Back To Nature Opening Wednesday, September 5 at Front Room Gallery, 7 pm. On view through October 21.
If you ever rode the Haunted Mansion ride at Disneyland, you’ll recall paintings hung on some of the walls that had eyes that appeared to follow you as you moved your own from side to side. Spooky! That’s sort of how I feel when I look at the wide-eyed paintings done by Amy Hill, who is opening a solo exhibition at Lower East Side’s Front Room Gallery on Wednesday. Her portraits are realistic while also being surreal and a little creepy (even the cats stare at you with unblinkingly large eyes), bringing the style of 19th century American folk art into more modern times. Rather than setting her figures in the 21st century, she curiously grounds them in 1960s counterculture, where peace-sign necklaces and fringed leather replace any peasant frocks. We never actually found that peace, did we…More →
Performers from Shakespeare in the Parking Lot’s “Hamlet”, including Gracie Winchester as Ophelia and Jane Bradley as a female Hamlet (Photo posted on Instagram by Gracie Winchester)
Shakespearean tragedies don’t typically see a peaceful resolution, but it looks like there’ll be a happy ending for a drama that unfolded center stage at a Community Board 3 meeting last month.
There, Hamilton Clancy, artistic director of the non-profit that runs Shakespeare in the Parking Lot, bemoaned the potential loss of their performance space at the parking lot managed by the Clemente Soto Vélez Cultural and Educational Center. His efforts to find a second home for the theater company in Sara D. Roosevelt Park had been met with bureaucratic red tape. All hope seemed to be lost.
When you think about classic horror flicks, the word “feminism” probably doesn’t jump out at you– those blood-bathed scenes are usually dominated by hot young women, running around helpless and screaming for their lives. But Spicy Witch Productions is turning the slasher genre on its head in their new repertory season at The Clemente, by exploring the fetishization of violence through the lens of an all-female creative team.
What do you think of when you hear the name “Frida Kahlo?” Her lush, Tehuantepec-inspired dresses? Her flowered headdresses? Her unmistakeable unibrow? These days, one of the most iconoclastic and eccentric artists of her time is often reduced to a mass-produced fashion icon. With all the Halloween costumes and kitschy Frida-printed magnets, bags etc, she’s surely one of the most recognizable Mexican figures in the world–and the most commodified. (Though those El Chapo t-shirts could change that.)