Yesterday, Anthology Film Archives announced that, for the first time in their 46-year history, big changes are coming to the institution in the form of an expansion to their East Village operations that will include a library and café.
Art + Culture
Another venue spent New Year’s Eve saying their last goodbyes to regulars and anyone else with a drink in their hand. For the last few years, Cake Shop was running on borrowed time. Back in 2012, when the gritty bitty Lower East Side venue’s Ludlow Street neighbor, The Living Room, closed up shop after more than 15 years in business, it seemed like it was only a matter of time.
Friday January 6, 7:30 pm at Spectacle: $5
It’s been an awful long time since I’ve seen a movie at Spectacle… who am I kidding? I was pretty much lost for the two or so weeks when I was forced to go without this $5 standby, cini-mini home for everyone from underground-art house weirdos and to -sploitation freaks. I forgive you Spectacle workers, I guess you too needed to watch Law & Order with your family and drunkenly cry yourself to sleep in your childhood bedroom where Frank the teddy bear has been replaced by a mostly-empty bottle of desperately cheap whiskey.
Last year was a rough one for cultural spaces of all kinds in New York City, so it was somewhat fitting (if not totally sad) that a slew of local spots said their peace-outs during New Year’s Eve festivities. Among the departing establishments that went out with a bang on one of the drunkest night of the year was Over the Eight, a Williamsburg bar which closed up shop after “three and a half years” of “slinging cheap drinks and treasured times” (as we heard back in November when the owners first announced their departure).
Synthicide: Three-Year Anniversary
Thursday January 4, 10 pm to 4 am at Bossa Nova Civic Club: FREE
Even if right now the weather’s making you feel like your bones will never dry, your shoes will always be soggy, and that possibly your muscles will continue spazzing forever and ever, hold on for two more days. And in the mean time, repeat over and over “Free, free at last!” Slowly, your hands will start to defrost, color will return to your face, and a your eyes will even start to twinkle. By the time Thursday rolls around you can let it all out, by placing your booty on the Bossa Nova dance floor as soon as you’re able for the venue’s third annual Synthicide party.
This week, we continue with our series of longer pieces unraveling the histories of storied buildings.
In June 1931, with America’s working class still deep in the grip of the Great Depression, a handful of actors in New York City performed Art is a Weapon, a skit first adapted by the New York’s Workers’ Laboratory Theatre. It begins with a Capitalist, with a “silk topper and over-refined accent,” making his declaration about the limited uses of art. The workers respond by making the distinction between proletarian and bourgeois art; between art intended to amuse and enlighten the elite and art meant to liberate workers.
The last time I saw a bunch of RAE BK‘s work all in one place was in 2015, just after the street artist and Brooklyn-native had opened his guerrilla-style solo exhibition in Chinatown. But the show wasn’t held at a gallery, instead RAE’s site-specific installation was housed inside a dingy old basement, accessible only by way of an unmarked, totally unassuming rust-red metal door adjacent to a bustling produce market. Even then, I was so jaded that I couldn’t allow myself to believe that this was a real basement with real dirt and dust everywhere. But actually it wasn’t just a fancy pop-up rental space with a stage-grit makeover, nor was it an attempt by some developer to “activate” a particular corner before the building was torn down. As RAE told me, the basement was simply on loan from a recently-retired butcher with whom he had a “tentative relationship,” and the show, called Trunk Work, was one of those rare art happenings that was both real and strange.
Even if the actual ball drop is kinda hazy, as long as you’re reading this, you’ve made it to 2017. Congratulations. Seriously though, 2016 was the worst. Case in point: by the time Friday rolled around, it might have seemed like we were in the clear, but 2016 dropped a final insult on top of relentless injury on its way out the door: the death of Tyrus Wong, the artist responsible for Disney’s “Bambi.” You heard right, 2016 killed the dude who created mother-freaking Bambi.
Whenever someone compares Brooklyn to Oakland, an angel loses its wings, and is sent plunging straight down to hell where the sexless being is reborn as an enormous phallus– imagine, like, a hedge fund manager or, in some cases, a real-estate developer.
That’s because the observation usually has to do with the proximity of a relatively much more prosperous place like Manhattan or San Fransisco (actually those are mostly just super fancy places no matter how you slice it) and based on dumb facts like that you can take a train between the two (the BART, the MTA respectively). Oh, and there’s also that whole gentrification thing– like parts of Brooklyn, Oakland has been declared fabulously “up-and-coming” (barf).
The truth is that, aside from stupid comparisons like these–usually found in real-estate ads, or grunted between high-five’ing bros–Oakland and our beloved borough actually do have some real stuff in common.
Now through Thursday January 5 at IFC Center: $14
For all you literary nerds out there, here’s your once-in-a-great-while chance to see a film about a poet– which, strangely, is something the movie bizz must be really feeling right now because whatddya know, Jarmusch’s new one, Paterson, also puts a poet front and center. What makes Neruda an even rarer opportunity is that Pablo Neruda, the Nobel Prize-winning Chilean poet in question, is hardly some rugged, hard-boiled Anglo-centric beardo. Rather, Neruda is best know for his simple, yet heart-crushing love poems (especially the ones contained in Twenty Love Poems and a Song of Despair.)