The New York Times' movie reviewer (and Brooklynite) A.O. Scott liked it and I'm hoping it's going to play in Brooklyn soon. Hello?

Shot in Brighton Beach. Looks interesting. A must-see for me.

I've passed that station a bunch of times lately, but I haven't stopped to look at the MoMA installation of more than 50 reproductions of MoMA's greatest hits including Gary Indianna's painting of the word LOVE and Warhol's Campbell Soup cans. I can't wait to get on over there.

I mean, I ride through there all the time but I'm hoping to get out of the train and browse in the subway museum.

It'll be up from Feb 10 until March 15.

Calling all artists. Calling all artists:

DUMBO’s Art Under the Bridge Festival is calling for festival proposals in a variety of areas. The deadline is July 1, 2008 and if you have ideas for: Project Glow, Site-specific installation and sculpture, elevator/lobby art, interactive art, water art, roving performance, and simultanous projections.

There’s also a category for Lead a Guided Tour: Propose your take on the concept of a “guided tour,” to entertain,
educate, and fascinate festival-goers. Performance artists welcome.

Applications are here.

He’s playing tonight at the Music Hall of Williamsburg at 66 North 6th Street at 9 p.m. $15 gets you in.

Hepcat and I saw him at the Knitting Factory in the 1980’s. That was fun. He’s got a new album out called Not So Much to Be Loved as to Love. But how can he top his old stuff like I’m a Little Dinosaur and so many others.

He has a cult following up the wazoo, he still tours non-stop and he’s almost as old as me.

What a great story on Gowanus Lounge this morning. And it’s breaking Seventh Avenue news. Apparently there’s a sculpture in the storefront newly vacated by Park Slope Books.

Somehow I missed it. Dang. I walked by there yesterday. But after 3 p.m. all of my activity was ABOVE 3rd Street (Living on Seventh, Barnes and Noble, wine at Sette with Diaper Diva).

No surprise. The owner of the building, Mark Ravitz, is an artist and he’s the sculptor responsible for the ICONIC gold drips on the Seventh Avenue building.

Those drips have been painted in various ways over the years. At one time, they were painted black and white like cows.

It had a very surreal quality. Cow drips.

The gold drips are quite lovely. And now a larger work is in the storefront. WHAT FUN!

The other day I saw a man looking pensive as he stood inside the store. I am wondering if that was none other than Mark Ravitz, contemplating the art that would soon occupy that space.

I knew Hepcat should have taken a picture.

This new exhibit at MOMA, which runs from February 24th through May 12th, shows how design helps people adapt to change:

In the past few decades, individuals have
experienced dramatic changes in some of the most established dimensions
of human life: time, space, matter, and individuality. Working across
several time zones, traveling with relative ease between satellite maps
and nanoscale images, gleefully drowning in information, acting fast in
order to preserve some slow downtime, people cope daily with dozens of
changes in scale. Minds adapt and acquire enough elasticity to be able
to synthesize such abundance. One of design’s most fundamental tasks is
to stand between revolutions and life, and to help people deal with
change. Designers have coped with these displacements by contributing
thoughtful concepts that can provide guidance and ease as science and
technology evolve. Several of them—the Mosaic graphic user’s interface
for the Internet, for instance—have truly changed the world. Design and
the Elastic Mind is a survey of the latest developments in the field.
It focuses on designers’ ability to grasp momentous changes in
technology, science, and social mores, changes that will demand or
reflect major adjustments in human behavior, and convert them into
objects and systems that people understand and use.

But Auster’s description of his fictional Park Slope is a fun mix of the real and the imaginary. Anyone who knows Park Slope knows that there’s more than a little verisimilitude in this excerpt from Auster’s Brooklyn Follie’s. While Brightman’s Attic may come from Auster’s imagination, La Bagel Delight is 100% true.

It was early spring when I moved in, and for the first few weeks
I filled my time by exploring the neighborhood, taking long walks in the park,
and planting flowers in my back garden—a small, junk-filled patch of ground that
had been neglected for years. I had my newly resurgent hair cut at the Park
Slope Barbershop on Seventh Avenue, rented videos from a place called Movie
Heaven, and stopped in often at Brightman’s Attic, a cluttered, badly organized
used-book store owned by a flamboyant homosexual named Harry Brightman (more
about him later). Most mornings, I prepared breakfast for myself in the
apartment, but since I disliked cooking and lacked all talent for it, I tended
to eat lunch and dinner in restaurants—always alone, always with an open book in
front of me, always chewing as slowly as possible in order to drag out the meal
as long as I could. After sampling a number of options in the vicinity, I
settled on the Cosmic Diner as my regular spot for lunch. The food there was
mediocre at best, but one of the waitresses was an adorable Puerto Rican girl
named Marina, and I rapidly developed a crush on her. She was half my age and
already married, which meant that romance was out of the question, but she was
so splendid to look at, so gentle in her dealings with me, so ready to laugh at
my less than funny jokes, that I literally pined for her on her days off. From a
strictly anthropological point of view, I discovered that Brooklynites are less
reluctant to talk to strangers than any tribe I had previously encountered. They
butt into one another’s business at will (old women scolding young mothers for
not dressing their children warmly enough, passersby snapping at dog walkers for
yanking too hard on the leash); they argue like deranged four-year-olds over
disputed parking spaces; they zip out dazzling one-liners as a matter of course.
One Sunday morning, I went into a crowded deli with the absurd name of La Bagel
Delight. I was intending to ask for a cinnamon-raisin bagel, but the word caught
in my mouth and came out as cinnamon-reagan. Without missing a beat, the young
guy behind the counter answered: "Sorry, we don’t have any of those. How about a pumpernixon
instead?" Fast. So damned fast, I nearly wet my drawers.

Con Edison is announcing a new art gallery space in the corporate lobby of Con Edison, at 30 Flatbush Avenue Extension in Brooklyn. Brooklyn artists interested of being exhibited should contact the curator, Leon Nicholas Kalas, at (718) 797-3943.

This space was recently established with several inaugural art exhibitions, one in March of 2007, with works of Brooklyn artist-curator Leon Nicholas Kalas, and the second in April, with works by Brooklyn artist Audrey Frank Anastasi. Con Edison has generously given its lobby to the Brooklyn art community, so Brooklyn artists will have a place to exhibit free of charge their work.

Artists in Brooklyn command a unique place in the world, and our borough hosts one of the highest concentration of resident artists anywhere. Brooklyn used to be considered an “outer borough” and sometimes of a backwater when compared to Manhattan.

This “outer borough” edge provided a unique perspective on the art world and offers Brooklyn artists the ability to develop a body of work that is less dependent on the marketplace and more in keeping with the individual artist’s point of view. Brooklyn artists tend to be more individualistic, creating work “of the heart.”

Brooklyn curator-artist Leon Nicholas Kalas came up with the idea of using Con Edison’s corporate lobby as an art gallery, and it started on an experimental basis in late 2006. This experimental gallery was so successful for the few months that was in operation that it was made permanent this year.

The gallery will operate during business hours, 9 a.m. to 5 p.m. Monday through Friday with monthly art exhibitions.

In a 7,000 square foot warehouse in downtown Brooklyn, Etsy Labs is a communal work space  knitters, weavers, jewelers and silk screeners,.

Membership costs $20 dollars a month. That fee includes free materials like yarn, beads and paints for silks screening and the use of the equipment. Members also get advice from the pros who work at the lab.

Artists can also sell their wares on the Etsy Web site, a computer marketplace for handmade goods. Members sign up for a fee and get their own Web page.

Etsy Lab has free open houses on Wednesday evenings for folks who want to check it out.

PARK SLOPE PIANIST SIMONE DINNERSTEIN WILL BE PERFORMING AT THE METROPOLITAN MUSEUM ON SUNDAY NOV. 19th AT 3 p.m.

Copland Piano Variations
Schumann Kinderszenen, Opus
15
Beethoven Sonata No. 32 in C
Minor, Opus 111
Bach—French Suite No. 5

Call 212-570-3949 for tickets.

She began her career with a
flourish by winning the Astral Artistic Services auditions in 2000; Astral then
arranged for her Philadelphia recital and concerto debuts, which the Philadelphia
Inquirer termed “remarkable.” Since then she has performed at Carnegie
Hall, Lincoln Center and the National Gallery in Washington. She played works
by George Crumb and Gerald Levinson on the Kimmel Center’s Fresh Ink series,
and she has performed Bach’s Goldberg Variations in Texas and New Mexico
venues, as well as at Queens College in Flushing. Concerto engagements have taken
her to New Jersey and elsewhere, and chamber assignments at Bargemusic, Skaneateles,
Marlboro and Princeton have shown the range of her capabilities.
Her recording ot the Mendelssohn cello repertoire with cellist Simca Heled was
in Fanfare’s Top Ten list for 2002; that magazine wrote of her Beethoven
cello sonatas with the same cellist that “they raise the music to a rare
spiritual plane.” She has been praised by such pianists as Emmanuel Ax
(“remarkably musicianly”) and Peter Serkin, with whom she studied
at Juilliard, as ”a real artist.” Her many recitals have taken her
to Europe, particularly London (Wigmore Hall and the Purcell Room) and South
America. Currently she lives in New York City with her husband and son.

SIMONE’S DAD, PARK SLOPE PAINTER SIMON DINNERSTEIN IS HAVING AN OPEN STUDIO: THE PALETTE PAINTINGS, INCLUDING THE FIRST VIEWING OF A RECENTLY COMPLETED MAJOR WORK ON SATURDAY DECEMBER 2, 2006 AND SUNDAY DECEMBER 3: 1-7 p.m.

RSVP Simondinnerstein@aol.com

Audrey & Joseph Anastasi, the couple who run TABLA RASA GALLERY IN SUNSET PARK, emailed me to say how happy they are that MUSIC to MY EYES was listed this week in TimeOutNY.

“In conjunction with the exhibition, we are pleased to host a presentation this afternoon, Saturday, November 4, 2006, at 2:00 pm, by Brian Young entitled, “With Thee I Swing, Poetry and Painting.”  I hope you will join us for this event.”

Brian Young is a published poet and oil painter. Through humor and his bold use of color, Young paints an absurdist vision of the world that resonates with quirky innocence and pathos.  In his unique artist’s presentation, Mr. Young will discuss the inspiration of his painting, “With Thee I Swing,” and also read poetry related to the painting.
 
CURRENT SHOW at Tabla Rasa Gallery
MUSIC to MY EYES
through November 19, 2006

Gallery hours:
THURSDAY through SATURDAY
Noon – 5:00 pm
Additional hours: by appointment

718. 833-9100
718. 768-0305
audfa@aol.com
http://www.tablarasagallery.com/
TABLA RASA GALLERY
224 48 Street
Brooklyn, NY 11220
North end of “R” train to 45th Street exit.  Street parking is available.

I love Hilton Als’ writing in the New Yorker and I’m interested in playwright Suzan-Lori Parks, who won the Pulitzer for Top/dog/Underdog, a MacArthur "genuis" grant, and wrote 365 plays in 365 days (soon to open all around the country). This week’s New Yorker has Als’ profile of Parks. The first two paragraphs are here:

Down in the gray-green gloom of the New York City subway system, anything can happen, and frequently does. A bit of hucksterism. Alms for the poor. Sometimes, even unsuspecting critics have to field questions from that rarest of birds, the black female playwright. Late one night in 1987, on the way home from an event at Franklin Furnace, an avant-garde arts center, the writer and theatre critic Alisa Solomon was riding the subway, minding her own business, when a young black woman approached her. “I saw you at the theatre, so I was kinda hoping I could ask you a question,” she said, and sat down next to Solomon, who described the encounter in the Village Voice two years later. The woman leaned in “uncomfortably close,” before adding, “I’m trying to ask anyone who might know. I’m a playwright. Do you know where I can send my scripts? They’re kind of unconventional.”

That young woman—Suzan-Lori Parks—has since become renowned for her audacity, both on the page and in the world. The author of nine full-length plays, most of which are taught at drama schools across the country, and one of the founders of a wave of multilayered, historically aware, and linguistically complicated theatre, she aims to defeat what she calls “the Theatre of Schmaltz”—“the play-as-wrapping-paper-version-of-hot-newspaper-headline.” Parks was the first black woman to win a Pulitzer Prize for drama—for her 2001 play, “Topdog / Underdog”—after having been short-listed for “In the Blood,” her 1999 reimagining of “The Scarlet Letter.” A writer who crosses cultural boundaries, as well as social ones, she has had her work produced everywhere, from the smallest avant-garde stages to Broadway. Her voice is both idiosyncratic and eerily familiar, one of few in the popular theatre to fully exploit the power of spoken black English. (A typical passage from one of her plays reads like this: “In my day my motherud say 16:15 and there wernt no question that it was 16:15 her time. Thuh time helpin tuh tell you where you oughta be where you oughta be lookin and whatcha oughta be lookin at.”)

David Konigsberg’s paintings will be upstate and in Seattle this summer. If you happen to be in either locale, check out these shows.

Opening June 10: Carrie Haddad, 622 Warren Street, Hudson NY.  He has 7 paintings in this 3-person show and he’ll actually be at the opening  from 6-8 pm.

June 16: A solo show opens at Ballard Fetherston Gallery in Seattle, 818 East Pike St. (opening  6-8 pm).  "Alas, I can’t make it out there, but my spirit will be in attendance."