things i am looking forward to do when i get back from hawaii….. woohoo

we are off to Hawaii [the big island]  tomorrow, apartment is secure from the neighborhood burglar, as secure as i can make it now, so don’t worry it never does any good anyways. have most of camera gear with me and i’ll try to be more careful this trip. i am sure i’ve over packed too much clothing but don’t know what we’ll run into. humpbacked whales breaching woohoo, redhot lava flows, volcanos active and not, lots of stars, sandy beaches, hawaiian shirts. plenty of sunscreen and cf cards.

this is our 1st year anversary after having put our dog to sleep ending her suffering. of course i have to dream about her last night. part of growing older being seperated from the ones we love. something to look forward to. oh well i’ve nothing but fond memories of her.

now if i could only figure out how to relieve my sons suffering but he’s not an honest person with anybody and without honesty there’s not going to be much progress. i think he’s on his way to living in a cardboard box and hollering curse words at passing people, talk about pain there it is. theres noting i can do about it.

yesterday we went to see ‘Crazy Horse’ at film forum, Celebrated documentary director Frederick Wiseman spent ten weeks with his camera exploring one of the most mythic places dedicated to women: ‘The Crazy Horse.’

Over the years this legendary Parisian cabaret club, founded in 1951 by Alain Bernardin, has become the Parisian nightlife ‘must’ for any visitors, ranking alongside the Eiffel Tower and The Louvre. which i thought was beautifully lit but it’s the crazy horse. what’s not to like except the length of the movie, but wonderful anyways.

these are some of the things i am looking forward to do when we get back. well these and getting ready for a joint exhibit with mary in Lancaster PA beginning in April. i will post more on the exhibit closer to the date when we figure out what’s going to be shown.

it’s so wonderful living in a cultural center, we get an opportunity to see so much as it comes through. walking down the street today i saw shoots coming up to meet the sun, they think it’s spring already. now if only i could get my wireless system to work. oh well.

heres the partial list:

Weegee at icp

Weegee: Murder Is My Business

January 20–September 2, 2012

For an intense decade between 1935 and 1946, Weegee (1899–1968) was one of the most relentlessly inventive figures in American photography. His graphically dramatic and often lurid photographs of New York crimes and news events set the standard for what has become known as tabloid journalism. Freelancing for a variety of New York newspapers and photo agencies, and later working as a stringer for the short-lived liberal daily PM (1940–48), Weegee established a way of combining photographs and texts that was distinctly different from that promoted by other picture magazines, such as LIFE. Utilizing other distribution venues, Weegee also wrote extensively (including his autobiographical Naked City, published in 1945) and organized his own exhibitions at the Photo League. This exhibition draws upon the extensive Weegee Archive at ICP and includes environmental recreations of Weegee’s apartment and exhibitions. The exhibition is organized by ICP Chief Curator Brian Wallis.

cindy sherman at moma:

Cindy Sherman. Untitled #466. 2008. Chromogenic color print, 8' 1 1/8 x 63 15/16" (246.7 x 162.4 cm). The Museum of Modern Art, New York. Acquired through the generosity of Robert B. Menschel in honor of Jerry I. Speyer. © 2011 Cindy Sherman

Cindy Sherman

February 26–June 11, 2012

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

Cindy Sherman (American, b. 1954) is widely recognized as one of the most important and influential artists in contemporary art. Throughout her career, she has presented a sustained, eloquent, and provocative exploration of the construction of contemporary identity and the nature of representation, drawn from the unlimited supply of images from movies, TV, magazines, the Internet, and art history. Working as her own model for more than 30 years, Sherman has captured herself in a range of guises and personas which are at turns amusing and disturbing, distasteful and affecting. To create her photographs, she assumes multiple roles of photographer, model, makeup artist, hairdresser, stylist, and wardrobe mistress. With an arsenal of wigs, costumes, makeup, prosthetics, and props, Sherman has deftly altered her physique and surroundings to create a myriad of intriguing tableaus and characters, from screen siren to clown to aging socialite.

Bringing together more than 180 photographs, this retrospective survey traces the artist’s career from the mid 1970s to the present. Highlighted in the exhibition are in-depth presentations of her key series, including the groundbreaking series “Untitled Film Stills” (1977–80), the black-and-white pictures that feature the artist in stereotypical female roles inspired by 1950s and 1960s Hollywood, film noir, and European art-house films; her ornate history portraits (1989–90), in which the artist poses as aristocrats, clergymen, and milkmaids in the manner of old master paintings; and her larger-than-life society portraits (2008) that address the experience and representation of aging in the context of contemporary obsessions with youth and status. The exhibition will explore dominant themes throughout Sherman’s career, including artifice and fiction; cinema and performance; horror and the grotesque; myth, carnival, and fairy tale; and gender and class identity. Also included are Sherman’s recent photographic murals (2010), which will have their American premiere at MoMA.

In conjunction with the exhibition, Sherman has selected films from MoMA’s collection, which will be screened in MoMA’s theaters during the course of the exhibition. A major publication will accompany the exhibition.

The exhibition is organized by Eva Respini, Associate Curator, with Lucy Gallun, Curatorial Assistant, Department of Photography.

Major support for the exhibition is provided by Jerry I. Speyer and Katherine G. Farley, The Modern Women’s Fund, and The William Randolph Hearst Endowment Fund.

Additional funding is provided by The Broad Art Foundation, David Dechman and Michel Mercure, Robert B. Menschel, Allison and Neil Rubler, Richard and Laura Salomon, The Robert Mapplethorpe Foundation, Glenstone, Michèle Gerber Klein, Richard and Heidi Rieger, Ann and Mel Schaffer, and The Junior Associates of The Museum of Modern Art.


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