A goofily odd statue of John Glenn made out of “memory ware” (found fragments of family china, path-colored glass, etc.) towered over John Glenn Memorial Detroit River Reclamation Project (Including the Local Culture Pictorial Guide, 1968–1972, Wayne Westland Eagle), 2001, a sprawling affair that was the centerpiece of Black Out, Mike Kelley's superb, expansive installation (first realized for the Detroit Institute of Arts exhibition “Artists Take on Detroit: Projects for the Tricentennial,” 2001). The Glenn totem—based on a plaster sculpture in the library of Kelley's high school and delicately

Two questions: (1) Why are most films shown in the gallery or museum context so expensive and so pukoid? (2) In the shadow of the Hollywood sign, what is the difference between an appropriation and a remake, given that the remake is an industry standard, for better (Douglas Sirk's daunting Imitation of Life) or worse (Jim McBride's anemic Breathless), producing indifference (Steven Soderbergh's empty Ocean's 11) or grandiose inanity (Cameron Crowe's chiasmatic Vanilla Sky)? Rechanneling both trends, Michele O'Marah's feature-length video Valley Girl captures and intensifies the heart and soul