Gossip Central

Audrey Flack and Amy Zerner: The Goddess and her Wiles at M & M Fine Arts

In her 1986 book, Art & Soul: Notes on Creating, the artist Audrey Flack recounts a time when, housebound in East Hampton, she listened to “Candle in the Wind,” Elton John’s elegy to Marilyn Monroe, allowing the muse to infuse the painting of Marilyn she was working on. Now two drawings of Marilyn, still evocative to the artist, as muse and goddess, are a compelling part of a show at M & M Fine Arts in Southampton: “Smiling Marilyn with JFK” and “Marilyn Phantom of Delight” (2014). The Marilyns, exhibited among many other works by Flack, are paired perfectly with art from Springs resident Amy Zerner. Using “goddess” as their theme, the artists occupy adjoining spaces with paintings, drawings, and tapestries that are distinctly feminist, strongly narrative, featuring bold female entities, provocative and beautiful.

A world class artist, a pioneer in photorealism, a master sculptor, Flack’s expansive career includes a 1974 painting, “Leonardo’s Lady,” currently on view at MoMA. Goddesses are Flack’s metiere, including “Medusa,” depending on how you view the snakes adorning her hair. For me she’s beatific, radiating otherworldliness.

Ric Burns on Making Oliver Sacks: His Own Life: Narrative is Therapy

Waxing euphoric, documentarian Ric Burns, exclaimed, “The story in 14,233 lines was an attempt to get to the bottom, to heal the world.” He was not speaking of Doctor Oliver Sacks and his biopic, Oliver Sacks: His Own Life, of the noted neurologist and writer of Awakenings (1972) and The Man Who Mistook his Wife for a Hat (1985), the subject that brought us together on the phone this week, but of a current project on Dante, the Italian Renaissance author of The Divine Comedy: “Now in 2020,” said Burns, “Everything needs healing.”

The theme of healing unites these films for Ric, the younger brother of Ken Burns, to whom he apprenticed himself for the mini-series The Civil War and other projects, before striking out on his own. Oliver Sacks: His Own Life was featured in last year’s New York Film Festival—he says of the prestigious festival: “We’re not in Kansas anymore,” but as he’s made the rounds, including the 2019 Hamptons International Film Festival, he’s found, “People really gravitate toward Oliver Sacks.”

David Byrne’s American Utopia: Spike Lee’s Documentary Brings Us to Our Senses

Back before the pandemic made everything stop making sense, David Byrne opened his American Utopia at Broadway’s Hudson Theater, the most entertaining show in town. Everybody knew it, and tickets sold like hot cakes. Of course, so much in America had stopped making sense prior to the unanticipated lockdown; as upbeat as American Utopia was, a sly critique marked every song in this unique musical, immigration, leadership, and Black Lives Matter. Now that Spike Lee has made a film of the staged performance, with the great Ellen Kuras’ cinematography, and now that the film has opened the Toronto Film Festival last week, and will be featured in the upcoming New York Film Festival before it airs on HBO in October, a new audience can have a close up view of the most exuberant, life affirming, and topical musical, just before our elections.

John Waters on Fire: New York Film Festival Poster Boy

Speaking of bad boy artists such as himself, writer William S. Burroughs proclaimed that “You become respectable if you stick around long enough.” John Waters, the creator of the nastiest images in movie satires, would gag at the implication of respectability, and if you check out the irreverence of his poster for the 58^th NYFF, you can see his level of impropriety at work. No boundaries. Nothing sacred. Some of our finest directors—Scorsese, Almodovar, Godard, Varda, Jenkins-- trashed. How very John Waters!

And yet, the bad boy in brocade jackets is on a roll! This past May, when he received an honorary degree from The School of Visual Arts, Waters wore a traditional gown, cap, and latex gloves, all in black, his signature pencil thin ‘stache under an artsy mask. Pulling it off, he consoled the graduates who’d been robbed of a “normal” graduation: “If you do die tomorrow, at least you’ll have a college degree.” As SVA’s President David Rhodes conferred upon him a Doctor of Fine Arts, Waters thanked everyone for their support of a lunatic: “Just call me Doctor Dirt.”

Ethan Hawke Lights Up Tesla

In director Michael Almereyda’s poetic hands, genius inventor Nikola Tesla is an absorbing if brooding subject. In Almereyda’s latest movie Tesla, he is the focus, and played by Ethan Hawke who had starred as Hamlet—the archetypical absorbing if brooding subject-- in Almereyda’s 2000 movie. Here Tesla fascinates, having also been depicted, a secondary character in 2019, in Alfonso Gomez-Rejon’s The Current War, played by Nicholas Hoult. In this past December’s run-ups to Oscars, in the last gasp of influencer screenings, Michael Shannon who stars as George Westinghouse in that movie asked if the Motion Picture Academy members were paying attention to that very special and important truth-based drama. Alas, I had to report, they were not. This glimpse of history was simply not electric. And Almereyda’s movie, now screening as part of a tribute to his oeuvre at the Museum of the Moving Image, may not be on the awards radar either, but in its poetry of image, performance, an a-chronology of vision, it is a bold and beautiful work, and memorable for Ethan Hawke’s Tesla. You’ve gotta love his slightly off rendition of “Everybody Wants to Rule the World.”

Poetry in a Pandemic: Bukowski, Towle, Giorno, La Prade

For Charles Bukowski’s 100^th birthday, coronavirus or not, attention must be paid. Famous in movies portrayed by Mickey Rourke (Barfly) and Matt Dillon (Factotum), the subject of a 1973 documentary by Taylor Hackford, Bukowski was a one-of-a-kind, sexy despite huge facial crevices left by acne, crude: he once described writing a poem was like taking a big bear shit. Now there’s a new documentary assembled from a rare, rediscovered 1981 interview by Silvia Bizio, an Italian journalist, You Never Had It-An Evening with Bukowski, directed by Matteo Borgardt, and whether or not you agree with Bukowski’s view of poetry composition, it is a must-see for a glimpse of this boozing, chain-smoker who fascinates with every word.

Blair Underwood’s Ecstatic Face in The Pack, a Virtual Premiere at Guild Hall

The season would not be eh, the season without all-star comedy from Eugene Pack. He was back virtually on Sunday premiering a program of 3 short works to benefit Guild Hall, starring Matthew Broderick and John Leguizamo performing together for the first time, Blair Underwood and Sherri Shepherd, and Rachel Dratch, Cecily Strong, Andrea Martin, Santino Fontana and Maulik Pancholy. The talented Dayle Reyfel, Pack’s partner and frequent ensemble player, appeared in an unusual way. The playlets inaugurated the final leg of a series that will include some live, distanced, performances in the Guild Hall garden, all sold out. Reached by phone in LA, playwright/ performer, Eugene Pack said he is busy bringing actors together, but he wants everyone to know The Pack owes more to film, although it sounds more like an innovative hybrid, reflecting our current states of creativity.

Dr. Ruth Westheimer on Author’s Night: Sex Talk in Brief

Dr. Ruth Westheimer, now 92, gets hot and heavy talking about sex. This year’s Author’s Night being different from all others, her talk was on Zoom, no touching allowed. Which does not mean it was phone sex, or phoned in. One of the joys of listening to the pint-sized therapist who loves to boast that her grandkids are taller than she is, is hearing her say the words vagina and penis with aplomb, whether or not the discussion calls for it. That’s part of her schtick, getting people used to the vocabulary, and the action. This year she is celebrating a reissue of her Heavenly Sex, dispensing the wisdom of the sages on her subject. “In the Jewish tradition,” she says, “sex is an obligation between husband and wife,” especially on Friday night, the beginning of the Sabbath. The sages were the best at sex therapy, she opines, because they suggested the man say to his wife, you are the best, an effective aphrodisiac. A husband can enter the vagina from behind, leaving the clitoris for stimulation. Good to know.

Charlize Theron in The Old Guard: Some Myths Don’t Die

From the look of Charlize Theron throughout her new Netflix movie, The Old Guard, immortality is not what it’s cracked up to be. Grimacing while engaging in the most athletic combat against warriors, scientists and opportunists who want to package her “gift,” she’s not having it. Called “Andy,” short for Andromache, so you know she goes back to Greek myth, she has already endured the fall of Troy and murder of her son. But through the ages, with medieval torture repeated endlessly, she’s the embodiment of the Myth of Sisyphus. Loneliness, watching loved ones die, may be worse, or facing drowning over decades as she does, having committed the sin of witchcraft alongside fellow immortal Quynh (Van Veronica Ngo), encased in an Iron Maiden. And yes, a legend Andy is, all fierce, her body finely tuned, not a gussied-up Wonder Woman. Watching Andy go through her paces is thrilling.

South Etna: A Pop-Up Provides Food for Thought in Montauk

If it is true, you are what you eat, at South Etna’s inaugural show in Montauk, “Painting is Painting’s Favorite Food: Art History as Muse,” art was most nourishing. At this week’s official gallery opening, a masked affair of course, scenesters and artists alike gathered in the outdoor space beside the exhibition space to talk art, to see each other, and queue up to view the work, only four at a time in the two-room faux Tudor space. Over Pimm’s and iced tea, a lively group including Cynthia Rowley, Ugo Rondinone, Stella Schnabel and many others congratulated Amalia Dayan and Adam Lindemann on this tasteful pop-up gallery. As joyful as the art is colorful and fresh, curated by Alison M. Gingeras, the event was a nostalgic nod to our pre-pandemic celebrations.

As you enter the gallery on the right, a post-expressionist painting, “The Seated Painter (After Vermeer),” illustrates at once the quality of work in the exhibition, and its theme, the way in which art inspires art. A figure seated at an easel has his back to us, perhaps the artist known as Maryan himself in 17^th century dress, from 1966. Born Pinchas Burstein, Maryan survived Auschwitz and lived for a time in New York, famed among artists.