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MoMA Names Stuart Comer as Media and Performance Art Curator

The Museum of Modern Art will announce on Friday that Stuart Comer will become chief curator of the department of media and performance art in September, according to a statement released by the museum. Mr. Comer, curator of film at the Tate Modern in London since 2004, will oversee the department’s program of special exhibitions, installations from the collection, and acquisitions.

“MoMA has become a leading institution redefining the role of media and performance in the museum,” Mr. Comer said in a statement, “and this will be an exciting opportunity to further develop its programs in collaboration with artists, audiences, and colleagues.”

Mr. Comer established the film program as a major curatorial initiative at the Tate Modern, and in 2012 was one of the co-curators of the opening festival for the Tanks â€" underground oil tanks converted by the Swiss architects Jacques Herzog and Pierre de Meuron to feature films, performances and installations. Among the live film and projection projects he organized in the Tate Modern’s Turbine Hall were those by Tony Conrad, Nan Goldin, Barbara Hammer, Derek Jarman, Djibril Diop Mambéty, Daria Martin and Zeena Parkins, Shuji Terayama, Throbbing Gristle and Jennifer West. Mr. Comer is a co-curator of the Whitney Museum of American Art 2014 Biennial, and will be working with both institutions until next Marc..



MoMA Names Stuart Comer as Media and Performance Art Curator

The Museum of Modern Art will announce on Friday that Stuart Comer will become chief curator of the department of media and performance art in September, according to a statement released by the museum. Mr. Comer, curator of film at the Tate Modern in London since 2004, will oversee the department’s program of special exhibitions, installations from the collection, and acquisitions.

“MoMA has become a leading institution redefining the role of media and performance in the museum,” Mr. Comer said in a statement, “and this will be an exciting opportunity to further develop its programs in collaboration with artists, audiences, and colleagues.”

Mr. Comer established the film program as a major curatorial initiative at the Tate Modern, and in 2012 was one of the co-curators of the opening festival for the Tanks â€" underground oil tanks converted by the Swiss architects Jacques Herzog and Pierre de Meuron to feature films, performances and installations. Among the live film and projection projects he organized in the Tate Modern’s Turbine Hall were those by Tony Conrad, Nan Goldin, Barbara Hammer, Derek Jarman, Djibril Diop Mambéty, Daria Martin and Zeena Parkins, Shuji Terayama, Throbbing Gristle and Jennifer West. Mr. Comer is a co-curator of the Whitney Museum of American Art 2014 Biennial, and will be working with both institutions until next Marc..



Back to Bonnaroo

Animal Collective, above at Governors Ball last weekend, will perform at Bonnaroo on Friday.Karsten Moran for The New York Times Animal Collective, above at Governors Ball last weekend, will perform at Bonnaroo on Friday.

The twelfth edition of Bonnaroo started Thursday in Manchester, Tenn., on a field an hour outside of Nashville, and the campers have assembled; the first day of music, an easing-in slate of bands without major headliners, started a few hours ago. The full 80,000 or so festivalgoers won’t be in full effect until Friday.

It’s been said a lot, but it bears repeating one more time: this festival continues to move away from a core identity. First that core identity was jam bands, or at least bands that played songs that could last for half an hour, and the ongoing continuum of southern roots music â€" neo-bluegrass, folk-pop, et cetera. Then it seemed to move toward dubstep as young Deadheads and Phish followers found new allegiances within electronic dance music.

The jam-band business started declining in the mid-oughts, however, and the dubstep bubble seems about to burst. In reaction, Bonnaroo has become less special-interest-y and more like the other huge and moderately hip American kaleidoscopes of popular music, like Coachella, Outside Lands and Governors Ball, than ever before. The super-strummy Mumford and Sons played a breakthrough set here two years ago â€" the biggest and maybe longest show of their career by far â€" and conceivably could have remained a Bonnaroo band. But they’ve become too big for that; now they belong to everyone. Despite the recent hospitalization of their bassist Ted Dwane, they€™re performing here this year, along with the Lumineers, who appeal to a similar audience.

So are Paul McCartney, Tom Petty, Bjork, Wilco, R. Kelly, Wilco, Nas, the National, ZZ Top and Animal Collective â€" those are your headliners, pretty much. None of them are primarily jammy or mind-expanding; none of them (like Radiohead last year or My Morning Jacket in 2011) are guaranteed to, you know, take you to the totally epic place. I can imagine a sector of Bonnaroo fans staying home this year for that reason. Fine. I’m looking forward to the ZZ Top-Animal Collective combination Friday night.

But I can also imagine a new sector coming for other reasons. This year’s festival looks reflective of the Brooklyn-Canada-London axis of hipness (Solange, Grizzly Bear, Dirty Projectors, DIIV, Charli XCX, the xx, Japandroids, Purity Ring). It has respectable lineups of West African music and progressive bluegrass. It’s also done well by both new and old hip-hop acts this year â€" not just Kendrick Lamar, ASAP Rocky, Action Bronson, and the divisive Macklemore and Ryan Lewis, but also Nas and the Wu-Tang Clan.

And with that, I am off. More to come through the weekend in reports and pictures.



City Schedules Debates for Mayoral Candidates

The New York City Campaign Finance Board on Thursday announced the dates and sponsors of this year’s official mayoral debates.

The first Democratic primary debate will take place at Town Hall, on Wednesday, Aug. 21, at 7 p.m. and will be open to all candidates who have raised and spent $50,000 and have the support of at least 2 percent of registered voters according to either the Marist or the Quinnipiac poll.

The second debate will be at WNBC-TV studios on Tuesday, Sept. 3, at 7 p.m. and will be limited to “leading contenders,” defined as candidates who either have raised $1,285,200 or have raised and spent $250,000 and have at least 7 percent support in either of the polls.

The Republican primary debates will take place at the City University of New York Graduate Center on Wednesday, Aug. 28, at 7 p.m. and at WNBC-TV studios on Sunday, Sept. 8 at 11:30 a.m. The criteria for participation will be the same as for the Democratic debates.

The primary election is scheduled for Sept. 10.

Because the field of candidates is bigger this year than in recent elections, the board lowered the threshold for participating in the first primary debate. In 2009, candidates had to have at least a 5 percent standing in the polls to take part.

If there is a runoff vote in the Democratic primary, a debate between the candidates will be at the CUNY Graduate Center on Tuesday, Sept. 17, at 7 p.m.

The first general election debate will be at the CUNY Graduate Center on Tuesday, Oct. 22, at 7 p.m., open to all candidates who have raised and spent $50,000 and have 5 percent support in the Marist or Quinnipiac poll. The second debate will take place at the Saturday Night Live Studios at 30 Rockefeller Plaza on Tuesday, Oct. 29, at 7 p.m. and will be limited to those who either have raised $1,285,200 or have raised and spent $500,000 and have 15 percent support in the polls. The general election will be on Tuesday, Nov. 5.

The debates are overseen by the Campaign Finance Board, and all candidates who participate in the city’s public financing program and who meet the thresholds are required to participate.

Perhaps given the wide-open race, there was more interest than in previous years from organizations in sponsoring debates, and the board selected an unusually large and diverse group of sponsors, who pay to be hosts.

The 15 groups include not only major media organizations but also groups like the Citizens Committee for New York City, which finances neighborhood improvement projects in low-income areas; the Hispanic Federation, an association of Hispanic community service agencies; Transportation Alternatives, an advocacy group that promotes cycling, walking, and public transportation; and the blog Gothamist.

“The goal of how we chose our sponsors is really to get the broadest range of audience members, the broadest range of issues, and have the best possible debates for all New Yorkers,” Amy Loprest, the campaign finance board’s executive director, said in a news conference on the steps of City Hall, where she was joined by representatives of the sponsors.

Asked how significant these debates were after the dozens of mayoral forums sponsored by various groups around the city, Ms. Loprest said the board’s debates would be different because candidates who participate in the public financing system must attend and because the sponsors were nonpartisan.

The debates will all be broadcast live, including on Spanish-language television stations, and will also be streamed live on each sponsor group’s Web site and on the campaign finance board’s Web site.



American Ballet Theater Names New Ballet Master

Keith Roberts, a former principal dancer with American Ballet Theater, has been named a ballet master, Kevin McKenzie, the theater’s artistic director announced Thursday. The appointment is effective this September.

Mr. Roberts, 43, trained at the North Carolina School of the Arts and the School of American Ballet, and joined American Ballet Theater in 1987 as a member of the corps de ballet. He was promoted to soloist in 1992, becoming principal dancer in 1997. Mr. Roberts appeared in both classical roles and contemporary works with a range of major choreographers, including Mark Morris, Twyla Tharp, Paul Taylor, Lar Lubovitch, Jiri Kylian, John Neumeier, Nacho Duato and Merce Cunningham. Mr. Roberts made his Broadway debut in Matthew Bourne’s 1998 production of “Swan Lake.” Other Broadway appearances include the production of “Fosse” from 2000, and two Tharp works: “Movin’ Out “(2002), which earned him a Tony Award nomination; and “Come Fly Away” (2010).

As a repetiteur, he has staged works at American Ballet Theater, Bolshoi Ballet, Boston Ballet, Birmingham Royal Ballet and Corella Ballet Castilla y Leon, among others. In 2008, Roberts was the assistant choreographer for Ms. Tharp’s “Rabbit and Rogue” at American Ballet Theater. Mr. Roberts was the ballet’s guest ballet master for the 2012-13 season, and has taught at the ballet’s Jacqueline Kennedy Onassis School and the Alvin Ailey American Dance Theater.



American Ballet Theater Names New Ballet Master

Keith Roberts, a former principal dancer with American Ballet Theater, has been named a ballet master, Kevin McKenzie, the theater’s artistic director announced Thursday. The appointment is effective this September.

Mr. Roberts, 43, trained at the North Carolina School of the Arts and the School of American Ballet, and joined American Ballet Theater in 1987 as a member of the corps de ballet. He was promoted to soloist in 1992, becoming principal dancer in 1997. Mr. Roberts appeared in both classical roles and contemporary works with a range of major choreographers, including Mark Morris, Twyla Tharp, Paul Taylor, Lar Lubovitch, Jiri Kylian, John Neumeier, Nacho Duato and Merce Cunningham. Mr. Roberts made his Broadway debut in Matthew Bourne’s 1998 production of “Swan Lake.” Other Broadway appearances include the production of “Fosse” from 2000, and two Tharp works: “Movin’ Out “(2002), which earned him a Tony Award nomination; and “Come Fly Away” (2010).

As a repetiteur, he has staged works at American Ballet Theater, Bolshoi Ballet, Boston Ballet, Birmingham Royal Ballet and Corella Ballet Castilla y Leon, among others. In 2008, Roberts was the assistant choreographer for Ms. Tharp’s “Rabbit and Rogue” at American Ballet Theater. Mr. Roberts was the ballet’s guest ballet master for the 2012-13 season, and has taught at the ballet’s Jacqueline Kennedy Onassis School and the Alvin Ailey American Dance Theater.



New York Theater Companies to Be Eligible for Regional Tony Award

Most New York City theater companies will now be eligible for the annual Tony Award honoring a regional American theater, a long-discussed change that widens the pool of candidates for an honor that can help with fundraising, marketing and ticket sales. The decision does not make Off Broadway productions eligible for the Tonys for best play, best musical or other catgeories, which would be a much more radical shift that some theater critics have championed but Tony organizers do not foresee.

The change was announced Thursday by a committee of Broadway theater executives and others who help oversee the Tonys; as customary, the announcement came without details about the committee’s private deliberations. But several committee members said in interviews that the previous rule - barring theaters in the five boroughs from the regional Tony award - has been debated on and off for more than a decade, given the desire to honor New York City theaters that have no shot at a Tony because their productions are not eligible. Only shows running in Broadway’s 40 houses are considered for the Tonys, the theater industry’s best-known honor.

No one theater company conspicuously lobbied for the change, the committee members said. But over the years, some leaders and board members of New York theaters have questioned the fairness of denying New York artists from an honor that can benefit the institution.

“There has been so much talk about this issue, and what was fair and right, but it never got resolved,” said Paul Libin, a committee member and executive vice president of Jujamcyn Theaters, which owns five Broadway houses. There wasn’t any particular reason the change came this year as opposed to last year, he added.

The award was first given in 1976 to Arena Stage, of Washington, D.C., and was originally seen as a way to honor theaters outside New York in the Tonys, given that the awards are focused on Broadway and honor many actors, producers, directors and designers who happen to live in the city. In past years the award has been presented to many of the top regional theaters in the country, including the Mark Taper Forum in Los Angeles, Steppenwolf Theater Company in Chicago, Alliance Theater in Atlanta and, at the Tonys ceremony on Sunday, the Huntington Theater Company in Boston. In the future theaters in New York City - like the Public, Second Stage, Atlantic, Signature, Theater for a New Audience, and many smaller troupes - will be eligible alongside other theaters nationwide.

“This is a wonderful decision, and a just decision, because Off Broadway and Off Off Broadway uphold the same artistic ideals as American regional theaters, and also contribute to staging new work and important classics,” said J.R. Sullivan, artistic director of the Pearl Theater Company, which focuses on producing revivals of classic plays. “This award can add real luster to a company, and also bring meaningful new attention to its work.”

Mr. Libin and other committee members said they did not think this new change would open the door to future consideration of Off Broadway productions for the major Tony Awards like best play, best musical, and performance categories, because of an array of challenges - such as having the 20-odd Tony nominators see all Off Broadway shows (they now only have to see Broadway shows) and having Tony voters (868 this year) see nominated Off Broadway productions, which usually run in smaller theaters for briefer periods than Broadway shows.

New York City theater companies that have Broadway houses will not be eligible for the award; those are Lincoln Center Theater, Roundabout Theater Company and Manhattan Theater Club.



Back to Grouse County: Tom Drury Talks About ‘Pacific’

Tom Drury’s “Pacific” features several characters that appeared in two of his previous novels â€" “The End of Vandalism” (1994) and “Hunts in Dreams” (2000). In The New York Times Book Review, Daniel Handler wrote that “Pacific” “gives us the wondrous and engaging stuff of real storytelling, of actual inquiry and investigation into the haunting and jokey puzzles of the world.” Mr. Drury will read from “Pacific” at BookCourt in Brooklyn on Saturday night. In a recent e-mail interview, he discussed why he returns to the Midwest in his fiction, Celtic mythology, authors who taught him about dialogue and more. Below are edited excerpts from the conversation:

Q.

Do you think of the Grouse County books as a series meant to be read in order?

A.

I think they could be read in any order, or you could read one and not the others, and still get the meaning. If you were to read “Pacific” first and go on to read “End of Vandalism” and “Hunts in Dreams” it would be natural â€" as if meeting people, asking about their past (how did Dan and Louise meet? why did Joan leave home? what’s this about a tornado?) and getting really detailed answers.

Q.

Is Grouse County in Iowa? Signs point to yes, and many reviewers say it confidently, but I’m not sure it’s ever explicitly stated in the books.

A.

I’ve heard Minnesota and I believe Illinois, too. I think you are right that the state is never named. It never seemed necessary, or right, somehow. Because it’s not Iowa or Minnesota or Illinois. It’s imaginary (though people can leave it and go to real places).

Q.

Born in Iowa, you’ve lived in several parts of the country since. What is it about the Midwest that appeals to your imagination and keeps you going back to it in your work?

A.

I go back to a very specific aspect of the Midwest â€" small towns surrounded by farmland. They make a good stage for what I like to write about, i.e., roads and houses, bridges and rivers and weather and woods, and people to whom strange or interesting things happen, causing problems they must overcome. Once I understood I was free to use the setting as a stage â€" to bring in elements from Vermont, say, or Key West, or anywhere â€" and that my version of the Midwest would not be obliged to represent the actual Midwest, then it seemed like the place offered all the freedom I needed, with the added benefit of being well remembered.

Q.

One member of the large cast in “Pacific” is Charles “Tiny” Darling, who played a key role in the two previous novels. How would you sum up Tiny to someone who had never met him? Do you consider him the central figure in this universe you’ve created?

A.

I would say he is the one who stole a television from the loading dock of Big Wonder with the sole intention of taking it around to the front of the store and leaving it by the doors for the morning people to find. That suggests his contradictory impulses pretty well. You could make a case for him as the central figure, but I have to give that place to Louise [Tiny’s ex-wife]. She is the one in the last Grouse County scene of “Pacific,” walking her dog through the fields.

Q.

One new character here is Sandra, who, if I may say, is a full-fledged nut. She challenges people to sword fights and seems to believe in the magical properties of a particular rock. What inspired her addition to the crew?

A.

The books of Celtic mythology that inspired her creation as a character can be found on her bookshelf in the novel, although there are other books there as well, such as “Best of Mad Libs.” I was reading “The Tain,” an Irish epic translated by Thomas Kinsella, and that led to a number of other books. I wanted to see how a character from Cuchulainn’s mythological era, and with his knack for spontaneous mayhem, would get along in a more contemporary setting.

Tom DruryCourtesy of the author Tom Drury
Q.

Your characters feel fully human, but some of the laughter they inspire comes when they seem dim or a bit disconnected. Do you worry about readers laughing at their expense, or is that part of the point?

A.

I don’t worry, because I don’t hear that very often, and it isn’t part of the point. I can only think of this in terms of specific examples, such as when Tiny has been drinking and watching the Ironman Triathlon and he says the entire event has to be completed in 17 minutes rather than 17 hours. As a reader I might laugh at that point, but I would do so because it presents an absurd picture of an impossibly fast competition, and not because I’ve never made such mistakes myself.

Q.

Your books are full of incidents, but the larger plots don’t necessarily move or resolve in conventional ways. Do you map out individual scenes as mini-stories more than you think of a larger plot for any novel as a whole?

A.

I always have some kind of outline of what’s going to happen, but I have to write the book to see if the outline is right, and usually it’s off to some degree. I’ll make minimal notes to remind myself of the order of the scenes. I do get very involved in making a scene work without giving too much thought about how it affects the overall, which I think is hard to know in any case.

Q.

Your dialogue seems custom-made for a certain kind of movie, but only one of your works â€" the short story “Path Lights” â€" has been made into a film. Have there been or are there plans for your other work to make it to the screen?

A.

Yes, a film version of “The Driftless Area” is scheduled to shoot before the end of the year.

Q.

Are there any particular authors who influenced your idea of what dialogue is and what it should do?

A.

Too many to name, but I do know that Mary Robison and Padgett Powell would be at the top of the list.

Q.

Do you plan to write about Grouse County and its residents again?

A.

I don’t plan to, but I might. As with the previous books, there are characters whose futures I’m curious about. What will happen next?



At a Mayoral Forum, Salgado Delivers a Fiery Performance

Pity the table. On Wednesday night in the Bronx, at one of the most energetic mayoral debates in an often-lackluster series of forums, some of the candidates at times took a beating from rivals or hecklers during a discussion of issues deemed important to Latino voters.

But it was the candidates’ table itself that took the hardest thumping, from the Rev. Erick J. Salgado, a Brooklyn minister who is less well known than some of his more prominent Democratic rivals. Mr. Salgado often finds himself on the margins of such discussions, but before a friendly audience he delivered a performance so impassioned that at one point a moderator, in jest, called upon another minister to pray for him.

“I’m O.K.,” Mr. Salgado retorted. “You know who needs a prayer, the 800,000 undocumented immigrants. They need the prayer.” He was referring to immigrants in the city who are not here legally.

The debate was at the City University of New York’s Hostos Community College, organized by the Hispanic Federation, the Spanish-language newspaper El Diario La Prensa and the television network Telemundo.

The theme of the forum was “The Road to City Hall Runs Through the Latino Community,” and the seriousness with which the candidates take such a claim about a population that could make up a fifth of the electorate this fall was reflected in the attendance. All the major candidates except for one, Joseph J. Lhota, a Republican, were there. The two Hispanic candidates present were Adolfo Carrión Jr., a former Bronx borough president who is running on the Independence Party line, and Mr. Salgado.

The first flare-up came during a row over whether and how a post-Bloomberg administration should provide documentation for illegal immigrants. There was rapid-fire verbal jousting between Mr. Salgado, who called for city-issued identification cards to “help these people come out of the shadows and have dignity” and John C. Liu, the city comptroller, who argued that illegal immigrants should get regular driver’s licenses and state-issued identity papers, not “a special I.D. that points out the fact that they are immigrants.”

Mr. Salgado has been sometimes sheepish and slow to start at some of the debates. But at this particular debate, among Latino and other minority voters, he was electric, punching the air, jumping to his feet, and, at times, being jocularly calmed down by the two candidates flanking him, Christine C. Quinn, the City Council speaker, and William C. Thomson Jr., a former city comptroller.

During the discussion about illegal immigrants, Mr. Salgado all but shouted down Mr. Liu, proclaiming, to whoops from the audience, “They are Latino, and Dr. Martin Luther King Jr. fought for the African Americans and as a pastor I am going to fight for the Latinos to at least have the dignity to be identified in the City of New York.”

As he slammed his fist onto the table, and into the air, even the other candidates laughed and applauded, seemingly content for the minister to have his moment. “I’m sorry,” he said at one point after thumping the table once again, “I’m a preacher.”

When Mr. Salgado had finished speaking on immigration, the moderator turned to Anthony D. Weiner, a former United States representative, to ask if he had anything to contribute on the issue. Wisely recognizing that this was not an act to follow, Mr. Weiner declined with a simple “no”, shaking his head and folding his arms.

The passion seemed to seep into the rest of the evening, notably when the debate turned to a plan for a waste transfer station on the Upper East Side where garbage from surrounding neighborhoods would be loaded onto barges to be shipped out of the city.

The plan has drawn protests from Manhattan residents who oppose it, but it has support from environmental advocates in other boroughs, who accuse Manhattan of dumping its waste in poorer communities. Before the debate began, banner-waving demonstrators marched outside the community college chanting, “Hey, hey, ho, ho, Manhattan’s waste has got to go,” and “Our right to breathe is not for sale.”

When Ms. Quinn defended the waste station plan at a Manhattan forum near the site earlier this year, she was booed by residents there. Here the reverse dynamic was in play, and when Mr. Thompson opposed the proposal the audience responded with boos and hisses.

“That site is a bad site; there’s nothing that changes that,” Mr. Thompson said. “I believe also that other neighborhoods have been impacted, other black and Latino communities, and I want to see those communities treated fairly. It doesn’t mean that we should move forward with that site.”

But he immediately came under fire from Mr. Carrión, who captured the mood of the audience by telling Mr. Thompson: “You can’t have it both ways. We fought hard to make sure that every borough in the City of New York carries its fair share. The Bronx and parts of Brooklyn are tired of being dumped on.”

The mood seemed infectious. In a riff on the garbage debate, Sal F. Albanese, a former city councilman, took a swipe at his Democratic rival Bill de Blasio about whether the site of a separate waste transfer station in Brooklyn was really within walking distance of Mr. de Blasio’s Park Slope home, as Mr. de Blasio claimed. It wasn’t even the same site that was generating all the anger at the other end of the table, yet within minutes Mr. de Blasio had thrown down a walking challenge to Mr. Albanese, who picked it up a few minutes later, via Twitter.

Finally, the energy dissipated. One of the two Republican candidates present, John Catsimatidis, excused himself saying that he had to leave early for another function on Staten Island. Mr. de Blasio also departed before the end, and the evening wrapped up cordially.

As they left, more than one candidate remarked on the liveliness of the debate compared with some others. How much it matters or advances Mr. Salgado’s chances is unclear. The hall was just over half full, and the mayoral campaign quickly moves on to other stops that may be less receptive to him. But on Wednesday night Mr. Salgado found his voice, and his audience.



Barton Gellman to Write a Book about Government Surveillance

Barton Gellman, the Pulitzer-Prize winning investigative journalist, is writing a book about the vast expansion of government surveillance that occurred after the terrorist attacks of Sept. 11, 2001, Penguin Press announced on Thursday. Mr. Gellman is a contributing editor at large for Time magazine and a former Washington Post reporter. No title or release date was available.

The announcement of the book comes on the heels of recent reports that the government has been compiling a database of Americans’ phone calls and an article co-written by Mr. Gellman for The Post that revealed a secret Internet surveillance program called Prism.

Scott Moyers, publisher of the Penguin Press, said, “I can’t think of another journalist who has reported on this issue more incisively over a longer period of time than Barton Gellman. The Edward Snowden story is just the tip of the iceberg, as we all will soon see.”

Mr. Gellman won a Pulitzer Prize and a George Polk Award for a series of articles he wrote with Jo Becker about Vice President Dick Cheney for The Post. The articles were the basis for a best-selling book, “Angler.”



Barton Gellman to Write a Book about Government Surveillance

Barton Gellman, the Pulitzer-Prize winning investigative journalist, is writing a book about the vast expansion of government surveillance that occurred after the terrorist attacks of Sept. 11, 2001, Penguin Press announced on Thursday. Mr. Gellman is a contributing editor at large for Time magazine and a former Washington Post reporter. No title or release date was available.

The announcement of the book comes on the heels of recent reports that the government has been compiling a database of Americans’ phone calls and an article co-written by Mr. Gellman for The Post that revealed a secret Internet surveillance program called Prism.

Scott Moyers, publisher of the Penguin Press, said, “I can’t think of another journalist who has reported on this issue more incisively over a longer period of time than Barton Gellman. The Edward Snowden story is just the tip of the iceberg, as we all will soon see.”

Mr. Gellman won a Pulitzer Prize and a George Polk Award for a series of articles he wrote with Jo Becker about Vice President Dick Cheney for The Post. The articles were the basis for a best-selling book, “Angler.”



Lincoln Center Theater Announces New Season

Lincoln Center Theater will open its 2013-14 season this fall with the world premiere of “Domesticated,” a new play by the Pulitzer Prize winner Bruce Norris (“Clybourne Park”), and a new Broadway production of “Macbeth” starring Ethan Hawke, the theater announced on Thursday. The season will also include Tony Award winner James Lapine’s adaptation of Moss Hart’s autobiography “Act One,” and a new play by Anthony Giardina about a political doyenne in Washington, D.C.

The large-cast “Domesticated” deals with politics and gender, and features Laurie Metcalf as the wife of a politician who becomes caught up in a scandal; Ms. Metcalf, an Emmy winner for the ABC series “Roseanne,” was nominated for a best actress Tony this year for “The Other Place.” The director will be Tony winner Anna D. Shapiro (“August: Osage County”), Mr. Norris’s frequent collaborator. The play will begin preview performances Off Broadway at the Mitzi E. Newhouse Theater on Oct. 10 and open on Nov. 4.

The theater company’s new “Macbeth” will be the second at a Broadway house in 2013; a version starring Alan Cumming, performing the major roles, is now running through July 14. Mr. Hawke’s “Macbeth,” which will start Oct. 24 at the Vivian Beaumont Theater and open Nov. 21, will reunite him with his “Coast of Utopia” director Jack O’Brien; Mr. Hawke was nominated for a Tony for the three-part “Utopia,” which ran at Lincoln Center Theater in 2006-07 and won a Tony for Mr. O’Brien. They also collaborated on the acclaimed “Henry IV” production there in 2003.

Mr. Lapine, a Pulitzer Prize winner for the libretto of “Sunday in the Park with George” and a Tony winner for the books for “Into the Woods,” “Falsettos” and “Passion,” will also direct his adaptation of “Act One” on the Beaumont stage starting on March 20, 2014, and opening on April 17. “Act One” is a beloved memoir in theater circles, and was a best-seller in 1959, chronicling Hart’s impoverished childhood and early career in the theater, including his first Broadway hit with George S. Kaufman, “Once in a Lifetime.”

Another play about politics, Mr. Giardina’s “The City of Conversation,” will begin performances April 10 at the Newhouse and open May 5. Tony winner Doug Hughes (“Doubt”) will direct the play, which renders 30 years of behind-the-scenes maneuvering in Washington by a plugged-in hostess.

The theater company’s LCT3 program, which aims to develop new talent, will produce three plays in 2013-14 in its 112-seat Claire Tow Theater; those shows will be announced soon.



Quoting Dickens, Again, on the Campaign Trail

If campaign slogans could be copyrighted, would the next round of candidates have anything left to say?

“Let’s be honest where we are today,” Bill de Blasio, the New York City public advocate who is seeking the Democratic mayoral nomination, has said on more than one occasion. And where are we? “A city,” Mr. de Blasio said several times, “that in too many ways has become a tale of two cities, a place where City Hall too often has catered to the interests of the elite rather than the needs of everyday New Yorkers.”

Just who constitutes an everyday New Yorker is subjective, but, let’s be honest, the tale of two cities reference may sound a little familiar. Fernando Ferrer, the former Bronx borough president, invoked it in his unsuccessful 2001 and 2005 mayoral campaigns and was criticized for sounding divisive.

Mr. de Blasio, who is running an avowedly populist campaign, argues that the message is valid in a city confronting an “inequality crisis” â€" if not necessarily one of the same magnitude that inspired Dickens’s novel of the violent French Revolution. (And of course he is not the only candidate who recycles political slogans).

Mr. Ferrer, meanwhile, unabashedly acknowledges the message’s provenance.

“I stole it from Mario Cuomo, who stole it from R.F.K., who stole it from Michael Harrington, who stole it from Jacob Riis, who stole it from Dickens, etc.,” he said. “By now it should be public domain.”

As to whether it resonated in his campaign, a Socratic Mr. Ferrer replied, “Since when is the truth not effective?”



Quoting Dickens, Again, on the Campaign Trail

If campaign slogans could be copyrighted, would the next round of candidates have anything left to say?

“Let’s be honest where we are today,” Bill de Blasio, the New York City public advocate who is seeking the Democratic mayoral nomination, has said on more than one occasion. And where are we? “A city,” Mr. de Blasio said several times, “that in too many ways has become a tale of two cities, a place where City Hall too often has catered to the interests of the elite rather than the needs of everyday New Yorkers.”

Just who constitutes an everyday New Yorker is subjective, but, let’s be honest, the tale of two cities reference may sound a little familiar. Fernando Ferrer, the former Bronx borough president, invoked it in his unsuccessful 2001 and 2005 mayoral campaigns and was criticized for sounding divisive.

Mr. de Blasio, who is running an avowedly populist campaign, argues that the message is valid in a city confronting an “inequality crisis” â€" if not necessarily one of the same magnitude that inspired Dickens’s novel of the violent French Revolution. (And of course he is not the only candidate who recycles political slogans).

Mr. Ferrer, meanwhile, unabashedly acknowledges the message’s provenance.

“I stole it from Mario Cuomo, who stole it from R.F.K., who stole it from Michael Harrington, who stole it from Jacob Riis, who stole it from Dickens, etc.,” he said. “By now it should be public domain.”

As to whether it resonated in his campaign, a Socratic Mr. Ferrer replied, “Since when is the truth not effective?”



Sunlight in Store for Downtown Subway Crossing

David Sundberg/Esto “It’s almost like you’ve taken the whole sky and folded it in,” said James Carpenter, the designer of the “Sky Reflector-Net” at the Fulton Center, under construction at Broadway and Fulton Street.

Most subway artwork sits within a station. Now comes a subway station that sits within an artwork.

David W. Dunlap/The New York Times

Or at least that’s how it may feel next year when the Fulton Center opens in Lower Manhattan and its artistic centerpiece â€" a curving, 79-foot-high net of reflective aluminum diamonds set in a stainless-steel tracery â€" sends ambient daylight into mezzanines, passageways and perhaps even passenger platforms.

The structure, James Carpenter’s “Sky Reflector-Net,” is the largest single work ever commissioned by Arts for Transit and Urban Design, a unit of the Metropolitan Transportation Authority. It has just been installed within the conical dome of the Fulton Center at Broadway and Fulton Street, designed by Grimshaw Architects. The center is the monumental headhouse for five stations serving the 2, 3, 4, 5, A, C, J, Z and R lines.

The “Sky Reflector-Net” cost about $2.1 million. The total budget for the Fulton Center is $1.4 billion, almost twice as much as the original estimate in 2003.

Above all, the artwork is intended to help travelers orient themselves within this labyrinth, which was constructed piecemeal over the years.

“When you’re coming up from the subway, the greatest way-finding aid is natural light,” said Craig Covil, a principal in the engineering firm Arup, which is working on the Fulton Center with Grimshaw and James Carpenter Design Associates.

A view of the net from within the dome.David Sundberg/Esto A view of the net from within the dome.

The net’s 8,500-square-foot surface will change constantly, supplemented by prismatic glass blades suspended at the top of the dome that will scatter light rays through the interior.

Vincent Chang, a partner in Grimshaw, likened the effect to sun dappling. “It’s a visual movement that’s arresting to the eye,” he said. “Diurnally and seasonally, it will always be different.”

With that, Mr. Chang was interrupted, collegially, by Uday R. Durg, a senior vice president of the Metropolitan Transportation Authority’s capital construction division. “But what does it do for my passengers?” Mr. Durg asked.

“It’s a moment of respite,” Mr. Chang replied, “like at Grand Central Terminal, where you can stand at the balconies and watch the world go by.”

And that gets to things the “Sky Reflector-Net” may provide that transportation officials cannot measure: delight, astonishment, perhaps even awe â€" the “Wow” factor.

“We needed something magical downtown after all that had happened,” said Sandra Bloodworth, the director of Arts for Transit and Urban Design, during a tour of the Fulton Center last week.

She used the same adjective nine years ago, explaining that Mr. Carpenter had been picked to join the design team in part because his work was concerned with “how light moves across a space, the way it refracts and the way it reflects to create an atmosphere and environment that can be, at times, magical.”

Magic needs specs to get built.

The “Sky Reflector-Net” starts with a crisscross network of stainless-steel cables held between two enormous rings. The upper ring, under the skylight, is 53 feet in diameter and has been installed at a 23-degree angle. The lower ring, which is used to bring the entire net into tension, is 74 feet in diameter and tilted 12 degrees.

Among the cables, 952 perforated aluminum panels have been fastened. Most panels are diamond-shaped. Those at the top and bottom edges of the net are triangular. The largest diamond panel is a bit over eight feet tall. Each panel is slightly different than the next. They were numerically coded for proper installation.

The panels’ aluminum surface reflects about 95 percent of the light that strikes it, Mr. Carpenter said, but it is not a mirror. Instead, the surface is stippled, which ever so slightly diffuses the light. The amount of perforation varies.

The net was assembled by TriPyramid Structures of Westford, Mass., and hung in the Fulton Center in May. Except for an outlier or two, panel installation was finished last Friday.

Looking down through the net from the top of a boom lift.David W. Dunlap/The New York Times Looking down through the net from the top of a boom lift.

Looking over the almost completed net on a rainy morning in late May, Mr. Carpenter described the effect of a clear day. “It’s almost like you’ve taken the whole sky and folded it in,” he said.

That sounded like designer talk; poetic, but hyperbolic. On a return visit last week, however, when the weather was clear, it appeared almost as if the whole sky had been folded into the dome.

In the end, the public’s impression will depend on how sensitively the retailing and dining spaces around the dome are designed. Commercial tenants at the Fulton Center will want to stand out. Conceivably, they could create enough visual distraction that the net’s subtle palette recedes.

But if “Sky Reflector-Net” stands out as clearly next year as it does now, “magical” may not be too strong a word.



Sunlight in Store for Downtown Subway Crossing

David Sundberg/Esto “It’s almost like you’ve taken the whole sky and folded it in,” said James Carpenter, the designer of the “Sky Reflector-Net” at the Fulton Center, under construction at Broadway and Fulton Street.

Most subway artwork sits within a station. Now comes a subway station that sits within an artwork.

David W. Dunlap/The New York Times

Or at least that’s how it may feel next year when the Fulton Center opens in Lower Manhattan and its artistic centerpiece â€" a curving, 79-foot-high net of reflective aluminum diamonds set in a stainless-steel tracery â€" sends ambient daylight into mezzanines, passageways and perhaps even passenger platforms.

The structure, James Carpenter’s “Sky Reflector-Net,” is the largest single work ever commissioned by Arts for Transit and Urban Design, a unit of the Metropolitan Transportation Authority. It has just been installed within the conical dome of the Fulton Center at Broadway and Fulton Street, designed by Grimshaw Architects. The center is the monumental headhouse for five stations serving the 2, 3, 4, 5, A, C, J, Z and R lines.

The “Sky Reflector-Net” cost about $2.1 million. The total budget for the Fulton Center is $1.4 billion, almost twice as much as the original estimate in 2003.

Above all, the artwork is intended to help travelers orient themselves within this labyrinth, which was constructed piecemeal over the years.

“When you’re coming up from the subway, the greatest way-finding aid is natural light,” said Craig Covil, a principal in the engineering firm Arup, which is working on the Fulton Center with Grimshaw and James Carpenter Design Associates.

A view of the net from within the dome.David Sundberg/Esto A view of the net from within the dome.

The net’s 8,500-square-foot surface will change constantly, supplemented by prismatic glass blades suspended at the top of the dome that will scatter light rays through the interior.

Vincent Chang, a partner in Grimshaw, likened the effect to sun dappling. “It’s a visual movement that’s arresting to the eye,” he said. “Diurnally and seasonally, it will always be different.”

With that, Mr. Chang was interrupted, collegially, by Uday R. Durg, a senior vice president of the Metropolitan Transportation Authority’s capital construction division. “But what does it do for my passengers?” Mr. Durg asked.

“It’s a moment of respite,” Mr. Chang replied, “like at Grand Central Terminal, where you can stand at the balconies and watch the world go by.”

And that gets to things the “Sky Reflector-Net” may provide that transportation officials cannot measure: delight, astonishment, perhaps even awe â€" the “Wow” factor.

“We needed something magical downtown after all that had happened,” said Sandra Bloodworth, the director of Arts for Transit and Urban Design, during a tour of the Fulton Center last week.

She used the same adjective nine years ago, explaining that Mr. Carpenter had been picked to join the design team in part because his work was concerned with “how light moves across a space, the way it refracts and the way it reflects to create an atmosphere and environment that can be, at times, magical.”

Magic needs specs to get built.

The “Sky Reflector-Net” starts with a crisscross network of stainless-steel cables held between two enormous rings. The upper ring, under the skylight, is 53 feet in diameter and has been installed at a 23-degree angle. The lower ring, which is used to bring the entire net into tension, is 74 feet in diameter and tilted 12 degrees.

Among the cables, 952 perforated aluminum panels have been fastened. Most panels are diamond-shaped. Those at the top and bottom edges of the net are triangular. The largest diamond panel is a bit over eight feet tall. Each panel is slightly different than the next. They were numerically coded for proper installation.

The panels’ aluminum surface reflects about 95 percent of the light that strikes it, Mr. Carpenter said, but it is not a mirror. Instead, the surface is stippled, which ever so slightly diffuses the light. The amount of perforation varies.

The net was assembled by TriPyramid Structures of Westford, Mass., and hung in the Fulton Center in May. Except for an outlier or two, panel installation was finished last Friday.

Looking down through the net from the top of a boom lift.David W. Dunlap/The New York Times Looking down through the net from the top of a boom lift.

Looking over the almost completed net on a rainy morning in late May, Mr. Carpenter described the effect of a clear day. “It’s almost like you’ve taken the whole sky and folded it in,” he said.

That sounded like designer talk; poetic, but hyperbolic. On a return visit last week, however, when the weather was clear, it appeared almost as if the whole sky had been folded into the dome.

In the end, the public’s impression will depend on how sensitively the retailing and dining spaces around the dome are designed. Commercial tenants at the Fulton Center will want to stand out. Conceivably, they could create enough visual distraction that the net’s subtle palette recedes.

But if “Sky Reflector-Net” stands out as clearly next year as it does now, “magical” may not be too strong a word.



Coffee, and News From Afghanistan

Shaker Wasiq with his coffee cart in Midtown.Russell Flagg Shaker Wasiq with his coffee cart in Midtown.

Dear Diary:

My world news on Afghanistan comes from my favorite street coffee man on the corner.

My street coffee for the past several years has come from an Afghan family, who immigrated to the United States and started their street coffee-cart business on Lexington Avenue, close to my office.

To make ends meet and pay off some family debts, Abdul, the eldest of the family, decided to go back to Afghanistan as an interpreter and intelligence adviser for the United States Army.

In his place, his cousin, Shaker Wasiq, now has his street coffee cart.

Abdul is in the field, and in harm’s way with his team of American soldiers in Northern Afghanistan.

It is my good fortune that my firsthand news on Afghanistan comes free with my coffee from his cousin, who talks to Abdul by cellphone from time to time.

Dodging bullets and angry Afghans is a far cry from driving a coffee cart at 5 a.m. and serving coffee and doughnuts to office workers in our neighborhood.

But I so admire our wonderful local coffee man, who has spent the last three years in Afghanistan with the armed forces. He is doing his bit for our country, and risking his life every day together with his team of American soldiers in the field.

And to my benefit, his world news to his cousin is only a cellphone call away.

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