this week in art

GODLIS MIAMI BOOK LAUNCH WITH DAVID GODLIS AND LUCY SANTE

Who: David Godlis, Lucy Sante
What: Book launch with live discussion
Where: Rizzoli Bookstore, 1133 Broadway between 25th & 26th Sts.
When: Thursday, October 28, free with advance RSVP, 6:00
Why: When last we saw photographer David Godlis, he was taking part in a November 2020 Rizzoli Zoom discussion with writer Luc Sante, Blondie cofounder and guitarist Chris Stein, and Reel Art Press music editor Dave Brolan, talking about Godlis Streets (Reel Art Press, $39.95), which features Godlis’s New York City and Boston street photography from the 1970s and ’80s. Some of us have also caught him in Lewie and Noah Kloster’s brand-new seven-minute documentary Shots in the Dark with David Godlis, in which the longtime official photographer of the New York Film Festival goes back to his CBGB days.

On October 28, Godlis will be at Rizzoli in person, joined by the recently transitioned Lucy Sante (Low Life, Kill All Your Darlings), for the launch of his newest book, Godlis Miami (Real Art Press, $39.95), comprising photos Godlis shot down south, capturing a part of South Beach that no longer exists.

David Godlis, Ladies in the Sun, Lummus Park (© GODLIS)

“I first went to Miami Beach when I was a kid in the 1950s,” he writes. “There are black and white snapshots of me sitting on the beach, wearing my Davy Crockett T-shirt, squinting under palm trees. My grandparents had retired there. For Jewish Eastern European immigrants, who had lived out their working life on the streets of New York City, retiring to sunshine, warm weather, beaches, and palm trees was a slice of heaven. For a kid visiting in the 1950s and early 1960s, it was like going to Jewish Disneyland. Goodbye, snow. Hello, coconuts. And so, when I returned to Miami Beach in 1974, with a camera, all these memories of Florida came flowing back to me. As I tripped the shutter over and over, taking pictures on those beaches I had walked upon as a little kid, everything clicked. Pun intended.”

Admission to the event is free with advance RSVP.

THE ROOF GARDEN COMMISSION: AS LONG AS THE SUN LASTS by ALEX DA CORTE

Big Bird rides on a crescent moon on Met roof (photo by twi-ny/mdr)

Who: Alex Da Corte, Shanay Jhaveri
What: In-person discussion of Alex Da Corte’s Roof Garden Commission
Where: The Grace Rainey Rogers Auditorium, the Met Fifth Avenue
When: Friday, October 29, free with museum admission and advance RSVP, 5:30 (installation on view through October 31)
Why: In previous works, Camden-born, Philadelphia-based artist Alex Da Corte has embodied such famous real and fictional figures as Eminem, Mr. Rogers, and the Wicked Witch of the West. For his commission on the Met’s Iris and B. Gerald Cantor Roof Garden, As Long as the Sun Lasts, Da Corte took on the persona of Jim Henson in creating a work that melds childhood memories with visions of the endless sky, inspired by Alexander Calder’s mobiles and sculpture, Little Tikes plastic outdoor activity gyms, Donna Summer’s Four Seasons of Love album cover, the blue Garibaldo character from the Brazilian version of Sesame Street that he watched as a kid in Venezuela, the song from the 1985 movie Follow That Bird in which Big Bird gets painted blue, and the Italo Calvino titular short story.

Alex Da Corte’s As Long as the Sun Lasts continues through Halloween (photo by twi-ny/mdr)

The result is a playful and colorful kinetic sculpture that moves with the wind as Big Bird, covered in more than seven thousand handmade feathers, rides around on a crescent moon, holding on to a ladder of hope. Referring to his transformation into Henson, Da Corte says in a Met interview with curator Shanay Jhaveri, “It stems from thinking about characters I loved or didn’t understand and wanted to understand more. And I see Jim as quite a thoughtful maker.” For those who want to understand more about the installation, which is on view through October 31, Da Corte — likely in costume as Henson — and Jhaveri will sit down for another talk, in the Grace Rainey Rogers Auditorium at the Met on October 29 at 5:30.

KUSAMA: COSMIC NATURE

Yayoi Kusama’s Infinity Mirrored Room — Illusion Inside the Heart sits like a UFO in a grassy field at NYBG (photo by twi-ny/mdr)

KUSAMA: COSMIC NATURE
The New York Botanical Garden
2900 Southern Blvd., Bronx
April 10 – October 31, $15 children two to twelve, $35 adults, $10 for Infinity Room, 10:00 am – 6:00 pm
718-817-8700
www.nybg.org
online slideshow

“How vast and boundless the provisions of nature!” Yayoi Kusama has declared. The ninety-two-year-old Japanese artist has been attracted to the natural world since she was a little girl, when her grandmother ran a plant nursery in Nagano, and she later studied the nihonga style of painting, dating back to the Meiji Period, which depicts scenes from nature through a contemporary artistic lens. Kusama’s fascination with living things is on display in the endlessly fun exhibition “Kusama: Cosmic Nature,” which continues at the New York Botanical Garden through October 31.

Hymn of Life — Tulips emerge out of the Conservatory Courtyard Hardy Pool (photo by twi-ny/mdr)

The show, comprising drawing, painting, sculpture, video, and installation, opened in April, but it has taken a distinct turn this fall, adapting its focus to pumpkins and chrysanthemums. “My pumpkins, beloved of all the plants in the world,” Kusama said. “When I see pumpkins, I cannot efface the joy of them being my everything, nor the awe I hold them in.” For the final month, the garden has brought in hundreds of real gourds, lining the flights of steps leading to the LuEsther T. Mertz Library Building and the Enid A. Haupt Conservatory; in addition, three enormous real pumpkins are on plinths outside the conservatory, each weighing more than a ton.

Starry Pumpkin occupies the place of honor in the Enid A. Haupt Conservatory (photo by twi-ny/mdr)

Several of Kusama’s small and large-scale pumpkins are scattered throughout the 250-acre Bronx oasis. Starry Pumpkin (2015) has the place of honor in the center of the conservatory, a glittering object surrounded by red, white, and yellow chrysanthemums in arrangements based on Kusama’s 2014 painting Alone, Buried in a Flower Garden (which is on view in the library), along with sections inspired by the Kengai (Cascade) style that resembles flowers hanging over a cliff, and the kiku method of Shino-tsukuri (Driving Rain) that gives the plants a windblown appearance. Inside the library are also the acrylic and felt pen on canvas Pumpkin TWOTOEL (2004) and soft sculptures of pumpkins from 2016 entitled The Sun Has Gone Down, I Am Scared as Much as Being Alone and Suppressing the Burning Desire for Death, which give an indication of Kusama’s longtime exploration of life and death and the often unusual names she gives her works.

Visitors are allowed to walk under Kusama’s Dancing Pumpkin (photo by twi-ny/mdr)

Near the conservatory is the monumental Dancing Pumpkin (2020), a black and yellow creature you can walk under that resembles one of Louise Bourgeois’s spiders, while Pumpkins Screaming About Love Beyond Infinity (2017) lights up and creates mirrored views that seem to go on forever in the Visitor Center Gallery. “What appealed to me most was the pumpkin’s generous unpretentiousness,” Kusama has explained. “That and its solid spiritual balance . . . its fat belly and unadorned features . . . its burly, psychological power.”

My Soul Blooms Forever welcome people inside the conservatory (photo by twi-ny/mdr)

But “Kusama: Cosmic Nature” is a lot more than just pumpkins. The longest line is for Infinity Mirrored Room — Illusion Inside the Heart (2020), which sits in the middle of a field of tall grass and in between two small gardens, like a UFO landing in the country; holes in the exterior change the inside lighting and allow you to peer inside, where you will see your own face on the other side. I Want to Fly to the Universe (2020) is a smiling red, white, and blue star residing in the reflecting pool outside the Visitor Center. For Narcissus Garden (1966/2021), Kusama has placed 1,400 stainless-steel shiny balls bobbing atop a pond in the Native Plant Garden. Ascension of Polka Dots on the Trees (2002/2021) consists of trees wrapped in red polyester covered in white polka dots. Hymn of Life — Tulips (2007) features three large, colorful, childlike flowers in the Conservatory Courtyard Hardy Pool. The five waterbound urethane-painted stainless-steel flowers of My Soul Blooms Forever welcome people inside the conservatory. The exhibit also includes the obliteration greenhouse Flower Obsession (2017/2021), complete with household items and plastic stickers. Inside the Ross Gallery is a timeline and the multiscreen Walking Piece (1966/2021) composed of stills from one of Kusama’s most well known performances, wandering through New York City in a kimono and under an umbrella.

Chrysanthemum arrangements are inspired by the Kengai (Cascade) style that resembles flowers hanging over a cliff (photo by twi-ny/mdr)

“I am happy that I have painted flowers. . . . There are no objects more interesting,” Kusama, who has voluntarily lived in a Tokyo psychological institute since 1977 and still works every day in her nearby studio, has stated. As “Kusama: Cosmic Nature” reveals, Kusama has created a lot of other parts of the living world, all pieces of an endless universe that exists beyond death, in her deeply personal futuristic environment that is filled with abounding wonder.

CROSSING THE LINE FESTIVAL 2021

CROSSING THE LINE FESTIVAL
FIAF and other locations
55 East 59th St. between Madison & Park Aves.
October 20 – November 6, free – $25
212-355-6100
fiaf.org

Igbo-Nigerian American multidisciplinary artist Okwui Okpokwasili has not let the pandemic lockdown slow her down. After appearing in the Public’s outstanding revival of Ntozake Shange’s for colored girls who have considered suicide / when the rainbow is enuf in the late fall of 2019, Okpokwasili has taken part in Danspace Project’s Platform series, the New Museum exhibition “Grief and Grievance: Art and Mourning in America,” and numerous online discussions and special presentations. Her 2017 film, Bronx Gothic, was screened virtually by BAM. In June, she led a procession through Battery Park City for the River to River Festival. And in May, I caught her captivating project On the way, undone, in which she and a group of performers walked across the High Line wearing futuristic head gear made of light and mirrors, vocalizing as they headed toward Simone Leigh’s Brick House sculpture.

Okpokwasili is now the centerpiece of FIAF’s 2021 Crossing the Line Festival, taking place at multiple locations from October 20 to November 6. Throughout the festival, her video installation Before the whisper becomes the word, made with her regular collaborator, director, and husband, Peter Born, will be on view in the FIAF Gallery, exploring remembrance, community mourning, and history. On October 20 at 7:00, she will speak with festival curator Claude Grunitzky in the FIAF Skyroom about the show. “This installation is a crossroads, a midpoint, a caesura. A place caught between worlds,” she said in a statement. “Can we remember what came before while imagining the shape of a future landscape? We enter mid-song, a song that marks a singular moment in time while also expressing an entire lineage. The song is a container for an unreliable memory. From whose mouth is history born? Whose words are trusted when it comes to the telling of what happened? If the history we learn is that which is spoken aloud, what is learned by listening to the whispers that have not been written?”

Christopher Myers’s Fire in the Head will make its world premiere at FIAF’s Crossing the Line Festival

Okpokwasili will also be presenting On the way, undone at the Weeksville Heritage Center in Brooklyn October 21-23 ($25). In a High Line video, she says about the work, “I hope it’s a kind of medicine . . . an architecture of sound, light, that is in some way trying to imagine a portal, an opening through space and time, and it’s imagining a woman’s future self, a young girl’s future self singing back to her.”

In addition, the festival includes nora chipaumire’s Nehanda, an opera that was excerpted for River to River at the Clemente Soto Vélez Cultural & Educational Center and for FIAF will be broadcast in two cycles both online ($15) and in person ($25) at FIAF’s Tinker Auditorium, divided into eight “days”: natives, whites, pungwe, thinkers, komuredhi judhas nemajekenisheni, white verdict, killings, and manifesting, with an artist talk on October 30 at 5:00; a concert by Grammy nominee Somi in Florence Gould Hall on October 28 ($25); Christopher Myers’s Fire in the Head, a tribute to Vaslav Nijinsky with shadow puppets taking place October 29 and 30 ($25, 7:30) at the Chinese Consolidated Benevolent Association; and Kaneza Schaal’s work-in-progress KLII, November 4-6 in Florence Gould Hall ($25), an exorcism of colonialism and the ghost of King Leopold II, incorporating archival footage and texts by Mark Twain and Patrice Lumumba.

MoMA SCULPTURE GARDEN: AUTOMANIA

Four classy cars will be parked in MoMA’s sculpture garden through October 15 as part of “Automania” (photo by twi-ny/mdr)

AUTOMANIA
Museum of Modern Art
The Abby Aldrich Rockefeller Sculpture Garden
West 54th St. between Fifth & Sixth Aves.
Through October 15
www.moma.org
online slideshow

You better rev it up and go if you want to catch the part of MoMA’s current “Automania” exhibition that is parked in the Abby Aldrich Rockefeller Sculpture Garden, as it will be pulling out at the end of the week.

In 1998, the Guggenheim presented “The Art of the Motorcycle,” a survey of the history of two-wheeled motorized transport, a show that was greeted with a significant amount of disdain for elevating a vehicle into the realm of fine art. On July 4, MoMA opened “Automania,” which includes nine cars and an Airstream in addition to lithographs, posters, photographs, signs, books, paintings, short films, and other ephemera. Four of the cars are on view through October 15 in the sculpture garden, alongside Henri Matisse’s The Back I-IV, Aristide Maillol’s The River, Alexander Calder’s Man-Eater with Pennants, and Isa Genzken’s Rose II.

“Automania” features such colorful vehicles as a 2002 Smart Car Coupé (photo by twi-ny/mdr)

Joining those familiar works are a 2002 Smart Car Coupé, a 1973 Citroën DS 23 Sedan, a 1953 Jeep M-38A1 Utility Truck, a 1965 Porsche 911 Coupé, and a 1968 Fiat 500f City Car. Just outside the entrance to the garden is a 1990 Ferrari Formula 1 Racing Car. Each vehicle is accompanied by a label and audio guide entry detailing its creation and use. “Commonly referred to as the Cincquecento, the Nuova 500 is a compact, rear-engine city car that helped make automobile ownership attainable for an Italian public recovering from the economic devastation of World War II,” the text for the Fiat explains. On the third floor you’ll find a 1963 Airstream Bambi Travel Trailer, a 1946 Cisitalia 202 GT Car, a 1963 E-Type Roadster, and a 1959 Volkswagen Type 1 Sedan.

While making your way through the exhibit, you can listen to “I’m in Love with My Car: An Automania Driving Mix” a playlist that includes songs by Grace Jones, Yo La Tengo, Chuck Berry, War, the Beach Boys, Tracy Chapman, Prince, Buzzcocks, the Beatles, Public Enemy, Bruce Springsteen, the Rolling Stones, and others.

HERSTORY OF THE UNIVERSE@GOVERNORS ISLAND

PeiJu Chien-Pott performs Amaterasu, part of site-specific dance presentation on Governors Island (photo by Slobodan Randjelović)

Who: Richard Move and MoveOpolis!
What: Site-specific dance performances
Where: Governors Island
When: Saturday, October 9 & 16, free with advance RSVP, 1:00 – 4:00
Why: Governors Island is an oasis in New York City, a historic area initially settled by the Lenape before being stolen by the Dutch and later taken over by the British and the United States. It was home to a fort and a castle that held Confederate prisoners during the Civil War and served as headquarters for the army and the coast guard prior to opening to the public in 2003 as a park. On October 9 and 16, the island will host its first-ever performance commission, the site-specific Herstory of the Universe@Governors Island by Richard Move and MoveOpolis! The three-hour show will move across the island, making six fifteen-minute stops, at Nolan Park, Hammock Grove, Outlook Hill, and Rachel Whiteread’s Cabin sculpture, among other locations. Robyn Cascio, Megumi Eda, Lisa Giobbi, Celeste Hastings, PeiJu Chien-Pott, Natasha M. Diamond-Walker, and Gabrielle Willis will perform such pieces as Demolition Angels, Ascent, and Amaterasu, making use of the trees, the buildings, the grass, the rocks, and other natural and manufactured elements of the beautiful island, celebrating its unique ecosystem, storied past, and outstanding views.

Gabrielle Wills and Natasha Diamond Walker rehearse Demolition Angels on Governors Island (photo by Slobodan Randjelović)

Commissioned by the Trust for Governors Island, Herstory invites the audience to follow along with a special keepsake map designed by Connie Fleming, which can be picked up at the Climate Museum in Nolan Park Building 18. A dancer, teacher, choreographer, and filmmaker, Move has previously created site-specific works for the European Capitol of Culture in France, the Guggenheim in New York, the Parrish Art Museum on Long Island, the Cannes Film Festival, the Asian Civilizations Museum in Singapore, and the LMCC Sitelines Festival as well as at a bus station in Sao Paulo. If you haven’t been to Governors Island in a while, Herstory provides an excellent opportunity to refamiliarize yourself with its majesty, which currently also includes installations by Duke Riley, Mark Handforth, Beam Camp City, NYC Audubon, Pratt Gaud, West Harlem Art Fund, the Endangered Language Alliance, American Indian Community House, Harvestworks, Flux Factory, the Swale Floating Food Forest, and others, all free.

MOVEMENT WITHOUT BORDERS: A DAY OF PERFORMANCE TO CELEBRATE NEW YORK IMMIGRATION COALITION, UNLOCAL, AND GENTE UNIDA

Wladimiro Politano, The Expression of the Soul XLIX, 2010

Who: Mariana Valencia, Jimena Paz, Shamel Pitts, Francesca Harper, Francisco Cordova, Ernesto Breton/Rudy Perez, Edivaldo Ernesto, Horacio Macuacua, Emilio Rojas, Claudia Rankine, Margo Jefferson, Antonio Sánchez Band, Jonathan Mendoza, Gina Belafonte, Xaviera Simmons, Enrique Morones, Roger H. Brown, Raoul Roach, Adelita-Husni-Bey, Reverend Micah Bucey
What: Dance, poetry, music, film, and activism at historic location
Where: Judson Memorial Church, 55 Washington Square South between Thompson & Sullivan Sts.
When: Saturday, October 2, free with RSVP (suggested donation $20), 11:00 am – 6:30 pm; ninety-minute recorded version the next day at the Jersey City Theater Center
Why: An all-star lineup of artists and activists are coming together October 2 at Judson Memorial Church for “Movement without Borders: A Day of Performance to Celebrate New York Immigration Coalition, UnLocal, and Gente Unida,” honoring three organizations fighting for immigration rights. From 11:00 am to 6:30 pm, dancers and choreographers, musicians, poets, authors, visual artists, and more will honor the work being done by New York Immigration Coalition, UnLocal, and Gente Unida. Among the presenters are dancer/choreographers Mariana Valencia, Ernesto Breton/Rudy Perez, Jimena Paz, Francisco Cordova, Horacio Macuacua, Francesca Harper, Edivaldo Ernesto, and Shamel Pitts/TRIBE, multidisciplinary artist Emilio Rojas, the Antonio Sánchez Band (with Sánchez, Thana Alexa, Jordan Peters, Carmen Staaf, Noam Wiesenberg), Adelita Husni-Bey (who will screen her film Chiron), visual artist Xaviera Simmons, poets Jonathan Mendoza and Claudia Rankine, Gente Unida founder and director Enrique Morones, Sankofa executive director Gina Belafonte, music producer and activist Raoul Roach, and others. Conceived, directed, and produced by Richard Colton, “Movement without Borders” will also be available in a ninety-minute recorded version on October 3 at the Jersey City Theater Center as part of the third annual Voices International Theater Festival.