For the past two nights, guests arriving at Lincoln Center’s Avery Fisher Hall have found two harps and five extra music stands occupying part of the second balcony next to the stage. They sat unoccupied for the first part of the program on Wednesday and Thursday evening, as the New York Philharmonic debuted composer-in-residence Christopher Rouse’s fearsome and taut 10-minute Prospero’s Rooms (2012) and as Joshua Bell maneuvered his violin nimbly, delicately through Leonard Bernstein’s Serenade (1953–54), offering an almost jaunty feel in the piece’s jazzy closing moments. Read More
On a cold and rainy Friday evening in late February, dozens of people crowded into the back room of Chelsea’s Martos Gallery during its opening reception for Aura Rosenberg’s new show. They stood around a large rectangle of black velvet, waiting for a performance organized by the artist to start. Eventually a man and woman walked in. They were young and lithe and naked.
“Oh no,” someone groaned. People began shooting photos and videos.
A veteran New York art dealer recently complained to the Transom that the city’s art world has become much less fun over the past few years, citing as evidence the fact that no one drinks at business lunches anymore. We’d heard this complaint from other art types before. But could there finally be a change on the horizon? Read More
The New York Observer‘s Fall Arts Preview issue hit newsstands this week. Assembled by Observer staff and contributors, the magazine offers a guide to culture in New York this season, from visual art to books to opera. Its contents are below, which include Dan Duray on the 100th anniversary of the Metropolitan Museum of Art’s Arms and Armor collection, Michael H. Miller on Marco Roth and Daniel D’Addario on the upcoming films on American presidents. Read More