twi-ny, this week in new york

Midtown Art Stroll of the Week


In This Issue

1. Strolling through Midtown art

2. Wandering around historic Trinity Church

3. Bad guys invade BAM

4. U.S. Open tix now on sale

5. Plus Riff’s Rants & Raves, including Takashi Miike’s THE GREAT YOKAI WAR, Laurent Cantet’s HEADING SOUTH, the New York Cosmos documentary ONCE IN A LIFETIME, Richard Linklater’s A SCANNER DARKLY, Nick Guthe’s MINI’S FIRST TIME, André Téchiné’s CHANGING TIMES, François Ozon’s TIME TO LEAVE, Patrice Chéreau’s GABRIELLE, Bryan Singer’s SUPERMAN RETURNS, Mates of State at Castle Clinton, Jonathan Demme’s NEIL YOUNG: HEART OF GOLD on two-disc DVD, and James P. Othmer’s THE FUTURIST

6. and twi-ny’s weekly recommended events, including book readings, film screenings, panel discussions, concerts, workshops, and much more

Volume 6, Number 3
June 21 — July 5, 2006

Now celebrating five years of bringing you the best of New York!

Send all comments, suggestions, reviews, and questions to Mark Rifkin

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Twi-ny, This Week In New York

Sara Sze’s "Corner Plot" puts passersby on edge


Public Art Fund Projects

Scholars’ Gate at Doris C. Freedman Plaza

Fifth Ave. at 60th St.

Through October 22

At the 60th St. entrance to Central Park at Fifth Ave., by the Plaza, an apartment seems to have fallen from across the street, reminiscent of Dorothy’s house dropping from the sky in THE WIZARD OF OZ, just without the Wicked Witch of the East below it. Or another possibility is that it is actually rising from beneath the earth, emerging from some kind of belowground hell. Sarah Sze, whose site-specific installation "The Triple Point of Water" charmed us in the Whitney’s Sculpture Court in fall 2003, has done it again with "Corner Plot," an intriguing time capsule of sorts. The piece has two windows, so peer into the apartment to see a bizarre array of household items, including lamps, plants, styrofoam cups, a fire extinguisher, toilet paper, bookshelves, rulers, a ladder, and more, creating a different kind of urban ecosystem. Although it appears there is no room for someone to live there, a light has been left on, just to make us wonder.


Steve Jobs’s newest Apple Store rises on Fifth Ave.


767 Fifth Ave. between Fifth & Sixth Aves.

Open 24/7

Admission: free

212-336-1440 for a story of a group of people who got stuck in the elevator for forty-five minutes and had to be freed by police.) The ten thousand square feet of retail space are clean and neatly arranged, with a Genius Bar, an iPod bar, an Internet café, display tables, and more, and has already hosted such celebs as Matthew Modine, Harry Connick Jr., James Woods, the Stanley Cup, and Spike Lee. If you’re as serious about your Mac as we are, you might want to check out some of the store’s daily workshops, on Final Cut Express, iDVD, Switchers, Aperture: Pro, POSIM, podcasting, Switch as Six, iPhoto, GarageBand, and, of course, iPod and iTunes, among others. And be sure to stop by at night, when the cube is all aglow, especially the Apple logo itself.


Apple Store Fifth Avenue

767 Fifth Ave. between Fifth & Sixth Aves.

Fridays at midnight

Admission: free


Friday, July 7 DJ TBA

Friday, July 14 DJ TBA

Friday, July 21 DJ jojoflores

Friday, July 28 DJ Anthony Mansfield

Tibor de Nagy Gallery

Rudy Burckhardt, "Parking Lot, 1970, oil on linen


Tibor de Nagy Gallery

724 Fifth Ave.

Closed Sunday & Monday

Through July 28

Admission: free


Swiss-born New Yorker and bohemian Rudy Burckhardt might be better known as a photographer ("An Afternoon in Astoria," 1940) and a filmmaker (UNDER THE BROOKLYN BRIDGE, 1953), but this charming show displays his talents as a painter, featuring lovely cityscapes of the place he called home. Burckhardt’s oil on linens depict an old-fashioned New York of water towers and tall buildings, billboards and rooftops, smoking factory chimneys and television antennas, mostly devoid of people, painted in an earthy palette. Although they appear to be a set, the works range from 1947’s "Chelsea Rooftops" to 1958’s "Jane Street" to 1970’s "Looking Up Sixth Avenue (with Empire State Building)" to 1981’s "Hertz Girl." We love the cars in "Parking Lot" (1970) almost as much as we’re confused by the inclusion of the 1952 still-life "Venus of Cyrene." We scoured every inch of "29th Street Panorama" (1979), searching for the building where we used to work. Be sure to look for the kitties that appear in several of the pieces.

© 2006 Artists Rights Society / ADAGP / Estate of Marcel Duchamp

Marcel Duchamp., "Fresh Widow," 1920


Museum of Modern Art, sixth floor

11 West 53rd St. between Fifth & Sixth Aves.

Closed Tuesday

Free Fridays from 4:00 to 8:00

Through September 11

Tickets: $20 adults, children sixteen and under free (MoMA AudioGuide free; tickets can be used within thirty days for film screening)


"Art is dead," proclaimed German writer Walter Serner. "Long live Dada." To that, Dadaist Tristan Tzara self-consciously added, "Dada is dead. Dada is absurd." Shortly after WWI, artists in Zurich and New York simultaneously began creating a new way of seeing, incorporating collage, photomontage, text, and found objects to promote an antiwar, anti-art, anti-mechanization, and anti-government philosophy meant to stir controversy, entertain, and obfuscate. MoMA has mounted an impressive survey of the influential movement, dividing it into six geographical sections that overlap each other. In neutral Zurich, Marcel Janco’s African-style masks for the Cabaret Voltaire hide the artists themselves. Francis Picabia’s "Dada Movement" ink drawing consists of a time line that goes from Corot and Ingres through Rodin, Seurat, Matisse, Picasso, and others before reaching a clock that includes Duchamp, Hans Richter’s short film "Rhythmus 21" features rotating eyeballs to further the idea of a new visionary process. Jean (Hans) Arp used automatic drawing in such painted wood pieces as "Enak’s Tears (Terrestrial Forms)" that carpenters put together for him, and his cut-and-pasted-paper works such as "Squares Arranged According to the Laws of Chance" were not necessarily as random as he would like us to believe. The Dadaists were a lot more calculating, as evidenced by Kurt Schwitters’s Merz pieces from Hannover, taking the name from the German word for "commerce." Schwitters’s assemblages burst from the wall, including one on a hand mirror, as if viewers are looking at a bizarre version of themselves. Arp’s 7 Arpaden von Hans Arp series, including "Mustache Hat" and "The Navel Bottle," announce a new visual alphabet. In Berlin, artists such as George Grosz became obsessed with the notion of the automaton, painting people with mechanical body parts; for example, the lone figure in "’The Convict’: Monteur John Heartfield After Franz Jung’s Attempt to Get Him Up on His Feet" has a heart made out of industrial pieces. Otto Dix’s "Skat Players — Card Playing War Cripples" consists of a trio of war vets with bizarre prosthetics, bulging or missing eyes, with news reports from Dresden behind them, a photo of Grosz on one of their necks, and a skull shining from a lamp in the background. Using collage, photomontage, and oil painting, Grosz comments on war, societal ills, art, and the artist himself.

© 2006 Man Ray Trust/Artists Rights Society/ADAGP

Man Ray (Emmanuel Radnitzky), "Indestructible
Object (or Object to Be Destroyed),"
1964 (replica of 1923 original)

In British-occupied Cologne, Max Ernst added surreal and expressionistic touches to "Celebes or the Elephant of Celebes"; the marvelously titled "The Gramineous Bicylce Garnished with Bells the Dappled Fire Damps and the Echinoderms Bending the Spine to Look for Caresses," combining movement mechanisms with organic forms; and his plates from "Let There Be Fashion; Down with Art." Many Dadaists flocked to Paris, melding traditionalism with readymade objects, exemplified by the 1920 Festival of Dada. For "L.H.O.O.Q.," Duchamp drew a mustache and goatee on a magazine reproduction of the Mona Lisa and framed it, then Picabia re-created Duchamp’s work, calling into question art and its creators. Picabia’s "Dance of Saint Guy, 1919-1920," is a wood frame devoid of painting or photograph, inhabited by twine instead. Ernst’s three-dimensional "Two Children Are Threatened by a Nightingale" has an open gate jutting out of the frame, inviting viewers to enter the scene and try to save one of the abducted kids before the faceless thief reaches a colorful doorknob, making the viewer a participant. Upon its first public presentation, Man Ray’s "Indestructible Object (or Object to Be Destroyed)" was in fact destroyed by the audience, breaking away from the convention that art was not to be touched by the masses. The exhibition ends (or begins, if you start in Zurich) with New York, another place where Dadaists from other cities came to state their case. Duchamp put a bicycle wheel in a stool, exploding both the theories of what constitutes art and how it is displayed, and even takes art to its lowest depths by turning a urinal upside down and titling it "Fountain," as if we are now drinking our own waste product. He also plays with ways of seeing in "To Be Looked at (from the Other Side of the Glass) with One Eye, Close to, for Almost an Hour," which is not opaque; "Fresh Widow," a pun on "French Window" that features a blacked-out window that you can’t see through, its name evoking a woman who has lost her husband in the war; and the amazing "Rotary Glass Plates (Precision Optics)," a spinning marvel that turns on every few minutes and will make you dizzy with delight.

© 2006 Artists Rights Society / ADAGP

Max Ernst, "The Hat Makes the Man," 1920

There are hundreds of works worthy of further discussion (as well as many that aren’t), far too many to detail here; be on the lookout for Raoul Hausmann’s "The Art Critic," Rudolf Schlichter’s "Dada Rooftop Studio," Hannah Hoch’s "Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch in Germany," Sophie Taeuber-Arp’s case of marionettes, Christian Schad’s Schadograms, Man Ray’s Rayograms, John Heartfield and Rudolf Schlichter’s dangling "Prussian Archangel," the black box theater showing ENTR’ACTE (René Clair & Francis Picabia, 1924) and BALLET MÉCANIQUE (Fernand Léger & Dudley Murphy, 1924), dozens of periodicals and other ephemera, sound pieces from the Cabaret Voltaire, and screens airing short films on both sides.

Collection Ydessa Hendeles.

Douglas Gordon, "left is right and right is wrong and left is wrong and right is right," 1999


Museum of Modern Art

Special Exhibitions Gallery, sixth floor, and Yoshiko and Akio Morita Media Gallery, second floor

Through September 4 (second-floor exhibit through October 2)

Multimedia artist Douglas Gordon manipulates images in unique and fascinating ways, as demonstrated in these thirteen works, twelve of which weave through the Special Exhibitions Gallery on the sixth floor, next to the Dada installation. First you’ll come upon "24 Hour Psycho," a loop of Alfred Hitchcock’s 1960 thriller, shown frame by exhausting frame, each shot a work of art. In the next room, "Play Dead; Real Time" follows an elephant playing dead, then rising up, shown on either side of a big screen as well as two small monitors, including focusing in on the elephant’s eye. In a dark side room, "30 seconds text" offers viewers thirty seconds to read wall text about a decapitated head that went on living for half a minute after being separated from its body. In "left is right and right is wrong and left is wrong and right is right," Gordon projects Otto Preminger’s WHIRLPOOL on dual screens right next to each other, one backward, offering mirror images that create a whole new experience, especially when paired with the double-layered soundtrack. Follow the beckoning finger of "Scratch Hither" to the back room, where the tiny "B-Movie" shows a fly on the wall, on its back, struggling to stay alive, and "Blue" displays a pair of hands hysterically doing the old in-out, in-out. Don’t forget to head downstairs to the second-floor Yoshiko and Akio Morita Media Gallery, where Gordon’s "Between Darkness and Light (After William Blake)" simultaneously screens the devilish EXORCIST (William Friedkin, 1973) and the angelic SONG OF BERNADETTE (Henry King, 1943) over each other, creating a new film and soundtrack, mixing good and evil, overlapping the divine Jennifer Jones with the possessed Linda Blair, and featuring Vincent Price giving a heartfelt monologue to Ellen Burstyn. Taken as a whole, Gordon’s "Timelines" play with memory and perception — remember, an elephant never forgets — using television monitors and movie screens to create a new cinematic language, both deconstructing and reconstructing sound and image in ways that would perhaps entertain even the most jaded Dadaists.

© Herzog & de Meuron, 2006

Preliminary view of MoMA exhibition Artist's Choice: Herzog & de Meuron, Perception Restrained


Museum of Modern Art, third floor

Through September 25

Swiss architects Jacques Herzog and Pierre de Meuron have converted a third-floor gallery space into an innovative way to get a taste of all that the Museum of Modern Art has to offer, a sort of miniaturized version that, like the Dada and Douglas Gordon exhibits, play with perception. In a dark room, visitors are invited to pick up a small mirror, sit on one of the numerous benches, and watch carefully chosen excerpts of such wide-ranging classic films as FARGO (Joel Coen, 1996), BONNIE AND CLYDE (Arthur Penn, 1967), APOCALPYSE NOW (Francis Ford Coppola, 1979), AGUIRRE, THE WRATH OF GOD (Werner Herzog, 1972), TAXI DRIVER (Martin Scorsese, 1976), DEAD RINGERS (David Cronenberg, 1988), I AM CURIOUS YELLOW (Vilgot Sjoman, 1967), and TRASH (Paul Morrissey, 1970), which are playing on monitors on the ceiling. Thus, you’ll be watching pivotal scenes while essentially looking into the palm of your hand, into a mirror, a very different way of seeing Warren Beatty, Robert De Niro, Klaus Kinski, and Robert Duvall, from movies taken mostly from MoMA’s Film and Media collection. The room also features three narrow strips of light, horizontal viewing areas where you can peer in to see a conglomeration of unidentified objects, each one dedicated to specific museum holdings, divided into Painting and Sculpture; Photography; and Architecture and Design. These little rooms serve as crowded closets, offering yet another way to see art while also calling into question the way art is observed, especially in large museums with thousands of pieces, where there is never enough time to fully appreciate everything. A handout details each and every work, so if you look hard enough, you’ll see pieces by Diane Arbus, Walker Evans, Hiroshi Sugimoto, Man Ray, Francis Bacon, Alexander Calder, Paul Cézanne, Jasper Johns, Willem de Kooning, Jeff Koons, Frida Kahlo, Jackson Pollock, Andy Warhol, Matthew Barney, Timo Sarpaneva, Philippe Starck, Earl S. Tupper, Frank Lloyd Wright, and even Herzong & de Mauron themselves, but figuring out each individual work is not what this exhibit is about, just as it is not about the films over your head.

© 2006 Projeto Hélio Oiticica

Hélio Oiticica, "Metaesquema," 1956

© 2006 Bart Van Der Leck / Artists Rights Society / BEELDRECHT

Bart Van Der Leck, "Untitled," 1917


Museum of Modern Art

Drawings Galleries, third floor

Through October 2

This clever exhibit, as we wrote in our April 12 issue about its first part, brings together works of art that are similar in line and form, creating a new way to look at otherwise disparate paintings and drawings. Not claiming that any one piece directly influenced another, part one looked at Faces, Movement, and Tectonics. This second part examines similarities in art via Digital, Figures, and Constructions. Paul Klee’s "Three Fruits," Louise Bourgeois’s untitled drawing, Robert Smithson’s spirals, and Piero Manzoni’s "Thumbprint" all recall fingerprints. Giuseppe Penone’s "Untitled (No. 1)" is practically a miniature version of Jean Dubuffet’s "Epidermis." Bruce Nauman’s "Swastika / Prayer Wheel" fits in remarkably well with Pablo Picasso’s "Two Figures on a Bench" and Matta’s "Endless Nude," body parts seemingly coming from everywhere. Georges Roualt’s "Circus Trainer" could morph into Dubuffet’s "Man Pissing to the Right." The trio of Fernand Léger’s "Two Women," Picasso’s "Woman Washing Her Feet," and Elie Nadelman’s "Seated Nude" are exhilaratingly similar in angulation and line. Colored rectangles bring together works by Hélio Oiticica and Bart Van Der Leck, while circles are the objects that link pieces by Lajos Kassak, El Lissitzky, Wassily Kandinsky, and Kazimir Malevich. Again, there is a certain conceit to the exhibit, but if you get past the sketchy pretense, it makes for some illuminating viewing.

© 2006 Swoon

Swoon, "Untitled," 2004, Linoleum cut with acrylic additions


Museum of Modern Art

The Paul J. Sachs Prints and Illustrated Books Galleries, second floor

Through September 18

Judy Hecker, assistant curator of MoMA’s Department of Prints and Illustrated Books, has put together this cool collection of prints made since 2000, many recently acquired by the museum and on view for the first time, created by emerging and established artists who are incorporating new techniques, especially digital, into this ever-evolving format. Richard Tuttle adds fabric to each of sixteen colorful lithographs. William Kentridge’s cutout silhouettes march across encyclopedia pages. Claudette Schreuders’s South African "Crying in Public" sculptures get new life in a series of charming lithographs. Andrea Zittel’s "Sprawl I" doubles itself, repeating imagery just as urban sprawl repeats itself. Nicola Lopez’s "A Promising Tomorrow" is anything but, a three-dimensional cut-paper installation emerging out of the far corner of the gallery, replete with tanks, helicopters, jets, and exploding devastation. Paul Chan turns his digital animation into the thrilling "Worldwide trash (thanks for nothing Hegel)," which references Beckett, Goya, and hip-hop culture; Chan’s Deadman series features five poor but colorful souls who didn’t quite make it to the end of his digitally animated film "Happiness (Finally) After 35,000 Years of Civilization — After Henry Darger and Charles Fourier." And street artist Swoon makes the jump to MoMA with three wall pieces that show off her unique brand of characters.

Banlop Lomnoi and Dakda Kaewbuadee head off for territories unknown


Museum of Modern Art

11 West 53rd St. between Fifth & Sixth Aves.

July 5-21

Tickets: $10, in person only, may be applied to museum admission within thirty days, same-day screenings free with museum admission, available at Film and Media Desk


Although it sounds like a lot to pay twenty bucks to get into MoMA, you also get a free movie screening with your ticket, as long as you use it within thirty days. MoMA has some great stuff in July, including the series Another Wave: Global Queer Cinema, Part One, featuring works by Taiwan’s Tsai Ming-Liang, France’s François Ozon, Hong Kong’s Stanley Kwan, England’s Isaac Julien, and Thailand’s Apichatpong Weerasethakul. There is also a centennial tribute to Janet Gaynor as well as Premiere Brazil! 2006, where you can forget about the South American nation’s brutal loss in this year’s World Cup for a few hours.

Wednesday, July 5 Another Wave: HE LIU (THE RIVER) (Tsai Ming-Liang, 1997), 6:00

Wednesday, July 5 Janet Gaynor: A Centennial Celebration — THE FARMER TAKES A WIFE (Victor Fleming, 1935), 6:00

Wednesday, July 5 Janet Gaynor: A Centennial Celebration — SMALL TOWN GIRL (William A. Wellman, 1936), 8:00

Wednesday, July 5 Another Wave: YOUNG SOUL REBELS (Isaac Julien, 1991), 8:30

Thursday, July 6 Janet Gaynor: A Centennial Celebration — SUNRISE: A SONG OF TWO HUMANS (F. W. Murnau, 1927), 6:00

Thursday, July 6 Another Wave: BUGIS STREET (Yonfan, 1995), introduced by Yonfan, 6:00

Thursday, July 6 Janet Gaynor: A Centennial Celebration — 7TH HEAVEN (Frank Borzage, 1927), 8:00

Thursday, July 6 Another Wave: TWILIGHT OF THE GODS (Stewart Main, 1995), DESPERATE REMEDIES (Stewart Main, 1993), and A TASTE OF KIWI (Peter Wells, 1991), 8:30

Friday, July 7 Another Wave: PANGYAU (Amir Muhammad, 2002) and DAKAN (Mohamed Camara, 1997), 6:00

Friday, July 7 Janet Gaynor: A Centennial Celebration — STREET ANGEL (Frank Borzage, 1928), 6:00

Friday, July 7 Janet Gaynor: A Centennial Celebration — LUCKY STAR (Frank Borzage, 1929), 8:00

Friday, July 7 Another Wave: HEAD ON (Ana Kokkinos, 1998), 8:00

Saturday, July 8 Janet Gaynor: A Centennial Celebration — LADIES IN LOVE (Edward H. Griffith, 1936), 1:00

Saturday, July 8 Another Wave: HE LIU (THE RIVER) (Tsai Ming-Liang, 1997), 2:00

Saturday, July 8 Janet Gaynor: A Centennial Celebration — A STAR IS BORN (William A. Wellman, 1937), 3:00

Saturday July 8 Another Wave: YOUNG SOUL REBELS (Isaac Julien, 1991), 4:30

Saturday, July 8 Janet Gaynor: A Centennial Celebration — THE YOUNG IN HEART (Richard Wallace, 1938), 5:15

Saturday, July 8 Janet Gaynor: A Centennial Celebration — ADORABLE (Wilhelm [William] Dieterle, 1933), 7:30

Saturday, July 8 Another Wave: TWILIGHT OF THE GODS (Stewart Main, 1995), DESPERATE REMEDIES (Stewart Main, 1993), and A TASTE OF KIWI (Peter Wells, 1991), 7:30

Sunday, July 9 Another Wave: PANGYAU (Amir Muhammad, 2002), and DAKAN (Mohamed Camara, 1997), 1:30

Sunday, July 9 Janet Gaynor: A Centennial Celebration — SERVANTS’ ENTRANCE (Frank Lloyd, 1934), 1:30

Sunday, July 9 Janet Gaynor: A Centennial Celebration — THE FARMER TAKES A WIFE (Victor Fleming, 1935), 3:30

Sunday, July 9 Another Wave: LAN YU (Stanley Kwan, 2001), 3:30

Sunday, July 9 Another Wave: BUGIS STREET (Yonfan, 1995), 5:30

Sunday, July 9 Janet Gaynor: A Centennial Celebration — SMALL TOWN GIRL (William A. Wellman, 1936), 5:30

Monday, July 10 Janet Gaynor: A Centennial Celebration — DELICIOUS (David Butler, 1931), 6:00

Monday, July 10 Another Wave: WATER DROPS ON BURNING ROCKS (François Ozon, 2000), and PRINCE OF PEACE (Hans Scheugl, 1993), 6:00

(François Ozon, 2000)

Based on a play by Rainer Werner Fassbinder, François Ozon’s French bedroom farce stars Bernard Giradeau as fiftysomething Léopold, a slick, mean-spirited salesman who knows how to get just about anyone into bed. His innate ability to control people lures in cute little redhead Franz (Malik Zidi), who immediately leaves his fiancée, Anna (Ludivine Sagnier), to play househusband. But life with Léopold is not easy, as you’ll discover when you meet Véra (Anna Levine). The ending is wonderfully wacky and horribly depressing. WATER DROPS was named best feature film at the 1999 Berlin International Film Festival.

Monday, July 10 Another Wave: GOOD BOYS (Yair Hochner, 2005), introduced by Hochner and star Danni Lachman, 8:00

Monday, July 10 Janet Gaynor: A Centennial Celebration — TESS OF THE STORM COUNTRY (Alfred Santell, 1932), 8:15

Wednesday, July 12 Ozon at the Beach: UNE ROBE D’ÉTÉ (A SUMMER DRESS) (François Ozon, 1996) and REGARDE LA MER (SEE THE SEA) (François Ozon, 1997), 5:00

Wednesday, July 12 Janet Gaynor: A Centennial Celebration — A STAR IS BORN (William A. Wellman, 1937), 6:00

Wednesday, July 12 Ozon at the Beach: 5x2 (François Ozon, 2004), 6:30

Wednesday, July 12 Ozon at the Beach: LE TEMPS QUI RESTE (TIME TO LEAVE) (François Ozon, 2004), 8:15

Wednesday, July 12 Ximena Cuevas: Videoworks. 1998—2005, 8:15

Thursday, July 13 Ozon at the Beach: SOUS LE SABLE (UNDER THE SAND) (François Ozon, 2000), 6:00

(François Ozon, 2000)

Unlikely duo Marie (Charlotte Rampling) and Jean Drillon (Bruno Cremer) are hopelessly in love with each other. But when Jean suddenly disappears into the ocean, Marie refuses to believe he might be dead and instead continues to speak with him and think he’s actually with her. Rampling is outstanding in a very difficult role made even more challenging by François Ozon’s relentlessly uneasy directing.

Thursday, July 13 Premiere Brazil! 2006: 2 FILHOS DE FRANCISCO (TWO SONS OF FRANCISCO) (Breno Silveira, 2005), introduced by Silveira, 6:00

Thursday, July 13 Another Wave: WATER DROPS ON BURNING ROCKS (François Ozon, 2000), and PRINCE OF PEACE (Hans Scheugl, 1993), 8:00

Thursday, July 13 Premiere Brazil! 2006: SONJOS E DESEJOS (DANCING IN UTOPIA) (Marcelo Santiago, 2006), 8:30

Friday, July 14 Another Wave: LAN YU (Stanley Kwan, 2001), 6:00

Friday, July 14 Premiere Brazil! 2006: MOACIR. ARTE BRUTA (Walter Carvalho, 2005) and Dormente (Joel Pizzini, 2005), 6:00

Friday, July 14 Premiere Brazil! 2006: CRIME DELICADO (DELICATE CRIME) (Beto Brant, 2005) and Green Vinyl (Kleber Mendonça Filho 2005), 8:00

Friday, July 14


Wednesday, July 19 Premiere Brazil! 2006: 2 FILHOS DE FRANCISCO (TWO SONS OF FRANCISCO) (Breno Silveira, 2005)

Saturday, July 15 Premiere Brazil! 2006: 500 ALMAS (500 SOULS) (Joel Pizzini, 2004), 2:00

Saturday, July 15 Premiere Brazil! 2006: ORFEU NEGRO (BLACK ORPHEUS) (Marcel Camus, 1959), 4:30

Saturday, July 15 Another Wave: HEAD ON (Ana Kokkinos, 1998), 4:30

Saturday, July 15 Another Wave: TROPICAL MALADY (Apichatpong Weerasethakul, 2004), 6:45

Saturday, July 15 Premiere Brazil! 2006: VINICIUS (Miguel Faria Jr., 2005), 7:00

TROPICAL MALADY (Apichatpong Weerasethakul, 2004)

Thai director Apichatpong Weerasethakul won the Jury Prize at Cannes for this beautiful, mystical work that will thoroughly engage you -- if you allow it to. Part tender love story between a country boy (Banlop Lomnoi) and a soldier (Dakda Kaewbuadee), part folktale set in the deep forests of Thailand, TROPICAL MALADY is a like a visual poem in which details are not as important as the overall effect, which is intoxicating. The unorthodox film features ghosts, a shape-shifter, unusual characters, and a playful sense of humor that come together to form a subtle meditation on life and love.

Sunday, July 16 Premiere Brazil! 2006: SEEU FOSSE VOCÊ (IF I WERE YOU) (Daniel Filho, 2006), 2:00

Sunday, July 16 Premiere Brazil! 2006: QUANTO VALE OU É POR QUILO? (WHAT IS IT WORTH?) (Sergio Bianchi, 2005), 4:30

Sunday, July 16 Another Wave: GOOD BOYS (Yair Hochner, 2005), 5:30

Wednesday, July 19 Mind Reels: Dada Films with Musical Accompaniment, including ENTR’ACTE (René Clair & Francis Picabia, 1924) and EMAK BAKIA (Man Ray, 1926), with live music by Martin Marks and Charles Shadle, and BALLET MÉCANIQUE (Fernand Lger & Dudley Murphy, 1924), with live music by George Antheil, 6:00

Thursday, July 20 Ximena Cuevas: Videoworks, 1998—2005, 6:00

Thursday, July 20 Premiere Brazil! 2006: VINICIUS (Miguel Faria Jr., 2005), 8:00

Friday, July 21 Premiere Brazil! 2006: SEEU FOSSE VOCÊ (IF I WERE YOU) (Daniel Filho, 2006), 6:00

Friday, July 21 Another Wave: TROPICAL MALADY (Apichatpong Weerasethakul, 2004), 8:00

Saturday, July 22 Premiere Brazil! 2006: MOACIR. ARTE BRUTA (Walter Carvalho, 2005) and Dormente (Joel Pizzini, 2005), 2:00

Saturday, July 22 Premiere Brazil! 2006: QUANTO VALE OU É POR QUILO? (WHAT IS IT WORTH?) (Sergio Bianchi, 2005), 4:00

Saturday, July 22 Premiere Brazil! 2006: CRIME DELICADO (DELICATE CRIME) (Beto Brant, 2005) and Green Vinyl (Kleber Mendonça Filho 2005), 6:30

Sunday, July 23 Premiere Brazil! 2006: SONJOS E DESEJOS (DANCING IN UTOPIA) (Marcelo Santiago, 2006), 1:00

Sunday, July 23 Premiere Brazil! 2006: ORFEU NEGRO (BLACK ORPHEUS) (Marcel Camus, 1959), 3:00

Sunday, July 23 Premiere Brazil! 2006: 500 ALMAS (500 SOULS) (Joel Pizzini, 2004), 5:15

Sunday, August 13 Dada on Film, featuring works by Viking Eggeling, Hans Richter, Man Ray, Fernand Léger, René Clair, and Marcel Duchamp, 4:30


Sculpture Garden is home to summer programs


Abby Aldrich Rockefeller Sculpture Garden

Sunday nights at 8:00 through August 13

Admission: free


MoMA’s recent renovation was designed around the popular Sculpture Garden, which can be seen from the street as well as from many of the galleries, offering lovely angles on more than two dozen superior pieces. Modeled on Philip Johnson’s 1953 design, the restored garden again features a revised lineup of classic works for the summer, which you can enjoy while taking in one of the free concerts held there on Sunday nights. Start off with David Smith’s "Cubi X" and Alexander Calder’s "Whale, II" then make your way past Alexander Liberman’s tripart "Temple, I" on your right, with Donald Judd’s untitled repetitive green construction on your left. (On our last visit, a group of chairs were lined up on the other side of Judd’s work in such a way that probably would have pleased the innovative artist very much.) Your sculptural journey continues with Calder’s ominous "Black Widow," Pablo Picasso’s adorable "She-Goat," and Scott Burton’s comfortable "Rock Chairs," from which you can contemplate Tony Smith’s rusty "Die" cube and Claes Oldenburg’s very white "Geometric Mouse, Scale A." In the southeast corner, the suddenly ubiquitous Mark di Suvero’s "For Roebling" steel installation awaits, with Polygnotos G. Vagis’s twisting stone "The Snake" huddled under nearby trees. Pass through Hector Guimard’s "Entrance Gate to Paris Subway (Métropolitain) Station" on your way to Ellsworth Kelly’s weathering steel "Curve, II" and Louise Bourgeois’s "Quarantania, III," through which you can see a different view of "For Roebling." Joel Shapiro’s bronze stands near the walkway over the eastern pond, which is still watched over by Aristide Maillol’s "The River." The four splendid versions of Henri Matisse’s "The Back" remain against the wall, near where Maillol’s "The Mediterranean" is still deep in thought. George Rickey’s shining steel "Two Lines — Temporal I" reach up to the sky, moving all the time. Henry Moore’s "Large Torso: Arch" offers a cool perspective on the rest of the garden. And don’t forget to say goodbye to Gaston Lachaise’s majestic "Standing Woman" on your way out. And then, of course, there’s August Rodin’s "Monument to Balzac," which stands guard over the Sculpture Garden from inside the Agnes Gund Garden Lobby.

Sunday, July 9 Juilliard Concert I: Music for Violin, Cello, and Piano

Sunday, July 16 Jazz at Lincoln Center: Steve Coleman and Five Elements

Sunday, July 23 Juilliard Concert II: Music for Mixed Ensembles

Sunday, July 30 Jazz at Lincoln Center: The Marty Ehrlich Sextet: News on the Rail

Sunday, August 6 Juilliard Concert III: Music for String Quartet

Sunday, August 13 Jazz at Lincoln Center: Brandon Ross and Blazing Beauty


Abby Aldrich Rockefeller Sculpture Garden

Thursday mornings in July at 11:00

For children four to seven with an adult companion

Tickets available day of program at 10:30 at lobby desk

Free with museum admission

Thursday, July 6 Jerry Pinkney, followed by book signing

Thursday, July 13 Paul O. Zelinsky, followed by book signing

Thursday, July 20 Lois Ehlert, followed by book signing

Thursday, July 27 Ed Young, followed by book signing

Helen Verhoeven, "Vitus"


Gallery W 52

The Lobby Gallery at 31 West 52nd St. between Fifth & Sixth Aves.

Through August 17

Admission: free


This small collection of works examine what is there and what is not there, the missing from the present, evoking loss and memory. Jessica Backhaus’s "Blue Spoon" photograph depicts part of a table shortly after unseen people have finished what appears to have been dessert and coffee; the still-life makes one wonder who the people are, and where they have gone. Jamie Isenstein’s drawings "Now Appearing" and "Coming Soon" announce the unknown. Two of Helen Verhoeven’s paintings from her Saints series remove things from their normal context; in "Vitus," a cast-iron bathtub floats over the water in a stage-like scenario, the blue sky behind it. Marietta Hoferer uses tape to create images that look like blinds, teasing viewers to what might be behind them. Bertien van Manen’s photos of family photos placed within homes in Eastern Europe call to mind a forgotten era and a long-ago past. By titling his interlinked futuristic city "1955," from his Franklin Abraham project, Jonah Freeman questions the notion of time. However, despite some good individual works, there is a noticeable absence of enough quality pieces to make the exhibition as a whole worthwhile.

Photography by Gary Mamay

Mary Nimmo Moran, "Where Through the Willows Creaking Loud…," 1886, courtesy of the Parrish Art Museum, Dunnigan Collection


The UBS Art Gallery

1285 Sixth Ave. between 51st & 52nd Sts.

Monday through Friday, 8:00 am — 6:00 pm

Through August 11

Admission: free


Instead of taking a trip to the Hamptons or Niagara Falls this summer, just head over to the UBS Art Gallery, where some eighty etchings, all made from first impressions between 1874 and 1900, will take you to such places as Lake George, Gowanus Bay, the Hudson River, Easthampton, Cape Ann, Montauk, Maine, New Orleans, and those famous falls. This period was the golden age of American printmaking, as a group of "painter-etchers" learned how to use the medium to create peaceful, pastoral outdoor scenes and lonely indoor ones. We wish we were the man relaxing on the porch in Henry Fenn’s "Lobster Cove." James J. Calahan’s "Evening on the River" depicts a tiny, charming fishing scene. Mary Nimmo Moran adds a dragonfly in the lower border of "’Where Through the Willows Creaking Loud, Is Heard the Busy Mill,’" one of many remarques in this show. A shark lingers beneath the main scene in Thomas Moran’s "The Much Resounding Sea," a threatening presence that only adds fear to the already doomed travelers. (Mary and Thomas were husband and wife; the exhibit also includes works by Peter Moran, Thomas’s youngest brother.) As detailed as most of the etchings are, some of the rocks in Stephen Parrish’s "Rocks of Cape Ann" and some of the people in his "An Old Acadian Inn Yard" appear to be sweetly unfinished. In R. Swain Gifford’s "Untitled (Interior, Man Cleaning Gun by Fireplace)," a man sits in a large room, with only his gun, a fireplace, and his dog. A little white girl reaches up to grab a basket from a black child in Thomas Waterman Wood’s "Fresh Eggs." A woman sits in a chair, reading a book, while two men meet on a bridge in the remarque of William Henry Lippincott’s "Stolen Moments"; perhaps the men are characters in the book, or maybe they are truly fighting over the woman. From landscapes to genre scenes, from maritime views to portraits, "First Impressions" leaves a fine impression etched into your memory.

Ellsworth Kelly, "Tangerine (Mandarine),"
1964-65, lithograph


AXA Gallery

787 Seventh Ave. at 51st St.

Through January 28

Closed Sunday

Admission: free


Another side of American artist Ellsworth Kelly is on view in the AXA gallery, a beautiful presentation of his complete lithograph series of fruit, plants, and flowers, made between 1964 and 1992. Virtually all of the sixty works are line drawings on white canvases, casting the rooms in a bright, warm, welcoming glow. Kelly’s fabulous Suite of Plant Lithographs (1964-66) include string-bean leaves, camellias, cyclamus, a tangerine, and the bulbous catalpa leaf. The 1973-74 series Leaves features two drawings of silhouetted grape leaves that look like hearts, the only dark objects in any of the works. It took Kelly between two and three minutes to make each of the drawings in the Twelve Leaves series, from 1978, comprising eleven leaves from a cala lilly and one spider plant. A fabulous dracena and philodendron can be found among the Series of Plant and Flower Lithographs (1983-85). The gentle leaves of the mighty oak make up Series of Oak Leaves (1992). The exhibition also features some newer, individual works, including a more detailed daffodil, a sarsaparilla, a lotus, and a fuller sunflower from 2004. We found ourselves walking around the galleries several times, breathing in the beauty of a very different kind of garden right smack in the middle of Manhattan.

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Church of the Week


Steve Tobin, "Trinity Root," September 2005, in church graveyard


Broadway at Wall St.

Admission: free


Since 1697, Trinity Church has been a vital part of the Lower Manhattan community, hosting the likes of George Washington, Edward VIII, and Queen Elizabeth II; feeding the poor and the homeless in the neighborhood; and serving as a bastion of faith and hope following the events of September 11, 2001. The current church is the third, a Gothic Revival building designed by Richard Upjohn and consecrated in 1846. Enter through the bronze Broadway doors, featuring marvelously carved biblical scenes and figures designed by Richard Morris Hunt. Once inside, stop first by the baptistry, with its tryptych and fifteenth-century Italian altarpiece. Make your way through the nave, with its old stained-glass windows, to the North Monument Room, where you’ll find the gorgeously carved cenotaph of the Rt. Rev. Benjamin T. Onderdonk, along with several religious sculptures and a foundation stone from the second Trinity Church. To the right is All Saints’ Chapel, with the cenotaph of the Rev. Dr. Morgan Dix, who is buried beneath the intricately carved altar. The sanctuary contains the huge stained-glass chancel window, the sandstone-and-marble high altar depicting Jesus surrounded by the apostles, a pipe organ (turn around to see the larger pipe organ across the nave), and the lectern and pulpit. Around the other side is the South Monument Room, with a large memorial (tablet and bust) to Major General Alexander Hamilton and smaller plaques honoring others; peer inside the Verger’s Office to see the even bigger monument to John Henry Hobart. Take a few minutes and check out the latest exhibit in the Trinity Museum, which is currently home to "St. John’s Chapel on Hudson Square," an exhibit that looks at the past, present, and future of the area known as Hudson Square, with photographs, letters, newspaper articles, and other ephemera. There are yet more fab doors by the church shop, covered in detailed biblical and historical scenes.

After scouring through the church’s interior, head outside and wander through Trinity Churchyard, where you’ll find hundreds of gravestones, monuments, and tombs going back to 1681; among those buried here are NYU cofounder Albert Gallatin, steamship inventor Robert Fulton, Alexander Hamilton, Captain James ("Don’t give up the ship!") Lawrence, politician and philanthropist John Watts, early newspaperman William Bradford, John Jacob Astor, and Declaration of Independence signer Francis Lewis (of Francis Lewis Blvd. fame). Don’t miss the Astor Cross, a tall, narrow sculpture designed by Thomas Nash and honoring Caroline Schermerhorn Astorn that includes depictions of such Old Testament figures as Abraham, Isaac, Jacob, David, Noah, Ruth, and Adam and Eve. One of the latest additions is Steve Tobin’s patinated bronze sculpture "Trinity Root," cast from a sycamore tree damaged by debris on 9/11. And don’t miss the secret Cherub Gate entrance, with its cherub from Christopher Wren’s late-seventeenth-century St. Mary-le-Bow church, which was destroyed in WWII.


Trinity Church Wall Street

Broadway at Wall Street

Thursdays at 1:00 through August 3

Admission: free

Thursday, July 6 Sean Jackson (Barbados): Works by J.S. Bach, Charles Marie Widor, Eugene Gigout, Felix Mendelssohn-Bartholdy, Léon Boëllmann, and Louis J.A Lefebure-Wely

Thursday, July 13 Jean-Christophe Geiser (Switzerland): Works by Johannes Brahms, Louis Vierne, Guy Ropartz, and Charles-Marie Widor

Thursday, July 20 Jeremy Filsell (England): Works by Marcel Dupré and

Paul Dukas

Thursday, July 27 Alexander Frey (Germany): Works by Marcel Dupré, Gustav Mahler, Cesar Franck, and Joseph Jongen

Thursday, August 3 Cameron Carpenter (United States): Works by Modest Mussorgsky, and Cameron Carpenter


Mark di Suvero’s "Joi de Vivre" looks out on Ground Zero


Bordered by Trinity Pl., Broadway, and Liberty & Cedar Sts.

Admission: free

This newly renovated park, which took a big hit on 9/11, was reopened last month and renamed Zuccotti Park, after John E. Zuccotti, the U.S. chairman of Brookfield Properties, the chairman of the Real Estate Board of New York, a former first deputy mayor of the City of New York, and a former chairman of the City Planning Commission. Formerly named Liberty Plaza Park, the half acre is home to a new statue, Mark di Suvero’s "Joi de Vivre," which stands seventy feet high in the northeast corner, at the intersection of Cedar St. and Broadway. A triangular base leads to a crowded oval center from which three beams reach toward the sky. The all-red sculpture offers views of the park, Isamu Noguchi’s "Red Cube" across the street, and Ground Zero, evoking hope in the face of tragedy. Remaining in the park is J. Seward Johnson’s "Double Check," a bronze cast of a businessman looking dejectedly through his open briefcase; facing Ground Zero, the statue takes on a different meaning than it had previously.


Noguchi’s "Red Cube" peers up at downtown skyscrapers


HSBC building (formerly Marine Midland Bank)

140 Broadway at Liberty St.

Isamu Noguchi’s "Red Cube" balances precipitously on one edge, a splash of red amid the otherwise colorless area (although it now shares that bursting hue with Mark di Suvero’s "Joi de Vivre," which is right across the street). Noguchi’s painted-steel object offers a stark contrast to the flat skyscrapers surrounding it, perhaps a sly comment on the bloodthirsty bankers who can be seen hurrying past it all day long. The cube also has an unpainted circle cut out of its center, forming a kind of telescopic view of the former Marine Midland Bank building.


Jean Dubuffet’s "Group of Four Trees" rises near Noguchi’s Sunken Garden


The plaza surrounding this skyscraper, built by Skidmore, Owings, and Merrill in the early sixties, features several unique artworks. Coming east from Zuccotti Park, you’ll first come upon a totem pole, with human faces topped by an angry owl. Continuing ahead is Jean Dubuffet’s massive "Group of Four Trees," a black-and-white self-contained forest made of aluminum, steel, and fiberglass; despite looking like it’s made of paper, it weighs twenty-five tons. To the right is Isamu Noguchi’s Sunken Garden, a deep fountain/well that includes rocks from the Uji River in Kyoto. Go down the stairs and inside the bank to walk around the entire garden, as well as to see other artwork on the walls. Noguchi wrote of the garden, "The chief interest here is the use of rocks in a non-traditional way. Instead of being a part of the earth they burst forth seeming to levitate out of the ground. At least that is the intention." The garden amid this corporate monolith also calls into question "nature and non-nature," an oasis in the financial center.

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Film Festival of the Week

Alex (Malcolm McDowell) leads his droogs to BAM for villainous film series



BAM Rose Cinemas

Brooklyn Academy of Music

30 Lafayette Ave. between Ashland Pl. & St. Felix St.

July 13-30

Tickets: $10


BAM pays tribute to a different kind of bad guy in this fab collection of films that deal with more psychological versions of evil, from Bette Davis as the fading star in ALL ABOUT EVE to Carl Boehm in PEEPING TOM, from Anthony Perkins in PSYCHO to a ghost in REBECCA. There are also a bunch of villains you’ll find yourself rooting for, even though they do some very naughty things.

Thursday, July 13 DRACULA (Tod Browning, 1931), 4:30, 6:50, 9:15

Friday, July 14 DR. JEKYLL & MR. HYDE (Robert Mamoulian, 1931), 2:00, 4:30, 6:50, 9:15

Saturday, July 15 PSYCHO (Alfred Hitchcock, 1960), 2:00, 4:30, 6:50, 9:15

Sunday, July 16 REBECCA (Alfred Hitchcock, 1940), 3:00, 6:00, 9:00

Thursday, July 20 KISS OF DEATH (Henry Hathaway, 1947), 4:30, 6:50, 9:15

Friday, July 21 WHITE HEAT (Raoul Walsh, 1949), 2:00, 4:30, 6:50, 9:15

Saturday, July 22 A CLOCKWORK ORANGE (Stanley Kubrick, 1971), 3:00, 6:00, 9:00

Sunday, July 23 PEEPING TOM (Michael Powell, 1960), 2:00, 4:30, 6:50, 9:15

Wednesday, July 26 TOUCH OF EVIL (Orson Welles, 1958), 4:30, 6:50, 9:15

Thursday, July 27 ALL ABOUT EVE (Joseph L. Mankiewicz, 1950), 6:00, 9:00

Friday, July 28 THE MANCHURIAN CANDIDATE (John Frankenheimer, 1962), 2:00, 4:30, 7, 9:30

Saturday, July 29 THE GODFATHER: PART II (Francis Ford Coppola, 1974), 4:00, 8:00

Sunday, July 30 APOCALYPSE NOW REDUX (Francis Ford Coppola, 1979), 4:00, 8:00


Paul Pfeiffer, "Caryatid 2," digital video, 2004



Natman Room

Through July 22

Admission: free

Before or after a film at BAM, stop by the Natman Room, where two pieces celebrate the World Cup, in conjunction with the July 6 screening of GOAL DREAMS (Jeffrey Saunders & Maya Sanbar, 2005). A half dozen of Mark Bradford’s papier-mâchè "Soccer Balls" reside on one table, stock-still. On the other table, Paul Pfeiffer’s "Caryatid 2" is an endless two-minute, forty-eight second loop of soccer players taking some nasty spills, flying through the air, tripping on the turf, sliding on their knees, and rolling around on the ground. The players are isolated, as if they’re the only ones on the field, though fans can often be seen in the background. It’s a beautiful ballet of pain confined to a thirteen-inch monitor. Meanwhile, the soundtrack, programmed by Judy Cantor-Navas and Piotr Orlov, includes such tracks as Lonnie Donegan’s "World Cup Willie," New Order’s "World in Motion," Dizzy Gillespie’s "Pelé," Gerry & the Pacemakers’ "You’ll Never Walk Alone," and Quincy Jones and George Martin’s "Self-Preservation Society -- Getta Bloomin’ Move On!" Related exhibits are being held at Roebling Hall in Chelsea and Brooklyn, BRIC’s Rotunda Gallery, and Habana Outpost.

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Ticket Alert of the Week


USTA National Tennis Center

Flushing Meadows Corona Park

August 28 through September 11

Tickets: $22-$800


Tickets are now available for this quintessential New York City sports event. If you’ve never been here, pick up some $22 tickets as soon as you can; the U.S. Open is a lot of fun, even if you’re not a tennis nut. And here’s a little trick for you: If you get day tickets, you can stick around and watch all of the night events as well except for those in the main stadium. There’s still plenty of action on the smaller courts, where you can get up close and personal with the players. (There are more stringent rules as to what you can and can’t bring in, so check the Web site carefully before showing up with a picnic lunch.) By the way, Louis Armstrong Stadium was named for the longtime Queens resident and master trumpeter. Yes, the food and drink really is as expensive as you’ve heard, but don’t let that stop you. It’s a great New York tradition to overpay for everything from bottled water and French fries to champagne with strawberries and ice cream. Plus, there are lots of free favors in the women’s bathrooms.

Saturday, August 28 Arthur Ashe Kids Day, $10-$35, 10:00 am

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Riff’s Rants & Raves

Miike moves from ultraviolence to family-friendly fantasy

(YÔKAI DAISENSÔ) (Takashi Miike, 2005)

Anthology Film Archives

32 Second Ave. at Second St.

Tickets: $8

Through July 9


Mixing in a liberal amount of TIME BANDITS with THE WIZARD OF OZ, throwing in a little Hayao Miyazaki, and adding dashes of RAIDERS OF THE LOST ARK, THE LORD OF THE RINGS, GREMLINS, RETURN OF THE JEDI, LABYRINTH, and even KILL BILL, Takashi Miike has wound up with an entertaining fantasy film for both kids and adults. Known more for such ultraviolent, hard-to-watch frightfests as AUDITION and ICHI THE KILLER, Miike reveals his softer side in this genre film based on yokai manga by Shigeru Mizuki (who also plays the Demon King). Ryunosuke Kamiki is splendid as Tadashi, a young city boy taking care of his grandfather (Hiroyuki Miyasako) in a country village, where he is chosen at a local festival as the mythical Kirin Rider, the guardian of peace and friend of justice. Soon he finds himself in a real battle between good and evil, taking him from the heights of the Great Goblin’s mountain cave to the depths of a seedy underworld run by the very white Agi (Chiaki Kuriyama) and powerful mastermind Katou Yasunori (Etsushi Toyokawa). Joined by yokai spirits Kawahime (Mai Takahashi), Kawatarou (Sadao Abe), and the oh-so-cute Sunekosuri (we’d buy one of these in a second if they ever hit the market), Tadashi fights to save the human world, wielding his special sword against a phalanx of mechanical robots and other villainous creatures. At more than two hours, THE GREAT YOKAI WAR is at least twenty minutes too long and would have greatly benefited by the excision of one very silly subplot. But it is still a charming tale from the reigning master of horror.

Plenty of nasty rain falls on superstar Giorgio Chinaglia in Cosmos doc


Angelika Film Center

18 West Houston St. at Mercer St.

Opens Friday, July 7

Tickets: $10.75


The 1970s was a crazy time in New York City: President Ford told the Big Apple to drop dead, David "Son of Sam" Berkowitz went around shooting strangers, a blackout led to looting and rioting, and a powerful CEO fought to bring the foreign game of soccer to the New World. The vastly entertaining documentary ONCE IN A LIFETIME details the story of Warner Bros. chairman Steve Ross’s determined, desperate attempt to make soccer a major sport in America. And he did it the old-fashioned way: with a lot of cash. Backed by music moguls and big-time soccer fans Ahmet and Nehui Ertegun, Ross put together the New York Cosmos, one of the greatest teams to ever play the world’s most popular game. As the name says, he filled the Cosmos with international stars that would have made Carl Sagan proud: Giorgio Chinaglia, Franz Beckenbauer, Carlos Alberto, Steve Hunt, and, of course, the magical Pelé, who was signed to a multimillion-dollar deal at a time when such numbers were unheard of even for baseball. When the Cosmopolitans started winning, the city adopted them, following their exploits from the green AstroTurf of Giants Stadium to the silver disco ball at Studio 54.

Directors John Crowder and John Dower talk to all the major players, both behind the scenes and on the field, except for Ross, who died of prostate cancer in 1992, and Pelé, who declined to participate (most likely because he wanted money to talk). Among the people telling tales out of school are such Cosmos stars as Beckenbauer, Alberto, Werner Roth, Shep Messing, and Chinaglia, who is painted as the villain responsible for eventually bringing down the franchise. (But Chinaglia doesn’t care; he sits self-assured behind a desk or in a chair, proud of what he accomplished.) Marv Albert, David Hirshey, Cosmos mascot Mario Marianni, Ross’s son Mark, superstar Rodney Marsh, Mia Hamm, Phil Mushnick, Ahmet Ertegun, and numerous executives put the fascinating tale in perspective, often seeing things very differently. Historical archival footage of the Me Decade is mixed in with terrific soccer moments, set to a 1970s soundtrack that includes songs by Kool and the Gang, Junior Walker, the Jam, Donna Summer, the Pretenders, Steely Dan, the Commodores, Parliament, Sparks, and the Main Ingredient. Cosmos fans must stay through the end of the credits for a sweet little coda that goes something like this: clap-clap / clap-clap-clap / clap-clap-clap-clap / Cosmos!

Charlotte Rampling keeps Ménothy Cesar afloat in Haitian resort

(Laurent Cantet, 2005)

Opens Friday, July 7

Lincoln Plaza Cinemas

1886 Broadway between 62nd & 63rd Sts.


Angelika Film Center

18 West Houston St. at Mercer St.

Tickets: $10.75


Nominated for the Golden Lion at the 2005 Venice Film Festival, Laurent Cantet’s HEADING SOUTH is a captivating, disturbing look at misguided passion in a postcolonial world. Based on three short stories by Dany Lafèrriere, the film is set in late 1970s Haiti, at a resort where wealthy white women come to be served — in all possible ways — by the local black men. Karen Young stars as Brenda, a troubled woman who returns to the beach resort for the first time in three years, seeking to find the sexual release with Legba (Ménothy Cesar) that changed her life. But she has a rival in Ellen (Charlotte Rampling), a longtime island regular who has taken Legba under her wing (and under her sheets). Sue (Louise Portal) tries to maintain the peace while dallying with her own boy toy, Neptune (Wilfried Paul). And observing it all from a cold distance is the resort manager, Albert (Lys Ambroise), a proud, distinguished gentleman who resents having to serve white people almost as much as he resents the black escorts who sell their bodies. As the three women convince themselves that they are truly in love, danger lurks from the nearby city, as Port-Au-Prince is about to explode. And yet no matter what happens, things are bound to continue as is, with young Eddy (Jackenson Pierre Olmo Diaz) ready to take over for the next generation. HEADING SOUTH is a well-acted, well-written examination of sex and love, power and poverty, and race and politics, with trouble and turmoil seething beneath virtually every scene.


Keanu Reeves hides behind scramble suit and Substance D in dark SCANNER

A SCANNER DARKLY (Richard Linklater, 2006)

Opens Friday, July 7

Advancing the interpolated rotoscoping technique he used to make WAKING LIFE (2001), Richard Linklater turns Philip K. Dick’s novel A SCANNER DARKLY into an animated science-fiction thriller that will leave you dizzy, breathless, and plenty confused. Made with the participation of Dick’s daughters, the film is set in a futuristic society that is combating the evil drug known as Substance D. (The story is partly based on Dick’s real-life experiences.) Keanu Reeves stars as Bob Arctor, an undercover cop who has gotten in too deep with a motley group of stoners that includes the goofy Ernie Luckman (Woody Harrelson), who has a thing about bikes; sexy dealer Donna Hawthorne (Winona Ryder), who has a thing about being touched; the feckless Charles Feck (Rory Cochrane), who has a thing about bugs; and the fast-talking Jim Barris (scene stealer Robert Downey Jr.), who has a thing about, well, just about everything. After the movie was shot regularly, an animation team illustrated over it, creating awkward movements and awesome color schemes that threaten to overwhelm the story itself, but Linklater (DAZED AND CONFUSED, SLACKER, BEFORE SUNRISE) manages to keep things forging ahead. One of the coolest things is the scramble suit that Arctor wears, which constantly morphs him into different people in order to keep his true identity secret. Graham Reynolds’s groovy score is enhanced by songs from Radiohead.

MINI’S FIRST TIME (Nick Guthe, 2006)

Opens Friday, July 14

First-time feature-film writer-director Nick Guthe makes quite a first impression with his debut, the black comedy Hollywood noir MINI’S FIRST TIME. Born and raised in Brooklyn, Guthe savagely attacks the L.A. lifestyle in darkly funny ways. Nikki Reed, who wrote and starred in the indie hit THIRTEEN (Catherine Hardwicke, 2003), stars as Mini, a high school senior who likes celebrating firsts, no matter what they are. Her mother, Diane (Carrie-Anne Moss), is a failed actress who always has a drink in her hand and gets around with everyone from her masseur, Fabrizio (the heavily tattooed Rick Fox), to her next-door neighbor, television producer Mike (a deliciously wry Jeff Goldblum). Her stepfather, Martin (an outstanding Alec Baldwin), runs a successful firm and does his share of fooling around as well. With no moral compass or parental support whatsoever, Mini has no boundaries as she goes about living the high life, willing to try anything for yet another first. When she decides to moonlight as a paid escort, she is surprised when her second client is none other than Martin, who has a thing for young girls. Blindfolding him, she does what she’s been paid to do, but when Martin later finds out he slept with his stepdaughter, thinking she was an anonymous hooker, their relationship changes, and Guthe turns the story into a compelling noir as Martin and Mini devise a plan to gaslight Diane. Every time the actions in the film go too far, Guthe is able to draw it back in and keep the tension running hot. Reed is nothing short of a sensation as Mini, a manipulative, coldly calculating femme fatale for the twenty-first century. Baldwin is excellent as Martin; he acts up a tour de force immediately after discovering what he’s done with his stepdaughter. The cool cast also features Luke Wilson as a suspicious cop, Svetlana Metkina as a hot-to-trot housewife, Guthe himself as Mr. Bishop, and Guthe’s wife, TV writer Heidi Ferrer, as Jennifer.

(André Téchiné, 2004)

Paris Theater

4 West 58th St. between Fifth & Sixth Aves.

Opens Friday, July 14

Tickets: $10.50


In 1980, Catherine Deneuve and Gérard Depardieu teamed up for the first time in Claude Berri’s JE VOUS AIME, followed by François Truffaut’s THE LAST METRO. They appeared in several more films together but not in dual leading roles since François Dupeyron’s A STRANGE PLACE TO MEET (1988). Fortunately, in the ensuing years, they have been more successful than the characters they play in André Téchiné’s absorbing drama CHANGING TIMES. Deneuve, as beautiful as ever in her early sixties, stars as Cécile, a lonely woman feeling way too settled in her role as wife, mother, and radio host. Depardieu is Antoine, a lonely engineer who has been burning a candle for Cécile, his first love, for more than thirty years. When her grown son, Sami (Malik Zidi), comes to visit, he surprises everyone by bringing his girlfriend, Nadia (Lubna Azabal), and her young son, Said (Jabi Elomri). Both Sami and Nadia have other reasons for coming to Tangier: He wants to see his very good friend Bilal (Nadem Rachati), a groundskeeper for a rich family, and she wants to see her twin sister, Aicha (Azabal), a devout Muslim who works in McDonald’s. Meanwhile, Cécile’s husband, the younger Nathan (Gilbert Melki), hangs around the house, goes for long swims, and takes care of Antoine’s smashed nose. Depardieu is unnerving as a creepy stalker, and Deneuve is enchanting as the bored wife; Téchiné (SCENE OF THE CRIME, ALICE ET MARTIN) treats their awkward relationship with intelligence and subtlety, allowing it to play out in unexpected ways.

Sami (Malik Zidi) finds comfort with his grandmother (Jeanne Moreau)

(François Ozon, 2004)

Opens Friday, July 14

Lincoln Plaza Cinemas

1886 Broadway between 62nd & 63rd Sts.


Angelika Film Center

18 West Houston St. at Mercer St.

Tickets: $10.75


Melvil Poupaud is absolutely mesmerizing in François Ozon’s gorgeous, elegiac LE TEMPS QUI RESTE (TIME TO LEAVE). Poupaud (A SUMMER’S TALE, GENEALOGIES OF A CRIME) stars as Romain, a self-absorbed, nasty fashion photographer. After collapsing at a rooftop shoot, Romain learns that he has terminal cancer, with probably less than a year to live. In most films, impending death means inner revelations, major epiphanies, sudden change of lifestyle, and a new attitude, but this is Ozon (WATER DROPS ON BURNING ROCKS, 8 WOMEN, SWIMMING POOL), so you never know what to expect. Romain breaks up with his live-in boyfriend, Sasha (Christian Sengewald), goes out of his way to avoid his sister, Sophie (Louise-Anne Hippeau), and her children, and reaches out to his father (Daniel Duval), with no success. He decides to tell no one about his illness except for his grandmother, Laura (French film legend Jeanne Moreau), who has been ostracized from the family. The scenes between Romain and Laura are wrenchingly beautiful and, oddly, downright erotic. Romain seemingly cares little about leaving any kind of mark on the world, even when given the chance by a woman (Valeria Bruni-Tedeschi) he meets in a diner. All the while, he continually sees himself as a child (Ugo Soussan Trabelsi), enjoying life in a more innocent time. The final scene is unforgettable. Don’t miss this marvelously timeless look at life and death.

GABRIELLE (Patrice Chéreau, 2005)

Opens Friday, July 14

Lincoln Plaza Cinemas

1886 Broadway between 62nd & 63rd Sts.


IFC Center

323 Sixth Ave. at Waverly Pl.

Tickets: $10.75


Jean Hervey (Pascal Greggory) thinks he has the perfect life. He is a wealthy businessman with a beautiful home and a gorgeous wife, Gabrielle (Isabelle Huppert). At their fancy Thursday-night dinner parties, he gets to show off everything he has to all the right people. But then one day he comes home from work to find a letter waiting for him: Gabrielle has left him for another man. Suddenly his carefully constructed world — including a sexless marriage and servants who dress and undress him — comes tumbling down in an instant, only to be turned upside down again when Gabrielle immediately returns, having changed her mind, but not necessarily for the most loving of reasons. For the rest of the film, Greggory and Huppert act up a storm as they try to deal with the tragic consequences both publicly and privately. Based on the Joseph Conrad short story "The Return," GABRIELLE is a powerful, gripping turn-of-the-century drama that is staged theatrically by director and co-writer Patrice Chéreau, who knows how to get inside his characters (see INTIMACY, QUEEN MARGOT, or THE WOUNDED MAN). While Hervey delivers monotone voice-over monologues in black and white, the more lively Gabrielle is depicted in color, her red hair a striking contrast to her bland, brown-gray husband. Most of the film takes place within the confines of their fabulous home, which becomes more and more like a prison as they fight for survival. GABRIELLE is a stunning achievement, though not an easy film to watch.


In theaters now

It’s been five long years since Superman took to the skies, searching for the lost remnants of his home planet, Krypton. It’s also been more than a quarter century since the last decent Man of Steel movie, SUPERMAN II. (The less said about III and IV the better.) X-MEN guru Bryan Singer has taken over the bridge, recruiting his USUAL SUSPECTS star Kevin Spacey to play the villainous Lex Luthor, Kate Bosworth to be Lois Lane, and former ONE LIFE TO LIVE regular Brandon Routh to channel the role of Superman a la Christopher Reeve. After swindling an old lady out of her fortune (Noel Neill, the second Lois Lane from the 1950s SUPERMAN television series and Lane’s mother in the first film), Luthor travels to the Fortress of Solitude, absconding with some very powerful crystals — and some very evil plans. Meanwhile, Superman comes back to earth — as does Clark Kent, who gets his old job back at the Daily Planet from newspaper chief Perry White (Frank Langella) — and has to get used to Lois’s new love, Richard White (James Marsden), and their young son, Jason (Tristan Lake Leabu). Marlon Brando is back as Jor-El, Superman’s father, setting off a chain of events that involve fathers and sons, turning Kal-El into a Christlike figure. The appropriately named Eva Marie Saint plays Clark’s mother (look for a picture of Glenn Ford as Clark’s father on the piano), and Sam Huntington is photographer Jimmy Olsen (look for Huntington hugging bartender Jack Larson, who played Olsen in the original TV series). Routh makes for a solid Superman, and Spacey is an appropriately snarky Luthor, but Bosworth is a lightweight Lane, lacking the spark of Margot Kidder and Teri Hatcher before her. (And does she really say that Superman weighs about 125 pounds?) With the movie running more than two and a half hours, it is too long by at least twenty minutes, and there are plenty of unexplained plot holes, but Singer, with several nods to the early STAR TREK films, brings the Superman franchise back to life in a big way.


Downtown NYC River to River Festival 2006

Music at Castle Clinton in Battery Park

Thursday, July 6, 7:00

Admission: free, but same-day free tickets required, available at 5:00


Touring behind their new album, BRING IT BACK, Mates of State come to Castle Clinton in Battery Park for this special free show. The wife-and-husband team of Kori Gardner and Jason Hammel have been a band/duo since 2000, releasing three albums of catchy, happy, complicated pop. Their latest single, "Fraud in the ’80s," is poised to break out big. Later this summer they’ll be touring with the mystifyingly overrated Death Cab for Cutie, their much-hyped but very boring labelmates.

Neil Young concert film has cool DVD extras

NEIL YOUNG: HEART OF GOLD (Jonathan Demme, 2006)

Now available as a two-disc DVD set

In March 2005, less than a week before a scheduled operation for a brain aneurysm, Neil Young headed to Nashville, assembled friends and family, and in four days recorded one of the best — and most personal — albums of his storied career, PRAIRIE WIND. On August 18, he had recovered enough to put on a poignant show at the Ryman Auditorium in Nashville, captured on film by Jonathan Demme (whose previous music-related works include Talking Heads in STOP MAKING SENSE, Robyn Hitchcock in STOREFRONT HITCHCOCK, and videos by the Pretenders and Bruce Springsteen). The concert film begins with brief interviews with band members as they prepare for the show; Demme does not harp on Young’s health but instead focuses on the music itself and the warming sense of a family coming together. And what music it is. Using an ever-changing roster of participants, including Emmylou Harris, wife Pegi Young, steel guitarist Ben Keith, keyboarist Spooner Oldham, bass player Rick Rosas, the Nashville String Machine, the Fisk University Jubilee Singers, the Memphis Horns, and others, Young goes song by song through PRAIRIE WIND (skipping only the Elvis tribute "He Was the King," which appears as a DVD extra), a moving album written by a man looking death squarely in the face. (Pegi Young points out that it was like Neil’s life flashing before his eyes.) Young introduces several songs with stories about his recently deceased father, growing up on a chicken farm, his daughter’s departure for college, and Hank Williams, whose guitar Young plays. (He also does a few songs on a Steinway.) Cinematographer Ellen Kuras (ETERNAL SUNSHINE OF THE SPOTLESS MIND, NO DIRECTION HOME: BOB DYLAN) gets up close and personal with Young, zooming in for extended shots of his face, his eyes peeking out from under his cowboy hat. The second disc includes a bunch of very cool special features, including Demme driving around Nashville with several of the participants, a look at Young’s guitars, Young playing "The Needle and the Damage Done" in 1971 on THE JOHNNY CASH SHOW, and Demme’s behind-the-scenes video diary following the rehearsal sessions and detailing the logistics of turning the concert into a film.

THE FUTURIST by James P. Othmer (Doubleday, June 2006)

James P. Othmer’s debut novel is a sensational look at the present-day problems of J.P. Yates, a futurist who tells organizations, governments, consortiums, big business, and anyone else with a checkbook how bright their future will be — even if he doesn’t really mean it. (As it turns out, the job is not as unusual as it might sound; search the Internet and you’ll find numerous futurist and futurism sites; don’t forget to wear your shades.) The book begins with Yates having a kind of epiphany in Johannesburg, shocking the attendees of the Futureworld Conference by declaring, "I know absolutely zilch. I am the founding father of the Coalition of the Clueless." (It’s not really a crisis of conscience because he apparently doesn’t have much of a conscience.) This bold proclamation sets off a series of events that paint Yates as both hero and villain as he travels to Greenland to visit a crazy billionaire friend in love with a beastly slut; is ordered by the mysterious Johnsons to go around the globe giving speeches and taking the temperature of the world; witnesses a suicide bombing that he might be implicated in; develops an odd crush on a young South African prostitute while pining for his ex-girlfriend; enjoys hotel minibars way too much; receives morbid verses via e-mail from a person identifying himself as the ultimate futurist, Nostradamus; gets beaten up and finds his life in danger; and is haunted by the constant television images of people dying in a space station that he was paid to promote. From the first sentence ("The Futurist never saw it coming.") to the last ("Then again, maybe not."), Othmer regales us with clever situations, fabulous locations, wonderfully bizarre characters, and a wicked sense of humor that will keep you in suspense about what happens next. Othmer has a bright future indeed. (We promised ourselves we wouldn’t conclude with something like that, but we couldn’t help it. Sorry about that.)

All contents copyright 2006 by Mark Rifkin and twi-ny. All rights reserved. Contents may not be reprinted without written permission. Please note that events, dates, and prices are subject to change.

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twi-ny top two dozen (or so) weekly reminders & special events

Andrew Brandou, "Season of Planning, Season of Growth,"




Jonathan LeVine Gallery

529 West 20th St., ninth floor

Closed Sunday & Monday

Admission: free


Through July 22 Three new exhibits occupy this Chelsea gallery: Andrew Brandou’s "Everyone’s Happier Now That You’re Gone" takes a look at the Manson Family murders in a colorful cartoon world occupied by cute rabbits, bright flowers, Hollywood homes, and menacing skeletal heads; Nouar’s "The Licky Sticky Sugar Show" offers tasty treats and creamy delights with pinup girls, as if Bettie Page and Betty Boop walked into the world of Wayne Thiebaud; and Adam Wallacavage’s "Il Lume Della Piovra" consists of a half dozen multicolored octopus chandeliers, hanging ominously from the ceiling, with glowing pearls and scalloped shells.


Historic Harlem Parks

Wednesdays and Thursdays in July at 7:00

Admission: free

Wednesday, July 5 Sing-Sing Rhythm: Senegalese Sabar Drummers and Dancers, followed by DÔLÉ (Imunga Ivanga, 1999), Marcus Garvey Park, amphitheater behind Pelham Fritz Recreation Center, Mt. Morris Park at 122nd St.

Thursday, July 6 DJ Selly, followed by PARLIAMENT FUNKADELIC: ONE NATION UNDER A GROOVE (Yvonne Smith & Harlen Freezer, 2002), Marcus Garvey Park, amphitheater behind Pelham Fritz Recreation Center, Mt. Morris Park at 122nd St.

Wednesday, July 12 Grupo Ribeiro: Brazilian Dance and Capoeira, followed by U-CARMEN EKHAYELITSHA, (Mark Dornford-May, 2005), Morningside Park, South Lawn at 112th St. & Morningside Ave.

Thursday, July 13 DJ Stone, followed by TWELVE DISCIPLES OF NELSON MANDELA (Thomas Allen Harris, 2005), Morningside Park, South Lawn at 112th St. & Morningside Ave.


Delacorte Theater

Central Park, midpark at 80th St.

Free tickets given out day of show at 1:00 at the Delacorte and Joe’s Pub


Wednesday, July 5


Sunday, July 9 MACBETH, directed by Moisés Kaufman and starring Liev Schreiber and Jennifer Ehle.


One Mean Summer: Pier 54, Hudson River at Fourteenth St.

Wednesdays around dusk July 5 — August 23

Big Adventures: Pier 46, Hudson River Park at Charles & West Sts.

Fridays around dusk July 7 — August 25

Admission: free

Wednesday, July 5 MEAN GIRLS (Mark Waters, 2004)

Friday, July 7 WALLACE & GROMIT: CURSE OF THE WERE-RABBIT (Steve Box & Nick Park, 2005)

Wednesday, July 12 ROSEMARY’S BABY (Roman Polanski, 1968)

Friday, July 14 MARCH OF THE PENGUINS (Luc Jacquet, 2005)

Wednesday, July 19 THE BEASTMASTER (Don Coscarelli, 1982)


Grant’s Tomb, Riverside Park

122nd St. & Riverside Dr.

Wednesday nights at 7:00

Admission: free


Wednesday, July 5 Melba Joyce

Wednesday, July 12 Jeremy Pelt

Wednesday, July 19 Houston Person


On the Terrace at Scandinavia House

58 Park Ave. at 38th St.

Wednesday nights from 5:30 to 9:30 through August 23

Tickets: $7

Food and drink available from Restaurant Aquavit

Wednesday, July 5 Raoul Björkenheim, Finland

Wednesday, July 12 Jostein Gulbrandsen, Norway

Wednesday, July 19 Mika Pohjola, Finland


Union Square Park

Park Ave. to Broadway between 14th & 17th Sts.

Wednesdays at 12:30 and 6:00 unless otherwise noted

June 28 - August 16

Admission: free


Wednesday, July 5 Gina Gibney Dance, 12:30; Harambee Dance Co., 6:00

Wednesday, July 12 Kathak Ensemble & Friends, 12:30; Special Children’s Presentation, 5:00; Hot Peas ‘N Butter, 6:00

Wednesday, July 19 Rebecca Pronsky Band, 12:30; Take a Break — Practice Om Yoga in the Park, 3:00; Battery Dance Co., 6:00


Socrates Sculpture Park

Broadway at Vernon Blvd.

Wednesdays at sundown through August 30

Live music at 7:00

Admission: free


Wednesday, July 5 WALKABOUT (Nicolas Roeg, 1971)

Wednesday, July 12 WILD STRAWBERRIES (Ingmar Bergman, 1957)

Wednesday, July 19 MOTORCYCLE DIARIES (Walter Salles Jr., 2003)


Louis Armstrong House Museum

34-56 107th St. off 37th Ave.

Admission: free


Thursday, July 6 Henry "Pucho" Brown and the Latin Soul Brothers, 6:00


Dahesh Museum of Art

580 Madison Ave. at 57th St.

Admission: free from 6:00 to 9:00


Thursday, July 6 NAPOLEON’S OBSESSION: QUEST FOR EGYPT (Peter Spry-Leverton, 2000), plus gallery talks, 6:30


The Drilling Company

Municipal Parking Lot across from 85 Ludlow St. at Broome St.

Thursdays through Saturdays through July 22 at 8:00

Admission: free


Thursday, July 6


Saturday, July 22 THE TEMPEST, directed by Kathy Curtiss


Riverside Park

Soldiers’ and Sailors’ Monument

89th St at Riverside Dr.

Admission: free


Thursday, July 6


Sunday, July 9 Outdoor production of Shakespeare play, 6:30

Thursday, July 13


Sunday, July 16 Outdoor production of Shakespeare play, 6:30


MetroTech Center Commons

Civic Center/Borough Hall area of Downtown Brooklyn

Corner of Flatbush & Myrtle Aves.

Thursday afternoons through August 10, 12 noon - 2:00

Admission: free

Thursday, July 6 Willie Colón

Thursday, July 13 Amadou and Mariam


Brooklyn Bridge Park at Empire-Fulton State Park

1 Main St. at Water St.

Thursday nights at sunset, preceded by music by live DJs at 6:00

Admission: free


Thursday, July 6 THE WIZARD OF OZ (Victor Fleming, 1939)

Thursday, July 13 EASY RIDER (Dennis Hopper, 1969)


Sinatra Park

Frank Sinatra Dr. between Fourth & Fifth Sts.

Thursday nights at 7:00 through August 31

Admission: free


Thursday, July 6 Sponsored by Frank Raia

Thursday, July 13 Eugene


Tobacco Warehouse

1 Main St., DUMBO

Empire-Fulton Ferry State Park, Brooklyn Bridge Park

Tickets: $40


Friday, July 7


Saturday, July 8 DJ Armin van Buuren spins in open air between Brooklyn and Manhattan Bridges, with video and laser shows, eighteen and over, 4:00 — 11:00 pm


Stephen Burdman (in red shirt) directs MARY STUART rehearsals in Battery Park


Castle Clinton, Battery Park

Admission: free, but voluntary donations accepted after show


Friday, July 7


Wednesday, July 12 Friedrich Schiller’s MARY STUART, 7:00


All events approximately 11:00 am - 6:00 pm unless otherwise noted

Admission: free

Friday, July 7 Financial Community Day Festival Series: Maiden Ln. between Water & South Sts.

Saturday, July 8 Sixth Avenue Summerfest: Sixth Ave. between 23rd & 33rd Sts.

Saturday, July 8 Waverly Pl. Festival: Waverly Pl. between Broadway & Fifth Ave.

Saturday, July 8 Woodside Festival: Woodside Ave. between 63rd St. & Roosevelt Ave.

Saturday, July 8 Upper East Side Block Party: 74th St. between First & Second Aves.

Sunday, July 9 USO — Ave. of the Americas Summerfest: Sixth Ave. between 42nd & 56th Sts.

Sunday, July 9 Manhattan Ave. Festival: Manhattan Ave. between Bedford & Greenpoint Aves.

Sunday, July 9 Lexington Ave. Festival: Lexington Ave. between 34th & 42nd Sts.

Saturday, July 15 Bleecker St. Festival: Bleecker St. between Sixth & Seventh Aves.

Saturday, July 15 31st St. Astoria Festival: 31st St. between Ditmars Blvd. & 21st Ave.

Saturday, July 15 Park Ave. Summerfest: Park Ave. South between 17th & 23rd Sts.

Sunday, July 16 NYC Celebration of Nations Festival: Madison Ave. between 42nd & 57th Sts.

Sunday, July 16 Bastille Day Festival: 60th St. between Fifth & Lexington Aves.

Sunday, July 16 30th Ave. Astoria Festival: 30th Ave. between Steinway & 29th Sts.


Rumsey Playfield

Central Park (enter at Fifth Ave. & 69th St.)

Through August 13

Admission: free


Friday, July 7 Noche Flamenca, Roxanne Butterfly’s Worldbeats, 8:00

Sunday, July 9 Global Family Day: Chinese Golden Dragon Acrobats, Dirty Sock Funtime Band, Baby Loves Disco, 1:30

Friday, July 14 Stephen Petronio Company and the Young People’s Chorus of New York, 8:00

Saturday, July 15 The Family Stand, Black Merda, and special guest Fugi, Sharrif Simmons, 3:00

Sunday, July 16 Amadou & Mariam, Daby Toure, Birdy Nam Nam, 3:00


Queens Museum of Art

Flushing Meadows Corona Park

Friday nights at 6:30 through August 25

Admission: free for outdoor events; $5 suggested donation for museum, which is open until 8:00


Friday, July 7 Dance: Mexicanos Unidos de Queens Children’s Ballet Folklorico, "Teopchtli"; Music: Barra Libre; Film: SANTO CONTRA LA HIJA DE FRANKENSTEIN (SANTO VS. THE DAUGHTER OF FRANKENSTEIN) (Miguel Delgado, 1971), with free Jarritos sodas

Friday, July 14 Dance: Mexicanos Unidos de Queens Children’s Ballet Folklorico, "Nueva Juventud"; Music: Pistolera; Film: MODISTO DE SENORAS (LADIES DESIGNER) (René Cardona Jr., 1969)


South Street Seaport, Pier 17

June 30 — September 1

All shows at 7:00 unless otherwise noted

Admission: free


Friday, July 7 White Magic and Juana Molina, with Mike Wexler

Friday, July 14 Dave Alvin and the Guilty Men


Summer on the Hudson: Riverside Park South

Pier I @ 70th St.


Saturday, July 8 First annual music festival, with the Main Squeeze Orchestra, Guy Klucevsek, Proyeccion Norteña, the John Nolan Trio, the Phoebe Legere Experience, the Balkan Brothers, Ernestilio y Conjunto, and Jesse Lege Bayou Brew, free, 2:00 — 9:00


Historic Richmond Town

441 Clarke Avenue at Arthur Kill Road, Staten Island

S74 bus from Staten Island Ferry

718 351-1611

Saturday, July 8 Celebration of the 150th anniversary of the Staten Island Historic Society, featuring an Open Village, a time capsule, live music, children’s games, and a special performance of "I Hear America Singing by Staten Island OutLOUD, 10:00 am — 5:00 pm


Boomerang Theatre Company

Through July 23

Saturdays and Sundays at 2:00

Admission: free


Saturday, July 8


Sunday, July 9 KING LEAR, Prospect Park, Prospect Park West & Ninth St.

Saturday, July 15


Sunday, July 16 KING LEAR, Empire Fulton Ferry Park, Water St. at Dock St.


Symphony Space

Peter Jay Sharp Theatre

2537 Broadway at 95th St.

Tickets: $10


Saturday, July 8



Saturday, July 15


Sunday, July 16 Hollywood Musical Marathon: THE WIZARD OF OZ (Victor Fleming), 4:00, SINGIN’ IN THE RAIN (Stanley Donen & Gene Kelly), 6:00, and AN AMERICAN IN PARIS (Vincente Minnelli), 8:00


Boerum Pl. at Schermerhorn St.


Saturday, July 8 The Transit Museum is Turning 30! with games, silk-screening, workshops, live music, film screenings, guest vehicles, and more, $5 adults, $3 children, 12 noon — 5:00

Tuesday, July 11 The Triborough Bridge: Robert Moses and the Automobile Age, with Laura Rosen, $5, 6:00


Prospect Park Bandshell

June 5 - August 5

Keep It Great: Give $3 at the Gate


Saturday, July 8 Toshi Reagon & BIGLovely, 7:30

Thursday, July 13 Movies Under the Stars: YO LA TENGO: THE SOUNDS OF SCIENCE / Samara Lubelski, 7:30

Friday, July 14 Brooklyn Philharmonic, 8:00


Summer on the Hudson: Riverside Park South

70th St. Pier Plaza

Sundays at 3:00 through August 13

Admission: free


Sunday, July 9 Metropolitan Klezmer

Sunday, July 16 The Paul Peress Quartet


The New York City Downtown Boathouse

Pier 26 between Chambers & Canal Sts.

Weekends and holidays 9:00 am — 6:00 pm

Pier 66A at the end of 26th St. on the Hudson River

Weekends and holidays 10:00 am — 5:00 pm

Informational sessions Wednesdays at 6:00 pm

Through October 12

Everything free, but walk-up only, first come, first served


Wednesday, July 9 Self Rescue: Procedures for reentering a capsized kayak

Wednesday, July 16 Kayak Swim Support: Techniques for supporting swim events


Riverside Park South

Red Shade Plaza at 62nd St.

Wednesdays at 3:00 and 5:00 through July 23

Admission: free


Wednesday, July 9 Site-Specific Sundays: ninth annual multidiscipline event presented by Chashama

Wednesday, July 16 Site-Specific Sundays: ninth annual multidiscipline event presented by Chashama


Three-course lunch: $24.07

Three-course dinner: $35

Monday, July 10


Friday, July 14 Now celebrating its fifteenth anniversary, Restaurant Week is back, with special low-priced menus at such fine eateries as 21 Club, Artisanal, Aquavit, Aureole, Beacon, Butter, Café Boulud, Chanterelle, China Grill, davidburke & donatella, db Bistro Moderne, Eleven Madison Park, Frankie & Johnnie’s, Gotham Bar & Grill, Gramercy Tavern, I Trulli, Inagiku, JoJo, Nice Matin, Patroon, Payard, Periyali, Remi, Riingo, River Café, Rosa Mexicano, Smith & Wollensky, Steak Frites, Tabla, Tribeca Grill, Vong, and more

Monday, July 17


Friday, July 21 Restaurant Week continues, with some establishments extending it through Labor Day; be aware that some restaurants are participating for lunch only


New York Philharmonic

Various venues

Admission: free

Performance begins at 8:00 pm, followed by fireworks


Monday, July 10 Brass Ensemble, PNC Bank Arts Center, Holmdel, NJ

Tuesday, July 11 Xian Zhang, conductor, Jennifer Koh, violin: Tchaikovsky, Coronation March, Tchaikovsky, Violin Concerto, Dvorák, Symphony No. 8, Prospect Park

Wednesday, July 12 Xian Zhang, conductor, Jennifer Koh, violin: Tchaikovsky, Coronation March, Tchaikovsky, Violin Concerto, Dvorák, Symphony No. 8, the Great Lawn, Central Park

Thursday, July 13 Xian Zhang, conductor, Jennifer Koh, violin: Tchaikovsky, Coronation March, Tchaikovsky, Violin Concerto, Dvorák, Symphony No. 8, Cunningham Park, Queens

Friday, July 14 Xian Zhang, conductor, Jennifer Koh, violin: Tchaikovsky, Coronation March, Tchaikovsky, Violin Concerto, Dvorák, Symphony No. 8, South Meadows Concert Stage, Snug Harbor, Staten Island

Saturday, July 15 Xian Zhang, conductor, Jennifer Koh, violin: Tchaikovsky, Coronation March, Tchaikovsky, Violin Concerto, Dvorák, Symphony No. 8, Heckscher State Park, East Islip

Monday, July 17 Xian Zhang, conductor, Jennifer Koh, violin: Tchaikovsky, Coronation March, Tchaikovsky, Violin Concerto, Dvorák, Symphony No. 8, Van Cortlandt Park

Tuesday, July 18 Marin Alsop, conductor, and Leila Josefowicz, violin: John Adams, The Chairman Dances, Prokofiev, Violin Concerto No. 1, Beethoven, Symphony No. 5, the Great Lawn, Central Park


Barnes & Noble

675 Sixth Ave. at 22nd St., Chelsea (CH)

4 Astor Pl. at Broadway (AP)

555 Fifth Ave. (555)

2289 Broadway at 82nd St. (BW)

240 East 86th St. & Second Ave. (86)

1972 Broadway @ Lincoln Center (LT)

Admission: free

Monday, July 10 Lewis Black, NOTHING’S SACRED, CH, 7:00

Wednesday, July 12 Cynthia Ozick, DIN IN THE HEAD, 86, 7:00

Saturday, July 15 Les Claypool, SOUTH OF THE PUMPHOUSE, AP, 6:00

Monday, July 17 Ridley Pearson & Dave Barry, PETER AND THE SHADOW THIEVES, LT, 7:00



Bryant Park

Sixth Ave. from 40th to 42nd Sts.

Monday nights June 19 - August 23

Lawn opens at 5:00 pm for blankets (no plastic) and picnicking

Films begin at dusk (between 8:00 & 9:00 pm)

Admission: free


Monday, July 10 BULLITT (Peter Yates, 1968)

Monday, July 17 THE BAND WAGON (Vincente Minnelli, 1953)


Michael Schimmel Center

Pace University

Spruce St. east of Park Row, near Gold St.

Monday nights July 10 — August 7 at 7:30

Admission: free, but advance tickets required


Monday, July 10 Cameron Carpenter, organ

Monday, July 17 Svet Stoyanov, percussion; Joseph Lin, violin


Brookhaven National Laboratory

U.S. Department of Energy

William Floyd Pkwy. (County Road 46)

Sundays through August 20, 10:00 am - 3:00 pm

Whiz Bang Science Show: 10:30 am, 12 noon, 1:30 & 3:00 pm

Admission: free


Sunday, July 10 National Weather Service — Meet the People Who Forecast the Weather, with weather balloon launch at 3:30

Sunday, July 17 Life Sciences — Investigate the Living World, with DNA sequencing workshop and looks inside the Scanning Transmission Electron Microscope, x-ray crystallography, and biosensors


Naumburg Bandshell

midpark just south of the 72nd St. cross-drive

Monthly Tuesday nights through August 8 at 7:30

Admission: free

Tuesday, July 11 The Naumburg Orchestra, featuring George Garrett Keast, conductor, Andrew Armstrong, piano soloist: Ludwig Van Beethoven, Symphony No 8 in F Major Op. 32; Wolfgang Amadeus Mozart, Piano Concerto No. 24 in C Minor, K. 491; Igor Fyodorovich Stravinsky, Pulcinella Suite, Naumburg Orchestral Concerts


Washington Square Park

Fifth Ave. below Eighth St. by Garibaldi statue

Rain space: NYU’s Frederick Loewe Theater, 35 West Fourth St.

Tuesday nights through August 1 at 8:00

Admission: free


Tuesday, July 11 Washington Square Chamber Orchestra: Works by Stein and Mozart, 8:00

Tuesday, July 18 Washington Square Chamber Ensemble: Works by Mozart and Arcari. 8:00


Pier A Park at First & Sinatra Dr.


June and July films start at 9:00

Admission: free

Blankets & lawn chairs encouraged


Wednesday, July 12 BROKEBACK MOUNTAIN (Ang Lee, 2005)

Wednesday, July 19 WALK THE LINE (James Mangold, 2005)


Riverside Park South

Pier 1, 70th St. at the Hudson River

Admission: free


Wednesday, July 12 ON THE WATERFRONT (Elia Kazan, 1954)

Wednesday, July 19 SHOW BOAT (George Sidney, 1951)



Steinhardt Building

35 West 67th St. between Amsterdam & Columbus Aves.


Thursday, July 13 It’s All About Italy! with Stefani Jackenthal, reservations strongly suggested, $35, 6:30


Asser Levy Seaside Park

Sea Breeze Ave. & Ocean Pkwy.

Brighton Beach, Brooklyn

Limited seating: $5 per chair ($10 for special shows), but you can bring your own for free

Requested donation: $5

Thursday nights at 7:30 pm


Thursday, July 13 Al Green


The Asia Society, 725 Park Ave. at 70th St.

Quad Cinema, 34 West 13th St. between Fifth & Sixth Aves.

July 13-21

Stony Brook University, Charles B. Wang Center

August 3-6

Tickets: $10 film screenings unless otherwise noted, $5 panels

Festival CinePass: $120

Festival GoldPass: $170

Thursday, July 13 Opening Night Film & Gala: JOURNEY FROM THE FALL (VUOT SONG) (Ham Tran), Asia Society, $25, 6:30

Friday, July 14 Sun Sing Theater Retrospective: LEE ROCK II (WU YI TAN ZHANG LEI LUO ZHUAN II FU ZI QING CHOU) (Lawrence Lau, 1991), Quad, 1:00

Friday, July 14 Sun Sing Theater Retrospective: CURRY AND PEPPER (GA LEI LAAK JIU) ("Blackie" Ko Shou Liang, 1990), Quad, 3:30

Friday, July 14 INNER CIRCLE LINE (NAEBU SOONWHANSUN) (Eunhee Cho, 2006), followed by Q&A, Quad, 6:00

Friday, July 14 PURITY (NaRhee Ahn, 2006), followed by Q&A, Asia Society, 6:30

Friday, July 14 Shorts Program: Open Your Heart, followed by Q & A, Quad, 8:30

Friday, July 14 TRAIN MAN: DENSHA OTOKO (Shosuke Murakami, 2005), Asia Society, 9:00

Saturday, July 15 Shorts Program: For Youth by Youth, Asia Society, 12:30

Saturday, July 15 THE JOURNEY OF VAAN NGUYEN (Duki Dror, 2005), Asia Society, 1:00

Saturday, July 15 Sun Sing Theater Retrospective: HAPPY GHOST II (KAI XIN GUI FANG SHU JIA) (Clifton Ko, 1985), Quad, 1:00

Saturday, July 15 Seminar: Meet the Funder: Jerome Foundation, with Robert Byrd, Asia Society, 12 noon

Saturday, July 15 THE SLANTED SCREEN (Jeff Adachi, 2006), preceded by BUNNY AND CLYDO (Rocky Jo, 2005), Asia Society, 3:30

Saturday, July 15 Sun Sing Theater Retrospective: ALL ABOUT AH LONG (A LANG DE GUSHI) (Johnny To, 1989), Quad, 3:30

Saturday, July 15 Panel: The Distribution Matrix, Asia Society, 4:00

Saturday, July 15 Shorts Program A Funny Thing Happened on the Way to the Morgue, Asia Society, 5:30

Saturday, July 15 EVE & THE FIRE HORSE (Julia Kwan, 2005), followed by Q&A, Asia Society, 6:00

Saturday, July 15 Shorts Program Music Video Show, including songs by Death Cab for Cutie, Stephen Malkmus, the Decemberists, Morrissey, the Mars Volta, the Chemical Brothers, and more, followed by Q&A, Quad, 6:00

Saturday, July 15 Shorts Program The Miseducation of Suzy Wong, Asia Society, 8:00

Saturday, July 15 BEAUTY REMAINS (MEI REN YI JIU) (Ann Hu, 2005), followed by Q & A, Asia Society, 8:30

Saturday, July 15 COLMA: THE MUSICAL (Richard Wong, 2006), followed by Q&A, Quad, 8:30

Sunday, July 16 Shorts Program: 72 Hour Shootout, followed by Q & A, Asia Society, 1:00

Sunday, July 16 Sun Sing Theater Retrospective CURRY AND PEPPER (GA LEI LAAK JIU), Quad, 1:00

Sunday, July 16 Shorts Program: Domestic Disturbance, followed by Q & A, Asia Society, 2:00

Sunday, July 16 Panel: The Funding Mix, Asia Society, 3:00

Sunday, July 16 AMERICAN FUSION (Frank Lin, 2005), Asia Society, 3:30

Sunday, July 16 GRASSROOTS RISING (Robert C. Winn, 2005), preceded by WENDY... UH... WHAT'S HER NAME (Curtis Choy, 2005), Quad, 3:30

Sunday, July 16 Shorts Program: Twilight Myopia, followed by Q & A, Asia Society, 4:30

Sunday, July 16 BE WITH ME (Eric Khoo, 2005), Asia Society, 6:00

Sunday, July 16 Shorts Program: Can You Hear Me Now? followed by Q&A, Quad, 6:00

Sunday, July 16 Screenplay Reading: HOMELAND, by Maikiko James, directed by Pan Asian Repetory, followed by Q&A, Asia Society, 7:30

Sunday, July 16 RIGODON (Sari Lluch Dalena & Keith Sicat, 2005), followed by Q&A, Asia Society, 8:30

Sunday, July 16 I FOR INDIA (Sandhya Suri, 2005), preceded by NALINI BY DAY, NANCY BY NIGHT (Sonali Gulati, 2005), Quad, 8:30

Monday, July 17 Shorts Program: A Funny Thing Happened on the Way to the Morgue, Quad, 1:00

Monday, July 17 Shorts Program: The Miseducation of Suzy Wong, Quad, 3:30

Monday, July 17 TRAIN MAN: DENSHA OTOKO (Shosuke Murakami, 2005), Quad, 6:00

Monday, July 17 FROM THE FALL (VUOT SONG) (Ham Tran), Quad, 8:30

Tuesday, July 18 EVE & THE FIRE HORSE (Julia Kwan, 2005), Quad, 1:00

Tuesday, July 18 ANGEL II (Raymond Leung,Teresa Woo, 1989), Quad, 3:30

Tuesday, July 18 COLMA: THE MUSICAL (Richard Wong, 2006), Quad, 6:00

Tuesday, July 18 Shorts Program: Twilight Myopia, Quad, 8:45

Wednesday, July 19 Shorts Program: Can You Hear Me Now? Quad, 1:00

Wednesday, July 19 PURITY (NaRhee Ahn, 2006), Quad, 3:30

Wednesday, July 19 Sun Sing Theater Retrospective: ALL ABOUT AH LONG (A LANG DE GUSHI) (Johnny To, 1989), Quad, 6:00

Wednesday, July 19 AMERICAN FUSION (Frank Lin, 2005), Quad, 8:30


Les Halles Downtown

15 John St. off Broadway

Admission to block party: free

Suggested entry fee for races: $10


Friday, July 14 Block party with such standard-bearers as the Children’s Race (12 noon), Cook/Chef’s Race (12:30) Customer’s Race (1:00), and Waiter’s Race (2:30), with a special menu


Seward Park

Essex St. & East Broadway

Shows begin at dusk (8:00 pm) with cartoons

Bring lawn chairs and blankets; seating is limited

Admission: free

Monday, July 14 TREASURE PLANET (Ron Clements & John Musker, 2002)


Governors Island Historic Harbor District

Colonels’ Row

Admission: free for all visits, tours, and special programs


Saturday, July 15 Fridays and Saturdays on the Island: Deni Bonet, David Hershey-Webb, Danny Katz, Scott E. Malone, Joy Styles, Josi Wails, and more, 11:00 am — 4:00 pm


Coney Island Boardwalk

Admission: free


Saturday, July 15 Sixth annual event, featuring She wants Revenge, Stars, Art Brut, Tapes ’n Tapes, the Stills, the Cribs, Celebration, Dirty on Purpose, and more, 12 noon — 9:00 pm


60th St. from Fifth to Lexington Aves.

Admission: free


Sunday, July 16 This annual Bastille Day tradition gets more crowded every year. 60th St. between Fifth & Madison becomes a French Restaurant Row, filled with booths of fine French fare. 60th between Madison & Park becomes a Bal Musette, with dancing in the street to live French music. And 60th between Park & Lexington becomes a family-friendly block with boutiques, educational booths, and more, 12 noon — 6:00


The New School Tishman Auditorium

66 West 12th St. between Fifth & Sixth Aves.


Tuesday, July 18 Addicted to Oil: Thomas L. Friedman Reporting, featuring screening of ADDICTED TO OIL, followed by discussion, Q&A, and signing with Friedman, $25, 6:30

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