January 30, 2014 |
"The Great Flood," an all-archival clip documentary revisiting the events and effects of the devastating Mississippi River flood of 1927, is by turns hypnotic, playful, wildly evocative and even a bit trippy. But most of all it's a unique, highly immersing audio-visual experience that would be as at home in a museum as it is in a movie theater - and that's a first-order compliment. Experimental filmmaker Bill Morrison ("Decasia," "The Miners' Hymns") has masterfully assembled a collage of silent, monochrome archival footage of this largely forgotten catastrophe - call it the Hurricane Katrina of its day - in which the Mississippi's levees broke in 145 places, engulfing 27,000 square miles of land from southern Illinois to New Orleans.
April 19, 2014 |
Matjames Metson's Silver Lake studio is in a 1930s Art Deco duplex perched atop a steep flight of aging, concrete stairs overlooking a cul-de-sac, which overlooks a hillside, which overlooks a bustling intersection that, from above, appears to be teeming with tiny toy cars and action-figure people. Inside, Metson's dusty, sunlit living room-turned-art studio is also full of tiny treasures. The assemblage artist builds intricate, architectural sculptures, wall hangings and furniture made from his abundant stash of objects, most of which he finds at estate sales.
December 27, 1987
EDITOR'S NOTE: These letters represent many of the best received by The Times in 1987, and reflect the leading issues and events discussed in Viewpoint during that period. Imagine my surprise when I tuned in the Fiesta Bowl, expecting to watch the two best college football teams in action, only to discover that a collage of the year's worst high school miscues was airing instead. Is that all $4.8 million buys these days? LON ATKINS Costa Mesa
May 26, 1989 |
Hannelore Baron's collages and box assemblages are wispy, dark, runic things that seem on the verge of whispering great truths. The self-taught artist, who died in New York in 1987, liked to work with scrap materials because she was intrigued by the very fact of their survival over the years. Accompanying the uneven, fraying rectangles and strips of yellowed paper and cloth--often pasted down demurely, side-by-side, or neatly layered--are images of faceless, sexless figures and scrawny, illegible lettering.
June 12, 2008 |
Fifteen years may seem like a long time in today's art world, but it was exactly 15 years ago that critic Dave Hickey predicted the onslaught of "beauty" among artists of the 1990s. (Or more precisely, "the language of visual effect, the rhetoric of how things look, the iconography of desire.") He was right, of course, although one could argue over why. Was it because we had grown tired of "idea" art? Or because buyers were demanding more lush and decorative works? Whichever the case, things haven't changed much.
August 20, 1995
As someone who was working as a fund-raiser at the Mark Taper Forum at the time, I can tell you that in the days leading up to the premiere of "Angels in America," Tony Kushner was about as terrified as a man can be without falling over dead ("The Play That Made Us Gasp," by Lawrence Christon, Aug. 6). He knew he had something, he just didn't think it was that big of a something, and he was sincerely worried that the Taper would lose its shirt. When I mentioned to him that I was certain he would win the Pulitzer Prize, he said, "I'll bet you $100 I don't."