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
Cate Blanchett and Julian Rosefeldt talk Manifesto animals and more inside the Crosby Street Hotel Photo: Anne-Katrin Titze
Through the words of Yvonne Rainer, Louis Aragon, Olga Rozanova, Guy Debord, Lars von Trier, Stan Brakhage, Werner Herzog, Jim Jarmusch, Thomas Vinterberg, Tristan Tzara, Paul Éluard, Claes Oldenburg, Sol LeWitt, Barnett Newman, Kurt Schwitters, Francis Picabia, André Breton, Antonio Sant'Elia, Lebbeus Woods and others in Julian Rosefeldt's film Manifesto, a chameleonic Cate Blanchett in 14 roles, speaks lines of truth and dare to us giving them all new context in contemporary situations.
Cate Blanchett: "Julian and I were both in New York and we sat down and he had come up with sort of about fifty characters, about fifty, sixty different scenarios." Photo: Anne-Katrin Titze
The role of the Manifesto animals as being "another way of portraying humanity", how the changing of the settings each day "was a...
Through the words of Yvonne Rainer, Louis Aragon, Olga Rozanova, Guy Debord, Lars von Trier, Stan Brakhage, Werner Herzog, Jim Jarmusch, Thomas Vinterberg, Tristan Tzara, Paul Éluard, Claes Oldenburg, Sol LeWitt, Barnett Newman, Kurt Schwitters, Francis Picabia, André Breton, Antonio Sant'Elia, Lebbeus Woods and others in Julian Rosefeldt's film Manifesto, a chameleonic Cate Blanchett in 14 roles, speaks lines of truth and dare to us giving them all new context in contemporary situations.
Cate Blanchett: "Julian and I were both in New York and we sat down and he had come up with sort of about fifty characters, about fifty, sixty different scenarios." Photo: Anne-Katrin Titze
The role of the Manifesto animals as being "another way of portraying humanity", how the changing of the settings each day "was a...
- 4/28/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Julian Rosefeldt’s Manifesto star Cate Blanchett is on Broadway in The Present, directed by John Crowley Photo: Anne-Katrin Titze
In 2014, Cate Blanchett starred with Isabelle Huppert in Andrew Upton's adaptation of Jean Genet's The Maids (Les Bonnes) at Lincoln Center. Now in New York, Blanchett appears live on stage at the Barrymore Theatre, opposite Richard Roxburgh in The Present, Upton's adaptation of Anton Chekhov's Platonov, and on screens in Julian Rosefeldt’s enthralling Manifesto at the Park Avenue Armory.
Cate Blanchett as CEO in Manifesto combines the ideas of Wassily Kandinsky, Franz Marc, Wyndham Lewis and Barnett Newman
The words of Yvonne Rainer, Mierle Laderman Ukeles, Olga Rozanova, Adrian Piper and Elaine Sturtevant flow alongside those of Lars von Trier, Stan Brakhage, Werner Herzog, Jim Jarmusch, Thomas Vinterberg, Tristan Tzara, Paul Éluard, Claes Oldenburg, Sol LeWitt, Barnett Newman, Kurt Schwitters, Francis Picabia, André Breton, Antonio Sant'Elia,...
In 2014, Cate Blanchett starred with Isabelle Huppert in Andrew Upton's adaptation of Jean Genet's The Maids (Les Bonnes) at Lincoln Center. Now in New York, Blanchett appears live on stage at the Barrymore Theatre, opposite Richard Roxburgh in The Present, Upton's adaptation of Anton Chekhov's Platonov, and on screens in Julian Rosefeldt’s enthralling Manifesto at the Park Avenue Armory.
Cate Blanchett as CEO in Manifesto combines the ideas of Wassily Kandinsky, Franz Marc, Wyndham Lewis and Barnett Newman
The words of Yvonne Rainer, Mierle Laderman Ukeles, Olga Rozanova, Adrian Piper and Elaine Sturtevant flow alongside those of Lars von Trier, Stan Brakhage, Werner Herzog, Jim Jarmusch, Thomas Vinterberg, Tristan Tzara, Paul Éluard, Claes Oldenburg, Sol LeWitt, Barnett Newman, Kurt Schwitters, Francis Picabia, André Breton, Antonio Sant'Elia,...
- 12/28/2016
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Bill Jensen: Transgressions Cheim & Read Gallery Through May 9, 2015
There was a time in modern music when the role of the artist changed from being the custodian of cultural knowledge to something more of an autobiographer. We might choose that moment in the late sixties when Lou Reed abandoned the writing of pop ditties about boys and girls, to focus on his own, more personal interests, like boys and girls and heroin.
In other art forms this sea change was happening -- in comedy, where once jokes were shared, un-authored, between performers in Vegas, the Catskills, and New York City clubs, Lenny Bruce made comedy suddenly personal -- talking about race, politics, cops, censorship, and heroin. It is tempting to suggest that in painting this shift had happened decades earlier, particularly in that sub-category of painting called "abstraction." Once artists like Kandinsky, Rodchenko, Dove, and O’Keefe had looked for...
There was a time in modern music when the role of the artist changed from being the custodian of cultural knowledge to something more of an autobiographer. We might choose that moment in the late sixties when Lou Reed abandoned the writing of pop ditties about boys and girls, to focus on his own, more personal interests, like boys and girls and heroin.
In other art forms this sea change was happening -- in comedy, where once jokes were shared, un-authored, between performers in Vegas, the Catskills, and New York City clubs, Lenny Bruce made comedy suddenly personal -- talking about race, politics, cops, censorship, and heroin. It is tempting to suggest that in painting this shift had happened decades earlier, particularly in that sub-category of painting called "abstraction." Once artists like Kandinsky, Rodchenko, Dove, and O’Keefe had looked for...
- 4/30/2015
- by bradleyrubenstein
- www.culturecatch.com
Bradley Rubenstein: I first encountered your work in the late eighties. I remember a painting of yours called Hunters that was quite memorable. It had the impact of something iconic, like an Eqyptian stele or a Barnett Newman piece. The work that you have done in the last several decades has continued to have that effect, in my opinion, and I have enjoyed following along on your trip through painting. Let’s go back, though, for a minute and fill in some of your history. You live and work in Chicago. Where did you study before then?
Wesley Kimler: Alright, well, I left home when I was fourteen years old (and actually if you look on Facebook I posted a bunch of stuff). I grew up in the old South of Market area of San Francisco, living in derelict single-room-occupancy hotels down there.
I didn't go to high...
Wesley Kimler: Alright, well, I left home when I was fourteen years old (and actually if you look on Facebook I posted a bunch of stuff). I grew up in the old South of Market area of San Francisco, living in derelict single-room-occupancy hotels down there.
I didn't go to high...
- 6/8/2014
- by bradleyrubenstein
- www.culturecatch.com
Angela Dufresne was born in Connecticut and grew up in Kansas. She studied painting and video at the Kansas City Art Institute and painting at Tyler School of Art. She did residencies at the Fine Arts Work Center in Provincetown in 2002–2004 and 2003–2004 and at Yaddo this year. She taught painting, and culture at large, in various places: Sarah Lawrence, Princeton University, and Rhode Island School of Design (Risd). Dufresne curated several show and video screenings nationally, including Portraiture for the Silicon Enlightenment: (Fuckheads); Negative Joy, a video screening at 443 Pas, New York; and Available, a show about still life at Monya Rowe Gallery. She has exhibited her work in various group shows in museums: The Aldrich Contemporary Art Museum, the Rose Museum, Mills College Art Museum, Richmond University Museum of Art, and MoMA PS1. She has also had various solo shows nationally and internationally: a project at the Hammer Museum...
- 2/27/2014
- by bradleyrubenstein
- www.culturecatch.com
Julian Schnabel: The Walk Home The Brant Foundation Art Study Center Opened November 11, 2013
“Must we learn again the simple, forthright experience of actually seeing a painting?” William Gaddis
“In the end, we cultural theorists are the coroners of history, writing our forensic reports on a marble slab table about a murder victim—painting.” Dr. Hope Ardizzone, Cultural Theorist/Author
One might arguably make the case, after viewing Julian Schnabel’s retrospective at The Brant Foundation Art Study Center, that he is the heir to Barnett Newman’s painterly legacy, for no artist since Newman has placed such importance and urgency on the act of painterly gesture. Possibly a stretch, though Schnabel has never shied away from the grand gesture or statement, but given (or despite) the expansiveness of Schnabel's thirty-year career he does come very close to Newman’s ideal of an Artist.
Newman believed that to create oneself...
“Must we learn again the simple, forthright experience of actually seeing a painting?” William Gaddis
“In the end, we cultural theorists are the coroners of history, writing our forensic reports on a marble slab table about a murder victim—painting.” Dr. Hope Ardizzone, Cultural Theorist/Author
One might arguably make the case, after viewing Julian Schnabel’s retrospective at The Brant Foundation Art Study Center, that he is the heir to Barnett Newman’s painterly legacy, for no artist since Newman has placed such importance and urgency on the act of painterly gesture. Possibly a stretch, though Schnabel has never shied away from the grand gesture or statement, but given (or despite) the expansiveness of Schnabel's thirty-year career he does come very close to Newman’s ideal of an Artist.
Newman believed that to create oneself...
- 12/30/2013
- by bradleyrubenstein
- www.culturecatch.com
Lester Johnson: Dark Paintings Stephen Harvey Fine Art Projects Through November 17, 2013
To create oneself through the process of making an object is an ethical act of decision making and passion, thought the painter Barnett Newman, who in 1947 outlined this philosophical position in a short essay titled "The First Man Was an Artist." Newman wrote that early Homo sapiens had become something more, something human, by asserting themselves not through the making of objects for some use, but through the creation of objects for poetic, aesthetic expression, which he said was the purer, superior act. "Man’s hand," he said, "traced the stick through the mud to make a line before he learned to throw the stick as a javelin." It is therefore more human, from Newman's point of view, to draw a line in aesthetic wonder, as it demonstrates Man's tragic separateness from others in the world through so doing.
To create oneself through the process of making an object is an ethical act of decision making and passion, thought the painter Barnett Newman, who in 1947 outlined this philosophical position in a short essay titled "The First Man Was an Artist." Newman wrote that early Homo sapiens had become something more, something human, by asserting themselves not through the making of objects for some use, but through the creation of objects for poetic, aesthetic expression, which he said was the purer, superior act. "Man’s hand," he said, "traced the stick through the mud to make a line before he learned to throw the stick as a javelin." It is therefore more human, from Newman's point of view, to draw a line in aesthetic wonder, as it demonstrates Man's tragic separateness from others in the world through so doing.
- 11/14/2013
- by bradleyrubenstein
- www.culturecatch.com
Part of the Tony Scott: A Moving Target critical project. Go here for the project's description, index and links to project's other movement.
To the overabundance of text, sounds, images—and moving images—in Tony Scott, we reply with something like our own. So let me (try to) keep this (almost as) short as a Tony Scott shot. Scott’s death this past summer would elicit film critics’ own counterpart to American politics: opinions and generalizations bandied between two camps who were, as always, preaching to their respective choirs. And needless to say, such discourses would be about as useful, informative, and interesting as American politics. For Scott’s work was hardly encamped: the outward liberalism of Enemy of the State, perhaps Hollywood’s most overt attack on our surveillance nation and the Nsa, possible only before 9/11, concludes that only Nsa aspirants can take down the Nsa, just as Man on Fire,...
To the overabundance of text, sounds, images—and moving images—in Tony Scott, we reply with something like our own. So let me (try to) keep this (almost as) short as a Tony Scott shot. Scott’s death this past summer would elicit film critics’ own counterpart to American politics: opinions and generalizations bandied between two camps who were, as always, preaching to their respective choirs. And needless to say, such discourses would be about as useful, informative, and interesting as American politics. For Scott’s work was hardly encamped: the outward liberalism of Enemy of the State, perhaps Hollywood’s most overt attack on our surveillance nation and the Nsa, possible only before 9/11, concludes that only Nsa aspirants can take down the Nsa, just as Man on Fire,...
- 12/3/2012
- by gina telaroli
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
Righteous-subordination-as-genuine-patriotism is the theme of Scott's Enemy of the State, a theme that's transferred over from his earlier effort Crimson Tide. Between the two projects, there is also a noteworthy role reversal: Hackman exchanges the mantle of Captain Ramsey’s blindly nationalistic aggressor for that of the justifiably paranoid super-hacker, Brill. Brill has been targeted Public Enemy No. 1 due to his cyber-civil-disobedience against the proposed “Telecommunications Security and Privacy Act,” a kind of prescient, long way of saying The P.A.T.R.I.O.T. Act (which it turns out is actually a short way of saying: Uniting and Strengthening America...
<- the previous analysis | movement index | the next analysis ->
Righteous-subordination-as-genuine-patriotism is the theme of Scott's Enemy of the State, a theme that's transferred over from his earlier effort Crimson Tide. Between the two projects, there is also a noteworthy role reversal: Hackman exchanges the mantle of Captain Ramsey’s blindly nationalistic aggressor for that of the justifiably paranoid super-hacker, Brill. Brill has been targeted Public Enemy No. 1 due to his cyber-civil-disobedience against the proposed “Telecommunications Security and Privacy Act,” a kind of prescient, long way of saying The P.A.T.R.I.O.T. Act (which it turns out is actually a short way of saying: Uniting and Strengthening America...
- 12/3/2012
- by Ben Simington
- MUBI
Jackson Pollock and Tony Smith: Sculpture: An Exhibition on the Centennial of their Births and Tony Smith: Source Matthew Marks Gallery Through October 27, 2012
Nominally a show of sculpture, Matthew Marks is presenting something more like relics of art world myth, or a romanticized artist-buddy story (think Lust for Life or Schnabel's Basquiat). It seems an odd pairing at first glance: Pollock, whose paintings consist of poured or dripped skeins of paint and are the archetype of Ab Ex passion, and Tony Smith, whose Buckminster Fuller-like geodesic monuments ushered in an Age of Cool. This show presents the remains of a day, one spent at Smith's New Jersey home, when Smith tried to coax out of the fallow (and soon-to-be-dead) Pollock a few last attempts at making art and ended up becoming a sculptor himself.
This five-work show is essentially a teaser for the uber-Minimal show Source, at Marks's larger space on 24th Street.
Nominally a show of sculpture, Matthew Marks is presenting something more like relics of art world myth, or a romanticized artist-buddy story (think Lust for Life or Schnabel's Basquiat). It seems an odd pairing at first glance: Pollock, whose paintings consist of poured or dripped skeins of paint and are the archetype of Ab Ex passion, and Tony Smith, whose Buckminster Fuller-like geodesic monuments ushered in an Age of Cool. This show presents the remains of a day, one spent at Smith's New Jersey home, when Smith tried to coax out of the fallow (and soon-to-be-dead) Pollock a few last attempts at making art and ended up becoming a sculptor himself.
This five-work show is essentially a teaser for the uber-Minimal show Source, at Marks's larger space on 24th Street.
- 10/2/2012
- by bradleyrubenstein
- www.culturecatch.com
Angela Dufresne: Parlors and Pastorals Monya Rowe Gallery Crg Gallery Through November 10 at Monya Rowe Gallery; through November 6, 2012 at Crg Gallery
Things fall apart…at least in the recent paintings of Angela Dufresne, whose works are in a two-gallery exhibition at Monya Rowe and Crg entitled Parlors and Pastorals. That is the impression at first glance: nominal landscapes and scenes of bourgeois interiors, these paintings, awash with color and executed with an impressive arsenal of painterly paint handling, are slipping glimpses into scenes both real and imagined, caught in a state of permanent contingency.
"Alphaville Sublime" (2012) and "Putting out in the Parlor of King Alexander" (2012) are a good starting point in the immersive world that Dufresne has created, which was ostensibly inspired by Buster Keaton's "The Playhouse" (1921), a play-within-a-play-within-a-play tour de force of early filmmaking. Dufresne applies the same methodology of stripping away illusions of reality and notions of continuity,...
Things fall apart…at least in the recent paintings of Angela Dufresne, whose works are in a two-gallery exhibition at Monya Rowe and Crg entitled Parlors and Pastorals. That is the impression at first glance: nominal landscapes and scenes of bourgeois interiors, these paintings, awash with color and executed with an impressive arsenal of painterly paint handling, are slipping glimpses into scenes both real and imagined, caught in a state of permanent contingency.
"Alphaville Sublime" (2012) and "Putting out in the Parlor of King Alexander" (2012) are a good starting point in the immersive world that Dufresne has created, which was ostensibly inspired by Buster Keaton's "The Playhouse" (1921), a play-within-a-play-within-a-play tour de force of early filmmaking. Dufresne applies the same methodology of stripping away illusions of reality and notions of continuity,...
- 9/8/2012
- by bradleyrubenstein
- www.culturecatch.com
Blu-ray & DVD Release Date: Aug. 28, 2012
Price: DVD $24.95
Studio: Microcinema
Beyond Time: William Turnbull is a short documentary film on the life and work of respected the British artist and sculptor, who is recognized as one of the pioneers of modernism in Britain.
Beyond Time, narrated by Jude Law, is the documentary journey into the life and work of the artist William Turnbull, who is recognized as one of the pioneers of modernism in Britain.
Narrated by Jude Law, Beyond Time chronicles Turnbull’s intimate involvement in the critical developments of modern art and explores his experiences in Paris, London and New York where he befriended and worked alongside such artists as Alberto Giacometti, Richard Hamilton, Mark Rothko and Barnett Newman.
The film was produced and co-directed by the artist’s son Alex Turnbull, who as well as being a pioneering British skateboarder and DJ, was also a member of the music group 23 Skidoo,...
Price: DVD $24.95
Studio: Microcinema
Beyond Time: William Turnbull is a short documentary film on the life and work of respected the British artist and sculptor, who is recognized as one of the pioneers of modernism in Britain.
Beyond Time, narrated by Jude Law, is the documentary journey into the life and work of the artist William Turnbull, who is recognized as one of the pioneers of modernism in Britain.
Narrated by Jude Law, Beyond Time chronicles Turnbull’s intimate involvement in the critical developments of modern art and explores his experiences in Paris, London and New York where he befriended and worked alongside such artists as Alberto Giacometti, Richard Hamilton, Mark Rothko and Barnett Newman.
The film was produced and co-directed by the artist’s son Alex Turnbull, who as well as being a pioneering British skateboarder and DJ, was also a member of the music group 23 Skidoo,...
- 7/19/2012
- by Laurence
- Disc Dish
Sanja Iveković: Sweet Violence Museum of Modern Art Through March 26, 2012
From my window on the 69th floor of the Temperance Building, I can see the monument to Rosa Luxemburg that Chancellor Nirenberg erected in Zapruder Park after President Manson resigned and The Bund took control of the city. The first thing they did was to tell everyone that we no longer had to worry about The Flu; the virus had mutated and was now known as The Plague. Infection was spread through physical contact, most often rape (Katya and I had a good laugh at that), and the resulting zombies it produced were now wandering the city. Mostly they come at night. Mostly. Posters of women in sunglasses are plastered on walls. They warn what’s left of the panicked population that one side effect of the zombification is dilation of the pupils, until the whole eye turns black. Zombies...
From my window on the 69th floor of the Temperance Building, I can see the monument to Rosa Luxemburg that Chancellor Nirenberg erected in Zapruder Park after President Manson resigned and The Bund took control of the city. The first thing they did was to tell everyone that we no longer had to worry about The Flu; the virus had mutated and was now known as The Plague. Infection was spread through physical contact, most often rape (Katya and I had a good laugh at that), and the resulting zombies it produced were now wandering the city. Mostly they come at night. Mostly. Posters of women in sunglasses are plastered on walls. They warn what’s left of the panicked population that one side effect of the zombification is dilation of the pupils, until the whole eye turns black. Zombies...
- 1/13/2012
- by bradleyrubenstein
- www.culturecatch.com
Mira Schor is a painter and writer living in New York City and Provincetown, Massachusetts. She is the author of A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life (Duke University Press) and the blog A Year of Positive Thinking. She is an associate teaching professor in Mfa Fine Arts at Parsons The New School for Design. She is represented by CB1 Gallery in Los Angeles and Marvelli Gallery in New York City where she will have a one-person exhibition in March 2012.
Bradley Rubenstein: You grew up in New York City. Your mother was an artist; your father was an artist; you were exposed to art at an early age, both at home and in the museums. Can you remember when you decided that you were going to be an artist?
Mira Schor: The precise moment was during a 19th-century art history class in college. I...
Bradley Rubenstein: You grew up in New York City. Your mother was an artist; your father was an artist; you were exposed to art at an early age, both at home and in the museums. Can you remember when you decided that you were going to be an artist?
Mira Schor: The precise moment was during a 19th-century art history class in college. I...
- 12/30/2011
- by bradleyrubenstein
- www.culturecatch.com
The New Yorker put cultural figures from across the spectrum in the hot seat this past weekend for their whirlwind festival, playing to intimate crowds from Friday through Sunday. Guests ranged from Steve Martin and Jonathan Franzen to St. Vincent and the "Arrested Development" cast reunion. The Huffington Post attended a smattering of events and compiled the tidbits that inspired us, and more frequently, made us laugh. Read on for the best moments from the festival.
Gazelle Emami/The Huffington Post
The 'Arrested Development' Reunion
It's not surprising that "Arrested Development" was originally meant to be a heavily improvised show. The cast's sharp tongues began flying early into the talk, moderated by Nancy Franklin, TV critic for The New Yorker. The entire cast was present Sunday -- Will Arnett, Jason Bateman, Michael Cera, David Cross, Portia de Rossi, Tony Hale, Alia Shawkat, Jeffrey Tambor, Jessica Walter, creator Mitchell Hurwitz,...
Gazelle Emami/The Huffington Post
The 'Arrested Development' Reunion
It's not surprising that "Arrested Development" was originally meant to be a heavily improvised show. The cast's sharp tongues began flying early into the talk, moderated by Nancy Franklin, TV critic for The New Yorker. The entire cast was present Sunday -- Will Arnett, Jason Bateman, Michael Cera, David Cross, Portia de Rossi, Tony Hale, Alia Shawkat, Jeffrey Tambor, Jessica Walter, creator Mitchell Hurwitz,...
- 10/3/2011
- by Gazelle Emami
- Huffington Post
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