David Thomson is one of my favorite film critics, if for no other reason than he’s not above throwing film theory out the window to say, in effect, “I like it because I like it SO THERE.” I’m always game to read a good shadowplay soapbox from Thompson’s lovably cantankerous pen. The fact that when … Continue reading The Red Shoes: Art for Art's Sake
David Thomson is one of my favorite film critics, if for no other reason than he’s not above throwing film theory out the window to say, in effect, “I like it because I like it SO THERE.” I’m always game to read a good shadowplay soapbox from Thompson’s lovably cantankerous pen. The fact that when … Continue reading The Red Shoes: Art for Art’s Sake
Oh Taschen. Yummy, delectable, I-want-to-devour-you-whole Tahhhh-Shen. So beautiful. So sumptuous. SO expensive. And yet, somehow, worth every blessed cent. Your anthologies agonize me with want. I covet your sweetly binded spines and secretly despise those who have your volumes proudly displayed on their hand-crafted cabinetry. I’m a hater, what can I say? I own one … Continue reading A Life in Photographs: Linda McCartney
I have been remiss with my Pictorial Palettes as of late– infuriatingly so, because I truly do love these romantic indulgences of conjecture and color. So I am reinstating the tradition with Edward Hopper’s 1939 piece “”New York Movie.” A departure from our previous palettes, which were full color photo portraits or film stills, this … Continue reading Pictorial Palette: Edward Hopper's New York Movie
I have been remiss with my Pictorial Palettes as of late– infuriatingly so, because I truly do love these romantic indulgences of conjecture and color. So I am reinstating the tradition with Edward Hopper’s 1939 piece “”New York Movie.” A departure from our previous palettes, which were full color photo portraits or film stills, this … Continue reading Pictorial Palette: Edward Hopper’s New York Movie
Last month, the Kemistry Gallery in London held a show presenting the poster art of legendary graphic artist Saul Bass. Even if you don’t recognize the name, if you’re a film fan then you know his work well. If I say Vertigo, chances are one of the first things you’ll think of is that iconic … Continue reading Bass. Saul Bass.
The Guardian’s artist of the week is a Scot named Donald Urquhart whose particular area of expertise are pen and ink drawings of Hollywood legends that are not the usual glamorous soft focus fantasies. His movie stars are human and startling: they have mascara that runs, moth-eaten minks, some are ten years past their prime … Continue reading Donald Urquhart's Melancholy Babies…
The Guardian’s artist of the week is a Scot named Donald Urquhart whose particular area of expertise are pen and ink drawings of Hollywood legends that are not the usual glamorous soft focus fantasies. His movie stars are human and startling: they have mascara that runs, moth-eaten minks, some are ten years past their prime … Continue reading Donald Urquhart’s Melancholy Babies…
Normally, I am not exactly what you would call a fan of Jane Campion’s films. But a few weeks ago, I went to the theater and gave her latest film, Bright Star, a chance. Mostly because Kenneth Turan, the Los Angeles Times’ resident film critic, gave it a simply glowing review … and Turan is … Continue reading Poetry in Motion: Jane Campion’s Bright Star
Normally, I am not exactly what you would call a fan of Jane Campion’s films. But a few weeks ago, I went to the theater and gave her latest film, Bright Star, a chance. Mostly because Kenneth Turan, the Los Angeles Times’ resident film critic, gave it a simply glowing review … and Turan is … Continue reading Poetry in Motion: Jane Campion's Bright Star
The Kitty Packard Pictorial 