June Art Calendar SOCRATES SCULPTURE CENTER 33-38 10th Street 32-01 Vernon Boulevard (718)-956-1819 “LANDMARK” On view through August 28 LANDMARK features eight different artist projects including a newly commissioned major earthwork by Meg Webster. At 70-feet in diameter, Concave Room for Bees, a new earthwork by Meg Webster is a living sculptural installation that will evolve over time. The circular earth bowl, comprising more than 300 cubic yards of fertile soil reaching five-feet high, is planted with flowers, herbs, and shrubs that attract pollinating creatures. SCULPTURE CENTER 44-19 Purves Street 718-361-1750 On view through August 1 “Leslie Hewitt: Collective Stance” This exhibit features new and recent work by artist Leslie Hewitt. Untitled (Structures) is a two-channel film installation inspired by an archive of civil rights-era photographs housed at the Menil Collection in Houston. Originally commissioned by the Menil Collection, the Des Moines Art Center, and the Museum of Contemporary Art Chicago, Untitled (Structures) presents a series of silent vignettes shot at locations in Chicago, Memphis, and the Arkansas Delta; places that were profoundly impacted by the Great Migration and by the civil rights movement. MUSEUM OF THE MOVING IMAGE 35-01 35th Avenue 718-777-6888 On view June 24 through June 26 “David Bordwell: How 1940s Critics Changed American Film Culture” The Rhapsodes, the new book by David Bordwell, America’s preeminent film scholar, looks at the pioneering work of four film critics—James Agee, Manny Farber, Otis Ferguson, and Parker Tyler— who radically transformed the way that films were discussed. Throughout the 1930s and 1940s, they honed the sort of discussion that would be made popular later by Pauline Kael, Andrew Sarris, Roger Ebert, and others. James Agee, who went on to become a screenwriter, wrote lyrically and passionately. Image courtesy of Fine Cut. MUSEUM OF THE MOVING IMAGE 35-01 35th Avenue I 718-777-6888 I On view through June 19 “Tales of Cinema: The Films of Hong Sang-soo” The films of South Korean director Hong Sang-soo are at once deceptively simple and dense with subtle shades of meaning. Hong is often compared to legendary French filmmakers Éric Rohmer—for his extended dialogue scenes and his acute moral vision—and Alain Resnais— for his abiding fascination with the function (or malfunction) of memory and the structure of storytelling. Yet his films are firmly grounded in the social and sexual politics, and drinking rituals, of his native South Korea.
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