this week in art

RIALTO AT 25

World premiere of 4K restoration of Jean-Luc Godard’s Alphaville kicks off “Rialto at 25” at MoMA (photo courtesy the Kobal Collection)

RIALTO AT 25
MoMA Film, Museum of Modern Art
11 West 53rd St. between Fifth & Sixth Aves.
April 19 – May 22, $8-$12
212-708-9400
www.moma.org
www.rialtopictures.com

In 1997, Bruce Goldstein started Rialto Pictures, joined the following year by Adrienne Halpern. For more than a quarter-century, Rialto has been dedicated to reissuing and restoring classic foreign and independent films, both famous and forgotten, often debuting them at Film Forum, where Goldstein has long served as master programmer. MoMA pays tribute to copresidents Goldstein and Halpern with “Rialto at 25,” a five-week series consisting of thirty-one films released by the beloved distribution company, beginning with Henri-Georges Clouzot’s 1947 murder mystery, Quai Des Orfèvres, and the world premiere of a brand-new 4K restoration of Jean-Luc Godard’s 1965 futuristic thriller, Alphaville.

Organized by MoMA Film curator Dave Kehr, the festival also includes Jean-Pierre Melville’s Army of Shadows, Francis Ford Coppola’s The Conversation, John Carpenter’s Escape from New York, Robert Hamer’s Kind Hearts and Coronets, Marcel Carné’s Le Jour Se Lève, Akira Kurosawa’s Ran, Carol Reed’s The Third Man, Joe Dante’s The Howling, and Alberto Cavalcanti’s Went the Day Well?

“I began Rialto Pictures out of sheer frustration. Many classic movies, particularly European films, had no distribution in the United States, with prints either impossible to get or unavailable to repertory cinemas,” Goldstein said in a statement. “And, just as bad, a lot of important classics — like Renoir’s Grand Illusion and Godard’s Breathless — were seen for decades only in miserable 16mm copies, with bad image and sound. By getting the rights to movies like these myself, I could make brand new 35mm prints and show them — not just in New York — but in movie theaters across the country.”

Rialto has amassed a profoundly remarkable collection that is well represented in the MoMA series; among the other highlights and surprises are Federico Fellini’s Nights of Cabiria (with a seven-minute restored scene), Jules Dassin’s Rififi, Orson Welles’s The Trial, Joseph Losey’s Mr. Klein, John Boulting’s Brighton Rock, and Luis Buñuel’s The Discreet Charm of the Bourgeoisie and That Obscure Object of Desire. In addition, MoMA has created a special forty-five-minute compilation of Rialto trailers.

On April 29, Goldstein will present the illustrated talk “The Art of Subtitles”; several screenings will feature introductions or discussions; and originally commissioned Rialto posters will be on view. Goldstein will introduce Jacques Deray’s La Piscine on April 26 and Dino Risi’s Una Vita Difficile on May 14, translator and subtitler Michael F. Moore will introduce Francesco Rosi’s Christ Stopped at Eboli on April 22, Whit Stillman and actors Dylan Hundley and Carolyn Farina will participate in a discussion following a screening of Metropolitan on April 27, actor Madjid Niroumand will talk about Amir Naderi’s Davandeh with Goldstein after a screening on April 28, and Julien Duvivier’s Panique will be introduced on April 26 by Pierre Simon, the son of Georges Simenon, on whose novel the film is based. You might as well just move in to MoMA from April 19 to May 22, but keep looking over your shoulder.

TWO NEW TEXTS ON HILMA AF KLINT

Hilma af Klint: Tree of Knowledge is one of two books about the Swedish abstractionist launching at New Museum on April 20 (courtesy David Zwirner)

Who: Massimiliano Gioni, Julia Voss, Tracey Bashkoff
What: Book launches and panel discussion
Where: New Museum Theater, 235 Bowery at Prince St.
When: Thursday, April 20, $10, 6:30
Why: From October 2018 to April 2019, the Guggenheim hosted the smash exhibition “Hilma af Klint: Paintings for the Future,” the first major US solo show dedicated to the Stockholm-born abstract artist. That was followed by Halina Dyrschka’s documentary Beyond the Visible, which delved further into af Klint’s life and career. On April 20, the New Museum is hosting “Two New Texts on Hilma af Klint,” serving as a book launch for Hilma af Klint: Tree of Knowledge (David Zwirner, 2023, $55), featuring contributions from Julia Voss, Susan Aberth, Suzan Frecon, Max Rosenberg, Helen Molesworth, Joy Harjo, and William Glassley, and Voss’s Hilma af Klint: A Biography (University of Chicago, 2022, $35). New Museum artistic director Massimiliano Gioni will be joined by Voss and Guggenheim curator Tracey Bashkoff celebrating both books and the art of af Klint (1862–1944), who is finally having her long-deserved moment.

GUILLERMO DEL TORO: CRAFTING PINOCCHIO

A large-scale Pinocchio hovers over a MoMA hallway (photo by twi-ny/mdr)

GUILLERMO DEL TORO: CRAFTING PINOCCHIO
MoMA, Museum of Modern Art
The Debra and Leon Black Family Film Center
The Paul J. Sachs Galleries
11 West 53rd St. between Fifth & Sixth Aves.
Through April 15, $14-$25 (sixteen and under free)
212-708-9400
www.moma.org
crafting pinocchio slideshow

You don’t have to have seen Guillermo del Toro’s Oscar-winning stop-motion-animated Pinocchio or even liked it in order to appreciate the magical “Crafting Pinocchio” exhibition at MoMA, on view for just a few more days. Expect long lines to check out models, maquettes, drawings, dioramas, and video that goes behind the scenes of the making of the film, which started out as a chapter book illustrated by Gris Grimly.

“After the book was published, me and some friends started to develop how this could be a movie. And we came up with a list of directors, and Guillermo was top on the list,” Grimly explains on the audioguide. “Shortly after that, I got a call from a gallery that was selling my artwork, and they said that Guillermo came in and bought a piece of my Pinocchio artwork. And I said, ‘You’ve got to be kidding me!’ They called him up and we had lunch. And this was 2004, I think. It’s been a long time coming. This has been like twenty some years.”

Doctors examine Pinocchio in scene from Oscar-winning film (photo by twi-ny/mdr)

The exhibit is an enticing collection that will bring out the little kid in you. You’ll learn about the creation of such characters as Cricket (voiced by Ewan McGregor), Geppetto (David Bradley), Pinocchio (Gregory Mann), Podesta (Ron Perlman), Dottore (John Turturro), Candlewick (Finn Wolfhard), Spazzatura (Cate Blanchett), the Black Rabbits (Tim Blake Nelson), Count Volpe (Christoph Waltz), the Wood Sprite (Tilda Swinton), and Mussolini (Tom Kenny) and encounter scenes set in Geppetto’s home, the doctor’s office, the battlefield, and the circus where Pinocchio performs.

“This is a fable very close to my heart, and one that I think has lived in many incarnations,” del Toro says on the guide. “And I trust the one we’re offering to you is a particularly beautiful one. This is a tale about becoming who you are, not transforming yourself for others, which goes counter to the traditional take on Pinocchio.” The film itself will be screened at MoMA on April 14 and 15 at 3:00.

Exhibit goes behind the scenes of the making of Guillermo del Toro’s Pinocchio (photo by twi-ny/mdr)

In the film center downstairs are a number of old copies of Carlo Collodi’s story in multiple languages from around the world, an inside look at the music in del Toro’s movie, and clips and posters from Pinocchio and such other del Toro works as Nightmare Alley, The Shape of Water, Pan’s Labyrinth, Hellboy, and The Devil’s Backbone.

On the audioguide, del Toro adds, “We wanted to create a story about a world that behaves like a puppet and obeys everything they’re told, and a puppet that chooses to be disobedient and finds his own morality, his own soul, and his own humanity by that disobedience.” The MoMA show captures just how del Toro accomplished that.

MOVEMENT AT THE STILL POINT: AN EVENING OF DANCE

Who: Mark Mann, Sara Mearns, Megan LeCrone, Georgina Pazcoguin, Lloyd Knight, Xin Ying, Terese Capucilli, Skye Mattox, Karla Garcia, David Guzman, Ricardo Zayas, Morgan Marcell, Ryan Vandenboom, Curtis Holland, Rena Butler, Amadeo “Remy” Mangano, Ousmane “Omari” Wiles, Dardo Galletto, Alonso Guzman, Evan Ruggiero, Jie-Hung Connie Shiau, Maleek Washington, Francesca Harper, Carmen de Lavallade, Gus Solomons Jr., more
What: Book launch with live performances
Where: The Joyce Theater, 175 Eighth Ave. at Nineteenth St.
When: Monday, April 10, $81-$131, 7:30
Why: Photographer Mark Mann has assembled quite a group of all-stars to launch his coffee-table book, Still Point: An Ode to Dance (Rizzoli, March 2023, $60), at the Joyce on April 10. The book features photographs of more than 140 people in the dance world, several dozen of whom will be at the Joyce to celebrate with Mann, including New York City Ballet’s Sara Mearns, Martha Graham principals Lloyd Knight and Xin Ying, Broadway’s Skye Mattox and Ryan Vandenboom, voguers Amadeo “Remy” Mangano and Ousmane “Omari” Wiles, tango dancers Dardo Galletto and Alonso Guzman, tap dancer Evan Ruggiero, Ailey II artistic director Francesca Harper, and legends Carmen de Lavallade and Gus Solomons Jr. “Mark is one of a rare breed of photographers who understands dancers: how we move, the way we say things with our bodies that other people say in words, how much we love to perform for an audience — even an audience of one,” Chita Rivera writes in the foreword. “So I put on my top hat, white tie and tails, and we did our own little dance, and it shows in the images he made of me, and of all the dancers in this beautiful collection.”

Misty Copeland is among more than 140 dancers who posed for Mark Mann’s new book (photo courtesy Mark Mann / Rizzoli USA)

The Glasgow-born Mann, who had not photographed the dance community before, was inspired to do the project when commiserating with his sister-in-law, choreographer Loni Landon, about the pandemic lockdown, during which there were no live, in-person performances and Mann’s professional portraiture business had dried up. He accidentally discovered an empty warehouse space on the West Side, where he invited subjects to pose for him, with his beloved medium format Leica S that he calls Gretta. “When our first dancer, Rena Butler, came into the studio in February of 2021, I was speechless,” Mann explained in a statement. “I realized I was watching a performance tailored exclusively for my camera, and for the first few minutes I was so captivated that I actually forgot I was supposed to be taking photos. In that moment, as I began to photograph, my whole life as a photographer was turned upside down.”

In the book, many of the subjects contribute personal thoughts about their chosen discipline. “During the shoots, we spoke to the dancers about identity. The pandemic challenged a lot of us in terms of facing our true selves in a moment when we lost what had defined us,” Landon writes in the afterword. “Everyone figured out how to survive in their own way. It was astonishing to see perseverance paired with vulnerability — the resilience of these artists.” They now take the next step together on April 10 at the Joyce.

NICK CAVE: FOROTHERMORE

Nick Cave, Untitled, mixed media including a bronze head and thirteen American flag shirts, 2018 (Ann and Mel Schaffer Family Collection / photo by twi-ny/mdr)

NICK CAVE: FOROTHERMORE
Solomon R. Guggenheim Museum
1071 Fifth Ave. at 89th St.
Through April 10, $18-$25
212-423-3587
www.guggenheim.org
forothermore slideshow

Nick Cave’s oeuvre consists of tantalizing, colorful objects and installations that are immediately eye-catching, inspiring childlike wonder. It was no surprise that when I was walking through “Nick Cave: Forothermore” at the Guggenheim, several kids were running around like they were in a playground. I actually had to stop two children from grabbing the small balls and dominoes carefully arranged in Forbidden and Desire (1998); while one boy’s father was grateful, the other’s mother gave me a stern look. I think she wanted to chastise me for saying anything to her child, but she realized that it was probably a good idea that her boy not touch the valuable artwork. When I mentioned to a security guard what I had experienced, they acknowledged that it was a continuing problem.

But the sixty-four-year-old Cave’s works are a lot more than intriguing, pretty pieces; the Missouri-born, Chicago-based multimedia artist explores loss, mourning, racial injustice, the importance of community, and joy through sculpture, painting, video, installation, and performance, incorporating found objects as he examines the Black experience in America.

On view through April 10, the show is divided into three sections: “What It Was,” “What It Is,” and “What It Shall Be,” examining the past, present, and future of Cave’s practice as well as the state of our society. Penny Catcher (2009) welcomes visitors to Tower 2, a depiction of a male figure in a black suit and black-and-white spats hanging on a wall, his mouth open to accept coins, a repurposed relic from a flea market. I Wouldn’t Bet Against It (2007) is centered by a miniature person praying in front of several dozen dice, surrounded by a halo that creates a dizzying optical illusion. Wall Relief (2013) comprises four large panels festooned in a thick morass of ceramic birds, afghans, strung beads, crystals, and antique gramophone speakers, with metal flowers emerging on all sides. Nearby is TM13 (2015), one of Cave’s signature Soundsuits, bigger-than-life mannequins that the queer Black artist began creating after the Rodney King beating during the 1991 LA riots; this one is based on Trayvon Martin, trapped in a net, one sneakered foot sticking out at the bottom, accompanied by vintage blow molds, including Santa, a bear dressed for Halloween, and St. Joseph from the Nativity scene.

In Tower 4, Sea Sick (2014) is a collage of eleven oil paintings of old-time sailing ships at sea, with a sculpture of a gold-colored plastic ship hovering over the head of a screaming Black man, hands lifted to his head, his red lips and white teeth defying stereotypes.

“I started to think about how racism’s transferred over into consumerism and product,” Cave (Until, Mass MoCA, 2017; The Let Go, Park Ave. Armory, 2018) explains on the accompanying audioguide, in a way that serves as a kind of artist statement for the entire exhibition. “I had this set of gold praying hands, but the way in which they’re positioned with Sea Sick is that they’re covering up his ears just to numb out the sound, this sort of anguish, this sort of rage. And then above is this gold bling-bling ship that pulls it right into this contemporary moment in which we exist right now. It’s surrounded by these ship paintings that I have found in thrift stores, reclaiming and repositioning how we engage in experience and talk about this voyage of sorts to the free world. And so all of that is in question because these objects are reconfigured in and renegotiating the role in which they present themselves today. So to me it’s not that it’s yesterday; it’s very much today. As I start to look at the work, I start to think about the community’s outreach, that I’m only a vessel. I feel that I’ve been the one chosen to deliver these deeds. I have a job to do; I am the voice for many people, and it’s really being able to celebrate our differences. . . . That I can I can stand here, you can stand here, and we can be in this moment collectively is that moment I’m wanting to talk about.”

Nick Cave, Time and Again, mixed media including vintage metal, found objects and wood, 2000 (courtesy the artist / photo by twi-ny/mdr)

Also in Tower 4 is the fourteen-minute video Bunny Boy (2012), in which Cave, who presented the performance “Heard•NY” in Grand Central in 2013, dances suggestively in one of his Soundsuits; Platform, which contains black gramophone speakers, a crow, and chains of arms grasping hands, either coming down from or going up to heaven; and Rescue (2013), in which several dogs are seated on couches and chairs. Chairs are a recurring theme, also seen in an untitled 2018 piece in which an empty pink high chair is in front of a table of praying heads and hands, evoking a missing child, and Time and Again (2000), an installation with a chair with a tiny white pig on it attached to a canvas laden with Cave’s late grandfather’s wooden and metal farming tools and crosses, rows of rusted agricultural dishes lined up on the floor.

The centerpiece of the exhibit are the Soundsuits in Tower 5, with more than a dozen on a white platform as if frozen in time during a fashion show. The mannequins are covered in a multitude of colors and objects, from vintage textile and sequined appliqués to toy globes, flowers, hip pants, spinning tops, little pales and shovels, sock monkeys, bunnies, and boots. Perched on the walls, and also used as faces for a few Soundsuits, are Cave’s circular kaleidoscopic wire mesh and beaded Tondos, which he says “is me looking at these brain scans of inner-city youth that live in extreme, violent zones, and the trauma that comes from that, and pairing that with extreme weather patterns — colliding these two forces together.”

It’s a visual feast for children of all ages — and once again needs security to make sure kids don’t jump onto the platform and touch the pieces. There were too many of them running around for even me to stop them, especially since I was having just as much fun. But as fun as they are, as with TM13, they make critical points about where we’ve been, where we are, and where we are going as a society. These feasts of visual exuberance bear titles such as 8:46 and 9:29, grounding them in time and space: The numerals refer to the murder of George Floyd by Minneapolis police.

THE HARDER THEY COME

Ivan (Natey Jones, far left) arrives in the city seeking fame and fortune in The Harder They Come (photo by Joan Marcus)

THE HARDER THEY COME
Newman Theater, the Public Theater
425 Lafayette St. at Astor Pl.
Tuesday – Sunday through April 9, $105
publictheater.org

There’s a big difference between a show or movie with music and a fully fledged musical, in which original songs help propel the narrative. That divergence is one of the central flaws in the world premiere of The Harder They Come, at the Public’s Newman Theater through April 9.

The 1972 movie is a Jamaican cult favorite that recently celebrated its fiftieth anniversary; it follows a country boy named Ivanhoe Martin, portrayed by reggae legend Jimmy Cliff in his first and only starring role as an actor, who arrives in Kingston with little more than a guitar and the dream of making a hit record. The soundtrack is one of the all-time greats, consisting of genre-defining tunes by the Maytals (“Sweet and Dandy,” “Pressure Drop”), the Slickers (“Johnny Too Bad”), Desmond Dekker (“007 [Shanty Town]”), the Melodians (“Rivers of Babylon”), Scotty (“Draw Your Brakes”), and Cliff himself, who contributed six songs, including the title track, the only one written specifically for the film.

In her book, Public writer-in-residence and Tony and Pulitzer Prize winner Suzan-Lori Parks, who has written such hard-hitting plays as Topdog/Underdog, Fucking A, and Father Comes Home from the Wars . . . , squeezes too many songs that were background and incidental in the film into the show’s narrative, forcing them into the plot.

An accomplished singer-songwriter, as evidenced by her terrific Plays for the Plague Year, a three-hour intimate performance piece about the pandemic that reopens at Joe’s Pub on April 5, Parks adds several new songs to The Harder They Come, including “Hero Don’t Never Die,” “Please Tell Me Why,” and “Better Days,” expanding, and sometimes changing, the motivations of various characters as Parks attempts to smooth out the bumps and choppiness of the film.

Alas, that is part of its charm. And I’m still trying to understand why the second act opens with Johnny Nash’s “I Can See Clearly Now,” which Cliff recorded in 1993 for the film Cool Runnings about the 1988 Jamaican Olympic bobsled team. The song was part of Reggae Hit the Town: Crucial Reggae 1968-1972, a bonus disc added to the soundtrack album years later; Dekker’s “Israelites” also is in the show from the same collection.

Preacher (J. Bernard Calloway) has a tight hold on his congregation in world premiere at the Public (photo by Joan Marcus)

The story is a rough and violent drama that begins with Ivan traveling to the big city to give his mother, Daisy (Jeannette Bayardelle), her pittance of an inheritance. She wants him to return to the country, but Ivan (Natey Jones) is determined to stay and become a star. With no place to go, he hooks up with the Holy Redeemer Church after meeting and instantly falling for the young and innocent Elsa (Meecah), the orphan ward of the church’s well-connected Preacher (J. Bernard Calloway).

Desperate to make a record, Ivan ultimately signs a terrible contract with local music mogul Hilton (Ken Robinson), a wealthy man who controls what gets played when and where. With no money, Ivan starts working for ganja dealer Jose (Dominique Johnson), who is in cahoots with a plainclothes cop named Ray (Dudney Joseph Jr). Everywhere he goes, Ivan creates conflict with the avaricious men of Kingston, battling religion, drug lords, law enforcement, and corporate greed in his determination to get what he believes he deserves. “You can get it if you really want it / But you must try, try and try, try and try,” he sings.

Instead of laying low like his best friend, Pedro (Jacob Ming-Trent), who also sells for Jose, Ivan can’t stop speaking his mind. After an altercation with a policeman, Ivan is on the run, attempting to hold things together while also reveling in his newfound fame.

Directed by Tony Taccone (Bridge & Tunnel, Wishful Drinking) with codirector Sergio Trujillo, who is best known for his choreography for jukebox bio-musicals (Summer: The Donna Summer Musical, A Bronx Tale), The Harder They Come contains numerous wonderful scenes with fabulous music, performed by a strong cast (Ming-Trent stands out, his character providing comic relief and an honest perspective) and an excellent six-piece band; Kenny Seymour’s orchestrations and arrangements do justice to the originals, although some snippets are too much of a tease and a few of Parks’s new songs are overly melodramatic. In addition, you never get to hear the title track in full; as a kind of encore, it is performed at the very end, but one stanza is curiously left out.

Local music mogul Hilton (Ken Robinson) offers Ivan (Natey Jones) a bad deal in The Harder They Come (photo by Joan Marcus)

Choreographer Edgar Godineaux makes sure the movement never gets out of hand on Clint Ramos and Diggle’s two-level shanty town set, strewn with garbage drums, used tires, multiple old TV sets and speakers on the walls, bamboo, palm leaves, and muted greens and yellows inspired by the Jamaican flag (found also on the railings near the stage), along with earth-toned colors that are also prominent in Emilio Sosa’s costumes. The sound is by Walter Trarbach, with lighting by Japhy Weideman.

In the film, directed by Perry Henzell and cowritten with Trevor Rhone, Cliff’s Ivan already had a hard edge, a willingness to become an outlaw to fight for what he thinks is fair. But in Parks’s version, Jones (Get Up Stand Up, Tina: The Tina Turner Musical) portrays a far more naive and good-natured Ivan, more sensitive to Elsa’s needs and not as inherently dangerous. Cliff’s Ivan is proud of what he did to the policeman and glories in becoming a hero-villain who cheats on his wife and smokes big spleefs, while Jones’s Ivan claims the incident was accidental and never fully inhabits the character’s bad side.

The show has been stripped of its nuance, too easily pitting good vs. evil amid hierarchical, colonialist power structures. While a lot has changed since the film came out half a century ago, a lot hasn’t. This theatrical iteration — Henzell oversaw the script for a 2005 British adaptation — ends up caught somewhere in between.

[Note: The Public is hosting the “Wheel & Come Again” art auction on the mezzanine level, with more than a dozen works available, from $300 to $1000, inspired by the film and musical, raising funds to benefit scholarships at the Edna Manley College of the Visual and Performing Arts in Kingston.]

PATTIE BOYD PRESENTS MY LIFE IN PICTURES

Pattie Boyd will be discussing and signing copies of her new book at Rizzoli (photo courtesy Reel Art Press)

Who: Pattie Boyd, Dave Brolan
What: Book talk and signing
Where: Rizzoli Bookstore, 1133 Broadway at 26th St., 212-759-2424
When: Monday, April 3, $59.87 (includes admission, signing line access, and book), 6:00
Why: “I decided very early on that there never needed to be a dull moment in life. If you find yourself feeling dull, just change your mind,” model, photographer, and muse Pattie Boyd proffers in her new book, My Life in Pictures (Reel Art Press, December 2022, $49.95).

Born in England in March 1944, Boyd has not had a very boring life. She went to boarding school in Nairobi, began modeling as a teenager, and married and divorced George Harrison and Eric Clapton. She was the muse behind Harrison’s “Something” and Clapton’s “Layla” and “Wonderful Tonight” and appeared on an endless stream of magazine covers. But all the while she was dazzling people in front of the camera, she was also taking her own photographs.

On April 3 at 6:00, Boyd will be at Rizzoli to discuss her life and career, joined by photo editor, curator, and archivist Dave Brolan from Reel Art Press. My Life in Pictures features photographs of Boyd by such lensmen as David Bailey, Eric Swayne, Norman Parkinson, Terence Donovan, Robert Freeman, and Robert Whitaker; photos by Boyd of Twiggy, Mick Jagger, Billy Preston, and the Beatles; and diary entries, artifacts, artworks, and other memorabilia, including letters from John Lennon and Yoko Ono. Tickets are still available with a copy of the book and come with access to the signing line. (Boyd will only be signing books purchased at Rizzoli.)

“I liked the idea of being independent and working but not all the time,” Boyd, who married real estate developer Rod Weston in 2015, writes in the book. “I wasn’t pinned down to anything nine to five. I thought that would be an incredibly boring thing to do.”