Since 1982, when the Rolling Stones launched a European leg of their Tattoo You tour, lighting designer Patrick Woodroffe has gotten both a front-row seat and a backstage look at how Mick Jagger, Keith Richards, Ronnie Wood, and the rest of the band work on the road.
“The real privilege is to see them in rehearsal,” he tells Rolling Stone on an early May Zoom from Arizona, a day before a Stones gig. “It’s thrilling still, even after all this time. They always get together for at least three or...
“The real privilege is to see them in rehearsal,” he tells Rolling Stone on an early May Zoom from Arizona, a day before a Stones gig. “It’s thrilling still, even after all this time. They always get together for at least three or...
- 5/14/2024
- by Kory Grow
- Rollingstone.com
New York, NY, February 26, 2024 – The New York Public Library for the Performing Arts will present the world theatrical premiere of Merce Cunningham: The Events at Dia Beacon, a 40-minute film drawing on footage from the Merce Cunningham Dance Company’s unique, site-specific Events at Dia Beacon in 2008 and 2009. The screening will take place on Monday, April 8, at 6pm, at the Library’s Bruno Walter Auditorium at Lincoln Center.
From 2007 to 2009, the Merce Cunningham Dance Company presented a series of Cunningham’s Events in the galleries of Dia Beacon. This film, edited by award-winning film director/editor Daniel Madoff, is a compilation from five of these site-specific stagings with footage from the dress rehearsals and live performances.
Says producer Nancy Dalva: “The film creates an entirely new cinematic event with linkages revealing the choreographer’s idiosyncratic methodology and acute sensitivity to environment. Cunningham arranged these multi-stage performances after careful site visits,...
From 2007 to 2009, the Merce Cunningham Dance Company presented a series of Cunningham’s Events in the galleries of Dia Beacon. This film, edited by award-winning film director/editor Daniel Madoff, is a compilation from five of these site-specific stagings with footage from the dress rehearsals and live performances.
Says producer Nancy Dalva: “The film creates an entirely new cinematic event with linkages revealing the choreographer’s idiosyncratic methodology and acute sensitivity to environment. Cunningham arranged these multi-stage performances after careful site visits,...
- 2/27/2024
- by Music MCM
- Martin Cid Music
Click here to read the full article.
For more than two decades, Jane Fonda has been a supporter and collector of the work of Thornton Dial, a self-taught artist known for his assemblage works incorporating found and repurposed materials. Often called an outsider artist — a term that some admirers feel dismisses Dial’s innate stature as an artist — Dial lived and worked far away from the mainstream of the art world in the city of Bessemer, Alabama. Before he passed away in 2016, Dial had seen his works presented in the Whitney Biennial and in shows at the New Museum and the Museum of Fine Arts, Houston.
Now Fonda — who helped publish a two-volume set of books, Souls Grown Deep, in 2000 and 2001 that focused on Dial along with a number of other Southern artists — is selling a collection of 14 artworks including pieces by Dial, his son, Thornton Dial Jr., and brother Arthur Dial.
For more than two decades, Jane Fonda has been a supporter and collector of the work of Thornton Dial, a self-taught artist known for his assemblage works incorporating found and repurposed materials. Often called an outsider artist — a term that some admirers feel dismisses Dial’s innate stature as an artist — Dial lived and worked far away from the mainstream of the art world in the city of Bessemer, Alabama. Before he passed away in 2016, Dial had seen his works presented in the Whitney Biennial and in shows at the New Museum and the Museum of Fine Arts, Houston.
Now Fonda — who helped publish a two-volume set of books, Souls Grown Deep, in 2000 and 2001 that focused on Dial along with a number of other Southern artists — is selling a collection of 14 artworks including pieces by Dial, his son, Thornton Dial Jr., and brother Arthur Dial.
- 12/15/2022
- by Degen Pener
- The Hollywood Reporter - Movie News
By now, it seems as if we’ve read, seen, and heard about every reaction possible to the assassination of President John F. Kennedy, since it’s been the fodder for countless stories meant to explain to later generations why it was a pivotal point in history. But nothing quite prepared me for a tender moment between Andy Warhol and poet John Giorno 80 pages into his memoir, Great Demon Kings, on that day in 1963.
“Andy and I grabbed each other, hugged and hugged, pressing our bodies together, trembling. We both started crying,...
“Andy and I grabbed each other, hugged and hugged, pressing our bodies together, trembling. We both started crying,...
- 8/10/2020
- by Jerry Portwood
- Rollingstone.com
Guided By Voices thumbed their noses at the ongoing pandemic last Friday when they performed a lengthy, high-energy live-streamed show in an empty venue in Dayton, Ohio.
According to frontman Robert Pollard, it was the most-watched event on the NoonChorus platform to date. Still, not content to rest on their laurels, the band has announced yet another new album, Styles We Paid For, which will drop in November — just a few months after the album before that, Mirrored Aztec, out August 21st.
Pollard spoke with Rolling Stone about the band’s recent show,...
According to frontman Robert Pollard, it was the most-watched event on the NoonChorus platform to date. Still, not content to rest on their laurels, the band has announced yet another new album, Styles We Paid For, which will drop in November — just a few months after the album before that, Mirrored Aztec, out August 21st.
Pollard spoke with Rolling Stone about the band’s recent show,...
- 7/23/2020
- by Brenna Ehrlich
- Rollingstone.com
Strand Releasing has acquired North American rights to Catherine Gund’s documentary “Aggie,” about her mother Agnes “Aggie” Gund, the high-profile art collector and philanthropist.
“Aggie,” which premiered at this year’s Sundance Film Festival, explores the issues of art, race and justice. The elder Gund sold Roy Lichtenstein’s “Masterpiece” in 2017 to launch the $100 million Art for Justice Fund to end mass incarceration. Strand plans for a fall release starting with a launch at Film Forum in New York, followed by a nationwide opening.
The film features “Aggie” in conversation with artists, family and friends including Glenn Ligon, Darren Walker, Teresita Fernandez, Abigail Disney, Rajendra Roy, John Waters and Thelma Golden surrounded by art in her home by artists such as Jasper Johns, Louise Bourgeois, Julie Mehretu, Mark Rothko, Ellsworth Kelly and Kara Walker. The film attempts to focus on the power of art to transform consciousness and inspire social change.
“Aggie,” which premiered at this year’s Sundance Film Festival, explores the issues of art, race and justice. The elder Gund sold Roy Lichtenstein’s “Masterpiece” in 2017 to launch the $100 million Art for Justice Fund to end mass incarceration. Strand plans for a fall release starting with a launch at Film Forum in New York, followed by a nationwide opening.
The film features “Aggie” in conversation with artists, family and friends including Glenn Ligon, Darren Walker, Teresita Fernandez, Abigail Disney, Rajendra Roy, John Waters and Thelma Golden surrounded by art in her home by artists such as Jasper Johns, Louise Bourgeois, Julie Mehretu, Mark Rothko, Ellsworth Kelly and Kara Walker. The film attempts to focus on the power of art to transform consciousness and inspire social change.
- 5/14/2020
- by Dave McNary
- Variety Film + TV
Alla Kovgan’s “Cunningham” is a documentary that stages excerpts from some of Merce Cunningham’s most representative dances in 3D, and these 3D dances take up about one third of the film’s 90-minute running time. They are often exciting but sometimes frustrating, and Cunningham himself makes for an enigmatic subject.
Cunningham made dances that were built around an ideal of freedom and possibility — one of his favorite words — but with dark underpinnings. He rehearsed them without music, and he was not too interested in costumes or sets. Cunningham was dedicated to pure movement, which meant that he was not concerned with what his dances could mean to others on the level of interpretation or narrative; his best work involves a series of movements so unexpected that they cause a kind of jolt to the senses.
Before he died in 2009, Cunningham left behind templates for how his dances might go forward without him.
Cunningham made dances that were built around an ideal of freedom and possibility — one of his favorite words — but with dark underpinnings. He rehearsed them without music, and he was not too interested in costumes or sets. Cunningham was dedicated to pure movement, which meant that he was not concerned with what his dances could mean to others on the level of interpretation or narrative; his best work involves a series of movements so unexpected that they cause a kind of jolt to the senses.
Before he died in 2009, Cunningham left behind templates for how his dances might go forward without him.
- 12/12/2019
- by Dan Callahan
- The Wrap
Nathaniel Kahn’s documentary asks why some artists’ airy work is priced so highly while other marvels go unsung
Nathaniel Kahn created a stir in the documentary world in 2003 with My Architect, a very personal film about his father, Louis Kahn, an influential but deeply troubled architect from whom Kahn the younger was estranged when Louis died, broke and nearly forgotten. A work that foregrounded the film-maker’s relationship to the subject when such memoir-like strategies weren’t yet common in film practice, My Architect was both a formally fascinating work as well as being one about a compelling, neglected figure from architectural history.
Kahn’s latest doc, The Price of Everything, is a more conventional, drier work that examines how the work of some artists draws huge multimillion-dollar bids at auction houses while the work of others, for no easily graspable reason, goes barely noticed. Jeff Koons, for example,...
Nathaniel Kahn created a stir in the documentary world in 2003 with My Architect, a very personal film about his father, Louis Kahn, an influential but deeply troubled architect from whom Kahn the younger was estranged when Louis died, broke and nearly forgotten. A work that foregrounded the film-maker’s relationship to the subject when such memoir-like strategies weren’t yet common in film practice, My Architect was both a formally fascinating work as well as being one about a compelling, neglected figure from architectural history.
Kahn’s latest doc, The Price of Everything, is a more conventional, drier work that examines how the work of some artists draws huge multimillion-dollar bids at auction houses while the work of others, for no easily graspable reason, goes barely noticed. Jeff Koons, for example,...
- 11/16/2018
- by Leslie Felperin
- The Guardian - Film News
Every so often, when you hear that a painting by Picasso just sold at auction for a record $179 million, or that a Pollock or a Basquiat or a Jeff Koons now routinely fetch prices worthy of a Silicon Valley start-up, it’s easy to wonder what, exactly, is going on. Is this a true expression of the art’s value? Or is it the symptom of some skyrocketing hothouse bubble that has decadently transformed art into gold?
“The Price of Everything,” Nathaniel Kahn’s brilliant and captivating documentary about how the art world got converted into a money market, is shrewd enough to know that the answer is both. The movie gazes, with a good amount of woe (but also with the pleasurable voyeuristic charge that tends to accompany displays of great wealth), at what the art world has become: the staggering auctions at Sotheby’s and Christie’s, where masterpieces,...
“The Price of Everything,” Nathaniel Kahn’s brilliant and captivating documentary about how the art world got converted into a money market, is shrewd enough to know that the answer is both. The movie gazes, with a good amount of woe (but also with the pleasurable voyeuristic charge that tends to accompany displays of great wealth), at what the art world has become: the staggering auctions at Sotheby’s and Christie’s, where masterpieces,...
- 4/1/2018
- by Owen Gleiberman
- Variety Film + TV
Miranda Kerr and her husband Evan Spiegel were all smiles on the red carpet Thursday night.
The couple, who are expecting their first child together, posed for photographers at The Broad and Louis Vuitton Celebrate Jasper Johns: “Something Resembling Truth” event in Los Angeles.
Placing his hand on his wife’s growing baby bump, Snapchat co-founder Spiegel, 27, looked to be a proud father-to-be at the famed art museum.
Kerr, 34, looked glam in a black gown with sheer sleeves. She wore her hair pulled back in a sleek bun. The Australian model accessorized her look with gold hoop earrings and a shiny black clutch.
The couple, who are expecting their first child together, posed for photographers at The Broad and Louis Vuitton Celebrate Jasper Johns: “Something Resembling Truth” event in Los Angeles.
Placing his hand on his wife’s growing baby bump, Snapchat co-founder Spiegel, 27, looked to be a proud father-to-be at the famed art museum.
Kerr, 34, looked glam in a black gown with sheer sleeves. She wore her hair pulled back in a sleek bun. The Australian model accessorized her look with gold hoop earrings and a shiny black clutch.
- 2/9/2018
- by Dave Quinn
- PEOPLE.com
Donald Trump‘s Van Gogh dreams were reportedly very creatively flushed down the drain last year.
The president asked the Guggenheim Museum in New York City if he and Melania Trump could borrow Vincent Van Gogh’s “Landscape With the Snow” to decorate the private living quarters of the White House.
Chief curator Nancy Spector, who has often criticized the president on social media, denied the Trumps of taking the 1888 painting of a man and his dog in Arles, France, according to her statement to the Washington Post on Thursday.
Instead, Spector offered them a counter-offer nothing like the oil and watercolor painting.
The president asked the Guggenheim Museum in New York City if he and Melania Trump could borrow Vincent Van Gogh’s “Landscape With the Snow” to decorate the private living quarters of the White House.
Chief curator Nancy Spector, who has often criticized the president on social media, denied the Trumps of taking the 1888 painting of a man and his dog in Arles, France, according to her statement to the Washington Post on Thursday.
Instead, Spector offered them a counter-offer nothing like the oil and watercolor painting.
- 1/26/2018
- by Karen Mizoguchi
- PEOPLE.com
Mary Hrbacek is an artist and an art critic (Aica) based in NYC. In 2016 she received the Carole A. Feuerman Sculpture Foundation, Eskff Foundation, The Helis Foundation, Financial Grant for her art on view at Mana Contemporary. Her drawings in "Whispers" have been included in the collection of The Museum of Contemporary Art of Crete.
Bradley Rubenstein: These are quite lovely; I did see one of your shows a year or two back at Creon, they had a remarkable clarity, and reminded me of Georgia O’Keefe’s work -- there is a very large O’Keefe in the Art Institute of Chicago, a sky, with strange biomorphic clouds. It is a strange painting, and growing up in Chicago, held my attention for years. I don’t want to get to far ahead of myself here, so let’s start with a little background…
Mary Hrbacek: My appreciation of...
Bradley Rubenstein: These are quite lovely; I did see one of your shows a year or two back at Creon, they had a remarkable clarity, and reminded me of Georgia O’Keefe’s work -- there is a very large O’Keefe in the Art Institute of Chicago, a sky, with strange biomorphic clouds. It is a strange painting, and growing up in Chicago, held my attention for years. I don’t want to get to far ahead of myself here, so let’s start with a little background…
Mary Hrbacek: My appreciation of...
- 11/7/2017
- by bradleyrubenstein
- www.culturecatch.com
Hollywood’s top 10 art collectors Wealth-x ranks the value of the art collections of some of showbiz world’s biggest collectors 10. Leonardo DiCaprio Estimated value of art collection: $10 million The Oscar winner has picked up works by the likes of Jean-Michel Basquiat and Takashi Murakami. 9. Michael Ovitz Estimated value of art collection: $12 million The former agent (and MoMA board member) built a villa in Benedict Canyon to house his acquisitions, which include works by Pablo Picasso, Jasper Johns and Mark Rothko. 8. Jacob Bloom Estimated value of art collection: $14 million The longtime Hollywood attorney and Bloom Hergott partner and his wife,...
- 7/7/2016
- by Thom Geier
- The Wrap
Let the museum begin. With its brand-new fifth-floor-filling Frank Stella retrospective, the recently christened Whitney Museum of American Art jumps into the fray to see if and how its new rawish spaces will work for big surveys of contemporary art. Along with Jasper Johns and Ellsworth Kelly, Stella is among the last great living postwar foundational artists, one of the creators of Minimalism itself. Yet beginning with a Stella show is risky museum business. Even stalwart Stella aficionados find this axiomatic artist all over the place and hard to parse. While his early work is worshiped as among the clearest and most convincing in the Minimalist canon, many of the same people abhor his later paintings, which look like giant curving caramelized flying carpets or Jurassic triceratops heads jutting off walls. For many, Stella's maximal art, his lapsed Minimalism, is seen as a betrayal of his canonical early geometric paintings.
- 10/30/2015
- by Jerry Saltz
- Vulture
Bill Jensen: Transgressions Cheim & Read Gallery Through May 9, 2015
There was a time in modern music when the role of the artist changed from being the custodian of cultural knowledge to something more of an autobiographer. We might choose that moment in the late sixties when Lou Reed abandoned the writing of pop ditties about boys and girls, to focus on his own, more personal interests, like boys and girls and heroin.
In other art forms this sea change was happening -- in comedy, where once jokes were shared, un-authored, between performers in Vegas, the Catskills, and New York City clubs, Lenny Bruce made comedy suddenly personal -- talking about race, politics, cops, censorship, and heroin. It is tempting to suggest that in painting this shift had happened decades earlier, particularly in that sub-category of painting called "abstraction." Once artists like Kandinsky, Rodchenko, Dove, and O’Keefe had looked for...
There was a time in modern music when the role of the artist changed from being the custodian of cultural knowledge to something more of an autobiographer. We might choose that moment in the late sixties when Lou Reed abandoned the writing of pop ditties about boys and girls, to focus on his own, more personal interests, like boys and girls and heroin.
In other art forms this sea change was happening -- in comedy, where once jokes were shared, un-authored, between performers in Vegas, the Catskills, and New York City clubs, Lenny Bruce made comedy suddenly personal -- talking about race, politics, cops, censorship, and heroin. It is tempting to suggest that in painting this shift had happened decades earlier, particularly in that sub-category of painting called "abstraction." Once artists like Kandinsky, Rodchenko, Dove, and O’Keefe had looked for...
- 4/30/2015
- by bradleyrubenstein
- www.culturecatch.com
The Forever Now: Contemporary Painting in an Atemporal World Museum of Modern Art, NYC December 14, 2014-April 5, 2015
Between 1942 and 1963 Dorothy Canning Miller was the curator of the influential Americans shows at the Museum of Modern Art. Beginning with Americans 1942: 18 Artists From 9 States and ending with Americans 1963, Miller presented the work of artists such as Hyman Bloom, Robert Motherwell, Jay DeFeo, Robert Rauschenberg, Jasper Johns, Lee Bontecou, and Frank Stella -- artists who would ultimately be the defining contributors to the mid-century American art historical canon. After a gap of nearly a half-century, MoMA once again is reviving this tradition with Laura Hoptman’s The Forever Now: Contemporary Painting in an Atemoporal World, an exhibition of seventeen painters representing current trends in painting.
In contrast to the U.S-centric exhibitions of the past, Forever Now emphasizes the concept of "a-temporality," a phenomenon of culture defined by the science fiction/cultural theorist William Gibson,...
Between 1942 and 1963 Dorothy Canning Miller was the curator of the influential Americans shows at the Museum of Modern Art. Beginning with Americans 1942: 18 Artists From 9 States and ending with Americans 1963, Miller presented the work of artists such as Hyman Bloom, Robert Motherwell, Jay DeFeo, Robert Rauschenberg, Jasper Johns, Lee Bontecou, and Frank Stella -- artists who would ultimately be the defining contributors to the mid-century American art historical canon. After a gap of nearly a half-century, MoMA once again is reviving this tradition with Laura Hoptman’s The Forever Now: Contemporary Painting in an Atemoporal World, an exhibition of seventeen painters representing current trends in painting.
In contrast to the U.S-centric exhibitions of the past, Forever Now emphasizes the concept of "a-temporality," a phenomenon of culture defined by the science fiction/cultural theorist William Gibson,...
- 2/25/2015
- by bradleyrubenstein
- www.culturecatch.com
In his half-century as one of the universally sanctified titans of modern art, Jasper Johns has led a private life, if not a reclusive one, shuttling between his homes in Connecticut and St. Martin with a circle of friends who are protective of him and guarded on his behalf. “He’s spent his whole life cultivating a certain air of mystery,” says David Ross, a friend of the artist and the former director of the Whitney. Those who still see him say Johns, now 84, can be a brilliant, charming presence, but also by turns slightly cool and prickly—the counterweight, in temperament, of his vivacious late friend and partner Robert Rauschenberg. Another friend compares him to fellow introverts like Philip Roth and Philip Glass: superficially polite yet diffident—and, at moments, abrupt and even biting. The work comes first, and they work alone. Johns’s primary studio—a large,...
- 11/17/2014
- by Robert Kolker
- Vulture
By David S. Schow
Hall: “Where’s the library?”
Dutton: “No need for books — everything’s in the computer.”
One of the few regrets of my adult life is that I never got to meet Michael Crichton, who died too young, November 2008. Eminently emulatable, he had conquered publishing, film and television and remains a personal hero. I was hooked from the moment my father returned from his Arctic DEWLine duties bearing a paperback first printing of The Andromeda Strain, which I plowed through while in high school. Then immediately re-read, and re-read again.
I still have that paperback.
Subsequently I devoured everything Crichton wrote — the “John Lange” potboilers written to pay his way through medical school; the landmark A Case of Need (written as “Jeffrey Hudson;” a stingingly strong pro-choice novel done prior to the Roe v. Wade decision); even the dope fantasia Dealing, written with his brother as “Michael Douglas.
Hall: “Where’s the library?”
Dutton: “No need for books — everything’s in the computer.”
One of the few regrets of my adult life is that I never got to meet Michael Crichton, who died too young, November 2008. Eminently emulatable, he had conquered publishing, film and television and remains a personal hero. I was hooked from the moment my father returned from his Arctic DEWLine duties bearing a paperback first printing of The Andromeda Strain, which I plowed through while in high school. Then immediately re-read, and re-read again.
I still have that paperback.
Subsequently I devoured everything Crichton wrote — the “John Lange” potboilers written to pay his way through medical school; the landmark A Case of Need (written as “Jeffrey Hudson;” a stingingly strong pro-choice novel done prior to the Roe v. Wade decision); even the dope fantasia Dealing, written with his brother as “Michael Douglas.
- 6/29/2014
- by TFH Team
- Trailers from Hell
Jasper Johns: Regrets Museum of Modern Art Through September 1, 2014
The image is dead. The icon is dead. The painting is dead. - Patricia Cronin
Keep everything on the surface, even with the knowledge that the surface fades and can't be held together forever -- take advantage before the expiration date appears in the nearing distance. - Bret Easton Ellis, Imperial Bedrooms
Art asks: How do we know anything about other people? The tension between an artist's public and private roles is a constant preoccupation to the audience. The artist is challenged to dwell within this conundrum and elaborate most fully the questions of how to articulate the private in a public forum, and whether the private life will be able to find an image for itself that can stand up in this forum. - Dr. Hope Ardizzone, Anatomy of Art's Murder
During this test you will be shown a series of inkblot images.
The image is dead. The icon is dead. The painting is dead. - Patricia Cronin
Keep everything on the surface, even with the knowledge that the surface fades and can't be held together forever -- take advantage before the expiration date appears in the nearing distance. - Bret Easton Ellis, Imperial Bedrooms
Art asks: How do we know anything about other people? The tension between an artist's public and private roles is a constant preoccupation to the audience. The artist is challenged to dwell within this conundrum and elaborate most fully the questions of how to articulate the private in a public forum, and whether the private life will be able to find an image for itself that can stand up in this forum. - Dr. Hope Ardizzone, Anatomy of Art's Murder
During this test you will be shown a series of inkblot images.
- 3/21/2014
- by bradleyrubenstein
- www.culturecatch.com
Robert Altman’s Nashville resurfaces for the home video market in a nicely packaged DVD/Blu-ray combo set from Criterion. A Best Picture nominee from 1975, this sprawling satire both lampoons and laments the American Dream, which was beginning to show signs of serious leakage – if not outright rupture – by the mid 1970s. An American president, who two years earlier had been reelected by one of the largest margins in the nation’s history, had just resigned in disgrace while a long, bloody and bitterly divisive war had been revealed as corrupt and pointless. Yet, to the array of hopeful goofballs in Nashville, America was still the land of opportunity; its dark and dank country music venues the key to quick fame and easy riches.
As conceived by Altman and writer Joan Tewksbury, everything about Nashville is larger than life. From its massive melange of roughly two dozen principle characters to...
As conceived by Altman and writer Joan Tewksbury, everything about Nashville is larger than life. From its massive melange of roughly two dozen principle characters to...
- 12/3/2013
- by David Anderson
- IONCINEMA.com
Kim Gordon has a busy month ahead of her.
The Sonic Youth co-founder is due to release a new double-record with free-noise guitarist, Bill Nace. The two musicians are the sole members of Body/Head, an experimental group that formed in 2011, shortly after Gordon announced her separation from husband and No Wave icon, Thurston Moore.
Body/Head's upcoming album, "Coming Apart," marks the duo's widest distribution yet, delivering two LPs worth of Nace's ominous riffs and Gordon's bellowing vocals. Call it "unrock" or "scripted improvisation," the collaborators serve up minimal, raw sounds corralled by the reinvigorated screams of Gordon that seem to live in a genre all their own.
"My friend Ed Yazijian called [the music] 'alchemy,'" Nace explained in an email exchange with The Huffington Post. "Kim improvises lyrics sometimes while we're playing, or she'll have something she was working on earlier. It's a process in a way, being open to whatever happens.
The Sonic Youth co-founder is due to release a new double-record with free-noise guitarist, Bill Nace. The two musicians are the sole members of Body/Head, an experimental group that formed in 2011, shortly after Gordon announced her separation from husband and No Wave icon, Thurston Moore.
Body/Head's upcoming album, "Coming Apart," marks the duo's widest distribution yet, delivering two LPs worth of Nace's ominous riffs and Gordon's bellowing vocals. Call it "unrock" or "scripted improvisation," the collaborators serve up minimal, raw sounds corralled by the reinvigorated screams of Gordon that seem to live in a genre all their own.
"My friend Ed Yazijian called [the music] 'alchemy,'" Nace explained in an email exchange with The Huffington Post. "Kim improvises lyrics sometimes while we're playing, or she'll have something she was working on earlier. It's a process in a way, being open to whatever happens.
- 9/3/2013
- by The Huffington Post
- Huffington Post
This year marks the 30th anniversary of the Bill T. Jones/Arnie Zane Dance company, an organization that's been bringing its unique combination of choreography and social critique to the forefront of the New York art world since 1983. Founded by its two namesakes, the statuesque Jones and his late partner Zane, the inimitable collective melds theater and movement to widen scope of contemporary dance.
The company, which now operates in Chelsea under the umbrella of New York Live Arts, will soon bare witness to yet another expansion of its horizons via the premiere of the New York Live Arts program. Planned as a five-day festival of creative expression later this month, the series is a multi-disciplinary exploration of all things intellectual. Involving lectures, performance and film screenings, the event is set to occur once a year, with each iteration based on a different theme; this year's subject matter revolving around...
The company, which now operates in Chelsea under the umbrella of New York Live Arts, will soon bare witness to yet another expansion of its horizons via the premiere of the New York Live Arts program. Planned as a five-day festival of creative expression later this month, the series is a multi-disciplinary exploration of all things intellectual. Involving lectures, performance and film screenings, the event is set to occur once a year, with each iteration based on a different theme; this year's subject matter revolving around...
- 4/3/2013
- by The Huffington Post
- Huffington Post
If he lived in England, he'd surely be Sir Bob Dylan.
The most influential songwriter of his time has become the first rock star voted into the elite, century-old American Academy of Arts and Letters, where artists range from Philip Roth to Jasper Johns and categories include music, literature and visual arts. According to executive director Virginia Dajani, officials couldn't decide whether he belonged for his words or for his music, so they settled on making him an honorary member, joining such previous choices as Meryl Streep, Woody Allen and a filmmaker who has made a documentary about Dylan, Martin Scorsese.
"The board of directors considered the diversity of his work and acknowledged his iconic place in the American culture," Dajani said recently. "Bob Dylan is a multi-talented artist whose work so thoroughly crosses several disciplines that it defies categorization."
Dylan's manager, Jeff Rosen, had no immediate comment on Dylan's reaction – Dylan did accept membership,...
The most influential songwriter of his time has become the first rock star voted into the elite, century-old American Academy of Arts and Letters, where artists range from Philip Roth to Jasper Johns and categories include music, literature and visual arts. According to executive director Virginia Dajani, officials couldn't decide whether he belonged for his words or for his music, so they settled on making him an honorary member, joining such previous choices as Meryl Streep, Woody Allen and a filmmaker who has made a documentary about Dylan, Martin Scorsese.
"The board of directors considered the diversity of his work and acknowledged his iconic place in the American culture," Dajani said recently. "Bob Dylan is a multi-talented artist whose work so thoroughly crosses several disciplines that it defies categorization."
Dylan's manager, Jeff Rosen, had no immediate comment on Dylan's reaction – Dylan did accept membership,...
- 3/12/2013
- by AP
- Huffington Post
Peter Williams Foxy Production Through March 23, 2013 "Art should not have to be a certain way." -- Willem de Kooning
For Peter Williams's first solo exhibition at Foxy Production, he is showing work from two distinct but interconnected bodies of work:large figurative paintings depict fanciful, fractured narratives that mix cultural and personal histories with fields of pattern and color; and a set of smaller paintings that distil and intensify visual moments from the larger works, magnifying and expanding them. Williams's paintings tell entropic tales, with figures caught in moments that show their fragility -- scenes of everyday life, both seen and imagined.
Williams’s painting process begins with drawing. He focuses first on shape and then color to create depth and volume in seemingly flat spaces. Contrasting with the fields of the background, the figures he paints engage in surreal, humorous, and disturbing relationships. His open-ended visual stories combine a...
For Peter Williams's first solo exhibition at Foxy Production, he is showing work from two distinct but interconnected bodies of work:large figurative paintings depict fanciful, fractured narratives that mix cultural and personal histories with fields of pattern and color; and a set of smaller paintings that distil and intensify visual moments from the larger works, magnifying and expanding them. Williams's paintings tell entropic tales, with figures caught in moments that show their fragility -- scenes of everyday life, both seen and imagined.
Williams’s painting process begins with drawing. He focuses first on shape and then color to create depth and volume in seemingly flat spaces. Contrasting with the fields of the background, the figures he paints engage in surreal, humorous, and disturbing relationships. His open-ended visual stories combine a...
- 3/8/2013
- by bradleyrubenstein
- www.culturecatch.com
Birthday shoutouts go to Brandon Beemer (above), who is 33, Josh Groban is 32, and a special Birthday shoutout to Ae Reader Allan J., who is 44! In ratings news, The New Normal was up a bit, while Smash was even with last week's series low.Colorado tight end Nick Kasa was asked a stream of questions at the NFL Scouting Combine that included, "Do you like girls?" The NFL is investigating. MTV has officially set the date for Season Three of Teen Wolf: Monday, June 3rd at 10 Pm Et. Is the Museum Of Modern Art putting artists back in the closet? Specifically, Jasper Johns and Robert Rauschenberg, who are referred to as "friends."Pianist Van Cliburn has died at the age of 78. Our thoughts are with his fans and his partner Thomas L. Smith. Jesse Tyler Ferguson stopped by The View to talk about the Modern Family backlash, his engagement, and the Tie The Knot foundation.
- 2/27/2013
- by snicks
- The Backlot
Eric Clapton proved this week that his art collecting skills are anything but amateur. The guitarist sold a Gerhard Richter painting at Sotheby's for £21.3 million ($34.2 million) on Friday, amounting to the highest price ever paid at auction for a living artist. The best part though? Clapton originally bought the painting for £2million ($3.2 million) in 2001, only to sell it for 10 times the price tag 11 years later, the Daily Mail reports.
Gerhard Richter's "Abstraktes Bild"
The painting, titled "Abstraktes Bild," was expected to sell between £9 million and £12 million ($14.5 million and $19.3 million), according to the Sotheby's listing. But a bidding war erupted between two anonymous buyers, catapulting the Richter squeegee painting to double that amount. The sale, which took place on Friday in London, broke the previous record for a work by a living artist, which was established by Jasper Johns in 2010 after his "Flag" sold for £17.8 million ($28.6 million) at Christie's.
Richter's...
Gerhard Richter's "Abstraktes Bild"
The painting, titled "Abstraktes Bild," was expected to sell between £9 million and £12 million ($14.5 million and $19.3 million), according to the Sotheby's listing. But a bidding war erupted between two anonymous buyers, catapulting the Richter squeegee painting to double that amount. The sale, which took place on Friday in London, broke the previous record for a work by a living artist, which was established by Jasper Johns in 2010 after his "Flag" sold for £17.8 million ($28.6 million) at Christie's.
Richter's...
- 10/15/2012
- by Katherine Brooks
- Huffington Post
Richard Prince: 14 Paintings 303 Gallery Through June 22, 2012
In a 1927 article on fetishism Sigmund Freud allowed that a person who erotically fixated on an inanimate object had found a substitute for their perceived missing phallus. He gave as an example a young male patient who had fetishized the "shine on the nose" of a woman. In fixating on this elusive phenomenon, the patient had chosen as his erotic object a condition that characterized eroticized elements in general; that is, they cannot actually be possessed and therefore are eternally elusive. The desired thing is ultimately ungraspable.
In some ways the work of Richard Prince has been an investigation into the American fetish object for decades. His car hood sculptures, reproduced images of Brooke Shields and Hollywood movie star promo pictures, and silk-screened paintings of jokes and cartoons from those ultimate fetish-culture publications Playboy and The New Yorker have all been about aesthetic depictions...
In a 1927 article on fetishism Sigmund Freud allowed that a person who erotically fixated on an inanimate object had found a substitute for their perceived missing phallus. He gave as an example a young male patient who had fetishized the "shine on the nose" of a woman. In fixating on this elusive phenomenon, the patient had chosen as his erotic object a condition that characterized eroticized elements in general; that is, they cannot actually be possessed and therefore are eternally elusive. The desired thing is ultimately ungraspable.
In some ways the work of Richard Prince has been an investigation into the American fetish object for decades. His car hood sculptures, reproduced images of Brooke Shields and Hollywood movie star promo pictures, and silk-screened paintings of jokes and cartoons from those ultimate fetish-culture publications Playboy and The New Yorker have all been about aesthetic depictions...
- 6/14/2012
- by bradleyrubenstein
- www.culturecatch.com
From smartphones to closed-circuit surveillance systems, these days it seems a rare occurrence not to be on camera. But does ubiquitous screen time capture life's details or blur them? Kon Trubkovich, a Russian-born, New York-based artist, has made a name for himself by incorporating video glitches into his paintings.
For his "Transmission" series, Trubkovich made paintings of paused video stills, capturing glitches and blurry ghosts of images down to the pixel. The result is a willfully distorted yet oddly familiar reality, rendered using carefully placed brushstrokes.
Scroll Down For Photos
Trubkovich, born 1979, had his first solo exhibition at Museum 52 in May 2007. His artist biography for that show referenced Jasper Johns' idea of "…do something, do something to that, and then do something to that," giving context to Trubkovich's practice of habitual re-appropriation.
Trubkovich's "Leap Second," a collection of the artist's latest work in video, painting and sound installation, opened...
For his "Transmission" series, Trubkovich made paintings of paused video stills, capturing glitches and blurry ghosts of images down to the pixel. The result is a willfully distorted yet oddly familiar reality, rendered using carefully placed brushstrokes.
Scroll Down For Photos
Trubkovich, born 1979, had his first solo exhibition at Museum 52 in May 2007. His artist biography for that show referenced Jasper Johns' idea of "…do something, do something to that, and then do something to that," giving context to Trubkovich's practice of habitual re-appropriation.
Trubkovich's "Leap Second," a collection of the artist's latest work in video, painting and sound installation, opened...
- 5/21/2012
- by The Huffington Post
- Aol TV.
On the occasion of Joseph Nechvatal's upcoming exhibition at Galerie Richard in New York (April 12 through May 26), the recent publication of his new book Immersion into Noise, and a concert of his remastered viral symphOny in surround sound. Taney Roniger is an artist and writer who lives and works in Brooklyn.
Bradley Rubenstein: We really want to get into the new book, as well as the upcoming show, but can you take a minute and give us a little backstory? You have always slipped in and out of categories: actions, painting, sound art, writing....
Joseph Nechvatal: Well, when I was going to undergraduate art school at Southern Illinois University (Siu), I was making drawings and little gouaches and smaller-type paintings on paper, generally. And they were well-received. I was not so interested in painting on canvas at the time. You have to put it in the perspective of the...
Bradley Rubenstein: We really want to get into the new book, as well as the upcoming show, but can you take a minute and give us a little backstory? You have always slipped in and out of categories: actions, painting, sound art, writing....
Joseph Nechvatal: Well, when I was going to undergraduate art school at Southern Illinois University (Siu), I was making drawings and little gouaches and smaller-type paintings on paper, generally. And they were well-received. I was not so interested in painting on canvas at the time. You have to put it in the perspective of the...
- 3/29/2012
- by bradleyrubenstein
- www.culturecatch.com
Susan Rothenberg Sperone Westwater Through October 29, 2011
Jasper Johns, with his Flag and Target paintings of the 1950s, helped to change the way that we looked at paintings. He showed us that there are never truly distinct and separate categories of names for what we see and (as he phrased it) "things the mind already knows." Everything is always contingent on something else. His works begged questions such as "what is the image of?" "what is contained in the picture?" and "where does the role of the artist end, and where does the viewer’s job begin?" Susan Rothenberg was asking some of these same questions in the late '70s. In her nominal images of horses, she presented us with some of the most visually complex puzzles in art since Johns. What we assumed were abstracted depictions of an equestrian nature were anything but. Shadowy horsey outlines, painted with horsehair...
Jasper Johns, with his Flag and Target paintings of the 1950s, helped to change the way that we looked at paintings. He showed us that there are never truly distinct and separate categories of names for what we see and (as he phrased it) "things the mind already knows." Everything is always contingent on something else. His works begged questions such as "what is the image of?" "what is contained in the picture?" and "where does the role of the artist end, and where does the viewer’s job begin?" Susan Rothenberg was asking some of these same questions in the late '70s. In her nominal images of horses, she presented us with some of the most visually complex puzzles in art since Johns. What we assumed were abstracted depictions of an equestrian nature were anything but. Shadowy horsey outlines, painted with horsehair...
- 10/11/2011
- by bradleyrubenstein
- www.culturecatch.com
Karen Heagle: Let Nature Take Its Course and Hope It Passes I-20 Through October 29, 2011
“Tiger, tiger burning bright / In the forests of the night / What immortal hand or eye / Could frame thy fearful symmetry?” Though she is probably not immortal, it would seem Karen Heagle has stepped up to William Blake’s challenge. Her large, beautiful, and radiant painting "Inexperienced/Insatiable" (2011) is but one of many depictions of sublime animals, of both the predator and prey varieties, in her current exhibition.
Heagle’s tiger wades into a stream or river, head lowered, and glows from within (lushly painted stripes and golden-hued fur) and from without (a reddish light is cast over the whole scene, as if from a setting sun). This fearsome beast stands guard over the rest of the exhibit, which consists mostly of still lifes of prey animals, such as deer and rabbits.
Heagle has, in the past,...
“Tiger, tiger burning bright / In the forests of the night / What immortal hand or eye / Could frame thy fearful symmetry?” Though she is probably not immortal, it would seem Karen Heagle has stepped up to William Blake’s challenge. Her large, beautiful, and radiant painting "Inexperienced/Insatiable" (2011) is but one of many depictions of sublime animals, of both the predator and prey varieties, in her current exhibition.
Heagle’s tiger wades into a stream or river, head lowered, and glows from within (lushly painted stripes and golden-hued fur) and from without (a reddish light is cast over the whole scene, as if from a setting sun). This fearsome beast stands guard over the rest of the exhibit, which consists mostly of still lifes of prey animals, such as deer and rabbits.
Heagle has, in the past,...
- 10/3/2011
- by bradleyrubenstein
- www.culturecatch.com
American artist Cy Twombly, whose scribbly yet detailed art made him one of the most important artists of the 20th century, is dead at 83.
Twombly died in Rome Tuesday (July 5). The cause is not immediately known, according to the New York Times, but Twombly had been battling cancer.
The artist was a contemporary of Robert Rauschenberg and Jasper Johns and relocated to southern Italy in the late 1950s, just as the New York art scene was gaining critical attention. There he cultivated his singular style, which one-time curator Kirk Varnedoe once described as "discomfiting to many critics and truculently difficult not just for a broad public, but for sophisticated initiates of postwar art as well."
Still, Twombly had many fans within the art world and was considered influential by his peers -- his free, graffiti-like stylings can be seen in the work of Jean-Michel Basquiat. He avoided publicity and didn't like critics,...
Twombly died in Rome Tuesday (July 5). The cause is not immediately known, according to the New York Times, but Twombly had been battling cancer.
The artist was a contemporary of Robert Rauschenberg and Jasper Johns and relocated to southern Italy in the late 1950s, just as the New York art scene was gaining critical attention. There he cultivated his singular style, which one-time curator Kirk Varnedoe once described as "discomfiting to many critics and truculently difficult not just for a broad public, but for sophisticated initiates of postwar art as well."
Still, Twombly had many fans within the art world and was considered influential by his peers -- his free, graffiti-like stylings can be seen in the work of Jean-Michel Basquiat. He avoided publicity and didn't like critics,...
- 7/5/2011
- by editorial@zap2it.com
- Pop2it
newyorkgalleryweek.com David Zwirner
An art gallery is more than a store that sells paintings and sculptures.
That’s the message that 60 New York art galleries are sending out with the three-day Friday-through-Sunday gala called “New York Gallery Week.” It will include not only exhibits, but dozens of free events and programs, including lectures, gallery tours led by artists, and performances.
“We thought the message going out to the world about what we do—that we’re purely commercial enterprises—is wrong,...
An art gallery is more than a store that sells paintings and sculptures.
That’s the message that 60 New York art galleries are sending out with the three-day Friday-through-Sunday gala called “New York Gallery Week.” It will include not only exhibits, but dozens of free events and programs, including lectures, gallery tours led by artists, and performances.
“We thought the message going out to the world about what we do—that we’re purely commercial enterprises—is wrong,...
- 5/5/2011
- by Stan Sesser
- Speakeasy/Wall Street Journal
Ben Stiller is organizing an art auction to benefit Haitian children affected by last year's disastrous earthquake. The Meet the Fockers star has teamed with New York art dealer David Zwirner for the benefit event, dubbed 'Artists for Haiti'. Artists Paul McCarthy, Jasper Johns, Dan Flavin, Chuck Close ad Jeff Koons will contribute work to the auction, which will take place on (more)...
- 4/20/2011
- by By Mike Moody
- Digital Spy
According to Lucas Samaras, that is. Judith H. Dobrzynski on the subjects of his new show featuring the likes of Evelyn de Rothschild, Cindy Sherman, and Leonard Lauder.
Jasper Johns is there. So are artists Cindy Sherman, Alex Katz, Chuck Close and Lisa Yuskavage. Glenn Lowry, the head of the Museum of Modern Art, and Lisa Phillips, of the New Museum, are side-by-side with collectors Leonard Lauder, Marie-Josee Kravis, Agnes Gund and dozens of similar luminaries.
Related story on The Daily Beast: Stolen Aphrodite Returns
They're all subjects of new photographic works by Lucas Samaras, a slight, 74-year-old multi-media wizard whose new exhibition, "Poses," launched an art-world version of the name-game when it opened at the Pace Gallery this week.
Why Leonard Lauder, chairman emeritus of the Whitney Museum, but not his brother Ronald, former chairman of MoMA? Where are hot-shot artists Richard Prince and John Currin? Why isn't Henry Kravis there with his wife?...
Jasper Johns is there. So are artists Cindy Sherman, Alex Katz, Chuck Close and Lisa Yuskavage. Glenn Lowry, the head of the Museum of Modern Art, and Lisa Phillips, of the New Museum, are side-by-side with collectors Leonard Lauder, Marie-Josee Kravis, Agnes Gund and dozens of similar luminaries.
Related story on The Daily Beast: Stolen Aphrodite Returns
They're all subjects of new photographic works by Lucas Samaras, a slight, 74-year-old multi-media wizard whose new exhibition, "Poses," launched an art-world version of the name-game when it opened at the Pace Gallery this week.
Why Leonard Lauder, chairman emeritus of the Whitney Museum, but not his brother Ronald, former chairman of MoMA? Where are hot-shot artists Richard Prince and John Currin? Why isn't Henry Kravis there with his wife?...
- 11/12/2010
- by Judith H. Dobrzynski
- The Daily Beast
Deborah Kass: More Feel Good Paintings for Feel Bad Times
Paul Kasmin Gallery, NYC
There is a great Roy Lichtenstein painting from the 1960s called "Image Duplicator" that shows a comic book mad scientist with a thought bubble that reads, "What do you know about my Image Duplicator!" Whether this mythical machine ever existed outside the realm of Lichtenstein's imagination is besides the point -- dozens of artist from the '60s through the '90s used image replication and deconstruction as their primary motif, from Jasper Johns and Lichtenstein and Andy Warhol through Sherrie Levine and David Salle and Jeff Koons. Deborah Kass has largely followed this model, with the twist of appropriating the appropriators -- using Warhol's images (already appropriated from newspapers and magazines) and then combining them with Jewish themes and pop icons (e.g. Barbara Streisand in Yentl), giving the works a post-modern, feminist, and political...
Paul Kasmin Gallery, NYC
There is a great Roy Lichtenstein painting from the 1960s called "Image Duplicator" that shows a comic book mad scientist with a thought bubble that reads, "What do you know about my Image Duplicator!" Whether this mythical machine ever existed outside the realm of Lichtenstein's imagination is besides the point -- dozens of artist from the '60s through the '90s used image replication and deconstruction as their primary motif, from Jasper Johns and Lichtenstein and Andy Warhol through Sherrie Levine and David Salle and Jeff Koons. Deborah Kass has largely followed this model, with the twist of appropriating the appropriators -- using Warhol's images (already appropriated from newspapers and magazines) and then combining them with Jewish themes and pop icons (e.g. Barbara Streisand in Yentl), giving the works a post-modern, feminist, and political...
- 10/8/2010
- by bradleyrubenstein
- www.culturecatch.com
Dennis Hopper: actor, artist, filmmaker, Hollywood survivor.
Just days after remembering the loss of Sydney Pollack two years ago, we awaken to mourn the loss of another Hollywood icon, Dennis Hopper, less than two weeks after his 74th birthday. Hopper had been on my short list of "dream interviews" during my tenure at Venice Magazine. When I was lucky enough to finally sit down with him in November of 2008, I was thrilled, and didn't know quite what to expect.
What I found while smoking cigars with Hopper in his Venice home-studio, was a thoughtful man with a gentle demeanor, who spoke in measured tones and loved telling stories. Gone was the wild-eyed "enfant terrible" that Hopper had made his name playing, and sometimes living. What I saw instead was a man who seemed to be at peace with himself and his life, who loved his children, art, film and new ideas.
Just days after remembering the loss of Sydney Pollack two years ago, we awaken to mourn the loss of another Hollywood icon, Dennis Hopper, less than two weeks after his 74th birthday. Hopper had been on my short list of "dream interviews" during my tenure at Venice Magazine. When I was lucky enough to finally sit down with him in November of 2008, I was thrilled, and didn't know quite what to expect.
What I found while smoking cigars with Hopper in his Venice home-studio, was a thoughtful man with a gentle demeanor, who spoke in measured tones and loved telling stories. Gone was the wild-eyed "enfant terrible" that Hopper had made his name playing, and sometimes living. What I saw instead was a man who seemed to be at peace with himself and his life, who loved his children, art, film and new ideas.
- 6/1/2010
- by The Hollywood Interview.com
- The Hollywood Interview
Stevie Wonder hits the UK, Toy Story goes 3D, and it's the last ever Big Brother – our critics pick the unmissable events of the season
Pop
Stevie Wonder
Anyone who can't face braving Glastonbury to see the Motown legend's Sunday-night set can head to London's Hyde Park for this headlining show. It's likely to be heavy on the hits, but a little too heavy on the audience participation, if complaints from disgruntled punters at Wonder's recent shows are anything to go by. And be warned: Jamiroquai seems to have been enticed out of retirement to provide support. Hyde Park, London W2, 26 June. Box office: 020-7009 3484.
T in the Park
This beloved Scottish festival is prized as much for its atmosphere as its lineup. And they're certainly wheeling out the big hitters this year: Eminem, Muse, Kasabian, Jay-z, Black Eyed Peas, Florence and the Machine, La Roux, Dizzee Rascal and Paolo Nutini,...
Pop
Stevie Wonder
Anyone who can't face braving Glastonbury to see the Motown legend's Sunday-night set can head to London's Hyde Park for this headlining show. It's likely to be heavy on the hits, but a little too heavy on the audience participation, if complaints from disgruntled punters at Wonder's recent shows are anything to go by. And be warned: Jamiroquai seems to have been enticed out of retirement to provide support. Hyde Park, London W2, 26 June. Box office: 020-7009 3484.
T in the Park
This beloved Scottish festival is prized as much for its atmosphere as its lineup. And they're certainly wheeling out the big hitters this year: Eminem, Muse, Kasabian, Jay-z, Black Eyed Peas, Florence and the Machine, La Roux, Dizzee Rascal and Paolo Nutini,...
- 5/24/2010
- The Guardian - Film News
Dancing outliers turn out to be much like others Malcolm Gladwell has identified: they emerge from the forest, not necessarily the tall trees. They are testing the limits, yet not pointedly rebelling. They are just doing things their own way. Tiler Peck. (C) Paul Kolnik. When the curtain goes up on Outlier, the new ballet by Brit Wayne McGregor at the Architecture of Dance Festival at the New York City Ballet, the reddish target backdrop immediately recalls abstract outlier Jasper Johns. The costumes and sets are minimal and reference color theory. Painter Mark Rothko--you can see his outlying in Red-- might have plotted them out. And the concentric circles of the target are echoed in the music--Thomas Ades challenging Concentric Paths concerto for Violin and in the choreography, particularly a segment towards the end which has...
- 5/17/2010
- by Patricia Zohn
- Huffington Post
Plus, talking with Louis Van Amstel, Jake's fear of ostriches, Daytime Emmys are a bust, Sofia Vergara's little friend, and finally someone asks if Mma isn't just a little gay!
Spurf™ asks a valid question: Since we’ve met Sue Sylvester’s sister, she needs parents. Who could possibly play her parents? I’m thinking Ed Asner as her dad, but all of my first choices for mom have passed away, like Bea Arthur or Dixie Carter. Ideas?
Glee’s Ryan Murphy has written a doozie of letter demanding a boycott of Newsweek over the horribly self-hating articles by Ramin Setoodeh. Which makes sense, since an editor somewhere agreed to publish the trash. It’s one thing for Setoodeh to basically admit that he can’t write if we don’t understand what he meant, but when my articles don’t make sense, Michael doesn’t publish them.
Spurf™ asks a valid question: Since we’ve met Sue Sylvester’s sister, she needs parents. Who could possibly play her parents? I’m thinking Ed Asner as her dad, but all of my first choices for mom have passed away, like Bea Arthur or Dixie Carter. Ideas?
Glee’s Ryan Murphy has written a doozie of letter demanding a boycott of Newsweek over the horribly self-hating articles by Ramin Setoodeh. Which makes sense, since an editor somewhere agreed to publish the trash. It’s one thing for Setoodeh to basically admit that he can’t write if we don’t understand what he meant, but when my articles don’t make sense, Michael doesn’t publish them.
- 5/12/2010
- by lostinmiami
- The Backlot
Yesterday's sale of author Michael Crichton's art collection netted a whopping $93.3 million, setting a new record for a Jasper Johns artwork (as we predicted on Monday). The writer, who died last year and was a longtime friend of Johns, had bought the iconic "Flag, 1960-1966" from the artist almost 40 years ago. Auctioneer Christie's International brought the gavel down on the Stars and Stripes artwork for $28.6 million, busting the previous record for a painting by Johns by over $11 million. The rest of the author's collection sold above estimates as well.
The gallery where the auction was held, on the second floor of Chrisite's Rockefeller Center headquarters, was jammed with high rollers. A clutch of Upper East Side champagne blondes hung on men with Gordon Gekko-like slicked back hair in the equivalent of the orchestra seats. In the back, a pair of artfully nipped and tucked women, dripping with diamond bracelets and Louis Vuitton leather goods,...
The gallery where the auction was held, on the second floor of Chrisite's Rockefeller Center headquarters, was jammed with high rollers. A clutch of Upper East Side champagne blondes hung on men with Gordon Gekko-like slicked back hair in the equivalent of the orchestra seats. In the back, a pair of artfully nipped and tucked women, dripping with diamond bracelets and Louis Vuitton leather goods,...
- 5/12/2010
- by Addy Dugdale
- Fast Company
The American Academy of Arts and Letters names Meryl Streep as honorary member to “an elite club that includes Toni Morrison, Stephen Sondheim and Jasper Johns.” As reader Sertan points out,...
- 4/12/2010
- by Ryan Adams
- AwardsDaily.com
Part of Twin Farms’ property, where guests can cross-country ski and snowshoe. Idyllic is probably the most appropriate word to describe this exclusive inn, situated discreetly in beautiful, sleepy central Vermont. After you spy the establishment's only sign, inlaid in the gate, press the call button and drive through to the magical universe that is Twin Farms. When we pulled up, a staffer met us at the car, greeted us by name, and ushered us in for lunch. The Main House, where the dining room, library/game room, and several bedrooms are located, is filled with an insane art collection (from Jasper Johns to Milton Avery) and decorated in very comfortable country chic. While we were eating, hotel employees took the car to our cottage, unloaded our bags, hung up coats, put boots in the mudroom, and then parked the car in the carport. We ate quickly, because as much...
- 2/23/2010
- Vanity Fair
Jurassic Park and ER creator Michael Crichton's art collection is to be put up for auction.
The prolific writer, who died in 2008, was a private collector of 20th century masters including Pablo Picasso and Andy Warhol.
His stash of masterpieces is valued at $32 million (£20 million) and will go under the hammer at Christie's auction house in New York in May.
The highlight is expected to be a pop art piece, titled Flag, painted by Jasper Johns.
The prolific writer, who died in 2008, was a private collector of 20th century masters including Pablo Picasso and Andy Warhol.
His stash of masterpieces is valued at $32 million (£20 million) and will go under the hammer at Christie's auction house in New York in May.
The highlight is expected to be a pop art piece, titled Flag, painted by Jasper Johns.
- 2/8/2010
- WENN
Merce Cunningham takes a bow with his dancers and Kim Gordon and Lee Ranaldo of Sonic Youth at his 90th birthday celebration, on April 16, 2009. From PatrickMcMullan.com. The passing of Merce Cunningham on Sunday night marked the loss of one of the greatest artists of the 20th century. As a dancer, a choreographer, and the founder of Merce Cunningham Dance Company, Cunningham’s contribution to dance, specifically American dance, ranks with George Balanchine’s and Martha Graham’s. In the mid-1950s, Cunningham introduced the world to a new form of movement that neither mimicked nor mocked its competing genres, ballet and modern dance. Since then, and until his 90th birthday in April, he created such enduring works as Crises (1960) and Sounddance (1975), and mentored renowned dancers including Paul Taylor, Karole Armitage, and Lucinda Childs. He famously danced in every one of his company’s performances until turning 70, in 1989, and consistently...
- 7/27/2009
- Vanity Fair
Check the Chelsea Hotel's 125-year-old ledger: The signatures therein constitue a constellation of singular talents. There's Jasper Johns, Patti Smith, Willem de Kooning, the Beats' marquee members (Kerouac, Ginsberg, Burroughs), Stanley Kubrick, Bob Dylan, Frida Kahlo and her main hombre, Diego Rivera, and, of course, Warhol Superstars like Edie Sedgwick and Paul America. In more infamous matters, the 23rd Street institution houses the Welsh lush Dylan Thomas' deathbed (1953) as well as Nancy Spungen's (of Sid Vicious legend) unsolved chalk outline (1978).
Nowadays, the once-implacable flow of legends (and, more importantly, lodgers) has ebbed. With the contentious ouster of long-time manager Stanley Bard two years ago, the future of the iconic establishment is more precarious than ever before. In response, the Anthology Film Archives has programmed a four-day series to stress the institution's artistic, historic, and architectonic presence as a long-standing bastion for unbarred creativity.
Nowadays, the once-implacable flow of legends (and, more importantly, lodgers) has ebbed. With the contentious ouster of long-time manager Stanley Bard two years ago, the future of the iconic establishment is more precarious than ever before. In response, the Anthology Film Archives has programmed a four-day series to stress the institution's artistic, historic, and architectonic presence as a long-standing bastion for unbarred creativity.
- 4/8/2009
- Interview Magazine
Opened
Friday, March 12
The central figure in "How to Draw a Bunny", Pop Art pioneer Ray Johnson, is a hard guy to pin down. Who -- or, better yet, what -- was he? Certainly this film, a surprise Grand Jury Prize winner at Sundance 2002, isn't able to answer that question. Instead, the film settles for a portrait of an enigma. Thus, one's appreciation of this film depends largely on one's ability to be amused by a Dadaist prankster and interest in the Pop Art scene in the middle of the last century.
The movie from first-time feature documentarian John Walter and veteran cinematographer-photographer Andrew Moore comes at you in waves of interviews, home movies in black-and-white and color and video footage of Johnson's performance pieces. Even his friends -- and they are among the top names in the fields of Pop, performance art and abstract expressionism -- can't figure Johnson out. "He allowed you only so far into his being, and that was it," shrugs one buddy.
Part of the problem is Johnson's 30-year withdrawal from the art scene. Formerly a guy who hung out with John Cage, Merce Cunningham, Robert Rauschenberg and Jasper Johns, Johnson abruptly moved to "a small white farmhouse" in Long Island following the shooting of Andy Warhol in 1968. Increasingly, he worked in isolation, letting no one see his art and refusing requests to show pieces in galleries. Even his agent could never get him on the phone.
A viewer might suspect mental illness. But in interviews with Johnson, he comes off as a bright and articulate man who knows exactly what he is about: He carefully constructed his persona and his art to be inseparable from each other.
Johnson probed similar comic and artistic ground explored by Duchamps, Warhol, Lichtenstein and Christo. He invented "mail art," sending cut-and-paste postcards through the U.S. mail to colleagues and friends, asking recipients to "add on and return ...". In one filmed performance piece, he beats a cardboard box with his belt. Friends even assume that Johnson's mysterious suicide on a Friday the 13th in 1995 was a final "performance."
The movie is short enough at 90 minutes, but many may find that their patience with the subject has waned long before the film ends. A fine percussion score by Max Roach and Walter's editing create a cinematic collage that is fitting for its subject. But Johnson's unknowability ultimately defeats any attempt to define him as a human being or to locate his place in art history.
HOW TO DRAW A BUNNY
Palm Pictures
Mr. Mudd presents a Moticos Motion Pictures/Elevator Pictures production
Credits:
Director-editor: John Walter
Producer/director of photography: Andrew Moore
Executive producers: Lianne Halfon, John Malkovich, Russell Smith
Music: Max Roach
Running time -- 90 minutes
No MPAA rating...
Friday, March 12
The central figure in "How to Draw a Bunny", Pop Art pioneer Ray Johnson, is a hard guy to pin down. Who -- or, better yet, what -- was he? Certainly this film, a surprise Grand Jury Prize winner at Sundance 2002, isn't able to answer that question. Instead, the film settles for a portrait of an enigma. Thus, one's appreciation of this film depends largely on one's ability to be amused by a Dadaist prankster and interest in the Pop Art scene in the middle of the last century.
The movie from first-time feature documentarian John Walter and veteran cinematographer-photographer Andrew Moore comes at you in waves of interviews, home movies in black-and-white and color and video footage of Johnson's performance pieces. Even his friends -- and they are among the top names in the fields of Pop, performance art and abstract expressionism -- can't figure Johnson out. "He allowed you only so far into his being, and that was it," shrugs one buddy.
Part of the problem is Johnson's 30-year withdrawal from the art scene. Formerly a guy who hung out with John Cage, Merce Cunningham, Robert Rauschenberg and Jasper Johns, Johnson abruptly moved to "a small white farmhouse" in Long Island following the shooting of Andy Warhol in 1968. Increasingly, he worked in isolation, letting no one see his art and refusing requests to show pieces in galleries. Even his agent could never get him on the phone.
A viewer might suspect mental illness. But in interviews with Johnson, he comes off as a bright and articulate man who knows exactly what he is about: He carefully constructed his persona and his art to be inseparable from each other.
Johnson probed similar comic and artistic ground explored by Duchamps, Warhol, Lichtenstein and Christo. He invented "mail art," sending cut-and-paste postcards through the U.S. mail to colleagues and friends, asking recipients to "add on and return ...". In one filmed performance piece, he beats a cardboard box with his belt. Friends even assume that Johnson's mysterious suicide on a Friday the 13th in 1995 was a final "performance."
The movie is short enough at 90 minutes, but many may find that their patience with the subject has waned long before the film ends. A fine percussion score by Max Roach and Walter's editing create a cinematic collage that is fitting for its subject. But Johnson's unknowability ultimately defeats any attempt to define him as a human being or to locate his place in art history.
HOW TO DRAW A BUNNY
Palm Pictures
Mr. Mudd presents a Moticos Motion Pictures/Elevator Pictures production
Credits:
Director-editor: John Walter
Producer/director of photography: Andrew Moore
Executive producers: Lianne Halfon, John Malkovich, Russell Smith
Music: Max Roach
Running time -- 90 minutes
No MPAA rating...
Opened
Friday, March 12
The central figure in "How to Draw a Bunny", Pop Art pioneer Ray Johnson, is a hard guy to pin down. Who -- or, better yet, what -- was he? Certainly this film, a surprise Grand Jury Prize winner at Sundance 2002, isn't able to answer that question. Instead, the film settles for a portrait of an enigma. Thus, one's appreciation of this film depends largely on one's ability to be amused by a Dadaist prankster and interest in the Pop Art scene in the middle of the last century.
The movie from first-time feature documentarian John Walter and veteran cinematographer-photographer Andrew Moore comes at you in waves of interviews, home movies in black-and-white and color and video footage of Johnson's performance pieces. Even his friends -- and they are among the top names in the fields of Pop, performance art and abstract expressionism -- can't figure Johnson out. "He allowed you only so far into his being, and that was it," shrugs one buddy.
Part of the problem is Johnson's 30-year withdrawal from the art scene. Formerly a guy who hung out with John Cage, Merce Cunningham, Robert Rauschenberg and Jasper Johns, Johnson abruptly moved to "a small white farmhouse" in Long Island following the shooting of Andy Warhol in 1968. Increasingly, he worked in isolation, letting no one see his art and refusing requests to show pieces in galleries. Even his agent could never get him on the phone.
A viewer might suspect mental illness. But in interviews with Johnson, he comes off as a bright and articulate man who knows exactly what he is about: He carefully constructed his persona and his art to be inseparable from each other.
Johnson probed similar comic and artistic ground explored by Duchamps, Warhol, Lichtenstein and Christo. He invented "mail art," sending cut-and-paste postcards through the U.S. mail to colleagues and friends, asking recipients to "add on and return ...". In one filmed performance piece, he beats a cardboard box with his belt. Friends even assume that Johnson's mysterious suicide on a Friday the 13th in 1995 was a final "performance."
The movie is short enough at 90 minutes, but many may find that their patience with the subject has waned long before the film ends. A fine percussion score by Max Roach and Walter's editing create a cinematic collage that is fitting for its subject. But Johnson's unknowability ultimately defeats any attempt to define him as a human being or to locate his place in art history.
HOW TO DRAW A BUNNY
Palm Pictures
Mr. Mudd presents a Moticos Motion Pictures/Elevator Pictures production
Credits:
Director-editor: John Walter
Producer/director of photography: Andrew Moore
Executive producers: Lianne Halfon, John Malkovich, Russell Smith
Music: Max Roach
Running time -- 90 minutes
No MPAA rating...
Friday, March 12
The central figure in "How to Draw a Bunny", Pop Art pioneer Ray Johnson, is a hard guy to pin down. Who -- or, better yet, what -- was he? Certainly this film, a surprise Grand Jury Prize winner at Sundance 2002, isn't able to answer that question. Instead, the film settles for a portrait of an enigma. Thus, one's appreciation of this film depends largely on one's ability to be amused by a Dadaist prankster and interest in the Pop Art scene in the middle of the last century.
The movie from first-time feature documentarian John Walter and veteran cinematographer-photographer Andrew Moore comes at you in waves of interviews, home movies in black-and-white and color and video footage of Johnson's performance pieces. Even his friends -- and they are among the top names in the fields of Pop, performance art and abstract expressionism -- can't figure Johnson out. "He allowed you only so far into his being, and that was it," shrugs one buddy.
Part of the problem is Johnson's 30-year withdrawal from the art scene. Formerly a guy who hung out with John Cage, Merce Cunningham, Robert Rauschenberg and Jasper Johns, Johnson abruptly moved to "a small white farmhouse" in Long Island following the shooting of Andy Warhol in 1968. Increasingly, he worked in isolation, letting no one see his art and refusing requests to show pieces in galleries. Even his agent could never get him on the phone.
A viewer might suspect mental illness. But in interviews with Johnson, he comes off as a bright and articulate man who knows exactly what he is about: He carefully constructed his persona and his art to be inseparable from each other.
Johnson probed similar comic and artistic ground explored by Duchamps, Warhol, Lichtenstein and Christo. He invented "mail art," sending cut-and-paste postcards through the U.S. mail to colleagues and friends, asking recipients to "add on and return ...". In one filmed performance piece, he beats a cardboard box with his belt. Friends even assume that Johnson's mysterious suicide on a Friday the 13th in 1995 was a final "performance."
The movie is short enough at 90 minutes, but many may find that their patience with the subject has waned long before the film ends. A fine percussion score by Max Roach and Walter's editing create a cinematic collage that is fitting for its subject. But Johnson's unknowability ultimately defeats any attempt to define him as a human being or to locate his place in art history.
HOW TO DRAW A BUNNY
Palm Pictures
Mr. Mudd presents a Moticos Motion Pictures/Elevator Pictures production
Credits:
Director-editor: John Walter
Producer/director of photography: Andrew Moore
Executive producers: Lianne Halfon, John Malkovich, Russell Smith
Music: Max Roach
Running time -- 90 minutes
No MPAA rating...
- 3/15/2004
- The Hollywood Reporter - Movie News
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