Sergei Paradjanov only made eight feature films in his 34-year career, but that he produced even that many is astonishing, given the Armenian/Georgian director’s antipathy to his Soviet bosses and his long periods of internal exile and imprisonment. at the Museum of Natural History’s Baird Auditorium, 10th & Constitution Ave. Illustrated with the author’s own line drawings, Good Bones is Atwood abbreviated she reads from this attitudinal sampler at 6 p.m. Her Good Bones and Simple Murders, a collection of 35 very brief fictions and essays, includes “The Little Red Hen Tells All” and “Making a Man” (based on the Gingerbread Man tale). And Margaret Atwood, who’s been known to pen the occasional acerbic fantasy, won’t be left out. Recasting those damnably patriarchal fairy tales has become something of a trend. at the Hirshhorn Museum and Sculpture Garden’s Ring Auditorium, 7th & Independence Ave. Today, the Village Voice critic returns to the Hirshhorn to discuss Bruce Nauman, the subject of a current retrospective, whom Schjeldahl calls “the best-the essential-American artist of the last quarter-century.” At 4 p.m. In addition, he was charming, always tough on the artist (and on himself), and kind to the innocents in his audience. Speaking last year on Dubuffet, he delivered his acute judgments with astringent wit and a poetic sense of diction. He uses no slides, claiming that as a critic-not a historian-his job isn’t to impart knowledge, but to mess with things you already know. (Reuben Jackson)Īrt criticism isn’t usually thought of as a live medium, but Peter Schjeldahl proves that there are wonders to be wrought with a podium and a stack of index cards. (Voice of the Projects), whose incisive texts have graced recordings by the likes of guitarist/composer John-Paul Bourelly and Geri Allen. Also on the bill is the hip-hop duo Get Set V.O.P. appearance finds Coleman with his electric-based unit Prime Time, which combines melodic richness with equally appealing nods to swing and funk. But like the once equally despised bebop, it is difficult to deny the melodicism of Coleman compositions like “Theme From a Symphony” (from the shamefully unavailable Skies of America) or the oft-performed “Lonely Woman.” This rare D.C. Like the term “jazz” itself, no one has yet defined “harmelodics,” the musical system on which the innovative (and always controversial) composition and alto saxophone artistry of Ornette Coleman is based.
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