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Jill Krementz covers the Quay Brothers at MoMA

Stephen and Timothy Quay, photographed by Jill Krementz on August 7, 2012 at MoMA.

"Sometimes it shocks us how few references people have to the literature and music that has driven us .... It makes us feel elitist by default, which is not what we intend. We would rather our films were treated like department stores — admittedly manic department stores — in which one can take a lift to whatever level one wants."
— The Quay Brothers, 1986
Quay Brothers: On Deciphering the Pharmacist's Prescription for Lip-reading Puppets
August 12, 2012 - January 7, 2013
MoMA

The Quay Brothers have been vanguard filmmakers for over thirty years, working in a mix of collage, stop motion puppet animation, live action, and special effects.  While their work has been influenced by cinematic and graphic traditions, it is uniquely their own.

The identical twins, Stephen and Timothy, were born in 1947 in rural Norristown, Pennsylvania. After graduating from the Philadelphia College of Art where they studied design, and then the Royal College of Art in London (1965-1972), the brothers, working as one, began their career with commercial work that included designing album covers for Columbia Records and book jackets for various publishing houses. Their illustrations were used as cover art by the band Blood, Sweat and Tears as well as for books by Anthony Burgess, Italo Calvino, and Louis Ferdinand-Céline.

In 1979, the brothers commenced their work in experimental filmmaking with the opening of their London studio, Atelier Koninck.  It is for their idiosyncratic films they are best known — 70 of them — including documentaries, commercials, music videos, dance films, and two feature films. Street of Crocodiles (1986) is one of their signature pieces.

Now they have their first major U.S. retrospective, curated by MoMA's Associate Curator of Film Ron Magliozzi. Mr. Magliozzi also curated MoMA's blockbuster Tim Burton show in 2009.  This exhibition, spread out over three floors, includes puppets, stage sets, calligraphy, peephole installations, posters, book jackets, record album covers, photographs, collages, and personal ephemera. Within the exhibit there are numerous alcoves where one can see their various films. There is also a full-scale retrospective of all their film and video works scheduled over the next six months in the Titus Theaters.
Part I of the exhibition is on the second floor.
Entrance to the galleries on the second floor. Paul Jackson, MoMA's press officer, was on hand to welcome us to the press preview.
As you enter the first gallery there is a large black and white mural, an enlarged photograph taken in 1948 of the twins with their mother in Norristown, Pennsylvania, where they lived until 1968.

Norristown is a borough six miles northwest of Philadelphia on the Schuylkill River that had been a hub for manufacturing in the nineteenth century, producing goods ranging from tacks, wire, milling machines, and screws to hosiery, underwear, and shirts.

The twins' father was a first-class machinist, and their mother—to whom they bear an uncanny physical resemblance—was a homemaker with a talent for figure skating. In addition to their athletic skills, the twins' facility for drawing was detected early and encouraged; stark landscapes dotted with trees, a motif in much of their work, first appeared in their teenage drawings.

It was in this rural setting that they encountered thriving local flea markets, which were stocked with the kind of dusty, decaying objects, redolent with texture and calling out to be touched, that would later populate their stop-motion films.
Unknown photographer
Mom Ice Skating
c. 1948
Gelatin silver print

From the catalogue:

QQ's: "Only recently we discovered a photograph of our mother at 21 posed on the tips of her toes in ice skates, and she told us that she was already pregnant with us and yet she carried on skating for another four months. Not only were we cocooned in a belly that skated daily to the repertoire of classical ballet music, but surely we also heard steel being engraved upon ice beneath us and were already secretly inheriting inside our own skin not only all those compulsory figure eights that she so meticulously practiced but also those extended glissades and leaps."
Untitled snowscape (Timothy)
c. 1955; Oil on canvas board
Untitled snowscape (Stephen)
c. 1955; Oil on canvas board
The 1967 exhibition Polish Poster Art at the Philadelphia College of Art introduced the twins to the world of European opera, drama, music, and cinema that would draw them away from their roots in the rural United States.

Polish avant-garde illustration is grotesque, surreal, lyrical, and witty, and it deals freely with its subjects; it is work with the courage to be strange and ambiguous.

When the Quay Brothers opened their film studio in 1979, they covered its walls with Polish posters from the 1960s for inspiration. This display is a sampling of those posters, selected by the twins from the Museum's collection.
Roman Cieslewicz
Katastrofa
1961
for the Zoltán Várkonyi (1912-1979) film Mérenylet (Hungary, 1960)
Offset lithograph
Franciszek Starowieyski
Zamek
1965
For a Warsaw dramatization based on the Franz Kafka (1883-1924) novel The Castle (1926)
Offset lithograph
Rudolf Freund
The Quay Brothers met the illustrator and naturalist Rudolf Freund through their high school art teacher in the late 1960s, and they began regular visits to his farm and studio in Collegeville, Pennsylvania.

Freund allowed them to observe him at his easel and to study what they have described as "the kingdom of animals and insects" in his library. Renowned for his covers for Scientific American magazine and his art for Time Life publications, Freund impressed the twins with the detail and immediacy of his work, while he often voiced his displeasure at the loss of vividness it suffered in its published form.
Rudolf Freund
Ecological Chemistry, February 1969
For Scientific American magazine, February, 1969

The twins have described watching Freund create the February 1969 Scientific American cover "Ecological Chemistry" as "one of those crucial revelatory moments when something painted was so powerfully tactile."

Their time with Freund was the source of many of the brothers' aesthetic principles, and he provided a model for their consuming work ethic.
Record cover design for Blood, Sweat & Tears, by Blood, Sweat & Tears (Columbia Records, New York) 1968

The Quays' first professional job, in their last year at the Philadelphia College of Art, was a commission from Columbia Records to create an album cover for American rock band Blood, Sweat & Tears. Designed under the influence of the Polish avant-garde, their collage of headless musicians based on a studio press photo was edited by the label, which simply reapplied the severed heads for the album's release.
Blood, Sweat & Tears recollage 2012 collage.

Here the Quay Brothers have recreated their original design.
Gilbert Gayton still has his Blood, Sweat & Tears original record albums. "I bought them back in the '60s." Mr. Gayton is a retired head hunter. Raj Roy, Chief Curator of Film. The 39-year-old Mr. Roy started his professional life selling tickets at the Guggenheim Museum.
The Quay Brothers
Bicycle Course for Aspiring Amputees

1969
Pencil and oil paint on paper
The Quay Brothers
The Gradually Tightening Avenue of Trees

1972, Etching
Peter Reed, MoMA's Senior Deputy Director for Curatorial Affairs. Mr. Reed's dapper suit is by the Italian designer, Ermenegildo Zegna. Susan Morris, an old friend of the Quays, who curates art for the Ford Foundation.
Rebecca Penrose is Assistant Curator: Interpretation at the Tate Britain and the Tate Modern, London; in this role she prepares the explanatory texts in many of the catalogues for works on exhibition and for online images of Museum holdings. She was previously an Interpretation Officer at the British Museum.
The Clockwork Testament; or, Enderby's End
Anthony Burgess,1975
Alfred Knopf, New York, Book

After graduating from the Royal College of Art, London, the Quay Brothers returned to the United States to pursue a career in commercial art and design.

Over the next six years, in Philadelphia and later in Amsterdam, work was sporadic: filler for the review sections of the New York Times and Philadelphia Inquirer; book covers for suspense and science-fiction novels; Gothic illustrations for publisher Hugh Hefner's men's magazines.

They also did a series of drawings for the American edition of the novel The Clockwork Testament; or, Enderby's End, by Anthony Burgess.
I, too, photographed Anthony Burgess in the early 1970s. Mr. Burgess was teaching at Columbia in 1971.
They also designed numerous book jackets for Italo Calvino.
Calvino book jackets.
I also worked with Italo Calvino but for the back jackets, unlike the Quays who illustrated various covers. The Castle of Crossed Destinies, was published in 1976 by the legendary Helen Wolff at Harcourt Brace Jovanovich.

Another one of my photos was used the following year on the jacket of The Castle of Crossed Destinies — this one without his signature black eyeglasses.

It's eerie. Last week I wrote about Gore Vidal, who was a close friend of Calvino's. This weekend I read the galleys of a forthcoming bio by Deirdre Bair about the artist Saul Steinberg and Steinberg, too, was a huge admirer and friend of this great author. This, in addition to the Quay's obvious affinity with the Italian writer.
This is the photograph the publisher might have used since the conceit of the book was that its author (Calvino) was using tarot cards to unfold the stories of high adventure.
THE BLACK DRAWINGS
The Quays Brothers' series The Black Drawings (completed in the mid-1970s) defined the visual palette of their future films and was the basis for later design work and opera and ballet settings, such as those for Mazeppa (1991) and The Sandman (2000). Inspired by the city-scapes and architecture they encountered on their travels in Europe and by the work of authors such as Franz Kafka (Austro-Hungarian, 1883–1924) and Louis-Ferdinand Céline (French, 1894–1961).

As evident in this 1981 book jacket for Céline (published in the Netherlands), the drawing is a noir set piece with the requisite blend of angst and sinister narrative, suggesting a scene from a graphic novel.

The use of suspended figurative gestures and privileged point of view is cinematic, and the brothers' earliest puppet films, Nocturna Artificialia (1979) and the Kafka adaptation Ein Brudermord (1980), were based directly on the drawings.
My husband was a great admirer of Céline and wrote an introduction to this book and blurbed Frédéric Vitoux's excellent biography published by Paragon House hailing it as "definitive." "It will never be superceded. There is no more research left to be done."

Philip Roth, Henry Miller, Jack Kerouac, and George Steiner all admired Céline. Roth said "To tell you the truth, in France, Céline is my Proust! Now there is very great writer. Céline is a great liberator. I feel called by his voice."

The art on the cover of this book is by Otto Dix.

Isaac Bashevis Singer wrote me a postcard saying: "Dear Miss Krementz. Tell your husband that Céline was not a great man!"
View of gallery holding early work and ephemera by the Quays.
Art writer Larry Qualls and his partner, film blogger Daryl Chin, standing in front of one of the many screening alcoves on the second floor.
Daryl Chin:

"The Brothers Quay have transformed The Museum of Modern Art into a Victorian labyrinth filled with their distinctive graphics and animated works; film buffs like me will spend hours in the video rooms.

"Though some of the drawings and dioramas have quirky sexual details, in keeping with their surreal sensibilities, this is a show which should find enthusiastic crowds."
PUPPETS
Girl puppet from Stille Nacht II: Are We Still Married?
1992
Plastic, cloth, wood, and leather
Nocturna Artificialia puppet
c. 1979
Fabric, metal, ceramic
Rabbit puppet from Stille Nacht II: Are We Still Married?
1992
Stuffing, cloth, metal, fur
Reverso of rabbit.
There are numerous puppets on display used in various films.

Décor: Maska (left to right: King puppet, Nobleman puppet, Duenna puppet)
2010
Aluminum, cloth, plaster, plastic, wood
Closeup of King puppet and Nobleman puppet. Closeup of Duenna puppet.
Mayakovsky puppet, Igor, The Paris Years Chez Pleyel, 1982
Paper, wood, metal

Mayakovsky, a hero in our household, was among the foremost representatives of early-20th century Russian Futurism.
When my husband Kurt Vonnegut and I visited Moscow in October, 1974, I photographed him with Rita Rait (his Russian translator) under this great photograph of the Soviet poet and playwright.
Anamorphosis, a perspective technique used in the visual arts, creates a distorted-looking image that can only be deciphered when viewed from a specific vantage point. If you stand in just the right place in this gallery, you can read the Quay Brothers' anamorphic signature on the wall.

Their documentary on the subject, De Artificiali Perspectiva, or Anamorphosis (1991), is on view in Part II of the exhibition, alongside a display of the artists' cinema decors. The perception and interpretation of their work by others is a motivating interest for the Quay Brothers, and one of the pleasures for viewers of their graphic design and films is the active role the spectator plays in the process of determining meaning.

What this all means: when viewing this wall position yourself next to either one of the two red ovals.
I am standing by the red oval on the right so I guess this is how it should look to the viewer.
Tom Brook from the BBC interviewing exhibition curator, Ron Magliozzi.
The box is a décor. It is from The Calligrapher short film. Peter Reed takes a peek.
Looking through the portal, this is what you see.
Anny Aviram and Peter Reed. Anny Aviram is a painting conservator at MoMA, where she has worked for 40 years.
Stille Nacht IV: Can't Go Wrong Without You
c. 1993
Collage with ink
Jakob-Schrift
c. 1994
Manuscript
Matchbook collages (Old Master and Old Woman) and collages on audiocassette tapes, c. 1976-80

(For a sense of scale, that's me reflected in background).
Quay brothers studio correspondence, (for Ein Brudermord), Sept. 10, 1980 Self-Portrait as Mennonites, 1995
Collage
A complete retrospective of the Quay Brothers' cinema decors, known as Dormitorium, continues in Part II of the exhibition, accessible on the ground floor of the Museum.
Please Sniff: Powdered Deer Ejaculate, Institute Benjamenta, or This Dream People Call Human Life, décor, 1995
Wood, glass, coarse salt, antlers
In the lobbies outside the Roy and Niuta Titus Theaters, there are many visual treats of set designs for the films. If you are a fan of the Quays, don't miss these.
Set design for This Unnamable Little Broom, Little Songs of the Chief Officer of Hunar Louse,
or This Unnameable Little Broom, being a Largely Disguised Reduction of the
Epic of Gilgamesh,
1985
"Tailor's Shop," set design for Street of Crocodiles, 1986.
"Grand Box," Set Design for Street of Crocodiles, 1986

This reconfiguration of the set from the Quay Brothers' 1986 film Street of Crocodiles contains its lead puppet, the Stalker, an everyman explorer of a forgotten cityscape. He has been thought by viewers to resemble the twins themselves, the Polish writer Bruno Schulz, American artist Joseph Cornell, and characters from the German Expressionist film Das Cabinet des Dr. Caligari (The Cabinet of Dr. Caligari, 1920), directed by Robert Wiene, and Luis Buñuel's Surrealist film comedy L'Age d'or (The Golden Age, 1930).
Welcome remarks by Ron Magliozzi.
Conversation among Peter Reed, Ron Magliozzi, and the Quay Brothers, Stephen and Timothy.
Stephen and Timothy Quay.
Clips from Quay Brothers Murphy's Irish Stout "Warriors" commercial (1996).
Timothy Quay is on the left, Stephen Quay in the middle, curator Ron Magliozzi on the right.
Large Mural: A self-portrait of The Quay Brothers with the set of Street of Crocodiles, c. 1990.
Later that evening ...
Chairman of MoMA's board of trustees, Jerry Speyer, who hosted the evening. Lauren Driscoll and Nicholas Ruiz helped plan the evening. They're both part of MoMA's Special Programming and Events team.
John McPherson has been working at MoMA for 21 years and painting for 61. Mr. McPherson thinks this show will be as popular as the Tim Burton retrospective was a few years ago. Ron Magliozzi, MoMA's Associate Curator, Department of Film.
Albert Maysles still going strong at 85. Maysles knows a thing or two about collaborating with a sibling, having worked on so many documentaries with his late brother, David.

The Maysles brothers are perhaps best known for their documentary Grey Gardens about Little Edie Beale.

Maysles is now collaborating on a project with Elie Wiesel. He is also trying to find funding for his recently- completed In Transit, a film about people on trains and subways.
Susan Morris, "a long-standing friend of the Quay Brothers," with Stephen Quay in first gallery on the second floor. Filmmaker David Leitner is Morris's boyfriend. Jeane Wampler with her sons when they were babies in Norristown, Pennsylvania.
The traveling pizza squares.

Several pairs of waiters paraded around the garden bearing copper structures with suspended individual pizza galettes on free-swinging hooks. The evening was catered by Pinch Food Design and it was the most creative catering I've ever seen. TJ Girard, a 31-year-old former stage designer, and her business partner and co-owner, Bob Siegel, a chef with thirty years experience, are the wizards behind the culinary theatrics.

Other tasty tidbits included dangling Bavarian pretzels (a la the pizza squares with the waitstaff carrying small squeeze bottles of spicy mustard), fava beans and mint in zucchini tartlets, grapes stuffed with chicken tarragon salad, spicy tuna on black rice with sisho, chicks (chicken sausage and apple mustard) in a blanket, and lobster salad on miniature warm buttered rolls. The steak frites are too hard to describe, but easy to love.

The Quays had asked MoMA to forgo a fancy luncheon in their honor and to pull out all the stops for the evening reception.

DJ music was supplied by the Quay Brothers. They put together a playlist beforehand and it was played throughout the evening on an iPod.
Mother of the Quay twins Jeane Wampler, 85, with another son Andrew Quay, five years younger than his twin brothers. Andrew is with QVC.

Because there is a photograph of her skating in the exhibition, I asked her if she had brought along her skates.

"I gave up skating when I was three months pregnant with the twins. This time I'm going to Rockefeller Center, but I'm not taking my skates."

Mrs. Wampler reminisced about those days before the twins were born saying that "back then we all used to wear leg make up."
Kathy Quay, wife of Andrew, hence the twins' sister-in-law. Ken Swezey is an intellectual property rights lawyer — my kind of guy.
Laura Lindgren is a publisher and book designer for the Mütter Museum. Susan Bernofsky translated Robert Walser, an author the Quay Brothers love. The Swiss author (1878–1956) is, in fact, one of the literary modernists, along with Franz Kafka and Bruno Schulz, to whom the Quay Brothers have turned most frequently.
Robert Walser Portrait
c. 1910, Digital Print, 2012

Walser's writing style, a mix of playful observation and existential fears, is a source for the twins' short films Stille Nacht: Dramolet (1988), conjuring Walser's incarceration in an asylum in Herisau, and The Comb [From the Museums of Sleep] (1990), taken from an essay on freedom.

The Quays first feature, Institute Benjamenta, or This Dream People Call Human Life (1995), was also based on Walser's 1909 novel Jakob von Gunten.
Kate Wolf and Tim Nelson. Ms. Wolf is a jewelry designer and her husband, Tim Nelson, composed the music for the Quay Brothers film, Through the Weeping Glass.

When this film was shown at the Wexner Center for the Arts it was described this way:

"Through the Weeping Glass: On the Consolations of Life Everlasting (Limbos & Afterbreezes in the Mütter Museum) is a hybrid documentary inspired by the unique collection of books, instruments, and medical oddities at Philadelphia's Mütter Museum.

"This mini-masterpiece represents an ideal marriage of the Quay Brothers' unique, often darkly grotesque, cinematic vision and the museum's vast collection of medical anomalies.

"Through the Weeping Glass is the first film by the Quay Brothers to be made in the United States. Narrated by Derek Jacobi, with music by Tim Nelson. (31 mins., 35mm)."
Thyrza Nichols Goodeve is an art writer, artist, and interviewer active in the field of contemporary art and culture. Since 1999 she has been on the faculty at the School of Visual Arts, teaching in the MFA Art Criticism and Writing Program.

Goodeve wrote an article about the Quay brothers in 1996 for Artforum magazine:

This is the intro of her interview with the QQ's, as she calls them.

"In reputation the Brothers Quay are wrapped in mystery, including whispers about their dense and dark London atelier (Koninck studios, which they founded in 1980 with their producer, Keith Griffiths), rumored to be crammed with such things as antique dolls in bell jars and stacks of crumbling insect wings.
"I half expected to find them a pair of wizened gnomes with rusty screws, butterfly dust, and cobwebs dangling from their hair. Nothing so exorbitant – only two disarmingly friendly, whirling personas of elegantly rumpled charisma, who just happen to have turned their accidental birthright as identical twins into one of art's most ingenious and visionary collaborations.

"The conversation took place amidst New York's blizzard of '96, as though the environment were duplicating the atmospheric wonder that the brothers' films so effortlessly provoke."
Full length photo of Ms. Goodeve. "The T-shirt was made by the Coolidge Theater in Cambridge, Massachusetts in 2009 for the 6th Annual Coolidge Award, which the Quays received that year. I introduced them at the awards ceremony.

"If anybody is interested ... the tattoo is by artist Matthew Barney."
Heide Hatry is a New York-based German neo-conceptual artist, curator and editor. Her work, often either body-related or employing animal flesh and organs, has aroused controversy and has been considered horrific, repulsive or sensationalist by some critics, while others have hailed her as an "imaginative provocateur."

This is what Thryza Goodeve said about her friend Heide with whom she attended the opening night reception:

"Hatry's Heads and Tales book was a series of portraits of women made out of pig skin, meat and pig eyes. Heide asked 27 writers to write the backstory. The complexity and yes, ethics, will be clearer in her next book Not a Rose where she made flowers out of the discarded parts of animals: like offal or sex organs. They look like flowers until one reads the intro and the 101 short essays she commissioned from philosophers, neuroscientists, ethicists, feminists etc. ... and writers like me (I didn't write an essay but a dialogue between the writer Margaret Atwood and Georges Bataille)."
Heide Hatry with her boyfriend, John Wronoski, a rare book dealer and owner of Lame Duck Books in Cambridge, Massachusetts.
Rudolf Freund stands in front of a photograph of his father. Known as Rudy, Mr. Freund lives in Boca Raton where he is the production manager of an electronics company.

Freund translates to 'friend' in English.
This is a photo in the exhibit of Rudolf Freund with his wife Susan and their daughter Sandy. The dachshunds are Trudy and Lulu. Sandy is holding George, the goose.

Sandy was evidently at MoMA for the opening night party, but alas I did not meet her.
Rudy Freund and his wife Tatiana, who graduated from Florida Atlantic University with a Master of Science degree. "I have defended my thesis on the astrophysics topic about the creation of heavy elements, such as gold, platinum, uranium, and much more, during the explosion of supernova stars." Rudy Freund photographed from a different angle.
Rudolf Freund
Honey Bee
For Life magazine, "The Life of the Bee",
August 11, 1952
Acrylic on paper
Rudolf Freund
Army Ants -- Bivouac Web, 1960
For "The Wonders of Life on Earth," Time Inc.
Acrylic on board
Rudolf Freund
Genetic Mosaics
1960
For Scientific American Magazine, May 1960
Acrylic
Rudolf Freund
Home Life of the Swift
1954
For Scientific American Magazine, July 1954
Acrylic and pencil on board
Jennifer Freund Gasper and her father Peter Freund. Mr. Freund is the son of Rudolf Freund,
the brother of Rudy.
Logan Gasper is 8 months old. He's the great grandson of Rudolf Freund.

Amazing! Three generations of Freunds were on hand to celebrate the opening and pay homage to the man who most influenced the Quay Brothers when they started out.
Timothy Quay with Alan Singer. Professor Singer, who is affiliated with Temple University, teaches an annual summer graduate seminar in aesthetics in the center of Rome, often attended by the Quays.
Timothy Quay with Joslyn Barnes. Ms. Barnes was an associate producer of Uncle Boonmee Who Can Recall His Past Lives and executive producer of the forthcoming The House I Live In.

A screenwriter and producing partner of actor/producer Danny Glover, Barnes is currently working on a film about the arms trade with Johan Grimonprez, and another about the climate crisis with Avi Lewis and Naomi Klein. Her most recent production was The Black Power Mixtape 1967-1975.

Those of you familiar with the work of Djuna Barnes will be interested to learn that Joslyn Barnes is the niece of the modernist writer and illustrator who was one of the key figures in the Bohemian Paris of the 1920s and '30s.
Djuna Barnes (June 12, 1892-June 18, 1982) was an American novelist, poet and playwright who played an important part in the development of 20th century English language. Her best known book was Nightwood, with an introductory essay by T.S. Eliot.

The eccentric author was the recent subject of a show at the Brooklyn Museum curated by Catherine Morris. Djuna Barnes's first job was at The Brooklyn Eagle. "She interviewed people like James Joyce and others and became an active part of the really modern avant-gardes of Paris," Morris says.

She returned to New York in the 1930s and became a recluse, dying in 1982 in Greenwich Village — decades after she became famous in feminist circles for her novel Nightwood.
Joslyn Barnes and Peter Reed.
L. Somi Roy is the Executive Producer of the Gold Cast International Film Festival, which will have its second season this October in Great Neck, New York. Mr. Roy has curated film and media programs at MoMA, the Film Society of Lincoln Center, the Whitney Museum, Asia Society, and many other venues. Raj Roy and L. Somi Roy, who are not related. Raj Roy is the museum's Chief Curator of Film.
Stephen Quay.
Lucas Gonzalez is an Audio Visual Technician for MoMA. Mr. Gonzalez had this tattoo copied from a locust found in MoMA's garden.
His arms are a visual reflection of the world around him.
While I was photographing the locust, Lucas said, "you should see my friend's back." So I said to his friend, "well let's see it!"

And this is what I saw when Drew Bushong rolled up his T-shirt. Mr. Bushong is a bartender at a beer bar in Greenwich Village: 124 Old Rabbit Club.
The tattoo is of a rendering of the Tibetan Diety, Palden Lamo. Palden Lamo (or Shri Devi or Lhamo) is one of the most popular protector deities of Tibet.

I am learning so much about art these days (under the guise of having cute young bartenders peel off their shirts).
Meg Blackburn, Director of Media Relations at Fitz & Co. Ms. Blackburn used to be a press officer at MoMA. MoMA press officers Brien McDaniel and Margaret Doyle. And no that is not a typo. It's Brien with an "e." You think this job of mine is easy?
Alden Warner, a banker, and Peter Reed are long time partners.
Jerry Speyer, Alden Warner, and Peter Reed.
Kamila Kuc is a Polish art and film historian and critic who has written for Sight and Sound as well as other magazines. She has published widely on Polish cinema, the subject of her PhD thesis, and has curated film festivals in Poland and abroad.

Ms. Kuc appeared in the last film by the Quay Brothers.
Kamila Kuc and her boyfriend, Timothy Quay.
Lydia Hunn and Kathy Martin were undergraduates with the Quays for four years at the Philadelphia College of Art. They all graduated in 1968. "I have to tell you," said Ms. Martin, "they were beautiful models when they had to pose in art class."
Julie Taymor and Timothy Quay, both film-makers, both master puppeteers. The Quays did the animation sequence for Taymor's 2002 feature-film biography of Frida Kahlo.
Music producer/composer Elliot Goldenthal, Julie Taymor, and Timothy Quay. Taymor shares a loft with Goldenthal, who is her boyfriend and frequent collaborator.
Timothy Quay with Susan Delson, who edited the exhibition catalogue. Sadly, the fonts often make it hard to read but you will be rewarded if you get out your magnifying glass. Edward Waisnis, the Quay's American troubleshooter who worked closely with MoMA on the exhibition. Mr. Waisnis was the producer of the QQ's film on the Mütter Museum.
Exhibition catalogue with essays by Edwin Carels and Ron Magliozzi.
Darian Brenner and Africanus Okokon, both 22, are friends from the Rhode Island School of Design. Ms. Brenner graduated from RISD in May and does live action film. Mr. Okonon, an animator, is still a student at the school. Security Guards Gregory Pittman (8 years at MoMA) and Paul Johnson (31 years and counting).
Wall projection in the lobby, a digital transfer from the 1986 film, Street of Crocodiles.
Raj Roy searching for his mother. While we were talking about his family, he told me his sister was Rachel Roy but that she had not been able to attend this evening.

Rachel Roy, as you probably know, is one of Michelle Obama's favorite designers. The First Lady wore one of Roy's dresses for her husband's State of the Union address in 2011.
Hard to believe, but when I got in the cab on the way home, who should appear on the TV screen? None other than Rachel Roy! It's the first time I haven't pushed the off button.

Text and photographs © by Jill Krementz: all rights reserved. Contact Jill Krementz here.




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