November 1, 2013 |
Raw talent, restless energy and the sense that something has gone very wrong run every which way in Natalie Frank's new paintings, which turn themselves inside out with such wicked swiftness that it's hard to know up from down, good from bad, us from them. The New York painter is no purist. Titled “The Scene of a Disappearance,” her first solo show in Los Angeles, at Acme, is a big messy mix of people and beasts, their limbs, organs and torsos rearranged in ways that rival Picasso's wildest paintings while capturing the grisliness of crime-scene TV. Frank slices and dices like a food processor, chopping Francis Bacon's ghoulish humans and Lucian Freud's meaty people into bite-size chunks she then cooks into dishes that look delicious from a distance but monstrous up close.
December 22, 2012 |
What is it, exactly, about Van Gogh? For those of us with a vested interest in contemporary art, who spend much of our time immersed in the work of artists most Americans have never heard of, it is an important question to ponder from time to time - one that the Norton Simon Museum's temporary installation of an 1889 self-portrait on loan from the National Gallery of Art calls again to the fore. There is no more familiar face in all of modern art history: the piercing blue eyes; the gaunt, sallow features; the imagined spectacle of a severed ear (turned discretely away from the viewer in this, as in most, variations)
October 9, 2012 |
Vincent Van Gogh didn't just work at things - he attacked them, eulogizes his grieving brother Theo in the Next Arena's revival of “Vincent.” As performed by French-born actor Jean-Michel Richaud, this insightful and often moving 1981 solo show penned by Leonard Nimoy transcends the usual clichés surrounding the high-maintenance artist with the tortured relationship to his aural appendage. Nimoy knows from ears, of course, but his script looks beyond merely sensational biographical episodes to the unifying themes in three principal facets of Vincent's adult life: God, love and art. As Theo admits during an imaginary tribute conducted a week after his brother's death, Vincent pursued all three with perhaps an overdeveloped sense of drama, but always with passion.
February 19, 2012 |
Analia Saban went to art school at the height of the recent market boom, when it was not uncommon for students, particularly in UCLA's prestigious painting program, to be fielding offers from galleries and selling work directly out of their studios. It had a significant impact on the direction of her career, though not because she profited by it at the time. Indeed, she had a rough go of it. Raised in Buenos Aires, she came to Los Angeles in 2002 by way of a small college in New Orleans, where she studied video art primarily.
February 3, 2011 |
The six directors who came together to talk to The Envelope about their craft all made fiction films, even if some of their stories were inspired by real people. While David Fincher's "The Social Network" and Tom Hooper's "The King's Speech" are based on the respective lives of Facebook's Mark Zuckerberg and Britain's King George VI, the other four films are wholly imagined tales: Ethan (and Joel) Coen's "True Grit," Ben Affleck's "The Town," Lisa Cholodenko's "The Kids Are All Right" and Darren Aronofsky's "Black Swan.
October 7, 2007 |
Milan ART NOUVEAU botanical prints at Prada, hand-painted brush strokes at Dolce & Gabbana, luminous blocks of color at Jil Sander -- fashion week here was an Italian renaissance, the runways filled with moving artwork. After so many seasons of producing sexy, salable merchandise and leaving Paris to lead the way, designers launched an art attack that proved Milan is no longer a second city. And why not?