Archives for posts with tag: art
by Charlie Finch

The Julian Schnabel fine art revival commenced at Sperone Westwater Tuesday night when Al Pacino hurried through the opening in a houndstooth overcoat and electroshock hair. Savvily, the gallery has priced the “Navigation Drawings,” which Schnabel wished to sell at $100,000 apiece, at a bargain basement price of $60,000 each, loss leaders for the anticipated auction boom in Schnabelia.To own a work by Schnabel is not really owning a work of art. It is more like having a souvenir from the circus. The ringmaster himself was giving a tour of the drawings, as the usual crowd of hangers-on littered the room: Harvey Keitel, Dick Cavett, Charlie Rose. Pointing at the blobs of flesh and yellow paint with which he defaced a map of Hawaii, Schnabel announced to the crowd that he had been inspired by a sunset.




At Sothebys an anonymous bidder bought a bull in a tank of formaldehyde for £10.3million. The worlds most expensive cut of beef was cooked up, inevitably, by the artist Damien Hirst, whose Beautiful Inside My Head Forever sale of 223 new works fetched £111.5million, a record for an auction dedicated to one artist.
The illustrious Australian art critic Robert Hughes, however, isnt buying the hype.

I'm Right Behind You Martin!

“No male artist, not even Rembrandt, ever made so many self-portraits. Everywhere I looked, there was Kippenberger’s heavy Teutonic mask”

Oh Yeh You Think! Listen I'm Right in Front of You!!!

From an interview with Dunn by David Everitt for the excellent book Film Tricks – Special Effects in the Movies the optical wizard described RKO as being “a tight knit corporate family that placed great importance on cooperation between departments”.  Everitt writes that although the Shadow Dance was such a team effort, effects chief Walker gave all the credit to Dunn for the classy execution of the sequence since it was Dunn who put together all of the elements in the optical printer.

As Dunn explained to author Everitt “The first images filmed were the shadows. Astaire danced in front of a blank screen while a sun arc lamp cast his sillouette.  “Once one of the shadows had been photographed and isolated, Astaires’ foreground dancing could be filmed to coincide with the shadows steps.  To do this, Astaire was positioned in front of a blank screen once more with the processed footage of the dancer’s shadow projected off screen while the camera rolled so that Astaire could keep an eye on the shadow’s movements and time his new dance steps accordingly.  Now the effects crew had one shot of Astaire and another shot of his shadow  -the two figures dancing complementary parts of the same routine.  Dunn’s printer handled the rest.  The shadow was printed three times to make a sillouette dance line of three dancers, and over this image was printed the foreground footage of Astaire by means of a travelling  matte”.  Author Everitt continues “The different elements were precisely coordinated to create a complex interaction between the dancer and the shadows to his rear”. source

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