#craig starr gallery

[garadinervi]

Dorothea Rockburne, "C" for Scalar, (chipboard, crude oil, paper, and nails), 1970 [Craig Starr Gallery, New York, NY. © Dorothea Rockburne / ARS, New York]

Exhibition: Dorothea Rockburne: Works 1967-1972, September 7 – October 20, 2012

[gregdotorg]

After @poloniumtherapy posted it, I had to go digging into Robert Rauschenberg's Untitled (Mona Lisa), a 1952 North African Collage that is not on a shirtboard. Craig Starr Gallery in NYC showed it in the depths of the pandemic, in October 2020 thru March 2024.

[howwelldoyouknowyourmoon]

A WACL Rogues' Gallery

Covert Action Information Bulletin (Winter 1986)

The World Anti-Communist League, having adopted the cause of "freedom fighters" around the world, includes many members whose own political activities and philosophies belie the very idea of freedom or democracy. Despite the new WACL "pro-freedom" image displayed in Dallas, WACL remains rife with Nazis, racists, and death squad leaders. Among the delegates at the convention were:

Mario Sandoval Alarcon, whose National Liberation Movement (NLM) party organized the White Hand death squads in Guatemala in the 1960s. The NLM was reportedly responsible for the murders of eight to ten thousand civilians in 1966 and 1967. According to investigative reporter Craig Pyes, Sandoval introduced El Salvador’s neo-fascist leader Roberto D’Aubuisson to his WACL contacts in Argentina. They later arranged for Argentinean generals to visit El Salvador to help set up safe houses from which death squad operations were carried out. D’Aubuisson, who was recently forced out as head of the ARENA party, has announced he will head a political institute in San Salvador affiliated with WACL. Dr. Yaroslav Stetsko, a member of the WACL Executive Board, was a prominent Nazi collaborator who briefly headed a puppet government in the Ukraine. Joe Conason, Murray Waas, and Kevin Coogan reported in the Village Voice on other Nazis in attendance, including Chirila Ciuntu of Canada, a member of the Rumanian Iron Guard, notorious for its pogroms against the Jews in the early 1940s, and Ivan Kosiak, a member of the wartime pro-Nazi Byelorussian Central Council. Dr. Manuel Frutos, also a member of the WACL Executive Board, chaired the 1979 WACL conference in Paraguay, said to have been the "most Nazified" of all their annual meetings, at which former Nazi SS officers and wanted neo-fascists from Italy were present. Benito Guanes, former chief of Paraguayan military intelligence, who supplied passports for Chilean agents who came to the U.S. to assassinate Orlando Letelier. John K. Singlaub, head of the CIA's "counter terror program" in Vietnam in 1965, according to Anthony Herbert's book, Soldier. This operation, the Intelligence Coordination and Exploitation Program — later known as the Phoenix Program — ran assassination units which killed thousands of Vietnamese civilians. In 1978, Singlaub was reassigned from command of U.S. troops in Korea for insubordination after repeated public attacks on President Carter’s Korea policy. Singlaub announced in Dallas that in honor of the twelfth anniversary of the "military overthrow of the Allende regime in Chile" and the ninety-eighth anniversary of the "Paraguayan Republic," congratulations would be sent to General Pinochet and the head of the ruling Paraguayan Colorado Party. Takeshi Furuta, representative of the International Federation for Victory Over Communism, the original political organization of the Unification Church of the Rev. Sun Myung Moon. Moon asserts that democracy must be replaced with "unificationism" in order to strengthen the West for the final assault on communism. Moon also blames the Jews for the death of Christ and explains the suffering of the Jews in history, including the Nazi holocaust, as "indemnity" for this "collective sin." William Starr, a Moonie from Tucson, Arizona, attended Moon's CAUSA as an observer. (Osami Kuboki, a longtime member of the WACL Executive Board, was not present in Dallas; he heads the Japanese WACL chapter, which is dominated by the Unification Church, whose Japanese branch he also leads.) Hubert Kelly of the Christian Patriots Defense League (CPDL) was present as an official observer. According to an Anti-Defamation League report, "racism and anti-Semitism are an integral part of the CPDL ministry." The group’s official statement of purpose, signed by president John Harrell, says CPDL is "dedicated to the preservation of Anglo-Saxon, American-type culture… We believe the forced mixing of races of people is a self-evident, obvious, proven tragedy. We believe such forced integration results in racial suicide, creating an endangered species problem." … CPDL runs several paramilitary training camps in the U.S.

Related:

The Moonies and 'Victims of Communism’

The Dark Shadow Cast by Moon Sun Myung’s Unification Church and Abe Shinzo – Asia-Pacific Journal Japan Focus

Singlaub Recruits His Own Army in the Philippines

Private Groups Step Up Aid to ‘Contras’ (1985)

John Singlaub: ‘An Anti-Communist’s Anti-Communist’

The WACL and CAUSA’s Role in the Ruthless Violence of US-Philippines Counterinsurgency

On Moon’s Political Network and their Deep Connections to Global Terrorism

[worldsandemanations]

Eleanore Mikus, Tablet 142, (white acrylic on wood, four panels), 1965-1966 [Craig Starr Gallery, New York, NY. © Eleanor Mikus. Courtesy of the Artist’s Estate]

[la-semillera]

EVA HESSE & NELLY SACHS

VOSOTROS MUERTOS MÍOS

.

Vuestros sueños se han quedado huérfanos

La noche ha cubierto las imágenes

Volando en cifras vuestro lenguaje canta

.

La tropa de fugitivos de los pensamientos

vuestro legado peregrino

mendiga en mi playa

.

Inquieta estoy

muy asustada

de tocar el tesoro con pequeña vida

.

Poseedora incluso de momentos

Pálpitos del corazón adioses

Heridas de muerte

Donde está mi herencia

.

Sal es mi herencia

.

- Nelly Sachs, de Divídete noche. Tomado de Viaje a la transparencia. Obra poética completa. Editorial Trotta. Versión de José Luis Reina Palazón.  

- Eva Hesse sin título, 1963. FOTO CORTESÍA DE CRAIG F. STARR GALLERY.

[blakegopnik]

AT CRAIG STARR, de KOONING IS THE RÉALISTE MALGRÉ LUI

THE DAILY PIC is an untitled work on paper by Willem de Kooning, executed in 1947 or ’48 in oils, enamels, graphite and charcoal. It’s in the show called “Willem de Kooning: Men and Women, 1938-48,” at Craig F. Starr gallery in New York.

I don’t for a second buy the idea  (or, cliche) that abstraction must or should or normally does have its roots in representation and the real. But, with de Kooning, I’m always blown away by how that seems so clearly the case. For all the stylization in the central figure’s face (see my detail) it’s modelling in 3D seems to bleed through.

With De Kooning, abstraction always strikes me as notably hard-won — as though he’s always struggling to break away from the real, but never quite manages to.

For a full survey of past Pics visit blakegopnik.com/archive.

[antronaut]

John Baldessari - Space Available (1966-67)

[nyc-snail]

One of Robert Rauschenberg’s collages for “Stoned Moon Book,” his 1969-70 project documenting the moon launch, on view at the Craig F. Starr Gallery / Credit Robert Rauschenberg Foundation/Licensed by VAGA at Artists Rights Society (ARS), New York

[ihavealwayslivedinthecastle]

Myron Stout and Cycladic Art (at Craig F. Starr Gallery) https://www.instagram.com/p/CUseOoUl5fD/?utm_medium=tumblr

[garadinervi]

Dorothea Rockburne, "D" Study for Scalar, (chipboard, crude oil, paper and nails), 1970 [Craig Starr Gallery, New York, NY. © Dorothea Rockburne / ARS, New York]

Exhibition: Dorothea Rockburne: Works 1967-1972, September 7 – October 20, 2012

[waving-madly]

Craig F. Starr Gallery Joel Shapiro, Untitled, 1969-70. Ink on paper, 17 1/2 x 17 1/2 inches. Private collection, Dallas.

[theradicantattitude]

John Baldessari: Paintings, 1966-68, Essay by John C. Welchman, Craig F. Starr Gallery, New York, NY, 2017.

[zibizuba]

The 29 Funniest Celebrity Photobombs

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A photograph gallery of the funniest superstar photobombs. A traditional superstar photobomb is so hilariously priceless that Hollywood is getting an increasing number of into the artwork of photobombing stars and unsuspecting strangers. So what does it take to snap a foolish shot like a celeb? Photobomb as many instances as you possibly can, concentrating on your loved ones and pals! Not everybody can photobomb celebrities on the crimson carpet like Jennifer Lawrence, however something is feasible. Even Kevin Spacey knew whereas on a leisurely jog via a park that it was the right time to photobomb vacationers. All one wants is a mix of the fitting timing, some lightning quick pondering, and an important smile (or frown, relying in your temper that day). Most essential of all, have enjoyable! These Hollywood humorous faces vary from completely wacky to barely creepy, or somewhat little bit of each. It doesn’t matter what sort of face you’re making so long as you get within the shot! For Tom Hanks’s photograph bomb, all it took was one very sleepy diner to get his well-known and humorous shot. Click on via for the all the very best superstar photograph bombs, together with Tina Fey making faces behind her pal Amy Poehler and Justin Bieber squeezing in between Katy Perry and Russell Model. Then determine which Hollywood star photobombs greatest! 

Jimmy Fallon and Cameron Diaz Drop in On a Couple of Vacationers

Jimmy Fallon and Cameron Diaz in Rockefeller Heart in NY.

Rihanna Photobombs “Full Home” Forged

Rihanna photobombs “Full Home” trio Bob Saget, John Stamos, and Dave Coulier on “Good Morning America,” Jan. 29, 2014.

Zach Braff Photobombs Couple’s Marriage ceremony Picture in Occasions Sq.

Don’t Sleep Or Tom Hanks Will Get You

     Invoice Clinton Delivers a Presidential Photobomb

An excited Invoice Clinton creeps up on a way-less-excited little one at a midterm election political rally in Texarkana, Arkansas on November 2, 2014.

Kevin Spacey Photobombs Vacationers

  Angelina Jolie Will get Two Heads Up from Jack Black and Dustin Hoffman

  What To Do When Caught Between Jessica Alba and Fergie

Joseph Gordon-Levitt Delivers Oscar-Successful Photobomb

  Aaron Paul Photobombs Co-Star Bryan Cranston on the Emmys

  Invoice Clinton Hearts Kelly Clarkson, Obvi

  Neil Patrick Harris Joins the Bromance

  Ringo Starr Beatle-bombs Justin Bieber and Ke$ha

  George Clooney Hogs the Scene from Cindy Crawford

  Three’s Not a Crowd for Kelly Clarkson

  Daniel Craig Faculties Taylor Swift On The Artwork Of Photobombing

Patrick Stewart Drops In On Hugh Jackman And Followers

  Glee’s Cory Monteith Is a Photobomb Corridor of Famer

  Jay-Z Reveals Vin Diesel Who’s Boss

Zac Efron Hides from his ex Vanessa Hudgens

  The Mannequin and the Man Who Performed Mini Me

  Jake Gyllenhaal Auditions for Ang Lee’s New Slasher Movie

  Justin Bieber, Katy Perry and Russell Model Co-star in Awkward Household Photographs: The Film

  Paul Giamatti Creeps Up Behind Sandra Oh

  These Twi-hards Had No Concept What Hit Them

  Armie Hammer Sneaks Up Behind Aaron Sorkin and Jesse Eisenberg

  Associated

Artykuł The 29 Funniest Celebrity Photobombs pochodzi z serwisu PENSE LOL.

source https://pense.lol/the-29-funniest-celebrity-photobombs/

[caveartfair]

Why Jeff Koons’s “Rabbit” Could Sell for up to $70 Million

Balloon Swan (Yellow); Balloon Monkey (Blue); and Balloon Rabbit (Red), 2017. Jeff Koons Phillips

When Jeff Koons’s retrospective opened at the Whitney Museum of American Art in the summer of 2014, visitors were greeted by a full smorgasbord of the wildly famous, endlessly polarizing artist’s classic works. There was the panoramic pornography of his “Made in Heaven” series, made between 1989 and 1991. There were the iconic suspended basketballs, the gigantic yellow balloon dog, and the porcelain rendering of Michael Jackson and his pet chimp, Bubbles. And then, holding court in the biggest room, there was the gigantic, decades-in-the-making Play-Doh (1994–2014), which towered ten feet high, its crags of putty cast in aluminum and held together simply by their own gravity.

But perhaps the most important work in the show was a three-foot-high stainless steel bunny—a work that’s key to understanding not just Koons, but the transformative power of the art object in our modern world.

Rabbit, 1986. Jeff Koons Kunstmuseum Basel

“The rabbit, I would say, is one of the most famous works of Jeff Koons’s career, and in fact, one of the most famous artworks of the last 40 or 50 years,” Scott Rothkopf, the curator of the show, said.

And now, one of the four copies of Rabbit (1986) in the world, previously owned by Condé Nast owner S.I. Newhouse, has been consigned to Christie’s, where it is expected to sell at the May 15th evening sale for between $50 million and $70 million—setting it up to perhaps break the Koons record, set in 2013 when Balloon Dog (Orange) (1994–2000) sold at Christie’s for $58.4 million.

And while the “Balloon Dog” works may be the more obvious trophy items for big game hunting mega-collectors—they tower over ten feet and feature the impeccably rendered, brightly colored stainless steel glistening for all to see—the sale of the much smaller Rabbit could give one lucky billionaire something else entirely: the chance to own a piece of art history.

As Alex Rotter, the chairman of the post-war and contemporary art department at Christie’s, put it, the release of Rabbit in 1986 “would not only shake the art world to its core, but alter the course of popular culture as we now know it.”

Koons on Wall Street

Jeff Koons, 1995. Jeff Koons Schellmann Art

Three Ball 50-50 Tank (Spalding Dr. JK Silver Series), 1985. Jeff Koons "Jeff Koons: Now" at Newport Street Gallery, 2016

To get to the bottom of just what makes Rabbit endlessly important, you have to go back to the earliest days of Koons’s practice. It was 1979, and he was making his first serious artworks while working at the Museum of Modern Art (MoMA), selling memberships. Koons was a gifted salesperson, combining charm with some light hucksterism, and would stand out from the other museum workers by dressing in loud polka-dot shirts and wearing an inflatable flower around his neck. The inflatables were to become part of his second-ever series as an artist—but the works weren’t in a gallery, they were installed in his apartment on East 4th Street, right by the restaurant Phebe’s. Like Marcel Duchamp before him, Koons was taking cheap, everyday objects—in this case vinyl air-filled toys, which you needed to inflate by blowing—setting them on top of one small mirror and in front of another small mirror, and proclaiming the result art. Koons called this “Entering the Objective Realm.” One of the few visitors to see the work was a writer named Alan Jones, who said the apartment was “like a huge installation.”

“There were inflatables everywhere, floor to ceiling,” he said. “Including a rabbit.”

Jones was describing a work now in the collection of Eli Broad called Inflatable Flower and Bunny (Tall White, Pink Bunny) (1979), which features a vinyl inflated rabbit, its ears askew, with a carrot in its mouth. It was an intriguing and visually striking homage to Duchamp, but it didn’t stick with collectors. No one bought the work initially, and in 1980, the young Koons left the art world by taking a radical left turn: He did a five-year stint selling commodities on Wall Street and was the highest-performing salesperson on his team for two months in a row. He liked selling cotton commodities. His pitch to clients went like this: “Cotton is light…it’s fluffy…you can’t get hurt by cotton.”

Jim Beam - Barrel Car, 1986. Jeff Koons Craig F. Starr Gallery

But by 1983 he was plotting his art world comeback, so he retired from The Street and in May 1985 staged a show he called “Equilibrium” at a tiny East Village gallery called International with Monument—it debuted to the world the now-famous floating basketballs. In July 1986, he showed an exhibition at Daniel Weinberg Gallery in Los Angeles that he called “Luxury and Degradation”—it featured a seven-piece model train in which each car is a stainless-steel-cast bottle of Jim Beam whiskey. And then, in October, he contributed work to a group show at Ileana Sonnabend’s gallery in New York’s SoHo—including, pivotally, Rabbit, an exact stainless steel copy of the inflatable bunny toy work Koons had lived with in his apartment six years earlier.

“A dazzling update on Brancusi’s perfect forms”

Rabbit, 1986. Jeff Koons "The Inaugural Installation" at The Broad, Los Angeles

Princess X, 1915-1916. Constantin Brâncuși Philadelphia Museum of Art, Philadelphia

The work was an immediate hit. As Kirk Varnedoe, the former curator at MoMA, recalled later to Vanity Fair: “There are just a few occasions in my art experience in New York where I’ve been sort of knocked dead by an object instantly.”

The New Yorker profile of Koons, published in 2003, cited the late Varnedoe’s reaction to the work as well. Varnedoe had said it was “one of those very rare hits at the exact center of the target.” It was, he said, “a piece where a ton of contradictions (about the artist, about the time) are fused with shocking, deadpan economy into an unforgettable ingot.”

Why exactly it was so gripping was, at first, simply due to its aesthetic power.

“Another aspect of the rabbit that makes it so iconic is the incredible balance that Koons achieves between the tremendous specificity of the casting—the fine detailing of the crimps, the puckers of the plastic—with its abstraction: the blankness of the face, the missing printing on the vinyl,” Rothkopf said. “The tension that he creates between fine detail on the one hand, and a blankness on the other, is incredibly mesmerizing.”

In a review of the 1986 Sonnabend Gallery show that ran the same month as it opened, Roberta Smith said of Rabbit: “In stainless steel, it provides a dazzling update on Brancusi’s perfect forms, even as it turns the hare into a space-invader of unknown origin.” She also noted the force of its transformation—this gorgeous, gaze-grabbing object “once made of inflatable plastic.”

Inflatable Ballon Flower (Yellow), 1997. Jeff Koons Reis Studios

La Négresse blonde (The Blond Negress), 1926. Constantin Brâncuși San Francisco Museum of Modern Art (SFMOMA)

Because of this transformative potency, Rabbit retained its unique power not just among the Koons works to come, but also in terms of the way art objects would be made and looked at going forward. Making a cheap item into art had been done decades earlier by the Dadaists and many, many others who followed, but Koons harnessed the energy and wealth of the go-go 1980s—and his first-hand knowledge of the flash of pre-crash Wall Street—and turned the Duchampian gesture on its head. He transfigured the throwaway-object-as-art into a meticulously crafted thing to covet, a silver dynamo, a sparkling expensive orb—a luxury purchase. Rabbit wed high and low, kitsch and beauty, in a way that would usher in a world where those categories are forever blurred.

And it was the gateway drug Koons was looking for, the turning point in his career. We would soon have to fathom gigantic Koons balloon animals and even bigger Koons flower puppies—and Koons Louis Vuitton bags and Koons Dom Perignon bottles. Rabbit exploded the notion of what made an object art—to such an extent that Rotter had to reach back to Michelangelo’s David (1501–1504) to signify the seismic quality of the breakthrough.

“For me, Rabbit is the ‘anti-David,’ which signaled the death of traditional sculpture—disrupting the medium in the same way that Jackson Pollock’s Number 31 (1950)permanently redefined the notion of painting,” Rotter said. “From my first day in the auction world—this is the work that has represented the pinnacle of both contemporary art and art collecting to me.”

From $40,000 to $80 million

Michael Jackson and Bubbles, 1988. Jeff Koons "The Inaugural Installation" at The Broad, Los Angeles

Like with many of his works, Koons’s Rabbit was made in an edition of three, with one artist’s proof. Koons held onto the proof, while Sonnabend took one edition for herself before selling the two others for $40,000: one to the artist Terry Winters and one to the English advertising executive Charles Saatchi. While $40,000 was a high price for a Koons at the time—Winters had to be cajoled by Sonnabend and the gallery’s director to take the plunge—the widely held belief was that this was the Koons masterpiece, and the value increased steadily.

In the mid-90s, Koons was hard up for cash as he tried to raise funds to create his hugely ambitious “Celebration” series, and off-loaded a number of works from his collection to Eli Broad, the life insurance billionaire and philanthropist who was building a collection in Los Angeles with the help of his dealer Larry Gagosian. Among them were Michael Jackson and Bubbles (1988), St. John the Baptist (1988), and Rabbit. At some point after that, Saatchi also sold his edition of Rabbit, this time to the German-born Chicago collector Stefan Edlis, for the price of $950,000—a 2,375% return on Saatchi’s investment. In the late 1990s, the Rabbit owned by Terry Winters ended up in the hands of Larry Gagosian, who sold it to Newhouse for $1 million instead of keeping it for himself—a move he would later regret, telling Sarah Thornton that it was a “bittersweet story” when he handed the work over to his most important client. In hindsight, Gagosian said he would have kept it if he’d had “a million dollars sloshing around.”

Smooth Egg with Bow (Magenta/Orange), 1994-2009. Jeff Koons Edward Tyler Nahem Fine Art LLC

It would not remain at that price point for long. By 2001, Sonnabend still hung on to her version of Rabbit, and told Vanity Fair she would never sell it, even though she said it would probably sell for between $2 million and $3 million. And in the years that followed, the global art market expanded rapidly, with prices skyrocketing as the economy hurtled toward a global recession. Sonnabend died in 2007, and in the months that followed, her estate received an offer for Rabbit that exceeded any Koons auction record: $80 million. It was eventually sold as a part of a $400 million trove of Sonnabend works in a sale arranged by the art dealers Franck Giraud, Lionel Pissarro, and Philippe Ségalot—their firm was called GPS Partners—on behalf of several of their biggest art collecting clients. The works were disseminated among billionaires such as Israeli shipping kingpin Sammy Ofer and Mexican telecommunications baron Carlos Slim Helú. But the most likely owner of Sonnabend’s Rabbit might be the firm’s highest roller: the Koons-collecting billionaire, and Christie’s owner, François Pinault.

Given who owns these works, there’s a good chance this will be the last time a Rabbit comes to the auction block. Edlis’s Rabbit has been promised to the Museum of Contemporary Art Chicago, and it is unlikely that the secretive GPS client—whether it’s Pinault or someone else—will offload the work. The Rabbit in the Broad Museum is one of the Los Angeles institution’s most popular works, so it’s unlikely it will be parting with this important piece of contemporary art anytime soon. Newhouse’s Rabbit was once promised to MoMA, but at some point between 2001 and 2007, those plans were scotched—as it happens, his version has not been seen in public since 1988.

The Rabit balloon by artist Jeff Koons floats in Times Square during the 81st annual Macy's Thanksgiving Day Parade on November 22, 2007 in New York City. Photo by Hiroko Masuike/Getty Images.

And after it emerges briefly at Christie’s New York salesroom next month, there’s a chance that Rabbit—a work so iconic it once went back to balloon form as a 50-foot-long spectacle floating through Manhattan in the Macy’s Thanksgiving Day Parade—will once again be shunted off to a billionaire’s pad, not to be seen again for many, many years.

from Artsy News

[viparts]

Robert Rauschenberg and the Men on the Moon

Robert Rauschenberg and the Men on the Moon

Robert Rauschenberg, “Sky Garden” (1969), lithograph and screenprint, 89 1/4 x 42 inches, edition of 35, © Robert Rauschenberg Foundation / Licensed by VAGA at Artists Rights Society (ARS), New York (all images courtesy Craig F. Starr Gallery)

One of Robert Rauschenberg’s many celebrated achievements is Stoned Moon (1969-70), a series of 34 lithographs printed at Gemini G.E.L. in Los Angeles.

Rau…

[cynthiajayusa]

What’s Hot South Florida Nov. 15 – Nov. 21

Thursday, November 15

Give Miami Day is one of the biggest annual giving events in the United States. This year, it ignites Greater Miami for 24 hours, beginning at 12am on November 15th and ending at 12:00 am on November 16. Throughout the day, individuals may view online profiles of hundreds of nonprofit organizations serving Miami-Dade County and make a charitable gift. The Miami Foundation and their partners will maximize the community’s generosity by making a bonus gift for every donation between $25 and $10,000 received during this 24 hour period through givemiamiday.org.

Miami is hosting the first large-scale exhibition in North America by Danish artist collective, SUPERFLEX!  The exhibit, We Are All in the Same Boat, will be premiering at the Museum of Art and Design at Miami Dade College. From corruption schemes to a flooded McDonald’s, the works will reflect upon the situation of Miami from the perspectives of art, finance, climate, and a fictional, if plausible, future.

Friday, November 16

The Pub presents The Synergy Twins at 9:30pm, where the vibe and the violins are electric and the performance is one of a kind. Let twins Steve and Jeff take you on a feel good, high energy musical journey that seamlessly combines well known classics and the latest dance tunes.

The Ramrod presents their monthly Mandance (3rd Friday of every month) starring DJ Herbie James.

Saturday, November 17

Let’s Get Artsy at the Wilton Manors Art & Entertainment Expo from 6-9pm up and down Wilton Drive. For more info, go to: WMAE.org. 

The Club Fort Lauderdale features their bi-monthly (1st and 3rd Saturday of the month) Res-Erection Naked Blackout event at 10p.m. This is always a sold-out event, so get there early!

W Fort Lauderdale and Ride Element invite you to: Glow Your Ride, a hi-energy sensory spinning experience taking place on the Wet Deck. There are 2 classes: at 7 and 8pm, and admission is $35, which includes the class, complimentary Valet, DJ Ricky Fatts, mini massages by Away Spa, Glowtasatic Body Art, workout cocktails, bites by Stephen Starr and a smoothie bar. Tickets are available at: theglowride.eventbrite.com.

Georgie’s Alibi/Monkey Bar presents “Beast,” their monthly fetish and gear party starring DJ/Producer Alex Ramos.

The Art & Design Gallery (8690 Biscayne Blvd #2, Miami) presents a pre-Art Basel art show for one night only featuring the Marcelo Holzinger in a special celebration of Art & Life at 6pm. The night will feature an art show, cocktails, music, performances and lots of fun!

Noche Latina Saturdays inside the Ivy Dance Room and patio at the Manor Complex celebrates the 15th anniversary of Female Impersonation for Viva Mirage. Viva would like to thank all her friends and supporters for 15 incredible years and would like to invite you all to come out And celebrate with her. She promises a fabulous show! The night will also star Taina Norell, DJ Cubano Miik, and sexy Latin Go-Go Papi’s. Saturdays at the Manor is from 11 pm to 4 am and feature NO COVER before midnight (FL Res) and only $7 for members after midnight and $10 for non-members (18-20 – $12 all night).

Sunday, November 18

The Pride Center at Equality Park presents: “Pride in the Park,” an informative workshop on PrEP and HIV for the community of Oakland and its neighbors at the Collins Community Center (3900 NE 3rd Avenue). To register of for more info contact PrEP specialist Ed Sparan at 954-463-9005 ext: 210 or esparan@prideCenterflorida.org. 

Chris AbFab’s Sunday T Dance at Camelot in West Palm features a Trivia night with fabulous prizes and shows by Erika Norell and Kataleya Davenport Dupree.

Tuesday, November 20

The Greater Fort Lauderdale LGBT Chamber of Commerce presents their November Mixer at Xtreme Action Park (5300 Powerline Road) from 5:30-7:30pm. Admission in complimentary for GFLGLCC members and only $10 for future members. And includes one complimentary Reyka specialty cocktail and Hors D’oeuvres. 

Wednesday, November 21

Scandals Saloon presents DJ Frank Corr in a special Thanksgiving Eve Tea Dance on the patio from 7pm to late with free valet and free pool.

Georgie’s Alibi/Monkey Bar presents their annual pre-thanksgiving indoor/outdoor party starring DJ AJ Reddy. 

Hot Stuff

Fort Lauderdale is ready to welcome 55 teams from two nations and 17 cities to its 24th annual Hurricane Showdown international softball tournament during Thanksgiving weekend. Games will be played Nov. 23-25, with the Home Run Derby highlighting Friday night’s action at Mills Pond Park, and the championship games for all three divisions at Mills Pond on Sunday afternoon. Prizes will be raffled off to all participants and fans in attendance on Sunday afternoon at Mills. The evening activities will begin with the pre-registration party at Infinity Lounge on Wednesday night and conclude with the Closing Ceremony at Georgie’s Alibi/Monkey Bar on Sunday evening. In between, Matty’s, The Pub, GYM Bar, and Hunters, will host events Thursday-Saturday. For more information on the Showdown, please got to: hurricaneshowdown.net. 

This is HOT

“The Greatest Showman-Reimagined” comes accompanied by Kelly Clarkson’s stunning version of “Never Enough,” Panic! at the Disco’s “The Greatest Show,” P!nk’s rendition of “A Million Dreams,” as well as the “A Million Dreams (Reprise)” performed by her daughter Willow Sage Hart.

“The Greatest Showman-Reimagined sees songs from the film, all written by GRAMMY, Tony, and Academy Award-winning duo Benj Pasek & Justin Paul (La La Land, Dear Evan Hansen) covered by a remarkable cast of artists. The album is highlighted by a new version of the 3x platinum certified smash, “This Is Me,” performed by Keala Settle, Kesha and the legendary Missy Elliott. Other superstars contributing include Sara Bareilles, Years & Years and Jess Glynne, MAX and Ty Dolla $ign, James Arthur and Anne-Marie, and Zac Brown Band, among others. As if that weren’t enough, the album will include three bonus tracks, performed by Pentatonix, Craig David, and Kesha. See track listing below. 

TRACKLISTING

The Greatest Show – Panic! At The Disco

A Million Dreams – P!nk

A Million Dreams (Reprise) – Willow Sage Hart

Come Alive – Years & Years and Jess Glynne

The Other Side – MAX and Ty Dolla $ign

Never Enough – Kelly Clarkson

This Is Me (The Reimagined Remix) –Keala Settle, Kesha and Missy Elliott

Rewrite The Stars – James Arthur and Anne-Marie

Tightrope – Sara Bareilles

From Now On – Zac Brown Band

BONUS

The Greatest Show – Pentatonix

Come Alive – Craig David

This Is Me – Kesha

source https://hotspotsmagazine.com/2018/11/14/whats-hot-south-florida-nov-15-nov-21/ from Hot Spots Magazine https://hotspotsmagazin.blogspot.com/2018/11/whats-hot-south-florida-nov-15-nov-21.html