Monday, February 19, 2018

NORELL: DEAN OF AMERICAN FASHION: Review by Polly Guerin

Norman Norell       It is no wonder that NORMAN NORELL is called "The Dean of 
 American Fashion." His sleek, sophisticated, American glamour was   visible in all his fashion silhouettes.  With attention to couture-  inspired  detail and luxurious fabrics his designs attracted an A-List   clientele that included Lauren Bacall, Babe Paley, Jacqueline   Kennedy, Lena Horne, Lady Bird Johnson and a host of the   industry's fashionistas in the corporate and magazine worlds. Styled   with  classic and modern inspiration, Norell's vintage garments are   still worn by film stars and even former first Lady Michelle Obama.
      Image; Triana Norell, Roman-striped sequined evening sheath   worn by Dovima, 1959. Photograph by William Helburn.
     It is a timely recognition; The Museum at the Fashion Institute of   Technology (MFIT) presents NORELL: DEAN OF AMERICAN   FASHION (Through April 14, 2018). The retrospective exhibition 
celebrates the work of this pioneering designer who created some of the finest most innovative clothing ever crafted in the United States. Approximately 100 ensembles and accessories from MFIT's permanent collection, are on view, as well as a compelling selection of objects borrowed from the stellar private collection of Kenneth Pool. 
NORELL'S EXTRAORDINARY OUTPUT The garments, accessories and related objects are organized thematically to illustrate the range of Norell's extraordinary output and the consistently outstanding quality of work produced by his atelier.  Most prominent are the designs from Norell's career---from 1960 to1972.  All his formal clothing was noted for its clean lines and comfort. His love of wool jersey was paired with fabrics like organized for a dramatic effect. Norell also made coats and suits using jersey sometimes in contrasting colors. Image; Norell evening ensemble with striped Duchesse satin ball skirt trimmed in black fox. Photograph of Kenneth Pool Collection (c) Marc Fowler. 
MERMAID GOWNS As a fashion historian I can say, "I have always felt that fashion inspiration starts with the choice and quality of the fabric." That is certainly true in this case, because the most representative of 
Norell's work were his glittering "MERMAID" gowns that only a svelte goddess could wear. They were unique simplistic creations generously but carefully embellished with thousands of hand-sewn sequins.  The base for those formfitting evening dresses was the flexible knitted jersey fabric that could cling to the curves of socialites and other shapely movie stars and fashionable women. It was cut with rounded necks and a variety of sleeves, short, long or openwork.. 
      His other love of wool jersey began with the creation of solid or color-blocked shirtwaist dresses that were the antithesis of the splashy, floral, day dresses popular during the 1940s. 

Image: Norell sequined Mermaid evening dress, 1965. Photograph of Kenneth Pool Collection. (c) Marc Fowler.
Inspiration from menswear was another key element of Norell's oeuvre. As in men's clothing, in women's fashions, pockets and buttons were always functional, yet every buttonhole and pocket was beautifully finished; a hallmark of Norell's atelier. On view is a wide array of daywear with select menswear details and ensembles that clearly evoke the look and style of men's clothing,,,but after all, hasn't fashion traditionally borrowed from men's wear?
   Although Norell was not the first American designer to employ couture techniques, he was the most important creator to transpose them to the ready-to-wear level.
    The exhibition is accompanied by a book titled Norell: Master of American Fashion. Written by Jeffrey Banks and Doria de La Chapelle, it is the first monographic study of this groundbreaking designer. Published by Rizzoli.
     In conjunction with the Norell exhibit is THE BODY FASHION AND PHYSIQUE in the Fashion and Textile Gallery. A Fashion Symposium will be held on Friday, February 23rd. For details and to register for the symposium go to the MFIT website fitnyc.edu/museum or call 212.217.4585.
     Ta Ta Darlings!!!  Ah, to possess just one of Norell's classic, stunning fashions today. Rare to find, even in upscale Thrift Shops, to own a Norell garment is a timeless fashion to treasure. Fan mail welcome, I always love hearing from you, pollytalk@gmail.com. Visit Polly's Blogs at www.pollytalk.com where in the left hand column are links to fashion, determined women, visionary men and poetry.

Monday, February 12, 2018

TENNESSEE WILLIAMS: No Refuge but Writing Review By Polly Guerin

Tennessee Williams with Four Celebrated  Plays
The plays, "A Streetcar Named Desire," "Cat on a Hot Tin Roof," "The Glass Menagerie" and "The Rose Tattoo" may be etched in our collective memories, but least we forget The Morgan Library and Museum's new exhibit on view through May 13, TENNESSEE WILLIAMS: No Refuge but Writing
reminds us that Williams's plays (in in the image right) established the author as one of the greatest American playwrights of the twentieth century and his genre is even more relevant today. 
        Image: The portrait shows a pensive Williams in a dark suit and crisp bow tie, fingers crooked around a holder with an ashy cigarette. Photograph by Irving Penn for Vogue, April 15, 1951 (c) Conde Nast. Used with permission of George Borchardt. Inc. It was taken the year the celebrated movie "Streetcar" opened.  By 1955 he had earned two Pulitzer Prizes, three New York Drama Critics' Circle Awards and a Tony.
MASTER OF LANGUAGE 
      Williams was a master of language and a tireless craftsman and of said  he found, "no refuge but writing and couldn't resist gilding even his paintings with words." Yet, as anyone who's deeply read Williams knows, his plays reflect a great deal of his harrowing family life including Rose, his schizophrenia institutionalized sister, his parents poisonous marriage and later his own private turmoil from alcohol and drug addition to stormy relationships. 
     
A Streetcar Names Desire 19
The exhibition unites Williams' original drafts, private diaries, photographs and personal letters, and other ephemera that constituted his real and inner world. It reveals how, even as he battled critics and censors, the author found solace in his writing and his ability to weigh in on the theatrical productions of his work. The Morgan's show provides an upfront chance to peer into Williams' creative process and his ongoing struggle for self-expression, and how it forever changed the landscape of American drama. 

      "It is almost impossible to overstate the impact of Tennessee Williams on theater as we know it." said Colin B. Bailey, director of the Morgan Library and Museum. "His plays are so acclaimed and so well-known that one can conjure his unforgettable characters and their immortal lines almost at will." 
      So it is that we, too, remember the unforgettable characters in the film version of, A Streetcar Named Desire: (1951) Vivien Leigh as Blanche DuBois and Marlon Brando as the brutish brother-in-law, Stanley Kowalski.  A stage production rehearsal (1947), however featured Jessica Tandy who portrayed Blanche with Karl Marden, Marlon Brandon, and Kim Hunter.  
TENNESSEE WILLIAMS ON SCREEN: The Rose Tattoo, based on the 1951 Tony Award-Winning play. This classic drama centers on Serafina (Anna Magnani), a widowed Sicilian woman living  the American South who is left devastated by the death of her husband. The arrival of Alvaro (Burt Lancaster) offers new hope for love in her life. Friday, April 20, 7 pm,
        Cat on a Hot Tin Roof, adapted from the 1955 Pulitzer Prize-winning play, stars Paul Newman as Brick, an alcoholic ex-football player who drinks his days away and resists the affections of his wife Maggie (Elizabeth Taylor). His reunion with his father Big Daddy (Burl Ives) who is dying of cancer. jogs a host of memories and revelations. Friday, May 4, 7 pm. The exhibition Tennessee Williams, No Refuge but Writing will open at 6 pm for program attendees.  Ticket info: www.themorgan.org. 
READING TENNESSEE WILLIAMS Adult workshop participants will engage in close readings on The Glass Menagerie and Cat on a Hot Tin Roof and explore Williams's writing and revision practises. February 28 and
March 7 2-4 pm. Tickets (two sessions) $45, $35 for members.
     Just a reminder:  The Morgan invites LGBTQ friends to attend a special evening celebration feauring the work of two iconic gay artists on view this season; the playwright Tennessee Williams and photographer Peter Hujar with curator talks, live music, after-hours-museum access, and a wine bar. Tickets $25; $20 Morgan Members. Visit the website: www.themorgan.org. to purchase tickets.
     Ta Ta Darlings!!!  It is interesting to note how much of Williams would explore the dysfunction of his  home life in his plays, but after all, were we not advised by our teachers "Write what you know."  Fan mail welcome: pollytalk@gmail.com. I'd like to hear from you from time to time just to know how much a feature resonated with you.
Visit Polly's Blogs on www.pollytalk.com and click in the left hand column to for a direct link to the Blog that interests you most. 
    
      

Monday, February 5, 2018

THOMAS COLE'S Journey: Atlantic Crossing at the Met Museum: Review By Polly Guerin

Thomas Cole, The Oxbow, 1836
The Catskills with its cathedrals of natural beauty and breathtaking landscapes captured on the canvases by Thomas Cole (1801-1848) elude to America as a "new eden" in danger of destruction that Cole himself would shape a new metaphor in words as well as painting."
     I can but humbly remark that Cole's paintings are majestic reminders to remember how the artist did not sway from portraying how civilization would destroy the natural wilderness.
     THOMAS COLE'S JOURNEY: ATLANTIC CROSSINGS, a breathtaking exhibition  at The Metropolitan Museum of Art, through May 13, 2018 marks the 200th anniversary of Cole's arrival in America in 1818. The exhibition presents a new take on Cole. By exploring the transatlantic career of the renowned founder of the Hudson River School the exhibition examines for the first time the artist's transatlantic career and engagement with European art. 
       With Cole's masterworks The Course of Empire Series (1834-36) and The Oxbow (1836) as its centerpiece, more than three dozen examples of his large-scale paintings, oil studies, and works on paper provide an engaging insight into the artist's expansive oeuvre.  Image: Thomas Cole (American, born England), Lancashire 1801-1848 Catskill, New York). View from Mount Holyoke, Northampton, Massachusetts after a thunderstorm--the Oxbow, 1836. Oil on canvas, 51 l/2 x 76 in. Gift of Mrs. Russell Sage 1908. Image (c) The Metropolitan Museum of Art. The Oxbow is a seminal landscape painting depicting a romantic panorama of Connecticut River Valley,  just after a thunderstorm; interpreted as a confrontation between wilderness and civilization. 
COLE'S JOURNEY His arrival in the United States in 1818, and his embrace of the American Wilderness as a novel subject for landscape art of the New World reveals his prodigious talent, but then, too, he returned to England in 1829-31 and he traveled to Italy in 1831-32.  Cole embraced the on-site landscape oil studies and adopted elements of the European landscape tradition and learned from contemporary painters in England, including Turner, Constable and John Martin, and furthered his studies in landscape and figure painting in Italy. On view comparison study of works by these British masters figure prominent in the show whilst consummate paintings by Cole juxtaposed with those works, highlight Cole as a major figure in the 19th-century landscape art within a global context.
Scene from "The Last of the Mohicans" 1827 
WARNING AMERICA  Cole applied the lessons he had learned abroad to create the five-part series The Course of Empire (1834-36), warning the the American public that the rise and decline of ancient civilizations could be a potential fate for the young nation.  Image: Thomas Cole (American, born England) Lancashire 1801-1848 Catskill New York) Scene from "THE LAST OF THE MOHICANS," Cora kneeling at the Feet of Tamenund, 1827. Oil on Canvas, 25 3/8 x 35 l/8 in, Wadsworth Atheneum Museum of Art, Hartford , Connecticut. Bequest of Alfred Smith (1868-3) Photo: Allen Phillips\Wadsworth Atheneum. 
      This is a powerful exhibition that takes us to a time and place where the landscape rose with monumental majesty, pristine and abundantly rich in raw vistas of incredible beauty, captured by Cole. A series of educational programs include the MetLiveArts STING: will feature an intimate acoustic performance by Sting in the Museum's Grace Rainey Rogers Auditorium on April 24 for members only, and on April 25 and 26 (7:30 p.m. for the general public.. Prior to each concert ticket holders will enjoy a special viewing of the exhibition with curators Elizabeth Kornhauser and Tim Barringer.  Several other educational programs are scheduled, visit www.metmuseum.org.  Exhibition location: Floor 1, Gallery 746, The Erving and Joyce Wolf Gallery.
     
Thomas Cole in Plein Air (1801-1848)
  Of special note, I wish to mention that Elizabeth Kornhauser will moderate a Sunday at The Met discussion on April 15 at 
2 p.m. on Cole's role as a proto-environmental artists with scholars Alan Braddock and Rebecca Bedell and artist Michel Auder. This program is free with Museum Admission. In a gallery performance on April 27 at 6:00 p.m. , exhibition curator Tim Barringer will explore in a slide lecture the musical and literary references that inspired Cole, who was himself an amateur musician. This will be followed by a series of works for soprano and piano from Cole's lifetime, performed by Lucy Fitz Gibbon and Ryan McCullough.  This program is free with Museum admission, advance registration is required. 
     Ta Ta Darlings!!! Ti's time to visit not only The Met's Cole exhibit but also to day trip up to the Catskills and visit the Thomas Cole site. The panoramic view from the artist's house is worth the trip just to sit on the veranda and take in the breathtaking landscape. For information contact info@thomascole.org. Fan mail always welcome at pollytalknyc@gmail.com.  Then, too, visit Polly's home page www.pollytalk.com and in the left hand column are direct links to Polly's Blogs on visionary men, women determined to succeed, poetry and fashion.

Monday, January 29, 2018

PETER HUJAR PHOTOGRAPY at the Morgan: Review by Polly Guerin


Peter Hujar, Self Portrait
Why does the photographer, Peter Hujar deserve the first full-scale retrospective of his work at The Morgan Library and Museum? 
      Good Question!  I'm glad you asked, because there is more merit in the exhibition, SPEED OF Life, than meets the eye. Through May 20, The Morgan presents one hundred and forty photographs of this influential artist.
      To understand Hujar one has to understand the man, the myth and the mystery surrounding Hujar's life (1934-1987). He was a fixture in the downtown New York scene during the 1970s and 1980s, in the East Village, where he lived and worked, at a time when it was a magnet for bohemians, artists, writers, drag queen performers, musicians and iconoclasts. Back in those days, the neighborhood was rough and raw, in perpetual state of poverty that bred the avant-garde. Into this milleu Huger's mature career paralleled the public unfolding of gay life between the Stonewall uprising in 1969 and the AIDS crisis of the 1980s.  Image: Peter Hujar, Self Portrait Jumping, Gelatin silver print, purchased on The Charina Endowment Fund. The Morgan Library and Museum, 2013. Peter Hujar Archive, LLC, courtesy of Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francsico.
Susan Sontag 1975
INTO THIS MILLEU: Hugar began his career in the 1950s as a commercial photographer but soon left the market behind, preferring to focus on the creation of art.   In an era when cost of living was cheap he set up a studio in his Twelfth Street loft. 
       He created, in his words, and I quote, "uncomplicated, direct photographs and difficult subjects, immortalizing. moments, individuals and subculture passing at the speed of life"  Best known for his portraits of the most iconic figures of the time, from Susan Sontag, William S. Burroughs, and Gary Indiana to Cindy Darling, David
Wojnarowicz, and other notables, Hugar also created nudes, landscapes, cityscapes, photographs of animals, architectural images and documentary scenes.
Image: Susan Suntag, 1975, Gelatin silver print, purchased on The Charina Endownment Fund, 2013, (c) Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco.
      Hujar met Sontag through their mutual friend, artist Paul Thek, in Sicily in 1963. Sontag later contributed to Hujar's 1976 monograph Portraits in Life and Death, which included his iconic reclining portrait of the writer.  The reclining portrait is a genre of photograph that Hujar made his own. He relied on it as a means of reaching something unique in every sitter. To face a camera lens from a reclining position was a provocative experience and evoked different responses. Especially skeptic was his close friend Fran Lebowitz. .  
Ethyl Eichelberger as Minnie the Maid, 1981
 
Hujar was not not one for self-promotion. It apparently did not suit him at all. Where others like Andy Warhol invented branding strategies way ahead of Madison Avenue, Hujar simply kept to himself doing his work. "One thing I won't answer is anything about why I do what I do,  Huger 
told David Wojnarowicz in 1983." 
      The most photographed person in his body of work, Ethyl Eichelberger, remains an instantly "double" subject, in whom neither actor nor role predominates. The subjects of his art Hujar wrote, were "those who push themselves to any extreme: and those who "cling to the freedom to be themselves." Image: Ethyl Eichelberger as Minnie the Maid, 1981, Gelatin silver print, purchased on The Charina Endowment Fund, The Morgan Library and Museum, 2013. (c) The Peter Hujar Archive, LLC, courtesy of Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco. 
PUBLIC PROGRAMS visit www.themorgan.org. For instance, An Evening with Fran Lebowitz: on Peter Hujar reflects candidly on the traits and joys of her close friendship with the artist. February 8, 6:30 pm, Tickets $15, $10 members. In addition to several other events the film, Pink Flamingo, is scheduled for March 2, at 7pm and Gallery Talks March 9, 6pm and April 27 at 1pm.
     Ta Ta Darlings!!! Speed of Life is a thought provoking experience. Be so warned: "This exhibition contains mature content and nudity. Parent/Guardian discretion is advised." Fan mail welcome at pollytalknyc@gmail.com. Visit Polly's Blogs on www.pollytalk.com.
      

Monday, January 22, 2018

WINTER ANTIQUES SHOW 2018: Review by Polly Guerin

Imperial Peter the Great Easter Egg
Wandering through the historic Park Avenue Armory at the press preview of the Winter Antiques show found me stepping over rugs just being  laid down, hammers nailing into place last minute hangings and the air electrified by the exhibitors putting final touches on their booths. Such was the case last week, when the Armory was being transformed into a spectacular showcase for the evening's gala opening ceremonies.
     The WINTER ANTIQUES SHOW, the leading art, antiques and design fair in America, now in its 64th year, offers a week-long opportunity, through January 28, to view a dynamic mix of works dating from ancient times through the present day. Each object at the fair is vetted for quality and authenticity.
       Image: Among the VMFA works on display are the Russian firm, Faberge's Imperial Peter the Great Easter Egg, which was present to Empress Alexandra Feodorovna by Czar Nicholas II in 1903. It was created to commemorate the 200th anniversary of the founding of St. Petersburg. Workmaster, Mikhail Perkhin used gold, platinum, silver gilt, diamonds, rubies, enamel, sapphires, watercolor on ivory and rock crystal in its creation. Bequest of Lillian Thomas Pratt. (Photo: VMFA) 
     
Still Life with Daisies, Arles, 1888, Vincent van Gogh,
The Winter Antique show invites one institution to showcase its collection during the show and this year the major feature is the loan exhibition from the (VMFA) VIRGINIA MUSEUM of FINE ARTS,"Collecting for the Commonwealth Preserving for the Nation, Celebrating a Century of Art Patronage, 1919-2018, which is an annual benefit for the East Side House Settlement, a community-based organization serving the Bronx and Northern Manhattan with programs which focus on education and technology as gateways out of poverty and as keys to economic opportunity. CHUBB is the presenting sponsor of the Winter Antiques Show. Open Daily 12 pm-8pm, Tuesday 12 pm-4:30 pm and Thursday and Sunday 12pm-6pm. Daily admission is $25 (includes catalogue). Tickets can be purchased at winterantiqueshow.com.

       I was drawn to other notable works including Still Life with Daisies, Arles 1888, by Vincent Van Gogh from the collection of Mr. and Mrs. Paul Mellon. Photo by Travis Fullerton (c) Virginia Museum of Fine Arts.  Then, too, there is cause to mention Paul Storr's stunning Figure of Hebe, Beauford Delaney's Marian Anderson, and George Bellow's Tennis at Newport.  Together, the exhibition's 48 varied works reveal as much about the museum's maturation as the patrons, who have shaped the collection.
     
Parisian Lady 1910, Kees van Dongen
 If you are into samplers, as I am, exhibitors at the Winter Antiques Show include Stephen and Carol Huber's rare and dynamic sampler by sixteen year old Jane Elliott of Chester County, exquisite technique, featuring a large red building and a profuse ribbon border. Then, too, Lillian Nassau, Tiffany Lamps include the rare Bat Lamp, c. 1906, on of the few elaborate models produced by Tiffany Studios.
  
          I particularly admired the charming portrait
Parisian Lady (La Parisienne) also referred to as La Dame au Chien, 1910, by Kees van Dongen (Dutch painter 1877-1968) from the collection of Mr. and Mrs. Paul Mellon, featured in the VMFA collection.  In this portrait of a fashionable Parisian woman, the subject's attenuated shape sits in playful contrast to her oversize plumed hat and diminutive frolicking pet.  
        Bernard Goldberg Fine Art's image of The Opera Singer, 1927, by Guy Pene du Bois, is also a most engaging portrait. Du Bois made a gift of the painting to friend and dealer Antoinette M. Kraushaar in 1927.. A superb pair of antique brooches, c. 1890, caught my eye at Kentshire. In the form of Birds of Paradise with diamond bodies and emerald, sapphire and ruby plumage the birds can be worn as a single brooch when joined at their beaks by a pearl which is contained in a concealed compartment, quite amazing to say the least! At A La Vieille Russie look for the two porcelain covered cups in the form of Turkish Ladies' heads with jeweled headdresses, by the Gardner porcelain Factory, Russian, 1770-1790, they are quite entertaining. For information on the Show lecture series visit winterantiquesshow.com.
      Ta Ta Darlings!!! You ought not miss this show, it's packed with amazing, some never-before- seen objects and art works. The exhibitors are very friendly and really welcome your visit and inquiries.  Fan mail always welcome at pollytalknyc@gmail.com. Visit Polly's Blogs on fashion, poetry, visionary men or women determined to succeed on www.pollytalk.com and clink on the direct links in the left hand column.

Friday, January 5, 2018

DISCOVER THE LABYRINTH and Healing Parks BY Polly Guerin

"All truly great thoughts are conceived by walking, " Friedrich Nietzsche.  Have you ever thought of walking a Labyrinth to unwind, recharge and seek answers to your innermost questions or heart's desire? Whoever you are and wherever you are on your journey of faith there are places in the heart of New York City where you can relax, refresh, contemplate or mediate in peaceful areas to escape from the cacophony of the city.  
     
Grassy Green Labyrinth at Battery Park 
What is a Labyrinth? A labyrinth is a sacred symbol that can be traced back in history some 3,000 years to ancient Greece. In English, the term Labyrinth is generally synonymous with the word Maze. As a result of the long history of the uuicursal representation of the Mythological Labyrinth, a labyrinth has an unambiguous route to the center and back and presents no navigational challenge. Unicursal patterns have been used historically both in group ritual and for private mediation, and are increasingly found for therapeutic use in hospitals and hospices. 

HOW TO USE THE LABYRINTH First, relax, there is no right or wrong way to approach the path. You may use a labyrinth in many ways. Perhaps you seek some quiet. Perhaps you bring some care or concern that you wish to release. Maybe you seek direction for a perplexing question. Perhaps you bring great joy and thankfulness, gratitude to your walk. You may find it useful to sit for a moment before beginning. Take a few deep breaths, releasing any tension as you exhale. 
     SOME SUGGESTIONS FOR YOUR WALK Read a passage from scripture or from some other inspirational writing, such as the healing quotations from the readings of Edgar Cayce. Use a walkman to provide music for your journey, skip or dance your way along the path, or walk slowly. There is no right or wrong way to move though a labyrinth. Remove your shoes and walk in your socks to feel the grass or pavement beneath you more completely. Walk once or several times. Pause in the center and contemplate, rest awhile before making your way back into the world.
    The BATTERY PARK LABYRINTH  located in Battery Park, invites everyone to freely express themselves and do the walk through its grassy green labyrinth, designed by Arianne Burgess, installed in 2002 and restored in 2015.  Directions: You will find the  LABYRINTH for CONTEMPLATION just north of Castle Clinton in Battery Park at the tip of Manhattan. It was commissioned for the first anniversary of 911. For further information: http://www.facebook.com/batterylabyrinth. Battery Park is accessible by train or bus.    
Chartres-inspired Labyrinth at Riverside Church
     Then, too,  at the other end of Manhattan Island there is RIVERSIDE CHURCH at 450 Riverside Drive, 10027. with its MEDIEVAL-  INSPIRED LABYRINTH based on the inner circuits of Chartres Cathedral, France, circa 1200s.. The labyrinth type is marble inlaid in the floor of the Church Chancel. There is a charge of $10 for adults, $5 for seniors, students and children. Contact the Welcome Center, 212.870.6700. Group tours can also be arranged. www.trc.nyc.org.  If want
 enjoy a long bus ride the number 4 Bus on Madison Avenue takes you along Riverside Drive to the Church. Otherwise use train service.
     While you are up in this area head over to Morningside Heights and take in the "Path of Peace," painted Medieval Style, GODSONG LABYRINTH. It was installed on Mother's Day weekend, 2014. For further information email the following: soulbysole@aol.com.
     
The Permanent Labyrinth at Marble Collegiate Church
MARBLE COLLEGIATE CHURCH,  located at 
(1 West. 29 St., 1000l-4596) has a permanent labyrinth in the basement of the church open to the public. It is based on the labyrinth inlaid in Medieval, Chartres Cathedral, near Paris, France. Marble's was installed in 2012. The labyrinth is open for walking the first Sunday of each month from 1 to 3 pm, and every Wednesday from 5 to 6 pm . It is best to call first before visiting 212.686.2770.
    There are other labyrinths in Manhattan such as the EAST RIVER REFLECTION LABYRINTH, located at East River Park,  (Houston Street, NYC 10010), installed in 2004. The entrance to the park is at the foot of Houston Street where you cross the FDR drive. The labyrinth is to the right or south of this entrance. It is also available by several other areas off the East River Esplanade. Contact www.dianacarulli.com
     DE WITT CLINTON PARK (West 52nd and 54th streets and 11th Avenue) has two painted-on- concrete labyrinths, one for adults and one in the children's playground always open on its 5.8 acre public park. 
     As you walk the walk remember that Labyrinths are an ancient and yet modern way to stroll though its pathway and in this simple act of contemplation find release from personal concerns as the stress seemingly melts away to a renewed you. Hope to see you there on the pathway to enlightenment.