"Newsletter" Aerolatino-Geba
(Aerolatino y todas las Danzas que se practican en Geba)
exclusiva para suscriptores, mié 13 agosto 2008
Reciben esta Newsletter 490 suscriptores

[Jeff Gross/Getty Images)]<br>A dancer performs during the Opening Ceremony for the 2008 Beijing Summer Olympics at the National Stadium on August 8, 2008 in Beijing, China.
[Jeff Gross/Getty Images)]
A dancer performs during the Opening Ceremony for the 2008 Beijing Summer Olympics at the National Stadium on August 8, 2008 in Beijing, China.

Certamen de Tango en Geba (Enrique Carmona)

lunes, 11 de agosto de 2008 14:00

Enrique Carmona

hola AUGUSTO, queria informarte que el miercoles pasado (6/8) se llevo a cabo una nueva fecha del certamen de Tango que organiza la Secretaria de Deportes del Gobierno de la Ciudad de Bs.As. para mayores de 60 años. Se realizo en el 8º Piso (salon de danzas) de nuestra sede RCAldao.- Tuve la suerte de haberme clasificado 1º y pasado a la final que se hara en el mes de septiembre con mi compañera de tango Maria del Carmen Romero, representando a GEBA.- Proximamente te informare la fecha exacta de la final.- Un abrazo.- Enrique Carmona.-

¡ Bien Enrique ! ¡ Felicitaciones María del Carmen !

María del Carmen Romero, Enrique Carmona, nuestros representantes.
María del Carmen Romero, Enrique Carmona, nuestros representantes.

Video: Louis Armstrong and Danny Kaye, When the Saints (Enrique Varela)

jueves, 07 de agosto de 2008 11:33
MAGISTRAL! Louis Armstrong & Danny Kaye

Enrique Varela

UNA REFRESCADA AL ALMA NO?

http://www.youtube.com/watch?v=Wo4etweZCjA (video no disponible)

¡ Que placer ! ¡ Muchas gracias Enrique !

Antonia Guzmán en Galería Palatina, Arroyo 821 (Antonia Guzmán)

miércoles, 06 de agosto de 2008 22:03
ANTONIA GUZMAN en Galeria Palatina, Agosto 13, 19hs.

Antonia Guzmán

Antonia Guzmán en Galería Palatina, Arroyo 821
Antonia Guzmán en Galería Palatina, Arroyo 821

Antonia Guzman
antoniaguzman.com.ar

Muchas gracias por mantenernos informados Antonia !

Bailador ! ¿ Nos vemos en la Palatina analizando telas y papeles de nuestra gran artista ?

Una Nota en Ñ (Pablo Di Masso)

miércoles, 06 de agosto de 2008 06:35
Una nota en Ñ

Pablo Di Masso

Mr. Augusto,

te envío la nota que escribió Martina Delacroix para la revista Ñ, la nota original ya que la que publicaron fue recortada hasta el punto de convertirme en un psicoanalista rosarino. He de decirte que ante la imposibilidad, hasta el momento, de corregir esa errata profesional, he recibido una exagerada avalancha de peticiones para iniciar tratamientos lacanianos intensivos, por lo que me estoy preguntando si no me convendria hacer el esfuerzo de comprarme un diván. Un abrazo y va el texto. Pablo.

Gracias por el aporte Pablo ! (Que bien escribe Martina Delacroix !) (Agrego fotitos de los amigos citados)

Revista Ñ

Obstinación a prueba de trazos

Por Martina Delacroix

Vaya causalidad la que llevó a los dibujos del rosarino Pablo Di Masso a compartir exposición por estos días junto a una muestra colectiva por la que se organizan debates sobre arte y psicoanálisis. Si bien los trabajos de Di Masso no forman parte de este programa, ocupan la sala principal del Museo Metropolitano y se caracterizan por tener historias que contar, contenido de peso sobre la vida de su autor.

Por medio de una paleta multicolor incansable, subyacen de ellos, también, diversos estereotipos de mujeres y hombres urbanos. Algunos melancólicos otros enamorados o pensativos, todos tienen vida. Son dibujos trabajados, que movilizan y hasta pueden obsesionar: están llenos de recovecos, trazos que cubren por completo la hoja, símbolos, números, palabras con letras dadas vuelta o alteradas en su orden e instrumentos musicales que se pierden en sus vientres. La música es para Di Masso, amante del jazz, un complemento vital de su arte. "Hay versos de mi hermano, párrafos de alguna de sus novelas, letras de tango, palabras que pesan mucho en mi biografía que no deja de ser, a veces a mi pesar, la de mucha gente, real o ficticia, que se ha ido añadiendo a la mía". Con el apoyo de la Art Dealer Olga Rojo, de la galería Martin Kletzel Arte Contemporáneo, su muestra ilumina la tranquilidad de este museo y lleva a aguzar el ojo, sumiendo al visitante en la reflexión.
La serie se llama "Dibujos obstinados" y está compuesta por cientos, pero sólo algunos de ellos se exponen hasta el 4 de agosto. Plasmados en tinta sobre papel, evocan al movimiento expresionista, traen a colación a Pablo Picasso, Gustav Klimt o Joan Miró. Di Masso explica: "El estilo es como la identidad del dibujo. A veces tengo que llenar todo el espacio y cuando termino con esa especie de liberación "obstinada" suelo dibujar, como una desintoxicación de tanto color, detalle y manía pertinaz, un cuadro sencillo con un trazo y fondo blanco. El otro lado de la neurosis obsesiva, o quizá un recurso coyuntural para volver a zambullirme en ese combate interminable con la obsesión". El autor, que reside en Barcelona desde 1977, se desempeña también como periodista y traductor desde hace más de 30 años.

Respecto del nombre de la serie, sus dibujos "son obstinados por la compulsión casi cotidiana a dibujarlos". Así, se multiplican en servilletas, envases de cartón, manteles y paredes. Opina que "el cuadro es la medicina" y que, frente a la hoja en blanco, "hay una cierta servidumbre, una especie de placer casi perverso en interrumpirla". En sus obras, rostro y manos se detectan nítidos de entrada, mientras que el resto del cuerpo es un universo que va inventándose prácticamente por sí solo. "A veces quiero hacer un guitarrista, una pareja abrazada, un borracho, y con esa idea general la mano dibuja".

Sin método, horario ni disciplina, Di Masso sólo se cuida de tener todo a mano para cuando lo pilla el arte. "Más que ataques de inspiración – reflexiona- las responsables de estas obras son las ganas casi permanentes y la oportunidad de no dejar que se esfumen".

Irving Penn (b. 1917)
Picasso (B), Cannes, 1957
platinum-palladium print, printed March 1985
signed, titled, dated, numbered '28/47' in ink, Penn/Condé Nast copyright credit reproduction limitation and edition stamps (on the reverse of the flush-mount)
18½ x 18½in. (47 x 47cm.) Gustav Klimt in front of the entrance to his studio at Josefstädter Strasse 21 in 1912.
[Photo: Moritz Nähr] Joan Miró
Barcelona, 1944
[Fotografia: Joaquim Gomis]

  1. Irving Penn (b. 1917)
    Picasso (B), Cannes, 1957
    platinum-palladium print, printed March 1985
    signed, titled, dated, numbered '28/47' in ink, Penn/Condé Nast copyright credit reproduction limitation and edition stamps (on the reverse of the flush-mount)
    18½ x 18½in. (47 x 47cm.) : christies.com/LotFinder/lot_de ... bjectID=4972324
  2. Gustav Klimt in front of the entrance to his studio at Josefstädter Strasse 21 in 1912.
    [Photo: Moritz Nähr]: nytimes.com/slideshow/2007/10/ ... LIDESHOW_6.html
  3. Joan Miró
    Barcelona, 1944
    [Fotografia: Joaquim Gomis]: fundaciomiro-bcn.org/joanmirob ... ia.php?idioma=4

Absinthe at Pier 17

The New York Sun, By ERIC GRODE | August 11, 2008
nysun.com/arts/sizzle-under-th ... -absinthe/83552

Sizzle Under the Big Top in 'Absinthe'

[Joan Marcus]
A LEG UP
Anya Stankus in 'Absinthe.'
Joan Marcus
A LEG UP
Anya Stankus in 'Absinthe.' [fuente]
nysun.com/arts/sizzle-under-th ... -absinthe/83552

[JOAN MARCUS]
BUBBLE GIRL
Julie Atlas Muz in ‘Absinthe.’
JOAN MARCUS
BUBBLE GIRL
Julie Atlas Muz in ‘Absinthe.’ [fuente]

For the last three Augusts, while much of Lower Manhattan succumbed to the ragtag and often risqué charms of the Fringe Festival, the dark-wood-and-glass big top known as the Spiegeltent has touched down from Belgium to offer a more refined flavor of decadence. "Absinthe," a Cirque du Soleil-meets-"Moulin Rouge"-meets-Weimar Berlin-meets-"Borat" hodgepodge of airborne eye candy and earthy humor, has given New Yorkers a reason to set foot on the South Street Seaport. In fact, the title of the seaport's other main attraction, "Bodies: The Exhibition," would be equally applicable here.

The creators have tinkered with the set list each year, and while the hit-to-miss ratio should be a bit higher by this point, "Absinthe" once again delivers the salacious goods more often than not. Last year's iteration featured, on the one hand, Julie Atlas Muz's sublime realizations of the stripper's mantra "You gotta have a gimmick" and, before the show, a dozen or so outdoor hammocks with stellar Brooklyn Bridge views. On the other hand, it was emceed by the aggressively belligerent Gazillionaire, who shoved half of a theater critic's bare foot into his mouth. Ms. Muz is back this year, but so is the Gazillionaire. And despite Pier 17's proximity to three of Olafur Eliasson's hypnotic waterfalls, the hammocks are nowhere to be found. The sense of missed opportunities carries into the show's uninspired opening number, featuring the capable Australian vocalist Kaye Tuckerman in full '80s-rock-chick mode.

Rest easy, all you high-minded lechers. The lovely Ms. Tuckerman and her stiletto heels are a mere appetizer for the hard bodies that follow. With the exception of a lounge-lizard roller skater (and the Gazillionaire), the men are all really attractive, while the women range from really attractive to really, really attractive. (A case could be made for adding a third "really" in reference to the Ukrainian gymnast Princess Anya.)

After the Gazillionaire antagonized a number of gay patrons at a recent performance, the strapping, underwear-clad Duo Sergio more than made it up to them; at one point, the dark-haired Sergio held himself parallel to the ground with one hand on the moussed head of the blond Sergio, who then went on to do a squat thrust. Both wore nothing but briefs. The mixed-gender Duo Ssens imbue their intertwining trapeze routine with something rare in this genre: a genuine pulse of affection and sensuality. And Ms. Muz brings back both of last year's sequences, including a torrid number that somehow finds the eroticism in a severed hand. Princess Anya, meanwhile, is in a category by herself. (I seem to recall she did something with Hula-hoops. Let me check my notes. Yes, Hula-hoops.)

As in the past, the difficulty of these routines is impressive but not unprecedented within cirque nouveau circles; rather, the intensity is bolstered as much by where the events take place (i.e., within inches of the front row and 20 feet overhead) as by what they are. Spinning legs and discarded bits of clothing routinely cross into audience territory, and at that same performance, the junior member of the acrobatic Anastasino brothers briefly found his way into an unsuspecting lap mid-tumble.

By the time Act 2 rolls around, even the evening's missteps gain their footing. Staggering through the audience with a Champagne bottle in hand, Ms. Tuckerman delivers a delicious account of a drunken chanteuse, and even the Gazillionaire redeems himself as he and his chirpily vulgar assistant, Penny, embody Cirque du Soleil's worst excesses in the naughty "Le Petite Merde #2."

Still, even as the individual acts gain in effectiveness, they remain individual acts. The Spiegeltent paired "Absinthe" last year with the more plot-driven circus show "La Vie," and the results were no less dazzling. (A new companion show, the "La Ronde"-themed "Désir," opens next week.) "Absinthe" certainly has the talent and the sex appeal to remain required summer viewing for discriminating voyeurs. All it needs is a through line sufficient to turn the high-flying bits and the low-down bits into pieces of a whole rather than welcome respites from one another. Oh, and a few hammocks.

Until November 2 (Pier 17, South Street Seaport, 212-279-4200).

Link Spiegelworld: spiegelworld.com

Show Boat up to August 23 in Bellport

The New York Times, 10, 2008
Theater Review

Life on the Mississippi, Through a Musical Lens

By AILEEN JACOBSON

[Jeff Bellante]
TROUPERS
From left, Cynthia Cobb, Jillian Louis and Isabel Santiago in “Show Boat.”
Jeff Bellante
TROUPERS
From left, Cynthia Cobb, Jillian Louis and Isabel Santiago in “Show Boat.” [fuente]
theater.nytimes.com/2008/08/10 ... 2/10playli.html

While Lincoln Center presents a splendid revival of “South Pacific,” inviting audiences to consider the prejudices of white Americans against “people whose skin is a different shade” (as one of its songs puts it), Gateway Playhouse in Bellport is mounting an earlier landmark musical by the same librettist-book writer exploring the same theme.

“Show Boat,” with book and lyrics by Oscar Hammerstein II, was groundbreaking in several ways. It integrated songs and plot into what many critics deem the first serious American musical and had black and white performers sharing the stage.

Unlike “South Pacific,” which depicts American service people on foreign turf, “Show Boat” is based on home soil and addresses the nation’s black-white color divide. Both shows have been accused of being racist themselves by today’s standards, but both are heartfelt in their stands against bias.

By 1949, when “South Pacific” debuted — with Richard Rodgers supplying the music and Joshua Logan as co-book writer — Hammerstein had become a smoother storyteller. The 1927 “Show Boat,” with glorious music by Jerome Kern, covers more than four decades in the lives of a traveling troupe of performers in sometimes lurching fashion. It touches deep chords, having inspired three films and about a half-dozen Broadway revivals.

Given the show’s pedigree, it would be wonderful to report that this production is as compelling as Gateway’s previous show, “Beauty and the Beast.” Alas, such is not the case.

Under Bill Theisen’s lackluster direction, this “Show Boat” is competent and professional but never passionate or surefooted enough to draw audiences fully into its embrace. The actors have strong voices, but many are not quite suited to their roles. Michelle Weber’s choreography, perhaps hampered by lack of space, lacks pizazz. Even though the program lists 10 musicians, including the musical director, Nathan W. Perry, the sound system often makes them sound like a calliope.

The best part of this production is the rendition of “Ol’ Man River” by Dan Tullis Jr., which is reprised frequently, though with more restraint than in many productions. Mr. Tullis, an experienced TV, movie and stage actor, easily steals the show. He even bears up well when his character, Joe, is reduced to a stereotype later in the show. Robert Lydiard, in the comic role of Cap’n Andy, provides a colorful performance, while Kiira Schmidt and Sean Montgomery, as the show boat’s second-banana dance team, project spirited good humor.

Jillian Louis, as Magnolia Hawks — who starts out as the 18-year-old daughter of the show boat’s owners and ends up a retired Broadway star — and Tommy Wazelle, who plays the supposedly dashing gambler Gaylord Ravenal, do well by their romantic ballads, “Only Make Believe” and “You Are Love.” But neither displays the charismatic stage presence their roles demand. The same is true for Isabel Santiago, though she gives a warm performance as Julie, a singer of part-black parentage who tries to pass for white.

The ensemble members, nicely cast, sometimes mingle more closely here than black and white people probably did a century ago along the Mississippi River. But more often they’re used to demonstrate separation — a problem that “Show Boat” courageously highlighted.

“Show Boat,” Gateway Playhouse, 215 South Country Road, Bellport, through Aug. 23. Information: (888) 484-9669 or gatewayplayhouse.com.

theater.nytimes.com/2008/08/10 ... 2/10playli.html

Mamma Mia! y la Historia de los Musicales de Broadway llevados al Cine

The New York Times, August 10, 2008
nytimes.com/2008/08/10/theater/10ishe.html

Singing! Dancing! Adapting! Stumbling!

[Left, Photofest; Warner Home Video]
Jill Haworth, left, in the stage production of “Cabaret,” which opened on Broadway in 1966. Liza Minnelli, right, in the 1972 film version, directed by Bob Fosse.
Left, Photofest; Warner Home Video
Jill Haworth, left, in the stage production of “Cabaret,” which opened on Broadway in 1966. Liza Minnelli, right, in the 1972 film version, directed by Bob Fosse. [fuente]
nytimes.com/2008/08/10/theater/10ishe.html

By CHARLES ISHERWOOD

HOLLYWOOD has a long history of bungling the movie versions of hit Broadway musicals, but believe it or not I held out hope for “Mamma Mia!” In retrospect this seems a little deranged, but let me explain.

...

[Universal Pictures]
Meryl Streep on screen in “Mamma Mia!” Phyllida Lloyd directed the movie and the stage production.
Universal Pictures
Meryl Streep on screen in “Mamma Mia!” Phyllida Lloyd directed the movie and the stage production. [fuente]
nytimes.com/2008/08/10/theater/10ishe.html

[Left, Photofest; David James/Miramax Films]
Roxie of “Chicago” onstage (left, Charlotte d’Amboise in 1996) and on screen (Renée Zellweger in 2002).
Left, Photofest; David James/Miramax Films
Roxie of “Chicago” onstage (left, Charlotte d’Amboise in 1996) and on screen (Renée Zellweger in 2002). [fuente]
nytimes.com/2008/08/10/theater/10ishe.html

[Left, Sara Krulwich/ The New York Times; Universal Pictures]
The musical versions of “The Producers,” onstage, (with, from left, Nathan Lane, Cady Huffman and Matthew Broderick) and on screen, right (with Uma Thurman flanked by Mr. Lane and Mr. Broderick).
Left, Sara Krulwich/ The New York Times; Universal Pictures
The musical versions of “The Producers,” onstage, (with, from left, Nathan Lane, Cady Huffman and Matthew Broderick) and on screen, right (with Uma Thurman flanked by Mr. Lane and Mr. Broderick). [fuente]
nytimes.com/2008/08/10/theater/10ishe.html

Selected Movie Reviews and Trailers

Vintage Film Poster

Breakfast At Tiffany's
1961, Paramount, U.S. six-sheet -- 81x81in. (205.7x205.7cm.), linen-backed, (A-)
Breakfast At Tiffany's
1961, Paramount, U.S. six-sheet -- 81x81in. (205.7x205.7cm.), linen-backed, (A-) [fuente]
christies.com/LotFinder/lot_de ... bjectID=5043302

Price Realized
£5,625 ($11,126)
Estimate
£3,000 - £5,000 ($5,955 - $9,925)
Sale Information
Sale 5423
Vintage Film Posters
5 March 2008
London, South Kensington

El Logotipo de Hoy

[Photo: Paolo Pellegrin/Magnum Photos]
Swifter, Higher and All That
Yelena Isinbayeva Pole Vault, Russia 2004 Olympic Gold Medalist
Photo: Paolo Pellegrin/Magnum Photos
Swifter, Higher and All That
Yelena Isinbayeva Pole Vault, Russia 2004 Olympic Gold Medalist [fuente]
nytimes.com/slideshow/2008/07/ ... 803SILOS_6.html

[Photo: Paolo Pellegrin/Magnum Photos]
Swifter, Higher and All That
Misty May-Treanor, Kerri Walsh Beach Volleyball, United States 2004 Olympic Gold Medalists, three-time World Champions.
Photo: Paolo Pellegrin/Magnum Photos
Swifter, Higher and All That
Misty May-Treanor, Kerri Walsh Beach Volleyball, United States 2004 Olympic Gold Medalists, three-time World Champions. [fuente]
nytimes.com/slideshow/2008/07/ ... 803SILOS_3.html

Coplita

Si la prima se ha cortado
y a mí me toca el hablar,
yo soy gaucho a su servicio
pa lo que guste mandar.

Fuente:
Jorge M. Furt
Cancionero Popular Rioplatense: Lírica Gauchesca Tomo II
Alicante : Biblioteca Virtual Miguel de Cervantes, 2003
Edición digital basada en la de Buenos Aires, Imprenta y Casa Editora "Coni", 1925.
cervantesvirtual.com/servlet/S ... 91/p0000006.htm
[2004 (Buenos Aires)]

Imágenes de Salida

National Gallery of Art, 4th and Constitution Avenue NW, Washington, D.C.

Henri de Toulouse-Lautrec
Miss Loïe Fuller, 1893
Rosenwald Collection
1947.7.185
Henri de Toulouse-Lautrec
Miss Loïe Fuller, 1893
Rosenwald Collection
1947.7.185 [fuente]
nga.gov/fcgi-bin/timage_f?obje ... 3944&image=5542

Arte al Dia Internacional, 14 de Junio de 2007 Newsletter semanal artealdia.com
EL SITIO RECOMENDADO antoniaguzman.com.ar/index.htm

Antonia Guzmán
Thematic Series 2/Seria Tematica 2
2008
13.5 x 10.75 inches
painting, watercolor on handmade paper
Antonia Guzmán
Thematic Series 2/Seria Tematica 2
2008
13.5 x 10.75 inches
painting, watercolor on handmade paper

Presidenta del Jurado de la VI Bienal de Acuarelas de Viña del Mar

Telas y papeles en Galería Palatina, Arroyo 821, inauguración 13 de agosto 19.00 y hasta el 1 de septiembre 2008

Christie's, 13 August 2008

JOAN MIRO
Le penseur puissant (D. 514)
aquatint, etching and carborundum in colors, 1969, on Arches, signed in pencil, numbered 23/75 (there were also a few artist's proofs), the full sheet, some minor rubbing, occasional soft handling creases, otherwise in very good condition, framed
S. 41½ x 26¾ in. (1054 x 680 mm.)
JOAN MIRO
Le penseur puissant (D. 514)
aquatint, etching and carborundum in colors, 1969, on Arches, signed in pencil, numbered 23/75 (there were also a few artist's proofs), the full sheet, some minor rubbing, occasional soft handling creases, otherwise in very good condition, framed
S. 41½ x 26¾ in. (1054 x 680 mm.) [fuente]
christies.com/LotFinder/lot_de ... bjectID=5062984

Price Realized
$25,000
Estimate
$15,000 - $20,000
Sale Information
Sale 1990
Prints And Multiples
29 - 30 April 2008
New York, Rockefeller Plaza

Arte al Dia Internacional, 15 de Noviembre de 2007 Newsletter semanal artealdia.com
EL SITIO RECOMENDADO pablodimasso.com.ar

Pablo Di Masso
POCKER
2006
21 x 30cm
Pablo Di Masso
POCKER
2006
21 x 30cm [fuente]
pablodimasso.com.ar

THE NEW YORK TIMES, 18 JUNE 2008
Remembering Cyd Charisse

[Photo: Associated Press]
Remembering Cyd Charisse
A publicity shot for the 1956 movie "Meet Me in Las Vegas."
Photo: Associated Press
Remembering Cyd Charisse
A publicity shot for the 1956 movie "Meet Me in Las Vegas." [fuente]
nytimes.com/slideshow/2008/06/ ... CHARISSE_7.html

THE NEW YORK TIMES 01 AUGUST 2008
Art Review | 'Kirchner and the Berlin Street'

[Photo: Neue Galerie, New York/Ingeborg and Dr. Wolfgang Henze-Ketterer, Wichtrach, Bern]
“Berlin Street Scene” (1913) by Ernst Ludwig Kirchner
Ken Johnson writes: “Kirchner and the Berlin Street,” opening Sunday at the Museum of Modern Art, delivers a terrific visual wallop right at the start and then continues to reverberate.
The main event is a set of seven paintings by the German Expressionist Ernst Ludwig Kirchner (1880-1938), produced from 1913 to 1915.
Photo: Neue Galerie, New York/Ingeborg and Dr. Wolfgang Henze-Ketterer, Wichtrach, Bern
“Berlin Street Scene” (1913) by Ernst Ludwig Kirchner
Ken Johnson writes: “Kirchner and the Berlin Street,” opening Sunday at the Museum of Modern Art, delivers a terrific visual wallop right at the start and then continues to reverberate.
The main event is a set of seven paintings by the German Expressionist Ernst Ludwig Kirchner (1880-1938), produced from 1913 to 1915. [fuente]
nytimes.com/slideshow/2008/08/ ... RLIN_index.html

THE NEW YORK SUN 06 AUGUST 2008

[THE HOUGHTON LIBRARY, HARVARD UNIVERSITY]
TIGHT CIRCLE
A Dickinson family silhouette from 1848.
THE HOUGHTON LIBRARY, HARVARD UNIVERSITY
TIGHT CIRCLE
A Dickinson family silhouette from 1848. [fuente]

BOOK: Brenda Wineapple, "White Heat: The Friendship of Emily Dickinson & Thomas Wentworth Higginson” (Knopf, 416 pages, $27.95)

LOS ANGELES TIMES 11 AUGUST 2008

[Credit: Natacha Pisarenko /Associated Press]
Misty May-Treanor lunges for the ball during the match against Cuba's Tamara Larrea and Dalixia Fernandez Grasset.
Credit: Natacha Pisarenko /Associated Press
Misty May-Treanor lunges for the ball during the match against Cuba's Tamara Larrea and Dalixia Fernandez Grasset. [fuente]

THE NEW YORK SUN 12 AUGUST 2008

[FLomenhaft gallery]
AMONG MANY
Flomenhaft Gallery’s “Gallery Gang — 2nd Biennial,” its summer exhibit, features the work of a protégée of Buckminster Fuller, Mira Lehr; a former dean of the California Institute of the Arts, Paul Brach, and photographer Neil Folberg, who studied under Ansel Adams. Rhythm- and dance-inspired paintings by artist Miriam Schapiro, including “Two Among Many” (2005), above, are also on view.
FLomenhaft gallery
AMONG MANY
Flomenhaft Gallery’s “Gallery Gang — 2nd Biennial,” its summer exhibit, features the work of a protégée of Buckminster Fuller, Mira Lehr; a former dean of the California Institute of the Arts, Paul Brach, and photographer Neil Folberg, who studied under Ansel Adams. Rhythm- and dance-inspired paintings by artist Miriam Schapiro, including “Two Among Many” (2005), above, are also on view. [fuente]

Through Friday, August 22, Tuesday–Saturday, 10:30 a.m.–5 p.m., Flomenhaft Gallery, 547 W. 27th St., Ste. 308, between Tenth and Eleventh avenues, 212-268-4952, free.

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