We are told to judge the art rather than the artist, but sometimes the artist makes this difficult. Woody Allen still carries loud freight – the freight of someone who was accused by his daughter, Dylan Farrow, of child sexual abuse. People will argue that none of the above matters, that he has been convicted of no crime, that only what is onscreen counts. And so we try to watch Coup de Chance, an adequate seriocomic immorality tale that had its world premiere Monday at the Venice Film Festival, with eyes and minds wide open.
- 9/4/2023
- by Chris Vognar
- Rollingstone.com
Rhayne Vermette; courtesy of the artist. Punchers, burins, blade knives, and guillotine splicers invade Rhayne Vermette’s working space. Born in Notre Dame de Lourdes, Manitoba, and residing in Winnipeg, for this self-taught artist, collage, photography, and film are the tools that demolish the house of rhetoric. Inspired by architects who infused a reinterpretation of building with wood, glass, and stone, Vermette questions methodological foundations and surroundings—in her case, to make the towers fall. What once was defined as path and pillar do not govern the artist or her work. She breaks down structures that mirror the dysfunctional models and causalities of closed structures. Her schemes and patterns are not affixed or in service to a system. Instead, she shows what is beneath the logic of make-sense enunciations, and their own relational dynamics. By deconstructing edifices of rules, meaning takes its power back. Scratches, flares, glue, and tape are...
- 3/18/2019
- MUBI
Edgar Allen Poe: Buried Alive screens Thursday March 9th at Webster University’s Moore Auditorium (470 East Lockwood). The movie starts at 7:30. Director Eric Stange, a visiting fellow with the Woodrow Wilson National Fellowship Foundation, will answer questions following the screening. This is a Free event!
Far more than a biography, Edgar Allen Poe: Buried Alive employs a variety of tools to create a narrative that is both visually stunning and deeply engaging. Drawn on the rich palette of Poe’s evocative imagery and sharply drawn plots to help bring new understanding to his life, his place in American art and history, and the iconic position he holds in popular culture around the world. This film has received a production grant from the National Endowment for the Humanities, and will be broadcast on the acclaimed PBS arts and culture series American Masters.
Tony-award-winning actor Denis O’Hare portrays...
Far more than a biography, Edgar Allen Poe: Buried Alive employs a variety of tools to create a narrative that is both visually stunning and deeply engaging. Drawn on the rich palette of Poe’s evocative imagery and sharply drawn plots to help bring new understanding to his life, his place in American art and history, and the iconic position he holds in popular culture around the world. This film has received a production grant from the National Endowment for the Humanities, and will be broadcast on the acclaimed PBS arts and culture series American Masters.
Tony-award-winning actor Denis O’Hare portrays...
- 3/6/2017
- by Tom Stockman
- WeAreMovieGeeks.com
Kate’s Classical Corner: Hannibal, Ep. 3.01, “Antipasto”
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. I’ll be reviewing Hannibal season three for Sound on Sight and along with each review, I’ll be writing up a few notes (or this week—thanks to the sheer volume of music—many, many notes) on the episode’s scoring and soundtrack choices. This is not intended to be a definitive reading of Reitzell or Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my thoughts on “Antipasto” here.
Prélude à l’après-midi d’un faune by Claude Debussy (1894): Gideon and Hannibal eat dinner, Hannibal tends his snails
Based on L’après-midi d’un...
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. I’ll be reviewing Hannibal season three for Sound on Sight and along with each review, I’ll be writing up a few notes (or this week—thanks to the sheer volume of music—many, many notes) on the episode’s scoring and soundtrack choices. This is not intended to be a definitive reading of Reitzell or Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my thoughts on “Antipasto” here.
Prélude à l’après-midi d’un faune by Claude Debussy (1894): Gideon and Hannibal eat dinner, Hannibal tends his snails
Based on L’après-midi d’un...
- 6/5/2015
- by Kate Kulzick
- SoundOnSight
On the occasion of Joseph Nechvatal's upcoming exhibition at Galerie Richard in New York (April 12 through May 26), the recent publication of his new book Immersion into Noise, and a concert of his remastered viral symphOny in surround sound. Taney Roniger is an artist and writer who lives and works in Brooklyn.
Bradley Rubenstein: We really want to get into the new book, as well as the upcoming show, but can you take a minute and give us a little backstory? You have always slipped in and out of categories: actions, painting, sound art, writing....
Joseph Nechvatal: Well, when I was going to undergraduate art school at Southern Illinois University (Siu), I was making drawings and little gouaches and smaller-type paintings on paper, generally. And they were well-received. I was not so interested in painting on canvas at the time. You have to put it in the perspective of the...
Bradley Rubenstein: We really want to get into the new book, as well as the upcoming show, but can you take a minute and give us a little backstory? You have always slipped in and out of categories: actions, painting, sound art, writing....
Joseph Nechvatal: Well, when I was going to undergraduate art school at Southern Illinois University (Siu), I was making drawings and little gouaches and smaller-type paintings on paper, generally. And they were well-received. I was not so interested in painting on canvas at the time. You have to put it in the perspective of the...
- 3/29/2012
- by bradleyrubenstein
- www.culturecatch.com
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