And let me put it this way: when you’re talking about the films of James Mangold and you see the words “star,” “stud,” and “special” together that can only mean two possibilities: Joaquin Phoenix or Sylvester Stallone.
And if either of them are a no-show Tuesday, I’m sure moderator Anna Deveare Smith’ll be able to channel them as only she knows how.
In one of my other lives, I’m the co-chair of this benefit for MoMA’s Film and Media department, A Work In Progress, which this year honors Walk The Line director James Mangold.
The gig is this coming Tuesday, May 23rd, from 7-11pm, at MoMA and if past years’ have been any indication, the event will be awesome (and will run slightly over schedule).
Check out the invite here, and then buy a beneficently priced ticket or two here. [$400 to see the celebrity ear hair, $225 to see the celebrity bald spots, and $150 to eat the celebrity hors d’oeuvres.]
A Work in Progress: An Evening with James Mangold [ersvp.com]
Previously: And the AWIP goes to: Marc Forster, Alexander Payne, Sofia Coppola, David O. Russell
The West Side Is Among Us Again
Whit Stillman not only lives, he writes in the Guardain about what the heck he’s been working on all this time. Some adaptation that didn’t work out, a script about Jamaican gospel churches…
As I’ve gone from identifying with the protagonists of Metropolitan to the aging yuppie at the bar at JG Melon’s in Metropolitan, I have to say, I’m a little put off by Mr. Stillman’s apparently laconic–or wary, maybe–approach to filmmaking.
But that’s probably because I seem to be doing the same thing, bouncing back and forth in stolen moments between pipe dream projects and adaptations. I just haven’t got three features under my belt.
Confessions of a serial drifter [guardian via greencine]
Finally! A Matthew Barney Movie You Can Understand

Documentary director Alison Chernick’s newest film, Matthew Barney: No Restraint, sounds like a must-see, and not just for the rare behind-the-scenes footage in includes from the set of the artist’s own latest production, Drawing Restraint 9. [That’s the new one. You know, the one with Bjork. The one shot on a Japanese whaling ship. The one that has people pretending sure, they knew what a flensing knife was before they read the production notes, didn’t you read Moby Dick or something? Same page here? Great, let’s move on.]
No, MB:NR offers some things even rarer in the Matthew Barney-verse: dialogue. explication. edits. time for dinner. [The docu runs an audience-friendly 70 minutes.] From the trailer, it looks like there are some thoroughly objective interviews with disinterested folks like Barney’s dealer, his curator, his Guggenheim director, and his employees. And the film is being distributed by Barney’s distributor, too, who must be considering this a kind of primer for Barney neophytes, a gateway drug, if you will, to vast vats of Vaseline.
But enough snark. I kid because I love, more or less. And I think MB:NR can provide some interesting insights into Barney’s process, if not exactly into his work. Which, given its sculptural, material, and experiential nature, is probably as close as you can get
expect to get.
Matthew Barney: No Restraint debuted at Berlin and in the US at Full Frame, and it’s continuing on the festival circuit. But The Walker Center is also screening the film next Thursday, May 25, at 8pm. See the WAC calendar for details and tickets.
Matthew Barney: No Restraint filmsite [matthewbarneynorestraint.com]
Previous Barneyana on greg.org
“ps – Manalo Blahnik [sic] made the shoes.” [except for the Chuck Taylors]
Because I happen to know that she prefers the US spelling, “autarchically,” I believe this interview with Sofia Coppola is translated from the French:
SC/…I had been interested also by this period myself, the XVIIIth century in France, for quite a while, the atmosphere at Versailles, a place that functionned autarkically. I liked the idea of reconstituting that period, of doing a costume drama: to do that became then some sort of challenge for me.
JML/ Did you first try to do that film before shooting Lost in Translation?
SC/ I was working on MA’s screenplay much before LIT. In fact LIT was at first nothing but a distraction from MA, a means for me to get away from a project that I knew was going to be rather Pharaonic. After LIT I decided to concentrate myself entirely to MA, it then became a sort of obsession for me. I really put myself to work on the screenplay of MA on the very day that followed the end of LIT’s shooting.
“Title: In Marie-Antoinette’s Head” [ohnotheydidnt via greencine]
Here Comes The Sun (Olafur Eliasson @ Portikus)
You may know Brian Sholis from such venues as Artforum and his as-time-permits blog, In Search of the Miraculous.
Brian just posted some behind-the-scenes shots of the first of twelve installations Olafur Eliasson’s doing at Portikus, the Frankfurt art space. As anyone familiar with Olafur’s work knows, the behind is usually as important as the front.
A sneak peek at Olafur Eliasson’s ‘Light Lab’ [insearch]
And Some Have ‘Starchitect’ Thrust Upon Them
Supposedly reluctant starchitect Rem Koolhaas talked with the NYT’s Robin Pogrebin about the mutiny in his firm, OMA’s NY office, which is headed by supposedly reluctant starchitect-in-training Josh Prince-Ramus. Since the completion of the office’s Seattle Library in 2004, PR [sic] has been the subject of many articles in which he professes annoyance at being the subject of so many articles.
“But he [i.e., Koolhaas] said that he didn’t seek this status, that stardom had been pressed on him by a media culture that craves major figures. ‘In America the cult of celebrity makes the reality of a partnership harder to maintain,’ he said.”
PR concurs, “The media’s desire to make everything about an individual doesn’t reflect our reality.” Damn media and their craving for starchitects.
Now if we could just do something about those damn clients: Said Bill Lively, the go-to guy for the Dallas Center for the Performing Arts, which is just getting underway, “‘We’re going to have a Koolhaas-O.M.A. theater.'”
And as the client on another big OMA project in the works, an arts center in Louisville, explained, “‘The Koolhaas name obviously led us to the firm, but as I’ve learned over the years, you’re working with individuals…I think Josh is a celebrity in his own right.'” Nice.
Joshua Prince-Ramus Leaving Koolhaas’s O.M.A. to Start New Architecture Firm [nyt]
Previously: You can call me Rem
PS: archinect’s forum called this story two months ago.
Cannes’t Do
On the eve of the Cannes Film Festival, John Anderson takes a look at the phenomenally large amount of work that Palme d’Or winners Jean-Pierre and Luc Dardenne put into making their seemingly artless, effortless films.
And he looks at the phenomenally small amount of money Palme d’Or winners seem to make from US theatrical distribution. [What he doesn’t look at, though, is how much films like this will be dependent on DVD sales and rentals to make their actual US money. I thought that DVD was the new Box Office for indie/foreign/specialty films.]
Cannes Gold Tarnishes in U.S. [nyt]
[Sm]Art Money??


After conducting the biggest contemporary auction in Sotheby’s history, Tobias Meyer told Artforum’s Sarah Thornton, “The best art is the most expensive, because the market is so smart.”
Uh-huh. This is the market that paid a million-one for a generic Yoshitomo Nara painting just because it’s big. Meanwhile, one of the last Robert Smithson non-sites in private hands–and artist hands at that, the piece was being sold by its original owner, Keith Sonnier–sold for just its high estimate, $374,400 [or $300K+ plus the 20% or so premium].
The market may be smart at the top, but there’s definitely a soft-headed center, too.
Yoshitomo Nara, “Missing in Action,” 1999, est. $200-300,000. Sold for $1.08 million at Christie’s [5/10/06].
Robert Smithson, “Shells and Mirror,” 1969, est. $200-300,000. Sold for $374,400 at Christie’s [5/10/06].
Oh MyGOP, The iPod For Special Republicans

I realized when I grabbed this screenshot, I didn’t capture the actual GOP disclaimer, which disclaims any affiliation between the Republican National Committee and Apple Computer.
Still, given how hard it was to believe that such a thing as iPods for Special Republicans really existed, I thought my own interpolation was appropriate.
The Special Republican Edition iPod Video will be presented to the top 10 fundraisers who organize and host house parties on May 22nd using the RNC’s new social networking site, MyGOP [www.gop.com/mygop].
What, I wonder, would come loaded on such a rare edition iPod? [via gop.com/party]
Somehow Less Implausible Than ‘South Park Conservatives’

How stoked are you that AirArabia, the JetBlue of Sharjah, UAE–best known to real estate brokers as “Dubai Adjacent”–used the South Park Character Generator for the little characters on their website?
Each time you reload the site, you get a new one, so collect’em all!
AirArabia.com [via gridskipper, who went to Dubai, and all he didn’t get was this lousy t-shirt]
And The Nominees For Best Kicker In An Art Theft Story Are…
1) Truckload of Missing Art Found in Trailer Park, by Alan Feuer, NY Times.
2) A–
Actually, we have winner right there.
Marc Jacobs Kimono
Of course, it’s actually called a yukata, and it’s for wearing on summer evenings or hot days.
And of course, it’s actually Marc by Marc Jacobs, the bridge line, but still. It is the only authentic Marc Jacobs logo kimono on the market right now. Women’s sizes only, I’m afraid.
Marc Jacobs yukata, 48,300 yen [marcjacobs.jp via jeansnow]
5/15: Matt Stone & Trey Parker Masterclass at NFT [London, En-guh-land]
After you sit back and digest the delicious hilarity that Mr. Hankey’s creators will be appearing as “part of The Stanley Kubrick Masterclass series,” peruse the NFT description of the event:
In London for this ‘Skillset Masterclass’, Parker and Stone will explore the art of creating political satire, getting inspiration from Bruckheimer to Thunderbirds, the merits of puppet versus cell animation, the idea of absolute creative freedom and how far is too far.
Since they offered to talk about absolute creative freedom, ask them about working with constraints and in collaborative environments, since their flabbiest, least funny, least nailed down, most disappointing achievements–Team America World Police, Orgazmo, BASEketball–were the ones where they were given carte blanche?
Also, which one of them grew up Mormon?
The Skillset Masterclass with Matt Stone & Trey Parker [bfi-org.uk via kultureflash]
Metropolis Magazine Discovers Olafur Eliasson
Considering it’s an architecture magazine, I’m surprised there’s no mention of his architectural interventions, like turning rooms into cameras obscura [sp?] or cutting holes in the roof to make like a sundial.
Never mind Olafur’s proposal for a new music hall in Iceland. Still, it’s a good intro.
Optical Magic [metropolismag.com]
Ouroussoff, Koolhaas, and The Scalable Jane Jacobs
I still can’t tell if I was the only one kind of weirded out by the sudden and overwhelming outpouring of nostalgic loss and ruminating over the death of Jane Jacobs.
Archinect, Tropolism, Curbed, Kottke, even the Home of the Whopper of Superficiality, Gawker, had a paean to the urban theorist/activist within hours after she died.
Not to speak too ill of her or her vital, inspiring ideas and all, but I wonder if someone with a Nexis account can look up how many mentions Jacob had garnered in the weeks, months, even year or two before her death, just to get a little bit of perspective.
Of course, I’m always troubled when I end up agreeing with Witold Rybczynski, who pointed out what many New Yorkers already know as giant, extruded “luxury” condo towers fill up once-edgy, heterogeneous neighborhoods and a once-risky High Line is on track to become the High Lawn for a dozen-plus starchitected buildings: vibrant city fabric is now a luxury amenity.
But Kottke’s right and too nice to be righter when he says that Nicolai Ouroussoff‘s counter-examples to Jacob’s idealized dense cityscape–Lincoln Center and the WTC–are a joke. There needs to be some contrast and some alleviation of the pressure that a dense city creates, but as recently as like five minutes ago, Lincoln Center was a consensus failure set for a Diller+Scofidial jazzing up. You know, to pump up the energy level and get some more street-level activity going.
Meanwhile, mall developers are, oddly, the ones working the hardest to apply Jacobs’ multi-use, multi-constituency formulas to their newest urban destination retail experience centers [sic], which are essentially privately owned and managed downtowns.
Ouroussoff’s strongest refutation of Jacobism is, of course, LA, but what if that’s some kind of Jacobist diversity/vibrancy, just with a car’s extended range?
No one going to Manhattan anymore because it’s too crowded and expensive. From Williamsburg to The Slope and who-knows-where, Brooklyn is ascendant. I wonder if the Jacobs ideals still hold true, just on a larger scale than her little legs could imagine.
Koolhaas talked about the NY Grid and the city center’s march northward over 200 years, From within (the) Wall to Five Points to Allen to Bowery to Astor to Sixth to Fifth to Park to. Then once at Columbia, I watched him make the same argument, only about the Pearl River Delta, where the entirety of Hong Kong and Kowloon is the late 19th century Delancey Street of the late 21st century.
Now look what I’ve done. I started out only wanting to mention that in fact, according to the buzz, Lincoln Center is supposed to suck, [I don’t really think it happens to, but then, I don’t use it that much, except to enjoy all the unobstructed light it sends into the apartment.] but now I’ve wound around and ended up agreeing with that monkey who curated the dress show at his “Prada Epicenter” [sic sic sic]. It’s late. Let me sleep on this, and in the morning, after a nice big glass of Diet Coke, I’ll come back adn solve the Problems Facing Our Cities.
Hal Foster on Koolhaas on urban congestion, Delirious New York, and the Pearl River Delta. [lrb.co.uk]