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“Doctor Zhivago” Pays a House Call
“Doctor Zhivago” Pays a House CallIf Leo Tolstoy can make it to the musical stage — “Natasha, Pierre and the Great Comet of 1812” — why not Boris Pasternak? A long-aborning musical version of “Doctor Zhivago,” based on the 1957 Pasternak novel about a love triangle set against the Russian Revolution, will arrive on Broadway this spring. The show received mixed notices when it had a tryout run at San Diego’s La Jolla Playhouse, but after substantial revisions, it reemerged five years later in Australia, where it toured to strong reviews and good box-office. I saw the La Jolla production and was impressed with Des McAnuff’s sleek direction and the strong score by Lucy Simon (“The Secret Garden”) and lyricists Michael Korie and Amy Powers. The problem was Michael Weller’s libretto, which seemed hamstrung by the challenge of cramming so much event and character into a manageable length. The celebrated 1965 David Lean movie, starring Julie Christie and Omar Sharif, ran three and half hours and the paperback of the classic novel is a doorstop at 600 pages. According to the reviews in Australia, Weller has wisely chosen to concentrate on the love story rather than the turbulent politics of the era — something which “The Great Comet of 1812” was able to do in adapting a section of Tolstoy’s unwieldy “War and Peace.” The creators of “Les Miserables” also showed that it was not an impossible task to take source material with epic sweep and boil it down to its emotional essence. In this case, it is about three disparate men in love with the same woman, the beautiful young Lara: Yuri Zhivago, the poet and doctor; the cold-blooded lawyer Viktor Komarovsky; and Pasha Antipov, an idealistic reformer-turned-violent revolutionary. In turn Zhivago is loved by two women, Lara and Tonya, with whom he grew up and eventually married. While Ivan Hernandez played Zhivago in San Diego, Anthony Warlow assumed the role in the 2011 Australian production and is more than likely to reprise it in New York. Warlow received excellent notices for his Daddy Warbucks in the recent revival of “Annie” and may well finally receive the Tony nomination that eluded him then. What I most recall about the La Jolla production was its startling beginning. A young woman, Lara, wends her way through a crowded Christmas party for the elite, takes out a gun, and shoots one of its elegantly dressed guests, her lover Komarovsky. I’m told it no longer opens that way, but it was arguably the first time a musical ever began in such a manner. And it certainly seemed a good portent for the things to come. It’ll be interesting to see how the revised musical can top it. Published: September 8, 2014 Read full article here

23 Questions for History-Inspired Artist Sam Durant
23 Questions for History-Inspired Artist Sam DurantName: Sam DurantAge: 52Occupation: ArtCity/Neighborhood: Los Angeles Your new body of work at Paula Cooper shines a light on a number of overlooked Surrealists who were from the Francophone colonies. What sparked your interest in these artists?  Historian Robin D.G. Kelley’s work opened the door. In his introduction to poet Aimé Césaire’s famous essay, “Discourse on Colonialism,” Kelley links Césaire’s work as a surrealist to the anti-colonial struggles erupting around the world, especially in the francophone colonies. Kelley also discusses Césaire’s influence on fellow countryman Frantz Fanon, who became a psychiatrist, eventually becoming head of the main psychiatric hospital in Algiers.  In addition to becoming part of the Algerian struggle for independence, he is seen as a primary theorist of the psychological effects of imperialism. This made so much sense in terms of the surrealist’s focus on the unconscious and psychoanalysis. In what ways did the practices of these artists change your conception of the movement? Their practices were more overtly political, many were involved in national struggles for independence and racial justice. And this was always about total liberation, both individual and collective. The mid-20th century was a very dark period and yet these artists struggled for beauty and freedom, toward the marvelous, toward life force, eros. For this show you also use “trench warfare objects” such as artillery shells to construct wind chimes or lamps. What does it mean to turn these objects into art in the form of common household items? The use of “Trench Art” functions as a reminder of the inextricable link between war and art, violence and culture. I made two sculptures which involve war material. One, a large wind chime, uses artillery shells as the bells, which might actually qualify the piece as Trench Art. The other work is a collection of various examples of Trench Art, which I accumulated over the past several years in my research. The artifacts represent a variety of different forms of Trench Art from different conflicts throughout the 20th century. They are arranged into a unified composition that is a cross between modernist and anthropological artifact display conventions. Trench Art as a recognized form developed during World War I as soldiers trapped in the trenches for weeks and months on end began to use what was at hand to make things: lighters, vases, ashtrays, little sculptures of tanks, animals, planes, people, and so forth. The tradition has carried on from WWI to WWII, Korea, Vietnam, Afghanistan, and on and on and on. I imagine there is Trench Art being made in Syria, Iraq, Libya, perhaps even in Gaza right now. What project are you working on now? The future is unpredictable, hopefully some things will come to fruition and you will hear from me again. What’s the last show that you saw? Selasar Sunaryo Gallery, which is something like the Noguchi Museum except there is less of Sunaryo’s work and quite a collection of artists from the Bandung region. What’s the last show that surprised you?  “Edo Pop,” an exhibition at the Singapore Tyler Print Institute. A beautiful selection of Ukiyo-e prints, landscapes with extraordinary details, maternal imagery, mothers nursing and playing with children, and several instruction manuals for making shadow hand puppets. Describe a typical day in your life as an artist. There really isn’t one; each day is different. I am frequently stunned at how lucky I am. Do you make a living off your art? I teach art at California Institute of the Arts. This gives me a degree of freedom from the art market. What’s the most indispensable item in your studio? Books. Where are you finding ideas for your work these days? In “Asia” and also in books. Do you collect anything? No. What is your karaoke song? “A Spoonful of Sugar” from “Mary Poppins.” What’s the last artwork you purchased? A work by Gala Porras Kim depicting whistling languages from Central America. What’s the first artwork you ever sold? Probably one of the Abandoned House models. What’s the weirdest thing you ever saw happen in a museum or gallery? Psychic TV — they really shook me up in 1983. I still remember it. What’s your art-world pet peeve? The predictability of it. What’s your favorite post-gallery watering hole or restaurant? Home. Do you have a gallery/museum-going routine? I try to get out every month and see things. What’s the last great book you read? “Europe in Sepia” by Dubravka Ugresic. What international art destination do you most want to visit? Beirut. What under-appreciated artist, gallery, or work do you think people should know about? Project Row Houses in Houston. Who’s your favorite living artist? Adrian Piper. What are your hobbies? I don’t really have any but your question makes me think perhaps I should. Published: September 8, 2014 Read full article here

Cédric Eisenring at Muda Mura Mira
Artist: Cédric Eisenring Venue: Muda Mura Muri, Zurich Exhibition Title: sub Date: July 10 – August 24, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Video: Cédric Eisenring, Untitled, 2014. HD Video, 6 min 8 sec.   Images: Images courtesy of  Muda Mura Muri, Zurich Press Release: Oh, […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

VIP Opening for Brooklyn Museum's "Killer Heels: The Art of the High Heel Shoe" - September 6, 2014
Language English Featured: 0Order: 0Tags: PartiesAuthor(s): Regina MogilevskayaSub-Channels: MuseumsShort Title : VIP Opening for Brooklyn Museum's "Killer Heels" Read full article here

Miley Cyrus Now a Sculptor, Gurlitt Trove Reveals Monet, and More
Miley Cyrus Now a Sculptor, Gurlitt Trove Reveals Monet, and More— Miley Cyrus Is Now a Sculptor, Apparently: Disney tween turned controversial pop star Miley Cyrus has now officially entered the art world, creating sculptures from her tour memorabilia — e.g., a joint glued to a vibrator. “I just sit around and smoke weed anyway, so I might as well sit around, smoke weed, and do something,” Cyrus explained to V Magazine, who will be hosting her work at their Manhattan offices on 11 Mercer Street, in a show titled “Dirty Hippie.” “They say money can’t buy happiness and it’s totally true,” she said. “Money can buy you a bunch of shit to glue to a bunch of other shit that will make you happy, but… obviously the shit you buy doesn’t make you happier because I’m sitting here gluing a bunch of junk to stuff.” [The Guardian] — Gurlitt Trove Reveals Monet: The group of experts tasked with investigating the provenance of the 1,280 of works found in deceased art hoarder Cornelius Gurlitt’s possession have announced the discovery of a Monet landscape. The work was discovered in the suitcase that Gurlitt took to his final trip to the hospital this past May. According to taskforce member Matthias Henkel, the painting resembles a Monet painting of Vue de Sainte-Adresse from 1864. [The Guardian] — High Line's Final Section Opens Soon: The final section of the High Line is slated to open on September 21. The new stretch will include many of the same design touches as the existing areas of the park, but with a “wild, untouched section.” “We haven’t pruned a thing,” said director of horticulture Tom Smarr, the director of horticulture. “We’re going to do very little here.” [NYT] — Picasso Leaves the Four Seasons “Le Tricorne,” a 1959 work painted on a stage curtain, was successfully, if painstakingly, extracted from its home of 55 years. [NYT] — Margaret Atwood Adds to “The Future Library”  Author Margaret Atwood is the first contributor to Katie Paterson’s conceptual art project “The Future Library,” a collection of written works that will be produced in 2114, printed on paper from 1,000 trees Paterson planted near Oslo. [ArtNews] — Tomorrow Gallery Moves to NYC   Toronto’s Tomorrow Gallery marks its new Eldridge Street location with “Eternal September,” a show exploring the “the current climate of endless, continuous expansion of the Internet,” explained director Tara Downs to Art in America. [Art in America] — Pop artist Marjorie Strider has died at age 83. [NYT] — Building Design magazine has named Woolwich Central as Britain's ugliest new building. [The Atlantic]— i09 is doing a regular column called “Drunk Museum Review” now. [i09] ALSO ON ARTINFO Wise Buys: 50 Women Artists Worth Watching Q&A With Sculptor Richard Nonas Dan Colen Believes in Miracles Art Bars: Hair Of The Dog (Yes, Really) Check our blog IN THE AIR for breaking news throughout the day. Published: September 8, 2014 Read full article here

New York
Language Undefined Location Website: http://www.kraushaargalleries.comLocation Email: info@kraushaargalleries.comDisplay: Don't displayUse alternative description in place of "Hours" (Edit text below): Address: Javascript is required to view this map.Neighborhood: SeventiesMonday - Close: 12:00amTuesday - Open: 12:00amTuesday - Close: 12:00amWednesday - Open: 12:00amWednesday - Close: 12:00amThursday - Open: 12:00amThursday - Close: 12:00amFriday - Open: 12:00amFriday - Close: 12:00amLocation Phone: t +1 212 288 2558Saturday - Open: 12:00amSaturday - Close: 12:00amSunday - Open: 12:00amSunday - Close: 12:00amMonday - Open: 12:00amHas Cafe: Has Store: Has Film: Is Free Listing: Opening Hours Alternative Text: Location Logo: location fax: Guide Landing page: Region on the Guide Landing page: None Read full article here

Ed Atkins at Serpentine Gallery
Artist: Ed Atkins Venue: Serpentine Gallery, London Date: June 11 – August 25, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Video: Ed Atkins, excerpt from Ribbons, 2014, Four channel 4:3 in 16:9 HD video with four 4.1 channel surround soundtracks, 14 minutes. Courtesy of the artist; Galerie […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

Dan Colen Believes in Miracles
Dan Colen is feeling good. The nine large-scale canvases in “Miracle Paintings,” on view at Gagosian Gallery in New York through October 18 — all roughly based on semi-abstract stills from the 1940 Disney film “Fantasia” — are, he said, “the culmination of the last 10 years of my work.” The concise focus of the exhibition might come as a shock to anyone who visited “Poetry,” his 2010 exhibition at the gallery, which included conservator-thwarting paintings made of gum, a sculpture composed of a row of motorcycles, and a full-size skateboard half-pipe turned into a readymade. (That show wasn’t “even fun in the way that, say, a Damien Hirst show can be, as a train wreck of attention-getting desperation,” gnashed Jerry Saltz in New York magazine. “Colen shows not a lick of spontaneity.”) For his part, Colen said that he stands by that 2010 outing, which was a personal catalyst for many developments in his practice. And while “Miracle Paintings” speaks in a much quieter, reverent voice, it’s not like the artist has abandoned bold, what-the-fuck gestures (see his cut-in-half-truck sculpture, “At Least They Died Together (After Dash),” which was installed on the lawn at the Brant Foundation Art Study Center earlier this year). Discussing these recent canvases, Colen frames himself as something of an equal collaborator with the oil paint he’s employing — as if he’s along for the ride, marveling at the effects and techniques that the material can conjure. “Usually my paintings are about me trying to control the paint,” he said, likely referring to his crisply detailed, highly realistic “Candle” works. “These were about me learning from the paint and seeing possibilities that are beyond me. As opposed to putting too much confidence in myself, or in an image or a scene or a set of brushes, I really want to allow the oil paint to perform, to show me the things that it wants to do, beyond my imagination.” Hence the “miracle” of the exhibition’s title: Not a cheeky boast about the artist’s own inherent genius, but rather a nod to the alchemical twists and turns that enabled the paintings to develop over the span of a few years, layer by layer. The process of their making, as he described it, involved myriad experiments, “gallons and gallons” of oil paint, detailed calculations of the drying times of particular materials — and more than a bit of faith. “At the end of the day, you can’t have a vision, you have to have a hope,” Colen explained with a refreshing earnestness. “This is where the miracle comes in.” O, Fortuna, 2013 by Dan Colen No recognizable characters appear in any of the paintings, which would probably not be readily identified as coming from “Fantasia” if one didn’t know this was the case. Colen said that he conceives as them as landscape paintings, more or less, that are all “pictures of creation”: One he sees as a Big Bang eruption; another is a womb; another is more like a cumshot (Disney would be proud). The colors and textures include explosive rainbow arrays, a sponge-like, intense red, and ghostly blue-greys. After some initial brainstorming about sculptural installations or ways to alter the space itself — including covering the entire exterior of the gallery with a fabric “somewhere between what a magician will put over a box before the bunny rabbit disappears, and the cloth that covers Mecca” — Colen quite rightly decided to let these massive paintings work their own spell. “I don't need people to think the art is good, but often the discussion is about other things,” Colen explained, alluding to his famously divisive mega-dealer and the flack that his stable can often encounter. “In that room I’ve created a situation where it’s impossible to talk about anything else but the art.”   Dan Colen Believes in MiraclesSelect Photo Gallery: Slideshow: Dan Colen's "Miracle Paintings" at Gagosian GalleryPublished: September 8, 2014 Read full article here

Gustave Courbet at Fondation Beyeler
The exhibition Gustave Courbet at Fondation Beyeler in Riehen (Switzerland) presents pioneering works from all phases of the French painter ... Read full article here

Week in Review: September 7, 2014
Welcome to Week in Review, our Sunday round-up of the last seven days of activity here at Contemporary Art Daily. Please subscribe to our RSS feed, follow us on Twitter, follow us on Tumblr, and become a fan on Facebook. We would like to extend a special thank you to our annual sponsors, NADA and Sotheby’s Institute […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

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