this week in art

YOU MUST REMEMBER THIS: THE GREAT DICTATOR

Paulette Goddard and Charlie Chaplin take on the Third Reich in his first talkie, THE GREAT DICTATOR

THE GREAT DICTATOR (Charles Chaplin, 1940)
Cabaret Cinema, Rubin Museum of Art
150 West 17th St. at Seventh Ave.
Friday, April 13, free with $7 bar minimum, 9:30
212-620-5000
www.rmanyc.org

Learning of many of the horrible things the Third Reich was doing, Charlie Chaplin could not hold his tongue anymore, finally making his first talking picture in 1940. In The Great Dictator, writer-director-producer Chaplin unrelentingly mocks Adolf Hitler and the rise of the Nazis in Germany, albeit with a very serious edge, as WWII threatens. Chaplin plays the dual roles of a simple Jewish barber living in the ghetto (who has elements of the Little Tramp) and Adenoid Hinkle, the rather Hitler-esque Fascist leader of the country of Tomania. Just as he named the nation after a foodborne illness (ptomaine poisoning), Chaplin does not go for subtlety in the film; his right-hand man is Herr Garbitsch (Henry Daniel spoofing Nazi Minister of Propaganda Joseph Goebbels), and his military mastermind is Field Marshal Herring (Billy Gilbert making fun of Heinrich Himmler). Chaplin plays Hinkle like a cartoon character, with pratfalls galore, and when he speaks in German, especially when he gives a major speech, he spits out fake German words with a smattering of funny English ones. When he learns that Benzino Napaloni (Jack Oakie as a melding of Benito Mussolini and Napoleon Bonaparte) has gathered his troops on the Osterlitz border (think Anschluss), Hinkle invites the Bacteria dictator to his Tomanian palace, where they engage in numerous hysterical bouts of one-upmanship, including a riotous battle involving barber chairs. Meanwhile, Chaplin performs another of the film’s most memorable scenes, the shave of an old man set to Brahms’s “Hungarian Dance No. 5.” But when Commander Schultz (Reginald Gardiner) leaves the Nazi regime and decides to help the Jewish people in the ghetto, Hinkle sends his stormtroopers out to find the traitor, leading to a major case of mistaken identity and a heartfelt, if overly melodramatic, finale. In addition, Chaplin’s lover at the time, Paulette Goddard, plays Hannah (named for Chaplin’s mother), a young Jewish woman living in the ghetto, and Bowery Boys fans will recognize Bernard Gorcey, who played sweet-shop owner Louie Dombrowski in the goofy film series, as Mr. Mann.The Great Dictator is filled with marvelous moments, from Hinkle dancing with a balloon globe to several of the Jews in the ghetto trying to hide in the same chest, but the film does suffer from pedagoguery in making its political points, and some of the slapstick is too lowbrow. Nominated for five Oscars, it falls somewhere between the Marx Brothers’ Duck Soup (1933) and the Three Stooges’ You Nazty Spy! (1940) while also referencing the 1921 silent film King, Queen, Joker, in which Chaplin’s older half-brother, Sidney (who also directed), played the dual role of a modest barber and the king of the fictional Coronia. A seminal achievement that was supposedly seen by Hitler twice, The Great Dictator is screening April 13 at 9:30 as part of the Rubin Museum series “You Must Remember This,” focusing on memory in conjunction with its current Brainwave series and will be introduced by nonprofit collective the New Inquiry. Admission to the Rubin is free on Friday nights, so you should also check out the exhibitions “Illuminated,” “Hero, Villain, Yeti,” “Modernist Art from India,” and the outstanding “Casting the Divine.”

FIRST SATURDAYS: PARTY OF LIFE

Keith Haring, “Untitled,” Sumi ink on Bristol board, 1980 (© Keith Haring Foundation)

Brooklyn Museum
200 Eastern Parkway at Washington St.
Saturday, April 7, free, 5:00 – 11:00 (some events require free tickets distributed in advance at the Visitor Center)
212-864-5400
www.brooklynmuseum.org

Pennsylvania-born Keith Haring was one of the most influential street artists and activists of his generation. Known for his drawings and sculpture of cartoony characters, Haring redefined public art in New York City, where he moved when he was nineteen in 1978. In conjunction with the recent opening of its exhibit “Keith Haring: 1978-1982,” the Brooklyn Museum is dedicating its free April First Saturday programming to the life and career of Haring, who died in 1990 of AIDS-related complications. There will be guided tours of the exhibition, a break-dance performance by Floor Royalty Crew, workshops where visitors can make Haring-inspired buttons and Pop art prints, an artist talk by photographer Christopher Makos, who documented the street art scene in the 1970s and ’80s, a talk by Will Hermes about his new book, Love Goes to Buildings on Fire: Five Years in New York That Changed Music Forever, and a dance party hosted by legendary DJ Junior Vasquez. In addition, there will be concerts by the Library Is on Fire and Comandante Zero (with live video) and a screening of Jacob Krupnick’s Girl Walk // All Day (followed by a Q&A with the director and some of the dancers in the film). As always, the galleries will be open late, giving visitors plenty of opportunity to check out the Keith Haring exhibit as well as “Playing House,” “Rachel Kneebone: Regarding Rodin,” “Raw/Cooked: Shura Chernozatonskaya,” “Newspaper Fiction: The New York Journalism of Djuna Barnes, 1913–1919,” “Question Bridge: Black Males,” and “19th-Century Modern.”

CINDY SHERMAN — CARTE BLANCHE: JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES

Delphine Seyrig is mesmerizing in feminist classic

JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES (Chantal Akerman, 1975)
MoMA Film, Museum of Modern Art
11 West 53rd St. between Fifth & Sixth Aves.
Thursday, April 5, 7:00, and Friday, April 6, 8:00
Series runs through April 10
Tickets: $12, 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 beginning at 9:30 am
212-708-9400
www.moma.org

Chantal Akerman’s groundbreaking film follows the drab life of the title character, a bored housewife who goes about her day nearly silently, moving agonizingly slowly, as she makes breakfast for her husband, sends him off to work, takes in a few johns, cleans the sink, etc. Just another ordinary day, not nearly as colorful as the one Séverine Serizy (Catherine Deneuve) experiences in Belle de Jour (Luis Buñuel, 1967). Delphine Seyrig (Stolen Kisses, The Discreet Charm of the Bourgeoisie, The Day of the Jackal) is mesmerizing as Jeanne Dielman — you won’t be able to take your eyes off her, and with good reason. This ultimate feminist film was made with an all-female crew, and if it’s anything, it’s absolutely memorable, love it or hate it. Oh, actually, it’s long too — nearly three and a half hours. Jeanne Dielman is screening on Thursday and Friday with Maya Deren’s avant-garde classic Meshes of the Afternoon as part of MoMA’s “Carte Blanche: Cindy Sherman” series, a collection of films curated by photographer Cindy Sherman in conjunction with her glorious retrospective at the museum, which features many of her untitled film stills. Other works in the series include David Lynch’s Inland Empire, John Frankenheimer’s Seconds, John Cassavetes’s Shadows, John Waters’s Desperate Living, and her own Doll Clothes and Office Killer.

LAST CHANCE: THE RONALD S. LAUDER COLLECTION

Gerhard Richter, “Townscape PL,” oil on canvas, 1970 (The Ronald S. Lauder Collection, New York / © Gerhard Richter)

SELECTIONS FROM THE 3rd CENTURY BC TO THE 20th CENTURY/GERMANY, AUSTRIA, AND FRANCE
Neue Galerie
1048 Fifth Ave. at 86th St.
Monday, April 2, $20, 11:00 am – 6:00 pm
212-628-6200
www.neuegalerie.org

In November 2001, Ronald S. Lauder opened the Neue Galerie, a wonderful museum on 86th St. that specializes in German and Austrian art. Over the last ten years, the institution has staged shows featuring the work of such artists as Egon Schiele, Max Beckmann, Alfred Kubin, Gustav Klimt, Oskar Kokoschka, Paul Klee, Otto Dix, Christian Schad, and even Vincent van Gogh. In celebration of its first decade, the Neue Galerie is displaying “The Ronald S. Lauder Collection: Selections from the 3rd Century BC to the 20th Century,” which concludes its five and a half month run today. “My absolute love for and dedication to collecting art has been one of the guiding passions of my life,” Lauder, the son of Estée Lauder and Joseph Lauder, explains on the exhibition website. The well-curated and smartly hung show, which features grouped tags with thumbnail images, has sections dedicated to works by Pablo Picasso, Constantin Brancusi, Henri Matisse, Georges Seurat, Paul Cézanne, Gerhard Richter, and Vasily Kandinsky in addition to pieces by Sigmar Polke, Anselm Kiefer, Franz Marc, Joseph Beuys, and all the above-mentioned artists. There is also a room dedicated to Lauder’s extensive collection of arms and armor and medieval religious relics, and there is ornate furniture and clocks throughout. Like the Frick here in New York and Sir John Soane’s Museum in London, this exhibition offers an intriguing look inside the mind of one of the world’s major art collectors, in this case a man with extremely wide-ranging tastes who has been amassing his collection since he was in his teens.

GERTRUDE’S PARIS FESTIVAL

Symphony Space will celebrate American ex-pat Gertrude Stein and Paris with springtime festival

Symphony Space
2537 Broadway at 95th St.
April 1 – May 5, free – $95
212-864-5400
www.symphonyspace.org

“America is my country and Paris is my hometown,” Gertrude Stein famously said about the City of Lights. Symphony Space is celebrating the Lost Generation writer’s longtime love affair with the romantic French city with five weeks of special programming, including film screenings, jazz concerts, literary discussions, wine tastings, and dancing. Held in conjunction with the Met’s current exhibit “The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde” (running through June 3), “Gertrude’s Paris” begins on April 1 with Vincente Minnelli’s An American in Paris, a free reception for the “My Paris!” and “La Revue Nègre” photo exhibitions, a free jazz cabaret with the Nick Finzer Trio, and Perry Miller Adato’s documentary Paris: The Luminous Years. The festival continues with such events as “Wearing the Lost Generation: A Musical/Sartorial Salon” on April 5, Henri-Georges Clouzot’s The Mystery of Picasso on April 8, “Great Taste! Red Wines of France” on April 10, “Tin Hat Takes on E. E. Cummings” on April 13, Arne Glimcher’s Picasso and Braque Go to the Movies on April 22, “Josephine Baker/Archival Footage” on April 29, and the free, all-day “Wall to Wall: Gertrude’s Paris” party on May 5. The series also offers a great chance to catch up on the work of Jean Renoir, with Sunday screenings of Beauty and the Beast (April 8), Boudu Saved from Drowning (April 15), and The Rules of the Game (April 22).

JOSEPHINE MECKSEPER: MANHATTAN OIL PROJECT

Josephine Meckseper’s oil rigs drill, baby, drill in the Theater District (photo by twi-ny/mdr)

Eighth Ave. at West 46th St.
Through May 6, free
artproductionfund.org
manhattan oil project slideshow

Born in Germany and based in New York City for many years, multimedia artist Josephine Meckseper examines consumer culture in her painting, photography, sculpture, video, and installation. Last year she turned the ninth floor of Chelsea’s FLAG Art Foundation into a kind of glitzy, high-end department store. Now she has installed two of her giant oil rigs on a vacant lot at the corner of Eighth Ave. and 46th St., where they apparently drill for buried treasure. The pair of red-and-black steel oil pumpjacks, which reach twenty-five feet high and weigh three tons each, have been placed within the caged-in area known as the Last Lot, a site the Art Production Fund and Times Square Alliance are using for public art projects in conjunction with owners the Shubert Organization. Inspired by abandoned old rigs Meckseper encountered in Electra, Texas, “Manhattan Oil Project” references politics and the state of the U.S. economy as it drills, baby, drills in the Theater District, an area where men, women, and children have been coming for more than a hundred years to be entertained as well as to strike it rich. As families lose their houses to the mortgage crisis as well as an increasing stream of natural disasters, there is more displacement than ever before across America, as well as an ever-widening gap between the wealthy and the poor, the one percent and the ninety-nine percent; Meckseper’s installation evokes this dichotomy while calling into question environmental concerns and, of course, the impossibility of it all, as no one is likely to find oil under Eighth Ave. Then again, miracles have been known to happen; shortly after “Manhattan Oil Project” was installed, a billboard for Jesus Christ Superstar rose over the lot, providing yet another angle through which to view the work.

THE REVIEW PANEL: WHITNEY BIENNIAL 2012

The National Academy will examine the Whitney Biennial on March 30

National Academy Museum
1083 Fifth Ave. at 89th St.
Friday, March 30, $12, 6:30
212-369-4880 ext201
www.nationalacademy.org
whitney.org

We know what we think of this year’s Whitney Biennial — and we’ll be letting you know soon — but in the meantime you can find out others’ thoughts on the 2012 exhibit at the next meeting of the Review Panel, being held March 30 at 6:00 at the National Academy. The National Academy regularly invites a small group of art critics and writers to discuss current exhibitions going on around the city, but this time they’ll focus only on the biennial, for which curators Elisabeth Sussman and Jay Sanders have added some different elements. David Cohen of artcritical.com will moderate the discussion, with participants Bill Berkson (artcritical.com, Art in America), Will Heinrich (The New York Observer), and Karen Wilkin (The New Yorker, The Wall Street Journal). The National Academy is in the midst of its own annual exhibition right now, which we’ll also be telling you more about shortly. The next Review Panel is scheduled for April 27 with Cohen, Lance Esplund, Maddie Phinney, and Barry Schwabsky examining several shows taking place around town.