Posts Tagged ‘Charles Montgomery’
December 15, 2011 | by Liz Brown
Silvano and I met about ten years ago through mutual friends. I don’t remember the exact shirt he was wearing at the time, but I know it had bright colors and elaborate embroidery. (Later, I learned it came from Alpana Bawa.) Also, he was wearing one dangling, bauble-y earring. Possibly it included a feather. This was at a party where most people worked in publishing, which is to say, he stood apart.
Other details I have filed away about Silvano include that in the house he shares with his husband, Craig, there is a shrine to Anna Magnani and a poster from his 1977 campaign for supervisor of Board 5 in San Francisco. In the poster, he wears a one-shouldered top and tights and is beaming, his long arms flung skyward, a look inspired by a Patti Labelle album cover. He was running as the “dada alternative” to Harvey Milk. Also, in Robert Gluck’s novel Jack the Modernist, the narrator goes out to a performance piece in which Silvano appears as “Madame Chiang-Ch'ing.” More recently he got his associate's degree in accessories at FIT.
I knew all this about Silvano, but I didn’t have any idea how much Elizabeth Taylor meant to him. Not even when I met him at his home Sunday morning and he came to the door wearing a purple felt fedora, an iridescent purple mandarin-collared jacket, and purple suede boots. We were on our way to a preview of the Elizabeth Taylor collection being auctioned off this week. Read More »
September 14, 2011 | by Ian Volner
Readers of Robert Musil’s The Man Without Qualities will recall the “Collateral Campaign,” a fictional initiative to commemorate the seventieth anniversary, in 1918, of the ascent of Austrian Emperor Franz Josef to the throne. As the novel progresses, so too does the campaign: it will be a whole year of festivities, it will be The Austrian Year, The Austrian Peace Year. The planning draws in prominent personages who introduce more and more ambitious proposals; it launches scores of dinner evenings, plenipotentiary committees, and public debates.
Musil’s subject, and the admixture of sympathy and satire he brought to it, seems awfully familiar in 2011. Nowadays, we are fairly encircled by Collateral Campaigns—by artistic enterprises whose intentions, intellectual and social, are unimpeachable, yet which seem always to hover between event and discourse, between process and product. Example: the new BMW Guggenehim Lab in the East Village, which opened last month.