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	<title>City ArtsCity Arts | City Arts</title>
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	<link>http://cityarts.info</link>
	<description>New York&#039;s Review of Culture</description>
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		<title>Shallow Children</title>
		<link>http://cityarts.info/2012/05/15/shallow-children/</link>
		<comments>http://cityarts.info/2012/05/15/shallow-children/#comments</comments>
		<pubDate>Tue, 15 May 2012 22:01:25 +0000</pubDate>
		<dc:creator>Steve Haske</dc:creator>
				<category><![CDATA[On Gaming]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=8268</guid>
		<description><![CDATA[Game Prediction: To Err Is Human “Technology will eventually destroy us.” That’s probably an idea you’re familiar with, whether by observation of the increasingly alarming dependency we have on our electronic devices, or maybe just exposure to allegory in science fiction. It also might be an apt description for Binary Domain, a sci-fi shooter that explores some exceptionally thought-provoking themes. Criminally overlooked in retail despite its unique qualities, Binary is in many ways similar to Blade Runner: in the future, cybernetic technology is so advanced that it becomes possible to create robots that are indistinguishable from humans. After a U.S. attack by a so-called “hollow child,” an international spec-ops team is sent to Japan to apprehend the creator of the world’s most advanced robotics technology, under violation of an international treaty banning the research and development of sentient intelligence in machines. Only unlike Blade Runner’s replicants, hollow children have no idea they’re not human. There’s plenty of commentary that can spark just from this setup: humanity playing God, ethics in technology or even, as Binary was developed by a Japanese team, issues Japan has historically grappled with regarding its military stance or its own cultural identity. It’s a bit unexpected [...]]]></description>
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		<title>Spooky or Kooky?</title>
		<link>http://cityarts.info/2012/05/15/spooky-or-kooky-2/</link>
		<comments>http://cityarts.info/2012/05/15/spooky-or-kooky-2/#comments</comments>
		<pubDate>Tue, 15 May 2012 21:58:58 +0000</pubDate>
		<dc:creator>Armond White</dc:creator>
				<category><![CDATA[Film]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=8265</guid>
		<description><![CDATA[Tim Burton’s Campy Dark Shadows Gone are the days when Tim Burton films made you laugh first. Now Burton more likely makes you cringe, as in Dark Shadows, his new film version of TV’s 1960s daytime soap opera. It retells the story of Barnabas Collins, an early-American fishing scion who had been turned into a vampire by Angelique, a witch he spurned. “She caused me to be a vampire so that my suffering would never end,” says Barnabas (Johnny Depp) in tones so sepulchral they’re almost satiric. Yet, Burton loses his signature balance of dread and humor. There’s an indecisive, scattershot approach to both vampire legend and pop culture camp. It’s as if Burton couldn’t decide to be kooky or spooky. Burton’s done genre makeovers before, yet Dark Shadows isn’t a transformation like his 2001 Planet of the Apes or his do-over Batman Returns, which definitively grasped the comic-fright tone missing from his now-forgotten 1989 Batman blockbuster. Burton’s Dark Shadows never takes hold as a gothic vision of American history (Sleepy Hollow II) or a comedy about love versus spite, the occult versus the all-too-mortal follies that transpire within the personalized crosscurrents of ruthless business practices in the Collins family [...]]]></description>
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		<title>Less Talk, More Rock</title>
		<link>http://cityarts.info/2012/05/15/less-talk-more-rock/</link>
		<comments>http://cityarts.info/2012/05/15/less-talk-more-rock/#comments</comments>
		<pubDate>Tue, 15 May 2012 21:50:38 +0000</pubDate>
		<dc:creator>Jay Nordlinger</dc:creator>
				<category><![CDATA[Classical Music]]></category>
		<category><![CDATA[Music]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=8262</guid>
		<description><![CDATA[Neikrug’s New Concerto at the Philharmonic On a Friday afternoon, the New York Philharmonic began a concert with the Corsair overture of Berlioz. Then it was time for a new work, a concerto for orchestra by Marc Neikrug. The conductor, Alan Gilbert, did not stride to the podium to conduct. He and the composer ambled out holding microphones. Uh-oh. At the Philharmonic, it seems, there cannot be a new piece without talk from the stage. Without special pleading and hand-holding. Gilbert made a crack. He said the premiere of the piece had taken place the night before, so “don’t worry about the new-music thing, guys.” The piece was no longer new, see? This was kind of witty, but also incredibly condescending. If audiences are skeptical of new music, maybe it’s because they have been fed so much bad new music over the years. And whose fault is that, “guy”? Neikrug made some rambling remarks about physiological reactions to musical notes, I think—I found it hard to understand him. If you’re going to impose talk on the audience, at least do it well. Some people are cut out for it, some are not. Before he left the stage, Neikrug declared that [...]]]></description>
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		<title>Preserved Expectations</title>
		<link>http://cityarts.info/2012/05/15/preserved-expectations/</link>
		<comments>http://cityarts.info/2012/05/15/preserved-expectations/#comments</comments>
		<pubDate>Tue, 15 May 2012 21:48:13 +0000</pubDate>
		<dc:creator>Joel Lobenthal</dc:creator>
				<category><![CDATA[Dance]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=8260</guid>
		<description><![CDATA[Ballet’s Perilous History on Video Not enough of Natalia Makarova’s high artistic quality nor her particular qualities were on view at the tribute to her staged by Youth America Grand prix late last month. The videos shown of her performances existed almost in a class of their own. I don’t think that this was deliberate, for the performers chosen were top international names. Granted as always that they came from all four corners of the globe and may have been tired, etc., etc., I still missed Makarova’s line—flowing even when she stood absolutely still. I missed her float and illusion of impalpability. I missed her ability to sustain the fiction that a kinetic pulse continued beyond the actual conclusion of a step or an extension. Of course Makarova would have been extraordinary at any time or place. But watching the videos shown and thinking back to the many times I saw her dance live in the late 1970s and 1980s, something startling was clear: Although individual aspects of ballet technique have strengthened quantitatively, technique as an integrated expression has not really progressed. But going back 100 years or so, there is no question that what was considered ballet dancing is [...]]]></description>
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		<title>Moga Better Deco</title>
		<link>http://cityarts.info/2012/05/15/moja-better-deco/</link>
		<comments>http://cityarts.info/2012/05/15/moja-better-deco/#comments</comments>
		<pubDate>Tue, 15 May 2012 21:45:19 +0000</pubDate>
		<dc:creator>Marsha McCreadie</dc:creator>
				<category><![CDATA[Visual Art]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=8257</guid>
		<description><![CDATA[Japan Shapes 20th Century Art and Culture Sometimes the best way to get at a culture is to smash it up against a disparate element, or encase it in a seemingly alien time frame, seeing unexpected elements in each, even redefining each. So it is with Art Deco, and Japan, a yoking you never thought of before. No there are no Cole Porter photos, but there’s a marvelous poster of three high stepping dancers worthy of the Stork Club. A vase with a single “modern” but delicate stem line of willow right down the middle, and with the traditional Japanese emblem of a cicada now highly formalized, blew me away (“Vase with Cicada and Willow Design,” Katori Masahiko, 1931). All of a sudden, Japanese obsession with perfection seems congruent with Art Deco’s geometrical matrix, a reaction against art nouveau. So how come we never knew about this before? For one thing, most of this 200 piece collection is from a private collection, shown through the generosity and collector perspicacity of Robert and Mary Levenson of Clearwater, Fla. (There are also five paintings on loan from Boston’s Museum of Fine Arts.) Moreover, while we always thought of pre-World War II Japan as [...]]]></description>
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		<title>Citizen-Artist</title>
		<link>http://cityarts.info/2012/05/08/citizen-artist/</link>
		<comments>http://cityarts.info/2012/05/08/citizen-artist/#comments</comments>
		<pubDate>Tue, 08 May 2012 21:47:30 +0000</pubDate>
		<dc:creator>Armond White</dc:creator>
				<category><![CDATA[Film]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=8249</guid>
		<description><![CDATA[A NoËl Coward Film Series to Remember In a Noël Coward-worthy lyric, a pop singer-songwriter once mused about “the stillness of remembering what you had and what you lost.” Seeing some of the newly restored 35mm prints of classic Noël Coward films in the Film Society of Lincoln Center’s Coward on Film (May 11-13) inspires such wistfulness. As part of the citywide Noël Coward tribute Star Quality: The World of Noël Coward, the film series at the Walter Reade Theater makes it evident that current pop culture has not produced the kind of multitalented demi-giants like the 20th century’s Coward, Jean Cocteau, Orson Welles, Melvin Van Peebles. Very possibly Michael Jackson and R. Kelly might have joined their ranks, had scandal, opprobrium and racism not intervened. And George Clooney certainly doesn’t rate—no matter how relentlessly the media celebrates him or how egregiously he fails. Coward’s output as writer, composer, performer and filmmaker typifies a lost era of doubling on brass; the expectation that an artist should be good at more than one thing, even if only to create vehicles for himself. Coward’s inventiveness is nothing like today’s preening self-promoters. His film work reminds one of how an artist’s engagement with [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Vuillard Confidential</title>
		<link>http://cityarts.info/2012/05/08/vuillard-confidential/</link>
		<comments>http://cityarts.info/2012/05/08/vuillard-confidential/#comments</comments>
		<pubDate>Tue, 08 May 2012 21:42:53 +0000</pubDate>
		<dc:creator>Mario Naves</dc:creator>
				<category><![CDATA[Visual Art]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=8246</guid>
		<description><![CDATA[Master of Intimism Gets Intense Long gone, I hope, are the days when the French painter Édouard Vuillard (1868-1940) was pooh-poohed as being insufficiently radical or, if you prefer, overly bourgeois—as if art steeped in domesticity and comfort somehow precluded pictorial innovation. If Édouard Vuillard: A Painter and His Muses, 1890-1940, an exhibition at the Jewish Museum, doesn’t put that avant-gardist trope to bed, nothing will. Actually, make that the first three galleries. In them, we encounter an artist of brooding intensity and startling economy. The standard telling of Intimism underlines how a select group of painters brought Impressionist facture out of the sunlight and into the dining room. Dubbing themselves the Nabis—from the Hebrew and Arabic, meaning “prophets”—these artists looked for inspiration in the color-laden symbolism of Paul Gauguin, the decorative flourishes of Art Nouveau and the flat spaces found in Japanese prints. The resulting imagery spoke (as the novelist André Gide had it) “in a low tone, suitable to confidences.” Low, confidential and given to unnerving moments of introspection. New Yorkers familiar with MoMA’s “Interior: Mother and Sister of the Artist” (1893), a cornerstone of the permanent collection, know Vuillard wasn’t inspired by hearth and home so much [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>The Price of Jazz</title>
		<link>http://cityarts.info/2012/05/08/the-price-of-jazz/</link>
		<comments>http://cityarts.info/2012/05/08/the-price-of-jazz/#comments</comments>
		<pubDate>Tue, 08 May 2012 21:39:22 +0000</pubDate>
		<dc:creator>Howard Mandel</dc:creator>
				<category><![CDATA[Jazz, Popular and Other]]></category>
		<category><![CDATA[Music]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=8243</guid>
		<description><![CDATA[Jazz Gallery’s Legacy and Ledger Latest music organization to enter the tight local real estate market: the Jazz Gallery, which lost the lease on its loft at Hudson and Spring streets after 17 years. Moving an ongoing venture at any time is painful, but seldom worse than right now in Manhattan, where the Gallery wants to stay. Still, the can-do spirit that has exemplified the Gallery since its founding prevails. Executive director Deborah Steinglass takes the task as an opportunity for growth, calling the effort “A Home Run.” The Gallery is a unique venue that has introduced scores of progressive musicians at modest prices to local audiences while also exhibiting jazz-related visual art. It’s a 501(c)(3) nonprofit organization, neither bar nor restaurant but low-key listening room, with good sight lines and folding chairs. It’s larger than The Stone, its nearest relative aesthetically speaking (but way across town), and the vibe is more relaxed. It was established in 1996 by Dale Fitzgerald, who retired three years ago to work as business manager to trumpeter Roy Hargrove (also present at the Gallery’s birth), and has been booked since 2000 by Rio Sakairi. From its start, the Gallery’s focus has been on emerging [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Colors That Speak</title>
		<link>http://cityarts.info/2012/05/08/colors-that-speak/</link>
		<comments>http://cityarts.info/2012/05/08/colors-that-speak/#comments</comments>
		<pubDate>Tue, 08 May 2012 20:42:44 +0000</pubDate>
		<dc:creator>John Goodrich</dc:creator>
				<category><![CDATA[Galleries/Gallery Beat]]></category>
		<category><![CDATA[Visual Art]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=8241</guid>
		<description><![CDATA[From Classics to Lloyd Martin Michael Rosenfeld Gallery’s busy and exuberant installation of works on paper (…On Paper) reflects the sheer diversity of American art in the 1940s through ’70s. The three dozen drawings, collages, mixed media works and paintings on paper cover a lot of ground—everything from Gaston Lachaise’s breezy line drawing of a nude to Nancy Grossman’s tightly wound drawing of a leather-bound head. But the bulk of the show presents an intriguing mix of mid-century trends, from abstract expressionism to geometric abstraction to figurative images ranging from the surreal to the socially conscious. Celebrated artists such as de Kooning, Krasner, Baziotes and Stamos ably represent the New York School, but Anne Ryan’s abstraction—a remarkably atmospheric collage of off-white bits of paper and fabric—seems most comfortable with the usually smaller scale of works on paper; its meditative, deliberated design seems closer in spirit to the spry geometric abstractions by Burgoyne Diller and Charmion von Weigand. Among several surrealism-tinged pieces, Pavel Tchelitchew’s watercolor of an artery-enclosed head eerily combines the sensual and the psychedelic. It could hardly differ more from Morris Graves’ serene paean to nature, a painting in tempera of a stylized falcon, on view in the gallery’s [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Tennessee’s Quiet Storm</title>
		<link>http://cityarts.info/2012/05/08/tennessee%e2%80%99s-quiet-storm/</link>
		<comments>http://cityarts.info/2012/05/08/tennessee%e2%80%99s-quiet-storm/#comments</comments>
		<pubDate>Tue, 08 May 2012 20:40:46 +0000</pubDate>
		<dc:creator>Armond White</dc:creator>
				<category><![CDATA[Classical Music]]></category>
		<category><![CDATA[Galleries/Gallery Beat]]></category>
		<category><![CDATA[Jazz, Popular and Other]]></category>
		<category><![CDATA[Museums]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Theater]]></category>
		<category><![CDATA[Visual Art]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=8238</guid>
		<description><![CDATA[Transforming the Classic ‘Streetcar’ Nicole Ari Parker has a triumph in A Streetcar Named Desire that our mainstream media and the cli-quish Tony Awards are ill-equipped to handle. Parker’s ravishing, statuesque presence and intelligent skill make the play what it always ought to have been: a genuine contest between America’s sexual and political hypocrisies; social sense versus personal sensuality. In her own take on Blanche DuBois, the ultimate test for an American actress (bravo, Faye Dunaway; get outta here, Cate Blanchett), Parker shows the requisite physical strength and beauty and emotional instability. She is true to Williams’ archetype—so true that she complements Vivien Leigh’s awesome performance in Kazan’s 1951 film, yet brings something fresh. It is Parker’s freshness that makes this Streetcar noteworthy. Let no less an authority than Paul Mooney explain why. Mooney broke it down in a 2010 interview with PopMatters: “Tennessee Williams knew about the South, but he would clean it up and lie about it. He knew the women, he knew the racial thing, he knew everything. He knew the incest, the child abuse, all that shit. He had to hide it because those white folks would get angry. A Streetcar Named Desire: Trust me when [...]]]></description>
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