The rhythm and verve of working-class New York street life is vividly displayed in artist Dena Schutzer’s new solo show at the Bowery Gallery in Chelsea. In almost two dozen drawings and oil paintings — on view through October 1 — Schutzer gives an impressionistic glance into daily urban life: a woman braids a man’s hair on a stoop; a man cleans the windows of a shop; boldly lit umbrellas pass in the rain.
Jan Karski with a wall-map of the Warsaw Ghetto at the United States Holocaust Memorial Museum. Photo by E. Thomas Wood.
“The Queen Has No Crown,” Tomer Heymann’s devoutly personal look at family, gay identity, and homelessness, is a document of the ideological and geographical peregrinations of one Israeli family. Recently screened at the JCC in Manhattan as part of its Feigele Film Festival, and showing August 7 at the San Francisco Jewish Film Festival, the film was crafted from a decade’s worth of home videos and a precious trove of 16- and 8-millimeter film given to Heymann by his father. The resulting movie has no overt dogmatic or political message, nor does it chronicle any remarkable event, such as death or illness. At heart, it’s a profoundly human look at the run-of-the-mill challenges a family faces by its very nature — and the inevitable gaps that form in the sense of home as one tribe becomes many.
Danny Aiello tells Alma Cuervo he can’t fix her shoes in ‘The Shoemaker.’ Photo by Ben Hider.
Shulamith Koenig has little reason to be humble. Well-known for her work as a human rights advocate and her role as founding president of the People’s Movement for Human Rights Learning, she is, with Eleanor Roosevelt, Martin Luther King, Jr., Jimmy Carter and James Grant, a recipient of the United Nations Prize in the Field of Human Rights. Besides human rights activism Koenig also works as a sculptor, and has exhibited and toured with the like of Japan’s Isamu Noguchi. But in “Industrial Evolution: From Art to Industry to Art,” a diminutive five-sculpture show at New York’s ET Modern gallery in Chelsea, the artwork offers no reflection on Koenig’s many accomplishments. Instead, it pays respectful homage to the mundane work of others, offering something like a frame for an invisible, unknown craftsman.
Ronny Wasserstrom, left, as Mr. M, accomanied by his pigeon, center, played by Theresa Linnihan, and his shadow, right, played with finger puppets by Michelle Beshaw. Photo by Lee Wexler.
In the aftermath of Israel’s victory over Egypt and Syria — key Soviet allies — in the 1967 Six Day War, the Soviet Politburo, which had already barred Jews from positions in the Communist Party, seized on the war as a way to weaken Poland’s opposition movement and purge what they labeled the Jewish “fifth column.” As a result, many Poles — regardless of whether or not they were Jews — were branded as Zionists and stripped of citizenship. “Little Rose,” a film set in Warsaw in the days leading up to 1968’s student riots, tells the story of one of them.
In 1982, musician, composer and writer Raphael Mostel was walking down Lexington Avenue, when a sweater in the window of a Himalayan gift shop caught his eye. Going inside for a closer look, Mostel heard a sound, unlike anything he’d heard before, that quickly chased all thoughts of the sweater from his mind. It was a Tibetan singing bowl, an instrument almost completely unknown in the West. It was, Mostel said, a wild kind of sound that became connected for him with shamanic magic and healing. At a lecture and performance at the Metropolitan Museum of Art on Sunday, Mostel gave some insight into the way this magic works scientifically.