“The art world has disfigured the legacy of the Puerto Rican Lower East Side artist Angel ‘LA2’ Ortiz by failing to acknowledge his contribution to Keith Haring’s work. Nobody has dealt with the racist issue of his exclusion from the Keith Haring legacy. Nobody of any consequence in the art world has the internal strength to deal with this ‘oversight.’ We all know what it is like to be cheated out of our rightful credit. But years’s worth of credit? Even though Ortiz’s art is clearly visible for all the world to see in Haring’s work? Ortiz has been cheated out of his credit in shows at prestigious museums, in books published by powerful institutions like the Whitney, and in credit left off Haring’s work at a world-famous auction house. Just totally ignored. Would that happen to a white artist?” — Clayton Patterson.
“This worldly, richly layered adaptation of Sinclair Lewis’s 1929 novel is one of the triumphs of the storied career of director William Wyler—and that’s saying a lot.” (New York Film Festival.) The chapter about the making of “Dodsworth”—and what went on behind the scenes—also was among the most pleasurable to write for my biography of Wyler.
Once upon a time Burt Britton asked me for a self-portrait. He subsequently included it in SELF-PORTRAIT: Book People Picture Themselves. I sent him as minimal an image as I could think of. More than three decades later he put all the originals up for auction. As I wrote at the time, many went unsold—Tomi Ungerer’s, Frank Gehry’s, Jorge Luis Borges’s. Which was ridiculous. More peculiar, mine found a buyer.
The Something Else Factor: Alison Knowles, Barbara Moore, Martha Wilson and I will be participating this evening in a panel about the glory days of Something Else Press, moderated by Hannah B. Higgins, at the Emily Harvey Foundation. It’s the first of four discussions organized by Christian Xatrec and Alice Centamore. The events are free. RSVP to email@example.com
Born in 1948, underweight, no ears, and on Christmas Eve dumped on a church step. In the ’40s and ’50s people were afraid of the deaf. Imagine the mental isolation. The system had no way of dealing with a deaf orphan. He was placed in Pressley Rigeway for Disturbed Children and Home for Cripple Children, and seven foster homes.
Other works by Ligia Lewis include Sensation 1/This Interior (High Line Commission) (2019); so something happened, get over it; no, nothing happened, get with it (Jaou Tunis) (2018); Melancholy: A White Mellow Drama (Flax Fahrenheit, Palais de Tokyo) (2015); minor matter (2016), a poetic piece illuminated by red; Sorrow Swag (2014), presented in a saturated blue; $$$ (Tanz im August) (2012); and Sensation 1 (sommer.bar, Tanz im August -2011, Basel Liste- 2014).
Meet Jim Haynes in a documentary. As I’ve written before: “I’ve never met Jim. We’ve only corresponded by email about the strange case or Orwell’s typewriter. But I know that he is a man for all reasons — pleasure, food, sex, mind, books, theater, life — and that to meet him in person all you have to do is show up at his door in Paris for dinner.”
The editors of the London Review of Books say their first edition of The Beast of Brexit, the late Heathcote Williams’s takedown of Boris Johnson, sold out “in a matter of weeks” just before the Brexit referendum in 2016. After it went through several reprints, the book was published in a second edition “with a […]
A transcript of this piece was published under the title “A house of dust, computer poem” in FANTASTIC ARCHITECTURE edited by Wolf Vostell and Dick Higgins (Something Else Press, 1969). The reading, on a cassette recording made ca. 1967, was salvaged from a recent basement flood at S|U’s Manhattan perch. It features four readers, including Alison Knowles and Dick Higgins. Any help identifying the two other voices would be appreciated.
Just back from Botswana. Before I crash from jetlag, here’s an iPhone shot with magic in it. The photo was taken in the bush via focus thru binoculars, a brilliant trick. The leopard, not more than 20 to 30 feet away, looks very handsome. After gorging on his kill, he also looks mighty satisfied. The impala, cleanly butchered by an expert, looks sadly dead.
Nearly three months after Colin Asher’s biography of Nelson Algren was published, and just in time for readers to take a break from serious books as they head off on vacation to escape the summer heat, our dearly beloved newspaper of record has deigned to take notice of Never a Lovely So Real. But let’s put that aside because Susan Jacoby’s review, which will appear Sunday in the print edition of The New York Times Book Review, is not only honest, clear, and well reported, it sets a judicious standard. Which gives it credibility.
Robert Crumb has come in for severe disapproval. In which case, the censors will hate this old video. It was recorded on April 29, 2011 at the Society of Illustrators in New York City. The laid-on soundtrack is “Pennies From Heaven,” from “Ben Webster: King of the Tenors”; a selection from Satie’s “Nocturnes,” played by Aldo Ciccolini; and “Honeysuckle Rose,” played by Count Basie & His Orchestra.