Daily Archives: 01/11/2009

(Community Matters) from Christopher McCollum, his set for David Mamet’s Boston Marriage being produced at Theatre Memphis

We miss having Christopher in Austin!

(Community Matters) hmm, it’s looking as if Amsterdam in February

(Community Matters) On the way to the Minetta Lane Theatre, Charles & I popped into author/curator, Pierre Apraxine’s luxury abode. Pierre one of Charlie’s closest NY friends, who of course I’ve known for many years.

Pierre – who claims to be retired (Gillman Company’s White Oak Press) – still lecturing, curating and organizing his 50 years of papers. Rightfully proud of a new acquisition, a fashion photographer Irving Penn original, Crossing the River Styx in platinum.

And . . . . finally caught up with Charlie’s big brother, John Phillip Santos over a long Japanese dinner at Omen’s in SOHO. JP celebrating submitting (on Friday) his new book, The Farthest Home is in an Empire of Fire: A Tejano Eulogy. Scheduled to be released by Viking/Penguin in early 2010. Though no one except his priest has read the manuscript (and Vernon only the first chapter), listening last night, suspect Farthest Home may generate even more buzz than Places Left Unfinished at the Time of Creation, which earned JP a National Book Award finalist.

Long, sometimes heated conversation about education, politics and national priorities – the perfect way to spend my last evening in America’s cultural capital.

(Community Matters)

photos by Richard Finkelstein

In the 80’s, Martha Clarke choreographed this work, a dark interpretation of Hieronymus Bosch’s The Garden of Earthly Delight (see triptych below, 1504-1503). It’s ethereal & magical – extraordinary imagery. Bosch’s is an important work of art and so is this piece. Clarke avoided the temptation of interpreting literally and spectacularly created this dark representation using aerial, costume & original composition as Bosch used hues. Some thought there’s unneeded humor, though vulgarity has its place in the piece whether interpreting Bosch’s work as a moral warning or a depiction of paradise lost.

Perhaps the most intense on-stage work I’ve ever seen – we’ll see. Always takes me days to place art in context.

We were rushed to make an after show dinner and weren’t able to greet Mikhail Baryshnikov in last night’s audience. I know he wouldn’t remember me, but he’d certainly remember Charles who twice produced his work, the last a private performance for 150 at Saint Mark’s in the East Village (where I was indentured to Misha for the morning).

(Community Matters) Whenever I’m away from Steven, I miss him. Enjoyed going to one of his favorite restaurants (Room Service for Thai) with one of his boyhood friends, now also my dear friend, Rob Oppegard. Same as why I wear your robe and sit at your desk when you’re away! 🙂