Category Archives: Arts

Rush to See the New York Gilbert & Sullivan Players’ ‘Mikado,’ Showpiece of its 45th Season

The New York Gilbert & Sullivan Players take their bows after a stellar performance of “The Mikado” at the Kaye Playhouse, at Hunter College © Karen Rubin/goingplacesfarandnear.com

by Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

One of my earliest memories of New York theater is of seeing the D’oyly Carte production of “The Mikado,” one of Gilbert & Sullivan’s most iconic works. So I am jarred when the curtain rises on a very different production –a first scene which I don’t recall, in which composer Arthur Sullivan, librettist William S. Gilbert and producer Richard D’Oyly Carte himself appear, reflect on the new exhibit of Japanese art at Knightsbridge, and Gilbert imagines a new opera set in Japan. When the curtain rises on the fictional town of Titipu, instead of elaborate Japanese kimonos, the Gentlemen of Japan look a lot like Englishmen with odd hats and outfits, and so do the ladies when they appeared in their modified flowing dresses.

I soon appreciate the bold innovation including the new opening scene and characters, and costumes that make clear these are Victorian Englishmen pretending to be Japanese – as the new character of Gilbert says “They dress like us,” except with bright colors. The device, to address the sensibilities of a modern audience, puts the focus of Mikado properly where it should be: a satire on human nature. And in revising the work in this way, a new generation can be delighted by the magnificent music and ingenious lyrics. If anything makes us laugh, especially at ourselves, that is a gift.

Indeed, Gilbert & Sullivan’s comic operas – basically inventing today’s musical theater form – are on par with Shakespeare and similarly deserve to be tweaked and reinterpreted, just as “Much Ado About Nothing” was at this year’s Public Theater production, and performed generation after generation.

This production, was first introduced in 2016 as a response to an outcry from New York’s Asian-American community in 2015 over the political incorrectness and insensitivity of the original, regularly performed with Caucasian actors in yellowish makeup and taped-back eyelids. There is no danger of that: this cast is multi-racial.

“NYGASP listened for a simple reason – it was the right thing to do. One year later we created an imaginative new production which all communities, audiences and artists could embrace,” the program notes. The show opened to sold-out crowds and critical acclaim in December 2016; this is its second New York City run. Run to see it before the season concludes, January 5.

The new opening scene and costuming make sure there is no confusion that the Mikado represents Englishmen satirizing Victorian society and politics, capitalizing on British fascination with all things Japanese in the 1880s, to defuse the pointed references that might have gotten Gilbert & Sullivan, who were under censorship of Lord Chamberlain, into trouble. And frankly, the depiction of The Mikado (who doesn’t even appear for the first 2 ½ hours of the three-hour show) as a cruel but ridiculous tyrant is reminiscent of how the Red Queen is depicted in “Alice’s Adventures in Wonderland” (1865). If anything, that character is more relevant today than in 2015 or even 1885.

Of course British audiences of 1885 could have cared less about “political correctness.” The object of Gilbert & Sullivan’s satire was British society and human nature and the human condition, and they created their fictional Titipu, Japan, to make their satire more palatable.

We take advantage of seeing the December 30 afternoon “Grandparents” performance, geared to families, which features a before-show talk introducing the plot and music and an after-show backstage tour in the company with the players.

Conductor and Musical Director Albert Bergeret, who founded the New York Gilbert & Sullivan Players 45 years ago, gives a family-friendly talk introducing “The Mikado”  © Karen Rubin/goingplacesfarandnear.com

During the talk, by the Conductor and Musical Director Albert Bergeret, who founded the New York Gilbert & Sullivan Players 45 years ago, I learn that my comparison of “Mikado” for Gilbert & Sullivan to “Madame Butterfly” by Puccini is not entirely unfounded. While the music that Sullivan composed runs the gamut of British musical styles (ballad, madrigal, march), he incorporates the Japanese five-note scale and an actual Japanese folk song, Miya-sama (though for this production, new English lyrics are substituted for the Japanese) – music which Puccini also expropriates in “Madame Butterfly.”

“We took out what’s incomprehensible or inappropriate,” Bergeret says, who adds that Sullivan was a brilliant, classically trained musician who was well versed in all genres of music and composers from around the world. In “Mikado” Sullivan demonstrates his virtuosity in writing in many different forms.

Just as Gilbert incorporated contemporaneous digs, so too does this Ko-Ko, a common tailor taken from the county jail (for flirting) and elevated to Lord High Executioner, update his “List” of those who shan’t be missed, to be as current has yesterday’s tweet, changing it each performance, surprising even the rest of the cast.

Ko-Ko, brilliantly played by David Macaluso, includes “the wealthy narcisscist, he never will be missed” on his list and manages to spell out T-R-U-M-P in the subheads of the long, long list as the scroll unfurls.

Backstage with David Macaluso who shows off Ko-Ko’s executioner’s ax in New York Gilbert & Sullivan Players production of “The Mikado” © Karen Rubin/goingplacesfarandnear.com

The premise of “The Mikado,” is a society under the thumb of an all-powerful sadistic but ridiculous ruler who makes ridiculous but cruel laws on a whim: flirting as a capital offense, then demanding to know why no executions have been carried out. 

The Mikado, played by David Wannen, exclaims, “My object all sublime/I shall achieve in time/ to let the punishment fit the crime.. And make each prisoner pent/Unwillingly represent/A source of innocent merriment.”

The Mikado’s updated list of who to punish and how, includes the instagrammer “made to endure a dungeon cell without not one cellular bar” and “political pundits, who must sail for weeks on a boat full of leaks on a sea of alternative facts.” (That gets tremendous laughs.)

David Wannen who plays the title role of “The Mikado” gives audiences a backstage tour after New York Gilbert & Sullivan Players production of “The Mikado” © Karen Rubin/goingplacesfarandnear.com

They do manage to slip in a few names, carefully spreading their barbs more or less equally: but one placement in particular is rich – Pooh-Bah, marvelously played by Matthew Wages, signs the execution order with all his official positions, but adds to the list signing of those supposedly witnessed Nanki-Poo’s execution Attorney General William Barr and the chair of the Judiciary Committee (balance).

The Mikado then looks to execute Ko-Ko (the Lord High Executioner), Pooh-Bah (the “Lord High Everything”) and Pitti-Sing (one of the “three little maids from school” and Ko-Ko’s wards, played by Amy Maude Helfer) for carrying out the Mikado’s orders to execute somebody but unwittingly executing the heir to the throne. The Mikado appreciates the effort (he only wishes he could have witnessed the execution) but insists they still should be executed for, well, killing the heir and looks for the entertainment value in their lingering death.

The Mikado justifies killing the three because, after all, this is an unfair world where the virtuous suffer and the undeserving succeed. This leads to the song that probably best sums up the moral of Gilbert & Sullivan’s “Mikado,” in which the three condemned sing, “See how the Fates their gifts allot/For A is happy, B is not/Yet B is worthy, I dare say/Of more prosperity than A…If I were Fortune which I’m not/B should enjoy A’s happy lot/And A should die in miserie/That is, assuming I am B.”

In the end The Mikado is less a jab at all-powerful monarchal misrule, than a comic contemplation of what human beings do when in that situation. Their focus is on human nature and the human condition. In Mikado, we see self-preservation – even by Yum-Yum who is willing to marry Nanki-Poo who loves her so much he is willing to be executed after just a month, until she realizes that as the wife of an executed man, she would be buried alive.

This production makes another change at the end, stopping the show for a return to the Gilbert & Sullivan characters trying to figure out an ending that would not rely on a magical or fantastical device like the “magic lozenge” they used in their 1877 opera “The Sorcerer” and almost breaks up their collaboration. (Gilbert finally gets to use the device in “The Mountebanks,” written with Alfred Cellier in 1892). Instead, Gilbert comes up with an argument that actually makes sense given the circumstance: Any order by the Mikado must be carried out, so having given the order, it must have been carried out (not much more absurd than “He was too stupid to know withholding military aid to a vulnerable ally in exchange for political favor was illegal”).

Caitlin Burke as lovelorn and overbearing Katisha, shows off the Titipu Depot set during a backstage tour of New York Gilbert & Sullivan Players production of “The Mikado” © Karen Rubin/goingplacesfarandnear.com

Another part that young people might assume was added as a nod to “Me Too” to make relevant, is Katisha espousing on ‘beauty’ –her face might not be much (and doesn’t cruelty hold some allure?), but she has a shoulder blade, a right elbow, and a heel that admirers come miles to see.

“The Mikado,” the ninth of 14 collaborations between Gilbert & Sullivan, was immensely popular when it opened on March 14 1885 in London, running for 672 performances, the second longest run for any musical theater production. By the end of 1885, some 150 companies in Europe and America were performing the operetta. It even was widely performed in Japan (apparently they took no offense).

There were decades when a production of Mikado could be seen somewhere in the English speaking world any day of the year. Performed for the last 135 years, some of its word inventions have entered the lexicon, such as “the grand Poo-Bah” and “Let the punishment fit the crime.”

The brilliant David Auxier, who plays W.S. Gilbert as well as Pish-Tush, would make the real Gilbert proud in his crafting of a new Prologue for New York Gilbert & Sullivan Players production of “The Mikado” © Karen Rubin/goingplacesfarandnear.com

The new Prologue, written by NYGASP Director and Choreographer David Auxier-Loyola (who also plays W.S. Gilbert and Pish-Tush), appears actually a distillation of the actual background (or rather the mythology) to Gilbert & Sullivan creating “The Mikado,” especially their references to avoiding a similar plot solution of a magic lozenge. Apparently, the Knightsbridge exhibition of Japanese art came after Mikado opened, though British fascination in Japan had built up from the 1860s and 1870s, after Japan opened to Western trade in 1854. (The 1999 film “Topsy Turvy” is a marvelous film depicting their lives around this time.)

Gilbert & Sullivan actually invented musical theater. At the time Gilbert & Sullivan were writing, there were opera, light opera and music hall theatricals, but nothing like a musical show with story – music that had both class and pop – with real story lines, music advanced the story, Bergeret tells us. This is where musical theater started,. Watching “Mikado” you see a straight line to Rogers & Hammerstein and Stephen Sondheim.

Matthew Wages plays the grand Pooh-Bah, a Gilbert & Sullivan character that has entered the lexicon, in New York Gilbert & Sullivan Players production of “The Mikado” © Karen Rubin/goingplacesfarandnear.com

All eight-performances that are being presented this season are family friendly, but some have special events attached. We had the marvelous experience of attending a “Grandparents” performance which featured a before-show talk introducing the show (especially to children), and a most marvelous after-show backstage tour with cast members. (David Auxler, who plays the Gilbert character said they only had five rehearsals) and so enjoyed going backstage with David Macaluso (Ko-Ko), who showed us the various props including his giant executioner’s ax.

This not-to-be-missed production of the iconic comic opera is fabulous,  featuring original choreography and direction by NYGASP Associate Stage Director David Auxier, who also authored the show’s prologue and plays Gilbert and Pish-Tush, and Assistant Direction by Broadway performer/director Kelvin Moon Loh.

The show’s sensational cast includes: dynamic bass David Wannen as The Mikado; clever patter man and comic David Macaluso as Sullivan and Ko-Ko; blustering Matthew Wages as Richard D’Oyly Carte and the pompous Pooh-Bah; creative David Auxier as author Gilbert and town leader Pish-Tush; charming tenor John Charles McLaughlin as romantic hero Nanki-Poo; formidable Caitlin Burke as lovelorn and overbearing Katisha; beautiful soprano Sarah Caldwell Smith as self-aware Yum Yum; Rebecca Hargrove as maiden sister Peep-Bo, and mellifluous mezzo Amy Maude Helfer as adventurous Pitti-Sing. 

We get to see the magnificent scenery designed by Anshuman Bhatia close up during a backstage tour with Daivd Macaluso, who plays Ko-Ko in New York Gilbert & Sullivan Players production of “The Mikado” © Karen Rubin/goingplacesfarandnear.com

The production showcases magnificent scenery designed by Anshuman Bhatia, costumes by Quinto Ott and lighting by Benjamin Weill.  The Mikado is produced by NYGASP Executive Director David Wannen. 

Since its founding in 1974, the New York Gilbert & Sullivan Players (NYGASP) has presented more than 2,000 performances of the Gilbert & Sullivan masterpieces throughout the United States, Canada and England, captivating audiences of all ages.

NYGASP has been hailed as “the leading custodian of the G&S classics” by New York Magazine and has created its own special niche in the cultural mosaic of New York City and the nation.  According to the Company’s Founder/Artistic Director/General Manager Albert Bergeret, NYGASP’s mission is “giving vitality to the living legacy of Gilbert & Sullivan.”

Conductor and Musical Director Albert Bergeret, who founded the New York Gilbert & Sullivan Players 45 years ago, talks with audience on stage © Karen Rubin/goingplacesfarandnear.com

“Everyone loves The Mikado and our new production, with its celebrated premise of imagination, keeps the revered story alive and colorful,” he says.  “I’m delighted to once more be involved in elevating the humor and musical values of this evolving and very theatrical production, while alternating on the conductor’s podium with my colleague, Joseph Rubin, as part of NYGASP’s commitment to the future development of the Company”.

“The Mikado” is the showpiece of NYGASP’s 45th season, presenting eight family friendly performances after Christmas, Dec. 27 through Jan. 5, 2020 at The Kaye Playhouse at Hunter College. An encore Family Overture presentation will take place at 12:45 pm before the Jan. 4 Saturday matinee at 2 pm which features a musical introduction and plot summary made entertaining for the whole family (free to all ticket holders).

Tickets are $95/orchestra, $50/balcony; $25/rear balcony; special discounts:  50% off for children 12 and under accompanied by an adult, 10% off for seniors 65 and older; order by phone:  212-772-4448, order pnline:  www.nygasp.org, or purchase in person at the box office (Monday-Friday, noon-7pm).

The next NYGASP production is Gilbert & Sullivan’s “The Gondoliers,” April 18-19, 2020.

The Kaye Playhouse, 68th Street between Park and Lexington Avenues. 

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© 2020 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Send comments or questions to FamTravLtr@aol.com. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

Philadelphia is Trove of History, Heritage, Cultural National Treasures: The Barnes Foundation

The Barnes Collection: a docent displays a photo of Henri Matisse sitting in the very room and gazing at his own painting © Karen Rubin/goingplacesfarandnear.com

by Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

Philadelphia is a jewel box of unique and spectacular, even life-enhancing attractions, a trove of national treasures of history, heritage, culture that glitters particularly during the holidays. The holiday splendor is eye-catching and warms the heart, but any visitor still has to make time to experience first-hand at least some of these iconic places. I manage to bookend my holiday merrymaking with a mix of art (Barnes Foundation, Philadelphia Magic Gardens) with history (Independence Hall) with heritage (National Museum of American Jewish History) with science and enlightenment (Philly is the hometown of one of our most enlightened inventors, Ben Franklin, and so I end this visit with the Franklin Institute.

Barnes Collection

The Barnes Collection, Philadelphia, has one of the greatest holdings of Renoir in the world © Karen Rubin/goingplacesfarandnear.com

We spare no time once we drop our luggage at The Roost East Market, park the car in the garage, but grab an Uber to race over to The Barnes Foundation. The Barnes Collection is one of the world’s greatest collections of impressionist, post-impressionist, and early modernist paintings, with especially rich holdings in Renoir, Cézanne, Matisse, and Picasso. Assembled by Dr. Albert C. Barnes between 1912 and 1951, the collection also includes important examples of African art, Native American pottery and jewelry, Pennsylvania German furniture, American avant-garde painting, and wrought-iron metalwork. In fact, we are told, Dr. Barnes has the greatest collection of Renoir anywhere – 181 of them acquired by Dr. Barnes between 1921 and 1942 that you actually see (as opposed to museums that keep most of their collections in storage). Plus 69 by Paul Cézanne; 59 by Henri Matisse; 46 by Pablo Picasso; 21 by Chaim Soutine; 18 by Henri Rousseau and the list goes on and on, as you walk from gallery to gallery to gallery.

Masterpieces at The Barnes are displayed in rooms that replicate how Dr. Barnes originally displayed his collection © Karen Rubin/goingplacesfarandnear.com

The building complex is new, but the gallery rooms re-create the rooms and how Dr. Barnes displayed his art, intentionally juxtaposing masterworks by Vincent van Gogh, Henri Matisse and Pablo Picasso next to ordinary household objects – a door hinge, a spatula, a yarn spinner; a French medieval sculpture displayed with a Navajo textile; African folk art with Modigliani and Cubists. Dr. Barnes called these dense groupings of objects from different cultures, time periods and media his “ensembles.” He meticulously crafted the ensembles to draw out visual similarities – even the source of inspiration. He meant them as teaching tools, essential to the educational program Dr. Barnes developed in the 1920s.

Dozens of Renoirs are on view at The Barnes Foundation, Philadelphia © Karen Rubin/goingplacesfarandnear.com

“He believed you could as likely learn about how to do surgery wandering through a hospital as art wandering through a gallery – you have to be taught how to see, what to look for,” a docent explains. “He wanted people to appreciate how culture influences art.” She adds, “He wasn’t an artist himself.” In fact, she relates, 10 years ago, Central High School (Dr. Barnes grew up in a working class family in Philadelphia), came across his school books. “He got A’s in everything but art.”

A very recognizable Van Gogh, “The Postman,”, on view at The Barnes Foundation, Philadelphia (c) Karen Rubin/goingplacesfarandnear.com

At the Barnes, you experience these masterworks in the most intimate manner, as if visiting a home (albeit a mansion). We are exceptionally lucky to visit when the museum is not at all crowded (actually we are there until closing) – I even get to have some of the art completely to myself. It is very comfortable to view – many of the rooms (and they seem to go on forever, one after another) are small and there is seating in each one, with guides to the artwork at hand. But you should try to take a docent tour. At one point, the docent pulls up a photo of Henry Matisse, sitting on the very bench and gazing at his own painting in that very room.

Dr. Albert Barnes had a particular way of displaying his extraordinary art collection, replicated at The Barnes Foundation, Philadelphia: Here George Seurat (“Models”) and Paul Cezanne (“The Card Players”). © Karen Rubin/goingplacesfarandnear.com
Visiting the Barnes Collection, Philadelphia (c) Karen Rubin/goingplacesfarandnear.com

In every room, you are astonished to see art that is amazingly familiar – because they are so famous: Georges Seurat’s “Models” (the basis for “Sunday in the Park with George”); Vincent Van Gogh’s “The Postman”; Paul Cezanne’s “The Card Players”; Edouard Manet “Laundry”; Pablo Picasso “Acrobat and Young Harlequin”, and a plethora of Renoirs – so many, you get a sugar high. Every gallery takes your breath away, and for that moment, the art, the masterpiece, is yours.

The Barnes Collection, Philadelphia, has one of the greatest holdings of Impressionists in the world © Karen Rubin/goingplacesfarandnear.com
The Barnes Collection, Philadelphia, has one of the greatest holdings of Impressionists in the world © Karen Rubin/goingplacesfarandnear.com

And then there are the surprises – the art and artists you “meet” for the first time. I fall in love with a Van Gogh country scene I have never seen before.

A Van Gogh country scene, at The Barnes Collection, Philadelphia © Karen Rubin/goingplacesfarandnear.com
A Van Gogh, Barnes Collection, Philadelphia © Karen Rubin/goingplacesfarandnear.com

There is a wonderful painting of Dr. Albert Barnes (1872-1951) by Giorgio de Chirico (1926), which makes you wonder more about who he was to have assembled such an astonishing collection. Dr. Barnes was born and raised in working-class Philadelphia, earned a medical degree from the University of Pennsylvania and went on to study chemistry in Germany. After starting his own business and making a fortune in pharmaceuticals, he began collecting art.

Portrait of of Dr. Albert Barnes (1872-1951) by Giorgio de Chirico (1926) at The Barnes Collection, Philadelphia © Karen Rubin/goingplacesfarandnear.com

“Dr. Barnes believed that art had the power to improve minds and transform lives,” the notes read. “In 1922, he established the Barnes Foundation as a school for learning how to see and appreciate art. He had a gallery built in Merion, a suburb of Philadelphia, to house his growing collection. He held classes in the gallery so that students could learn directly from the artworks.”

Picasso’s “Acrobat and Young Harlequin”, at The Barnes Collection, Philadelphia © Karen Rubin/goingplacesfarandnear.com
Picasso’s “The Ascetic”, at The Barnes Collection, Philadelphia © Karen Rubin/goingplacesfarandnear.com

In 2012, the collection was moved to Philadelphia, to a building designed by Tod Williams Billie Tsien Architecture. The collection gallery replicates the original gallery building in Merion.

Claude Monet’s “The Studio Boat,” at the Barnes Foundation, Philadelphia © Karen Rubin/goingplacesfarandnear.com

The Barnes Foundation, 2025 Benjamin Franklin Parkway, Philadelphia, PA 19130, 215-278-7000, www.barnesfoundation.org.

From here, we go to a family gathering at the mega-popular Zahav Restaurant (the Uber driver can’t believe we are getting in there since lines are usually around the block), an award-winning restaurant which elevates Israeli cuisine to gourmet status. The small plates menu is designed for diners to sample the variety of cultural influences on Israeli cuisine, from Eastern Europe to North Africa, from Persia to the Mediterranean. “Creamy, nutty hummuses, sizzling skewers of meat grilled over hardwood charcoal, and laffa breadar,  the soul of Zahav, baked to order in a wood-fired Taboon.” (237 Saint James Place, 215-625-8800, zahavrestaurant.com).

My holiday happenings (see: Holiday Happenings Give Visitors to Philadelphia Even More to Enjoy) are bookended by visits to several of Philadelphia’s incomparable sites and attractions. Next:  Independence Hall (you need to get a timed ticket, either walk up for free or in advance online for $1 fee, www.nps.gov/inde/planyourvisit/independencehalltickets.htm); a fabulous exhibit devoted to Supreme Court Justice Ruth Bader Ginsburg (Notorious RBG) at the National Museum of American Jewish History, located within the Independence Hall  area (thru Jan. 12, at 5th & Market, mnajh.org, 215-923-3811); Philadelphia Magic Gardens (doesn’t need any holiday embellishments, 1020 South St., 215-733-0390, phillymagicgardens.org);and Franklin Institute (222 North 20th St., 215-448-1200, www.fi.edu), before having to pull myself away from Philadelphia.

Staying at The Roost East Market apartment hotel really enabled us to be part of the city, most of what we wanted to see within walking distance. It’s not hyperbole to say the comfort of a fully-equipped, gorgeously furnished apartment meets luxury amenities of a boutique hotel.  All of the apartments feature full-size kitchens with cookware and utensils (I especially love not having to go out for breakfast) and king size beds. A third-floor is devoted to guest amenities including a well-equipped 24-hour fitness center, magnificent and comfortable lounge areas and library, a huge demo kitchen, a private screening room, an outside, 20-meter heated lap pool, barbecue area, landscaped terrace, community vegetable garden;  and bike-share program. There is also 24-hour front desk and concierge, security (you need your card to access the elevator and public areas); and direct access to a parking garage.  They even arrange dog-walking and grocery delivery services. (The Roost East Market, 1199 Ludlow Street Philadelphia, PA 19107, 844-697-6678, https://myroost.com/philadelphia/east-market/).

Visit Philly Overnight Hotel Package includes overnight free parking and perks, and is bookable at Greater Philadelphia’s official visitor website, visitphilly.com, 800-537-7676 where you can explore things to do, upcoming events, themed itineraries and hotel packages.

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© 2019 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Send comments or questions to FamTravLtr@aol.com. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

Staycation? New York City’s Museums Transport in Time, Place and Space

Metropolitan Museum of Art, one of NYC’s premier museums. Be sure to take one of the Highlights Tours © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

Be transported in time, place and even space. Immerse yourself into the realm of ideas and imagination. Come in from the heat or whatever the weather is doing outside by taking in one of New York City’s museums. Here are just a few highlights of summer’s blockbuster attractions:

Metropolitan Museum of Art is like a time travel chamber that can bring you to any era, any place in the world in one quick visit. The museum is welcoming an important summer visitor of its own, Leonardo Da Vinci’s “Saint Jerome.” © Karen Rubin/goingplacesfarandnear.com

The Met Museum Welcomes ‘Saint Jerome’

The Metropolitan Museum of Art is about to welcome a very special visitor: Leonardo da Vinci’s Saint Jerome. To commemorate the 500th anniversary of the death of Leonardo da Vinci (1452–1519), The Met is presenting the artist’s painting Saint Jerome Praying in the Wilderness (begun around 1483), a special loan from the Vatican Museums. The exquisitely rendered work represents Jerome (A.D. 347–420), a major saint and theologian of the Christian Church. The scene is based on the story of his later life, which he spent as a hermit in the desert, according to the 13th–century Golden Legend. The unfinished painting provides viewers with an extraordinary glimpse into Leonardo’s creative process; a close examination of the paint surface even reveals the presence of his fingerprints. The display of this monumental masterpiece pays homage to one of the most renowned geniuses of all time. Opening July 15, the painting is on view through Oct. 6, 2019.

From the oldest works of art to the first forays of civilization into outer space, , the Met Museum is marking the 50th anniversary of the Apollo 11 mission with Apollo’s Muse: The Moon in the Age of Photography, on view through September 22, 2019. Apollo’s Muse traces the progress of astronomical photography and attempts to produce ever-sharper images of the moon, particularly during the 130-year period between the invention of photography in 1839 and the moon landing in 1969 as astronomers and artists capitalized on technological improvements to cameras and telescopes to create ever more accurate visual records of the lunar surface. Exhibition highlights include two newly discovered lunar daguerreotypes from the 1840s, believed to be the earliest existing photographs of the moon, and works by such pioneers of lunar photography as Warren De La Rue (1815–1889), Lewis Morris Rutherfurd (1816–1892), and John Adams Whipple (1822–1891). A stunning photographic atlas of the moon, produced at the Paris Observatory between 1894 and 1908 by the astronomers Maurice Loewy (1833–1907) and Pierre Puiseux (1855–1928), will be displayed for the first time in its entirety.

Alongside these scientific achievements, the show explores the use of the camera to create fanciful depictions of space travel and life on the moon, including George Méliès’s (1861–1938) original drawings for his film A Trip to the Moon (Le Voyage dans la lune, 1902) and a large selection of “paper moon” studio portraits from the early 20th century. Also featured will be artists’ evocations of the otherworldly effects of moonlight, including major works by German Romantic painter Caspar David Friedrich (1774-1840) and American Pictorialist photographer Edward Steichen (1879-1973).

“Separated” by Norma Pace, a 7th grader at Lower Manhattan Community Middle School, is on view at the Metropolitan Museum of Art’s P.S. Art exhibit:  “I was inspired by our social studies unit on Native Americans. I wanted to bring the untold story of Native Americans’ past into the light, as it’s sometimes ignored.” © Karen Rubin/goingplacesfarandnear.com

The night of the Museum Mile Festival, I popped into the opening of this year’s P.S. Art exhibit,  an annual celebration of achievement in the arts in New York City public schools. This juried exhibition of the work of talented young artists showcases the creativity of 122 prekindergarten through twelfth grade students from all five boroughs, including students from District 75, a citywide district serving students with disabilities. The exhibition consists of paintings, prints, sculptures, photographs, mixed-media works, collages, drawings, and video. Each work of art demonstrates personal expression, imaginative use of media, the results of close observation, and an understanding of artistic processes. Some of the works on display are completely astonishing

The Met is three museums.

At the Cloisters, “The Colmar Treasure: A Medieval Jewish Legacy,” is on view July 22-January 12, 2020. A cache of jeweled rings, brooches, and coins—the precious possessions of a Jewish family of medieval Alsace—was hidden in the fourteenth century in the wall of a house in Colmar, France. Discovered in 1863 and on view in an upcoming exhibition at The Met Cloisters, the Colmar Treasure revives the memory of a once–thriving Jewish community that was scapegoated and put to death when the Plague struck the region with devastating ferocity in 1348–49. A generous loan of the Musée de Cluny, Paris, the Colmar Treasure will be displayed alongside select works from The Met Cloisters and little–known Judaica from collections in the United States and France. Although the objects on view are small in scale and relatively few in number, the ensemble overturns conventional notions of medieval Europe as a monolithic Christian society. The exhibition will point to both legacy and loss, underscoring the prominence of the Jewish minority community in the tumultuous fourteenth century and the perils it faced.

At the Met Breuer, “Home is a Foreign Place: Recent Aquisitions in Context,” through June 21, 2020.

(NYS residents still can pay what they wish, by presenting proof of residence; out-of-towners need to pay the regular admission).

The iconic Metropolitan Museum of Art is at 1000 Fifth Avenue, on Central Park, (definitely take a Highlights tour when you visit), The Met Breuer (945 Madison Avenue) and The Met Cloisters (99 Margaret Corbin Drive, Fort Tryon Park). Visit metmuseum.org to plan your visit.

Jewish Museum Pays Homage to Leonard Cohen With Multi-Media Exhibition

“Ring the bells that still can ring. Forget your perfect offering. There is a crack, a crack in everything. That’s how the light gets in.” from Leonard Cohen’s song “Anthem” from the album The Future (1992), provides the title for the special exhibit at the Jewish Museum,

“Leonard Cohen: A Crack in Everything”. The contemporary multi-media exhibition devoted to the imagination and legacy of the influential singer/songwriter, man of letters, and global icon from Montreal, Canada can be experienced through September 8, 2019.

Leonard Cohen: A Crack in Everything includes commissioned works by a range of international artists who have been inspired by Cohen’s life, work and legacy. A world-renowned novelist, poet  and singer/songwriter who inspired generations of writers, musicians, and artists, Leonard Cohen (1934-2016)  supplied the world with melancholy and urgent observations on the state of the human heart. In songs such as “Suzanne,” “Bird on the Wire,” and “Hallelujah,” he interwove the sacred and the profane,  mystery and accessibility. Collectively, it is the oddest, most creative biographical tribute. Featured works include:

I’m Your Man (A Portrait of Leonard Cohen) (2017), a multi-channel video installation by Candice Breitz, brings together a community of ardent Cohen fans who pay tribute to the late legend, is part of the multi-media homage to Leonard Cohen at the Jewish Museum this summer. © Karen Rubin/goingplacesfarandnear.com

I’m Your Man (A Portrait of Leonard Cohen) (2017)a multi-channel video installation by Candice Breitz, brings together a community of ardent Cohen fans who pay tribute to the late legend. Each of the 18 participants was offered the opportunity to perform and record his own version of Cohen’s comeback album I’m Your Man (1988) in a professional recording studio. At Breitz’s invitation, the album’s backing vocals were reinterpreted by the Shaar Hashomayim Synagogue Choir, an all-male choir representing the congregation in Montreal, Canada, that Cohen belonged to all his life.

Ari Folman’s Depression Chamber (2017) allows one visitor at a time into a darkened room, where they are confronted by the demons of depression, a theme that can be traced throughout Cohen’s body of work. After the visitor lies down, Cohen’s “Famous Blue Raincoat” plays while the song’s lyrics are projected on the walls, slowly morphing into letters and icons that symbolize Cohen’s multifaceted thematic universe.

Heard There Was a Secret Chord (after the 2017 work of the same title, 2018)  is a participatory humming experience by the art and design studio Daily tous les jours that reveals an invisible vibration uniting people around the world currently listening to Cohen’s Hallelujah. The work is an exploration of the metaphysical connection between people on a common wavelength. At the Museum, real-time online listener data is transformed into a virtual choir of humming voices. The number of voices played back in the gallery corresponds to the current online listener count, which is visible on the hanging numerical display. Participants can sit or lie down on the octagonal structure, and by humming along with the choir into the microphones, low-frequency vibrations are generated, closing the circuit of collective resonance with their bodies.

The Jewish Museum’s multi-media  homage to Leonard Cohen. Heard There Was a Secret Chord (after the 2017 work of the same title, 2018)  is a participatory humming experience by the art and design studio Daily tous les jours that reveals an invisible vibration uniting people around the world currently listening to Cohen’s Hallelujah. © Karen Rubin/goingplacesfarandnear.com

Organized by the Musée d’art contemporain de Montréal (MAC), the exhibition is curated by John Zeppetelli, Director and Chief Curator at the MAC, and Victor Shiffman, Co-Curator. Following its New York showing, the exhibition will tour to Kunstforeningen GL STRAND and Nikolaj Kunsthal, Copenhagen, Denmark (October 23, 2019 – March 8, 2020) and the Contemporary Jewish Museum, San Francisco (September 17, 2020 – January 3, 2021).

During the run of Leonard Cohen: A Crack in Everything, the Jewish Museum will open one hour earlier than usual on Saturdays and Sundays, from 10 am to 5:45pm. Advance tickets are available online at thejewishmuseum.org/buy/general-admission. For questions about ticket sales, email boxoffice@thejm.org or call 866.205.1322.

Founded in 1904, the Museum, on Fifth Avenue’s fabled Museum Mile, was the first institution of its kind in the United States and is one of the oldest Jewish museums in the world. Devoted to exploring art and Jewish culture from ancient to contemporary, the Museum offers diverse exhibitions and programs, and maintains a unique collection of nearly 30,000 works of art, ceremonial objects, and media reflecting the global Jewish experience over more than 4,000 years.

Admission: $18 for adults, $12  for seniors, $8 students, free for visitors 18 and under and Jewish Museum members. Free on Saturdays and select Jewish holidays. 1109 Fifth Avenue at 92nd Street, New York City, 212.423,3200, info@thejm.org  TheJewishMuseum.org.

Museum of the City of New York: New York at Its Core

I make it a ritual to visit the Museum of the City of New York during each year’s Museum Mile Festival. I never cease to be fascinated and intrigued by the exhibits:

New York at Its Core is the first-ever museum show to comprehensively interpret and present the compelling story of New York’s rise from a striving Dutch village to today’s “Capital of the World,” a preeminent global city now facing the future in a changing world. There are different galleries that tell the story, but most fascinating is The Future City Lab, where you get to design the city of the future, tackling the most pressing problems like housing, public spaces, water supply. You even get to put yourself in the picture.

Put yourself in the picture of the City of the Future in the Museum of the City of New York’s Future City Lab (I’m the one in red). © Karen Rubin/goingplacesfarandnear.com

Not to be missed: Timescapes, the museum’s popular and critically-acclaimed multimedia experience, brings the sweeping narrative of New York City from the early 1600s to the present day. The 28-minute, award-winning documentary explores how NYC grew from a settlement of a few hundred Europeans, Africans and Native Americans into the multinational metropolis of today, re-inventing itself multiple times along the way.

Activist New York, an ongoing exhibit, examines the ways in which ordinary New Yorkers have advocated, agitated, and exercised their power to shape the city’s—and the nation’s—future, from the 17th century to the present.

City of Workers, City of Struggle: How Labor Movements Changed New York, traces how New York became the most unionized large city in the United States.

Cycling in the City: A 200–Year History, on view through October 6, 2019, tracex how the bicycle transformed urban transportation and leisure in New York City and explores the extraordinary diversity of cycling cultures, past and present.

In the Dugout with Jackie Robinson: An Intimate Portrait of a Baseball Legend, which opened on January 31, Robinson’s 100th birthday, features 32 photographs (most of them never published); rare home movies of the Robinson family; and memorabilia related to Robinson’s career.

Museum of the City of New York, 1220 Fifth Ave., Manhattan, NY 10029, 212-534-1672, mcny.org.

Guggenheim: Summer of Know

The famous Guggenheim Museum is housed in the Frank Lloyd Wright building, a major attraction in itself, celebrating its 60th anniversary as an architectural icon. © Karen Rubin/goingplacesfarandnear.com

Housed in the Frank Lloyd Wright building, a major attraction in itself (just walking through the spiral is an experience),from June 18 through September 3, the Solomon R. Guggenheim Museum is open until 9 pm for Summer Tuesdays, offering music and refreshments in the museum rotunda in addition to exhibitions on view in the galleries. Films, conversations, and performances enhance opportunities for visitors to engage with the museum and the Frank Lloyd Wright–designed building that celebrates 60 years as an architectural icon in 2019. Also starting in June, Summer of Know, a conversation series addressing urgent issues through the generative lens of art, returns to the Guggenheim, featuring artists, activists, and other professionals discussing topics such as LGBTQIA+ rights in a global context, environmental activism, and housing rights. Details are available at guggenheim.org/calendar.

Visiting the Guggenheim is the closest an art museum can feel like being in a themepark ride. © Karen Rubin/goingplacesfarandnear.com

Summer exhibitions at the Guggenheim include the first artist-curated exhibition at the museum, Artistic License: Six Takes on the Guggenheim Collection, as well as The Hugo Boss Prize 2018: Simone Leigh, Loophole of RetreatBasquiat’s “Defacement”: The Untold Story, and Implicit Tensions: Mapplethorpe Now.

Actually, you can travel and visit Guggenheim museums in Venice, Bilbao, and Abu Dhabi.

Solomon R., Guggenheim Museum, 1071 5th Avenue, New York (betw. 8i8-89th St), 212-423-3500, boxoffice@guggenheim.org, Guggenheim.org.

The Whitney Museum Biennial

The Whitney Biennial has long been one of America’s foremost showcases of emerging artists. Every two years, the exhibition serves as a bellwether for the culture, both reflecting on and mirroring the country’s political and social moods. No surprise, then, to see that this year’s work—on view now at the Whitney Museum of American Art—offers plenty of tension, with pieces that focus on gender identity and race, among other issues. Curators chose the works because they represent “a snapshot of contemporary art making”; read on for more about a few of our favorites. (See: https://www.nycgo.com/articles/whitney-biennial-2019) (99 Gansvoort St., Meatpacking district).

Museum of Natural History Presents T.rex, The Ultimate Predator

At the American Museum of Natural History’s blockbuster exhibit, T. rex: The Ultimate Predator, you encounter a massive life-sized model of a T. rex with patches of feathers—the definitive representation of this prehistoric predator,  T. rex hatchlings and a four-year-old juvenile T.rex; a “roar mixer” where you can imagine what T. rex may have sounded like; a shadow theater where a floor projection of an adult T. rex skeleton seems to come to life. At a tabletop “Investigation Station,” you can explore a variety of fossil casts with virtual tools including a CT scanner, measuring tape, and a microscope to learn more about what such specimens reveal about the biology and behavior of T.rex. Finally, you encounter a massive animated projection of a T. rex and its offspring in a Cretaceous-age setting. which reacts to visitors, leaving you to wonder, “Did that T. rex really see me?”

See the most accurate, life-size representation of T. rex, feathers and all, at the American Museum of Natural History © Karen Rubin/goingplacesfarandnear.com

T. rex: The Ultimate Predator is the first major exhibition of the American Museum of Natural History’s 150th anniversary celebration. Plan your visit (you could spend weeks in the museum), check out the special programming and events, and pre-purchase timed tickets at amnh.org.

At Hayden Planetarium Space Theater, see “Dark Universe” (through December 31, 2019)

Open daily from 10 am – 5:45 pm. American Museum of Natural History, Central Park West at 79th Street, New York, NY 10024-5192, 212-769-5100, amnh.org.

Revolutionary Summer at New-York Historical Society

The New-York Historical Society, the oldest museum in New York (and directly across the street from the American Museum of Natural History on Central Park West), is presenting a Revolutionary Summer. A Museum-wide exploration of Revolutionary War times, Revolutionary Summer presents outdoor events every weekend featuring characters from the era; 18th-century art and artifacts; a diorama of the Continental Army and a host of programs for all ages, including trivia nights, DJ evening, and Revolutionary Drag Tea Party. On select weekends, visitors can explore a replica of George Washington’s Headquarters Tent at an outdoor Continental Army encampment, meet Living Historians portraying soldiers and spies, and learn about the many facets of camp life during the War for Independence. (Through September 15, 2019)

Martha Holmes’ 1949  image of singer Billy Eckstine being embraced by a white  female fan, surrounded by other gleeful white teenagers proved extremely controversial for LIFE Magazine. She is one of six women photographers featured in an exhibit at the New-York Historical Society© Karen Rubin/goingplacesfarandnear.com

Also on view: LIFE: Six Women Photographers showcases the extraordinary work created by Margaret Bourke-White, Hansel Mieth, Marie Hansen, Martha Holmes, Nina Leen, and Lisa Larsen. (through  October 6, 2019); Stonewall 50 at New-York Historical Society, through September 22, 2019, commemorates the 50th anniversary of the Stonewall uprising and the dawn of the gay liberation movement; Hudson Rising explores 200 years of ecological change and environmental activism along “the most interesting river in America” (through August 4).

Panoramas: The Big Picture, opening August 23 through December 8, 2019, explores wide-angle, bird’s-eye imagery from the 17th to the 20th century, revealing the influence that panoramas had on everything from mass entertainment to nationalism to imperial expansion. Through more than 20 panoramas, the exhibition presents the history of the all-encompassing medium in New York City, San Francisco and beyond.

New-York Historical Society, 170 Central Park West (77th Street), New York, NY 10024, 212-873-3400, nyhistory.org.

Spy v. Spy

The most chilling part of Spyscape, New York’s new spy experience, is the up-to-the-minute, torn from the headlines stuff: Here, Anonymous, as seen from two sides © Karen Rubin/ goingplacesfarandnear.com

Want a real escape? Visit Spyscape, which offers a different twist on spy museums, and is more of an experiential attraction, immersing you into the psychology and ubiquity of surveillance and espionage, and literally, with the ending “profile” (developed with the a former head of training at British Intelligence) showing you where you might fit into this world (I’m an analyst). SPYSCAPE, which opened in 2018, illuminates secret intelligence, from espionage to hacking, and investigative journalism. It offers a balanced perspective on big issues – privacy, security, surveillance. You get to engage in real spy challenges, including lie-detection in interrogation booths, surveillance in a 360 degree environment and test strategy and agility in special ops laser tunnels. The museum also features quite a good Spy Shop, a Book Shop, Café and multiple Event Spaces. (928 8th Avenue, entrance on SE corner of 55th Street, spyscape.com).

Sergey, a KGB Spy Museum guide, describes the conditions that political prisoners would have suffered in a society where opposition was suppressed by fear © Karen Rubin/ goingplacesfarandnear.com

And in a very real Spy v. Spy scenario, a very different experience awaits at another new entry to New York City’s museum scene: the KGB Museum. This place presents the artifacts and history of the KGB in a kind of antique-shop setting but the items are chilling. You realize that the spy movies, even the satirical “Get Smart,” didn’t so much fabricate as reveal the tools and techniques and paranoia of Cold War spying. (KGB Spy Museum tickets are available online or in the museum. (245 West 14th Street, New York, NY 10011, 10 am -8 Mon-Sun).

Museum of Illusions

One of the fun, interactive exhibits at the Museum of Illusions is where a visitor pokes her head out of the middle of the table, but all you see is a head with no body on top of a table  Laurie Millman/goingplacesfarandnear.com)

The Museum of Illusions, which opened September 2018 in New York City’s West Village, contains three-dimensional illusions on the walls and floors which will mesmerize visitors of all ages. You might assume by its name that it is a children’s museum or about magic which depends so much on illusion. Nor can it be considered an “attraction” although many of the exhibits are interactive and you get to help create the illusions. It is really about educating about the physical and psychological science behind illusion – placards posted near each exhibit provide the explanations for what you sense. And while the museum does not explicitly delve into magic, when you leave, you will have a better understanding of how some magic tricks work. (77th 8th Ave, New York, NY; newyork.museumofillusions.us)

Cradle of Aviation Museum: Countdown to Apollo at 50

Cradle of Aviation Museum, Uniondale, Long Island, has one of only three actual lunar modules on display. Built by Grumman, in Bethpage, Long Island, the other three were left on the moon ©Karen Rubin/goingplacesfarandnear.com

Travel out of this world, beyond the city limits, to Long Island: The Cradle of Aviation Museum and Education Center is one of the great space and aviation museums, home to over 75 planes and spacecraft representing over 100 years of aviation history and Long Island’s only Giant Screen Dome Theater.  Currently, the museum is celebrating  “Countdown to Apollo at 50” sponsored by the Robert D.L. Gardiner Foundation, showcasing Long Island and Grumman’s significant role in the Apollo program. The Museum was recently recognized and listed on New York State’s National Register of Historic Places as a significant part of American history. The museum is located on Museum Row, Charles Lindbergh Blvd., in East Garden City.  For more information call (516) 572-4111 or visit www.cradleofaviation.org.

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© 2019 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Send comments or questions to FamTravLtr@aol.com. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

‘Fiddler on the Roof’ in Yiddish is a Theater Experience Not to be Missed; Off-Broadway Run Extended to Jan. 5

A standing ovation for the cast of Fiddler on the Roof in Yiddish, now playing at Stage 42, off-Broadway in New York City through Jan. 5, 2020 © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, David Leiberman & Laini Miranda, Travel Features Syndicate, goingplacesfarandnear.com

So often, when reviving a theater icon like Fiddler on the Roof, there is the need to find a new, unique, creative way to make it their own, to reinterpret, re-envision to give new audiences a different entry way. And too often, that manipulation warps or distorts what made the theatrical experience so precious to begin with. But you don’t have to insert modern inventions into Fiddler for its moral, both universal and specific, to be relevant to today’s audiences. In fact, it is much more profound to be transported back to that time, 1904, for its truth to be fully realized.

Fiddler on the Roof has that most important aspect of a true classic, to touch every emotion, make you see things more insightfully, to have a real moral to the story, and leave you a better, more understanding person afterward – and be entertained.

Directed by Oscar and Tony Award-winner Joel Grey, Fiddler on the Roof in Yiddish (in Yiddish, A Fidler Afn Dakh) adds new depth and dimension to this heart-wrenching story of a community struggling to balance traditions against the forces and threats of a changing world. The little town of Anatevka reverberates with the sounds of mame-loshn (ancestral language).

Fiddler on the Roof in Yiddish, brings you closer, more engaged, immerses you.  The experience seems even more authentic, more intimate.

Partly this is because the Yiddish language, is so expressive – some of the earliest musicals in New York were in Yiddish (Yiddish theater thrived in New York between 1888 and the 1920s; there is even a Museum of Yiddish Theater, www.museumofyiddishtheater.org) – and in a surprising way even familiar. There are words we New Yorkers know very well (meshuganah comes up a lot), and it seems every so often the Yiddish word is similar to English. But you can follow along, opera-style, with titles (in English and Russian!).  

But it is also because Yiddish is the mame-loshn, the ancestral language. It gives the story more authenticity. You are there, in this place so far away. Perhaps you even understand the challenge when the inhabitants of this village, indeed all the Jews from all the villages, are driven from their homes on three days notice to a strange place where they will understand no one and no one will understand them.

One of the most celebrated musicals of all time, Fiddler on The Roof, based on Sholem Aleichem’s Tevye the Dairyman stories, features the sensational music by Jerry Bock, meaningful lyrics by Sheldon Harnick, and smart book by Joseph Stein, with original New York stage production directed and choreographed by the greatJerome Robbins. This production, brilliantly directed by Joel Grey, has staging and new choreography by Stas Kimec.

We noticed just small deviations from the original book, and a new song that emerges from Pertshik’s biblical lesson, that enhance the experience (not too smart or gimmicky), but otherwise, it is gloriously faithful to one of the best musical theater works ever created.

The direction by Joel Grey is exquisite – just the right timing, emphasis, emotion. These characters seem more approachable, especially without distractions of a complicated set. The Tevye character, played by Steven Skybell (who won the 2019 Lucille Lortel Award for Best Lead Actor) is more sensitive, loving, nuanced than the character is usually played.

The Jews of Anatevka are clad all in grey, white and black – as if looking back in time at old photos or film, or perhaps as letters out of a book – only the Russians have a touch of red and Fiadkah’s outfit is sufficiently differentiated from his erstwhile comrades.

The set is sparse, but you don’t even realize it – long strips of what looks like parchment of Torah scrolls with one with the only world, in Hebrew lettering, Torah that binds the community throughout the ages and is the underpinning to tradition. That hones the message but also focuses attention on the people.

The staging and choreography is fabulous – there are all our favorites: the bottle dance at the wedding; the Russian dance. I loved the way the dream sequence is staged. The voices and acting of a brilliant company are sensational.

And most importantly, a timeless tale more important than ever that needs to be told in these times.

The original Broadway production of Fiddler on the Roof, which opened in 1964, was the first musical theater production in history to surpass 3,000 performances, won the 1965 Tony Award for Best Musical in addition to eight other Tony Awards that year and has performed in every metropolitan city in the world from Paris to Beijing.

The Yiddish translation, so artfully crafted by Israeli actor/director Shraga Friedman, was originally performed in Israel in 1965 just one year after its Broadway debut. Born in Warsaw, Friedman was a native Yiddish speaker who escaped war-torn Europe with his family and made their way to Tel Aviv in 1941. “Well acquainted with the works of Sholem Aleichem, Friedman used his translation to infuse Fiddler with rich literary references to the original Yiddish stories.”

The NYTF production, which was originally staged at the Museum of Jewish Heritage, marks the first time the Yiddish version has been performed in the United States.

There is no problem following what is going on – much like opera, there are supertitles in English and Russian on both sides of the stage throughout the entire performance that translate what is being said or sung on stage in real time. The show is so familiar that it isn’t even necessary, but I enjoyed reading the nuances of difference. And the great surprise is how familiar some of the words are, either because Yiddish expressions have entered the vernacular (at least in New York), or because of the connection to English.

The complete cast of Fiddler on the Roof includes award-winning Steven Skybell (as Tevye), Emmy Award nominee Jackie Hoffman (as Yente), Jennifer Babiak (as Golde), Joanne Borts (as Sheyndl), Lisa Fishman (as Bobe Tsatyl), Kirk Geritano (as Avrom), Samantha Hahn (as Beylke), Cameron Johnson (as Fyedka), Ben Liebert (as Motl Kamzoyl), Stephanie Lynne Mason (as Hodl), Evan Mayer (as Sasha), Rosie Jo Neddy (as Khave), Raquel Nobile (as Shprintze), Nick Raynor (as Yosl), Bruce Sabath (as Leyzer Volf), Drew Seigla (as Perchik), Adam B. Shapiro (as Der Rov), Jodi Snyder (as Frume-Sore), James Monroe Števko (as Mendl), Lauren Jeanne Thomas (as Der Fiddler), Bobby Underwood (as Der Gradavoy), Mikhl Yashinsky (as Nokhum / Mordkhe), and Rachel Zatcoff (as Tsaytl).

Ensemble members include Michael EinavJonathan Quigley, and Kayleen Seidl. Swings include Abby Goldfarb and John Giesige, and Moshe Lobel serves as understudy for the production.

The creative team for the production features new choreography by Staś Kmieć (based on the original choreography by Jerome Robbins), musical direction by Zalmen Mlotek, scenic design by Beowulf Boritt, costume design by Ann Hould-Ward, sound design by Dan Moses Schreier, lighting design by Peter Kaczorowski, wig & hair design by Tom Watson, and props design by Addison Heeren.

Fiddler on the Roof  is produced off-Broadway by Hal Luftig and Jana Robbins, in association withSandy Block.

This production of Fiddler on the Roof  is the winner of the 2019 Outer Critics Circle Award for Best Musical Revival, a 2019 New York Drama Critics’ Circle Award Special Citation, and star Steven Skybell is the winner of the 2019 Lucille Lortel Award for Best Lead Actor in a Musical, as well as numerous nominations for Joe Grey as director, for orchestration, Lucille Lortel nominee for Outstanding Featured Actress in a Musical Jackie Hoffman.

Fiddler on the Roof in Yiddish, a production of the remarkable National Yiddish Theatre Folksbiene (NYTF), began its life with a celebrated run at the Museum of Jewish Heritage, where it had been extended multiple times and played its final performance on December 30, 2018. This production at the Stage 42 Theater has been extended multiple times as well, and now is extended again, through January 5, 2020.

NYTF has its own remarkable history: founded in 1915 the award-winning NYTF is the longest continuously producing Yiddish theater company in the world and offers regular productions. The company is presenting a season of four mainstage productions, concerts and readings curated to accompany the exhibit Auschwitz: Not long ago. Not far away. now on view at the Museum of Jewish Heritage through Jan. 3, 2020 (https://mjhnyc.org/exhibitions/auschwitz/).

Fiddler on the Roof in Yiddish is a theater experience not to be missed.

Fiddler on the Roof in Yiddish is at Stage 42, 422 West 42nd Street (between 9th and 10th Avenues), New York, NY, 10036. For the most current performance schedule and tickets, see http://fiddlernyc.com. Tickets are on sale for performances through Jan. 5, 2020. https://nytf.org/fiddler-on-the-roof/ 

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© 2019 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Send comments or questions to FamTravLtr@aol.com. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

First Look at The Shed, NYC’s Newest Iconic Cultural Center Bent on Using Art for Social Action, Public Good

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

 

The Shed is notable for a design based around flexibility; the new cultural arts center is adjacent to the Highline and The Nest and is the “beating heart” of the new Hudson Yards development on New York City’s West Side © Karen Rubin/goingplacesfarandnear.com

Imagine a structure 120 feet high that can fit 2000 people for a concert, but that can move, expand, shrink or be completely removed to expose an open-air plaza. An “anti-institution” cultural institution to provide a home and nurture the full spectrum of the arts, where emerging artists, local artists, and established artists have parity, and audiences represent the diversity and inclusivity of New York with low-priced ticket holders dispersed throughout the house.

This is The Shed, the newest cultural center to open in a city which prides culture above all, sure to be gain a place among the pantheon of iconic art institutions, along with its leading-edge approach to harnessing the arts as a force for social action and public good, its astonishing architecture, flexible, versatile and adaptable enough to enable artists of today and tomorrow and fulfill their vision to be a platform across multi-disciplines.

It’s “the Swiss army knife” of culture,” said Daniel L. Doctoroff, chair of the board, during a press preview prior to the April 5 grand opening, when the principals involved with the genesis of the project spoke of what The Shed, and its mission, meant to the city and society.

Indeed, they noted, in a city of 1200 cultural attractions, The Shed had to be different, beginning with its commitment to commissioning new works, creating a platform – the space and place – for artists across disciplines, engaging audiences across a spectrum of backgrounds and interests, but most significantly, creating a building, that like a “living organism” would keep morphing to accommodate artists’ visions today and decades from now, accommodating the unimaginable ways art and culture might change over time.

Six and a half years ago, after seeing a 60-second animation of what The Shed could be, purpose-built to house various forms of culture and building would move, John Tisch, vice chair of the new institution, told his wife, “The Shed is about future of NYC and we need to be involved.”

“6 ½ years later, here we are discovering the future of NYC and how we as citizens and creators of this institution will discuss culture and humanity, how we all need to be together in the 21st century in NYC.

 “There are many cultural institutions – many are about the past. The Shed is about the future.”

“The dictionary defines ‘shed’ as an opened-ended structure with tools,” said Doctoroff. “We designed The Shed as a platform, uniquely adaptable, to liberate artists to fulfill their dreams.”

More than a dozen years ago, Doctoroff said, The Shed “started as small square on map, a placeholder for To Be Determined cultural institution.

“Mayor Bloomberg said ‘Make it different from anything else in New York City.’ That’s not easy in a town of 1200 cultural institutions. It had to play a role in a new edge of New York City, keeping New York City as leading edge of the cultural world.”

The principals of The Shed, NYC’s newest iconic cultural institution housed in an architectural marvel: Hans Ulrich Obrist, David Rockwell, John Tisch, Dan Doctoroff, Liz Diller and Frank H McCourt, Jr. © Karen Rubin/goingplacesfarandnear.com

Liz Diller of Diller Scofidio + Renfro, lead architect, and David Rockwell of Rockwell Group, collaborating architect, responded to the mandate for flexibility, a one-of-a-kind structure.

“Just as it was to be designed to be flexible, we wanted it to be of and for our time and inclusive of artists across all disciplines,” Doctoroff said. “We proposed commissions of emerging artists across all art forms – the mission drives our work.

“It is a remarkable public/private investment of $500 million to design and construct building and create original works of art.

“New York City continues to be perfect partner under Mayor DiBlasio. The city provided $75 million and the land.

“We are standing in The McCourt, a spectacular space that can do anything an artist can imagine. It was named for the Board member who gave $45 million.

“Griffin Theater was named for one of most generous philanthropists, Ken Griffin, who gave $25 million.

“Altice USA is the founding fiber network partner – so that The Shed is an accessible arts organization with global reach, the first cultural institution with connectivity partner.

“Above all, Mayor Bloomberg, who had vision to transform West Side and create cultural institution as beating heart. The Shed is housed the Bloomberg Building, named for Mayor Bloomberg.

“It’s been a 14-year journey – kind of crazy, new kind of cultural institution in a completely new building in new part of town, new board, new team, performing miracles every day, producing our own work.

“Great architecture demands great purpose,” Doctoroff said. 

Alex Poots, on stage in The McCourt: “The Shed is place for invention, curiosity where all artists and audiences can meet.”  © Karen Rubin/goingplacesfarandnear.com

Alex Poots, the Artistic Director and CEO, said, “I started to imagine the possibilities: a flexible building, built on city land. That was the draw to lure me from England –a  public purpose. It was a no brainer, building on what I had been doing for 15 years. [Poots is also involved with the Manchester Festival and with the Park Avenue Armory.]

“Parity among art forms; the ability to commission art – visual and performing arts. And it would not matter if the artist were emerging, established, or a community artist – we don’t need a false hierarchy.

“The Shed is place for invention, curiosity where all artists and audiences can meet.

Alongside all the venerable institutions of city, we hope The Shed can add something.

“It’s rare for a place to be open in the day as a museum, and in the evening a performance center.”

Alex Poots, Artistic Director and CEO of The Shed © Karen Rubin/goingplacesfarandnear.com

First Commissions

Poots introduced the 2019 inaugural season’s first commissions (and the press were able to watch some rehearsals):

Soundtrack of America, a new live production celebrating the unrivaled impact of African American music on art and popular culture over the past 100 years, conceived by acclaimed filmmaker and artist Steve McQueenand developed with music visionaries and academic experts including Quincy Jones, Maureen Mahon, Dion ‘No I.D.’ Wilson, Tunji Balogun and Greg Philliganes, is a five-night concert series (April 5-14) celebrating the unrivaled impact of African American music on contemporary culture, with performances by emerging musicians.

The opening commissions at The Shed feature the world premiere of Reich Richter Pärt, an immersive live performance installation from iconic artists Steve Reich, Gerhard Richter, and Arvo Pärt, featuring new works by Richter and a new composition by Reich, performed with the Choir of Trinity Wall Street, here in rehearsal, that showcase The Shed’s support for mixing cultural disciplines © Karen Rubin/goingplacesfarandnear.com

Reich Richter Pärt, a live performance/exhibition pairing works by master painter Gerhard Richter with a new composition by Steve Reich and an extant composition by Arvo Pärt, performed by The Choir of Trinity Wall Street (April 6-June 2).

Norma Jeane Baker of Troy, a reinvention of Euripides’ Helen by poet Anne Carson, starring Ben Whishaw and the opera singer, Renée Fleming (April 6-May 19).

Björk’s Cornucopia, the multidisciplinary artist’s most elaborate staged concert to date, directed by Lucrecia Martel (May 6-June 1).

Chen Shi-Zheng discusses “Dragon Spring Phoenix Rise,” a futuristic kung fu musical conceived © Karen Rubin/goingplacesfarandnear.com

Dragon Spring Phoenix Rise. a futuristic kung fu musical conceived by Chen Shi-Zheng and Kung Fu Panda screenwriters Jonathan Aibel and Glenn Berger, with songs by Sia, choreography by Akram Khan, and production design and costumes by Tim Yip (June 22–July 27);

There are also, expansive exhibitions devoted to extant and newly commissioned work by trailblazing artists Trisha Donnelly and Agnes Denes; and an unprecedented opportunity for New York City-based emerging artists of all disciplines to develop and showcase their work throughout The Shed’s spaces via an Open Call commissioning program.

Beneath the stands and stage in The McCourt is the only permanent art installation, “In Front of Itself,” a large-scale, site-specific work by artist Lawrence Weiner embedded into the plaza. It serves as a walkable outdoor area when the movable shell is nested over the fixed building, or as the base of The McCourt when the shell is extended to the east. The 20,000-sq. ft. work features the phrase, “In front of itself” in 12-foot high letters fabricated with custom paving stones.  

These first commissions, Poots said, “shows the range of The Shed.” The flexibility of the building makes it possible to transform from one show to the next in just two days.

Dan Doctoroff, Alex Poots and Tamara McCaw discuss community outreach and the Open Call © Karen Rubin/goingplacesfarandnear.com

Art as Social Action

Tamara McCaw, Chief Program Civic Officer, is responsible for fulfilling the mission of The Shed to use art as social action.

“It is my responsibility to serve the community, particularly those under stress or have barriers [to artistic expression]. ]

McCaw oversees the Open Call program, an unprecedented opportunity for 52 New York City-based emerging artists and collectives to develop and showcase their work throughout The Shed’s primary spaces, free to the public (May 30-August 25) and continuing in 2020.

The 52 artists were selected from 930 applications in its first open call. Alex Poots said that The Shed will embark on its next round of emerging talent in 5-6 months.

The Shed has year round social justice residencies, serving 700 students a year

 “We are providing a platform for local and emerging artists – selected by diverse panel and Shed staff (2 are on the panel – to present in principal spaces, plaza, theater.” These performances and exhibits will be free to public.

“It is our civic responsibility to reflect, respond to the diverse communities of NYC – with affordable tickets ($10; free for 18 year olds and under and CUNY students), and reserve 10% of low-income seats that will be distributed throughout house (not the back or nosebleed section)

Addressing how The Shed intends to be responsive to diverse audiences, Doctoroff noted that the building is open – the restaurant, café and lobby. Anyone can come through without a ticket, and every gallery and theater can be separately ticketed. The goal is to make access to exhibits and performers and accessible as possible.

McCaw added, “People from public housing are already are coming because they are of process. We did outreach for open call. There are artists who live in public housing here. When you come with respect, people want to be involved.

“We are creating inventive new work, supporting creative expression, cultural equity and belief in power of art to effect social change.”

Ticket prices are intentionally low. Every gallery show – except Richter – is $10 ticket and free for those under 18. Open call programs are free (18 weeks of programming)

At the end of the first year, he expects that half  the entire audience will be admitted for $10 or free.

The Shed, a not-for-profit arts institution, expects to operate at a loss.

“That means we have to raise money,” Doctoroff said. “But we regard it as investing in society, not as a loss. The less box office, the more generous we are. There are high ticket prices for those who can afford it and low for those who can’t – low cost tickets are equally dispersed through theater, to promote equity.”

The Tisch Skylights © Karen Rubin/goingplacesfarandnear.com

A good source of real money, though, could be in renting out space in The Lizzie and Jonathan Tisch Skylights and The Tisch Lab  on the top floor, Level 8, where there is a 1,700-square-foot creative lab for local artists, a 3,300-square-foot rehearsal space, and a 9,500-square-foot flexible, multipurpose space for events.

“The Top floor is engine for that flexible space – dinners, small performances – will be rented year round while operating as not-for-profit art center.”

Frank H. McCourt Jr. reflected, “There is something else here – civic imagination, ideas put into action to serve people – address societal issues, change lives, make a better nation, a better humankind.” © Karen Rubin/goingplacesfarandnear.com

Frank H. McCourt Jr., Shed board member and entrepreneur, reflected, “There is something else here – civic imagination, ideas put into action to serve people – address societal issues, change lives, make a better nation, a better humankind.

“It is artistic creation but also social innovation. Human creativity for the greater good. My hope for The Shed is that it is home for both art and other intellectual activities. This place, including the institution created to animate it, is a bold, living example of civic action. An idea put into action for greater good.

“It’s not finished, just getting started. This week a milestone. In a world replete with cynicism, The Shed is the opposite.”

An Architectural Marvel

“We started the project 11 years ago – when it was a dotted line on a satellite photo and a question mark. It was the 2008 recession,” reflected Liz Diller, lead architect, who described what it was like to design a building around a mission.

“Arts in New York are siloed – dance, theater, music, visual. That’s not how artists think today, but how will artists think in one or two decades? We can’t know. We started a project without a client, an anti-institution institution, to serve artists of all kinds in a future we could not predict.

“How could architecture not get in the way of that? Art is in flux, so the building had to be able to change on demand, be flexible without defaulting.”

What she and collaborating architect David Rockwell devised is a fixed building with column-free exhibit and performance space, the Bloomberg Building.

Architectural discussion with David Rockwell, Dan Doctoroff and Liz Diller © Karen Rubin/goingplacesfarandnear.com

The Shed’s Bloomberg Building—an innovative 200,000-square-foot structure designed by Diller Scofidio + Renfro, Lead Architect, and Rockwell Group, Collaborating Architect—can physically transform to support artists’ most ambitious ideas. Its eight-level base building includes two levels of gallery space; the versatile Griffin Theater; and The Tisch Skylights, which comprise a rehearsal space, a creative lab for local artists, and a skylit event space.

The McCourt, an iconic space for large-scale performances, installations, and events, is formed when The Shed’s telescoping outer shell is deployed from over the base building and glides along rails onto the adjoining plaza. The McCourt can have theater seating for 1400, or open the glass wall to expose the balcony for 300 seated and have 2000 on the floor.

The Plaza: When the movable shell is nested over the base building, the 20,000-square-foot Plaza will be open public space that also can be used for outdoor programming; the eastern façade can serve as a backdrop for projection with lighting and sound support. The Plaza is equipped with a distributed power supply for outdoor functions. Oversize deliveries can be brought by truck up Hudson Yards Boulevard and loaded directly onto The Plaza and into the base building or the shell when deployed. Those doors can be opened while the audience is under cover, for an open-air effect.

“It is the architecture of infrastructure:  all muscle, no fat,” Diller said. “Alex, an inspirational alchemical force, challenged the building to be smarter, more flexible, agile. This is a perpetual work in progress – always getting smarter more agile.

It will respond to the challenge of artists and challenge the artists back.”

“New York is so defined by art and its artists. Art creates community, at its best, and empathy with audiences,” said Architect David Rockwell.

 “What we created is a Swiss Army knife of culture,” said Doctoroff. “A beautiful design with practicality to respond to the notion that we don’t know where art will go, or where artists will be in 200 years.”

Gerhard Richter’s work is on view in The Gallery, a massive column-free space © Karen Rubin/goingplacesfarandnear.com

The Shed’s eight-level base building includes two expansive, column-free galleries totaling 25,000 square feet of museum-quality space; a 500-seat theater that can be subdivided into even more intimate spaces; event and rehearsal space; and a creative lab.

A movable outer shell can double the building’s footprint when deployed over the adjoining plaza to create a 17,000-square-foot light-, sound-, and temperature-controlled space, named The McCourt, for large-scale performances, installations, and events for audiences ranging from 1,250 seated to 3,000 standing (when combined with space in the two adjoining galleries of the base building). When space is not needed, the movable shell can nest over the base building, opening up the plaza for outdoor use and programming.

Diller explained how the movable shell travels on a double-wheel track based on gantry crane technology commonly found in shipping ports and railway systems. A rack-and-pinion drive moves the shell forward and back on four single-axle and two double axle bogie wheels that measure six feet in diameter; the deployment of the shell takes approximately five minutes.

The exposed steel diagrid frame of the movable shell is clad in translucent pillows of durable and lightweight Teflon-based polymer, called ethylene tetrafluoroethylene (ETFE). With the thermal properties of insulating glass at  1/100th of the weight, the translucent ETFE allows light to pass through and can withstand hurricane-force winds. Measuring almost 70 feet in length in some areas, The Shed’s ETFE panels are some of the largest ever produced.

“Systems were adapted from other things but it is novel in the way we put together,” Diller said, adding that the architecture is “based on industrial crane technology, brought to 21st century” with an emphasis on functionality. But there were no real models among arts institutions.

“It was a constant process of invention, reinvention,” said Doctoroff. “We have 14 blackout shades. We had to rethink the system of shades – particularly when Alex came and knew he wanted concerts. They needed to also provide sound protection. We went to the sailmakers who designed sails for America’s Cup boats to design shade system. Extra performance capability of holding back 108 decibels (loud). The thickness, density had to be able to roll up.”

Form and function: the back wall of McCourt can be removed to open up a balcony © Karen Rubin/goingplacesfarandnear.com

Asked why New York needed another cultural institution, Doctoroff retorted, “Why have we been so successful raising money? Because people sense New York does need this. The criteria was that this had to be different from anything else in New York. We went to talk to artists and leaders of cultural institutions around the world to ask what do they not have and need. There were similar themes –the internet era gives artists the capacity of collaborating across distances and disciplines, but also producing work that didn’t fit in traditional institutions. Out of that came idea of flexibility.

“This is different: our mission of inclusivity embedded in value system,” said Doctoroff, said in a small discussion group with journalists.

“We prove it every day. This is personal for me: 36 years ago I imagined a new West Side – saving the Highline [now one of the most popular attractions in NYC, with 8 million visits a year], the subway. I always believed having a cultural heart to the new West Side was critical and would need to change over time to keep New York leading edge in culture. I believe cultural institutions are critical to New York,” said Doctoroff, who is also chairman and CEO of Sidewalk Labs, an Alphabet company that looks at sustainable solutions to designing urban communities.

“The Shed will never be finished,” said Doctoroff. “The word ‘unfinished’ ends with ‘shed’. It will always be evolving because what we’ve done is created a platform for artists to use as their own. The building enables their vision – they will push, stretch us in ways we can’t imagine, they can’t imagine today. The Shed is an organism that keeps morphing.”

And that’s how Liz Diller expects not to go through post partum blues. “We will respond to the challenge of artists and challenge artists back.”

See also: The Shed, New York’s Newest Iconic Cultural Center, Opens April 5 with Commissioned New Works

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© 2019 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Send comments or questions to FamTravLtr@aol.com. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

Gold Coast Arts Center, Long Island Presents ‘Chinese Artists in America’ Exhibit

Artists Ping Wang and Arthur Liu with Town North Hempstead Supervisor Judi Bosworth and Gold Coast Arts Center Executive Director Regina Gil at opening of exhibit, “Chinese Artists in America© Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

The Gold Coast Arts Center, Great Neck, Long Island presents an exhibition of “Chinese Artists in America.” The works by eight contemporary Chinese-American artists is on view through March 20.

“The exhibition reflects the creative vitality of Chinese and American cultural interaction and growth through the arts and its historical and aesthetic links to other communities,” Gallery Curator Jude Amsel writes.

“These artists created a new visual language that embodies aspects of traditional Chinese art while responding to a time of great transition. Their artworks express personal beliefs, national pride, and international awareness.”

“The Gold Coast Arts Center is dedicated to promoting awareness and understanding through the arts and through public events that bring people together,” stated Regina Gil, founder and Executive Director of the Gold Coast Arts Center. “We are proud to have enabled artists from around the world to share their vision and craft with our audiences. The exhibition of art by Chinese-American artists weaves the heritage, experience and craft that has emerged from each artist’s personal exposure to Chinese and American culture and education.”

The opening reception for the art exhibition was accompanied by a cultural performance, music and dance presented under the aegis of the Great Neck Chinese Association.

Here are highlights, with the artists’ own statements.

Zhen Guo © Karen Rubin/goingplacesfarandnear.com

Zhen Guo: “With ‘Muted Landscape; I present a view of the world, and we who live on its surface, that is at once expansive and frightening.  The images, created (I do not say painted because there is no obvious brush work in the ink on rice paper creation) present a landscape as if from 36,000 feet, muted by both the gray color and by the distance.  Mountains, lakes, a sheer rock face wall, caldera, fields of snow, high and pointed peaks and rivers are joined and blended but not necessarily in the places or ways we expect.  It is as if the vision of Ansel Adams has been stirred shaken and kneaded merged a late Autumn vision of the natural world.  As our eyes travel over the painting the view changes and rivers become shadows, mountains become fields, and lakes become snow covered peaks.  We are entranced and at the same time afraid that, if we landed, there we could not find our way out. Perhaps this is a place for own internal search for a perch for our soul or to find our way forward.”

“Country Fair,” by Dexiang Qian © Karen Rubin/ goingplacesfarandnear.com

Dexiang Qian: “I was born in Zhijiang. Many artists have come to Zhijiang to observe, sketch, and experiment with depicting the rural countryside. During my creation process, I use a glazing technique with a limited color palette. I continue to simplify the elements, and the resulting composition often is in geometric patterns.”  © Karen Rubin/ goingplacesfarandnear.com

Xiangdong Shi © Karen Rubin/goingplacesfarandnear.com

Xiangdong Shi: ““Food: Chinese beauty, taste and auspicious meaning. Chinese cuisine is not only delicious, but also the pursuit of form and color, such as Sweet Dumplings, put in a few red medlar, and immediately look happy, and eat the Sweet Dumplings at the Lantern Festival, so the Sweet Dumplings are also called Yuan Xiao, means the first full moon night of the year. Chinese cuisine is rich and auspicious Meaning, such as birthday, Chinese people often cook a bowl of noodles, called longevity noodles, meaning healthy longevity. Another example is the Traditional Chinese Rice-Pudding, is the exclusive food of the Dragon Boat Festival, it is to commemorate the ancient Chinese famous poet Qu Yuan, in addition, often in the  Traditional Chinese Rice-Pudding have any jujubes, white rice and red jujubes are put together, the color contrast is strong. Red has a special meaning in Chinese culture, and represents good luck. Therefore, the food series I painted not only expresses the taste of food, but also the sense of form and meaning of food. This is the true essence of Chinese culture.”

Arthur B. Liu © Karen Rubin/goingplacesfarandnear.com

Arthur B. Liu is President of Queens Art Education Center, New York, visiting professor of the Guangzhou Academy of Fine Arts, member of the Watercolor Society of USA, artist of the National Art League of USA, director of the Chinese Culture Art Association of New York, USA. He is the Educator, Artist and Inventor. He is the only one Chinese American artist who has been granted patents for inventions. He is showing “The flowing colors Chinese painting series” in this exhibition.

Ping Wang © Karen Rubin/ goingplacesfarandnear.com

Ping Wang: “The initial idea of my “In and Out” series were body parts extended from a “Square”(space ) merged into a background. The background scenes are from Chinese illusional landscapes to recent New York City landmarks and daily life.  After a year or two reminiscing in depth I subconsciously escaped in the collision between China and American culture. I was enormously inspired by traditional Chinese composition and techniques. In the ‘Fight Club; series, I tried to combine some oriental perspectives and compositions into a Western story. Now living in New York for several years, I can see the integration of eastern and western cultures.”

“Sacrifice the Body to Feeding the Tiger,” by Yulin Huang
© Karen Rubin/goingplacesfarandnear.com

Yulin Huang: “In the face of the canvas, I have never forgotten all the so-called knowledge, just by intuition, in a simple, primitive, child-like way, straightforward and quick to smear. “Sacrifice the Body to Feeding the Tiger” (2018) is a “Dunhuang” mural from the ancient East, painted on the walls of the grotto 2000 years ago. It tells a Buddhist story. A prince, giving up his life and helping his hunger with his own flesh   The hungry tiger mother and son are born into Buddha after death. Like the cross that Jesus passed. In “Chinese New Year,” red lanterns, dragon dances, lion dances, firecrackers, fireworks, spring couplets, red envelopes… The people celebrate the biggest festivals, joyous and lively. But I feel a very loneliness.”

Hai Wei © Karen Rubin/goingplacesfarandnear.com

Hai Wei: “Even though we all advocate tolerance, different habits and beliefs sometimes constitute an offense.  Each different culture and art is connected of each other while learning from each other and integrating with each other. When the plane flies over the Arctic Circle, across the window, the outside is a mountain like a scarf, inside is a scarf like a mountain… All things connected, miraculous conversion. Similarly, in the body, the blood, the fresh life, can also be converted and reincarnation?  We have been watching ourselves for too long and rarely look at them. Most people think the sheep is weak ,ordinary, silent. In fact, they still have power and charm of wildness. The art created by nature is life, the beauty of life, and it does not depend on us. It is a kind of dignity.”

Yafu Wang with “Chinese Artists in America” curator Jude Amsel © Karen Rubin/goingplacesfarandnear.com

Yafu Wang: Yafu’s works are varied and diverse.  Those selected art pieces cover his early works in road, shadows, posters, and temples etc.  Yafu always states that his work expresses his deep love and awe for the mighty God.  It fulfills all the missing parts in his life. 

Here are highlights from the performances:

Chinese Drum “Ma Deng Dance” featuring Anthony Wu, Dorie Liu, Kexin Huang, Yuxin Huang, Kingsley Liu. © Karen Rubin/ goingplacesfarandnear.com

Chinese Guzheng Duet “Dong Ting New Song” featuring Ella Li, Shiying Wei. © Karen Rubin/ goingplacesfarandnear.com

Chinese Cucurbit Flute Solo, “Wedding Vow,” featuring Ricky Deng © Karen Rubin/ goingplacesfarandnear.com

Violin & Piano in Chinese song, “Painted Heart” with Aili Tian, Phoenix tian, Joy Yang and Selena Lu (piano). © Karen Rubin/ goingplacesfarandnear.com

Chinese Instruments ensemble “Xi Yang Yang (Be Happy)” “Turpan’s Grapes Turn Ripe (with Dance)” featuring Xiulu Xin (Banhu):, Yuqi Sun (Erhu), Xianyi Wang (Dulcimer), Xiuzhen Liang (Ruan), Rongxian Chen (Electronic Guitar), Cathong Li (Rock Percussion/Dance) © Karen Rubin/ goingplacesfarandnear.com

Children’s Chorus: Jasmine Flowers featuring Evan Cao, Derick Chen, Melissa Chiang, Jessica Chiang, Anthony Chiang, Athena Jin, Ella Li, Jack Pei, Dorothy Qian, Lucas Wang, Madeline Wang, Isabella Wu, Kenneth Wu, Katharine Xu, Carolyn Zuo and Kaitlyn Feng (piano) © Karen Rubin/ goingplacesfarandnear.com

Gold Coast Arts Center, Long Island Presents “Chinese Artists in America”

The Gallery is open when the Gold Coast Arts Center is open, 113 Middle Neck Road, Great Neck, NY, 516-829-2570, goldcoastarts.org.

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© 2019 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com,  www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Send comments or questions to FamTravLtr@aol.com. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

Cycle the Erie: Heritage of Erie Canal Preserved in Murals Along the Erie Canalway

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

One of the many delights of Parks & Trails NY’s 8-day, 400-mile Cycle the Erie bike tour from Buffalo to Albany across New York State, is coming up beautiful murals that describe the history and cultural heritage of the Erie Canal and the canaltowns that were spawned.  Through the course of the ride, you travel 400 miles but also 400 years through history, and see the whole story of how America came to be unfold in front of you.

Here are some of our favorites, as we bike along the Erie Canalway, on brick, on barns, on bridges, on benches, on fences:

Gasport © Karen Rubin/goingplacesfarandnear.com

Middleport © Karen Rubin/goingplacesfarandnear.com

Medina © Karen Rubin/goingplacesfarandnear.com

Albion © Karen Rubin/goingplacesfarandnear.com

Albion © Karen Rubin/goingplacesfarandnear.com

Spencerport © Karen Rubin/goingplacesfarandnear.com

Spencerport © Karen Rubin/goingplacesfarandnear.com

Palmyra © Karen Rubin/goingplacesfarandnear.com

Palmyra © Karen Rubin/goingplacesfarandnear.com

Palmyra © Karen Rubin/goingplacesfarandnear.com

Newark © Karen Rubin/goingplacesfarandnear.com

Newark © Karen Rubin/goingplacesfarandnear.com

Newark © Karen Rubin/goingplacesfarandnear.com

Newark © Karen Rubin/goingplacesfarandnear.com

Newark © Karen Rubin/goingplacesfarandnear.com

Lyons © Karen Rubin/goingplacesfarandnear.com

Lyons © Karen Rubin/goingplacesfarandnear.com

Lyons © Karen Rubin/goingplacesfarandnear.com

Jordan © Karen Rubin/goingplacesfarandnear.com

Sims General Store, Camillus © Karen Rubin/goingplacesfarandnear.com

 

Syracuse Canal Museum © Karen Rubin/goingplacesfarandnear.com

Outside of Rome © Karen Rubin/goingplacesfarandnear.com

The 20th Annual Cycle the Erie Canal ride is scheduled July 8 – 15, 2018 (www.ptny.org/canaltour). In the meantime, you can cycle the trail on your own – detailed info and interactive map is at the ptny.org site (www.ptny.org/bikecanal), including suggested lodgings. For more information on Cycle the Erie Canal, contact Parks & Trails New York at 518-434-1583 or visit www.ptny.org.

The entire Erie Canal corridor has been designated the Erie Canalway National Heritage Corridor, Waterford, NY 12188, 518-237-7000, www.eriecanalway.org.

More information about traveling on the Erie Canal is available from New York State Canal Corporation, www.canals.ny.gov.   

See also:

Cycle the Erie: 400 Miles & 400 Years of History Flow By on Canalway Bike Tour Across New York State

Cycle the Erie, Day 1: In Lockport, See Erie Canal Engineering Marvel, ‘Flight of Five’, Cruise Thru Double Locks, and Go Underground to Fathom Rise of Industrial Revolution

Cycle the Erie, Day 2-3: A Sequence of Charming Canaltowns, Pastoral Landscapes, Punctuated by City Birthed by ‘Mother of Cities’

Cycle the Erie, Day 4: Seneca Falls to Syracuse, Crossing Halfway Mark of 400-Mile Biketour

Cycle the Erie, Day 5: Deep Dive into The Erie Canal: ‘Mother of Cities’, Empire Builder, Wonder of the World

Cycle the Erie: At Fort Stanwix, Rome, Time Travel Back to America’s Colonial, Native American Past

Cycle the Erie, Days 6-7: Erie Canal Spurs Rise of America as Global Industrial Power

Cycle the Erie, Days 7-8: Schoharie Crossing, Mabee Farm, Cohoes Falls to Finish Line in Albany of 400-Mile BikeTour

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© 2018 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com,  www.huffingtonpost.com/author/karen-rubin , and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Send comments or questions to FamTravLtr@aol.com. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

 

‘Collective Consciousness’ on View at Gold Coast Arts Center Focuses on Responsibility for Environment

“Collective Conscious” Curator Jude Amsel, Gold Coast Arts Center Director Regina Gil, NYS Assemblyman Tony D’Urso with artists Beth Williams Garrett, Nancy Gesimondo, Yoon Cho, Charles Cohen, Lauren Skelly Bailey and Linda Cunningham © Karen Rubin/ goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

“Nature has been inspiring artists for centuries, and its beauty has been captured in paintings, sculptures, photographs and a variety of other medium. But some artists take the relationship between art and the environment a step further, creating works from nature itself or producing artworks that make bold statements about the natural world and the imprint mankind has left on it.” This is what curator Jude Amsel was looking for when she put together the exhibition, COLLECTIVE CONSCIOUSNESS, on view at the Gold Coast Arts Center Gallery in Great Neck, Long Island through April 1.

The seven artists whose works are represented “are commenting on man’s relationship with our planet. These artists have the power to make environmentalism a priority and bring green initiatives to the forefront of cultural conversations,” she stated.

“With all the gloom and doom, we can feel sad with what’s happening in the world. But these artists bring an awareness,” a literal consciousness of our role and responsibility, Amsel said at the Artists’ Reception, March 4. The viewer is left with a sense of optimism that man’s better impulses will rise to the fore.

Yoon Cho’s work – multi-media performance art which combines video superimposed with digitized drawings – is the starkest commentary on this theme: her project was inspired by a difficult pregnancy after 10 years of marriage and the birth of her son, she and her husband traveled to barren landscapes to comment on extinction and procreation, the images of life forcing its way through.

Beth Williams Garrett created feminized Buddha head sculptures out of plastic bags.

Linda Cunningham turned the blighted industrial waterfront of the South Bronx into striking images on torn, furled canvas.

Nancy Gesimondo found solace in creating assemblages of natural materials, where mussel shells appear as butterflies, a metaphorical prayer flying to heaven; water chestnut seedpods are like flying bats, and peacock feathers are like tall grass.

Lauren Skelly Bailey re-creates the natural world of coral reefs in meticulous glazed ceramics, mimicking the surprise you have when you touch coral, which seem to be fluid and flowing to discover they are rock hard.

Charles Cohen uses realistic photography to get reduce household products to the shape and color of their plastic containers to force a different perspective.

Luba Lukova, whose graphic artistry can be seen in the New York Times, brings her timely commentary to an image of a green plant shielded by a hand as bombs fall, in her silkscreen, “Peace and Planet” (2015).

What is so interesting is to see such variety of media and approaches that come together to the essential message of human impact on the natural world: a collective consciousness of our responsibility.

Here’s more from the artists about their works:

Artist Lauren Skelly Bailey is exhibiting ceramics in “Collective Conscious” at the Gold Coast Arts Center © Karen Rubin/goingplacesfarandnear.com

Lauren Skelly Bailey’s ceramics are uncanny in the way they so realistically, meticulously yet artistically represent coral. You appreciate the beauty of nature’s own design. And like nature itself which is deceptively complex (think of a wasp’s nest), her work is exceptionally technical. “Stacking Up” (2016) for example, is crafted of porcelain, stoneware, slip, glaze, resin and flock – the pieces are each fired five to seven times. There are pieces gilded with real gold on the last firing.

She began her arts education studying painting and cartooning at Adelphi, graduating with a BA and MA, then went on to the Rhode Island School of Design (RISD) to earn her MFA. She produced many of these ceramics during a residency at the Museum of Arts & Design and had two grants from the NYS Council for the Arts.

“My work explores methods of making assemblage sculptures, conglomerations, installations, and figurines. There’s that sensation of falling for process, the chase of finding the unexpected and learning how it occurs. From that knowledgeI make intentional decisions regarding textural surfaces, glazes, slips and clay applications, changing the context of the piece from a study to a solution. I respond to changes and observe balance in my work, seeking to push an uneasy tension between materials and form. Each new sculpture is a mo­ment, something new that has been achieved or understood, taking me further into my experience with ceramics.” (laurenskellybailey.com)

Nancy Gesimondo (left) with curator Jude Amsel. Gesimondo’s assemblages in “Collective Conscious” evoke Native American reverence for nature at the Gold Coast Arts Center © Karen Rubin/goingplacesfarandnear.com

The first reaction to Nancy Gesimondo’s assemblages is how they evoke Native American references. Nancy is from Sunnyside, Queens.

“My work is an exploration of ma­teriality and science that results in new visceral narratives. I create assemblages comprised of natural materials such as shells, feathers, seedpods, semi-precious stones, rocks and crystal formations.The juxtaposition of these found ele­ments results in surreal landscapes, imaginal creatures and hybrid specimens that aim to suggest the exploration and sense of mystery of an archeologist assembling vestiges of a distant past with no true refer­ence of their origin.

“My work is a reflection of my ap­preciation of nature’s beauty and diversity, as well as my concern for its decline. The delicate fragments imbue the work with an ethereal quality that portends a futuristic glimpse of the place we call home.”

Her assemblages draw upon natural materials she regularly collects – feathers, shells, seedpods, semi-precious stones, rocks and crystal formations. “It shows a reverence for Earth.”

“I’ve been collecting feathers forever – they are like little signs from beyond to me.”

She added, “I let the materials guide me towards the image. I very rarely see the composition in advance.”

The overall feeling is of tranquility, a peacefulness, a poetic aesthetic. The natural elements are used as metaphors.

“A Winged Victory for the Sullen” (2016) is an assemblage with amethyst crystal, iridescent feathers, and water chestnut seedpods (collected at Beacon NY), that look like flying birds. It is mounted on 300 lb watercolor paper, and she explained how she had to puncture roofing nails from the back, then glue the seedpods on.

“Evening Prayers III,” (2017) draws upon mussels that look like butterflies, and a strip of peacock features that look like tall grass. “It’s difficult to find mussels that are still together, but after my father died, I wanted to go to the beach. I went to Long Beach where I know there are mussels, but on this day, I never saw so many whole mussels as then. I collected four bags worth. I felt it was a sign from my father, “Abundance. Don’t worry.”

“The shells poetically morph into butterflies. They are like prayers – wishes and wants that fly to heaven.,”

“In my work, there is always some poetry.” (www.nancygesimondo.com)

Linda Cunningham’s torn and furled canvases are a commentary on South Bronx blight on view at “Collective Consciousness” at the Gold Coast Arts Center © Karen Rubin/goingplacesfarandnear.com

Linda Cunningham makes an artful plea on behalf of South Bronx in her series, “South Bronx Waterfront Sagas-shards: The New Vision” (2016).

“Collaged canvas with torn edges convey contradictions document­ed with photo-transferred images, layered with acrylic and pastel revealing a broken South Bronx his­tory, an urban renewal tragedy, an area once the retreat of choice for fresh air and greenery. The shards of information and vistas evoke the Port Morris harbor where barges once docked and youth swam off a pier in the East River. The beautiful open vistas are now inaccessible to the residents of the Mott Haven and Port Morris areas of the South Bronx, abandoned and dominated by deteriorating remains, rotting remnants of piers, power stations and City Waste transfer stations.”

Cunningham’s work centers upon time, transience, contradictions, and compelling environmental con­cerns juxtaposed against industry and urban blight.

The canvas itself is twisted and tortured in its way – not at all the neat rectangles that fit into frames.

“Life doesn’t come in a convenient box – I can’t work in a square (or rectangle). Life is one torn edge to another.”

The irony is that she makes the South Bronx blight beautiful. (www.lindalcunningham.com)

Beth Williams Garrett uses plastic bags to create her feminized Buddha head sculptures on view at “Collective Consciousness” at the Gold Coast Arts Center © Karen Rubin/ goingplacesfarandnear.com

Beth Williams Garrett, who studied painting at the Rhode Island School of Design and has shown her artwork up and down the East Coast, said, “I was a painter for 30 years, until 2010, when I felt the need to make sculpture. I was searching for a suitable sculpting ma­terial, I stumbled upon using plastic bags as a medium… Plastic bags were being thrown away – that’s no good for environment. They present themselves to me as a material to make sculpture with.”

“The inspiration for my first sculptures came from my travels to Buddhist temples in Japan and ancient ruins in Rome.”

Indeed, the sculptures fashioned of plastic bags evoke Buddha, but then there is a twist. “I have always felt my work was autobiographical, as a woman and focused on the female figure.

The result is a feminized Buddha – “girl Buddhas” she said.

Her skill as a painter comes through in the way she uses the colors and patterns in the plastic bags to great effect. One of the pieces draws on both her painting and the sculpting.

“Since then, I have been exploring what I can do with the plastic bags. My newest endeavors have been combining the 3-dimensional work with the 2-dimensional work as relief/multi media pieces and I continue making heads as I love how the plas­tic bags lend themselves to creating facial expressions.”

“It happened by accident in the studio. I propped the plastic bag head on a canvas to take a picture and decided to combine the two. I usually paint bodies without a head, so it made me laugh to make plastic bag without the body. (bethwilliamsgarrettart.webs.com)

Yoon Cho says her son was the inspiration for her multi-media “Desert Walk Photo and Video Series,” which she undertook with her husband, visiting 20 sites in four states on view at “Collective Consciousness” at the Gold Coast Arts Center © Karen Rubin/ goingplacesfarandnear.com

Yoon Cho’s Desert Walk Photo and Video Series explores the connection with our environments by featur­ing America’s diverse desert land­scapes with superimposed digital drawings of various biological life forms over the artist’s walk per­formance. The silhouette graphics of biological life forms such as cells, pollen, reproductive organs, embryos, and skeletons in the sky tell a story of the cycle of life and our co-existence with the Earth.

Cho’s personal journey from a difficult pregnancy to mother­hood and upbringing in a family of physicians encouraged her to examine the relationship between the biological life forms and their habitats. The Desert Walk encap­sulates beauty, destruction, and preservation of the land we live in.

The work is based on photographs from 20 different sites in four states (New Mexico, California, Nevada and Arizona). The final scene is at the Array where astronomers listen for signs of life from outer space. “That represents the future,” she says.

Her work was supported by the Puffin Foundation and New York State Foundation of Arts. (www.yooncho.com)

Charles Cohen, with Gold Coast Arts Center director Regina Gil, with his photographic collage, “Executive Function,” on view at “Collective Consciousness” at the Gold Coast Arts Center © Karen Rubin/goingplacesfarandnear.com

Charles Cohen uses photography to change perspective.

“From the threshold between participation and observation, I break with day to day experience. Familiar with the ethnographer’s dilemma, I embrace this betwixt state as the key to being human: we act as protagonist and critic in our own lives so that we can bridge the gap between individu­al and collective.

“My work exposes reductive dual­ities and challenges the ordinary relationship between perceiv­er and perceived by provoking reflexive thought… My work explores a range of subjects, literal and figurative, in an embrace of liminality and in confrontation with a binary view. The result transforms the sub­ject/object relationship from real to metaphor and liberates a state of being—one. (www.promulgator.com)

Luba Lukova’s “Peace and Planet” (2015) on view at “Collective Consciousness” at the Gold Coast Arts Center © Karen Rubin/goingplacesfarandnear.com

Luba Lukova creates images that she hopes will catalyze action and change the world. Her thought-pro­voking posters address essential themes of humanity and injustice worldwide. Her messages help viewers develop empathetic un­derstanding for social and cultural issues through indelible metaphors and an economy of line, color, and text. Lukova’s work is included in the permanent collections of MoMa; Denver Art Museum; Biblio­thèque nationale de France; Hong Kong Heritage Museum; Centre de la Gravure et de l’Image imprimée, La Louvière, Belgium; the Library of Congress; and the World Bank, Washington, D.C. (www.lukova.net)

The Gold Coast Arts Center is a 501(c)(3) not-for-profit organization dedicated to promoting and supporting the arts through education, exhibition, performance and outreach. It offers classes for tots to seniors in art, music, dance and performance;, events, gallery, film festivals and outreach programs.

The Gold Coast Arts Center, 113 Middle Neck Rd, Great Neck, NY, 516-829-2570 or www.GoldCoastArts.org.

 

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© 2018 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com,  www.huffingtonpost.com/author/karen-rubin , and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Send comments or questions to FamTravLtr@aol.com. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

‘Fool The Eye’ at Nassau County Museum of Art Explores Artists’ Techniques of Illusion

Marc Sijan’s Security Guard watches over “Fool the Eye” exhibition on view at the Nassau County Museum of Art 24/7 with no complaint © 2017 Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

You walk into the Nassau County Museum of Art, housed in the stunning mansion built for Childs Frick in 1919, the scion of Henry Clay Frick, and are confronted by a guard, hands crossed in front of his chest. You do a double-take – it takes a bit of questioning in your own mind what you are seeing to realize the guy isn’t moving, isn’t even breathing. In fact, it is a sculpture, so realistic you have to double-check your brain. This is just the first of an entire exhibition devoted to art that literally “fools the eye.”

One could argue that all art fools the eye – you are, after all, taking a living, changing, three-dimensional (even four-dimensional) subject and using manufactured materials and constructions converting it to two- or three-dimensions, in an assimilation or approximation of what is lives in a moment in time.

But these artists, gathered together in the “Fool the Eye” exhibit now on view at NCMA, employ fascinating techniques that keep you guessing as you walk from gallery to gallery: Is it a flat surface or a sculpture? Is it a photograph or a painting? Is it made of wood or bronze, rubber or steel? Is it real or faux?  The works on view date back to 1870 (“A Canvas Back” by William Davis), to as recently as a weeks ago (Ben Schonzeit’s “The Fantasticks”) showing that these artistic devices of fooling the eye are well entrenched in artists’ palette.

David Mach’s “Blue Weave” at the Nassau County Museum of Art © 2017 Karen Rubin/goingplacesfarandnear.com

You see a re-creation of a portion of the famous Van Gogh self-portrait with all the vibrant color and exciting brushstrokes, only to realize that David Mach created “Blue Weave” (2013) as a postcard collage out of individual strips. Similarly, a vibrant, richly textured portrait, “Blue Hair” by Federico Uribe (2014) is a collage made entirely of small colored pencils, and Chuck Close’s “Self Portrait” (2004) is actually a woodcut in 19 colors.

Sharon Moody’s “Drowning Girl Secret Hearts Vol. 1, No. 83.” Is it a comic book, or a painting? © 2017 Karen Rubin/goingplacesfarandnear.com

You see a famous photo of Marilyn Monroe taped to a board, and realize that except for the tape, the entire piece is a painting (“Gold Marilyn” by Otto Duecker); similarly, Dueker has made such a painting of a Frank Sinatra “photo.” “Drowning Girl Secret Hearts Vol. 1, No. 83,” is Sharon Moody’s oil painting that you are convinced is an actual comic book appended to a board. Then there are the hypnotic geometric abstractions, like Victor Vasarelly’s “TITOK-L” (1972).

Otto Duecker’s”Frank Sinatra” (2011), oil on board, courtesy of Arthur and Arlene Levine at the Nassau County Museum of Art © 2017 Karen Rubin/ goingplacesfarandnear.com

Fool the Eye, on view at Nassau County Museum of Art’s Saltzman Fine Arts Building through March 4, 2018, challenges you to experience the wonder of masterful artistic techniques. This exhibition includes examples of traditional trompe l’oeil (meticulously painted, hyper-real images) and a wide range of other approaches to illusion. See larger-than-life oversized objects, hypnotic geometric abstractions, sculptures made of unexpected materials, images with mind-bending impossibilities and fine art so seemingly realistic, they are (nearly) indistinguishable from real things. The magic will provoke debates in every gallery about reality and deception.

There is the shocking sense that a work of art is “following you” – changing as you move slightly and change your angle of view. Disorienting. Jarring. Creepy even. That’s the case with Patrick Hughes’ “Living Library” (2017), and two stacked Brillo boxes, Patrick Hughes’ oil on board construction homage to Andy Warhol, “Warholly,” 2008). Most of the time, though, you come away with a sense of amusement, realizing you’ve been played.

Brillo boxes, Patrick Hughes’ oil on board construction homage to Andy Warhol, “Warholly,” 2008, seems to follow you as you move © 2017 Karen Rubin/goingplacesfarandnear.com

Artists throughout the ages have been intrigued by perceptual illusions, devising visual tricks to manipulate the perception of space, incorporating spatial illusion as an aspect of their art. Featured in this exhibition are 20th- and 21st-century artists whose work has explored illusion, including Salvador Dali, Janet Fish, Audrey Flack, Jasper Johns, Judith Leiber, Roy Lichtenstein, Vik Muniz, Ben Schoenzeit, and Victor Vasarely.

NCMA Trustee Harvey Manes with Victor Vasarelly’s TITOK-L (1972), one of five paintings from his collection on loan for “Fool the Eye.” © 2017 Karen Rubin/goingplacesfarandnear.com

“Fool the Eye” is guest-curated by Franklin Hill Perrell with Debbie Wells whose previous collaborations for the Museum have included Feast for the Eyes (July 2016), The Moderns: Long Island Collects (July 2015) and Garden Party (March 2014).

‘Fool the Eye’ Curator Franklin Hill Perrell, NCMA President Angela Susan Anton and Director Charles A. Riley II at the opening reception © 2017 Karen Rubin/goingplacesfarandnear.com

“This show is the work of a superstar curator,” Charles A. Riley II, NCMA’s Director, said. “One thing that brings it all together: when an artist guides you in how to see… How artists create the illusion of life. Is it real or isn’t it? Is it or isn’t it? That question prevails through the whole show…There is a vitality.”

“Fool the Eye” curator Franklin Hill Perrell © 2017 Karen Rubin/goingplacesfarandnear.com

“All the art has to come from some place, someone has to arrange,” Perrell tells the gathering at the opening reception on November 17. “No other museum scurries around country convincing people to give up things they don’t want to give up- then have to get it here.”

Perrell rattles off a long list of nearly 60 galleries and private collections where the works have come, including NCMA trustee Dr. Harvey Manes who loaned five works including two Salvador Dalis and a Roy Lichtenstein.

One of the works – Ben Schoenzeit’s “The Fantasticks” – was painted specifically for the show, as I learn (one of the best things about an opening reception is that some of the artists show up).

“I was just finishing a piece when Franklin came to my studio in Soho and wanted a painting not yet finished,” says Schoenzeit, who has been featured often at NCMA. “I didn’t know how to finish it. I knew [the show’s theme] was tromp d’oeil, so I painted this with this show in mind.”

He says it took a month to make “The Fantasticks” (in between other projects), which is based on a collage.

Artist Ben Schonzeit painted “The Fantasticks” expressly for the “Fool the Eye” show at the Nassau County Museum of Art © 2017 Karen Rubin/ goingplacesfarandnear.com

“It’s funny – it came out funny,” he says, using the word “they” to describe his paintings. “They surprise me…I don’t have a finished concept when I start. They tell me. These things come to me.”

How do you know when it’s done? “When it walks away. When I have nothing more to say. When adding more makes it worse, or the idea you add doesn’t fit,” Schoenzeit says.

He steps back from the over-sized canvas. “I like to see it out of the studio, how it feels in real world, rather than in the chaos of my loft.”

Why “The Fantasticks?” “This was a long-running show in Greenwich Village [which he saw more than 30 years ago]. At the end, they threw colored tissue paper squares into the audience. I picked [some] up and put them in a collage. The paper is the envelope that I wrote ‘The Fantasticks’ on: There are other references in the painting (acrylic on linen): a stage, curtain.

Chuck Close’s “Self Portrait” (2004) © 2017 Karen Rubin/ goingplacesfarandnear.com

Detail from Chuck Close’s “John” © 2017 Karen Rubin/ goingplacesfarandnear.com

Programs that NCMA is offering the public in conjunction with Fool the Eye include: Paper Medium Rare: All Things Paper, a film that is screening daily; Fool the Eye Meets Fool the Palate, a December 10 talk by guest curator Franklin Hill Perrell; Brown Bag Lectures presented by Museum Docent Riva Ettus on December 14, January 4 and February 1; Sketching in the Galleries with Glenna Kubit on December 19, January 9 and February 6; and artist Dale Zinkowski in the galleries on March 4 to meet with visitors and answer questions about his work. Docent-led tours of the exhibition are offered every day at 2 p.m. Call 516-484-9338 for current exhibitions, events, days/times and directions or log to nassaumuseum.org/events for details and registration.

“Fool the Eye” exhibit also marks the first in the museum under the helm of its new director Charles A. Riley II.

Daniel Sprick, “Souls in Purgatory.” Is it a photograph or a painting? You have to really look to see © 2017 Karen Rubin/goingplacesfarandnear.com

Dr. Riley’s long association with Nassau County Museum of Art includes having served as curator-at-large and popular presenter of many lectures offered for many exhibitions. He helped curate the Museum’s Picasso, Surrealism and Abstract Expressionist exhibitions and recently curated the permanent installation of Western art at a major new private museum in Taiwan as well as several exhibitions in Berlin, Amsterdam, Lausanne, Manhattan and Long Island’s East End.

NCMA’s new Director, Charles A. Riley’ s Free as Gods: How the Jazz Age Reinvented Modernism, will provide the basis for the museum’s next exhibit. © 2017 Karen Rubin/ goingplacesfarandnear.com

Dr. Riley is a prolific arts journalist, reviewer and essayist and a celebrated public speaker. His 32 books on art, business and public policy include the recently published Free as Gods: How the Jazz Age Reinvented ModernismThe Jazz Age in FranceThe Art of Peter MaxArt at Lincoln Center, The Arts and the World EconomyColor Codes, and The Saints of Modern Art. Dr. Riley’s next book, a study of Rodin in Chinese and English, will be published by the Chimei Museum in fall 2017.

The next exhibit to open is “The Jazz Age: Picasso, Matisse, Chanel, Gerwin, Joyce, Fitzgerald and Hemingway” (March 17-July 8, 2018), based on Riley’s book, “Free as Gods.” 

An Art Destination

The Nassau County Museum of Art is an entire art destination:

Sculpture Park has some 30 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. Come view our expanded gardens and beautiful new path to the museum.

Nassau County Museum of Art, consisting of the Arnold & Joan Saltzman Fine Art Building and The Manes Family Art & Education Center, 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). Admission to the Saltzman Fine Art Building includes admission to The Manes Family Art & Education Center. Members are admitted free. Docent-led tours of the Saltzman Building exhibitions 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. 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. Call (516) 484-9338 for current exhibitions, events, days/times and directions or log onto nassaumuseum.org. Call (516) 626-5280 to reach The Manes Center directly.

(Artists and art-goers would also do well to visit the new exhibition, “Our Senses: “An Immersive Experience” now on view at the American Museum of Natural History to better understand the physical, cognitive and emotional underpinnings to achieve such illusions; visit amnh.org. See: American Museum of Natural History Creates Immersive Experience for Understanding ‘Our Senses’)

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© 2017 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com,  www.huffingtonpost.com/author/karen-rubin , and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Send comments or questions to FamTravLtr@aol.com. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

 

Fall Getaway in the Catskills: Thomas Cole National Historic Site is Site #1 on the Hudson River School Art Trail

Thomas Cole’s studio at Cedar Grove, a National Historic Site “Where American Art Was Born.” © 2017 Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

The first thing you notice about the Thomas Cole House, “Where American Art Was Born,” is the view from his porch – out to the ridges of the Catskills Mountains, the Hudson River curving around a bend. It is not hard to imagine that in Cole’s day, there would have been fields between his house and the river. But it is the same scene immortalized in paintings renowned as the “first American art movement.”

Cedar Grove, Thomas Cole’s home, is where you discover how one man invented a new way of looking at America © 2017 Karen Rubin/ goingplacesfarandnear.com

Thomas Cole’s Cedar Grove, now the Thomas Cole Historic Site and Site #1 on the Hudson River School Art Trail, has been redone since I last visited – more of the house restored to the way it was when Cole, at 35 years old, married 24-year old Maria Bartow, the niece of the man who owned the house and farm where Cole was renting studio space for 10 years..

The guided tour has also been revamped with new innovative, multi-media features as well as personal effects – I love seeing Cole’s top hat, his musical instruments which he played and posed, his paint box, his traveling trunk with his signature and date, 1829 – and original paintings, and most especially his studio with his easel and paints and a room devoted to his creative process.

The view of the Hudson River Valley and Catskill Mountains from Thomas Cole’s porch at Cedar Grove © 2017 Karen Rubin/goingplacesfarandnear.com

The presentation really personalizes the man, brings him into your presence. You start the guided tour in the parlor that Thompson, who really encouraged Cole, turned into a sales office for the artist. What appears to be Cole’s portrait – a video projection – becomes a slide show of his art as a voice narrates from Cole’s own journal and writings. Around the room are projections or digital reproductions of Cole’s paintings (some of Cole’s original paintings are in upstairs rooms we visit). He describes the inspiration and rejuvenation he feels from this wilderness, how he is “deliriously happy” at having his family, and his outrage over the “ravages of the axe” of progress.

Touring the Thomas Cole’s Cedar Grove, a National Historic Site © 2017 Karen Rubin/goingplacesfarandnear.com

These themes come together in his work: while primarily a painter of landscapes, he expressed his philosophical opinions in allegorical works, the most famous of which are the five-part series, The Course of Empire, which depict the same landscape over generations—from a near state of nature (depicting American Indians) to consummation of empire (Rome), and then decline and desolation, which is now in the collection of the New York Historical Society (and will be on display at the Metropolitan Museum of Art in 2018); and four-part The Voyage of Life, which are reproduced in his studio. (“Thomas Cole’s Journey: Atlantic Crossings” will be on view at the Met, January 30-May 13, 2018, and feature some of his most iconic works, including The Oxbow (1836) and his five-part series The Course of Empire (1834–36, www.metmuseum.org/exhibitions/listings/2018/thomas-cole,).

I appreciate Cole as very possibly America’s first environmentalist, the first to appreciate conservation and raise the alarm over the march of progress at a time when the Industrial Revolution was taking hold and technological progress was worshipped along with capitalism, as he railed against the “copper-hearted barbarians” and “dollar-godded utilitarians.”

“We are still in Eden; the wall that shuts us out of the garden is our own  ignorance and folly,” he says, as a projection of his painting, “Expulsion from the Garden of Eden” (1828) appears.

Cole worried that America’s rapid expansion and industrial development would destroy the glorious landscape – in 1836, he could see the railroad being built through the valley and he bemoaned the loss of forest along Catskill Creek, “the beauty of environment shorn away.”

Cole recognized America as a land in transition – the settled and domesticated juxtaposed with the wild and undomesticated… He witnessed the changes taking place around him.. And in the early 1800s, America was still in process of creating own culture, distinct from the European settlers.

An Immigrant Dazzled by America’s Wilderness

Thomas Cole was born in Lancashire, England, in 1801 and emigrated to the United States with his parents and sister (his father was in textiles) in 1818, settling first in Philadelphia, then Steubenville Ohio, then New York City. He had little formal art training; he picked up the basics from a wandering portrait painter. Cole soon focused on landscape and ultimately, Cole transformed the way America thought about nature and the way nature was portrayed on canvas.

Thomas Cole’s paint box © 2017 Karen Rubin/goingplacesfarandnear.com

As an immigrant, Cole was dazzled by America’s vast stretch of untamed wilderness, unlike anything that existed in Europe. At this point in time, though, most Americans did not appreciate the wilderness – they thought of it as something to be feared or exploited. Instead, America was enthralled with industrialization, technology and progress.

Thomas Cole’s signature inside his trunk © 2017 Karen Rubin/ goingplacesfarandnear.com

Cole was 24 years old when he took one of the new steamships up the Hudson River (it was “the thing to do” at the time). He made a painting which sold immediately, came again to make another painting and that sold immediately, as well. He came so often he looked around for a studio in the village of Catskill. He came to Cedar Grove, John Alexander Thompson’s 110-acre farm with an orchard and a hilltop view out to the Hudson River and the Catskill Mountains – the same view we see today – and for the next 10 years, rented a studio in a structure next door to Thompson’s house (where Temple Israel now stands).

Sketch of Mary Cole

Cole fell in love with Maria Bartow, Thompson’s niece 11 years younger than Cole, then 35 years old, and moved into Cedar Grove permanently, all living together in the modest house which Thompson had built in 1815.

Thompson provided Cole with the two parlors on the main floor to use as “sales rooms” for his painting, and built a studio for Cole, cutting out a window so he would have northern light.

Thompson also built a studio for him with a high window to bring in northern light, and we see his paints and easel as if he had just left the room for a moment.

Cole’s studio, which Mary’s uncle made for him, installing a high window to bring in northern light, has been restored. It is where he painted one of his most famous series, the four “Voyage of Life” paintings (he painted eight sets of four; one of the sets is in the New-York Historical Society and will be on display January 2018 at the Metropolitan Museum of Art).  We see his paints and easel as if he had just left the room for a moment.

Thomas Cole’s painting materials, as if he had just left his studio for a moment © 2017 Karen Rubin/goingplacesfarandnear.com

Alas, the studio probably contributed to his early death, at the age of 47, when his wife was pregnant with their fifth child – the studio in winter had little ventilation and he was working with turpentine and paints and had a respiratory illness. He died of pleurisy. Mary named their son Thomas Cole, Jr.

Frederick Edwin Church, recognized as a prodigy, was 18 years old when Cole, then 43, took him on as an art student. Cole would take his six-year old son Theodore out with them painting. Paintings by Church that have a small boy are likely Cole’s son. After Cole died, in 1848, Church, who built his Olana on a hilltop on the opposite shore of the Hudson, helped the family, even hiring Cole’s son Theodore as his farm manager.

Photo of Thomas Cole’s granddaughter below his painting © 2017 Karen Rubin/ goingplacesfarandnear.com

Cole’s Creative Process

Touring the house is remarkable because it contains many of Cole’s personal effects including several of his paintings, like “Prometheus,” and his special items like musical instruments that he played and used as props for his paintings.

All of this is fairly miraculous because the house was sold in the 1960s and the contents auctioned off – the paintings, the furnishings. Over the years, many of the sold items have since come back, like “Uncle Sandy’s” chair, which we see today, which was purchased by a local postman who donated it back to Cedar Grove.

Thomas Cole’s writing desk © 2017 Karen Rubin/goingplacesfarandnear.com

In a living room on the second floor, Cole’s letters “appear” on his actual writing desk (triggered by a motion detector); some of the paintings that decorate the room where they would have been are reproductions (the originals held in museums), but some are originals. There are black-and-white photos of his daughter in her later years, sitting in that very room. I am fascinated to see his “magic lantern” (an early slide projector with hand-painted glass slides) that drew its light from a candle inside. We appreciate Cole as a man of enormous talents –a poet, essayist and musician in addition to an artist and we see some of his instruments. We visit his bedroom and see his traveling trunk which he had made on Pearl Street, with his signature and date.

A magic lantern © 2017 Karen Rubin/goingplacesfarandnear.com

We learn that he was close friends with the novelist James Fenimore Cooper and provided illustrations for his work, including “The Last of the Mohicans” (1827) and “The Pioneers.”

My favorite room is his “Process Room” where we see his actual sketches, his paint box which he decorated with a beautiful painting and papers and his famous color wheel.

On my hikes on the Hudson River School Art Trail, I wondered how Cole would have captured the scenes – the sheer logistics of getting to these remote places that take us 20 minutes to reach by car along paved roads. Cole painted at a time before photography was a handy tool, before capped paint tubes made painting “en plein air” as feasible as it was for the Impressionists decades later.

I learn that Cole hiked with a pocket easel and pencil. He would get to a place like Sunset Rock by dark (a trail which I hike), camp and stay there a few days. He made copious notes of the smallest details – the light, color (he created a color-wheel for himself which we see), the atmosphere, the vegetation and natural forms.

Thomas Cole’s color wheel © 2017 Karen Rubin/goingplacesfarandnear.com

But then he would wait before he painted the scene, for time to pass “to put a veil over inessential detail to turn it into beautiful and sublime…He had a vision of nature as an expression of the divine.”

It is important to realize that at the time, a painting afforded the only way for people to see places without actually visiting for themselves.

He began to turn his landscapes into allegorical exposition. Over a three-year period, he painted “The Course of Empire” a series depicting the same landscape over centuries and generations as civilization rises and falls, from savage to civilized, from glory to fall and extinction. He intended the series as a warning against American unbridled expansion and materialism. It took him three years to create and earned him a veritable fortune in commissions and fame.

Thomas Cole’s top hat © 2017 Karen Rubin/goingplacesfarandnear.com

Cole also became progressively more spiritual – coinciding with a rise in spiritualism in America. – and used his landscape painting as religious allegory. This is manifest in Cole’s “Voyage of Life,” a series of four paintings that show a pilgrim from infancy to old age, led by a guardian angel, which became Cole’s most popular work.

Each year, there are always special exhibits as well – in the Cole house, oddly juxtaposed with Cole’s 18th century works (we even see the wall trim that he painted himself) is a contemporary artist, Kiki Smith. In the New Studio, a separate building, this season is “Sanford R. Gifford in the Catskills.”

A glimpse into Thomas Cole’s creative process © 2017 Karen Rubin/goingplacesfarandnear.com

Most days when you visit the Cole house, you take a guided tour, but on Saturday and Sundays, 2-5, you can tour the house on your own. The house usually closes at the end of October but this year, it is open for three weekends in November.

Thomas Cole National Historic Site, 218 Spring Street, Catskill, NY 12414, 518-943-7465, www.thomasscole.org (Normally open May-October, but will have extended season this year, three weekends in November).

Get maps, directions and photographs of all the sites on the Hudson River School Art Trail at www.hudsonriverschool.org. 

A great place to stay: The Fairlawn Inn, a historic bed-and-breakfast, 7872 Main Street (Hwy 23A), Hunter, NY 12442, 518-263-5025, www.fairlawninn.com.

Further help planning a visit, from lodging to attractions to itineraries, is available from Greene County Tourism, 700 Rte 23B, Leeds, NY 12451, 800-355-CATS, 518-943-3223, www.greatnortherncatskills.com and its fall hub http://www.greatnortherncatskills.com/catskills-fall-foliage

See also:     

3-Day Fall Getaway in the Catskills: Fairlawn Inn is Superb Hub for Exploring the Hudson River Valley

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