Sat

6/24

Sun

6/25

Mon

6/26

Tue

6/27

Wed

6/28

Thu

6/29

Fri

6/30

Today

Sat

6/24

Music

The Mountain Goats

Photo: Jeremy Lange

Beloved first for his lo-fi boombox recordings of wry, passionate, literature-inflected acoustic songs, John Darnielle has in the last ten years embraced the studio for his full-band recordings as the Mountain Goats. The title of their sixteenth album, Goths, released this May, should not surprise longtime fans: Darnielle has always identified with and championed misunderstood outsiders. He channels this particular subculture through unexpected dulcet tones of vibraphone, brushed drums, and piano. But, weirdly, it works, and the real beauty is as always in the simultaneously heartfelt and nimble lyrics, which tell detail-rich stories of wise, wayward youth. On record these newer studio tracks can come off as dad-rock, but they invariably shine live. The band rocks really hard without losing their jazzlike sense of rhythm, and Darnielle veers between stand-up-esque stage banter and terrifyingly passionate singing. A tour supporting Goths’s tender humor and wacky instrumentation offer a new way to feel the spirit.

Zoë Beery

Beach

Riis Bazaar Beach Pass

We’re approaching the heart of summer, and if you need an added incentive to get to the beach before Labor Day, here’s a good deal that’s going on all season long. You get two beers or glasses of wine; a cheeseburger and fries or a veggie dog and fries from Ed & Bev’s; and, for an extra $7, a beach chair for a little extra-comfy lounging. Plus, the deal provides a 10 percent discount on a ticket for the Rockaway Beach Bus — an option that may be appealing given the recent hiccups surrounding the city’s new ferry service from Wall Street to Rockaway. However you get there, after a couple of drinks and a bite, you’ll certainly be ready for a dip in the refreshing ocean, which is, of course, complimentary. Check the website for information on live music and other special events.

—Mary Bakija

Literature

NYC Radical Book Fair

With Jeremy Corbyn and the Labour Party’s surprising showing in the U.K. election a couple of weeks ago, it seems like finally, finally, something good has happened in the politically tragic year of 2017. Legendary lefty book publisher Verso Books is ready to continue pushing the tide by hosting the NYC Radical Book Fair, which will be selling new and used books on loads of subjects from Verso, other fun lefty publishers, and private collections. Along with books, there’ll be snacks and talks from Samuel Farber, Don Lash, Dao X Tran, Lee Wengraf, and others. If you can’t make it, fret not — you can still contribute by donating books (email NYCRadBook@gmail.com for more info). But remember, even though there is cause for celebration, the work is not yet done. The proceeds of this book sale will help further the mission by taking the NYC-ISO (International Socialist Organization) to the Socialism 2017 conference in Chicago. So this Saturday go buy some books and advance a rad cause.

—Julia Irion Martins

Pride

Youth Pride

At this inaugural all-ages event, presented by NYC Pride, LGBTQ teens are invited to participate in an afternoon of fun, with DJ sets, giveaways, photo ops, and other interactive experiences. While the event is free and open to the public, online registration is required.

—Natalia Hadjigeorgiou  

Music

Pride Island

This year, NYC Pride launches Pride Island, a three-day LGBTQ cultural experience, to take place at Hudson River Park’s Pier 26. The immersive music-heavy event features an impressive and diverse roster: Patti Labelle’s headlining set of soulful classics kicks things off on Friday, Tegan and Sara and Years & Years perform on Saturday, and singer-songwriter Nelly Furtado leads the Sunday lineup.

—Amara Thomas 

Pride

V.I.P. Rooftop Party

This annual dance party returns on Saturday for its seventh edition. Join in on a night of dancing and unbeatable rooftop views with music by DJs Alex Acosta, GSP, and Hannah. Guests have access to three levels (a rooftop, an indoor salon, and a terrace outside), each with prime spots for scoping the skyline. This event has sold out in the past, so get your tickets in advance.

—Natalia Hadjigeorgiou 

Theater

The Artificial Jungle

The last play written by master of high camp Charles Ludlam before his death in 1987 was this noir satire involving a dull pet-shop owner, his bored wife, a dangerous drifter, and an ominous piranha tank. Beyond mere spoofery, Ludlam’s works stand out for the range and sophistication of their references (Double Indemnity bumps up against Zola’s Thérése Raquin) and the playwright’s strict adherence to the conventions of melodrama, even as he pushes them to absurd extremes. To mark the fifty-year anniversary of the founding of Ludlam’s Ridiculous Theatrical Company, his partner and collaborator Everett Quinton (who played the drifter in the original production) is directing a revival of The Artificial Jungle for Theater Breaking Through Barriers, a company that employs actors with disabilities as well as able-bodied performers.

—Zac Thompson

Pride

Teaze

In honor of its fourteenth year, Teaze, NYC Pride’s exclusively-for-women event, has relocated its celebration to a new rooftop venue that will play host to many surprises, including celebrity appearances. There will be DJ sets by Taryn Manning (Orange Is the New Black) and Tatiana. All proceeds benefit NYC Pride’s many other free events, and local LGBTQ community organizations.

—Natalia Hadjigeorgiou

Dance

SlowDancing / Trio A

In 2007, video artist David Michalek slowed down the speed of dancers so that five seconds of movement took ten minutes to view; he then projected these images, at many times life-size, on the sides of buildings. This year he’s taken Yvonne Rainer’s iconic five-minute Trio A and divided it into forty-six seven-second sections, each performed by a different dancer; he recorded these movements at a thousand frames per second (as against the twenty-four of standard film), then stretched each section to five minutes and knitted the pieces back together to form a four-hour version of Trio A. The resulting work will be projected, at actual size, on three different screens, each with a slightly different time signature as measured by a metronome. Michalek’s dream team includes Rainer herself, ballet dancer Wendy Whelan, choreographer Richard Move, and three generations of other beauties. Gorgeous!

—Elizabeth Zimmer

Dance

Dances for a Variable Population

Naomi Goldberg Haas, originally a ballet dancer and now the city’s doyenne of dance training for older adults and a pro at generating funding from all levels of government, has for a decade masterminded outdoor productions for which legendary dancer-choreographers make new work for senior performers. She proudly offers Revival, celebrating great twentieth-century modern dance in pieces created by the artists who helped to make it — veterans of the troupes of Martha Graham, Paul Taylor, Alvin Ailey, and Charles Moore. Among them are Ellen Graff, George Faison, Stuart Hodes, Marnie Thomas Wood, Elizabeth Keen, Ramona Candy, and Goldberg Haas herself. In among the neighborhood seniors are ringers Alice Teirstein, Laura Glenn, and Chet Walker.

—Elizabeth Zimmer

Theater

Harbored

For many, the Nineties constituted a blessed theatrical age; in those golden days, the producing company En Garde Arts treated New York as its canvas, staging plays along abandoned piers, in a Central Park lake — anywhere. But times have changed: Sprawling public performance has since vastly diminished. Happily, En Garde has returned. This week, their massive, immigration-focused dance-theater work, Harbored, will kick off summer at the Winter Garden. The show’s director, Jimmy Maize, calls it a “pageant, but with a lot of audience participation,” braiding together narratives of migration (like those found in the stories of the writer Willa Cather) with theatergoers’ own stories, harvested every night. What can the show’s brilliant composer, Heather Christian, do with a fifty-person chorus? The mind boggles. As for Maize, he says, “I saw Ellis Island out the window, and I thought — ‘I can work here.’ ”

—Helen Shaw

Film

Always

Steven Spielberg’s only romantic comedy was relatively inexpensive to make and delivered a modest profit, but, whether by timing (it was his second rough landing after the costly and ambitious Empire of the Sun) or intrinsic value, Always (1989) caused critics to question whether the Jaws wunderkind’s game hadn’t passed the point of diminishing returns. The film is somewhat obscured by all this baggage, which feels inseparable from its overcooked sentimentality (Spielberg attempting Borzage is like a dog barking the alphabet) and overmanaged design (each meticulously Rube Goldberg–ian shot is a variation of the newspaper staff gathered around the trophy in Citizen Kane). All that aside, Spielberg’s confused heart is never untrue; the lenient viewer can subsist on his earnest desire to share his idea of a classic Hollywood movie, and Audrey Hepburn’s brief appearance grants the film its benediction.

—Jaime N. Christley

Film

Nitehawk Shorts Festival Selects

There’s not much of a thematic coherence to the Nitehawk Shorts Festival Selects program — a collection of seven short films running at 91 minutes total — except that every single one of them is worth your attention. A conscious effort to highlight diverse voices both on and off the screen leaves no two shorts feeling like a repeat of each other; standouts include last year’s Jury winner Vegas, a charming documentary about a gay country singer called These Cocksucking Tears, and a smoky comedy that’s best when watched completely uninitiated. Shorts are an important medium for rising new voices in film, yet they still remain somewhat inaccessible. Nitehawk’s curation of these seven noteworthy works should help get more eyeballs on these projects — because even little movies deserve the big screen.

—Kristen Yoonsoo Kim

Music

LCD Soundsystem

James Murphy’s übercool New York dancepop project LCD Soundsystem bid farewell in 2011 in a grand fashion: five nights of sold-out shows at Terminal 5, one massive send-off at Madison Square Garden, and a feature-length documentary. But the goodbye didn’t stick — just a few years later, Murphy was playing festivals as LCD again. And now he’s announced new music and (another) string of performances at the massive new industrial space Brooklyn Steel. Thanks to Murphy’s rabid fan base, the shows (which run from June 16 through June 24) are likely to sell out immediately, but if you’re a true fan who wasn’t too pissed-off by Murphy’s 2011 stunt, you can probably find tickets on StubHub for about the cost of a plane ticket to Europe.

—Sophie Weiner

Dance

EXPLODE! queer dance

Lesbian, trans, bi, gay, and queer artists jump from the pages of Clare Croft’s Queer Dance — and from countries all around the world — to activate the promise of coalition. Boston-based drag queen LaWhore Vagistan hosts three evening showcases at JACK, featuring dancers from Kentucky, Chicago, and Beijing on Thursday; Friday and Saturday’s roster includes Irish traditional dancers Nic Gareiss and Cleek Schrey, New York improvisers Jennifer Monson and DD Dorvillier, and artist-scholar Thomas DeFranz. The Post Natyam Ensemble, an international collaboration of South Asian dancers, appears Friday, and the Saturday show features Detroit dancer Jennifer Harge. There’s also, on Saturday morning, a free talk at the NYU Tisch Dance Department.

—Elizabeth Zimmer

Music

Guerilla Toss

The mind-control connotations of Guerilla Toss’s fifth album, GT Ultra, and the vintage blotter-acid sleeve designed by San Francisco LSD archivist Mark McCloud, should twig you to bellerin’ frontwoman Kassie Carlson and crew’s latest prog-pop inspirations. The music-conservatory escapees’ deranged art rock has an appealing new clarity reminiscent of funky-Nassau productions by Talking Heads, Grace Jones, and Lizzy Mercier Descloux. Associations fly freely in tracks like “Betty Dreams of Green Man” (“Waiting for the alien, OK!”) and in party-time admonitions to “hydrate, gyrate, think straight, no weight.” Thailand’s rural psychedelic sound, known as molam, tumbles with surf rock and free jazz in the Sunwatchers. Jim McHugh switches between guitar and electric phin, a three-stringed lute, as the band boogies through pentatonic grooves with a primal Flintstones beat.

—Richard Gehr

Dance

the feath3r theory

Raja Feather Kelly, a lanky Texan, graduated from Connecticut College in 2009 and proceeded on to a meteoric career as a gorgeous dancer in a clutch of companies. He’s already won just about every prize available to a young dancemaker, including the Solange MacArthur Award for New Choreography from the Lumberyard, producer of the latest in his continuing homage to Andy Warhol. His the feath3r theory in: Another Fucking Warhol Production, or Who’s Afraid of Andy Warhol? promises to be an overlong “docufiction performance” in a “post-ballet theater musical” based on lost footage from a (fake?) SNL episode featuring Kanye West. Kelly searches for “the connections between popular culture and its integration into experiential dance theater”; maybe you have to be under 35 to make sense of his work. Expect many bright wigs.

—Elizabeth Zimmer

Pride

Out Like That! Festival

For nearly two decades, the Out Like That! Festival has been an exuberant space for Bronxites to observe Pride Month. This year, the two-week event includes “#No-Tension2017” (June 18), a showcase honoring queer creatives from the South Asian diaspora, hosted by Desi drag queen LaWhore Vagistan. The following day, Kiara St. James, director of the New York Trans Advocacy Group, and Jamal T. Lewis, director of the documentary No Fats, No Femmes, will facilitate an installment of the Bronx Academy of Arts and Dance’s monthly “Courageous Conversations” series, an open forum in which queer people can talk about how to navigate and thrive in the current political climate. Additionally, there will be two theater shows: I Just Love Andy Gibb (June 22–23), about two characters engaged in a time-hopping conversation, and Non-Consensual Relationships With Ghosts (June 24), a satire that explores the “urgency to resist and survive.”

—Deonna Anderson

Dance

The Reception

Sean Donovan came up performing in the company of Jane Comfort, among several other choreographers; now, in the world premiere of the dance-theater work The Reception (created and co-directed with longtime collaborator Sebastián Calderón Bentin and the company), he gives her the role of hostess at a lively, eccentric party that includes Leslie Cuyjet, Hannah Heller, Ishmael Houston Jones, and himself. The multi-generational cast, using written text and improvised speech as well as gestural choreography, watches its universe slowly come apart. Developing this piece over several years in the HERE Artist Residency Program, Calderón Bentin (an artist-scholar and teacher in NYU’s drama department) and Donovan have been inspired by surrealist film directors Bunuel, Resnais, Antonioni, and others — and also, perhaps, by many gatherings with too much to drink.

—Elizabeth Zimmer

Theater

Masterbeat: Game Show

Located in the historic Hammerstein Ballroom, Masterbeat transforms the four-level venue into a theatrical production with hundreds of lights and lasers. Upon entering, attendees at this year’s “Game Show” (last year’s Masterbeat theme was “Graffiti”) are swept into a landscape of prizes and competitions. There will be various rewards on offer (including cash) plus dancers and performers, to energize the atmosphere.

—Natalia Hadjigeorgiou 

Sun

6/25

Art

Cheap Suitcase

Photo: Courtesy Invisible-Exports

“Whatever pain achieves, it achieves in part through its unsharability, and it ensures this unsharability through its resistance to language,” Elaine Scarry famously expressed in her pivotal book The Body in Pain. The group show “Cheap Suitcase” delves into these conceptual waters, using forms of bodily mutilation as expressions of identity and self, and adopting the body as territory for carnal experimentation. The name of the exhibition stems from Genesis Breyer P-Orridge and Lady Jaye’s conclusion that the human body is just a cheap suitcase: frayed, tormented, yet sturdy. COUM Transmissions, a transgressive British art collective from the Seventies, joins the roster with latex pieces replicating open wounds the group members themselves shabbily stitched during live performances. Clarity Haynes’s torso paintings focus on their sitters’ post-surgery bodies, simultaneously conveying vulnerability and resilience. And Hannah Wilke’s and Ron Athey’s mixed-media assemblages substitute for bygone bodies through clusters of clinical objects emitting corporeality and evanescence.

—Osman Can Yerebakan

Pride

Pride Fest

This annual LGBTQ street fair, now in its 24th year, blends good food, performances, and shopping opportunities. It is the ideal location to support businesses in the area and engage with some of the Village’s most involved locals. LeAnn Rimes will bring a headlining musical set; the event is entirely free and open to the public.

—Natalia Hadjigeorgiou  

Food & Drink

Smorgasburg Prospect Park

The ultimate sign of spring in New York City isn’t cherry blossoms or allergy attacks, but rather the re-emergence of outdoor eating. Just as bar backyards reopen and sidewalk seating returns, so does the alfresco behemoth Smorgasburg bring its tents and grills to the hungry, vitamin D–deficient masses. Around a hundred local vendors will set up at both locations: Saturdays in Williamsburg, and Sundays in Prospect Park. Smorgasburg was previously responsible for the Ramen Burger and Wowfulls, so as you wander, be on the lookout for the next weird food craze.

—Mary Bakija

Pride

The March

The events of NYC Pride all lead up to the historic Sunday march commemorating the anniversary of the Stonewall riots. For this civil-rights demonstration against anti-LGBTQ policies and bigotry, Fifth Avenue will host more than eighty floats, and everyone is welcome to participate in or watch the procession as they make their way to Christopher Street. For the first time in NYC Pride history, the march will be broadcast live on WABC-TV.

—Natalia Hadjigeorgiou  

Dance

River to River Festival

From City Hall Park to the Financial District to South Street Seaport to Governors Island, the Medici-like Lower Manhattan Cultural Council deploys some of our most interesting dance artists, including the Dance Cartel, Netta Yerushalmy, Faye Driscoll, Marjani Forté-Saunders, Beth Gill, Maria Hassabi, Jodi Melnick, and Will Rawls. If I had to choose, I’d definitely catch the long-awaited, The Set Up: Island Ghost Sleep Princess Time Story Show (June 24–25 at Governors Island), a six-year collaboration among Wally Cardona, Jennifer Lacey, and multiple international collaborators, all masters of French or Asian dance traditions. Consider taking a week of vacation days so you can wallow in all this talent. Events are free, though some require advance reservations at the website, which offers full descriptions and schedules.

—Elizabeth Zimmer

Music

Robert Glasper

With roots in jazz and gospel stretching back to his childhood and an education in composition from the New School, pianist and producer Robert Glasper has spent a lifetime bridging the gap between innovation and homage. His 2004 debut, Mood, featured a Radiohead-inspired reimagination of Herbie Hancock’s “Maiden Voyage,” and like Hancock, Glasper aims to inject jazz with modern energy, and pulls from plenty of other genres to do so. His curious and clever blend of improvisation, experimental r&b, neo-soul, and electronica have already earned him two Grammy Awards and an impressive list of collaborators, many of whom feature on his recent Miles Davis tribute, Everything’s Beautiful. He’ll play a free show with his quartet, the Robert Glasper Experiment, at Central Park SummerStage, with New Orleans soul-funk ensemble Tank and the Bangas and buzzy Brooklyn hip-hop act Phony Ppl set to open.

—Lindsey Rhoades

Pride

Femme Fatale

Back for a second year, this is NYC Pride’s official Sunday event for women. The rooftop party includes sets from three DJs (Nikki Lions, Mary Mac, and Tatiana) and an opulent setting in which to dance the weekend away. The first hour features a sponsored open bar.

—Natalia Hadjigeorgiou  

Film

Simian Vérité

With Kong: Skull Island lumbering into the distance and War for the Planet of the Apes looming on the horizon, Anthology Film Archives presents “Simian Vérité,” featuring a dozen films that explore the durable cinematic presence of our closest relatives in the animal kingdom. Guest-programmed by the critic Steve Macfarlane, the series includes everything from interspecies sex satire (Nagisa Oshima’s Max Mon Amour, 1986) to screwball comedy (Howard Hawks’s Monkey Business, 1952) to videostore horror (George Romero’s Monkey Shines, 1988). And as the program’s title would imply, there’s a fair amount of documentary — from Frederick Wiseman’s unusually polemical film about animal test subjects, Primate (1974), to Barbet Schroeder’s three-hankie portrait, Koko, a Talking Gorilla (1978). But the real emphasis is on monster movies, including Gojira creator Ishiro Honda’s King Kong Escapes (1967); Dino De Laurentiis’s mildly horny 1976 Kong remake; and the Shaw Brothers’ delirious cash-in, Mighty Peking Man (1977). Throw in a little beer-drinkin’ and ass-kickin’ with Clint and Clyde (Every Which Way but Loose, from ’78) and you have a series that’s more fun than, well, lots of things.

—Leo Goldsmith

Benefits

Sister Act, AbunDantly!

Nonprofit arts groups are slammed with rising rents, especially in rapidly gentrifying neighborhoods like Flatbush. AbunDance Academy of the Arts, uprooted from its Lefferts Gardens home and searching for new digs, dedicates its third-annual benefit to keeping arts instruction alive and affordable to students of all ages. Karisma Jay, its young founder and artistic director who’s an alum of STOMP and Broadway, leads a cast of 110 performers ranging in age from 3 to 83, including professionals and academy members, in a dance performance inspired by the Sister Act films; the performance will incorporate a live band and a choir of local seniors. Laced with new material confronting current crises in arts funding, and held in the historic Kings Theatre, a 1929 movie palace recently restored to its original splendor, this looks like a winner all around.

—Elizabeth Zimmer  

Mon

6/26

Film

A Vision of Resistance: Peter Nestler

Photo: Images From Vietnam (1972) / Courtesy Deutsche Kinemathek

The Film Society of Lincoln Center’s “A Vision of Resistance: Peter Nestler” is that that rare repertory pleasure: the presentation of works by a major artist whose output is likely to be news to even the most hardened of metropolitan cinephiles. Documentarian Nestler’s films may seem like straightforward educational efforts, part of West Germany’s postwar rehabilitation project — How is glass made (How to Make Glass [Manually], 1970, 24 minutes)? How has life changed in the industrial Ruhr region (Mülheim [Ruhr], 1964, 14 minutes)? What is the history of the Jewish community in Frankfurt (Die Judengasse, 1988, 43 minutes)? — but through Nestler’s crystalline direction and precision editing, each question becomes a dialectical inquiry, an object lesson in cinematic materialism. If you admire Humphrey Jennings, Henri Storck, Joris Ivens, Straub-Huillet, Alexander Kluge, Roberto Rossellini, Chris Marker, Agnès Varda, Harun Farocki, José Luis Guerín, Thomas Heise, or Kirsten Johnson, then Nestler is your guy.

—Michael Sicinski

Art

Anish Kapoor: Descension

Anish Kapoor, to his enormous credit, is the rare contemporary artist who begins not with concepts, but with style. Whatever ideas emerge from his art come later, from the look of the thing, the way it feels and how it hits the senses. Although Kapoor tends toward a clean, spare, graceful style, there is often something overwhelming to his work. That’s certainly the case with “Descension,” an endless whirlpool that disappears into the earth, now installed at Brooklyn Bridge Park. Much of its power comes from the tremendous and ominous hum it generates, which most people will notice before they even lay eyes on it. If there is a drawback, it’s the location: Brooklyn Bridge Park is anodyne and clean, which blunts some of Kapoor’s force. Still, the installation introduces a dose of aesthetic anxiety into any visitor’s day, which alone is commendable.

—Pac Pobric

Art

The Arcades: Contemporary Art and Walter Benjamin

Admirers of the philosopher Walter Benjamin have reason to celebrate this summer: His unfinished magnum opus, The Arcades Project, forms the centerpiece of an exhibition at the Jewish Museum that explores the stamp of his legacy across today’s visual-arts landscape. The Arcades Project analyzed modernity by focusing on the shopping passages of nineteenth-century Paris: labyrinthine avenues stretched between streets, roofed with iron and glass, lined with storefronts to attract passersby — all a bit reminiscent of modern-day Chelsea Market. The exhibition features an idiosyncratic collection of artists (such as Milena Bonilla, Voluspa Jarpa, Cindy Sherman, and Chris Burden), each of whose work appears as a response to one of the thematic sections, or “convolutes,” of Benjamin’s text. (Kenneth Goldsmith’s poetic annotations also make an appearance.) It’s a tiny exhibit, but you’ll want to take your time idling through these jam-packed rooms. Imitate Benjamin’s beloved figure of the flâneur — that leisurely saunterer of sidewalks, caught up in a reverie of browsing — and bring a turtle on a leash.

Joseph Cermatori

Tue

6/27

Art

Calder: Constellations

Photo: Tom Barratt / Courtesy Pace Gallery / © 2017 Calder Foundation

It is odd today to think of a time when mobile existed only as an adjective, but it wasn’t until 1931, when Marcel Duchamp christened Alexander Calder’s unorthodox hanging sculptures as “mobiles,” that the term came to life as a noun. For another week you can walk through the Pace Gallery and see it transformed into a galaxy of the colorful biomorphic forms, all created during and just after the Second World War, a time of great personal unrest for Calder. (Many of his close friends were overseas, including the painter Joan Miró; a sister exhibit, “Miró: Constellations,” featuring works by that artist created during the same era, closed some weeks ago.) The war forced Calder to experiment with wood rather than his usual muse, sheet metal, a medium that was obviously in shortage at the time. The experiment paid off: The mobiles gathered here, some suspended and others mounted to the wall, have a kinetic, starry energy to them.

—Sarah Edwards

Art

Lygia Pape: A Multitude of Forms

The Brazilian Neo-Concretist artists of the Sixties and Seventies had some talent in their ranks, but Lygia Pape was the best of them. Her paintings and constructions are elegant, never plain; simple, but never too easy to figure out — qualities sorely lacking in most geometric abstraction. She was best when she focused on seemingly simple problems, like how to mark the passing of days. Each section of her sprawling, 365-part installation Book of Time (included in this show) is made from a single slab of wood that Pape cut up, re-arranged, glued back together, and painted. The cumulative effect of these pieces, arranged across roughly four hundred square feet of wall space, is enormous: Here is an artist who understood repetition and difference.

—Pac Pobric

Art

The Art of Spider-Man

If there’s one superhero you expect to see on a wall, it’s Spider-Man — and now, he’s all over the walls of the Society of Illustrators. Is the show good? Listen, bud: “The Art of Spider-Man” is the largest collection of original Spidey pages ever displayed, primarily focused on the sleek, elegant style of John Romita, but spanning the wall-crawler’s earlier, wiry days under the pen of co-creator Steve Ditko on through the intricate webwork of Todd McFarlane (who came on the Spidey scene in the late Eighties). Artists like Gil Kane, John Romita Jr., and Keith Pollard also provide scenes of the webhead facing off against his deadliest foes. Face it, tiger: If you’re a fan of the Friendly Neighborhood Spider-Man, you’ve just hit the jackpot.

—Rob Staeger

Music

Zines: Elaborate Disruption and Black Creativity

The “Talks at the Schomburg” series continues with this panel on the resurgence of zines, featuring such contemporary creators in the field as Devin N. Morris (3 Dot Zine), Nontsikelelo Mutiti (Nontsi), Kevin Harry (KHzines), and Jermel Moody (maple:koyo). The event will also encompass a “marketplace of zines,” curated and organized in collaboration with some of the speakers, and a look back at salient forerunners, including FIRE!!, a publication, founded in 1926, “devoted to the young Negro artist,” and whose contributors included major Harlem Renaissance figures like Zora Neale Hurston, Aaron Douglas, and Langston Hughes. The NYPL’s Steven G. Fullwood will moderate the discussion, touching on ideas of cultural erasure, the disruption of publishing norms, and how marginalized communities are breaking into the world of zines.

—Ivie Ani

Wed

6/28

Dance

Jody Oberfelder Dance Projects: The Brain Piece

Photo: Christopher Duggan

Seventy-two spectators at a time will experience Jody Oberfelder’s The Brain Piece, second in a series that began in 2013 with 4Chambers, a study of the human heart. A cast of fifteen performers and collaborators leads attendees through backstage labyrinths and confronts them one-on-one in the lobby and the theater; a clever film by Oberfelder and Eric Siegel, Dance of the Neurons, demonstrates the ways nuggets of information travel around in our craniums. Set designers Juergen Riehm, Penelope Phy, and Tina Kindermann, and lighting designer Kate Bashore, create the frame for the work, which also has a scent consultant; six composers and two sound designers contribute to the mix, along with a bevy of neuroscientists. Be ready to climb stairs, wander hallways, and have “a heightened subjective experience of the brain.”

Elizabeth Zimmer

Art

Calder: Constellations

It is odd today to think of a time when mobile existed only as an adjective, but it wasn’t until 1931, when Marcel Duchamp christened Alexander Calder’s unorthodox hanging sculptures as “mobiles,” that the term came to life as a noun. For another week you can walk through the Pace Gallery and see it transformed into a galaxy of the colorful biomorphic forms, all created during and just after the Second World War, a time of great personal unrest for Calder. (Many of his close friends were overseas, including the painter Joan Miró; a sister exhibit, “Miró: Constellations,” featuring works by that artist created during the same era, closed some weeks ago.) The war forced Calder to experiment with wood rather than his usual muse, sheet metal, a medium that was obviously in shortage at the time. The experiment paid off: The mobiles gathered here, some suspended and others mounted to the wall, have a kinetic, starry energy to them.

—Sarah Edwards

Film

Duel in the Sun

Some years after constructing the mammoth Gone With the Wind (1939), producer David O. Selznick tried to best himself by erecting this bewildering cinematic shrine to his second wife, Jennifer Jones. The bloated result, Duel in the Sun (1946), envisions a scorching western setting to match the wild passions of its protagonist, a mestiza named Pearl (Jones). The central narrative places Pearl in a lust triangle with a modern-day Cain and Abel, played respectively by slithering Gregory Peck and haughty Joseph Cotten. While credited to King Vidor (one of a half-dozen directors who worked on the production), this is Selznick’s picture, featuring the best and the worst of his bombastic Hollywood pomposity. The key remains Jones, who gives the film its spunky humor and pierced intensity, amplifying the Freudian undertones all the way to its mountainous climax between a girl and a gun.

—Peter Labuza

Film

Bad Lieutenant

Although perhaps overshadowed in the popular imagination by Werner Herzog’s berserk 2009 New Orleans–set version (starring a typically unhinged Nicolas Cage), Abel Ferrara’s Bad Lieutenant (1992) nevertheless stands as a smoldering and singular character study. Its central figure is a corrupt New York cop (Harvey Keitel, at his best) who abuses his power to gamble, fuck, drink, and shoot up. When a nun in Spanish Harlem is raped, something kicks loose in his blinkered brain and, although he’s “done so many bad things” (his words), he sets out to avenge her in his own way. Bad Lieutenants narrative is pure pulp, but the movie itself is so much more than that; Ferrara represents an individual’s delirium within a quasi-social-realist framework of a rotting city, creating a work of palpable anguish. The film follows in the path of Martin Scorsese’s Taxi Driver (1976) and prefigures Gaspar Noé’s I Stand Alone (1998) — a holy trinity of works about broken, lonely, imbalanced men roaming cityscapes.

—Tanner Tafelski

Dance

Dylan Crossman Dans(c)e: Here We Are

The portmanteau-creating parentheses in his ensemble’s name reference the fact that Dylan Crossman, a veteran of the Merce Cunningham Dance Company’s Legacy Tour and a star performer in Sally Silvers’s recent Tenderizer, grew up in the south of France and studied in London. HIs four-year-old troupe looks at identity issues in human behavior, in a fifty-minute world premiere, Here We Are, which investigates “intimacy and interpersonal connection within a formalist context,” with a nod to the social encounters experienced during moments of political upheaval and oppression. Performers in Here We Are include Jason Collins, Una Ludviksen, Sherah Shipman, and Brandon Washington, as well as the choreographer. French artist and scenographer Hubert Lafore, whose work centers on relational patterns, collaborates on the visual landscape, and electronic composer Jesse Stiles creates the sound score.

Elizabeth Zimmer

Thu

6/29

Music

Lila Downs

Photo: Marcela Taboada

Oaxacan-born singer-songwriter Lila Downs specializes in dramatic transformations that highlight and explore the feminine archetypes of Latin American culture. With the help of synchronized art, film, and photography, the former road-tripping Deadhead oscillates between a bevy of registers: deeply emotive mariachi, social-realist protest singing, shamanic healing, indie-rock belting, tender bolero crooning. On her new Salón Lágrimas y Deseo, Downs mounts a feminist attack on machocentric banda horn ensembles, pays a devastatingly beautiful tribute to Seventies Chicana activists Las Adelitas de Aztlán, and jerks the tears out of José Alfredo Jiménez’s ranchera classic “Un Mundo Raro.” Come early for Tucson’s excellent Orkesta Mendoza, a revved-up ranchera outfit fronted by Sergio Mendoza alongside the group’s secret weapon: dapper silver fox Salvador Duran.

—Richard Gehr

Art

Calder: Constellations

It is odd today to think of a time when mobile existed only as an adjective, but it wasn’t until 1931, when Marcel Duchamp christened Alexander Calder’s unorthodox hanging sculptures as “mobiles,” that the term came to life as a noun. For another week you can walk through the Pace Gallery and see it transformed into a galaxy of the colorful biomorphic forms, all created during and just after the Second World War, a time of great personal unrest for Calder. (Many of his close friends were overseas, including the painter Joan Miró; a sister exhibit, “Miró: Constellations,” featuring works by that artist created during the same era, closed some weeks ago.) The war forced Calder to experiment with wood rather than his usual muse, sheet metal, a medium that was obviously in shortage at the time. The experiment paid off: The mobiles gathered here, some suspended and others mounted to the wall, have a kinetic, starry energy to them.

—Sarah Edwards

Fri

6/30

Music

Daniel Bachman

Photo: Courtesy Facebook

Guitar virtuoso Daniel Bachman makes good winter music, spare and thoughtful, but let’s be honest — the raw, twangy blister of his finger-picking is also summer as hell. At 27, Bachman, who hails from Fredericksburg, Virginia (the same hometown of the late, great guitarist Jack Rose), has quietly emerged as one of the heavyweights on the American Primitivism music scene. 2015 saw the release of the lush River, and last year brought his self-titled record, which was a little more zoomed-out, with a little more drone; if River was the potluck, then Daniel Bachman was the slow panorama over the food after the party, once the yard has emptied and the thunder starts rolling in. Heard in-person, Bachman’s acoustics roil, rush, and then wash right over you. Will Stratton and Daryl Rahn open his Baby’s set.

—Sarah Edwards

Art

Calder: Constellations

It is odd today to think of a time when mobile existed only as an adjective, but it wasn’t until 1931, when Marcel Duchamp christened Alexander Calder’s unorthodox hanging sculptures as “mobiles,” that the term came to life as a noun. For another week you can walk through the Pace Gallery and see it transformed into a galaxy of the colorful biomorphic forms, all created during and just after the Second World War, a time of great personal unrest for Calder. (Many of his close friends were overseas, including the painter Joan Miró; a sister exhibit, “Miró: Constellations,” featuring works by that artist created during the same era, closed some weeks ago.) The war forced Calder to experiment with wood rather than his usual muse, sheet metal, a medium that was obviously in shortage at the time. The experiment paid off: The mobiles gathered here, some suspended and others mounted to the wall, have a kinetic, starry energy to them.

—Sarah Edwards