Gossip Central

Heavenly Bodies: The Metropolitan Museum’s Religious Commitment

To say the latest MET Costume Institute exhibition, “Heavenly Bodies: Fashion and the Catholic Imagination,” is up there, as gorgeous, generous, and sumptuous as these yearly shows get, is to flirt with the ethereal. The Catholic imagination, as His Eminence Timothy Michael Cardinal Dolan, Archbishop of New York, stated in his remarks at the MET’s Temple of Dendur, where divine cookies and coffee approached the sacrament, is testament to Christ’s art. The church is about truth, good, and beauty in praise of God, he said. One part Vatican, and another Versace, with gem-stones and jewels, capes threaded in gold juxtaposed with modest peplum monk-styled couture and almost no skin-revealing gowns and wedding dresses, the fashion inspired by Catholicism is a revelation.

Waiting for Alec Baldwin at the Guild Hall Gala

Yes, G. E. Smith previewed Guild Hall’s first annual guitar masters festival, to take place in July, but that was not the only music at this year’s winter celebration of Guild Hall. Honored for her career in the visual arts, Audrey Flack, brought her History of Art band to The Rainbow Room to perform her tribute to Jackson Pollock on banjo and spoons. Her feminist take on the iconic painter dovetails with the current Me Too movement, and as she is quick to tell you, “he came on but nothing happened. He was way too drunk.”

Screaming with Laurie Anderson at Guild Hall

In honor of Yoko Ono’s birthday this weekend, Laurie Anderson led guests at Guild Hall in a face-reddening scream. The occasion was a talk between Anderson, who now looks remarkably like Christopher Walken with spiky hair and otherworldly pallor, and curator Christina Strassfield, who is putting together a show of Anderson’s work at Guild Hall set for this summer. Among the many stories that kept Anderson riffing for over an hour, was the story of Ono’s primal scream following the election of Donald Trump. The audience complied and screamed with relish.

Flight: Dreaming of Bruce Willis, Action Hero

The McKittrick Hotel is well known for unusual theatrical events—cue the long-running immersive Sleep No More. Now fresh from Edinburgh’s International Arts Festival comes Flight, a much-awarded incomparable narrative art installation. Plucked from the headlines of refugees fleeing war, Flight tells the story of two brothers on a journey escaping Afghanistan, adapted by playwright Oliver Emanuel from journalist Caroline Brothers’ novel Hinterland. The brothers—Kabir (Nalini Chetty’s voice) and Aryan (Farshid Rokey)—composites of the author’s interviews with many young people on such a nightmare odyssey, appear as figures in diaramas as they rotate on a carousel; the viewer accompanies them across Europe as they encounter a not so nice “smiling man,” bird police, a freezer truck filled with hanging carcasses. The tale goes light as they invoke the name Bruce Willis for inspiration, and, when some rich American-Iranian tourists buy them food and new sneakers in Paris. But this story, told in Kabir’s 8-year old voice—well conceived with fine lighting and music—while enchanting, is no fairy tale.

Peter Hujar: Photographs of a Bygone Era at the Morgan Library & Museum

At an opening at the Morgan Library & Museum celebrating exhibitions of Peter Hujar’s photographs and Tennessee Williams’ memorabilia, a gentleman in a maroon jacket marveled that the Morgan, known for collections of old master drawings and manuscripts would now show photography, especially of the type created by Hujar. While Williams’ scripts and Playbills form the kind of closeted history right up the Morgan’s proverbial alley, well, Hujar’s work is something else. A decade older than Robert Mapplethorpe and Nan Goldin, Hujar too documented the downtown demimonde, its denizen in drag. Hujar’s portraits—black & white-- haunt, testament to the era before AIDS, a vibrant artistic world in the autumn of life.

Breathe! Salpeter Father and Daughter Create a Book for Teaching Yoga to Kids

You are never too old to practice yoga—or too young. Nina Salpeter teamed up with her father, award-winning graphic designer Bob Salpeter to create a book Teach Your Child Yoga, to help parents teach yoga to children from one to six years old. Taking known positions, such as “downward facing dog” and “lotus,” to name just two, Nina Salpeter has teased out the family-friendly ingredients, animals, and comfort food—(she calls the familiar cross legged seating, “criss cross apple sauce,”)-- in order to capture the essence of each pose, providing a visual prompt that brings the images close to a child’s experience.

Eric Fischl’s Poster Celebrates the 25th Anniversary of the Hamptons International Film Festival

Eric Fischl might be the East End’s busiest artist: aside from painting, and showing his work, the North Haven-based painter is President of Guild Hall’s Academy of the Arts, and active with his wife April Gornik in the effort to rebuild the Sag Harbor Cinema as a community film and arts center. When he was tapped to create a poster for this year’s Hamptons International Film Festival, now in its 25^th year, he immediately said yes: “I am honored to be part of it. This poster is my fourth,” the artist told me in a recent interview. “I did the first festival. That’s why they asked me.”

Photorealism at the Parrish: Old is New Again

Photorealism had its moment as a genre of painting in the 1970’s, right? The exhibition at the Parrish Art Museum, featuring paintings from every decade since then, gives ample proof that Photorealism has not gone away. Rather the exhibition “From Lens to Eye to Hand: Photorealism 1969 to Today,” provides vibrant work from many artists who use photographs in their capacity to render detail. Early practitioners like Don Eddy: “Wrecking Yard I” from 1971, and Audrey Flack’s “Shiva Blue,” (1972-3), “Petit Fours” from 1976, and “Hers” from 1977 show pioneering work in this style. Flack’s “Wheel of Fortune,” (1977-8) dominates one gallery. These sit comfortably near recent paintings by Yigal Ozeri: “Untitled; Territory” from 2012, “Untitled; Olya” from 2016, and “Untitled; Olya & Zuzanna” from 2017, or Don Jacot’s “Herald Square, 1936 (After Berenice Abbott)” from 2013, to name just a few.

Avedon’s America at Guild Hall: Another Country

A simple walk through Guild Hall’s exhibition “Avedon’s America” is an encounter with the familiar. Portraits from the world of pop culture: Hendrix, Joplin, Dylan, along with iconic fashion work like Dovima with elephants, evening dress by Dior, Cirque d’Hiver, Paris, August 1955, grace the walls. A favorite portrait of mine is the loving embrace of poets Peter Orlovsky and Allen Ginsberg from 1964, naked and showy, the former with his genitalia limp, just part of the candor from an era when such displays were just not done. So is it merely loving, or up yours to anyone uptight?

“Fly Into the Sun:” Cocktails at the Watermill Center

The grounds at Watermill Center, Robert Wilson’s art retreat on the east end are always difficult to navigate, what with slippery grasses and rock paths. It would have been good to follow Daedalus’ flight, as the evening’s theme suggested, flying high—but not too high-- into the sun. Alas in myth, the sun’s heat melts his wings and he perishes. That’s what happens when you soar too high. Evoking this myth as well as Lou Reed’s lyric, this year’s pre-gala cocktails had hubris galore on the paths through the woods. And there, in the large courtyard, a wall boasts, “SHE OUTWITS HIM/ SHE OUTLIVES HIM.” On its other side, artists, formal in black suits, one from Lithuania, graffiti with spray paint, the art called “Too M@ch Talk.” These days, walls say much.