John Giorno's God Is Manmade for the Albert Maysles New Documentary Director honoree Photo: Anne-Katrin Titze
The roster of nine contemporary artists participating in the Tribeca Film Festival Artists Awards program, sponsored by Chanel, are Walton Ford, John Giorno seen in Aaron Brookner's Uncle Howard, Ella Kruglyanskaya, Jorge Pardo, Rh Quaytman, Sterling Ruby (Frédéric Tcheng's Dior And I), Aurel Schmidt, Ryan Sullivan, Stephen Hannock and Tara Subkoff's #Horror executive producer Urs Fischer.
Matthew Barney, Francesco Clemente, Julian Schnabel (seen in Pappi Corsicato’s Julian Schnabel: A Private Portrait at the festival) Chuck Close, Eric Fischl, Nan Goldin, April Gornik, Jeff Koons, David Salle, Cindy Sherman and Kiki Smith were some of the past contributors to Tribeca Film Festival co-founder Jane Rosenthal's Artists Awards initiative.
Urs Fischer's boomboomboom, 2016, The Transit of Venus (Melanie) for the Audience Award: Documentary Photo: Anne-Katrin Titze
This year's artworks for...
The roster of nine contemporary artists participating in the Tribeca Film Festival Artists Awards program, sponsored by Chanel, are Walton Ford, John Giorno seen in Aaron Brookner's Uncle Howard, Ella Kruglyanskaya, Jorge Pardo, Rh Quaytman, Sterling Ruby (Frédéric Tcheng's Dior And I), Aurel Schmidt, Ryan Sullivan, Stephen Hannock and Tara Subkoff's #Horror executive producer Urs Fischer.
Matthew Barney, Francesco Clemente, Julian Schnabel (seen in Pappi Corsicato’s Julian Schnabel: A Private Portrait at the festival) Chuck Close, Eric Fischl, Nan Goldin, April Gornik, Jeff Koons, David Salle, Cindy Sherman and Kiki Smith were some of the past contributors to Tribeca Film Festival co-founder Jane Rosenthal's Artists Awards initiative.
Urs Fischer's boomboomboom, 2016, The Transit of Venus (Melanie) for the Audience Award: Documentary Photo: Anne-Katrin Titze
This year's artworks for...
- 4/21/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Legs: A Big Issue In A Small Town screens Friday, Nov. 4 at 7:30pm at .Zack (3224 Locust Ave). Co-directors Beatrice Alda and Jennifer Brooke will be in attendance. Ticket information can be found Here
Set in Sag Harbor, a small, frozen-in-time village in the tony Hamptons, Legs: A Big Issue In A Small Town recounts the controversy that results when a local gallery owned by Ruth Vered and Janet Lehr installs Larry Rivers’ large sculpture of a woman’s legs. Because the artwork is attached to the side of a building, local officials deem it a “structure” — equivalent to a garage or shed — and declare that the owners are in violation of the town’s zoning code. Using a chorus of voices with differing perspectives, the film engages in a lively discussion of public art but also widens its view to encompass a whole range of interesting issues: upholding tradition vs.
Set in Sag Harbor, a small, frozen-in-time village in the tony Hamptons, Legs: A Big Issue In A Small Town recounts the controversy that results when a local gallery owned by Ruth Vered and Janet Lehr installs Larry Rivers’ large sculpture of a woman’s legs. Because the artwork is attached to the side of a building, local officials deem it a “structure” — equivalent to a garage or shed — and declare that the owners are in violation of the town’s zoning code. Using a chorus of voices with differing perspectives, the film engages in a lively discussion of public art but also widens its view to encompass a whole range of interesting issues: upholding tradition vs.
- 10/31/2016
- by Tom Stockman
- WeAreMovieGeeks.com
And … good night! This is, sad to say, the very last post of Seen, the limited-run art site we launched November 17, with Jerry Saltz’s essay on the art world’s new conservatism. It closes today with his conversation with Matthew Weinstein about “Gaga’s law” and how art culture has eaten pop culture (which Lady Gaga actually retweeted — approvingly!). Along the way, we had a total blast, and before we turn the lights off for good, we thought we’d highlight a bunch of our favorite stuff from our 33 days in the art world ... There were fantastic slideshows of art, from a show curated by Eric Fischl about America’s doll obsession to Todd Oldham’s outsider art collection to Oliver Wasow's found-object art of people standing next to televisions. And even a slideshow of tattoos of art. We had fantastic video, including an exclusive clip Kara Walker secretly...
- 12/20/2014
- Vulture
The debate over art selfies has escalated to hilarious new heights this year. Jay Z and Beyoncé's publicity shot at the Louvre almost reduced the Mona Lisa to wallpaper. And Dis published a whole book of the popular #artselfie hashtag from Instagram. Which has us wondering: Will selfies ultimately prove the biggest boost to museum attendance ever? Does "being seen with the artworks count as much, if not more, than the work," as the New York Times suggested in its official trend piece on the matter? Did white people's selfies make a mockery of Kara Walker's sugar sphinx? It's hard to say, but Walker herself seemed fairly unfazed. Which is why we decided to go to ask artists what they really think about people taking selfies with their work. Here's what ten had to say.Eric Fischl“Was it John Berger or Susan Sontag who observed that the camera (a memory device), ironically,...
- 12/17/2014
- by Rachel Corbett
- Vulture
The sacred and the abject have always danced around one another. Eric Fischl, who began painting in the '70s, has moved with grace between the two, capturing the sterile beauty of the suburbs of his youth — he grew up in Port Washington, New York — and the troubled people who inhabit them. Both his aesthetic and his subject matter, which he found through his own complicated relationship to his mother (an alcoholic who eventually committed suicide), allow for an uneasy kind of voyeurism that exposes the security of domesticity and reveals a deep isolation that no one can quite escape. In Sleepwalker, an early painting of his, a naked, adolescent boy with his knees slightly bowed and his back hunched stands with water up to his shins in a kiddie pool, jerking off. In Bad Boy, which Fischl painted two years later, a grown woman sprawls on a bed as...
- 12/10/2014
- by Ian Epstein
- Vulture
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