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James Nares
\"This definitive monograph, produced in close collaboration with the artist, surveys the entirety of his career. Ed Halter considers the development of Nares's moving-image works, while Glenn O'Brien appraises his \"action painting.\" Looking across media, Amy Taubin finds similar themes and strategies throughout Nares's practice. These essays are complemented by an illuminating conversation between Nares and longtime friend and fellow artist Christopher Wool. The book is illustrated with hundreds of film stills, vibrant paintings, performance photographs, and archival materials, the majority of which has never before been published\"--Inside jacket flap.
Book
Fanning the Flames
Todd Haynes’sVelvet Goldmineis a big, bursting piñata of a movie—a glam-rock opera à clef that, mixing fact with fantasy, swings backward and forward in time as fluidly and disconcertingly as a dream. Though kaleidoscopic in structure, it’s anchored in a fan’s point of view.
The fan within the film is Arthur Stuart (Christian Bale), a British journalist living in New York in a grim 1984. Arthur is working on a story about Brian Slade (Jonathan Rhys Meyers), a glam-rock idol who disappeared ten years earlier after faking his own murder. The story takes Arthur back to his
Book Chapter
All That Glitters
For the audience that still worships at the intersection of art and pop culture, no film, probably not even Quentin Tarantino’sJackie Brown, is more longed for than Todd Haynes’sVelvet Goldmine, currently in post-production and due for release in the fall of 1998.
A musical set in England during the glam rock era,Velvet Goldminestars Jonathan Rhys Meyers as a Bowie-like pop star, Ewan McGregor (even more on display than inThe Pillow Book) as a kind of Iggy Pop/Gary Glitter amalgam, and Christian Bale as an ardent fan who, years later, becomes a journalist and is assigned
Book Chapter
Daughter Dearest
Todd Haynes specializes in two kinds of movies: analytic music biopics (Superstar: The Karen Carpenter Story[1988],Velvet Goldmine[1998],I’m Not There[2007]) and revisions of the genre that Hollywood dubbed the “woman’s picture” (Safe[1995],Far from Heaven[2002]). We can now add to the latterMildred Pierce, a five-part miniseries that premieres this month on HBO. Fans of Michael Curtiz’s 1945 movie starring Joan Crawford will be surprised to discover that in this new version—which faithfully adheres to the eponymous James M. Cain novel on which the earlier film, too, was based—there is no murder
Book Chapter
Staying Power
Age has clenched Clint Eastwood’s face tight as a fist, but he has never been more tender, vulnerable, and heartbroken than inMillion Dollar Baby. It’s not surprising that the camera still loves Eastwood’s visage, finding unchanging beauty in the skull beneath the skin. His facial bones, if anything, appear more finely chiseled than in his youth. But the muscles that hold the thinned skin have contracted, pulling brow and eyes down and inward, so that the signature squint is deeper and less yielding, even to laughter. Eastwood never had one of those expressive, easy-to-read faces. He made a virtue
Book Chapter
