Posts Tagged curator

DJ Rekha presents “Bollywood Disco Xmas” with Rajstar and DJ Rekha at Le Poisson Rouge on Christmas Day at 10pm

DJ Rekha presents Bollywood Disco Xmas!

Doors Open: 10:00 PM (Happy Hour from 10pm-11pm)

Le Poisson Rouge, 158 Bleeker Street NYC Tel)212-505-FISH

DJ Rekha presents the return of…

Bollywood Disco – retro filmi classics, eclectic disco grooves. DJ Rekha digs through her digital and actual crates, spinning a range of filmi songs from retro tunes to the latest dance floor hits and everything in between.

Bol•ly•wood, n. [Humorous blend of the names of Bombay and Hollywood.]

1. The Indian film industry, based in Bombay; Bombay regarded as the base of this industry.

Bollywood is shorthand for the Hindi-language film industry centered in Mumbai (formerly Bombay), India. It is the world’s largest, yearly churning out hundreds of 3-hour musical epics that also drive South Asia’s pop music industry. To the current generation of South Asian club-goers, Bollywood is synonymous with the 1970s golden age of masala films. This decade produced blockbusters like Don and Sholay (which still holds the record for most-viewed film ever made) not to mention “some of the fattest funk tunes that ever pimp-rolled their way down Music Street, Bombay.”

Recently, Bollywood has lit up the cultural radar of the west, resulting in extensive press coverage, references in films like Moulin Rouge and Ghost World, and the nomination of Lagaan for best foreign film Oscar. Not surprisingly, classic Bollywood soundtracks from the 70s have been the focus of no less than 5 compilations in the past few years. (However, with the exception of Outcaste Records comp Bollywood Funk, these have been mostly compiled by and for outsiders to South Asian culture and often provide an uneven view of the genre.) Even the cutting edge of hiphop production has been shaped by the retro Bollywood sound, as producers like Dan the Automator, DJ Shadow, Timbaland and DJ Quik dip into Bollywood’s back-catalog to widen their production palette.

Dis•co n. pl. dis•cos 1. A discotheque.

2. Popular dance music, especially of the late 1970s, characterized by strong repetitive bass rhythms.

In NY the rise of interest in Bollywood coincides with a general resurgence in the sounds of the city’s own musical golden age: the progressive disco associated with legendary clubs like the Loft, the Paradise Garage and Studio 54. In addition to the numerous compilations & re-releases focusing on the producers and DJs of this era, the Garage ethos has inspired a new generation of happenings at clubs like Spa & APT, as well as a new generation of electronic musicians.

Raj “RajStar” Makhija is a freelance music producer, composer, sound engineer, writer and musician based out of New York and Mumbai with a fresh sound described as Timbaland meets AR Rahman. RajStar was always involved with music growing up in New Jersey around a musical family as his mother sang in a traditional Indian style and his father played Tabla, an Indian percussion instrument. In addition to this, playing bass guitar and guitar in and out of school bands (i.e. marching band, jazz ensemble, percussion ensemble, out of school jazz programs, etc.) gave him a unique blend of musical sensibilities. He became interested in recording and composing music in the 7th grade when he bought himself a 4-track cassette recorder and began making songs. Later, Raj worked his way into some local studios and became well versed in high end recording techniques, then pursued an audio engineering degree at SAE Institute in New York. He interned at Water Music Studios in Hoboken NJ and after some time he was able to land an internship at the world-famous New York division of Quad Studios ( Raj and his brother formed their production company, RVM Sounds (, and their record label/artist management company, Soul Tap Records ( At Quad RajStar was able to climb the ladder quickly and after assisting some of the best engineers in the business he began freelance engineering at some of the most respected studios in New York (Sony, Right Track Recording, later known as Legacy, Hit Factory, etc.). He was fortunate to work with many of the biggest names in the American and International markets including Musiq Soulchild, Nona Hendryx, Chamillionaire, Missy Elliott, Pandit Jasraj, and Eddie Gomez, to name a few. Through Soul Tap Records Raj and his brother managed, produced, and developed artists and were able to help push the envelope of what South Asians could do in the American mainstream, namely finishing in the top of Doritos’ Crash The Superbowl contest taking with him Nivla, P. Oberoi, and DJ Sharad. This allowed his single (Produced by RajStar & Bobby Konders) “Be Easy (Koi Naa)” to be released on Interscope Records. Raj also won 1st place by popular vote and judge’s vote after competing against almost 2000 people worldwide in the official John Legend remix contest hosted by Indaba Music. RajStar has also been a guest speaker at New York University as well as SAE Institute
DJ Rekha
New York City based, DJ Rekha, is a recognized leader of the community, a renowned music producer, DJ personality, curator, educator and activist. Called the “Ambassador of Bhangra” by the New York Times and named one of the most influential South Asians by Newsweek, Rekha is among the first DJs to merge classic Bhangra and Bollywood sounds into the language of contemporary electronic dance music. Since establishing herself on the club scene with her inaugural event, Basement Bhangra at SOBs nightclub in 1997, Rekha has produced some of the longest running and most successful parties in New York including Bollywood Disco, Mutiny, and Beat Bazaar.

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“Carsten Höller: Experience” at New Museum invites audiences to be physically and psychologically engaged

Carsten Höller: Experience

Carsten Höller: Experience

Carsten Höller: Experience

Carsten Höller: Experience

“Carsten Höller: Experience” is the most comprehensive US exhibition to date of the artist’s engaging work. The current show gathers together a number of the artist’s signature works in an arrangement that transforms the viewer’s experience of time and space. Originally trained as a scientist, Höller is frequently inspired by research and experiments from scientific history and deploys these studies in works that alter the audience’s physical and psychological sensations, inspiring doubt and uncertainty about the world around them. His work often draws on social spaces outside of the museum such as the amusement park, zoo, or playground, but the experiences they provide are always far from our usual expectations of these activities. Höller’s art takes the form of proposals for radical, new ways of living by creating sculptures and diagrams for visionary architecture as well as transportation alternatives, such as his renowned slide installations. These concepts may seem impossible in the present day, but suggest new models for the future.

Each floor of the exhibition explores a different general theme within Höller’s work to provide a carefully choreographed journey through the building and the artist’s oeuvre. The fourth floor focuses on the theme of movement—featuring the artist’s spectacular Mirror Carousel (2005), which provides riders with a notably different physical experience than the traditional fairground merry-go-round, while at the same time reflecting and illuminating the space surrounding it. The third floor gathers together works that seek to provide an altered or utopian experience of architectural space. For example, his Giant Psycho Tank (2000) invites viewers to float weightlessly in the water of a sensory deprivation pool, providing a tenebrous, out-of-body experience.

Over the years, the artist has employed psychotropic drugs, flashing lights, and other stimuli to potentially alter the viewer’s mental state. His new site-specific installation on the second floor, Double Light Corner, flickers back and forth on a central axis, creating an immersive, hallucinatory experience. The work is paired with a recreation of Höller’sExperience Corridor in which the viewer is given the choice to undertake a number of self-experiments. The sculptures,Giant Triple Mushrooms (2010), icons of the kind of personal exploratory journey that his work has always centered on, will also be on view. Taken as a whole, Höller’s work is an invitation to re-imagine the way in which we move through the world and the relationships we build as he asks us to reconsider what we think we know about ourselves.

The exhibition is organized by Massimiliano Gioni, Associate Director and Director of Exhibitions, with Gary Carrion-Murayari, Associate Curator and Jenny Moore, Assistant Curator.

“Due to unprecedented attendance for the Carsten Holler exhibition and increased staffing needs, we have increased admission prices,” said Gabriel Einsohn, communications director for the New Museum. “It is most likely not a permanent increase.”

The new prices went into effect in early November. Previously, general admission was $12 and is now $16; admission for seniors increased to $14 from $10 while the student rate went to $12 from $8. Admission remains free for museum goers under 18, Einsohn said.

Admission also remains free for everyone every Thursday evening from 7 to 9 p.m..

Carsten Höller: Experience is on view through Jan. 15. Find more story published in The New York Times.

Carsten Holler

Carsten Holler

Photo by Fred R. Conrad/The New York Times

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The Sylvia Wald and Po Kim Art Gallery presents “Breathing” from March 29 to April 26, 2011, in East Village, New York City.

B r e a t h i n g”

The Sylvia Wald & Po Kim Art Gallery

March 29 – April 26, 2011

Tuesday- Saturday (11:00 am – 6:00 pm)

Opening Reception: March 29, Tuesday, 6-8 pm

The Sylvia Wald & Po Kim Art Gallery

417 Lafayette Street, 4th fl. New York, NY 10003



Alain Kirili, Byoung Ok Min,

Choong Sup Lim, KyungWoo Han,

MiKyung Kim, Po Kim,

Rakuko Naito, Raquel Rabinovich,

Robert C. Morgan,Ruth Hardinger,

Shen Chen, SungHo Choi

In recent years the art world has under gone tremendous changes involving expanded varieties of multimedia form. Diverse categories, such as modernism, avant-gardism, post-structuralism, and multiculturalism have given way to an unprecedented atmosphere of cultural globalization. Emerging artists from eastern and western hemispheres are evolving both within and beyond their indigenous cultures. Given the presence of cultural globalization, artists have begun to question such terms as aesthetic originality, formal purity and spiritual content. These cultural traditions are no longer considered absolute, but show evidence of engaging in flexibility and interactive projects. As a result, significant new concepts now reach between the center and the periphery, between the ideas of circulation and purification.

While New York is still considered the center of the international art world, artists from all around the world gather and communicate directly with one another. The strong diversity in the New York art world reveals a confidence and vibrant multicultural society. Culture exists in a way like oxygen in that the air we breathe never stops in one place, but always circulates. Artists get a new energy by breathing within this cultural environment. They are willing to absorb new ideas and interact on different levels. Many of those who come from outside the United States struggle to keep their identity in their works, while at the same time acculturating influences from around them. As a result, there are interactions within this extraordinary hybrid of international artists involved in the role that contemporary art plays in society today.

The exhibition, “Breathing” highlights different aspects of art in New York. The twelve artists included here all come from different cultural backgrounds, different multicultural experiences, and different nations. These include France, Japan, China, Argentina, Korea, and the United States. The featured works by the various artists seek to launch a vibrant cross- cultural dialogue. This exhibition is focused on the intimate quality of each artist’s work, including their philosophical concepts. The selected works constitute a demonstrable engagement with East Asian aesthetics and philosophies. Each invited artist has been asked to present work that carries the kind of openness necessary for this kind of awareness and cross-cultural pollination

-Soojung Hyun Ph.D (Guest Curator of The Sylvia Wald & Po Kim Art Gallery)


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Pioneering Beings: This Months Favorite Reads

Yes, OK, I’ll admit it, I’m a Bio Junkie! And can’t stop searching for those ones which give me that copious supply of inspirational fuel. These two books were my latest reads Marcia Tucker was a Contemporary Art curator in New York City for 40 years. She was the first female curator at the Whitney […]

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‘La MaMa Meet Up’ for a chance to become La MaMa family!

Meet a La MaMa program curator at our next Meet Up event.  You will get an opportunity to speak with the La MaMa staffer in charge of programming for your area of interest: Theater & Dance; Puppetry; Visual Arts; Graphic Design. Tell us why you want to work at La MaMa, and show us who you are! Please bring your portfolio and/or resume with supporting materials. La MaMa’s Meet-Up will take place at 66-68 East 4th St. (between the Bowery and 2nd Ave.) on Tuesday, November 16, 2010 from 1PM – 5PM. We will meet in the lobby of the Ellen Stewart Theatre on the second floor of the Annex. Sign up for a time slot below!

November 16, 2010 at 1PM – 5PM

Theatre & Dance – Sign Up Now

Puppetry – Sign Up Now

Visual Arts – Sign Up Now

Graphic Design – Sign Up Now

La MaMa’s Ellen Stewart Theatre is located at 66 East 4th Street in Manhattan’s East Village. Performance times are Thursday through Saturday at 7:30 pm and Sundays at 2:30 pm.


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SHARPEN: Stella Kramer on ASMPNY’s Fine Art Photography Bloggers Panel

(l to r) Susan May Tell, Stella Kramer, Rubin Natal San-Miguel, Elizabeth Avedon, and AD Coleman. Photograph by Frank Rocco


“Conversations with Fine Art Photography Bloggers”

Review for ASMP-NYs Sharpen by Panelist Stella Kramer

“Wednesday night’s panel with Elizabeth Avedon, Ruben Natal San-Miguel, A.D. Coleman and yours truly, (Stella Kramer), moderated by Susan May Tell, was a lively discussion about fine art blogging, enhanced by the fact that we all come to it from a different perspective. Alan Coleman (first photography critic for the NY Times and named one of “The Top 100 People in Photography” by American Photo Magazine) comes to it as a social commentator, and has been blogging since 1995. As a leading writer on the subject of photography at Photocritic International, he uses his blog as a platform to be a journalist, having exposed and followed such stories as the dismantling of the Polaroid collection. He’s now reporting on the story of the recently “rediscovered” Ansel Adams negatives.

Elizabeth Avedon likens blogging to, putting a message in a bottle and throwing it out into the ocean. You don’t know who may find it. But with an international audience Avedon shows work by not just photographers, but all artists whose work moves her. And (as a former Gallery Director) “knowing how few shows galleries are able to put up in a year, blogging is a good forum.”

The idea of blogging reaching out to an international audience was echoed by Ruben Natal-San Miguel, who sees his blog, Art Most Fierce, as a business whose purpose is to promote art collecting. He began collecting art after Sept. 11, and after buying the art he writes about it. He promotes artists and not-for-profit organizations to raise money for them. He was most direct in talking about the importance of using Facebook and Twitter in concert with his blog to promote photography.

For me (Stella’s blog is Stellazine) the important thing is to know why you’re blogging. Without a strong definition, a blog can just be more noise. I love the fact that I can say anything I want, and the work I feature is work I like. It’s discussing the creative process that I find most satisfying–giving photographers a chance to talk about what they do, why they do it, and what it means to them.

The one problem we find with blogging is that it is not going to make money–but then none of us started with that intent , although Ruben is adamant about it being a business for him. He sees his blogging as a way to put info out there for others to benefit from. He curates shows which sell work, and speaks of treating work as special–not overexposing it everywhere. Avedon had a different opinion of that, saying putting work out there was a way for people to find out about it. But the idea of scarcity creating interest for collectors was Ruben‘s impetus for cautioning people about overexposure.

(EA: At this time Galleries aren’t worried so much about over-exposure as they are about not reaching enough people. It’s been my experience that having exposure on several Photography Blogs has caught the attention of reviewers and curator’s.)

While both myself and Avedon look at more work online both Ruben and myself go to shows–although he goes to many more than I do. Coleman doesn’t go to shows, but he goes to FotoFest, and the Palm Springs Photo Festival to see work.

There was a large crowd who seemed to hang on every word, and I think we all enjoyed the discussion, hearing each other’s point of view. If you weren’t there, plan on being at the next panel. If you were, let us know what you thought by commenting here.‘ This post originally appeared on ASMP/NY‘s Sharpen

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Stella Kramer is a two-time Pulitzer Prize winner while at The New York Times and the recipient of the Infinity Award from the International Center of Photography. Check out her blog Stellazine


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