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The Return of Patrick Cohen
I’m grateful simply to know that Cohen is well and performing, grateful for the recordings that exist—and thinking of the kind of life that it takes to get to hear him play now as well as the one that it takes for him to play as he does. Better fewer but better, so to speak. I’m reminded of an anecdote that Merkel told me, regarding Cohen’s 1999 performance in Mozart’s house in Salzburg: “He gave a concert on Mozart’s piano. It was broadcast. I said to him, ‘Not much applause.’ He said there was only space for fifteen people.
Richard Brody writes about Patrick Cohen and a story that gets to the very core of music-making, as an art and as a way of life: http://nyr.kr/Yb9QiY
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“When I visited New York, one of my favorite things to do was to explore the various flea markets,” says Birgit Schössow, the German artist behind this week’s cover, “City Flair.” “And in the last few years, I’ve even ordered some beautiful costumes and dresses from the forties and fifties from New York’s vintage shops online. These little works of art are simply beautiful to look at from time to time, and to wear every now and then. There’s so much history in a costume that is already nearly seventy years old! It allows you to fantasize each story.”
She concludes: “I love the very feminine styles of that era; my cover was inspired by the fashion drawings of that time. But jeans are much more practical, of course.”
Cover of the May 6, 2013 issue. Get the story behind this week’s cover, “City Flair” by Birgit Schössow as well as a slide show of other New Yorker covers depicting city flair: http://nyr.kr/18827FZ
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The Prom Queen of P.S.1
Dorothy and Herbert Vogel led the sort of life that sounds like a New York legend: two state employees, living on less than fifty thousand dollars a year, manage to amass a collection of more than four thousand works of contemporary art. It’s hard to believe such a feat would be economically possible, but the Vogels were early enthusiasts who collected what was at first unpopular—inaccessible minimalist and conceptual works—and would now be worth millions. Not everyone in their collection was widely known, but many were: Richard Tuttle, Sol LeWitt, Jeanne-Claude and Christo. The Vogels themselves were minor celebrities, known by art-world regulars around the city, and they were beloved: at a 1976 event to benefit P.S. 1, the founder, Alanna Heiss, threw a prom. There was a ballot for prom king and queen, and Herb and Dorothy won…
Anna Altman visits the Museum of Modern Art with collector Dorothy Vogel: http://nyr.kr/11m6icK
Photograph by Fred R. Conrad/The New York Times/Redux
(Source: newyorker.com)
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Cartoon by Mick Stevens. For more: http://nyr.kr/YcxbTD
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Cartoon by Paul Noth. For more: http://nyr.kr/XZYmP2
(Source: newyorker.com)
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Save 92Y Tribeca
A call for the 92nd Street Y to reconsider its decision and maintain 92Y Tribeca, from Richard Brody: http://nyr.kr/11jvrZi
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Pari Dukovic, a regular contributor toThe New Yorker, will see his first solo show open at Giacobetti Paul Gallery in Dumbo tonight.
Over the course of two years, Dukovic photographed burlesque performers in New York City. His interest in the scene was fuelled by the contrast between an artist’s public and private persona: “A burlesque performer takes a piece of themselves and builds a character in their fantasy world,” he writes. “While these performances take place in public, performers actually share a very private story.”
The resulting photographs are emotional and quite intimate: “I wanted my viewer to enter the emotional state of the performer’s character and psyche.” For Dukovic, the biggest challenge was “to capture the most ethereal moments of the performers and to have the sense of looking into a private world.”
I think he succeeds.
“Burlesque” opens tonight at 111 Front Street, Suite 220, at 6 P.M. There will be an encore opening, to coincide with the Armory art show, on Saturday, March 9th, from 6 to 9 P.M.
Click-through to see a selection of Dukovic’s work: http://nyr.kr/13Jt82g
(Source: newyorker.com)
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The Art of Browsing
“Is it possible that book browsing is already strange and unusual enough to be considered material for art?”
Claire Barliant on new art shows that focus on books: http://nyr.kr/Z7Jn5e
(Source: newyorker.com)
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This week’s cover by Barry Blitt, “Sic Transit Gloria Mundi,” is not the first time that a Pope has been portrayed on our cover. “I wish I could say something in Latin to make the image sound smart,” said Blitt, when asked what inspired him. Click-through for other New Yorker covers that have illustrated priests and Popes, and Blitt’s previous take on the Papal vestment as well as his other thoughts on how Pope Benedict XVI might occupy his time after retirement: http://nyr.kr/WEOJXx
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In this video, our Art editors look at how the magazine’s mascot, Eustace Tilley, has developed into an icon over the years, and at the countless ways that he has been reinterpreted for our cover. Click-through for more: http://nyr.kr/XGcHi0
(Source: newyorker.com)
