In his text Transcendental Style in Film, the critic turned auteur Paul Schrader observed a formal connection between several mid-1900s filmmakers, particularly Yasujirô Ozu, Robert Bresson and Carl Thedor Dreyer. “Transcendental film,” Schrader argues, “seeks to maximize the mystery of existence; it eschews all conventional interpretations of reality: realism, psychologism, romanticism, expressionism, and finally, rationalism.” … Continue reading
Michel Houellebecq once wrote, “They would have to pay taxes, submit themselves to administrative formalities while ceaselessly bearing witness—powerless and shame filled—to the irreversible degradation of their own bodies.” Here, Houellebecq speaks of inevitable physical decline as inevitable spiritual decline. With your strength, goes your spirit. With your beauty, goes your hope. Whether we are … Continue reading
American art critic Kristine McKenna, writing for the Los Angeles Times in 1991, referred to artist Barbara Ess’s signature pinhole photographs as “luxuriously beautiful.” Those photographs, in which subjects are blurred, information is blacked out and realities blend into fantasies, expose photography as a medium that, at its best, is rife for the subjectivity of … Continue reading
In his text The Weird and the Eerie, the cultural theorist Mark Fisher analyzed two of the most important elements in various works of art that veer into the territory of horror and science fiction. The weird, as found in David Lynch’s Inland Empire, various texts by HP Lovecraft, Rainer Werner Fassbinder’s World on a … Continue reading
It was, at first, slightly challenging to place artist Elizabeth Jaeger’s new show Hours at Jack Hanley Gallery into the context of her larger body of work. Jaeger’s work, consisting of primarily sculpture and ceramics (with some video pieces here and there), has taken some turns since she came onto the scene. When dealing with … Continue reading
Musician, writer, cultural theorist and lead singer of rock n’ roll bands including Nation of Ulysses and The Make-Up Ian Svenonius recently posited his belief that all the best rock n’ roll is “funny and provocative.” I think Svenonius is spot-on here. However, the only aspect of this statement that I would amend is that … Continue reading