a weddings & parties shoot warrants flowers—lots of them. we tagged along with our set designer
Tracy on a recent trip to New York City’s flower district (the inspiration for this month’s shoot) to learn just why you shouldn’t arrive at the market later than 7am and why Tracy never travels…
Listen to the Fresh Air interview here.
American director, producer and scriptwriter Steven Spielberg will preside this year over a star-studded Jury. Eight top-flight international film celebrities, active in a variety of creative fields, will help him select the winners.
Vidya Balan (Indian actress)
Naomi Kawase (Japanese director)
Nicole Kidman (Australian actress/producer)
Lynne Ramsay (British scriptwriter/director/producer)
Daniel Auteuil (French actor/director)
Ang Lee (Taiwanese director/producer/scriptwriter)
Cristian Mungiu (Romanian scriptwriter/director/producer)
Christoph Waltz (Austrian Actor)
The task before the Jury of the 66th Festival de Cannes is to decide between the various films in Competition. The prizewinners will be announced during the Closing Ceremony on May 26th, culminating in the award of the most coveted title of all – the Palme d’Or.
A photo taken on May 14, 2013 shows the official poster of the Cannes Film Festival on the Palais des Festival on the eve of the 66th edition of the Cannes Film Festival. Cannes, one of the world’s top film festivals, opens on May 15 and will climax on May 26 with awards selected by a jury headed this year by Hollywood legend Steven Spielberg. Photo: LOIC VENANCE, AFP/Getty Images
You Know It As Spring
These are the standing-water
weeks. Sliding gray skies
stall, and puddles lie more dull
for looking up. Lakes
shudder below gusts and stick out
their many chins. They cannot
be budged. All the world wants
is to be like winter
promised, but mortal
are the seasons, too. You are
tall, so tall, so
maybe you’ve never left
your body like this, standing in water
rising, the face islanded.
Enjoy … Jill Osier’s poems here: http://blogs.slc.edu/campbellcorner/2011-2/jill-osier/.
Now Showing | Urs Fischer
April 23, 2013, 11:15 am
The artist Urs Fischer may humbly refer to his ambitious exhibition occupying 65,000 square feet of Los Angeles MOCA’s two venues as “pretty much a sculpture show,” but it’s more than that. Fischer and Jessica Morgan, the Tate Modern’s curator, have designed a stunning visual presentation collecting more than 10 years of Fischer’s artworks into a formal exercise in high contrasts — order built from disarray, precision from destruction — presented through radical scale shifts, disharmonious color schemes and surprisingly cohesive textural oppositions.
The exhibition showcases many of Fischer’s canonical works, like “Untitled (Soft Bed),” a cast aluminum bed that’s sagging and collapsed but as sublime as an L.A. sunset with its pale paint striations, and “Untitled (Bread House),” a witchy hut made from crusty baguette logs. These more surreal stand-alone representational works, whose narrative whimsies are reinforced by surrounding sculptures depicting lazy skeletons, overgrown fried eggs and cheese blocks, are perfectly undermined by cavelike holes Fischer has cut in the museum walls, and the dirty black brushwork with which he’s disheveled the pristine floors. “A lot of artists I like create a very specific order,” Fischer says. “I would like to be an artist like that. Most art is about structure or order, just like our lives have order.” He adds that despite that admiration, “somehow disorder is not unnatural to me. It’s more natural.”
The exhibition is designed to oscillate between, as Fischer says, “things made straight from the real objects: a horse, a bed, wallpaper, scanned or processed, not handmade,” and artworks that “start with digital data, then go artisanal.”
Case in point: colonizing the Geffen space is a massive site-specific collaborative clay sculpture project made by 1,500 participants over four weeks. Here, a series of dusty, labyrinthine trails meander through clumpy, dioramic universes stacked with rough-hewn objects ranging from psychedelic abstractions to more figurative and cartoonish pieces: sand castles, igloos, hearths, gnomes, tree stumps. Aesthetically, this wonderland serves as an elaborate botanical garden for three previously made giant wax candle sculptures, prefaced outside by a gargantuan “scholar’s rock” installed in the museum’s parking lot, which Fischer scaled up from a palm-held piece of clay into a hotel-size monument. Fischer calls this effort “my biggest collaboration yet: free, fearless, instant fun and very direct. And inclusive as a way to subvert museum exclusivity.”
So is this a retrospective, as it’s been labeled? “It depends on what kind,” Fischer says. “It’s based on atmosphere rather than on an academic run-through. I wanted to find a way to deal with old work as well as the new without being aggressive about trying to change what it all is.”
“Urs Fischer” is on view through Aug. 19 at MOCA Grand Avenue and the Geffen Contemporary at MOCA; moca.org.
Sofia Coppola photo by Ben Toms. Published in VOGUE November 2011.