Above: Poster by Frank Stella for the 9th New York Film Festival.Compared to the 32 films in the main slate of this year’s New York Film Festival, not to mention the seemingly hundreds of others playing in sidebars, the 1971 edition of the NYFF, half a century ago, was a lean affair. With only 18 films, down from 78 just four years earlier, the ninth edition of the NYFF was, according to its director Richard Roud, a “belt-tightening festival, a year of consolidation.” In fact, the financially strapped festival almost didn’t take place that year. A New York Times article published midway through the event mentions that “outside the 984-seat Vivian Beaumont Theater, there is only one poster announcing the festival [one assumes it was the beautiful Frank Stella poster above] that is quietly and modestly taking place inside.” A far cry from the glorious phalanx of digital billboards currently beaming outside Alice Tully Hall and the Elinor Bunin Center.The...
- 10/6/2021
- MUBI
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
Mubi is presenting the world premiere of James N. Kientiz Wilkins' The Republic from July 4 - August 3, 2017.The cinema of James N. Kienitz Wilkins occupies an unusual space in the contemporary art scene. Most of his films are the result of some sort of conceptual procedure, a decision either to treat his original footage according to some abstract system or to apply his own logic to found material. And yet, there is a plainspoken quality to Kienitz Wilkins’ work that smooths out any potential “art damage” or intimidation factor. Kienitz Wilkins has successfully adapted some of the most critical weapons in the arsenal of experimental cinema to produce a stark poetry of the everyday.Kienitz Wilkins’ newest “film,” The Republic, is quite possibly his most radical effort to date. For starters, you will notice that I put the word “film” in quotation marks, since it is no easy matter to...
- 7/4/2017
- MUBI
This week, Vulture will be publishing our critics’ year-end lists. Monday we ran TV and movies. Tuesday covered albums, songs, and books. Today, look for theater, art, and classical performances. 1. Whitney Museum of American Art A lot of hope, and that much more pressure, was riding on the Whitney to get its downtown move right and not blow all the good faith invested in this perennial we-try-harder institution. The Whitney didn’t make it easy to love it either. Its Jeff Koons blowout in 2014 tested the most faithful (though the museum did pull it off). Ditto the announcement that the current retrospective of another divisive white male art star, Frank Stella, would be its maiden big-time survey in the new building. But the space is wonderful for art, even if it looks like a pharmaceutical building from the outside. In fact, this schism between great inside and so-so outside is...
- 12/9/2015
- by Jerry Saltz
- Vulture
Anders Knutsson Van Der Plas Gallery, NYC September 5 - October 17, 2015
In his recent exhibition at Van Der Plas Gallery, entitled "Light, Time and Patience," Anders Knutsson spotlights color, the essential element that adds exponentially to the richness and vibrancy of visual art. Without the stimulation generated by hues our senses go hungry. Swedish American painter Knutsson has been exploring issues of color since the mid-1970’s, in dense wax and oil on linen “monochrome” paintings that highlight one pure color per painting. Their delicately modulated surfaces may look deceptively simple, but each piece involves the accumulation of 7 – 12 layers of carefully applied paint that creates luminous transparent depths. A number of the artist’s new works, engendered in 2014 by his joint project with Swedish weaver Hanna Kristine Isaksson, are referred to as "weave-paintings." Incorporating Knutsson's input on threads, fabric and design, Isaksson uses traditional Nordic techniques and patterns to weave linens...
In his recent exhibition at Van Der Plas Gallery, entitled "Light, Time and Patience," Anders Knutsson spotlights color, the essential element that adds exponentially to the richness and vibrancy of visual art. Without the stimulation generated by hues our senses go hungry. Swedish American painter Knutsson has been exploring issues of color since the mid-1970’s, in dense wax and oil on linen “monochrome” paintings that highlight one pure color per painting. Their delicately modulated surfaces may look deceptively simple, but each piece involves the accumulation of 7 – 12 layers of carefully applied paint that creates luminous transparent depths. A number of the artist’s new works, engendered in 2014 by his joint project with Swedish weaver Hanna Kristine Isaksson, are referred to as "weave-paintings." Incorporating Knutsson's input on threads, fabric and design, Isaksson uses traditional Nordic techniques and patterns to weave linens...
- 11/16/2015
- by MaryHrbacek
- www.culturecatch.com
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
Keltie Ferris Mitchell-Innes & Nash, NYC Through October 17, 2015
A screenwriter bursts into his agent's office. "I have a great idea for a new picture," he enthuses. "We do a remake of The Wiz. Only with white people!" Clichéd Hollywood joke, sure, yet pretty much on point with regard to current trends in art and music. The mash-up, dub, remix, redux, or whatever you want to call it, has replaced the "appropriation" strategies of the 80s. It has morphed into something called Zombie Formalism that for better, or worse, is now seen as a legitimate art movement.
Mitchell-Innes & Nash is showing the paintings and works on paper of Keltie Ferris. These very large, high-keyed, color-filled canvases are warmly inviting on first viewing. Bright reds and blues dominate. The arching motif is brushy passages of paint, checkerboard squares, and general noodling around with the brush over airbrushed planes of color. The press release notes,...
A screenwriter bursts into his agent's office. "I have a great idea for a new picture," he enthuses. "We do a remake of The Wiz. Only with white people!" Clichéd Hollywood joke, sure, yet pretty much on point with regard to current trends in art and music. The mash-up, dub, remix, redux, or whatever you want to call it, has replaced the "appropriation" strategies of the 80s. It has morphed into something called Zombie Formalism that for better, or worse, is now seen as a legitimate art movement.
Mitchell-Innes & Nash is showing the paintings and works on paper of Keltie Ferris. These very large, high-keyed, color-filled canvases are warmly inviting on first viewing. Bright reds and blues dominate. The arching motif is brushy passages of paint, checkerboard squares, and general noodling around with the brush over airbrushed planes of color. The press release notes,...
- 9/30/2015
- by bradleyrubenstein
- www.culturecatch.com
New York City’s Frick Collection, a house turned museum constructed by Henry Clay Frick in 1912, is set off from busy 70th Street by a serene pocket garden designed by architect Russell Page in 1977, which would be destroyed by the museum's planned expansion. While the museum describes the 42,000-square-foot addition as something that would “further fulfill Henry Clay Frick’s long-standing vision to offer public access to its works of art," others, including a group of 51 prominent artists and architects — Jeff Koons, Cindy Sherman, and Frank Stella among them — think it would undermine exactly what they love about the place.Under the banner of Unite to Save the Frick, this group sent a letter to the city, copied to the museum, expressing their displeasure. Provided exclusively to Seen, the letter demonstrates a clear concern for the future of the museum’s integrity. “As professionals working in the art world...
- 5/6/2015
- by Kyle Chayka
- Vulture
First Time Fest co-founders Mandy Ward and Johanna Bennett with Harvey Weinstein as Gay Talese looks on Photo: Anne-Katrin Titze
At the closing night awards ceremony, First Time Fest co-founders Johanna Bennett and Mandy Ward honoured Harvey Weinstein for his distinguished career and support of first-time filmmakers. The 400 Blows by François Truffaut and Kurt Vonnegut's book Cat's Cradle influenced him when he went on to distribute Cinema Paradiso. Federico Fellini and Philippe de Broca's Jean-Paul Belmondo movies That Man From Rio and Cartouche were a part of his cinema education growing up in Queens, New York, which may have equipped him for his relationship with Quentin Tarantino.
Previously fêted for their commitment to cinema were Darren Aronofsky, by Martin Scorsese, and Julie Taymor. While waiting for Harvey's arrival, I joined Gay Talese and Tony Bennett for a lively conversation on movies, the demise of burlesque and tennis...
At the closing night awards ceremony, First Time Fest co-founders Johanna Bennett and Mandy Ward honoured Harvey Weinstein for his distinguished career and support of first-time filmmakers. The 400 Blows by François Truffaut and Kurt Vonnegut's book Cat's Cradle influenced him when he went on to distribute Cinema Paradiso. Federico Fellini and Philippe de Broca's Jean-Paul Belmondo movies That Man From Rio and Cartouche were a part of his cinema education growing up in Queens, New York, which may have equipped him for his relationship with Quentin Tarantino.
Previously fêted for their commitment to cinema were Darren Aronofsky, by Martin Scorsese, and Julie Taymor. While waiting for Harvey's arrival, I joined Gay Talese and Tony Bennett for a lively conversation on movies, the demise of burlesque and tennis...
- 3/10/2015
- by Anne-Katrin Titze
- eyeforfilm.co.uk
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
With all of the Champagne, Kim Kardashian sightings, and “curated experiences” to take in at Art Basel Miami Beach this year, one might forget that the whole thing is actually just a trade show. It is more glamorous than, say, the annual cloud-computing fair at the Javits Center, but it is still, at its core, about buying and selling. So how did the dealers who brought a collective $3 billion worth of art to Miami fare this year? Here are a few of the market highlights.Celebrities were everywhere, and some of them were buying art.Miley Cyrus twerked at Wayne Coyne. Diddy punched Drake. Leonardo DiCaprio went home with 20 models. This was the celebrity gossip we heard, but several outlets reported that DiCaprio was also there to shop, buying a 1973 Frank Stella painting at Marianne Boesky for just under $1 million. The hard-partying star has been collecting art for...
- 12/19/2014
- by Rachel Corbett
- Vulture
Between Leonardo DiCaprio slapping a cool near-million on a Frank Stella and Ivanka Trump sauntering down the aisles with Wendi Murdoch, people are buying art. The initial first-day sales reports are brimming with major coups for contemporary heavyweights, such as Anish Kapoor, Richard Prince, Mickalene Thomas, and others. And while even our Jerry Saltz “loves that art fairs can make money for artists and galleries,” the money talk can be a limited conversation, especially reserved for those power collectors who were out in full force yesterday, like Don and Mera Rubell, Peter Brant, Beth Rudin DeWoody, and Jill and Peter Kraus. From our stroll through the Convention Center — it’s hard to not get lost in that thing — we bring to you the highlights from Wednesday.Lehmann Maupin Teresita Fernández is having an excellent year. There was her enchanting show at Mass MoCA, and now there’s her upcoming Madison...
- 12/5/2014
- by Julie Baumgardner
- Vulture
The Whitney Museum has vacated the Breuer Building and is preparing to move downtown to the Meatpacking District. Seen was at the Whitney's last big hurrah on Museum Mile earlier this week, where we spotted these amazing photos of the Whitney's inaugural gala, back in 1966. In some ways, not much has changed (New Yorkers still like an excuse to get dressed and liquored up), but in other ways, we can't help but feel nostalgic for a time when Jackie O might have showed up looking fabulous and when you could (possibly) afford a great Frank Stella.
- 11/21/2014
- by Thessaly La Force
- Vulture
Actor and producer who played Brad Majors in the original Rocky Horror Show in 1973 and Saffy's gay dad in Ab Fab
Christopher Malcolm, who has died of cancer aged 67, played Brad Majors in the original production of The Rocky Horror Show in 1973 and, as his life as an actor started to overlap with an interest in producing the shows themselves, he became, after co-producing the West End revival of Rocky Horror in 1990, the executive in charge of all subsequent worldwide productions.
His death came just a few days after his latest project, the revival of Oh What a Lovely War at Stratford East, opened to enthusiastic notices, probably sealing a West End transfer. The way the show turned out was a good example of the kind of creative partnerships he enjoyed and nurtured throughout his career. For more than 30 years, he worked as an "insider" producing link between such London...
Christopher Malcolm, who has died of cancer aged 67, played Brad Majors in the original production of The Rocky Horror Show in 1973 and, as his life as an actor started to overlap with an interest in producing the shows themselves, he became, after co-producing the West End revival of Rocky Horror in 1990, the executive in charge of all subsequent worldwide productions.
His death came just a few days after his latest project, the revival of Oh What a Lovely War at Stratford East, opened to enthusiastic notices, probably sealing a West End transfer. The way the show turned out was a good example of the kind of creative partnerships he enjoyed and nurtured throughout his career. For more than 30 years, he worked as an "insider" producing link between such London...
- 2/19/2014
- by Michael Coveney
- The Guardian - Film News
Irving Blum was one of L.A.’s first successful contemporary art dealers. In 1962, Blum’s Ferus Gallery was the first commercial gallery to show Andy Warhol and went on to promote Ed Ruscha, Robert Irwin, Craig Kauffman, Larry Bell, Ed Moses -- all from La -- as well as New York artists Warhol, Roy Lichtenstein, Frank Stella, Ellsworth Kelly, Dan Flavin and Donald Judd. No gallery or art dealer was more influential in bridging the work of East and West coast pop artists. In this exclusive interview with The Hollywood Reporter, Blum talks about the vibrant art scene in 1960s L.
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- 11/4/2013
- by Hunter Drohojowska-Philp
- The Hollywood Reporter - Movie News
September is here again, and it's time to delve into the cinematic bounty of the Wavelengths section of the Toronto International Film Festival, that rambunctious and idiosyncratic corner of the Reitman Machine largely cordoned off from commercial concerns and set aside for lovely and sometimes difficult film art. Despite the ever-changing profile of Tiff, stalwart programmer Andréa Picard has [cue needle-scratching-record sound] What? Yes, last year at this time, the avant-garde community thought we were seeing Ms. Picard leaving this position behind. Fortunately for us all, Tiff won her back.
And this is where things get interesting. Starting with this 2012 edition of the festival, the Wavelengths section is a much more broadly based, festival-wide category. In essence, it now subsumes the old Visions designation, which was Tiff’s home for formally challenging, feature-length arthouse fare. This merger, which may seem like a bit of a shotgun wedding to some, does in fact make sense.
And this is where things get interesting. Starting with this 2012 edition of the festival, the Wavelengths section is a much more broadly based, festival-wide category. In essence, it now subsumes the old Visions designation, which was Tiff’s home for formally challenging, feature-length arthouse fare. This merger, which may seem like a bit of a shotgun wedding to some, does in fact make sense.
- 9/11/2012
- MUBI
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
Filed under: Reality-Free, TV Replay
It was a big day on 'The Colbert Report' (Weeknights, 11:30 Pm Et on Comedy Central), as a Stephen Colbert self-portrait entitled 'Portrait 5, Stephen(s)' was auctioned off at the Phillips de Pury & Company auction house for the benefit of the children's charity DonorsChoose.org.
Renowned artists Frank Stella, Shepard Fairey and Andres Serrano had each added little flourishes to the portrait, boosting its potential value, but the bidding stalled at $22,000. At that point, Colbert took the podium, grabbing the mic from the auctioneer.
"I like to apologize for Phil, he's not asking enough money from all of you and it's insulting to all of you who I know must have more money than this," Colbert told the room. "Remember we are doing this for children ... So if you are not raising your paddle, it means you hate children."
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It was a big day on 'The Colbert Report' (Weeknights, 11:30 Pm Et on Comedy Central), as a Stephen Colbert self-portrait entitled 'Portrait 5, Stephen(s)' was auctioned off at the Phillips de Pury & Company auction house for the benefit of the children's charity DonorsChoose.org.
Renowned artists Frank Stella, Shepard Fairey and Andres Serrano had each added little flourishes to the portrait, boosting its potential value, but the bidding stalled at $22,000. At that point, Colbert took the podium, grabbing the mic from the auctioneer.
"I like to apologize for Phil, he's not asking enough money from all of you and it's insulting to all of you who I know must have more money than this," Colbert told the room. "Remember we are doing this for children ... So if you are not raising your paddle, it means you hate children."
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- 3/24/2011
- by Jeremy Taylor
- Aol TV.
The Colbert Report Portrait 5, Stephen(s)
Promptly six minutes before 2 p.m., Stephen Colbert stood perfectly still in the wings above the auction floor at Phillips de Pury & Company on Park Avenue. A clip from “The Colbert Report” episode featuring Steve Martin, Frank Stella, Andres Serrano and Shepard Fairey that aired last December was playing. In that episode, Colbert attempts to sell Martin, an avid art collector, a portrait of the media personality created by Colbert, Fairey, Stella and Serrano.
Promptly six minutes before 2 p.m., Stephen Colbert stood perfectly still in the wings above the auction floor at Phillips de Pury & Company on Park Avenue. A clip from “The Colbert Report” episode featuring Steve Martin, Frank Stella, Andres Serrano and Shepard Fairey that aired last December was playing. In that episode, Colbert attempts to sell Martin, an avid art collector, a portrait of the media personality created by Colbert, Fairey, Stella and Serrano.
- 3/8/2011
- by Alexandra Cheney
- Speakeasy/Wall Street Journal
Stephen Colbert is pleased to announce the auction of Portrait 5, Stephen(s), a noted work of portraiture attributed to the host, enhanced by the artistic contributions of Shepard Fairey who spray-painted it, Andres Serrano who Sharpie’d it, and Frank Stella who glanced at it.
The Phillips de Pury & Company auction of the portrait will take place at 450 Park Avenue in New York City on Tuesday, March 8 with proceeds to benefit school arts projects through DonorsChoose.org, an online charity connecting donors to classrooms in need. The auction will be taped and air in a future episode of “The Colbert Report.”
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The Phillips de Pury & Company auction of the portrait will take place at 450 Park Avenue in New York City on Tuesday, March 8 with proceeds to benefit school arts projects through DonorsChoose.org, an online charity connecting donors to classrooms in need. The auction will be taped and air in a future episode of “The Colbert Report.”
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- 2/7/2011
- Look to the Stars
Welcome to No Fact Zone’s weekly roundup of cultural references on The Colbert Report. From Darcy to Danger Mouse, String Theory to Shakespeare, we’ve got the keys to this week’s obscure, oddball, and occasionally obscene cultural shout-outs (hey!)
Hola Zoners! I hope your December is coming along nicely! I can’t believe 2010 is almost over! This week was a regular fruit cake of pop culture references – chock full of staying power, but without the gastrointestinal consequences. Wednesday’s show with Steve Martin was especially fun. I enjoy seeing artists branch out into other genres. The humorous back and forth between Steve and Stephen over what defines art -as well as the contributions of great artists such as Frank Stella, Shepard Fairey and Andres Serrano- certainly solidified it as a favorite of mine. What was your favorite moment of the week?
Monday: Cosmo Is Available in Mongolia...
Hola Zoners! I hope your December is coming along nicely! I can’t believe 2010 is almost over! This week was a regular fruit cake of pop culture references – chock full of staying power, but without the gastrointestinal consequences. Wednesday’s show with Steve Martin was especially fun. I enjoy seeing artists branch out into other genres. The humorous back and forth between Steve and Stephen over what defines art -as well as the contributions of great artists such as Frank Stella, Shepard Fairey and Andres Serrano- certainly solidified it as a favorite of mine. What was your favorite moment of the week?
Monday: Cosmo Is Available in Mongolia...
- 12/13/2010
- by Toad
- No Fact Zone
Last week, audiences at a Steve Martin talk at the 92nd Street Y were offered a refund after apparent complaints due to the fact that Martin was talking with interviewer Deborah Solomon about the art world and his new novel "An Object of Beauty" instead of, you know, funny stuff. As my colleague Matt Singer wrote, "it's hard not to see the audience's reaction as a pretty horrifying example of our instant gratification culture's dark side." Today at the Guardian, Brian Logan mused:
We load comics with expectations; we depend on them to prove that life is funny, to undermine seriousness and release tension. It can be disorientating and disappointing when they submit to the seriousness of life. When they reveal their prosaic desire to be taken seriously, just like you and me.
Fortunately for all, Martin and Stephen Colbert proved that it's absolutely possible to have funny, clever conversation...
We load comics with expectations; we depend on them to prove that life is funny, to undermine seriousness and release tension. It can be disorientating and disappointing when they submit to the seriousness of life. When they reveal their prosaic desire to be taken seriously, just like you and me.
Fortunately for all, Martin and Stephen Colbert proved that it's absolutely possible to have funny, clever conversation...
- 12/9/2010
- by Alison Willmore
- ifc.com
Episode Number: 6156 (December 8, 2010)
Guests: Steve Martin
Segments:Tip of the Hat/Wag of the Finger – Art Edition, Brent Glass officially receives Stephen’s Rally jumpsuit for the Smithsonian
Videos: Wednesday, December 8, 2010
Hello Zoners! I hope this post finds you all peachy-keen, my little jellybeans, because I am feeling great! We had another nugget of silliness in the opening credits last night, “Vincent Van Gogh-Getter” so I think we should take a cue from Colbert and Co., and get to it.
First of all, as a total art-geek, let me just say how splendiferous last night’s show was for me. The Tip of the Hat/Wag of the Finger segment devoted to all things art was great, as always, and I have to wonder: Exactly how many pretentious art magazines did the writers need to read in order to come up with that grandiloquently verbose dissertation of Eric Cantor’s...
Guests: Steve Martin
Segments:Tip of the Hat/Wag of the Finger – Art Edition, Brent Glass officially receives Stephen’s Rally jumpsuit for the Smithsonian
Videos: Wednesday, December 8, 2010
Hello Zoners! I hope this post finds you all peachy-keen, my little jellybeans, because I am feeling great! We had another nugget of silliness in the opening credits last night, “Vincent Van Gogh-Getter” so I think we should take a cue from Colbert and Co., and get to it.
First of all, as a total art-geek, let me just say how splendiferous last night’s show was for me. The Tip of the Hat/Wag of the Finger segment devoted to all things art was great, as always, and I have to wonder: Exactly how many pretentious art magazines did the writers need to read in order to come up with that grandiloquently verbose dissertation of Eric Cantor’s...
- 12/9/2010
- by LoriE
- No Fact Zone
AC/DC blasting “Hell's Bells” into the tiny arena; scantily clad, sign-wielding sirens teeter onto the squash court in high heels at the start of each game; WWF-like introductions of the world's most obscure athletes (“Ladeees And Gentlemen!!!! Shahiiiieeer Razik!!!!) booming from the p.a. system. Is this the future of squash? I reported earlier how Joe McManus planned to make money from a squash “micro-tour,” booking small tournaments with top players into club venues. The idea, which borrows from exhibition matches of the past, is to move away from the pipe dream of selling squash as a mass spectator sport, and get the fans who really groove on the game—rich white people—to pay top dollar for an up-close-and-personal squash experience. The business proposition is to charge north of $100 for terrific seats at a small club, forego big prize money, and let the band of touring players divvy up the take.
- 9/30/2009
- Vanity Fair
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