Time has just published its annual list of the “100 Most Influential People in the World.” Most of the names you expect are there — Barack Obama, Kim Jong-un, the lady who invented Spanx — but here at Flavorpill, we’re especially interested in the magazine’s picks within the cultural realm. Along with the obvious choices (Adele, Harvey Weinstein, Stephen Colbert), some intriguing trends emerge. All five of the actors on the list are women, for example, and the only two filmmakers come from Muslim countries. See who made the cut after the jump, and be sure to click through and read the blurbs by celebrities who are just as noteworthy as their subjects. … Read More
We’ve all seen the trick where you hold a book or album cover with a famous face on it in front of your own, but this bizarre project from Swiss-American visual artist and composer Christian Marclay, which we spotted over at Design You Trust, takes the concept of physical trompe l’oeil collage a bit further. Marclay mixes together album cover art to create weird, assembled figures and stitches them together with string, creating a true Frankenstein’s monster out of each. Some are stranger than others (Bowie in a tube top and thigh high tights isn’t that off, after all, and we’ve always known that Michael had some killer legs on him), but they all achieve a weird sort of beauty in all the madness. Now all we’d like is to hear a sonic medley of the albums used to create each figure. … Read More
Hip-hop’s pioneers — Afrika Bambaataa, Kool DJ Herc, and Grandmaster Flash — are often acclaimed as the originators of the cut and paste technique in music: a boogie down brand of sonic collage. But, while they were rocking the block, artist Christian Marclay was sculpting his own intricately offbeat soundscapes. Perhaps more famous for dissecting clocks, the performer appeared on the late 80′s series Night Music, hosted by jazz cat David Sanborn, showcasing his adventures on the wheels of steel.
As WFMU points out, the show’s guest list was a veritable who’s who of experimental sounds, with Pere Ubu, John Zorn, Diamanda Galas, and others performing for the telly. This 1989 performance by Marclay finds the artist mixing up raw electronics with a bit of exotica — textured, dissonant, abrasive turntablism. He creates a disorienting weave of textures, lurching from a music concrete style barrage of bleeps to soothing tropical sounds. Using skips and pops etched into the discs to create repetitive rhythms, Marclay’s desecration of dusty LPs creates a beguiling synthesis. It’s a discomforting sound, but that’s what we love most about these uneasily pleasing early works. Hit the jump for the video: and brace for the horror that is Sanborn’s hair. … Read More
It has been a very good year for Christian Marclay. First, he achieved art world stardom with his 24-hour montage, The Clock, an insanely popular piece made up of thousands of film and television clips of timepieces that examines how we perceive time and choose to present ourselves as a result. Then he took home… Read More
Museums and galleries in cultural capitals around the world are just starting to roll out an exciting new line-up of fall exhibitions to entice their viewers. From Willem de Kooning’s sensual abstractions at New York’s Museum of Modern Art and Diane Arbus’ iconic photographs of nudists and transvestites at the Jeu de Paume in Paris to Pipilotti Rist’s colorful video installations at London’s Hayward Gallery and KAWS’ playful interpretations of cartoon characters at Honor Fraser in Los Angeles, the new art season is a major moment of renewal for artists, both old and new. Click through our top ten show picks worldwide and let us know what you would add to the list. … Read More
As we touched upon in our roundup of Venice Biennale artists you should know, Christian Marclay achieved art world stardom over the past year for The Clock. The 24-hour film montages clips from movies, each featuring a timepiece, to clock the cycle of an entire day, minute by minute. Described by critics as “utterly transfixing,” “magnificent,” “relentless and compelling,” and perhaps most intensely, “the most staggering, complex thing made by any artist so far this century” (emphasis mine), The Clock explores how representations of time in movies shape our own conception of it: What is seven o’clock supposed to look like (Marclay shows cocktails, the end of the workday, getting dressed for dinner, stricken commanders preparing for an alien invasion)? What happens — or as Marclay’s film insinuates — is supposed to happen at 3am? 7am? 1pm? How do representations of time in movies influence the activities we perform, ways we present ourselves, conventions we abide by? Surveying nearly a century of movies, The Clock seems to suggest that films inform the routines and customs of our own lives as much, if not more than, we inform the narrative of time in film. How meta we have become.
Exploring the influence of a certain object through movies is a central trope in Marclay’s work. The Clock sits aloft a long line of films that each explore the socio-cultural identity of a much represented but rather banal device. What Marclay has done to hourglasses, alarm clocks, and watches, he has also done to guns, guitars, and telephones, among many others. In the wake of Marclay’s über-prestigious win at the 54th Venice Biennale last week (he received a Golden Lion for Best Artist), it’s worth ticking through some of his earlier works. … Read More
The 54th Venice Biennale opened to the public this week after its VIP preview, which seamed with press, celebrities, and oligarchs amidst the upper echelons of the art world. Eighty-nine countries are represented in the 2011 Biennale, 12 more than in 2009, including several nations that have never before participated, like Saudi Arabia, Bahrain, Rwanda, Bangladesh, Malaysia, and tiny Andorra. While artwork at the prestigious international art fair is still being digested (the Biennale is on view until November 27), the recent awards (Golden Lions for Christian Marclay and Christoph Schlingensief) coupled with last week’s avalanche of reviews from critics around the world have provided a preliminary glimpse of the mark the 54th Biennale will leave. Read on for eclectic survey of a few interesting artists thus far. … Read More
Even though most of us get our music from digital files nowadays, there was a time when vinyl records were the primary medium for listening to recorded music. Since music is an art form that moves people’s minds and spirits, visual artists have long used records and the related paraphernalia as both subject matter and materials in their work. The Record: Contemporary Art and Vinyl, a fascinating exhibition at the Nasher Museum of Art at Duke University, explores the culture of vinyl records within the history of contemporary art, from the 1960s to the present. … Read More