d d STORE YOUR LESS FREQUENTLY USED THINGS... AND START LIVING BIGGER & HAPPIER! 37-19 Crescent Street • Astoria Courtesy of Plaxall Long Island City JANUARY www.queenscourier.com I LIC COURIER I JANUARY 2015 13 Ask About Our Winter Special 866.787.1211 www.tuckitaway.com 37-19 Crescent Street • Astoria About Our Fall Special d d d d d ARTS EVENTS Calendar 9-01 33rd Road • (at Vernon Blvd) Long Island City, NY 11106 718.204.7088 • www.noguchi.org Plaxall.com LICProperties.com 2015 MoMA PS1 Museum of the Moving Image Noguchi Museum 22-25 Jackson Ave, LIC, NY 11101 718.784.2084 MoMAPS1.org 35 Ave at 37 St, Astoria, NY 11106 718.777.6800 www.movingimage.us Zero Tolerance On view October 26, 2014–March 8, 2015 Over the past two decades, some national and international governments have garnered attention for imposing draconian laws that restrict the rights of citizens under the guise of improving quality of life. Rio de Janeiro has “cleaned up” slums by imposing a militarized police force and Istanbul has put pressure on minority communities by gentrifying the neighborhoods in which they reside. In Russia, the arrest of two members of the art band Pussy Riot for speaking against President Vladimir Putin, along with the passage of anti-gay legislation, has generated international ire. Such restrictive policies have marked everyday life in major cities around the world. Francesco Vezzoli: Teatro Romano On view October 26, 2014–March 8, 2015 Drawing on extensive research about the use of color in antiquity, Italian artist Francesco Vezzoli (b. 1971) has collaborated with a team of archaeologists, conservators and polychrome specialists to paint five ancient Roman busts in the manner in which they would originally have been decorated. While white marble remains the quintessential material of ancient Greek and Roman statuary, extensive research has confirmed that ancient sculpture was painted in a vivid palette of yellows, blues, reds and greens. Dating from the first and second centuries A.D., Vezzoli’s Roman Imperial busts restore to contemporary imagination the decorated surfaces that have faded away over nearly two thousand years. Lights, Camera, Astoria! October 26, 2013–March 29, 2015 In the Amphitheater Gallery This exhibition traces the fascinating history of the Astoria studio, which has been at the heart of filmmaking in New York City since 1920. The site was the East Coast home of Paramount Pictures in the silent and early talking-picture eras, a center for independent filmmaking in the 1930s, and the U.S. Army Pictorial Center from World War II into the Cold War. After falling into disrepair in the early 1970s, the site has become a thriving cultural hub that includes Kaufman Astoria Studios and Museum of the Moving Image. INSTALLATION Common Areas • January 9–May 10 • In the lobby Organized by Jason Eppink, Associate Curator of Digital Media, and presented as part of First Look 2015. Sabrina Ratté (b. 1982, Quebec City) works with analog and digital processes, particularly video feedback, to construct sparse planes that evoke virtual landscapes and electric architecture. The resulting video is thoroughly material: soft hazy gradients, liquid feedback loops, and sparkling static that assemble into dreamlike spaces. What’s Up, Doc? The Animation Art of Chuck Jones July 19, 2014–January 19, 2015 Animation director and artist Charles Martin “Chuck” Jones (1912–2002) made some of the most enduringly popular cartoons of all time. He perfected the wisecracking Bugs Bunny and the exasperated Daffy Duck, and created a host of other characters, including Pepé Le Pew, Wile E. Coyote, and the Road Runner, bringing an unparalleled talent for comic invention and a flair for creating distinctive, memorable characters to the art of film animation. In a career spanning three decades, Jones directed more than 300 animated films, and was given an Academy Award for Lifetime Achievement. Noguchi as Photographer: The Jantar Mantars of Northern India Thursday, January 8, 2015 - Sunday, May 31, 2015 As part of his extended tour to investigate people’s daily interaction with civic spaces and sacred sites throughout Europe, Asia, and the Far East, Isamu Noguchi first traveled to Northern India in 1949. Camera in hand, Noguchi discovered the eighteenth-century astronomical observatories in Delhi and Jaipur. Known as Jantar Mantar (translating loosely to “instruments and formulae”), these open-air campuses were comprised of astronomical instruments built on a grand architectural scale. Individual structures measured solar time, the celestial paths of the sun and moon and the latitudes and longitudes of planets and constellations, among other functions. Highlights from the Collection: Iconic Display Wednesday, February 4, 2015 - Sunday, September 13, 2015 As part of its ongoing series of installations from the collection, the Museum presents Iconic Display. Whether we realize it or not, and whether we consent to it or not, the contexts in which we encounter art are irremovable frames. The excerpted installations are ones that have proven epochal in shaping the critical interpretation and public perception of specific bodies of Noguchi’s work--for better and for worse. They include Noguchi’s participation in Fourteen Americans at MoMA (1946); his first Japanese exhibition, which took place in a Tokyo department store (1950); an installation by the architect Arata Isozaki for the Seibu Museum of Art (1985); and contemporaneous attempts, through exhibitions and photographs, to make sense of one of his largest and least well-understood bodies of work-- the 26 galvanized steel editions he made for Gemini G.E.L in the early 1980s.
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