this week in literature

POETRY IS THE MUSIC OF THE SOUL: ART CONTEMPLATES HISTORY IN TWO NEW DOCS

Nikita Khrushchev visits America and President Dwight D. Eisenhower in Soundtrack to a Coup d’État

SOUNDTRACK TO A COUP d’ÉTAT (Johan Grimonprez, 2024)
Film Forum
209 West Houston St.
Opens Friday, November 1
212-727-8110
filmforum.org
kinolorber.com

Two new documentaries opening November 1 in New York use music and poetry, respectively, to look at a pair of seminal moments in twentieth-century world history.

At Film Forum, visual artist Johan Grimonprez’s Soundtrack to a Coup d’État is a 150-minute jazz epic, an exhilarating barrage of words, images, and music that delves deep into the January 1961 assassination of Patrice Lumumba, the first prime minister of what would become the Democratic Republic of the Congo. In 1960, in a move that struck a blow against colonialism, sixteen African countries were admitted to the United Nations, and that year also saw the UN’s first peacekeeping operation on the continent. Amid espionage and international machinations, the cold war reaches new levels. Soviet chairman Nikita Khrushchev rhythmically bangs his shoe on a General Assembly table and US president Dwight D. Eisenhower befriends Belgian king Baudouin in an effort to secure uranium. The CIA gets involved in possibly nefarious operations in Africa, using unknowing jazz musicians as deflections.

Grimonprez (dial H-I-S-T-O-R-Y, Shadow World) and editor Rik Chaubet interweave quotes by Khrushchev, Eisenhower, Malcolm X, Sukarno, Gamal Abdel Nasser, Fidel Castro, activist Léonie Abo, Irish diplomat and writer Conor Cruise O’Brien, CIA director Allen Dulles, Secretary of State John F. Dulles, activist Andrée Blouin, mercenaries “Mad” Mike Hoare and Bruce Bartlett, Belgian premier Gaston Eyskens, UN secretary-general Dag Hammarskjöld, writer In Koli Jean Bofane, CIA station chief Larry Devlin, DRC president Joseph Kasa-Vubu, Voice of America broadcaster Willis Conover, Belgian colonel Frédéric Vandewalle, and others with songs by such legends as Nina Simone (“Wild Is the Wind”), Louis Armstrong (“Black and Blue”), Miriam Makeba (“Mbube”), Thelonius Monk, John Coltrane (“In a Sentimental Mood”), Miles Davis (“Blue in Green”), Ornette Coleman (“January”), Dizzy Gillespie (“And Then She Stopped”), and Duke Ellington (“Take the ‘A’ Train”), along with archival footage, album covers, and boldly designed graphics.

The musical centerpieces are drummer Max Roach and vocalist Abbey Lincoln (“Tears for Johannesburg,” “Freedom Day,” “Triptych: Prayer/Protest/Peace”), who, at the UN Security Council in 1961, protested the murder of Lumumba, and Gillespie, who speaks with his trademark humor about the controversies. “This is what you might call a cool war,” Ellington tells Gillespie, who responds, “The weapon that we will use is the cool one,” holding up his horn. He also has fun teasing a television news journalist about the situation in Africa.

Powerful, poetic quotes are spoken or are blasted across the screen.

“One day independence will come to the Congo and the white will become black, and the black will become white.” — Congolese cleric Simon Kimbangu

“There is a limit to the usefulness of the past.” — Indian UN ambassador Krishna Menon

“The enemy is imperialism.” — Ghanaian president Kwame Nkrumah

“Any fool can start a war that even a wise man cannot end.” — Soviet chairman Nikita Khrushchev (over footage of a submarine rising through ice and Khrushchev petting his dog, looking like a Bond villain)

“Sure, I’d rather be a poet than a politician. . . . I’m suspicious of the written word; I prefer the spoken word. I trust it more in the world of politics.” — Belgian premier Paul-Henri Spaak

“If Africa is shaped like a revolver, then Congo is its trigger.” — French psychiatrist and philosopher Frantz Fanon

Soundtrack to a Coup d’État is like a multimedia jazz concert, every minute promising some kind of improvisatory surprise from many of the greatest singers and instrumentalists of the era. It’s a radical documentary with radical views; the scenes when Khrushchev and Castro come to America are unforgettable, and several of its positions on issues are controversial. But it moves and grooves to the rhythm of the beat in a way that will suck you into its world while making you reconsider much of what you know about the incidents it explores.

Grimonprez will be at Film Forum for Q&As following the 6:45 screening on November 1 and the 4:00 show on November 2.

After: Poetry Destroys Silence explores how poetry deals with such tragic events as the Holocaust

AFTER: POETRY DESTROYS SILENCE (Richard Kroehling, 2024)
Cinema Village
22 East 12th St. between University Pl. & Fifth Ave.
Opens Friday, November 1
www.cinemavillage.com
www.after.film

In the 2016 documentary The Last Laugh, director Ferne Pearlstein spoke with survivors as well as such comics as Mel Brooks, Carl Reiner, Harry Shearer, David Steinberg, Susie Essman, and Rob Reiner in an attempt to find a connection between humor and the Holocaust “You can do jokes about Nazis,” Gilbert Gottfried says in the film, “but if you say ‘Holocaust,’ then it becomes bad taste.”

In After: Poetry Destroys Silence, writer, director, and editor Richard Kroehling looks at the relationship between poetry and the Holocaust, but, unsurprisingly, there is little humor to be found. It’s an intensely serious film that tries to tell its story in a form that mimics that of its subject. Just as Soundtrack to a Coup d’État unfurls like a jazz concert, After is told like an epic poem. But in this case, scenes of poignant purity and beauty are interrupted by self-congratulatory moments as experts feel the need not just to share poetry but to defend its existence as a necessary art form in interpreting history.

Following a projected quote from Theodor Adorno that reads, “To write a poem after Auschwitz is barbaric,” poet Alicia Ostriker explains, “After Auschwitz, poetry is barbaric. It’s easy for people to think that and many people do, but they’re thinking that is part of the contempt for poetry; that is also contempt for the human soul.”

“After certain kinds of genocide and suffering, how can the world go on at all?” poet and critic Edward Hirsch asks. “I think it’s the obligation of poetry to respond to certain kinds of horror. The Holocaust is a kind of test case for poetry because of course it defies language. It defeats language. And yet language has to respond. It’s our job as poets to remember what happened.”

The film works better when it concentrates on the poems themselves, which are often accompanied by archival footage from Auschwitz, shots of nature (especially fire and water), whispers, and music from a violin, piano, and typewriter. Citing memories from his time in the camps, ninety-one-year-old survivor Walter Fiden proclaims, “Everything can be overcome. Nothing is hopeless.”

Hungarian poet and actor Géza Röhrig (Son of Saul, To Dust) recalls visiting an empty Auschwitz in 1986, using a map his grandfather made, and seeing various artifacts left behind, from toothbrushes and children’s toys to Hebrew letters and drawings on walls. He notes, “I felt that if I could not become six million, I will step into the shoes of one.”

There are other contributions from survivor Paul Celan, Yehuda Amichai, Christine Poreba, Taylor Mali, Sabrina Orah Mark, film producer Janet R. Kirchheimer, and Pulitzer Prize nominee Cornelius Eady, who performs an anonymous poem from the Warsaw Ghetto with a jazz sensibility. In a ten-minute segment in the middle of the film, Oscar winner Melissa Leo (The Fighter, Frozen River) and Bo Corre (Mulberry St., Harrow Island) try to find meaning in a lost photograph from 1945. Tribute is paid to Raoul Wallenberg, Oskar Schindler, and André Trocmé. The late photographer Charles Carter recites haunting poetry while contemporary shots of his are mixed in with historical footage. The beautiful cinematography is by Lisa Rinzler, with evocative sound by Helge Bernhardt.

In Soundtrack to a Coup d’État, Max Roach declares, “We do use the music as a weapon against man’s inhumanity toward man.” The same can be said for the poetry in After.

After: Poetry Destroys Silence opens November 1 at Cinema Village, with Kroehling on hand for a Q&A following the 1:00 screening. On November 3 at 5:00, Kroehling, Kirchheimer, Eady, and Röhrig will participate in a panel discussion and reception at Town & Village Synagogue, moderated by Rabbi Irwin Kula, and there will be a panel discussion with the same group on November 6 at Cinema Village after the 7:00 show.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

TALK TO ME: FREEBIES AT NYFF62

NYFF62: FREE TALKS
New York Film Festival
Elinor Bunin Munroe Amphitheater
144 West Sixty-Fifth St. between Broadway & Amsterdam Ave.
September 28 – October 11, free tickets available one hour before showtime (unless otherwise noted)
www.filmlinc.org

The sixty-second annual New York Film Festival kicks off today, with more than ninety feature films and shorts, from US premieres to unexpected revivals. The opening night selection is RaMell Ross’s Nickel Boys, the centerpiece Pedro Almodóvar’s The Room Next Door, and the closing night choice Steve McQueen’s Blitz. Many screenings will be followed by Q&As with members of the cast and crew, including Saoirse Ronan, Sean Baker, Mikey Madison, Adrien Brody, Felicity Jones, Jia Zhangke, Mike Leigh, Marianne Jean-Baptiste, Paul Schrader, David Cronenberg, Isabelle Huppert, Elton John, Selena Gomez, Zoe Saldaña, Naomi Watts, and Bill Murray.

In addition, there are free talks nearly every day in the Elinor Bunin Munroe Amphitheater that will go behind the scenes of numerous films at the festival; no advance RSVP is required except for a few special events.

Saturday, September 28, 7:30
Sunday, September 29, 8:00
Monday, September 30, 7:30
Tuesday, October 8, 7:30

Cinephile Game Night: NYFF62 Edition, including movie trivia, Six Degrees, a card game, prizes, and special guests, hosted by Jordan Raup, Conor O’Donnell, and Dan Mecca, Amphitheater, free with advance RSVP

Sunday, September 29
Deep Focus: RaMell Ross (Nickel Boys), in conversation with Barry Jenkins, Amphitheater, 6:00

Monday, September 30
Roundtables: New Asian Auteurs, with Neo Sora (Happyend), Trương Minh Quý (Việt and Nam), and Yeo Siew Hua (Stranger Eyes), Amphitheater, 4:30

Tuesday, October 1
Deep Focus: No Other Land, with directors Basel Adra, Yuval Abraham, and Rachel Szor, Amphitheater, 6:00

Wednesday, October 2
On exergue – on documenta 14, with director Dimitris Athiridis, curator Adam Szymczyk, D14 artist Naeem Mohaiemen, and curator and writer Serubiri Moses, moderated by Rachael Rakes, Amphitheater, 5:00

Thursday, October 3
Crosscuts: Alex Ross Perry (Pavements) & Andrei Ujică (TWST / Things We Said Today), Amphitheater, 6:00

Saturday, October 5
Deep Focus: Sigrid Nunez (The Friend, The Room Next Door), moderated by A. O. Scott, Amphitheater, 1:00

Film Comment Live: Collective Protagonists, with Rob Nilsson and John Hanson (Northern Lights), Brett Story and Stephen Maing (Union), moderated by Devika Girish and Clinton Krute, Amphitheater, 7:00

Sunday, October 6
Crosscuts: Zeinabu irene Davis (Compensation) & Madeleine Hunt-Ehrlich (The Ballad of Suzanne Césaire), Amphitheater, 6:00

Monday, October 7
IndieWire Presents: Screen Talk Live, with Anne Thompson and Ryan Lattanzio, Amphitheater, 4:00

Tuesday, October 8
The 2024 Amos Vogel Lecture: Jia Zhangke (Caught by the Tides), interpreted by Vincent Cheng, Walter Reade Theater, $12.50-$17.50, 5:00

Wednesday, October 9
Crosscuts: Miguel Gomes (Grand Tour) & Payal Kapadia (All We Imagine as Light), moderated by Devika Girish, Amphitheater, 4:00

Crosscuts: Julia Loktev (My Undesirable Friends: Part I — Last Air in Moscow) & Roberto Minervini (The Damned), moderated by Madeline Whittle, Amphitheater, 6:00

Friday, October 11
Film Comment Live: Festival Report, with Devika Girish and Clinton Krute, Amphitheater, 7:00

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

THE 17th ANNUAL CHARLES BUKOWSKI MEMORIAL READING

Who: Kat Georges, Peter Carlaftes, Jennifer Blowdryer, Puma Perl, Michael Puzzo, Danny Shot, Richard Vetere, George Wallace, more
What: Annual tribute to Charles Bukowski
Where: The Bitter End, 147 Bleecker St. between Thompson & La Guardia
When: Thursday, August 15, $10, 6:00
Why: “What sort of cultural hangover keeps Charles Bukowski in print and popular more than twenty years after his death?” S. A. Griffin asks in his Three Rooms Press essay “Charles Bukowski: Dean of Another Academy.” “In light of the fact that a good portion of what has been published since his passing in 1994 may not be the man’s best work, along with some heavy editing at times, why does Charles Bukowski remain relevant well into the 21st century?”

The seventeenth annual Charles Bukowski Memorial Reading takes place August 15 at 6:00 at the Bitter End in Greenwich Village in honor of what would have been the 104th birthday of the author of such books as Pulp, Factotum, Post Office, On Cats, and Love Is a Dog from Hell, with tribute readings by performance artist Penny Arcade, musician and storyteller Jennifer Blowdryer, poets Puma Perl, Danny Shot, and George Wallace, and playwrights Richard Vetere and Michael Puzzo, hosted by Kat Georges and Peter Carlaftes of Three Rooms Press. Bukowski, who died in 1994 at the age of seventy-three, will be celebrated through poetry, oral history, rare videos, and live performances, with a special look at what he might have thought about the 2024 elections, presidential immunity, nonalcoholic beer, AI, and other contemporary issues. As a bonus, various prizes will be given away.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

FREE SECOND SUNDAYS: WHITNEY BIENNIAL

Isaac Julien, detail, Once Again . . . (Statues Never Die), 2022 (photo by Ashley Reese), a highlight of the 2024 Whitney Biennial

WHITNEY BIENNIAL: EVEN BETTER THAN THE REAL THING
Whitney Museum of American Art
99 Gansevoort St.
Sunday, August 11, free with timed tickets, 10:30 am – 6:00 pm
212-570-3600
whitney.org

According to Ligia Lewis, the eighty-first Whitney Biennial is “a dissonant chorus”; that’s an apt description of the exhibition, which features more than seventy artists contributing painting, sculpture, video, live performances, and sound and visual installations. Organized by Chrissie Iles and Meg Onli with Min Sun Jeon and Beatriz Cifuentes, this edition is themed “Even Better Than the Real Thing,” with works that delve into the sociopolitical aspects of AI, personal identity, and marginalization.

The biennial comes to a close on August 11 with a free day of special programming as part of the Second Sundays initiative, including tours, workshops, and storytelling. Navigating the biennial can be a daunting task; below are ten recommended highlights, followed by the scheduled programs.

Nikita Gale, Tempo Rubato (Stolen Time): The keys of a seemingly haunted player piano are not connected to wires, so the sound made is just that of the pressing of the wood. Lights dim as the visitor contemplates whether what they are hearing is music and what constitutes an original composition.

Isaac Julien, Iolaus/In the Life (Once Again . . . Statues Never Die): British filmmaker Isaac Julien invites museumgoers to wander around multiple screens hung at different angles and sculptures by African American artists Richmond Barthé and Matthew Angelo Harrison as a film depicts conversations with Alain Locke (André Holland), the influential Harlem Renaissance writer, philosopher, educator, and first Black Rhodes scholar, and white chemist and art collector Albert C. Barnes (Danny Huston).

Seba Calfuqueo, Tray Tray Ko: Chilean artist Seba Calfuqueo makes her way through the sacred landscape where the Mapuche people live, walking amid trees, rocks, and a river, draping herself in a long train of electric blue fabric.

Carolyn Lazard, Toilette: A mazelike conglomeration of mirrored medicine cabinets filled with Vaseline, a by-product of oil and gas production, brings up thoughts of the price of self-care and caregiving as the corporatization of the health-care industry and the decimation of the rainforest get stronger.

Julia Phillips, Mediator: Hamburg-born, Chicago-based Julia Phillips examines pregnancy and motherhood in a piece composed of two chest casts with partial faces separated by a microphone, evoking a spinning game one might find in a public playground.

P. Staff, Afferent Nerves and A Travers Le Mal: A long room bathed in an ominous yellow contains an abstract self-portrait of the UK-born, LA-based artist, with a live electrical net hovering overhead, inviting visitors into what P. Staff calls “a particular trans mode of being that exists in the tension between dissociation and hypervigilance.”

Kiyan Williams, Ruins of Empire II or The Earth Swallows the Master’s House: A reflective aluminum statue of Black trans activist Marsha P. Johnson, holding a sign that declares, “Power to the People,” watches as the north facade of the White House, topped with an upside-down American flag, sinks into the earth in this outdoor installation. Viewers are encouraged to walk through and look closely at the impending death of a once-powerful building constructed by enslaved laborers.

Constantina Zavitsanos, All the time and Call to Post (Violet): Take a seat on the carpeted ramp and get lost in the blue-violet light as captions projected on the wall share such thoughts as “The universe is made of abundance” as you feel the infrasonics of modulated speech reverberating underneath you.

Holland Andrews, Air I Breathe: Radio / Hyperacusis Version 1: Sleeping Bag: Brooklyn-based composer and performer Holland Andrews has created two pieces for the biennial, Air I Breathe: Radio in the stairwell and Hyperacusis Version 1: Sleeping Bag, located in the elevator, works that incorporate music and found sound — in the latter, some made by the elevator itself — that offer a respite from visual overload.

Sunday, August 11
15-Minute Tours: Highlights of the Exhibition, multiple times

Artmaking: Magnetic Mosaic, 11:00 am – 3:00 pm

Artmaking with Eamon Ore-Giron, 11:00 am – 4:00 pm

Story Time with NYPL in the Gallery, 11:00 am, 1:00 pm, 3:00 pm

Double Take: Guided Close-Looking through Intergenerational Dialogue, for teens, 1:00

Recorridos Familiares, 2:30

Recorridos de 15 minutos, 3:00

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

HARLEM WEEK 50: CELEBRATE THE JOURNEY

HARLEM WEEK
Multiple locations in Harlem
August 7-18, free
harlemweek.com

Fifty years ago, actor and activist Ossie Davis cut a ribbon at 138th St. and the newly renamed Adam Clayton Powell Jr. Blvd. (formerly Seventh Ave.), opening what was supposed to be a one-day, one-time-only event known as Harlem Day; Davis called it “the beginning of the second Harlem Renaissance.” Among the cofounders were Davis, his wife, Ruby Dee, Maya Angelou, James Baldwin, Harry Belafonte, Ornette Coleman, Lloyd E. Dickens, David Dinkins, Basil Paterson, Tito Puente, Charles Rangel, Max Roach, Vivian Robinson, “Sugar Ray” Robinson, Hope R. Stevens, Bill Tatum, Barbara Ann Teer, and Rev. Wyatt T. Walker.

The festival has blossomed over the last half century into the annual favorite Harlem Week, a summer gathering packed full of live performances, film screenings, local vendors, panel discussions, a job fair, fashion shows, health screenings, exhibits, and more. This year’s theme is “Celebrate the Journey”; among the highlights are the Uptown Night Market, the Percy Sutton Harlem 5K Run & Health Walk, Great Jazz on the Great Hill, Harlem on My Mind Conversations, a Jobs & Career Fair, the Children’s Festival, the Concert Under the Stars, and the centerpiece, “A Great Day in Harlem.” Below is the full schedule; everything is free.

Wednesday, August 7
Climate Change Conference, Adam Clayton Powell Jr. State Office Building, West 125th St., 6:00

Thursday, August 8
Uptown Night Market, 133rd St. & 12th Ave., 4:00 – 10:00

Harlem Summerstage, Adam Clayton Powell Jr. State Office Building, 5:30

HW 50 Indoor/Outdoor Film Festival, 7:00

Friday, August 9
Senior Citizens Day, with health demonstrations and testing, live performances, exhibits, panel discussions, the Senior Hat Fashion Show, and more, Adam Clayton Powell Jr. State Office Building, 10:00 am – 3:00 pm

Saturday, August 10
NYC Summer Streets Celebrating Harlem Week’s 50th Anniversary, 7:00 am – 3:00 pm

The Percy Sutton Harlem 5K Run & Health Walk, West 135th St., 8:00 am

Choose Healthy Life Service of Renewal and Healing, noon

Great Jazz on the Great Hill, Central Park Great Hill, 4:00

Harlem Week/Imagenation Outdoor Film Festival: Black Nativity (Kasi Lemmons, 2013), 7:00

Sunday, August 11
A Great Day in Harlem, with Artz, Rootz & Rhythm, the Gospel Caravan, AFRIBEMBE, and Concert Under the Stars featuring the Harlem Music Festival All-Star Band, music director to the stars Ray Chew, and special guests, General Grant National Memorial, Riverside Dr., noon – 7:00

Monday, August 12
Youth Conference & Hackathon, 10:00 am – 3:00 pm

Children’s Corner — Books on the Move: “Mommy Moment,” 10:00 am

Tuesday, August 13
Economic Development Day, noon – 3:00

Arts & Culture/Broadway Summit, 3:00

Harlem on My Mind Conversations, 7:30

Wednesday, August 14
NYC Jobs & Career Fair, CCNY, 160 Convent Ave., 10:00 am – 4:00 pm

Harlem on My Mind Conversations, 7:00

Thursday, August 15
Black Health Matters/HARLEM WEEK Summer Health Summit & Expo, with free health screenings, prizes, breakfast, and lunch, the Alhambra Ballroom, 2116 Adam Clayton Powell Jr. Blvd., 9:00 am – 3:00 pm

Harlem Summerstage, Adam Clayton Powell Jr. State Office Building Plaza, 5:00

Banking & Finance for Small Business & Entrepreneurs, Chase Community Banking Center, 55 West 125th St., 6:00 – 9:45

Harlem on My Mind Conversations, 8:45

Saturday, August 17
NYC Summer Streets Celebrating HARLEM WEEK’s 50th Anniversary, 109th St. & Park Ave. – 125th St. & Adam Clayton Powell Jr. Blvd., 7:00 am – 3:00 pm

NYC Children’s Festival, with storytelling, live performances, dance, hip hop, theater, poetry, arts & crafts, double dutch competitions, face painting, technology information, health services, and more, Howard Bennett Playground, West 135th St., noon – 5:00

Summer in the City, with live performances, fashion shows, and more, West 135th St., 1:00 – 6:00

Alex Trebek Harlem Children’s Spelling Bee, Schomburg Center for Research in Black Culture, 515 Malcolm X Blvd., 2:00

Harlem Week/Imagenation Outdoor Film Festival, Great Lawn at St. Nicholas Park, West 135th St. 6:00

Sunday, August 18
NYC Health Fair, West 135th St., noon – 5:00

NYC Children’s Festival, with storytelling, live performances, dance, hip hop, theater, poetry, arts & crafts, double dutch competitions, face painting, technology information, health services, and more, Howard Bennett Playground, West 135th St., noon – 5:00

Harlem Day, with live performances, food vendors, arts & crafts, jewelry, hats, sculptors, corporate exhibitors, games, a tribute to Harry Belafonte, and more, West 135th St., 1:00 – 7:00

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

BROOKLYN MUSEUM FIRST SATURDAY: SOL/SOLEY/SOLO

Takashi Murakami adds unique characters to many of his Hiroshige re-creations in Brooklyn Museum exhibit (photo by twi-ny/mdr)

SOL/SOLEY/SOLO
Brooklyn Museum
200 Eastern Parkway at Washington St.
Saturday, August 3, free, 5:00 – 10:00
212-864-5400
www.brooklynmuseum.org

The Brooklyn Museum honors Caribbean culture with its free August First Saturday program, “Sol/Soley/Solo,” featuring live performances by Metro Steel Orchestra, RAGGA NYC DJs Oscar Nñ and Byrell the Great, Dada Cozmic, and Lulada Club; storytelling with Janet Morrison and Deborah C. Mortimer; a pop-up Caribbean market; pop-up poetry with Roberto Carlos Garcia, Omotara James, Anesia Alfred, and Christina Olivares; a hands-on art workshop in which participants will make Caribbean-inspired fans; and screenings of Ben DiGiacomo and Dutty Vannier’s 2023 documentary Bad Like Brooklyn Dancehall, followed by a talkback with Pat McKay, Screechy Dan, and Red Fox, moderated by Lauren Zelaya, and Eché Janga’s 2020 drama, Buladó. In addition, the galleries will be open late so you can check out “Nico Williams: Aaniin, I See Your Light,” “Paul McCartney Photographs 1963–64: Eyes of the Storm,” “Brooklyn Abstraction: Four Artists, Four Walls,” “The Brooklyn Della Robbia,” “The Dinner Party by Judy Chicago,” and more.

Paul McCartney, Self-portrait, London, 1963, large graphic reproduction (courtesy MPL Communications Ltd.)

It’s also your last chance to catch the must-see exhibition “Hiroshige’s 100 Famous Views of Edo (feat. Takashi Murakami),” which closes August 4. For the first time in more than two decades, the Brooklyn Museum is displaying its rare complete set of Utagawa Hiroshige’s “100 Famous Views of Edo,” an 1856–58 collection of woodblock prints of Edo, later to become Tokyo. Hiroshige, who died in 1858 at the age of sixty-one, captured everyday life in the gorgeous works, from flora and fauna to stunning landscapes to fish, cats, people, and weather patterns, including Nihonbashi, Clearing After Snow; Ryogoku Ekoin and Moto-Yanagibashi Bridge; Cotton-Goods Lane, Odenma-cho; Yatsukoji, Inside Sujikai Gate; Shitaya Hirokoji; Night View of the Matsuchiyama and Sam’ya Canal; View of Nihonbashi Tori-itchome; Sudden Shower over Shin-Ohashi Bridge and Atake; and Bamboo Yards, Kyobashi Bridge.

The show is supplemented with related objects, contemporary photographs of the locations by Álex Falcón Bueno, and, most spectacularly, Takashi Murakami’s re-creations of each view of Edo, many with gold or platinum leafing. Dozens of smaller 14 1/2 × 9 7/16 inch acrylics on canvas are arranged in three rows on the walls, as well as 39 3/8 × 25 9/16 inch works in two rows, but it’s the large-scale 137 13/16 × 89 9/16 inch pieces that demand intense scrutiny, as Murakami has added classic miniature characters from his oeuvre, hiding them in trees, behind bushes, on rooftops, and in other hard-to-find locations, in the same gallery space where “© Murakami” dazzled visitors in 2008.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

OPEN CALL 2024: NEW ART FOR NEW YORK

Asia Stewart, work-in-progress showing of Fabric Softener, presented by Amanda + James, Coffey Street Studio, Red Hook, Brooklyn, June 11, 2022 (photo by Elyse Mertz / courtesy the artist)

OPEN CALL
The Shed
545 West 30th St. at Eleventh Ave.
Thursday – Saturday through August 17, free with advance RSVP
646-455-3494
theshed.org

The Shed’s free summer performance series, Open Call, kicked off in June with Yaa Samar! Dance Theatre’s Gathering: New York City and has included such other presentations as Cain Coleman’s New Information, Kyle Dacuyan’s Dad Rock, and Garrett Zuercher’s Inside/Look. It continues July 25–27 with Asia Stewart’s Fabric Softener, a ritualistic response to Toni Morrison’s 1977 novel, Song of Solomon, that introduces the audience to the Laundress (Stewart), the Celebrant (Dominica Greene), and the Witness (Candice Hoyes), joined by the Narrator (Shala Miller) and violinist and composer Yaz Lancaster.

The next weekend, NIC Kay’s must have character features a mascot and a drag performer (Kay and Gabriele Christian) wandering through the Shed and the surrounding area from noon to 8:00 on August 1 and 1:00 to 3:00 on August 2, followed by the public program “Building Characters Through Theater and Photography” on August 3 at 1:00. On August 9 and 10 at 7:30 in the Griffin Theater, Nile Harris investigates jazz cornetist Buddy Bolden, mental illness, containment, and black box theaters in a workshop production of minor b, starring Harris, Jim Fletcher, Tony Jenkins, Ley(sis), and Jonah Rollins. Open Call concludes August 15–17 with Kayla Hamilton’s immersive dance performance How to Bend Down/How to Pick It Up, which honors lineages of Black disabled imagination.

Although many of the performances are sold out, these are free events, so there are always no-shows; in-person waitlists will be available fifteen minutes before curtain.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]