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DTSTART;VALUE=DATE:20240919
DTEND;VALUE=DATE:20241020
DTSTAMP:20260423T113517
CREATED:20240919T161630Z
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SUMMARY:Hans Haacke : Why are Museums So Afraid of this Artist?
DESCRIPTION:The artist Hans Haacke\, photographed in Abingdon Square in Manhattan’s West Village on June 26\, 2024. Haacke has rejected what he sees as the art world’s cult of personality and so doesn’t show his face in photographs. Photo Credit: Daniel Terna (Clicke to enlarge image) \nSept 16\, 2024\nNew York Times Style Magazine\nArts and Letters\nby M.H. Miller \n“As cultural institutions face an existential crisis over who funds them and how\, the 88-year-old artist Hans Haacke is still making curators and collectors clutch their pearls. \n…Before Haacke\, museums were considered\, in the words of the New York Times critic Holland Cotter\, “genteel and politically marginal.” Robber barons might have donated to them to enhance their social clout\, but such cultural largess was seldom questioned. Today\, though\, when phrases like “artwashing” and “toxic philanthropy” have entered the lexicon to describe the role that museums and other cultural organizations play in boosting the images of corporations and billionaires\, Haacke’s work is more than just relevant — it’s prophetic. With persistent clarity\, he seemed to understand\, half a century before anyone else\, the stakes of the uncomfortable relationship between art and politics. \nHaacke had been preparing for a major exhibition in Frankfurt that will open at the Schirn Kunsthalle in November and travel to the Belvedere Museum in Vienna. He also currently has work on view in New York\, in a group show dedicated to the American flag at Paula Cooper Gallery. The Frankfurt show\, a career retrospective\, includes many artworks about his native Germany\, among them another influential\, often suppressed piece\, 1981’s “Der Pralinenmeister\,” about Peter Ludwig\, a chocolate manufacturer and one of Germany’s most famous art collectors. Across 14 framed panels that include photographs of Ludwig and his factory workers\, Haacke wrote a text detailing the overlap between patronage and commerce: Ludwig received tax advantages from donating artworks and displaying his collection publicly and would loan artworks to cities where he produced or distributed his chocolate. “Der Pralinenmeister” also notes that Ludwig’s factories housed female foreign workers in on-site hostels that didn’t offer day care\, so women who gave birth were forced to leave or find foster homes for their children — or give them up for adoption. According to Haacke’s text\, the company’s personnel department stated that it was “a chocolate factory and not a kindergarten.” Ludwig\, who died in 1996\, was reportedly interested in buying the work\, perhaps to remove it from circulation\, but Haacke wouldn’t sell it to him.” \n– excerpts from the article by M.H. Miller\nRead the entire article in NY Times Style Magazine \nSee Also  Westbeth Icon Evening with Hans Haacke
URL:https://westbeth.org/event/hans-haacke-why-are-museums-so-afraid-of-this-artist/
LOCATION:New York Times
CATEGORIES:past-events
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240603
DTEND;VALUE=DATE:20240705
DTSTAMP:20260423T113517
CREATED:20240603T152923Z
LAST-MODIFIED:20240613T214053Z
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SUMMARY:SuZen's Mural:  Searching for New York's Hidden Art
DESCRIPTION:Anna Kodé\nNew York Times\nMay 31\, 2024\nStanding in front of the Port Authority Bus Terminal on 42nd Street\, a person can easily experience a multi-sensory overload — red double-decker tour buses\, tourists asking which way the M&M store is\, flashy neon-colored billboards and the clanking and whirring of construction sounds. \nYet sandwiched in between two buildings — both over 10 stories tall with large glass windows — a sliver of a mural offers some tranquillity\, peeking through the noise and the lights. \nThe mural\, which depicts a New York cityscape through venetian blinds\, is the work of SuZen\, a 78-year-old multimedia artist who received a $10\,000 public grant for the piece in 1984. At the time\, the building was home to the notorious Show World Center\, one of the city’s largest sex emporiums that offered adult DVDs and peep shows. The shop has been described as “the McDonald’s of Sex\,” and for decades stood as a vestige of Times Square’s gritty past. \nSuZen never stepped foot inside\, never saw a shimmy or rented a video\, but because “the image has these blinds that you’re looking through\,” a business that hosted peep shows “seemed like a good match\,” she said. “It made me chuckle.” The piece — based on a photograph SuZen took from a beauty salon in Manhattan and translated into a mural by Jeffrey Greene\, the founder of EverGreene Painting Studios — stood as a faux window on Show World\, even after owners began converting the building into offices in 2018. \nThen last fall\, SuZen noticed that a taller building went up directly adjacent to it\, rendering her mural nearly invisible. \n“I was sad and heartbroken and upset. No one even notified me that this was happening\,” SuZen said. “Do we really need more glass buildings? There are so many empty buildings that I pass.” \nIn the ever-changing urban landscape of New York City\, where real estate is in extremely high demand\, there are myriad examples of development — or the tastes of the wealthy and powerful — overtaking public art. At the 5Pointz complex in Queens over a decade ago\, 45 murals — the work of 21 graffiti artists — were whitewashed by a developer that was later fined $6.75 million for violating the Visual Artists Rights Act. In 1989\, a 120-foot-long rusting steel sculpture in Lower Manhattan by Richard Serra\, the renowned sculptor who died earlier this year\, was torn down\, following backlash from employees who worked in the federal office building the piece was in front of. Last month\, New Yorkers mourned the loss of “Sherita\,” a pink dinosaur-esque figure on a billboard on Classon Avenue in Brooklyn. \nBut SuZen’s mural wasn’t painted over or removed. Its existence today is nothing short of miraculous — glimmering through the cracks of the city’s towers\, a reminder that some ghosts of public art are around us. Just look closer. I did. \n‘Much Protest and Not Much Success’\nThe Visual Artists Rights Act\, which was passed in 1990\, grants artists “the right to prevent any destruction\, distortion\, mutilation\, or other modification” of certain publicly displayed works. SuZen got in touch with a lawyer to see if her mural would be protected under the law\, but she was told that because her mural went up in 1984\, it didn’t apply\, she said. \n“I don’t know if it’s possible\, but it would be wonderful if we could relocate the mural\,” she told me. \nRichard Haas\, an 87-year-old artist living in Manhattan\, estimates that more than half of his works have been lost to shifts in the built environment over the years. Known for architectural and trompe l’oeil murals\, Mr. Haas has created works in New York\, Washington\, Cincinnati\, Boston\, St. Louis\, Miami and more. \nRead the entire NY Times article HERE
URL:https://westbeth.org/event/suzens-mural-searching-for-new-yorks-hidden-art/
LOCATION:New York Times
CATEGORIES:past-events
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DTSTART;TZID=America/New_York:20230107T080000
DTEND;TZID=America/New_York:20230131T170000
DTSTAMP:20260423T113517
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SUMMARY:David Del Tredici Interview and Alice in Wonderland
DESCRIPTION:CRITIC’S NOTEBOOK\nRevisiting a Composer’s Psychedelic Lewis Carroll Music\n \nBy Seth Colter Walls\nNY Times Jan. 5\, 2023 \nThere’s the surreal image of going “through the looking glass”; the look of a Tim Burton movie\, including his version of “Alice in Wonderland”; the skewed angles of Tom Petty’s video for “Don’t Come Around Here No More”; the use of a word like “galumphing.” \nAnd\, as a new album from the Albany Symphony demonstrates\, there are the Carroll-inspired musical works of the composer David Del Tredici\, some of which have been captured on two world premiere recordings from the ensemble\, led by David Alan Miller. \nThese long-awaited performances — of “Pop-Pourri” (from 1968\, and revised in 1973) and “Adventures Underground” (written in 1971 and revised in 1977) — are a booming\, psychedelic marvel. In the initial seconds of the first movement of “Pop-Pourri\,” Del Tredici smash cuts between a Bach harmonization of a Lutheran chorale\, “Es Ist Genug\,” and his own setting of Carroll’s text. The “Litany of the Blessed Virgin” is also in the mix — making good on Del Tredici’s claim\, in the album’s liner notes\, that the piece is “a kind of Cantata of the Sacred and Profane.” \nBut that’s not the strangest\, or even most alluring\, part of the beginning: That would be the music for saxophones\, which tends to keen and swoon underneath high-flown writing for a soprano (on this recording\, an indefatigable Hila Plitmann). The second movement features boisterous\, fast moving lines for contrabassoon. And in the third movement\, Del Tredici lets his late ’60s freak flag fly\, with percussion blasts and woolly lines for distorted electric guitar and bass. \n“I’m always trying to make the text come alive\,” Del Tredici\, 85\, said in a recent phone interview. He remembered that\, for the “Jabberwocky”-quoting third movement\, “I needed something for the monster.” \n..And he’s currently contemplating another opera with a comic bent about his recent experiences with Parkinson’s disease. In conversation\, he analogized that effort with his decision in the 1990s to write music directly on gay themes. \n“I like being open\,” he said\, “about all the things that are hard to be open about.” \nRead entire NY Times Interview HERE\nSee Westbeth Icon Interview with David Del Tredici HERE\nHome Page photo  Del Tredici is at work on an opera about his experience with Parkinson’s disease.Credit…Vincent Tullo for The New York Times/strong>
URL:https://westbeth.org/event/david-del-tredici/
LOCATION:New York Times
CATEGORIES:past-events
ATTACH;FMTTYPE=image/png:https://westbeth.org/wp-content/uploads/2023/01/DAVID-DEL-TREDICI-SQ.png
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DTSTART;TZID=America/New_York:20221202T080000
DTEND;TZID=America/New_York:20221202T170000
DTSTAMP:20260423T113517
CREATED:20220503T014706Z
LAST-MODIFIED:20230126T205314Z
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SUMMARY:NYT Best Dance Performances of 2022: John Jasperse Visitation
DESCRIPTION:Cynthia Koppe\, front\, and Tim Bendernagel in “Visitation.”Credit…Ian Douglas \nAccent on Community:\nVisitation by John Jasperse\nSiobhan Burke\nDec 2\, 2022  \nThe effects of the pandemic’s darkest days continue to linger\, though not always in obvious ways. After so much isolation\, it’s probably no coincidence that some of this year’s most moving and memorable performances stood out for the spirit of community they conjured: a sense of genuine friendship among the dancers onstage\, radiating out to draw the audience in. That spirit also encompassed dancers of the past\, presences felt but not seen. \nAn eerier kind of togetherness emerged in John Jasperse’s “Visitation\,” for Doug LeCours\, Tim Bendernagel and Cynthia Koppe. Invoking ghosts and ghostliness\, this spacious yet intricate work managed to fill NYU Skirball’s expansive stage\, building to a climax in which the three dancers\, uncannily\, appeared enmeshed as one. At the same time\, throughout the piece\, it was hard to look away from Koppe\, who gave a quietly magnificent performance: so rigorously present in her body\, she seemed to have broken through to a different realm.  \nRead the entire article HERE \nNY Times Review of Visitation\nRobert Siebert\nSept\,2\, 2022 \nBetween the youthful attractiveness of these articulate dancers (whom Jasperse credits as performing collaborators) and the meticulous compositional finesse of the choreography — replete with symmetries and crossing lines\, controlled even when it pushes toward looping leaps and turns — “Visitation” feels as concerned with beauty as it is with death. Perhaps with the death of beauty\, or\, in Wallace Stevens’s phrase\, with death as the mother of beauty. \nAt the center is no less than the prelude to “Tristan und Isolde\,” that lushest mixing of sex and death. It accompanies a ghostly duet for LeCours and Bendernagel. At first they barely touch: the back of a hand down a leg\, an arm through the gap made by the other’s arm. This builds into a loose\, conjoined tumbling that’s strangely disembodied — like a version of contact improvisation in which the goal is not to share weight but to diffuse it. As Wagner swells\, they roll on the ground\, nearly like lovers in the waves\, from here to eternity. \nRead entire review HERE
URL:https://westbeth.org/event/john-jasperse/
LOCATION:New York Times
CATEGORIES:past-events
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