Swamp things: Tom Hunter's Reservoir No.1, 2002 (see Thursday).
photo: Yancey Richardson Gallery
Swamp things: Tom Hunter's Reservoir No.1, 2002 (see Thursday).


'MIX 17'

Under the rubric "Resistance Is Fertile," the annual New York Lesbian & Gay Experimental Film/Video Festival presents the world premiere of Jonathan Caouette's autobiographical video assemblage Tarnation, retros devoted to experimentalists Marguerite Paris and Jerry Tartaglia, a Brazilian sidebar, a program of San Francisco sex worker films, videos, and many, many group shows of proud "barely accessible new work." HOBERMAN

Through Sunday, Anthology Film Archives, 32 Second Avenue, 212.505.5181



The greased lightning and romantic ebullience of Barron's attack long ago established him as one of the glories of jazz in so many different contexts that a discography would do a world of good. He returns with a sextet that has as shrewd a front line as you could want, as Ravi Shankar joins with Terrell Stafford and Vincent Herring; the rhythm section has Kiyoshi Kitigawa and Ben Riley—the equivalent of a Rolls Royce engine. GIDDINS

Through Sunday at 9:30 and 11:30, Friday and Saturday also at 1 a.m., Village Vanguard, 178 Seventh Avenue South, 212.255.4037


An irresistible tradition in the making, this tribute to the Hot Club magicians, Django and Grappelly, matches local luminaries with little-known (hereabouts) European wizards on guitar and violin. Among the more familiar names are Harry Allen on Wednesday, Ken Peplowski on Friday, and James Carter, who made one of the best of the Django repertory CDs, on Saturday; but it's the unfamiliar names you'll be talking about. GIDDINS

At 8 and 10, also Thursday and Sunday, Friday and Saturday at 9 and 11, Birdland, 315 West 44th Street, 212.581.3080



Scratch DJ'ing is sport—yeah, whatever. Watching these turntablists can be ESPN2-exciting, but it's typically more like the Discovery Channel—impenetrable, but fascinating. Jazzy Jay is one of the art form's pioneers, and S.F.'s QBert and N.Y.'s the X-Ecutioners have been responsible for damn near every major innovation in the past decade. Z-Trip is the populist in this crew, but he's not lacking for skill. He just uses it to rock parties, something that sometimes gets overlooked amid all the flying fingers. CARAMANICA

At 8, B.B. King Blues Club and Grill, 237 West 42nd Street, 212.307.7171



The subject of Fischl's mordant, modestly scaled color photographs will be familiar to anyone who saw his last show of paintings: a paunchy man and a slim woman who've contrived a strained, possibly matrimonial domesticity in a sleek modern interior. Made in preparation for those paintings, the photos have a similarly fraught vacuity, with moments of desperate coupling and stagy ennui, but the drama feels even more effectively compressed here and the sex more memorably poisonous. ALETTI

Through December 20, Mary Boone Gallery, 745 Fifth Avenue, 212.752.2929





Kriota Willberg's edgy all-female troupe, which keeps one foot in satire and the other in earnestness, celebrates its 10th anniversary with "Gala Lite," a "greatest hits" program featuring music by Brian Dewan, the Wharton Tiers Ensemble, and Scott Westerfield. Stage combat, pointe work, a Russian-peasant orgy, and more. ZIMMER

At 8, and Friday and Saturday, WAX, 205 North 7th Street, Brooklyn, 718.599.7997


In a program dedicated to the late Rod Rogers, Bessie-winner Ford (whose résumé includes choreographing the WNBA's halftime show and appearing in music videos) and his new Urban Dance Collective offer the premiere of A Dream Deferred, which investigates cycles of war and racism through the lens of popular culture. Storyteller Marlene Martin provides continuity between the work's seven sections; music is by Björk, Marvin Gaye, and Nina Simone. ZIMMER

At 7:30, and Friday and Saturday, and Sunday at 5, and November 27 through 30, P.S.122, 150 First Avenue, 212.477.5288



The Deftones' new self-titled album includes the best metal and screamo singles of the year—unless, that is, you think of them as art rock—plus nine other grand, gale-force-guitar-and-stretched-vox mini-symphonies. Florida's Poison the Well have risked alienating metalheads drawn to their Slayerisms with Euro-style formal daring. The lady-led Denali's knotty beauty is skewed as darkly as that of the Deftones. CATUCCI

At 7:30, Hammerstein Ballroom, 311 West 34th Street, 212.279.7740



This British photographer's New York debut combines two immensely appealing bodies of work set in the scruffy squats and weed-filled lots of East London, and populated with a cast of young locals. Like Justine Kurland, Hunter stages tableaux that combine elements of realism and romanticism, underscored in his case with references to Dutch and pre-Raphaelite painting. A woman reading an eviction notice at her squat window is illuminated by Vermeer's golden light and Hunter's benevolent vision. ALETTI

Through November 29, Yancey Richardson Gallery, 535 West 22nd Street, 646.230.9610



America's first notable female comic of color was the sour-faced, joy-inducing Jackie "Moms" Mabley, who climbed past youthful misery and racism to be celebrated everywhere from seedy vaudeville houses to nationwide TV. Clarice Taylor, whose stage and screen career has been equally variegated, comes back to her Off-Broadway roots to play Moms in this bio-entertainment, directed by Walter Dallas. FEINGOLD

In previews, opens Saturday, Harold Clurman Theatre, Theatre Row, 410 West 42nd Street, 212.239.6200







Those suffering from Motile Snarcoma (etiology unknown, though it may have something to do with "the compulsive eating of spent paper matches") or Logopetria (speaking produces not words but wooden spheres) need to attend this convention of the makeshift medicos responsible for the season's most fanciful disease guide. Melancholy anatomist Shelley Jackson will be on hand, as will fantasist extraordinaire Jeffrey Ford (who will dilate on either Figurative Synesthesia or Ouroborean Lordosis), Michael Cisco, and others. "Laughter, props, giant microbes, and advanced cases of hypochondria" are promised. Earlier in the week, Lambshead co-editor Jeffrey VanderMeer (Wednesday at 7, KGB, 85 East 4th Street, 212.505.3360) reads from his luscious novel City of Saints and Madmen. PARK

At 7:30, Kips Bay Borders, 576 Second Avenue, 212.685.3938



The ultra-prolific, 44-year-old Vollmann has written upwards of 8,000 pages' worth of novels (historical, bizarre, or both), stories, and his unique brand of narrative journalism. From the front lines in Sarajevo to the inner reaches of the Taliban, he writes as a man who has seen the horror, yet refuses to condemn it out of hand. Now he talks with New Yorker writer Mark Danner about his new seven-volume study of violence throughout history, Rising Up and Rising Down, in which he asks the hardest question: When is it justified? REIDY

At 7, Angel Orensanz Foundation, 172 Norfolk Street, 718.499.9884



The most eccentric of Sergio Leone epics has been restored to include the introductory Mao quote, among other outrages. Rod Steiger's Mexican bandito teams with James Coburn's IRA man on the lam, the movie oscillating between third-worldist macho and revolutionary cynicism. Long before the apocalyptic closer, metaphors crash down like boulders—genocidal storm-trooper federales massacring crypto Italian partisans. HOBERMAN

Through November 27, Film Forum, 209 West Houston Street, 212.727.8110


The perfect complement to the Guggenheim's Rosenquist retro, Federico Fellini's hour-long contribution to the 1962 anthology Boccaccio '70 concerns a man who falls in love with Anita Ekberg's billboard image. It's showing with two other anthology pieces—the 1953 A Marriage Agency and the 1968 Toby Dammit, floridly adapted from Edgar Allan Poe. HOBERMAN

At 7 and Saturday at 3, Guggenheim, 1071 Fifth Avenue, 212.423.3500



With Elliott Smith gone, Bright Eyes, Conor Oberst, now stands as young indie America's greatest singer-songwriter, hands down. Never mind the hype, or the Winona rumors, or the fact that he's drop-dead gorgeous, his lovesick confessions and passionate political statements would still make girls (and quite a few boys) cry even if he were fat and ugly and playing to audiences of under 10 people. With Tilly & the Wall. PHILLIPS

At 9, Knitting Factory Main Space, 74 Leonard Street, 212.219.3006







Digital color-field painting meets swinging '60s Carnaby Street, and Morris Louis meets lava lamp in Reading Ossie Clark, a melting, morphing DVD projection that's a neo-psychedelic ode to the London designer. It's luscious, slick, and complicated. The posh voice reading fragments of Clark's diaries is Clarissa Dalrymple's. "Autumn Almanac" (from the Kinks) also includes a new digital print and 32 small works on canvas. Says the artist, "I didn't close any doors to try to make it make sense." LEVIN

Through December 20, Feigen Contemporary, 535 West 20th Street, 212.929.0500


Long before globalism became a hot issue, this late artist began tracing big constellations, mapping worldwide webs of covert dealings among banks, sheikhs, magnates, CEOs, heads of state, government agencies, and "Sinatra's cousin." "Global Networks," the first retrospective of Lombardi's work, is amazing. It delivers six degrees of separation, corruption, objective paranoia, beauty, and truth. If only he were here now. LEVIN

Through December 18, Drawing Center, 35 Wooster Street, 212.219.2166



The "us" in question isn't just a great contingent of far-lefty rockers including Steve Earle, Billy Bragg, the Nightman (a/k/a Tom Morello), Lester Chambers (of the Chambers Brothers), Jill Sobule, and Boots Riley (the Coup). "Us" also means "all of us out there," and the "truth" is the FCC's recent decision allowing further consolidation of major-media outlets. Bring your favorite "Clear Channel Sucks" apparel. GROSS

At 8, Webster Hall, 125 East 11th Street, 212.3531600







Once was a time when Pete Rock had no idea where his former partner CL Smooth was. The king-of-soul beat maestro had moved on to top-shelf production projects, but his honey-voiced compadre was M.I.A., reportedly working in a parking lot somewhere. Reunited, though, they'll sound so good, running through hits like "The Creator," "Straighten It Out," and "They Reminisce Over You," which, until recently, could have been their theme song. CARAMANICA

At 9, S.O.B.'s, 204 Varick Street, 212.243.4940







Two college roommates compete to seduce the innocent girl in the dorm room across the hall. If this sounds like standard sitcom material, it probably won't be in the hands of playwright Wendy MacLeod, who's been known since The Water Children and The House of Yes to have a moral shock or two hidden up her dramatic sleeve. David Petrarca directs. FEINGOLD

In previews, opens December 7, Playwrights Horizons, 416 West 42nd Street, 212.279.4200





Pour out a little Armadale for the God MC, as this is likely to be his final bow on a New York stage for some time. His sayonara disc The Black Album isn't the art it could have been, but Jay long ago holed up at the intersection of creativity and commerce. And why should he have to choose? Watching his live show is like reliving every reason you've loved rap music for the past two decades—accomplished enough to last almost two hours, jubilant enough to melt even the most jaded cynic. CARAMANICA

At 8, Madison Square Garden, 31st Street and Seventh Avenue, 212.465.MSG1



Want One is a marvel of arrangements and production, and a live presentation of its lush charms demands more than mere rock instrumentation can deliver. Whether this David rises to the Goliath-sized challenge (where's his fluffer?), or strips the songs down to cabaret-sized morsels, Wainwright now comes equipped with a night's worth of worthy songs, and his performance skills have likely grown accordingly. WALTERS

At 8, through November 26, Town Hall, 123 West 43rd Street, 212.840.2824

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