ArtSlant - Recently added en-us 40 Roy Lichtenstein - Guild Hall - August 8th - October 12th <p style="text-align: justify;">This exhibition is dedicated to the memory of Mickey Straus.</p> <p style="text-align: justify;">In 1964, inspired by both the long history of art and by imagery he found on contemporary printed postcards, Roy Lichtenstein began to explore the genre of land and seascapes, using paint, plastic, enamel, drawings, collage, print, and even film to realize his various works. Seascapes were an essential part of the artist&rsquo;s lifelong exploration of psychological optics, light and his keen observations on the nature of field and ground. They were a genre he would revisit throughout his career in various media and guises. Comprised of over 30 works form private lenders and the Roy Lichtenstein Foundation, the exhibition will include works from the 1960s-1990s. A collaboration between Guild Hall and the Roy Lichtenstein Foundation, Roy Lichtenstein: Between Sea and Sky celebrate the artist&rsquo;s abiding relationship with the East End of New York and all that it inspired.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong><em>Principal Sponsor:&nbsp;</em></strong><em>Larry Gagosian</em></p> <p style="text-align: justify;"><strong><em>Lead Sponsors:&nbsp;</em></strong><em>Valentino D. Carlotti, Barbara Bertozzi Castelli,&nbsp;Barbara and Richard Lane,&nbsp;Joan and Lucio Noto, and&nbsp;Fern and Lenard Tessler</em></p> <p style="text-align: justify;"><strong><em>Co-Sponsors:&nbsp;</em></strong><em>The Broad Art Foundation,&nbsp;Raymond J. Learsy and Melva Bucksbaum, and&nbsp;Katherine and James Goodman</em></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>All Museum programming is made possible in part though the generosity of Crozier Fine Arts, The Harold and Mimi Steinberg Charitable Trust, the Helen Hoie Fund, The Lorenzo and Mary Woodhouse Trust, Melville Straus Family Endowment Fund, and with public funds from the New York State Council on the Arts and Suffolk County.</em></p> Sun, 05 Jul 2015 15:54:52 +0000 Group Show - Guild Hall - June 20th - July 26th <p style="text-align: justify;">his exhibition is dedicated to the memory of Tom Twomey.</p> <p style="text-align: justify;">Featuring East End artists: Linda Alpern, Ross Bleckner, Jack Ceglic, Fischer Cherry, Ann Chwatsky, Chuck Close, Anh Duong, Eric Fischl, Cornelia Foss, John Hardy, Soren Hope, William King, Jill Krementz, Laurie Lambrecht, Christa Maiwald, Jonathan Morse, Elizabeth Peyton, Bastienne Schmidt, Lola Montes Schnabel, Julian Schnabel, Joan Semmel, Cindy Sherman, Billy Sullivan, Susan Tepper, Robert Wilson, Darius Yektai and others, including selections from the permanent collection.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>Sponsored in part by Donald R. Mullen and the Spektor Family Foundation, with additional support from Deborah and Allen Grubman, Amy and Joe Perella, and Carl Spielvogel and&nbsp;Barbaralee Diamonstein-Spielvogel.</em></p> Sun, 05 Jul 2015 15:53:15 +0000 - Hunterdon Art Museum - September 27th - January 3rd, 2016 Sun, 05 Jul 2015 15:50:39 +0000 - Hunterdon Art Museum - September 27th - January 3rd, 2016 Sun, 05 Jul 2015 15:50:33 +0000 - Hunterdon Art Museum - September 27th - January 3rd, 2016 Sun, 05 Jul 2015 15:50:14 +0000 Sally Spofford - Hunterdon Art Museum - September 27th - November 8th Sun, 05 Jul 2015 15:49:43 +0000 Group Show - Hunterdon Art Museum - June 20th - September 6th <p style="text-align: justify;">Hunterdon Art Museum teachers will showcase their diverse talents in oil and acrylic painting, photography, ceramics and more in our Faculty Show which runs through September 6.</p> <p style="text-align: justify;">Faculty artists participating in this year&rsquo;s show are: Lena Shiffman, Bascha Mon, Andrea Gianchiglia, Judy Shevell, Chris Muller, Leah Cahill, Charles David Viera, Catherine Kumar, Maureen Chatfield, Tricia Hurley, Jessica Lenard, Donna Lish, Duffy Dillinger, Anne Kullaf, Bill Macholdt, Ann Tsubota, Noah Klersfeld, Nancy Ori, Eric Rhinehart, MaryAnn Miller, Wendy Hallstrom, Stephen McKenzie, Carol K. Russell, Susan Martin Maffei, Archie Brennan, Santiago Cohen, April Anderson and Jennifer Brazel.</p> <p style="text-align: justify;">&ldquo;The Hunterdon Art Museum&rsquo;s mission &mdash; to connect people with contemporary art, craft, and design in ways that educate, challenge, and inspire &mdash; is perhaps best exemplified by the Museum&rsquo;s faculty,&rdquo; said Marjorie Frankel Nathanson, our executive director. &ldquo;Whether teaching a child&rsquo;s first art class or a workshop to accomplished artists who wish to learn a specific technique, our faculty excels. We&rsquo;re proud to highlight their work in this exhibition.&rdquo;</p> <p style="text-align: justify;">About 30 artists who teach on-site in the Museum&rsquo;s studios or off-site in area schools, juvenile justice facilities or other community programs were invited to participate in the exhibition.</p> <p style="text-align: justify;">&ldquo;The exhibition highlights the incredible talents of the artists teaching at HAM,&rdquo; said April Anderson, our education coordinator. &ldquo;After viewing the exhibition, we hope people will be inspired to learn from these talented teachers and will enroll in one of of terrific classes or workshops.&rdquo;</p> Sun, 05 Jul 2015 15:47:34 +0000 Ida-Christel Siebke - Islip Art Museum - June 28th - September 13th <p style="text-align: justify;">In support of emerging artists, the Islip Art Museum&rsquo;s gift shop will feature artwork by Norwegian artist Ida-Christel Siebke. The exhibition features hand poured, casted glass bricks with found key inclusions. This work was created at Diablo Glass School in Boston, MA during her April 2015 artist residency.</p> Sun, 05 Jul 2015 15:41:31 +0000 Alfred Stieglitz - The Jewish Museum - September 25th - February 14th, 2016 <p style="text-align: justify;"><span style="font-size: small;"><strong><em>Masterpieces &amp; Curiosities: Alfred Stieglitz's</em> The Steerage focuses on Stieglitz&rsquo;s enduring 1907 picture of steerage-class passengers aboard the ocean liner<em> Kaiser Wilhelm II</em>. This image has often been regarded as evidence of the poor conditions under which many immigrants arrived in America; however, Stieglitz took the photograph on a voyage to Europe</strong><strong>. As such, it is a document of people who were likely denied entry and citizenship to the United States. Stieglitz's concerns, however, were largely aesthetic rather than social-minded: he was moved more by the picture's formal qualities than its subject matter. Stieglitz considered the work to be his greatest triumph in a long, illustrious career as a photographer, stating later in life, "If all my photographs were lost, and I&rsquo;d be represented by just one,<em> The Steerage,</em> I&rsquo;d be satisfied."</strong></span></p> <div class="overview-description overview-item one-half pull-left"> <div class="description"> <p style="text-align: justify;"><span style="font-size: small;"><em>Alfred Stieglitz's </em>The Steerage demonstrates the artist's ceaseless promotion of the image, from its reproduction in <em>Camera Work</em>, Stieglitz&rsquo;s high-minded art journal, to popular magazines such as <em>Vanity Fair.</em> The exhibition will also feature Stieglitz's own account of its creation, in which he recalls:</span></p> <blockquote> <p style="text-align: justify;"><span style="font-size: small;">How I hated the atmosphere of the first class on that ship. One couldn&rsquo;t escape the nouveaux riches. I had to get away from that company. As I came to the end of the [deck] I stood alone, looking down. The whole scene fascinated me. I longed to escape from my surroundings and join those people. I saw a picture of shapes and underlying that the feeling I had about life. Should I try to put down this seemingly new vision that held me - people, the common people, the feeling of ship and ocean and sky and the feeling of release that I was away from the mob called the rich? Here would be a picture based on related shapes and on the deepest human feeling, a step in my own evolution, a spontaneous discovery.</span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;">The exhibition further explores the discrepancy in experience between those, like Stieglitz, traveling in first-class, and those in steerage. An exact model of the<em> Kaiser Wilhelm II</em> demonstrates the sheer scale of this impressive ocean liner, while vintage postcards depict the lavish interiors of its first-class cabins. By contrast, Edward A. Steiner&rsquo;s <em>On the Trail of the Immigrant,</em> published in 1906, provides an unsparing account of the wretched steerage conditions aboard the same ship.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Despite the fact that <em>The Steerage</em> shows people leaving, not coming to, the United States, by the mid-twentieth century <em>The Steerage </em>came to be viewed as the quintessential image of immigrants en route to America. The image resonates on a personal level, especially with Jewish Americans, who often mistake one of the figures in the foreground for a Jewish man mid-prayer (at a quick glance, the striped cloth looks like a <em>tallit</em>, or prayer shawl). Perhaps for this reason above all, <em>The Steerage </em>has become the textbook image for Jewish immigration (it even appears on the cover of <em>The Columbia History of Jews &amp; Judaism in America</em>, published in 2008).</span></p> <p style="text-align: justify;"><span style="font-size: small;">Two related artworks from the Jewish Museum&rsquo;s collection are also included in this exhibition: Arnold Newman&rsquo;s 1944 double portrait of Stieglitz and the artist Georgia O&rsquo;Keeffe (whom he married in 1924), and Vik Muniz's contemporary rendition of <em>The Steerage</em>, which he recreated in chocolate sauce in 2000.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a href=";q=%23MasterpiecesCuriosities&amp;src=typd">#MasterpiecesCuriosities</a></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Masterpieces &amp; Curiosities: Alfred Stieglitz&rsquo;s</em> The Steerage is organized by Rebecca Shaykin, Leon Levy Assistant Curator. The series is organized by Jens Hoffmann, Deputy Director, Exhibitions and Public Programs, and Daniel S. Palmer, Leon Levy Assistant Curator.</span></p> <h5 style="text-align: justify;"><span style="font-size: small;"><em>Masterpieces &amp; Curiosities: Alfred Stieglitz's </em>The Steerage is made possible by an anonymous donation in memory of Curtis Hereld and the Horace W. Goldsmith Foundation Exhibition Fund.&nbsp;</span></h5> <h5 style="text-align: justify;"><span style="font-size: small;">Additional support is provided by the Leon Levy Foundation.</span></h5> </div> </div> Sun, 05 Jul 2015 15:30:47 +0000 Group Show - The Jewish Museum - September 25th - February 7th, 2016 <p style="text-align: justify;">From early vanguard constructivist works by Alexander Rodchenko and El Lissitzky, to the modernist images of Arkady Shaikhet and Max Penson, Soviet photographers played a pivotal role in the history of modern photography. Covering the period from the 1917 Bolshevik Revolution through the 1930s, this exhibition explores how early modernist&nbsp;photography influenced a new Soviet style while energizing and expanding the nature of the medium &mdash; and how photography, film, and poster art were later&nbsp;harnessed to disseminate Communist ideology.&nbsp;<em>The Power of Pictures</em>&nbsp;revisits this moment in history when artists acted as engines of social change and radical political engagement, so that art and politics went hand in hand.</p> <p style="text-align: justify;">In a country where 70% of the population was illiterate, photographic propaganda often was more valuable than newspaper editorials. Lenin himself declared that the camera, as much as the gun, was an important weapon in &ldquo;class struggle.&rdquo; Recognizing that images had the power to transform society,&nbsp;Lenin put photography at the service of the Revolution &mdash; thereby serving as a historical demonstration of how artistic and political ambitions can coalesce and fortify one another.&nbsp;<em>The Power of Pictures</em>&nbsp;will illustrate&nbsp;that this work, developing alongside avant-garde art,&nbsp;encompassed a much wider range of artistic styles and thematic content than previously recognized. By contrasting works produced by Oktober and The Union of Russian Proletarian Photographers (ROPF), the exhibition will consider the conflicts and similarities of these respective groups of photographers who defined Soviet style of the period.&nbsp;<em>The Power of Pictures</em>&nbsp;highlights constructivist photographers, including Rodchenko, El Lissitzky, and Boris Ignatovich, whose work was presented in important exhibitions of the time. Such photographers influenced a new generation of photojournalists, such as Shaikhet, Penson, Eleazar Langman, and Georgi Zelma &mdash; the majority&nbsp;of whom were Jewish.</p> <p style="text-align: justify;">In addition to a stunning collection of photographic works, the exhibition includes films by major directors of the era, including the seminal&nbsp;Sergei Eisenstein film,&nbsp;<em>Battleship Potemkin</em>. Despite Eisenstein's relative fame,&nbsp;many of these filmmakers&nbsp;have been overlooked or excised from the history of the medium.&nbsp;<em>The Power of Pictures</em>&nbsp;features a rich array of film posters and vintage books that employ radical graphic styles with extreme color, dynamic geometric designs, and innovative collages and photomontages. Also presented are examples of periodicals in which major photographic works were published.</p> <p style="text-align: justify;"><em>Photographers:&nbsp;</em><br /> Boris lgnatovich<br /> Elizaveta lgnatovich<br /> Olga lgnatovich<br /> Yakov Khalip<br /> Eleazar Langman<br /> El Lissitzky<br /> Moisei Nappelbaum<br /> Max Penson<br /> Georgy Petrusov<br /> Alexander Rodchenko<br /> Arkady Shaikhet<br /> Georgy Zelma<br /> Georgy Zimin</p> <p style="text-align: justify;"><br /> <em>Filmmakers:&nbsp;</em><br /> Boris Barnet<br /> Sergei Eisenstein<br /> Mikhail Kalatozov<br /> Grigory Kozintsev<br /> Lev Kuleshov<br /> Yakov Pratazanov<br /> Vsevold Pudovkin<br /> Esfir Shub<br /> Victor Turin<br /> Dziga Vertov</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><br /> Susan Tumarkin Goodman<br /> Senior Curator Emerita</p> <p style="text-align: justify;">Jens Hoffmann<br /> Deputy Director, Exhibitions and Public Programs</p> <p style="text-align: justify;"><a href=";q=%23jmpowerofpictures&amp;src=typd" target="_blank">#JMPowerOfPictures</a></p> <h5 style="text-align: justify;"><em>The Power of Pictures: Early Soviet Photography, Early Soviet Film&nbsp;&nbsp;</em>is made possible by the Eugene and Emily Grant Family Foundation, The David Berg Foundation, Andrew and Marina Lewin Foundation, the Robert Mapplethorpe Foundation, and the Horace W. Goldsmith Foundation Exhibition Fund.</h5> <h5 style="text-align: justify;">The catalogue is supported with endowment funds from the Dorot Foundation.</h5> <p style="text-align: justify;"><img style="height: 30px; width: 443px;" src="" alt="" /></p> <h5 style="text-align: justify;"><br /> Special thanks to: Likhachev Foundation, St. Petersburg, Russia Memorial Foundation for Jewish Culture, New York</h5> Sun, 05 Jul 2015 15:28:01 +0000 Sandra Ramos, Diana Montero, Reynier Leyva Novo, and Vanessa Portieles, Yanelvis González - The Jewish Museum - June 26th - July 30th <p style="text-align: justify;"><em>Sights and Sounds: Cuba</em>&nbsp;features new work by Sandra Ramos, Diana Montero, Reynier Leyva Novo, and&nbsp;Vanessa Portieles and Yanelvis Gonz&aacute;lez, selected by Mailyn Machado.</p> <div class="overview-description overview-item one-half pull-left"> <div class="description"> <p style="text-align: justify;">This selection of videos by Cuban artists living in Cuba and Florida focuses on a prominent issue in the island&rsquo;s modern history: the challenge of staying or leaving, and the cultural and social effects of that dilemma. Cuba was long defined as a society that received immigrants; that changed with the Revolution of 1959. Waves of emigration throughout the last half-century have become a familiar, and highly politicized, phenomenon. Until a very recent change in the law, emigration was a permanent one-way trip.</p> <p style="text-align: justify;">A second large influence on recent art was the severe economic crisis of the 1990s, which undermined public confidence in the Revolution and its legacy. The family was at the epicenter of individual response to this problem (and hence is a frequent subject of video artists); emigration was now seen not as a political statement but a personal choice. Equally significant was the rise of an underground economy that sustained the country.</p> <p style="text-align: justify;">The social bonds produced by these changes, as well as uneven access to new technologies, have caused new networks and communities to develop among Cubans both at home and abroad, forming a complex new cultural geography. The four videos seen here are, in a sense, a barometer of these social shifts. Video is especially well-adapted to this role; in Cuba, in order to evade the state monopoly on media, it has become a person-to-person medium, a conduit between the audience and reality, a record of fragments of life that flows from hand to hand, from computer to computer, unofficially.</p> <p style="text-align: justify;"><strong>Mailyn Machado<br /> Curator</strong></p> <p style="text-align: justify;">Mailyn Machado (b. Havana, 1976) is an art and media critic and curator. She has organized exhibitions for the Museum of Fine Arts, Havana, the Havana Biennial, and the Cultural Centers of Spain in America, among other&nbsp;institutions. She is the chief editor of the magazine&nbsp;La Gaceta de Cuba. Her writing has appeared in Cuban and foreign publications. Machado earned a degree in art history from the University of Havana in 2001, and &nbsp;completed postgraduate studies in art criticism at Gerona University, Spain, in 2006.</p> </div> </div> Sun, 05 Jul 2015 15:21:54 +0000 Jacob Riis - Museum of the City of New York - September 18th - January 31st, 2016 <p style="text-align: justify;">Jacob Riis (1849-1914) was a pioneering newspaper reporter and social reformer in New York at the turn of the 20th century. His then-novel idea of using photographs to illustrate the plight of the city&rsquo;s poor&mdash;New York&rsquo;s &ldquo;other half&rdquo;&mdash;established Riis as a forerunner of modern photojournalism. His photography was effective, and his work spurred legislation and new organizations that addressed housing conditions and more. <em>Jacob A. Riis: Revealing New York&rsquo;s Other Half</em> features photographs by Riis and his contemporaries, as well as his handwritten journals and personal correspondence.</p> <p style="text-align: justify;">This is the first major retrospective of Riis&rsquo;s photographic work in the U.S. since the City Museum&rsquo;s seminal 1947 exhibition, <em>The Battle with the Slum</em>, and for the first time unites the Museum&rsquo;s Jacob A. Riis Collection&mdash;the sole archive of Riis&rsquo;s images&mdash;and the Jacob A. Riis Papers from the Library of Congress.</p> <p style="text-align: justify;">The exhibition is curated by Bonnie Yochelson, former Curator of Prints and Photographs at the City Museum, and is co-presented by the Library of Congress. It will travel to Washington, D.C., and to Denmark following its presentation at the City Museum.</p> <p style="text-align: justify;">Yale University Press, the City Museum, and the Library of Congress also co-published a book on the occasion of the exhibition.</p> Sun, 05 Jul 2015 15:10:31 +0000 - Museum of the City of New York - September 18th - January 31st, 2016 <p style="text-align: justify;">New York City has a long history of creating below-market housing for its residents. Today the city offers subsidized housing to families across a wide economic spectrum; more than 400,000 in public housing, and many more in privately or cooperatively owned apartments. With affordable housing a cornerstone of Mayor Bill de Blasio&rsquo;s administration, New York&rsquo;s housing legacy&mdash;often overlooked and little understood&mdash;is more relevant than ever.</p> <p style="text-align: justify;"><em>Affordable New York</em> traces over a century of affordable housing activism, documenting the ways in which reformers, policy makers, and activists have fought to transform their city. A focus on current and future housing initiatives demonstrates how New Yorkers continue to promote subsidized housing as a way to achieve diversity, neighborhood stability, and social justice.&nbsp;</p> <p style="text-align: justify;">Join the conversation. #AffordableNY</p> Sun, 05 Jul 2015 15:09:32 +0000 - Museum of the City of New York - June 17th - November 29th <p style="text-align: justify;">The Museum of the City of New York presents Folk City: New York and the Folk Music Revival, a celebration of the City&rsquo;s role as the center of the folk music revival from its beginnings in the 1930s and 1940s to its heyday in the 1950s and 1960s, as well as its continuing legacy. With a wide array of memorabilia, photos, video, and sound recordings, the exhibition documents the music and movement that helped transform Greenwich Village and spread as a major cultural phenomenon. Folk City opens on Wednesday, June 17, and remains on view through Sunday, November 29.</p> <p style="text-align: justify;">&ldquo;New York, which has been the source of so much creativity throughout its history, was central to the folk music revival that swept the country and became one of the remarkable phenomena of the 20th Century,&rdquo; said Susan Henshaw Jones, Ronay Menschel Director of the Museum of the City of New York. &ldquo;Folk music spawned a whole culture, and the legacy continues today in New York and far beyond. This exhibition and our related public programs explore the revival and will let visitors experience it in a fascinating and joyous way.&rdquo;</p> <p style="text-align: justify;">Folk City will feature listening stations where visitors can hear a range of folk songs along with videos showcasing historic footage that capture the bohemian spirit of Greenwich Village in the 1950s and the national hootenanny craze of the 1960s. The exhibition also includes unique archival photographs, concert posters, and original instruments, including:</p> <p style="text-align: justify;">&bull; Lead Belly&rsquo;s 12-&shy;‐string guitar</p> <p style="text-align: justify;">&bull; Odetta&rsquo;s iconic guitar, &ldquo;Baby,&rdquo; along with one of her colorful dashikis</p> <p style="text-align: justify;">&bull; The original handwritten manuscript of Bob Dylan&rsquo;s &ldquo;Blowin&rsquo; in the Wind&rdquo;</p> <p style="text-align: justify;">&bull; The napkin on which Eric Andersen wrote his &ldquo;Thirsty Boots&rdquo; lyrics</p> <p style="text-align: justify;">&bull; A trademark felt cap worn by Phil Ochs &bull; Handwritten letters by Woody Guthrie and Pete Seeger</p> <p style="text-align: justify;">&bull; Rarely-&shy;‐shown photographs by David Gahr, a pre-&shy;‐eminent chronicler of the folk revival</p> <p style="text-align: justify;">Curated by Stephen Petrus, an Andrew W. Mellon post-&shy;‐doctoral fellow at the Museum, Folk City will look at the folk movement in four sections:</p> <p style="text-align: justify;">&bull; The revival&rsquo;s roots in the 1930s and 1940s, when singers&mdash;such as Woody Guthrie, Josh White, and Burl Ives&mdash;moved to New York, drawn by performance opportunities and the progressive political climate.</p> <p style="text-align: justify;">&bull; The expansion of folk music culture in the 1950s, when the genre changed from an art form associated with leftist politics during the Red Scare&mdash;ensnaring many performers, including Seeger-&shy;‐-&shy;‐to a popular craze with mass appeal.</p> <p style="text-align: justify;">&bull; The boom years in the late 1950s to the mid-&shy;‐1960s, when Greenwich Village was the focal point of the revival culture due to the concentration of performance venues, including the exhibition&rsquo;s eponymous Folk City.</p> <p style="text-align: justify;">&bull; The legacy of the revival from 1965 to the present day, showing how the revival has continued and retained its relevancy through five decades. This includes the rise of &lsquo;folk-&shy;‐rock&rsquo; and other folk trends after the &ldquo;British Invasion&rdquo; and Dylan&rsquo;s stunning turn to electric guitar in 1965.</p> <p style="text-align: justify;">&ldquo;The New York folk music community created songs that stopped Americans in their tracks. Folk Songs were of substance, the meat and potatoes of people&rsquo;s lives,&rdquo; said Petrus. &ldquo;This music resonated with New Yorkers and many others. It not only informed them about their cultural heritage, but also broke down social barriers.&rdquo;</p> <p style="text-align: justify;">Folk City highlights visionary entrepreneurs who were committed to promoting folk music, including Mike Porco of Gerde&rsquo;s Folk City, Izzy Young of the Folklore Center, and John Hammond of Columbia Records. The Greenwich Village performance spaces are shown as exciting venues and as incubators of a burgeoning counterculture. Artists from different backgrounds performed in Village clubs as well as in one of the city&rsquo;s great communal gathering places, Washington Square Park, where they tried out both new music and new ideas that often challenged social conventions of the time.</p> <p style="text-align: justify;">The Museum will offer a broad array of public programs in conjunction with the exhibition, including folk concerts and panel discussions. The Museum&rsquo;s Frederick A.O. Schwarz Children&rsquo;s Center has designed special programs for students and teachers, which have been made possible by a grant from the D&rsquo;Addario Foundation. After exploring the lyrics, videos, and songs of singers like Pete Seeger and Bob Dylan, families will join in music-&shy;‐based activities.</p> <p style="text-align: justify;">The exhibition is accompanied by a newly published book, Folk City: New York and the American Folk Music Revival, by Stephen Petrus and historian Ronald D. Cohen, with a foreword by Peter Yarrow. Published by Oxford University Press, the book shows that folk music flowered in New York as a result of initiatives of musicians, record company producers and executives, radio show hosts, club owners, concert promoters, folklorists, managers, journalists, and audiences. Princeton University historian Sean Wilentz calls Folk City &ldquo;the best history yet of the city&rsquo;s influential folk music culture, packed with astonishing photos that finally see the light of day.&rdquo; The Village Voice named Folk City one of &ldquo;Fifteen Books You Need to Read in 2015.&rdquo;</p> <p style="text-align: justify;">Folk City merchandise, available in the Museum shop and its online store, will including a large selection of CDs, miniature replicas of guitars, books, and objects including 3D magnets, a lunchbox, earbuds, postcards, and original photos, many of which are featured in the exhibition.</p> <p style="text-align: justify;">The exhibition&rsquo;s honorary co-&shy;‐chairs are themselves significant participants in the folk revival and its legacy: Oscar Brand, Judy Collins, Steve Earle, Nora Guthrie, Noel Stookey, and Peter Yarrow.</p> <p style="text-align: justify;">The idea for the exhibition originated with co-&shy;‐chair John R. Heller, and he was joined in supporting and helping raise funds by co-&shy;‐chairs of James E. Buckman and Thomas M. Neff.</p> <p style="text-align: justify;">Folk City is made possible by Wyndham Worldwide Incorporated.</p> <p style="text-align: justify;">Additional support is provided by James G. Dinan and Elizabeth R. Miller, The Zegar Family Foundation, an anonymous donor in honor of John Heller, Jill and John Chalsty, The Martin Guitar Charitable Foundation, and MacLean-&shy;‐Fogg, among others.</p> <p style="text-align: justify;">The Museum gratefully acknowledges the Andrew W. Mellon Foundation, which supported a post-&shy;‐doctoral fellowship for exhibition curator Stephen Petrus.</p> <p style="text-align: justify;">The media sponsor is WFUV, and Folk Alliance International is a co-&shy;‐sponsor of the exhibition.</p> <p style="text-align: justify;">The exhibition is designed by Pure+Applied.</p> <p>The<br />Museum<br />of<br />the<br />City<br />of<br />New<br />York<br />presents<br />Folk<br />City:<br />New<br />York<br />and<br />the<br />Folk<br />Music<br />Revival,<br />a<br />celebration<br />of<br />the<br />City&rsquo;s<br />role<br />as<br />the<br />center<br />of<br />the<br />folk<br />music<br />revival<br />from<br />its<br />beginnings<br />in<br />the<br />1930s<br />and<br />1940s<br />to<br />its<br />heyday<br />in<br />the<br />1950s<br />and<br />1960s,<br />as<br />well<br />as<br />its<br />continuing<br />legacy.<br />With<br />a<br />wide<br />array<br />of<br />memorabilia,<br />photos,<br />video,<br />and<br />sound<br />recordings,<br />the<br />exhibition<br />documents<br />the<br />music<br />and<br />movement<br />that<br />helped<br />transform<br />Greenwich<br />Village<br />and<br />spread<br />as<br />a<br />major<br />cultural<br />phenomenon.<br />Folk<br />City<br />opens<br />on<br />Wednesday,<br />June<br />17,<br />and<br />remains<br />on<br />view<br />through<br />Sunday,<br />November<br />29.<br />&ldquo;New<br />York,<br />which<br />has<br />been<br />the<br />source<br />of<br />so<br />much<br />creativity<br />throughout<br />its<br />history,<br />was<br />central<br />to<br />the<br />folk<br />music<br />revival<br />that<br />swept<br />the<br />country<br />and<br />became<br />one<br />of<br />the<br />remarkable<br />phenomena<br />of<br />the<br />20th<br />Century,&rdquo;<br />said<br />Susan<br />Henshaw<br />Jones,<br />Ronay<br />Menschel<br />Director<br />of<br />the<br />Museum<br />of<br />the<br />City<br />of<br />New<br />York.<br />&ldquo;Folk<br />music<br />spawned<br />a<br />whole<br />culture,<br />and<br />the<br />legacy<br />continues<br />today<br />in<br />New<br />York<br />and<br />far<br />beyond.<br />This<br />exhibition<br />and<br />our<br />related<br />public<br />programs<br />explore<br />the<br />revival<br />and<br />will<br />let<br />visitors<br />experience<br />it<br />in<br />a<br />fascinating<br />and<br />joyous<br />way.&rdquo;<br />Folk<br />City<br />will<br />feature<br />listening<br />stations<br />where<br />visitors<br />can<br />hear<br />a<br />range<br />of<br />folk<br />songs<br />along<br />with<br />videos<br />showcasing<br />historic<br />footage<br />that<br />capture<br />the<br />bohemian<br />spirit<br />of<br />Greenwich<br />Village<br />in<br />the<br />1950s<br />and<br />the<br />national<br />hootenanny<br />craze<br />of<br />the<br />1960s.<br />The<br />exhibition<br />also<br />includes<br />unique<br />archival<br />photographs,<br />concert<br />posters,<br />and<br />original<br />instruments,<br />including:<br />&bull; Lead<br />Belly&rsquo;s<br />12-&shy;‐string<br />guitar<br />&bull; Odetta&rsquo;s<br />iconic<br />guitar,<br />&ldquo;Baby,&rdquo;<br />along<br />with<br />one<br />of<br />her<br />colorful<br />dashikis<br />&bull; The<br />original<br />handwritten<br />manuscript<br />of<br />Bob<br />Dylan&rsquo;s<br />&ldquo;Blowin&rsquo;<br />in<br />the<br />Wind&rdquo;<br />&bull; The<br />napkin<br />on<br />which<br />Eric<br />Andersen<br />wrote<br />his<br />&ldquo;Thirsty<br />Boots&rdquo;<br />lyrics<br />&bull; A<br />trademark<br />felt<br />cap<br />worn<br />by<br />Phil<br />Ochs<br />&bull; Handwritten<br />letters<br />by<br />Woody<br />Guthrie<br />and<br />Pete<br />Seeger<br />&bull; Rarely-&shy;‐shown<br />photographs<br />by<br />David<br />Gahr,<br />a<br />pre-&shy;‐eminent<br />chronicler<br />of<br />the<br />folk<br />revival<br />Curated<br />by<br />Stephen<br />Petrus,<br />an<br />Andrew<br />W.<br />Mellon<br />post-&shy;‐doctoral<br />fellow<br />at<br />the<br />Museum,<br />Folk<br />City<br />will<br />look<br />at<br />the<br />folk<br />movement<br />in<br />four<br />sections:<br />&bull; The<br />revival&rsquo;s<br />roots<br />in<br />the<br />1930s<br />and<br />1940s,<br />when<br />singers&mdash;such<br />as<br />Woody<br />Guthrie,<br />Josh<br />White,<br />and<br />Burl<br />Ives&mdash;moved<br />to<br />New<br />York,<br />drawn<br />by<br />performance<br />opportunities<br />and<br />the<br />progressive<br />political<br />climate.<br />&bull; The<br />expansion<br />of<br />folk<br />music<br />culture<br />in<br />the<br />1950s,<br />when<br />the<br />genre<br />changed<br />from<br />an<br />art<br />form<br />associated<br />with<br />leftist<br />politics<br />during<br />the<br />Red<br />Scare&mdash;ensnaring<br />many<br />performers,<br />including<br />Seeger-&shy;‐-&shy;‐to<br />a<br />popular<br />craze<br />with<br />mass<br />appeal.<br />&bull; The<br />boom<br />years<br />in<br />the<br />late<br />1950s<br />to<br />the<br />mid-&shy;‐1960s,<br />when<br />Greenwich<br />Village<br />was<br />the<br />focal<br />point<br />of<br />the<br />revival<br />culture<br />due<br />to<br />the<br />concentration<br />of<br />performance<br />venues,<br />including<br />the<br />exhibition&rsquo;s<br />eponymous<br />Folk<br />City.<br />&bull; The<br />legacy<br />of<br />the<br />revival<br />from<br />1965<br />to<br />the<br />present<br />day,<br />showing<br />how<br />the<br />revival<br />has<br />continued<br />and<br />retained<br />its<br />relevancy<br />through<br />five<br />decades.<br />This<br />includes<br />the<br />rise<br />of<br />&lsquo;folk-&shy;‐rock&rsquo;<br />and<br />other<br />folk<br />trends<br />after<br />the<br />&ldquo;British<br />Invasion&rdquo;<br />and<br />Dylan&rsquo;s<br />stunning<br />turn<br />to<br />electric<br />guitar<br />in<br />1965.<br />&ldquo;The<br />New<br />York<br />folk<br />music<br />community<br />created<br />songs<br />that<br />stopped<br />Americans<br />in<br />their<br />tracks.<br />Folk<br />Songs<br />were<br />of<br />substance,<br />the<br />meat<br />and<br />potatoes<br />of<br />people&rsquo;s<br />lives,&rdquo;<br />said<br />Petrus.<br />&ldquo;This<br />music<br />resonated<br />with<br />New<br />Yorkers<br />and<br />many<br />others.<br />It<br />not<br />only<br />informed<br />them<br />about<br />their<br />cultural<br />heritage,<br />but<br />also<br />broke<br />down<br />social<br />barriers.&rdquo;<br />Folk<br />City<br />highlights<br />visionary<br />entrepreneurs<br />who<br />were<br />committed<br />to<br />promoting<br />folk<br />music,<br />including<br />Mike<br />Porco<br />of<br />Gerde&rsquo;s<br />Folk<br />City,<br />Izzy<br />Young<br />of<br />the<br />Folklore<br />Center,<br />and<br />John<br />Hammond<br />of<br />Columbia<br />Records.<br />The<br />Greenwich<br />Village<br />performance<br />spaces<br />are<br />shown<br />as<br />exciting<br />venues<br />and<br />as<br />incubators<br />of<br />a<br />burgeoning<br />counterculture.<br />Artists<br />from<br />different<br />backgrounds<br />performed<br />in<br />Village<br />clubs<br />as<br />well<br />as<br />in<br />one<br />of<br />the<br />city&rsquo;s<br />great<br />communal<br />gathering<br />places,<br />Washington<br />Square<br />Park,<br />where<br />they<br />tried<br />out<br />both<br />new<br />music<br />and<br />new<br />ideas<br />that<br />often<br />challenged<br />social<br />conventions<br />of<br />the<br />time.<br />The<br />Museum<br />will<br />offer<br />a<br />broad<br />array<br />of<br />public<br />programs<br />in<br />conjunction<br />with<br />the<br />exhibition,<br />including<br />folk<br />concerts<br />and<br />panel<br />discussions.<br />The<br />Museum&rsquo;s<br />Frederick<br />A.O.<br />Schwarz<br />Children&rsquo;s<br />Center<br />has<br />designed<br />special<br />programs<br />for<br />students<br />and<br />teachers,<br />which<br />have<br />been<br />made<br />possible<br />by<br />a<br />grant<br />from<br />the<br />D&rsquo;Addario<br />Foundation.<br />After<br />exploring<br />the<br />lyrics,<br />videos,<br />and<br />songs<br />of<br />singers<br />like<br />Pete<br />Seeger<br />and<br />Bob<br />Dylan,<br />families<br />will<br />join<br />in<br />music-&shy;‐based<br />activities.<br />The<br />exhibition<br />is<br />accompanied<br />by<br />a<br />newly<br />published<br />book,<br />Folk<br />City:<br />New<br />York<br />and<br />the<br />American<br />Folk<br />Music<br />Revival,<br />by<br />Stephen<br />Petrus<br />and<br />historian<br />Ronald<br />D.<br />Cohen,<br />with<br />a<br />foreword<br />by<br />Peter<br />Yarrow.<br />Published<br />by<br />Oxford<br />University<br />Press,<br />the<br />book<br />shows<br />that<br />folk<br />music<br />flowered<br />in<br />New<br />York<br />as<br />a<br />result<br />of<br />initiatives<br />of<br />musicians,<br />record<br />company<br />producers<br />and<br />executives,<br />radio<br />show<br />hosts,<br />club<br />owners,<br />concert<br />promoters,<br />folklorists,<br />managers,<br />journalists,<br />and<br />audiences.<br />Princeton<br />University<br />historian<br />Sean<br />Wilentz<br />calls<br />Folk<br />City<br />&ldquo;the<br />best<br />history<br />yet<br />of<br />the<br />city&rsquo;s<br />influential<br />folk<br />music<br />culture,<br />packed<br />with<br />astonishing<br />photos<br />that<br />finally<br />see<br />the<br />light<br />of<br />day.&rdquo;<br />The<br />Village<br />Voice<br />named<br />Folk<br />City<br />one<br />of<br />&ldquo;Fifteen<br />Books<br />You<br />Need<br />to<br />Read<br />in<br />2015.&rdquo;<br />Folk<br />City<br />merchandise,<br />available<br />in<br />the<br />Museum<br />shop<br />and<br />its<br />online<br />store,<br />will<br />including<br />a<br />large<br />selection<br />of<br />CDs,<br />miniature<br />replicas<br />of<br />guitars,<br />books,<br />and<br />objects<br />including<br />3D<br />magnets,<br />a<br />lunchbox,<br />earbuds,<br />postcards,<br />and<br />original<br />photos,<br />many<br />of<br />which<br />are<br />featured<br />in<br />the<br />exhibition.<br />The<br />exhibition&rsquo;s<br />honorary<br />co-&shy;‐chairs<br />are<br />themselves<br />significant<br />participants<br />in<br />the<br />folk<br />revival<br />and<br />its<br />legacy:<br />Oscar<br />Brand,<br />Judy<br />Collins,<br />Steve<br />Earle,<br />Nora<br />Guthrie,<br />Noel<br />Stookey,<br />and<br />Peter<br />Yarrow.<br />The<br />idea<br />for<br />the<br />exhibition<br />originated<br />with<br />co-&shy;‐chair<br />John<br />R.<br />Heller,<br />and<br />he<br />was<br />joined<br />in<br />supporting<br />and<br />helping<br />raise<br />funds<br />by<br />co-&shy;‐chairs<br />of<br />James<br />E.<br />Buckman<br />and<br />Thomas<br />M.<br />Neff.<br />Folk<br />City<br />is<br />made<br />possible<br />by<br />Wyndham<br />Worldwide<br />Incorporated.<br />Additional<br />support<br />is<br />provided<br />by<br />James<br />G.<br />Dinan<br />and<br />Elizabeth<br />R.<br />Miller,<br />The<br />Zegar<br />Family<br />Foundation,<br />an<br />anonymous<br />donor<br />in<br />honor<br />of<br />John<br />Heller,<br />Jill<br />and<br />John<br />Chalsty,<br />The<br />Martin<br />Guitar<br />Charitable<br />Foundation,<br />and<br />MacLean-&shy;‐Fogg,<br />among<br />others.<br />The<br />Museum<br />gratefully<br />acknowledges<br />the<br />Andrew<br />W.<br />Mellon<br />Foundation,<br />which<br />supported<br />a<br />post-&shy;‐doctoral<br />fellowship<br />for<br />exhibition<br />curator<br />Stephen<br />Petrus.<br />The<br />media<br />sponsor<br />is<br />WFUV,<br />and<br />Folk<br />Alliance<br />International<br />is<br />a<br />co-&shy;‐sponsor<br />of<br />the<br />exhibition.<br />The<br />exhibition<br />is<br />designed<br />by<br />Pure+Applied.</p> Sun, 05 Jul 2015 15:03:04 +0000 - MOCA - Museum of Chinese in America - September 24th - January 31st, 2016 <p style="text-align: justify;">An anthropological case study by architect and curator Stephen Fan, SUB URBANISMS explores the controversial conversion of suburban single-family homes into multi-family communities by immigrant Chinese casino workers in Connecticut. Addressing the norms, cultural values, and public policies that determine how most Americans live, the exhibition juxtaposes immigrant cultural beliefs and pragmatism with suburban American social, aesthetic, and financial codes. With a regional focus and global reach, it also provides insight into the long-term effects of 9/11 on the New York Chinatown service industry as a significant factor behind the influx of Chinese labor seeking employment at the region's casinos, and the formation of this satellite suburban Chinatown. With creative implications for the future of housing design and habitation in response to cultural, social, and ecological challenges, SUB URBANISMS offers a powerful inquiry into the ways in which culture shapes our lives and homes.</p> Sun, 05 Jul 2015 14:54:55 +0000 - MOCA - Museum of Chinese in America - September 24th - January 31st, 2016 <p style="text-align: justify;">In this survey exhibition, architectural historian Kerri Culhane documents and explores Poy Gum Lee&rsquo;s (1900-1968) nearly 50-year long career in both China and New York and examines Lee&rsquo;s modernist influence in New York Chinatown. This project will result in the first-ever comprehensive list of Lee&rsquo;s projects in New York. Lee&rsquo;s hand is visible in the major civic architecture of Chinatown post 1945, which blends stylistically Chinese details with modern technologies and materials. Lee was the architectural consultant for the Chinese Consolidated Benevolent Association&rsquo;s building on Mott Street (1959) and the On Leong Tong Merchant&rsquo;s Association at Mott &amp; Canal Street (1948-50) &ndash; the most prominent Chinese modern building in Chinatown. Among his highly visible commissions, Lee designed the Chinese-American WWII Monument in Kimlau Square (1962), a modernist take on a traditional Chinese pailou, or ceremonial gate; the Lee Family Association (ca. 1950); and the Pagoda Theatre (1963, demolished).</p> Sun, 05 Jul 2015 14:54:14 +0000