Playwright and activist Eve Ensler has long been a courageous and articulate advocate for the rights of women facing oppression and physical violence from every direction. Recently, there has been some brouhaha generated by students at Mount Holyoke College who have objected to Ensler’s play The Vagina Monologues on the grounds that it fails to affirm transgender experience. Ensler has responded with an essay published on Time magazine’s website, of all places. In it, Ensler models with exceptional grace the art of responding to criticism with engagement, intelligence, respect, and not a shred of defensiveness. Check it out here and let me know what you think.
Events: Gamelan Kusuma Laras at Roulette
November 16, 2015Gamelan Kusuma Laras, the Javanese music ensemble I’ve been playing with for several years, will give a concert Saturday night at Roulette, the prestigious new-music venue in Brooklyn. Javanese gamelan is stately, meditative, polyphonic, sometimes shockingly rowdy, quite exotic and not for every taste. You can check out samples online but you can never really get a true sense of gamelan music except by experiencing it live. This concert officially begins at 8 pm but we will start playing at 7:45 with a couple of pieces traditionally used to welcome the audience. Then we’ll play three long-ish pieces, one of them composed by our music director, the phenomenal I. M. Harjito. And the show ends with a dance piece featuring guest performers Anang Totok Dwiantoro and Triwi Harjito in full costume and makeup. Check it out and let me know what you think.
Culture Vulture/Photo diary: Friday afternoon at the Whitney Museum
November 16, 2015(click photos to enlarge)
Brent was visiting from San Diego, so we met for lunch at Gansevoort Market, where we chatted up vendors at two different food stalls who were Peruvian. By the time we’d finished our delicious ceviche and arepas, the street outside was on lockdown because a movie crew was running vintage cars up and down Gansevoort.

Eventually released from Manhattan-movie-set bondage, we strolled down to the Whitney Museum to check out the Frank Stella retrospective. I was underwhelmed. The only piece that really excited me greets you when you get off the elevator — the gigantic, textured, psychedelic Earthquake in Chile.




Brent had never been to the Whitney, so I made it a point to show him around. On our way to the spectacular views from the terrace, we came upon an exhibition by a painter I’d never heard of. “Archibald Motley: Jazz Age Modernist” contains a generous sampling of beautiful portraits and several rooms of Motley’s richly hued scenes from black American life, full of vitality and humor.


By the time we got outside it was a little chilly but the setting sun licked the urban landscape with its golden-hour magic.
Quote of the day: PUTIN
November 16, 2015PUTIN
This may sound weird, but I actually find Putin rather dull as a character. Hitler was a vegetarian. Stalin was a passable poet. Idi Amin ate people. What does Putin do that’s so surprising? He’s just your standard bully with a bad childhood who’s robbing his country blind. Bo-ring.
–Gary Shteyngart
Culture Vulture/Photo diary: Picasso Sculpture at MOMA
November 8, 2015(click photos to enlarge)
If you have an hour to kill in midtown between now and February 7, 2016, you could give yourself no better treat than to take a walk through the show of Picasso sculpture at the Museum of Modern Art.

The sculptures Picasso created are so free and fun to look at, so simple and so sophisticated at the same time. It makes sense that he was turned on by African and Oceanic work he saw at an ethnographic museum in Paris — many of these pieces remind me of the vivid masks and ritual objects you can see in the Michael Rockefeller collection at the Metropolitan Museum. I especially loved tracking the faces, which are so simple and varied and often comical.





These drawings (part of a series called “An Anatomy”) reminded me of Roz Chast cartoons.

I also had a look at the show by Lebanese multimedia artist Walid Raad, which has two parts, one of which occupies the museum’s central atrium (below) and is called “Scratching on things I could disavow.”



It’s an intriguing, complicated, dense, somewhat impenetrable Borgesian conceptual work involving fictionalized artifacts reflecting real contemporary events. I’m not sure it’s really possible to grasp the work without attending his lecture-demonstration “walkthroughs,” which occur many times in the course of the week. I’ll have to go back for one of those.





