Friday, December 30, 2011

kitty plays with SH&SW


The Ventriloquist Circle!

January @ Dixon Theater

S/H&S/W likes...



The Ventriloquist Circle every friday & saturday in January @ Dixon Pl. Theater

 If you haven't heard, we've been invited to present our new show The Ventriloquist Circle at Dixon Place, every Friday and Saturday night in January. It's super exciting for us.

It's a very funny play that Matt Wilson has written, which has many things to say about taboo, sex, and internet culture; about searching, what we might be looking for, and about America (always about America). We'd love to share this piece with you and hear your thoughts on its continuing development.

So, please come and support us. Seeing your face in the New Year would make us very, very happy. And please tell everyone you know who might like our work--friends who've seen past shows, as well as friends who haven't. It's a late show, 9.30pm, and there is a bar, so we can make every night a party!

We even have a special code for you, good for opening weekend: 
https://www.ovationtix.com/trs/pr/894955/prm/SS10


Much love and happy holidays,



YouTube - Videos from this email

S&H/S&W morning brushing

Wednesday, December 21, 2011

Agua.mov


Put A Bow On It! Opening Night No. 4

KraineGallery

Dec 20 -
Put A Bow On It! Opening Night No. 4
85 East 4th Street NYC - CURRENT EXHIBITION Just in time for the holidays, Kraine Gallery presents Put A Bow On It, a collection of small works all priced under $300. Come join us for a fun and festive evening on Wednesday, December 14th, 2011. Art will be sold on a first come, first served basis. Once sold, each piece will immediately be wrapped (complete with bow!) and sent on its way. With all work priced under $300, it’s the perfect time to do your holiday shopping. Wednesday, December 14 @ 9pm - 11pm

Monday, December 5, 2011

Kraine Gallery @ KGB Bar: This Wednesday Night!

Kraine Gallery @ KGB Bar: This Wednesday Night!

Kraine Gallery @ KGB Bar: ~*~*~*~*~ Put A Bow On IT ~*~*~*~*~

Kraine Gallery @ KGB Bar: ~*~*~*~*~ Put A Bow On IT ~*~*~*~*~: ***Put A Bow On It*** A Holiday Party for artists and friends of Kraine Gallery December 14th, 2011 9 til 11pm 21+ only ...

The History Page: Naked ambition

A model rises and falls, leaving legacies in stone around New York
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    PHOTO: Brian Zak/The Daily

    Munson as a triumphant Columbia atop the Piccirilli brothers' USS Maine Monument in New York.
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    PHOTO: Bettman/Corbis

    Dreamy, pale and softly rounded Audrey Muson in 1922.
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    PHOTO: Brian Zak/The Daily

    Daniel Chester French called Munson ethereal, and modeled his statue "Memory" on her form.
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    PHOTO: Brian Zak/The Daily

    Munson also posed, emerging from the American flag, for French's "Morning Victory."
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    PHOTO: Brian Zak/The Daily

    Munson as "Pomona," the goddess of fruitful abundance, in the Pulitzer Memorial Fountain in New York.
  • Image

    PHOTO: Brian Zak/The Daily

    Munson as a triumphant Columbia atop the Piccirilli brothers' USS Maine Monument in New York.
  • Image

    PHOTO: Bettman/Corbis

    Dreamy, pale and softly rounded Audrey Muson in 1922.
The word “statuesque” seemed made for Audrey Munson.

Dreamy and pale, slender and softly curved, Audrey played muse to a generation of New York City sculptors at the turn of the 20th century. Her undraped figure still graces Central Park, the Metropolitan Museum and the Municipal Building. Though she tried to translate her beauty to the new medium of film, her career ended suddenly as Modernism — and her 30s — arrived.

Audrey’s discovery was as lucky as Lana Turner’s several decades later. It was 1906; she was shopping in Manhattan with her mother, Katherine, who had just divorced Audrey’s father. Katherine, reportedly taken with a gypsy’s prediction that her daughter was destined for fame, moved the pair to New York City from Rochester. (Katherine chose to ignore the gypsy’s subsequent claim that Audrey would lose it all.)

It was Katherine who noticed a man following her and her daughter on the street that day. She ducked with Audrey into a shop, but the man stopped whenever and wherever they did. Finally, Katherine confronted him. He introduced himself as a photographer and asked if Audrey would pose for him. Katherine relented, and soon, the photographer introduced his young object to sculptors who wanted Audrey to pose naked — “in the altogether,” in the parlance of the time.

Audrey was 15 when her career began. Decades later, she recalled the not-so-gentle nudging of artist Adolph Weinman, best known today for designing coins for the U.S. Mint, to persuade her to undress for him: “Do you think I can tell anything about a woman with her clothes on?” And though she agonized later over her decision to disrobe — “I am just a model, just so many pounds of flesh and blood. He will not be scanning Audrey, the girl — but just a girl, the model” — she consented.

Weinman first saw her naked with her head hanging low, her long hands hiding the delta below her navel, her dark hair uncurling nearly to her waist. Her thick thighs narrowed into thin ankles, her neck was long, her nose Roman. Other artists would be particularly enraptured by the dimples on her back, but Weinman said only, “There, stop.” He asked her to lift her hands to her hair and hold still for 30 minutes. The resulting sculpture, “Descending Night,” made in marble and later bought by the Metropolitan Museum, captured young Audrey — eyes cast down below the veil of her hair, her narrow back sprouting wings — as a humble and slight angel.

Soon after her debut in stone, she became the “queen of the artists’ studios.” Sculptors were commissioned by New York’s new rich and by the booming city itself, building, in accordance with Beaux Arts sensibility, works intended to convey strength and wealth and taste. The sculptors clamored for Audrey, praising her classical proportions and her modern, expressive face.

She was asked to personify, among other notions, memory, peace, abundance, mourning, industry, beauty, and America. Her statues still dot her city, from the Firemen’s Memorial in Riverside Park to the Brooklyn Museum. Daniel Chester French, sculptor of “Memory” and later of Lincoln for the president’s Washington, D.C., memorial, called her ethereal. For fame’s sake, Audrey withstood sucking air through a tube while being cast in plaster, dousings with cold water for a piece called “Waterfall,” and endless hours of painful posing. But she seemed at ease unclothed. And despite spending so many hours naked in the company of men, she was often portrayed in news stories as a simple girl-next-door who lived with her mother, a beguiling naïf who said things like, “Why clothes anyhow?”

On film, she stuck to that philosophy, becoming the first woman to appear nude onscreen. It was the 1910s and Audrey was rounder. She mimicked her life and career by playing models and — in the grand tradition that spans from Ovid’s Galatea to Kim Cattrall’s “Mannequin” — an inanimate object that comes to life in order to love its creator. Yet her onscreen poses were as static as her sittings for sculptures; the full erotic possibility of film stayed unfulfilled, at least for that innocent while.

Sadly, but perhaps unsurprisingly, Audrey’s naturalism and ease abandoned her onscreen when she actually had to move around; a lookalike actress was hired to do her acting. Her four films — with neoclassical names like “Inspiration” and “Purity” — didn’t survive their decades. If they had, they would perhaps have the voyeuristic appeal of Marilyn Monroe’s “The Misfits,” of peering through a beautiful surface to search for hints of unfolding tragedy.

Audrey never forgave herself for her failed film career. Or the subsequent scandal that she claimed irreparably damaged her social one: A doctor, infatuated with Audrey and desperate to marry her, murdered his wife. (He hanged himself in prison.) Though she did cling to some fame as a newspaper columnist, writing tips for girls based on her modeling days, she considered herself “cursed.” Artists moved away from depicting the natural human form; Audrey never understood why, and described abstract art as “ugly.” Tabloids ran articles with headlines like “The Awesome Tragedy of Audrey Munson’s Strange Life,” and described her as referencing often that gypsy’s baleful prediction.

Audrey perked up briefly in the early 1920s, claiming she was going to marry a former aviator named James Stevenson from Ann Arbor. But on May 27, 1922, after receiving a telegram — the contents of which are lost to history — Audrey drank down four diluted tablets of bichloride of mercury. She survived the suicide attempt, but she stopped leaving her house, and the New York Times reported that no man fitting Audrey’s description was ever found.

Nine years later, Audrey was forced into an institution for reasons of “mental blight,” as it was vaguely termed. Her father blamed her mother for her supposed madness and for pushing the girl to model; neither of them ever got her out. To her rare visitors, Audrey seemed lucid. And still full of life: On her 100th birthday, she asked hospital staff for a ride on a jet and a bottle of wine.

Five years later, in 1996, Audrey died. Though she was eventually reburied, she was at first put to rest without a tombstone — much less a marble angel.

Swati Pandey is a writer in Los Angeles.

Monday, November 28, 2011

TOM WAITS - EGGS & SAUSAGE LYRICS

TOM WAITS - EGGS & SAUSAGE LYRICS

My red tights

All I wanted today was to pose in my red tights...  I got out of bed thinking how can I be painted in my red tights?  I have so many red tights I have a bag full of red tights, very bright red.   I refer to them as Chicago Red.  I can't remember a time before my winter in Times Square...  All the lights!  The SNOW!!!  The TOURISTS!!!  Oh New York City!!!!Sometimes I miss the rushing sound of humans disconnected but in tune.  Cameras Flashing, Homeless smiles, the smell of roasted peanuts,  ticket sales, and red tights!  I Love you Times Square!

So I got to the Painting Class today and took everything off except my red tights!  Guess you got her wish today!

Wednesday, November 23, 2011

Give Thanks!

To all my wonderful friends and family I give thanks everyday for all of you...  Including the clowns. 

Saturday, November 19, 2011



Photos by: Damien Derouene
Performers: 
Liliana Velasquez
Yamila Viana
Tangos Influence on Movement vs Moment 
Workshops @ Producers Club 
Sunday Nov 20th & Dec 4th 
3pm 5pm & 1/2 hr guided Practica
$50 to Participate
$20 to Audit

  • 358 West 44th Street - New York, NY 10036 - 212 315 4743 - tel - 212 315 0069 - fax
  • info@producersclub.com

  • Business Hours 9am - 7pm Monday - Friday

  • This is a beginner workshop for actors and performers.  You do not need dance experience to take this workshop.  This workshop aims to help actor/performers with there connection to each other, physical timing and intention.  Thru Tango!
    The basics of Argentine Tango will be covered including:
    The Tango Walk: style and musicality
    The Embrace: complete connection and awareness with your partner’s every move
    The Dance Floor: developing a dance-floor friendly vocabulary


--
Liliana Velásquez

LIVE LOVE LAUGH
http://goddessoftransformation.blogspot.com
http://www.NYCastings.com/LilianaVelasquez

Monday, November 14, 2011

Wise Words by Lady Velasquez

When in close proximity to 3rd generation Italian clowns,  remember tasers, cattle prods and stun guns are all safe methods of self defence.

--
Liliana Velásquez

LIVE LOVE LAUGH
http://goddessoftransformation.blogspot.com
http://www.NYCastings.com/LilianaVelasquez




Friday, November 11, 2011

dreams, reality & nightmares

I had a dream that one of my favorite cousins had cancer and was quickly debilitating.  In this dream I was visiting my father and he lived in a basement type apartment that you entered the way bugs bunny did in his cartoons.  My cousin had gotten so ill she could not exit, so we had a Crane arrive and hoist her out like those sick horses that have to be lifted in to trucks.  I was watching as she was being lifted and talking to my mother crying bc I would never see her again. And asking myself if she ever repaired the relationship with my great aunt who adopted and raised her,  She is 94yrs old give or take a few years.   At this moment in real life my roommate walked in and asked me if I was ok...  Because I was crying so hard over losing my cousin.   I answered him my cousin died.  He gasped for air and asked me when.  I replied just now in my dream...  at that moment I was finally able to move and wake up.  My hurt felt so real I was paralyzed in bed.

Opening Reception Nov 16th!




Artist Panni Malek





Wise words by Lady Velasquez

If you start a relationship with my abusive ex...  you are no longer my friend.  Its that simple.


Monday, November 7, 2011

Tango Peligro

Don't Tell Us How to Tango!
Show Us!










Photos by: Damien Derouene
Performers: 
Liliana Velasquez
Yamila Viana
Tangos Influence on Movement vs Moment 
Workshops @ Producers Club 
Sunday Nov 20th & Dec 4th 
3pm 5pm & 1/2 hr guided Practica
$50 to Participate
$20 to Audit


  • 358 West 44th Street - New York, NY 10036 - 212 315 4743 - tel - 212 315 0069 - fax
  • info@producersclub.com

  • Business Hours 9am - 7pm Monday - Friday

  • This is a beginner workshop for actors and performers.  You do not need dance experience to take this workshop.  This workshop aims to help actor/performers with there connection to each other, physical timing and intention.  Thru Tango!

  • The basics of Argentine Tango will be covered including:
  • The Tango Walk:  style & musicality
  • The Embrace: complete connection and awareness with your partners every move
  • The Dance Floor: a dance floor friendly vocabulary



Sometimes frustration anger and impatience test my soul, but then I look in the mirror and remember my desire and hope are greater. I put on some red lipstick a fabulous outfit heels and keep going!

- Liliana Velásquez





A film I am in!

Hello to Everyone From PublicAdCampaign,

PublicAdCampaign is excited to announce the world premier of the full length documentary film This Space Available, on November 5th at 7pm. The film investigates the topic of Visual Pollution in our global community through the eyes of industry insiders, governmental agencies and public activists like myself. While I have yet to see the film myself, I expect the film to be an even handed account of this pressing global issue meant to spur debate on the topic and build a critical platform on which further discussion can occur. There will be a Q&A after the screening for anyone who would like to discuss the issue further with the participants and film makers. I cannot fully express my excitement for this film and hope you will join us on Saturday November 5th for this unique event and critical public space issue.

thanks and I hope to see you there.

To purchase tickets for the This Space Available premier at the DOC NYC fest at the IFC theater on 11-05-11, please visit the DOC NYC website [HERE]. remember there is limited space available so get your tickets now. 


ThisSpaceAvailable.png

The grassroots movement against visual pollution

A documentary film directed by

Gwenaelle Gobe

Executive Producer: Marc Gobe/Emotional Branding

World Premiere at IFC Center/ New York

Saturday November 5th  Time: 7:00 PM

Tuesday November 8th     Time: 1:15 PM

_______________________________________________________________________________


THIS SPACE AVAILABLE: Press Release


Billboards and commercial messages dominate the public space like never before. But is a movement taking shape to reverse this trend?

 

In This Space Available, filmmaker Gwenaëlle Gobé says yes. Influenced by the writing of her father, Marc Gobé (Emotional Branding), this new director brings energy and urgency to stories of people around the world fighting to reclaim their public spaces from visual pollution.

 

From 240 hours of film, 160 interviews and visits to 11 countries on five continents, This Space Available charts a fascinating variety of struggles against unchecked advertising and suggests that more than aesthetics is at stake. If Jacques Attali once called noise pollution an act of violence, is visual pollution also such an act? Should we also consider, as one Mumbai resident says, "which classes of society can write their messages on the city and which classes of society are marginalized?"

 

Gobé offers a canny generational analysis of visual pollution, laying blame not just with the advertising juggernaut but also an entire generation of Baby Boomers, whose consumption-based culture has implicated them in the environmental fallout.  She argues that it's her generation, left to do the cleaning up, that is now leading the fight back.


But the filmmaker also recognizes the history and politics behind this fight. Turning to such legislation as the Highway Beautification Act of 1965, Gobé shows how the enforcement of this landmark law, designed to regulate outdoor advertising on America's roadways, has steadily eroded.  And today, public space activist Jordan Seiler faces harsh penalties for covering illegal outdoor ads with art, while officials turn a blind eye to illegally erected billboards.


Still, the film strikes a hopeful tone. A standout interview features Gilberto Kassab, the popular mayor of Sao Paulo, who threw a stone into the quiet pond of the billboard industry by successfully banning outdoor media in his city – the eighth largest in the world. The move is not without precedent: Houston's 1980 billboard ban was also a deliberate tactic to improve its flagging image, economic competitiveness, and quality of life.


In the end, This Space Available challenges audiences to recognize that aesthetics and beauty go hand in hand with responsibility. Gobé asks why brands continue to ally themselves with an industry that cuts down trees, hogs energy, and spends its profits in courts and statehouse lobbies, especially while younger consumers push for improved corporate citizenship? And is everyone equally to blame for enabling the spread of visual pollution, while other humble individuals show that it's possible to reverse it?


The film navigates these issues without promoting a universal solution. Gobé instead weaves together stories reflecting diverse local responses to an increasingly global condition. This Space Available compels audiences to consider these stories long after the film ends, or at least to remember them each time we speed by a billboard.


-- 
Jordan Seiler



--
Liliana Velásquez

LIVE LOVE LAUGH
http://goddessoftransformation.blogspot.com
http://www.NYCastings.com/LilianaVelasquez