Jan 22 Mon 10am-Noon Met Birds of a Feather: Joseph Cornell’s Homage to Juan Gris (January 23–April 15, 2018)

On October 22, 1953, Joseph Cornell wrote in his diary: “Juan Gris/Janis Yesterday.” He was referring to the previous day’s outing, when, on one of his frequent trips to the gallery district in midtown Manhattan, Cornell visited the Sidney Janis Gallery on East 57th Street. Among a presentation of approximately 30 works by modern artists, one alone captivated Cornell—Juan Gris’s celebrated collage The Man at the Café (1914), which is now a promised gift to the Museum as part of the Leonard A. Lauder Cubist Collection.
This shadowy profile of a fedora-topped man immediately inspired Cornell to begin a new series: some 18 boxes, two collages and one sandtray created in homage to Juan Gris, whom he called a “warm fraternal spirit.” Completed over a period of 13 years, Cornell’s series of Gris shadow boxes is more extensive in number than any other that the artist openly dedicated to one of his admired luminaries of stage, screen, literature, or the visual arts. The main protagonist of Cornell’s Juan Gris series is a bird—the great white-crested cockatoo—specifically, an image taken from a 19th-century print of the species that Cornell repeatedly used along with Photostats or silhouettes of the bird’s form to explore the fascinating shadows that Gris produced in his own practice. At The Met, the exhibition Birds of a Feather: Joseph Cornell’s Homage to Juan Gris will reunite for the first time nearly a dozen boxes from Cornell’s Gris series together with the Cubist masterpiece, The Man at the Café.
The exhibition is made possible by the Eugene V. and Clare E. Thaw Charitable Trust.

Birds of a Feather: Joseph Cornell’s Homage to Juan Gris inaugurates a series of dossier exhibitions under the auspices of the Leonard A. Lauder Research Center for Modern Art at The Metropolitan Museum of Art.
When he began the Gris series in 1953, Cornell was an established artist, two decades into his career. His shadow box assemblages—a genre he is credited with pioneering—were exhibited regularly in major galleries and museums, and acquired by collectors and museums for their permanent collections. Cornell gathered his banal yet evocative materials during his forays in New York City or Long Island. His sources were many and varied; he made his assemblages from old journals and French history textbooks, postage stamps, fishing tackle, cordial glasses, clay pipes, and “flotsam and jetsam” to use his words. From these disparate fragments, Cornell wove together concepts, subjects, and lives that fascinated him. The complex network of references contained in each box often obscures, if not conceals, the artist’s intended theme or subject. For instance, in his Gris series, Cornell incorporated reproductions of Gris’s works into only one box, as well as in two collages and the one sandtray. Without these reproductions and the inscriptions Cornell made on some of the constructions, most of the works in his Gris series would be indistinguishable from those in his Aviaryand Hotelseries from around the same time—although for his homages to Gris he used the great white-crested cockatoo exclusively. Few viewers would have known about Cornell’s extensive notes found in his diaries and his Grisdossier, a working source file in which he stored materials for inspiration or later use. Cornell’s research on Gris included the acquisition of biographical publications and reviews on the Spanish-born artist, and he bolstered his knowledge of Gris and his art through conversations with artist friends such as Marcel Duchamp and Robert Motherwell.
In The Man at the Café, Gris worked in oil paint and pasted newsprint to present a mysterious male figure reading a newspaper, which obscures his face. The shapes of the man’s stylized fedora and its prominent black shadow cast against the café wall held particular fascination for Cornell. For the central figure of his Gris series, Cornell selected a white cockatoo to contrast with the dramatic blacks, but he also embedded a reference to Gris’s shadow play and the fedora’s silhouette. Indeed, the bird, or its distinctive silhouette, appears in all but two of the boxes, with Cornell mimicking the relationship between positive and negative space by pasting the bird print to a wood cutout, outlining it, or echoing its contours with black paper.
Although Gris remained the initial catalyst for the series, Cornell also incorporated allusions to his own passions and pastimes as revealed in the foreign language texts, hotel advertisements, and maps. An aficionado of ballet and opera, Cornell attended performances in New York City and contributed illustrations to the Dance Index, a periodical edited by New York City Ballet co-founder Lincoln Kirstein in the 1940s. The white, feathered and tulle costumes of the principals dancing Swan Lake and La Sylphide reminded him of birds. Cornell was also enamoured with the nineteenth century, the era of the romantic ballet and bel canto singing, and wove these birds of song and stage into the Gris series as well.
Credits & Related Information

As part of its mission to ensure the ongoing study of modern art with a particular focus on Cubism, the Leonard A. Lauder Research Center offers fellowships, lectures, and other programs to support new scholarship on the Leonard A. Lauder Cubist Collection and other 20th-century art. Each dossier exhibition will be related to a work or group of works from the Collection. Birds of a Feather: Joseph Cornell’s Homage to Juan Gris and future projects in the series are intended to provide a deeper context for understanding Cubism, its protagonists, and greater influences, to contribute exceptional scholarship, and to offer a fresh approach to the subject of looking and thinking about modern art.

The exhibition is curated by Mary Clare McKinley, an independent art historian based in London and former Assistant Curator in the Leonard A. Lauder Research Center for Modern Art, The Metropolitan Museum of Art.

A catalogue, made possible by the Leonard A. Lauder Research Center for Modern Art, accompanies the exhibition and contains a major essay, written by McKinley, and the first-ever documentary catalogue of Cornell’s Gris series.
The exhibition is featured on The Met website, and also on Facebook, Instagram, and Twitter.

# # #

December 12, 2017

Image: Joseph Cornell (American, 1903-1972). Homage to Juan Gris, 1953-54. Box construction. Philadelphia Museum of Art, Purchased: John D. McIlhenny Fund. Art © The Joseph and Robert Cornell Memorial Foundation/Licensed by VAGA, New York, NY

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Contact: Alexandra Kozlakowski, Ann Bailis
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Birds of a Feather: Joseph Cornell’s Homage to Juan Gris
Opening January 23 at The Met

Exhibition Dates: January 23–April 15, 2018
Exhibition Location: The Met Fifth Avenue, Gallery 918, Lila Acheson Wallace Wing
Press Preview: Monday, January 22, 10 am–noon

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Jan 18 Thu 6-8pm SWINY Cells Are the New Cure with Dr. Max Gomez and Dr. Robin L. Smith at Yale Club

Cells Are the New Cure with Dr. Max Gomez


YALE CLUB
Science Writers in NY cordially invites you to a special evening with award-winning medical correspondent Dr. Max Gomez — discussing his new book “Cells Are the New Cure.”

Dr. Max Gomez and his co-author, Dr. Robin L. Smith, will talk about their exceptional book, answer questions about content and craft, and sign books (sold at discount for $18.)
Beer, wine, soda and substantial hors-d’oeuvres will be provided.

Dr. Gomez’s just-published book on the use of living cells and genetic modifications as revolutionary agents of healing has arrived with exquisite timing. The very first such treatments received FDA approval in the past several months, making 2017 the year that reality began to emerge alongside promise.

Two therapies genetically transform a patient’s immune cells to target a specific leukemia. And sight is restored in a type of inherited blindness by a gene-normalizing treatment that targets the retina.

Drs. Gomez and Smith have tackled this viscerally and intellectually thrilling area head on. They cover the full breadth and depth of cellular therapy research—assimilating and organizing the promising results from more than 35,000 clinical trials—and its potential applications, from genetic defects to organ repair, cancer, autoimmune diseases, cognitive health, longevity—and so much more. They create a clear roadmap for understanding past, present, and future, narrated in highly accessible language that is a rewarding read for novice and knowledgeable alike.

Max Gomez established but a pioneer

Max Gomez established but a pioneer

Dr. Max Gomez graduated cum laude from Princeton University, earned his Ph.D. from the Wake Forest University School of Medicine, and was an NIH Postdoctoral Fellow at The Rockefeller University. In his more than 35 years of pursuing and communicating innovative science and healthcare progress, Dr. Gomez has earned 9 Emmy Awards, 3 NYS Broadcaster’s Association awards, and UPI’s Best Documentary award.

Dr. Robin L. Smith is a global thought leader in regenerative medicine, one of the fastest growing modern medical disciplines. She received her M.D. from the Yale School of Medicine and an M.B.A. from the Wharton School of Business.

CBS2’s Dr. Max Gomez Stops By To Talk About New Book ‘Cells Are The New Cure’

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Jan 16 Tues 10am-12 noon Met Gallery 851 Before/On/After: William Wegman and California Conceptualism (January 17–July 15, 2018 )

Bill Wegman’s Ultimate Dogginess at the Met
The remarkable achievement of Bill Wegman is all the more astonishing given that, at first sight, you might think that an artist who merely makes videos of his dogs in various simple interactions where he treats them as fellow beings who deserve the same level of attention, respect and language as any other friends is someone whose artistic product is unlikely to deserve the respect of your attention, let alone installation and exhibition in the greatest art museum of the Americas, if not the world, but if you miss this 90 min selection from the 174 short videos that he made from 1970 to 1999 by not giving them at least half an hour or more of your uninterrupted gaze in the darkened projection room at the center of this wall display of his and his Southern California contemporaries’ drawings, prints and photographs all now labeled Conceptual Art you will miss a unique expansion of your mind into realms unknown to those who come to the Met to gaze upon its treasures within a traditional mental framework of aesthetic beauty and human psychology, for Wegman has in this set of staged interviews and provocative encounters with Man Ray and his later dogs explores nothing less than “dogness”, the very existential reality of being a dog, more effectively than any combination of words and still images on a flat surface, as he destroys the mental framework through which you normally perceive a dog as effectively as he takes away the frame through which one views art in the Met, and in the most basic and simple interactions with his sinewy hounds reveals what they are as emotionally compatible but sensorily strange human companions who live in a different world beside us, puzzled by our behavior but always cooperative in their reliable affection and support, all with a window into their souls provided by Wegman in his little playlets, such as dogs asleep tucked into soft covers and pillows that they rest their heads on, until a ticking alarm next to them goes off and they leap up out and away, or simply open one eye and then relapse into sleep again, or taken up and cuddled in his arms with his hand over the dog’s testicles as he explains that it is “securely locked in my arms and therefore trusts me” and is undisturbed even as he lifts the dog’s loose lip with his finger or extends its ears on both sides, or endlessly tossed a hard unchewable white ball until finally Man Ray drops the ball out of its mouth accurately into an empty soup can placed in front of him instead of the floor, or simply his later two dogs together facing camera and move their heads and eyes in line with some object he moves about off camera, or sitting at a table while Wegman explains he has spelled beach wrongly as beech, or simply an extended shot of noisily lapping milk with a long tongue and noise from inside a fat tumbler, lighthearted and even humorous in the simplicity of the human dealings only half understood yet followed by the attentive dog spoken to or played with, but which mixed with other brief presentations of Wegman himself addressing us about the chair he has obtained which he claims has legs tuned to different notes if he whacks them with a stick, as he does so, or with shaving foam covering the lower half of his face explaining that he was born with a one inch mouth and when it hadn’t widened by age six as expected they had transplanted the mouth of his grandfather who had just died, all of which has the most intense effect of focusing one’s mind on the physicality of the beings featured and their minds in that moment, highlighting the aspects of their presence so vividly that hours afterwards you might find the dogginess of the dogs in your perception still alive in your memory, and adding up to a most remarkable introduction via all these simple tools to aspects of reality which was hitherto in the shadows of the mind, but is now clear, in regard to our own reality as well as the dogs’, for Wegman’s short clips with himself as actor on aspects of daily life have the same ability to brush aside layers of cultural unreality by banishing the usual overlay of ways of looking such as selling, or buying into commercial or other social fantasies which distort our view of what is in front of our noses, which when peeled off reveal the actual experience in all its simple glory, a truth which often becomes humorous in its deflation of pretention and posture, as in his standing over a bag with trembling legs detailing the inconveniences of flying, or the clip where he barks like a dog using the actual sounds of his dogs, or telling a tiny spot on the carpet to “Get outa here!” which he says “usually works: and does in that case, or dropping shavings onto the back of his dog resting on a sofa who reacts at first by trying to eat them but eventually gives up and goes back to sleep, or the long discussion with an authority on a small tv screen of the difference between audio tape and video tape, or simply reading out in a completed form of copyright notices on a printed page, all of which has the peculiar effect of stripping social assumptions and expectations from contemplating objects or situations to re-present them as what they are. just as he re-presents his dogs and their reality for what they really are, which in the current political context makes one wish that every voter in the land should come and view these remarkable works and have their fantasies borrowed from the current President or in opposition to him stripped away to reveal the social reality they distort, a public service which Wegman’s extraordinary achievement in revelation could well carry out, particularly if Trump could somehow be led to watch in lieu of his marathon TV watching and Twitter engagement, which in exactly the opposite way enlarge and inflate his narcissistic fantasies which are so far removed from reality that they risk the nuclear annihilation of the planet according to the 27 psychiatrist authors of the book The Dangerous Case of Donald Trump, a level of influence far beyond the conscious purpose of Wegman himself in fashioning these salutary works, at least according to his self deprecating style in telling his own biography to the assembled press at the preview of this exhibition, where he said that after he didn’t get rehired from his early teaching job he moved to Los Angeles and “begrudgingly” got a dog, dragged him to his studio and “he kept going into everything, he was really interested in what I was doing”, “I was doing work which people understood, even myself, and got into a show, I don’t know how, then I got into dogs and I’ve been happy ever since!,and I am happy to get into the Met, that they accepted it!” he told the press at this preview, a self effacing style that matched his art in which the artist’s ego and the overarching considerations of selling and showing his work let alone its social or political influence are obvious far from his mind, which is exactly why what it teaches is so needed in the Trump era, a return to the sanity of reality from hyperfantasy and all its accompanying baggage of tribalism and fear of other.

Opening at The Metropolitan Museum of Art on January 17, the exhibition Before/On/After: William Wegman and California Conceptualism will survey Conceptual Art as it developed in Southern California in the 1970s. The show is occasioned by the artist William Wegman’s extraordinary recent gift to the Museum of 174 short videos that he made between 1970 and 1999—his entire career in the medium. A 90-minute selection of videos from this gift will be shown along with photographs and drawings by Wegman as well as drawings, prints, and photographs by his contemporaries in Southern California—John Baldessari, Vija Celmins, Douglas Huebler, Ed Ruscha, and others.

Wegman took up video while teaching painting at the University of Illinois in the mid-1960s. Like many artists using the then-new medium, Wegman appreciated video—like photography—for its lo-fi reproducibility and anti-artistic qualities. Also, unlike film, where the negative must be developed and processed before viewing, video was like a sketchbook that allowed revision in real time.

It wasn’t until Wegman moved to Southern California in 1970 that his video production took off. Although he lived in Los Angeles for only three years, the artist found his method: short, staged vignettes using everyday items in which expectations are reversed and puns and homonyms pursued to absurd conclusions. The artist’s key early collaborator for most of these short videos was his dog, a Weimaraner called Man Ray, who enthusiastically participates in the goings-on. In contrast to other early adopters of video, Wegman eschewed an aesthetic of boredom to focus on humorous, improvised scenarios in which he deflated the pretensions of painting and sculpture while also lampooning the pieties and self-seriousness of Conceptual Art—at a time when it was being codified and institutionalized. Beneath the slacker humor, however, are poignant points about failure and the reversal of expectations that resonate with work by other West Coast Conceptualists—the friends and fellow travelers also featured in the exhibition.

Before/On/After: William Wegman and California Conceptualism is organized by Doug Eklund, Curator in the Department of Photographs at The Met.

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Dec 11 Mon 3.30-5.30pm Met Shows The Silver Caesars, Mystery Dish Stand Statuettes from the 1500s (Dec 12 Tue-Mar 11 Sun)

The height of the goldsmith’s art in the 1500s, this figure is of Vespasian, one of the twelve Caesars mounted on a pictorial horizontal dish in the magnificent set of 12 mysterious Aldobrandini Tazze at the Met

The Silver Caesars: A Renaissance Mystery

Extraordinary work by Rennaissance silversmiths in the 1500s, twelve tall dish stands featuring the first twelve Caesars – but who did them, and why?
Some have feet attached by a 19th Century dealer (Can you tell which?)

Rich life portrayals by Rennaissance goldsmiths
White (ungilded ) silver might seem emotionally cold in the imagination but not in this unique collection, for there is something inherent in the match of gilded silver and the art of working it into sculpture and images on a surface in this extraordinary array of small foot high Caesars on top of wide dish pedestals that transcends its very high craft quality, and the brilliant display produced by curator Julia Siemon, that addresses the viewer heart to heart, a warmth that pervades the craftsmanship that speaks of its roots in the lost sixteenth century workshop where it was produced – the source is a great mystery but Siemon says that the Netherlands or Flanders is the likely region, since the sheer erudition involved and the busy-ness or
horror vacui with which their surfaces are filled is unlikely to be Italian or German – at a time when such work was still human to human, bench to home, as it were, though in this case for a very noble or royal client, but still visibly a craft which while superb technically addresses the viewer as directly as a child’s history book, with a similar focus on people, in this case the first twelve Caesars, twelve Roman emperors in their costumes, whose small figures pose on short stands in the center of wide dish cups whose surface is worked with special skill to portray scenes from their imperial lives, though notably choosing only positive scenes reflecting their assumed glory, where Vespassian for example, who ruled from AD 69-79, is shown as he spits in the eye of a blind man, and touches a lame man’s leg with his heel (two acts which miraculously cured the two supplicants of their ailments), or seated at breakfast when a stray dog brings in a human hand and drops it under the table, a good omen of future power, or in triumphal procession after his military victory over the Jews in AD 68.

Hi-res photos of individual scenes from the dishes are projected overhead to clarify the images, in this case the rooster that settled on Vitellius' shoulder and then stood on his head while he judged at a tribunal in Vienna

Hi-res photos of individual scenes from the dishes are projected overhead to clarify the images, in this case the rooster that settled on Vitellius’ shoulder and then stood on his head while he judged at a tribunal in Vienna

all drawn on paper then pricked in outline on the silver plate before being embossed and lightly gilded in the sixteenth century manner, and now collected and displayed by the Met with for the first time the right dish matched with the right Emperor, after their components got mixed up over the centuries, with their stories explained by finding the references in Suetonius’s history of Rome that the craftsmen drew upon, a copy of which is displayed too, where just a few lines give rise to an image, some of the larger ones embellished with Renaissance houses and townscapes in the background, with enhanced digital displays of two tazze on an upper wall with narration by Classicist Mary Beard of Cambridge also placed on the Net’s website.

The foot tall figures of the Caesars – here, Augustus – are mounted on dishes into which are moulded scenes from their lives

(Met:) The superb technical virtuosity of Renaissance silversmiths is nowhere more evident than in the magnificent set of 12 silver-gilt standing cups from the 16th century known collectively as the Aldobrandini Tazze. Each of the Tazze stands over a foot tall and features a shallow footed dish surmounted by a figure of one of the first 12 Caesars. On the intricately wrought interior of each dish appear four episodes from the life of the corresponding ruler, as recounted by the Roman historian Suetonius. Although the Tazze are among the finest and rarest examples of 16th-century European silverwork, little is known about their creation. The questions of when, where, why, for whom, and by whom these splendid luxury objects were made will be addressed in the exhibition The Silver Caesars: A Renaissance Mystery, opening December 12 at The Metropolitan Museum of Art. The complete set has not been seen together since the mid-19th century, when it was disassembled and dispersed, its constituent parts misidentified and mismatched. In addition, the elements of all 12 Tazze will be displayed in their original configuration—a unique opportunity for modern viewers to appreciate one of the most enigmatic monuments of in the work of 16th-century goldsmiths.

The exhibition is made possible by The Schroder Foundation, Selim K. Zilkha, the Anna-Maria and Stephen Kellen Foundation, Nina von Maltzahn, and an anonymous donor.

The Silver Caesars will highlight the elegance and astonishing erudition of the Tazze, presenting them with a small selection of other works in silver and other media, including both ancient and Renaissance coins and medals and Renaissance prints, books, and paintings. The exhibition will consider such topics as 19th-century views of the Renaissance and Renaissance views of ancient Rome. Examples of 19th-century works that the Tazze inspired will be included. In addition to offering new insights into the Tazze and their history, the exhibition will explore the set’s famously mysterious reputation—engaging the visitor in tracing clues that may lead to a better understanding of this Renaissance masterpiece.

Within the exhibition, a digital component featuring high-resolution photography of two Tazze will enable visitors to explore these works and their fantastic antiquarian imagery in greater depth. This material, including narration by Mary Beard, Professor of Classics, University of Cambridge, will also be available on The Met website.

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Dec 6 Wed Daniel Ellsberg at Barnes and Noble 86 St on The Doomsday Machine, warning of human extinction

Daniel Ellsberg is predicting the end of the human race if the current nuclear plans are not changed at the top level he used to work in, so why is he smiling so blithely?

Barnes and Noble 86 St and Lexington: Daniel Ellsberg Dec 6 Wed 7pm on The Doomsday Machine: Confessions of a Nuclear War Planner. The Author of Secrets: A Memoir of Vietnam and the Pentagon Papers talks of the planetary danger of America’s beyond Top Secret nuclear policy.

Having won the lasting gratitude of the American public for destroying their illusory trust in the federal government’s competence and truthfulness in prosecuting war with the Pentagon Papers revelation fifty years ago, Daniel Ellsberg is back with an even more damning and fearsome revelation, how Washington has been risking human annihilation for seventy years with insane plans for all out nuclear preemptive attack against Russia which were formulated by Strategic Air Command under Eisenhower and have remained unchanged in seventy years, according to Ellsberg, an ongoing threat of human extinction now escalated with the unpredictable current President’s hands on the firing button, as well as many other officials with the same powers, all based on documents Ellsberg copied at the time of the Pentagon Papers over fifty years ago but buried and eventually lost in a garbage dump as he fought his initial battle as the world’s most public spirited official breakaway, but when added to his inside experience at the top levels of command putting us closer to midnight on the clock of human extinction than ever before right at this moment, all laid out with alarming brilliance in his new book from Bloomsbury, The Doomsday Machine: Confessions of a Nuclear War Planner, which is so disastrous in its implications for the very survival of the human race that many may wish the world champion whistleblower had prioritized it over the Pentagon Papers, since it involves the fate of all humanity rather than simply the deaths of mere millions in the Vietnam war.

Daniel Ellsberg is about to announce the possible extinction of the human race, but doesn’t seem too worried

Last night the author bounded on stage in what seemed a remarkably cheerful mood to first execute a couple of magic tricks.

The author of the Doomsday Machine can make handkerchiefs disappear and reappear, but not the Doomsday Machine at the Strategic Air Command

With accomplished sleight of hand Ellsberg made two red and green handkerchiefs disappear and reappear, and then he explained why he hadn’t mentioned all this insanity before, when half a century ago he felt ethically impelled to defend the US constitution and risk prison by taking the lid off the idiocy, criminality and deceit of Vietnam policy. He told us that he had written out early chapters around 2000 and given it to the editor of his autobiography Secrets but it simply didn’t fit and needed its own book, which is certainly true, this impressively thorough and intelligently written book may be the most important release of the year if not the decade, since it recounts the madhouse stupidity of Eisenhower’s early nuclear strategy in which any major attack from Russia was to be met by missiles on thousands of cities in Russia, China and Eastern Europe, preempting any possible counter, and involving the death of 600 million, according to the answer to a question which only Ellsberg thought to ask, an insanity which according to Ellsberg remains unchanged policy at this moment, a disgraceful extension of the World War II change in war tactics detailed in his book where civilian populations became primary targets of German, British and finally American bombing from above at night, a strategy of ruthless extermination of innocent bystanders of government warmongering and diplomatic clumsiness which continues to this day and on the nuclear level involves the same insane plan for all out attack which research has now shown would amount to the complete destruction of human life in nuclear winter and starvation.

Asleep at the switch? Daniel Ellsberg needs you to wake up and do something before it is too late to save all of us on earth

This dire prospect seemed to run counter to Ellsberg’s fluent bonhomie in retailing it to a packed audience in Barnes and Noble’s underground book talk room of mostly gray haired male shut ins from the look of them, so we felt impelled to ask him why he seemed so inordinately cheerful when predicting our extinction, was it because he felt our luck would hold, or that the absurdity of the generals’ thinking was so outrageous that one could only laugh, or was it because he personally was due to leave the planet anyway soon, or was it to make his dire message palatable enough that people would listen and act, or was it that he had faith that the intelligence of his critique would prevail when intelligence hadn’t had any effect for fifty years? To which he replied in public and afterwards that he had no faith that intelligence would hold sway in the future any more than it had in the past, but he still had dwindling hope that things would work out, and he did not want to seem hysterical though in fact that was entirely appropriate, and his smiles otherwise only reflected the presence of his wife and other family who had come in support.

In fact however his real feeling was one of what Martin Luther King called “the fierce urgency of now”, and that it was up to us to wake up and do something about it now before it was too late, to be the “silence breakers” in the same way as the women who were now coming forward to expose the vulgar and criminal depredations of the Weinsteins of the world, to the great surprise of many men to whom they had never confided their oppression in the past.

Among the handful of young people listening to Ellsberg’s appeal were two of his grandchildren, but where were the rest of his audience needed to save us from his prediction of nuclear doom?

Looking around the room full of gray hairs – at least two men seemed to doze off during his talk – one wondered if he would have any more success in breaking the denialist apathy of the bulk of the democracy in which we live than other intelligent critics of the status quo, even though the legendary whistle blower may now be sounding the greatest warning in history – or the death knell of civilisation and human existence..

If you can’t be bothered to read Ellsberg’s book and try to save the world from the SAC, or are too afraid to, maybe this will soon get your attention: Shell, a replica of the biggest detonated Soviet nuclear bomb AN-602 (Tsar-Bomb), on display in Moscow, Russia, August 31, 2015

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Dec 4 Mon Met: Society and Fashion Photographs by Adolf de Meyer (December 4, 2017–March 18, 2018)

Patron of the avant-garde, Count Etienne de Beaumont, in his Paris townhouse, scene of legendary masquerade balls "of unsurpassed magnifience" attended by artists such as Cocteau, Picasso, and Man Ray c1923, gelatin silver print. Adolf de Meyer (American [born France], 1868–1946). Etienne de Beaumont (detail), ca. 1923. Gelatin silver print, 9 5/16 x 7 5/16 in. (23.7 x 18.6 cm). The Metropolitan Museum of Art, New York, Gift of Paul F. Walter, 2008 (2009.460.7)

Patron of the avant-garde, Count Etienne de Beaumont, in his Paris townhouse, scene of legendary masquerade balls “of unsurpassed magnificence” attended by artists such as Cocteau, Picasso, and Man Ray c1923, gelatin silver print. Adolf de Meyer (American [born France], 1868–1946). Etienne de Beaumont (detail), ca. 1923. Gelatin silver print, 9 5/16 x 7 5/16 in. (23.7 x 18.6 cm). The Metropolitan Museum of Art, New York, Gift of Paul F. Walter, 2008 (2009.460.7)

Brilliance of Slow Photography
Unless you look for it you may pass by this gem of an exhibition in the Howard Gilman Gallery, the first gallery on the right on the second floor of the Met (take the elevators at the small southern entrance up to the great corridor of the B. Gerald Cantor Sculpture Gallery now wholly taken over by Rodin) but like a backwater off a broad and turbulent river, you’ll find a singular oasis of calmness and depth which will transport you if you pay it careful attention into a different artistic universe, one of exquisite finesse and timeless aesthetic at the peak of what one might label ‘slow photography’, the period between 1900 and the 1930s in which the aristocratic, gay, Paris-born de Meyer flourished as a master of still lifes, portraits of his high society friends (including here is a serpent long Josephine Baker from 1925) and eventually after the start of World War I in New York trailblazing fashion exposures which graced the pages of Vogue, Harpers Bazaar and other clothing bibles of the time with such extraordinary beauty that they appear to occupy a higher realm than the temporary preoccupations of the text, his images early admired by Stieglitz eventually driving Cecil Beaton to exclaim that De Moyer had created “a new universe”, using tricks such as a light bulb under a model’s skirt or draping gauze over the camera, which can here be seen in copies of the magazine displayed in the floor cabinet of this essential exhibition, mounted by curator Beth Saunders from the Met’s own collection, including his 1912 series of the then scandalously sexy Ballets Russes Afternoon of a Faun by Nijinsky and Debussy, plus one of the seven copies left of the 1914 edition of the handcrafted book of thirty collotypes that resulted, though none of the images on the walls here are very erotic, or sensational in any way, only repaying quiet attention and contemplation to yield their virtues fully otherwise hidden from the impatient, here joined as well by his early experiment in autochrome color in 1907 featuring Tamara Karsavina of the Baller Russe, originally as a colored glass plate which has to be illuminated from behind, but here as a facsimile transparency, still with a rather special effect, but like all of these aesthetically resonant works its real quality is only apparent if you gaze upon it for a significant time.

De Meyer tried autochrome at its inception in `1907 in this study of Tamara Karsavina of the Ballets Russe at an English estate, and the colored glass plate is approximated in the exhibition with a transparency.

De Meyer tried autochrome at its inception in `1907 in this study of Tamara Karsavina of the Ballets Russe at an English estate, and the colored glass plate is approximated in the exhibition with a transparency.

The illuminated stability and beauty of de Meyer's work for New York's Harpers Bazaar is only fully apparent in the exhibition

The illuminated stability and beauty of de Meyer’s work for New York’s Harpers Bazaar is only fully apparent in the exhibition

Quicksilver Brilliance: Adolf de Meyer Photographs at the Met’s Howard Gilman Gallery (852)

A member of the “international set” in fin-de-siècle Europe, Baron Adolf de Meyer (1868–1946) was also a pioneering art, portrait, and fashion photographer, known for creating images that transformed reality into a beautiful fantasy. The “quicksilver brilliance” that characterized de Meyer’s art led fellow photographer Cecil Beaton to dub him the “Debussy of the Camera.”

Opening December 4 at The Metropolitan Museum of Art, Quicksilver Brilliance: Adolf de Meyer Photographs will be the first museum exhibition devoted to the artist in more than 20 years and the first ever at The Met. Some 40 works, drawn entirely from The Met collection, will reveal the impressive breadth of his career.

The exhibition will include dazzling portraits of well-known figures of his time: the American socialite Rita de Acosta Lydig; art patron and designer Count Étienne de Beaumont; aristocrat and society hostess Lady Ottoline Morrell; and celebrated entertainer Josephine Baker, among others.

A highlight of the presentation will be an exceptional book—one of only seven known copies—documenting Nijinsky’s scandalous 1912 ballet L’Après-Midi d’un Faune. This rare album represents de Meyer’s great success in capturing the choreography of dance, a breakthrough in the history of photography. Also on view will be the artist’s early snapshots made in Japan, experiments with color processes, and inventive fashion photographs.

Born in Paris and educated in Germany, de Meyer was of obscure aristocratic German-Jewish and Scottish ancestry. He and his wife, Olga Caracciolo, goddaughter of Edward VII, were at the center of London’s café society.
After starting in photography as an amateur, de Meyer gained recognition as a leading figure of Pictorialism and a member of the photographic society known as the Linked Ring Brotherhood in London. Alfred Stieglitz exhibited de Meyer’s work in his Little Galleries of the Photo-Secession and published his images as photogravures in his influential journal Camera Work.

At the outbreak of World War I, de Meyer settled in the United States and applied his distinctive vision to fashion as the first staff photographer at Vogue and Vanity Fair, and later at Harper’s Bazaar, helping to define the genre during the interwar period.

The exhibition was organized by Beth Saunders, Assistant Curator in The Met’s Department of Photographs.
The exhibition will be featured on the Museum’s website, as well as on Facebook, Instagram, and Twitter.

Exhibition Dates:
December 4, 2017–March 18, 2018
Exhibition Location:
The Met Fifth Avenue, Floor 2, The Howard Gilman Gallery, Gallery 852

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Nov 30 Thu 7-9pm The ‘Doomed Earth’ Controversy – NYU Journalism Arthur L. Carter Journalism Institute 7th Floor Commons 20 Cooper Square, NY

The ‘Doomed Earth’ Controversy – NYU Journalism
journalism.nyu.edu
The author of the controversial New York magazine cover story about worst-case climate scenarios in conversation with a prominent critic

The ‘Doomed Earth’ Controversy

November 30th, 2017
7:00-9:00PM
Arthur L. Carter Journalism Institute
7th Floor Commons
20 Cooper Square, NY

Kavli Conversations

Kavli Conversations are hosted by NYU’s Science, Health and Environmental Reporting Program with support from the Kavli Foundation. Events are open to the public. Webcast will begin at 7:30pm.

Speakers

David Wallace-Wells is a features editor at New York magazine and the former deputy editor of the Paris Review. In addition to climate, he has written recently about gene editing and honeybee die-offs.

Michael Mann is a climatologist and the director of the Earth System Science Center at Pennsylvania State University. His books include The Hockey Stick and the Climate Wars, Dire Predictions, and The Madhouse Effect

Moderator

Robert Lee Hotz is a science writer at the Wall Street Journal and a Distinguished Writer in Residence at the Carter Institute of Journalism at NYU. He is the president of the Alicia Patterson Foundation, which funds independent journalism projects around the world, and an elected Fellow of the American Association for the Advancement of Science.

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Nov 29 Wed 6pm-10pm Inspired by firefly illuminated courtyard scene in Festa di Laurea (Graduation Party) film by Pupi Avati, Lucciola opens at 621 Amsterdam Ave

The spirit of Bologna moves Lucciola in cuisine and art in memory of the passion and soul of the actor Nik Novecento, who embodied the values of Bologna in his courage, and kindness, though he died young and his friends have created a place in New York where he could have come and spent time.

New York (November 2017) LUCCIOLA opens its doors at 6:00 p.m. this Wednesday, November 29th, 2017

LUCCIOLA is the exciting new Italian restaurant in Manhattan¹s UWS neighborhood launched by Michele Casadei Massari, Alberto Ghezzi and Gianluca Capozzi, with co-founders Erica Monti and Luca Filicori.

LUCCIOLA is an homage to their hometown of Bologna ­ its cuisine, its cinematic history, a city of dreams brought to life here in New York City. Lucciola is the Italian word for Firefly, that wonderful insect that glows in the dark.

The dishes, the atmosphere, and the overall concept of LUCCIOLA specifically takes inspiration from the film ³Festa di Laurea,² directed by Pupi Avati. The restaurant reflects the nostalgic and romantic mood of Bologna that Avati depicted, especially his famous courtyard scene where the simple illumination was reminiscent of fireflies. LUCCIOLA is located down the street from Central Park, where the most fireflies can be found in the city.

LUCCIOLA is dedicated to the actor in Avati¹s film, Nik Novecento, who embodied the values of Bologna, from his passion, soul, courageousness, and kindness. Novecento died at a young age and to commemorate his memory they have created a place in New York where he could have come and spent time.

LUCCIOLA also provides a new space for Italian artists to express themselves: Marco Gallotta is the creator and designer of the wallpaper and artworks; Marina Vanni e Cristina Guidoni from StudioEmporioHome (based in Savigno, Bologna) designed “Madre Lucciola” lamp inspired and in memory of Nik Novecento.

The LUCCIOLA menu features a front page replica of Corriere della Sera from February 1st, 1975, in which legendary film director Pier Paolo Pasolini published one of his last pieces just months before he was murdered. Pasolini utilized “lucciole” as a symbol and metaphor of part of our society.

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Nov 29 Wed 6-7.30pm NYAM Medical Sleuthing Panel of Three Writers

Tuesday 11/29
The Sherlock Holmes of Non-Fiction Medical Writers
6:00 PM – 7:30 PM
Speaker: D.T. Max, staff writer at The New Yorker; Lisa Sanders, MD, internist and professor at Yale School of Medicine; Randi Hutter Epstein, MD, MPH, adjunct professor at Columbia University Graduate School of Journalism and a lecturer at Yale University

Medical diagnosis is detective work. In his book, The Family Who Couldn’t Sleep, D.T. Max unfolds a medical mystery of a noble Venetian family whose offspring suffered from fatal insomnia. Physician and New York Times columnist Lisa Sanders takes readers on a biweekly journey of medical investigation in the Diagnosis series, which inspired the hit T.V. series House MD starring Hugh Laurie. Academy Fellow Randi Hutter Epstein moderates a discussion with these two award-winning writers, exploring not only the mysteries behind diagnosis but the process of turning medical sleuthing into riveting narratives.

About the Speakers

D.T. Max is a staff writer at The New Yorker. He is the author of The Family That Couldn’t Sleep: A Medical Mystery, which Natalie Angier, writing in the New York Times Book Review, called “gripping, cleanly written, cannily plotted and elegantly educational…. The book brims with great tales.” He also wrote Every Love Story Is A Ghost Story: A Life of David Foster Wallace, published in 2012, which was a New York Times bestseller. He lives in New Jersey.

Lisa Sanders is an internist on the faculty of Yale School of Medicine and teaches in the Primary Care Internal Medicine residency program there. In her spare time she writes the biweekly Diagnosis column for the New York Times Magazine. Her column was the inspiration for the hit television series House MD and she was an advisor for the show. She is the author of the New York Times best seller, Every Patient Tells a Story. Before Sanders came to medical school she was an Emmy award winning producer for CBS News. She is currently at work on a book on diagnostic error.

Randi Hutter Epstein, MD, MPH is a medical writer, adjunct professor at Columbia University Graduate School of Journalism and a lecturer at Yale University. She earned a BS from The University of Pennsylvania, M.S. from the Graduate School of Journalism, Columbia University; an MD.from Yale University School of Medicine, and an MPH from the Mailman School of Public Health, Columbia University. Randi worked as a medical writer for the London bureau of The Associated Press and was the London bureau chief of Physicians’ Weekly. Her articles have appeared in the New York Times, The Washington Post, The Daily Telegraph, The Guardian, Parents, More, among other newspapers and magazines. Get Me Out: A History of Childbirth from the Garden of Eden to the Sperm Bank is her first book.

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Nov 20 Mon David Hockney, 80, Major Retrospective at the Met

Large Interior - by David Hockney

Large Interior – by David Hockney

For nearly 60 years, David Hockney (British, born 1937) has pursued a singular career with a love for painting and its intrinsic challenges. This major retrospective—the exhibition’s only North American venue—will honor the artist in his 80th year by presenting his most iconic works and key moments of his career from 1960 to the present.

Working in a wide range of media with equal measures of wit and intelligence, Hockney has examined, probed, and questioned how to capture the perceived world of movement, space, and time in two dimensions. The exhibition will offer a grand overview of the artist’s achievements across all media, including painting, drawing, photography, and video. From his early experiments with modernist abstraction and mid-career experiments with illusion and realism, to his most recent, jewel-toned landscapes, Hockney has consistently explored the nature of perception and representation with both intellectual rigor and sheer delight in the act of looking.

The exhibition is made possible in part by The Horace W. Goldsmith Foundation, The Jay Pritzker Foundation, the Jane and Robert Carroll Fund, and the Aaron I. Fleischman and Lin Lougheed Fund.

It is supported by an Indemnity from the Federal Council on the Arts and the Humanities.

It is organized collaboratively by Tate Britain, London; the Centre Pompidou, Paris; and The Metropolitan Museum of Art, New York.

On view at The Met Fifth Avenue in Gallery 999

Exhibition Dates: November 27, 2017–February 25, 2018
Exhibition Location: Iris and B. Gerald Cantor Galleries, Gallery 999

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Nov 18 Sat 7pm Filling a great hall magnificently: 550 Singers including 300 schoolchildren in Mahler’s Eighth and Rollo Dilworth Premiere at Carnegie Hall

Magnificent Choral Event

Magnificent Choral Event

Mahler Symphony No 8 and Bound for Glory by Dilworth

Mahler Symphony No 8 and Bound for Glory by Dilworth

Resounding triumph of sound and musicality
Last night it was hard to imagine a more splendidly rich and yet softly beautiful sound filling Carnegie Hall than the combined forces of the orchestra, the Canterbury choir on the great stage and the ranks of the many school children filling two levels of the fabled hall above the heads of the parquet audience as they played and sang the first part of Mahler’s tremendous Eighth, yet the two major works which bookended the first section of this most huge and renowned of Mahler’s works in this extraordinary concert were perhaps the most pleasing of the evening, namely the premiere of Rollo Dilworth’s Bound For Glory, a set of works based on folk songs and the most famous spirituals of his African-American heritage, featuring his superb orchestration of This Train is Bound for Glory and four other works which proved Dilworth’s amazing grace in substituting classical music’s expansive armory of violins, brass and timpani and a massed choir for the more basic instruments and small human congregations that gave them birth, revealing how they ranked with the greatest music in any form, and then after the intermission the long finale of the evening was the second part of the Eighth, Mahler’s scoring of the final scene from Goethe’s Faust, Part II, an abridgment which is still huge in power and length and yet which like Rollo Dilworth’s masterwork also spoke to the ear and heart more convincingly than the at times overly dramatic first part of the Eighth, completing Mahler’s seminal masterpiece whose premiere was the high point of his career, featuring a quieter and more accessible appeal possibly because Mahler was the greatest opera conductor of his day, and also perhaps because it is generally less demanding of the soloists in the upper register, and possibly also because conductor Jonathan de Vries seemed to have had the vast numbers of soloists, instrumentalists and voices high and low in hand more completely than in the great but very demanding first part of the symphony, but whatever the reasons for any differences certainly the upshot was that all three works made for what has to be one of the most stirring, interesting and satisfying evenings that the great acoustics of the hall have served for some time. – AL

CANTERBURY CELEBRATES 65 TH ANNIVERSARY WITH PERFORMANCE OF MAHLER’S EIGHTH SYMPHONY AND WORLD PREMIERE OF WORK BY ROLLO DILWORTH – 550 SINGERS INCLUDING 300 CHILDREN WILL PERFORM

For the first time in its 65-year history, Canterbury Choral Society, under the baton of conductor Jonathan De Vries, has commissioned a new choral work by a prominent American contemporary composer, Rollo Dilworth.

On November 18, 2017 at 7pm Canterbury Choral Society and Monmouth Civic Chorus will perform Gustav Mahler’s magnificent Eighth Symphony in Stern Auditorium/Perelman Stage at Carnegie Hall in New York. They will be joined by over 300 children from 9 schools and churches in the City.

Composer Rollo Dilworth

Composer Rollo Dilworth

In addition, composer Rollo Dilworth has written a choral piece, “Bound for Glory”especially for the occasion.

“This is a five-movement work that celebrates the influences of African musicaltraditions on Am erican folk tunes, European melodies and the African America spiritual. These genres of music communicate the common themes of faith, hope and perseverance,” says Dilworth.

Gustav Mahler’s Eighth Symphony, known as “The Symphony of a Thousand”, requires elaborate staging and a double adult chorus. The children provide the angelic “heavenly” voices.

“Canterbury has a long history of children singing in choral concerts. We commissioned Rollo Dilworth’s work to commemorate that tradition” says Conductor Jonathan De Vries. “The idea of a Faustian journey of redemption is where this concept first began. The feeling of a heavenly journey in both Mahler and Dilworth’s work is exciting to consider. “

Soloists participating are: Angela Fout, Jennifer Grimaldi and Jolle Greenleaf, Sopra nos, Fredrika Brillembourg and Sara Murphy, Mezzo-Sopranos; John Matthew Myers, Tenor, Sidney Outlaw, Bass-Baritone and Matthew Anchel, Bass.

CANTERBURY CELEBRATES 65TH ANNIVERSARY WITH PERFORMANCE OF MAHLER’S EIGHTH SYMPHONY AND WORLD PREMIERE OF WORK BY ROLLO DILWORTH 550 SINGERS INCLUDING 300 CHILDREN WILL PERFORM

CANTERBURY CELEBRATES 65TH ANNIVERSARY WITH PERFORMANCE OF MAHLER’S EIGHTH SYMPHONY AND WORLD PREMIERE OF WORK BY ROLLO DILWORTH 550 SINGERS INCLUDING 300 CHILDREN WILL PERFORM

A 300-voice children’s choir will join in the performance. Young choristers from five New York area schools, and youth choral groups from four churches will sing. The schools include Brearley, Spence, St. Hilda’s and St. Hugh’s, Trevor Day, Kaufman Music Center; the churches are the Church of the Heavenly Rest, St. Bartholomew’s, Trinity Church Wall Street, and New Amsterdam Boys and Girls Choir in New York City.

Mahler’s Eighth Symphony is in two movements. The first is a setting of the 9 th Century Latin hymn Veni Creator Spiritus. The second movement is sung in German and is taken from Goethe’s Faust Part Two, published posthumously in 1832.

Almost all of the Eighth Symphony was created by Austrian composer Gustav Mahler in the summer of 1906. Inspiration came to him quite suddenly in his studio. “It was a vision that struck me like lightning—-the whole immediately before my eyes. I had only to write it down, as though it has just been dictated to me,” he wrote. Mahler not only composed new music for the medieval hymn, but conceived of the conceptual link to Goethe’s Faust, joining the texts together in an innovative symphony that borrowed elements from sacred oratorio and dramatic opera.

Tickets for Canterbury Choral Society’s performance of Mahler’s Eighth Symphony are now on sale at the Carnegie Hall Box Office at 57th Street and Seventh Avenue, at www.carnegiehall.org , or by calling Carnegie Charge at 212-247- 7800. Prices range from $35 to $100.

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Nov 17 Fri Molly Barnes Presents Dealer George Billis of LA and NYC and Red Dot Art Fair in Miami

Bruce Everett

The George Billis Gallery is an exhibition space with locations in New York City and Los Angeles.

After establishing a successful contemporary art gallery in New York, George Billis opened his Los Angeles gallery in 2004. With galleries in Chelsea and Culver City, George Billis Gallery provides a dynamic exchange of contemporary artists between the art centers of New York and Los Angeles. The gallery shows painting, photography, sculpture, and mixed media works and is dedicated predominantly to exhibiting emerging to mid-career artists with a focus on Southern California artists.

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Nov 16 Thu Noon-2pm Molly Barnes Presents Marilyn Church, Painter and Court Sketch Artist, at Roger Smith

EDGEOFSILENCE38X56ACRYLICMARILYNCHURCH

EDGEOFSILENCE38X56ACRYLICMARILYNCHURCH

Nov 16 Thu Noon-2pm Molly Barnes Presents Marilyn Church, Court Sketch Artist and Painter, at Roger Smith

My focus and fascination is the abstraction of the figure – a continuous theme throughout my career as an artist.
The figure and its emotional impact always resonated for me as a courtroom artist and found its way into my work as a fine artist.
But in my painting and mixed media works, I am freed from any boundaries and am more open to intuition, dream images and improvisation.
In this process of discovery, a narrative eventually emerges, however illusive it appears. It is often cloaked in mystery, eroticism and ambiguity.

Marilyn Church , May 2015

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Nov 14 Tue 10am AMNH Our Senses: An Immersive Experience

The AMNH will play with your senses

The AMNH will play with your senses

Fun challenges can teach how the brain can be fooled

In the Wavy Room, the floor and walls seem to be less than flat, but they are not

The tricks our senses play upon our minds may be the most interesting aspect of this diverting and thorough survey of how the senses form our perceptions with the help of the brain, in particular a display towards the end of the 11 room array of different activities from Seeing, Detecting, Hearing to Touch and Smelling where the Wavy Room, whose walls and floor are covered with a network of distorting lines that will disorient your sense of balance, leads into “Correcting”, another ‘exploration room’, a gallery of exhibits which “demonstrate the role of the brain in processing sensory information to construct its view of the world”, where one wall display presents an image of a checkerboard partly in the shadow of an object,

According to Rob DeSalle, the curator of the AMNH’s Or Senses. squares A and B are the same shade and if we think not, our brain is playing a trick – but our camera seems to prove him wrong!

where the alternating squares are all in fact the same alternating tonal density of light or dark, but where your brain will insist on interpreting one dark square in the shadow as lighter than another dark square outside the shadow, and despite the statement accompanying it which explains the phenomenon is an illusion, you will find your brain will refuse to correct the impression, however long you look, but don’t make the mistake of thinking that curator Rob Desalle of Invertebrate Zoology has got it wrong, but instead accept it as powerful evidence of how much the brain can distort our understanding of what we are witnessing, as it attempts to correct a sensory impression by creating a misleading one,

Rob should know – he oversaw the Brain:The Inside Story earlier – but your brain may still challenge his guidance that square A is the same color as Square B!

even though your camera shows otherwise, which together with other examples in this room will teach why eye witness accounts are so often mistaken in court cases and must not be treated as gospel, a theme which is taken up on the Museum’s science website for kids, OLogy, where there is now Trip Up Your Brain, a feature on optical illusions and what they reveal about the human brain and our evolutionary past.

Perhaps this shot will persuade you that your brain is changing what you perceive to suit your preconceptions - the separate piece matching A placed on the B square now seems to match its darker tone.

Perhaps this shot will persuade you that your brain is changing what you perceive to suit your preconceptions – the separate piece matching A placed on the B square now seems to match its darker tone.

(AMNH:) Every day, we perceive the world around us through some or all of our senses—including sight, smell, hearing, touch, taste, and balance. Every ring of the alarm clock, whiff of breakfast, or step on a cold tile floor—all are detected by specialized sensory cells that send nerve signals to your brain. But as it turns out, for humans “reality” isn’t ever exactly what it seems to be. In an upcoming highly experiential exhibition at the Museum, funhouse-like spaces will dare visitors to trust their senses—then show how or why what we perceive is not simply what is occurring around us.

Our Senses: An Immersive Experience delves into how our brains, adapted over millennia to help our ancestors survive their environments, work with sensory organs to shape and reframe our perceptions of everyday encounters. And it reveals how until recently in our evolutionary history, humans have been oblivious to nature’s other ubiquitous signals, including UV light, infrared sounds, and electrical fields. With the advent of new technologies, scientists now know those signals are all around us—just not perceptible to us through our senses alone.

Our Senses will let visitors explore eleven interactive galleries designed to test our perceptions. A room with changing lights will reveal a series of different images depending on which light—red, blue, or green—shines at any given moment. Another space—this time in black and white—will let visitors discover what happens when our senses disagree: the eyes will see walls and a floor that appear to curve and ripple but the feet will feel a flat surface beneath. (Some visitors may feel off balance, but will be able to bypass the gallery if they prefer.)

Other exhibition highlights include a garden that can be explored through the eyes of a bee or a butterfly, revealing what other animals see when they encounter flowering plants; an audio collage challenging visitors to test their skill at tracking individual sounds, a real-time demonstration of how your brain’s primary task is to sort through the stimulating world around you and select the right information on which to focus your attention; and a variety of experiences that showcase how our brains are wired to prioritize certain signals and focus on particular cues and details, such as movement or human faces. A smell test will invite visitors to unpack the fragrance notes in a complex scent, since what we perceive as a particular odor is actually a symphony of smells. A section on attention will focus on how seemingly unrelated information can shape what you see and hear—and how, when focusing on one item, other, obvious items may be missed. Other areas of the exhibition will delve into how our brain works to create our perception of “reality” by filling in gaps, resolving conflicts, correcting errors, and using scraps of information to trigger memories.

In addition, a live presentation will address why our senses are essential to our survival, how the senses and world views of other species differ from ours, and what’s truly unique about human perception, including sensory integration, language, art, and music.

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Nov 13 Mon 7pm Tina Brown at Barnes and Noble 86th St

Tina Brown on Vanity Fair and NYC in the Eighties

Tina Brown on Vanity Fair and NYC in the Eighties

Tina Brown
The Vanity Fair Diaries: 1983 – 1992
Band N Author Event (Biography)
Monday November 13, 2017 7:00 PM
Lex/East 86 St

Tina Brown’s delicious daily diaries kept throughout her eight spectacular years as editor-in-chief of Vanity Fair provide an incendiary portrait of the flash and dash and power brokering of the excessive Eighties in New York and Hollywood. Here are the inside stories of Vanity Fair scoops and covers that sold millions as Brown triumphantly reinvented the failing magazine.

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