Thalia and Reproduction: May 2012

Thursday, May 31, 2012

Breakfast & Lunch
9am-4pm
Dinner 5pm-12am

Brunch 10am-4pm
Dinner 5pm-12am

166 S.4th Street (@Driggs)
Brooklyn NY 11211

Lunch & Dinner

big salad

10

avocado, beets, carrots, egg, radish, sprouts,
spicy black eyed peas and anadama bread
chicken biscuit

6

fried cutlet on a biscuit with hot sauce and honey butter
chicken sammy w/ fries

12

chicken cutlet, avocado, bacon, jack cheese, ranch, lettuce, tomato, onion, and mayo on a bun
burger with fries

9

our burger is grass-fed organic.
add cheese

1
add bacon

2
add egg

1
insane burger

13
grilled cheese w/ fries

7

on homemade white bread
catfish sammy w/ fries

10

plus tartar, slaw, pickle, & lettuce
fried chicken box 13

3 pc chicken w/ one side & biscuit
BBQ brisket box 13

Sandwich with our barbecue sauce and mayo on homemade white bread, w/ one side
fried catfish box 13

w/ tartar, slaw, pickle, cornbread & one side
carolina pulled pork box 11

sandwich w/ coleslaw, pickle & one side

Sides

superbowl

10

any 3 sides w/ biscuit or bread
Mac 'n' Cheese

4
Smoked Pork Collards

4
Spicy Black Eyed Pea Salad

4
Burnt End Baked Beans

4
Cheese Grits

4
Cole Slaw

4
French Fries

4
Iceberg Salad

4
Hush Puppies

4
biscuit or cornbread

2
Seasonal Specials:

Snap Pea & Aparagus with Parmesan Peppercorn

6
German Potato Salad

5

Wednesday, May 30, 2012

Don Cherry & Herbie Hancock - Bemsha Swing (Live)

Cindy Sherman in Paper Mag.

By David Hershkovits

In honor of Cindy Sherman's MoMA retrospective opening this Sunday, we're sharing a few highlights from David Hershkovits' 2008 Guru interview with the groundbreaking artist. "Cindy Sherman" runs through June 11th and spans the photographer's career from the '70s to the present, including her acclaimed "Untitled Film Stills," her celebrity history series and her 2008 portraits based on society women, which she talks about below.

On why she chose to focus on society women for a portrait series:
I liked these older women trying to look good and dignified and over-the-top. Just the idea of these rich ladies who pose in ball gowns in their living rooms with their toddlers -- it just looks so ridiculous.

On how she got into character:
The mental state is more important because I really want a character to come through. I started to think about some of the characters -- how they're older women and if they are successful, maybe they're not really that happy. Maybe they've been divorced, or they're in an unhappy marriage, but because of the money, they're not going to get out [Laughs]. That's what I was thinking -- that there's something more below the surface that you can't really see.

Above: Cindy Sherman. Untitled #466. 2008. The Museum of Modern Art, New York. © 2011 Cindy Sherman

On the difficulty of photographing herself:
What gets harder is the goal of trying to seem somewhat different. And that was another reason why, when I was doing some of these characters, I wasn't that happy with them, because I thought they reminded me of other characters I've done. Or I saw too much of myself in some of them. To me, it's a little scary when I see myself. And it's especially scary when I see myself in these older [society] women. After the first six I thought, 'This is great, this is so easy -- I have a whole new category of women to explore.' It was kind of scary how easily I could make myself look so much older. But that was always the case in the work. Not about age, but I realized how easily I could look this way or that way, and it was kind of scary -- like your life could have been completely different if one little thing was different.

On accepting her work's popularity:
It bothered me how popular some of the series were, like the history portraits. It seemed so easy to do that series for some odd reason, and I felt guilty about that. But then I would go and make these more disturbing [works] -- sex picture stuff, rotting food stuff -- to feel like I could still go back to something that I do more for me, that I don't really care if people like or not. It's what I want to do. And then I can go back to the fun stuff when I use myself, because it is kind of fun, and I know that's what people always want. They're always looking for me in the photograph. And they're always a little disappointed if they find out that I'm not really in this one.

Photo of Cindy Sherman by Richard Burbridge.

Massimiliano Gioni named Curator of the Venice Biennale

by Will Brand on January 31, 2012 · 3 comments

You can be the most successful curator of your generation and still dress like a cartoon character.

If you have any kind of career in the art world, Massimiliano Gioni should make you feel bad. Since becoming the Editor of Flash Art at 26, he’s been racking up accomplishments: co-curator of the Venice Biennale in 2003, co-curator of the Berlin Biennial and Manifesta 5 in 2005, curator of the Gwangju Biennial in 2010, Associate Director at the New Museum, etc. In 2002, at 29, he opened a one-meter-square space, The Wrong Gallery, in Chelsea with Ali Subotnick (then of Parkett) and Maurizio Cattelan; when they lost the lease, they just reopened in the Tate Modern.
It was already a ridiculous list, and now it has a capstone: in 2013, Gioni will be the curator of the Venice Biennale. He’s a fitting choice; Gioni’s done well in Biennales in the past, and has shown with the New Museum’s Younger Than Jesus and Ostalgia that he can put together an excellent survey show. In Jerry Saltz’s words, writing about Ostalgia, “curator Massimiliano Gioni is now master of his own form of large-scale exhibition as narrative, time machine, pleasurable pedagogy, historical potboiler come to life, and insight.” We have no idea what happens to the grammar at the end of that quote, but we agree anyway. This should be good.