BADBADNOTGOOD – RAY GUN FT. DOOM
2015-01-26Taken from ‘Sour Soul’, the new album by BADBADNOTGOOD & Ghostface Killah. Produced by Frank Dukes.
Released February 24th US & CA and February 23rd UK on Lex Records & Eone Music.
TweetINHERENT VICE
2015-01-26During the psychedelic 60s and 70s Larry “Doc” Sportello is surprised by his former girlfriend and her plot for her billionaire boyfriend, his wife, and her boyfriend. A plan for kidnapping gets shaken up by the oddball characters entangled in this groovy kidnapping romp based upon the novel by Thomas Pynchon.
Directed and written by Paul Thomas Anderson.
In theatres January 30th, 2015
TweetTRASH
2015-01-26When two trash-picking boys from Rio’s slums find a wallet in amongst the daily detritus of their local dump, little do they imagine that their lives are about to change forever. But when the local police show up, offering a handsome reward for the wallet’s return, the boys, Rafael and Gardo, realise that what they’ve found must be important. Teaming up with their friend Rato, the trio begins an extraordinary adventure as they try to hang onto the wallet, evade the police, and uncover the secrets it contains.
Trash is directed by STEPHEN DALDRY and written by RICHARD CURTIS based on the book by ANDY MULLIGAN.
In theatres January 30th, 2015
TweetTALES OF THE GRIM SLEEPER
2015-01-26Master documentary provocateur Nick Broomfield returns with the story of a serial killer who ran unchecked for 20 years in South Central Los Angeles. When Lonnie Franklin Jr. was arrested in 2010 as the suspected murderer of a string of young black women, police hailed it as the culmination of 20 years of investigations. Four years later, Broomfield visited the alleged killer’s neighborhood to find out if the police had earned their self-given kudos.
In scenes building to an unbelievably powerful conclusion, Broomfield reveals the journey of a serial killer and gives voice to his victims, as he builds a powerful assemblage of testimony conveying a grave injustice that extends well beyond this case.
In theatres January 30th, 2015
TweetSTACY KRANITZ
2015-01-26Kranitz’s work seeks to assert a distinct continuity between violence and catharsis. She is specifically concerned with defining a validatory purpose for violent acts. By connecting the antisocial to the related emotional release, she clarifies such behavior as not only human, but necessary. Kranitz takes on the unruliness of humanity, and submits it to order.
Her photography shows both a fascination and ease for the intensity and apparent risk in such situations—something Kranitz relates to a childhood marked by bouts of domestic violence. She immerses herself in the work and explains that the images are best described “not as documentation but rather as an exploration of the ethical boundaries of representation and the subversion of the photographer’s ‘role.’ I willingly cross these boundaries to insert myself into the experience,” she explains. This immersion yields images that illustrate blood soaked young men with broken noses and flayed skin, all snorting, puffing, pushing and pulling. While youth and rage are hardly indifferent bedfellows, Kranitz seeks to assert that aggression and the onset to adulthood are a potent—and logical—human mix. The results are photographs that emit the adrenalin and dysfunction of the moments captured.
Exhibition runs through to March 14th, 2015
Little big man gallery
801 Mateo
Los Angeles
CA 90021
JOHN WATERS – BEVERLY HILLS JOHN
2015-01-26For 50 years, John Waters has provoked the idiosyncrasies and hilarities of the movie business – the childhood stars, the trade lingo, and the false depiction of the ugly and the heroic. His photographic work (since 1995) has taken on politically charged topics of “cinematic correctness,” religious lunacy, and media manipulation. A recurring theme of Waters’ oeuvre is the appropriation of images from other directors’ films then rendered into storyboards that change the meaning of the first celluloid frames. Within these “little movies,” as Waters calls them, the artist redirects and highlights the damaged narrative that the public often overlooks.
More personal and self-critical, this new body of work seeks resolution to a set of questions about Waters’ own experiences, or as he describes them: his childhood fame issues, his fear of false glamour and nouveau-riche comfort, his ongoing sexual attractions, and the possible horror and risk of a “careericide” with dignity.
In the main gallery, Waters draws from his notoriety as a film director to present a new 74-minute video entitled Kiddie Flamingos. The video shows a table read of Waters’ X-rated 1972 cult film Pink Flamingos, rewritten as a children’s movie with an all-kid cast. Waters hopes that this defanged and desexualized sequel is even more perverse than the original, transferring innocence into a new kind of joyous, G-rated obscenity.
Opposite – Grim Reaper, 2014
Exhibition runs through to February 14th, 2015
Marianne Boesky Gallery
509 West 24th Street
NY 10011 New York
USA
