In addition to pieces by Koons (pictured), Joannou's collection includes the likes of Vanessa Beecroft, Michael Bevilacqua, Cai Guo-Qiang, Matt Greene, Mike Kelley, Joseph Kosuth, Liza Lou, Takashi Murakami, Shirin Neshat, Gabriel Orozco, Yinka Shonibare MBE, Kara Walker and more. All of which is to say that Koons's first foray into curation, in addition to presumably featuring quite a bit of his own harmlessly pretty work, should be fairly spectacular.
So, I hope everyone had a fabulous and enlightening Fashion Week. Almost as fun as watching the fashion shows themselves is looking at what the fashionable attendees of said fashion shows are wearing. It's a great barometer of what the trends will look like this fall from fashion insiders. As the folks over at Fashionista quite observantly pointed out, the long-sleeved mini dress was everywhere. Here, I created my own version of this versatile fall staple that can be worn for almost any occasion, and it will look great with tights when the temperature begins to dip. I also incorporated another fall trend, strong shoulders which, as Laurel already told you in our Fall Fashion issue, are, well, BIG.
Last night, Wade Kavanaugh and Stephen B. Nguyen unveiled their contribution to the festival, "The Experience of Green" (pictured), at the DAC Gallery (30 Washington St). The artists “forested” the industrial space in support of nature and industry co-existing, as it was explained to me by Shannon Legg, one of the high school interns who has helped with preparations for the festival and who will also have an exhibit with partner Elisabeth Pianel—their piece, "BKLYN C-KRETZ", will show throughout the festival at 20 Jay Street. This theme of ‘environment’ will emerge in various works, along with the rise of technology, homelessness and responses to the recession, to name a few of the recurring issues.
That might be the point, though, at least for Western audiences.
Sorry, but this New York Times headline made me laugh, as it seems one step removed from "Area Man Starts Blog About Stuff."
In San Francisco, Plans to Start News Web Site
Of course I didn't read the article, because seriously, who the fuck cares. I mean plans? PLANS? I got some plans right here, New York Times, why don't you report on those? Huh? HUH?!
When you see Alain Resnais' Wild Grass, as The L heartily recommends you do, it's almost a shame you won't be seeing it at a press screening: when the film's busybody narrator intones, "After the cinema, nothing surprises you. Everything is possible", you'll miss the sound of a hundred-odd critics scribbling in their notebooks as one. This line is the closest the New York Film Festival's weirdest Opening Night selection in recent memories comes to justifying itself: this Dada comedy of impending mortality, a loop-the-looping tale of amour-foolishness, asserts cinema's capacity for realizing the irrational hungers of the human heart.
Two men stole the piece while threatening staff and tourists at gun point yesterday during business hours, and then fled by
stealth hovercraft car. Magritte (of "This is not a Pipe" fame) lived for over 20 years in the house in North Brussels with his wife, who posed for the painting. Maja Pertot Bernard of the Art Loss Register told the Guardian:
In thefts like these, the paintings either tend to turn up very quickly when the thieves realise it's a lost cause, or if they do go missing for a long time, they often change hands so many times that the final seller doesn't realise there is a problem with the painting.
On first listen, it's pretty awesome, more careful and consistent than his usual sprawling mess of posse cuts, remixes, freestyles and skits. Nothing quite as wild as adventurous as a RZA or GZA record, but definitely better than anything Method Man or Raekwon has done lately. Someone should try listening to it while watching The Wizard of Oz to see if Ghost is on some Pink Floyd shit, because that would instantly make this the best rap album ever. (HipHopGame)
Fall is officially here, and movies are officially coming out at a ridiculous clip: at least eight releases this weekend, plus another five next weekend. Next weekend your challenge will be to choose which movie(s) you want to see most. This weekend your challenge is to find one you're actually excited about. Maybe the Michael Moore joint will be good. Maybe you should just catch up with Big Fan or Jennifer's Body.
Capitalism: A Love Story: If you take Michael Moore as a free-associative essayist and not a reporter, his movies aren't usually anything to get especially frothing about; it's also why his grab-baggiest and most superficially disjointed movie, Bowling for Columbine, is actually one of his best. But let's talk about the title of this new one for a second: it really sucks. Bowling for Columbine and Fahrenheit 9/11 obviously have their eye on headline-grabbing, and Sicko is pretty straightforward. But the vaguely-clever-sounding-but-not-actually-clever Capitalism: A Love Story makes it sound like an indictment of, you know, capitalism (which I'm guessing it's not, as Moore hasn't seemed particularly opposed to that), and/or some kind of ironic/poison-pen twist on the "love" part (by most accounts, it's not). It's just a clunky and not particularly catchy title; I guarantee more people will refer to this as "the new Michael Moore movie" than Capitalism. That is, if they refer to it at all: I'm getting a vague sense of disinterest around this movie, even among people who mourned the double-cancellation of TV Nation. For the first time in many movies, Moore sounds like he could actually be a bit behind the current-events curve.
In the press release for the record, there's a quote from Isaac Brock, even though I'm pretty sure Isaac Brock's name doesn't carry any real weight anymore. He does, however, make an interesting point about what passes for singing in today's music world.
I don't believe that many people actually sing these days. Generally "singing" usually sounds like some sort of talking or yelling in tune. Bjork sings, Chan Marshall of Cat Power sings, that Thom Yorke fellow from Radiohead sings, and yes, you saw it coming. John Orth from Holopaw also sings. That's what really grabbed me: the singing and the lyrics. With a quivering, liquid voice and lyrics that make you feel like you're standing there and smelling the air of all four seasons; the sky is the perfect color that it only becomes for a few minutes, every once in a while. You're heartbroken, you're in love, the world's not complicated.
I agree that John Orth has a really great voice. I don't know what exactly qualifies it as "singing" by Brock's definition, though I suspect it's actually Orth's infuriating tendency to sing the end of each line like he's either shivering or crying. Regardless, is Brock right about no one really singing anymore?
You can throw Antony Hegarty's name out there, obviously. And those guys in Grizzly Bear certainly like to sing. I'd also vouch for Colin Meloy and maybe, to a lesser extent, Will Sheff, who might not have the best voice in the world, but who definitely puts it all out there as if he did. And this is to say nothing of people like Sam Beam or M. Ward, who sing their hearts out, just at a lower volume.
Who am I forgetting? Go ahead everyone, tell Isaac Brock all about it.
This is one of those situations where, as a Canadian, I wrestle with the American sacrament of free speech and right to assembly. I really just want a bunch of dudes with truncheons and facemasks to come along and disappear the hateful wingnuts. Or I'll fucking do it myself.
Obviously, this format is just as fraught with problems when applied to art as it is for film—like, does it really make sense to nominate Louise Bourgeois for Artist of the Year when she should probably get a lifetime achievement award while she can still accept it in person?—but it's also the kind of exciting and high-visibility event that the contemporary art world should really already have (because, let's face it, reading about who got the latest art grant isn't much fun). The event, presented by the Solomon R. Guggenheim Foundation, White Columns and Studio in a School, goes down on October 29. Click here for a full list of nominees and check back soon for The L's winners predictions.
Meanwhile, Ironic Sans took the Google Maps approach back in 2006, creating a helpful interactive map of the city with locations labeled differently based on their appearance in either the first or second Ghostbusters film. So, for instance, did you know that in GB2, Ray's Occult Books (pictured) was at 33 St. Marks' Place in the space now occupied by Rockit Scientist Records?
The trailer for the film Some Days are Better Than Others, featuring the acting debuts of James Mercer from the Shins and Carrie Brownstein from Sleater Kinney, made its way online yesterday. It's very beautiful and very sad. Just like life. Almost every line in the trailer, no matter who's speaking it, is sort of stuttered and riddled with pauses and hesitations—some for drama, I guess, and others out of uncertainty about what to say next. I suppose this is also like life too, but it's also very annoying.
You could (maybe) argue that this isn't a clear-cut case of vandalism, but rather clever art criticism in the field. Except that it's a sculpture park, and so the appropriate medium for dissenting (or approving) commentary is evidently sculpture—something like this, or this, for instance. As Curbed says of the art attack: "No alternative was offered, which is often the way with critics."
(photo credit: Curbed)
“We’re shooting for a really great regional production and following that with a national tour,” he said. “Because if you start thinking Broadway early, then you freeze up completely in terror."
I like how most of the review is basically "It's not as good as Pervert's…
I don't know man - Dip > 25 Bucks
Ludicrous overreach!! How did this make it past an editor??