Mickalene Thomas exhibit at Brooklyn Museum includes colorful interiors, portraits, and even decorated benches (photo by twi-ny/mdr)
Brooklyn Museum
200 Eastern Parkway at Washington St.
Wednesday – Sunday through January 20, suggested contribution $10
718-638-5000
www.brooklynmuseum.org
Lehmann Maupin
540 West 26th St. / 201 Chrystie St.
Tuesday – Saturday through January 5, free
212-255-2924/212-254-0054
www.lehmannmaupin.com
Prepare to be bedazzled. It’s been quite a fall for Camden-born, Brooklyn-based artist Mickalene Thomas, who is in the midst of a quartet of exhibitions in New York City. First and foremost is “Origin of the Universe,” her first solo museum show. Continuing at the Brooklyn Museum through January 20, it consists of one hundred works, focusing on her familiar, brightly colored large-scale portraits of African American women in enamel, acrylic, and glittering rhinestones, in addition to her newer interiors and landscapes. Thomas examines both art history and the image and perception of the black woman in her work, directly referencing such paintings as Gustave Courbet’s “Le Sommeil (Sleep)” and “L’Origine du monde (The Origin of the World)” and Edouard Manet’s “Dejeuner sur l’herbe (Luncheon on the Grass),” replacing the original figures with big, bold black women often wearing afros and 1970s-style clothing (when wearing anything at all). Influenced by Carrie Mae Weems, several photographs of her models depict her subjects naked, staring directly at the viewer. Thomas creates stunning backdrops for her paintings, made up of couches, chairs, pillows, and other items influenced by the 1970-72 multivolume series The Practical Encyclopedia of Good Decorating and Home Improvement. The Brooklyn show also includes four heavily detailed interiors filled with photos, tables, lamps, books and records by black writers and musicians, and other personal elements. Thomas’s central muse, her mother, Sandra, or Mama Bush, is seen in a number of pieces, most revealingly in “Ain’t I a Woman, Sandra,” a 2009 painting paired with a short video of the photo shoot that led to the final work.
Mickalene Thomas, “Ain’t I a Woman, Sandra,” DVD and framed monitor, rhinestones, acrylic, and enamel on wood panel, 2009 (photo by twi-ny/mdr)
Thomas’s mother is the focus of the Chelsea half of the two-part “How to Organize a Room Around a Striking Piece of Art,” running at both Lehmann Maupin galleries through January 5. The West 26th St. display is anchored by the twenty-three-minute documentary Happy Birthday to a Beautiful Woman, which visitors can watch while sitting in a chair or on a couch in one of Thomas’s re-created rooms. The film looks back at the fascinating life of Sandra Bush, who can be seen in the front room in photographs and paintings. What was meant to be a loving, living tribute to her mother has now become more of a memorial, as Bush, who was battling kidney disease, passed away on November 7 at the age of sixty-one. In fact, it is hard to recognize the woman in the film, gaunt yet still elegant, as the same woman who served as her daughter’s longtime muse. The film plays continuously; it will also have a special screening November 29 at 7:00 at the Brooklyn Museum in the Iris and B. Gerald Cantor Auditorium, preceded at 6:00 by a guided tour of “Origin of the Universe.” (The film can also be seen regularly at the museum in a smaller room.)
Five-channel video was made during Thomas’s residency at Giverny (photo by twi-ny/mdr)
“How to Organize a Room Around a Striking Piece of Art” continues at Lehmann Maupin’s Lower East Side gallery on Chrystie St. with four of Thomas’s 2011-12 interiors and landscapes, including “Monet’s Blue Foyer,” in addition to a five-channel video she made during her 2010 residency at Giverny. (Her wall mural “Le Jardin d’Eau de Monet” greets visitors to the Brooklyn Museum exhibition.) Thomas’s interiors and landscapes might be devoid of people, but they are no less thrilling, incorporating cubist elements, van Gogh, and Hockney in their inviting collages. One painting sits on an easel on the floor instead of hanging on the wall, as if it is an in-process oil painting of an unseen world outside the studio. The final part of Thomas’s visual assault on New York City is a 120-foot vinyl mural that was commissioned for the new Barclays Center at the intersection of Flatbush and Atlantic Aves., in which Thomas combines a brownstone, the Brooklyn Bridge, and other highlights of the borough. Overall, Thomas’s work reveals an extremely talented, multifaceted artist who is able to look backward while reaching forward, a bold woman with a strong sense of self, honoring history while forging an exciting future.
Mickalene Thomas, detail, “Qusuquzah, Une Trés Belle Négresse 2,” rhinestone, acrylic and oil on wood panel, 2011-12 (photo by twi-ny/mdr)
Inspired by his brief stint as a suburban New Jersey garage-band drummer with rock-and-roll dreams, Sopranos creator David Chase makes his feature-film debt with the musical coming-of-age drama Not Fade Away. Written and directed by Chase, the film focuses on Douglas (John Magaro), a suburban New Jersey high school kid obsessed with music and The Twilight Zone. It’s the early 1960s, and Douglas soon becomes transformed when he first hears the Beatles and the Stones — while also noticing how girls go for musicians, particularly Grace (Bella Heathcote), whom he has an intense crush on but who only seems to date guys in bands. When his friends Eugene (Jack Huston) and Wells (Will Brill) ask him to join their group, Douglas jumps at the chance, but it’s not until he gets the opportunity to sing lead one night that he really begins to think that music — and Grace — could be his life. Not Fade Away has all the trappings of being just another clichéd sex, drugs, and rock-and-roll movie, but Chase and musical supervisor (and executive producer) Steven “Silvio” Van Zandt circumvent genre expectations and limitations by, first and foremost, nailing the music. Van Zandt spent three months teaching the main actors how to sing, play their instruments, and, essentially, be a band, making the film feel real as the unnamed group goes from British Invasion covers to writing their own song. Even Douglas’s fights with his conservative middle-class father (James Gandolfini) and his battle with Eugene over the direction of the band are handled with an intelligence and sensitivity not usually seen in these kinds of films. Not Fade Away does make a few wrong turns along the way, but it always gets right back on track, leading to an open-ended conclusion that celebrates the power, the glory, and, ultimately, the mystery of rock and roll. Not Fade Away, which was the centerpiece of the fiftieth 
“Don’t hurry. I’m perfectly happy,” Laura Jesson (Celia Johnson) tells her rather boring husband, Fred (Cyril Raymond), as he returns to his crossword puzzle one night. “How can I possibly say that?” she then thinks to herself. “‘Don’t hurry. I’m perfectly happy.’ If only it were true. Not, I suppose, that anybody’s ever perfectly happy, really. But just to be ordinarily contented, to be at peace. It’s such a little while ago really but it seems an eternity since that train went out of the station, taking him away into the darkness. I was happy then.” In David Lean’s Brief Encounter, one of the greatest romantic films ever made, Laura, a housewife and mother, can’t stop herself from falling for dapper doctor Alec Harvey (Trevor Howard), who is also married. As they explore a potential physical relationship, Laura is wracked with guilt, especially as she keeps bumping into nosy gossip Myrtle Bagot (Joyce Carey). But the two potential lovers are so drawn to each other, filling the holes in each other’s lives, that they consider risking all they have for just one more moment together. Winner of the 1946 Palme d’Or at Cannes, Brief Encounter is told in flashback in Laura’s voice as she goes over every wonderful and terrifying detail in her mind while contemplating whether to spill the beans to the generally oblivious Fred. Written by Noël Coward based on his 1936 one-act play, Still Life, the film features terrifically subtle performances by Johnson and Howard as the daring couple; you can’t help but root for them, despite the possible consequences. Lean, who earned the first of his seven Best Director Oscar nominations for the heartbreaking film, keeps things relatively, well, lean, getting right to the point in less than ninety minutes; he would go on to helm such sprawling epics as The Bridge on the River Kwai, Lawrence of Arabia, Doctor Zhivago, and A Passage to India before his death in 1991 at the age of eighty-three. Brief Encounter is screening on November 16 as part of the Rubin Museum Cabaret Cinema series “Happiness is . . .” and will be introduced by journalist Marie Brenner; the series continues through December 28 with such films as Michael Curtiz’s Casablanca, George Cukor’s Camille, and Vincente Minnellis’s An American in Paris, held in conjunction with the larger Rubin Museum program “