They Say Art Is Dead in New York. They're Wrong. – Alan Feuer, NYT (December 2014):
Somehow, in the last few years, it has become an article of faith that New York has lost its artistic spirit, that the city's long run as a capital of culture is over. After all (or so the argument goes), foreign oligarchs and hedge-fund traders have bought up all the real estate, chased away the artists and turned the bohemia that once ran east from Chumley's clear across the Williamsburg Bridge into a soulless playground of money.
Last year, the foremost proponent of this doomsday theory was the rock star David Byrne, who complained in The Guardian that artists, as a species, had been priced out of New York. This year, others joined him. The novelist Zadie Smith lamented in October, in The New York Review of Books, that the city's avant-garde had all but disappeared. The musician Moby wrote a comparable essay in February, describing how creative types are fleeing New York and referring to his former home, accurately but narrowly, as "the city of money." Just a couple of weeks ago, Robert Elmes, the founder of the Galápagos Art Space in Brooklyn, declared the indigenous "creative ecosystem" was in crisis — so, naturally, he was moving to Detroit.
Can I play you... um... some of the new things I've been doing, which I think could be commercial? [more inside]
And so I descend once more into the mysterious depths of 3 Women, a film that was imagined in a dream. Robert Altman's 1977 masterpiece tells the story of three women whose identities blur, shift and merge until finally, in an enigmatic last scene, they have formed a family, or perhaps have become one person. I have seen it many times, been through it twice in shot-by-shot analysis, and yet it always seems to be happening as I watch it. - Roger Ebert [more inside]
As brutally stylish as it is when the fists and baseball bats are flying, the underlying themes of family and perseverance are what make The Warriors stand out from the rest of the "grim future" epics of the period. - Celluloid Dreams
In the 1970s and 1980s, Chicago gangs distributed gang cards to stake their neighbourhood claim. Full gallery available here.
Welcome to the testing room of the Parallax Corporation's Division of Human Engineering. [more inside]
Despite appearing early in his career, Aguirre, the Wrath of God is for me the quintessential Herzog movie. ... It deals with possibly the most obsessed group of people in history, the Spanish conquistadors, and their desperate hunt for the most magic of all Grails, the elusive golden land of El Dorado – leaving destruction and death to millions in their wake. A few lines in an old chronicle is all that remains of the historical facts, thus leaving plenty of room for Herzog to employ his imagination and re-arrange the facts. In short: an ideal topic for a visionary director, tackled with just the right crew, and on a location guaranteed to make the shooting an ordeal in itself.
Logan's Run is a 1976 science fiction film... It depicts a dystopian future society in which population and the consumption of resources are managed and maintained in equilibrium by the simple expediency of killing everyone who reaches the age of thirty, preventing overpopulation. (related 2004 post worth clicking through for) [more inside]
Disaster movies are as old as cinema itself. But their golden age began in 1970 with Airport - which, despite being an Academy Award nominee for Best Picture, is now remembered chiefly for the parody it inspired. Earthquake - exhibited in Sensurround - set a record for the number of stunt performers used. But the Master of Disaster was Lost in Space producer Irwin Allen. His The Poseidon Adventure grossed the equivalent of $450 million in today's money. And The Towering Inferno - the filming of which destroyed all but 8 of its 57 sets - is still unsurpassed.
What if our beloved modern devices had been invented in the past? Say around 1977? Introducing the Pocket Hi-Fi, The Laptron 64, MobileVoxx, and the Microcode 3000!
Too Much Horror Fiction: "Covering horror literature and its resplendent paperback cover art, mostly from the 1960s through the early 1990s. Mostly."
Rom: Spaceknight was an improbable comics success: Based on a toy series that consisted of one figure (Rom), the comics series debuted in 1979 and lasted an unlikely 75 issues, featuring art from such luminaries as P. Craig Russell and Steve Ditko (previously, previously and previously). The series was written by Marvel Comics mainstay Bill Mantlo, who retired from comics and became a public defender (the legal kind), only to suffer a tragic accident in the mid-1990s that left him in need of constant medical attention. A 2007 benefit for the writer -- Spacenight: A Tribute to Bill Mantlo -- will be followed by Spacenight 2, an auction of original Rom-related artwork that can be viewed here.
The Doll Games emerged in Berkeley, California, at a time when race, gender, politics, and sexuality were fiercely and publicly debated... The Doll Games held up a funhouse mirror to their times, and what survives of them are historical documents of a wobbly, comical sort. But the Doll Games transcend their epoch. Intricate, obsessional, moral, violent and sexual, funny and tragic... Obedient to no rules except those its practitioners invented for themselves, completely collaborative, the Doll Games defined a truly interactive art form. In this theater of two, every audience member was a co-creator. [some text and pics NSFW]
New York artist Ashley Hope's Ripeness is All exhibit at the Tilton Gallery recreates crime scene photographs of murdered women from the 1910s through the 1990s as oil paintings on huge 4' x 6' canvasses. [some nsfw art] [more inside]
"New York City 1968-1972" Some very compelling black and white street photography by Paul McDonough. via