MoMA Showcases Eight New Films in Exhibition of Foreign Language Cinema  From 'Postales de Leningrado' (Postcards from Leningrad), Venezuela, 2007. |
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October 31, 2009
MoMA Showcases Eight New Films in Exhibition of Foreign Language Cinema
Artdaily.org - The First Art Newspaper on the Net: "
Fernado Botero
Artdaily.org - The First Art Newspaper on the Net: "Christie's Latin American Sale Offers Works by Botero, Matta and Tamayo
Fernando Botero, 'Mother and Child', 1990, Estimate: $450,000-650,000. Photo: Christie's Images Ltd. 2009.
NEW YORK, NY.- On November 17 and 18, Christie's will offer an exceptional selection of works by leading artists representing 15 countries in its Latin American Sale. Rich in offerings from private collections, the two-day auction offers works by leading Latin American artists such as Fernando Botero, Claudio Bravo, Joaquín Torres-García, Wifredo Lam, Matta, and Rufino Tamayo, among others. Featuring over 250 works, the sale is expected to realize in excess of $15 million. Fernando Botero is well represented in the sale with major examples of the breadth and scope of his best artistic output. Exceptional works on paper, ... More"
Fernando Botero, 'Mother and Child', 1990, Estimate: $450,000-650,000. Photo: Christie's Images Ltd. 2009.
NEW YORK, NY.- On November 17 and 18, Christie's will offer an exceptional selection of works by leading artists representing 15 countries in its Latin American Sale. Rich in offerings from private collections, the two-day auction offers works by leading Latin American artists such as Fernando Botero, Claudio Bravo, Joaquín Torres-García, Wifredo Lam, Matta, and Rufino Tamayo, among others. Featuring over 250 works, the sale is expected to realize in excess of $15 million. Fernando Botero is well represented in the sale with major examples of the breadth and scope of his best artistic output. Exceptional works on paper, ... More"
Rags Media Collective
Foreign Policy In Focus | Activist Listeners: "
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Activist ListenersNiels Van Tomme October 29, 2009Editor: John Feffer | |||
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All Hallows’ Sheaves
The Walrus » Canada’s Best Magazine » Subscribe Now » Environmental Issues Politics Arts Culture: "
October 30th, 2009 by Sean Rogers in Four-Colour Words Comment »
All Hallows’ Sheaves
October 30th, 2009 by Sean Rogers in Four-Colour Words Comment »
Happy Halloween, once again, one and all! This year I ask that we consider some choice old horror anthologies, in whose pages lurk all sorts of scares and shocks. The horror tradition in comics has long been dominated by a model developed by the EC comics company in the 1950s, whose titles like Tales from the Crypt featured cornball “hosts” (the Cryptkeeper and his ilk), pun-filled narration, surprise twist endings (the werewolf was his brother!), wide-eyed bigfoot cartooning, and endless! exclamation! points! I admire EC and its murderer’s row of artists as much as the next comics reader, but our attentions now turn to those collections that worry the boundaries of the EC-style anthology, or pounce outside of them altogether.
In 1962, late in his career, kiddie comics master John Stanley briefly turned his hand to the horror genre. The indispensable Stanley Stories blog has lately been posting his strips from Ghost Stories and Tales from the Tomb in their entirety. The typically incisive commentary over there covers much of what I would want to say about these, frankly, kind-of-insane comics, so I urge you to click through.
I’d like to emphasize, though, just how much Stanley got away with, thanks to working under the aegis of Dell Comics, the innocuous, kids-only publisher of titles like Donald Duck, Little Lulu, and Fairy Tale Parade — atypical fare for the gore-and-guts set. Dell’s spotless G-rated record allowed it to publish beyond the censorial eye of the Comics Code Authority, who in the mid-’50s had neutered or foreclosed upon bloodthirsty troublemakers like EC and its imitators. Stanley’s first stabs at horror were allowed to revel in threats of dismemberment, ghastly suicide, child-killing monsters, parents devoured by malevolent forces, and a scissors-wielding grandma who wants to knit you.
These ghost stories are another order of spooky altogether, the kind that confounds expectation, logic, and often comprehension. Stanley’s uncredited collaborators stiffly delineate these dreamlike tales, and though the results are sometimes crude, they are always very far from inept. Underlying every panel and every page is Stanley’s visual sophistication, which grants even the most wooden or unpracticed renditions the stark and primal quality of nightmare.
When we break through the muddle of the story to those final, gigantic panels, the effect is authentically startling, if absurd. We come forcibly out of the tale as though we’re waking up in a cold sweat, breathless, puzzled as to what our fevered brains have conjured up. Like, the psychiatrist’s head is a quilt?
Six issues of Skull appeared between 1970 and 1972. Gary Arlington, proprietor of the renowned San Francisco Comic Book Company, came up with the bare bones idea for a horror anthology in the EC tradition; artist Greg Irons fleshed it out, and underground comics had another addition to its onslaught of horror books. Most of Skull featured the grim crosshatching grotesquerie of Irons and Jack Jackson, as well as the first UG work from the smooth and heavy metal-friendly pen of Richard Corben, among others. Some less out-and-out examples of the genre formed part of the scene, too, though I’m less familiar with them, having only caught the barest glimpses of Slow Death, or Insect Fear or, most tantalisingly, the gruesome cute brut of Rory Hayes’s Bogeyman (send in your unwanted copies c/o The Walrus).
Skull is worth singling out if only because it distinguished itself, late in the series, by taking EC’s literary aspirations and turning them inside out. So where EC’s go-to pulp auteur was the square and kind of respectable Ray Bradbury, the Skull crew gave over two entire issues to groovy, eldritch H.P. Lovecraft adaptations. True, the influence of Lovecraft and his Cthulhu Mythos in literary horror has been as pervasive and maybe pernicious as EC’s in comics. At the time of the undergrounds, though, horror comics had as yet been been unmolested by the man’s tentacles, so an infusion of the Old Ones into the genre could at least boast the virtue of novelty. And at best, transposing Lovecraft to this setting helped connect with the UG’s flair for depicting goings-on in extremis (hence Michael Smith’s flesh-melting psychedelic freak-out in “Cool Air”). The gleeful, de trop stylings of many of the artists match well with Lovecraft’s squelching purple prose (”a nightmare caked and clotted with bloody shreds of alien flesh and hair, embraced by a malignant retinue of sleeping bats”).
In Skull’s final issue, the full-length “A Gothic Tale,” Irons and Corben — the twin poles of slick and dirty UG professionalism — took turns illustrating writer Tom Veitch’s centuries-spanning Lovecraftian story of mad science, gross monstrosity, and weird old religion. It’s a fine capstone to an interesting series, one of those fully conceived, self-contained little packages of which the underground was sometimes impressively capable.
In the 1980s, having helped redefine monster comics as part of the all-star Swamp Thing team (who, if you’re wondering, had nothing to do with the film), artist Steve Bissette had yet further services to perform in his favoured genre. Determined to continue setting an example for seriousness in horror comics, rather than uphold the cheesy old punch-pulling norm, Bissette cofounded and edited a series called Taboo. The books were thick tomes rather than floppy pamphlets, whose bold conception was on occasion actually matched by the capabilities of their contributors. Taboo’s publication history is fascinating and convoluted and depressing, tied as it is to the various industry implosions of the time. The result of this tortuous past is that the series is a record of projects interrupted, delayed, or left unfinished. Alan Moore and Eddie Campbell’s Jack the Ripper saga From Hell concluded elsewhere, for instance, as did both the Moore-written porno epic Lost Girls and Jeff Nicholson’s Through the Habitrails, a sort of anti-Dilbert.
But the real one that got away was Throat Sprockets, an amalgam of not-quite-vampires and not-quite-snuff-films from Video Watchdog mastermind Tim Lucas. He completed the tale in prose novel form, but it’s forever to be regretted that his working relationship with initial artist Mike Hoffman fell through. Hoffman’s angular photorealism evinced a real feel for the sharpness and seediness of well-worn film prints, and Lucas proved remarkably adept at splicing and manipulating the language of comics.
Beyond this impressive array of halting serials, an above-average number of Taboo’s highlights arrived in isolated contributions. There were some very pretty stand-alone stories from neo-pre-Raphaelite Michael Zulli, including a jaw-dropper written by Neil Gaiman’s then-five-year-old daughter (Gaiman and Zulli’s take on Sweeney Todd is another Taboo-fostered project that screeched to a skidding stop). Chester Brown wrung an unsettling amount of pathos out of funny animals falling prey to the food chain. Al Columbia, standard-bearer of modern-day horror comics, contributed some vivid, frenzied outpourings. What continues to haunt me, though, are a handful of candidates for career-best work from underground legend S. Clay Wilson: his graphic and sweaty and desperate “This is Dynamite” in particular strikes me as truly taboo, so relentlessly did his penlines scratch away at deep human ugliness.
We could’ve used another couple dozen volumes of horror comics under Bissette’s stewardship, especially as the years have worn on and the talent pool has gotten deeper and darker, allowing for an easier skimming off of the dross. Imagine a thick regular instalment of something like Taboo, where Renee French’s soft-penciled parables of death and deformity, or Josh Simmons’s claustrophobic wrongness, or Columbia’s cartoon apocalypses, all rub scabby shoulders. Ah well, such dreams are for Halloweens yet to come.
"
* * *
In 1962, late in his career, kiddie comics master John Stanley briefly turned his hand to the horror genre. The indispensable Stanley Stories blog has lately been posting his strips from Ghost Stories and Tales from the Tomb in their entirety. The typically incisive commentary over there covers much of what I would want to say about these, frankly, kind-of-insane comics, so I urge you to click through.I’d like to emphasize, though, just how much Stanley got away with, thanks to working under the aegis of Dell Comics, the innocuous, kids-only publisher of titles like Donald Duck, Little Lulu, and Fairy Tale Parade — atypical fare for the gore-and-guts set. Dell’s spotless G-rated record allowed it to publish beyond the censorial eye of the Comics Code Authority, who in the mid-’50s had neutered or foreclosed upon bloodthirsty troublemakers like EC and its imitators. Stanley’s first stabs at horror were allowed to revel in threats of dismemberment, ghastly suicide, child-killing monsters, parents devoured by malevolent forces, and a scissors-wielding grandma who wants to knit you.
These ghost stories are another order of spooky altogether, the kind that confounds expectation, logic, and often comprehension. Stanley’s uncredited collaborators stiffly delineate these dreamlike tales, and though the results are sometimes crude, they are always very far from inept. Underlying every panel and every page is Stanley’s visual sophistication, which grants even the most wooden or unpracticed renditions the stark and primal quality of nightmare.When we break through the muddle of the story to those final, gigantic panels, the effect is authentically startling, if absurd. We come forcibly out of the tale as though we’re waking up in a cold sweat, breathless, puzzled as to what our fevered brains have conjured up. Like, the psychiatrist’s head is a quilt?
* * *
Six issues of Skull appeared between 1970 and 1972. Gary Arlington, proprietor of the renowned San Francisco Comic Book Company, came up with the bare bones idea for a horror anthology in the EC tradition; artist Greg Irons fleshed it out, and underground comics had another addition to its onslaught of horror books. Most of Skull featured the grim crosshatching grotesquerie of Irons and Jack Jackson, as well as the first UG work from the smooth and heavy metal-friendly pen of Richard Corben, among others. Some less out-and-out examples of the genre formed part of the scene, too, though I’m less familiar with them, having only caught the barest glimpses of Slow Death, or Insect Fear or, most tantalisingly, the gruesome cute brut of Rory Hayes’s Bogeyman (send in your unwanted copies c/o The Walrus).Skull is worth singling out if only because it distinguished itself, late in the series, by taking EC’s literary aspirations and turning them inside out. So where EC’s go-to pulp auteur was the square and kind of respectable Ray Bradbury, the Skull crew gave over two entire issues to groovy, eldritch H.P. Lovecraft adaptations. True, the influence of Lovecraft and his Cthulhu Mythos in literary horror has been as pervasive and maybe pernicious as EC’s in comics. At the time of the undergrounds, though, horror comics had as yet been been unmolested by the man’s tentacles, so an infusion of the Old Ones into the genre could at least boast the virtue of novelty. And at best, transposing Lovecraft to this setting helped connect with the UG’s flair for depicting goings-on in extremis (hence Michael Smith’s flesh-melting psychedelic freak-out in “Cool Air”). The gleeful, de trop stylings of many of the artists match well with Lovecraft’s squelching purple prose (”a nightmare caked and clotted with bloody shreds of alien flesh and hair, embraced by a malignant retinue of sleeping bats”).
In Skull’s final issue, the full-length “A Gothic Tale,” Irons and Corben — the twin poles of slick and dirty UG professionalism — took turns illustrating writer Tom Veitch’s centuries-spanning Lovecraftian story of mad science, gross monstrosity, and weird old religion. It’s a fine capstone to an interesting series, one of those fully conceived, self-contained little packages of which the underground was sometimes impressively capable.
* * *
In the 1980s, having helped redefine monster comics as part of the all-star Swamp Thing team (who, if you’re wondering, had nothing to do with the film), artist Steve Bissette had yet further services to perform in his favoured genre. Determined to continue setting an example for seriousness in horror comics, rather than uphold the cheesy old punch-pulling norm, Bissette cofounded and edited a series called Taboo. The books were thick tomes rather than floppy pamphlets, whose bold conception was on occasion actually matched by the capabilities of their contributors. Taboo’s publication history is fascinating and convoluted and depressing, tied as it is to the various industry implosions of the time. The result of this tortuous past is that the series is a record of projects interrupted, delayed, or left unfinished. Alan Moore and Eddie Campbell’s Jack the Ripper saga From Hell concluded elsewhere, for instance, as did both the Moore-written porno epic Lost Girls and Jeff Nicholson’s Through the Habitrails, a sort of anti-Dilbert.But the real one that got away was Throat Sprockets, an amalgam of not-quite-vampires and not-quite-snuff-films from Video Watchdog mastermind Tim Lucas. He completed the tale in prose novel form, but it’s forever to be regretted that his working relationship with initial artist Mike Hoffman fell through. Hoffman’s angular photorealism evinced a real feel for the sharpness and seediness of well-worn film prints, and Lucas proved remarkably adept at splicing and manipulating the language of comics.
Beyond this impressive array of halting serials, an above-average number of Taboo’s highlights arrived in isolated contributions. There were some very pretty stand-alone stories from neo-pre-Raphaelite Michael Zulli, including a jaw-dropper written by Neil Gaiman’s then-five-year-old daughter (Gaiman and Zulli’s take on Sweeney Todd is another Taboo-fostered project that screeched to a skidding stop). Chester Brown wrung an unsettling amount of pathos out of funny animals falling prey to the food chain. Al Columbia, standard-bearer of modern-day horror comics, contributed some vivid, frenzied outpourings. What continues to haunt me, though, are a handful of candidates for career-best work from underground legend S. Clay Wilson: his graphic and sweaty and desperate “This is Dynamite” in particular strikes me as truly taboo, so relentlessly did his penlines scratch away at deep human ugliness.
We could’ve used another couple dozen volumes of horror comics under Bissette’s stewardship, especially as the years have worn on and the talent pool has gotten deeper and darker, allowing for an easier skimming off of the dross. Imagine a thick regular instalment of something like Taboo, where Renee French’s soft-penciled parables of death and deformity, or Josh Simmons’s claustrophobic wrongness, or Columbia’s cartoon apocalypses, all rub scabby shoulders. Ah well, such dreams are for Halloweens yet to come.
* * *
Finally, in subject matter worlds away from this post: Saturday’s spate of IFOA XXX events includes my interview with Seth, whom I’ve gone on about before, and R.O. Blechman, whose far-reaching career making perfect little drawings should provide much to talk about. Details are here. Toronto readers, I’ll see you at noon in Harbourfront’s Brigantine Room.
October 27, 2009
Symbiosis by Jelte van Abbema
Dezeen » Blog Archive » Symbiosis by Jelte van Abbema: "
"
October 27th, 2009
Dutch Design Week: Dutch designer Jelte van Abbema won the €10,000 Rado Prize at the Dutch Design Awards last week for a body of work including Symbiosis, an experimental project that involved printing with bacteria.
Van Abbema printed on paper (top) and billboards (below), creating simple typographic forms that changed colour and form as the bacteria multiplied and then died.
The Rado Prize, sponsored by watch brand Rado, is awarded each year for innovative, topical work by a young Dutch designer.
See our earlier story on the overall winner of the Dutch Design Awards, Merry-go-round Coat Rack by Studio Wieke Somers, and best consumer product winner FlexVaas by Vij5.
Here’s some info about Symbiosis from van Abbema, followed by his biography and info about the Rado Prize:
–
Symbiosis
Printed media puts a pressure on our environment. Solutions like soya ink or natural pigments are a way in the good directions, but Jelte van Abbema tried to take it a bit further. Floated curiosity to a new approach and a fascination for growth, he investigated the possibilities of bacteria in visual culture. To cause no epidemic he followed a course at the department microbiology of the university Wageningen.
It’s revolutionary approach: printed-paper does not need to be finished when it rolls of the press. After a period of research he pressed with carefully composed bacteria text on posters. In a converted poster box of JCDecaux – in fact a huge Petri dish – he created the correct humidity and warmth to let the print grow.
A new manner to publicly captivate without changing poster each week. Time gets barral at the work and transforms the image to something new. The bacteria act and create their own aesthetically induced dimension.
–
Winner Rado Young Designer Award 2009 – Jelte van Abbema
Jelte van Abbema was born in 1982 in Voorburg, the Netherlands. He grew up in the Dutch town of Wageningen, which is known for the life sciences and peacemaking. As a young gardener, he learned about the strangeness and beauty of nature, and with this he found the tools necessary to grow. Upon graduating high school in 2000, he began his studies at the Design Academy Eindhoven in Man & Communication. In June 2006, he graduated cum laude. His work was nominated for the René Smeets and Melkweg Design Awards and received the Willie Wortel Award for invention.
In 2007, he founded Lab van Abbema to investigate how design, science and technology can combine to shape a new landscape that reflects the contemporary nature of our world. His ongoing search for making the unfamiliar familiar has resulted in numerous collaborations, and his work has been exhibited and published internationally.
–
RADO YOUNG DESIGNER AWARD
Winner: Jelte van Abbema “A promising marriage between art and science, based on in-depth research. This technical invention creates new images and forms.”
RADO YOUNG DESIGNER AWARD
Graduates are hereby invited to sign up for the Rado Young Designer Award, the Dutch Design Awards’ incentive award for young, talented designers.
The international jury appoints the Rado Young Designer 2009 from three nominations selected from all entries by a special Rado selection committee. On Saturday 17 October, this winner will step into the spotlight on the most distinguished Dutch platform for design excellence.
Finalists 2009
Designers from very different disciplines, but all three young and bursting with talent. Below a brief description of the three finalists for the Rado Young Designer Award, the DDA stimulus prize.
Atelier NL
Graduated from the Design Academy Eindhoven in 2006, now design studio Atelier NL. Nadine Sterk and Lonny van Ryswyck already worked for, amongst others, Royal Tichelaar Makkum. Atelier NL shows that research is an essential part of the design process.
Jelte van Abbema
His work was previously nominated for, amongst others, the René Smeets and Melkweg Design Awards. In 2007, Lab van Abbema was established. He employs other disciplines in his work (science, computer technology, biochemistry) from which his designs are borne. His work has been exhibited both nationally and internationally.
Mattijs van Bergen
Mattijs designs in the playing field between fashion and graphic design. He has an original and recognisable signature, which – despite the high fashion content – sounds a note with the public at large. He graduated from the ArtEZ Institute in Arnhem and obtained a Master’s in Women’s Wear from Central Saint Martins in London. Mattijs has worked for Viktor & Rolf’s studios, has already produced a number of ready-to-wear collections, and his name is gaining increasing international attention.
THE AWARD
First of all, of course, it is an honour to be the Rado Young Designer for one whole year. The winner receives 10,000 Euros in cash as well as support from Rado with regard to PR and communication, for example in the form of a press conference, articles in design magazines, and so on.
The winner will furthermore be honoured on the stage in the presence of around 1,100 guests during the celebratory Award Show of the Dutch Design Awards. The winner’s work will be included in the one-week DDA exhibition during the Dutch Design Week in the Brainport Greenhouse and highlighted in the DDA catalogue.
CRITERIA
The Rado selection committee judges entries on the following criteria:
Posted by Marcus Fairs
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Dutch Design Week: Dutch designer Jelte van Abbema won the €10,000 Rado Prize at the Dutch Design Awards last week for a body of work including Symbiosis, an experimental project that involved printing with bacteria.
Van Abbema printed on paper (top) and billboards (below), creating simple typographic forms that changed colour and form as the bacteria multiplied and then died.
The Rado Prize, sponsored by watch brand Rado, is awarded each year for innovative, topical work by a young Dutch designer.
See our earlier story on the overall winner of the Dutch Design Awards, Merry-go-round Coat Rack by Studio Wieke Somers, and best consumer product winner FlexVaas by Vij5.
Here’s some info about Symbiosis from van Abbema, followed by his biography and info about the Rado Prize:
–
Symbiosis
Printed media puts a pressure on our environment. Solutions like soya ink or natural pigments are a way in the good directions, but Jelte van Abbema tried to take it a bit further. Floated curiosity to a new approach and a fascination for growth, he investigated the possibilities of bacteria in visual culture. To cause no epidemic he followed a course at the department microbiology of the university Wageningen.
It’s revolutionary approach: printed-paper does not need to be finished when it rolls of the press. After a period of research he pressed with carefully composed bacteria text on posters. In a converted poster box of JCDecaux – in fact a huge Petri dish – he created the correct humidity and warmth to let the print grow.
A new manner to publicly captivate without changing poster each week. Time gets barral at the work and transforms the image to something new. The bacteria act and create their own aesthetically induced dimension.
–
Winner Rado Young Designer Award 2009 – Jelte van Abbema
Jelte van Abbema was born in 1982 in Voorburg, the Netherlands. He grew up in the Dutch town of Wageningen, which is known for the life sciences and peacemaking. As a young gardener, he learned about the strangeness and beauty of nature, and with this he found the tools necessary to grow. Upon graduating high school in 2000, he began his studies at the Design Academy Eindhoven in Man & Communication. In June 2006, he graduated cum laude. His work was nominated for the René Smeets and Melkweg Design Awards and received the Willie Wortel Award for invention.
In 2007, he founded Lab van Abbema to investigate how design, science and technology can combine to shape a new landscape that reflects the contemporary nature of our world. His ongoing search for making the unfamiliar familiar has resulted in numerous collaborations, and his work has been exhibited and published internationally.
–
RADO YOUNG DESIGNER AWARD
Winner: Jelte van Abbema “A promising marriage between art and science, based on in-depth research. This technical invention creates new images and forms.”
RADO YOUNG DESIGNER AWARD
Graduates are hereby invited to sign up for the Rado Young Designer Award, the Dutch Design Awards’ incentive award for young, talented designers.
The international jury appoints the Rado Young Designer 2009 from three nominations selected from all entries by a special Rado selection committee. On Saturday 17 October, this winner will step into the spotlight on the most distinguished Dutch platform for design excellence.
Finalists 2009
Designers from very different disciplines, but all three young and bursting with talent. Below a brief description of the three finalists for the Rado Young Designer Award, the DDA stimulus prize.
Atelier NL
Graduated from the Design Academy Eindhoven in 2006, now design studio Atelier NL. Nadine Sterk and Lonny van Ryswyck already worked for, amongst others, Royal Tichelaar Makkum. Atelier NL shows that research is an essential part of the design process.
Jelte van Abbema
His work was previously nominated for, amongst others, the René Smeets and Melkweg Design Awards. In 2007, Lab van Abbema was established. He employs other disciplines in his work (science, computer technology, biochemistry) from which his designs are borne. His work has been exhibited both nationally and internationally.
Mattijs van Bergen
Mattijs designs in the playing field between fashion and graphic design. He has an original and recognisable signature, which – despite the high fashion content – sounds a note with the public at large. He graduated from the ArtEZ Institute in Arnhem and obtained a Master’s in Women’s Wear from Central Saint Martins in London. Mattijs has worked for Viktor & Rolf’s studios, has already produced a number of ready-to-wear collections, and his name is gaining increasing international attention.
THE AWARD
First of all, of course, it is an honour to be the Rado Young Designer for one whole year. The winner receives 10,000 Euros in cash as well as support from Rado with regard to PR and communication, for example in the form of a press conference, articles in design magazines, and so on.
The winner will furthermore be honoured on the stage in the presence of around 1,100 guests during the celebratory Award Show of the Dutch Design Awards. The winner’s work will be included in the one-week DDA exhibition during the Dutch Design Week in the Brainport Greenhouse and highlighted in the DDA catalogue.
CRITERIA
The Rado selection committee judges entries on the following criteria:
- individual style with a distinctive vision and expressive idiom taking shape
- responding to topicality
- active for 5 years at the most (no students)
- versatility i.e. talented in various forms of expression
- recognised as a talent by his/her peers
- inventor and team player
- living and working in the Netherlands
Posted by Marcus Fairs
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Exhibition at Fotomuseum Winterthur Presents a Young Generation of Artists
Artdaily.org - The First Art Newspaper on the Net: "
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| Exhibition at Fotomuseum Winterthur Presents a Young Generation of Artists |
 Aneta Greszykowska, 'Untitled Film Stills #13', 2006. |
CLEVELAND, OH.- Seems familiar? We are constantly bombarded by images and information – at school, at work, in newspapers and on the web. All of these stimuli carry a multitude of underlying codes. Day in and day out, we navigate our way, more or less successfully, through a torrent of texts and images, subtle advertising messages and hard facts, official instructions and personal messages. New and long-established media alike vie for our undivided attention. What we tend to overlook is the fact that we are increasingly subject to a second, media-dominated reality in which we are no longer directly involved.
The exhibition featuring works by Becky Beasley (GB), Thomas Galler (CH), Aneta Grzeszykowska (PL), Thomas Julier (CH), Anja Manfredi (A), Ryan McGinley (USA), Taiyo Onorato / Nico Krebs (CH/CH), Clunie Reid (GB) and Oliver Sieber (D) explores this densely woven tapestry of direct and indirect experience, of immediate and mediated seeing. It quietly flags up the relationships and juxtapositions that permeate our casual, everyday navigation of parallel worlds. The young generation of artists presented here draw their inspiration from found images and their own creative originality, mapping out new territory in contemporary art photography. In this context, the term Karaoke symbolises a certain pleasure in citing and trying out familiar patterns and styles. The karaoke machine invented in 1971 by Daisuke Inoue presents melodies and lyrics hesitantly at first and then with increasing confidence. In this popular, non-hierarchical form of entertainment, the serious and the light-hearted are never far apart. Singing along develops into individual interpretation and imitation develops into innovation.
Aneta Grzeszykowska (*1974), Anja Manfredi (*1978), Becky Beasley (*1975) and Thomas Julier (*1983) are keenly aware of the affinities between their own work and that of artists who broke with certain artistic dogma to win their own freedom. Cindy Sherman’s 70-part series 'Untitled Film Stills' remains one of the foremost landmarks in post-modern art around 1980 and is widely regarded as the epitome of a feminist take on media reality. Over a period of several months in 2005, Aneta Grzeszykowska painstakingly adapted each and every subject in this milestone of recent art history, which itself has become enshrined as part of the canon, presented in countless exhibitions, essays and papers. When Anja Manfredi looks back on the historic highlights of modern dance in the 1930s and reconstructs outstanding works from the period by the likes of Isadora Duncan or Anna Pavlova for her camera, what she creates is to be regarded – in much the same way as the visual appropriations of Aneta Grzeszykowska – as a new approach and a new enquiry from today’s viewpoint.
Becky Beasleys sculptural black-and-white photographs such as 'Peel' (Floor) and 'Peel' (Wall) possess a vitality reminiscent of the early lead performances of Richard Serra, in which molten metal was hurled at gallery walls. Beasley presents her compelling large-format works in similarly energetic configurations – at times in the form of unprotected, matt prints, and at other times aseptically sealed behind cold, green acrylic glass. Whereas 'Curtains I – III' featuring three almost identical curtains, takes as its theme the sometimes tortuously slow creative process of the composer Glenn Gould, Trap deploys extremely subtle references and associations in its visual tracing of the 1972 performance 'Untitled (Tea Party)' by conceptual artist Bas Jan Ader, who, like Beasley today, staged his work solely for the camera.
Thomas Julier forges a similar link to the conceptualists of the late sixties when he (either solo or in collaboration with Cédric Eisenring) collates his vast creative output in small, copied spiral notebooks. As a visual form of equal importance, for wall display, he creates works showing bleak urban architecture and ambiguous organic shapes that recall the typologies of Bernd and Hilla Becher, or the laconic cycles by Ed Ruscha and Sol LeWitt. Julier’s series explore existing works with a sense of detachment, levity and decisiveness that is thoroughly contemporary and at the same time leaves the historic sources of inspiration firmly in the past.
Thomas Galler (*1970) uses clear-cut search criteria to trawl the deluge of media images for visual and textual quotes, which he then arranges in new semantic configurations. He is fascinated by such concepts as death, violence and protest in diverse cultures and by the way that these are portrayed in almost identical images. In his compelling new 5-part video 'Week End' (IDF Series) the artist celebrates a new popular visual form on the internet. Thomas Galler has collated hundreds of snapshots of young Israeli female soldiers who have posed for the camera in their free time and posted the photos online. These pictures are well known from Viva and MTV video clips and are swapped thousands of times a day on mobile phones.
Unlike Thomas Galler, who tends to appropriate his visual sources without any further intervention or manipulation, Clunie Reid (*1971) adds her own slogans and polemical comments to the images she finds in a vast everyday archive of pictures and text fragments from all manner of media. The London artist creates a collage of marginal notes, headlines and illustrations from the tabloid press and scientific periodicals alike, producing an exciting visual array that she has combined in this exhibition to form the multi-part wall installation 'Take No Photographs', leave only ripples. In spite of the occasional undertone of cynicism, the resulting works never elevate themselves above life itself nor deny their roots.
Taiyo Onorato and Nico Krebs (*1979/*1979) take an approach that has obvious references to the history of photography, literature and music. On their road-trip through the United States, they found much that was already familiar – images which, in the course of the past century, have crystallised into the potent “Go West…” myth. 'The Great Unreal' is based on that myth, and yet it conveys a sense of today’s flawed America in search of a new identity.
Ryan McGinley (*1977) and Oliver Sieber (*1966) share an interest in the various forms of youth culture that seek to emulate the lifestyles of previous generations. Whereas figures in Ryan McGinley’s photographs seem to float freely in a powerful rush of color, Oliver Sieber deciphers the subtle codes and strata of meaning in the relatively small Japanese subculture of young people who like to dress in rockabilly, psychobilly, skinhead, mod or punk style. In its reference to what is actually a foreign culture, Oliver Sieber’s 'J_SUBS' tells of an idealistic world view that finds its points of reference in the past and lives them out in the present.
October 20, 2009
Tears of Eros
Artdaily.org - The First Art Newspaper on the Net: "
| Major Exhibition Devoted to 'The Torments of Passion: The Dark Side of Sexual Desire' | |||
 A cameraman shoots video of James White's portrait of Rachel Weisz from 2004 at the inauguration of the exhibit 'Tears of Eros' at Madrid's Thyssen-Bornemisza museum. Photo: EFE/Emilio Naranjo.
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Beauty
'Research & Creative Activity' magazine takes a look at beauty
BLOOMINGTON, Ind. -- What is beauty? Is it really only in the eye of the beholder? How do we decide what is beautiful, and what is not?
The fall 2009 issue of Indiana University's award-winning Research & Creative Activity magazine reflects on the art and artifice of beauty, from makeover shows to music to what makes Cindy Crawford attractive.
In an opening story, cultural studies expert Brenda Weber, an assistant professor in the Department of Gender Studies in the College of Arts and Sciences at IU Bloomington, looks at America's obsession with appearance, as manifested in makeover shows on television. Having viewed more than 2,500 hours of makeover TV, Weber says these 21st century shows are really versions of the oldest stories we know.
"The resurrection is a makeover story," Weber says. "Ovid tells stories about transformation and change. Pygmalion is a makeover story. We have been telling makeover stories since 5,000 B.C." Cultural and media studies expert Radhika Parameswaran, an associate professor in the School of Journalism at IU Bloomington, studies the makeover phenomenon of skin-whitening, especially the aggressive promotion of skin-whitening products in India. A globalized "beauty culture" is affecting India, according to Parameswaran. Traditional norms of beauty are being redefined in terms of Western associations with success, empowerment and the attractiveness of light-colored skin. Whitening is also a theme in "Beauty and the Bleach," a story on the work of researcher Bruce Matis at the IU School of Dentistry at Indiana University-Purdue University Indianapolis, a national expert on the techniques and effects of whitening our teeth.
In other stories, IU scientist Heather Rupp of the Kinsey Institute for Research in Sex, Gender, and Reproduction in Bloomington discusses her research on how hormones affect the human brain when it comes to sexual attraction and decision-making. IU Bloomington professor of psychology and cognitive scientist Thomas Busey talks about why we consider some human faces more attractive than others. (Hint: Cindy Crawford is remarkably well-spaced).
A variety of art, from unique furniture designs to digital prints, adorns the issue. Featured artists include Peg Brand, associate professor of philosophy at IUPUI; Tina Newberry, professor of fine arts at IU Bloomington; Rowland Ricketts, assistant professor of textiles at IU Bloomington; Cory Robinson, assistant professor of furniture design at the Herron School of Art and Design at IUPUI; and Marilyn Whitesell, an associate professor of fine arts and graphic design at IU Southeast.
Brand's paintings are included in a story that features her thoughts on forging a new feminist aesthetics. Chancellor's Professor of African art history Patrick McNaughton, at IU Bloomington, also weighs in on aesthetics as a social and strategic tool.
William Jones, clinical professor in the School of Public and Environmental Affairs at IU Bloomington, questions our contrary relationship with natural beauty, as evidenced in human treatment of lake shorelines, while Jacobs School of Music Professor Thomas Robertello draws out deep connections between visual art and musical performance. Finally Judith Brown, assistant professor of English at IU Bloomington, dissects the symbolic meanings of glamour, while Kate Rowold, professor of fashion design and culture at IU Bloomington, reveals the elements of glamorous style.
Research & Creative Activity magazine is published semiannually by IU's Office of the Vice Provost for Research. The current issue may be downloaded at research.iu.edu/magazine.
Research at IU | Research & Creative Activity Magazine: "
RESEARCH & CREATIVE ACTIVITY Fall 2009 'Beauty'
What is beauty? Is it really only in the eye of the beholder? How do we decide what is beautiful, and what is not?
The Fall 2009 issue of Indiana University's award-winning Research & Creative Activity magazine reflects on the art and artifice of beauty, from makeover shows to music to what makes Cindy Crawford attractive. Dowload PDFs of the issue below.
Front cover
Editor's Notes and Table of Contents
Abstracts
Art That Makes You Think
Makeover Nation
Skin Deep
Re-visioning Beauty
The Textures of Nature
An Orchestration of Art
Under the Influence
The Nature of Glamour
Beauty and the Bleach
More Than a Pretty Face
Elements of Style
Second Look
Terrain Cabinet and Self-Portrait as Five Small Drawers (outside back cover)
Entire issue (6.9MB)
"
BLOOMINGTON, Ind. -- What is beauty? Is it really only in the eye of the beholder? How do we decide what is beautiful, and what is not?
The fall 2009 issue of Indiana University's award-winning Research & Creative Activity magazine reflects on the art and artifice of beauty, from makeover shows to music to what makes Cindy Crawford attractive.
In an opening story, cultural studies expert Brenda Weber, an assistant professor in the Department of Gender Studies in the College of Arts and Sciences at IU Bloomington, looks at America's obsession with appearance, as manifested in makeover shows on television. Having viewed more than 2,500 hours of makeover TV, Weber says these 21st century shows are really versions of the oldest stories we know.
"The resurrection is a makeover story," Weber says. "Ovid tells stories about transformation and change. Pygmalion is a makeover story. We have been telling makeover stories since 5,000 B.C." Cultural and media studies expert Radhika Parameswaran, an associate professor in the School of Journalism at IU Bloomington, studies the makeover phenomenon of skin-whitening, especially the aggressive promotion of skin-whitening products in India. A globalized "beauty culture" is affecting India, according to Parameswaran. Traditional norms of beauty are being redefined in terms of Western associations with success, empowerment and the attractiveness of light-colored skin. Whitening is also a theme in "Beauty and the Bleach," a story on the work of researcher Bruce Matis at the IU School of Dentistry at Indiana University-Purdue University Indianapolis, a national expert on the techniques and effects of whitening our teeth.
In other stories, IU scientist Heather Rupp of the Kinsey Institute for Research in Sex, Gender, and Reproduction in Bloomington discusses her research on how hormones affect the human brain when it comes to sexual attraction and decision-making. IU Bloomington professor of psychology and cognitive scientist Thomas Busey talks about why we consider some human faces more attractive than others. (Hint: Cindy Crawford is remarkably well-spaced).
A variety of art, from unique furniture designs to digital prints, adorns the issue. Featured artists include Peg Brand, associate professor of philosophy at IUPUI; Tina Newberry, professor of fine arts at IU Bloomington; Rowland Ricketts, assistant professor of textiles at IU Bloomington; Cory Robinson, assistant professor of furniture design at the Herron School of Art and Design at IUPUI; and Marilyn Whitesell, an associate professor of fine arts and graphic design at IU Southeast.
Brand's paintings are included in a story that features her thoughts on forging a new feminist aesthetics. Chancellor's Professor of African art history Patrick McNaughton, at IU Bloomington, also weighs in on aesthetics as a social and strategic tool.
William Jones, clinical professor in the School of Public and Environmental Affairs at IU Bloomington, questions our contrary relationship with natural beauty, as evidenced in human treatment of lake shorelines, while Jacobs School of Music Professor Thomas Robertello draws out deep connections between visual art and musical performance. Finally Judith Brown, assistant professor of English at IU Bloomington, dissects the symbolic meanings of glamour, while Kate Rowold, professor of fashion design and culture at IU Bloomington, reveals the elements of glamorous style.
Research & Creative Activity magazine is published semiannually by IU's Office of the Vice Provost for Research. The current issue may be downloaded at research.iu.edu/magazine.
Research at IU | Research & Creative Activity Magazine: "
RESEARCH & CREATIVE ACTIVITY Fall 2009 'Beauty'
What is beauty? Is it really only in the eye of the beholder? How do we decide what is beautiful, and what is not?
The Fall 2009 issue of Indiana University's award-winning Research & Creative Activity magazine reflects on the art and artifice of beauty, from makeover shows to music to what makes Cindy Crawford attractive. Dowload PDFs of the issue below.
Front coverEditor's Notes and Table of Contents
Abstracts
Art That Makes You Think
Makeover Nation
Skin Deep
Re-visioning Beauty
The Textures of Nature
Rowland Ricketts (textiles)
Marilyn Whitesell (digital prints)The Art of Lakescaping
An Orchestration of Art
Under the Influence
The Nature of Glamour
Beauty and the Bleach
More Than a Pretty Face
Elements of Style
Second Look
Terrain Cabinet and Self-Portrait as Five Small Drawers (outside back cover)
Entire issue (6.9MB)
"
October 18, 2009
Genesis Breyer P-Orridge and the obliteration of Self
Culture High, Culture Low: Genesis Breyer P-Orridge and the obliteration of Self: "
I feel bad that I didn't get to see (or write a blog entry about) Invisible Export's show of artwork by Genesis Breyer P-Orridge, entitled '30 Years of Being Cut Up,' until the exhibition was literally in its final weekend. The body of work displayed on the walls was interesting not only on its own (the collages range in intent from Fluxus-inspired antagonism to magic spellcasting) but also as a facet of one of the most interesting, if at times perplexing, examples of defining and owning one's own identity.
In talking about P-Orridge, correct use of gender-specific pronouns will get very complicated. Please bear with me -- I've tried to use the artist(s)' terminology and delineations wherever possible.
(placeholder for live TG image)
For those readers who aren't familiar with Genesis P-Orridge in the many phases of his (and now he/r) career, here's a really brief synopsis: Born as Neil Megson in 1950; formed the performance-art collective COUM Transmissions around 1969; turned COUM into the pioneering electronic-noise/industrial music act Throbbing Gristle in 1975, recording and touring with TG until the bands' dissolution in 1981; that same year, formed another music group, Psychic TV, releasing music under that band name through to the present day; introduced the subcultural 'modern primitive' trends of body modification and neo-paganism to the 'alternative' audience through the 80s and 90s; as Throbbing Gristle, Psychic TV and other musical acts, has released over 200 albums, including a Guinness-record-setting 70 in one calendar year (as Psychic TV).
But here's where it gets really interesting:
In 2003, P-Orridge moved to Brooklyn with his second wife, Lady Jaye, née Jacqueline Breyer, and began an ongoing experiment in body modification aimed at creating one pandrogynous being named 'Genesis Breyer P-Orridge". The two began this project by getting matching breast implants, then approximately $200,000 worth of plastic surgery to resemble each other. They dressed identically, copied each other's mannerisms, and both replaced the pronoun "I" with "we," "he" or "she" with "s/he," "his" or "her" with "h/er." I'm going to use these pronouns from here on, both for simplicity's sake and out of respect.
They became individual facets of a single, idealized being. They abandoned the concept of Self.
Lady Jaye died in 2007, and since then, Genesis Breyer P-Orridge (a construct originally composed of Genesis P-Orridge and Lady Jaye Breyer) has existed in the body of one person. S/he ("they"?) declares in interviews and on the web that Lady Jaye still exists as a living part of the pandrogenous amalgam "Genesis Breyer P-Orridge." The surgeries and hormone therapies continue, and the past few years have been busy for Gen - Throbbing Gristle have reformed and toured, MoMA has scheduled a lecture in March, 2010, and most recently, thirty years' worth of collages have been exhibited in a well-received gallery show in the Lower East Side.
In many ways, the concept of Self that Genesis Breyer P-Orridge is now proselytizing can be seen as an extension of the decontextualization and reframing inherent in photo collage. I'm not saying it's a 'logical' extension, but I see how spending most of one's life attempting to dismantle widely-accepted concepts - music, most notably, until now - could make one feel that the boundaries that separate people are tenuous and removable, especially when those people are in love.
"
Both aspects of Genesis Breyer P-Orridge amalgamated as a Vitruvian 'Pandrogyne'
I feel bad that I didn't get to see (or write a blog entry about) Invisible Export's show of artwork by Genesis Breyer P-Orridge, entitled '30 Years of Being Cut Up,' until the exhibition was literally in its final weekend. The body of work displayed on the walls was interesting not only on its own (the collages range in intent from Fluxus-inspired antagonism to magic spellcasting) but also as a facet of one of the most interesting, if at times perplexing, examples of defining and owning one's own identity.
Beauty is in the Eye, 2006.
Red Well, 1999.
Unless noted, artwork images are from the Invisible Exports show linked at the top of this article.
More are here (very much Not Safe For Work).
In talking about P-Orridge, correct use of gender-specific pronouns will get very complicated. Please bear with me -- I've tried to use the artist(s)' terminology and delineations wherever possible.
(placeholder for live TG image)
For those readers who aren't familiar with Genesis P-Orridge in the many phases of his (and now he/r) career, here's a really brief synopsis: Born as Neil Megson in 1950; formed the performance-art collective COUM Transmissions around 1969; turned COUM into the pioneering electronic-noise/industrial music act Throbbing Gristle in 1975, recording and touring with TG until the bands' dissolution in 1981; that same year, formed another music group, Psychic TV, releasing music under that band name through to the present day; introduced the subcultural 'modern primitive' trends of body modification and neo-paganism to the 'alternative' audience through the 80s and 90s; as Throbbing Gristle, Psychic TV and other musical acts, has released over 200 albums, including a Guinness-record-setting 70 in one calendar year (as Psychic TV).
But here's where it gets really interesting:
Genesis Breyer P-Orridge (left) and Genesis Breyer P-Orridge (right). Image from New York Magazine's great recent interview
In 2003, P-Orridge moved to Brooklyn with his second wife, Lady Jaye, née Jacqueline Breyer, and began an ongoing experiment in body modification aimed at creating one pandrogynous being named 'Genesis Breyer P-Orridge". The two began this project by getting matching breast implants, then approximately $200,000 worth of plastic surgery to resemble each other. They dressed identically, copied each other's mannerisms, and both replaced the pronoun "I" with "we," "he" or "she" with "s/he," "his" or "her" with "h/er." I'm going to use these pronouns from here on, both for simplicity's sake and out of respect.
Two Into One We Go, 2003 - moving towards a single being composed of two identical individuals.
They became individual facets of a single, idealized being. They abandoned the concept of Self.
Lady Jaye died in 2007, and since then, Genesis Breyer P-Orridge (a construct originally composed of Genesis P-Orridge and Lady Jaye Breyer) has existed in the body of one person. S/he ("they"?) declares in interviews and on the web that Lady Jaye still exists as a living part of the pandrogenous amalgam "Genesis Breyer P-Orridge." The surgeries and hormone therapies continue, and the past few years have been busy for Gen - Throbbing Gristle have reformed and toured, MoMA has scheduled a lecture in March, 2010, and most recently, thirty years' worth of collages have been exhibited in a well-received gallery show in the Lower East Side.
Untitled (Mail art to Robert Delford Brown), 1975. Gender fluidity is hardly new to he/r.
Indian Comics
Artdaily.org - The First Art Newspaper on the Net: "
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| LACMA Presents First Major Museum Showing of Indian Comics |
 Abishek Singh (India), 'Ravan, the Demon of Lanka,' Ramayan 3392 AD, Issue 5, 2006. Pencil, ink, and watercolor (?) on paper, 24 x 17 in. Liquid Comics, Bangalore, India. |
LOS ANGELES, CA. The Los Angeles County Museum of Art presents 'Heroes and Villains: The Battle for Good in India’s Comics,' an exhibition comprised of fifty-three paintings, works on paper, and vintage comic books, on view from October 17, 2009 through February 7, 2010. The exhibition examines the legacy of India’s divine heroes and heroines in contemporary South Asian culture through the comic book genre.
Indian comic book superheroes and their arch enemies are visualized from ancient archetypes that have long been depicted in traditional painting and sculpture, and are deeply ingrained in India’s historical imagination. In contemporary comic books, Indian gods and goddesses are modern-day superheroes, manifested on Earth to vanquish evil forces. Demons take the form of modern villains, raising havoc in today’s troubled times. Heroes and Villains, curated by Julie Romain and Tushara Bindu Gude, mines the history of the comic book in India from the 1960s through the present. It explores the evolution of early Indian comics, which were modeled on American superhero comics, through the Amar Chitra Katha (Immortal Picture Stories), a popular series based on traditional Indian epic literature and religious texts recounting the heroic deeds of Indian gods and goddesses.
“This is the first exhibition of Indian comics on view at a major museum,” said Romain. “Here at LACMA we have the unique opportunity to consider this contemporary art form in relation to our extensive historical collection of South and Southeast Asian art.”
Today, comic book production takes place in a global cultural context and within a multi-media framework that combines traditional hand-drawn illustrations with computer design and animation technology. The exhibition explores this process through a survey of Liquid Comics’ Devi and Ramayan series, which were inspired by heroic characters from the Mahabharata, Ramayana, and other Indian texts. Liquid Comics (formerly Virgin Comics) is an animation studio based in Bangalore.
To illustrate the continuity of the heroic narrative tradition in Indian art, a selection from LACMA’s historical collection of Indian paintings will also be on view. These include folios from Mughal illustrated manuscripts, paintings and drawings from the northern Indian princely states, and story-telling paintings from central India.
Edward Hopper Retrospective
Artdaily.org - The First Art Newspaper on the Net: "
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| Palazzo Reale in Milan Holds Edward Hopper Retrospective |
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MILAN.- With his paintings, Hopper paid particular attention to geometrical design and the careful placement of human figures in proper balance with their environment. He was a slow and methodical artist; as he wrote, “It takes a long time for an idea to strike. Then I have to think about it for a long time. I don’t start painting until I have it all worked out in my mind. I’m all right when I get to the easel. He often made preparatory sketches to work out his carefully calculated compositions.In this photo: Edward Hopper in Paris drawing a sketch, 1907. The Arthayer R. Sanborn Hopper Collection Trust – 2005.
October 15, 2009
The Architecture of the Visible » Treasureland of Heroturko
The Architecture of the Visible » Treasureland of Heroturko: "
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The Architecture of the Visible: Technology and Urban Visual Culture By Graham Macphee
Continuum International Publishing Group 2002-07 240 Pages ISBN: 0826459269 PDF 11.7 MB
Continuum International Publishing Group 2002-07 240 Pages ISBN: 0826459269 PDF 11.7 MB
Visual technology now saturates everyday life. Theories of the visual - now key to debates across cultural studies, social theory, art history, literary studies and philosophy - have interpreted this condition as the beginning of a dystopian future, of cultural decline, social disempowerment and political passivity. This book presents a wide-ranging critical reassessment of contemporary visual culture through an analysis of pivotal technological innovation from the telescope, through photography to film. A range of theorists - from Baudelaire to Merleau-Ponty, Debord, Benjamin, Virilio, Jameson, Baudrillard and Derrida - have explored how technology not only reinvents the visual but also changes the nature of culture itself. The heartland of all such cultural analysis has been the city, from Baudelaire's flaneur to Benjamin's Arcades. Drawing on the examples of Paris and New York - two key world cities since the 19th century - the book analyses how visual technology is revolutionising the landscape of modern thought, politics and culture.
October 12, 2009
Feature Film: Douglas Gordon's vision of Bernard Herrmann's Vertigo
FEATURE FILM Douglas Gordon's vision of Bernard HERRMANN's Vertigo : Film Music on the Web CD Reviews Sept1999: "
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| Book/CD/Video Review: FEATURE FILM  Douglas Gordon's vision of Bernard HERRMANN's Vertigo | |
CONLON/VERTIGO Book/CD/Video Review:
Review: The Film and the Book
Review: The CD
| Reviewer Ian Lace Film and book  CD  | |||
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