this week in film and television

TRIBECA FILM FESTIVAL 2017 SPECIAL EVENTS

TRIBECA FILM FESTIVAL
Multiple locations
April 20-30, free – $365 (most events $23.88 – $43.45)
tribecafilm.com/festival

Tickets are still available for most of the special screenings, talks, and live performances at the 2017 Tribeca Film Festival, taking place at such locations as the BMCC Tribeca PAC, the SVA Theatre, the Beacon, Regal Cinemas Battery Park, Radio City, the Town Hall, Cinépolis Chelsea, and the Festival Hub at Spring Studios. The guest list is pretty impressive, including Dustin Hoffman, Barbra Streisand, Philip Glass, Common, Scarlett Johansson, Michael Moore, Kathryn Bigelow, Johnny Lydon, Lena Dunham, Kobe Bryant, Aretha Franklin, Errol Morris, Faith Evans, Zac Posen, Lil’ Kim, Alejandro González Iñárritu, Julian Schnabel, a Flock of Seagulls, Christopher Plummer, Taj Mahal, Jennifer Hudson, Quentin Tarantino, and Bruce Springsteen with Tom Hanks (which is sold out), among many others. Oh, and how about this gathering, celebrating the forty-fifth anniversary of The Godfather: Francis Ford Coppola, Al Pacino, James Caan, Robert Duvall, Diane Keaton, Talia Shire, and Robert De Niro.

Wednesday, April 19
Gala — Clive Davis: The Soundtrack of Our Lives (Chris Perkel, 2017), followed by live performances by Aretha Franklin, Jennifer Hudson, Earth Wind & Fire, Barry Manilow, Carly Simon, and Dionne Warwick, Radio City Music Hall, $56-$281, 7:00

Thursday, April 20
After the Movie: Bowling for Columbine (Michael Moore, 2002), followed by fifteenth anniversary conversation with Michael Moore and others, SVA Theatre 2 Beatrice, $23.88, 7:00

Retrospective Special Screenings: La Belle et la Bête (Jean Cocteau, 1942), with live musical accompaniment by members of the Philip Glass Ensemble, preceded by a conversation with Philip Glass and Errol Morris, Town Hall, $55-$85, 8:00

Friday, April 21
Tribeca Talks: Directors Series — Jon Favreau with Scarlett Johansson, SVA Theatre 1 Silas, rush, 5:00

Special Screenings: The Public Image Is Rotten (Tabbert Fiiller, 2017), followed by a conversation with director Tabbert Fiiller and John Lydon, Tribeca Festival Hub, sixth floor, $23.88, 8:45

Saturday, April 22
Shorts: Blues Planet: Triptych (Wyland, 2017), with live performance by Taj Mahal and the Wyland Blues Planet Band, Tribeca Festival Hub, sixth floor, $23.88, 2:00

Tribeca Talks: Directors Series — Alejandro González Iñárritu, SVA Theatre 1 Silas, rush, 2:30

Special Screenings: The Third Industrial Revolution (Eddy Moretti, 2017), followed by a conversation with director Eddy Moretti and Jeremy Rifkin, Tribeca Festival Hub, sixth floor, limited, 5:00

Special Screenings: House of Z (Sandy Chronopoulos, 2017), followed by a conversation with director Sandy Chronopoulos and film subject Zac Posen, SVA Theatre 1 Silas, $43.45, 8:00

Tribeca Talks: Virtual Reality — Kathryn Bigelow & Imraan Ismail: The Protectors: A Walk in the Ranger’s Shoes, screening and conversation with Kathryn Bigelow and Imraan Ismail, Tribeca Festival Hub, sixth floor, $43.45, 8:15

After the Movie: Awake, a Dream from Standing Rock (2017), followed by a conversation with filmmakers Josh Fox, James Spione, and Myron Dewey and special guests, Cinépolis Chelsea 7, rush, 8:30

Nelson George will team up with Common for a screening, discussion, and live performance at Tribeca on April 23

Sunday, April 23
Tribeca Talks: Master Class — Dolby: Image and Sound Master Class with Imogen Heap, Dolby Cinema at AMC Empire 2, free, 12 noon

Tribeca Talks: Storytellers — Kobe Bryant and Glen Keane with Michael Strahan, BMCC Tribeca PAC, $43.45, 4:30

Tribeca Talks: Podcasts — Live from the Tribeca Film Festival: Gilbert Gottfried’s Amazing Colossal Podcast!, with Gilbert Gottfried and Frank Santopadre, Regal Cinemas Battery Park 11-4, $43.45, 5:30

Tribeca Talks: Storytellers — Common with Nelson George, screening of Letter to the Free, followed by a conversation with Nelson George and a live performance by Common, Tribeca Festival Hub, sixth floor, $43.45, 8:00

Monday, April 24
Tribeca Talks: Directors Series — Noah Baumbach with Dustin Hoffman, BMCC Tribeca PAC, $43.45, 6:00

Tuesday, April 25
Tribeca Talks: Storytellers — Lena Dunham and Jenni Konner, Tribeca Festival Hub, sixth floor, $43.45, 6:00

Tribeca Talks: Directors Series — Paul Feig, BMCC Tribeca PAC, $43.45, 6:00

Special Screenings: Paris Can Wait (Eleanor Coppola, 2016), followed by French food pairings inspired by the film, BMCC Tribeca PAC, $43.45, 8:00

Pen pals Barbra Streisand and Robert Rodriguez will join together in conversation at the Tribeca Film Festival on April 29

Wednesday, April 26
Special Screenings: The Exception (David Leveaux, 2017), followed by a conversation with director David Leveaux and actor Christopher Plummer, BMCC Tribeca PAC, $23.88, 6:00

Special Screenings: From the Ashes (Michael Bonfiglio, 2017), introduced by Michael Bloomberg and followed by a discussion with director Michael Bonfiglio and special guests, Tribeca Festival Hub, sixth floor, rush, 6:00

Thursday, April 27
Gala — Can’t Stop, Won’t Stop: The Bad Boy Story (Daniel Kaufman, 2017), followed by a live concert featuring Combs and Mase, Lil’ Kim, and Faith Evans, Beacon, $71-$356, 8:00

Special Screenings — Warning: This Drug May Kill You (Perri Peltz, 2017), followed by a conversation with Dr. Nora Volkow, Dr. Andrew Kolodny, film subject Gail Cole, and producer Sascha Weiss, moderated by director Perri Peltz, SVA Theatre 2 Beatrice, $23.88, 8:45

Friday, April 28
Tribeca Talks: Storytellers — Bruce Springsteen with Tom Hanks, Beacon Theatre, 5:00

After the Movie: Reservoir Dogs (Quentin Tarantino, 1992), followed by twenty-fifth anniversary conversation with Quentin Tarantino and members of the cast, Beacon Theatre, $71-$356, 8:00

Special Screenings — Julian Schnabel: A Private Portrait (Pappi Corsicato, 2017), followed by a a conversation with director Pappi Corsicato and Julian Schnabel, SVA Theatre 1 Silas, $43.45, 8:30

The forty-fifth anniversary of THE GODFATHER will be celebrated at Radio City as part of the Tribeca Film Festival, with James Caan, Francis Ford Coppola, Al Pacino, and others

Saturday, April 29
Before the Movie: Aladdin (Ron Clements & John Musker, 1992), twenty-fifth anniversary, preceded by a live performance by Aladdin singing voice Brad Kane, BMCC Tribeca PAC, free, 10:00 am

After the Movie: The Godfather (Francis Ford Coppola, 1972) and The Godfather Part II (Francis Ford Coppola, 1974), followed by a forty-fifth anniversary conversation with Francis Ford Coppola, Al Pacino, James Caan, Robert Duvall, Diane Keaton, Talia Shire, and Robert De Niro, moderated by Taylor Hackford, Radio City Music Hall, $46-$131, 1:00

Tribeca Talks: Master Class — Production and Costume Design, with Kristi Zea, SVA Theatre 2 Beatrice, free, 3:00

Tribeca Talks: Storytellers — Barbra Streisand with Robert Rodriguez, BMCC Tribeca PAC, $43.45, 6:00

Tribeca N.O.W. Special Screenings — Out of This World: Female Filmmakers in Genre, screening and conversation with filmmakers Nicole Delaney, Vera Miao, and Arkasha Stevenson, Cinépolis Chelsea 7, $23.88, 6:00

After the Movie — Chris Gethard: Career Suicide (Kimberly Senior, 2017), followed by a conversation with Chris Gethard and fellow comedians Pete Holmes, Abbi Jacobson, and others, SVA Theatre 1 Silas, $23.88, 8:15

Sunday, April 30
Tribeca Talks: Master Class — Cinematography, with Ellen Kuras, SVA Theatre 2 Beatrice, free, 4:00 PM

Special Screenings: Dare to Be Different (Ellen Goldfarb, 2017), followed by live tribute to WLIR with a Flock of Seagulls, Dave Wakeling of the English Beat, and the Alarm, Tribeca Festival Hub, sixth floor, rush, 6:00

Tribeca N.O.W. Special Screenings: The New York Times’ Op-Docs (2017), followed by a conversation with filmmakers Andrea Meller, Megan Mylan, Marisa Pearl, and Gina Pollack, SVA Theatre 2 Beatrice, $23.88, 6:15

Tribeca Talks: Podcasts — Live from the Tribeca Film Festival: Slate’s Trumpcast, with Jamelle Bouie and Virginia Heffernan, hosted by Jacob Weisberg, SVA Theatre 1 Silas, $43.45, 8:15

POLK AWARDS: HOOLIGAN SPARROW

Hooligan Sparrow risks her freedom and her life for protesting for women’s rights in China

HOOLIGAN SPARROW (Nanfu Wang, 2016)
BAMcinématek, BAM Rose Cinemas
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
Wednesday, April 5, $14, 7:30
718-636-4100
www.bam.org
hooligansparrow.com

The 2016 Human Rights Watch Film Festival kicked off last year with Nanfu Wang’s alarming debut feature documentary, Hooligan Sparrow, for which she won the annual Nestor Almendros Award for courage in filmmaking. On April 5, it will have a special screening and Q&A at BAM in honor of its latest accolade, the George Polk Documentary Film Award, an annual presentation from LIU. The film is a brave, disquieting look at Chinese activist Ye Haiyan, better known as Hooligan Sparrow, an advocate for sex workers’ rights, as she leads protests against a school principal who sexually abused six elementary school girls. “If you film us, we’ll smash your camera,” a man tells Wang at the beginning. Later she’s told she will be beaten if she doesn’t hand over her equipment. But she’s determined to keep telling the story any way she can. Sparrow, who gained notoriety for a project in which she offered free sex to migrant workers, is joined by Shan Lihua, Tang Jitian, Jia Lingmin, Wang Yu, and lawyer Wang Jianfen as she battles law enforcement, the government, and brothel owners, her safety and freedom in constant jeopardy. “If I believe something is right and I’m obliged to do it, they can’t stop me by arresting me or even killing me,” she defiantly says. She and her daughter, Lan Yaxin, keep getting evicted from their homes and banned from numerous provinces, but that doesn’t prevent her from protesting with such signs as “All China’s Women’s Federation Is a Farce. China’s Women’s Rights Are Dead” and “You Can Kill Me, But You Can’t Kill the Truth.” Born and raised in a remote Chinese farming village and currently based in New York City, Wang, who directed, produced, photographed, and edited Hooligan Sparrow, never backs down even as she meets with Chinese officials and is followed everywhere she goes, forced to become suspicious of nearly everyone she encounters. “Just because you’re paranoid doesn’t mean they aren’t after you,” Joseph Heller wrote in Catch-22. Wang clearly has reason to be paranoid.

The film is executive produced by Andy Cohen and Alison Klayman, who collaborated on the award-winning documentary Ai Weiwei: Never Sorry; the Chinese artist and activist, who had been under long-term house arrest, took up Hooligan’s cause, and he included her belongings in an installation in his 2014 Brooklyn Museum retrospective, “According to What?” Wang, who has three master’s degrees, cowrote the film with Mark Monroe, who wrote the Oscar-nominated documentary The Cove and numerous Sundance winners. Hooligan Sparrow also features a subtly ominous score by Nathan Halpern and Chris Ruggiero that helps keep you on the edge of your seat as Hooligan and her group continue to fight the power, despite each of them being detained and imprisoned at one point or another — and some still are. Hooligan Sparrow is being shown April 5 at 7:30 at BAM, followed by a Q&A with the Brooklyn-based Wang and Polk Awards screening committee co-chair Richard Pearce. “Hooligan Sparrow is a remarkable and courageous work,” Polk Awards curator John Darnton said in a statement. “In filming it, in the face of intimidation by undercover security thugs, Ms. Wang herself turns into a dissident. She begins somewhat nervously, even timidly, and then becomes emboldened before our very eyes, employing wily devices like hidden-camera glasses and secret audio to get the documentation she needs.” The Polk Awards are named for CBS correspondent George Polk, who was brutally murdered while covering the Greek civil war in 1948; last year’s George Polk Documentary Film Award went to Matthew Heineman’s Oscar-nominated Cartel Land.

NEW@GRAHAM: AN EVENING WITH PONTUS LIDBERG

new at graham

Who: Pontus Lidberg, Kaitlyn Gilliland, Christopher Adams, Martha Graham Dance Company
What: Graham Studio Series: conversation, film screening, and live performance
Where: Martha Graham Studio Theater, 55 Bethune St. at Washington St., eleventh floor
When: Thursday, April 6, $20 in advance, $25 at the door, 7:00
Why: Last April, the Martha Graham Dance Company presented the world premiere of Swedish choreographer Pontus Lidberg’s Woodland, a co-commission with the Library of Congress. For the latest installment of the Graham Studio Series, Lidberg, who is also a filmmaker (The Rain, Labyrinth Within), will be at the company’s home on Bethune St. for a conversation about his work and to offer a sneak peek at his new film, the seventy-minute Written on Water, which stars Aurélie Dupont, former principal dancer and current director of the Paris Opera Ballet, with excerpts performed live by former New York City Ballet principal dancer Kaitlyn Gilliland (BalletNext, BalletCollective, Ballet Tech, Intermezzo Dance Company, and others) and Christopher Adams, current member of Zvidance, Susan Marshall and Company, and Pontus Lidberg Dance. In addition, the company will perform Woodland, which is set to reordered music by Irving Fine. The evening will be followed by a reception.

RICHARD MAXWELL: ARTIST TALK AND SCREENINGS

Richard Maxwell will discuss his theater career April 3 at CUNY(photo by Juri Junkov)

Richard Maxwell will discuss his life and career APril 3 at CUNY (photo by Juri Junkov)

Martin E. Segal Theatre Center at CUNY Graduate Center
365 Fifth Ave. between 34th & 35th Sts.
Monday, April 3, free, 2:00 screenings, 6:30 artist talk
212-817-1860
thesegalcenter.org
www.nycplayers.org

For nearly twenty years, North Dakota native Richard Maxwell and his New York City Players company have been staging award-winning experimental works that push the boundaries of what theater can be. The director and playwright has received accolades for such productions as People without History at the Performing Garage, Good Samaritans at St. Ann’s Warehouse and Abrons Arts Center, The Evening and Neutral Hero at the Kitchen, and House at the Ontological Theatre. His plays generally run between fifty and ninety minutes and feature overly mannered acting and abstract narratives. On April 3, screenings of three of Maxwell’s plays will be shown: 1998’s House at 2:00, 2005’s The Darkness of This Reading at 3:00, and 2014’s Isolde at 4:00. Then, at 6:30, Maxwell will sit down for a conversation with CUNY executive director and director of programs Dr. Frank Hentschker. (Admission is free, first come, first served.) Maxwell’s newest play, Samara, is having its world premiere April 4 to May 7 at the Mezzanine Theatre, presented by Soho Rep.

JEAN-PIERRE LÉAUD, FROM ANTOINE DOINEL TO LOUIS XIV: THE DEATH OF LOUIS XIV

The Sun King offers advice to his grandson in THE DEATH OF LOUIS XIV

The Sun King (Jean-Pierre Léaud) offers advice to the Dauphin (Francis Montaulard) in THE DEATH OF LOUIS XIV

THE DEATH OF LOUIS XIV (LA MORT DE LOUIS XIV) (Albert Serra, 2016)
Film Society of Lincoln Center
Elinor Bunin Munroe Film Center, Howard Gilman Theater
144 West 65th St. between Eighth & Amsterdam Aves.
Opens Friday, March 31
Series continues through April 6
212-875-5050
www.filmlinc.org
www.cinemaguild.com

Albert Serra’s The Death of Louis XIV is the crowning achievement of Jean-Pierre Léaud’s majestic sixty-year career. Léaud first came to prominence in the late 1950s and 1960s, starring in François Truffaut’s Antoine Doinel films (The 400 Blows, Stolen Kisses) and classics by Jean-Luc Godard (Masculin Féminin, Made in U.S.A.). In The Death of Louis XIV, we get to watch the seventy-two-year-old actor play a character dying, very slowly, portraying the last three and a half weeks of the Sun King’s life, the end of a seventy-two-year reign, the longest in French history. Based on actual accounts of the king’s death, including the memoirs of the Duke of Saint-Simon and Philippe de Courcillon de Dangeau, the film takes place primarily in Louis XIV’s bedchamber, where he is watched over by his valet (Marc Susini as Blouin), doctors (Patrick d’Assumçao as Fagon, Bernard Belin as Mareschal), and priests (Jacques Henric as Father Le Tellier, Philippe Dion as Cardinal de Rohan) and visited by sycophantic but concerned courtiers. Wearing a spectacular wig that makes him look like an elderly Max from Maurice Sendak’s Where the Wild Things Are, the king lies on his back, seldom speaking or moving, as he is poked and prodded and fed and the doctors consider amputating his infected leg. He gets polite applause when he swallows a bite of egg. A possible charlatan (Vicenç Altaió as Le Brun) gives him a supposedly magic elixir. He proffers advice to his grandson, Louis, Duke of Orléans (Francis Montaulard), who is destined to succeed him. Desperate to maintain his dignity, the king is soon as helpless as a newborn baby, dribbling as the end nears.

Doctors examine Louis XIVs gangrenous leg at Versailles in gorgeous, dark film by Albert Serra

The Death of Louis XIV was initially commissioned as a live installation for the Centre Pompidou, where Léaud would perform the Sun King’s death on a bed in a glass case over fifteen days. When that project was canceled for budgetary reasons, the actor and Serra, the Catalonian director who has previously made Honor of the Knights, about Don Quixote, Birdsong, about the three kings and the magi, and Story of My Death, about Casanova and Dracula, decided to turn it into a film, maintaining a similar claustrophobic feel. It’s photographed in almost agonizing detail by cinematographer Jonathan Ricquebourg using three cameras, so the actors, especially Léaud, never know which one to play to, adding a realistic element to the extraordinarily slow-moving proceedings, along with natural light and sound. Serra, who wrote the script with Thierry Lounas, and Ricquebourg favor long, dark close-ups from a motionless camera, each frame composed like a Caravaggio painting, although the director holds that was not his intention, claiming a more random and guerrilla-style approach. Léaud acts primarily with his face, using his narrow lips, heavy eyes, and every craggy line to show the once-proud monarch’s growing misery and fear as he withers away; one remarkable scene lasts more than four minutes without a cut, a mesmerizing tour de force of elegant simplicity. The film features gorgeous costumes by Nina Avramovic, fabulous hairstyling by Antoine Mancini, and stunning production design by Sebastian Vogler, bathed in alluringly shadowy reds, while editors Ariadna Ribas, Artur Tort, and Serra work their magic, transforming the three-camera shoot into a powerful, seamless narrative. It’s a darkly somber film that will get deep under your skin, a bravura baroque chamber opera led by a career performance by one of the world’s greatest actors. The Death of Louis XIV opens March 31 at the Film Society of Lincoln Center in conjunction with the series “Jean-Pierre Léaud, from Antoine Doinel to Louis XIV,” which runs through April 6 and includes such films as Godard’s La Chinoise, Philippe Garrel’s La Concentration, Jean Eustache’s The Mother and the Whore, Jacques Rivette’s Out 1: Spectre, Pier Paolo Pasolini’s Porcile, and numerous Truffaut works.

MARTIN SCORSESE — GREAT RESTORATIONS: THE RED SHOES WITH THELMA SCHOONMAKER

Boris Lermontov (Anton Walbrook) and Victoria Page (Moira Shearer) contemplate their future in Michael Powell and Emeric Pressburger’s THE RED SHOES

MARTIN SCORSESE RETROSPECTIVE: THE RED SHOES (Michael Powell & Emeric Pressburger, 1948)
Museum of the Moving Image
35th Ave. at 36th St., Astoria
Sunday, April 2, $15, 7:00 (with Schoonmaker introduction)
Sunday, April 9, $15, 4:00
Series runs through October 23
718-777-6800
www.movingimage.us

Michael Powell and Emeric Pressburger’s The Red Shoes is a lush, gorgeous examination of the creative process and living — and dying — for one’s art. Sadler’s Wells dancer Moira Shearer stars as Victoria Page, a young socialite who dreams of becoming a successful ballerina. She is brought to the attention of ballet master Boris Lermontov (Anton Walbrook) and soon is a member of his famed company. Meanwhile, composer Julian Craster (Marius Goring), whose music was stolen by his professor and used in a Lermontov ballet, also joins the company, as chorus master. As Vicky and Julian’s roles grow, so does their affection for each other, with a jealous Lermontov seething in between. Inspired by Sergei Diaghilev and the Ballets Russes, The Red Shoes is a masterful behind-the-scenes depiction of the world of dance, highlighted by the dazzlingly surreal title ballet, which mimics the narrative of the central plot. Based on the Hans Christian Andersen fairy tale, the fifteen-minute ballet takes viewers into a completely different fantasy realm, using such cinematic devices as jump cuts and superimposition as the drama unfolds well beyond the limits of the stage. To increase the believability of the story and make sure the dance scenes were effective, Powell and Pressburger enlisted players from the international dance community; the film’s cast includes Russian choreographer and dancer Léonide Massine as Lermontov choreographer Grischa Ljubov, French prima ballerina Ludmilla Tchérina as Lermontov star Irina Boronskaja, and Australian dancer Robert Helpmann as Ivan Boleslawsky; Helpmann also served as the film’s choreographer.

Victoria Page (Moira Shearer) gets immersed in a surreal ballet in classic dance drama THE RED SHOES

Brian Easdale won an Oscar for his score, which ranges from sweet and lovely to dark and ominous, with an Academy Award also going to Hein Heckroth’s stunning art direction and Arthur Lawson’s fabulous set design. The film was photographed in glorious Technicolor by Jack Cardiff. Upon meeting Vicky, Lermontov asks, “Why do you want to dance?” to which she instantly responds, “Why do you want to live?” No mere ballet film, The Red Shoes is about so much more. A newly restored 35mm print of The Red Shoes is screening April 2 at 7:00 in the Museum of the Moving Image series “Martin Scorsese: Great Restorations” and “Martin Scorsese Retrospective” and will be introduced by three-time Oscar-winning editor Thelma Schoonmaker, who has worked on all of Scorsese’s films since Raging Bull and was married to Michael Powell from 1984 to 1990. (The film is also being shown April 9 at 4:00 without the introduction.) The series are being held in conjunction with the “Martin Scorsese” exhibition; upcoming screenings include Stuart Heisler’s Journey into Light, Akira Kurosawa’s Dreams, and Sergei Parajanov’s The Color of Pomegranates.

BROOKLYN MUSEUM FIRST SATURDAY: BEYOND THE BLUES

Joseph Kosuth, “276 (On Color Blue),” neon tubing, transformer, and electrical wires, 1993 (© 2016 Joseph Kosuth / Artists Rights Society, New York. Photo: Brooklyn Museum)

Brooklyn Museum
200 Eastern Parkway at Washington St.
Saturday, April 1, free, 5:00 – 11:00
212-864-5400
www.brooklynmuseum.org

The Brooklyn Museum focuses on numerous aspects of the word “blue” in its April First Saturday program, “Beyond the Blues.” There will be live music and dance by the Martha Redbone Roots Project, Geko Jones and Chiquita Brujita with Fogo Azul and Aina Luz, the Brooklyn Dance Festival (with a workshop), and Queen GodIs with special guests; the pop-up poetry event “An Address of the Times” with Pamela Sneed, Heather Johnson, t’ai freedom ford, and Timothy Du White; a screening of Marcie Begleiter’s Eva Hesse, followed by a discussion with Helen Charash (Hesse’s sister) and producer Karen Shapiro; a hands-on art workshop in which participants can make marbled paper using the Japanese suminagashi (“floating ink”) technique; an Emerging Leaders of New York Arts booth where participants can write postcards in support of the arts, take part in a public art project, and take a #SaveTheNEA selfie; the lecture performance #sky #nofilter by Chloë Bass exploring racial trauma; and a “New York City Participatory Budgeting” program where people can propose and vote on projects in their community. In addition, you can check out such exhibits as “Iggy Pop Life Class by Jeremy Deller,” Marilyn Minter: Pretty/Dirty,” “Infinite Blue,” “A Woman’s Afterlife: Gender Transformation in Ancient Egypt,” and, at a discounted admission price of $12, “Georgia O’Keefe: Living Modern.”