This week in the Voice, out today: Graham Rayman has obtained photos of Rikers inmates with severe knife wounds and beatings to the face, neck, and arms, writing: “Four years ago, the Voice first wrote about the violence at Rikers, which was not only condoned but also promoted by jail officials in a disturbing ‘fight club’ that pitted inmates against one another. We were assured by the Correction Department that this practice had stopped, as two jail guards were sent to prison. Now we have learned that the practice has not stopped.”
In food, Tejal Rao tries out Perla: “You’ve seen this startling portrait of Mos Def–face half-covered, fingers like a gun against his temple — but chances are you haven’t experienced it framed, hanging above the silver hairdos of a wrinkled West Village couple deciding between the steak for two and the chicken. Rustic Italian restaurants come along every five minutes in New York, but Perla is doing things differently.”
Jackson Conner chronicles Kilo Kish’s move into music, noting that she recently “commanded the bar at Top of the Standard while sporting a silver sequined jacket over an American-flag-patterned blouse and similarly decorated shorts…Reports the next morning noted that Mos Def, Theophilus London, Lena Dunham, and Sean Avery were among the guests. A glam location and a slew of boldfaced names — not too shabby for a gig that was, for all intents and purposes, Kish’s first real show.”
Steve Erickson chats with Brooklyn filmmaker Alex Ross Perry about his career and new project: “A hardcore cinephile who says he sees a film almost every day, Perry wrote the script for The Color Wheel with Carlen Altman, and the two star in it as a pair of bickering siblings who go on a road trip to move her belongings out of her ex-boyfriend’s apartment. Perhaps as a result of Perry’s deep investment — acting in, co-writing, and directing the film — it feels uniquely, even uncomfortably personal.”
Michael Feingold reviews Man and Superman in theater: “In the opening scene, and at sporadic later points, a certain archness prevails. The cast seems to be ‘playing Shaw’ rather than acting their roles.”
And in art, Robert Shuster reviews an exhibition of the late Tim Heherington’s work: ” In his images of Liberia, which begin this absorbing show, there are no gruesome scenes of battle. Rather, we get ironic, unsettlingly calm portraits of a country ruined by a chaotic civil war. A boy in a soccer shirt slouches at a schoolroom desk with a defiant stare, cradling his AK-47. A young member of a rebel faction relaxes at a table, where a grenade stands before him like a glass of juice. The juxtapositions, beautifully composed, can be striking.”
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