In the Fall of 2013 Jon Swihart, a scrupulous and preternaturally patient artist who lives and works in Santa Monica, was commissioned to create an oil portrait of Zamperini.
Ofili partakes of a tradition of transgressive Christianity that goes back to Dostoevsky's The Grand Inquisitor, to Graham Greene's fugitive priest in The Power and the Glory and to the damnation that infects the saintly fallen creatures in Pasolini's films.
When the public reads stories in the media about visual artists, it is all too often about art stars that are selling their works for six-figure sums or an item detailing glamorous parties on the art fair circuit.
When I ask Alicia Alonso about the thaw in US-Cuban relations, the historic events of the week and if she is happy about that, she simply says, "Who wouldn't be?"
While the chance of all of them performing collectively again has been pooh-poohed recently, Kaukonen, who obligingly covered the subject in detail, leaves the door open for some type of formal get-together.
These two artists couldn't be any more different, yet each had enormously prolific outputs that have influenced culture directly and indirectly. These two careers that cannot be summed up adequately in short order.
I'd like to follow up on my previous blog post on the Mount Holyoke College controversy surrounding The Vagina Monologues because of the responses I've received. They've run the gamut from praise to condemnation, from thanks for informing the community of an important event in trans history to constructive criticism as well as vicious name calling.
Moving can be traumatic. But last week, when the cast of a hit Broadway show had to relocate to its new home at the Bernard B. Jacobs Theatre, literally next door, the mood was more merry than miserable.
Here's something to consider. If you knew your creativity was something inside of you that you could treat, would you do it? If, like chi, it just needed to get unblocked, would you pursue opportunities to make that happen?
"Rasa" is the Indian term that describes the essence of an artwork. It only occurs through a participant's uplifted experience of the art and it is flowing in full force in American Conservatory Theater's new production of Tom Stoppard's Indian Ink.
It seems safe to say that Michael Tilson Thomas -- or MTT, as he's been known since street banners announcing his appointment as music director of the San Francisco Symphony, 20 years ago, went up all over town -- had a spectacular birthday weekend recently.
CommonUnion59 is made up of two people: Steve McKenzie and Laura Malasig. Their latest offering, Heartbeat Serenade, is slated for release shortly and boy, is it a doozy!
It frustrates Rothschild that there's a need to categorize artists and that they often need to have credentials before they are taken seriously.
In the last few weeks, Laemmle Theaters added to this Monday program a series of exciting documentaries.
The phenomenon of American life being monetarized is visible across society. Universities, foundations, charities -- not to speak of government agencies -- are used to advance personal power and prestige at least as much as to perform public functions.
During my conversation with him, the artist said that even at age 77, he still gets an adrenaline rush as he nears his studio in New York.
Like Nirvana, The Torn Images are dependent upon driving, fuzz-busting guitars. For example, the opening track "The Drifting" begins with thrumming guitars that presage a real rock-out. Unfortunately, the guitars just keep thrumming, along with the addition of drums and bass.