twi-ny recommended events

SHAKE & BAKE: LOVE’S LABOR’S LOST

Berowne (Matthew Goodrich) battles King Ferdinand of Navarre (Darren Ritchie) in culinary condensation of Love’s Labor’s Lost (photo © Chad Batka)

94 Gansevoort St.
Tuesday-Saturday through January 4, $75-$200
866-811-4111
www.shakeandbaketheatre.com

In William Shakespeare’s Love’s Labor’s Lost, Moth tells Costard, “They have been at a great feast of languages, and stolen the scraps.” That line might have been cut from Shake & Bake Theatre’s tasty, streamlined adaptation of the Bard’s mid-1590s comedy, but it is an apt description of the festive experience to be had at 94 Gansevoort St. across the street from the Whitney. The two-hour presentation features music, dance, an eight-course menu with drinks, and a fine dose of Shakespeare, all stirred together for an appetizing evening. Shake & Bake boils things down to three men, King Ferdinand of Navarre (Darren Ritchie), Longaville (Oge Agulué), and Berowne (Matthew Goodrich), who have just taken a three-year vow of no women, spare eating and sleeping, and intense study when a trio of ladies suddenly arrives, the Princess of France (Victoria Rae Sook), Rosaline (Mary Glen Fredrick), and Maria (Rami Margron). The Princess has come to collect a hefty debt that King Ferdinand owes her father. The men’s will is tested as they pair off in potential love matches: the King with the Princess, Berowne with Rosaline, and Longaville with Maria. Meanwhile, the Chef (Joe Ventricelli) prepares food and drink, the Cheetos-loving Costard (Margron) misdelivers some crucial letters, Boyet (Charles Osborne) attends to the ladies, and Spanish nobleman Don Armado de Adriano confesses his love for the (unseen) country maid Jaquenetta. Mystery and mayhem ensue as the cast also serves a rather impressive dinner.

The Princess of France (Victoria Rae Sook) and King Ferdinand of Navarre (Darren Ritchie) try to make a deal in tasty Shakespeare adaptation (photo © Chad Batka)

Created and adapted by director Dan Swern, choreographer Sook, and executive chef David Goldman, Shake & Bake: Love’s Labor’s Lost is a sweet and savory treat, even for Shakespeare purists. The show takes place in a large space where the audience of no more than fifty sits in cool, comfy couches for two or four people, surrounding the action; Shawn Lewis’s production design also includes a small kitchen on one side and a culinary cart wheeled on- and offstage. The male and female protagonists are dressed like royal waitstaff, in different-hued button-down tops, while Armado is in a nutty and colorful chef’s outfit. The dishes they serve, which relate directly to what is happening in the play, include field greens with balsamic quinoa, Cheeto-dusted mac n’ cheese, smokey brisket tacos, and roasted beet gazpacho, along with red and white wine and a shot of Jagermeister. (Vegetarian, vegan, gluten-free, and nonalcoholic options are available.) The soundtrack ranges from acoustic guitar played by Ritchie and accordion by Margron to Scott Bradlee and the Postmodern Jukebox’s covers of Meghan Trainor’s “All About the Bass” and Lorde’s “Royals,” along with snippets of songs by the Beatles, Hall & Oates, Whitney Houston, Outkast, New Kids on the Block, and Queen. Osborne provides wild and wacky over-the-top comic relief, playing up his character for all its worth, while Margron adds in her fair share as Costard.

Goodrich and Fredrick are a particularly attractive Berowne and Rosaline among an appealing cast — a member of which might rest a head on your shoulder, lick the bottom of your shoe, or, as one did with me, hand you a package to deliver, telling you not to worry because the entire plot rests on your correctly performing the task. Early on, Berowne proclaims, “Come on, then, I will swear to study so, / To know the thing I am forbid to know: / As thus — to study where I well may dine, / When I to feast expressly am forbid; / Or study where to meet some mistress fine / When mistresses from common sense are hid.” Fortunately, they break all oaths, and everyone benefits in this delightfully filling reimagination of dinner theater. (As a bonus, Shake & Bake is presenting “Beers and Bard” on November 26 [$10, 7:00], in which audience members can preselect a part to play in Twelfth Night [scripts are provided] or grab a drink from the bar and simply watch the proceedings.)

SHOPLIFTERS

A unique family plays at the beach in Hirokazu Kore-eda’s Shoplifters

SHOPLIFTERS (Hirokazu Kore-eda, 2018)
Film Society of Lincoln Center, Walter Reade Theater, Francesca Beale Theater
144/165 West 65th St. between Eighth Ave. & Broadway
IFC Center
323 Sixth Ave. at West Third St.
Opens Friday, November 23
www.shopliftersfilm.com

For more than twenty years, Japanese auteur Hirokazu Kore-eda has been making marvelous, honest films about unique family situations; his latest, Shoplifters, winner of the Palme d’Or at Cannes, is yet another masterpiece in a sparkling career. In 1994’s Maborosi, a husband and father unexpectedly commits suicide. In 2004’s Nobody Knows,a twelve-year-old boy must take care of his three half-siblings when his mother disappears for long stretches of time. In 2008’s Still Walking, a family comes together once a year to honor the tragic death of an eldest son. In 2011’s I Wish, real-life brothers play fictional brothers separated when their parents divorce. And in 2013’s Like Father, Like Son, two families are affected when a hospital reports that their babies were accidentally switched at birth six years before. In Shoplifters, Kore-eda again explores the concept of family and what it means. Shibata Osamu (Lily Franky) and Nobuyo (Ando Sakura) run a household that includes aging Grandmother Hatsue (Kiko Kirin), oldest girl Aki (Matsuoka Mayu), and young boy Shota (Jyo Kairi).

Shibata Osamu (Lily Franky) teaches Shibata Shota (Jyo Kairi) how to steal in Palme d’Or winner Shoplifters

Hatsue gets a sweetheart rental deal on her small house, her landlord unaware of her extended family living in cramped quarters. To get food and supplies, part-time day worker Osamu and Shota shoplift in tandem, Aki toils in a sex shop, and Nobuyo steals from her laundry job. One night Osamu and Shota see a four-year-old girl, Juri (Sasaki Miyu), alone and hungry and decide to bring her home and feed her. When Osamu and Nobuyo later try to return the quiet little girl, Juri’s parents are fighting so viciously that Osamu and Nobuyo opt to keep her a little longer, a time that stretches out as they rename her and shower her with love and affection. “Sometimes, it’s better to choose your own family,” Nobuyo says to Hatsue, who replies, “If only not to have expectations.” But ultimately, the house of cards the Shibata clan has built comes tumbling down in heart-wrenching ways.

Shibata Nobuyo (Ando Sakura) and Shibata Osamu (Lily Franky) take in young Hojo Juri (Sasaki Miyu) in Shoplifters

Kore-eda started out as a documentarian, and he brings that realistic aesthetic to his fiction films, including Shoplifters, which he wrote, directed, and edited. It moves along at a slow, touching pace as life goes on for the well-drawn, complex characters. Like most families, they just want to be happy, even if that involves taking serious risks. Cinematographer Ryuto Kondo uses close-ups and creative shots in claustrophobic spaces (the wonderful production design is by Keiko Mitsumatsu, while the sweet, jazzy score is by Haruomi Hosono) to emphasize the tenderness of the family, which reaches a new level when they take the kids to the beach for the first time, a kind of calm before the storm. There is also a gorgeous shot of family members seen from above, gathering on their narrow porch to see fireworks, lined up on an angled strip of light amid the darkness. Shoplifting can be a hard crime to watch in films that are not celebrations of the con, as in The Grifters, for example, or even Paper Moon. It’s natural though uncomfortable to root for the stealers, especially when it’s an adult and a young boy just trying to put food on the table; you don’t want the children to get caught even as you are angry at the man or woman for involving kids. And in this case the “shoplifting” includes abducting a young girl, even if it might be the best thing for everyone. Kore-eda takes a gentle, authentic approach to the subject, lovingly depicting a close-knit family doing what it can to survive, living by its wits, knowing that it can all fall apart at any moment. Japan’s official Oscar submission for Best Foreign Language Film, Shoplifters is another subtle gem from one of the world’s premier filmmakers.

THE LIFESPAN OF A FACT

Author John D’Agata (Bobby Cannavale) gets more than a little frustrated with intern Jim Fingal (Daniel Radcliffe) in The Lifespan of a Fact (photo by Peter Cunningham)

Studio 54
254 West 54th St.
Through January 13, $49-$179
212-719-1300
www.lifespanofafact.com

In another part of my life, I have worked in book, newspaper, and magazine publishing, where I am regularly involved in fact checking, corresponding with freelancers, editors, and authors, trying to carefully balance artistic license and the absolute truth, if such a thing exists. So I have a particular interest in The Lifespan of a Fact, the new play by Jeremy Kareken, David Murrell, and Gordon Farrell continuing at Studio 54 through January 13. Inspired by a true story, the eighty-five-minute show centers around an essay written by John D’Agata (Bobby Cannavale) for a magazine run by Emily Penrose (Cherry Jones), who has hired intern Jim Fingal (Daniel Radcliffe) to fact check the piece, which is about the suicide of sixteen-year-old Levi Presley in Las Vegas. A recent Harvard grad, Fingal is excited about showing Penrose what he can do, assuring her that he is the right person for the job, which is on a very tight deadline. “Check all the details, make sure they’re correct,” she tells him. “John’s been known to take his little liberties, so if there’s a place mentioned, make sure it’s spelled correctly. If there’s a person mentioned, confirm they exist. We need to make a good faith effort — confirm every detail.” She also tells him not to “be roughshod,” as D’Agata is a great writer and the piece is an extremely beautiful and important essay about humanity. But what begins as a small dispute between the nerdy Fingal and the tough D’Agata over how many strip clubs there are in Vegas turns into a major battle over language, journalism, and veracity.

Daniel Radcliffe is a nerdy intern trying to do his job in The Lifespan of a Fact (photo by Peter Cunningham)

Objecting to Fingal’s queries, D’Agata advises him, “I take liberties with things that deepen the central truth of the piece. Don’t get bogged down in the details, keep your eye on the big picture. Except don’t, because that’s my job.” But when Fingal does get bogged down on the details, questioning just about every single thing mentioned in the essay, he flies out to Vegas to perform what he believes to be due diligence. “If you say an event occurred, readers need to trust that it occurred,” Fingal insists to D’Agata. “This piece rests on the weight of a lot of details; it’s problematic for you to wash your hands of their accuracy.” D’Agata defends himself, explaining, “Things don’t rest on weights. Weights rest on things. I’m not washing my hands of anything. I’m saying there’s a world of facts to choose from. The wrong facts get in the way of the story.” To which Fingal snidely responds, “The ‘wrong’ facts?! And that means what exactly?” Soon Penrose becomes the referee in a furious fight between the two men, each of whom is making legitimate points as the deadline approaches.

Breezily directed by Tony nominee and Obie winner Leigh Silverman (Violet, Go Back to Where You Are), the play features dynamic performances by three-time Drama Desk nominee Radcliffe (Privacy, The Cripple of Inishmaan), two-time Tony winner Jones (The Glass Menagerie, Doubt), and two-time Tony nominee Cannavale (The Hairy Ape, The Motherf**ker with the Hat), an outstanding trio of actors who play off one another with endless charm even as the plot heats up and moves from Penrose’s office to D’Agata’s Vegas home. (The sets are by Tony winner Mimi Lien, with distracting projections by Lucy Mackinnon and original music by Palmer Hefferan.) Watching the annotation of the essay is fascinating; you can actually read the final, published article here, in the aptly titled Believer magazine.

Daniel Radcliffe, Cherry Jones, and Bobby Cannavale star in new Broadway play about the importance of facts (photo by Peter Cunningham)

Over the years, I have often found myself between a copy editor and a line editor, the former catching a factual error, the latter stetting it (letting it stand as is) for one reason or another. The Lifespan of a Fact gets right to the heart of the matter with intelligence and wit, although it takes it to an extreme, complete with some very funny slapstick comedy. The play itself has taken many liberties with the story; Fingal and D’Agata are real, while Penrose is not, and many of the situations and the timeline have been altered for dramatic impact, which is okay with Fingal and D’Agata, who wrote about their experience in their 2012 book, The Lifespan of a Fact. The show arrives on Broadway at an opportune moment in American history, when facts are challenged on social media and the president screams about fake news when he doesn’t like what is written about him in the press. But The Lifespan of a Fact wisely avoids getting political, instead concentrating on how three very different people with distinct objectives approach the truth, understanding that what’s most critical in this case is trying to find out why a teenager jumped from the top of a hotel in a place called Sin City. “Readers care how events play out on a deeper level. They care about the meaning behind the confluence of the events,” John says. “But events didn’t conflue the way you said,” Jim replies. “Conflue is not a word,” John responds. In today’s day and age, does it even matter who among the three characters might be the most right and what qualifies as a necessary fact?

NEW RESTORATION: MIDNIGHT COWBOY

Oscar nominees Jon Voight and Dustin Hoffman try to make it in the big city in John Schlesinger’s Midnight Cowboy

MIDNIGHT COWBOY (John Schlesinger, 1969)
Metrograph
7 Ludlow St. between Canal & Hester Sts.
November 21-28
212-660-0312
metrograph.com

Dustin Hoffman and Jon Voight star as the worst hustlers ever in John Schlesinger’s masterful Midnight Cowboy, screening November 21-28 in a new 4K restoration at Metrograph in advance of the film’s fiftieth anniversary. The only X-rated film to win a Best Picture Oscar, Midnight Cowboy follows the exploits of Joe Buck, a friendly sort of chap who leaves his small Texas town, determined to make it as a male prostitute in Manhattan. Wearing his cowboy gear and clutching his beloved transistor radio, he trolls the streets with little success. Things take a turn when he meets up with Enrico Salvatore “Ratso” Rizzo (Hoffman), an ill, hobbled con man living in a condemned building. The two loners soon develop an unusual relationship as Buck is haunted by nightmares, shown in black-and-white, about his childhood and a tragic event that happened to him and his girlfriend, Crazy Annie (Jennifer Salt), while Rizzo dreams of a beautiful life, depicted in bright color, without sickness or limps on the beach in Miami. Adapted by Waldo Salt (Serpico, The Day of the Locust) from the novel by James Leo Herlihy, Midnight Cowboy is essentially a string of fascinating and revealing set pieces in which Buck encounters unusual characters as he tries desperately to succeed in the big city; along the way he beds an older, wealthy Park Ave. matron (Sylvia Miles), is asked to get down on his knees by a Bible thumper (John McGiver), gets propositioned in a movie theater by a nerdy college student (Bob Balaban), has a disagreement with a confused older man (Barnard Hughes), and attends a Warholian party (thrown by Viva and Gastone Rosilli and featuring Ultra Violet, Paul Jabara, International Velvet, Taylor Mead, and Paul Morrissey) where he hooks up with an adventurous socialite (Brenda Vaccaro).

Photographed by first-time cinematographer Adam Holender (The Panic in Needle Park, Blue in the Face), the film captures the seedy, lurid environment that was Times Square in the late 1960s; when Buck looks out his hotel window, he sees the flashing neon, with a sign for Mutual of New York front and center, the letters “MONY” bouncing across his face with promise. The film, which was nominated for seven Oscars and won three (Best Picture, Best Adapted Screenplay, and Best Director), is anchored by Harry Nilsson’s Grammy-winning version of “Everybody’s Talkin’,” along with John Barry’s memorable theme. Iconic shots are littered throughout, along with such classic lines as “I’m walkin’ here!,” that can be seen and heard better than ever in this restoration, which was approved by Holender.

THE CONTENDERS 2018: MONROVIA, INDIANA

Frederick Wiseman heads to the Midwest for latest documentary, Monrovia, Indiana

MONROVIA, INDIANA (Frederick Wiseman, 2018)
MoMA Film, Museum of Modern Art
11 West 53rd St. between Fifth & Sixth Aves.
Wednesday, November 21, 7:00
Series runs through January 8
212-708-9400
www.moma.org
www.zipporah.com

Master documentarian Frederick Wiseman shows a compelling slice of Middle American life in his forty-third film, Monrovia, Indiana, screening November 21 at 7:00 in MoMA’s annual series “The Contenders,” consisting of works the museum believes will last the test of time. Wiseman, who will turn eighty-nine on New Year’s Day, directed, edited, produced, and did the sound for the 143-minute documentary, gorgeously photographed by John Davey. The camera makes its way around the small town, showing zoning discussions at a town council meeting, an award given out by the Freemasons to one of its members, a trio of old men in a café comparing maladies, a high school teacher talking about the importance of sports, people getting their hair cut, women in an exercise class, employees at a pizza place making a special item, and pigs being rounded up into a truck. Wiseman goes to the local market, a farm equipment auction, the church, a fair, a veterinary office, the high school gym, and a gun shop, all shot with natural sound and light. In between are beautiful, short scenes of streets, farms, and buildings, with no voice-over narration or informational text. However, even in this age of Trump, with an ever-growing disparity between the two coasts and the rust and Bible belts, politics never enters the film, which instead focuses on genuine humanity and day-to-day existence.

“I thought a film about a small farming community in the Midwest would be a good addition to the series I have been doing on contemporary American life,” the Boston-born Wiseman, whose previous films include Titicut Follies, High School, Central Park, Ex Libris — The New York Public Library, and Boxing Gym, explains in his director’s statement. “Monrovia, Indiana, appealed to me because of its size (1,063 residents), location (I have never shot a film in the rural Midwest), and the shared cultural and religious interests within the community. During the nine weeks of filming, the residents of Monrovia were helpful, friendly, and welcoming and gave me access to all aspects of daily life. Life in big American cities on the East and West Coasts is regularly reported on and I was interested in learning more about life in small-town America and sharing my view.” And that’s exactly what the film, which is also showing at Film Forum through November 22, is, a helpful, friendly, and welcoming document of small-town America in the twenty-first century. “The Contenders” continues through January 8 with such other 2018 films as Spike Lee’s BlacKKKLansman (followed by a discussion with Lee), Paul Dano’s Wildlife (followed by a discussion with Dano, cowriter Zoe Kazan, and actors Carey Mulligan and Jake Gyllenhaal), Paul Schrader’s First Reformed (followed by a discussion with Shrader and Ethan Hawke), and John Krasinski’s A Quiet Place (followed by a discussion with Krasinski).

GLORIA: A LIFE

Christine Lahti portrays feminist icon Gloria Steinem in world premiere production at the Daryl Roth Theatre (photo by Joan Marcus)

Daryl Roth Theatre
103 East 15th St. between Irving Pl. & Park Ave.
Saturday – Tuesday through March 31, $55-$150
gloriatheplay.com

Gloria: A Life is being billed as a play about feminist icon Gloria Steinem, but that’s not completely accurate; it’s really more of an illustrated lecture/performance than a truly dramatic narrative, a relatively chronological recap of her life and career. Told by Oscar, Emmy, and Obie winner Christine Lahti as Steinem, complete with aviator sunglasses, bell-bottoms, and long brown hair, the story evolves as a diverse group of six women take on multiple roles. Tony-nominated writer Emily Mann (Having Our Say, Execution of Justice) and Tony-winning director Diane Paulus (The Gershwins’ Porgy and Bess, All the Way) capture Steinem’s greatest hits, from her early days in journalism, including her breakthrough Playboy bunny exposé, her New York magazine story on abortion, and the harsh misogyny she encountered, to her founding of Ms., her participation in the 2017 Women’s March, and her unfortunately brief marriage to David Bale. Lahti stays primarily in the center of Amy Rubin’s comfy theater-in-the-round set, which features rows of benches, each seat with its own brightly colored pillow back. Actresses Joanna Glushak, Fedna Jacquet, Francesca Fernandez McKenzie, Patrena Murray, DeLanna Studi, and Liz Wisan portray various Steinem friends and enemies, colleagues, and family members, including Coretta Scott King, Bella Abzug, Wilma Mankiller, Florynce Kennedy, Dorothy Pitman Hughes, and Steinem’s mother.

Christine Lahti is joined by a cast of diverse actresses in Gloria: A Life (photo by Joan Marcus)

Archival footage of Steinem is projected onto two walls of the theater, along with occasional live video of what’s happening onstage, primarily re-creations of actual interviews. It’s all fairly straightforward and lacking any real conflict; Lahti does not attempt to completely transform herself into Steinem — for example, she uses her real speaking voice and doesn’t change costumes or hairstyle to match the passing years — while the other actresses’ portrayals tend to be underwhelming or over the top. But the show is hard not to like as Steinem, now eighty-four and the author of such books as Outrageous Acts and Everyday Rebellions and My Life on the Road, is a captivating figure and Lahti, sixteen years younger and the author of the new essay collection True Stories from an Unreliable Eyewitness: A Feminist Coming of Age, which features advance praise on the back cover from Steinem, is utterly charming as our host.

After ninety minutes, Gloria changes direction and turns into a Talking Circle where the audience in invited to participate in a discussion about the play, Steinem, or other issues related to feminism and the world today. A sign announces, “Lead with love. Low ego. High impact. Move at the speed of trust.” The night I went, Lahti moderated the conversation, but there are often special guests, such as Lena Dunham, Christiane Amanpour, Julie Menin, show consultant Kathy Najimy, Letty Cottin Pogrebin, and Steinem herself. It was a fascinating exchange of ideas about the absence of African American women in second-wave feminism, the decision to not mention Betty Friedan in the play, how the vast majority of the crew and producers are women, and the impact of current activist movements. Among those in the audience were Melissa Silverstein, cofounder and producing director of the Athena Film Festival at Barnard, New York City political stalwart Ruth Messinger, and a woman who once worked for Steinem, a self-described hope-aholic who, after all these years, still believes every one of us can make a difference.

MARY CORSE: A SURVEY IN LIGHT

Mary Corse, “Untitled (Space + Electric Light),” argon light, plexiglass, and high-frequency generator, 1968 ( Museum of Contemporary Art San Diego; museum purchase with funds from the Annenberg Foundation. Photograph by Philipp Scholz Rittermann)

Whitney Museum of American Art
99 Gansevoort St.
Through November 25, $18-$25
212-570-3600
whitney.org

“Your perception creates the painting,” Mary Corse says in a video about her first museum survey, “Mary Corse: A Survey in Light,” continuing at the Whitney through November 25. Since the mid-1960s, the California native has been addressing unique aspects of light, time, and space in her paintings and sculptures, the vast majority of which are shades of white. Many of the works change as you approach them, appearing different when seen from different angles and distances, forming an ever-changing relationship between viewer, surface, and light. “Corse’s White Light paintings are not works that depict movement but rather works that embody, and require, movement. To truly see Corse’s art we must move: there is no ideal vantage point,” Whitney director Adam D. Weinberg writes in the foreword to the catalog. “As much as we might try, we cannot ever find the perfect viewing position; experiencing a Corse painting is in and of itself a process.” The exhibition consists of two dozen works ranging from shaped monochrome paintings, screenprints, and acrylic on wood and plexiglass to her White Light, Black Light, and Black Earth series, documenting her changing use of materials as she began incorporating glass microspheres (the material used to reflect light in road markings), hidden Tesla coils to transmit electricity, and argon gas into her work. “I try to bring reality into the painting,” she says in the video. “I try to bring the reality of our moment here on this ball of mud; it’s not that the painting relates to nature but it is nature.”

Installation view of “Mary Corse: A Survey in Light,” Whitney Museum of American Art (© Mary Corse. Photograph by Ron Amstutz)

The work demands, and rewards, viewer engagement in a way that is distinct from that of other artists from the Light and Space movement, which includes James Turrell, Robert Irwin, Larry Bell, and Doug Wheeler. Divided into “Beginnings,” “Painting with Light,” “Black Earth, Black Light,” and “New Forms in White Light,” the Whitney show traces Corse’s career and experimental process primarily chronologically as she followed her own path. In 1970, the Berkeley-born artist moved away from Los Angeles to live and work in remote Topanga Canyon, building her own kiln and enjoying a more private life. “Untitled (Two Triangular Columns),” a pair of eight-plus-feet-high white columns with a space between them, echoes such paintings as “Untitled (Hexagonal White)” and “Untitled (White Diamond, Negative Stripe),” which feature a strip running down their centers. An entrancing glowing light emanates from “Untitled (White Light Series)” and “Untitled (Space + Electric Light).” Shapes and colors shift as you make your way around “Untitled (White Grid, Vertical Strokes)” and “Untitled (Horizontal Strokes).” Such 1970s pieces as “Untitled (Black Light Painting)” and “Untitled (Black Earth Series)” offer a stark counterpoint to the white light works. The more recent Inner Band paintings are like optical illusions in subtle motion. Exhibition curator Kim Conaty writes in the catalog, “For Corse, the subjectivity of perception — the acknowledgment that everyone experiences visual phenomena differently — has been a consistent driving force in her artistic practice for more than fifty years.” This survey ably represents Corse’s career, a long overdue exhibition that is, dare we say, illuminating. (In addition, Dia:Beacon has a new gallery of Corse’s work on view through 2021.)