30 may 2017 i LIC COURIER i www.qns.com Courtesy of PLAXALL LONG ISLAND CITY MAY 2017 The Sculpture Center May 1 - July 31, 2017 Sam Anderson: The Park Museum of the Moving Image MOMA PSI Maureen Gallace: Clear Day Through September 10 INSTALLATION Tut’s Fever Movie Palace Ongoing 22-25 Jackson Ave • LIC 718.784.2084 • MoMAPS1.org 35 Ave at 37 St • Astoria 718.777.6800 • www.movingimage.us 9-01 33rd Road at Vernon Blvd. Long Island City, NY 11106 718 204-7088 • www.noguchi.org Tut’s Fever is a working movie theater and art installation created by Red Grooms and Lysiane Luong, an homage to the ornate, exotic picture palaces of the 1920s. Inspired by the tomb paintings they saw during a trip to Egypt, Grooms and Luong covered the walls, oor and seats of the theater with hand-painted, Egyptian-style depictions of Hollywood royalty. Silent screen star Theda Bara works the box oce, Mae West stands behind the concessions stand, and Mickey Rooney is the usher. Rudolf Valentino, Elizabeth Taylor and many others grace the walls, and each slipcovered chair in the theater features an image of Rita Hayworth. Visitors can open a sarcophagus to nd a sculpture of James Dean lying in his tomb, cigarette still dangling from his mouth. For more than 25 years, Maureen Gallace (b. 1960) has painted genre scenes drawn from the American landscape and still life traditions. Her small canvases and panels most commonly depict rural pastorals and coastlines, typically featuring nondescript barns or cottages amid dunes and foliage in settings that evoke holiday cards and vacation snapshots. Sam Anderson is creating a series of newly commissioned sculptures and video work for Sculpture Center's lower level galleries. Anderson creates compositions with gures and objects that inhabit oddly familiar relationships to the site and viewer. Often depicting intimate and internal dynamics, the arrangements are formal as well as psychological, eects expressed through repetition and mutations in scale and style. Using a range of found and made materials to construct her scenes, each work borrows from language as well as personal history to question how memory and emotion is indexed.
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