this week in lectures, signings, panel discussions, workshops, and Q&As

MONOCHROMATIC LIGHT (AFTERLIFE)

Who: Tyshawn Sorey, Peter Sellars, Reggie (Regg Roc) Gray, Julie Mehretu, Kim Kashkashian, Sarah Rothenberg, Steven Schick, Davóne Tines, the Choir of Trinity Wall Street
What: Monochromatic Light (Afterlife)
Where: Park Ave. Armory, Wade Thompson Drill Hall, 643 Park Ave. at Sixty-Seventh St.
When: September 27 – October 8, $40-$95
Why: During the pandemic lockdown, the Rothko Chapel in Houston celebrated its fiftieth anniversary with a livestreamed meditation and discussion from the ecumenical space in May 2021. “The Rothko Chapel is oriented towards the sacred, and yet it imposes no traditional environment. It offers a place where a common orientation could be found – an orientation towards God, named or unnamed, an orientation towards the highest aspirations of Man and the most intimate calls of the conscience,” said Dominique de Menil, who commissioned the chapel with her husband, John, in 1964. Rothko had previously written to his benefactors, “The magnitude, on every level of experience and meaning, of the task in which you have involved me, exceeds all of my preconceptions. And it is teaching me to extend myself beyond what I thought was possible for me.”

Continuing the golden celebration, Newark-born American composer Tyshawn Sorey will be presenting a new multidisciplinary piece, Monochromatic Light (Afterlife), at the Park Avenue Armory September 27 through October 8. The work is inspired by the Rothko Chapel and Morton Feldman’s 1971 masterpiece, “Rothko Chapel,” created for the opening dedication. Sorey’s score for percussion, viola, celesta, piano, bass-baritone, and choir premiered at the chapel in February and has now been reimagined for the armory’s Wade Thompson Drill Hall, featuring new and existing immersive art by Ethiopian-born painter Julie Mehretu, choreography by Brooklyn-born Flex dance pioneer Reggie (Regg Roc) Gray, and direction by Pittsburgh-born theater legend Peter Sellars. Mehretu and Gray were both involved in Carrie Mae Weems’s “The Shape of Things: Land of Broken Dreams” at the armory last December, multi-instrumentalist Sorey performed with pianist and composer Conrad Tao in the armory’s Veterans Room in May 2016, and Sellars staged St. Matthew Passion in the Drill Hall in October 2014 and collaborated with Gray on FLEXN and FLEXN Evolution at the armory in 2015 and 2017, respectively. The music will be performed by Kim Kashkashian on viola, Sarah Rothenberg on piano and celesta, and Steven Schick on percussion, with vocalist Davóne Tines and the Choir of Trinity Wall Street.

Art, music, and dance come together in Monochromatic Light (Afterlife) (photo by Stephanie Berger Photography / Park Avenue Armory)

“When asked to write this piece, I made the conscious decision to not compose a single note of music until I experienced the visual and spiritual transformation of [Rothko’s fourteen] paintings for myself inside the Chapel, where I’ve spent several hours during different times of each day I went,” Sorey said in a statement. “This piece reflects these experiences as well as the influence of both Rothko’s artistic output and that of Morton Feldman, one of my biggest musical inspirations. As with all my works, my hope for this composition is for audiences to have an active, dynamic experience with it, not simply just to listen, which the nontraditional space of the armory’s Drill Hall helps to realize.”

Sellars added, “Tyshawn Sorey has created a spare, intimate, enveloping world of sound calling forth the piercing memories, unfinished and unburied histories, yearning, and resolve that live inside every step forward and each moment of stillness; Julie Mehretu’s paintings frame, focus, color, and intensify a thirst for justice and spiritual renewal that moves across layers of generations and geographies; Regg Roc Gray and the courageous movers of FLEXN wear the grief, the loss, the endurance, the grace, and the unbroken life-force itself in every bone and sinew as they break, glide, pause, and get low. It is a privilege for me to enter and share the charged, contemplative, cleansing space opened, activated, and sustained by these artists. For these evenings, the Park Avenue Armory will become a communal site of remembrance and deep introspection.”

On September 29 at 6:00 ($15), Sorey, Mehretu, Gray, Tines, and Sellars will come together for a preshow panel discussion about Monochromatic Light (Afterlife), which was originally co-commissioned by Park Avenue Armory, DaCamera, and Rothko Chapel. In the above promotional video of the four creators at the armory, Sellars, explaining how the work is really a ceremony, a way for people to gather peacefully, says, “For me, one of the deepest things about this not being a show is I also think that we’re at a period in history where we don’t need more shows.” Sorey adds, “Yeah, there’s not a show at all.”

Monochromatic Light (Afterlife) offers a multimedia meditation at armory (photo by Stephanie Berger Photography / Park Avenue Armory)

Update: At the end of the performance, I approached Sellars to tell him how moved I was by the stunning show. His eyes tearing up, he gave me a warm embrace and said, “We’re all so moved. It really was beautiful, wasn’t it?”

I had never met Sellars before and he didn’t know who I was, but Monochromatic Light (Afterlife) provides that kind of atmosphere, bringing everyone together across ninety minutes of art, music, and dance.

The piece is presented in the round, with violist Kim Kashkashian, pianist Sarah Rothenberg, percussionist Steven Schick, and composer-conductor Sorey in the center, surrounded on all sides by the audience. Eight abstract works by Mehretu circle the space, hanging above a platform on which eight dancers are positioned, each in front of one painting. The Choir of Trinity Wall Street is seated in a back row; vocalist Tines walks throughout the space, entering through the audience and later slowly moving across the platform.

Banks Artiste, Deidra “Dayntee” Braz, Rafael “Droid” Burgos, Quamaine “Virtuoso” Daniels, Calvin “Cal” Hunt, Infinite “Ivvy” Johnson, Derick “Spectacular Slicc” Murreld, and Jeremy “Opt” Perez, most of whom are veterans of FLEXN and/or the D.R.E.A.M. Ring, perform unique dances in front of their assigned painting, their Black and brown bodies, particularly their arms and legs, interacting with the swirls and shapes of Mehretu’s canvases, which have such titles as torch, sphinx, about the space of half an hour, and A Mercy (four of which were created for this collaboration). James F. Ingalls’s superb lighting creates shadows of all sizes as well as haunting silhouettes when the dancers roll under the paintings and dance on the other side; shifts in the color of the lights, from blue, red, and pink to green, yellow, and white, breathe life into the paintings as their palettes change.

The music is slow and deliberate, at times almost too much so, but it is also meditative and, perhaps surprisingly, comforting, as it harkens to memory and grieving in addition to healing and rebirth . Tines mostly sings guttural sounds, but he repeats occasional words, such as “Sometime I feel” and “Child,” evoking the Negro spiritual “Sometimes I Feel Like a Motherless Child.” The dramatic sound design is by Marc Urselli.

For ninety minutes, there is always something going on, something to be seen or heard, wrapping the audience, including the creators, in a warm and loving embrace.

NOTHING COMPARES

Sinéad O’Connor explores her past and her legacy in Nothing Compares documentary

NOTHING COMPARES (Kathryn Ferguson, 2022)
Cinema Village
22 East 12th St. between University Pl. & Fifth Ave.
Opens Friday, September 23
212-529-6799
www.cinemavillage.com
www.sho.com/nothing-compares

On October 16, 1992, I was at Madison Square Garden for the Bobfest, an all-star concert celebrating the thirtieth anniversary of Bob Dylan’s first album for Columbia Records. The lineup included Johnny and June Carter Cash, Lou Reed, Willie Nelson, Tracy Chapman, Kris Kristofferson, Tom Petty and the Heartbreakers, Chrissie Hynde, Neil Young, George Harrison, and many others. But the thing that most people remember about the one-of-a-kind concert — especially those of us who were there — was the reaction when the one-of-a-kind Sinéad O’Connor took the stage.

Two weeks earlier, the twenty-five-year-old Irish activist singer-songwriter had torn up a photograph of Pope John Paul II on Saturday Night Live after performing a haunting solo version of Bob Marley’s “War,” a political song whose lyrics come from a 1963 speech by Ethiopian emperor Haile Selassie. At MSG, O’Connor was met with an eerie mix of joyous applause and a building, ominous booing. She stood frozen for a moment, then Kristofferson came out and famously told her, “Don’t let the bastards get you down.” Instead of playing Dylan’s “I Believe in You,” O’Connor reprised “War,” then exited.

I remember being so upset at how she was treated that I wrote my first and only letter to the editor, which was printed in the Daily News, defending her actions. I quickly received several anti-Semitic phone calls from anonymous “bastards.”

O’Connor’s appearance at the Bobfest serves as the frame for the new Showtime documentary Nothing Compares, opening September 23 at Cinema Village before streaming on the cable channel beginning September 30. The film is appropriately unusual and bends genre traditions, in homage to its iconoclastic subject. Director Kathryn Ferguson focuses on O’Connor’s life and career up to 1993, eschewing all that came after, from more albums and tours to an autobiography and her conversion to Islam. We hear a lot from her first husband, record producer John Reynolds, and about their son, Jake, but no mention is made of her subsequent three marriages and three more children.

O’Connor honestly and unabashedly shares critical insight on pivotal events that influenced who she was and what she became, but her contemporary self is mostly not seen, only heard. It’s not until the very end that we get to see her in the present day, with her band, perform an old song specially chosen for the film. In addition, all the other interviewees, from her music teacher and longtime friend to directors, journalists, and fellow musicians, are also heard but not seen on camera. This is a film about Sinead 1.0.

Sinéad O’Connor belts out an early song in the archival-heavy Nothing Compares

Ferguson (Taking the Waters, Space to Be), who will be at Cinema Village for a Q&A following the 5:00 screening on September 23, keeps the Dublin born and raised O’Connor front and center, in a barrage of archival news clips, family photographs, behind-the-scenes recording footage, staged re-creations, and more (courtesy editor Mick Mahon), as O’Connor delves into the horrible abuse she experienced at the hands of her mother (which was ignored by her father), the poor education she received from nuns, her refusal to get an abortion despite demands from her record company, her condemnation of the church because it was turning its back on pedophilia, her support for mental health programs, her insistence the national anthem not be played before a New Jersey gig, and her boycotting of awards shows because of misogyny and racism in the music industry and society at large.

“There was no therapy when I was growing up. So the reason I got into music was therapy,” she tells Ferguson, who previously directed music videos for O’Connor. “Which is why it was such a shock to become a pop star; it’s not what I wanted. I just wanted to scream.”

The film explores her swift rise from her debut album, 1987’s The Lion and the Cobra, to 1990’s I Do Not Want What I Haven’t Got and 1992’s Am I Not Your Girl?, with detailed looks at such songs as “Troy” (a testament that was her first song truly about herself), “Mandinka,” and “Black Boys on Mopeds.” (The Prince estate did not give Ferguson permission to use “Nothing Compares 2 U” in the film, so we only see the video without hearing the music.) Stardom was not easy for her, but she became an international icon fighting the power, particularly for young girls and women, well ahead of her time. “The powers that be weren’t ready for her,” Chuck D says. Kathleen Hanna was influenced by watching O’Connor’s “feminist performance art” on television — the controversial SNL appearance.

O’Connor resisted being stereotyped or talked down to because she was an attractive woman with a shaved head who liked to dress provocatively, and both her attitude and her looks rattled well-known talk-show hosts thirty years ago.

“I just knew that I didn’t want any man telling me who I could be or what I could be or what to sound like,” she declares. “I came from a patriarchal country where I’m being told everything I can and can’t do because I’m a girl. I figured, well, if I didn’t take it from the system, and I didn’t take it from my daddy, I ain’t taking it from anybody else.”

O’Connor’s voice today is deep and mature, not immediately recognizable. She makes no apologies for the choices she made, and she remains firm in her beliefs in fighting social injustice. Her legacy shines through, even given the difficult times, which continue. She offers a compelling, profoundly personal explanation about why she ripped up the photograph of the pope and shares her thoughts on how she came to be regarded as a powerful, influential public figure.

“I didn’t mean to be strong. I wasn’t thinking to myself, I must be strong. I didn’t know I was strong,” she says. “I did suffer through a lot because everybody felt it was okay to kick the shit out of me. I regret that I was so sad because of it. I regret that, that I spent so many years very isolated and lonely, really.”

The song she was scheduled to sing at the Bobfest, “I Believe in You” from 1978’s Slow Train Coming, contains the following stanza: “They show me to the door / They say don’t come back no more / ’Cause I don’t be like they’d like me to / And I walk out on my own / A thousand miles from home / But I don’t feel alone / ’Cause I believe in you.” After all these years, O’Connor is still doing things her own way, not about to be shown to the door by anyone.

BOOK LAUNCH FOR EL ANATSUI: THE REINVENTION OF SCULPTURE

Who: El Anatsui, Chika Okeke-Agulu, Jason Farago, Massimiliano Gioni, Julian Lucas
What: Book launch
Where: New Museum Theater, 235 Bowery
When: Thursday, September 22, $10, 6:30
Why: “The fact that El Anatsui normally expects curators and collectors of his metal sculpture to decide how to install them, but also because they are hand-wrought, flexible things, with numerous parts that can behave in infinite ways when moved, how they are installed determines their composition, affect, and phenomenological presence. Having conceived the work, and invested so much labor along with his many studio assistants to realize it in initial sculptural form, ceding its inaugural and future manifestations to whoever has custody of the work, is an extraordinary power to invest in others, without any instruction or even suggestion of his own authorial intentionality.” So write Okwui Enwezor and Chika Okeke-Agulu in their new book, El Anatsui: The Reinvention of Sculpture (Damiani, $70), about Ghanaian sculptor El Anatsui, who uses discarded items (primarily bottlecaps) in creating large-scale pieces that comment on the relationship between humans and the environment. The works are malleable, able to be displayed in various configurations that El Anatsui leaves up to whoever is showing the piece.

On September 22 at 6:30, the seventy-eight-year-old El Anatsui (“Gravity and Grace: Monumental Works by El Anatsui”), who works in Ghana and Nigeria, will be at the New Museum for the official US launch of the book, highlighted by a panel discussion with Princeton-based artist, critic, and art historian Okeke-Agulu, art critic Jason Farago, and Brooklyn-based critic and essayist Julian Lucas, moderated by New Museum director Massimiliano Gioni. Okeke-Agulu wrote the book, which features such chapters as “El Anatsui and Modern African Art,” “The Aesthetic and Rhetoric of Fragmentation,” and “The Epic and Triumphant Scale,” with beloved Nigerian curator and critic Enwezor, who passed away in 2019 at the age of fifty-five and whose spirit will be felt throughout the evening.

NEW YORK PUBLIC RADIO LIVE: CELEBRATING 40 YEARS OF NEW SOUNDS WITH JOHN SCHAEFER

Who: John Schaefer, Red Baraat, Combo Chimbita, Ira Kaplan, Georgia Hubley
What: Celebrating forty years of New Sounds
Where: Brooklyn Bowl, 61 Wythe Ave.
When: Wednesday, September 21, $51.90 – $1046.71, 7:30
Why: Queens-born Fordham grad John Schaefer began his New Sounds program on NPR in September 1982, introducing listeners to a wide range of musicians from around the world. The fortieth anniversary of the show will be celebrated on September 21 at Brooklyn Bowl as New York Public Radio’s annual fundraiser. The evening will include live performances by Red Baraat and Combo Chimbita, two groups that were recently featured on the program, which proclaims, “Hand-picked music, genre free. 24/7 radio from New York City.” There will also be a DJ set by Ira Kaplan and Georgia Hubley from Yo La Tengo. In a January 2011 twi-ny talk, Schaefer, when discussing how the internet has impacted his relationship with his audience, explained, “Now, if you don’t want to stay up till midnight, you can still hear New Sounds — and hear it anytime you like. And even after all these years, I feel like the digital communication with our listeners is still growing up, unsure of what it’s eventually going to be.” Now you can be part of the fortieth anniversary of New Sounds, in person at Brooklyn Bowl, where various NYPR on-air talent will be hanging out to mingle with.

BURN

Alan Cumming brings his debut solo dance-theater piece, Burn, to the Joyce this week (photo by Jane Blarlow/PA Wire)

Who: Alan Cumming
What: North American premiere of solo dance-theater piece
Where: The Joyce Theater, 175 Eighth Ave. at Nineteenth St.
When: September 21-25, $76-$106
Why: “You must not deny me!” Alan Cumming declares in his portrayal of eighteenth-century Scottish poet Robert Burns in Burn, making its North American premiere at the Joyce this week. The solo dance-theater work was created by Olivier- and Tony-winning actor Cumming with Olivier- and Obie-winning choreographer Steven Hoggett, who choreographed the piece with Vicki Manderson, and is set to the music of British composer Anna Meredith, including such songs as “Solstice In,” “HandsFree,” “Blackfriars,” “Descent,” and “Return.” The set design is by Ana Inés Jabares Pitz, with costumes by Katrina Lindsay, lighting by Tim Lutkin, projections by Andrzej Goulding, and sound by Matt Padden.

In a program note, Cumming — who has appeared on Broadway in Cabaret and a one-man reinterpretation of Macbeth and off Broadway in “Daddy” and has lent his voice to such films as They’ll Love Me When I’m Dead and numerous animated children’s films (while spectacularly lending his body to the hybrid documentary My Old School) — explains, “In 2015, I has just turned fifty and realised I would never be as fit or asked to dance in a show in the same way again. But I still felt I had one more in me! I meant a play or a musical that was dance heavy. Little did I think I would end up making my solo dance theater debut at fifty-seven!” Together, Cumming and Hoggett (Black Watch, Once, Harry Potter and the Cursed Child) point out, “An early intention was to explore the idea of Burns as national icon and a figure who, under modern scrutiny, was becoming something more complex than the beloved face on tourists’ souvenir biscuit tins.” There will be a curtain chat with members of the creative team following the September 21 performance. Some shows are already sold out, so get your tickets now if you want to experience what should be an exhilarating evening of dance, theater, music, and poetry.

ANDREA MILLER AND GALLIM: WHY DO WE DANCE?

GALLIM founding artistic director and choreographer Andrea Miller will be at the National Arts Club on September 20 (photo by Franziska-Strauss / First Republic Bank)

Who: Andrea Miller and dancers
What: Actions and Detail panel discussion
Where: The National Arts Club, 15 Gramercy Park South
When: Tuesday, September 20, free with advance RSVP, 7:00
Why: On September 20 at 7:00, GALLIM founding artistic director and choreographer Andrea Miller will be at the National Arts Club to discuss her company’s approach to dance upon its fifteenth anniversary. Since 2007, the New York City–based company has presented such works as Fold Here, I Can See Myself, Wonderland, Blush, and To Create a World. Miller, a Juilliard graduate, stayed busy during the pandemic lockdown, presenting the site-specific You Are Here outside at Lincoln Center in July 2021, directing Another Dance Film starring Sara Mearns at the East River Park Amphitheater, and continuing to host the livestreamed Gallim Happy Hour featuring such guests as Ayodele Casel, Francesca Harper, Justin Peck, Mimi Lien, Camille A. Brown, Gina Gibney, Wendy Whelan, Alicia Graf Mack, and Kyle Abraham. At the NAC, Miller and some of her dancers will answer the question “Why Do We Dance?,” delving into her philosophy of creation and performance.

THE LIT. BAR: NEIL deGRASSE TYSON AND STARRY MESSENGER

Who: Neil deGrasse Tyson, Dr. Matthew O’Dowd
What: Book launch and talk
Where: Lovinger Theater at Lehman College, 250 Bedford Park Blvd. West
When: Monday, September 19, $58.42 (includes signed copy of book), 7:00
Why: “Objective truths of science are not founded in belief systems. They are not established by the authority of leaders or the power of persuasion. Nor are they learned from repetition or gleaned from magical thinking. To deny objective truths is to be scientifically illiterate, not to be ideologically principled,” Hayden Planetarium director Neil deGrasse Tyson explains in his new book, Starry Messenger: Cosmic Perspectives on Civilization (Macmillan, $28.99). “After all that, you’d think only one definition for truth should exist in this world, but no. At least two other kinds prevail that drive some of the most beautiful and the most violent expressions of human conduct. Personal truths have the power to command your mind, body, and soul, but are not evidence-based. Personal truths are what you’re sure is true, even if you can’t — especially if you can’t — prove it. Some of these ideas derive from what you want to be true. Others take shape from charismatic leaders or sacred doctrines, either ancient or contemporary. For some, especially in monotheistic traditions, God and Truth are synonymous.”

On September 19 at 7:00, the superstar astrophysicist and beloved pop-culture icon will be back where it all started, his home borough of the Bronx, to launch Starry Messenger. He’ll be at the Lovinger Theater at Lehman College to discuss the book with physics and astronomy chair Matthew O’Dowd, host of the YouTube show PBS Space Time; the event is being presented with the Lit. Bar, the Bronx bookstore and wine bar run by Lehman alum Noëlle Santos. Tickets include a presigned copy of the book, which features such chapters as “Truth & Beauty: Aesthetics in life and in the cosmos,” “Conflict & Resolution: Tribal forces within us all,” “Meatarians & Vegetarians: We are not entirely what we eat,” “Law & Order: The foundation of civilization, whether we like it or not,” and “Body & Mind: Human physiology may be overrated.”