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This week, go see solo shows by Sheila Hicks and Regina Bogat before they close, listen to firsthand news reports from the Vietnam War in four languages … or watch The Shining on repeat on Thanksgiving. Whatever gets you through the holidays.
Susan Howe and Andrei Tarkovsky
When: Tuesday, November 24, 7pm ($18)
Where: Walter Reade Theatre (165 West 65th Street, Upper West Side, Manhattan)
Shifting between color and black-and-white, Andrei Tarkovsky’s The Mirror tells the story of a male poet’s family in 20th-century Russia by following no particular order and interweaving the lives of his mother, wife, and children. As part of Lincoln Center’s new series that invites authors to present films that have influenced their work, poet Susan Howe has chosen Tarkovsky’s 1975 feature. In addition to The Mirror’s poetic mood — it’s filled with charged silences, changes in light, and meditated scenes of everyday life — the film’s World War II context also resonates with Howe, whose family was separated during that time. It should be a unique experience to hear a poet whose language continually surprises speak about a film that feels truly free in form. —EWA
So Much Shining
When: Thursday, November 26, 6pm–close
Where: Videology (308 Bedford Avenue, Williamsburg, Brooklyn)
This year, spend your Thanksgiving with a family other than your own: the Torrances. Videology is showing Stanley Kubrick’s The Shining on repeat all evening to remind us of the raison d’etre of Thanksgiving: violence. While they won’t have a turkey dinner, they will have mulled cider and plenty of opportunity to ruminate on your own family’s positive attributes while Jack tries to kill his, again and again. And in case it all becomes too grim to bear, just remember (spoiler alert): Dick Hallorann survives in the book and lives happily ever after in Florida. —VR
Office of Information about the Vietnam War
When: Friday, November 27, 12–2pm
Where: Museum of Modern Art (11 West 53rd Street, Midtown, Manhattan)
As part of Transmissions: Art in Eastern Europe and Latin America, 1960–1980, an attendant will read aloud a selection of news reports from the Vietnam War in Italian, French, Spanish, and English. The performance, entitled “Office of Information about the Vietnam War at Three Levels: The Visual Image, Text and Audio,” was conceived by artist David Lamelas for the Venice Biennale’s Finnish Pavilion in 1968, using material sourced from Italian news agency ANSA (Agenzia Nazionale Stampa Associata) that was often read live. The performance is an excellent excuse to see the show, which closes on January 3. You can read Hyperallergic’s review here. —TM
Last Chance: Sheila Hicks
When: Ends Saturday, November 28
Where: Sikkema Jenkins & Co. (530 W 22nd Street, Chelsea, Manhattan)
Contemporary art’s most tireless textiles technician hits all conceivable extremes of texture, tone, and scale in this show, which spans small, hand-woven works, which have all the intimacy of private letters, to bamboo sticks wrapped in colorful wool and bundled together like polychromatic jungles. Most surprising may be the monochromatic linen-on-board works, which evoke seminal moments in Minimalist abstract painting. —BS
Last Chance: Regina Bogat
When: Ends Saturday, November 28
Where: Galerie Zürcher (33 Bleecker Street, Noho, Manhattan)
The reemergence of Regina Bogat continues with Galerie Zürcher’s third solo exhibition devoted to the artist. This show picks up where the last one left off, focusing on works from the 1970s–80s and moving from a minimalist-inflected exploration of forms and materials into two more personal bodies of work: The Phoenix and the Mountain series, an evolving metaphor for hardship and survival, and a series of Memorial Boxes that Bogat made after her husband, artist Alfred Jensen, died in 1981. As ever, Bogat’s pieces are full of thought-provoking surprises, and it’s a privilege to be able to watch an artist’s historical body of work unfold in the present.
When: Saturday, November 28, 6–10pm ($10)
Where: Pioneer Works (159 Pioneer Street, Red Hook, Brooklyn)
Pioneer Works is hosting the third annual Eyeworks Festival of Experimental Animation, a Chicago-based celebration of both classic and contemporary animation that explores unorthodox techniques and abstraction. The festival features major animators Suzan Pitt, Jules Engel, and Yoriko Mizushiri, and takes the form of two separate screenings of shorts; you can get a ticket for both here. Based on the vibes of the trailer, you can expect to see some delightfully strange, playful and immersive works. —VR
Last Chance: Earth Dreams
When: Sunday, November 29, 3–6pm
Where: Eagle Studio (152 Eagle Street, Greenpoint, Brooklyn)
The 14 artists in this group show curated by Alyssa E. Fanning “explore space, landscape and ways of seeing.” That may sound vague, but it also sounds appropriate: the approach here seems to be a highly subjective, inquisitive, and purposefully incomplete processing of the natural world. Hyperallergic contributor Patrick Neal has work included, and he’ll take part in the artist panel on the final day. Come for the talk, stay for the closing party.
When: Ongoing through Saturday, January 9, 2016
Where: Brooks Atkinson Theatre (256 W 47th Street, Midtown, Manhattan)
Although the original Broadway production of this coming-of-age musical only closed in 2009, this new production of Spring Awakening by California-based Deaf West adds a fresh broiling tension to the show by commenting on the 1880 Milan Conference that banned sign language in schools. Sign merges with Duncan Sheik’s rock songs performed by both deaf and hearing actors, as the implications of that conference wind through the tragic tale of restricted sexuality in 1890s Germany. —AM
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With contributions by Elisa Wouk Almino, Allison Meier, Tiernan Morgan, Victoria Reis, and Benjamin Sutton
Jackson’s exhibition The Land Claim began an extensive dialogue with local Indigenous, Black, and Latinx families on Long Island’s East End.
There is not a hint of psychological trauma in Astrup’s art, despite the parallels in his own experience to that of his countryman Edvard Munch.
Over the course of three months, the resident artists in Going to the Meadow will collaborate and create with a curated set of continually changing materials.
Inspired by her foremothers’ recycling of materials, Jan Wade creates altarpieces, shrines, and memory jugs out of found objects.
This retrospective of the work from a São Paulo photo club is a reminder that Modernism was not solely a European phenomenon.