Slant

  • Lost in Translation and Kill Bill

    AT FIRST GLANCE, Sofia Coppola’s melancholy love story Lost in Translation and Quentin Tarantino’s brazen splatterfest Kill Bill: Vol. 1 don’t seem to have much in common beyond their similarly lavish Oscar campaigns. But then a peculiar set of coincidences begins to emerge. Both are set in a dreamlike, poppalette Tokyo, the action in both pivots on the marital troubles of a female protagonist, and the films each sport a key scene in which the heroine rides along a hospital corridor in a wheelchair. Even some of the finer points are identical, like both films’ featuring a minor Japanese character

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  • Nico Israel on artists on the Iraqi front

    DURING THE NAZI OCCUPATION of Paris in the early 1940s, Picasso’s atelier at 7 rue des Grands-Augustins was regularly visited by Gestapo agents in search of inflammatory material and hidden Jews. Once, an officer noticed a sketch of Guernica pinned to a wall, and he asked the artist, “Was it you who made this?” Picasso replied succinctly, “No, it was you.”

    Whether or not the anecdote is true—Picasso supposedly told it to a Newsweek reporter shortly after the liberation of Paris—it reveals a great deal about the art of war. Picasso had never visited the Basque town of Guernica y Luno; he learned

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  • Top Ten

    When “Real Life Rock”—Greil Marcus’s Top Ten column—first appeared in these pages in 1990, his epic, pop-inflected diary on a dizzying range of subjects was perfectly suited to an art world obsessed with heterogeneity. But what does this critical format provide us today, when the Top Ten’s radical juxtapositions seem as natural as the weather? On the occasion of our “Best of 2003” issue, I asked Marcus to revisit the early days of his Top Ten and to reflect on the virtues and vices of a column that became a genre. —TG

    IN ’78 I STARTED WRITING a column on pop music called “Real

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  • Rhonda Lieberman on Madonna

    MADONNA GOES THROUGH INCARNATIONS the way the rest of us go through tubes of toothpaste. When last season’s soigné, spiritual Madonna appeared on Larry King Live in October, one marveled at how she constantly evolves: from her breakthrough MTV “Like a Virgin” moment, writhing on the floor in a wedding gown in 1984, to her more recent, mature work, writhing on the floor sporting a cabala tattoo in the “Die Another Day” video. Her latest avatar is now enshrined at Deitch Projects: I saw it as an allegory of forces within the buff megastar, where Darkness and Light battle 24/7, and she literally

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  • Black Hole

    CHARLES BURNS GETS OFF TO great starts, though his comic-book episodes don’t begin in media res so much as in the middle of nowhere. Take issue no. 6 of his ongoing series Black Hole (Fantagraphics Books): On the left page, a teeny square hit of acid sticks to a strip of Scotch tape on a pitch-black ground. On the right, a pudgy teenage girl in a bra and jeans, arms hanging like summer sausages, stands in her dorky bedroom (Siamese cat posters, Christmas-caroling-Hummel-figurine knockoffs, a framed yearbook portrait, a ceramic pencil mug) wearing a dumb smile, her shiny hair parted down the

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  • Mati Klarwein

    I FIRST ENCOUNTERED MATI KLARWEIN in 1970. Miles Davis had just released his revolutionary Bitches Brew, which featured Mati's painting on the sleeve. It was a perfect visual synthesis of Miles's magical amalgam of funk, rock, jazz, and psychedelia. Mati soon became a famous artist, quite outside the art-world path, for the lavishly detailed, cosmically erotic paintings that fronted albums by Santana, the Chambers Brothers, Earth, Wind & Fire, and others.

    I believe that at the time Mati was going by the name Abdul Mati Klarwein. He once said, “If all Jews would add an Arab name to theirs and all

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  • Daniel Pinchbeck on Peter Pinchbeck

    WHEN MY FATHER DIED, in September 2000, he left behind hundreds of paintings and sculptures in his rent-controlled loft on Greene Street. The work ranges from severe wooden constructions made in the 1960s to woozy zigzags crafted out of plaster, from icon-size images to rolled-up canvases of vast dimensions. My father’s art went ignored, essentially unseen during his lifetime. There were no career retrospectives, no solo museum shows, no fanfare. His artist friends were his only audience.

    In the aftermath of his life, I find myself compelled to fight his battle for him: I think that my father’s

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  • Ron Galella

    ONE OF RON GALELLA’S candid portraits of Liza Minnelli, taken in 1968 at the premiere of A Dandy in Aspic, shows Judy’s little girl in an amazing white suit, black shirt, and white silk tie, a daisy brooch on her swank lapel, no longer The Sterile Cuckoo, but ready for all the cabaret, life, has to offer. It only seems strange that dandy, pixie Liza-pre Halston, pre-disco, pre-encephalitis, pre-everything else, an awkward inheritance worked into almost iconicity—should ever have been able to deal in the real: i.e., to pull off something that might allow her, for a moment, to be just Liza.

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  • Andrew Ross on “Black Romantic”

    WHEN WAS THE LAST TIME a major art museum issued an open call for submissions to an upcoming show? Um . . . never? While open calls are the staple of a thousand regional and community art centers, the metro curator lives or dies by her own deft instincts about where to look, how to prefer, and what to embrace. So when one of the art world’s most sophisticated curators circulates an announcement that begins “Attention Artists!” and goes on to solicit work in the figurative genre of “romanticism,” irony hounds are likely to salivate at the prospect of another juicy morsel of conceptualism coming

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  • Learning from Philadelphia

    Robert Venturi, whose seminal Complexity and Contradiction in Architecture of 1966 is credited with returning historical concerns to the forefront of architectural theory and practice after the willful amnesia of modernism, is, it would seem, overcome with anxiety about his own place in history. Weeks before the Philadelphia Museum of Art opened “Out of the Ordinary: The Architecture and Design of Robert Venturi, Denise Scott Brown and Associates” this summer, Venturi issued his latest broadside. “I am not now and never have been a postmodernist” ran the quote accompanying a frowning Venturi on

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  • “The Short Century”

    In 1959, standing before the assembled participants of the Second Congress of Black Artists and Writers in Rome, Frantz Fanon urged those in attendance to reach out to “the people” where it is hardest to do so: “We must join them in the fluctuating movement which they are just giving a shape ... It is to the zone of occult instability where the people dwell that we must come.” The question raised by “The Short Century: Independence and Liberation Movements in Africa, 1945–1994,” which opened in February at Munich’s Museum Villa Stuck, is exactly how to comprehend and represent this “zone of

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  • the Austrian Boycott Debate

    THE VIENNA SECESSION has put its distinctive facade—one of the most photographed tourist attractions in the city—at the disposal of artists like Franz West and Renée Green for work critical of the new Austrian government, a coalition formed by the conservative People’s Party (known by its German initials ÖVP)—the hitherto dominant Social Democrats’ long-time partner in the Austrian government—and the openly racist, far-right Freedom Party (FPÖ). Encouraged in part by the harsh international reaction to this dismaying coalition, almost every noteworthy Austrian intellectual, artist, filmmaker,

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