twi-ny talks

TWI-NY TALK: JAKE SZUFNAROWSKI

Three-hour cruise includes great live bands and DJs and awesome views

Three-hour cruise includes great live bands and DJs and awesome views

ROCKS OFF CONCERT CRUISES
The Jewel, the Paddlewheel Queen, the Half Moon, Skyport Marina, East 23rd St. & the FDR Dr.
The Temptress, World Yacht Marina, Pier 81, West 41st St. & the West Side Highway
April 8 – September 24, $10-$35
www.rocksoff.com

Jake Szufnarowski is a soft-spoken, mild-mannered Bee Gees fan who has been organizing pleasant concert cruises in New York City for ten years now. Well, um, strike that. Szuf Daddy is actually a hard-rockin’ crazy-ass tattooed mutha who’s been throwin’ wild parties for a decade on the Hudson and East Rivers while blasting away in a heavy metal tribute to the brothers Gibb.

Szufnarowski is celebrating the tenth anniversary of Rocks Off Concert Cruises, three-hour musical journeys on the rivers surrounding Manhattan during which fans are encouraged to party hard, fast, and long. This year’s stellar lineup kicks off on April 8 with Nashville Pussy and includes what should be amazing shows with Dam-Funk (April 24), Playboys of the Western World (June 5), jam band Railroad Earth (June 17), Ninja Tune DJ extraordinaire Mr. Scruff (July 2), cruise veterans the Electric Six (July 15), and one of the best live bands on the planet, the Black Lips (August 2), among many others. Earlier this week, Szufnarowski took a break from his studies to address a few questions about tribute bands, tattoos, and rolling on the river.

twi-ny: Many people are tentative to catch a show on a boat because they’re trapped — once they’re on, there’s no way off until the boat docks at the end of the night. What do you tell those people?

Jake Szufnarowski: Thankfully we thought of that!! We have dingys that depart the main boat every half an hour and take you on a scenic tour of the Gowanus Canal before dropping you off in “Do or Die” Bed-Stuy. Then you find your own way home from there. Or you can just stay on the boat. All of our boats are multilevel — so if you want to get away from the band, you can. And all the boats have outdoor decks to soak in the sun and get unobstructed views of the most beautiful city and skyline in the world. If you’re afraid that you can’t enjoy yourself on a boat full of bands, booze, and babes for three hours, then you should probably stay home and post snide comments on Brooklyn Vegan making fun of people who actually know how to enjoy themselves. Then you can dine on a fat, meaty GoFuckYourself sandwich!

Szuf Daddy shows off massive tattoo that took a year to complete

Szuf Daddy shows off massive tattoo that took a year to complete


twi-ny: You’re in a tribute band, and the new Rocks Off season includes a bunch of tribute bands as well as the next edition of Tribute Wars. What separates a good tribute band from a bad tribute band?

JS: I’m in a tribute band? Fuck me. Is that why I’m not making any money on publishing? I guess that’s why I have to put on all these boat shows. For the money. And the [women]! Sweet sweet [women]! Tribute bands are like regular bands — 95% of ’em suck. Mine happens to be the best. If we tried to be the Bee Gees, we’d suck. But we’re TRAGEDY: THE NUMBER ONE HEAVY METAL TRIBUTE TO THE BEE GEES IN THE TRISTATE AREA!!!!!! We Rocks Sweet Balls and Can Do No Wrong.

twi-ny: Among your many tattoos is the logo for another band you’re in, Children of the Unicorn, in which a unicorn is doing it to a dolphin, and a recently completed tatt based on a Glenn Hidalgo painting. Assuming you have any room left on your body, what’s next?

JS: Yeah — that’s an awesome original band I’m in. But they aren’t doing it, you pervert. The title of that piece is “The Embrace.” It was a tattoo before we were a band, though. The Glenn Hidalgo painting was something I commissioned for my thirtieth birthday. It’s me as half-man / half-motorcycle — a motaur — in front of a postapocalyptic scene of NYC. That tattoo took seven sessions of six hours each over the course of an entire year to complete. So not sure I’m going to get anything too big too soon. Recent awesome tats have been a Yankees logo after the World Series win, an autograph of pro wrestling legend Terry Funk, a hot pink GFY (which stands for GoFuckYourself — due to the sudden popularity of the Facebook page I started). Next up, though, I’m getting my whole chest done. It’s going to be the reverse view of the motaur — if 3D is the new direction of the film industry, then I’m going to pioneer it in the tattoo world!!!

TWI-NY TALK: DEAN HASPIEL

Dean Haspiel is a fixture on the comic book scene and at MoCCA, seen here pointing at Neil Swaab at 2009 art festival (photo by twi-ny/mdr)

Dean Haspiel is a fixture on the comic book scene and at MoCCA, seen here telling Mr. Wiggles creator Neil Swaab who’s the man at the 2009 festival (photo by twi-ny/mdr)

MoCCA ART FESTIVAL 2010
69th Regiment Armory
68 Lexington Ave. between 25th & 26th Sts.
April 10-11, $10/day, $15-$20/both days
212-254-3511
www.moccany.com
www.deanhaspiel.com

For more than two decades, Dean Haspiel has been a comic book force all his own. A wildly talented and gregarious writer, illustrator, promoter, creator, and organizer, Dino works nonstop to build up his own expansive resume as well as the industry itself. In February 2006, he started ACT-I-VATE, a web-based comics collective that features such series as Josh Neufeld’s “Lionel,” Kevin Colden’s “Fishtown,” Nick Bertozzi’s “Iraq War Stories,” and his own “Billy Dogma” and “Street Code,” the latter a terrific semiautobiographical tale set in New York City, where Dino was born and raised. Along the way, he has collaborated on prestigious projects with Harvey Pekar (AMERICAN SPLENDOR, THE QUITTER), Jonathan Lethem (the upcoming BACK ON NERVOUS ST.), Michael Chabon (THE ESCAPIST), and Jonathan Ames (THE ALCOHOLIC), and he contributes drawings and illustrations to Ames’s HBO cable series BORED TO DEATH, which features Zach Galifianakis playing a character inspired by Haspiel’s real life.

We caught up with Dino in one of his very few spare moments as he was preparing to spread the word about the ninth annual MoCCA Art Festival, a celebration of comics and graphic novels that will be held April 10-11 at the 69th Regiment Armory. In addition to being all over the fair, including participating in the panel discussion “The Art of the Superhero: When Singular Vision Meets Popular Mythology” on April 10 at 2:00, Haspiel will turn into alter ego DJ Man-Size at the official festival after-party later that night at the Village Pourhouse. “I’ll mostly be spinning old school hip-hop and electronica from the 1980s with a slant on future funk,” he explained. “Think black Kraftwerk . . . think Boba Fett with tassels instead of scalps.”

twi-ny: You’ve collaborated with such talented writers as Harvey Pekar, Jonathan Lethem, Michael Chabon, and Jonathan Ames; who is your next dream collaborator?

Dean Haspiel: I’ve been itching to collaborate with author Tim Hall on an original graphic novel and we have something planned. I’d also like to collaborate with mystery writer Joe R. Lansdale on adapting his brilliant Hap and Leonard characters into comics form. Plus, I don’t think my career would feel satisfactory if I hadn’t collaborated with some of my favorite comic book writers, the likes of Mark Waid, J. M. DeMatteis, and a handful of others.

twi-ny: Who is your favorite character to draw, whether created by you or another artist?

DH: My favorite characters to draw are my creator-owned Billy Dogma & Jane Legit. But I love drawing Stan Lee and Jack Kirby’s the Thing from the Fantastic Four, and I was recently afforded the opportunity to write and draw a short Thing story in an upcoming issue of Marvel Comics’ Strange Tales sequel.

Jane Legit shows her love for Billy Dogma in Dean Haspiel’s “Bring Me the Heart of Billy Dogma,” from THE ACT-I-VATE PRIMER

Jane Legit shows her love for Billy Dogma in Dean Haspiel’s “Bring Me the Heart of Billy Dogma,” from THE ACT-I-VATE PRIMER

twi-ny: On BORED TO DEATH, Zach Galifianakis’s Ray Hueston character is based on you. Is it easy to watch him, or does it hit a little too close to home?

DH: The Ray Hueston character on BORED TO DEATH is loosely based on some events that happened to me, but I don’t think Zach Galifianakis was subjected to a parallax view of my life and my behavioral traits by any stretch of the imagination. So, I can safely declare that Zach and Jonathan Ames have wholly created Ray from spirited, albeit inspired, cloth. However, I was recently privy to the filmmaking of a certain scene in the upcoming season and I remarked how bizarre it was to watch my proposed doppelganger play out an important event, something I never got the opportunity to do in my own life, and how frustrating yet weirdly cathartic that was for me.

twi-ny How do you find the time to do all the things you do, including serving as a relentless promoter of the comics industry?

DH: Don’t even get me started. If everyone on their chosen social networking sites would just share what they liked with the simple click of a button rather than whine about this and that and publish what they had for lunch, I might be able to shrug off my self-imposed burden to cheer what is good and, instead, produce more stories and eat dinner before 10 pm with the people I love to spend time with. Alas, the internet accesses a dark gene in humanity that encourages some folks to constantly complain and act like jerks and do things they wouldn’t dare do in front of real people. I don’t do anything that we all couldn’t do together if we just took a minute to think straight and understand our information and entertainment values.

This year’s MoCCA Art Festival runs April 10-11 at the 69th Regiment Armory, featuring such participants as Kim Deitch, Emily Flake, Jaime Hernandez. Neil Kleid, Peter Kuper, Hope Larson, Frank Miller, Paul Pope, Dash Shaw, Gahan Wilson, and Klein Award recipient David Mazzucchelli. Single tickets are $10 in advance, $12 day of show, with weekend tickets available for $15 in advance and $20 at the door. The official after-party will take place  April 10 at the Village Pourhouse, with drink specials and free snacks beginning at 8:00; admission is $5.

TWI-NY TALK: JON STEWART AND STEPHEN COLBERT

Jon Stewart will get out from behind his desk to star in summer Shakespeare production with Stephen Colbert

Jon Stewart will get out from behind his desk to star in summer Shakespeare production with Stephen Colbert

THE TWO GENTLEMEN OF VERONA
The Daily Show Studios
733 Eleventh Ave. between 51st & 52nd Sts.
July 9-31, free, 8:00
www.thedailyshow.com
www.colbertnation.com

Every Monday through Thursday, Jon Stewart and Stephen Colbert go back to back, taking on politics and more in their hugely successful Comedy Central programs THE DAILY SHOW and THE COLBERT REPORT. They usually have weekends off, but this summer they will turn Stewart’s Hell’s Kitchen studio into the Globe Theatre as they team up for what promises to be a very different kind of Shakespeare experience.

On Friday and Saturday nights from July 9 through July 31, Emmy winners Stewart and Colbert will star in THE TWO GENTLEMEN OF VERONA, rotating in the lead roles of Valentine and Proteus. They will be joined by Samantha Bee as Silvia, Kristen Schaal as Julia, Jason Jones as the Duke of Milan, John Hodgman as Antonio, Wyatt Cenac as Thurio, Lewis Black as Speed, Aasif Mandvi as Eglamour, and John Oliver as Lucetta. It is a bold undertaking for the close-knit team, who are as friendly off camera as they are on.

Stewart and Colbert recently sat down with twi-ny in our Murray Hill offices to discuss just what makes them think they can pull this off.

twi-ny: Of all the Shakespeare plays you could have chosen, why do THE TWO GENTLEMEN OF VERONA?

Stephen Colbert: It was really my idea. It’s one of Willie’s earliest plays, maybe his first, and it’s not very good. This way if we suck, we can blame him.

Jon Stewart: I think it’s actually a cry from Stephen that he’s always wanted the eleven o’clock spot ahead of me. By switching roles with me, he gets to pretend it’s like we’re switching our time slots.

Stephen Colbert will show his acting chops this summer in Bard play

Stephen Colbert will show his acting chops this summer in Bard play

twi-ny: Only a few members of the cast have had any acting roles, primarily small parts in modern-day lowbrow comedies. Do you think that could be a problem?

SC: Did anyone know Kevin Kline, Meryl Streep, Al Pacino, or any of those other “Hollywood types” when they first did Shakespeare in the Park? I think the only thing on Pacino’s resume was playing the old guy in those Pepperidge Farm commercials.

JS: Actually, Stephen, they were all pretty famous already, and had done a lot of Broadway and movies.

SC: I rest my case.

twi-ny: What do you hope to gain by this experience?

SC: Well, I’ve won a Grammy, an Emmy, and a Peabody, so I’m going for a Tony this time.

JS: Um, Stephen, we won’t be eligible for the Tonys.

SC: [pauses] Oh, then, money.

JS: We’re not charging admission, Stephen.

SC: It’s free?

JS: Yes, it’s free. Don’t you remember we discussed this?

SC: Yeah, but I didn’t think you were serious. [looks around] Can someone get my agent on the phone?

In addition to continuing their television series and appearing in THE TWO GENTLEMEN OF VERONA, Stephen Colbert and Jon Stewart are currently preparing for the big-screen remake of the 1969 film THE APRIL FOOLS, playing the roles of Jack Lemmon and Catherine Deneuve, respectively.

TWI-NY TALK: DANNY PEARY

roger maris

ROGER MARIS: BASEBALL’S RELUCTANT HERO by Tom Clavin and Danny Peary (Touchstone, March 2010, $26.99)
Wednesday, March 24, Borders, Time Warner Center, 10 Columbus Circle, free, 7:00
Tuesday, April 13, Mickey Mantle’s Restaurant and Sports Bar, 42 Central Park South, free, 4:00
www.borders.com
www.mickeymantles.com
www.books.simonandschuster.com

In seeking to publish the definitive biography of Roger Maris, coauthors Tom Clavin and Danny Peary had a very specific goal in mind as they spent two years speaking with Maris’s family and friends as well as such Hall of Famers as Yogi Berra, Al Kaline, Ferguson Jenkins, Stan Musial, Tom Seaver, Ralph Kiner, and dozens of other baseball players, broadcasters, and executives.

“Like us,” the two writers point out in the acknowledgments at the end of the just-released ROGER MARIS: BASEBALL’S RELUCTANT HERO, “they passionately believed that Roger Maris never received proper recognition from fans and the media for his talent and achievements, his fine character, and his pivotal role in the emerging war between the press and uncooperative celebrities.”

The chapter titles alone reveal that this is not just some feel-good biography: “Family Turmoil,” “Defiance,” “The Villain,” “The Betrayal,” and “Rock Bottom.”

Peary, who has written some twenty books, recently took some time away from his hectic schedule to answer some questions about asterisks, steroids, and home run champs.

What was the most surprising thing you learned about Maris while researching the book?

In the book we document Roger’s war with reporters who were frustrated in their attempts to get him to exchange good quotes for friendly coverage. I knew before doing the research that Roger had a hard time dealing with celebrity and simply attributed that to his being shy and another midwesterner who cherished privacy. What I didn’t know was that he was so unwilling to answer personal questions because, also, there was a history of secrecy in his family dating back to before he was born (including much dysfunction, feuds, and grudges) and that Roger had always kept quiet about his parents hating each other, and his mother’s disreputable behavior.

An even bigger reason Roger was uneasy talking about himself and his on-field heroics was because he idolized his older brother, Rudy Jr., who was considered the better athlete until he got polio. Roger always felt guilty that he went on to have the baseball career that was intended for his brother, so he never felt comfortable tooting his own horn. Rudy Jr.’s polio affected him in profound ways, particularly in regard to the press as he broke Ruth’s record. The sad part is that Roger most definitely became a better athlete than his brother ever would have, but he never admitted it.

Do you think Maris should be in the Hall of Fame?

One reason I wanted to write this book, with Tom Clavin, is that I was there when Maris played and believe Roger’s history as written by sportswriters who didn’t like Roger personally is a distortion of the truth, which was he was a great player who is worthy of Hall of Fame consideration. That he was the guy who broke Babe Ruth’s record — no one else can make that claim — might be enough, as Hank Greenberg asserted, to qualify him for the Hall. But he accomplished a lot more, including two MVPs and All-Star appearances, matching an in-his-prime Mickey Mantle in stats in their seven years together, being the top left-handed batter in the league during his time in the AL, and being an exceptional clutch hitter even when his average was low.

What really qualifies him, I believe, is that he led his era in World Series appearances — seven in nine years — and the only two years his teams didn’t make it were when he was injured. He came to the Yankees when they were a third-place team and they won five straight pennants; he came to the Cardinals when they were a third-place team and they won titles both years he was with them (he was the only major addition to the team), and they stopped winning when he retired. I value greatness and accomplishments over stats, and Maris was great and was the most “winning” ballplayer of his time. (His teams in the minors also improved dramatically when he joined them, so he had a history of making moribund teams into contenders and champions.) Unfortunately, there is no stat for being a great all-around player and there is no stat for never making a mistake, which is how his managers described him. I agree with his teammates who played with him after 1962 who believe he should be in the Hall of Fame.

Maris initially had an asterisk next to his home run record, and now there are many people calling for asterisks to go next to the names Barry Bonds, Sammy Sosa, and Mark McGwire, who all hit more than sixty-one homers presumably while taking steroids. Who do you think is the current home run champion, in your mind and the mind of the public?

No asterisk was ever implemented for Maris, contrary to popular belief, but it didn’t matter because Babe Ruth’s name remained in the record books along with Roger’s as the home run champion for 154 games — no other category had such a thing. In 1991, commissioner Fay Vincent got rid of Ruth’s name. McGwire, while on steroids, erased Maris’s name from the record book, getting rid of his identity for the younger generation, a real travesty. Maris was the only one of the four players who bettered Babe Ruth’s record to do it without performance-enhancing drugs and of course should be regarded as the home run champion.

Many of his fans call him the Natural Home Run Champion, and that seems like an appropriate title. Unfortunately, we can never get rid of the other guys from the record books unless they admit they all took illegal substances — and unfortunately steroids weren’t officially illegal in those days. It would be great if the more than one hundred players in the Mitchell Report admitted what they did and we could put asterisks by all of their numbers, but that won’t happen. And remember, it’s not just home runs but singles, doubles, and triples in the record books that are suspect as well. All of the steroid users committed a grave crime against Maris and Ruth but also against the rest of us because the record book can never be fixed.

Tom Clavin and Danny Peary will be reading from and signing copies of ROGER MARIS: BASEBALL’S RELUCTANT HERO on March 24 at 7:00 in the Time Warner Center Borders and on April 13 at Mickey Mantle’s at 4:00, right after the Yankees’ home opener.

TWI-NY TALK: CHRISTOPHER HORNZEE-JONES

Anish Kapoor’s “Memory” threatens to overwhelm Guggenheim visitors (photo by twi-ny/mdr)

Anish Kapoor’s “Memory” threatens to overwhelm Guggenheim visitors (photo by twi-ny/mdr, image © Anish Kapoor)

ANISH KAPOOR: MEMORY
Solomon R. Guggenheim Museum
1071 Fifth Ave. at 89th St.
Through March 28 (closed Thursday)
Admission: $18 adults, children under twelve free
(pay-what-you-wish Saturdays 5:45-7:45)
212-423-3500
www.guggenheim.org

flickr slideshow
www.aerotrope.com

Throughout his thirty-plus-year career, Indian-born artist Anish Kapoor has been creating site-specific installations that allow the viewer to touch, walk in, under, and around, and see themselves reflected in the pieces’ surfaces. He most often works with shiny mirrorlike materials (Chicago’s “Cloud Gate,” New York City’s “Sky Mirror”) and red PVC (England’s “Taratantara”), incorporating concave and convex shapes that play with physical and psychological space while inviting visitors in. But his latest massive construction, commissioned by the Guggenheim as part of the museum’s fiftieth anniversary celebration, shuts people out. “Memory,” a twenty-four-ton sculpture consisting of 154 eight-millimeter-thick Cor-Ten steel tiles and first displayed by the Deutsche Guggenheim in late 2008, presents what the London-based Turner Prize-winning artist calls a “confrontational dichotomy.”

The sculpture is first encountered at the end of a long, narrow entrance to one of the museum’s annex galleries, where it blocks people from entering a space that is usually wide open and welcoming. Instead, here it offers tantalizing glimpses of what lies beyond. The piece can next be seen in another annex gallery that appears to contain only a dark painting in an otherwise all-white room. In actuality, the dark rectangle has been cut out of the wall and leads inside the sculpture, but again Kapoor has denied access; you can look in — it will take a few minutes for your eyes to adjust — but you cannot enter what could be the piece’s brain. Finally, at the third and final viewing location, the bulk of the work threatens to overwhelm you, its huge, rusty mass trapping you in front, with no way to get around it. At times it appears to be a giant bullet, or maybe even a breast, coming straight at you.

“Memory” is a fascinating conundrum, unable to be seen in its entirety, challenging museumgoers to contemplate both its inside and outside, as if reaching into their own memory system. Manufactured by Centraalstaal B.V., the enormous sculpture was engineered by Brighton-based Aerotrope Limited. The founder and director of Aerotrope, Christopher Hornzee-Jones, who has worked with Kapoor for many years, recently took part in an exclusive twi-ny talk to discuss what went on behind the scenes of “Memory.”

Anish Kapoor and Christopher Hornzee-Jones discuss construction of “Memory” (Photo: Mathias Schormann, © Anish Kapoor, Deutsche Guggenheim)

Anish Kapoor and Christopher Hornzee-Jones discuss construction of “Memory” (Photo: Mathias Schormann, © Anish Kapoor, Deutsche Guggenheim)

twi-ny: What was the single hardest part of physically getting Memory into the Guggenheim?

CH-J: Anish Kapoor had a very clear idea of how he wanted this sculpture to be: The form of “Memory” had to be such that it would skim the walls and ceiling, effectively filling a whole room and touching its walls. It was our job to find a way of breaking down 24 tonnes of sculpture into 154 pieces, which could travel up to the gallery room via a relatively small elevator. Next, all these pieces of steel had to be fitted neatly together with lots of bolts. Imagine a very thin guy, lying with his arms outstretched on top of the sculpture, in the narrow space left below the ceiling. Armed with just a spanner, this skinny worker would tighten bolts in all the hard-to-reach spaces, until the sculpture finally stood up.

For me as a structural engineer it was also an unusual challenge to resolve its structure in such a way that “Memory” would be able to fit tightly into two very different spaces: Deutsche Guggenheim Berlin and the Guggenheim in New York. This was probably the hardest part. In New York, the team put their trust in our company’s ability to “do the maths right” so that this massive sculpture would be able to rest on just a single floor beam, without any extra support. Now that “Memory” is installed successfully I can say that I have fulfilled a personal dream, to work with the famous Guggenheim Foundation. They even asked me to write an essay for the exhibition catalogue. I felt very honoured.

You also worked with Anish Kapoor on Chicago’s “Cloud Gate.” How is it to work with him? Is he a stern taskmaster, a playful collaborator (given the type of sculptures he makes), or somewhere in between?

There is no doubt that Anish Kapoor is very demanding, and rightfully so. He has a clear artistic vision, but he is also willing to listen to the engineer’s point of view. Anish has a good feeling for what is possible, and then he goes and pushes those limits of possibility. His work often takes us engineers into new territory and out of what has been done before. But this is where the fun starts. I think Anish knows that we don’t like saying that “something cannot be done,” and as an artist he appreciates this attitude.

You can see in the variety of his work that Kapoor is very playful. But he is also very serious. When we meet, the starting point is a model or a sketch. The meetings are often short but intense, and then each party goes away and works on their part: The artist refines his idea, we refine the engineering, and then we reconvene to compare notes. Over the years we have developed a shared language between us that quickly helps us understand each other’s views. Sometimes it’s tough to find the right solution, but being on the same wavelength as Kapoor helps us ride out any stressful phases of the project.

Kapoor checks out installation at exhibition opening (photo by twi-ny/mdr)

Kapoor checks out installation at exhibition opening (photo by twi-ny/mdr, image © Anish Kapoor)

Do you find you have a particular affinity for his projects?

Yes, definitely! It comes from a love of the kind of forms Kapoor often works with, a love for bold organic shapes. Personally, I am drawn to these because I like forms shaped by nature and the elements. As an engineer I work with objects like yacht hulls, aircraft wings, and wind turbine blades. For me these types of shapes, beyond their industrial functionality, bear an intrinsic aesthetic quality. Kapoor’s art is very powerful in that it challenges how you see things; it questions how you perceive your surroundings and yourself within it. When I saw “Memory” installed for the first time, it was a great moment. All the tools were packed away, the space clean and ready for the opening. I sat down with my back leaning against the same wall that the sculpture’s enormous mass was leaning against. At that moment I definitely felt a great sense of connection with the work.

TWI-NY TALK: ANAT LITWIN

Sweet Epiphanies

Anat Litwin, “Sweet Epiphanies #4: The Leap,” paper cutout, 2009

SWEET EPIPHANIES
Colson Patisserie
374 Ninth St. at Sixth Ave., Brooklyn
Through February 10
Admission: free
718-965-6400
www.anatlitwin.com
www.colsonpastries.com

The Epiphany might be held on different days in January depending on where you live in the world and what part of Christianity you follow, but the holiday is continuing into February in a popular Brooklyn pastry shop. “Sweet Epiphanies” is a site-specific display at Colson Patisserie by Brooklyn-based Israeli-American artist and curator Anat Litwin, the founder and artistic director of the HomeBase Project and a senior fellow at LABA at the 14th St. Y. Litwin addresses the word “epiphany” in both its religious and literary contexts, incorporating the January celebration of the manifestation of Christ with Joseph Campbell’s theory of the heroic monomyth, which he borrowed from James Joyce. The exhibit, which features a series of colorful paper cutouts displaying silhouetted figures and crowns and evoking self-realization, is joined by the patisserie’s La Galette des Rois, the Cake of Kings, a traditional puff pastry that involves children becoming a king or queen for a day and receiving a lucky charm baked into the filling. Run by French pastry chef Yonatan Israel, who opened the patisserie in 2006, the eatery is the brainchild of Belgian pastry chef, psychotherapist, and cookbook author Hubert Colson. The engaging, enthusiastic Litwin participated in an exclusive twi-ny talk, discussing her work as well as her own epiphanies, one of which is hanging out at the shop and gauging people’s reactions to the show. “Since it’s been up,” she notes, “I’ve become addicted to sitting in the café and hearing how people from the neighborhood and guests respond to the artwork and reflect on it over cake and coffee. I would never had such lively, meaningful conversations in a gallery.”

twi-ny: How did you and Colson come together for this show?

AL: Yonatan Israel, the owner of Colson, and Ronit, his wife, are close friends. We’ve collaborated together in the past on several art projects, including a benefit for the HomeBase Project. I am familiar with the creative spirit and talent and professional approach and deep dedication that goes into the baking at Colson and was intrigued to create an art series for the patisserie that somehow responds to the place and to the world of French baking. When Yonatan and Hubert Colson, the main chef, told me about the Galette de Rois celebrating the Epiphany and about the traditional French game of becoming a king for the day, I was inspired. I loved the idea of the fantastic childlike immediate empowerment as king or queen and decided to give that an artistic interpretation and explore what kingly-hood really means in folklore and myth.

Sweet Epiphanies

Anat Litwin, “Sweet Epiphanies #1: Red Royal Path Calling,” paper cutout, 2009

Would you mind sharing one of your own personal or professional epiphanies?

Professional epiphanies and personal epiphanies are somehow connected in the studio. But the nice thing in being an artist is that often an idea or inspiration comes to mind before you realize what it really means — the creative process is somehow a few steps before you, and on good days of inspiration you spend time chasing after your own muse / ideas, trying to discover and understand your inspiration through realizing it in form. One recent epiphany came to me after finishing the “Sweet Epiphanies” series. It became clear to me that as an artist and person I am totally interested in the fantastic transgression from the everyday to the sublime and back again. I believe in the possibility of the human to undergo salvation, and I pursue that through creating images and actions. I am a believer that way. This registered through the work on the series that uses the monomyth of Joseph Campbell as a key model.

What’s your favorite treat that Colson Patisserie makes?

I’m completely addicted now to the Galette de Rois and find myself with cravings for that almond-based butter dough at different times of the day. I am fearful that it soon will be out of season, then the coffee cake (which is remarkable) will have to replace it.

TWI-NY TALK: KELSEY BENNETT

Kelsey Bennett, "Apple," C-print, 2009

Kelsey Bennett, “Apple,” C-print, 2009

KELSEY BENNETT: HYPNAGOGIA
Christopher Henry Gallery
127 Elizabeth St. between Broome & Grand Sts.
Wednesday – Sunday through February 7, 11:00 am – 6:00 pm
Admission: free
212-244-6004
www.christopherhenrygallery.com

In her first solo exhibition in New York, Kelsey Bennett reveals an intriguing eye for the offbeat in “Hypnagogia,” a collection of nine dazzling photographs at the Christopher Henry Gallery. Her bright, colorful portraits depict intriguing scenes steeped in childhood visions.  In “Runaway Bunny,” a young woman channeling Stanley Kubrick’s Lolita is surrounded by copies of a classic Margaret Wise Brown kids book. In “Eyeballs,” a young boy stares directly in to the camera while dipping a spoon into his bowl of milk and eyeballs. And in “Hypnagogia,” a woman sits in a crib, a crow balanced next to her, evoking several Hitchcock films. Bennett, who is twenty-five (and a singer-songwriter as well), shows creative instincts beyond her years, perhaps since she comes from a rather artistic family: her grandmother is a photographer, her sister Remy is an actress (and regular model for Kelsey), and her grandfather, Tony, is a painter. (Oh, he’s a pretty famous singer as well.) Bennett generously offered to participate in an exclusive twi-ny talk about her work.

twi-ny: The photographs in this show are very cinematic, with both direct and indirect references. Are you influenced by any specific genres or filmmakers?

KB: I am very influenced by film. The two filmmakers I am most influenced by and draw from for my work are John Waters and David Lynch. Through film, John Waters shows the humor in what some may see as dark or tragic, and Lynch captures the beauty in darkness. I relate to this and I think my work does as well. When I am shooting I have no intention of capturing my image like a film still, but when I look at my photographs later on I see that quality in them.

Kelsey Bennett, “Runaway Bunny,” C-print, 2009

Kelsey Bennett, “Runaway Bunny,” C-print, 2009


Most of the photos involve elements of childhood, from golden eggs to a crib to a Margaret Wise Brown book. You’ve been taking photos since you were twelve; do you think this has anything to do with the subject matter, or are there other aspects of your childhood that have made their way into these works?

In fairy tales and mythology, symbolism is a prominent tool used in telling the story. I remember understanding things in a symbolic way as a child. I remember looking at a color and really feeling it opposed to just seeing it. The reason why my photographs incorporate themes from childhood is because I like to revisit a time when life was more mysterious.

You found one of your models on the street and offered her a hundred dollars to shave her head and pose for you [for “Your Name Here”]. Are there any other offbeat ways you find your models?

Most of my models are either family or friends. One photograph featured in the show is called “Cat Lady.” I have a friend named Sunny Rose, she is an astrologer in her sixties who has traveled all around the world. She used to read my Tarot in exchange for rides to see her ninety-seven-year-old mother. On a particular visit, me and Sunny’s mom played dress up. We went through her closet and jewelry box. I put a flower in her hair and did her makeup. I had her pose by the fireplace. She pointed to a stone cat and told me she had painted it. The cat is white but low lighted in black from the soot of the fireplace. I asked her to hold the cat on her lap and there was the cat lady.

(“Hypnagogia” continues at the Christopher Henry Gallery  through February 7. The gallery also has some works left in their upstairs space from their previous exhibit, “The Map as Art,” including terrific pieces by Doug Beube and Heidi Whitman.)