“Amid the film's riotous satire involving tricked-out news and political distortions, Dumont plants a melancholy melodrama of an identity crisis.” Richard Brody, New Yorker.
A celebrity journalist, juggling her busy career and personal life, has her life overturned by a freak car accident.
133 minutes; French with English subtitles
In this quiet masterpiece, Ryusuke Hamaguchi considers grief, love, work and the soul-sustaining, life-shaping power of art.” Manohla Dargis, New York Times.
Highly praised by critics and already appearing on the Best of 2021 lists, this adaptation of Haruki Murakami's short story Drive My Car is a haunting road movie traveling a path of love, loss, acceptance, and peace.
180 minutes; Japanese with English subtitles
“Joel Coen's triumphant film of Shakespeare's tragedy astounds on every level, with Denzel Washington and Frances McDormand, two acting titans, playing an aging couple taking their last shot at murderous ambition. You can't take your eyes off them.” Peter Travers, ABC News.
R; 105 minutes
“But what of Frances Stark,” the title of a 2009 artist’s book asks, “standing by itself, a naked name, bare as a ghost to whom one would like to lend a sheet?” The perfect fit of this artist’s name is almost enough to convince you that people are language’s instruments, and not the reverse. Katherine Satorius, “Portrait of a Bird: The Work of Frances Stark,” Los Angeles Review of Books, January 9, 2016
Beauty never did become the big issue that the critic Dave Hickey, a decade ago, so eloquently predicted it would. Yet the pursuit of beauty remains an urgent motivation for many artists — Carrie Yamaoka, for one. The beauty in Ms. Yamaoka's medium-to-small-size paintings is of a purely sensual sort that calls to mind California Fetish Finish, but without the look of machine-made perfection. . . . In time-honored Modernist style (think Robert Ryman), Ms. Yamaoka also toys with the physical support, calling attention to the painting as a hand-made object. . . .
Avery’s juxtaposing of colour planes creates a cohesion in his compositions, affording them a sense of resolution, serenity and beauty. Edith Devaney, “Milton Avery—Color into Form,” in Milton Avery, Victoria Miro gallery, 2017
Javier Sánchez, Founding Partner & Director with JSa, is here for a special Tuesday Evenings presentation in conjunction with this year’s Fort Worth AIA Design Awards. In 1996, he founded JSa, a key architectural practice in the contemporary renewal of Mexico City, whose work focuses on projects of “urban acupuncture” and the recovery of the national architectural heritage.
Long before it became commonplace, Rice Gallery was one of a handful of spaces in the US devoted to commissioning site-specific installation art. One Thing Well: 22 Years of Installation Art, edited by Rainey Knudson. Texts by Kimberly Davenport, Joshua Fischer, Nonya Grenader, Dave Hickey, et al.
As this was Rauschenberg’s first use of video, he spent time working with the studio technicians to understand the colors that could be transmitted on television, eventually selecting forty colors that would be used as the solid colors of the dancers’ costumes. Robert Rauschenberg Foundation, Chronology, Anne Livet, Brazos River: A Video Collaboration, unpublished exhibition catalogue, 1977, tape 2. Robert Rauschenberg Archives, Robert Rauschenberg Foundation.
As Holiday navigates the depths of Black remembrance and loss, she sets her sights on the relationship between “the new” and “the archival.” She treats both entities as collectively improvising ensembles in which prose and poetry sit by turns comfortable and chaotic, next to images cribbed from Black artistic and private life. Text on Harmony Holiday’s film God’s Suicide, commissioned for the Hammer’s 2021 biennial Made in L.A. 2020: a version, The Hammer at UCLA and the Huntington
