When Tilda Swinton first discovered Virginia Woolf’s ‘Orlando’, she embraced it as a practical guide to living. Fifteen years later she played the gender-hopping hero on screen. Now, as a new edition is published, the actress maps the obsessions behind Woolf’s revolutionary novel
She was an accident, born to a fourteen-year-old black girl in Depression-era Los Angeles. She never knew her father, but thought that he might have been the famous white pool player, Rudolf “Minnesota Fats” Wanderone, whom she met in the nineteen-eighties.
On why Jim Jarmusch dedicated “Broken Flowers” to Jean Eustache.
There’s something in him that I want to carry in myself: making a film the way you choose to make it, true to yourself without being concerned with the marketplace or anyone’s expectations – just the pure spirit of wanting to express something in your own style. That’s very important to me.(via)
Jim Jarmusch is working on a new film – a vampire movie no less! – featuring Tilda Swinton, Michael Fassbender, Mia Wasikowska and John Hurt, to be shot in Germany, Morocco and Detroit in early 2012. (wiki)
Not dead, no broken flowers, no stranger in paradise.. mystery train? maybe..
definetely coffee and cigarattes..and let’s spend a night on earth driving taxis all over the world.
The Museum of Contemp. Art Tokyo (MOT) shows his work in a separate room, a smart gesture. (Thanks to Mario A )
Buildings Poking Their Eyes Out
1997 2’ x 16’ x 5’
A: One Eye Out, B: Two Eyes Out, C: Four Eyes Out
Corrugated fiberglass, rolled galvanized metal, wax, fiberboard, pigments
Photo: Erma Estwick
Dennis Oppenheim (Previous post has many links to interviews, his bio etc)
Jan Groover, whose relentlessly formal still lifes of mundane objects brought a sense of Renaissance stateliness to postmodern photography, died on Jan. 1 in Montpon-Ménestérol, France, where she had lived since 1991. She was 68.
Using a variety of camera formats to affect perception and plane, Jan Groover creates complex, abstract spatial arrangements in her still-life, portrait, and landscape photography. Her images demonstrate her craftsmanship in the darkroom with their finely-wrought delicacy. A painter by training, Groover makes reference to art history in her photographs, from Renaissance perspective drawings to Cezanne’s tabletops.
His work is based on the ethics of the Other or, in Levinas’ terms, on “ethics as first philosophy”. For Levinas, the Other is not knowable and cannot be made into an object of the self, as is done by traditional metaphysics
“Eve was a dynamo,” Ms. Meiselas said. “She might have been small and compact, but she was just unbelievably productive and hugely generous.”
She was outspoken, too. “She didn’t hold back in a gang of men. She was very present and encouraging and generous, in a sense — to me as a young woman, but also in a collective spirit.”
Like Diane Arbus Helen Frankenthaler came from a wealthy family, unlike Arbus, Helen was at home in the 1% world enjoying access to influential people, to a life of comfort and, to laughter.
With Motherwell
(Motherwell upstairs and Helen below) As the Wifewell of Robert Motherwell, she enjoyed entertaining guests, threw a big party. They were the Olivier and Vivien of the art world, elegant, erudite (Motherwell was) and grand.
Helen and Motherwell divorced, Nancy Spero and Leon Golub they were not.. (an enduring activists/artists who painted violence.)
In 1953 Morris Louis and Kenneth Noland were both profoundly influenced by Helen Frankenthaler’s stain paintings they were brought to her studio in 1953 by critic Clement Greenberg her lover at the time, the artist was not there.
If Helen did not date Clement what would have happend to Kenneth Noland and Morris Louis?
In 1972, Ms. Frankenthaler made a less successful foray into sculpture, spending two weeks at Mr. Caro’s London studio. With no experience in the medium but aided by a skilled assistant, she welded together found steel parts in a way that evoked the work of David Smith.
Although she enjoyed the experience, she did not repeat it. Knoedler gave the work its first public showing in 2006.
“For a very long time I had a photo of one of her sculptures in my wall, a bronze, looking a bit like a blown up film canister, and no one recognized that it was her work. But when told, many would gasp and sat, now, I really like that, I didn’t know she did anything like that , so lovely, amazing, really. I like many of her paintings but, as with Twombly, I prefer the sculptures.”
“I think this is hers, but it’s not the piece I fell in love with.”
Over on Artnet, Charlie Finch declares that Ms. Frankenthaler “was another one of those painters who, like the recently deceased George Tooker, basically made one painting,” Mountains and Sea (1952)—which, he writes, “inspired so many lazy imitations in studios across the world, including that of Frankenthaler herself.”
Frankenthaler did take a highly public stance during the late 1980s “culture wars” that eventually led to deep budget cuts for the National Endowment for the Arts and a ban on grants to individual artists that still persists. At the time, she was a presidential appointee to the National Council on the Arts, which advises the NEA’s chairman.
In a 1989 commentary for the New York Times, she wrote that, while “censorship and government interference in the directions and standards of art are dangerous and not part of the democratic process,” controversial grants to Andres Serrano, Robert Mapplethorpe and others reflected a trend in which the NEA was supporting work “of increasingly dubious quality. Is the council, once a helping hand, now beginning to spawn an art monster? Do we lose art … in the guise of endorsing experimentation?”
Photographer Len Steckler shot the black-and-white images of Monroe when she unexpectedly arrived at his apartment in December, 1961.
She was visiting his friend, Pulitzer-prize winning poet Carl Sandburg
As we know, Marilyn loved older men, she loved the intellectuals — and Carl was very parental with her,’ said Steckler. ‘It was a lovely thing to see.’
Carl and Marilyn
The actress died in August, 1962, and Sandburg, who won Pulitzer prizes for his poetry and for a biography of Abraham Lincoln, died seven years later.
Thinking of Carl Sandburg and Marilyn Monroe (from the video shared by Fung-Lin), I remembered finding these two 4-leaf clovers in the yard there. Good memory. Hope they are still bringing me good luck.
Visit Jessica Hines‘s homepage which includes her award winning photography project “My Brother’s War” and many other intriguing projects.
Via 
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or or Mrs William James
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