Featured Events in New York in December, 2024 (April Updated)

The story revolves around the fading star Noma Destmond. She lives in her ruined mansion on the legendary streets of Los Angeles and lives a life of the past. When the lighter screenwriter Joe Galius accidentally met her, she saw the opportunity to return to the big screen from him, and then a series of romance and tragedy occurred.

Two Drag Houses, both alike in indignity, vie for supremacy in a wig-snatching, diva-licious journey of fashion, family, and forgiveness. Leave the lip syncs at the door, darling. Get ready for Drag realness: REAL singing, in a REAL theater, with REAL DRAMA. After their bitter split, fishy queen Alexis Gilmore opened her club, The Fishtank, as glamourpuss Miss Kitty established The Cathouse. Heels click and tensions rise as old wounds are opened and the two clubs fight to survive.

Two Drag Houses, both alike in indignity, vie for supremacy in a wig-snatching, diva-licious journey of fashion, family, and forgiveness. Leave the lip syncs at the door, darling. Get ready for Drag realness: REAL singing, in a REAL theater, with REAL DRAMA. After their bitter split, fishy queen Alexis Gilmore opened her club, The Fishtank, as glamourpuss Miss Kitty established The Cathouse. Heels click and tensions rise as old wounds are opened and the two clubs fight to survive.

Two Drag Houses, both alike in indignity, vie for supremacy in a wig-snatching, diva-licious journey of fashion, family, and forgiveness. Leave the lip syncs at the door, darling. Get ready for Drag realness: REAL singing, in a REAL theater, with REAL DRAMA. After their bitter split, fishy queen Alexis Gilmore opened her club, The Fishtank, as glamourpuss Miss Kitty established The Cathouse. Heels click and tensions rise as old wounds are opened and the two clubs fight to survive.

To mark the 2024 centenary of its life as a public institution, the Morgan Library & Museum presents a major exhibition devoted to the life and career of its inaugural director, Belle da Costa Greene (1879–1950). Widely recognized as an authority on illuminated manuscripts and deeply respected as a cultural heritage executive, Greene was one of the most prominent librarians in American history. She was the daughter of Genevieve Ida Fleet Greener (1849–1941) and Richard T. Greener (1844–1922), the first Black graduate of Harvard College, and was at birth known by a different name: Belle Marion Greener. After her parents separated in the 1890s, her mother changed the family surname to Greene, Belle and her brother adopted variations of the middle name da Costa, and the family began to pass as white in a racist and segregated America.

To mark the 2024 centenary of its life as a public institution, the Morgan Library & Museum presents a major exhibition devoted to the life and career of its inaugural director, Belle da Costa Greene (1879–1950). Widely recognized as an authority on illuminated manuscripts and deeply respected as a cultural heritage executive, Greene was one of the most prominent librarians in American history. She was the daughter of Genevieve Ida Fleet Greener (1849–1941) and Richard T. Greener (1844–1922), the first Black graduate of Harvard College, and was at birth known by a different name: Belle Marion Greener. After her parents separated in the 1890s, her mother changed the family surname to Greene, Belle and her brother adopted variations of the middle name da Costa, and the family began to pass as white in a racist and segregated America.

To mark the 2024 centenary of its life as a public institution, the Morgan Library & Museum presents a major exhibition devoted to the life and career of its inaugural director, Belle da Costa Greene (1879–1950). Widely recognized as an authority on illuminated manuscripts and deeply respected as a cultural heritage executive, Greene was one of the most prominent librarians in American history. She was the daughter of Genevieve Ida Fleet Greener (1849–1941) and Richard T. Greener (1844–1922), the first Black graduate of Harvard College, and was at birth known by a different name: Belle Marion Greener. After her parents separated in the 1890s, her mother changed the family surname to Greene, Belle and her brother adopted variations of the middle name da Costa, and the family began to pass as white in a racist and segregated America.

To mark the 2024 centenary of its life as a public institution, the Morgan Library & Museum presents a major exhibition devoted to the life and career of its inaugural director, Belle da Costa Greene (1879–1950). Widely recognized as an authority on illuminated manuscripts and deeply respected as a cultural heritage executive, Greene was one of the most prominent librarians in American history. She was the daughter of Genevieve Ida Fleet Greener (1849–1941) and Richard T. Greener (1844–1922), the first Black graduate of Harvard College, and was at birth known by a different name: Belle Marion Greener. After her parents separated in the 1890s, her mother changed the family surname to Greene, Belle and her brother adopted variations of the middle name da Costa, and the family began to pass as white in a racist and segregated America.

What belongs in a museum, and who decides? How can we be more democratic in defining value? As a leading arbiter of taste, style, and form, The Museum of Modern Art played an instrumental role in shaping the history of modern design. Norman Teague invites us to reimagine the past by moving beyond "good modern design" as defined by institutions like MoMA. Drawing inspiration from artists and designers traditionally excluded from museums, and assisted by generative AI, he offers a reinterpretation of design history. These reimaginings—posters and full-scale prototypes shown alongside objects from MoMA’s collection—foreground makers of color and embody the cooperative, inventive spirit that guides Norman Teague Design Studios. Teague balances reverence for design innovation with an acknowledgment of the power dynamics that shaped it. With the rise of AI forcing a wholesale reevaluation of human creativity, he reminds us of the creative potential of inviting a diversity of voices into the chorus. As in a musical jam session, collaboration, respect, and improvisation bring us back to the question that sparks every act of imagination—the what if—inviting us to contemplate both the past and the future as realms of boundless possibility.

While the landscape genre has long been associated with picturesque vistas, Shifting Landscapes considers a more expansive interpretation of the category, exploring how evolving political, ecological, and social issues motivate artists as they attempt to represent the world around them. Drawn from the Whitney’s collection, the exhibition features works from the 1960s to the present and is organized according to distinct thematic sections. Some of these coalesce around material and conceptual affinities: sculptural assemblages formed from locally sourced objects, ecofeminist approaches to land art, and the legacies of documentary landscape photography. Others are tied to specific geographies, such as the frenzied cityscape of modern New York or the experimental filmmaking scene of 1970s Los Angeles. Still others show how artists invent fantastic new worlds where humans, animals, and the land become one. Whether depicting the effects of industrialization on the environment, grappling with the impact of geopolitical borders, or proposing imagined spaces as a way of destabilizing the concept of a “natural” world, the works gathered here bring ideas of land and place into focus, foregrounding how we shape and are shaped by the spaces around us.

What belongs in a museum, and who decides? How can we be more democratic in defining value? As a leading arbiter of taste, style, and form, The Museum of Modern Art played an instrumental role in shaping the history of modern design. Norman Teague invites us to reimagine the past by moving beyond "good modern design" as defined by institutions like MoMA. Drawing inspiration from artists and designers traditionally excluded from museums, and assisted by generative AI, he offers a reinterpretation of design history. These reimaginings—posters and full-scale prototypes shown alongside objects from MoMA’s collection—foreground makers of color and embody the cooperative, inventive spirit that guides Norman Teague Design Studios. Teague balances reverence for design innovation with an acknowledgment of the power dynamics that shaped it. With the rise of AI forcing a wholesale reevaluation of human creativity, he reminds us of the creative potential of inviting a diversity of voices into the chorus. As in a musical jam session, collaboration, respect, and improvisation bring us back to the question that sparks every act of imagination—the what if—inviting us to contemplate both the past and the future as realms of boundless possibility.

While the landscape genre has long been associated with picturesque vistas, Shifting Landscapes considers a more expansive interpretation of the category, exploring how evolving political, ecological, and social issues motivate artists as they attempt to represent the world around them. Drawn from the Whitney’s collection, the exhibition features works from the 1960s to the present and is organized according to distinct thematic sections. Some of these coalesce around material and conceptual affinities: sculptural assemblages formed from locally sourced objects, ecofeminist approaches to land art, and the legacies of documentary landscape photography. Others are tied to specific geographies, such as the frenzied cityscape of modern New York or the experimental filmmaking scene of 1970s Los Angeles. Still others show how artists invent fantastic new worlds where humans, animals, and the land become one. Whether depicting the effects of industrialization on the environment, grappling with the impact of geopolitical borders, or proposing imagined spaces as a way of destabilizing the concept of a “natural” world, the works gathered here bring ideas of land and place into focus, foregrounding how we shape and are shaped by the spaces around us.

Featuring 25 site-specific, newly commissioned installations, Making Home—Smithsonian Design Triennial explores design’s role in shaping the physical and emotional realities of home across the United States, US Territories, and Tribal Nations. The exhibition is the seventh offering in the museum’s Design Triennial series, which was established in 2000 to address the most urgent topics of the time through the lens of design.

The exhibition “Tintoretto, The Power of Opposites” is a significant cultural event taking place in Domodossola from November 8, 2024, to June 1, 2025. This immersive and digital experience delves into the art of Jacopo Tintoretto, one of the masters of the Venetian Renaissance, offering an unmissable opportunity for art lovers and those eager to deepen their understanding of this extraordinary artist.

The exhibition “Tintoretto, The Power of Opposites” is a significant cultural event taking place in Domodossola from November 8, 2024, to June 1, 2025. This immersive and digital experience delves into the art of Jacopo Tintoretto, one of the masters of the Venetian Renaissance, offering an unmissable opportunity for art lovers and those eager to deepen their understanding of this extraordinary artist.

The exhibition “Tintoretto, The Power of Opposites” is a significant cultural event taking place in Domodossola from November 8, 2024, to June 1, 2025. This immersive and digital experience delves into the art of Jacopo Tintoretto, one of the masters of the Venetian Renaissance, offering an unmissable opportunity for art lovers and those eager to deepen their understanding of this extraordinary artist.

Encapsulating 100 years of moving-image history, Christian Marclay’s The Clock (2010) is a 24-hour montage composed from thousands of film and television clips depicting clocks and other references to time. James Bond checks his watch at 12:20 a.m.; Meryl Streep turns off an alarm clock at 6:30 a.m.; a pocket watch ticks at 11:53 a.m. as the Titanic departs. With each clip synchronized to the local time, The Clock collapses the fictional time presented on screen with the actual time of each passing minute. The work is both a cinematic tour-de-force and a functioning timepiece. Building on his background as a musician in Boston and New York’s underground scenes of the late 1970s and 1980s, Marclay has for five decades combined visual and sonic fragments to explore the complex relationships between image and sound. His resulting works have taken form across a wide range of mediums: sculpture, painting, photography, print, performance, and video. With the help of assistants searching for footage, Marclay spent three years meticulously editing The Clock—the culmination of his innovative approach to looking at the world anew through found material. The Clock speaks to cinema’s rich history as both a mirror of and escape from reality, a paradox that is ever more central to daily life in today’s era of instant broadcast, streaming services, and artificial intelligence. Marclay’s assemblage of carefully selected clips takes us on a journey through the past in order to heighten our awareness of an ever-elusive and unfolding present. By editing together fragments from cinema’s vast archive to tell the current time, Marclay reframes our collective memory of movies as an uncanny confrontation with ourselves.

Encapsulating 100 years of moving-image history, Christian Marclay’s The Clock (2010) is a 24-hour montage composed from thousands of film and television clips depicting clocks and other references to time. James Bond checks his watch at 12:20 a.m.; Meryl Streep turns off an alarm clock at 6:30 a.m.; a pocket watch ticks at 11:53 a.m. as the Titanic departs. With each clip synchronized to the local time, The Clock collapses the fictional time presented on screen with the actual time of each passing minute. The work is both a cinematic tour-de-force and a functioning timepiece. Building on his background as a musician in Boston and New York’s underground scenes of the late 1970s and 1980s, Marclay has for five decades combined visual and sonic fragments to explore the complex relationships between image and sound. His resulting works have taken form across a wide range of mediums: sculpture, painting, photography, print, performance, and video. With the help of assistants searching for footage, Marclay spent three years meticulously editing The Clock—the culmination of his innovative approach to looking at the world anew through found material. The Clock speaks to cinema’s rich history as both a mirror of and escape from reality, a paradox that is ever more central to daily life in today’s era of instant broadcast, streaming services, and artificial intelligence. Marclay’s assemblage of carefully selected clips takes us on a journey through the past in order to heighten our awareness of an ever-elusive and unfolding present. By editing together fragments from cinema’s vast archive to tell the current time, Marclay reframes our collective memory of movies as an uncanny confrontation with ourselves.

Encapsulating 100 years of moving-image history, Christian Marclay’s The Clock (2010) is a 24-hour montage composed from thousands of film and television clips depicting clocks and other references to time. James Bond checks his watch at 12:20 a.m.; Meryl Streep turns off an alarm clock at 6:30 a.m.; a pocket watch ticks at 11:53 a.m. as the Titanic departs. With each clip synchronized to the local time, The Clock collapses the fictional time presented on screen with the actual time of each passing minute. The work is both a cinematic tour-de-force and a functioning timepiece. Building on his background as a musician in Boston and New York’s underground scenes of the late 1970s and 1980s, Marclay has for five decades combined visual and sonic fragments to explore the complex relationships between image and sound. His resulting works have taken form across a wide range of mediums: sculpture, painting, photography, print, performance, and video. With the help of assistants searching for footage, Marclay spent three years meticulously editing The Clock—the culmination of his innovative approach to looking at the world anew through found material. The Clock speaks to cinema’s rich history as both a mirror of and escape from reality, a paradox that is ever more central to daily life in today’s era of instant broadcast, streaming services, and artificial intelligence. Marclay’s assemblage of carefully selected clips takes us on a journey through the past in order to heighten our awareness of an ever-elusive and unfolding present. By editing together fragments from cinema’s vast archive to tell the current time, Marclay reframes our collective memory of movies as an uncanny confrontation with ourselves.

Over the course of forty years, Lea R. Sneider (1925–2020) formed a significant collection of Korean art that challenged established norms. While appreciating literati art, she was particularly drawn to lively and colorful forms connected to everyday life, resulting in a diverse collection that illustrates Korea’s vibrant material culture. This exhibition features a substantial gift and loans from the Lea R. Sneider Collection, generously provided by her children. Through approximately 100 pieces from the fifth century to the present, Including paintings, ceramics, furniture, textiles, and funeral and ritual objects, the exhibition highlights the pervasiveness of auspicious symbolism and the unpretentious dynamism in Korean art. Sneider has said that the works reflect the vitality and warmth of the people who engaged with them, a sentiment that her collection, with its emphasis on cultural and everyday relevance, underscores.

Among the various mock combats fought by knights and noblemen in tournaments, the joust was one of the most spectacular. The joust of peace required highly specialized armor that was unsuited to any other use, and usually made by the greatest armorers due to the exceptional metalworking skills required. This special installation features an armor for the joust of peace of Philip I of Castile (1478–1506) on loan from the Imperial Armory, Kunsthistorisches Museum Vienna. A rare example among surviving armors for its refined decoration, it is also remarkable in that it was intended for a teenager. Its owner Philip I became duke of Burgundy, count of Flanders, and the ruler of additional lands, although in name only, upon his birth. He began wearing armor when he was just six years old, and this one was made for training and participating in tournaments around the time that he turned 15, when he was declared ready to rule. Through marriage, Philip became king consort of Castile and the first member of the House of Habsburg to rule over Spanish territories. His jousting armors were key to shaping his public image of a capable leader.

Photography has played a key role in structuring systems of power in society, including those related to crime and punishment. This exhibition presents immersive contemporary installations by the artist Jesse Krimes (American, b. 1982) alongside nineteenth-century photographs from The Met collection by the French criminologist Alphonse Bertillon, who developed the first modern system of criminal identification before the adoption of fingerprinting. Krimes’s image-based installations, made over the course of his six-year incarceration, reflect the ingenuity of an artist working without access to traditional materials. Employing prison-issued soap, hair gel, playing cards, and newspaper he created works of art that seek to disrupt and recontextualize the circulation of photographs in the media. Displayed at The Met in dialogue with Bertillon, whose pioneering method paired anthropomorphic measurements with photographs to produce the present-day mug shot, Krimes’s work raises questions about the perceived neutrality of our systems of identification and the hierarchies of social imbalance they create and reinscribe. An artist for whom collaboration and activism are vital, Krimes founded the Center for Art and Advocacy to highlight the talent and creative potential among individuals who have experienced incarceration and to support and improve outcomes for formerly incarcerated artists.

Welcome to Battle in the Basement 13! Church Street Boxing Gym presents an afternoon filled with fast and furious Muay Thai action! Whether you're a seasoned fighter or just a fan of the sport, this event is not to be missed! Experience the thrill of the fight up close and personal. Cheer on your favorites as they go head-to-head in intense hotly contested matches. Feel the adrenaline rush with each punch, kick, knee & elbow! This event is sanctioned by GAMMA, in conjuntion with Three Pillar Promotions, and sponsored by SUPERARE. In between rounds, enjoy the live DJ and the bar featuring: Miller $6Mille Lite $6Water Claw $7Bottled Water $2Outside food and alcoholic beverages are strictly forbidden. Don't miss out on the excitement of Battle in the Basement 13 at Church Street Boxing Gym. Grab your tickets now and get ready for a night of unforgettable action! Information Source: Church Street Boxing Gym | eventbrite

Mark your calendars for the highly anticipated TEST AS event coming to Brooklyn at the prestigious Barclays Center. The event is scheduled to take place on December 31, 2024. The Barclays Center, located at 620 Atlantic Ave, Brooklyn, NY, 11217, will be hosting this exciting event. Don't miss out on this unique opportunity to experience TEST AS in one of the most iconic venues in Brooklyn.

Shafi Hossain was coined as one of New Yorks Funniest Standups by New York Comedy Festival in 2021. He is a regular at the world renowned Comedy Cellar. He has over 100K followers on social media and is currently touring the country. His debut special Not From Here is out now on Youtube. He will do a longer set of newer jokes + feature some of his very funny stand up friends. Please read below: Show is byob (bring water/sparkling water, etc, whatever quenches your thirst) Seating 8pm. Show starts 825pm. All phones must be turned off! A ll sales are final! Information Source: Shafi Hossain | eventbrite

Experience the thrill of the CHSAA Relay Carnival - Saturday, taking place at the prestigious Nike Track & Field Center in New York City. Witness high school athletes showcase their talent and determination from 9am to 4pm on December 14, 2024. Don't miss out on this exciting event filled with intense competition and incredible displays of athleticism. Secure your tickets now for $27.03 to $37.58 and be a part of this unforgettable high school meet.

Renowned singer Jonathan Lee will be embarking on his highly anticipated "Those Songs Through the Year World Tour" in Brooklyn at the prestigious Barclays Center. The event is scheduled to take place on December 14, 2024, at 620 Atlantic Ave, Brooklyn, NY, 11217. Fans can expect an unforgettable evening filled with Lee's classic hits and mesmerizing performances. Don't miss this opportunity to witness one of the music industry's most iconic talents live on stage.

Experience the vibrant energy of the New Jersey Spiked Shoe Holiday Festival on Monday at the Nike Track & Field Center in New York. This exciting event, scheduled for December 16, 2024, promises a thrilling showcase of talent and sportsmanship. Join fellow enthusiasts and athletes as they compete in various track and field events, all against the backdrop of the bustling city. Tickets for this must-attend festival range from $27.03 to $37.58, offering affordable access to a day filled with excitement and competition. Don't miss out on this unique opportunity to witness top athletes in action and celebrate the spirit of sports at the New Jersey Spiked Shoe Holiday Festival - Monday.