cityarts november 30, 2011

Nov. 30–Dec. 13, 2011 • Volume 3, Issue 19

Bigbee and Ashbery Define Art Page 4 Rediscovering Calder Page 6 Showing Off Rauschenberg’s Delights Page 7

On Gaming: LA Noire Page 8 Shrinking Marilyn Monroe4 Lauder’s Euro Classics Page 7

CAPTURING COCTEAUClergue Photos Crown an EraPage 5

New York’s Review of Culture • CityArtsNYC.com

Lucien Clergue, Yul Brynner and Jean Cocteau, “Testament of Orpheus,” Les Baux de Provence, 1959. Lucien Clergue: Jean Cocteau, The Testament of Orpheus 1959. Curated by James Cavello. Nov. 18–Dec. 31, 2011. Westwood Gallery NYC.

© 1959 Lucien Clergue. Courtesy Westwood Gallery NYC.

2 CityArts | November 30–December 13, 2011

INSIDE

EDITOR Armond White [email protected]

MANAGING EDITOR Mark Peikert [email protected]

ASSISTANT EDITOR Deb Sperling

SENIOR MUSIC CRITIC Jay Nordlinger

SENIOR DANCE CRITIC Joel Lobenthal

CONTRIBUTING WRITERS: Caroline Birenbaum, John Demetry, Valerie Gladstone, John Goodrich,

Amanda Gordon, Steve Haske, Ben Kessler, Howard Mandel, Maureen Mullarkey, Mario Naves,

Gregory Solman, Melissa Stern, Nicholas Wells

DESIGN/PRODUCTIONPRODUCTION/CREATIvE DIRECTOR

Ed Johnson [email protected]

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Jay Gissen [email protected]

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GALLERIESBrett Bigby at Alexandre Gallery P. 4

John Ashbery at Tibor de Nagy Galler P.4

Lucien Clergue at Westwood Gallery P. 5

Alexander Calder at Pace Gallery P. 6

Cézanne’s wine bottles P. 6

Robert Rauschenberg Collection at Gagosian P. 7

Ronald S. Lauder Collection at Neue Galerie New York P. 7

GAMINGThe New Noir of L.A. Noire P. 8

JAZZA How-To Guide to Improv P. 9

CLASSICALWagner at the Met P. 10

New York Philharmonic’s Survival Programs P. 11

DANCEKyle Abraham’s New Work P. 12

The Cunninghams Carry On P. 13

FILMA Weak Celebrity Bio of Marilyn Monroe P. 14

Cronenberg’s Toast to Headshrinking P. 14

AUCTIONSGoing, Going Auctions P. 15

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November 30–December 13, 2011 | CityArts 3

LIGHT BULB ARMOND WHITE

Who is the Cocteau of our era? Every generation throws a hero up the pop charts, but two decades into

the new millennium we haven’t yet spotted an artistic multitasker to equal Jean Cocteau, Orson Welles or Melvin Van Peebles.

That’s why the Lucien Clergue exhibit that Valerie Gladstone writes about in this issue of CityArts is both timely and haunting. These days, artists scatter to their specialized fields, fearing to cross over into others and face the fresh regard of new audiences. But Cocteau, Welles and Van Peebles—polymaths who could write, direct, draw, perform and provoke—leapt at opportu-nities to try out new strategies, discover new gifts and encounter new, different audiences.

Showing off was how these artists expanded the arts. Their multidisciplinary approach is what CityArts constantly looks for—especially by bringing the traditional arts into the same pages as the pop arts. This issue matches Jay Nordlinger’s assessment of Wagner’s Ring to Howard Mandel’s Baedeker on improvisatory jazz orchestras. Joel Loben-thal’s observation of Merce Cunningham’s dance legacy juxtaposes Kyle Abrahams’ new

movements at The Kitchen, while Robert Bat-tle (subject of The CityArts Interview) brings Alvin Ailey’s legacy into a new era.

As Cocteau understood, mixing keeps the arts and the artist from going stale. CityArts takes on the mission of keeping arts culture and those who care about it excited about different approaches to self-expression. A review of culture is always on the lookout for what’s new. If there is a new Cocteau on the horizon, that artist might have to be as inter-ested in dance and theater as in fine arts and digital play. When the new Cocteau appears, CityArts promises to take notice.

The On Gaming column by Steve Haske premieres in recognition of new forms of image-making and storytelling. Why? Because, as Cocteau demonstrated, multidis-ciplinary is the art world’s article of faith.

About the cover: Lucien Clergue was only 25 when he photographed Cocteau on the set of his last film The Testament of Orpheus—a brave assertion of artistic ambition. The young devotee captured the old master in stylish profile with actor Yul Brynner as if posing a multileveled tribute: The King and I.

Lucien Clergue, “Jean Cocteau on the set of Testament of Orpheus, Nice, 1959” (1959, printed 2001), gelatin silver print, edition of 30 signed, numbered, titled by the artist, 16 x 12 inches. Nov. 18–Dec. 31.

Westwood Gallery NYC. @ 1959 Lucien Clerge, courtesy Westwood Gallery NYC.

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GALLERIES GALLERY OPENINGS

Animazing Gallery: “Brian Froud: Visions for Film & Faerie.” Opens Dec. 2, 54 Greene St., 212-226-7374, animazing.com.

Blue Mountain Gallery: “Winter Show.” Opens Dec. 3, 520 W. 25th St., 4th Fl., 646-486-4730, bluemountaingallery.org.

The Giacobetti Paul Gallery: Cornelia Jensen: “Structure + Light.” Opens Dec. 1. Rebecca Aidlin: “Water.” Opens Dec. 1, 111 Front St., Brooklyn, giacobettipaul.com.

Hasted Kraeutler: Pierre Gonnord: “Relatos.” Opens Dec. 8, 537 W. 24th St., 212-627-0006, hastedkraeutler.com.

Lesley Heller Workspace: Dana Melamed: “Transforming Voids.” Opens Dec. 14. “Limited Engagement.” Opens Dec. 14, 54 Orchard St., 212-410-6120, lesleyheller.com.

Staley Wise Gallery: Michael Dweck: “The End: Montauk, N.Y.” Opens Dec. 9. Michael Dweck: “Habana Libre.” Opens Dec. 9, 560 Broadway, 3rd Fl., 212-966-6223, staleywise.com.

Describing Profundity in ArtBiGBEE ASTOuNDS, ASHBERY FLOATS

BY MARIO NAvES

What I know about poetry I know from my poet friends, and what they say about the poet John Ash-

bery is never less than fond and often more than querulous. Ashbery, a self-described “harebrained, homegrown surrealist whose poetry defies even the rules and logic of surrealism,” seems to share this equivocal response.

What I do know is that Ashbery defies the rules and logic of art criticism. Whether working as a critic for Newsweek or a more specialized forum like Partisan Review, Ashbery proved peculiarly simpatico to the travails and successes—the “inside busi-ness,” as it were—of the visual artist. Palling around with the painters Fairfield Porter and Leland Bell probably accounts for Ashbery’s sensitivity; so do four years of art lessons.

How much of a commendation can it be, then, to tout Ashbery’s collages, on display at Tibor de Nagy Gallery, as a dilettante’s gift? There’s no doubting Ashbery’s sophistication; his whimsical works on paper channel Max Ernst’s collage novels, Anne Ryan’s intimate accumulations of paper, string and fabric and Joseph Cornell’s unseemly lyricism.

But his collages don’t have a serious (or ambitious) bone in their collective bits and pieces. Coasting on the goodwill of artistic precedent, Ashbery is constitutionally unas-suming; the work is airy, all but disposable. Don’t count on anything as epochal as Ernst’s “The Hundred Headless Woman” or as ten-der as Ryan’s plainspoken grit. And forget Cornell—nobody’s that good. What Ashbery offers is the pleasure taken in making pic-tures because, well, that’s what a body can do.

Reconfiguring vintage postcards, comic strips and magazines, Ashbery creates diora-mas in which Icarus descends into Yellow-stone Park, Bosch’s Tower of Babel is a boy’s pillow and Popeye the Sailor Man serves as leader of a cadre of pissing totems. Ash-bery isn’t always so winning; the conglom-erations of game boards and Life magazine covers are more akin to scrapbooking than an admirer would like to admit. But mostly the poet indulges his light touch for cheery distraction, for moments so ephemeral, silly and mild that we can’t help but be grateful for the wry respite they proffer.

What did Brett Bigbee think of a recent headline announcing “Painting is Back” and its accompanying article,

in which his current show at Alexandre Gal-lery was featured?

Given how deeply Bigbee is immersed in the verities of 15th-century Netherlandish painting and early American folk art, he’s likely to have shrugged it off, wondering just where it is painting might be returning from. This is, after all, an artist for whom Hans Memling isn’t a dusty historical figure but a contemporary—and the competition. The

notion that the art form could be anywhere but here and now is antithetical to a tem-perament that favors the long reach over the quick fix.

Bigbee is a paint handler and draftsman of infinite patience and consummate skill; his paintings often take years to complete. Working from observation, he transforms an intimate scope of reference—family, food-stuffs and the natural world—into mesmer-izing displays of technical virtuosity. Bigbee coaxes ghostly, surreptitiously stylized por-traits from dense fields of graphite. With oil

paint he brings greater tangibility to form, rendering each object in his purview with crystalline attention.

Pegging Bigbee as a realist is simultane-ously accurate and a misnomer. Meticulous craftsmanship does more than limn appear-ances. Fidelity to verisimilitude generates otherworldly, if not quite surrealist, portent. Bigbee endows people, objects and places with unnatural clarity and quietude. When a picture concerns itself with a girl on the verge of pubescence—as in “Abby” (2005–2010), a portrait of heart-stopping austerity—time is rendered both immovable and forever tenu-ous. There’s never been a painting quite like it.

Bigbee comes close to achieving some-thing similar in “Joe and James” (2002–2003), a painting that suffers—not fatally, mind you, but enough that it nags—from theatricality; artifice, though understated, undercuts the dour antagonism of the boys named in the title. He falls altogether short with “Portrait of Ann” (2004–2008), if only because art his-torical precedent—in this case, Leonardo’s sfumato—is made blatant. Bigbee is at his best when he doesn’t tip his hand.

But these are the gaffes of an artist who more than earns our respect and, yes, amazement. Painting may not be eternal, but its scope is greater than any headline can encompass. Bigbee proves it each time he puts brush to canvas.

Brett Bigbee: Recent Work Through Dec. 17, Alexandre Gallery, 41 E. 57th St., 212-755-2828, www.alexandregallery.com. John Ashbery: Recent Collages Through Dec. 3, Tibor de Nagy Gallery, 724 5th Ave., No. 12, 212-262-5050, www.tibordenagy.com.

Napoleon, 2009, collage, digitized print, 12 3/8 x 9 1/8 inches. Courtesy Tibor de Nagy Gallery, New York


Clergue Captures CocteauLAViSH PHOTO TESTAMENTS TO AN ERA

BY vALERIE GLADSTONE

Jean Cocteau only directed six films, spending far more energy on his poetry, painting, sculpture and novels. But from The Blood of a Poet (1930) to the great Beauty and the Beast (1946) and his final Testament of Orpheus (1959), he brought poetry, ideas and fantasy into his film work.

In Testament of Orpheus, he chronicled his own search for the meaning of art and life, disguising himself as an 18th-century poet. Want-ing company on this project, he invited old friends and luminar-ies to be part of the production, which was shot in Les Baux-de-Provence. A glittery bunch, they included actors from his previous films, like Jean Marais, Maria Casares, Edouard Dermit and Henri Cremieux, as well as Pablo Picasso, Jean-Pierre Leaud, François Truffaut, Yul Brynner, Roger Vadim, Brigitte Bardot and Françoise Sagan.

As one can imagine, what went on behind the scenes was often as interesting as what made it to the screen. Fortunately, now-famed photographer Lucien Clergue, who was then only 25, was there to capture much of it.

The first New York exhibit of his exquisite gelatin silver prints (Lucien Clergue: Jean Cocteau, The Testament of Orpheus 1959, curated by James Cavello at West-wood Gallery) includes marvel-ous portraits, such as the poetic “Jean Cocteau at Milly-la-Foret” (1959), with the great man elegantly dressed in an overcoat and scarf, standing in front of one of his drawings, his eyes closed as if dream-ing of something beautiful. There’s another of Cocteau and Brynner, both debonair men in moody silhouette, the actor dashing in a tux-edo, a cigarette at his lips.

A group shot dominated by the ebullient Picasso shows him surrounded by his soon-to-be wife Jacqueline Rocque, bullfighter Luis Dominguez, Cocteau, Serge Lifar and Lucia Bose. They are a happy, animated band of players, all great characters of the time.

At least two photos of Cocteau and the Sphinx give some idea of the eccentricity of Cocteau’s vision as he stands against a wall with what look like wings sprouting from his

shoulders and bulbous glass eyes. Clergue even shot the bulbous glass eyes affixed to Cocteau’s face.

Looking at these photos, one can’t help but think, like the character in Woody Allen’s Midnight in Paris, that those were halcyon days. Perhaps not, but it’s entertaining and enlightening to have Clergue’s images, which allow us to feel that way.

An especially artistic photographer, Clergue went on to have a 30-year associa-tion with Picasso as well as friendships with artists like Max Ernst, Salvador Dali, Jean

Renoir, Roman Polanski, Robert Rauschen-berg and Christian Lacroix. He also made art-related films, such as Picasso, War, Love and Peace (1968). Widely exhibited and col-lected, his works can be found in The Muse-um of Modern Art, The Boston Museum and The Fogg Museum at Harvard University, among others. Fittingly, the photographs in this show will become part of the perma-nent collection of a new museum dedicated to Cocteau in Menton, France, not far from where they were shot. Lucien Clergue: Jean Cocteau, The Testament of Orpheus 1959 Through Dec. 30, Westwood Gallery, 568 Broadway, 212-925-5700, www.westwoodgallery.com.

Lucien Clergue, Yul Brynner and Jean Cocteau, “Testament of Orpheus,” Les Baux de Provence, 1959. Lucien Clergue: Jean Cocteau, The Testament of Orpheus 1959. Curated by James Cavello. Nov. 18–Dec. 31, 2011. Westwood Gallery NYC.

© 1959 Lucien Clergue. Courtesy Westwood Gallery NYC.

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Elements of ArtCézANNE’S WiNE BOTTLES (PART 2 OF 3)

BY PHYLLIS WORkMAN

Almost 100 years ago, Paul Cézanne painted “Blue Pot and Bottle of Wine,” now on view in the collection at The Pierpont Morgan Library. Though oil on canvas, it has the hurried tentativeness of a sketch. The longer you stare at it, taking

note of its incompleteness, it becomes a picture of expectancy. It is a portrait of thirst.

In 1902, Cézanne might have been painting the atmospherics of café living and the sensuous pleasure of quaffing. The painting’s almost hazy, inebriated images are unstable. The sketchy look has a gelatin-like shiver—it suggests the very opposite of a still life.

On the left is a blue pot surrounded by not fully realized earthenware. Imme-diately to its right a group of orbs, some

in yellow-shaded contours that suggest lemons, spill out across the table. A but-ter knife stops the spill; it lies next to the eponymous wine bottle. Only one-third full, the bottle indicates the picture’s strongest sense of life. Ingest has hap-pened here.

Cézanne could be commenting on the experience of wine-consumption through this sketchy image. He captures the translucence of the glass as well as the volatility of the bottle’s purplish contents. Light surrounds the objects, bending and

folding the blue pot and yellow lemons as if tossed in a kind of visual sangria. It’s the idea of wine that is in the making.

“Blue Pot and Bottle of Wine” achieves its post-impressionist quality from the strange fact that its imagery seems unfin-ished, not fully digested. The aftermath of drinking and dining are vividly depicted in Cézanne’s ingenious impression of the comestible moment. It’s a portrait of life in anticipation of drunkenness. It would make a perfect label for a crisp bottle of Vouvray.

Rediscovering Alexander CalderSTABiLES VERSuS MOBiLES

BY JIM LONG

Try to picture yourself in a Paris apart-ment in the early 1930s. Alexander Calder is giving a performance of his

newly created circus made of twisted wire and cloth scraps. In the audience are Miró, Léger, Mondrian, Arp, Brancusi, the Delau-nays, Duchamp, Kiesler and Man Ray; in short, the European avant-garde.

Man Ray, who had tried to introduce Dada to New York, fled back to Paris, calling the effort “as futile as trying to grow lilies in a desert.” The irreverent energy of change was everywhere in Paris, and Calder appar-ently managed to endear himself to mem-bers of normally opposing factions, form-ing fast and lasting friendships—especially with Léger and Miró.

Through composer Edgar Varèse he met experimental architect Kiesler, who intro-duced him to Mondrian, and the 1930 visit he made to Mondrian’s studio converted him completely to abstraction. There he had his first vision of colored planes in motion. “Every direction was forward,” he would later remark.

Calder’s main themes derive from the theater spectacles devised by Léger and the biomorphic abstractions of Miró and Arp. Everything was in the air and the art-ists collaborated and freely borrowed from each other.

Over the decades since, Calder’s work has become so famous it is difficult to remem-ber how good he really is, but his apprecia-tion of the role of mechanical engineering and the clarity of his construction methods have influenced later artists as diverse as Judd, di Suvero, Pfaff, Flavin, Bourgeois, Rickey, West and Kelly. His great innova-

tion was to succeed in adding movement to sculpture when everyone else tried and failed. (Except perhaps for Man Ray, who in 1920 created a hanging construction of 63 coat hangers titled “Obstruction.”)

Non-referential abstraction did not take completely with Calder. Through a nearly infallible sense of scale and color, he began to develop an iconic set of symbolic shapes that lead the viewer through windblown torrents of leaves and petals or direct the gaze skyward to the constellations.

Pace Gallery has mounted an exhibition of 15 of these mature works from the pivotal year 1941, a mix of maquettes, experiments and realized sculpture. Calder’s fabrication and assembly process are as fascinating to observe as his growing visual vocabulary—the one inevitably triggers the other.

His “stabiles,” sculptures that do not include the element of movement—a term coined by his friend Arp—are represented only by “Untitled” (1941), a Kekuléan stick and ball constellation attached to a dark mountain or treetop base configured of inter-secting triangles. The work evokes Calder’s family’s 1906 move from Philadelphia to Pas-adena, Calif., when he was a child, at just the time the world’s largest telescope was under construction atop Mt. Wilson.

Seven “standing mobiles” are included, and the gallery literature informs us that the nearly 8-foot-tall “Tree” has been reunited with a small mobile of various materials that originally hung from the end of its limb for the first time since it was exhibited at Calder’s 1943 retrospective. The construc-tion details of the work reveal a complex process of assembling and joining sheet metal components to achieve an abstract/essential tree form made up of a few reduc-tive shapes of bark-like boilerplate metal. It is unclear whether the separation of the

“mobile” from the “sta-bile” in 1943 was the choice of Calder or of the owner to whom the sculpture belonged at the time.

“The Great Yucca” is a vibrant, organic piece that calls to mind the work of the late sculp-tor Nancy Graves and, in its direct primary colors, the late work of Sol Lewitt. “Untitled (Red Petals maquette)” flows from poetry and is a small study for a work commissioned by the Arts Club of Chicago to be installed in an octag-onal room paneled in polished rosewood.

It is with the “mobiles,” a term coined by Duch-amp, that the exhibition disappoints. Many of the works were experimen-tal; the artist combined different metals of vary-ing weight to balance and achieve complex rhythmic movement. Leaf, feather and petal forms dominate the sculptural lan-guage, which is concise and “signature” in style. Unfortunately, because of constraints imposed by the gallery, we cannot know the result of Calder’s enthusiasm for surprising effects and are expected instead to gaze on lifeless specimens arranged for display and accompanied by notices and guards to dis-courage any activation of the work.

According to Calder’s friend Jean-Paul Sartre, Calder’s beautiful and logical arrangements react instantly to the gentlest

forces of nature, becoming sudden whirls of Dionysian chaos: “Thus the objects always inhabit a halfway station between the servility of a statue and the indepen-dence of nature…an object that exists only in, and which is defined by, its motion.” Who argues with Sartre? Notwithstanding these obvious problems, the exhibition is a valuable addition to Calder scholarship and well worth seeing. Calder 1941 Through Dec. 23, Pace Gallery, 32 E. 57th St., 212-421-3292, www.thepacegallery.com.

Alexander Calder, “Un effet du japonais,” (1941), sheet metal, rod, wire, and paint. Photo courtesy the Calder Foundation, New York


Rauschenberg’s DelightsAN ARTiST SHOWS OFF HiS COLLECTiON

BY MELISSA STERN

One of the most fun things an art lover can experience is a glimpse into the private collection of a beloved artist.

The current exhibition at Gagosian uptown featuring Robert Rauschenberg’s private collection leaves one giddy with delight and reeling from the sheer volume and quality of collected work.

The show has 200 works in it—a mere sam-pling of Rauschenberg’s 900-piece collection. Everything and the kitchen sink appears in this show, from a 3.5 x 2.5 inch portrait of Abraham Lincoln by Civil War photographer Matthew Brady to numerous and stunning paintings and drawings by Rauschenberg’s close friend Cy Twombly. Trades, purchases or gifts from friends and lovers, the pieces take over three floors of Gagosian’s flagship

Madison Avenue gallery, and each room brings new revelations into the life and mind of the man who collected it all.

Many of the works in the show are by Rauschenberg’s contemporaries, and one can easily see the connection between their artistic sensibilities. Then there are the surprises: A small ink drawing, “Study of a Chicken,” by Alexander Calder, is a delightful, almost throwaway “portrait” of said chicken. A wonderful collage from 1964 made by chorographer Steve Paxton, Rauschenberg’s friend and collaborator, is a revelation into the nature of improvisation and artistic connection between men. A series of photo-graphs by Grant Mudford of abstracted pieces of street paving relate directly to Rauschen-berg’s own fascination with the connections between seemingly disjointed images.

There is a particularly delightful painting by James Rosenquist entitled “Waiting For Bob.” The story goes that it was to be a col-laboration between the two artists. Rosen-

quist went first, painting a partial door and leaving a big empty space in the middle, presumably for Rauschenberg to do his thing. When the canvas arrived at his studio, however, he pronounced it “perfect” and refused to lift his own brush to it. The show abounds with such pleasures.

It takes time to walk thorough the collec-tion, and there are certainly some misses; I did not feel passion for the musical scores of John Cage and Morton Feldman amassed here. But there are those for whom these works will be the best in the show. The diver-sity of vision is astounding. There is a won-derful mural-sized photograph on the fourth floor of the gallery showing Rauschenberg in his studio with many of the pieces in the show hanging behind him.

The opportunity to see these works brings us closer to this brilliant artist, whose rest-less energy and ever-evolving personal work brought him closer to the things he truly loved. It’s inspiring.

The Private Collection of Robert Rauschenberg Through Dec. 23, Gagosian Gallery, 980 Madison Ave., 646-453-1050, www.gagosian.com.

Alienated Yet AlluringLAuDER SELECTS AND COLLECTS EuRO CLASSiCS

BY JOHN GOODRICH

Frequenters of the Neue Galerie know what to expect from this jewel-like museum on 86th Street: fine and

decorative art from Germany and Aus-tria and a highly elegant café to boot. At the moment, however, visitors will find a somewhat different installation celebrat-ing the museum’s 10th anniversary. Until April 2, 2012, key works from the personal collection of the museum’s cofounder, Ronald S. Lauder, will fill the museum’s two floors of exhibition spaces.

How to install artworks ranging from 3rd century BCE Celtic buckles to Joseph Beuys’ felt-wrapped cello? Lauder’s per-sonal tastes—which concentrate on medi-eval art and armor, French modernism and German postmodernism, along with the usual turn-of-the-century German/Austrian art—make for some intriguing juxtapositions.

In a large room dominated by medieval armor, the dome-like brow of Cézanne’s self-portrait peers over a row of round-ing helmets. (This entertaining moment

recalls Bonnard’s comment that Cézanne painted as if he wore a suit of armor. In fact, Cézanne’s obsessive contours play nicely off of the knurled metallic surfaces.)

Nearby, a horse’s ornamented helmet con-trasts with the busy tidiness of a nearly contemporaneous painting by Albrecht

Altdorfer (ca. 1480–1538). The rest of the installation,

however, is more conven-tional, with works by modern masters clustered in separate rooms. Seurat’s monumental, velvety conté crayon draw-ings highlight a small room of works on paper by Degas, Van Gogh and Cézanne. Another gallery’s dimmed lighting enhances the delicate exoti-cism of figure drawings by Klimt and Kokoschka and the bruised electricity of two dozen Schiele watercolors.

In another room, the dys-peptic corporality of figure paintings by Otto Dix, George Grosz and Christian Schad contrast intriguingly with disembodied abstractions by Kandinsky and Klee—but here I kept returning to the sturdier eccentricities of some Max Beckmann paintings and Kurt Schwitters collages.

Most inviting was a gallery dominated by School of Paris artists. Matisse and Picasso are both represented mainly by works on paper, but Matisse’s “Backs”—his

series of four 6-foot-tall bronze reliefs—line one wall: what simpler, more powerful wrestling with art’s irreducible elements? Several Brancusi sculptures poignantly echo a small gouache by the artist depict-ing his studio. Also on hand is Kandinsky’s large, symphonic painting, “Composition V” (1911), an appealing mixture of free-form engineering and psychic eruption.

A final room showcases postwar Ger-man art. Admittedly, this isn’t my cup of tea. I found the works by Gerhard Richter and Beuys solipsistic and diagrammatic and those of Georg Baselitz and Markus Lüpertz turgidly self-indulgent. (If Dix and Schad had already perfected a kind of ironic alienation—smoothed by craft—the younger generation chiefly cranks the volume or multiplies the dangling impli-cations.)

Still, there’s something uniquely unset-tling about Sigmar Polke’s large painting, “Japanese Dancers” (1966), whose pranc-ing, half-naked figures, recorded in weath-ered, distancing Ben-Day dots, conjure a moment that’s desirous but denying, sophisticated but blinkered.

Sampled enough alienation? Head down to that café and sink your teeth into some Klimt torte. The Ronald S. Lauder Collection Through April 2, 2012, Neue Galerie New York, 1048 5th Ave., 212-628-6200, www.neuegalerie.org.

Egon Schiele, “Mime van Osen” (1910), watercolor, gouache and crayon on paper.

Andy Warhol, “Robert Rauschenberg” (1967), acrylic and silkscreen ink on linen, 14 x 10 1/4 inches. Courtesy Gagosian Gallery. Photography by Robert McKeever.


BY STEvE HASkE

L.A. Noire is a terrifi c mess. If you look, you can fi nd note of this mixed in with the game’s various critical

acclaims and accolades—the adoration from the mainstream press upon its high-profi le release over its use of Avatar-esque motion capture technology, the shock that a video game could really be technologi-cally sophisticated enough to accurately capture the facial tics and nuances of real actors who, in the context of the game’s narrative, are hiding something.

Yet, as is so often seen in fi lm noir itself, there are two sides to every coin, something L.A. Noire’s design addresses aggressively as an interactive homage to the genre. You might assume developer Team Bondi has created a free-roaming game with the choose-your-own adventure feel of Grand Theft Auto (Rockstar Games’ crime-based free-for-all that has generated over $500 million in sales to date)—that L.A. Noire lets you drive all over a meticulously researched reconstruction of 1947 Los Angeles would appear to support this impression.

This couldn’t be further from the truth.

Rather than staying one step ahead of Johnny Law, stealing cars and running amok, you take on the role of Cole Phelps, a hard-nosed, straight-arrow LAPD gumshoe whose job involves routine police work and (cue facial tech) questioning suspects in what is essentially a hard-boiled detective procedural with pulp dialogue. As a game, there isn’t anything else like it. But it’s in these unique and often clumsy attempts at crafting a different sort of interactive expe-rience that L.A. Noire becomes fascinating.

Measured against the explosive metric of a typical action title, L.A. Noire is decidedly methodical. Phelps’ day-to-day is your game-play, and a good chunk of it is spent searching for clues and performing lite forensic exami-nations at crime scenes. The linear nature of solving episodic cases feels like playing a dialogue-driven television drama (and aside from leading man Aaron Staton, it seems at least half the cast of Mad Men has bit parts).

It doesn’t always work—player choice is often stunted by L.A. Noire’s merciless script. Phelps can blow every interview and still pass a case; inscrutably, you only get one shot during an interroga-tion to expose a suspect’s lie when packing hard evidence. You can’t even pull your piece unless the action calls for it.

Calling L.A. Noire a game in the traditional sense is a mistake. If you try to go off the rails by, say, sending the wrong guy to the big house, the narrative arc will fi nd a way to right your wrong, revealing the actual cul-prit later. Meanwhile, certain option-

al safeguards designed for the less patient almost let the game play itself. (I strongly recommend you keep game hints turned off.)

As spectacularly fl awed as L.A. Noire may be at points, it’s nevertheless a slight shove in the right direction. What writer/director Brandon McNamara lacks of Billy Wilder’s interpretive precision and Dashiell Ham-mett’s fl air for Byzantine criminal puppet-mastery is made up in immersion. You might feel like you’re watching a movie (albeit one that doesn’t always clearly jive with noir’s traditional themes) or you might balk at the idea of a modern, big-budget game that advocates brainy gameplay over endless shoot-outs. L.A. Noire is hardly perfect, but in some limited, expendable sense, it is new.

And maybe that’s the point.

Steve Haske is a Portland, Ore.-based journalist. Follow him on Twitter @afraidtomerge.

ON GAMING

Aaron Staton in L.A. Noire.Courtesy of Rockstar Games

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A How-To Guide to ImprovFREE MuSiC WiTH DiRECTiON

BY HOWARD MANDEL

Large ensembles defying genre labels and intent on collective improvisation are unusual but not entirely new; there’s

a nearly 50-year history of them just in the East Village. But a new movement of impro-vised orchestration is upon us, exploring the balancing act at the heart of the art of jazz: How much collective organization vs. how much personal liberty bring the best results?

Lawrence Douglas “Butch” Morris and Karl Berger, who conduct Monday night workshops/performances in the East Village at Lucky Cheng’s and The Stone, respectively, are leaders of these investigations. Elliott Sharp, Greg Tate, Adam Rudolph and Walter Thompson are activists, too. Each takes a different approach to directing the dozen or two individualists under his baton, but everybody’s trying to guarantee freedom with structure toward wonderful ends.

The suite-like performances that have emerged from Berger’s eight-month stand at The Stone, for instance, have a warm, buoyant vibe issuing from brief folkloric-like motifs and the low-key, common-sense guidance he offers his players. They are mostly veteran musicians from avant rock and world music as well as jazz scenes, and can expand on simple themes paying utmost attention to dynamics and each other.

The collective’s intuited communication has attained a high point since weekly shows began last March and will be tested in a season finale incorporating iconoclastic sax soloist John Zorn, who comes to the project cold for concerts Dec. 5 at 8 p.m. and 10 p.m. Berger hopes to resume activities next spring in a location yet to be determined.

Morris imposes structure more strictly on his younger minions, whose strings and reeds instrumentation resembles that of a conven-tional chamber orchestra. There’s percussion but no jazz drum kit, saxophones or jazz brass—though Brandon Ross’ electric guitar does add edge. The players use no score and themselves come up with pitches, gestures and accents in response to Morris’ commands for long tones, repeats, shifts to softly articu-lated “ghost notes” and development.

The company has absorbed his system of hand gestures—as a body it can switch swiftly from lyricism to funk and back. Morris treats his orchestra as a tool for instant composi-tion; when asked, “How did you write that?” he answers with pleasure, “I didn’t.”

These ensembles aren’t like jazz big bands (the Vanguard Jazz Orchestra, the Mingus Big Band), which favor arrangements of fixed compositions that open for solo improvisa-tions but don’t allow all hands to shape the music spontaneously. The present drive for more organically grown group expression may date from the Jazz Composers Orches-tra, which was founded in 1965 and involved musicians associated with Sun Ra, Ornette Coleman, Cecil Taylor and Carla Bley in day-long programs at the Public Theater. Public afternoon rehearsals preceded evening per-formances.

Berger was involved in the JCO, and in the mid ’70s he established his Creative Music Studio in Woodstock, propounding the “mak-ing music is easy” philosophy he professes today. Several participants in The Stone ses-sions attended his Woodstock school.

In the ’80s and ’90s, East Village composer-performers sought ways to organize large groups without dictating to them. Zorn came up with intricate games in which improvis-ers reacted to signals with the sounds they liked. Sharp designed works based on natural or mathematical forms, like the Fibonacci series, for his Orchestra Carbon, coming Dec. 8 to Roulette in Brooklyn.

Morris, a neighbor of Zorn and Sharp, unveiled his concept in “Conduction Num-ber One: Current Trends in Racism in Mod-ern America” at The Kitchen in Soho in 1985, and since then has introduced conduction to diverse ensembles around the world.

Morris is a direct influence on guitarist-writer Tate, whose moveable feast Burnt Sugar the Arkestra Chamber gigs weekly on Sundays during December at the Boom Boom Room in Tribeca and at a benefit for the Jazz Foun-dation of America at Tammany Hall Dec. 7. Rudolph, the percussionist/composer/impro-viser whose multi-culti Go: Organic Orchestra was a hit at the old Roulette in Soho and came to Roulette-Brooklyn Nov. 21, once taught at Berger’s Creative Music Studio.

Thompson, who independently invented a hand gesture conducting system he calls “soundpainting,” was also at CMS in the ’70s. Columbia University’s Center for Jazz Studies present Thompson and Morris in a “Conversation with Composers” Nov. 30. Large-scale improvisation, “free” but with direction, may be a topic of the moment because, as with loosely knit but ostensibly cohesive political movements, everyone’s curious: “What’s next?” Reach Howard Mandel at [email protected].

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CLASSICAL

A Ring That ChimesENLiVENiNG WAGNER’S THiRD iNSTALLMENT

BY JAY NORDLINGER

One by one, we are seeing the operas of Wagner’s Ring at the Metropolitan Opera, in a new production by Robert

Lepage. We have now seen the third opera, Siegfried, the one that follows Die Walküre and precedes the fi nale, Götterdämmerung. Lepage has not made a Siegfried that will dance through your head forever. But it is a sensible and credible Siegfried.

Some aspects of it are a little puzzling or silly. Early in the opera, I wondered, “Who’s that bulky blonde woman?” It turned out to be Bryn Terfel, portraying the Wanderer in a long wig. At the end of the show, when Terfel was taking his bows, I realized that the wig was white or gray. In Act II, the dragon is more comical than fearsome. But complaints and quibbles aside, this is indeed a worthy Siegfried, and we will see how Lepage ends the cycle when Götter-dämmerung premieres in January.

The most important participant in a Siegfried, or any other Ring opera, is the conductor. The Met’s music director, James Levine, was supposed to conduct, but he has been sidelined with injuries and ailments. Subbing for him on the night I attended was Derrick Inouye. From what I can gather, he has had a journey-man’s career. And my hope for him was that he would merely manage the opera competently. He did much more than that. He conducted the opera with real understanding and command. A couple of times, he let his guard down, and this

was particularly true at the end: The music should peal like wedding bells, and on this occasion it was rather limp. All in all, though, Inouye had performed laudably.

As for the Met orchestra, these guys played so well, I felt they were casting a vote of confi dence in the conductor. I should single out the low brass: Wagner gives them a fi eld day in Siegfried, and they took full advantage. The ground under Lincoln Center slightly shook.

In the title role was Jay Hunter Morris, not to be confused with James Morris, the veteran bass. Siegfried is a famously pun-ishing part, and you root for the tenor to get through it. Anything else is gravy. Mor-ris got through it, and gave us a little gravy. Most of the time, his singing was rough and ready, but he gleamed when Wagner allowed him to sing high. What’s more, Morris looks somewhat like a Siegfried should. Ideally, this character is a splendid physical specimen, a Norse Tarzan—never mind that he is the son of twins.

Gerhard Siegel was Mime, and among his contributions was authentic German: The text sounded just right from his mouth. Mime is both crafty and pathetic, and Siegel made sure he was that. Also, his Mime was oddly swishy. Eric Owens, who sang Alb-erich, sounds like a Wotan in the making, as many have remarked. Unfortunately, he doesn’t sound much like an Alberich. He pours forth lushness, which is nice. But Alb-erich requires bite, articulation and menace.

Terfel sounded magnifi cently like a Wotan, or the Wanderer, as he is known in Siegfried. In the past, Terfel has been a

Continued on the next page

Jay Hunter Morris as the title character in the Met’s new production of Wagner’s Siegfried.Photo by Ken Howard/Metropolitan Opera.

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beautiful voice crooning in the part of Wotan. He has been short on majesty, solidity and godlikeness. On this occasion, he was not short at all. His exchange with Erda was downright memorable.

Erda was sung by Patricia Bardon, who was both correct and moving. She had some of the molten earth in her voice (just as Wagner puts it in the music). Hans-Peter König boomed adequately as Fafner, dis-guised as a dragon, and Mojca Erdmann chirped adequately as the Forest Bird.

Incidentally, Lepage provides us with an enchanting (electronic) bird, even if his dragon leaves something to be desired.

Assigned the chores of Brünnhilde, Deb-orah Voigt acquitted herself with honor. But if you want to hear a really resplendent Brünnhilde, try Voigt’s recording with Plá-cido Domingo, made in 1999.

Some people think of The Ring as a four-movement symphony, and if that is so, Siegfried is the scherzo: fast, fizzy, quirky, full of life. Of course, it has other types of music too, such as the Wanderer’s hymn-like lines. You would hesitate to say you had a favorite Ring opera, but I must say I look especially forward to Siegfried.

Familiarizing Great MusicTHE PHiLHARMONiC’S SuRViVAL PROGRAMS

BY JUDY GELMAN MYERS

Out of apathy, fear or intransigence, we barricade ourselves from things we don’t know—people, places, music.

Symphonic music is often thrust behind these barricades, so the New York Philhar-monic has created an education department to help bring it out front where it belongs.

Why does it belong out front? Director of Education Ted Wiprud explains that, beyond the music itself, the program is about “a large number of people develop-ing skills together with the sole purpose of bringing beauty into the world. It’s an astonishing model for other things we do in our lives.”

Every month, the Philharmonic’s educa-tion department offers lectures for adults, online learning for kids (Kidzone! gets 40,000 hits monthly), young people’s con-certs and partnerships with public schools. On Nov. 10, through the Musical Encoun-ters program, young city residents attended an open rehearsal of Beethoven’s Pastoral, where orchestra members in jeans and T-shirts dispelled the image of symphonic musicmaking as a strictly black-tie affair. Meanwhile, the music itself became more approachable when played by violinists in sneakers.

On Nov. 12, teaching artists and members of the New York Philharmonic convened in Avery Fisher Hall before the famed Young People’s Concert. On the promenade of one of the most prestigious concert halls in the

world, world-class musicians performed quartets composed by public school stu-dents from 3rd through 7th grade in a weekly after-school program called Credit Suisse Very Young Composers (VYC).

Jon Deak, founder of VYC, rejects the idea that kids need to know the rules of composition before they can compose. “Music comes to all of us at an early age,” he says. “We’re just going back to where music comes from.” In their weekly sessions, Deak and his teaching artists play games like Ear Fantasy and Sound Geography, encourag-ing students to bring into the open the music they carry inside. Older students learn how to develop a professional-level voice and musically notate their pieces without help.

Deak, who played with the Philharmonic for years, feels a tremendous sense of grati-tude to the orchestra and believes deeply in maintaining its vitality through public education. He says the process works both ways—the symphony wins when kids are empowered to create. “If only people with doctorates can compose, then the art form collapses. This isn’t outreach,” he confides. “It’s self-interest.”

Wagner Continued from page 10

Church of the Epiphany: Singer-instrumentalist ensemble Trefoil performs in “Christo è nato: Lauding the Nativity in Medieval Florence.” Dec. 10, 1393 York Ave., 212-866-0468, salonsanctuary.org; 8, $25.

Immanuel Lutheran Church: Black Marble performs in “Virtuoso music for two violins by Telemann, Shield & Leclair” as part of the Midtown Concerts series. Dec. 7, 122 E. 88th St., 212-967-9157, midtownconcerts.org; 1:15, free.

Miller Theatre: Fred Sherry, Jennifer Koh, Stephen Gosling, the Talea Ensemble & others perform world premieres by John zorn as part of the 12th season of Miller Theatre’s Composer Portraits series. zorn will also give a late-night encore solo organ performance after the concert. Dec. 9, Columbia university, 116th & Broadway. 212-854-7799, millertheatre.com; 8, $25.

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Israel Gursky, ConductorDona D. Vaughn, Director

Libretto by Lorenzo Da Ponte

Manhattan School of Music Opera Theater Dona D. Vaughn, Artistic Director

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JuilliardDANCE

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DANCE

Personas in MotionKYLE ABRAHAM’S DANCE BiOGRAPHY

BY vALERIE GLADSTONE

In the Vimeo trailer shot by visual art-ist Carrie Schneider for choreographer Kyle Abraham’s new work, Live! The Realest MC, a young boy hurries along

a lonely city street, interrupted by images of cracked pavement and barbed wire. The camera stutters, stops and starts, switch-ing quickly from his face to boys racing around a corner. He picks a delicate white flower and squeezes it in his hand.

The boy in the video could have been Abraham as he was growing up in Pitts-burgh, fearful that being gay might get him beaten up and ostracized by the hip-hop community. In the story of Pinocchio he found an allegory on which to base his excursion into the dark and lonely place of his childhood.

“I was inspired by Pinocchio’s quest to be a so-called real boy,” Abraham says on the phone from Ireland, where he is cho-reographing a work for the Irish Modern Dance Theater. “I put it in a gay context, with a boy struggling with his identity when surrounded by hip-hop bravado. I remember lowering my voice in my teens to make it sound deeper so I would fit in.”

Abraham has long interwoven his own personal history with larger themes, first as a student at the Pittsburgh Creative and Performing Arts High School and later at SUNY Purchase and NYU’s Tisch School of the Arts. In Radio Show, which won a Bessie (New York Dance and Performance Award) in 2010, he explored his father’s Alzheimer’s and the end of old-time radio stations in Pittsburgh.

This time around, he gives his stand-in, Pinocchio, a hip-hop persona. He is relat-ed to the title character in his smashing solo, Inventing Pookie Jenkins, from 2006. “He struggles with the difference between who he is when he’s alone and who he is in public,” Abraham explains.

For Live! The Realest MC and his previ-ous work, Opus 1, an homage to photog-rapher Eadweard Muybridge, Abraham collaborated with Schneider. “Kyle knows how distracting video can be in perfor-mances,” she says, “so he uses it differently. He breaks it up and fractures it unconven-

tionally. He turns it into dream sequence. He’s bold; he’s not afraid. He breaks rules in powerful ways.”

This isn’t surprising for an artist who takes inspiration from Merce Cunningham and Ralph Lemon and who danced with the Bill T. Jones/Arnie Zane Dance Company and David Dorfman Dance. But he wants people to know that his new work has come-dic elements and a soundtrack, which he produced, with the flavor of ’90s rap as well

some tunes from jazz pianist Bill Evans. From Ireland, Abraham goes on to non-

stop work back home, his career booming. Asked how he feels about being today’s hot young choreographer, he replies, “I’ve been caught off guard at how many great things can happen.” Live! The Realest MC Dec. 8–10. at The Kitchen, 512 West 19th Street, www.thekitchen.org

Dancer-choreographer Kyle Abraham. Photo by Ian Douglas

Dances Patrelle: The company presents its 16th annual production of “The Yorkville Nutcracker,” in which dancers age 5–65 & featured dancers from The Metropolitan Opera Ballet, Staatsballett Berlin, & New York City Ballet transport the audience to the upper East Side of 1895. Dec. 8–11, The Kaye Playhouse at Hunter College, 68th St. betw. Park & Lexington Aves., 212-772-4448, dancespatrelle.org; $45+.

Kelley Donovan & Dancers: in the new evening-length work “Fractured Realm,” the company employs its signature weight-shifting techniques in an exploration of “creation, destruction & connection.” Dec. 10, PMT House of Dance, 69 W. 14th St., 617-388-3247, kddcompany.wordpress.com.

LAVA: The acrobatic 8-woman performance troupe collaborates with visual artist Tony Feher in “Atlas,” navigating through space with trampolines, wheels & water bottles. Dec. 1–11, Dixon Place, 161A Chrystie St., 212-219-0736, dixonplace.org; $10+.

Saeko Ichinohe Dance Company: The company celebrates its 40th anniversary with screenings of past performances & live performances of original work. The performance will be followed by a reception & silent auction of some of the company’s costumes to benefit a dance organization in northern Japan. Dec. 3, Ailey Citigroup Theatre, 405 W. 55th St., 212-868-4444, www.ichinohedance.org; 7, $30 (performance only), $70 (performance & reception).

WestFest Dance Festival: 21 mid-career & advanced choreographers—including featured guests TAKE Dance, David Parker and the Bang Group, Gibney Dance Company & urban Bush Women—present works in two alternating programs. Dec. 8–11, Merce Cunningham Studio Theater, 212-427-627, westbeth.org; $20.

THEATER LISTINGS

Happy Hour: Oscar-winner Ethan Coen’s evening of short plays receives its world premiere courtesy of the Atlantic Theater Company with an ensemble cast including Amanda Quaid, Joey Slotnick and Ana Reeder. Ends Dec. 31, Peter Norton Space, 552 W. 42nd St., atlantictheater.org.

A Christmas Carol: Reid Farrington presents a trippy remix of the classic holiday show, uniting live performance & clips from 35 different film versions of the tale on moving screens to form a massive “magic lantern.” Dec. 1–18, Abrons Arts Center, 466 Grand St., 212-598-0400, abronsartscenter.org.

Angry Women in Low Rise Jeans with High Class Issues: This witty, woman-centered comedy takes on first world problems from bikini waxes to birth control side effects. Dec. 1–18, Theater for the New City, 155 1st Ave., 212-254-1109, angryyoungwomen.net.

Cosi fan tutte: The Manhattan School of Music Opera Theater gives three performances of Mozart’s “Cosi fan tutte,” conducted by MSM graduate israel Gursky. Dec. 7, 9 & 11, Borden Auditorium, 120 Claremont Ave., 212-749-2802, msmnyc.edu.


Mind and Body MathTHE CuNNiNGHAMS CARRY ON

BY JOEL LOBENTHAL

You wouldn’t know it from watching him on stage, but Merce Cunning-ham dancer John Hinrichs “would

describe [himself] more as a math guy than as a dancer,” he recently informed me by email sent while on the company’s “Legacy Tour,” its final circuit around the world. The company will be at the Brooklyn Academy of Music Dec. 7–10 before giving its very last performance at the Park Avenue Armory on New Year’s Eve.

What you see a dancer project on stage is both a direct product of his or her personal biogra-phy and a constructed performing persona that is distinct and inde-pendent from real life. But the Cunningham dancers radiate a cul-tured adultness on stage, which may be due in part to the fact that most have college degrees. Hinrichs grew up in Rochester, Ill., and received his BS in math education from the University of Illinois Champaign-Urbana in 2006. He joined the com-pany in 2009, the year Cunningham himself died at age 90.

In his late career, Cunningham worked to thwart the audience’s construction of narrative or emotional through-lines in his works. He experimented with ever more complicated rhythms and spatial patterning and mined the possibilities of com-puter-programmed cho-reography via software installations. The logic of math, then, might seem like an appropriate preparatory discipline for Cunningham’s work.

Nevertheless, “that analytical side can get in the way,” Hinrichs says. It’s a question of finding the right approach for the individual dance. “To solve a problem in dance” might require “a rigorous analytical approach...that

involves physics and body mechanics,” but just as frequently it might demand “com-pletely shutting off analytical thinking and using the body’s intelligence” or concentrat-ing on a “creative image that takes physics/mechanics into account.”

The poses and movements of human bodies connecting or separating in space will always cue, consciously or not, certain responses in the spectator. And steps will be more compelling the more thoroughly they are realized physically. For Hinrichs, “the most satisfying and complete moments

in performance come when I tap most deeply into my instincts and humanity.”

Hinrichs doesn’t yet have another dance job lined up, but plans to continue his dance training and wants to take acting and impro-visation classes, as well as try creative writing. Meanwhile, the Cun-ningham repertory will be licensed out to com-panies around the world.

Cunningham’s work uses ballet vocabulary and has been, and is today, performed by ballet companies. Ear-lier this month at City Center, American Ballet Theatre performed Cun-ningham’s 1980 Duets, which first entered ABT’s repertory 30 years ago.

The accuracy of two different six-couple casts varied not so much from performer to performer but from moment to moment within each of the couples’ interactions. One also had to allow for the fact that ABT’s Duets could never, and prob-ably should never, look like the Cunningham company itself.

Change is inevitable, and we will see how the Cunningham rep-ertory will fare without his presence and without a company dedicated to his work. His troupe’s final appearances are thus to be treasured all the more. Read more by Joel Lobenthal at Lobenthal.com.

WHAT YOU SEE A DANCER PROJECT ON

STAGE IS BOTH A DIRECT PRODUCT

OF HIS OR HER PERSONAL

BIOGRAPHY AND A CONSTRUCTED

PERFORMING PERSONA THAT

IS DISTINCT AND INDEPENDENT

FROM REAL LIFE. BUT THE CUNNINGHAM

DANCERS RADIATE A CULTURED

ADULTNESS ON STAGE, WHICH MAY BE DUE IN PART TO THE

FACT THAT MOST HAvE COLLEGE

DEGREES.

Enjoy the Caribbean Sun and Captivating Culture on a Winter Getaway to St. MartinBy Penny Gray

For an experience in the Caribbean both calming and cultural, why not head down to St. Martin? As the smallest island in the world ever to have been partitioned between two different nations (the French and the Dutch), this 37-square-mile island offers the rarest and richest of opportunities to bask in both endless sunshine and cultural diversity.

American Airlines began offering daily, nonstop fl ights from John F. Kennedy International Air-port to St. Martin’s Princess Juliana International Airport Nov. 17. The fl ights use a Boeing 757 aircraft, with 20 seats in business class and 166 seats in economy. Flight 667 departs from JFK at 7:59 a.m. and arrives in St. Martin at 1:09 p.m.

Upon arrival, take a taxi to the French side of the island (the border can hardly be perceived, and both islanders and visitors alike cross back and forth without even knowing they’re entering a new country) and fi nd yourself in Marigot, the capital city of French St. Martin. Perhaps the most French in spirit of all the cities in the Caribbean, Marigot resembles a French market town complete with streetside cafés and bistros ideal for people-watching, as well as luxurious boutiques and elegant shops with the latest fashions.

Visit the open-air Marigot market for a chance to sample freshly caught fi sh and local produce, spices and tropical fruit. Stroll to the southern end of Marigot for a brief educa-tion in the island’s history at the St. Martin Museum, where artifacts dating back to 1800 BCE and ceramics from 550 BCE can be found alongside a detailed history of colonial life on the island, including the progression from plantations and slavery to modern develop-ment.

Then climb to the top of Fort St. Louis, the largest historical monument on the island, for a panoramic view of Dutch St. Maarten and the stunning sea surrounding it. From this vantage point, you can choose one of the country’s great beaches for a quick dip to cool down after your climb. The beach at Grand Case is an excellent choice, and there are some savory barbecue stands located nearby with some of the best food on the island (the stands are

called “lolos” by locals).After lunch, head on over to the Dutch part

of the island, St. Maarten. In the capital city of Philipsburg you’ll fi nd plenty of duty-free shops nestled among arcades and courtyards crammed with fl owers. Even if shopping is not your passion, the traditional West Indian architecture alone warrants a walk through the charming town. Front Street, one of the town’s two main thoroughfares, features sites of more historical import, including the court house and the Simartin Museum. At the eclectic mu-seum, the contents of a British shipwreck can be found alongside artifacts from the natives of the island, the Arawaks.

After a brief orientation in Philipsburg, climb aboard the Lord Sheffi eld, St. Maarten’s so-phisticated pirate ship. A square-rigged sailing vessel armed with black powder cannons, the Lord Sheffi eld is a unique way to get a tour of the island from a distance or go for a snorkel or a sunset sail. If a smaller, private boat is more your speed, consider renting your own boat and exploring the largest landlocked lagoon in the Caribbean, certainly the most unique geographical feature of St. Maarten.

After such an adventurous day, return to the French side of the island to relax on Orient Beach. Often referred to as the “French Riviera of the Caribbean,” this beach offers plenty of places to enjoy a frozen drink and relax in a lounge chair while staring out into the sea. Most of the best restaurants on the island line this mile-long beach, so consider one of the many fi ne dining options for a leisurely (and fresh) meal by the sea, often involving freshly grilled fi sh and local vegetables in season.

After dinner, take a stroll up to Paradise Peak, the highest point on the island. There are two observation decks on the 1,400-foot-tall Pic Paradis, and at night, the island glitters with electricity like fi refl ies and boats at sea provide a magical light show. From the top of the mountain, you can have a long think about where you’d like to relax the following day. After all, no trip to St. Martin is complete without a day of lounging on one of the many quiet, protected beaches or coves and doing absolutely nothing at all.

The Sonesta Maho Beach Resort in St. Martin.


FILM

Method Envy CRONENBERG’S WRY TOAST TO HEADSHRiNKiNG

BY GREGORY SOLMAN

David Cronenberg’s wry, almost incredu-lous treatment of Carl Jung, Sigmund Freud and the late 19th-century mind transforms what could be neurotic movie misery into common unhappiness—or perhaps the guilty pleasure of schadenfreude.

A Dangerous Method confi nes its fi ctional gaze to a remarkable historical confl uence of winding intellects, when future shrink Sabina Spielrein (a courageous Keira Knightley) went from Jung’s patient-who-knew-too-much to his spurned lover bordering on extortionist.

As Jung individuates, he grows to see Freud as more fraud than father fi gure archetype. Nei-ther man seems particularly happy. It’s a lively, playful surface— beautifully rendered by cin-ematographer Peter Suschitzky—but without much deep psychology to commend it.

Sabina comes to Jung’s clinic in Switzerland diagnosed as a hysteric, a basketcase of tics, exasperating fi ts and childish exhibition-ist display. Without having investigated her most basic sexual history, Jung (Michael Fass-bender) futilely applies mystical theories of ESP and primitive brainwave chronographs redolent of carnival sideshows. He writes and fi nally visits his idol Freud (Viggo Mortensen) in Vienna before undertaking his fi rst psycho-analysis, questioning Sabina from behind—the conscience position—and interpreting her dream language, fi nally revealing Sabina’s repressed childhood abuse and unleashing

her textbook sexual fetish. Or does he? Cronenberg and screenwriter

Christopher Hampton suggest Sabina’s self-awareness and manipulative emotional con-trol: She could be putting Jung on or at least exaggerating her maladies for attention, a possibility reinforced by her professed desire to practice psychiatry. Meanwhile, Jung’s frisson with another fallen Freud disciple, the amoral sex and drug addict Otto Gross—conspicuously referred as a patient to Jung by Freud himself, like a human bomb—convinc-es Jung to shed his useless repression and take up with Sabina. Or did he want that all along?

Guilty over his compromised position with Sabina, shamed by the castrating effects of the perfectly decent, pregnant wife who keeps him (Sarah Gadon) and conscious of his method’s critical scrutiny by Freud, unin-tended and uninhibited observation effects

ricochet around this egghead triangle to Ler-montov poems and Das Rheingold.

Yet that’s only entertaining from a posi-tion of airy superiority to the characters. Adapted by Hampton from his stage play The Talking Cure, the story comes apart like a series of nesting boxes as the clash of titanic superegos prove and reprove their own theories, watching their own actions as a running subtext as if helpless, falling into psychosexual traps they themselves would eventually spring upon the rest of the world.

But Cronenberg and Hampton’s atom-istic treatment of the characters’ traits seals them in waxen, mechanistic action. The fi lmmakers act too distant in time or consciousness to relate to any human trag-edy and make an emotional claim. In the end, they’ve succumbed to gross nihilism: Nothing is at stake.

A Giant Played by a MidgetWEAK CELEBRiTY BiO OF MARiLYN MONROE

BY ARMOND WHITE

Art critics cite Andy Warhol’s 1962 “Gold Marilyn Monroe” (a tinted print using a Niagara movie still)

to exemplify the movie star’s “infi nitely reproducible” image. Movie critics simply yell “Oscar!” at Michelle Williams’ image of Marilyn Monroe in My Week With Marilyn,but her impersonation amounts to a giant played by a midget.

My Week with Marilyn doesn’t deserve a Warholian defense, since the movie fails to enhance or complicate one’s relationship to Monroe’s celebrity or humanity. Based on Colin Clark’s memoir recalling his encounter with Monroe when he worked as a gofer on Laurence Olivier’s 1957 pro-duction, The Prince and the Showgirl, the star’s pop status is reduced to a sensitive “natural” whose approach to Method act-ing was misunderstood.

Director Simon Curtis settles for Mon-roe’s distant tabloid myth according to Clark’s privileged, star-struck naiveté. She’s presented as an inadvertent sexpot, abused

by intellectual louts from Lee Strasberg to Arthur Miller to Olivier himself, who all exploit her value as a showbiz commodity.

Condescension toward fame is all that’s reproduced here, like Bennett Miller’s celebrity exploitation in Capote. Curtis’ monotonous style ignores what made Monroe fascinating—instead, too many close-ups make for a tedious character-ization. Close-ups don’t necessarily mean insight. Curtis affects a Playboy Magazinestyle of false, pornographic “intimacy,” but Williams lacks the personality and lush physicality for successful prurience; she’s more Renée Zellweger than Monroe.

Curtis and Williams’ collaboration cre-ates shallow sympathy for a misused waif who strikes sexy-pathetic poses, going through fi ts of sullen insecurity while Oliv-ier (hammy Kenneth Branagh) and Dame Sybil Thorndike (hammy Judi Dench) wait on set at the legendary Pinewood Studios.

There’s no perspective on Monroe’s art—her cagey, incomparable performances in Gentlemen Prefer Blondes and Bus Stop,which were clearly not the work of an air-head. More superfi cial than Warhol’s print, Williams’ performance is the height of arrogance. Monroe’s emotional instability

is merely another shameless stunt perfor-mance like Cate Blanchett’s Bob Dylan, Charlize Theron’s Aileen Wuornos, Philip Seymour Hoffman’s Truman Capote and—worst of all—Blanchett’s ludicrous Katha-rine Hepburn. Williams’ unimaginatively “natural” approach (all moue and retard) fi ts the Olivier line “No wonder she’s per-manently 10 feet under water,” rather than vividly inhabiting “Marilyn.”

Williams keeps audiences under water, lacking the liveliness of Theresa Russell memorably impersonating the Marilyn icon in Nicolas Roeg’s 1985 Insignifi cance. Russell met the legend head on, adding her own sexual insouciance and cunning suppositions about Monroe’s intelligence (including a remarkable moment explain-ing to Albert Einstein his own theory of rel-ativity). Insignifi cance (recently released on Criterion DVD) challenged pop myth as incisively as Warhol, but My Week with Marilyn resembles a tabloid tease.

A step down from Christopher Munch’s The Hours and Times, which used the leg-

end of John Lennon’s lost weekend with Brian Epstein for queer appropriation, this bio is so wan that suggestions of femi-nism get lost in celebrity worship. It’s par-ticularly wrong-headed when bland Julia Ormond is cast as Vivien Leigh, then Oliv-ier’s wife. (Curtis comes up with no better indication of female movie star empathy than to use the Monroe-Leigh summit to indict Olivier’s chauvinism. Worthless.)

Combining political sympathy and media ignorance, the fi lmmakers confuse Monroe’s fame with her self—a mistake Warhol’s print should have discouraged, calling for a smarter response to Pop leg-ends. In My Week With Marilyn, Williams’ portrayal of Monroe as an extension of her screen roles cannot be trusted. There’s too much deliberation in Williams’ slyness, including a third-rate singing imperson-ation of Marilyn’s famous “That Old Black Magic.” Fact is, Monroe was not Cherie in Bus Stop, even though it was a great per-formance. Only a stupid actor could give this impersonation.

Michelle Williams in My Week With Marilyn.


Going, Going AuctionsBY CAROLINE BIRENBAUM

RARE GEMS AND LOvELY BAUBLES Most of the December Fine Jewelry sales

will undoubtedly be upstaged by Chris-tie’s four-day extravaganza offering the collection of Elizabeth Taylor. To view this bounty, purchase timed exhibition tickets in advance—and note that seating at the auctions is limited to registered bidders. (There is an online-only component for the hoi polloi.) A portion of the money generated by admissions and the elabo-rate printed catalogs will go to the Eliza-beth Taylor AIDS Foundation.

The final lot in the Dec. 13 evening ses-sion is the renowned 33.19-carat diamond ring that was among the lavish gifts Taylor received from Richard Burton. The wed-ding bands from her two marriages to Burton and the richly colored garments she wore at those wedding ceremonies are in the Dec. 14 afternoon and evening ses-sions.

Other spectacular diamonds are fea-tured in Sotheby’s Magnificent Jewels sale Dec. 7, including an intense pink diamond ring and the Star of Golconda, an old mine, cushion-shaped 33.03-carat diamond ring.

FOR WALLS & SHELvESBeyond bodily adornment, a wide array

of painted, printed and written material will be on exhibit. Here’s a brief sampling of upcoming auctions.

Freeman’s Fine American & European Paintings sale Dec. 4 features 19th-cen-tury gems such as Severin Roesen’s lush autumnal “Still Life,” Thomas Cole’s “Part of the Ruins of Kenilworth Castle” and James A.M. Whistler’s “Blue and Opal: The Photographer,” plus works by Pennsyl-vania impressionists who can hold their own with more widely known American practitioners.

Swann’s Dec. 13 sale of Important Pho-tobooks & Photographs contains Edwin Hale Lincoln’s masterpiece Wild Flowers of New England, eight volumes with 400 exquisite platinum prints, 1910–14.

Sotheby’s offers Important Judaica on the morning of Dec. 14 and Israeli and International Art that afternoon. Among the highlights are a Hasidic prayer book, Hebrew illuminated manuscripts, early documents of Jewish Americana and three synagogue interiors by Chagall.

Bonhams presents Fine Books & Manu-scripts Dec. 15. Along with desirable maps and atlases, works on travel and explora-tion, natural history and literary classics, there is a large selection of artists’ letters, manuscripts and illustrations ranging from 19th-century French painters to present-day Americans like Edward Gorey, Charles Schulz and R. Crumb.

Swann concludes its autumn season Dec. 15 with a single-owner collection, The Complete Poster Works of Roger Brod-ers, whose elegant Art Deco images have epitomized the French Riviera for genera-tions. This is the first auction to comprise his entire poster oeuvre.

Christie’s Dec. 19 photographs sale includes Photographs from the Consoli-dated Freightways Collection, Part II, con-sisting of 20th-century scenes related to the theme “Crossing America.”

GORGEOUS DECOR’Tis also the season for modern design

and decorative arts, and most of the sales are aglow with Tiffany pieces. On Dec. 14, Bon-hams offers an eclectic selection of lovely objects ranging from the late 19th century to the present. On Dec. 15, Wright, which specializes in 20th-century architecture and architect-designed furniture, features Bertoia sculptures and beautifully crafted works from an interior designed by Samuel Marx that are new to the auction market.

AUCTIONS JEWELRY SALES

Doyle: Dec. 6, 10 a.m.: important Estate Jewelry. Previews Dec. 2–5, www.doylenewyork.com.

Phillips de Pury: Dec. 6, 4 p.m.: Jewels. Previews Nov. 30–Dec. 6, www.phillipsdepury.com.

Sotheby’s: Dec. 7, 10 a.m. & 2 p.m.: Magnificent Jewels. Dec. 7, 10 a.m.: The Elegant John Traina’s Accessories. Previews Dec. 3–6, www.sothebys.com.

Christie’s: Dec. 7, 2 p.m.: Ancient Jewelry. Previews Dec. 3–6, www.christies.com.

Bonhams: Dec. 8, 1 p.m.: Watches. Previews Dec. 3–7. Dec. 13, noon.: Fine Jewelry. Previews Dec. 10–13, www.bonhams.com.

Christie’s: Dec. 13–16, evening and day sessions: Elizabeth Taylor The Legendary Collection. Previews Dec. 3–12 by advance ticket. Auction Vi online only, bidding from Dec. 3–17, www.christies.com.

OUT OF TOWN

Rago, Lambertville, N.J.: Dec. 4, 12 p.m.: Jewelry. Previews Nov. 30–Dec. 4, www.ragoarts.com.

Freeman’s, Philadelphia, Penn.: Dec. 5, noon: Fine Jewelry & Watches. Previews Dec. 1-4. www.freemansauction.com.

Leslie Hindman, Chicago, Ill.: Dec. 4, 1 p.m., Dec. 5, 11 a.m.: Fine Jewelry & Timepieces. Dec. 6, 12 p.m.: Vintage Couture & Accessories. Previews Nov. 30–Dec. 5, www.lesliehindman.com.

Skinner, Boston, Mass.: Dec. 6, 10 a.m.: Fine Jewelry. Previews Dec. 4 & 5, www.skinnerinc.com.

ART & BOOk SALES

Swann: Dec. 8, 1:30 p.m.: Maps & Atlases, Decorative Graphics. Previews Dec. 3–8, www.swanngalleries.com.

Swann: Dec. 13, 2 p.m.: important Photobooks & Photographs. Previews Dec. 8–13, www.swanngalleries.com.

Swann: Dec. 15, 1:30 p.m.: The Complete Poster Works of Roger Broders. Previews Dec. 10–15, www.swanngalleries.com.

Sotheby’s: Dec. 14, 10 a.m.: important Judaica; 2 p.m.: israeli & international Art. Previews Dec. 9–13, www.sothebys.com.

Bonhams: Dec. 15, 1 p.m.: Fine Books & Manuscripts. Previews Dec. 10–15, www.bonhams.com.

Christie’s: Dec. 19, 4 p.m.: Photographs. Previews Dec. 10–18, www.christies.com.

OUT OF TOWN

Freeman’s, Philadelphia, Penn: Dec. 4, 2 p.m.: Fine American & European Paintings. Previews Dec. 1–3, www.freemans.com.

Leslie Hindman, Chicago, Ill.: Dec. 11, 1 p.m.: Modern & Contemporary Art, American & European Art. Dec. 12, 1 p.m.: Old Master, Modern & Contemporary Prints. Previews Dec. 7–10, www.lesliehindman.com.

DESIGN AND DECORATIvE ARTS SALES

Phillips de Pury: Dec. 13, 6 p.m.: Design Masters. Dec. 14, 2 p.m.: Design. Previews Dec. 7–13, www.phillipsdepury.com.

Bonhams: Dec. 14, 10 a.m.: 20th Century Decorative Arts. Previews Dec. 10–13, www.bonhams.com.

Sotheby’s: Dec. 15, 10 a.m.: important 20th Century Design, 2 p.m.: important Tiffany. Previews Dec. 10–14, www.sothebys.com.

Christie’s: Dec. 17, 10 a.m.: Magnificent Tiffany; 2 p.m.: important 20th Century Decorative Art & Design. Previews Dec. 10–16, www.christies.com.

OUT OF TOWN

Wright, Chicago, Ill.: Dec. 15, 1 p.m.: important Design. Previews Dec. 8–14, www.wright20.com.

Skinner, Boston, Mass: Dec. 17, 10 a.m.: 20th Century Furniture & Decorative Arts. Previews Dec. 15 & 16, www.skinnerinc.com.

Marc Chagall, “Interior of the Ashkenazi Ha’Ari Synagogue, Safed” (1931), from the collection of Lillian and Jack Cottin, New York. Est. $300,000-$500,000. To be sold at Sotheby’s NY Dec. 14. Courtesy Sotheby’s.


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