Category Archives: DESIGN

FELLINI SATYRICON

This picture will be science fiction. You are astonished? But science fiction can be in the past as well as the future. This picture is a trip back to Nero’s time, and that means it is a trip into an unknown dimension. What do we know about the Romans? This has made problems for me. My other pictures have all been autobiographical to one degree or another… But now I must become detached, and that has been very hard work.

First I have to invent this world of Nero. Then I must see it from a very narrow point of view, so it will appear foreign and unknown. I am examining ancient Rome as if this were a documentary about the customs and habits of the Martians. To be detached from your own creation is unnatural—I must look on my son as a stranger…

Because the film is so detached, the sex in it will not be erotic. Everyone says Fellini is making a dirty movie. But everything will be abstract, detached. The sex in SATYRICON will be like those ancient Indian statues on the positions of love. Even as you see a woman kissing a monster, it means nothing, because it is so old, so far away, from another civilization…

If you see with innocent eyes, everything is divine… All artists are equal when they are themselves. — Federico Fellini

FELLINI SATYRICON

Wednesday, January 22, at 7 pm.

Royal

11523 Santa Monica Boulevard, West Los Angeles.

Pasadena 7

673 East Colorado Boulevard, Pasadena.

Glendale

2017 North Maryland Avenue, Glendale.

Federico Fellini, Fellini Satyricon (1969), from top: Hiram Keller; Keller and Martin Potter (right); Mario Romagnoli (right); Fellini with actor on set; Fellini Satyricon; Capucine; U.S. poster; Fellini Satyricon; Keller.

WILLIAM KENTRIDGE IN CONVERSATION

I’m interested in awkward operas; operas in which there are unsolved riddles… in which there’s a space—both musically and thematically—for a world to evolve and be imagined around the story. William Kentridge

In conjunction with the upcoming Metropolitan Opera’s new production of Alban Berg’s WOZZECK—featuring production design by Kentridge—the artist will be at the Morgan Library and Museum for a talk about his work.

WILLIAM KENTRIDGE IN CONVERSATION

Sunday, December 1, at 3 pm.

Morgan Library and Museum

225 Madison Avenue (at 36th Street), New York City.

From top: William Kentridge in his Johannesburg studio, early movement rehearsal for Wozzeck; Peter Mattei in the title role; Elza van den Heever as Marie; Kentridge charcoal drawing backdrop; Kentridge in his studio; performers and Kentridge in his studio (3). Images courtesy and © the artist, the performers, the photographers and videographers, and the Metropolitan Opera.

DAVID REINFURT AT YALE

David Reinfurt—co-founder of Dexter Sinister and The Serving Library and co-author of the monograph Muriel Cooper—will present a slideshow lecture on A *NEW* PROGRAM FOR GRAPHIC DESIGN (2019), his “do-it-yourself textbook that synthesizes the pragmatic with the experimental and builds on mid- to late-20th-century pedagogical models to convey advanced principles of contemporary design.”

Reinfurt’s new book provides… in-depth access to a historical analysis, exquisite close-focus portraits of multi-talented creative makers past and present, alongside his own research and examples of his class assignments. This intelligent book contains new insights regarding graphic design history, thought, and practice… [and] is a reminder of Walt Whitman’s call for “a force infusion of intellect” to confront the future.Sheila Levrant de Bretteville, director, Yale University Graduate Program in Graphic Design

DAVID REINFURT—A *NEW* PROGRAM FOR GRAPHIC DESIGN

Thursday, October 10, at 7 pm.

Yale School of Art, Graphic Design Atrium

1156 Chapel Street, New Haven.

David Reinfurt, A *New* Program for Graphic Design. Images courtesy and © the author and Inventory Press.

BAUHAUS — BUILDING THE NEW ARTIST

In conjunction with BAUHAUS BEGINNINGS, open for one more week at Getty Center, BAUHAUS—BUILDING THE NEW ARTIST is an online exhibition that “offers an in-depth look into the school’s novel pedagogy.”*

Following the end of World War I, the provisional government of the short-lived Free State of Saxe-Weimar-Eisenach in Germany initiated an effort to reestablish two schools, the Weimar School of Applied Arts (Weimar Kunstgewerbeschule) and the neighboring Academy of Fine Arts (Hochschule für bildende Kunst), as a single, unified institution…

Upon the recommendation of Belgian architect Henry van de Velde, who had previously directed the Weimar School of Applied Arts, the Berlin architect Walter Gropius was invited to head the new school. Gropius’ request to rechristen the institution under a new name, BAUHAUS STATE SCHOOL (Staatliches Bauhaus), was approved in March 1919.*

BAUHAUS—BUILDING THE NEW ARTIST*

Online exhibition in conjunction with

BAUHAUS BEGINNINGS

Through October 13.

Getty Center

1200 Getty Center Drive, Brentwood, Los Angeles.

From top: Postcard sent to Jan Tschichold with aerial photograph of Bauhaus Dessau, Walter Gropius, architect, 1926, photograph by Junkers Luftbild, 1926, gelatin silver print on postcard, Jan and Edith Tschichold Papers, 1899–1979; Vassily Kandinsky, Color Triangle, circa 1925–1933, graphite and gouache on paper, Vassily Kandinsky Papers, 1911–1940; students in a workshop at the Bauhaus Dessau (2), photographer(s) unknown, undated, gelatin silver prints; Erich Mzozek, Still-life drawing with analytical overlay, circa 1930, graphite on paper and vellum, © Estate Erich Mrozek; Geometric study of spiral form, artist unknown, undated, graphite and colored graphite on paper; Friedl Dicker, Light-dark contrast study for Johannes Itten’s Preliminary Course, 1919, charcoal and pastel collage on black paper. ; Pamphlet for Farben Licht-Spiele (Color-light plays), Ludwig Hirschfeld-Mack, 1925, letterpress, Bauhaus Typography Collection, 1919–1937, © Kaj Delugan; Erich Mzozek, Study for Vassily Kandinsky’s Farbenlehre (Course on color), circa 1929–1930, collage with gouache on paper, © Estate Erich Mrozek. All images courtesy and © the Bauhaus-Archiv and the Getty Research Institute.

THE SUN STILL BURNS HERE

The world premiere engagement of THE SUN STILL BURNS HERE—a collaboration between choreographer Kate Wallich and her troupe The YC, performer Mike Hadreas / Perfume Genius, musician Alan Wyffels, and art director Andrew J.S.— starts this weekend in Seattle, followed by a New York presentation at the Joyce, and dates in Minneapolis and Boston.

THE SUN STILL BURNS HERE

Friday and Saturday, October 4 and 5, at 8 pm.

Moore Theatre

1932 2nd Avenue, Seattle.

Wednesday, November 13, at 7:30.

Thursday through Saturday, November 14, 15, and 16, at 8 pm.

Sunday, November 17, at 2 pm.

Joyce Theater

175 Eighth Avenue (at 19th Street), New York City.

From top: Kate Wallich and Mike Hadreas / Perfume Genius, photograph by Agustin Hernandez; The Sun Still Burns Here MASS MoCA work-in-progress rehearsal and performance, June 2019, photographs by Andrew J.S. (2); posters for the Moore and the Joyce engagements, photographs by Agustin Hernandez (2); Hadreas MASS MoCA photograph by Andrew J.S., The Sun Still Burns Here photograph by Agustin Hernandez. Images courtesy and © the artists, performers, designers, and photographers.