This week in the Voice, out today: Graham Rayman revisits the NYPD tapes, detailing a report corroborating whistleblower Adrian Schoolcraft’s complaints about police misconduct: “In other words, at the same time that police officials were attacking Schoolcraft’s credibility, refusing to pay him, and serving him with administrative charges, the NYPD was sitting on a document that thoroughly vindicated his claims.”
Robert Sietsema sups on Spanish speciaties in his review of Mercado on Kent, and seems to like the chef’s approach to molecular gastronomy: “He has 86’d his predecessor’s big, sloppy sandwiches and the handful of dishes with molecular pretenses, including a little something called ‘omelet in glass,’ involving an egg yolk at the bottom of a tumbler of fine-grained potato foam and quite arresting in its own way. ”
Maura Johnston chronicles Charli XCX’s lovelorn lyricism: “Escaping personal heartache through the dancefloor isn’t all that new of a trick, though it’s one that can be treacherous to navigate–pain can tip over into suffocating melodrama if not handled with the right finesse, or at least a danceable enough beat to gloss over some of the more LiveJournal-ready lines. Charli’s first few singles have handled this dilemma in a way that bodes well for her future releases.”
In film, Karina Longworth examines a Nina Menkes retrospective that’s taking place in time for the director’s newest release, Dissolution: “Tracing her pet concerns (gorgeous, sad women; the emotional fallout of violence) across locations as disparate as Las Vegas and Tel Aviv, from vivid color 35mm to crisp black-and-white HD, Menkes’s body of work is a fluid continuum of dreams and nightmares.”
James Hannaham finds that Nina Raine’s comedy Tribes skillfully explores the intersection of language and disability: “The narrative thrust of Tribes gets a tad predictable, but Raine intelligently explores language and disability in the process. Everyone has a foil, every arc has a counterargument, and easy answers never fall from the sky. “
Christian Viveros-Faune visits the Whitney Biennial 2012, which is a lot like Hoarders: “A rumpled idea that is as icky as shag carpeting, it has collected threadbare work that evokes the world of hoarders. A&E could film a certain TV show in there. Yet the Whitney’s conceptual clutter doesn’t just amount to an aesthetic mess. More egregiously, it provides five floors of evidence that the museum has wantonly ignored the country’s biggest news–its ongoing economic pain (at a time when artists are hurting especially badly).”
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