The Pollock-Krasner House and Study Center’s public programs are supported in part
by grants from the New York State Council on the Arts, with the support of Governor
Andrew Cuomo and the New York State Legislature, the Suffolk County Office of Cultural
Affairs, the Stony Brook University Research Foundation, the Pollock-Krasner Endowment
Fund and the Herman Goldman Foundation.
ART WORKSHOPS AT THE POLLOCK-KRASNER HOUSE
Thursdays, Fridays and Saturdays,
10 - 11:30 a.m.
in early September
Designed for people of all ages, these programs include a tour of the house and studio, a film of Pollock at work, and a hands-on painting session. The fee is $40 per person, including materials. Registration is required, as space is limited.
Thursdays and Fridays
Action Painting with Karyn Mannix Call 631-329-2811 or email email@example.com
Family Art Workshop with Joyce Raimondo Register online at imaginearted.com
FALL FILM SERIES AT THE POLLOCK-KRASNER HOUSE
Pollock-Krasner House and Study Center
830 Springs-Fireplace Road
Fridays at 7 pm. Admission is free.
Made possible by a grant from the Suffolk County Office of Cultural Affairs
Imagining Art as Place
This year’s series, hosted by film historian Marion Wolberg Weiss, brings us lesser-known movies by distinguished directors from diverse countries. A common hallmark is an engaging artistry based on a sense of place that drives the plot, theme and style. From kinky SoHo in Martin Scorsese’s comedy, After Hours, and working-class Vienna in Museum Hours to a saint’s blasphemous evolution in My Mother’s Smile and the gruesome re-creation of Pieter Bruegel’s characters in The Mill and the Cross, provocative art leads the way. Dr. Weiss will introduce the films and lead discussions after the screenings.
Martin Scorsese, After Hours, 1985 (100 min.)
Mild-mannered word processor Paul Hackett (Griffin Dunne) experiences a life-changing night as he wanders through SoHo, initially to keep a date but instead trying to escape a group of quirky, quixotic artists while encountering Kafka-like adventures.
Teri Garr, Cheech and Chong and John Heard contribute to the kooky cast, proving that
both art and life can be equally crazy.
Jem Cohen, Museum Hours, 2012 (106 min.)
An unconventional locale, this austere Viennese museum is a place of loneliness for both the guard and the female foreigner who befriends him.
Yet as they explore an often drab Vienna while visiting the woman’s dying cousin, they learn how art and life can be similar—simultaneously surreal and ordinary.
Marco Bellocchio, My Mother’s Smile, 2002 (102 min.)
It’s no surprise that Bellocchio’s film was banned by the Catholic Church: the hero, an artist of children’s books, does not support the idea that his mother should become a saint. And no wonder.
He is an atheist, refusing to be pressured by the Church and his family alike.
Nor does his mentally ill brother, who murdered his mother, help to resolve matters.
Bellocchio, a friend of Pier Paolo Pasolini, influenced radical Italian cinema in
the mid 1960s.
Lech Majewski, The Mill & the Cross, 2010 (95 min.)
This surreal film, showing the daily life of 16th century Flanders as experienced by Pieter Bruegel the Elder, is both a historical journey and an emotional rollercoaster.
Rutger Hauer plays Bruegel from inside his own painting, discussing the development of his work and his feelings about it. The original characters literally come to life, leaving the viewer mesmerized.
ART IN FOCUS
Three recent books are featured in this fall’s lecture series, co-sponsored by the Pollock-Krasner House and Study Center and the Stony Brook Southampton Library. The talks will be followed by book signings.
Stony Brook Southampton Library
239 Montauk Highway
Tuesday evenings at 7 pm
Admission is free.
Made possible by support from the John H. Marburger III Fund of Stony Brook University
FOCUS: An Art-World Mystery
Helen A. Harrison
Director, Pollock-Krasner House and Study Center
Harrison’s latest book, An Accidental Corpse, published in August by Dunemere Books, re-imagines Jackson Pollock’s fatal automobile accident. On August 11, 1956, speeding up Fireplace Road in the East Hampton hamlet of Springs, Pollock’s car veered into the woods and overturned, killing him and a passenger, Edith Metzger. That’s what the newspapers reported. But in Harrison’s fictionalized version, Metzger was already dead before the crash. Murdered? Possibly. But by whom? Kirkus Reviews calls the book “a refreshingly original reinvention of artistic history.”
Helen A. Harrison, a former New York Times art critic and NPR art commentator, is an authority on modern American art and the author of numerous catalog essays and articles in scholarly and popular publications. Her non-fiction books include Such Desperate Joy: Imagining Jackson Pollock, Hamptons Bohemia: Two Centuries of Artists and Writers on the Beach (with Constance Ayers Denne) and monographs on Larry Rivers and Jackson Pollock. She lives in Sag Harbor.
FOCUS: Pioneering Women
In Ninth Street Women, published this month by Little, Brown, Gabriel profiles five artists—Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell and Helen Frankenthaler—who challenged the status quo in the male-dominated art world of the 1950s, when women were routinely ignored by critics and ostracized by commercial galleries and museums. “Through the lens of these women’s lives,” says Publishers Weekly, “Gabriel delivers a sweeping history of abstract expressionism and the postwar New York School.”
Mary Gabriel is the author of
Love and Capital: Karl and Jenny Marx and the Birth of a Revolution, which was a finalist for the Pulitzer Prize, the National Book Award, and the National
Book Critics Circle Award, as well as of
Notorious Victoria: The Life of Victoria Woodhull, Uncensored, and
The Art of Acquiring: A Portrait of Etta and Claribel Cone. She worked in Washington and London as a Reuters editor for nearly two decades and
lives in Ireland.
FOCUS: The Beat Generation
Elena Prohaska Glinn
Art appraiser and consultant
While preparing material for a retrospective exhibition of work by her late husband,
Magnum photographer Burt Glinn, Elena discovered a remarkable collection of largely
unseen photographs of Beat writers, artists and musicians. The photographs—more than
70 of them in color—were shot between 1957 and 1960 in New York and San Francisco
and feature nearly all the famous Beats, capturing the spirit of the counterculture.
This trove of images was published in July by Reel Art Press as
The Beat Scene. Writing in
The New York Times, John Leland praised the book for its intimate portrayal of “the Beat Generation in
its natural habitat.”
Elena Prohaska Glinn is an art advisor and independent curator who lives in East Hampton. She will discuss the process of creating the book and place Glinn’s images in the context of his career as one of America’s foremost social documentary photographers.