full of change and experimentation in New York. This presentation maps several such transitions, including: changes in Gechtoff’s painting medium and method of application; experimenting with collage and lithography; but most profound, the notable change of the imagery in her drawings and paintings.

The presentation will include paintings and drawings, the mainstay of Gechtoff’s repertoire from the 1950s and 60s. Both media share strong relationships to one another with bold marks, paint laden strokes on canvas, full bodied gestures with graphite on paper, and equal attention given to figure and ground that spans both decades. However, this presentation will focus on the technical, formal and aesthetic changes that occurred in the 1960s with respect to Gechtoff’s paintings and drawings and will also include the new media of collage and lithography from that period.

Regarding technique, Gechtoff moved away from the palette knife, which was her signature tool for marking the canvas and delivering thick impasto applications of paint in bold and determinative strokes. In large part, this was a result of her move from oil paint to the new acrylic medium that had become very popular in the 1960s. While she did continue to work in both oil and acrylic during that decade, her migration to brushes was distinctly noted in both media. The painting presented in this exhibition, Sea Door, 1966 is an oil painting, but the predominance of brush strokes is evident. By the 1970s, her migration to acrylic paint was complete and continued throughout the remainder of her career.

“My Town” (c. 1969-1974), silver gelatin print, 37 x 49 inches (all images courtesy the Estate of Anita Steckel, Hannah Hoffman Gallery, Los Angeles, and Ortuzar Projects, New York)[/caption]

HYPOALLERGIC
Art Review
Oct 13, 2021

Anita Steckel
Hannah Hoffman Gallery
Los Angeles, California

By Natalie Haddad

Read the complete review HERE

LOS ANGELES — In 1973 Anita Steckel wrote, “If the erect penis is not ‘wholesome’ enough to go into museums — it should not be considered ‘wholesome’ enough to go into women. And if the erect penis is ‘wholesome’ enough to go into women, then it is more than ‘wholesome’ enough to go into the greatest art museums.”

The statement appeared in the press release for Fight Censorship, a group the artist formed that year to oppose institutional censorship of sexually themed art by women; members included Judith Bernstein, Louise Bourgeois, Joan Semmel, and Hannah Wilke.

Anita Steckel at Hannah Hoffman, organized with Steckel’s estate, features plenty of penises, and plenty of artworks that ought to be in museums. The exhibition, which spans the late 1960s to the early ’80s, includes selections from four series that integrate collage, drawing and painting, and silkscreened or photocopied images.

With her Giant Women on New York photomontage series (1969–74), Steckel inserts her own image in New York City’s skyline. In “My Town,” a sultry Steckel lies nude across the city, its towers passing through her transparent body. “Pierced” is more blunt in its depiction of the phallic skyscraper’s abuse of the female body: the artist hangs limp above the Chrysler Building, impaled at the waist by its sharp crown.

Read the complete review HERE