New York: Thursday

Thursday Big Chrissy and I hopped on the train to Philadelphia to visit the Barnes Collection and the Philadelphia Museum.  The Barnes will be moving soon to downtown Philadelphia, and we wanted to see the collection on-site, as Dr. Barnes intended.  I got a little tired of all the Renoirs—really, 10 good ones would have been enough, but there are over 100, sheesh—but peppered here and there among the Renoirs were Van Gogh, Modigliani, Cezanne, Matisse… and on and on.  The collection is hung is a very idiosyncratic way.  Dr. Barnes spent years arranging the work according to content, the way paint is handled, use of surface, etc.  The Foundation assures us that the new building will retain the layout of the current museum, but I fear it will no longer have soul, and certainly no longer as Barnes intended us to engage with this work, in a Disneyfied facsimile.

At the Philadelphia Museum, there was a knockout Michelangelo Pistoletto show, from his self-portraits of the 50s to collaborative actions of the 60s and 70s.  And finally, to see all those Duchamps!  And Eakins’ Gross Clinic!  And another moody stunner of a Van Gogh, of diagonal slashes of rain pelting a wheat filed glimpsed from his window at the clinic of Saint-Paul-de-Mausolée.

New York: Monday to Wednesday

I’m still in New York, still freezing.  Big Chrissy and I saw an interesting show at the Guggenheim, Chaos and Classicism, focusing on european art between the World Wars.  Pictured above is Renato Bertelli’s Profilo Continuo del Duce (1933), a dazzling futurist portrait of Mussolini included in the show.

Manet’s Devant la Glace, (1876) was also on display at the Guggenheim, a vigorously painted portrait of a woman at a mirror, her back to us, a private scene of observation.  The tension between surface and subject is heightened by our own position of surveillance.  First Picasso’s women, and then John Currin’s at Gagosian continued our engagement with the female form, the latter like viewing a pornographic Saturday Evening Post.

Moving on to the male form, we stopped by the Tibor de Nagy Gallery for the Jess, Joe Brainard, and John O’Reilly show.  While each artist utilized collage to create works of tender sensuality, John O’Reilly’s layered and sliced imagery haunted me the most, sublime juxtapositions of sexual, erotic and aesthetic experience.

At the Music Box on Tuesday night, we saw La Bête, a satire set in the 17th century, with Joanna Lumley in her Broadway debut—and boy does she make an entrance, in a billowy shower of gold.  The play is presented entirely in rhymed verse, whimsically and cleverly illustrating the triumph of mediocrity over quality.

The next day we stepped back another century for Jan Gossart at the Met, and forward again for a fabulous restored Velasquez portrait of Philip IV.

New York

I’m in New York, though the 28th. New York, New York. With Big Chrissy. It is cold. Like, how do people survive outside a Mediterranean climate? It’s like another planet here. So far we’ve seen Laura Linney and Christina Ricci (in her broadway debut!) in Time Stands Still, and Paul Reubens’ The Pee Wee Herman Show with most of the original cast. Pee Wee started the show by asking us all to stand and face the flag and recite the Pledge of Allegiance. The production is a distillation of his 80s Saturday morning TV show, with a few added references to his penal experience. What a fantastic show. I remember when I was a kid, trying so hard to get into Sesame Street, desperately analyzing Zoom! for the slightest hint of something that spoke to me and my experience… but it wasn’t until my first years of college and Pee Wee’s Playhouse that I finally found the show that I longed for as a child. There’s no disjunction between childhood and adulthood, adolescence is conveniently set aside. Miss Yvonne is still the most beautiful woman in Puppetland, and Jambi finally got hands to do what he’d been wanting to do all those years.

Tomorrow it’s the Guggenheim, then Jess, Joe Brainard, and John O’Reilly at Tibor de Nagy. Stay tuned…

Coco Does Vegas

Las Vegas was wild—it’s like there’s no refinement, anywhere. Everything is pumped up, overpriced, and vulgar. I had so much fun! Big Chris and I paid homage to Liberace at the Liberace Museum, took a bus out to the Hoover Dam, and experienced a simulated thermonuclear explosion at the Nuclear Testing Museum. The Bellagio Fountain was pretty wonderful, streams of water spurting and dancing to different tunes throughout the day. I was actually moved to tears, almost, by Sarah Brightman and Andrea Bocelli’s duet.

The devoted older lady fan-guides at the Liberace Museum seem to know everything about Liberace, from his guest appearances on Batman to the palimony suite brought against him by his former chauffeur lover.

At the Hoover Dam…

We stayed at the Paris Hotel, where all the French seemed to be misspelled.

I was most intrigued by the architecture and the chocolate of Las Vegas. Each utilized the scale, grandeur and whimsy of the casinos, but engaged with new forms and sensation, instead of kitschy pastiche.

Jude’s Hamlet, Touristy-ness, Lidia’s lamb

Tonight BC and I saw Jude Law as Hamlet on Broadway.  His interpretation was laced with humor and intelligence, his madness with method… the set was minimal, dark, with occasional bolts of fabric piercing the frame dramatically, shafts of light defined by foggy mists… Ophelia’s voice was like an audio version of a pre-Raphaelite painting, floral and soft, just lovely. Ah… what a satisfying evening of theater!

We’ve been being very touristy, taking the Staten Island Ferry this morning after viewing an exhibition on the history of the Dutch presence in New York. We enjoyed the best falafel sandwich down near Wall Street, from a halal street cart, run by a husband and wife team, so proud of their falafel they kept shoveling steaming balls of it at us. I want to stay in their cart next time I’m in town. Yesterday we took a long walk along the West Street, on the new Hudson River Greenway, which has been landscaped with very bold strokes of plant material and texture. There are so many new buildings along the walk, too, most really interestingly nestled into the cityscape playing with form and glass and color.

Chrissy and I ate dinner last night at Becco, Lidia Mattichio Bastianich’s restaurant in the theater district. The lamb Osso Bucco that I ordered was from some big ass lamb, oh my god, I sucked all the marrow out and licked the bone, it was so succulently lip-smackingly delicious.

Sculpture High and Low

Today BC and I journeyed out to Queens to visit the Noguchi Museum, nibbling on some pretty tasty, delicately prepared, and sculpturally resonant Japanese food on the way at Iji on Broadway.  The Noguchi Museum presents the work of Isamu Noguchi in a former factory, stripped down to exposed bricks, with a nice interplay between inside and out, the natural world and the artificial.  My favorite sculpture was a model for a pool that he was commissioned by Neutra to design for a home he was building for Josef von Sternberg, who was overweight and needed a pool big enough to accommodate him, according to the info on the wall.  How fat was Josef von Sternberg?  Maybe there was a trend in the 30s for pools that accommodated only skinny people?  Anyway, I don’t know why it wasn’t built, but a Noguchi pool is the way that I’d like to experience his work, immersed in harmonious functionality.

Near the museum is Socrates Sculpture Park, where one may interact with a series of whimsical, ready-for-kids-to-play-on sculptures, including a tile Spiral Jetty, a giant sliced fish, a crushed Cadillac, a raised boardwalk meandering though a stand of trees, and an aluminum campfire.

Following Mr. Noguchi’s museum, we ambled over the Roosevelt Island Bridge for a walking tour of Roosevelt Island.  There are parts that seem straight out of a 60’s film vision of an urban utopia, modern functional architecture designed for easy living and proximity to all of one’s needs.  What’s left of the 1839 New York Lunatic Assylum, an octagon-shaped building with a lovely dome, has been converted into housing.  They’ve accurately restored the marble exterior, but stripped the interior and re-imagined the inner spiral staircase with minimal columns and delicate lighting, accenting architectural space without decoration.  It’s a really stunning space.

Who’s buried in Grant’s Tomb?

I’ve always wondered this, because I think I was exposed to the joke before the monument, which is in New York, and is indeed where Grant is buried.  Ulysses S.  Actually, for you trivia nerds, he’s not buried there, he’s entombed there, with his wife.  BC and I watched The Thin Man movies a while back.  There’s one scene where Nick wants to investigate a potentially dangerous crime scene and doesn’t want Nora to tag along, so he puts her in a cab and sends her to Grant’s Tomb.  Hmmm… We’ll have to go there, too, we both thought.  And so we went.  In the tomb, you look down over a circular opening onto two massive granite sarcophagi.  You can descend and then sort of look up at them, where they seem to be about to ascend through the opening above.  It’s a particularly effective burial strategy, to create a sense of finality and of ascension.

Here’s a picture of an unidentified trunk in the mausoleum. Grant’s Trunk?

There was some sort of street festival going on near Columbia, so we munched down on Greek and French street foods, fresh lemonade and fresh fruit concoctions, then down to see the High Line with Davide. Davide has finally trimmed the small mammal that he called a beard into a super cool sexy italian lumberjack thingy. The High Line is just great. When I was here last in 2006, BC and I noticed all the chunks that were taken out of the buildings down here, and the remains of what looked to be an elevated railway. We did some research and discovered that indeed there used to be an elevated freight railway called the High Line, running along the Lower West side of Manhattan. They’ve converted it into a delightful elevated pedestrian walkway, with old rail ties and interesting plants, walkways of granite, wood, steel. They’ve retained the idea of an urban artifact, and all the landscaping and hardscaping feels like a take on this theme.

Oh, I forgot to tell you about pizza last night, at No. 28. It’s run by 5th generation Neopolitans, so of course, being napolitano, I had to check it out. The pies are oblong, like if Dali were Italian and had a pizza place in the West Village. The service was pretty lousy, but just like in Naples, where you have to flag down your waiter for anything, so I guess kind of authentic. I think that in San Francisco we’re kind of spoiled by the incredible quality of cooking, so while I liked the pizza, I thought the salads were just stupid–like if you’re going to have mixed lettuces and tomato, have a really good tomato, alright already? But the pizzas were pretty good, nice thin burnt crust, delicious toppings… On to the next pizza.

Bunnies in Dendur

And it’s back to New York for Big Bunny and Little Bunny, aka me and Chris V. We flew in last night directly over Manhattan—the night was so clear that the city was perfectly illuminated against the black of the water, like a giant Lite-Brite map.

We’re staying in my friend’s place in Westbeth, with a view of the Hudson and Hoboken. Diane Arbus killed herself here, Merce Cunningham had his studio here, and the vacuum tube and transistor were invented here.

Today we went to the Met to see the Vermeer show. The Milkmaid is on loan from the Rijksmuseum, so the Met’s gathered together all of their own Vermeers and those of a few of Vermeer’s contemporaries. Seeing his work in the context of his contemporaries makes his paintings all the more magical.

We also saw Robert Frank’s amazing photo series The Americans, and got sidetracked by Egyptian funerary portraits, French deco, Damien Hirst’s shark, and the best spiced apple cupcake with cream cheese frosting.

On the roof, Roxy Paine created a jumble of welded stainless steel tree-like trunks and limbs, meandering all over the roof garden, a glimmering aesthetic briar patch.

Time for a little rest, then back to the city that never seems to sleep.