False
‘People are always talking about it being their duty to find their way to their fellow men – to their neighbour, as they are forever saying with all the baseness of false sentiment – when in fact it is purely and simply a question of finding their way to themselves.’
About halfway through The Loser, Austrian novelist Thomas Bernhard’s 1983 book about blocked creativity, the narrator drops a bomb on the unsuspecting reader. In a momentary suspension of his virtually unswerving tone of aggressive pessimism and misanthropy, Bernhard inserts a single sentence that smacks awkwardly of humanism. (read more here – Cabinet magazine)
His works branch in a number of directions, partly because they provide so little information. They are almost violent, almost failing, almost private.. In one sense, they are metaphor without specifc reference -“they point to” psychological strata existing outside of ordinary language. They betray thier own desriptions. – Alan Sondheim – Individuals: Post Movement Art in America
Received this sad news via Alan Sondheim.
Dennis Oppenheim just died; he was one of the most amazing artists I’ve ever
known… A really sad day –
Roberta Smith (NYtimes) in her obit informs us that he was once married to Alice Aycock in the 80’s.
His career might almost be defined as a series of sidelong glances at the doings of artists like Vito Acconci, Mr. Smithson, Bruce Nauman, Alice Aycock (to whom he was married in the early 1980s) and Claes Oldenburg.
In Hawaii Dennis became a developer and was successful as an entrepreneur in the early 60’s.
(Thanks to Hal Lum for this information and a link to – An interview of Dennis Oppenheim conducted 1995 July- Aug, by Suzaan Boettger, for the Archives of American Art.)
And I think that my state was a state of mind that I harbored as a graduate student at Stanford, was one that is not unfamiliar today and found in lots of young people. The feeling was that art is what you don’t know. Everything else is art history.
Sol LeWitt was dealing with his systematic units of and his grids, and there was already a ray of material out there that one could think about. Smithson was extremely catalytic because he was writing about the real world. His writing was enormously catalytic, I think, at that time. I found that very exciting. There was also an article by Michael Freed, talking about minimalism approach in theatricality, which seemed interesting at the time, too.
B: Did you ever read a lot?
DO: Not a great deal. Not as much as many people. What I found is that it got me too excited. I mean, stuff that I liked — it overly stimulated me. Like if I would read James Joyce, or if I would read or , or even poets like Charles or even people like Dylan Thomas who are odd, or even contemporary poets like Ted Hughes. And then books like — I like this Austrian guy who made . His name is Bernhardt. Thomas Bernhardt, who was influenced by Becker. And then some of the French structural writing. French and , and some of the stuff by American writers. Yes, Beckett would drive me crazy. I can’t even read him now. He’s so good — so good.
Various reviewers noted Bergman’s faithfulness to Strindberg and the naturalistic elements on the one hand, yet also pointed out that the production worked its way down from the naturalistic surface to culminate on an almost expressionist level. A number of critics also noted the intensive psychological interplay that characterised the performance, yet opinions were divided as to how well this worked, and who was the real centre of attention.
The portrait of Philip IV of Spain, one of at least nine by Diego Velázquez, anchored Velázquez in New York museums here a decade ago. Now one can appreciate the distinctions between Philip’s red hair, red coat, and warm shadows on the wall—or the silvery embroidery, an illusion created entirely by dabs of white.
Like many 8-bit characters Pac-Man is well represented in street art and design. For example the American street artist Katie Sokoler staged a real Pac-Man game in her quarters.
Congratulation to Marc Garrett –
At last the new Furtherfield site/platform is here.
It has taken over 9 months – so please share with us the birth of a new Furtherfield!!!
(Furtherfiled is now under fab-portal on the right sidebar menu)
Your noise is not just data but also a rhythm of connections!
Characters suppressing volcanic emotions that can be decoded only by reading expressions and body language give Stéphane Brizé’s “Mademoiselle Chambon” a complexity and tension that transcend words.
Watching Lindon and Kiberlain get to know each other onscreen, one would hardly guess that the two were once married in real life and have a 10-year-old daughter together.(Sfgate)
Cairo Time Patricia Clarkson and her handsome friend walking toward a Pyramid.
The city is also clearly the principal object of Ms. Nadda’s ardor. (NYtimes)
Sam Rockwell interview (Conviction) – ‘People put a lot of faith in the system and it’s flawed’ – If you like Mario’s Story then see this or vice versa.
Jeanne Dielman understands what all the best works of cinema do: implication and occurrence are two different things. Where so many mediocre films deal in visual shorthand that merely suggests to us that certain events have happened, this one has its events actually take place. That this builds their importance far beyond any quick-cut battle for the very future of humanity might point toward an answer to the feminist question: these are domestic duties we’re watching, and the film treats them with a gravity that somehow goes beyond aesthetics. You could call its story tragic, but just by existing it demonstrates an artistic fact that’s sadder than anything going on in its content. By letting its content dictate its form — or rather, by letting its content and form exist in symbiosis — the film achieves what most films could if they did the same. But almost no film does.
“God has two families of children on this earth, the once born and the twice born (today born again).” The former are born happy and view God as the animating spirit of a beautiful harmonious world. Examples for James were Ralph Waldo Emerson and Walt Whitman. The twice born James views as sick souls. These sick souls may find community, solace, and comfort in religion but they remain sick and should never be entrusted with power.
As a director, the Hampshire, England-born Peter Yates embraced a wide range of genres in the stories he brought to the silver screen, running the gamut from police thrillers to science fiction tales, from relationships dramas to beautifully rendered American slices of life, earning four Oscar nominations along the way, two for directing and two for producing. Yates has died at 82.(Via)
Critic Claude Rostand, in a July 1950 Paris-Presse article, described Poulenc as “half monk, half delinquent” (“le moine et le voyou”), a tag that was to be attached to his name for the rest of his career
Poulenc, like Haydn and Schubert, is one of the few great composers not only content with, but modestly amazed at being human. The music doesn’t strive for the extraordinary, not even the religious music. What’s in us is extraordinary enough. There’s a sincere simplicity of effect.
It was also the time when he wrote one of his most delightful pieces, a musical interpretation of the children’s story Babar the Little Elephant, scored for narrator and piano (later orchestrated) as well as a surrealist fantasy with the improbable title of Les Mamelles de Tirésias (The Breasts of Tiresias), based on the eponymous play by Guillaume Apollinaire. Thérèse has become tired of her life as a submissive woman and morphs into the male Tirésias when her breasts turn into balloons and float away. It’s quite a story!
I was invited to be on The Charlie Rose Show. He said, “Tell me, Arundhati Roy, do you believe that India should have nuclear weapons?” So I said, “I don’t think India should have nuclear weapons. I don’t think Israel should have nuclear weapons. I don’t think the United States should have nuclear weapons.” “No, I asked you do you believe that India should have nuclear weapons.” I answered exactly the same thing. About four times… They never aired it!
Proud men, difficult men, flawed fathers – poignant at the hour of their death but not easily approachable, not-to-be-messed-with types – and if pushed, I’d say I’d pictured Postlethwaite, born in industrial Warrington in 1945, as one of those.
by 
Klein
of 
Patricia Clarkson and her handsome friend walking toward a Pyramid.
and Peter Yates
by 
He was a smoker.
