Art and Film: Tarantino’s glourious layer cake

Contributed by Jonathan Stevenson / Once Upon a Time … in Hollywood, Quentin Tarantino’s re-imagining of the Sharon Tate story, is among his best films. It is on a par with Pulp Fiction and Inglourious Basterds, emotionally moving as well as intellectually hefty, and everything a black comedy should be: smart and ultimately serious as … read more… “Art and Film: Tarantino’s glourious layer cake”

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Art and Film: Argentina’s haunting precedent

Contributed by Jonathan Stevenson / Argentina’s decade-long “dirty war” (1974–83) during which a right-wing military junta “disappeared” about 30,000 left-wing dissidents – that is, executed them without acknowledgement of their deaths – ended over 35 years ago. Yet Argentina’s outstanding contemporary filmmakers continue to revisit the dirty war. In 2009, there was Juan José Campanella’s … read more… “Art and Film: Argentina’s haunting precedent”

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Art and Film: Robert Frank’s will to believe

Contributed by Jonathan Stevenson / Swiss-American photographer and filmmaker Robert Frank is now 94, which means he has been in the midst what he calls a “natural disaster” – old age – for at least fifteen years. Yet when he was 80, as Gerald Fox trailed him for Fox’s 2005 documentary Leaving Home, Coming Home: … read more… “Art and Film: Robert Frank’s will to believe”

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Art and Film: Joanna Hogg’s sublime deliberation

Contributed by Jonathan Stevenson / In the autobiographical film The Souvenir, writer-director Joanna Hogg’s fourth and latest feature and a gemlike crystallization of her seamless method, she uses Jean-Honoré Franogard’s eighteenth-century canvas of the same title to set the terms of the budding relationship between Julie, the film’s ingenuous protagonist, and the older Anthony, a … read more… “Art and Film: Joanna Hogg’s sublime deliberation”

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Gestures of grace: Carol Saft at Lesley Heller

Contributed by Julia Couzens / Carol Saft’s plainspoken exhibition, “Fallen Men,“ in the project space at Lesley Heller, is a suite of small-scaled, wall-based bronze figures engaged in gestures of vulnerability and support.  They call to mind the bronze sculpture of Bauhaus artist Gerhard Marcks and share his ethic of directness and material honesty.

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Art and Film: The lives of artists

Contributed by Jonathan Stevenson / Florian Henckel von Donnersmarck’s film Never Look Away concerns a German painter named Kurt Barnert (the charismatic Tom Schilling), but it is an unabashed interpretation of Gerhard Richter’s life. Its style is seductively elegant and its script at once discursive and oblique – qualities that make the story’s ugly intrigue … read more… “Art and Film: The lives of artists”

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Art and Film: Cheapening the art world one toxic bite at a time

Contributed by Kristen Clevenson / The Price of Everything (2018), a documentary film directed by Nathaniel Kahn, seeks to assess the impact, influence, and inescapable role of money in the art world. In November, I attended a screening followed by a panel discussion featuring Pulitzer prize-winning art critic Jerry Saltz, Hunter College professor and chair of art history … read more… “Art and Film: Cheapening the art world one toxic bite at a time”

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Yes, Julian Schnabel painted the Van Goghs

Contributed by Sharon Butler / While watching At Eternity’s Gate, Julian Schnabel’s new film about Vincent Van Gogh, I wondered if Schnabel had made the paintings and drawings himself, and it turns out he did. “When Willem [Dafoe as Van Gogh] is drawing, sometimes my arm is in one sleeve of his shirt…luckily Willem’s hands and mine look … read more… “Yes, Julian Schnabel painted the Van Goghs”

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Art and Film: Van Gogh’s sanity

Contributed by Jonathan Stevenson /  “One man’s insanity is another man’s genius,” Joyce Carol Oates has written. In the popular imagination, though, Vincent Van Gogh was a psychologically tortured idiot-savant. Inner demons, not conscious deliberation, drove him to make his transcendent paintings, which invested natural phenomena with haunting emotional qualities and philosophical portent. Aesthetic discretion … read more… “Art and Film: Van Gogh’s sanity”

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Art and Film: Catherine Weldon and Sitting Bull

Contributed by Jonathan Stevenson / Trump’s reactionary public policy, which has institutionalized contempt for the advances in social justice forged in the United States over the past 150 years, has produced pervasive discontent. Anger about his racism, misogyny, and homophobia is manifesting itself through art in different ways. In tone, resistance ranges from the simmering observations of Kerry … read more… “Art and Film: Catherine Weldon and Sitting Bull”

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