Even if you were unable to get to the once-a-year Museum Mile Festival along Fifth Avenue on June 13, when six museums (some of them with pricey admissions) throw their doors open to one and all for free, it provided a marvelous preview of some spectacular exhibits that are on through the summer or fall.
At the Metropolitan Museum of Art, at the southern “border” of Museum Mile, I visited the Irving Penn Centennial, a marvelous survey of this brilliant photographer’s career and an opportunity to see the museum quality prints that would have been seen in the pages of important magazines like Vogue; the exhibit is on through July 30, 2017.
I went from Irving Penn Centennial to the “Age of Empires” exhibit of breathtaking sculpture and artifacts from the Qin and Han dynasties, spanning 221 BC to 220 AD, including near life-size but extraordinarily realistic statues of terracotta warriors from Xian (so life-like they appear to breathe) that I had seen for the first time when I visited what was at the time newly uncovered site in 1978 in China. This important exhibit is on view through July 16, 2017.
Then, I couldn’t resist, I luxuriated in the galleries devoted to Impressionists and Post-Impressionists.
Outside, the Met Museum hosted performance art – a troupe of dancers whose movements formed artistic poses. (My favorite time to visit is on a Friday or Saturday evening when the Met is open late, has music on the mezzanine; favorite place to eat is in the American Café in the sculpture garden; also, take a docent-led “Highlights” tour, which brings you all around the museum.)
The Metropolitan Museum of Art, 1000 Fifth Avenue (at 82nd Street), New York, NY 10028, (212) 535-7710 http://www.metmuseum.org/.
(My clever strategy was to start at the Met at 5 pm, giving me an extra hour of the Museum Mile Festival in order to cover more territory.)
I next visit the Neue Galerie New York and get my annual “fix” of the breathtaking “Woman in Gold” and other Gustav Klint paintings (Klint has become one of my favorite artists). The Austrian Masterworks exhibit is a celebration of the 15th anniversary of the museum’s founding, highlighting Gustav Klint, Oskar Kokoschka, Alfred Kubin and Egon Schiele.
Neue Galerie New York, 1048 Fifth Avenue (at 86th Street), New York, NY 10028, (212) 628-6200, http://www.neuegalerie.org/.
The Solomon R.Guggenheim Museum, which always gets an enormous crowd for the Museum Mile festival, is featuring “Visionaries: Creating a Modern Guggenheim,” “Hugo Boss Prize 2016: Anicka Yi, Life is Cheap” Solomon R. Guggenheim Museum, 1071 Fifth Avenue (at 88th Street) New York, NY 10128, (212) 423-3500, https://www.guggenheim.org/
Cooper Hewitt National Design Museum, which is part of the Smithsonian Institutions, a collection established by Sarah and Eleanor Hewitt as the Cooper Union Museum for the Arts of Decoration in 1897, housed in an exquisite mansion, is presenting a marvelous exhibit, “The Jazz Age: American Style in the 1920s” – bringing together the design elements of the era through a range of furnishings, architecture, clothing, paintings and music, and what made the designs so distinctive and reflective of cultural trends of the time. For example, “Bending the Rules,” the cross-pollination of American and European artists (“A Smaller World”), the infatuation with technology and machines. One of the special delights of the Cooper Hewitt is their interactive opportunities to create designs.
Cooper Hewitt Smithsonian National Design Museum, 2 East 91st Street (off Fifth Avenue) New York, NY 10128, 212-849-8400, http://www.cooperhewitt.org/
The Jewish Museum’s special exhibit this season also focuses on the 1920s, featuring the painter and poet and exemplar of the avant-garde, Florine Stettheimer. This was all new to me – I had never heard of her, or her incredible sisters, before (their independence, feminism and stunning range of creativity reminded me of the Bronte sisters, except these ladies did not keep their creative output a secret).
The Jewish Museum, 1109 Fifth Avenue, (between 92nd & 93rd Streets), New York, NY 10128, (212) 423-3200, www.thejewishmuseum.org.
The two exhibits – at the Cooper Hewitt and the Jewish Museum – are that much more inspiring to see contiguously, to have this extraordinary in-depth insight into the Jazz Age, a time of tumultuous change in culture, social mores and political currents on a scale that only recurred 40 years later, in the 1960s, and now. I became intrigued when I heard of the Jewish Museum’s exhibit at the Jazz Age Lawn Party on Governors Island in June (you have another opportunity to enjoy this fantastic festival August 26 & 27, jazzagelawnparty.com; see story)
From there I walked further north, to just about the top of the Museum Mile with only about an hour to go of the festival.
The Museum of the City of New York always has smart, clever exhibits. The not-to-be missed exhibit, “New York at its Core,” that is on now is in three parts, in three different galleries. It explores the essential question, “What makes New York New York?” (Answer: Money, Diversity, Density, Creativity) and takes the city from its very beginnings (room-sized images of neighborhoods morph from centuries ago into today), to its development as a melting pot for cultures, and then lets viewers imagine what the city of the future should look like (“Future City Lab”) and how it should solve the challenges of affordable housing, greenspace, environment, transit, and so forth. One of the most interesting parts is a computer-generated animation that puts you into the scene.
Museum of the City of New York, 1220 Fifth Avenue (at 104th Street), New York, NY 10029 (212) 534-1672, http://www.mcny.org/
Then, at the end of the Museum Mile, El Museo Del Barrio is featuring “Belkis Ayon: Nkame” and “A Retrospective of Cuban Printmaker Belkis Ayon” El Museo del Barrio, 1230 Fifth Avenue (at 104th Street), New York, NY 10029, (212) 831-7272 (http://www.elmuseo.org/)
Steve Silver’s Beach Blanket Babylon boasts being the world’s longest running musical review, and once you decide to dismiss the stupidity of the premise – Snow White’s search for her Prince Charming – you become completely enchanted with the quality of the musical performances, the costumes that would make Ziegfeld jealous (the hats are spectacularly outrageous), the choreography, and yes, the satire.
This isn’t expressly a political satire, though all your favorite political figures are zinged. Beach Blanket Babylon is really more of a spoof of popular culture, iconic brands, hot celebrities. And though the musical has been playing here in San Francisco since 1974, sections seem as if they were written just the week before, they are that timely.
In a phrase, it’s a hoot that carries you along with abandon as if you were riding a tube through rapids. Just suspend disbelief, sit back and enjoy the ride.
A mind-boggling statistic that would seem to make the show eligible for inclusion in the Guinness Book of Records, Beach Blanket Babylon has already had more than 16,000 performances and has been seen by six million people who come to the delightful theater at Club Fugazi in the North Beach district from around the world. The show doesn’t only spoof celebrities, it draws its share to its audience: HRH Queen Elizabeth II, Prince Charles and Camilla the Duchess of Cornwall as well as some of Hollywood’s biggest stars.
Beach Blanket Babylon (whatever basis in plot that title originates from seems to have been erased with the sands of time) follows Snow White as she finds herself in various locales around the world in search of her “Prince Charming.” (I can only imagine that way back in its history, these locations had more relevance to the plot.)
Our favorite bit was Donald and Melania Trump and the Trump family (done as the Von Trapp Family from “Sound of Music”). The incredibly long and varied list of characters that get their share of ribbing include Vladimir Putin, Beyoncé, Lady Gaga, Adele, Hamilton, Kellyanne Conway, Darth Vadar (Steve Bannon), Barack and Michelle Obama, Taylor Swift, Prince, Ivanka Trump, Bernie Sanders, Kim Kardashian and Kanye, Hillary Clinton and Bill, Oprah and the San Francisco Giants.
“Donald and the von Trump Family,” one of Beach Blanket Babylon production numbers spoofing political figures.
But the main reason that this show has survived all these years is the astonishing quality of the performances and yes, witty lyrics, and FABULOUS costumes (and hats!) that makes you wonder why they don’t spend a few bucks on a smarter, more updated unifying gag.
It all began on June 7, 1974, when Steve Silver produced a small show in the back room of the Savoy Tivoli Restaurant in San Francisco. There were 214 seats crammed into a tiny space. The floor was covered with two tons of sand; a lifeguard tore tickets at the door and sprayed the backs of people’s hand with Coppertone®. (Now I know where the title comes from!) For $2.50, the audience was entertained by a 45-minute show with four main performers, a chorus line of hula-dancing middle-aged housewives doing card stunts, a band dressed as poodles, one lighting man on top of a lifeguard stand manipulating Folger’s® coffee can lights and a whole lots of laughs.
The show was to run for six weeks. That was more than 40 years ago…
After a brief stint in the fall of 1974 at Club Olympus, Steve Silver’s Beach Blanket Babylon opened at Club Fugazi, a really beautiful theater that makes you think you are back in 1890s San Francisco, where it has been running since. The show became an expanded version of the Tivoli and Olympus shows, with more characters, grander sets, a larger cast and what was to become a trademark of the show, bigger hats!
This show is everybit a showy, elaborate display – you can’t believe they can get that many performers doing complicated choreography (and in those hats!) on an intimate stage. The musicians are fantastic, too.
Tickets range from $25 – $155 (based on performance date and seat location) and can be purchased online at www.beachblanketbabylon.com, in person at the box office or by calling 415-421-4222. All performances take place at Club Fugazi, 678 Beach Blanket Babylon Blvd. (Green St.) in the heart of San Francisco’s North Beach district. Shows perform on Wednesdays, Thursdays & Fridays at 8 p.m., Saturdays at 6 & 9 p.m., and Sundays at 2 & 5 p.m. (Due to liquor license restrictions, persons under 21 are not admitted to evening performances. (Minors welcome at Sunday matinees.) Valid photo I.D. is required.
Club Fugazi happens to be in North Beach which has some of the best Italian restaurants in San Francisco (and is one of San Francisco’s oldest neighborhoods). We thoroughly enjoyed our dinner at the casual and moderately priced Baonecci Ristorante – pasta with truffles, eggplant Parmigiana; Tagliatelle ai Funghi Porcini (Fresh homemade eggs pasta Porcini Mushroom, Garlic, Olive oli, Fresh Italian Parsley) and Pizza Rustica (San marzano tomato sauce, fresh mozzarella, gorgonzola cheese, salame toscano, arugula (reservations recommended, Baonecci Ristorante, 516 Green St, San Francisco, CA 94133, 415-989-1806).
North Beach was home base for The Beats, Jack Kerouac and poet Alan Ginzberg. Arrive early and stop in at The Beat Museum, which houses an extensive collection of Beat memorabilia, including original manuscripts and first editions, letters, personal effects and cultural ephemera, originally collected by Jerry Cimano, (The Beat Museum, 540 Broadway (at Columbus Ave.), San Francisco, CA 94133 (museum entrance is $8/Adults, $5/Students/Seniors), 800-KEROUAC (800-537-6822), www.kerouac.com, email [email protected], follow on Twitter @KerouacDotCom and The Beat Museum on Facebook.) (See story Beats of North Beach, Rolling Museums, Urban Oasis: San Francisco’s Cultural Highlights Where You Least Expect).
For more help planning a visit to San Francisco, contact San Francisco Travel. 415-391‑2000, www.sftravel.com.
Wes Leslie’s Wild San Francisco Summer of Love Musical Walking Tour finishes only a couple of blocks down from the entrance to Golden Gate Park (see story), which played such a role in the Hippie Movement, and where the De Young Museum is holding the Summer of Love Experience, one of the more than 60 events, exhibitions, concerts, tours and attractions taking place during this 50th Anniversary of the cosmic 1967 event when some 100,000 young people descended on the city. So, after walking around the famous Haight-Ashbury district – epicenter of the Hippie Movement – taking in the shops and scenes that slingshot you back to the 1960s, I stroll into Golden Gate Park to the museum.
The Summer of Love Experience: Art, Fashion, and Rock & Roll, on view at the De Young Museum in Golden Gate Park through August 20, 2017, is an exhilarating exhibition of iconic rock posters, photographs, interactive music and light shows, costumes and textiles, ephemera, and avant-garde films. Part of the 50th anniversary celebration of the adventurous and colorful counterculture that blossomed in the years surrounding the legendary San Francisco summer of 1967, the exhibition presents more than 300 significant cultural artifacts of the time, including almost 150 objects from the Fine Arts Museums’ extensive permanent holdings, supplemented by key, iconic loans.
As you walk in, you are immediately set on the crossroads of Haight and Ashbury streets and the pins with the iconic phrases and issues that were top-of-mind of the time.
You literally step into the whirling dervish that was the times – psychedelic colored lights and brash, electrified music of Janis Joplin and others provide the beat and backdrop for the exhibit that includes a two-story square darkened room with colored projections of what appear to be the shapes inside a lava lamp and bean-bags to sit on.
In the mid-1960s, artists, activists, writers, and musicians converged on Haight-Ashbury with hopes of creating a new social paradigm. By 1967, the neighborhood drew as many as 100,000 young people from all over the country to this tiny neighborhood, which became the epicenter for their activities, and nearby Golden Gate Park their playground.
The period was marked by groundbreaking developments in art, fashion, music, and politics (captured in the images of photojournalists and street photographers), which is what is so eloquently showcased in this exhibit.
Local bands such as Jefferson Airplane and the Grateful Dead were the progenitors of what would become known as the “San Francisco Sound,” music that found its visual counterpart in creative industries that sprang up throughout the region. Rock-poster artists such as Rick Griffin, Alton Kelley, Victor Moscoso, Stanley Mouse, and Wes Wilson generated an exciting array of distinctive works featuring distorted hand-lettering and vibrating colors, while wildly creative light shows, such as those by Bill Ham and Ben Van Meter, served as expressions of the new psychedelic impulse.
Distinctive codes of dress also set members of the Bay Area counterculture apart from mainstream America. Local designers began to create fantastic looks using a range of techniques and materials, including leatherwork, hand-painting, knitting and crotchet, embroidery, repurposed denim, and tie-dye. These innovators included Birgitta Bjerke, aka 100% Birgitta; Mickey McGowan, aka the Apple Cobbler; Burray Olson; and Jeanne Rose – whose creations are also on view.
The Summer of Love Experience: Art, Fashion, and Rock & Roll commemorates an “only in San Francisco” social and aesthetic movement, and will remind museum visitors that in a time of international upheaval, the city played a vital role in changing society and amplifying the pulse of the nation.
de Young Museum, Golden Gate Park, 50 Hagiwara Tea Garden Drive, San Francisco, CA 94118, 415-750-3600, ttps://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll.
San Francisco Goes All-Out for Summer of Love Celebration
San Francisco Travel, the city’s visitors bureau, and the California Historical Society have joined forces on the 50th anniversary of the Summer of Love, offering more than 60 exhibitions and events, plus special tours like Wild SF’s Summer of Love walking tour.
At www.summerof.love, the California Historical Society provides the detailed factual and cultural context for this seminal summer through its own exhibition and work with cultural partners such as the de Young Museum.
“The Hippies” at West County Museum in Sebastopol(Thru-Dec. 2017): The West County Museum in Sebastopol presents “The Hippies”. The curators have collected memorabilia from the Hippie elders to recreate the environment that these rebels against consumerism and conformity built in the forests of Graton and Occidental 1966-1973. Morning Star Ranch in Graton was owned by Lou Gottlieb, the bassist of The Limeliters, a hit folk group of the 60’s. He opened his property to all and refugees from the Haight quickly settled in. They built their own shacks, lived without electricity and often clothes and exchanged the work ethic for the ethics of living in nature in a state of “voluntary primitivism.” Sex and drugs, pot and LSD, guitars and any handy noise makers were freely enjoyed by the denizens but not by all of their neighbors. The County Sheriff and Health Department became involved after vociferous complaints and after many fines and much legal maneuvering by Gottlieb to keep his commune open, the County bulldozers destroyed the huts, and the suddenly homeless hippies were forced to relocate. Some moved to Morning Star East in New Mexico, but others went a few miles away in Occidental where Bill Wheeler felt that he had enough land to share and the hippies moved in. The land was free to all but the living was too free for a neighbor who felt that the lifestyle was a threat to his children. Again, after legal action, the bulldozers moved in and the hippie commune era in Sonoma County came to an end. The West County Museum, 261 S. Main Street, Sebastopol, is open Thursday to Sunday, from 1 p.m. to 4 p.m.
Monterey Regional Airport: “Feeling Groovy,” Art at the Airport(Thru Fall 2017): The exhibit showcases collections that reflect music, entertainment and home life in 1960s Monterey County. Artifacts featured in the exhibit are diverse, ranging from the ordinary to the extraordinary. Visitors can view everyday objects from a 1960s kitchen, iconic fashions ranging from pill box hats to Beatle boots, and beloved games, toys and comic books. See Nancy Carlen’s collection from the Big Sur Folk Festival, the first time these rare photographs and objects have been exhibited. Go back to June 1967 when the Monterey Pop Festival welcomed Jimi Hendrix, Janis Joplin and Otis Redding – and ushered in The Summer of Love. Each object – from transistor radios to martini glasses – will transport you back to this transformative decade.
2017 Summer of Love Street Celebrations with It’s Your District and Sunday Streets (Thru Oct. 1, 2017): In conjunction with Sunday Streets, the non-profit It’s Your District (IYD) is hosting the 2017 Summer of Love Street Celebrations. Block parties will be held at the eight Sunday Street locations, and will include Summer of Love exhibitions, art projects, live performances and family-friendly activities. In keeping with IYD’s mission, these celebrations will bring in and promote Bay Area non-profits, businesses, arts, cultural and community organizations, socially conscious enterprises and individuals who are committed to bringing forth the unheard voices of residents and in sustaining the vitality of our community district by district. Sunday Streets engages some 120,000 people annually and this number continues to grow.
One highlight of the celebration is the Public Mural Art Project which creates murals designed to educate members of the community about the history of their respective neighborhoods. The art will focus on prominent heroes and the events that have contributed to the development of San Francisco districts from the 1960s to present day.
“Lavender-Tinted Glasses: A Groovy Gay Look at the Summer of Love” at the GLBT History Museum (April 7-Sept. 27, 2017): An exhibition highlighting the gay, lesbian, bisexual and transgender participants in the 1967 Summer of Love in San Francisco. The show also will explore the LGBTQ community’s own simultaneous cultural revolution in the city’s Tenderloin neighborhood. The stories of queer poets, philosophers, filmmakers and musicians integral to the era will be celebrated through historic photographs, artwork, film and documents from the archives of the GLBT Historical Society and private collections.
de Young Museum; “The Summer of Love Experience: Art, Fashion and Rock & Roll” (April 8-Aug. 20, 2017): Through a wide array of iconic rock posters, interactive music and light shows, “out-of-this-world” clothing and photographs, “Summer of Love” celebrates the city’s rebellious and colorful counterculture and explores the visual and material cultures of a generation searching for personal fulfillment through social change. The exhibition includes rock posters by artists including Victor Moscoso, Stanley Mouse and Wes Wilson along with examples of the handcrafted, one-of-a-kind garments created by such designers as Brigitta Bjerke, K. Lee Manuel and Jeanne Rose.
“Love or Confusion: Jimi Hendrix in 1967” at the Museum of the African Diaspora (MoAD) (April 26-Aug. 27, 2017): As Jimi Hendrix walked out onto the stage at Monterey Pop, he was also stepping out for his American rock and roll debut. Playing as “The Jimi Hendrix Experience,” Hendrix was introduced to California at the festival before the U.S. release of his first album. A performance enlivened with rock theatrics, sexual flamboyance and magnetic guitar riffs, this moment solidified Hendrix as a rock idol. An integrated band with a black front man, “The Jimi Hendrix Experience” represented racial and sexual freedom and the goals of the 1906s counterculture. Composed of photographs taken of Jimi Hendrix in 1967, this exhibition celebrates the 50th anniversary of the famous Summer of Love and the introduction of Jimi Hendrix as one the greatest instrumentalists of all time.
“Elaine Mayes: It Happened in Monterey” at SFO Museum(May 4-Aug. 10, 2017): SFO Museum will present an exhibition of photographs by Elaine Mayes (whose work is also included in the de Young Museum exhibit) taken at the Summer of Love’s legendary rock concert, the 1967 Monterey Pop Festival. The exhibition is located post-security in Terminal 3.
“California Historical Society; “On the Road to the Summer of Love” (May 12-Sept. 10, 2017): Guest-curated by Grateful Dead historian Dennis McNally, this photographic exhibition will start in the 1950’s with “HOWL” and the Beat Generation and move through the free speech movement to LSD, rock and roll and the Haight in the 60’s.
The Cartoon Art Museum; “Comix from the Summer of Love” (June-Sept., 2017): The Cartoon Art Museum celebrates the Summer of Love with a selection of underground comix from Bay Area creators Lee Marrs (Pudge, Girl Blimp), Trina Robbins (Wimmen¹s Comix) and highlights from the collection of Ron Turner, founder of famed San Francisco publisher Last Gasp.
“A Night with Janis Joplin” at American Conservatory Theater (June 7-July 2, 2017): Like a comet that burns far too brightly to last, Janis Joplin exploded onto the music scene in 1967 and, almost overnight, became the queen of rock ’n’ roll. The unmistakable voice, laced with raw emotion and Southern Comfort, made her a must-see headliner from Monterey to Woodstock. A.C.T. presents an evening with the woman and her influences in the Bay Area premiere of the hit Broadway musical “A Night with Janis Joplin” at the Geary Theater. Fueled by such unforgettable songs as “Me and Bobby McGee,” “Piece of My Heart,” “Mercedes Benz,” “Cry Baby,” and “Summertime,” a remarkable cast and breakout performances.
San Francisco Public Library: 50th Anniversary of Love and Haight (July 15-Oct. 29, 2017): In this exhibit, historical photographs, grass roots newspapers, posters and flyers, record albums and manuscript materials from community groups and City of San Francisco collections will document the social and political upheaval of the summer of 1967 and how the city responded.
Attractions:
The legendary Fillmore Auditorium offers performances throughout the year and launched the careers of greats including James Brown, Ike and Tina Turner, the Grateful Dead, the Jefferson Airplane, Santana and more. Famous for printing posters for every single show played at the venue, the poster room is just shy of 1,000 posters since officially opening its doors in the mid-60s. Celebrate the 50th anniversary of Bill Graham’s first show at the Fillmore, which was December 10, 1965. (http://thefillmore.com/about/)
Harkening back to The Psychedelic Shop, which opened on January 3, 1966, as the first head shop in America, Love on Haight is a boutique dedicated to keeping the memory of the Summer of Love alive (www.loveonhaightsf.com).
Check out the autographed Grateful Dead guitar, a painting of Jerry Garcia by Grace Slick of the Jefferson Airplane, Jerry Garcia’s bomber jacket, Jimi Hendrix’ jacket and one of the last photos of Janice Joplin. at the Hard Rock Café at PIER 39. www.hardrock.com/cafes/san-francisco/
At Madame Tussauds, rub shoulders with iconic stars and free thinkers of the Summer of Love such as Jerry Garcia, Janis Joplin, Carlos Santana and Steve Jobs. (www.madametussauds.com)
Founded in 1959 with avant-garde performance events, today The San Francisco Mime Troupe (SFMT) produces social and politically relevant theater performances full of dance, song, satire and comedy all year long. In 1965 future rock impresario Bill Graham, then the company’s business manager, organized his first rock dance/light show at the Fillmore Auditorium as a bail benefit for the SFMT and in 1967 The Troupe clinched its radical reputation with a comedy updated to satirize the Vietnam War (www.sfmt.org/company).
Viceroy Hotel Group’s brand new Hotel Zeppelin has been reinvented as a modern take on the countercultural rebellion of the 1960s. Its historic architecture dating back to 1918 is highlighted with Instagram worthy design elements that truly exude the Summer of Love vibe. From the Giant 12 foot (and climbable) Peace Sign constructed of repurposed license plates from roadtrips long forgotten, to blacklight graffiti murals fading in and out of view at their Fireside neighborhood bar – even the guest rooms feature vintage Bill Graham posters and rockband clad wallpaper that will transport you straight to the 1960s Fillmore. Grab a drink at their signature bar and restaurant Rambler and meander your way down to their massive “Den” arcade featuring vintage games like shuffleboard, skeeball, quick shot basketball, bingo and more (www.viceroyhotelsandresorts.com/en/zeppelin).
S.O.U.L. (Summer of Unconditional LOVE), a new, non-profit, online media organization, chronicles the happenings of the 50th Anniversary of the Summer of Love, with a focus on broadcasting stories of individuals and organizations implementing solutions inspired by the ideals and wisdom of the 60’s cultural movements. The information shared is intended to help people manifest a more loving and less fearful world by giving them hope and inspiring new action to be taken. “Come join us, and discover what you can do to participate in accelerating humanity’s shift into the Love Paradigm,” say Founders Evan Hirsch and Kip Baldwin www.nowsharelove.org).
To help visitors plan their “trip,” the San Francisco Travel Association has launched a special website, www.summeroflove2017.com, which provides an ever-expanding guide to the whole groovy scene, including events and itinerary ideas. (San Francisco Travel. 415-391‑2000, www.sftravel.com)
Judges at the 5th annual final of the Gold Coast Acoustic Café’s Your Big Break talent competition had an unusually hard time picking the winners out of a talented field of six, but in the end, Paris Ray was the grand-prize winner and Julia Lambert the runner-up, at the Gold Coast Arts Center, Great Neck, Long Island, Saturday, April 1.
Paris Ray, a 21-year old from St. James who majored in Studio Composition in the Conservatory of Music at college, dazzled the judges with her original song, “Astronomy” (“I became an astronaut so I could give you space.”) off her Just Visiting EP; a second, highly personal original song that gets to the heart of domestic violence, as well as the required George Michael song (each of the contestants only a week ago was assigned a George Michael song to perform).
Julia Lambert impressed with her song-stylings on the acoustical guitar, and her original song that soon will be released on an EP (“Take a chance, it will be okay, I promise.”).
Julia Hayden, from Port Washington, backed up with a sensational band, performed two original songs plus a tribute to George Michael, which offered a MiddleEastern meets MidWest country feeling, and an really interesting song that featured the drum roll of a marching band (“Carry on”).
Lydia von Hof, just 15 years old but conveying a skill and sophistication way beyond her years (she is a classically trained pianist who will be performing Chopin at Carnegie Hall), brings a full, rich voice to her performance.
Jaclyn Manfredi, 17, brings a sultry style reflecting jazz, blues and R&B influences, and has performed at the Apollo Theater. She performed an original song, “Warehouse.”
The “Big Break” is not just a clever title. The young performers are competing for prizes that could well launch their career.
As the grand-prize winner of the 5th Annual Your Big Break talent competition, Ray will have an opening spot for national acts at major venues like The Paramount, recording time at DCITY Studios and Online TV streaming opportunities, a feature on Reverbnation.com, a $250 gift certificate from All Music Inc. and ZOOM North America, a PR and social media campaign including management, booking and label services consultation with Rick Eberle Agency.
Lambert, as the runner up, won a video camera.
In addition, Rick Eberle has also invited all the contestants to appear on his radio and TV shows.
The judges are major players in the music industry including: ReverbNation.com’sLou Plaia, All Music Inc.’s Guy Brogna, Songwriter Tara Eberle Drouin and Label Executives Stephen Marcuccio, Jerry Lembo, Linda Ingrisano, Mark Ambrosino.
The contestants for Your Big Break were selected out of 1000 submissions through Gold Coast Arts Center (www.goldcoastarts.com) and Reverbnation.com sites in response to an open call for musicians age 15 to 25 who do not currently have a recording or publishing contract. The artists have to perform with a band or solo with an acoustic guitar or sing to a backing music track. There is no fee to submit.
The six finalists came out of two semi-final competitions of performers and were paired with mentors to guide them in performing a song by George Michael, assigned to them, in tribute to the music icon who died last December: American Idol’s Robbie Rosen, Dream Recording Studio’s Jason Melker, Sojourn Record’s Mark Ambosino, arranger/producer/songwriter/remixer and former VP of A&R at Atlantic Records Jimmy Bralower, singer/songwriter John Hampson of Nine Days, and songwriter/producer Donnie Klang of MTV’s “Making the Band”.
Your Big Break talent competition is hosted by the Gold Coast Arts Center’s Acoustic Café and LoveRevolution.Org. Conceived by Rick Eberle and the Gold Coast Arts Center, the talent competition carries on the tradition of Long Island musical talent, including
Ashanti, Mariah Carey and LL Cool J (born on Long Island), Billy Joel, Lou Reed and Harry Chapin and going back to John Philip Sousa and Guy Lombardo.
The Arts Center is transformed into the Gold Coast Acoustic Café once a month, a music venue that showcases local up-and-coming talent as well as established music acts. With its black box theater performance space and a lounge in the art gallery, the Gold Coast Acoustic Café is one of the few small music venues around which makes for a special and intimate atmosphere for artists and audience alike, especially during Your Big Break.
Gold Coast Arts Center, 113 Middle Neck Road, Great Neck NY. Call 516-829-2570, www.goldcoastarts.org.
When RJ Rosegarten left Great Neck 17 years ago, where he had gone to school, raised a family, had a career in advertising and served as Mayor of the Village of Great Neck Plaza, he was finally free to pursue an ambition from childhood: to be an artist.
He returns to the Gold Coast Arts Center in Great Neck Plaza – which as mayor he helped bring fruition – with a show, “Lost & Found: the Art of Assemblage” which draws upon his strong sense of design and construction. The exhibition is on view through March 12.
“Assemblage involves the thoughtful combination of elements to create something new and original,” states Jude Amsel, the curator who installed the massive exhibit of some 50 works.
RJ Rosegarten (better known by Great Neckers as Bob) claims that the pieces are not intended to hammer home a theme or message or story, that he approaches the work from the point of view of design, color and form, meticulously choosing objects that together form the image he has conceptualized in his mind.
At the end of it, he says, he comes up with a title. “That’s often the most difficult part,” he says.
His humor comes through with the titles (“it’s Great to be King”), but don’t read in a theme or moral – it’s for the beholder to find your own meaning.
But if the piece is built around an aesthetic, the choice of objects – each with their own meaning – the title, in fact, broadcasts a mood, emotion or message even if was subconsciously in Rosegarten’s mind, or resounds in the viewer’s own head. The design captures your attention, but then you keep going back to explore and discover and your head forms its own patterns and themes.
These aren’t objects. These aren’t randomly selected. Each element is meticulously chosen – sometimes involving longtime searches.
He describes his effort obtaining just the right red delicious apples (so realistic you think they are actual fruit), for his piece, “Legacy of the Red Apple,” (2016). He had two heads that he fused into one, like Siamese twins. Why apples? “In the Garden of Eden, the Tree of Knowledge had fruit.”
He can tell you the provenance of each object in the piece – where he obtained the silver head in “Sarah Silverstone Presents” and how it took a long time before he found just the sunglasses he wanted for the piece, how the drawer it is assembled in came from a factory (the writing is on the side). He sees Sarah as a person, referring to Sarah as “her”. Indeed, the two gauges and thermometer evoke her personhood, even symbolically.
There is a story behind every piece – about how I got there, where the pieces came from – can tell you where every piece came from – glasses – looked for it a long time – looked for a long time where to put – fit on Sarah – gauge, knew where it would go – design them, lay them out, do not glue them, leave for a week, come back and keep looking at them, move around, put pieces in/out, then glue, last stage – once glue, sign name, over – can’t go back and say I wish I put a ball in there.
“Sarah Silverstone has a twin sister,” he says, explaining that he bought two of the metallic faces. “Sarah represented to me the absolute woman, a sexy woman; her sister is so sexy, every time I pass her, I talk to her, ‘Hope you have a nice day.’”
He has the same personal connection with the “Wizard of Odd” and the “Thought Collector”.
The personal connection is manifest in his work, Dorzi/Dorzi, built around a vinyl record, but not just any 1950s 45rpm. His friend made the label to suggest it was made by the Bobby Randall 3 band. You learn that Bobby Randall, he explains was non-ethnic name Rosegarten was going to use when got out of college and was going into advertising. (He was discouraged from changing his name by his grandmother.) There are 3 hands – for the three band members, in a pose as if they are snapping their fingers to the beat.
His grandmother and grandfather appear again in small photographs that are embedded into a series of four “Junk Drawer” works.
Junk Drawers may look like a hodgepodge, but are not random, he says.
“I visualize what junk drawers have,” he says. “Everyone has junk drawers – in bedrooms, kitchens, desk drawer, basement.” He chooses the items that fill the drawers (which he builds) independently, and over time, lays them out and photographs them. “Then I take everything out and glue back the items one by one.”
The Junk Drawer series each has a photograph of grandmother and grandfather at Rockaway Beach.
One of the boxes has a plastic Howdy Doody figure, while another has the Princess character from the show. He says he goes for colors, shapes and looks for holes.
“It’s not nostalgia,” he insists. But as he knows the provenance of every piece – some have personal connection, like the photos of his grandparents and a John Lennon/Imagine photo.
“Every time you look, you see something else.” Or actually, you “find” something new.
But looking at the items, it is hard not to become nostalgic as you find items that spark memories of your own past. The Junk Drawer series and his Americana series are like mini-Smithsonians of American cultural icons of the 1950s, 1960s, 1970s and so forth.
Rosegarten says he loves making the Junk Drawers and would customize for someone on commission. “I would go to your house and if you didn’t have the elements I wanted, I would ask if I could use some of mine.”
The pieces he chooses are specific – he combs particular shops (he has his favorites for manikins in the Garment District), antique stores, flea markets, garage and barn sales, which “are entertainment in the country and have become an essential part of my new work with found objects. One day I might find a rusted scythe with a broken wooden handle; the next day a box of glass dolls’ eyes or a red View-Master. I put the material in labeled boxes and store them to be rediscovered.
“When I select objects for a new composition, I may sit with them for days, moving them around like pieces on a chessboard until they take shape. Placement and balance are key. I remove pieces; add others, balancing shadows, shapes, textures and color until I know instinctively that the work is completed: the new composition has taken on another dimension, a unity of its own and gained strength and character.”
Rosegarten, who grew up in Great Neck (he graduated high school with movie director Francis Ford Coppola), now lives “in the country” in upstate New York, in a house he built 17 years ago where he has a 30 x 30 ft studio off his bedroom that opens to a deck and pond, and a 2500- sq ft basement work area.
His collected objects are neatly organized in labeled tubs under tables – machine parts, metal parts, extra toys, manikin hands.“Everything has a place, a place for everything.”
Often, he visualizes the entire piece in his head before he starts his assemblage.
“I just finished a piece Thursday. It doesn’t have a name (or does it have a name): The Quick Brown Dog Jumps Over the Lazy Fox. Why? Because part of the visual – a box,with 2 white hands, at the top has the keyboard of a very very small typewriter –a vertical piece, a piece at bottom, a nodule on top hands,. The sense of design is perfect. It was in my head.”
“I never went to art school, except for a month at the Art Students League, Bruce Dorfman, teaching there since early 60s – he said, push the envelope. It’s ok if off-center, if you don’t have anything there and want it to sit there.”
Indeed, it is so ironic considering that most people move to Great Neck from New York City because of the public schools, that his big regret is that when his family was still living in the Bronx, he was accepted into Music & Art, but before he could attend, his family moved to Great Neck.
“I should have gone to Music & Art. I would have had an art background and the chances are I would have gone to Pratt, School of Visual Arts, or Cooper Union.” He said his father was not keen on Rosegarten going into advertising, but had he had an art background, he would have been on the creative side, instead of a “suit.” “I would have been more Don Draper than the account guy.”
He was doing painting until 1990s, then, around 2000, he went to an antique show on 6th Avenue and came upon wooden patterns which were used to make metal parts in the early 1900s. “I bought 20 of them –they were inexpensive – I didn’t know what I would do with them. I washed them off, That’s when I started.“
It fit into his overarching philosophy of reuse, repurpose, renewal – “an ability to use things that have been tossed away and have them come back and serve another purpose – Lost and Found (is what I call it). I’m not interested in what is sold in dollar store but things that have age, patina, character. Snapshot” is built around an antique folded camera and tractor parts.
“I take individual pieces that by themselves are utilitarian and they become a “body” – a personality. Each has its own personality.”
The exhibit also includes Rosegarten’s paintings, which have the look and vibe of Pop. “Just as I have reinvented myself a number of times in the past 30 years, so too has my art undergone a metamorphosis. Over the last ten years, it has moved from post-Pop paintings to a more muscular sculptural medium, where form and design take precedence over color.”
Regina Gil, Founder/Executive Director of the Arts Center, writes in her introduction to the catalog:
“In this latest chapter of his creative life, RJ Rosegarten draws upon the rich fabric of his imagination, strong art and design skills, and solid knowledge of carpentry that lets him execute what he already sees in his mind fully formed. And the results are impressive.
“Here is a man who grew up in a small town, absorbing all the qualities of civics, ethics, and community values that one associates with such an upbringing. He married young, had three sons and led the life of the American Dream. He even went on to work in the advertising world; that fabled Madison Avenue bastion of the creative idea sellers; but not as an artist, as a ‘suit’. So, without knowing it, he was adding to his arsenal of skills by including leadership, salesmanship, and public speaking to his repertoire. But he was fascinated by and engaged with the artists and designers.
“When he left advertising, he became a beloved and respected mayor of that same town, bringing his love of the town and business acumen to the job. He demonstrated that the world of politics and government were new fields on which he could impose his creative eye. As a result, the town grew and he was elected and re-elected time and again.
“It was only when he left the town again, retiring from public life that he began to fully realize his longtime dream of being an artist in his own right. And he is an artist in the fullest sense of the word. Not only are his technical skills the very best; but his thoughts, ideas and vision are on display, inviting the viewer to enter his carefully constructed world; challenging the viewer to understand his point of view, to embrace it or to disagree. A lifetime of thinking and living, of humor and wit, of deep, serious emotion and also of playfulness; the full range of the human experience in a construction of wood and found objects.
“As a longtime friend, I am delighted to see RJ ‘Bob’ Rosegarten come home to Great Neck. Without his friendship and assistance, mentoring another dreamer through the shoals of politics, fundraising, and community engagement, it is doubtful that this Gold Coast Arts Center could have found its home here. It seems fitting that we honor him with this exhibit that introduces the people he served as mayor to the man he is now — the artist.”
“RJ Rosegarten, Lost & Found: The Art of Assemblage” is on view through March 12 at The Gold Coast Arts Center, 113 Middle Neck Rd, Great Neck, NY, 516-829-2570 or www.GoldCoastArts.org.
For the first time, all of Nassau County Museum of Art’s galleries are devoted to the art of photography, collectively giving a retrospective and perspective on 100 years and some of the most important photographs and photographers in history. The exhibit is on view through March 5, 2017.
On view in the Main Galleries on the first floor are two exhibitions drawn from the collection of the Kalamazoo Institute of the Arts (KIA), Kalamazoo, Michigan: Ansel Adams: Sight and Feeling and Light Works: 100 Years of Photos. On view in the Second Floor Galleries is New Photos: Long Island Collects, important photographic works of the last half century from private Long Island art collections.
Ansel Adams: Sight and Feeling: Ansel Adams’ ability to create photographs with a remarkable range and subtlety of tones is legendary. Yet for all his technical mastery, Adams recognized that what made a compelling photograph was far more elusive. This exhibition of Adams’ photographs from the KIA collection suggests how his intuitive and emotional response to the landscape resulted in powerful and enduring photographs.
Light Works: 100 Years of Photos: From Eadweard Muybridge’s 19th-century photographic studies of animal locomotion to Richard Misrach’s contemporary chromogenic prints, this exhibition spans the history of photography. Alfred Stieglitz, Edward Curtis, Ansel Adams, Dorothea Lange, Diane Arbus, Richard Avedon, Walker Evans, Henri Cartier-Bresson and many other celebrated photographers comprise this survey of photography processes and subjects from 1873 to 2000.
Coincidentally, the opening at NCMA occurred the same day as Time published its “100 Most Influential Photos of All Time,” and notably, several in this exhibit have been included among those deemed the most influential including Eadweard Muybridge’s breakthrough photo, “The Horse in Motion,” from 1878; Edward Steichen’s “The Steerage” (1904), Henri Cartier-Bresson’s “Behind the Gare Saint-Lazare” (1932), Dorothea Lange’s “The Migrant Mother” (1936) among them.
New Photos: Long Island Collects focuses on significant photographic works created from the 1960s through the present day, from private collectors. Among the artists included in New Photos: Long Island Collects are John Baldessari, Matthew Barney, Robert Mapplethorpe, Vic Muniz, Cindy Sherman and William Wegman.
The Museum is offering a variety of public programs to amplify the experience of visiting these three exhibitions. Two films are screening daily: Stryker’s America: Photographing the Great Depression and Cartier-Bresson’s Century. Three Brown Bag Lectures illuminate the art and the artists included in these exhibitions. Other public programs are inspired by the exhibitions: Sketching in the Galleries, and The River, a concert performed by the musical ensemble ETHEL. The Museum’s family programs from November 19 to March 5 similarly draw inspiration from the exhibitions: Neiman Marcus Family Sundays,February Break for Art and two Super Family Sunday offerings, Winter Wonderland and Merrynaking in a Gold Coast Mansion. For further information on these programs, visit the Museum’s website, nassaumuseum.org/events.
Even the museum’s gift shop artfully presents items that evoke the exhibit.
A Destination
The Nassau County Museum of Art is a destination in itself.
Most of the 145 acres that are now the Nassau County Museum of Art originally belonged to poet, lawyer, conservationist, political activist, patron of the arts and preservationist William Cullen Bryant, who settled in Roslyn in 1843.
The long-time editor of the New York Post built his home, Cedarmore, and founded Roslyn’s public library.
In 1862, he built a cottage for his friend and fellow poet, Miss Jerusha Dewey (you can see the cottage when you explore the hiking trails).
In 1900, Lloyd Stephens Bryce purchased Bryant’s ‘Upland Farm’ and commissioned architect Ogden Codman, Jr. to design Bryce House, the present mansion. Henry Clay Frick, co-founder of U.S. Steel Corporation purchased Bryce House in 1919 as a gift for his son, Childs Frick, a Princeton graduate who became a vertebrate paleontologist and naturalist.
Be sure to make time to explore the grounds of this magnificent estate:
Sculpture Park: Approximately 40 works, many of them monumental in size, by renowned artists including Fernando Botero, Tom Otterness, George Rickey and Mark DiSuvero among others, are situated to interact with nature on the museum’s magnificent 145-acre property.
Walking Trails: The museum’s 145 acres include many marked nature trails through the woods, perfect for family hikes or independent exploration.
Gardens: From restored formal gardens of historic importance to quiet little nooks for dreaming away an afternoon, the museum’s 145 acre property features many lush examples of horticultural arts. Explore expanded gardens and beautiful new path to the museum.
Nassau County Museum of Art is located at One Museum Drive in Roslyn Harbor, just off Northern Boulevard, Route 25A, two traffic lights west of Glen Cove Road. The museum is open Tuesday-Sunday, 11 a.m.-4:45 p.m. Admission is $12 for adults, $8 for seniors (62 and above) and $4 for students and children (4 to12). Members are admitted free. Docent-led tours of the exhibition are offered at 2 p.m. each day; tours of the mansion are offered each Saturday at 1 p.m.; meet in the lobby, no reservations needed. Tours are free with museum admission. Family art activities and family tours are offered Sundays from 1 pm; free with museum admission. Call (516) 484-9338, ext. 12 to inquire about group tours. The Museum Store is open Tuesday through Sunday, 11 a.m. to 4:30 p.m. The Red Maple Market Café is open Saturday and Sunday, noon to 3 p.m. Call (516) 484-9337 for current exhibitions, events, days/times and directions or log onto nassaumuseum.org.
The 43rd Annual Village Halloween Parade, the largest Halloween event in the world, got underway with extraordinary precision, as all the skeletons, ghouls and monsters – some 50,000 in all – got into order for the march up New York’s 6th Avenue to the rhythm of a host of bands.
“One thinks of Halloween as a chance to fantasize, but more than anything Halloween lets us realize, allowing us to play ourselves, leaving the remainder of the year for sleepwalking…. In these moments of reverie, our eyes are fresh, a child’s eyes. Our thoughts unfettered by habit, ideas and inspirations swirl in. So this year we celebrate Reverie, inviting one and all to recreate their waking dreams.”
Indeed, this is one day a year when New Yorkers, en masse, release their inner exhibitionist, their inner Action Hero. It’s Body English, when your entire being is a placard to transmit your message. For some, it is a way of releasing inner rage, anxiety, and confront demons. For others, it is a way to convey spiritual blessings, cheer.
This year had its Willy Wonkas, the Egyptian Pharoahs (one carried a “10 Commandments for the 21st Century that included “gender equality” and “no more wars”), Action Heroes and Cartoon characters, spirits from myth and folklore, and a good smattering of political characters and commentary, with candidates Donald Trump and Hillary Clinton (more mocking him than her), Anonymous, and against the NRA.
Tens of thousands of people lined the route, which extended a mile from Spring Street up to 16th Street, delighting all as the bigger-than-life skeleton puppets poked into the crowd and stilt walkers and costumed characters engaged.
It is amazingly artful, marvelous to behold – indeed, producer Jeanne Fleming, who took over the planning for the parade after its 8th year when the crowd reached 100,000, saw the Village Halloween Parade as an art installation.
And the scenics! with the lights of the Freedom Tower downtown, the church at Greenwich with its giant spider crawling down the side and the tower lighted, and the Empire State, lit in crackling light show for the occasion uptown, and the buildings lining 6th Avenue like canyon walls – creating a fantastical atmosphere in which the walking creatures and monsters feel most at home.
“New York’s Village Halloween Parade is committed to the cultural and imaginative life of New York City and to the advancement of large-scale participatory events in the belief that such events, when artistically inspired, can play a major role in the resurrection and rejuvenation of the City’s spirit, economy and the life of its people,” is the mission statement. “Fleeting as it may seem, the Annual Village Halloween Parade provides a subconsciously experienced time structure that lends a sense of durability, continuity and community to New York City life.”
Indeed, it is a collective giggle, a communal hug against the forces beyond control, and while you are in the spirit of it, you forget everything beyond.
Walking around Manhattan, with the oddest sights (half the time, you don’t know if people are wearing costumes), just adds to the special thrill of Halloween in New York City.
From humble beginnings in 1974 when Greenwich Village mask maker and puppeteer Ralph Lee started a walk from house to house for his children and friends, the Village Halloween Parade, now headed by Artist and Producer Jeanne Fleming, has become an iconic event of New York City, with some 60,000 participants and tens of thousands of onlookers.
The Village Halloween Parade, the only major night parade in the country, is the largest public Halloween celebration in the world. It has been named as “The Greatest Event on Earth” for October 31 by Festivals International, and has been listed as one of the “100 Things to Do Before You Die.”
I have come to Pittsburgh for the three-day, 120-mile Rails-to-Trails Conservancy’s Spring Sojourn on the Great Allegheny Passage, and used it as an opportunity to explore Pittsburgh, a city that once was known for steel mills, but which now has won accolades as “America’s most livable city.”
I am fascinated to see how it made such a transition from grey to green.
With only one full day to explore, I specifically seek out attractions that define Pittsburgh, all walkable within the downtown, getting advice from the Omni William Penn Hotel concierge.
I continue my walk from the Fort Pitt Museum, over the Fort Duquesne Bridge toward the National Aviary (it was the “national” that got my attention), fascinated how city planners managed to turn a city designed for industry and machines into one that can be so walkable and bikeable.
The National Aviary, America’s only independent indoor nonprofit zoo dedicated to birds, offers a lovely exhibit of birds, including being able to walk through massive habitat-style exhibits, where the birds – like the Victoria Crowned Pigeon (amazing headdress), Golden Breasted Starling (nesting) fly freely about you, often landing very close by.
There is also a bat exhibit (you can watch bat feeding), poke your head up into the penguin pen, As I walk about, I am surprised to read a marker that states this was the site of the Western Penitentiary (1826-1880) and held confederate prisoners here 1863-64.
The National Aviary (www.aviary.org), which was designated “national” by President Clinton, would certainly be a highlight for family travelers and am having such an amazing time taking pictures, seeing some birds that I had never seen before in such close proximity without cages, I lose all sense of time (which is why I didn’t have enough time to visit the Heinz History Center).
The National Aviary is also just a short walk to my next stop: the Warhol Museum. I had not realized that Andy Warhol was a native son of Pittsburgh (born to a Slovakian family of modest means, he attended Carnegie Mellon which was Carnegie Technical at the time) – this museum is in the tradition of the Dali Museum in St. Petersburg, totally extolling the life of one artist. It basically continues what Andy Warhol did most successfully his whole life: market his art to inflate prices. The best part, for me, was learning more about his biography – what made him “tick”, his creative process and about his techniques.
My own belief is that Warhol was more of a marketing genius than an artistic one (at least Salvador Dali was both a marketing genius and an artistic one), but I am willing to be convinced otherwise as I roam the museum.
Indeed, as a placard notes, since the seven-story museum opened in 1994, there has been a steady increasing level of recognition of Warhol’s “singular contribution to 20th century art and his extraordinary influence on contemporary art internationally. The museum is on the forefront of research into Warhol’s work.”
There is a timeline along the massive walls that document in excruciating detail Warhol’s life and learn such tidbits as: Andrew Warhola was born in 1928 to immigrants from Mikona in Slovakia; he graduated Carnegie Tech (which became Carnegie Mellon); in 1956 he met Edmond Walloaitch who used photography in his own works; most of Warhol’s early endeavors were self-published; he was inspired by popular culture and enlarged images from magazines and photographs with a projector, then painted the projection on canvas; he used a rubber stamp, then the silk screen process; the first silkscreen painting based on a photograph was a baseball, in 1962; he “replicated the look of commercial advertising, giving Warhol faithful duplication of his appropriated source image, while also allowing him to experiment with over-painting, off-register and endless chance combinations”.
After graduating Carnegie Tech, he took a “risk” and came to New York City where he got his big break, illustrating a story “What is Success” for Glamour Magazine. “He became one of the most successful commercial illustrators.” A particularly noteworthy item on the timeline: 1972- after publication of his “Vote McGovern,” the IRS audited Warhol annually until his death.” Warhol died in 1987, at the age of 58.
He created the “blotted line technique” – where he could trace or copy and an image “appropriating images from popular culture” – and reproduce any number of them, factory-style.
Warhol, we learn, made a fortune from portraits, once again, getting a giant commercial boost after an exhibit at the Whitney in 1979, curated by his close friend David Whitney consisting of 56 double portraits of artists, fashion designers, collectors, art dealers, which showcased an aspect of his painting “that he characterized as ‘business art’.”
After the 1979 show, his private portraits business hit heights- early 80s – he produced did 50 a year at $40K for 2-panel, or $2 million in annual profits.
“He was unapologetic in his imposition of lucrative business model as part of his art practice.”
I notice a prominently displayed portrait of Prince from 1984, which is up just after the musician’s death.
Andy Warhol was known for his passion as a collector – very possibly an outgrowth of his impoverished childhood and his expropriation of others’ art and design. Over his lifetime, he collected some 500,000 artifacts. There is an immense room, called the “Vault” that is filled with “time capsules” – 610 flimsy cartons, each with 500 objects.
I found it totally ironic, though, that you are not allowed to take any photos since Warhol’s art was based on expropriating the images and designs created by others (ie. Campbell Soup Can, Marilyn Monroe photo). You can take part in workshops to learn the silkscreening techniques he used. The museum is a must-see for anyone who is a fan.
The Andy Warhol Museum was created by the Andy Warhol Foundation, Dia Center for the Arts, and the Carnegie Foundation which operates the museum. It is one of four Carnegie Museums of Pittsburgh (Carnegie Museum of Art, Carnegie Museum of National History and Carnegie Science Center are the others, www.carnegiemuseums.org).
The Andy Warhol Museum, 117 Sandusky Street, Pittsburgh, PA 15212, 412-237-8300, www.warhol.org ($20/adults, $10/students and children 3-18, half price on Fridays, 5-10 pm; closed Mondays).
Washington Irving’s macabre tale, “The Legend of Sleepy Hollow,” is the inspiration for Horseman’s Hollow, a spectacularly produced interactive Halloween haunted attraction at the colonial-era Philipsburg Manor in Sleepy Hollow, N.Y.
It is one of a series of Historic Hudson Valley’s Halloween season spectacular events taking place over an unprecedented 32 nights. They are the largest Halloween events in the tri-state area and are expected to draw more than 150,000 visitors to Sleepy Hollow Country. They take place in several Historic Hudson Valley venues, each one an important attraction.
Washington Irving’s macabre tale The Legend of Sleepy Hollow inspires Horseman’s Hollow, an interactive haunted attraction taking place over 14 nights at Philipsburg Manor in Sleepy Hollow, an estate that dates back to colonial times. But for Halloween, it is stocked with professional actors and state-of-the-art special effects and lighting. Take note: Horseman’s Hollow has a high fear factor, which is why it is so popular with teenagers. (Recommended for ages 10 and up.)
Irving’s ‘Legend,’ recommended for ages 10 and up, brings the master storyteller Jonathan Kruk into the historic, candlelit interior of Sleepy Hollow’s circa-1685 Old Dutch Church, where for 14 afternoons and evenings he offers a dramatic re-telling of The Legend of Sleepy Hollow accompanied by live organ music.
The Legend Behind the ‘Legend’ is a daytime experience at Washington Irving’s Sunnyside homestead in Tarrytown, N.Y., that highlights the author of the famous story.
And continuing for a record 32 selected evenings through Nov. 13, The Great Jack O’ Lantern Blaze® is the Hudson Valley’s biggest all-ages Halloween extravaganza. A small team of artists comes together to carve more than 7,000 jacks, many fused together in elaborate constructions such as life-size dinosaurs and eight-foot-tall working jack-o’lanterns-in-the-box, all lit up throughout the wooded walkways, orchards, and gardens of historic Van Cortlandt Manor in Croton-on-Hudson, N.Y.
Headless Horseman Rides Again
Philipsburg Manor, is but a few miles up the road from Washington Irving’s homestead at Sunnyside and, legend has it, is the setting for his classic story. The village, which was once known as North Tarrytown, actually changed its name to Sleepy Hollow in 1996.
But here at the 350-year old Philipsburg Manor, one of the Historic Hudson Valley historic sites, you can easily imagine the “Legend of Sleepy Hollow” as Irving saw it in his mind.
Now in its 7th year, Horseman’s Hollow, which welcomed more than 30,000 visitors last year, is a haunted experience in the heart of Sleepy Hollow that takes the tale of The Legend of Sleepy Hollow to its darkest extremes. Historic Philipsburg Manor transforms into a terrifying landscape ruled by the undead, the evil, and the insane, all serving the Headless Horseman himself.
For 14 nights, historic Philipsburg Manor transforms into a terrifying landscape ruled by the undead, the evil, and the insane, all serving the Headless Horseman himself.
The 300-year old manor house, barn and gristmill of the Philipses, a family of Anglo-Dutch merchants who owned the 50,000 acre- estate, become the sets and the backdrop for the really, really ghoulish hauntings by colonial spirits.
Haunted house professional Lance Hallowell is back this year to lead a crew of award-winning makeup and costume designers and a 45-member-strong cast of experienced actors to create an immersive, interactive, pleasantly terrifying experience, with state-of-the-spooky-art special effects.
Custom built set pieces and period-correct costumes help orient the experience in Philipsburg Manor’s traditional time period of the mid-1700s.
What is best about Horseman’s Hollow is the sheer number (and talent) of the live spirits – they are very considerate, too – they seem to know just how much to terrify you (though really squeamish and young children should not come). I have found that if the ghouls sense you are easily frightened (like me), they tend to take down a notch their scare factor (I basically announce that I am easily frightened as I enter one of the venues).
But the professional actors and state-of-the-art special effects, contributes to a high fear factor (it’s recommended for ages 10 and up and is not for the squeamish and you need to take heed of the warning: This event is NOT suitable for adults who are claustrophobic, have heart or respiratory conditions, are prone to seizures, or have other chronic health conditions.)
As we start our experience, walking up a dirt path that rings the pond, a faceless colonial escorts us for a time, then goes into the trees to surprise a group of teenagers who are following behind. With each step through the woods, you leave the modern world behind and suspend disbelief.
Timed tickets mean that it isn’t overcrowded (safety in numbers?) – but as we walk through (guided by helpful spirits with lanterns who lead us to the next haunted house), we hear the screams of a pack of teenage girls in the distant dark. It adds to the atmosphere.
Look carefully in the deepest, darkest shadow, and there is the Headless Horseman himself, astride his steed, standing quietly as if taking in the scene or simply delighting in the terror of recognition as the clueless passerby realizes who is lurking in the dark.
Horseman’s Hollow dates are Oct. 7-9, 14-16, 21-23, 27-31. Online tickets are $20 ($25 on Saturdays). Fast Track, for a $15 per ticket upgrade, lets visitors skip the line in their timeslot. Historic Hudson Valley members receive a$5 per ticket discount.
Philipsburg Manor is at 381 North Broadway (Route 9) in Sleepy Hollow. (There is a parking field.)
The Great Jack O’ Lantern Blaze, which drew more than 130,000 visitors last year, features more than 7,000 illuminated, individually hand-carved jack o’ lanterns. Elaborate single-pumpkin carvings and huge multi-jack o’lantern constructions are professionally lit throughout the landscape of Van Cortlandt Manor in various themed areas.
Favorite installations such as Jurassic Park and the giant spider web are joined this year by new creations including a plus-sized Pumpkin Planetarium, a Pumpkin Zee Bridge, and a brand-new herd of pint-sized dinosaursall made of jack o’lanterns.
Creative Director Michael Natiello leads a small team of Historic Hudson Valley staff and local artists who carve. In addition, more than 2,000 volunteers help scoop and light the pumpkins. You can watch Blaze artists carving on site during the event.
Café Blazé, by Geordane’s of Irvington, offers culinary treats including soup, veggie chili, muffins, pumpkin cookies, and cider. The Great Jack O’ Lantern Blaze Shop has a full bounty of Blaze-specific merchandise including hats, notepads, games, T-shirts, magnets, caps, mugs, and jewelry.
New music this year created by professional musician, radio personality, and Halloween fanatic Richard Christy will augment the visitor experience. The new tracks as well as music from Christy’s Blaze: The Soundtrack Volume I & II play throughout the event.(Soundtrack Volume II is available as a CD at the event and both volumes are available as digital downloads and streams from iTunes, Amazon, and Google Play.)
Blaze dates are Sept. 30, Oct. 1-2, 7-10, 13-16, 19-31, Nov. 3-6, 10-13. Online tickets are $20 for adults ($25 on Saturdays), $16 for children 3-17 ($20 on Saturdays), and free for children under 3 and Historic Hudson Valley members.
Van Cortlandt Manor is at 525South Riverside Avenue, just off Route 9 in Croton-on-Hudson (A parking field is on site).
Master storyteller Jonathan Krukoffers a dramatic re-telling of Washington Irving’s classic tale, The Legend of Sleepy Hollow, featuring the Headless Horseman, Ichabod Crane, Brom Bones, and Katrina Van Tassel. Flavored with live spooky organ music by Jim Keyes, Kruk’s storytelling takes place in the historic, candlelit setting of the Old Dutch Church in Sleepy Hollow. The circa-1685 stone church is across the street from Philipsburg Manor, where visitors will park. Performances last about 45 minutes.
Irving’s ‘Legend’ dates are Oct. 7-9, 14-16, 21-23, 27-31. Seating is very limited and there are three performances each evening. Online tickets are $25 for adults, $20 for children under 18. Historic Hudson Valley members receive a $5 per ticket discount.
Legend Behind the ‘Legend’
Sunnyside, the home of Washington Irving, celebrates its connection to Irving’s classic tale, The Legend of Sleepy Hollow, at this family friendly daytime event. The Legend Behind the ‘Legend includes tours of Irving’s home – a colorful blend of architectural styles – which showcase numerous objects from HHV’s collection related to Irving’s famous story. Visitors can also enjoy a shadow puppet performance of The Legend of Sleepy Hollow and experience one of Irving’s spooky tales on a walk through the woods. Sunnyside is on West Sunnyside Lane, off Route 9 in Tarrytown.
Legend Behind the ‘Legend’ dates areOct. 1-2, 8-9, 15-16, 22-23, 29-30. Online tickets are $16for adults, $12 for seniors, $8 for children 3-17, and free for those under 3 and Historic Hudson Valley members.
All events are held rain or shine. Proceeds support Historic Hudson Valley, the Tarrytown-based private, non-profit educational organization that owns and operates the historic sitesthat host these events.
Because of the popularity of these events, it is essential to purchase tickets in advance.
Buy tickets online at www.hudsonvalley.org or by calling 914-366-6900 ($2 per ticket surcharge for phone orders and for tickets purchased onsite, if available).
What is inside, and what is outside? What are the boundaries that delineate “interiors”. How much of what is interior is our own perception, our own making? These are the questions explored by three artists – Laini Nemett, Orestes Gonzalez, and Maxi Cohen – represented in “Interiors” on view at the Gold Coast Arts Center in Great Neck, through November 20.
Interiors is an exhibition that explores the artist’s relationship with familiar places and how they connect to interior landscapes of personal history, memory and association. The painter Laini Nemett comments that she wants the composite imagery to conjure memory but also to emulate an experience of place. Orestes Gonzalez’s photographs of interior spaces captures moments of loneliness, happiness and a time of innocence. Photographer/videographer, Maxi Cohen captures moments in the ladies room, “as a space of sanctuary and solitude”.
The only thing common to all is that their creative works “serve as a portal to interior spaces that are in plain sight and yet frequently overlooked,” notes Jude Amsel, Gold Coast Arts Center Gallery Director. They offer a portal to a new way of looking and experiencing what we all take for granted.
Laini Nemett: “Last Door on the Right”
Laini Nemett creates her own sense of place and space – literally. Her paintings stem from imagination – memories and relationships – which go into intricate cardboard models models she constructs at the beginning of her process. She then creates bold paintings that realistically represent these imagined places. They take the viewer in, forcing the viewer to contemplate the scene. It is at that point that the viewer realizes the impossibility of the place – a window that is upside down, a ceiling that has the texture and color of carpeting which should be on the floor.
One of the most interesting perspectives stems from a whirlwind visit to Paris and the Eiffel Tower. You would never realize it is the Eiffel Tower because the perspective is looking down from a landing through plexiglass casting a reflection made “wobbly” with rain.
“I assemble my own relics of experience. I discover their logic in the ways they fit together and attempt to make sense of how we decipher place,” Nemett says. One of her paintings in the exhibit is titled “Last Door on the Right.”
“A constant kaleidoscope of imagery the mind sorts at random, concealing and revealing fragments of memories. I choose to disorient myself amidst the puzzle, letting observation suggest the direction.”
“Extended time in different architectural cultures has shaped how I understand the idea of ‘home.’ In downtown Baltimore, buildings are boarded up and left as skeletons of a family’s history, while new constructions incite possibilities of new beginnings. In the boroughs of New York, old facades are painted away or torn down as new anonymous condo projects begin almost every day. The expansive land of Wyoming holds 100-year old ranches and hand-built homesteads that remain as physical mementos of multiple generations.”
But while the constructions hold the histories and the memories of the people, the paintings are devoid of people altogether. Like a dream, you are surveying the scene.
There is such detail that at first glance, you think you could walk in. But these structures don’t exist – and can’t exist.
“It’s more compelling. I don’t want the painting to answer the questions, but get you to think more, ask more, linger longer. That’s why I paint instead of take photographs. I want to do something that can only happen in painting.”
Orestes Gonzalez: Photographs of Havana, Miami
Orestes Gonzalez also challenges people’s perspective. His black-and-white photographic series from Havana, Cuba, “This Island is My House,” (2016) shows interiors which are really exteriors – a barber who has turned a courtyard into his shop, a building without a roof. Exteriors become interiors and vice versa.
In Cuba, he notes, roof collapses are common, and the lack of materials nad maintenance has created a landscape of ruins in a city of 2 million people.
By necessity, then, “public and private lines are blurred or compromised,” he says. In Cuba, where interior space is very limited or compromised, “interiors are more symbolic rather than literal.” These are people who live their inner lives in a public setting and deal with their environment – their situation – the best they can. In Cuba, the island is the ‘house’ they live in.”
There are also four mural-sized color photographs taken of his Uncle Julio’s apartment in Miami, taken after he passed away. “Julio’s House,” 2007, shows how his interior space was revealing of who he was inside, but afraid to reveal to the outside world.
Maxi Cohen: ‘Ladies Rooms Around the World’
Maxi Cohen, a filmmaker, turned to a different camera in making “Ladies Rooms Around the World.” The series, produced over decades, makes you rethink these customarily private spaces. Her own journey began in 1978 when she was at the Miami Film Festival with her first feature length film documentary, “Joe and Maxi” about her relationship with her father. She retreated to the Ladies room to escape the boring awards dinner and found herself among a gaggle of octogenarians fussing over corsets and false eyelashes. She was entranced by this “tribal dance” and whenever she saw an interesting scene in the ladies room – Australia to Zambia, Bombay to Bosnia, Rio to Tel Aviv, she snapped it. Almost all of them also capture her in the scene – she said she didn’t feel it was right to invade the privacy of others and not include herself. “Since I am recording others in their private rituals, the sanctuaries of women, I have not wanted to separate myself; there is no ‘them’, only ‘we’.” She says.
She notes that in the 1990s, she was in an Aboriginal bar in the Australian outback, when women took her into the ladies room to confide in her about the incest and rape of the young boys and girls in the community. In Zambia, she watched as a ladies room attendant would be accepting cash all night, and exchanging little packets in blue tissue paper.
The contrast in places, scenes and colors (since she shoots with available light), not to mention the range of women captured in the images – the New York Thruway, 1978; Livingstone Disco, Zambia, 2003; a film festival in 1981 where Maxi Cohen captures herself in a borrowed gown or possibly robe her friend got from Yoko Ono – is artful and aesthetically pleasing in a way you would never expect hearing about a series of photos of “Ladies Rooms Around the World.”
The Gold Coast Arts Center is located at 113 Middle Neck Road (entrance from the Maple Avenue parking lot), 516-829-2570, goldcoastarts.org.
