Monday, January 14, 2019

LABUTE New Theater Festival: Review By Polly Guerin

There is never any want for entertainment in New York City and theater is the kingpin of events when the St. Louis Actors' Studio's (William Roth, Artistic Director) LABUTE New Theater Festival returns to New York with three premiere one-act play by celebrated Tony Award nominated, playwright, director, Neil LaBute.  Performances running through Jan 27th take place
at the Davenport Theater, at 354 West 45th St. This is as good as it gets, or rather better than expected in off-Broadway theater productions. Tickets can be purchased by visiting or by calling 212.239.6200. 
      St. Louis Actor's Studio artistic director, William Roth comments: "We are proud of our
relationship with Neil and to bring these new plays to New York City as part of The LaBute New
Theater Festival. We are thrilled to bring this festival to the Davenport Theater and we are excited to have audiences experience this festival."
Gia Crovatin
ENDORSING ACTORS Neil LaBute: "I'm very excited to be working with William Roth and St. Louis Actors' Studio on our fourth incarnation of 'The LaBute New Theater Festival' in New York City. Together we have created a wonderful venue for a variety of artists to see their work performed in full productions in front of paying audiences--along with an important program that caters to high school authors as well."  
        In the world premiere play, directed by Neil LaBute, UNLIKELY JAPAN, starring actor, GIA CROVATIN, a young woman spots an old flame on television and in a mesmerizing monologue recounts how a single choice can alter the course of multiple lives.  Her delivery reminds us of the "what if" factor in life as she regales us with the different possibilities and scenarios. Ms. Crovatin has appeared on TV: "One Dollar,"  "Billions"  and the film Dirty Weekend among other venues and brings to the stage a compelling persona. (PHOTO: All photos in this article Courtesy of Russ Rowland)
       In the play world premiere play, GREAT NEGRO WORKS OF ART, directed by John Pierson, Brenda Meaney (Roundabout's "Indian Ink," Mint Theatre's "The New Morality") engages in conversation with  Keilyn Durrel (TV: "Better Call Saul," "Shades of Blue," 'High Maintenance") in a witty, sometimes combative conversation that changes its meaning, metamorphosing from cool to hot drama. 
        GREAT NEGRO WORKS OF ART follows a meeting between and under-celebrated artist and his gallery manager. They seemingly appear to be engaging in a 'first date,' episode but they soon segue into a forceful debate on race, culture and what is and what is not "ART" today.  Even the sign Great Negro Works of Art is challenged as to the placement of the words---should they read Great Negro Art or Great Works by Negro Artists.  Their combative ending 
Brenda Meaney and Keilyn Durrell Jones
is worth further contemplation. 

      THE FOURTH REICH (New York City Premiere, also directed by John Pierson, stars
Eric Dean White (TV: "Chicago Fire," and
"Blackbookberry") This performance focuses on a monologue by a public speaker  as he presents and pontificates on his unique views on modern history, thoughts about the future and alas ruminations on his favorite artist. Does one really care about what the character has to say? I wondered! However, his portrayal of a self-appointed, opinionated individual does give us cause to pay close attention to his comments and perhaps conclude with our own. 
      THE LABUTE NEW FESTIVAL provides another reason to get out of the cold and enter the experience of theater with warm-hearted actors who know the drill and give us very interesting performances which run on Wednesday to Friday at 8pm, Saturday at 2pm and Sunday at 3pm.   Added performances tonight Monday, January 14 at 7PM, Wednesday, January 16 at 2pm and Tuesday January 22 at 7pm. For ticket information contact Telecharge or call the Davenport Theater at 212.956. 0948. 
Eric Dean White 
  Ta Ta Darlings!!!   I just spent a delightful Sunday afternoon at the Davenport, and hope that you will, too.  Fan mail welcome: Visit Polly's Blogs and in the left hand column click on the Blog that resonates with your interest on visionary men, women determined to succeed, fashion historian or poetry from the heart.

       Aspiring playwrights may be interested in the following information on the SUBMISSION PROCESS for the St. Louis Actor's Studio LaBute New Theater Festival.                         Professional Submissions and High School Submissions should be sent to: LaBute New Theater Festival, St. Louis Actors' Studio, 360 N. Boyle Ave., St. Louis, MO 63108. 
      For more information contact: 314-458-2978 or

Monday, January 7, 2019

POSING MODERNITY LECTURE at Art Students League January 15

Denise Murrel "Posing Modernity: Curator/Lecturer     
THIS JUST IN: Not to be missed!!! A groundbreaking lecture and discussion on "POSING MODERNITY: THE BLACK MODEL FROM MANET TO MATISSE TO TODAY will be presented by curator/lecturer, DENISE MURREL, at The Phyllis Harriman Mason Gallery, 2nd floor, at the Art Students League of New York, 215 West 57th Street, Tuesday, January 15th, 6:30-8 pm. Free and Open to the Public.
      The con-currently running  exhibition, POSING MODERNITY, at Columbia University's Miriam and Ira D. Wallach Art Gallery, on view through February 20, deconstructs race in western painting and you can hear all about it from the curator herself, at this special discussion at the Art Students League. The exhibition's incarnation is quite interesting.                 Not every student of art history could become the inspiration for an art exhibition, but one such student, Denise Murrel's Thesis indeed inspired the Wallach Art Gallery's POSING MODERNITY exhibition at Columbia University. This awe-inspiring investigative show focuses on a seemingly neglected subject; "How Black people have been pictured across art history."       
William H. Johnson portrait
It all came about when 
inquisitive Columbia University student, Denise Murrel viewed Edouard Manet's Olympia, his brazenly un-idealized take on the odalisque theme. In his rendering a black maidservant is bringing a bouquet of flowers to a naked prostitute who stares directly out at the viewer. What struck Ms. Murrel most about the art instructors discourse was the absence of any reference to the black maidservant. She said, "His neglect to ignore her, to say nothing about her, to not knowledge her presence rendered her invisible."  Image right: William H. Johnson, "Portrait of a Woman with Blue and White Striped Blouse." 1940-42,
      This experience motivated Murrel to find out more about the black figure as portrayed in art. So she embarked on a journey that began was a seminar paper, expanded into her PhD thesis that segued into the exhibition, POSING MODERNITY, at the Wallach Art Gallery, which will be expanded at the Musee d'Orsay in Paris next year.   The exhibition explores the little-known interactions between avant-garde artists in the 19th century Paris and the city's post-abolition community of free black people. Archival
photographs, correspondence, and films shed light on artists' relationships with their models, students, entertainers, and others. HARLEM IN THE 1930's: Includes paintings and  
 prints executed by Henri Matisse before and after his visits to Harlem in the 1930s, portraiture of the Harlem Renaissance; and the influence of these earlier depictions on artists of the post-war period and beyond. Bazille, Nadar, Carpeaux, Bearden, and Ringgold are just a few of he names featured. 
Image: Edouard Manet's Baudelaire's Mistress (Portrait of Jeanne Duval) from 1862 is part of the "Posing Modernity" exhibition, Photo: Csanad Szeszlay(c) The Museum of Fine Art Budapest/Scala/Art Resource NY.
Ta Ta Darlings!!!  I hope this review tantalizes your interest. Attend the lecture on January 15 to hear how the curator/lecturer, Denise Murrel, brought about Posing Modernity to give 'black women in paintings' their due recognition. Fan mail welcome at Visit Polly's Blogs at and click in the right-hand column for the subject that resonates with your interest on fashion, visionary men, women determined to succeed and poetry from the heart. 

Monday, December 17, 2018

KEVIN BEASLEY: A View of a Landscape: Review By Polly Guerin

Kevin Beasley
"Artists are a unique breed. They search the inner circle of their soul to inspire creativity. They work alone, their ideas grow out of the depths of their imagination. They are innovators, risk takers who create works defined by their personal history. Like solo fliers, they have the courage to take flight  with new ideas and on the path of creativity they never stop until the work is done. They work around the clock to create something rare and unexpected, yes--something never done before. (Quote from Dynamics of color by Polly Guerin)l
      For his most ambitious exhibition to date, Kevin Beasley confronts the legacy of the American South in a powerful new installation that explores the intersection of history labor, land, and race.  Reclaiming a 1915 electric motor that once powered a cotton gin on an Alabama farm during the middle of the twentieth century,  Beasley creates a multipart installation in which he distills the visual and auditory experiences of the machine. KEVIN BEASLEY: A VIEW OF LANDSCAPE opened recently in the Whitney museum's eighth floor Hurst Family Galleries                                                                        
Rebuilding of the Cotton Gin Motor

and runs through March 10, 2019. 
       THE ARTIST SPEAKS; "For me, this exhibition embodies a continued reconciliation that can extend to the broader public. Are we reflecting on this history collectively," said Beasley "And are we taking the necessary steps to generate a fresh approach and change to systemic issues that persist today?"
      Through the use of microphones soundproofing, and audio hardware the installation detaches the physical motor from he sounds it produces, enabling visitors to have distinct sensorial experiences. There, the motors sounds, heard through an arrangement of speakers set at different amplifications, form a sonic landscape. A series of performances by Beasley and other artists whom he has invited to perform will take place in the galleries throughout the run of the exhibition.  Currently scheduled, Saturday January 12, Kevin Beasley with Taja Cheek, multi-instrumentalist, songwriter and vocalist. Saturday, Jan. 26, Eli Keszler, artist, composer, and percussionist.  For other performance times and ticketing, visit Beasley.
Left: The Reunion Right: Campus 
"SLAB" SCULPTURES: The exhibition also includes new large-scale "slab" sculptures made with a range of materials central to Beasley's practice such as polyurethane resin, housedresses, electric appliances, and raw cotton from the artist's native Virginia, where his family has owned land for generations.  The sculptures suggest a narrative in three parts, beginning with image Left:The Reunion, 2018, Polyurethane resin, raw Virginia cotton, Virginia soil, Virginia twigs, Virginia pine cones and needles, housedresses, kaftans, T-Shirts, du-rags, HID light bulb, guinea fowl feathers, cotton bale strap, aluminum, and steels. Right: Campus, Polyurethane resin, raw Virginia cotton, housedresses, kaftan's,T-Shirts, du-rags, select pages from the Transatlantic Slave Trade, Charles Joseph Minard Civil War-era cotton trade map, painted clown masks, Yale University School of Art graduation collar, graduation cap, graduation gowns, Yale University sweater, Campus duffle bag, aluminum and steel. Both from the Collection of the Artist, courtesy of Casey Kaplan, New York.

        Ta Ta /Darlings:  This solo flier makes a bold historically fused statement. Through the use of these materials, the works account for the lived histories shared by he artist, the continued journey of the machine, and the greater context of the American landscape. Fan mail always welcome at  Visit Polly's other Blogs at and click in the left-hand column to access the Blog that resonates with your interest. 

Tuesday, December 11, 2018

EPIC ABSTRACTION at The Met Fifth Ave: Review by Polly Guerin

Jackson Pollock 
If you have ever been bewildered by the message the abstract painters were projecting on canvas you need to no further for creative clarification than The Metropolitan Museum of Art, opening Monday, December 17th with EPIC ABSTRACTION: Pollock to Herrera.  
      The exhibition begins with the 1940s and extends into the 21st century and explores large-scale abstract painting, sculpture, and assemblage through more than 50 works from The Met collection and includes a selection of loans, promised gifts and new acquisitions. Iconic works from The Met collection, such as Jackson Pollock's classic "drip" painting and Louise Nevelson's monumental Mrs. N's Palace highlight works by international artists, such as, Japanese painter Kazuo Shiraga and the Hungarian artist IIona Keseru.
Image: Jackson Pollock (American 1912-1956) Enamel on Canvas 1950, The Metropolitan Museum of Art, New York. The Muriel Kallis Steinberg Newman Collection. Gift of Muriel Kallis Steinberg Newman, in honor of her grandchildren, Ellen Steinberg, Coven and Dr. Peter Steinberg 2006. Artists Rights Society (ARS) 2018 New York.
      In the 1940s Pollock developed the "drip" technique for which he became renowned and his work grew to monumental sizes; he eventually discarded the easel to paint on and around unstretched canvases splayed on the studio floor. The drips, splatters, and whips of paint record his bodily experience in the process of painting, but they also evince a high degree of control and intentional effects. Abstract Expressionism was promoted as exemplary of American democracy and freedom during the early years of the Cold War, and Pollock's art began exerting an international influence in this context. He reinvented the medium of painting as experimental, a kind of performance. Well over fifty years after their creation these works retain their audacious dynamism and sense of daring.
      THE ARTISTS REACT: In the wake of unprecedented destruction and loss of life during World War II, many painters and sculptors working in the 1940s grew to believe that traditional easel painting and figurative no longer adequately conveyed the human condition. In this context numerous artists, including Barnett Newman, Pollock and others associated with the so called New York School, were convinced that abstract styles---often on large scale---most meaningfully evoked contemporary states of being. Many of the artists represented in Epic Abstraction worked in large in large formats not only to explore aesthetic elements of line, color, shape and texture but also to activate scale's potential to evoke expansive---'epic' ideas and subjects, including time, history, nature, the body, and existential concerns of the self.        
Carmen Herrera
      "The Met's great holdings of
 post-war art include some of the most celebrated examples of Abstract Expressionism. This exhibit is an important reinterpretation of a core area of the Museum's collection as it expands beyond the familiar to include fresh and perhaps surprising perspectives of artist's who have adopted, adapted, and even critiqued the precedents established by the well know New York School," said Max Hollein, Director of the Museum. "These monumental works also offer a powerful---even mesmerizing---experience." Image: Carmen Herrera, Cuban born 1915, EQUILBRIO 2012 Acrylic on canvas, 48 x 60." The Metropolitan Museum of Art. Promised gift of Estrellita and David Brodsky. (c) Carmen Herrera.                                   
Louise Nevelson
The exhibition also includes a range of major works composed of found objects and repurposed materials, including the installations centerpiece Louise Nevelson's Mrs. N's Palace, Chakala Booker's Raw Attraction and Thornton Dials elegiac Shadows in the Field, which evokes the history of American slavery. The exhibition also features a gallery of works by the next generation of artists, including Ellsworth Kelly, Robert Marigold, Alejandro Puente and Anne Truitt, who worked in the hard edge, minimalist styles that came to define modern art in the 1960s and l970s. Image: Mrs. N's Palace (1964-71) Painted wood. The Metropolitan Museum of Art. Gift of the artist 1985. (c) 2018 Estate of Louise Nevelson/Artist Rights Society (ARS) New York.

CONCERT PROGRAM: In conjunction with the exhibition, a concert in the MetLiveArts Sight and Sound series, "Abstraction in Music and Art" will feature Leon Botstein and The Orchestra Now performing works by the radical modernist Anton Webern and experimental composer Morton Feldman, who mirrored the Abstract Expressionist painters and took his inspiration from their work. Performance on May 19, 2019, at 2 p.m. in The Met Fifth Avenue Grace Rainey Rogers Auditorium, will be preceded by a discussion accompanied by musical excerpts performed alongside on-screen artworks.  Tickets start at $30. Bring Kids for $1 are also available. Info: (
     Ta Ta Darlings!!! Come in out of the cold and visit Epic Abstraction's iconic artists. Fan mail welcome at Visit Polly's Blogs at and click on the
link in the left hand column to the Blog that resonates with your interest.


Monday, November 19, 2018

Sarah Josepha Hale: Mother of Thanksgiving: By Polly Guerin

A Thanksgiving Legend: Sarah Josepha Hale By Polly Guerin

As we celebrate Thanksgiving 2018 there are so many more reasons to be thankful. However, none is more interesting than the reminder, "Let us not forget," it was Sarah Josepha Hale, a petite crusader in crinoline, the pioneering Victorian who inspired President Lincoln to declare Thanksgiving a national holiday. 
      Sarah Josepha Hale’s relentless handwritten letter campaign spanned a period of almost three decades in which she urged that Thanksgiving be declared a holiday. With tireless zeal she penned thousands of editorials and wrote handwritten letters to prominent, citizens, governors and went right to the White House, addressing the issue to United States President. She never gave up letter writing her campaign, which had its inspiration at that time for the unification of the country
       As the dark days of the Civil War divided the country into two armed camps Mrs. Hale’s editorials became more vigilant. Who would listen to a lone woman with her persistent plea for "just one day of peace amidst the blood and strife"? Eventually she came to see the nationalization of Thanksgiving not only as a day for counting our blessings, but as a logical bond of union, one more means of drawing the sympathies of the country together. 
Year after year without typewriter or the convenience of a computer Sarah Josepha Hale continued to pour out hundreds handwritten letters, which were sent to influential people urging them to join in establishing the last Thursday in November as Thanksgiving Day.
     With the country gripped in the North and South divide, Mrs. Hale’s concept of unity finally caught the attention of one man in the White House. Prompted by a letter she had written to Secretary of State William Seward in 1863 President Lincoln recognized the urgency for unification and promptly issued a proclamation appointing the last Thursday in November as a day of national Thanksgiving in America.
                                                                                     HALE, THE LADY EDITOR 
      Sarah Josepha Hale succeeded at a time when there were few opportunities for women to escape the drudgery of domesticity. In addition, like other women of her era, she had been denied a formal education but found refuge in her father’s library, self-educating herself. 
      After her husband died, leaving her penniless, she wrote and published a novel, Northwood, which captured the attention of a Boston publishing firm. She was offered editorship of one of their periodicals in 1836 and at the age of 40, with five children to support, she left her home town of Newport, New Hampshire and moved to Boston to assume the post of Lady Editor. Running one of the most powerful magazines in the country did not escape critics, but she always explained that she was forced to hold down a job to feed her children.
       Sarah Josepha Hale, as Lady Editor of Godey's Ladies Journal, was the arbiter of parlor etiquette, fashion, manners and intellect. As a journalist, lobbyist, career woman and crusader in crinoline she spoke her mind and succeeded where others had failed. A petite woman, she dressed in the crinoline style of the Victorian era. However, even in this cumbersome attire and the pressing restrains of society, she championed numerous women’s issues bringing about a number of important improvements in the lives of women in the Victorian era. She was the first to advocate women as teachers in public schools. She demanded for housekeeping the dignity of a profession and put the term “domestic science” into the language. Sarah Josepha Hale was to prove to be unique exception of her times.
        In addition, she helped to establish Vassar College, the first college for women. Hale was highly civic minded and among her credits she promoted the movement to preserve Mount Vernon as a National memorial and raised the money that finished the Bunker Hill Monument. How she found the time, I will never know, but this prolific lady was also the author of some two dozen books and hundreds of poems, including the best known children’s rhyme in the English language, “Mary Had a Little Lamb.”
       Sarah Josepha Hale stepped from the shelter of an early nineteenth century marriage untrained, unschooled and stepped forward to become the nation’s most celebrated Lady Editor. For her patriotic part in nationalizing Thanksgiving Day, we give thanks.
      Ta Ta Darlings!!! As we look forward to Thanksgiving may you have many more reasons to celebrate a rich harvest of plenty and many more Blessings.Fan mail welcome at Visit Polly's Blogs on on fashion, visionary men, women determined to succeed and poetry.

Monday, November 12, 2018

Martha RosLer: Irrespective at The Jewish Museum: Review By Polly Guerin

Vacuuming Pop Art
Martha Rosler, the influential Brooklyn-based artist, believes that art should teach, provoke and motivate and she proves her point in the skillful use of diverse materials to address pressing matters of her time, including war, gender roles, gentrification, inequality, and labor.  
Considered one of the strongest and most resolute artistic voices of her generation Rosler advocates for social justice. From her early feminist photomontages of the 1960s and 1970s to her large scale installations, Rosler's vital work reflects an enduring and passionate vision. 
Image:Vacuuming Pop Art, or Woman with a Vacuum, selections from "Body Beautiful, or Beauty Knows no Pain," c. 1966-72. Photomontages. Courtesy of the Artist and Mitchell-Innes & Nash, New York.
       Rosler's art is a call to action," says Darsie Alexander chief curator at the The Jewish Museum where a survey exhibition showcases five decades of the artist's work in MARTHA ROSLER; IRRESPECTIVE, which recently opened and runs through March 3, 2019.
       Rosler repeatedly explores the subject of food--its production and preparation, its consumption, and its powerful meanings in our social, domestic, economic and political lives, particularly those of women. In works of the mid- 1970s  Rosler often adopted the voices of an overburdened housewife, food service workers, and domestic servants, articulating the frustration of women forced to adopt particular roles because of their gender or class. In the 1970s Rosler was part of the first generation to use the new consumer-      
 consumer-oriented video equipment for artistic ends. The exhibition includes samples of her video work across more than four decades. She performs in several of her video works, not only in Semiotics of the kitchen, but in others such as Born to be Sold. 
       Semiotics, Rosler's best-known early video, is a deceptively simple portrait of the artist as cook and the cook as artists in which assumptions about both roles are questioned. In the video she adopted the voices of an overburdened housewife, social worker, or hostess and was adept at articulating the frustration and sometimes even self-deception of women forced to adopt roles they didn't necessarily want or skills they felt obliged to acquire, such as being a fancy cook.
House Beautiful: Bringing the War Home 
War and domesticity are recurring subjects in Rosler's art and one that emerged in a series focusing on the Vietnam War. This groundbreaking work, House Beautiful: Bringing the War Home (c.1967-72) combines mass media images from the first televised war with luxurious domestic interiors found in home decorating magazines of the era. 

         Domestic life serves for Rosler as a kind of microcosm of the world at large, a miniature stage on which gender roles and expectations are defined and tested: where labor is differently apportioned and differently valued; and where issues of economic access, equality and disparity play out. When the United States launched wars in Iraq and Afghanistan in 2003, she resumed the series, once more juxtaposing images of war with serene pictures of lavish homes, lush gardens, and fashion models. Simultaneously critiquing the wars and the superficiality of the contemporary American dream
        Ta Ta Darlings!!! Rosler's art resonates back in time and worth the trip. Fan mail welcome at  Visit Polly's Blogs at Click on the links, left hand column, to the Blog that interest you. 

Monday, October 22, 2018

HILMA af KLINT: Paintings for the Future at The Guggenheim: Review By Polly Guerin

The long under-recognized innovator of the bold and colorful abstract paintings of Swedish artist Hilma af Klint (1862-1944) fill the ramps of the Guggenheim's rotunda. Conjuring up images of striking originality, the exhibition,
HILMA af KLINT: Paintings for the Future, offers an unprecedented opportunity to view Klint's groundbreaking achievements through her first major solo exhibition in the United States. On view through April 23, 2079.
        Af Klint was an innovator, a woman ahead of her rime. When Klint began creating her radically abstract paintings in 1906, they were like little that had been seen before: bold, colorful, extravagant expressions of modernism several years before Vasily Kandinsky, Kazimir Malevich, Piet Mondrian, and others began to embrace modernism in the way that Klint achieved.
        Image: Group IV, The Ten Largest , No 7, Adulthood, 1907 Tempura on paper, Mounted on canvas 124 x 92 1/2 inches. Stiftelsen Hilma af Klint's Verk, Photo: Albin Dahlstrom/Moderna Museet.
      Yet, her obscurity in all fairness lies in her own decision.  Convinced that the world was not ready for her paintings, she stipulated that they not be shown for 20 years after her death.  
     The exhibition features more than 170 of af Klint's artworks and focuses on the artist's break-through years 1906-20. It is during this period that she began to produce nonobjective and stunningly imaginative paintings, creating a singular body of work that invites a reevaluation of modernism and its development. Spiritual sparks helped to also inspire her radical and visionary art.     
Hilma Af Klint
You need only to look at a photo of Hilma to see how extraordinary a woman she was for her time. Imagine a woman in long skirts and high collar of the early 20th century standing in front of a painting she created. It is a massive piece---about 10 feet by 8 feet wide---and it is not a landscape, a portrait, a still life, nor a scene. Dominating the composition is a bold yellow form, reminiscent of a plant or sea creature. It is just one of af Klint's vast oeuvre of her radically abstract paintings that she has made in the few short years between 1906-1920.

      Af KLINT studied painting at Stockholm's Royal Academy of Fine Arts, graduating with honors in 1887.  During her formative years as an established painter she she also became deeply engaged with spiritualism, Rosicrucianism and Theosophy. Af Klint developed her new approach to art making together with her spiritual practice, outside of Stockholm's male-dominated art world. She had begun to regularly hold seances with four other women by1896. During a meeting in 1906, one of the spirits that group often channeled asked af Klint to create a cycle of paintings. As legend recounts; af Klint immediately accepted. She worked on the project between 1906 and 1915, completing 193 paintings and works on paper collectively called, The Paintings for the Temple. Stylistically they are strikingly diverse, utilizing biomorphic and geometric forms, expansive and intimate scales with innovative composition and color.     

The exhibition is accompanied by an illustrated catalogue representing af Klint's painting series  and presents the fullest picture of her life. The volume also delves into her unrealized plans for a spiral-shaped temple in which to display her art. The hardcover edition is available for $65 at

       PUBLIC OROGRAMS: Program additions, information, schedules and ticket info are available at  MUSIC for the TEMPLE, A Tribute to Hilma af Klint by John Zorn takes place Thursday and Friday November 28 and 30 at 7 pm.  Following the performance audience members are invited to attend a private, after hours viewing ot the exhibition. For ticket price and information about gallery tours contact the guggenheim calendar website.
       Image: Group X, No 1 Altarpiece, 1915 (Altarbilder). Oil and metal leaf on canvas . 235.5 x 179.5 cm. The Hilma af Klint Foundation, Stockholm, Sweden. Photo: Albin Dahlstrom, the Moderna Museet, Stokholm.
       Ta Ta Darlings!!!  These monumental images created by Hilma af Klint draw us inward and outward to an imaginary world of modernism. Let's salute Hilma, a woman ahead of time.  Fan mail welcome at Visit Polly's Blogs at and click on the links in the left-hand column to fashion, women determined to succeed and visionary men.