Apr 21 Fri-22 Sat Evidence: An Interdisciplinary Conversation about Knowing and Certainty Columbia Law School, Jerome Greene Hall, Room 103

A Conference on Data Which One Hopes Will Not Ignore Theoretical Problems


Bad Evidence Convicts Many

In a conference offering a rich trove of academic treasure for seekers of truths about how data can be used and misused in the new information society, the Saturday keynote by evidence scholar Jennifer Mnookin stood out as the crowning jewel for its revealing strictures on the status quo, as the Law Professor and Dean of the UCLA School of Law and currently a dominant expert on the quality of forensic science and expert testimony held forth on the parlous state of evidence analysis and expert testimony in criminal law courts across the land, where DNA evidence is really the only area properly validated by science, and that only after initial problems were solved by revision, and bullet tracing, hair analysis, fingerprints, handwriting and other proofs given in testimony by so called “experts” or the FBI are in fact still fundamentally subjective and as yet unbacked by scientific analysis and review, so that typical claims of their expertise being informed by experience of even thousands of cases are contrary to reason and without scientific validation through empirical testing, yet these false proofs are presented by prosecutors and accepted by judges and routinely result in convictions without justification, resulting in possibly hundreds of thousands of people in jail for years who may well be innocent, just as 20,000 drug convictions are to be cancelled in Massachusetts after authorities found in 2013 that lab tests were never carried out by a chemist on whom the courts had relied for years, all pointing to a dire state of disrepair in our justice system which has been revealed by two major reports in the last few years, a highly critical National Research Council report on the state of the forensic sciences in 2009, and the last one in September 2016 for Obama, President’s Council of Advisors on Science and Technology or PCAST report (Mnoonin was co-chair), which have met only contradiction and resistance by expert witnesses with their livelihoods at stake and other vested interests including overburdened and insufficiently responsible judges, not to mention the bureaucracy of the Department of Justice which not only fought their conclusions with disparagement and claims of studies overlooked which have proved unable to be located, but now with the ascendance of Trump and Jeff Sessions as the head of the Department, the commission has been ended and all scientific review and recommendations of revision of evidence standards has been cancelled, as if they were an unacceptable burden on normal business, though when asked after her illuminating and detailed presentation how all the error could be corrected if she were substituted for Sessions, Dean Mnookin replied that the great need was for the Department of Justice to do exactly the opposite and undertake intensive examination of all such proofs offered by expert witnesses to see how their procedures matched scientific research, and found one questioner congratulating her that “ethically, you are doing a wonderful thing!”.

Evidence: An Interdisciplinary Conversation about Knowing and Certainty
April 21-22, 2017
Columbia Law School, Jerome Greene Hall, Room 103
435 West 116th Street
New York City

This event features a Keynote address from World Poker Champion Annie Duke – The Paradox of Evidence: Lessons from the Poker Table. Separate registration is required for this event.

The conference will bring together academic scholars and scientists, public policy makers, non-governmental advocates, and media experts to discuss the state of “evidence” today. Our goal is to examine the use of evidence – from massive data sets to individual case studies – within and across the disciplines. What counts as evidence in different fields? Why do some disciplines have explicit and broadly-shared norms of evidence gathering and use, while other disciplines are guided by more implicit evidentiary customs? Why do evidentiary norms change over time in a given discipline, and are these changes better explained by internal, theoretical developments or external, social factors? What happens when new theories outpace a discipline’s current evidentiary practices? For instance, the recognition that many accurate descriptions of the universe are not deterministic but rather probabilistic has altered natural scientists’ basic conception about what counts as evidence – and about the sheer quantity of evidence needed to prove or disprove hypotheses. Yet even the most advanced tools for evidence-gathering (statistical, computational, and experimental) have not kept pace with this turn to probabilistic models in the natural sciences. Meanwhile, scholars in the humanities, social sciences, and law are adopting – or transforming – these same tools in an effort to expand the evidence base, rigor of proof, and public appeal of their disciplines (e.g., “big” history, “distant reading,” digital humanities, quantitative sociology, experimental philosophy, law and cognition).

The conference will examine the use of evidence – from massive data sets to individual case studies – within and across the disciplines. What counts as evidence in different fields? Why do some disciplines have explicit and broadly-shared norms of evidence gathering and use, while other disciplines are guided by more implicit evidentiary customs? Why do evidentiary norms change over time in a given discipline, and are these changes better explained by internal, theoretical developments or external, social factors?

What happens when new theories outpace a discipline’s current evidentiary practices? For instance, the recognition that many accurate descriptions of the universe are not deterministic but rather probabilistic has altered natural scientists’ basic conception about what counts as evidence – and about the sheer quantity of evidence needed to prove or disprove hypotheses. Yet even the most advanced tools for evidence-gathering (statistical, computational, and experimental) have not kept pace with this turn to probabilistic models in the natural sciences.

Meanwhile, scholars in the humanities, social sciences, and law are adopting – or transforming – these same tools in an effort to expand the evidence base, rigor of proof, and public appeal of their disciplines (e.g., “big” history, “distant reading,” digital humanities, quantitative sociology, experimental philosophy, law and cognition).

Format:

The conference will bring together academic scholars, public policy makers, non-governmental advocates, and media experts to discuss the state of “evidence” today.

In addition to two keynote lectures, the conference will include twelve hour-long panels over the course of two days. Each panel has been organized around two primary speakers, representing a particular discipline or sub-discipline, and two to three panelists with contrasting disciplinary backgrounds.

Each of the two primary speakers will offer ten minutes of introductory remarks about evidentiary problems they have encountered in their particular area of expertise, raising practical and theoretical questions about the uses of evidence they have encountered in their own work, and referring to specific case studies.

Twenty minutes of discussion among speakers and panelists will follow. After the introductory remarks and panel discussion, the floor will be opened to the audience.

Organizers: Pamela Smith (History, Columbia), Stuart Firestein (Biology, Columbia), Jeremy Kessler (Law, Columbia)
Sponsored by: The Center for Science and Society (CSS) and the Institute for Social and Economic Research and Policy (ISERP) at Columbia University
Columbia Law School, Jerome Greene Hall
435 W 116th Street, Room 103
http://scienceandsociety.columbia.edu/cssevent/evidence-interdisciplinary-conversation-knowing-certainty/

Conference Participants

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Apr 20 Thu The Pathological Optimist 2017 Manhattan Film Festival The Players Theatre, 115 MacDougal St. NY

Whistleblowing in medicine, and its penalties
The latest development in the ongoing battle to get the media to cover Andrew Wakefield accurately and free him of the discrediting perpetrated on him by quasi-journalist Brian Deer (who used to attack the AIDS drug AZT as mistreatment rather creditably but seems to have been flipped ideologically later to write pro pharma vaccine material for the London Sunday Times and BMJ and nothing on any other topic) and the pharma fellow traveling medical authorities in Britain, which many commentators tie to the influence of pharma money, this breakthrough documentary is almost unique in taking a long and thorough look at what whistleblowers suffer in Wakefield’s experience in trying to free himself of the smearing, which has become a global media meme infesting the brains of almost all humans who have heard or read his name, in a long and careful account presenting him as a victim of the kind of overwhelming counter attack likely to be suffered these days by anybody who threatens established interests in medical commerce, however impeccable their record and standing in medicine and science may be, and it also shows clearly how the supposedly accurate and fact checked reports one reads in the major media or sees on TV dealing with contentious issues may be corrupted by the kind of false grouthink generated and fostered by the commercial opposition to financially threatening scientific truth that has been seen before in scandals ranging from the pesticide DDT to cigarette smoking, where the CEOs of tobacco companies lied blatantly to Congress about not knowing the health dangers of their products, an overwhelming counterattack which is now still being seen in current controversies, where an individual such as Wakefield who is entirely innocent of writing anything but what he believes to be true and scientific can be financially ruined and made the victim of global disrepute by reporters who do not check their facts and by colleagues who don’t dare speak up for them, a tsunami of pushback seen here destroying his career as the documentary follows Wakefield and his family through one unjust condemnation after another by pharma fellow traveling officials and in the courts, in a film which the well established director Miranda Bailey is currently tactfully presenting as a ‘character study’ perhaps not to put off potential audiences who may initially assume he is indeed a monster, but a film which is more than that, as it portrays the tidal wave of fake news that drowns out the corrections attempted by the hapless Wakefield, and nearly ruins his reputation, while he is unable to defend himself in the court system because he needs hundreds of thousands of dollars to sue for justice and vindication, even though his colleague who is able to raise enough money do clear his name does so entirely, as one phone call after another to the increasingly isolated Wakefield leads to his transplanting his family and his work to the US, as the bad news proceeds from entirely wrongful loss of his medical license in the UK to an adverse court judgment in the US disallowing him to prosecute his tormenters for libel, perhaps predictably since the female judge in Texas who prevents his libel case being heard turnd out to be married to a man with his snout deep in the pharma trough, for Wakefield escapes to the US only to find himself in even more trouble there with the media mega-phoning in the libel, one example being CNN’s Anderson Cooper, who behaves very badly on camera steamrolling his interviewee evidently because he has been prejudiced to condemn Wakefield by unchecked media group think rather than factual research, so many setbacks in fact they eventually become almost tedious as an unremitting and unresolved record of hardship and giant injustice, except perhaps for the striking impression of truthtelling and lucidity conveyed by Wakefield himself as he explains in camera closeup the why and how of his unending battle, in a film which even in its title appears to want to have its cake and eat it too, in the sense of not wholeheartedly presenting him as a true hero of science and truth, which he deserves according to the factual record of the affair which shows that he always steers by those stars and no others, but an equivocal film which wants to leave too much to the viewer to make up his or her mind, indeed one which gives the impression of leaving too much on the cutting room floor, over $200,000 worth of film according to the filmmaker herself in the panel which followed this premier screening at the Manhattan Film Festival last Sunday, and which sometimes includes material which leaves the wrong impression, from a very early bout of reflection by Wakefield in his car which seems to be saying that his experience reminds him of an illegal move he was fond of in playing high school soccer, to noting that a hundred studies have concluded that there is no link between MMR vaccines and autism, without mentioning the fact that they notoriously did not include any control placebo group, the hallmark of good evaluation research, but instead simply compared one vaccine with another, and the overall impression is that the filmmaker Miranda Bailey wants to create an “evenhanded” work which both supporters and critics of Wakefield can enjoy, a “character study” which doesn’t itself come down on one side or the other of the issue of Wakefield’s “fraud”, and this is the case according to the filmmaker in the panel on stage which followed this world premiere screening, with the result that Bailey’s account unfortunately doesn’t make the unfolding of events in relation to Wakefield’s innocence as clear as it should, so that at least some viewers left the screening without being convinced of it, we learned afterwards, a state of indecision which reflected the style of the movie in not focusing on this central point, but using a blurred angle of presentation mirrored by its equivocal title, which juxtaposes the negative sounding “pathological” beside the positive “optimist”, but on the other hand this strategy may win the film a wider audience than simply preaching to the choir with a heavy handed focus on Wakefield’s virtue, since in this way Bailey steps away from the central controversy over Wakefield’s supposed condemnation of MMR vaccine in a supposedly “fraudulent” paper, which in fact it was a purely factual study of gut problems in children who turned out often to also have autism, a link which in the paper, along with numerous colleagues also with impeccable scientific credentials, Wakefield merely suggested might be reviewed in the future to see how it linked to the use of MMR, for only later did he become convinced that there was a correlation indicated which should be objectively examined with a properly scientific study on a crisis basis, since autism is rising so rapidly that by 2030 half the babies in the country will be affected, an emergency which more than justifies this two hour focus on Wakefield’s qualities and experience, since he is now the one carrying the banner of review at the head of an army of parents convinced he is their savior, except that unfortunately there is in fact no saving the children that have been already damaged, which as one mother told us afterwards imposes a lifetime of responsibilities so stressful that parents feel the same PTSD as veterans returning from Afghanistan and Iraq, and this film portrays well the injustice of their experience and Wakefield’s endless resistance to defeat, and it deserves to be seen across the country when it is released this fall, and many will be thankful that Miranda Bailey the director has placed her mainstream reputation on the line to bring this news to a wider audience than did the stifled VAXXED, Wakefield’s own convincing exposure of the CDCs manipulation of science and the public by trashing data from their own supposedly definitive study, statistics showing that MMR vaccines did correlate with autism in at least one group of black kids, all of which now shows how effective and successful the mind control of the pharmaceutical companies who make billions out of vaccines can be, penetrating not only the minds of the media but also the medical and scientific fraternity, including journal editors, and neutralizing critics and objective observers.

WORLD PREMIERE: “THE PATHOLOGICAL OPTIMIST”
2017 MANHATTAN FILM FESTIVAL

The Pathological Optimist premieres at the Manhattan Film Festival: it’s a character study of Andrew Wakefield who turned the medical establishment upside down. The documentary follows Wakefield and his family as they deal with deal with their new reality (and before he filmed his own autobiographical doc). The film takes us into the inner sanctum of Wakefield and his family from 2011- 2016 as he fights for his day in court in a little known defamation case against the British Medical Journal. Wakefield attempts to clear his name as the media-appointed Father of the Anti-vaccine movement.

Director Miranda Bailey weaves a delicate portrait of a man who is THE PATHOLOGICAL OPTIMIST utilizing a never-before-seen, full access look at the man at the center of one of the biggest medical and media controversies of our times.

IMDB: In the center of the recent Tribeca Film Festival scandal surrounding his film VAXXED: From Cover-up to Controversy stands Andrew Wakefield, discredited and stripped of his medical license for his infamous study suggesting a link between the MMR vaccine, bowel disease, and autism. THE PATHOLOGICAL OPTIMIST takes us into the inner sanctum of Wakefield and his family from 2011- 2016 as he fights for his day in court in a little known defamation case against the British Medical Journal. Wakefield attempts to clear his name as the media-appointed Father of the Anti-vaccine movement. Director Miranda Bailey weaves a delicate portrait of a man who is THE PATHOLOGICAL OPTIMIST utilizing a never-before-seen, full access look at the man at the center of one of the biggest medical and media controversies of our times.

Facebook: For the very first time ever a real audience will witness Miranda Bailey’s documentary film
THE PATHOLOGICAL OPTIMIST-
An independent, in depth, character study of the most controversial figure in current modern medical and political history.
– yes THAT guy. (Dr. Andrew Wakefield)
Premiere is at 7pm at the Players Theater in NYC. April 20
…yes. Today.
Tickets available at door.
Q & A the follow with Director Miranda Bailey-
Producer, Marc Lesser- editor Andrea Maxwell and subjects. Andrew and Carmel Wakefield.
https://www.facebook.com/ThePathologicalOptimist/
http://www.filmjournal.com/features/she-many-hats-producer-director-actress-and-distributor-miranda-bailey-does-it-all

Miranda Bailey
first wrote, directed and stared the play MEMORIES FROM AN ATTIC about her parents’ divorce when she was at the Vail Mountain high school. She explored how divorce affected the family unit and simultaneously embarrassed her parents publicly when it was put on and the whole town watched it. ​
When she went on to Skidmore college she wrote and directed the play LIGHT YOUR OWN about 5 women in the lobby of a psychiatrist’s office all waiting for the same appointment. After graduating she directed the one woman show GIRLS ARE FANCY in NYC before moving to Los Angeles.
Miranda’s first cinematic directorial debut was GREENLIT, a comedic documentary looking at the inherent hypocrisies surrounding Hollywood when trying to “green” a film set which debuted at SXSW in 2010. IFC International and Virgil Films picked it up for distribution.​
Since then, she directed the award winning narrative short ANOTHER HAPPY ANNIVERSARY which after a successful festival run premiered on Shorts TV and is hosted at Jill Soloway’s website Wifey.TV promoting female film makers.​
Miranda also shot and directed The Behind the Scenes of James Gunn’s SUPER and an episode of the web TV series FIRSTS.
Miranda’s second documentary feature, THE PATHOLOGICAL OPTIMIST, is an intimate portrait of the controversial and discredited Dr. Andrew Wakefield. The documentary will premiere on April 20th at the 2017 Manhattan Film Festival as the opening night film.
Miranda will direct the feature comedy YOU CAN CHOOSE YOUR FAMILY starring Jim Gaffigan. Shooting starts on May 15, 2017
https://www.mirandabailey.com/press
https://www.mirandabailey.com/photos
http://www.filmjournal.com/features/she-many-hats-producer-director-actress-and-distributor-miranda-bailey-does-it-all
It’s a bit of an odd comparison, but bear with me: Miranda Bailey is slowly evolving into the Forrest Gump of the indie film set. No, she doesn’t have the haircut. Or the accent. The love of chocolate… maybe. I don’t know. No, the Gumpian quality this producer has is ubiquity. The Diary of a Teenage Girl. Swiss Army Man. Don’t Think Twice. Take a critically acclaimed, low-budget indie comedy/drama that’s come out over the last 18 months, and there’s a decent chance Bailey co-produced it. It’s a good track record going into her latest release, Norman: The Moderate Rise and Tragic Fall of a New York Fixer, out April 17 from Sony Pictures Classics…..

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Apr 20 Thu 6-8pm Self Taught Art from Latin America and the Caribbean Sidney Mishkin Gallery Baruch College 135 East 22 St (Apr 21-May 13)

Exquisitely unschooled
The Mishkin Gallery of Baruch adds to its list of unusual shows by hanging some small but often dazzling works by supposedly primitive artists from Brazil, Costa Rica, Cuba, Guatemala, Haiti, Mexico, Panama, and Venezuela, who have escaped the influence of schooling to express what is entirely their own personal and original vision, collected with discrimination over four decades by Aldemaro and Ana Romero, and it is so good, even excellent in basic ways to do with color juxtaposition, intensity and simplicity of vision that it raises the question whether untutored talent pegged below genius may not be better served sometimes by avoiding the imposition of the boundaries of conventional instruction in art and its possibilities on the visual creativity of talented students that may not be psychologically equipped to completely escape its restraining influence, unlike those who are so bursting with genius that their impulses cannot be gainsayed even while they are students, offering the possibility of self fulfilling liberation that seems to be part of the Zeitgeist in many fields of endeavor nowadays.

Quinto M., Venezuela
Simon Bolivar, c1980s
Sculpture in wood, 16 x 15
Collection of Aldemaro and Ana Romero
Photo Credit: Steven Tucker

The Sidney Mishkin Gallery

Self-Taught Art from Latin America and the Caribbean:
The Aldemaro and Ana Romero Collection

April 21 – May 19, 2017

The Mishkin Gallery at Baruch College will present the exhibition, Self-Taught Art from Latin America and the Caribbean: The Aldemaro and Ana Romero Collection, from Friday, April 21 to Friday May 19, 2017. An opening reception will be held on Thursday, April 20, from 6:00-8:00 p.m.

This exhibition features a variety of paintings and sculptures that were created by artists who lack professional education and training. Among the major characteristics of this art are simplicity, repetition, a geometrically erroneous sense of perspective, and the use of brilliant, saturated colors.

A small sculpture of Simon Bolivar, by Quinto M., is simplified in form, but depicted with a colorful uniform and a sword to emphasize his heroic role as the leader who established Venezuelan independence.

In a jungle scene, Haitian artist E. Marime painted every leaf individually, repeating its shape rather than creating clusters of foliage. The intensely colored jungle animals and plants appear stacked in space, without a traditional use of perspective.

Although it is sometimes confused with folk art, self-taught art usually lacks a clear cultural context, and it is often hard to identify by its geographic origin. Some self-taught artists are well-known including the French painter Henri Rousseau (1844-1910), who was discovered by Pablo Picasso. Now, it is possible for these unknown artists to become part of the art historical canon, as self-taught art has become very popular with colleges and museums.

Aldemaro and Ana Romero are avid collectors of self-taught art, who have traveled throughout Latin America. Their collection contains more than 50 paintings, sculptures, and examples of other crafts. The materials used in these artworks are diverse, and include oil paint on canvas, lithography, papier-mache, bark, and wood. The Romero collection spans more than four decades, from the 1970s to the present, and it represents many countries: Brazil, Costa Rica, Cuba, Guatemala, Haiti, Mexico, Panama, and Venezuela.

This exhibition was made possible by Hedwig Feit, in honor of her mother, Sylvia Lizana Y Parrague. Funding was generously provided by the Schindler-Lizana Fund for Latin American Arts & Cultures at Baruch.

E. Marime, Haiti
Untitled, c. 1980s
Oil on canvas, 35 x 46”
Collection of Aldemaro and Ana Romero
Photo credit: Steven Tucker

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Apr 17, Mon 10 am–noon Met Irving Penn Centennial (Apr 24-Jul or Oct 30)

Owning the camera
A momentous show of Irving Penn’s work in all major aspects organized by Jeff L. Rosenheim for the first time at the Met, which has long collected and twice before shown the striking and remarkable photography of a man who was modest in manner (he opened the door to a traveler from Europe and it took half an hour before the visitor realized he was talking to the great artist he had come a long way to see, and not the janitor) but tremendous in personal accomplishment, since he always singlemindedly pursued his own vision regardless of commercial assignments, which luckily were overseen at the magazine he joined early on by a sympathetic enabler who let him have free rein to pursue a style which was unique in every area, from fashion images which perfectly reflected the line, style and cut of the designers in the pose and poise of the model, to nudes which so powerfully found the beauty of nature’s contours and lineal graphics that the eroticism was often buried without trace, partly because Penn’s eye always sent him far beyond the standard reflex of “oh how ugly” at subjects such as pendulous breasts and fat or smashed cigarette butts to show their monumental stature and design integrity and as well their transcendent emotional significance in the lives of his subjects and the viewer, so at least one of the nudes hung in the gallery devoted to that work here was impossible to work out without asking the help of the curator and author of the essay on nudes in the huge and very interesting catalogue, Maria Morris Hambourg, who explained to us that what we were unsure was the pubic area, since it seemed to have hair on it but be far too close to the flopping breasts, was in fact her neck and its small creases, which fact she demonstrated by pulling her own neck flesh into slight creases, though in truth there is rarely anything hard to fathom in Penn’s famous photographs except how he managed to achieve the extraordinary intensity and impact of his images which could even excel, for example, the striking body paint effects of the unfettered natives of New Guinea, and though you might hope that a clue to how he achieved it all might be contained in the few short video showing Penn at work overseas, amid women subjects covered scalp to toe in black shrouds like apparitions from a threatening dream, in fact the film probably won’t be of much help, as the assistants bustling about adjusting garment folds and fixing huge light reflectors seem to have as little to do as Penn’s businesslike face with the secret of his ability to transform our view of the many famous faces he shot into something we have never seen before in all their news and publicity shots, a humanity and a sensitivity and vulnerability which brings them down to earth as fellow human beings, whether the fragile soul of Rachel Carson behind the stern determination she had to finish her book exposing the ravages of DDT before she died of cancer, or the robust muscularity of a tired Truman Capote, or a cheerful Tom Wolfe shrunk and spare inside his crumpled suit with florid handkerchief flowering from his breast pocket, in a room hung here with an unending series of portraits of great names which are likely to transform the images of each held hitherto in one’s mind into something utterly different and more visibly real.

Irving Penn (American, 1917-2009). Rochas Mermaid Dress (Lisa Fonssagrives-Penn) (detail), Paris, 1950. Platinum-palladium print, 1980. © Condé Nast | Promised Gift of The Irving Penn Foundation

Irving Penn (American, 1917-2009). Rochas Mermaid Dress (Lisa Fonssagrives-Penn) (detail), Paris, 1950. Platinum-palladium print, 1980. © Condé Nast | Promised Gift of The Irving Penn Foundation

The Metropolitan Museum of Art will present a major retrospective of the photographs of Irving Penn to mark the centennial of the artist’s birth. Over the course of his nearly 70-year career, Irving Penn (1917–2009) mastered a pared-down aesthetic of studio photography that is distinguished for its meticulous attention to composition, nuance, and detail. Opening April 24, 2017, Irving Penn: Centennial will be the most comprehensive exhibition to date of the work of the great American photographer.

The exhibition follows the 2015 announcement of the landmark promised gift from The Irving Penn Foundation to The Met of more than 150 photographs by Penn, representing every period of the artist’s dynamic career with the camera. The gift will form the core of the exhibition, which will feature more than 200 photographs by Penn, including iconic fashion studies of Lisa Fonssagrives-Penn, the artist’s wife; exquisite still-lifes; Quechua children in Cuzco, Peru; portraits of urban laborers; female nudes; tribesmen in New Guinea; and color flower studies. The artist’s beloved portraits of cultural figures from Truman Capote, Picasso, and Colette to Ingmar Bergman and Issey Miyake will also be featured. Rounding out the exhibition will be photographs by Penn that entered The Met collection prior to the promised gift.

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Apr 13 Thu 10 a.m.–noon Met Peder Balke: Painter of Northern Light (Apr 10 thru Jul 9)

Image: Peder Balke (Norwegian, 1804-1887). The North Cape by Moonlight, 1848. Oil on canvas. Private Collection, Oslo

First U.S. Exhibition Devoted to Visionary 19th-Century Norwegian Artist Peder Balke Opens at The Met on April 10

Exhibition Dates:
April 10–July 9, 2017
Exhibition Location:
The Met Fifth Avenue
European Paintings, 2nd Floor, Gallery 624
Press Viewing:
Thursday, April 13, 10 a.m.–noon
Peder Balke: Painter of Northern Light, on view at The Metropolitan Museum of Art from April 10 through July 9, will be the first exhibition in the United States devoted to this singular, visionary 19th-century Norwegian artist. It will bring together 17 of Balke’s sublime landscape and marine paintings from private collections and present them alongside paintings by his compatriots drawn from The Met collection. This will offer a unique opportunity to explore an artist who developed a remarkable freedom in his approach to painting that evokes the spiritual naturalism of Caspar David Friedrich (1774–1840) and anticipates the painterly expressiveness of Edvard Munch (1863–1944).

Born in humble circumstances in what was then a northern hinterland, Balke (1804–1887) showed early promise. Encouraged by local artisans and patrons, he aspired to become an artist in the broader European tradition and by the 1840s was a highly original exponent of northern Romantic painting. Fundamental to Balke’s art was a series of sketching expeditions that led him to discover the wild beauty of Norway, to which he remained devoted for the rest of his life.
As a young artist, Balke traveled widely—to Christiania (now Oslo), Copenhagen, Stockholm, and, eventually, Dresden, where in 1835–36, he had formative encounters with two giants of landscape painting, Caspar David Friedrich and his neighbor, the Norwegian Johan Christian Dahl (1788–1857). Inspired by these artists, Balke searched ever more deeply to convey the wild beauty of Norway, producing dramatic, even hallucinatory paintings that reject conventional fine-art techniques in favor of radical simplifications of form and color.

Balke seems to have ceased painting after the 1870s, and he was essentially forgotten until the 20th century. In recent years, however, he has been rediscovered by artists, collectors, and scholars alike.
Peder Balke: Painter of Northern Light is organized by Asher Ethan Miller, Assistant Curator in The Met’s Department of European Paintings.

In conjunction with the exhibition, there will be a symposium about Peder Balke at Scandinavia House in New York on Friday, April 21. More information can be found here.

The exhibition is featured on the Museum’s website, as well as on Facebook, Instagram, and Twitter.

# # #

April 6, 2017

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Apr 13 Thu Met Introduces Adrian Villar Rojas’ Theater of Disappearance on Rooftop

Disappearing categories
Competing successfully with the glorious view of faraway Manhattan skyscrapers over the treetops of Central Park, the Theater of Disappearance installation on the Met’s Roof Garden patio. initiated by Sheena Wagstaff and curated by the English born Beatrice Galilee hand in hand with the revolutionary minded Argentinian artist Adrián Villar Rojas, strikes a bold subversive note with its odd sculpture assemblies placed on top of seven tables with chairs upon which one cannot sit down, since it consists of a mishmash of works around the Museum which are stuck together by Rojas in formations which disrupt and escape the original categories and historical origins of the works without offering much in the way of any obvious new rationale, though at the same time they will provoke much comment and response as either liberating or alarming departures from the normal mode of museum collecting, since the whole presentation is striking and uses technology that one didn’t even know the museum had, which captures the 3D hologram of each work in the computer by either using innumerable camera shots and putting those all together, or using lasers to record the position of every surface particle, and then reconstructing them and in this case melding two or more together, although quite whether they do go together aesthetically or in terms of significant meaning is arguable, and Adrian declined to make yet another trip from Argentina to the Museum where he oversaw and corrected their assembly, in order to talk to the assembled hacks at the press preview, so they were left to examine the Times on Friday and Sunday. where a review smacked of disappointment but a description of the method involved illuminated it as a possible way of perfectly reproducing rare works from the past in a way befitting their consummate beauty with perfect precision and raising hope that the displays of provincial museums anywhere can be supplied with the best of them, even though the path to breaking them apart and sticking the parts together in novel ways may not be as opened up and clear as Adrian may hope with this installment of his Theater of Disappearance series, and indeed his inclusion of a copy of the actual baby of a Museum staff member may open new commercial vistas for declining studios.

Argentinian artist Adrián Villar Rojas has created a site-specific installation for The Met’s Iris and B. Gerald Cantor Roof Garden. The Roof Garden Commission: Adrián Villar Rojas, The Theater of Disappearance will be on view from April 14 through October 29, 2017 (weather permitting). Villar Rojas—known for his large-scale installations—has transformed the Cantor Roof. Sixteen sculptures that fuse human figures with replicas of nearly 100 objects from the Museum’s collection, occupying a new black, white, and gray tiled floor, the installation also encompasses an environmental transformation of the space, including an extension of the existing pergola and new plantings, public furniture, and a newly designed bar.

The exhibition is supported by Bloomberg Philanthropies.

Additional support is provided by Cynthia Hazen Polsky and Leon B. Polsky.

Sheena Wagstaff, Leonard A. Lauder Chairman of Modern and Contemporary Art, said: “This is the fifth year of the Museum’s newly redefined series of Cantor Roof Garden commissions. For his project, Adrián Villar Rojas took on the colossal task of investigating the Museum’s collecting practices from a personal socio-historical viewpoint, laying open his reinterpretation of the collection free of the usual underpinnings of curatorial interpretation and historical reference. In the process, he holds a mirror up to what we do at the Museum, questioning how we elect to present cultural history over time.”
To realize the project, Villar Rojas immersed himself in the Museum’s history and collections, holding conversations with individuals across the institution, including curators, scientific researchers, objects conservators, and imaging specialists. He has also reconciled the Cantor Roof’s many functions as a gallery, a bar, and a popular vantage point from which to view Manhattan’s expansive skyline. The artist integrated these aspects of the space into his installation by working each element—from the floor to the bar—into the conceit of a fantastical event in which white tables are punctuated by black sculptures, all coated in a layer of dust.

In accepting the commission, the artist encountered a history of human culture that emerges from the Museum’s galleries. The Theater of Disappearance presents a story of objects presented without historical interpretation. Using 3D scanning and advanced imaging techniques, the Museum scanned and replicated objects from the collection. In parallel, using the same technology, human figures were also scanned; the models’ bodies and gestures captured as if they were objects. The 3D models were then spliced together with the artifacts to form sculptural amalgamations, resulting in sculptures that absorb and re-present the imagery of Museum objects, being held and touched, unconstrained by demarcations of culture or time. In probing the Museum’s role in framing historical truth, Villar Rojas succeeds in questioning its traditional presentations, allowing for the reactivation and a reinterpretation of art and human culture.
The Roof Garden Commission: Adrián Villar Rojas, The Theater of Disappearance was conceived by Sheena Wagstaff, Leonard A. Lauder Chairman of Modern and Contemporary Art, and curated by Beatrice Galilee, Daniel Brodsky Associate Curator of Architecture and Design, both of The Met’s Department of Modern and Contemporary Art, in consultation with the artist. It is the fifth in a series of site-specific commissions for the outdoor space.

The Roof Garden Commission: Adrián Villar Rojas, The Theater of Disappearance is featured on The Met website, as well as on Facebook, Instagram, and Twitter via the hashtag #CantorRoof.

Related Publication

The exhibition is accompanied by a book published by The Metropolitan Museum of Art and distributed by Yale University Press ($9.95). The introductory essay explores the conceptual framework that informs Villar Rojas’s Roof Garden Commission as well as his interventions around the world. A selection of images the artist took while exploring the Museum is featured alongside commentary by him, offering a unique visual diary of his thought process for the installation.

The catalogue is made possible by the Mary and Louis S. Myers Foundation Endowment Fund.

Cantor Roof Garden Bar

Adrián Villar Rojas collaborated with Restaurant Associates to develop a sustainable menu that offers a selection of sandwiches and snacks made with fresh and local ingredients. Beverage service includes specialty cocktails, wine, beer, soft drinks, and lemonade. The Cantor Roof Garden Bar will operate daily from 11 a.m. until closing, as weather permits. A cocktail bar will also be open on the Cantor Roof Garden’s south deck on Friday and Saturday evenings (3:30–8:00 p.m.).

About the Artist

Adrián Villar Rojas (Rosario, Argentina, born 1980) recent solo exhibitions include: Fantasma, Moderna Museet, Stockholm, Sweden (2015); Rinascimento, Fondazione Sandretto Re Rebaudengo, Torino, Italy (2015); Today We Reboot The Planet, Serpentine Gallery, London (2013); The Evolution of God, Highline, New York (2013); and Poems For Earthlings, SAM ART Projects, Musée du Louvre, Paris (2011).

Major international exhibitions include: the 6th Marrakech Biennale, Marrakech, Morocco (2016); The Most Beautifull of All Mothers, the 14th Istanbul Biennial, Istanbul, Turkey (2015); Storylines: Contemporary Art at the Guggenheim, Solomon R. Guggenheim Museum, New York (2015); and Return the World, Documenta 13, Kassel, Germany (2012).

Villar Rojas has been the recipient of several awards including the Sharjah Biennial Prize, awarded by the Sharjah Art Foundation (SAF) (2015); the Zurich Art Prize at the Museum Haus Konstruktiv (2013); and the 9th Benesse Prize in the 54th Venice Biennial (2011).

Link to Artist’s Statement

About Bloomberg Philanthropies

Bloomberg Philanthropies is proud to partner with The Metropolitan Museum of Art in support of The Roof Garden Commission: Adrián Villar Rojas, The Theater of Disappearance. Villar Rojas’s immersive, site-specific installation presents a unique experience to view objects from The Met’s galleries, fused into imaginative new works of art, and set against New York City’s supreme skyline. We’ve been sponsoring exhibitions on the roof of the Museum for over a decade and Villar Rojas’s work continues in the tradition of previous artists by offering visitors an unparalleled encounter with contemporary art.

# # #

April 12, 2017

Contact: Alexandra Kozlakowski, Ann Bailis
communications@metmuseum.org; T 212 570 3951

Press Preview Tomorrow, April 13, for The Roof Garden Commission: Adrián Villar Rojas, The Theater of Disappearance

Exhibition Dates:
April 14–October 29, 2017 (weather permitting)
Exhibition Location:
The Met Fifth Avenue
The Iris and B. Gerald Cantor Roof Garden, Gallery 926
Press Preview:
Thursday, April 13, 10 a.m.–noon

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Apr 11 Tue Met Unites Caravaggio’s Last Two Paintings

Contact: Mary Flanagan, Ann Bailis
communications@metmuseum.org; T 212 570 3951

The Met Reunites Caravaggio’s Last Two Paintings in Exhibition Opening on April 11

Exhibition Dates:
April 11–July 9, 2017
Exhibition Location:
The Met Fifth Avenue
European Paintings, 2nd Floor, Gallery 621
Press Viewing:
Thursday, April 13, 10 a.m.–noon
The Martyrdom of Saint Ursula, the last documented painting by the great Caravaggio (1571–1610), will be on exceptional loan from the Banca Intesa Sanpaolo in Naples and presented with another of the artist’s final works, The Met’s The Denial of Saint Peter, created in the last months of his life. These two extraordinary paintings have not been shown together since 2004, in an exhibition in London and Naples devoted to the artist’s late work. Caravaggio’s Last Two Paintings will offer a rare opportunity to see these pictures side by side and to examine the novelty of Caravaggio’s late style, in which the emphasis is less on the naturalistic depiction of the figures and more on their psychological presence.

The exhibition is made possible by the Banca Intesa Sanpaolo through its internal Culture Program. Additional support is provided by the Foundation for Italian Art and Culture (FIAC).

Commissioned by the Genoese patrician Marcantonio Doria two months before Caravaggio’s death in July 1610, The Martyrdom of Saint Ursula is painted in an unprecedented minimalist style. Its interpretation of the tragic event that is its subject, combined with the abbreviated manner of painting, has only one parallel: The Denial of Saint Peter in The Met collection. In these two works, Caravaggio poignantly probes a dark world burdened by guilt and doom, suggesting to some scholars a connection with his biography and sense of the tragedy of life.

The exhibition is organized by Keith Christiansen, John Pope-Hennessy Chairman of the Department of European Paintings at The Met.

It will be featured on The Met website, Facebook, Instagram, and Twitter.

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April 10, 2017

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April 4 Thu 6-7.30 NYAM Lady Mary’s (Wortley Montagu) Legacy: Vaccine Advocacy from the Turkish Embassy Letters to Video Games – Talk by Lisa Rosner, Distinguished Professor of History, Stockton University

NYAM event uncovers vaccine dissent in audience
Vaccine historian maps way in which paradigm was sold
To her as well as us, apparently!

Vaccine advocate
Historian Lisa Rosner’s talk at that castle of established medical practice, The New York Academy of Medicine, turned out as advertised, an illustrated run through of how vaccines have been sold to the general public since Lady Mary Montagu wrote her famous letter to London from Turkey recounting how no one worried about smallpox – which had killed her brother and left her scarred for life in England, where one in three died – in Istanbul in 1717 where they had children’s parties and rubbed them with mild smallpox scabs and thus “engrafted” they were immune to strong smallpox for the rest of their lives, and this historical entertainment was followed by a run through of her novel Internet game “The Pox Hunter”, exploring the art of persuasion, where you make choices of various approaches such as ‘scare’ or ‘flatter’ to influence people to be vaccinated instead of rejecting it immediately out of unfamiliarity and mistrust, so all in all her rapidly delivered talk was a reassuring parade of successful vaccine advocacy by a cultural historian who at the end of it confirmed that she was indeed an advocate for vaccination herself, had never encountered any respectable objection to the practice, and dismissed the recent expose film VAXXED, which demonstrates that the CDC sat on and then secretly disposed of evidence in its own study that indicated that vaccinations had led to autism among black kids, as “fake news”, and said she was unfamiliar with any scientific studies which raised valid concerns, and viewed Andrew Wakefield, the much smeared English doctor and researcher who was a victim of pseudo journalist Brian Deere’s misleading reporting which resulted in the completely uncalled for loss of his medical license, as precisely the scoundrel that Deere had implied, when in fact as an indignant member of the audience pointed out Wakefield’s study had not asserted that vaccines caused autism, but merely found that there seemed to be a correlation that emerged from a study of digestive ailments in 12 young patients that should be looked into further, so all in all members of the audience at the Academy who had hoped for guidance on the tortured topic of whether there was anything to worry about with vaccines beyond the standard vaccine boosting by the established purveyors were disappointed, although Science Guardian did press upon her a printout of the exemplary page of Dr Suzanne Humphries’ site enumerating the reasons which have so far emerged from medical studies that review is called for in many areas of this highly remunerative field, where a single vaccine is reputed to be worth $1 billion in commercial dues payoff for the maker, even though it seemed unlikely that Dr Rosner would read it later with any receptivity, given that she is like most of us a fully paid up member of the human race who will very naturally find it extremely hard to change long held assumptions, when they have been part of her entertaining public speaking, teaching and Web activity for some time, but at least, we thought, she might come up with more appropriate answers to the widespread and growing skepticism which is threatening the routine creation of herd immunity to many diseases, mild as well as dangerous, including whooping cough and measles, which critics note had been largely suppressed with escalating hygiene before any vaccine arrived, though a suggestion that vaccines for them could be foregone drew a loud gasp of “Oh no!” from the audience, and a remark from an MD present of “Has anybody here seen an iron lung recently?” in reply to any idea at all that polio could be conquered without a vaccine, although the Salk vaccine notoriously had to be withdrawn after causing too many cases of polio even though it was a supposedly killed agent, which presumably demonstrated how “attenuated” vaccines can transform into live threats through mutation, killing at least 200 in that instance, a phenomenon possibly accounting also for the controlled BMJ study showing that of some school age children who had contracted whooping cough, 86% were fully vaccinated up to date, all of this information contained in the very readable and calm account of her scientific doubts about the wisdom of using vaccines without careful review felt by Suzanne Humphries, a practicing doctor who has investigated the situation fully over thousands of hours, she says, by in the first place at least reading the limited amount of science available on the defects of this massively established and promoted practice that the speaker, like most of us, takes for granted is beyond reproach, while criticism is blocked by political prejudice and social action, including the strong aversion to impolitely challenging speakers built into such institutions as the highly respectable Academy, where all present, even the questioners, felt it was merely good manners to curb public dissent from the views of a charming presenter trying to enlighten them in lively fashion with the basics of the historical advance of the ruling paradigm, even though she has published an expensive tome entitled Vaccination and its Critics, a Documentary and Reference Guide, though apparently the critics she had in mind were lay objectors before the age of modern science.

Why was Mary Wortley Montagu’s smallpox vaccination initiative brought from Turkey beaten out by Jenner’s approach, and was she “Sophia a person of quality”, author of Woman not Inferior to Man (1739)

Lady Mary’s Legacy: Vaccine Advocacy from the Turkish Embassy Letters to Video Games
6:00 PM – 7:30 PM
Speaker: Lisa Rosner, Distinguished Professor of History, Stockton University
On April 1, 1717, Lady Mary Wortley Montagu wrote her famous “Letter to a Friend” from the Turkish Embassy, describing the process of smallpox inoculation. With that letter, she became one of the earliest vaccination advocates, joined over the next three hundred years by celebrities and scientists, pop culture icons and heads of state, patients and game developers. This talk will explore the colorful and controversial history of vaccine advocacy, the most successful public health measure its beneficiaries love to hate.
My talk will explore the colorful and controversial history of vaccine advocacy, the most successful public health measure its beneficiaries love to hate. And it will feature a new interactive demo of The Pox Hunter: A Digital Game for the History of Medicine, proud to be funded by the National Endowment for the Humanities.
Lisa Rosner is Professor of History at Stockton College in New Jersey. She is drawn to the seamy side of medical history through her love of murder mysteries, anatomy drawings, and Scotch whisky.

Lisa Rosner is Distinguished Professor of History at Stockton University. She is the recipient of grants and fellowships from the National Endowment for the Humanities, the American Philosophical Society, and the Chemical Heritage Foundation. Recent publications include The Anatomy Murders (University of Pennsylvania Press, 2009) and Vaccination and Its Critics (ABC-CLIO, 2017). She is the project director and game runner for The Pox Hunter, designed with Eduweb and developed in partnership with the College of Physicians of Philadelphia, http://poxhunter.wordpress.com

Having authored this rather expensive (in hard cover) tome, Lisa Rosner presumably is a good guide as to the truth and falsity of critics of vaccination, some of whom claim even that the principle has not been proven and that the decline in polio was independent of vaccination

Pox and the City: Edinburgh
A Digital Role-Playing Game for the History of Medicine
Blog Post Saturday, March 31, 2012
What’s in a Name? Or, Will Vaccination Turn Your Children into Cows?
When we think of vaccine, we think of injections. But when 18th century medical men thought of vaccine, they thought of cows. That’s because “vaccinae” is Latin for “of or pertaining to cows”, and the word entered the modern medical lexicon through the title of the famous 1798 work by Edward Jenner, “An Inquiry into the Causes and Effects of the Variolae Vaccinae, a Disease discovered in some of the Western Counties of England, particularly Gloucestershire, and known by the name of the Cow-Pox.”

Many generations of admiring doctors and historians have noted this title without observing that Jenner was engaged in a bit of sleight of hand. The disease he described was, indeed known as the Cow Pox by those who had bothered to give it a name: the dairymaids and farmers who were most susceptible to it. The disease, as he noted, appears on the nipples of cows, and then is communicated to the dairymaids, and then “through the farm, until most of the cattle and domestics feel its unpleasant consequences”(1). It was Jenner, perhaps after consultation with his medical mentors, like John Hunter, who gave it the Latin name, starting with Variolae – the Latin medical term for smallpox — and adding to it the designation Vaccinae – of or from cows. Borrowing from other 18th century medical nomenclature, which listed first the genus, then the species of the disease, the term variolae vaccinae indicated that the genus, or general class of disease, was variolae, pox, while the species was vaccinae of, by, or pertaining to cows. Thus Jenner’s name did double duty: it both conferred a learned Latin pedigree on a disease of “cattle and domestics” and used conventions of scientific nomenclature to establish the relationship between smallpox and cowpox.

Vaccination expert and science dramatist Lisa Rosner

This learned convention was incorporated into medical journals like the Edinburgh-based Annals of Medicine, which put in the 1800 index next to Cow-Pox, See Vaccine. And now that Jenner had brought it to their attention, practitioners began to “see vaccine” everywhere. It turned out that this disease of Cow Pox, and its attendant immunity from smallpox, had been part of rural folklore throughout southern England. Doctors located a similar set of beliefs in the West Country. The “country people of Ireland,” it turned out, were also “well acquainted with the disease”, and gave it the name of Shinah (2). The eminent medical professors at Edinburgh University were hard-pressed to explain why their benighted countrymen should have so unaccountably failed to develop so useful a folk-belief, and concluded that the cows of Scotland’s dairy districts, like Fife, simply did not get “the genuine vaccine disease”(3). Eventually, though, they were able to find a gentleman, “a most ingenious artist,” who could remember that his parents had owned a farm near the Scots town of Jedburgh, and that his mother, “who occasionally assisted the maids in the concerns of the dairy, never had smallpox, though frequently exposed to the disease” (4).

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Apr 1 Sat 6-8pm Kuwait: A Desert on Fire Book Signing st Sundaram Tagore Gallery, 1100 Madison Avenue (at 83rd Street)

Planet in the camera
Sebastian Selgado from Brazil and Paris is one of the greatest photographers at work today, perhaps because he invests his heart and soul in his photographs of the planet and the way humanity treats it, producing the most remarkable images which are visionary in their impact, incorporating not only Nature but the geopolitics that makes them significant as a warning to change our behavior, and has attracted a large following of people who share his concerns, many of whom turned up at this small Upper East Side storefront gallery hung with a few of his most famous images, including a seal turning to face him with an expression of fierce welcome with bulging shining eyes amid a crowd of seals stretching away on the Antarctic ice, and a shot of vast ice cliff sculpture shining like all his pictures with a vivid chiaroscuro of strongly bordered light and dark unique to this extraordinary photographer, to see him up close in the prime of his life at 73, with firm clear skin reflecting his outdoor work and the extraordinary fact that he is so invested heart and soul in his subject that when he left Rwanda after shooting its implosion into genocide he was ill from its psychological effect manifested in extreme internal damage with the symptom that his sperm was replaced by blood and only rescued himself by taking over 180 acres of Amazonian land reduced to scrub and replanting it with 200 different kinds of trees to bring it back to rain forest, which saw him recover as well, to devote himself to the wonders of the natural world which he worships with his camera even as his images imply and incorporate the geopolitics which are threatening them, somehow achieving an intensity and contrast in his depictions which transcend the capacity of his Leica that he still favors, although moving recently into digital, and achieving works so uniquely remarkable that his signing this evening of his portfolio books ranging from $75 to over $1000 each, in the company of his wife Lélia Wanick Salgado whom he married at 20 when he met her at the Alliance Francaise when she was 17, who is helping to keep him well by feeding him “natural” cooking, she says, which must be helping him heal his knee which he injured by taking an unsuccessful leap in shooting in the Amazon a few months ago, attracted a line of dedicated fans that stretched out of the door and down the street for two hours, people who admire his work and are also influenced by it politically, an audience built up with major shows at the ICP both on 94th Street and Fifth and on 43 St and 6th as well as downtown currently at the main branch of this gallery, where the current exhibit which opened this week is a collection of his pictures of the oil fires set by Saddam Hussein in withdrawing from Kuwait.

A very distinguished photographer Sebastião Salgado

Sundaram Tagore Gallery, 1100 Madison Avenue (at 83rd Street)
Sundaram Tagore Gallery, 1100 Madison Avenue (at 83rd Street)ill be signing copies of his recently released book Kuwait: A Desert on Fire (Taschen, 2016), the first published monograph of this series, and Genesis (Taschen, 2013) from 6 to 8 pm at Sundaram Tagore Gallery Madison Ave on Saturday, April 1.

Edited by Lélia Wanick Salgado, Kuwait: A Desert on Fire is also available in a limited collector’s edition signed by the artist.

An exemplar of the tradition of ‘concerned photography’, Sebastião Salgado is one of the most widely-respected of contemporary photojournalists. His in-depth bodies of work document the lives of people the world over, finding beauty, strength and hope even in those in the bleakest of circumstances.

All photographs that Salgado has ever made are available to Print Sales clients to purchase. The below is a selection of some of the artist’s most renowned images. To view additional works please contact us.

Prices start from £4,500 + vat. To make an enquiry: call 0207 087 9320 or email us.

If you can’t make it to the book signing on Saturday, click here to order the books directly from Taschen.

Kindly RSVP to rsvpny@sundaramtagore.com.

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Mar 27 Mon 7pm Book Culture Panel on Academic Publishing at 112th St

Ellen Adler of The New Press and Fredric Nachbaur of Fordham University Press

Jennifer Crewe of Columbia University Press

Book Culture celebrates 20 years!

This week marks our 20th year in business at 536 W. 112th St. Come celebrate our birthday with us!

We’re kicking off the week on Monday, March 27th at 7pm with a panel discussion on the past 20 years in academic publishing, with Jennifer Crewe (Columbia University Press), Frederic Nachbaur (Fordham University Press), and Ellen Adler (The New Press). We’re proud of our strength in academic books, and excited to host this discussion of the state of the industry!

03/27/2017 – 7:00pm
Please join Book Culture on Monday, March 27th at 7pm as we celebrate our 20th year in business with a panel discussion on academic publishing over the past 20 years.

Book Culture on 112th commits a large portion of our stock to academic presses and scholarly work.
We are thrilled to host this conversation with three exemplars of this work:

Jennifer Crewe, Associate Provost and Director of Columbia University Press
Fredric Nachbaur, Director of Fordham University Press
Ellen Adler, Publisher of The New Press.
Jennifer Crewe is Associate Provost and Director of Columbia University Press, where she previously served as Editorial Director. As an acquisitions editor for the Press she acquired books in various fields, including literary studies, film, Asian humanities, food history and science, and a series of translations of major European intellectuals. She served on the Board of Directors of the Association of American University Presses from 2001-2004, and on the Executive Council of the Professional and Scholarly Publishing division of the Association of American Publishers from 2013-2016. She served on the Executive Council of the Modern Language Association from 2009-2012.

Fredric Nachbaur is currently Director of Fordham University Press, publisher of scholarly books in the humanities and social sciences as well as trade books focusing on the metropolitan New York region. In addition to overseeing the operations of the press, he acquires in cultural studies, education, history, media and communication, religion, and urban studies. Fred has close to 30 years of book publishing experience, the last twenty working with scholarly books. He got his start in publishing at John Wiley & Sons where he was marketing manager for professional and trade books. He made the foray into academic publishing by becoming the marketing director of arts and humanities at Routledge. Before taking the helm at Fordham, Fred was at NYU Press as the marketing and sales director.

Ellen Adler has been the Publisher of The New Press since 2006. She was the editor of Arlie Hochschild’s Strangers in Their Own Land and of the forthcoming Becoming Ms. Burton: From Prison to Recovery to Leading the Fight for Incarcerated Women. She joined The New Press Board of Directors in 2001 and became Deputy Director in 2003. She has spent her career in publishing, and before joining The New Press in 2003 was the President and C.E.O. of Berlitz Publishing Co., Inc. She previously held a range of positions at Doubleday, The Dial Press and Knopf. Adler was a trustee of Columbia University Press from 2011 until 2015.

Then, on Friday, March 31st at 7pm, join us for our 20th birthday party with New Directions! We’ll be celebrating our big day as well as the launch of our New Directions section. There will be drinks, speeches, and good cheer–we hope to see you there!

536 W. 112th St.
Visit our website for more information

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Mar 27 Mon 10am-12am Age of Empires Chinese Art Exhibition at The Met (Apr 3-July 16 2017)

The Chinese did marvelous things before anybody else

The Chinese did marvelous things before anybody else

Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.–A.D. 220)
April 3-July 16, 2017

A major landmark exhibition of ancient Chinese art will open at The Met on April 3. Showcasing more than 160 works—including renowned terracotta army warriors—the exhibition will illuminate the unprecedented role that art played in creating a lasting Chinese cultural identity. Drawn exclusively from museums and archaeological institutes in the People’s Republic of China, the majority of the works have never before been seen in the West. Other highlights include a recently discovered life-size sculpture of a seminude performer; scholars speculate that the work’s anatomical accuracy—hitherto unknown in Chinese figural art—was inspired by Hellenistic sculptures that Alexander the Great introduced into Central Asia a century earlier.

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Mar 20 Mon Met Breuer (Whitney) Floor 4: Marsden Hartley’s Maine and Lygia Pape: A Multitude of Forms

Marsden Hartley (American, 1877–1943). Canuck Yankee Lumberjack at Old Orchard Beach, Maine (detail), 1940–41. Oil on Masonite-type hardboard. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Gift of Joseph H. Hirshhorn, 1966. Photo by Cathy Carver

MARSDEN HARTLEY’S MAINE
Exhibition Dates: March 15–June 18, 2017
Exhibition Location: The Met Breuer, Floor 3

The exhibition Marsden Hartley’s Maine, on view at The Met Breuer from March 15 through June 18, 2017, will showcase the American artist’s lifelong artistic engagement with his home state of Maine. Approximately 90 paintings and drawings will illuminate his extraordinarily expressive range—from Post-Impressionist interpretations of seasonal change in inland Maine in the early 1900s to folk-inspired depictions, beginning in the late 1930s, of the state’s hearty inhabitants, majestic coastline, and great geological icon, Mount Katahdin.

Marsden Hartley’s Maine is organized by The Metropolitan Museum of Art and the Colby College Museum of Art. Following its presentation at The Met, the exhibition will be on view at the Colby College Museum, in Waterville, Maine, from July 8 through November 12, 2017.

The exhibition is made possible by the Barrie A. and Deedee Wigmore Foundation, the Henry Luce Foundation, the William Randolph Hearst Foundation, and the Jane and Robert Carroll Fund.

It is organized by The Metropolitan Museum of Art and the Colby College Museum of Art.

Born in Lewiston, Maine, in 1877, Hartley became known for his peripatetic nature, especially his time spent in Paris and Berlin, where he participated in the European avant-garde. Over the course of his career, however, he returned to his home state repeatedly, painted Maine subjects while living abroad, and proclaimed himself the “painter from Maine” in the final chapter of his life. With the artist’s place of origin as its focus, the exhibition will trace the powerful threads of continuity that run through Hartley’s work and underlie many of his greatest contributions to American modernism. To Hartley, Maine was a springboard to imagination and creative inspiration, a locus of memory and longing, a refuge, and a place for communion with previous artists who painted there, especially Winslow Homer, the most famous American artist associated with the state. Hartley died in Ellsworth, Maine, in 1943.

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Lygia Pape (Brazilian, 1927–2004). Divisor (Divider), 1968. Performance at Museu de Arte Moderna, Rio de Janeiro, 1990. Photo by Paula Pape. © Projeto Lygia Pape

Lygia Pape: A Multitude of Forms

Exhibition Dates: March 21–July 23, 2017
Exhibition Location: The Met Breuer, Floor 4
Press Preview: Monday, March 20, 10 am–noon

The first major retrospective exhibition in the United States devoted to Brazilian artist Lygia Pape (1927–2004) will open at The Met Breuer on Tuesday, March 21. A critical figure in the development of Brazilian modern art, Pape combined geometric abstraction with notions of body, time, and space in unique ways aiming to integrate the art object with life experience. Covering a prolific, unclassifiable career that spanned five decades, the exhibition will examine Pape’s extraordinarily rich oeuvre as manifest across varied media, from sculpture, prints, and painting to installation, performance, and film.

Alongside Lygia Clark and Hélio Oiticica, Lygia Pape is one of the most prominent artists of her generation and was a leading protagonist at a crucial moment for the history of art in Brazil. During a period of intense industrialization following World War II, concrete and constructivist European trends entered the country where figuration had been the dominant vocabulary. Pape was part of the Concrete movement (Grupo Frente) in Rio de Janeiro, reworking the legacies of geometric abstraction. It then evolved in 1959 into the Neoconcrete group, aimed at giving priority to experimentation and process over any normative principle. She was among the first to consider integrating the space of the artwork with the space of the viewer with works that demand participation or interaction, marking a breakthrough moment in 20th-century art.

The exhibition is made possible by The Daniel and Estrellita Brodsky Foundation and The Garcia Family Foundation.

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Mar 10 Fri Noon Molly Barnes Presents Christine Berry of Berry Campbell Gallery

Love of selling art
Christine Berry is the rare kind of gallery owner who will welcome any visitor with a friendly Hello! and will tell you anything you need to know about the art she sells and the artists represented by the 2000 abstract expressionist and other modernist works now in the inventory of her flourishing four year old gallery in Chelsea, an expanding storefront 2000 sq ft space whose paintings can be seen from across the street, an accessibility which helps draw in most of the crowd on the Thursday evenings which have become a art event in Manhattan to rival the crowded weekend nights at the Metropolitan Museum as date night outings for art lovers and scouting investors both, a sidewalk visibility which is a choice on the part of Berry, who is by nature one of the most accessible social beings in the art world who tells how she started out after her Art History degree working on 57 Street for the storied dealer Ira Spanierman for ten years, where she found at first that when people came in they said absolutely nothing even as they peered over her shoulder at the front desk at the art behind her, but when she said Hello! How are you? they warmed to her immediately and she soon began selling more than her colleagues, a success which also reflected her love of selling art as a process of education and enlightenment in introducing works into the lives of her customers, so now having her own gallery “for me in beyond a dream come true”, a dream which survived the initial moment when during a hot Texas summer party at Baylor she fell in love with a Vermeer on the wall and changed her course of study while her furiously resistant college professor father challenged her to find any want ad in the local paper for an art historian, and eventually worked for a Florida billionaire bidding in New York and happened to resort to a limousine one day to get to Spanierman on 57th St in a hurry and stepped out of it into a job for ten years there before starting Berry Campbell on the fashionable 24th Street art runway between 10th and 11th Avenues where the rent is “insane” and she and her partner Martha Campbell take full responsibility for backing the artists they market to an extent which now forces her to admit that though friendly she does try and curb artists from anything more than chit chat at a party or any crowd situation, a sentiment fully understood by Molly Barnes who was reminded of a time when she was down in the floor of Los Angeles airport because she was feeling sick and was joined by a woman artist anxious to promote her portfolio.

Molly Barnes will interview Christine Berry, co-owner of Berry Campbell Gallery in Chelsea.

CHRISTINE BERRY is the co-owner of Berry Campbell Gallery located on the ground floor at 530 West 24th Street in New York City in the heart of the Chelsea Arts District. Christine Berry opened the gallery with Martha Campbell in the fall of 2013 with a focus on Postwar Modern and Contemporary Art.

Recently, Berry Campbell Gallery announced its expansion into a new 2,000 square-foot ground floor gallery and exhibition space. Berry Campbell joins its West 24th Street neighbors—Andrea Rosen Gallery, Gagosian Gallery, Jack Shainman Gallery, Luhring Augustine, Mary Boone Gallery, Marianne Boesky Gallery, and Matthew Marks—as vital contributors to the flourishing Chelsea art scene, recently made even more vibrant with the recent opening of the new Whitney Museum of American Art.

Berry Campbell fills an important gap in the downtown art world, showcasing the work of prominent artists and estates in the areas of of Abstract Expressionism, Minimalism, Color Field, Op Art, and mid-career artists working in the modernist tradition. Berry Campbell represents Edward Avedisian, Walter Darby Bannard, Stanley Boxer, Dan Christensen, Eric Dever, Perle Fine, Balcomb Greene, Gertrude Greene, John Goodyear, Ken Greenleaf, Raymond Hendler, Jill Nathanson, Stephen Pace, Charlotte Park, William Perehudoff, Ann Purcell, Albert Stadler, Mike Solomon, Syd Solomon, Susan Vecsey, James Walsh, and Joyce Weinstein.

Current Exhibition at Berry Campbell:
February 9 through March 11, 2017
Dan Christensen: Late Calligraphic Stains
530 West 24th Street (Tenth/Eleventh Avenues)
New York, NY
(212) 924-2178
Hours: Tuesday – Saturday, 10 AM – 6 PM

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Mar 9 Thu 2-5pm Screening of Disturbing the Peace by NYU Tisch Department of Art & Public Policy and NYU Leadership Initiative NYU Production Lab 16 Washington Place

An Israeli enemy of Palestine changes his tune and fights for peace

An Israeli enemy of Palestine changes his tune and fights for peace

In a world torn by conflict – in a place where the idea of peace has been abandoned – an energy of determined optimism emerges. When someone is willing to disturb the status quo and stand for the dream of a free and secure world, who will stand with them?

We invite you to a join us for a special screening of Disturbing the Peace. From enemy combatants to peaceful warriors, Disturbing the Peace chronicles the transformation of individuals into the nonviolent peace activists they are today. See this inspiring narrative of finding peace in turbulent times and join us for a conversation on how to build a free and secure world.

After viewing the film, audience members will join in on a discussion with two of the organization members and the film maker.

About the film:
Disturbing the Peace follows the story of former enemy combatants—Israeli soldiers and Palestinian fighters—who have joined together to challenge the status quo and say “enough.” The film reveals their transformational journeys from soldiers committed to armed battle to nonviolent peace activists, leading to the creation of combatants for peace.

The film follows everyday people who took extraordinary actions by standing for what they believe in, just like those who came before them—Martin Luther King Jr., Rosa Parks, Gandhi, Nelson Mandela and many other whose names we don’t know. The movies challenges all of us —to understand the narratives we live within to look at our current roles in our societies, and to decide what role we are going to play in creating a more humane world, for all. And it starts with our willingness to disturb the peace.
To watch the trailer and for more information, please visit: http://disturbingthepeacefilm.com/

Sponsored by NYU Tisch Department of Art & Public Policy and NYU Leadership Initiative with support from the Tisch Institute of Performing Arts (IPA).

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Mar 9 Thu Noon Molly Barnes Introduces The Unstoppable Audrey Flack

Audrey Flack is a Renaissance woman, a polymath of painting, sculpture, music, photography and politics!

Liberating Artist
Audrey Flack seems as energetic at 85 as she must have been in her early days as an artist who has evidently never let being a woman hold her back, from her start in the fifties when she led in painting photorealism and the MOMA began its collection with one of her works in 1966, when she associated with Willem De Kooning, Jackson Pollock and other drunken bad boys of abstract expressionism, whom she now views as similar to Rodin the sculptor in subjecting female artists to subordination and inconsiderate behavior which they mistakenly thought was part and parcel of great talent, but Flack herself never veered from choosing a path dictated by her own inner creative needs, during the sixties abandoning paint and picking up clay and locking her studio door for ten years before exhibiting her own sculpture along 19 Century lines though definitely not following Rodin, who she says she is still mad at after finding out how much he borrowed from the talent of Camille Claudel, his young mistress and assistant whose life was ruined by the ten year old affair, whose work she first admired at the Rodin Museum in the seventies and only then realized was by a woman, who helped inspire her subsequent work which in terms of realistic beauty may have peaked in her graceful 2,000-pound bronze statue of a woman called “Veritas et Justitia,” or Truth and Justice, now colloquially known as Lady Justice, outside the courthouse in Tampa, which supplicants heading for an appearance in front of a judge apparently rub with a prayer, since one of its ten year old toe has largely vanished, which together with the consistently non-abstract character of the direction of her work and the strength of her feminist objections to the oppression of female artists made one wonder whether she was exhibiting a reliable tendency of women artists to reclaim the concrete from the wave of abstract art which has dominated the West in recent decades, as a kind of reversal of the Alzheimers of male art toward representational work, which she allowed was an interesting question worth exploring, though without disparaging male achievement.

Molly Barnes will interview painter, sculptor, banjo player, and songwriter Audrey Flack who, on February 18, 2017, received a Lifetime Achievement Award from The Women’s Caucus for Art.

Audrey Flack is a pioneer of Photorealism and a nationally recognized painter and sculptor. The first women artists to be listed in Janson’s History of Art were Audrey Flack and Mary Cassatt. Flack’s work is in the collections of major museums around the world, including the Metropolitan Museum of Art, The Museum of Modern Art, the Solomon R. Guggenheim Museum, Whitney Museum of American Art, and the National Museum of Art in Australia.

Flack was the first photorealist painter to have work purchased by the Museum of Modern Art (MoMA). Her public sculpture has been monumental and spearheading a return to representational public art. Her mission is to present women not as mere sex objects gazing up at a general on a horse, but as strong, intelligent, purposeful individuals with a powerful physiognomy and inner and outer beauty.

Throughout her career, Flack’s work has been featured in numerous traveling museum exhibitions, includingTwenty-two Realists (1972) at the Whitney Museum of American Art, Super Realism (1975-76) at the Baltimore Museum of Art, American Painting of the Seventies (1979) at the Albright-Knox Gallery, (Buffalo),Contemporary American Realism (1981-83) at the Pennsylvania Academy of the Fine Arts (Philadelphia),Toyama Now, 1981 at the Museum of Modern Art (Tokyo), and Making Their Mark: Women Artists Move into the Mainstream (1989) which traveled to the Cincinnati Art Museum, the New Orleans Museum of Art, the Denver Art Museum and the Pennsylvania Academy of the Fine Arts.

Flack has also held numerous solo exhibitions including at the Louis K. Meisel Gallery, the Gary Snyder Gallery (New York) and Hollis Taggart Galleries among others.

Flack is also noted for her musical group, The History of Art String Band.

Eldridge & Co. interview with Audrey Flack:
Eldridge & Co. – Audrey Flack-Painter, Sculptor – CUNY TV
www.cuny.tv
Artist Audrey Flack and Ronnie Eldridge talk about their

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