Freitag, 5. Februar 2010

Herb Alpert's Black Totems


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Herb Alpert Exhibition

Herb Alpert, known as a trumpeter, A&M Records co-founder, and one of the most generous stars (according to the BBC, his foundation spent $13 million on education, including the UCLA Herb Alpert School of Music), currently has an art exhibit at ACE Gallery in Beverly Hills. There was a reception for the artist on Thursday evening, February 4, 2010, from 7:30 to 9 p.m., where Alpert himself and curator Douglas Chrismas were present, as well as prominent people from the entertainment industry, including actor Michael York (Cabaret and The Three Musketeers). The event was filmed by the BBC and Alpert’s own press team.

The art show contains three small and thirteen large black totems, as well as ten small white terracotta totems. The smaller totems range in height from 8" to 36", while the taller ones range from 12 to 18 feet. They are made out of wet clay, which Alpert shaped with his own hands and then molded into vertical forms. The larger ones he then cast in bronze. These are arranged in a forest-like environment and gain intensity by being presented as a group.

Although Alpert’s work looks rather abstract, one can recognize forms that look familiar. For instance, on one of the totems, there is an eagle-like form seemingly emerging from the top; on others, they appear to have human body parts, such as noses, delicate bones, or the inside of an ear.

Alpert’s work was inspired primarily by the totem poles of the Pacific Northwest, such as those of the Haida, Tlingit, and Kwakiutl tribes. He felt intrigued by the enormous history they contain, sometimes serving as symbols that watch over a family, clan, or tribe; at other times functioning as crests of families or chiefs, honoring major events or occasions; or acting as guides that accompany one through life, both in the physical and spiritual worlds.

However, one can also see the influence of Alberto Giacometti’s elongated figures and Louise Bourgeois’ slender wooden sculptures, which she made during and after a trip to Africa in the late 1940s.

Mittwoch, 20. Januar 2010

Michael Haneke's "White Ribbon"

Haneke’s Film About The Beginning of Fascism Received a Golden Globe Award By Simone Kussatz On January 17th, 2010, the film “The White Ribbon” (Das weiße Band – Eine deutsche Kindergeschichte), set in Northern Germany on the eve of World War I and directed and written by Austrian filmmaker Michael Haneke, received the Golden Globe for Best Foreign Language Film at the 67th Annual Golden Globe Awards. Therefore, “The White Ribbon” will advance to the next round of voting in the Foreign Language Film category for the 82nd Academy Awards, along with eight other foreign films. The result of the next voting process will be announced on February 2, 2010, during the 82nd Academy Awards nominations at the Academy’s Samuel Goldwyn Theater. A day before Michael Haneke received his Golden Globe for “The White Ribbon,” he was invited to a panel discussion at the Egyptian Theater in Hollywood. The event was organized by the American Cinematheque. On Haneke’s side were also filmmakers Giuseppe Tornatore (“Baaria”), Jacques Audiard (“A Prophet”), and Sebastian Silva (“The Maid”). The fifth nominee, Pedro Almodóvar (“Broken Embraces”), wasn’t present due to another commitment he had in Paris. All nominated filmmakers were assisted by interpreters except for Sebastian Silva. The discussion, which started at 1 p.m., was moderated by Mike Goodrich, editor of Screen International and an HFPA member. When Goodrich started the discussion by telling Haneke that he wondered how the children in the film could have turned into Nazis, Haneke said that his film is not exclusively about German fascism, “but rather shows an example of how people are prepared to take part in totalitarianism.” He also said that although the film is for German audiences, “it’s not pointing a finger at Germany specifically, because it would be foolish of people from other countries to think that it doesn’t apply to them.” Haneke also said that the casting was the most difficult part of the filmmaking process. For the extra work, he had Romanian farmers come by bus to Germany. He said it took him half a year to find the perfect cast. It had been particularly difficult to find the right child actors, because they didn’t only need to be talented, but they also needed to have faces from that time period. Finding the right cast, “Ist die halbe Miete” (“is half the rent”), Haneke said. Haneke, who studied philosophy, psychology, and theater at the University of Vienna and, like Werner Herzog, did not attend film school, also mentioned that he didn’t want to follow a particular film formula, such as the Hollywood formula. In the end, he didn’t want to give away the answer as to who had committed the crimes. Rather, he wanted to make a film that would pose questions and allow viewers to reflect on them later. He also used an element of alienation by shooting the film in black and white. “The aesthetics of photography from that time period makes it easier for the viewer to empathize with the characters,” he added. He also wanted to create a distance from that period, to insist on the uncertainty of things. “I don’t like films that pretend to know how things were,” Haneke explained. Asked about the role that religion plays in his film, Haneke said that he wanted to become a minister at age 14. Toward the end of the panel discussion, the filmmaker mentioned his new film, which would be “about the depressing realization of one’s old age and the suffering caused by it.”

Samstag, 24. Oktober 2009

Los Angeles in shock and grief

This is an old article that I wrote in June 2009, which appeared in the reader section of Zeit Online and which I later transferred to my personal blog on Blogger. Los Angeles in Shock, Grief, and Acceptance over Jackson’s Death by Simone Kussatz When the news came out that Michael Jackson (50) had died on Thursday, June 25th, 2009, in Los Angeles, a Hispanic sales clerk in a grocery store in Culver City shed tears. “It’s so sad,” she said. “He was just one year younger than me,” one of her customers replied. About an hour after Jackson’s death was confirmed, news reporters from Eyewitness News, Fox, and NBC, among others, were waiting for details from the press conference in front of the Medical Plaza at UCLA. Meanwhile, throngs of people were standing next to them in a daze. Some were singing Michael Jackson songs, while others were pushing themselves into the spotlight of the media. Not even the summer heat could prevent people, mostly tourists, from lining up on the Hollywood Walk of Fame to see the sidewalk “star” of Michael Jackson, to put down flowers, and to speak a few words into surrounding cameras. A Jackson impersonator gave his usual moonwalk performance. This was not only filmed from the obvious cameras in front of the Chinese Theater, but also from a secret place on top of the Roosevelt Hotel across the street. Five days after the legend of pop music died, police officers are still guarding Jackson’s former mansion, which is blocked off with police tape, located just a bit off Sunset Boulevard, close to UCLA Medical Center in Westwood. Paparazzi and reporters are still eagerly waiting to see relatives and others getting in and out of Jackson’s house. Unless they were VIPs, people can only get to a memorial site on the corner of Carolwood and Sunset, where his fans left flowers, cards, and candles for their beloved idol. Yet is this collective grief appropriate, and did Jackson’s death deserve so much media attention? Opinions differed. Stefanie Sneed, a UCLA undergraduate student of Psychobiology and African American Studies, thought that the media attention about Jackson was well deserved. “He was an icon, positive and theatrical,” she said. “Being a black person, I felt empowered by him, but I feel angry that the media is looking for the negative things in his life.” Javier Arteaga, a UCLA undergraduate student of Psychology, however, felt different about this. Arteaga was only a block away from the hospital on his way towards his friend’s apartment when he received a text message, saying, “They just brought in Michael Jackson in an ambulance.” Instead of staying with a crowd in front of the Medical Plaza that had built up from 10 to 20 to 100, Arteaga hurried home to gather information via CNN. “I feel sad about Michael Jackson’s death, especially since he died at a young age, but I also feel that the media didn’t respect his family’s privacy. I was upset about how people were bragging about who was the first to set the traffic cone at the entrance to the hospital. It was unimportant. I feel Michael Jackson deserved more respect than this.” Lindsay Guzman, a hairstylist from Colorado who is currently visiting L.A., was not surprised to hear about Jackson’s death. “I thought he was actually sick for a while, but when he died, they had to say something.” From the perspective of the people working for UCLA Medical Center, Jackson’s death seemed not so much a matter of grief as it was a matter of inconvenience in their daily lives. For one thing, their integrity was tested. A nurse at the Ronald Reagan Medical Center said, “I can’t give you any information. Journalists are escorted out if they’re found here.” Another nurse claimed it was too hard for her to get into the hospital. “For me, every patient is a VIP,” she said. A staff member at Patient Services pointed out that employees of UCLA Medical Plaza are not allowed to give out any information about Jackson’s death, other than referring to Media Relations at 924 Westwood Plaza, a department that seems overwhelmed by the requests of reporters. People who have been working in the Hollywood industry for a long time and achieved considerable success stressed Michael Jackson’s great talent, and put the incident in the context of current politics. Film-maker Henry Jaglom, known for “Hollywood Dreams,” a film about a fame-obsessed person who becomes a tragic victim in a fame-obsessed culture, said, “Like everyone in Hollywood I was stunned by the news, but then with the flood of old videos on television and the Internet I was grateful to be reminded how truly extraordinary he was, how profoundly talented a dancer, as no less an authority than Fred Astaire pointed out, how significant and influential an artist in developing a generation of children who would grow up so free of race prejudice as to vote Obama in as president 25 years later. Many of us had forgotten all that in recent years after being endlessly told about his eccentricities, his weirdness, his countless cosmetic surgeries and all the distorted sex stories, according to everyone I know who knew him well he was the sweetest creature who ever lived, good-hearted and naive to a fault, never having had a childhood so being obsessed with being with children and staying a child forever.” Composer William Goldstein, who had scored all the episodes of NBC’s FAME and was brought under contract to Motown, said, “Michael Jackson’s death was tragic. He was a brilliant artist, very gifted, but a troubled soul. Yet, there seems to be a budding revolution in Iran, and it was wiped out by the media.” Therefore, Michael Jackson’s death has been perceived as a great loss by most Americans. The media coverage about his death will still go on to a great extent, especially with the upcoming funeral, for which reporters have already driven up north to Jackson’s Neverland Ranch, according to an ABC news reporter. Written by Simone Kussatz. Freelance journalist. Los Angeles. June 29th, 2009 Yesterday, Friday, July 3, 2009, African American pianist Larry Nash of Larry Nash and The Jazz Symphonics played a tribute to Michael Jackson during the free Friday Night Jazz Concerts at the Los Angeles County Museum of Art. Nash gave a beautiful and sensitive performance of Jackson’s “She’s out of my mind.” The concert was held outdoors underneath palm trees and a gradually sinking sun in front of LACMA’s permanent outdoor installation of a large number of Los Angeles street lights, facing Wilshire Boulevard. Written by Simone Kussatz. Freelance journalist. Los Angeles. July 4, 2009

Mittwoch, 21. Oktober 2009

ART REVIEW - Sebastio Salgado






Sebastião Salgado’s “Africa”

by Simone Kussatz

Peter Fettermann Gallery, Santa Monica Bergamot Station


The interplay between pristine beauty and human suffering in the latest gallery exhibit of Brazilian humanitarian photographer Sebastião Salgado encourages us to take action. One feels moved by the compelling sights of white cattle herded together by Dinka tribesmen, zebras lined up at a river, faces of refugees and victims suffering from diseases and famine and the children of Africa. These stunningly beautiful black and white silver gelatin prints are a small selection of Salgado’s work photographed over the past four decades.


In a 24x 20” photograph, displayed in the first exhibit room on the left wall in the Fettermann Gallery, Salgado shows us an image of a woman blinded by sandstorms with a chronic eye infection who is waiting for food distribution. The light falls mainly on the woman’s face on her blind and infected left eye. Her other eye is covered by a dark veil. This particular angle suggests that one of her eyes is invisible to us as life is invisible to her through her blindness. The strong contrast in the picture derives from the white areas on the woman’s face, neck and arms caused by the light and the dark areas caused by her black veil that merges with the dark background, building one black unity. Standing in front of the image one feels her sorrows and pain. It literally invites us to learn more about Mali, a country that belongs to the 25 poorest in the world and had just suffered its second episode of severe drought, when the picture was taken in 1985. In its overall sensibility the photograph is similar to some of the etchings of women by German Expressionist artist Käthe Kollwitz. Therefore, the real strength of Salgado’s photographs is that they show a deep care and understanding of the societies he presents to us.

Left picture:
Sebastião Salgado Blind woman. Woman blinded by sandstorms and chronic eye infections, this woman is waiting for food distribution. Goundam region, Mali, 1985. silver gelatin print 24x20”
Sebastião SalgadoDinga Group at Pagarau Cattle, Camp, Southern Sudan, 2006silver gelatin print 20x24”
Right image:
Sebastião Salgado
Dinga Group at Pagarau Cattle, Camp,
Southern Sudan, 2006
silver gelatin print
20x24”

Mittwoch, 7. Oktober 2009

Interview with Daniel Rotman - Social activist in L.A.

http://www.theworldly.org/ArticlesPages/Articles2006/August06Articles/HomelessLA.html