The New Yorker - USA (2022-01-31)

(Antfer) #1



transition between mediums and her command
of symbolic excess make for an absorbing and
visually energetic exhibition.—Johanna Fateman
(Derek Eller; through Jan. 5.)

Michelle Rawlings
Frugal applications of pale pigment on very
small linen canvases lend the works in this
Santa Fe painter’s show a furtive air. Portraits
of lithe (and, notably, all white) models in gauzy
floral prints and dotted-swiss gowns—at wed-
dings, on runways, in lush gardens—suggest
aspirational, or even escapist, fantasies. (In
fact, the images are based on fashion shoots
and other contemporary media sources.) These
paintings are complemented, rather enigmati-
cally, by pixelated pastel abstractions. Rawlings
has titled her show after “La Fille aux Cheveux
de Lin” (“The Girl with the Flaxen Hair”),
by Claude Debussy; perhaps her geometric
compositions are A.I. visualizations of that
piano score. More interesting is a selection of



New York City Ballet
An eventful winter season is planned, COVID
permitting. Of particular interest is a new
ballet by Justin Peck, the choreographer of
the eye-catching dance sequences that drive
Steven Spielberg’s excellent new version of
“West Side Story.” The ballet is performed in
sneakers and set to Caroline Shaw’s “Partita for
8 Voices,” a mostly a-capella piece. (The vocal
group Roomful of Teeth, for whom the music
was composed, sings live at the ballet’s first
three shows, on Jan. 27 and Jan. 29.) Another
new work, no less intriguing, is the first for
the company by Jamar Roberts, a creator of
powerful dances for Alvin Ailey, where he is
the choreographer-in-residence. Roberts tends
to favor jazz, and his new piece, “Emanon—in
Two Movements” (premièring Feb. 3), is set
to music by the jazz saxophonist and composer
Wayne Shorter. The company is also bringing
back two rarities from the repertory: Jerome
Robbins’s pioneering ballet “Moves,” from 1959,
which is performed in silence, and Balanchine’s
streamlined, one-act “Swan Lake.”—Marina
Harss (David H. Koch Theatre; Jan. 27-Feb. 27.)

American Dance Guild
The New Dance Group is an underappreciated
force in American dance history. Founded in
1932, as an artist collective dedicated to the
struggles of the working class, it lasted into
the nineteen-seventies, in the form of a racially
integrated school and presenting organization
promoting a passionate and progressive mod-
ernism. In 1993, the American Dance Guild
mounted a retrospective concert of eighteen
reconstructed works by the group’s choreog-
raphers, and now, in the program “New Dance
Group: Voices for Change,” it’s putting foot-
age of that show online (on its Web site and
Vimeo) in weekly installments. Some pieces,
such as Donald McKayle’s “Rainbow ’Round
My Shoulder” and Pearl Primus’s “The Negro
Speaks of Rivers,” are still well known. Others,
such as Eve Gentry’s “Tenant of the Street” and
Jane Dudley’s “Time Is Money,” are time-cap-
sule discoveries.—Brian Seibert (americandance-; Jan. 31-Feb. 27.)


This HBO miniseries is based on the true story
of Susan and Chris Edwards, an English couple
who, in 2013, were arrested for murdering Su-
san’s parents—and burying the bodies in their
back yard—fifteen years earlier. The show’s
co-creators, Will Sharpe, who directed, and
Ed Sinclair, who wrote the script, fully inte-
grate the breaking of the fourth wall into their
haunting study of marriage, victimhood, and

In 2017, Louis and Jack Shannon opened a gallery, Entrance, in a narrow
basement at 48 Ludlow Street. The brothers, who are native New Yorkers,
were born into the art world—they are the great-grandsons of Marcel Du-
champ and the great-great-grandsons of Henri Matisse—but they weren’t
conventional gallerists. Instead, they were members of the disbanded Luck
You Collective (and Jack is an artist himself ). The two had taken over the
group’s former HQ to show their friends’ work, run an on-site artists’ resi-
dency, and host events, including a cybersecurity workshop with the Free-
dom of the Press Foundation and an intro to feminist bird-watching under
the auspices of the anti-capitalist nonprofit 8-Ball Community. Entrance
has since expanded beyond its underground lair to the street-level storefront
above, where the exceedingly talented figurative painter Hannah Lee is now
making her spellbinding solo début, in a show titled “First Language,” on
view through Jan. 30. The interiors portrayed in seven small works, rendered
on panel in oil and wax, often dwarf the figures inside them (as seen in
“Spa,” pictured above), lending the scenes a haunted, cinematic uncertainty.
Lee’s true subject is intimacy—its tenderness, its discomforts—and the
mysteries of the bodies and the rooms that contain it.—Andrea K. Scott


evocations of circa-1900 America, the pastiche
has something churchy about it.—Peter Schjeldahl
(Metropolitan Museum of Art; through March 6.)

Jiha Moon
This Atlanta-based painter and ceramicist, who
was born in South Korea in 1973 and has lived
in the U.S. for two decades, has developed a
strikingly varied vocabulary of forms—elegant,
cute, grotesque, and all of the above. “Stranger
Yellow,” the title of her appealing, clamorous
new show, refers to the color that dominates
the works on view, as well as to racist, xenopho-
bic, and sexualized Asian stereotypes and the
related dynamics of estrangement and assimila-
tion. Her brightly patterned paintings on hanji
(Korean mulberry paper) and her delightfully
perverse glazed sculptures mingle images of ba-
nanas, fortune cookies, and breasts with botan-
ical motifs and fantastic creatures drawn from
Korean folklore, augmented by flowing passages
of abstract brushstrokes. The artist’s seamless

totally inscrutable collages installed between
the paintings—tiny, almost accidental-looking
constellations of what appear to be paint daubs
and scraps of ribbon affixed directly to the wall.
In these distilled, whisper-like, site-specific ges-
tures one detects the show’s weirdly exacting,
hesitant pulse.—J.F. (Chapter NY; through Feb. 5.)
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