"The Texas Chainsaw Massacre was the first real “slasher” film, and it changed many things—the ratings code of the Motion Picture Association of America, the national debate on violence, the Texas Film Commission, the horror genre—but it remained a curiously isolated phenomenon. The film itself, involving five young people on a twisted drive through the country, is a strange, shifting experience—early audiences were horrified; later audiences laughed; newcomers to the movie were inevitably stricken with a vaguely uneasy feeling, as though the movie might have actually been made by a maniac—but the story behind the film is even stranger." We begin with a couple of stolen barbecue chicken wings....
"A generation ago, refusing these kinds of offers was a way for bands to telegraph where they stood, the sort of thing that showed their allegiance to the underground and their community... If someone in the independent-rock world thinks that this is bullshit, they should take a look at themselves. They’re doing the same thing; they’re writing albums that people stream 30 seconds of on fucking Pitchfork and then people are like, ‘Oh, I like your album.’”
In conjunction with the Whitney Museum of American Art's exhibit Hopper Drawing [NYT review], which the museum calls "the first major museum exhibition to focus on the drawings and creative process of Edward Hopper," the museum has constructed a temporary life-size window installation recreating Nighthawks in the Flatiron Building's Sprint-sponsored Prow Artspace. The Flatiron is believed to be one of the real-life inspirations for the iconic diner by Carter Foster, curator of drawing for the Whitney and organizer of the Hopper exhibition. [previously]
CBS has been in a dispute with Dish Networks, maker of the "Hopper", a device that allows users to skip commercials on their DVR, seeing it as a threat to their broadcast business model. After the "Hopper" was voted best in show at CES by the editors of CNET, CNET's parent CBS intervened and required a re-vote. [more inside]
The bravest woman in Seattle would like us to know her name. Warning: The earlier posts are brutal and very hard to read, and possibly especially so for victims of violence and sexual assault. Previously, previously.
Portraits by Richard Dumas; a page (one of many) of actors and directors; a Brooklyn gang (photographed by Bruce Davidson) in 1959; photographs by Ernesto Bazan. Clive Limpkin. Some Warhol Polaroids. Film set photographs and portraits by Brigitte Lacombe. Photographs by: Dennis Hopper [nsfw], Weegee [nsfw], Jeff Bridges, Julia Calfee [nsfw], Ed Templeton [nsfw], Lauren Dukoff, Robert Frank, Sid Grossman and Allen Ginsberg. A Princeton Dance Weekend in 1960, an American family vacation in 1950, Los Angeles, Coney Island, et cetera. A diverse livejournal collection of photographs.
Finding Nighthawks: Nearly seventy years after Edward Hopper finished what would become one of the icons of American art, Jeremiah Moss went in search of the diner that inspired it.
This fall is going to be a good season for some giants of American art in Washington, DC. Edward Hopper comes to the National Gallery from Boston. Asher Durand opens at the Smithsonian. And Ansel Adams travels to the Corcoran.
"Time passes, or rather doesn't pass. It is just there, solid as a coffee mug on the diner's counter. Time hangs like the reek of old tobacco in the hotel furniture". We all think we know Edward Hopper's images, even if we've never seen his paintings. Somehow the solidity of the world -- even the sky is like a wall -- is at odds with the transience of the people in it, however long they sit and stand and wait. Hopper's people, like Manet's figures, often appear consumed by the irreducible business of being. Hopper, too, would descend into his own silences, would delay himself in self-doubt... (more inside)