Posts Tagged ‘documentaries’
April 20, 2016 | by Dan Piepenbring
Longtime readers of the Review will recall our 1997 interview with Barney Rosset, the irrepressible publisher of Grove Press and the Evergreen Review. In the fifties and sixties, Rosset brought scores of ostensibly obscene books to the U.S., often to the gross offense of the era’s leading fuddy-duddies. The unexpurgated Lady Chatterley’s Lover? A Grove title. Tropic of Cancer—also Grove. American editions of Waiting for Godot, Our Lady of the Flowers, Naked Lunch, Last Exit to Brooklyn—all Rosset’s doing. Even I Am Curious (Yellow), everyone’s favorite X-rated Swedish art-house flick, was a Rosset import. As he says in his Art of Publishing interview, all this illicit material came with its share of trouble—some of which he sought out willingly. When he published Chatterley, for example, Rosset was so eager to strike a blow against censorship that he used the book as bait, getting himself hauled into court: Read More »
March 4, 2016 | by The Paris Review
Ever since Mike Nichols died in 2014, I’ve wished and wished we had interviewed him in the Review. The HBO documentary Becoming Mike Nichols—an eighty-minute interview conducted by his friend Jack O’Brien—only sharpened my regret. Nichols wasn’t just one of the most important and wide-ranging directors of the last century (and half of the pioneering comedy duo Nichols & May), he was a brilliant explainer of what he did. He and O’Brien discuss his earliest stage productions (Barefoot in the Park, The Odd Couple) and the filming of Who’s Afraid of Virginia Woolf and The Graduate, giving glimpses of his childhood and education and his comedy routines. I could have watched them talk for hours. —Lorin Stein Read More »
January 27, 2016 | by Sadie Stein
I don’t believe in evil, I believe only in horror. In nature there is no evil, only an abundance of horror: the plagues and the blights and the ants and the maggots. —Isak Dinesen (Karen Blixen)
This is my second post about Karen Blixen this week, and you’d be forgiven, when you see that I’m about to share a Karen Blixen documentary, for thinking I’ve really fallen down a rabbit hole. You’d also be correct. I’ve long been an admirer of her work, and I find her personal history fascinating, but this film is something different entirely; I had to direct your attention to it. Read More »
November 4, 2015 | by Dan Piepenbring
- The French artist Sophie Calle’s Suite Vénitienne, first published in 1983, is back in print. If you or I made a book about stalking and photographing a complete stranger, we would be cast out of our communities; when Sophie Calle makes one, it’s a minor masterwork. In 1980, she saw a man on the street and tried to photograph him—he eluded her. That night, she ran into him at a party. His name was Henri B., and he told her he was going to Venice. She decided to go, too. In Suite Vénetienne, “Calle spends thirteen days looking for and trailing Henri B. around the city … at last, she finds [him]—he’s been staying in a pensione a hundred meters from her own. She stands outside his hotel and watches as he comes and goes … The strength of the project comes from the interplay between Calle’s physical pursuit and her emotional remove. Calle doesn’t care for Henri B ... Yet proximity to her subject seems to create a kind of attachment. Calle dreams of Henri B., he ‘consumes’ her. She has high expectations of their encounters, then worries about displeasing him. They meet. She frets it was banal. She tries to rent his former hotel room. She envisions herself sleeping in his bed.”
- Beneath the chapel in St. Leonard’s Church in Worcestershire is a single skull, just one, lonely skull. Scuttlebutt has it that someone stole this little guy from Shakespeare’s tomb back in the eighteenth century. But we may never know if this skull is Shakespeare’s. And I don’t mean that rhetorically—we will actually probably never know, because the Church of England doesn’t want any DNA testing on the skull. In a seven-thousand word statement, some stuffed-shirt barrister guy “sided with prominent Shakespeare scholars who have rubbished the claims and concluded they read ‘like a piece of Gothic fiction’ … He said he had seen ‘no scholarly or other evidence that comes anywhere near providing any support for the truth of the story” and that there was “nothing whatsoever to link it to William Shakespeare.’”
- Later today we’ll share some exciting news about Lydia Davis. But first, in the name of public service, some not-so-exciting news. A copy of Davis’s Collected Stories—a copy from the NYU Library, no less—has gone missing. It was last spotted in North Brooklyn, outside Tony’s Pizza at Dekalb and Knickerbocker, near the B38 bus stop. Have you seen this book? Its cover is handsome, its spine thick, its borrower concerned.
- Today in comic-book news you didn’t know you cared about: two parodic, dystopian episodes of Judge Dredd are back in print. The comics, from 1978, depict a postnuclear America in which commercial culture has run amok, and they made lawyers squeamish: “In Burger Wars, Dredd finds a devastated middle America in thrall to the warring Burger Lords, modeled on Ronald McDonald and Burger King’s eponymous monarch, who capture the heroes and force them to live on burgers and shakes. In Soul Food, a Dr. Moreau–style genetic engineer living in the blasted wasteland has created mutated creatures based on mascots of American retail culture including the Jolly Green Giant and Michelin’s tire-man Bibendum … Ben Smith, head of books and comic books at Rebellion Publishing, said: ‘The most common question we have been asked at conventions over the years is “Will you be reprinting Burger Wars?” It’s a delight, and frankly a relief, to be able to finally say, Yes!’ ”
- Frederick Wiseman’s new documentary, In Jackson Heights, is (really!) a riveting three-hour testament to a neighborhood’s civic life. “What Wiseman found in Jackson Heights is people talking, mainly in organized, formalized settings that have their pretext and their agenda defined. He finds civic life taking place in public and quasi-public places—houses of worship, stores, storefront offices of non-profit community organizations, and local governmental offices … The discussions that he films involve such matters as fair labor practices, gentrification, the legal ramifications of urban gardening, the push for change in traffic-safety regulations, school redistricting, police harassment of gay and transgender bar patrons, fear of deportation, citizenship-test study, and the laws and norms to pass a taxi-driver test. In other words, the movie is about the very stuff of life … The problems that Wiseman finds are local, practical, intimate, but the emotions that he films are grand and tragic.”
January 21, 2015 | by Terese Svoboda
The budding South Sudanese community in Omaha, Nebraska.
More than a hundred years ago, my relatives emigrated from Czechoslovakia to Nebraska, thus escaping the privilege of becoming fodder for the aristocracy’s canons. Why Nebraska? The railroad advertising pictured illustrations of the thick loam of the prairie, calculated to resemble their homeland’s. The land was theirs for free if they worked extremely hard on it for five years, and many did, and prospered.
This century, the Nuer from South Sudan have immigrated to the same region, but they aren’t so fortunate. Having escaped one of the world’s worst war zones, endured extremely harsh conditions in refugee camps, and traveled eight thousand miles to resettle, the Nuer face poor Nebraska neighborhoods policed by gangs like the Bloods and the Crips.
The Nuer fled fighting in a very remote area in South Sudan, much of it accessible only by boat or on foot. I know. I walked into the region thirty-five years ago, lugging in heavy sound equipment to make a sequel to The Nuer, the highest grossing ethnographic film of the time. The original, from 1971, was extremely beautiful, shot by Hilary Harris, Robert Gardner, and George Breidenbach. It documented the traditional Nuer lifestyle as depicted by E. E. Evans-Pritchard, the British academic who founded the discipline of social anthropology on a study of their culture. The sequel to it was never finished, but I translated and published Cleaned the Crocodile’s Teeth, a selection of their songs, their most complex art form.
Never would I have imagined that people from so far away would move within a hundred miles of my birthplace in Ogallala, Nebraska. So many resettled in the state that it now has the world’s largest population of Nuer outside South Sudan. Had I impressed them with talk of a landscape similar to their own, the way the broadsides had lured my relatives? It couldn’t be—all I’d had to do was mention snow to the Africans and their enthusiasm waned. Originally, resettlement agencies sent the Nuer to rural Minnesota, Virginia, Arizona, California, and upstate New York. They had to establish themselves quickly: all our government gave them was a loan for the plane ticket from Africa, less than three hundred dollars cash, and food stamps. They had to start paying back the loans within six months—a tall order when you’re traumatized by war, not yet fluent in English, and largely unaware of American customs. Through informal cell phone networking, the Nuer converged on Nebraska. Cheap housing attracted them—and openings in the meatpacking industry, that mainstay of immigrant labor. In many Nuer families, both spouses work two shifts. The slaughterhouse was a psychologically difficult workplace, as they had just fled a war that had more civilian casualties than World War II. The slaughterhouse worker I spoke to was bothered by the screams of the half-dead cattle while their hides were ripped off with hooks. You are supposed to wait until the eyes tell you what to do, he said. Read More »
August 21, 2014 | by Dan Piepenbring
In The Recognitions, his brilliant novel about an art forger, William Gaddis wrote, “Originality is a device that untalented people use to impress other untalented people to protect themselves from talented people … Most original people are forced to devote all their time to plagiarizing. Their only difficulty is that if they have a spark of wit or wisdom themselves, they’re given no credit. The curse of cleverness.”
Art and Craft, a new documentary, is a similarly vexed study of authenticity and creativity: it tells the story of Mark Landis, an art forger who is, as the design site Colossal puts it,
arguably one of the most prolific art forgers in U.S. history, having tricked over sixty museums in twenty states into believing his masterfully created replicas are authentic artworks. The catch: so far, it appears Landis, who has been diagnosed as schizophrenic, has yet to commit a crime. While he’s caused headaches, confusion, and multi-year investigations, he has never sought to benefit or profit from his forgeries in any way. Instead, he enjoys the performative act of pretending to be a philanthropist who makes donations of obscure artwork to art institutions, many of which unknowingly exhibited the fakes, allowing Landis the secret thrill of seeing his work on display.
On the other end of the spectrum is Matthew Leininger, a righteous curator whom the Times calls “a kind of Javert to Mr. Landis’s Valjean.” Leininger has made it his mission to put a halt to Landis’s ruse; he “maintains a database of all known contacts with Mr. Landis, sightings of him and works he has copied … he uses a dry-erase marker to update a laminated map in his office.”
But has the man really done anything wrong—is he really a kind of failure? Certainly Gaddis would say so—“I tried to make clear,” he says of The Recognitions in his Art of Fiction interview, “that Wyatt [the forger] was the very height of a talent but not a genius—quite a different thing. Which is why he shrinks from going ahead in, say, works of originality. He shrinks from this and takes refuge in what is already there, which he can handle, manipulate. He can do quite perfect forgeries, because the parameters of perfection are already there.”
Maybe the same could be said of Landis, but that seems to give short shrift to his project. A 2012 article elaborates on the remarkable scope of his talents (or, if you remain skeptical of the validity of such things, his “talents”):
Landis creates works in oil, watercolor, pastels, chalk, ink and pencil, making most of his copies from museum or auction catalogs that provide dimensions and information on the originals.
He sometimes bestows gifts under different names, such as the Father Arthur Scott alias used at Hilliard. In that case, he told officials that his dead mother had left works including Curran’s oil-on-wood painting “Three Women” and that he was donating it in her memory … To convince museums he is a philanthropist, he also concocts elaborate stories about health concerns, said Cincinnati exhibit co-curator Matthew Leininger.
“He has been having heart surgery for almost thirty years,” Leininger said with a frustrated laugh. “This is the strangest case the museum realm has known in years.”
Landis, fifty-seven, acknowledges what he’s up to. He told The Associated Press in a phone interview from his home in Laurel, Miss., that he made his first forgery donation to a California museum in 1985.
“They were so nice. I just got used to that, and one thing led to another,” he said. “It never occurred to me that anyone would think it was wrong.”
There’s no release date for Art and Craft yet, but you can see the trailer, which brings to life Landis’s eccentricities, here. “The art world is a very strange place,” says one of its interviewees, in what may be the understatement of the year.