Category: making movies

The general contours of Edward S. Curtis’s decades-long struggle to produce his 20-volume photographic epic, The North American Indian, are not the issue, though much of the details hit differently now than they did when I was a dewy-eyed child. This 2012 Smithsonian article does a fine job of laying out the top-line WTFs, like destroying his glass negatives to keep his wife from getting them in the divorce. And selling his $75,000 Kwakiutl restaged documentary to the American Museum of Natural History for $1,000 during WWI.

But what I was not prepared for Curtis’s Hollywood era.

In 1920, a broke 52-yo Curtis moved to Los Angeles, where he shot celebrity portraits, and took promotional film stills for his friend Cecil B. de Mille. Here is a hand-colored portrait of Anna May Wong, which sold at Christie’s in 2002.

Here is one of seventeen film stills from de Mille’s The Ten Commandments (1923) in the collection of the California Historical Society.

This is the only one that has the filmmaker in it; the rest are all posed or captured moments of the world of the film. But this one, too, of course, feels staged.

Curtis may have dismissed his commercial and commissioned work, but it still embodies his process, techniques, and aesthetic choices. Curtis has been criticized for his staging and manipulation of his North American Indian images, for the romanticization and exoticizing of his subjects, and for ignoring the active oppression and cultural violence Indigenous people were experiencing throughout his project.

The Hollywood work feels like a perfect lens for recognizing what’s going on in photographs, Curtis’s or otherwise.

If I had a nickel for every time an early 20th century photographer deleted a small alarm clock in order to make their pre-modern point, I’d have two nickels, which isn’t a lot, but it’s strange that it’s happened twice. [greg.org]

In 2007 Salman Toor was a 24-yo student at Pratt when he made this portrait of Zohran Mamdani, who was then 14. Amitav Ghosh posted the pic on instagram after Mamdani’s victory in the Democratic mayoral primary in NYC, which he celebrate with Mamdani’s parents, Mahmood Mamdani and filmmaker Mira Nair.

From Artsy’s report, it sounds like the study was created in preparation of a larger family portrait. Toor is asked to do the corny thing of seeing the future in this portrait. Inshallah he wins, of course, but I do not go for this portraiture sorcery.

On the other hand, if you were to ask me if this looks like the portrait of a kid who told his mother to reject the offer to direct a Harry Potter movie and instead keep working on adapting a Jhumpa Lahiri novel about grieving over the loss of a far away family member, I would say “Absolutely, nailed it, 1000%.”

In Summer 1963, amidst the scandals and arrests that marked the earliest screenings of Flaming Creatures, avant-garde filmmaker Jack Smith was already at work on his second movie, Normal Love. Andy Warhol, who’d just bought his first movie camera, was filming the first rolls of Sleep at his dealer Eleanor Ward’s rented farm in Old Lyme, Connecticut.

On the weekend of 11 August, Jack Smith and the cast of his new feature film-in-progress, Normal Love, also turned up [in Old Lyme]; they were there to film the Cake Sequence from Normal Love, in which the cast dances on top of a giant wooden birthday cake designed by Claes Oldenburg, which they constructed in a meadow on Ward’s property (figure 1). Warhol appeared in the Cake Sequence of Normal Love. that’s him on the right (figure 2), in the dark glasses; on the left, you can see poet Diane di Prima, in the turban, and Mario Montez to her right. And he also shot one of his very first films of this event, a four-minute silent color reel titled Andy Warhol Films Jack Smith Filming “Normal Love,” probably on the same day.

While promoting her personal style memoir published in 2015, Chlöe Sevigny told the story of how the first painting she bought, Karen Kilimnik’s The Great Hamptons Fire (1995) burned up in the second of two supposedly mysterious house fires of then-methhead writer/director Harmony Korine. Getting an unspun account of Y2k-era Korine and his fires has been difficult; by 2008, all he knew was, he woke up, and the house was gone [twice.] by 2019, the fires are just a line in Chris Black’s cute puff piece.

In her sadface emoji shoutout to Sevigny’s story—while blurbing Kilimnik’s current show at Gladstone—publicist Kaitlin Phillips linked to a scraped version of the story on a defunct Russian art dealer blog rather than to the original magazine. [Maybe because their image of the painting hadn’t disappeared.]

Anyway, the painting was in Kilimnik’s 1995 show at 303 Gallery, her third, which opened on Halloween, three months after Kids, and while the F/W95 Jil Sander campaign featuring Amber Valletta she’d based the painting on was still in print. The ICA show she loaned it to was called, “Belladonna,” a group show of women artists that opened in early 1997. In addition to Sevigny’s Kilimnik, Korine’s Connecticut fire destroyed the footage for Fight Harm, an in-process project where Harmony’d get the crap beat out of him by passersby, and Leo DiCaprio or David Blaine would film it. That pushes the date past 1999.

If we are to understand the story and the timeline, though, Sevigny either put the painting in Korine’s care before the first fire in New York, and left it with him, OR she gave it to him after he’d already burned down one house. All so that more people could see it, in Korine’s suburban drug den. I, too, am sad this beautiful early Kilimnik was destroyed, but it seems like Sevigny is leaving out some key aspects to this story.

The World of Interiors has run the same story about visiting Derek Jarman at Prospect Cottage three times: the first was in 1989. The second was in June 2019, and ngl, I can’t figure the hook. Jarman’s partner Keith Collins had died the year before, so the cottage was in limbo, but the Art Fund campaign to rescue it wouldn’t come until 2020. There was a restoration of The Garden (1990), and an exhibition of paintings he made at Dungeness that spring, but neither seems big enough. I just saw it trending in a sidebar, but it turns out the third time was last February, the 30th anniversary of Jarman’s death. So bless the editors and algorithms of World of Interiors, I guess.

What caught my attention was the large painting over Jarman’s sofa, in a style like none of his other works. Which makes sense, since it was not by Jarman, but by Robert Medley. The painting “is entitled Sebastiane, and is autobiographical in the sense that Robert was in the film of that name that Derek made in 1974.”

Logistics (2012) is a 37-day-long film by Erika Magnussen and Daniel Andersson that tracks in real time the route of a cheap, electronic pedometer from its warehouse in central Sweden back to its factory in Shenzhen. While it does answer the question of where the stuff in our world comes from, it is primarily concerned with how it gets to us, via truck, train, ports, and most of all, container ships.

Logistics first screened in Uppsala in 2012 and has streamed on various platforms, but since Spring 2024, it has been available on YouTube in 107 8-hour segments. It feels right at home.