Get in touch to send in cinephile news and discoveries. To keep up with our latest features, sign up for the Weekly Edit newsletter and follow us @mubinotebook on Twitter and Instagram.NEWSUntil Branches Bend.Amidst a widespread debate on the merit of U.S. state financial incentives for film and television productions, a Georgia bill that would have limited the sale of tax credits was rejected by the Senate Finance Committee. In recent years, those credits have exceeded $1 billion despite findings that the state makes back only 19¢ on the dollar. Four of the thirteen labor guilds bargaining with IATSE have now reached tentative agreements with the AMPTP: Locals 600 (cinematographers), 729 (set painters), 800 (art directors), and 695. IATSE president Matthew Loeb has threatened to strike if a new contract is not in place when the current one expires on July 31.Due to financial constraints, the Human Rights Watch Film Festival will be...
- 3/28/2024
- MUBI
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
If it quickly emerged as a consensus-favorite doc of 2022, thank Laura Poitras: sometimes it takes a real filmmaker to rejuvenate collective interest. All the Beauty and the Bloodshed, a chronicle of the legendary Nan Goldin and her work against the monstrous Sackler family, begins a limited release next month, ahead of which there is of course a trailer.
As David Katz said in his review, “This is photographer, artist, and activist Nan Goldin, the downtown NYC rabble-rouser and chronicler, but one of the most fascinating elements of this film is how it doesn’t deign to zoom into a blur, where Poitras might attempt to illuminate one aspect of her remarkable life. So she pretty well takes all the aspects, but not to render them as an abstract expressionist blob you might find at the uptown art galleries which also play a significant role in this story. Poitras’ aesthetic...
As David Katz said in his review, “This is photographer, artist, and activist Nan Goldin, the downtown NYC rabble-rouser and chronicler, but one of the most fascinating elements of this film is how it doesn’t deign to zoom into a blur, where Poitras might attempt to illuminate one aspect of her remarkable life. So she pretty well takes all the aspects, but not to render them as an abstract expressionist blob you might find at the uptown art galleries which also play a significant role in this story. Poitras’ aesthetic...
- 10/13/2022
- by Leonard Pearce
- The Film Stage
Robert Pattinson has curated a collection fit for Bruce Wayne.
The “Batman” actor partnered with Sotheby’s on an exhibit for the Contemporary Curated program, which runs from September 23 through 29 at Sotheby’s New York. A live auction will conclude the exhibit on September 30.
Pattinson selected six pieces from artists including Willem de Kooning, Richard Serra, and Lynette Yiadom-Boakye. According to Artnet, estimated values for the works range from 100,000 to 2.5 million. Pattinson, who is deemed a “passionate art collector” by a Page Six source, previously auctioned one of his own sketches for charity in 2017.
“What I look for is when a piece has its own language,” Pattinson said in a press release of his curation strategy, especially applauding artist Julie Mehretu’s portrayals of “magnitude and abundance” in her “Untitled” ink drawing.
“It doesn’t necessarily feel like it just exists for its own sake and has a presence that...
The “Batman” actor partnered with Sotheby’s on an exhibit for the Contemporary Curated program, which runs from September 23 through 29 at Sotheby’s New York. A live auction will conclude the exhibit on September 30.
Pattinson selected six pieces from artists including Willem de Kooning, Richard Serra, and Lynette Yiadom-Boakye. According to Artnet, estimated values for the works range from 100,000 to 2.5 million. Pattinson, who is deemed a “passionate art collector” by a Page Six source, previously auctioned one of his own sketches for charity in 2017.
“What I look for is when a piece has its own language,” Pattinson said in a press release of his curation strategy, especially applauding artist Julie Mehretu’s portrayals of “magnitude and abundance” in her “Untitled” ink drawing.
“It doesn’t necessarily feel like it just exists for its own sake and has a presence that...
- 9/21/2022
- by Samantha Bergeson
- Indiewire
The elimination of Markantoine Lynch-Boisvert from “Making the Cut” in the episode “Social Media Content” surprised no one more than Markantoine himself, who didn’t think he should have been sent home. But despite his protestations the competition moved on with its final four: Rafael Chaouiche, Georgia Hardinge, Jeanette Limas, and Yannik Zamboni. But those semifinalists had one big task standing between them and the finale. So what happened in “Concept Store”?
See‘Making the Cut’ season 3 episode 6 recap: ‘Social Media Content’ brought out the designers’ inner influencers Assigment
No more one-day or two-day tasks. This was the big one. They would have four weeks to create their 10-look final collections, but not everyone would get to show those collections during the last fashion show. First they would work with “Making the Cut’s” production design team to construct their own concept stores that would represent their brands. They would...
See‘Making the Cut’ season 3 episode 6 recap: ‘Social Media Content’ brought out the designers’ inner influencers Assigment
No more one-day or two-day tasks. This was the big one. They would have four weeks to create their 10-look final collections, but not everyone would get to show those collections during the last fashion show. First they would work with “Making the Cut’s” production design team to construct their own concept stores that would represent their brands. They would...
- 9/9/2022
- by Daniel Montgomery
- Gold Derby
More than her urgently and perceptively topical subject matter, American documentarian Laura Poitras has a habit, and penchant, not solely for making work about the right things, but in being there as they’re occurring, standing in the center of them unafraid. It’s not a documentary filmmaking language where you can carefully compose, refocus, and reframe a shot; it’s “start rolling and go,” and maybe hide it under your arm in case there’s some brute who might smash your camera and its Sd card. You can call this predominantly a journalistic skill: there she was in June 2013, flanked by the Guardian‘s Glenn Greenwald (now did his story turn elsewhere) and Ewen MacAskill, before legendary Nsa whistleblower Edward Snowden in her documentary Citizenfour—a vital audiovisual documenter of contemporary radical US history.
Turning even further towards domestic affairs—after 2017’s Risk couldn’t quite find the necessary...
Turning even further towards domestic affairs—after 2017’s Risk couldn’t quite find the necessary...
- 9/7/2022
- by David Katz
- The Film Stage
Above: Manny Farber and Patricia Patterson in their Hudson Street apartment, New York City, 1967.“Manny Farber writes a visual, sensory account of his thoughts, not necessarily the polished and fully articulated ones, but those which cumulatively add up to the rich life of the mind.”—Josephine Halvorson“The inner machinations of my mind are an enigma.”—Patrick Star“You start anywhere and end up anywhere.”—Luc Sante2019 has turned out to be quite the year for film’s conquering hero, the writer and painter Manny Farber (1917–2008). The January-February 2019 issue of Film Comment featured a transcription of a never-published lecture delivered by Farber at the Museum of Modern Art in 1979. Helen Molesworth put on an exhibition at the Museum of Contemporary Art in Los Angeles called “One Day at a Time: Manny Farber and Termite Art,” in which his celebrated love of go-for-broke termiting-tapeworming-fungusing served as a “starting point for assembling...
- 11/23/2019
- MUBI
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Film at Lincoln Center
Béla Tarr’s monumental Sátántangó has been restored and plays daily.
Film Forum
“Shitamachi: Tales of Downtown Tokyo” begins with both canon and lesser-known Japanese cinema.
Films by Milos Forman and Joseph Losey play this weekend.
Metrograph
A Julie Andrews-curated selection of Blake Edwards films play this weekend.
A series...
Film at Lincoln Center
Béla Tarr’s monumental Sátántangó has been restored and plays daily.
Film Forum
“Shitamachi: Tales of Downtown Tokyo” begins with both canon and lesser-known Japanese cinema.
Films by Milos Forman and Joseph Losey play this weekend.
Metrograph
A Julie Andrews-curated selection of Blake Edwards films play this weekend.
A series...
- 10/17/2019
- by Nick Newman
- The Film Stage
In the spring of 2003, Steve Gunn spent two months drawing lines on a wall in Beacon, New York. He was in his twenties at the time, not long out of college and still years away from his current life as a highly respected singer-guitarist. The lines were part of a long-term installation by conceptual pioneer Sol LeWitt at Dia:Beacon, the airy temple of modern art that would open later that year in a former Nabisco factory overlooking the Hudson River.
“It was an amazing time,” Gunn says on a recent Saturday afternoon at Dia:Beacon,...
“It was an amazing time,” Gunn says on a recent Saturday afternoon at Dia:Beacon,...
- 1/14/2019
- by Simon Vozick-Levinson
- Rollingstone.com
Ed Lachman's Far From Heaven photographs at Anne-Dominique Toussaint’s Parisian Galerie Cinema in New York at the Cultural Services of the French Embassy Photo: Anne-Katrin Titze
The Film Society of Lincoln Center announced this afternoon that the 56th New York Film Festival poster has been collaboratively designed by cinematographer/photographer Ed Lachman and visual artist Jr (Agnès Varda's Faces Places co-conspirator).
56th New York Film Festival poster designed by Ed Lachman and Jr
Recent New York Film Festival posters were designed by Richard Serra (2017), Apichatpong Weerasethakul (2016), and Laurie Anderson (2015).
“This year’s poster came together in the best imaginable way—spontaneously, at last year’s festival,” said New York Film Festival Director Kent Jones. “Dan Stern, our board president, was talking to Ed Lachman, one of the best DPs alive, a visual artist, and a regular at the Nyff, and asked him if he had any interest in...
The Film Society of Lincoln Center announced this afternoon that the 56th New York Film Festival poster has been collaboratively designed by cinematographer/photographer Ed Lachman and visual artist Jr (Agnès Varda's Faces Places co-conspirator).
56th New York Film Festival poster designed by Ed Lachman and Jr
Recent New York Film Festival posters were designed by Richard Serra (2017), Apichatpong Weerasethakul (2016), and Laurie Anderson (2015).
“This year’s poster came together in the best imaginable way—spontaneously, at last year’s festival,” said New York Film Festival Director Kent Jones. “Dan Stern, our board president, was talking to Ed Lachman, one of the best DPs alive, a visual artist, and a regular at the Nyff, and asked him if he had any interest in...
- 9/24/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
It’s been an interesting run-up to the Toronto International Film Festival, and in terms of the survival of the species, the good ol’ U.S.A. has been something of a race to the bottom. What would do us in first: violent neo-Nazis whose activities are almost explicitly condoned by the Klansman In Chief? Or a 1,000-year weather event on the Gulf Coast whose magnitude surely owes something to global climate change, and whose aftermath of collapsing dams and exploding chemical factories has everything to do with systematic neglect?Given the state of things down here, who wouldn’t want to repair to Canada for some challenging cinema? As always, the Toronto International Film Festival (Tiff) is the place to be in September, and Wavelengths once again features the best of the fest. This is because the films selected for Wavelengths are the opposite of escapism. Whether they tackle...
- 9/7/2017
- MUBI
The 55th New York Film Festival takes place at Lincoln Center Photo: Anne-Katrin Titze
The Film Society of Lincoln Center announced yesterday, June 22, that Richard Serra has designed the poster for the 55th New York Film Festival. The festival will open on September 28 with the World Premiere of Richard Linklater's Last Flag Flying, starring Steve Carell, Bryan Cranston and Laurence Fishburne.
Richard Serra's 55th New York Film Festival poster
Recent New York Film Festival posters were designed by Apichatpong Weerasethakul (2016) and Laurie Anderson (2015).
“Richard Serra’s work has never stopped growing in my mind and memory,” said New York Film Festival Director of Programming and Selection Committee Chair Kent Jones. “During every one of my many visits to MoMA’s 2007 retrospective and to the permanent installations in Dia:Beacon, alone or with loved ones, I could feel everyone’s sense of the possible opening a couple of clicks wider. I was excited that he agreed to design this year’s Nyff poster, but when I...
The Film Society of Lincoln Center announced yesterday, June 22, that Richard Serra has designed the poster for the 55th New York Film Festival. The festival will open on September 28 with the World Premiere of Richard Linklater's Last Flag Flying, starring Steve Carell, Bryan Cranston and Laurence Fishburne.
Richard Serra's 55th New York Film Festival poster
Recent New York Film Festival posters were designed by Apichatpong Weerasethakul (2016) and Laurie Anderson (2015).
“Richard Serra’s work has never stopped growing in my mind and memory,” said New York Film Festival Director of Programming and Selection Committee Chair Kent Jones. “During every one of my many visits to MoMA’s 2007 retrospective and to the permanent installations in Dia:Beacon, alone or with loved ones, I could feel everyone’s sense of the possible opening a couple of clicks wider. I was excited that he agreed to design this year’s Nyff poster, but when I...
- 6/23/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Patricia Cronin's work has been exhibited in solo shows at the Venice Biennale; Musei Capitolini, Centrale Montemartini Museo; Newcomb Art Gallery, Tulane University; Brooklyn Museum; and the American Academy in Rome Art Gallery. Her work has been included in group shows NYC 1993: Experimental, Jet Set, Trash and No Star, New Museum; Watch Your Step, Flag Art Foundation; and Sh(out): Contemporary Art and Human Rights, Gallery of Modern Art, Glasgow, Scotland. Cronin is the recipient of the Rome Prize from the American Academy in Rome and two Pollock Krasner Foundation Grants. She has also received support from the New York Foundation for the Arts, the Louis Comfort Tiffany Foundation, and Anonymous Was A Woman. Cronin's works are in numerous collections including National Gallery of Art, Washington; Perez Art Museum Miami; and the Gallery of Modern Art and Kelvingrove Art Galleries and Museum in Glasgow. She is the author...
- 10/14/2015
- by bradleyrubenstein
- www.culturecatch.com
3-Sentence Reviews: Alex Katz, Richard Serra, and Lisa Yuskavage — and Look Out for Leidy Churchman!
Richard Serra: "Equal" David Zwirner 537 W. 20th St., through July 24 By now it's not unusual when confronting one of Richard Serra's gigantic, metrically menacing, magnetically mighty curving steel sculptures, which are simultaneously architectonic and geological, to walk all around its meandering curves, maybe spot lovers kissing in the center of one, look at it in utter awe, yawn, and say, "Great!" This new show consists of four huge stacks of two cubic slabs, one atop another, and find Serra's mastery of material, mass, gravity, density, and an almost uncanny not-thereness now joined by ideas of the empty spaces between these shapes of steel and the tremendous forces acting upon them — but nevertheless being empty presences, interstices that you can look into and know in your body. This is his best show in more than 15 years of great shows, and it resounds with a complexity and cosmic...
- 5/8/2015
- by Jerry Saltz
- Vulture
Art, at times, can resist being owned. Conceptual work is often immaterial. A Sol Lewitt painting exists as words rather than colors. And contemporary art’s tendency toward gigantism means that some sculptures are almost impossible to show in the already admittedly large homes of the average collector. Take Richard Serra, for example. The artist’s latest work, Equal, a series of paired, 40 ton stacked steel cubes now on display at David Zwirner’s West 20th Street gallery, required master riggers, hydraulic gantries, and a custom runway just to be installed in a building itself expressly designed to accommodate artists’ big ideas. Now if you were to buy one, just imagine trying to get installing it by your co-op board. “There’s no school you can go to to learn it,” said Joe Vilardi, vice president of Budco Enterprises, the family business that has been installing Serra’s sculptures for over 25 years.
- 5/5/2015
- by Kyle Chayka
- Vulture
Pen American Center and nearly 50 distinguished novelists, playwrights and authors are the latest group imploring Sony to release “The Interview,” in an open letter posted Monday.
“Pen is appalled at the intrusive, criminal and profoundly menacing reprisals and threats that Sony Pictures has endured as a result of producing and planning to distribute ‘The Interview,'” said the letter, which was signed by the likes of Salman Rushdie, Neil Gaiman, Jennifer Egan and Tony Kushner.
See photos: Sony Hack Attack Timeline: From First Cyberbreach and Leaks to ‘The Interview’ Dropped (Photos)
“Pen has long stood with writers and creators who...
“Pen is appalled at the intrusive, criminal and profoundly menacing reprisals and threats that Sony Pictures has endured as a result of producing and planning to distribute ‘The Interview,'” said the letter, which was signed by the likes of Salman Rushdie, Neil Gaiman, Jennifer Egan and Tony Kushner.
See photos: Sony Hack Attack Timeline: From First Cyberbreach and Leaks to ‘The Interview’ Dropped (Photos)
“Pen has long stood with writers and creators who...
- 12/23/2014
- by Linda Ge
- The Wrap
In a festival whose dedication to celluloid is readily apparent, why not declare it directly? And so one of the Vienna International Film Festival's Special Programs this year is a bastion of that most wonderful format, 16mm film. Programmed by Katja Wiederspahn and Haden Guest with an admirably variegated range, the programs were gathered around collective films, war films, sex films, expanded cinema, and more. Key to the section's expanse, which begins in the 1920s and touches every decade between here and there, is also in highlighting new work done in this increasingly outmoded, "out of date," and unprojectionable format. Included amongst these are films every bit as exciting as the history and canon "Revolution in 16mm" touches on: Jodie Mack's Razzle Dazzle (written about here), Richard Touhy's masterpiece of color Ginza Strip, and, most excitingly, a quartet of new films by Nathaniel Dorsky, the film poet who makes...
- 11/3/2014
- by Daniel Kasman
- MUBI
Bradley Rubenstein: Saints Creon Gallery Through September 30, 2013 Bradley Rubenstein: Drawings (curated by Lucio Pozzi) Palazzo Vivaldini Carra Grioli, 46, Mantova Italy Through September 28, 2013
Children are innocent, we are told, existing in a state of unperturbed self-sufficiency and looking at the outside world with unlimited trust. They share this ideal condition with the objects of their affection, such as cats, dogs, or other pets. When disaster strikes and this peaceful existence is disturbed, some natural law seems to have been violated. As in much of contemporary horror, the shock effect of evil deeds and ghastly events is greatly enhanced if unleashed on the pure and simple in spirit or invading a seemingly picturesque locale and cheerful ordered communal life. The supposedly asexual and immaculate bodies of pre-pubescent children are the primary site of artist Bradley Rubenstein's investigations into the changing conceptions of identity and the state of ethical, social,...
Children are innocent, we are told, existing in a state of unperturbed self-sufficiency and looking at the outside world with unlimited trust. They share this ideal condition with the objects of their affection, such as cats, dogs, or other pets. When disaster strikes and this peaceful existence is disturbed, some natural law seems to have been violated. As in much of contemporary horror, the shock effect of evil deeds and ghastly events is greatly enhanced if unleashed on the pure and simple in spirit or invading a seemingly picturesque locale and cheerful ordered communal life. The supposedly asexual and immaculate bodies of pre-pubescent children are the primary site of artist Bradley Rubenstein's investigations into the changing conceptions of identity and the state of ethical, social,...
- 10/17/2013
- by ChristophGrunenberg
- www.culturecatch.com
DVD Release Date: June 19, 2012
Price: DVD $27.95
Studio: First Run Features
Norman Foster's Millau Viaduct over the Gorges du Tarn in France.
The 2010 documentary film How Much Does Your Building Weigh, Mr. Foster? chronicles the life and career of England’s Norman Foster, who rose from a humble working class background to become one of the world’s premiere modern architects.
Directed by Norberto López Amada & Carlos Carcas, the movie was filmed in some ten countries, homing on some of Foster’s most iconic works, including London’s Swiss Re Tower, New York’s Hearst Building, Berlin’s Reichstag, Beijing Airport’s International Terminal and the Millau Viaduct over the Gorges du Tarn in France.
Examining the work of an architect whose quest is to improve the quality of life through design, and his work, the film features insights from Foster himself, as well as artists and notables as Anthony Caro,...
Price: DVD $27.95
Studio: First Run Features
Norman Foster's Millau Viaduct over the Gorges du Tarn in France.
The 2010 documentary film How Much Does Your Building Weigh, Mr. Foster? chronicles the life and career of England’s Norman Foster, who rose from a humble working class background to become one of the world’s premiere modern architects.
Directed by Norberto López Amada & Carlos Carcas, the movie was filmed in some ten countries, homing on some of Foster’s most iconic works, including London’s Swiss Re Tower, New York’s Hearst Building, Berlin’s Reichstag, Beijing Airport’s International Terminal and the Millau Viaduct over the Gorges du Tarn in France.
Examining the work of an architect whose quest is to improve the quality of life through design, and his work, the film features insights from Foster himself, as well as artists and notables as Anthony Caro,...
- 5/30/2012
- by Laurence
- Disc Dish
Our critics' picks of this week's openings, plus your last chance to see and what to book now
• Which cultural events are in your diary this week? Tell us in the comments below
Opening this weekTheatre
In a Garden
The Ustinov's ambitious season of modern American plays continues with the British premiere of Howard Korder's play about an American architect summoned to a Middle Eastern country to fulfil an impossible commission. Richard Beecham directs a tale of dangerous misunderstandings. Ustinov, Bath (01225 448844), Wednesday until 5 May.
Film
Into the Abyss (dir. Werner Herzog)
Werner Herzog probes the dark heart of humanity with his death-row interviews. Why do people kill?
Dance
The Royal Ballet: Mixed Bill
The Royal at their adventurous best, with new works by Liam Scarlett and Wayne McGregor, plus a revival of Wheeldon's classy, intelligent Polophonia. Royal Opera House, London WC2 (020-7304 4000), Thursday until 23 April.
The Eifman Ballet: Anna Karenina (Tue-Weds) Onegin (Fri)
Big,...
• Which cultural events are in your diary this week? Tell us in the comments below
Opening this weekTheatre
In a Garden
The Ustinov's ambitious season of modern American plays continues with the British premiere of Howard Korder's play about an American architect summoned to a Middle Eastern country to fulfil an impossible commission. Richard Beecham directs a tale of dangerous misunderstandings. Ustinov, Bath (01225 448844), Wednesday until 5 May.
Film
Into the Abyss (dir. Werner Herzog)
Werner Herzog probes the dark heart of humanity with his death-row interviews. Why do people kill?
Dance
The Royal Ballet: Mixed Bill
The Royal at their adventurous best, with new works by Liam Scarlett and Wayne McGregor, plus a revival of Wheeldon's classy, intelligent Polophonia. Royal Opera House, London WC2 (020-7304 4000), Thursday until 23 April.
The Eifman Ballet: Anna Karenina (Tue-Weds) Onegin (Fri)
Big,...
- 4/2/2012
- The Guardian - Film News
March 23
8:00 p.m.
The Menil Collection (outdoors)
1533 Sul Ross
Houston, Texas 77006
Hosted by: Aurora Picture Show
Inspired by the Menil Collection‘s retrospective of the drawings of Richard Serra, which is currently on display until June 10, Aurora Picture Show curator Mary Magsamen will screen a series of short films that focus on gestures and lines created through animation, documentary and/or computer graphics.
This is an outdoor screening, so please bring your own blankets, lawn chairs and, if you like, a picnic dinner.
The Richard Serra exhibit inside the Menil is the first retrospective of the sculptor’s drawings, some of which have directly inspired his sculpture work while some remain completely independent of his other art. The show is organized chronologically and includes new large-scale works that were produced specifically for this exhibit.
The films and videos that will be shown, which range from work by accomplished filmmakers...
8:00 p.m.
The Menil Collection (outdoors)
1533 Sul Ross
Houston, Texas 77006
Hosted by: Aurora Picture Show
Inspired by the Menil Collection‘s retrospective of the drawings of Richard Serra, which is currently on display until June 10, Aurora Picture Show curator Mary Magsamen will screen a series of short films that focus on gestures and lines created through animation, documentary and/or computer graphics.
This is an outdoor screening, so please bring your own blankets, lawn chairs and, if you like, a picnic dinner.
The Richard Serra exhibit inside the Menil is the first retrospective of the sculptor’s drawings, some of which have directly inspired his sculpture work while some remain completely independent of his other art. The show is organized chronologically and includes new large-scale works that were produced specifically for this exhibit.
The films and videos that will be shown, which range from work by accomplished filmmakers...
- 3/19/2012
- by screenings
- Underground Film Journal
Michael Heizer Michael Heizer’s ‘s 340-ton granite megalith
Los Angeles – A monumental undertaking is an understatement. To transport a 340-ton boulder 105 miles from Riverside to West Los Angeles, it is going to take 11 nights, an undisclosed number of California Department of Transportation permits and approval from 22 cities.
Weighing approximately the same as 17 city buses, the granite megalith is part of Los Angeles County Museum of Art’s forthcoming “Levitated Mass” outdoor installation. Although the project was originally conceived by the artist,...
Los Angeles – A monumental undertaking is an understatement. To transport a 340-ton boulder 105 miles from Riverside to West Los Angeles, it is going to take 11 nights, an undisclosed number of California Department of Transportation permits and approval from 22 cities.
Weighing approximately the same as 17 city buses, the granite megalith is part of Los Angeles County Museum of Art’s forthcoming “Levitated Mass” outdoor installation. Although the project was originally conceived by the artist,...
- 2/29/2012
- by Alexandra Cheney
- Speakeasy/Wall Street Journal
Eva Hesse: Eva Hesse Spectres 1960 Brooklyn Museum Through January 8, 2012
In 1969 Eva Hesse participated in When Attitudes Become Form, a benchmark exhibition of Minimalist art. This was a watershed moment for Hesse. What the participants in this show demonstrated with their work was that experience -- that of the artist and that of the viewer -- could be given shape through language, line, color, and pre-existing shape (primary ones such as circles and squares were popular) and that experience could acquire meaning as aesthetic objects. In essence, these artists demonstrated that the recording of their process of thinking about art and making objects was the artwork. Although it is this work that Hesse is known and remembered for, we are fortunate to be able to view her lesser-known paintings from the early 60s at the Brooklyn Museum.
Hesse no doubt saw these earlier works as transitional, coming as they did between...
In 1969 Eva Hesse participated in When Attitudes Become Form, a benchmark exhibition of Minimalist art. This was a watershed moment for Hesse. What the participants in this show demonstrated with their work was that experience -- that of the artist and that of the viewer -- could be given shape through language, line, color, and pre-existing shape (primary ones such as circles and squares were popular) and that experience could acquire meaning as aesthetic objects. In essence, these artists demonstrated that the recording of their process of thinking about art and making objects was the artwork. Although it is this work that Hesse is known and remembered for, we are fortunate to be able to view her lesser-known paintings from the early 60s at the Brooklyn Museum.
Hesse no doubt saw these earlier works as transitional, coming as they did between...
- 10/21/2011
- by bradleyrubenstein
- www.culturecatch.com
Carol Ross: Drawings and Sculpture Rooster Gallery, NYC Through July 10, 2011
Since the fiasco of Richard Serra’s Tilted Arc, there has been a certain amount of animosity toward large, metal, abstract sculpture in New York City. There is, of course, that spinning cube-thing by Nyu, which heshers and tourists seem to find some aesthetic value in, but other than that (and I believe I speak for all the philistines), big metal shit is really annoying to walk around when you are trying to get somewhere important. Fortunately, there are some sculptors who possess a level of sensitivity to the mobile viewer: Scott Burton, for example, or Carol Ross, whose recent works can be seen at Rooster Gallery in New York.
read more...
Since the fiasco of Richard Serra’s Tilted Arc, there has been a certain amount of animosity toward large, metal, abstract sculpture in New York City. There is, of course, that spinning cube-thing by Nyu, which heshers and tourists seem to find some aesthetic value in, but other than that (and I believe I speak for all the philistines), big metal shit is really annoying to walk around when you are trying to get somewhere important. Fortunately, there are some sculptors who possess a level of sensitivity to the mobile viewer: Scott Burton, for example, or Carol Ross, whose recent works can be seen at Rooster Gallery in New York.
read more...
- 6/27/2011
- by bradleyrubenstein
- www.culturecatch.com
Yoshihiko Ueda Max Gordon
No trim. No unnecessary details. No architectural frills. That’s the job of the art hanging on the walls.
As the guiding principals of British-born Max Gordon, a contemporary architect who designed the first Saatchi Gallery and constructed apartments for Richard Serra and Elizabeth Murray, he adhered to a notion of simplicity.
With an unrelenting focus on functionality Gordon established his own practice, Max Gordon Associates, in 1981 after being a partner at several architectural firms doing professional work.
No trim. No unnecessary details. No architectural frills. That’s the job of the art hanging on the walls.
As the guiding principals of British-born Max Gordon, a contemporary architect who designed the first Saatchi Gallery and constructed apartments for Richard Serra and Elizabeth Murray, he adhered to a notion of simplicity.
With an unrelenting focus on functionality Gordon established his own practice, Max Gordon Associates, in 1981 after being a partner at several architectural firms doing professional work.
- 5/2/2011
- by Alexandra Cheney
- Speakeasy/Wall Street Journal
Getty Richard Serra
Richard Serra’s monumental sculptures have made him famous—works that sell into the millions of dollars—but drawing has been a constant in his life ever since his childhood, when his mother brought rolls of white paper from the butcher shop for his drawings of boats, planes and zoo animals.
This week, the Metropolitan Museum of Art opened the first retrospective of the 71-year-old contemporary artist’s drawings, an exhibit of works that span the last 40 years.
Richard Serra’s monumental sculptures have made him famous—works that sell into the millions of dollars—but drawing has been a constant in his life ever since his childhood, when his mother brought rolls of white paper from the butcher shop for his drawings of boats, planes and zoo animals.
This week, the Metropolitan Museum of Art opened the first retrospective of the 71-year-old contemporary artist’s drawings, an exhibit of works that span the last 40 years.
- 4/15/2011
- by Ellen Gamerman
- Speakeasy/Wall Street Journal
It’s been a rather surprising week here at the Gay Guide to Glee—the gayest, gay-loving column about the gayest show on television. It kicked off with my staggering flummoxization at enjoying both Gwynny and the episode she starred in last week, and devolved in a number of ways from there. But this week’s show, “Original Song,” corrected for all that incredulity—not only by retreating into the series’s standard, flailing, everybody-in-the-pool narrative template, or filling this metaphorical slough with more leaden tropes than Richard Serra circa 1968, but by having the results be precisely the inevitabilities we all knew would occur. So what happened?...
- 3/16/2011
- Vanity Fair
It's hard to imagine the La Weekly without Arts Editor Tom Christie. When I first met him in the mid-80s his hair was still black and he was working for California Magazine editor Harold Hayes (Esquire) at what eventually morphed into Los Angeles Magazine. Christie has been an institution at La Weekly for 15 years, supervising coverage of books, film, theater and art; he's the last of the old guard to leave since editor Drex Heikes took the helm. Christie now has time to finish his documentary on artist Richard Serra (who memorably appeared on Charlie Rose recently, with Chuck Close) and finish a screenplay adaptation of A.W. Hill's Nowhere-Land.
- 11/20/2010
- Thompson on Hollywood
The juror panel at the Tribeca Film Festival is going to look like the red carpet at a major Hollywood premiere.
Several celebrities, including Jessica Alba, Whoopi Goldberg, Aaron Eckhart and Brooke Shields, were asked to serve on the six competitive festival categories. They will announce the winning films, filmmakers and actors in their respective categories at the Tff Awards Night Party, which will be held on April 29. The 2010 Tribeca Festival runs from April 21 to May 2 in New York City.
“This year’s jury features the same impressive range and depth as our films playing in competition. They are distinctive and accomplished storytellers, artists and entrepreneurs from the worlds of film, theater, culture, fashion, television and new media – all of whom share a passion for film, a thirst for discovery and a spirit of independence,” said Jane Rosenthal, co-founder of the Tribeca Film Festival.
Here’s a list of all...
Several celebrities, including Jessica Alba, Whoopi Goldberg, Aaron Eckhart and Brooke Shields, were asked to serve on the six competitive festival categories. They will announce the winning films, filmmakers and actors in their respective categories at the Tff Awards Night Party, which will be held on April 29. The 2010 Tribeca Festival runs from April 21 to May 2 in New York City.
“This year’s jury features the same impressive range and depth as our films playing in competition. They are distinctive and accomplished storytellers, artists and entrepreneurs from the worlds of film, theater, culture, fashion, television and new media – all of whom share a passion for film, a thirst for discovery and a spirit of independence,” said Jane Rosenthal, co-founder of the Tribeca Film Festival.
Here’s a list of all...
- 4/13/2010
- by Sean O'Connell
- Hollywoodnews.com
The Tribeca Film Festival announced Tuesday morning the 35 jurors for its six competition categories.
Filmmakers, actors, screenwriters, journalists and media figures such as Aaron Eckhart, Jessica Alba, Cheryl Hines, America Ferrera, Alicia Keys, Zach Braff, Hope Davis, Gary Ross, Whoopi Goldberg and Twitter co-founder Jack Dorsey will participate on the juries.
"This year's jury features the same impressive range and depth as our films playing in competition," fest co-founder Jane Rosenthal said. "They are distinctive and accomplished storytellers, artists and entrepreneurs from the worlds of film, theater, culture, fashion, television and new media -- all of whom share a passion for film, a thirst for discovery and a spirit of independence."
Winners in the world narrative, world documentary, New York narrative, New York documentary, narrative short and documentary and student short film categories will be announced at the awards night party April 29. Together, the six juries will award $130,000 in cash and prizes,...
Filmmakers, actors, screenwriters, journalists and media figures such as Aaron Eckhart, Jessica Alba, Cheryl Hines, America Ferrera, Alicia Keys, Zach Braff, Hope Davis, Gary Ross, Whoopi Goldberg and Twitter co-founder Jack Dorsey will participate on the juries.
"This year's jury features the same impressive range and depth as our films playing in competition," fest co-founder Jane Rosenthal said. "They are distinctive and accomplished storytellers, artists and entrepreneurs from the worlds of film, theater, culture, fashion, television and new media -- all of whom share a passion for film, a thirst for discovery and a spirit of independence."
Winners in the world narrative, world documentary, New York narrative, New York documentary, narrative short and documentary and student short film categories will be announced at the awards night party April 29. Together, the six juries will award $130,000 in cash and prizes,...
- 4/13/2010
- by By Jay A. Fernandez
- The Hollywood Reporter - Movie News
If a feathered "corpse" beneath Alexander Calder's Hello Girls sculpture isn't enough reason for a trip to the museum, what is? What if there were clues to whodunit sprinkled throughout the galleries? How about a reading room inside a Richard Serra? Performers singing songs about "do not touch"? Computer-generated responses to computer-generated art? A man strolling the artworks, wearing a musical suit made from metal pepper canisters?
You get the picture.
Last November, the non-profit Machine Project staged a "takeover" of the Los Angeles County Museum of Art, bringing their merry band of collaborators to creatively intervene on the museum's seven-acre campus for 10 hours. And this week, a book of the entire process was published.
Machine Project, located in the Echo Park neighborhood of Los Angeles, is pretty difficult to describe in and of itself: It's part gallery, part community center, part Diy workshop, part hipster hang-out. Case in...
You get the picture.
Last November, the non-profit Machine Project staged a "takeover" of the Los Angeles County Museum of Art, bringing their merry band of collaborators to creatively intervene on the museum's seven-acre campus for 10 hours. And this week, a book of the entire process was published.
Machine Project, located in the Echo Park neighborhood of Los Angeles, is pretty difficult to describe in and of itself: It's part gallery, part community center, part Diy workshop, part hipster hang-out. Case in...
- 12/9/2009
- by Alissa Walker
- Fast Company
The path-breaking furniture designer is about to complete a design museum in Israel
Fresh off of a landmark exhibition at MoMA, furniture-designer Ron Arad is rounding on another milestone: In January, he'll complete The Design Museum Holon, in central Israel.
Arad was born in Israel but made his career in London. Though trained as an architect at London's Architectural Association in the 1970s--a hot house period that also saw Zaha Hadid and Rem Koolhaas studying there--his furniture business took off first in the 1980s, after Jean-Paul Gaultier bought one of his chairs, made from the gutted seating of a car. He's toyed with architecture since then, but has never built anything approaching the scale of the Holon museum.
It's hard to miss the fact that the building looks like the love child of Frank Lloyd Wright's Guggenheim New York, and a Richard Serra sculpture. The latter similarity goes beyond looks,...
Fresh off of a landmark exhibition at MoMA, furniture-designer Ron Arad is rounding on another milestone: In January, he'll complete The Design Museum Holon, in central Israel.
Arad was born in Israel but made his career in London. Though trained as an architect at London's Architectural Association in the 1970s--a hot house period that also saw Zaha Hadid and Rem Koolhaas studying there--his furniture business took off first in the 1980s, after Jean-Paul Gaultier bought one of his chairs, made from the gutted seating of a car. He's toyed with architecture since then, but has never built anything approaching the scale of the Holon museum.
It's hard to miss the fact that the building looks like the love child of Frank Lloyd Wright's Guggenheim New York, and a Richard Serra sculpture. The latter similarity goes beyond looks,...
- 11/23/2009
- by Cliff Kuang
- Fast Company
Palm Pictures
NEW YORK -- The latest in Matthew Barney's non-chron-ological cycle of avant-garde films follows in the tradition of this distinctive artist's unique and decidedly bizarre vision. More than twice as long and much more visually accomplished than the other entries in the series, Cremaster 3 is nonetheless a highly alienating and less-than-involving experience for anyone not in possession of the accompanying explanatory notes or not intimately familiar with Celtic mythology, Masonic initiation rites and the legend of the formation of the Isle of Man, among other things. (The title, by the way, refers to the muscle that controls the height of the testicles.)
All five films in the cycle, which have previously received limited theatrical distribution, are now playing in various art houses around the country as well as in museums as part of a traveling Matthew Barney retrospective. Only the most adventurous and patient viewers are advised to attend.
Running a numbing three hours, the video-shot, dialogue-free Cremaster 3 defies plot analysis, though it has something to do with the creation of New York's Chrysler Building and a conflict between the building's architect (played by sculptor Richard Serra, one of many guest stars in the series) and an apprentice played by Barney himself. Among the oddball characters on display are the undead corpse of the killer Gary Gilmore (who figures prominently in Cremaster 2); a beautiful legless woman (Aimee Mullins) who cuts potatoes with the blades on the shoes of her artificial limbs; a gaggle of gorgeous female dancers, much like the Rockettes, who put on a routine in the rotunda of the Guggenheim Museum; and a beautiful half woman/half cheetah.
The action includes a duel between two giants, a demolition derby among vintage automobiles in the lobby of the Chrysler Building and a particularly unpleasant dental encounter at the Saratoga Racetrack. As with the other installments, this film showcases Barney's penchant for including extreme and explicit renditions of bodily functions, here best exemplified by a scene in which the apprentice's intestines pour out of his rectum.
There's no denying the elaborateness of the artist's conceptions, nor his ability to depict them with outrageous elan, but really the whole series is so much pretentious nonsense, lavishly praised by those who equate obscurity with profundity. The lack of intelligibility might be forgivable if the films were executed with more wit and faster pacing, but the entire enterprise reeks with sluggishness and features visuals that are far more elaborate than actually meaningful. Individual moments do convey some thematic resonance, but overall the films would be far better appreciated via a passing glance at a museum's video monitor than through sustained and excruciating viewing.
NEW YORK -- The latest in Matthew Barney's non-chron-ological cycle of avant-garde films follows in the tradition of this distinctive artist's unique and decidedly bizarre vision. More than twice as long and much more visually accomplished than the other entries in the series, Cremaster 3 is nonetheless a highly alienating and less-than-involving experience for anyone not in possession of the accompanying explanatory notes or not intimately familiar with Celtic mythology, Masonic initiation rites and the legend of the formation of the Isle of Man, among other things. (The title, by the way, refers to the muscle that controls the height of the testicles.)
All five films in the cycle, which have previously received limited theatrical distribution, are now playing in various art houses around the country as well as in museums as part of a traveling Matthew Barney retrospective. Only the most adventurous and patient viewers are advised to attend.
Running a numbing three hours, the video-shot, dialogue-free Cremaster 3 defies plot analysis, though it has something to do with the creation of New York's Chrysler Building and a conflict between the building's architect (played by sculptor Richard Serra, one of many guest stars in the series) and an apprentice played by Barney himself. Among the oddball characters on display are the undead corpse of the killer Gary Gilmore (who figures prominently in Cremaster 2); a beautiful legless woman (Aimee Mullins) who cuts potatoes with the blades on the shoes of her artificial limbs; a gaggle of gorgeous female dancers, much like the Rockettes, who put on a routine in the rotunda of the Guggenheim Museum; and a beautiful half woman/half cheetah.
The action includes a duel between two giants, a demolition derby among vintage automobiles in the lobby of the Chrysler Building and a particularly unpleasant dental encounter at the Saratoga Racetrack. As with the other installments, this film showcases Barney's penchant for including extreme and explicit renditions of bodily functions, here best exemplified by a scene in which the apprentice's intestines pour out of his rectum.
There's no denying the elaborateness of the artist's conceptions, nor his ability to depict them with outrageous elan, but really the whole series is so much pretentious nonsense, lavishly praised by those who equate obscurity with profundity. The lack of intelligibility might be forgivable if the films were executed with more wit and faster pacing, but the entire enterprise reeks with sluggishness and features visuals that are far more elaborate than actually meaningful. Individual moments do convey some thematic resonance, but overall the films would be far better appreciated via a passing glance at a museum's video monitor than through sustained and excruciating viewing.
- 4/25/2003
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.