Saturday, October 25, 2014

"Creation Myth" by Tom Otterness at Marlborough Gallery

ARTDAILY 

NEW YORK---Marlborough Gallery announces an exhibition of recent works by Tom Otterness entitled "Creation Myth" which opened on Wednesday, October 22nd and will continue through November 25th of 2014. Creation Myth consists of over twenty sculptures in stainless-steel & limestone, bronze, and marble. The works range in scale from small to monumental. In this exhibition, Otterness alludes to Ovid’s canonical story in the Metamorphoses in which Pygmalion carves a sculpture of a woman in ivory so beautiful and idyllic that he becomes enchanted by her. Upon praying to goddess Aphrodite for a bride, Pygmalion’s sculpture, Galatea, comes to life. The works in Creation Myth, however, feature a woman carving a male figure. Originally from Wichita, Kansas, Otterness has been a resident of New York City since the 1970s and works in Brooklyn. [link]

‘Forbidden Games’ at Cleveland Museum of Art Offers Feast for Eyes, Mind

CLEVELAND JEWISH NEWS
By Carlo Wolff
Dora Maar, “Double Portrait with Hat,” 1936-37
OHIO---Surrealism aimed to bed the mundane in contexts that make it look otherworldly. Paralleling the developing field of psychoanalysis, it explored the subconscious, displaying the stuff of dreams.
While Surrealist painting is relatively well known, the profile of Surrealist photography is far lower, though Magritte and Ray also worked in that medium. How fruitful the terrain was for the camera in the 1920s through the 1940s, the peak years of the movement, comes clear in “Forbidden Games: Surrealist and Modernist Photography.” [link]

Cleveland Museum of Art: “Forbidden Games: Surrealist and Modernist Photography” (Ends Jan. 11, 2015); 11150 East Blvd., Cleveland, OH; (216) 421-7350; clevelandart.org

Friday, October 24, 2014

A Burqa Across Australia – in Pictures

THE GUARDIAN
By Fabin Muir
Fabian Muir: ‘The idea for the series came to me while I was in Australia last year. My work had been very focused on post-Soviet areas from the Baltic to central Asia. Something inside me said it was time to do something on my homeland.’ Photographs: Fabian Muir
AUSTRALIA---Before Australia’s parliament backed down from a controversial decision to segregate women wearing facial coverings in its public galleries, photographer Fabian Muir set out on a 10,000km journey to photograph the burqa in landscapes across Australia. The resulting work appears in his series Blue Burqa in a Sunburnt Country. [link]

The Sleuk Rith Institute: Zaha Hadid's Soft Hymn to Genocide in Cambodia

THE GUARDIAN
The institute library exterior and reflecting pool
CAMBODIA---Looking like a futuristic descendant of Angkor Wat, with a cluster of chiselled forms poking up above the trees, Cambodia is to receive a new genocide museum and research institute, designed by London-based Iraqi architect Zaha Hadid. Unveiled 35 years after the end of the Khmer Rouge’s brutal reign, the Sleuk Rith Institute will incorporate a museum, research centre, graduate school, document archives and research library, set in an expansive new park south of the centre of the capital, Phnom Penh. The project is the vision of human-rights activist Youk Chhang, 53, who has directed the Documentation Centre of Cambodia (DC-Cam) since 1995. He amassed a vast archive detailing the atrocities of the regime led by Pol Pot from 1975 to 1979, when two million Cambodians were slaughtered. [link]

Hindus Welcome Lord Shiva Statue in Prestigious Louvre Abu Dhabi

GLOBAL TRAVEL INDUSTRY NEWS

Dancing Shiva statue
FRANCE---Upcoming $630 million Louvre Abu Dhabi (LAD) museum will reportedly have Hindu Dancing Shiva statue in its permanent collection. This tenth century lost-wax bronze from Tamil Nadu (India) of Chola period, 86 centimeters high, has been in the collection of National Gallery of Australia in Canberra till 2009. A video posted on the LAD website explains the meaning behind various parts of the statue. [link]

The Jewish Beggars of Lakewood, New Jersey

NYT | MAGAZINE
By Mark Oppenheimer
Elimelech Ehrlich (seated), a beggar who travels each year from Jerusalem, talking with
students outside Beth Medrash Govoha. Credit Peter van Agtmael/Magnum, for The New York Times
NEW JERSEY---Once a year, Elimelech Ehrlich travels from Jerusalem to Lakewood, N.J., with a cash box and a wireless credit-card machine. Throughout town, he greets old friends, asking after marriages made since his last visit and new babies. And at every stop along the way, he asks for money. Ehrlich is a full-time beggar. For years, Ehrlich has made a circuit of yeshivas in Israel’s religious cities, like Jerusalem and Bnei Brak, offering his Yinglish patter to pious students in exchange for a few shekels. The yeshiva students may not give much, but nearly all of them give — and there are so many of them. About a mile from Beth Medrash Govoha’s campus, in a second-floor walk-up in a small, nondescript commercial building, there is a rather unusual organization called Tomchei Tzedakah. (The name means “supporters of charity.”) The organization issues between 950 and 1,100 ishurs a year, all to religious Jews.[link]

‘Death of Klinghoffer’: Standing Ovations for Great Art or Anti-Jewish Pornography?

THE WASHINGTON POST
By Anne Midgette
The chorus of exiled Palestinians sings in John Adams’s “The Death of Klinghoffer.” The general critical consensus: you may like the opera or not, but it isn’t anti-Semitic. (credit: Ken Howard/Metropolitan Opera)
NEW YORK---Banning “Klinghoffer” from the stage is not the right answer. Neither is celebrating it as a perfect work. Alas, neither side has emerged with much understanding of the other, and the martyrdom of Klinghoffer has blurred into the martyrdom of “Klinghoffer,” the opera. Which means that either you celebrate the Met or castigate the Met for putting it on, and that the company, despite putting its best foot forward, once again provides a polarizing example of opera’s distance from the city it hoped, with this production, to engage. [link]