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Shows That Give Off Pleasure, and a Bit of Body Heat

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Shows That Give Off Pleasure, and a Bit of Body Heat

Among the fall’s surveys of contemporary art, I’m most excited about Made in L.A. 2023: Acts of Living,” (Oct. 1 -Dec. 31) the sixth incarnation of the Hammer Museum’s always enlightening biennial survey of Los Angeles-area art. Its illustrated checklist — all there is to go on before a show actually opens — is palpable with hand making and color. It has body heat.

There’s an undercurrent of assemblage to many of the paintings and objects in the show, most evident in the frequent use of found objects and materials that add new strands of political thought. Some works reflect the long arm of conceptual art; more perpetuate outsider and folk art, craft and Indigenous traditions, as with the paintings of the self-taught octogenarian, Jessie Homer French.

Back in New York, two of the Los Angeles art scene’s heaviest hitters — born 20 years apart and emblematic of very different phases of the city’s cultural history — will take over substantial amounts of space in major museums. The Museum of Modern Art will fill its vast sixth floor with Ed Ruscha / Now Then (Sept. 10-Jan. 13, 2024). The most comprehensive survey to date of the artist’s six-decade career, it displays 200 works, starting in 1958, two years after Ruscha, a clean-cut high school graduate from Oklahoma, arrived in L.A., intending to study commercial art. A subversive notion of fine art interceded and Ruscha came to epitomize ’60s L.A. (mostly white) cool with works that often elevated the relatively modest forms of films, photography and artists books, as well as paintings that had the glossy lightness of ads.

The Whitney Museum will turn most of its vast fifth floor over to Henry Taylor: B Side (Oct. 4-Jan. 28, 2024). Can I just say: Finally!? During its six-month run at the Museum of Contemporary Art in Los Angeles, where it was curated by Bennett Simpson, Taylor’s retrospective vibrated with ecstatic reviews. Now it will be possible to see firsthand how Taylor, born in 1958, became one of this country’s greatest painters. His powerful, sometimes enigmatic images depict nearly every aspect of Black life in America, with occasional sendups of modern masterpieces. His achievement is essential to a moment when Black art is reshaping the whole of American art history.

Some of that reshaping should also be evident in Unnamed Figures: Black Presence and Absence in the Early American North,” at the American Folk Art Museum (Nov. 15-March 24, 2024). This landmark effort will explore Black visual culture in New England and the Mid-Atlantic states from 1780 to 1850 in a presentation of around 125 portrait and landscape paintings, photographs, prints, needlework and stoneware jars, along with a 300-page catalog.

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Two of the New York’s most cherished alternative spaces, both founded in 1972, are staging solo surveys of pioneering artists of different generations and distinctly dissimilar sensibilities.

MoMA PS1 will start its season with Rirkrit Tiravanija: A Lot of People,” (Oct. 12-March 4, 2024) exploring in about 100 works the complex career of one of the progenitors of “relational aesthetics,” the movement that emphasized art as ephemeral and participatory over finite object. Tiravanija (born in 1961) threw down the gauntlet in the 1990s with SoHo gallery exhibitions in which he made and served pad Thai (1990, at Paula Allen) and Thai vegetable curry (1992, at 303 Gallery). Much followed in several different mediums, from T-shirts proclaiming “Fear Eats the Soul,” after Werner Fassbinder’s 1974 film, to chrome sculptures of furniture, with the best operating at the intersection of collective pleasure and political consciousness.

Artists Space will devote its large ground-floor galleries to Jonathan Lyndon Chase: his beard is soft, my hands are empty (Sept. 8-Dec. 2), exhibiting the painting, sculpture, drawings, videos, poetry and installations of this lavishly talented young Philadelphia-based artist. Chase exploded on the New York scene in 2018 with work that felt unprecedented in its exuberant yet tender portrayals of queer Black intimacy, including interiority, desire and daily life.

Regarding older art, nothing this season will match the scale and significance of the Metropolitan Museum of Art’s Look Again: European Paintings 1300-1800,” which opens Nov. 20. These galleries were expanded in 2013 and, consequently, rethought and rehung for the first time in 50 years.

It was the largest redo that the Met has ever undertaken. Not as much work as adding a new wing, of course. This couldn’t be better timed, given the social and political upheavals of the last decade and their effect on art, art history and museums. The news release promises increased diversity: “renewed attention to women artists,” “Europe’s complex relationships with New Spain” and “the histories of class, gender, race and religion.” Look again, indeed.

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Elsewhere at the Met, the big names of art-history-as-usual will prevail. “Manet/Degas (Sept. 24-Jan. 7, 2024) will examine the shifting friendship, rivalry and chilliness between these two great outliers of Impressionism. One of the chief draws of the show is Manet’s 1863 landmark “Olympia,” a painting of a nude woman whose comportment — straight spine and challenging gaze — has been seen as implicitly, if inadvertently, feminist. It caused a furor when first exhibited at the Salon of 1865. This will be its first visit to the United States.

“Vertigo of Color: Matisse, Derain and the Origins of Fauvism” (Oct. 13-Jan. 21, 2024), another pairing at the Met, will focus on the color revolution of Fauvism, formulated during the summer of 1905 by Henri Matisse and André Derain. Over nine weeks spent working together in Collioure, a coastal town in southern France, they laid a crucial chromatic cornerstone of modernism. Or maybe two: Their paint handling was often as raw as their palette.

Given the excessive attention to the rich and famous in all parts of American society, Max Beerbohm: The Price of Celebrity at the New York Public Library (Oct. 20-Jan. 28, 2024), feels right on schedule. The title seems a bit heavy and moralistic for “the incomparable Max,” as George Bernard Shaw dubbed him. But in London at the turn of the 20th-century, one price of celebrity was attention from this comic genius, whether in caricature, essay or his brilliant, sometimes illustrated letters. His subjects included Shaw, Oscar Wilde, Aubrey Beardsley and John Singer Sargent, as well as himself. In addition to 30 caricatures, this show includes photographs, letters, illustrated books and printed matter, and is the largest Beerbohm exhibition in this country in decades.

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New York

Transcript of Trump Manhattan Trial, May 30, 2024

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Transcript of Trump Manhattan Trial, May 30, 2024

-
Jury Deliberation Re-charge
SUPREME COURT OF THE STATE OF NEW YORK
COUNTY OF NEW YORK CRIMINAL TERM
-
-
PART: 59
Χ
THE PEOPLE OF THE STATE OF NEW YORK,
-against-
DONALD J. TRUMP,
DEFENDANT.
BEFORE:
Indict. No.
71543-2023
CHARGE
4909
FALSIFYING BUSINESS
RECORDS 1ST DEGREE
JURY TRIAL
100 Centre Street
New York, New York 10013
May 30, 2024
HONORABLE JUAN M. MERCHAN
JUSTICE OF THE SUPREME COURT
APPEARANCES:
FOR THE PEOPLE:
ALVIN BRAGG, JR., ESQ.
DISTRICT ATTORNEY, NEW YORK COUNTY
One Hogan Place
New York, New York 10013
BY:
JOSHUA STEINGLASS, ESQ.
MATTHEW COLANGELO,
ESQ.
SUSAN HOFFINGER, ESQ.
CHRISTOPHER CONROY, ESQ.
BECKY MANGOLD, ESQ.
KATHERINE ELLIS, ESQ.
Assistant District Attorneys
BLANCHE LAW
BY:
TODD BLANCHE, ESQ.
EMIL BOVE, ESQ.
KENDRA WHARTON, ESQ.
NECHELES LAW, LLP
BY: SUSAN NECHELES, ESQ.
GEDALIA STERN, ESQ.
Attorneys for the Defendant
SUSAN PEARCE-BATES, RPR, CSR, RSA
Principal Court Reporter
LAURIE EISENBERG, RPR, CSR
LISA KRAMSKY
THERESA MAGNICCARI
Senior Court Reporters
Susan Pearce-Bates, RPR, CCR, RSA
Principal Court Reporter

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New York

Transcript of Trump Manhattan Trial, May 29, 2024

Published

on

Transcript of Trump Manhattan Trial, May 29, 2024

SUPREME COURT OF THE STATE OF NEW YORK
COUNTY OF NEW YORK CRIMINAL TERM
-
THE PEOPLE OF THE STATE OF NEW YORK,
PART: 59
Indict. No.
71543-2023
CHARGE
-against-
DONALD J. TRUMP,
DEFENDANT.
BEFORE:
4815
FALSIFYING BUSINESS
RECORDS 1ST DEGREE
JURY TRIAL
X
100 Centre Street
New York, New York 10013
May 29, 2024
HONORABLE JUAN M. MERCHAN
JUSTICE OF THE SUPREME COURT
APPEARANCES:
FOR THE
PEOPLE:
ALVIN BRAGG, JR.,
ESQ.
DISTRICT ATTORNEY, NEW YORK COUNTY
One Hogan Place
New York, New York 10013
BY:
JOSHUA STEINGLASS, ESQ.
MATTHEW COLANGELO,
ESQ.
SUSAN HOFFINGER, ESQ.
CHRISTOPHER CONROY, ESQ.
BECKY MANGOLD, ESQ.
KATHERINE ELLIS, ESQ.
Assistant District Attorneys
BLANCHE LAW
BY:
TODD BLANCHE, ESQ.
EMIL BOVE, ESQ.
KENDRA WHARTON, ESQ.
NECHELES LAW, LLP
BY: SUSAN NECHELES, ESQ.
Attorneys for the Defendant
SUSAN PEARCE-BATES, RPR, CSR, RSA
Principal Court Reporter
LAURIE EISENBERG, RPR, CSR
LISA KRAMSKY
THERESA MAGNICCARI
Senior Court Reporters
Susan Pearce-Bates,
RPR, CCR, RSA
Principal Court Reporter

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New York

Critics Fault ‘Aggressive’ N.Y.P.D. Response to Pro-Palestinian Rally

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Critics Fault ‘Aggressive’ N.Y.P.D. Response to Pro-Palestinian Rally

Violent confrontations at a pro-Palestinian rally in Bay Ridge, Brooklyn, on Saturday reflected what some local officials and protest organizers called an unexpectedly aggressive Police Department response, with officers flooding the neighborhood and using force against protesters.

At the rally, which drew hundreds of demonstrators, at least two officers wearing the white shirts of commanders were filmed punching three protesters who were prone in the middle of a crosswalk. One officer had pinned a man to the ground and repeatedly punched him in the ribs, a 50-second video clip shows. Another officer punched the left side of a man’s face as he held his head to the asphalt.

The police arrested around 40 people who were “unlawfully blocking roadways,” Kaz Daughtry, the department’s deputy commissioner of operations, said on social media on Sunday.

Mr. Daughtry shared drone footage of one person who climbed on a city bus, “putting himself and others in danger.” The Police Department, he wrote, “proudly protects everyone’s right to protest, but lawlessness will never be tolerated.”

Neither Mr. Daughtry nor the police commented on the use of force by officers. A spokeswoman for Mayor Eric Adams did not immediately respond to a request for comment about the police response. The Police Department’s patrol guide states that officers must use “only the reasonable force necessary to gain control or custody of a subject.”

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Bay Ridge has a significant Arab American population and hosts demonstrations in mid-May every year to commemorate what Palestinians call the Nakba, or “catastrophe” — when hundreds of thousands of Palestinians fled or were forced from their homes during the war that led to Israel’s founding in 1948.

Andrew Gounardes, a state senator and a Democrat who represents the area, said local politicians had been in touch with the commanding officer of the 68th police precinct before the preplanned protest and said there had been no indication that there would be such a heavy police response. He called the videos he saw of the events “deeply concerning.”

“It certainly seems like the police came ready for a much more aggressive and a much more confrontational demonstration than perhaps they had gotten,” he added.

Justin Brannan, a Democrat who is the city councilman for the area, said the protest was smaller than last year’s but that officers had come from all over the city to police it. He said their approach appeared to be directed by 1 Police Plaza, the department headquarters in Manhattan.

“These were not our local cops. Clearly, there was a zero-tolerance edict sent down from 1PP, which escalated everything and made it worse,” Mr. Brannan said.

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“I’m still waiting on information and details about the arrests that were made,” he added, “but from my vantage point, the response appeared pre-emptive, retaliatory and cumulatively aggressive.”

The Republican state assemblyman whose district includes parts of Bay Ridge, Alec Brook-Krasny, had a different perspective. He said an investigation would determine whether the officers’ actions were warranted, but he said some protesters were “breaking the law” by refusing to clear the street.

“I think that those bad apples are really hurting the ability of the other people to express their opinions,” Mr. Brook-Krasny said.

Some local residents supported the police and said they were tired of the protests’ disruptive impact. “Enough is enough,” said Peter Cheris, 52, a 40-year resident of Bay Ridge, who said he had viewed the videos of the protest. “If you’re going to break the law, you deserve it,” he said.

Donna Lieberman, the executive director of the New York Civil Liberties Union, singled out the presence of the Police Department’s Strategic Response Group, a unit that is sometimes deployed to protests and has been the subject of several lawsuits brought by the civil liberties union and other groups.

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The police unit’s handling of the demonstration “was a violation of New Yorkers’ right to speak out and risks chilling political expression,” Ms. Lieberman said in a statement. “N.Y.C.L.U. protest monitors witnessed violent arrests, protester injuries, and even arrests of credentialed members of the press.”

She added: “The continual pattern of N.Y.P.D. aggression against pro-Palestine demonstrators raises important questions about the city’s disparate treatment of speakers based on their message.”

Abdullah Akl, an organizer with Within Our Lifetime, the pro-Palestinian group that organized the protests, said the response took organizers aback, particularly for a demonstration that occurs every year in Bay Ridge and is known to be frequented by families with children.

“It was really an unusual and unprecedented response,” Mr. Akl said.

He said he witnessed two men being pushed to the ground. One of them can be seen in a video with blood streaming down the side of his face. Nerdeen Kiswani, chair of Within Our Lifetime, said three protesters — including the two who can be seen being punched — were treated for their injuries at hospitals.

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The Police Department has arrested hundreds of demonstrators since street protests began shortly after the Hamas attack on Israel on Oct. 7 and Israel’s subsequent invasion of Gaza. The protests have been largely peaceful, with few injuries or violent clashes.

In a turning point, on April 30 officers cleared Hamilton Hall at Columbia University, which had been occupied by protesters for 17 hours. Many officers showed restraint during the arrests, though a handful were filmed pushing and dragging students as they removed them from the building.

On Sunday, Ms. Lieberman said police response to the protests in Bay Ridge underscored the importance of implementing the terms of a $512,000 settlement the civil liberties union and the Legal Aid Society reached with the city this month. The settlement set new terms for how the Police Department manages protests, creating a tiered system that dictates how many officers can be sent to demonstrations and limits the use of the Strategic Response Group. It will take years to put into practice.

The settlement is one of several that stemmed from the George Floyd racial justice protests in 2020. Last year, the city agreed to pay $13.7 million to settle a class-action lawsuit that claimed unlawful police tactics had violated the rights of demonstrators in Manhattan and Brooklyn. In March, the city agreed to pay $21,500 to each of roughly 300 people who attended another Black Lives Matter protest in 2020 in the Bronx. Those people were penned in by the police, then charged at or beaten with batons, according to a legal settlement.

Andy Newman and Camille Baker contributed reporting.

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