Art: The Generational: Younger than Jesus @ New Museum

What did Jesus do before 30? A lot...

And, if you do make it to this exhibit, go with your own bible of a guide to understand it all. Good luck. 

Art: Matisse: Cut-outs @ National Gallery

Matisse's gouaches decoupes have always been a favorite for their simplicity, minimalism and elegance. Although the National Gallery's Matisse cut-out collection is quite small, it is well worth taking a peak. Cut and composed later in Matisse's life, they continue to show the vigor, acute color sensibility and perverted spacial composition that his paintings are celebrated for. In his own words, these are his "paintings with scissors."

Art: Luis Melendez @ the National Gallery, Washington D.C

Luis Melendez, Still Life with Watermelons and Apples, Museo del Prado, Madrid.

I have never been drawn to 'Stillleben'. What exactly is so impressive and fascinating about paintings that portray, with such excessively embroidered detail, decaying fruits and vegetables or impeccable yet improbable floral arrangements? What possibly can be the meaning behind these overly crafted compositions? Where is the emotion that, in my (narrow) mind, art needs!?

Luis Melendez, an Italian by birth, but a life-long Madrileno, captured my interest at the National Gallery in DC. The 30-odd oil on canvases by Melendez focused heavily on the juxtaposition of 'exotic' and common-place edibles displayed in various arrangements, often set in peaceful rural Spanish landscapes. From the Royal house of Asturias, Meledez was commissioned to paint "the four Seasons of the Year -- with the aim of composing an amusing cabinet with every species of food produced by the Spanish climate." It was perhaps, the painting featured above, as part of this season order: Still Life with Watermelons and Apples, that did it for me. Up close, the juicy, palpable chunks of pink watermelon dripping off the canvas with little black cockroach-like pits roaming through the rose-colored terrain, were a calling that wrote: virtuosity. He captures the subtle shifts of textures, and the gleams of light from the succulent watermelon and the lustrous pits with such care that its almost...comical!

His contemporary, Francisco Goya, overshadowed Melendez’s career and only recently has his work been re-evaluated and reappraised. Today, he is seen as one of the preeminent still-life artists.

Art: Francis Bacon: A Century Retrospective @ the Met

Painting, 1946 (MoMa) Oil on Canvas

"I remember looking at dog shit on the pavement and I suddenly realized, there it is--this is what life is like." --Francis Bacon

Crude, unapologetic, caged biomorphic bodies, butchered cadavers, unremorseful, pummeled faces, horrific intensity, a dance between self-love and self-loath. These are the words that spring to mind while wandering through Francis Bacon: A Century Retrospective on display at the Metropolitan Museum of Art. Sixty-five punches of unrepentent intensity.

And the critics response? Same as its always been: hotly divided. While Slate's art critic, Christopher Benfey gave the show a remarkably attuned (and sagacious) appraisal , The New Yorker's art columnist (and ruler #2 of my universe--after Schama, of course), Peter Schjeldahl held Bacon's work at an arm's length in Rough Stuff, where the paintings are undermined as mere "pageant(s) of hangovers and refractory lovers." Ha!

With my own short-lived aspirations to become 'an artist' Bacon had been a powerful force in my search for self-expression. His images to me dwelled in the shadowy margins of socially 'acceptable' emotions, the angst of youth, horrors of life and death, and the battles between conceit and self-hate. Bacon's images in reproduced form, were very familiar and became part of preparatory work for my own oeuvres. Something was awry, however, as I walked through the glut of Bacon-filled rooms. I had waited what seemed to be an eternity to see a full retrospective of his work, as a thought crept in: was I really and truly feeling ever-so slightly nostalgic and (gasp!) disappointed?

What ever my own hopes and expectations were, it became clear to me that Bacon's work had once meant something quite different to eyes trained as an artistic sponge, directed to soak up emotions and inspiration. It was a revelation that today Bacon's work, while still riveting, shocking and awe-inspiring, could be appreciated from a healthy distance. It seems fruitless to dwell in my own personal development at least in blog-form-- I realized that I no longer needed Bacon's hateful and tortured images; they have served their purpose. From an art historical perspective, however, Bacon remains a seemingly eternal curiosity. Artistically he cannot be categorized as a member of the abstract expressionists, nor the Surrealists. His world-view inhabits that of existential compatriots such as Alberto Giacometti. His world stands on its own, and in some form or fashion can be seen to have inspired artists such as Lucian Freud. History (and the auction world) has proved to be been kind to this old gent, where his paintings can fetch over $80 million (in at least the pre-credit crunch era...)

Celebration: Yellow Duck + Cupcakes = Quarter of a Century in Style!

A little Veuve Clicquot (Yellow Duck or den Gula Ankka, en Suedoise) along with delectable Red Velvet and German Chocolate cupcakes from Two Little Red Hens is how I rang in my quarter-century mile-stone in the charming Upper West Side Riverside Park!

Film: L'heure d'été (2009)

(Jeannick Gravelines/IFC Films)

"The divergent paths of three forty-something siblings collide when their mother, heiress to her uncle’s exceptional 19th century art collection, dies suddenly. Left to come to terms with themselves and their differences, Adrienne (Juliette Binoche), a successful New York designer, Frédéric, (Charles Berling) an economist and university professor in Paris, and Jérémie, (Jérémie Renier) a dynamic businessman in China, confront the end of childhood, their shared memories, background and unique vision of the future." (Film.com)

This movie felt sadly superficial; everything was basked in that late-summer August sunshine, where French feasts and wine flowed at a gorgeous chateau outside of Paris. There was such an emphasis on the precious objects left behind by the matriarch Hélène Berthier, (Edith Scob, who was superb in her fleeting role) all to be donated to the Musée d’Orsay, that I felt it was more of a crafty commercial for the museum! Berthier's death is only hinted at, and grief that naturally ensues from death is given a fleeting scene where Adrienne breaks down, but life continues affably through the objects. I suppose that was the modest purpose of this film: to give objects, whether they be rare and extraordinary pieces of art or ordinary tchochke, a much greater meaning with death. Slightly anti-climactic though!

Design: Playfully Finnish, May 15-18th Meatpacking District

Powerkiss, Jazz Chair by Terhi Tuominen
Photographer Chikako Harada

"Finnish Design brings the dreams and challenges of our times together in a fresh new way. Based on a strong bond with nature and driven by creativity and joy it is seriously playful." -Curator, Esa Vesmanen

Set in the posh, chic and oh-so boho Ganesvoort Plaza, the PLAYFUL Finnish Design exhibit spilled out onto the cobblestone streets of the Meatpacking District in New York as part of the May 14-19th NY Design Week and was, (in that solemn Finnish fashion) serious(ly) playful indeed! The recycled shipping containers scattered inconspicuously around the Ganesvoort Plaza continuing out onto W. 13th street, were filled with sleek design-conscious, colorful (and useful!!) goodies ranging from fashion to furniture.

Woven into the works and the makeshift showrooms was the ideology for environmental mindfulness. Shigeru Ban's simple "I don't like waste" philosophy was epitomized at the Artek container (#8 on W.13th) with his 10-Unit System-- furniture made from UM ProFi wood-plastic composite-- revealing once again how fiercely ecologically conscious, simple yet ultra-advanced Ban's architecture and designs are.

The Powerkiss station (#3 at the Plaza) brought viewers a bright new vision of a futuristic world, one devoid of those cumbersome mobile phone and laptop chargers that could bemuse even the highest of techies in New York. Powerkiss' premise to "turns basic furniture into smart energy platforms" is simply put, brilliant! All you had to do to "juice up your gadgets" was to place them on the provided furniture surface, the avant-garde looking Jazz Chair with a wireless charging system by Terhi Tuominen...et voila...you're connected and charging!

From high-tech charging machines, the exhibit showcased a variety of new (and old) textile projects. The globally-recognized and distinctive patterned designs of Marimekko's fabric products were on display..seemingly all-over...with slabs of their 'new' Kalevala-inspired creations (designed by Sanna Annukka) for all to take. It was refreshing, however, to see new artists emerging onto Marimekko-dominated scene. Textile artist Outi Martikainen, whose work fits in the neglected "space between art and design," stands out for her interesting and elastic use of combined fabrics and processes. She reclaims traditional 'low-crafts' of weaving, knitting and crocheting with elegance, detail, and originality.

Music: Au Revoir Simone @ Williamsburg

Having missed A Camp's New York performance last week (and Lykke Li's sold out performance this coming week) I have sadly had to resort to the home-grown indie music scene, that I must say is not too bad at all!

Au Revoir Simone is an electronic indie-pop all-girl, all-brown-haired, all-American band from Williamsburg and their performance last night in their hometown was just what was called for to alleviate the dejection from a sold-out Lykke Li show. Although my taste in music (really, my magnetism to the 'pop' genre) has been criticized and butchered by sneering music snobs I do feel that Au Revoir Simone raises my iTunes play list bar up a notch in the eyes of many elitists.

Au Revoir Simone's concoction of lazy and insightful lyrics with energetic beats capture the essence of Williamburg-- the little hipster town that is youthful and pulsating yet sage with hard-learnt life-lessons from the "big city". The band's sound can be most characterized as a satisfying mix reminiscent of Suffian Stevens' effervescent and bubbly notes and St. Vincent 's velvety yet unpredictable voice.

Culture: Boat Basin Cafe

The Boat Basin Cafe, located at 79th street on the Hudson River is a perfectly pleasant, low-key spot frequented mostly by UWS New Yorkers (the Columbia student and prof types) looking for the Hudson River breeze, Happy Hour specials, and some sunshine to brighten those stressed, post-work pale faces... I went there yesterday, and its amazing what a nice cold Corona can do!

Never has New Jersey with a sunset looked so spectacular!

Recession special: Free Jazz in the Park

A hop, skip and a jump into a balmy Thursday afternoon for a little coffee break...and right outside at the corner of Central Park, a quartet jazz band performs under a big oak tree. Perfect bliss! For a $1 contribution (or whatever you have in our pocket) you can listen to the sweet sounds of amateur jazz (most probably students from Juilliard up the street on B'way)...and enjoy the rest of the work day!

Link Buttons!

I'm so thrilled to have discovered my link button! Here are a few links to my fav websites that I frequent...

To culture my flavor

News of the Times

My Cheat Sheet

MoMa

Best Theater Reviews (mostly Off-Off Broadway)

Restaurant Guide (aka Cheap Eats)

Also, I've added links to many of the past blogs...proper citations and such ;)

Bklyn: Vintage @ Beacon's Closet

Beacon's Closet
88 North 11th Street (between Berry and Wythe Streets), Brooklyn

Take the L-train to the hipster neighborhood of Williamsburg in Brooklyn for cheap drinks, great brunch (Rabbit Hole) and the fab world of vintage clothing. Beacon's Closet is my favorite amongst the many that can be found on Driggs Avenue...and everywhere in Brooklyn, actually! Along with really great prices, there is a seemingly illimitable amount of patterns and designs, shapes and forms, colors and eras... with hats, scarfs, ear-muffs and shirt puffs. Whatever costume party your headed to, whatever occasion is coming up, Beacon has it! I bought a naughty Dianne Von Furstenberg summer dress along with a handy little black leather purse...tres chic!

(Photo by Jeremy M. Lange)

Film: Tulpan (2009)

Tulpan (2009) epitomizes the disconnect between film critics and audiences, where on my trusted film guide critics heralded this "unclassifiable" movie donning it with a 90 'metascore' out of 100...while users (aka, you and me) gave this movie a measly 4.5 of 10. With such a discrepancy in ratings, my interest was piqued!

Set in Kazakhstan, Tulpan tells the tale of the hapless Asa, a young Russian naval officer who returns to his sister's nomadic home and family in the desolate 'Hunger Steppe'. Here, where life revolves around simple necessities for survival, Asa must learn the life of a Shepard, where the pressure to find a wife and establish his own brood builds. At its heart, Tulpan is a Kazakhstan love story, where affection and tenderness blossom between Asa and his country. With this slight (sardonic) whiff of socialist-realism Tulpan reveals the unembellished pleasures of what a modest life can give us. The movie will leave you with three lasting impressions: the unexpected beauty of the vast, uncut scenes of the Kazahkstan landscape and climate, the gaggle of animals and rambunctious children (both equally untamed; the lamb-birth is quite excrutiating!) and Boney M.'s 'River of Babylone'--the only sound-track...played on repeat.

While I can understand the critics loving this movie for its novel approach, majestic landscapes and (banal) humor, it was a bit of a stretch for me.

Film: Okuribito (2009)

By now, you probably think that all I do is watch movies. And its sadly true--but NYC delayed April showers by a month, leaving May rather damp...and perfect for tea drinking and movie watching! Winner of the Oscar for Best Foreign Language Film in 2009, Okuribito, or Departures as its euphemistically known in English, is a charming and tender movie about (surprise) the cycles of life and the challenges of death. It is a simple story, set in the small town of Sakata just outside of the frenetic and manic Tokyo. It follows the life of Daigo Kobayashi, a sacked cellist from the Tokyo orchestra who returns with his wife, Mika, to his place of birth in search of employment, and perhaps more poignantly, in search of direction in his life. Unexpectedly (and resistant, at first) Diago finds work at a small family run encoffinment firm as an undertaker. Without any other prospects ahead, Daigo accepts the job, but is unable to tell his wife due to the embarrassment and shame of such a 'disgusting profession'. Through the course of the movie, Diago-- the alway dedicated and diligent worker--begins to take pride in the process, precision, ceremony and the art of his work. It is through his sometimes comic, sometimes sorrowful journey that Diago find true understanding to life and death.

Super kawaii!! (So cute!)

Film: Il Divo (2008)

If director Paolo Sorrentino was trying to tell his audience that Italian politics and politicians are corrupt, he's not really telling us anything new. Il Divo (which means 'star' or 'celebrity' in Italian) is a biopic that chronicles the legacy of three-time Prime Minister Guilio Andreotti and its all loud (at times, good) music, black comedy, parody with an edge, and for the most part, Sorrentino has a little too much fun with depicting the Mafiosos that rule the land. It would be advised to have a good understanding of Italian 20th century political culture and history too, as Il Divo throws out Italian politicians' names as fast as they can keep up with the base-pounding music.

The actor, Toni Servillo captures Andreotti as precisely and comically as Frank Langella captures Richard Nixon in Frost/Nixon--but is far superior. Andreotti, the megalomaniac, scintillating, enduring, yet ambiguous with his awkwardly hunched back, punctilious hands and flopping ears is brought to life through Servillo's portrayal--and is, in my opinion the movie's only saving grace.