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New York Times
15-05-2025
- Entertainment
- New York Times
Fine Jewelry Inspired by Centuries-Old Paintings at the Met
Venice's Hotel Cipriani Gets a Glamorous Renovation by Peter Marino Since it opened in 1958, Venice's historic Hotel Cipriani — set away from the crowds on Giudecca Island, with great views of the floating city and its waterways — has long been a paragon of life well lived, the sort of place where you might've seen creative luminaries like Sofia Loren, Catherine Deneuve and Yves Saint Laurent hanging around. But like all good old hotels, the 67-room property eventually needed a refresh, one that reflected Venice's more contemporary architectural and artistic character and a new era of luxury; as far as its owners at Belmond saw it, the person to do that was the Queens-born architect Peter Marino, who first started renovating projects in Venice some three decades ago. 'You see pictures of Gloria Guinness at the hotel, her hair teased up past heaven, and I wanted to get that feeling here of almost impossible glamour,' he says. 'It's not palazzo glamour or old Venetian glamour but a very 1960s look.' Indeed, unlike many of the city's other esteemed hotels, this one was installed not into a former palace but was built from the ground up, with squarer proportions that Marino wanted to loosen up with graphic midcentury paintings by the likes of the Italian American artist Conrad Marca-Relli and handblown Venetian vanity mirrors. Although he kept the handsome original lobby intact — 'Over 50 people grabbed my arm in town and said, 'Please don't change it,'' he says — Marino will fully reconceive the interiors during the off-season over the next few years. The first phase of it, including a new airy, double-height lobby and 13 suites that feature lots of glass and gold-toned detailing, will open May 27, just in time for summer. 'I'm not doing walls of brocade,' he says, 'but hopefully people in Venice will think it's hip.' From about $2,000 a night, The Abstract Work of Two Pioneering Japanese Artists, on View in New York 'Atsuko Tanaka, Yayoi Kusama,' a recently opened exhibit at Paula Cooper Gallery in Manhattan's Chelsea neighborhood, features a selection of works on paper and canvas by the two Japanese artists. They're from the same generation — Kusama was born in 1929, Tanaka in 1932 — and both 'hit their stride with abstract painting using repetitive motifs,' says Anthony Allen, a partner at the gallery who organized the show, but 'they likely never met.' Kusama, who is famous for her polka dots and weblike 'Infinity Nets' series, arrived in New York's downtown art scene in her late 20s, whereas Tanaka, who fixated on circles and lines (which were prominent shapes in her 1956 'Electric Dress' performance), stayed in Japan and became a core member of the avant-garde Gutai movement. Both used performance, textiles and installations in their oeuvres and 'dealt with similar obstacles,' Allen says. By showing Tanaka and Kusama together, he hopes to 'dislodge each artist from the context in which they're usually presented.' On display are several of Kusama's early career pieces, including one of her lesser-known sticker collages, and a broader selection of Tanaka's works spanning 1956 through 2001. The show also includes three short films — two of Tanaka's, one of Kusama's — and a series of documentary photos that capture each artist at work. 'Atsuko Tanaka, Yayoi Kusama' is on view through June 14, The Jewelry Designer Reimagining Renaissance Accessories For the Los Angeles jewelry designer Jess Hannah Révész, a stroll through the painting galleries at New York's Metropolitan Museum of Art is a treasure hunt. Where some might linger over the blue silk dress in Jean-Auguste-Dominique Ingres's 'Princesse de Broglie' (1851-53), Révész zooms in on the subject's stack of gold rings. One of these, a weighty band like coiled rope, has now been reimagined in wearable form as part of a new J. Hannah jewelry collaboration with the Met. 'I've always taken inspiration from the past,' says Révész, who previously created a capsule collection for the museum focused on the Egyptian pharaoh Hatshepsut. In addition to the Princesse ring — offered in brushed 14-karat gold or polished silver, as well as a hoop earring version — Révész has reinterpreted jewelry from three additional masterworks. 'Judith With the Head of Holofernes' (circa 1530), Lucas Cranach the Elder's dressed-up take on the biblical tale, sees the heroine in a gilded collar decorated with tiny pearls, one of which Révész transposed onto her Quatrefoil pendant. The pile-up of rings in 'Portrait of a Woman of the Slosgin Family of Cologne' (1557), by Barthel Bruyn the Younger, manifests as two designs: the dainty two-gem Diptych and the Quatrefoil, available as an engravable signet or with a single rectangular stone — 'unisexy,' the designer quips. Hans Memling's wedding portraits of Tommaso and Maria Portinari (circa 1470), who are shown with hands clasped in prayer, inspired J. Hannah's Devotion rings, with puffy gold bands and one or two prong-set stones. The pieces in the collection are made to order with era-appropriate carnelian cabochons or faceted sapphires. Révész added recycled diamonds as a third option — for fun, she says. 'That was a me thing.' The Subjects of Adornment collection launches May 25; from $440, The Musician Swamp Dogg Collects Recipes and Memories in a New Book When his peers were playing football, Swamp Dogg — the 82-year-old singer, songwriter and producer — was in the kitchen. 'The first thing I remember is wanting to lick the bowl,' says the man formerly known as Little Jerry and born Jerry Williams Jr. That early appetite finds new expression in 'If You Can Kill It I Can Cook It,' a cookbook that he started drafting in the 1970s and whose publication now coincides with the release of a documentary on his life. Swamp Dogg shares childhood recipes, all of which he's given playful names — T-Bone (Steak) Walker, referring to the blues musician, and the Devil Went Down to Georgia for Eggs, a nod to the 1979 country song — in tribute to the fellow artists, record executives and family members who have shaped his life. 'Mostly good things, good times and good people that I've met,' he says. 'At least two were complete downers.' The recipe for Bo-Diddley Baked Beans, for instance, is sparse and short on seasonings, reflective of his unfriendly meeting with the singer that Swamp Dogg recounts in the headnotes. Old photos and archival materials — concert fliers, newspaper clippings and even a Cadillac registration — are interspersed with Swamp Dogg's writing, making the book more of a visual autobiography or scrapbook than a standard cookbook. The musician hopes it will influence others to live with the same sense of purpose and creativity, in the kitchen and beyond. 'When I'm cooking, just like when I'm making music, I'm in my own little world,' he says. 'If You Can Kill It I Can Cook It' will be released May 20; $45, Curvy, Colorful Furniture, on View for New York's Design Week Hundreds of events are scheduled during this year's NYCxDesign Festival, which takes place throughout the city from May 15 through 21. A number of exhibitions highlight colorful, curvilinear pieces that feel apt for spring. At TriBeCa's R & Company gallery, the Santa Barbara, Calif.-based ceramic artist Jolie Ngo is showing vibrant 3-D-printed lamps that resemble psychedelic trees, as well as mirrors and side tables made from plastic in addition to her usual medium of extruded clay. The London-based designer Faye Toogood has installed her hand-painted pieces across two galleries: at the Future Perfect's West Village townhouse, furniture includes a quartet of raw fiberglass dining chairs, each one splashed with gestural brushstrokes, while Tiwa Select, in TriBeCa, features lighting crafted from wrought iron and crumpled paper adorned with fluid line drawings done in Japanese ink. At the New York designer Danny Kaplan's recently opened showroom in NoHo, the collection on display includes the whimsical resin Divot mirror, a collaboration between Kaplan and the interdisciplinary designer Joseph Algieri that's lined with bonbon-like spheres. And in a Sutton Place penthouse, Galerie Gabriel presents an exhibition that reconvenes pieces from the 1980s by the designers who were once represented by the pioneering gallery Néotù — one standout is Elizabeth Garouste and Mattia Bonetti's red velvet-and-bronze Corbeille sofa, which debuted in 1989. A Luxury Resort Opens on a Low-Key Greek Island The Cycladic island of Folegandros is often described as what Santorini must have felt like 50 years ago — a collection of whitewashed cliff-top villages overlooking the Aegean Sea where a visitor might get swept up in a festival spilling into the main square. The island has no airport, and much of its land is classified as a protected forest. But its relative remoteness has also meant that there aren't many places to stay, and the existing small hotels book up quickly, which is why island-hoppers are so excited about Gundari, Folegandros's first luxury hotel. After a soft opening last summer, the 30-room property is now complete with a trio of new villas and a three-seat wine bar with a picture window overlooking the ocean. Rising from the copper-red cliffs on the southeastern coast of the island, the resort is designed to reflect its surroundings, with unpolished marble floors and an earthy palette. Each of the rooms has a pool that's solar heated, and over 600 indigenous seedlings, including olive and fig trees, were planted on the 100-acre property. On-site, guests can visit the subterranean spa for facials and massages, wade to the sunken swim-up bar, then sample produce from the hotel's organic farm at Orizon restaurant. But they're encouraged to explore Folegandros by borrowing one of Gundari's electric bikes or the electric Mini Moke to visit churches and coves, chartering the speedboat for a sunset sail or hiking the 35 miles of trails. Still, the highlight of a trip just might be a visit to Chora, the capital village two miles from the resort, to soak up the ambience or take a cooking class with Yia Yia Irene, the owner of Irene's Restaurant, which has fed the island for over 70 years. Rooms from $540 a night, The Chiffon Cake Is Standing Tall Again
Forbes
28-03-2025
- Entertainment
- Forbes
MoMA Is Exhibiting A 24-Hour-Long Movie That Operates Like Clockwork
It's high noon at the Museum of Modern Art. On a screen in a darkened theater, the hands of a clock converge on the number twelve. Cinephiles will recognize this moment as the climax of a 1952 Western starring Gary Cooper. Viewers who linger may subsequently identify scenes from movies such as Mommie Dearest and One Flew Over the Cuckoo's Nest. Each clip focuses on a timepiece indicating the current hour and minute in Manhattan. The montage, which spans twenty-four hours and runs on a loop, operates as a clock. Christian Marclay. Still from The Clock. 2010. Video (black and white and color, sound). 24 hrs. The Museum of Modern Art, New York. Promised gift from the Collection of Jill and Peter Kraus. © 2024 Christian Marclay. Courtesy Paula Cooper Gallery and White Cube. The Clock is as complex in execution as it's simple in concept. The multimedia artist Christian Marclay enlisted half a dozen assistants to find the footage, which is sourced from approximately twelve thousand films and TV episodes spanning the 20th and early 21st centuries. Over a two year period, Marclay spliced disparate clips from virtually every known genre to craft a new narrative with time as the protagonist. Initially screened in London in 2010, the work has since become a classic of durational art in the tradition of Andy Warhol's Empire and John Cage's ORGAN2/ASLSP. As is the case with those earlier works, The Clock has the paradoxical property of being both renowned and unknown. It's a familiar stranger, to borrow the title of a classic book about time (which glosses a concept originally articulated by St. Augustine). The simplicity of the concept makes it easy to reference in passing, much as Empire can be described as a fixed view of the Empire State Building screened over eight continuous hours. But has anyone actually seen the whole thing? Marclay viewed every scene many times while editing it. But has anyone watched it continuously? The Museum of Modern Art has gamely offered the opportunity by presenting several all-night screenings. An intrepid MoMA staffer actually sat through one of them. He fell asleep. Christian Marclay. The Clock. 2010. Video (black and white and color, sound). 24 hrs. The Museum of Modern Art, New York. Promised gift from the Collection of Jill and Peter Kraus. © 2024 Christian Marclay. Courtesy Paula Cooper Gallery and White Cube. Installation view, White Cube Mason's Yard, London, October 15 – November 13, 2010. Photo: Todd-White Photography. That the work eludes full viewing is not a failing. Instead it should be seen as an indication that the work is more than mere concept. Or, to be more precise, Marclay's execution reveals that the concept contains unforeseeable complexity underlying its simplicity. The Clock need not be viewed in entirety for the complexity to be revealed. Seeing all of it might even be beside the point. Meaning emerges from minute to minute. The most striking quality of The Clock, at least initially, is that time is experienced vicariously. Sitting in the dark, viewers become voyeurs, watching every tick and tock. This perspective comes quite naturally, since film is a vehicle for voyeurism. What is unusual is the attentiveness to what would ordinarily be background information. With time as the protagonist, the viewer seeks to understand its character as keenly as people watching High Noon seek to understand the character played by Gary Cooper. Observed in this way, time loses the abstraction of a purely physical phenomenon, everywhere the same. We recognize time to be contextual and interpersonal. It's the stuff of relationships. Although The Clock is not polemical, it calls attention to the consequences of mechanization, advancing themes evoked in some of Marclay's source material (most obviously Modern Times). Marclay's work reveals an alternative to standardization: In contrast to the precision timepieces that populate it, The Clock keeps time in aggregate while syncopating time from moment to moment. Christian Marclay. Still from The Clock. 2010. Video (black and white and color, sound). 24 hrs. The Museum of Modern Art, New York. Promised gift from the Collection of Jill and Peter Kraus. © 2024 Christian Marclay. Courtesy Paula Cooper Gallery and White Cube. Christian Marclay. Still from The Clock. 2010. Video (black and white and color, sound). 24 hrs. The Museum of Modern Art, New York. Promised gift from the Collection of Jill and Peter Kraus. © 2024 Christian Marclay. Courtesy Paula Cooper Gallery and White Cube The syncopation of time arises in part from stylistic differences over the lifespan of cinema: Different periods have different pacing. The scenes that comprise The Clock are not set in chronological order, progressing from the oldest films to the newest. On the contrary, movies of different eras are juxtaposed. The cyclical time of clocks and watches is constructed by fragmenting the linear time of cinematic history and reorganizing the fragments according to a logic alien to their origin. Almost miraculously, a circle emerges from countless tangents. Marclay's deconstruction and reconstruction of time does not reduce to a coherent theory of the fourth dimension. On the contrary, The Clock celebrates the perplexity we feel when we strive for definitions. And yet, the work is perfectly lucid. Like time, that familiar stranger, The Clock seems strange only upon reflection. Many of the strategies Marclay used to make The Clock can be seen in his earlier works. The most obvious forerunner is Video Quartet, a 2002 work in which four screens show four videos simultaneously, each constructed from myriad film clips, all synced in a way that interlaces their soundtracks into a musical composition. More than just a feat of virtuoso editing, Video Quartet liberates the films from their intended function. Their appropriation is ontological. They're orchestrated like musical instruments. In an equivalent way, The Clock appropriates cinematic material to make a timepiece. The rupture opens up what it means to be a clock. But there's a reciprocal effect on the movies themselves. By setting the scenes to local time, the movies are defictionalized. The fourth wall is broken. The films enter everyday life. Or viewed from the opposite vantage, time no longer seems real. The clock becomes nothing more nor less than a narrative device.
CBS News
31-01-2025
- Entertainment
- CBS News
This week on "Sunday Morning" (February 2)
The Emmy Award-winning "CBS News Sunday Morning" is broadcast on CBS Sundays beginning at 9:00 a.m. ET. "Sunday Morning" also streams on the CBS News app beginning at 11:00 a.m. ET. (Download it here.) Hosted by Jane Pauley. COVER STORY: How Bill Gates knew he was different The Harvard dropout who became a billionaire in his 30s, Bill Gates revolutionized the computer industry and, later, the world of philanthropy. Now he has been looking back at his childhood, with the first of a three-part autobiography fittingly titled "Source Code." He discusses his rebelliousness and competitiveness with correspondent Lee Cowan, and talks about how, growing up, he viewed nearly everything through the prism of mathematics. ALMANAC: February 2 "Sunday Morning" looks back at historical events on this date. ARTS: Making time for Christian Marclay's "The Clock" Multimedia artist Christian Marclay became a contemporary art superstar with "The Clock," his 24-hour film comprised of scenes from movies and TV that track the viewer's own experience of time, minute by minute. He talks with correspondent Conor Knighton about his cinematic timepiece (currently screening at New York's Museum of Modern Art), and about his early years experimenting with "turntablism" in New York's underground DJ scene. For more info: "Christian Marclay: The Clock" is screening at the Museum of Modern Art in New York City through February 17 Images © Christian Marclay. Courtesy Paula Cooper Gallery, New York, including photos by Ana Nass, Fred de Vos and Phillin Phlash Christian Marclay, Paula Cooper Gallery White Cube: Christian Marclay MUSIC: New sounds: Check out these new musical instruments The standard configuration of the symphony orchestra has remained mostly unchanged for the past century. But innovative artists continue to design new instruments to create sounds never before heard. Correspondent David Pogue attended the Guthman Musical Instrument Competition at Georgia Institute of Technology, where groundbreaking acoustic and electronic instruments were demonstrated. MUSIC: The pioneering Suzanne de Passe Suzanne de Passe is a giant in the music and entertainment industry – a trailblazing record executive who helped Motown find such talent as the Jackson 5, the Commodores, and Rick James; an Oscar-nominated screenwriter (for "Lady Sings the Blues"); and a producer of the classic miniseries "Lonesome Dove." And at 78, the Rock and Roll Hall of Fame inductee tells correspondent Michelle Miller that she is still listening to her ear, and her gut, to find new stories to tell. PASSAGE: In memoriam "Sunday Morning" remembers some of the notable figures who left us this week. FROM THE ARCHIVES: Marianne Faithfull on the hard road to becoming a legend | Watch Video Singer and actress Marianne Faithfull, who was part of the 1960s British Invasion with her hit single "As Tears Go By," and who was a muse to Mick Jagger, died on Thursday, January 30, 2025, at age 78. In this "Sunday Morning" profile that aired May 3, 2009, she talked with Anthony Mason about surviving sex, drugs, and rock 'n' roll; her daring comeback album, 1979's critically-acclaimed "Broken English"; and her penchant for being "very overenthusiastically eager for life." SPORTS: Italy's 1000 Miglia road race, where the car is the star Enzo Ferrari called the Mille Miglia, a thousand-mile auto race from Brescia, Italy, to Rome and back, "the most beautiful race in the world." And it's not just the scenery that's beautiful; it's also the vintage automobiles that are entered. This past year, more than 400 classic vehicles, restored and certified, were accepted. Correspondent Seth Doane talks with drivers participating in what may be the world's largest motor sport event and classic car show all in one. HARTMAN: Met guard Actor-writer-director Jesse Eisenberg's latest film, "A Real Pain" (a poignant comic-drama costarring Kieran Culkin), earned him an Academy Award nomination for best original screenplay. Correspondent Tracy Smith talks with Eisenberg about the origins of his story, about cousins visiting Poland and the home of their late grandmother, a Holocaust survivor; his difficulty with enjoying success; and how he found happiness far from the movie industry. To watch a trailer for "A Real Pain," click on the video player below: For more info: "A Real Pain" (Searchlight Pictures) is streaming on Hulu and Disney+ and is available via VOD Canter's Deli, Los Angeles Middle Way House, Bloomington, Ind. HEALTH: Bird flu Martha Teichner reports. COMMENTARY: Corky's Lee's quest for "photographic Justice" Corky Lee (1947-2021) was a Chinese-American activist and a self-taught photojournalist, who chose a camera as his tool for social change. His brother, John Lee, looks back on a life chronicling the Asian communities of America, fighting for Corky's deeply-held belief that America was best when it practiced diversity, equity and inclusion of all its peoples and communities. WEB EXCLUSIVES: In this special marathon, "Sunday Morning" brings you stories about the enduring powers of art in many forms, including stories about jigsaw puzzles, Mark Rothko's paintings, Sharon Stone's art, magic troll art and the Disney art that has joined the public domain. FROM THE ARCHIVES: The birth of the movies (YouTube Video) Watch these classic "Sunday Morning" reports exploring the birth of motion pictures, the greats of early Hollywood, and the continuing attraction of silent movies for filmmakers and audiences, including: The Lumiere Brothers, who revolutionized moving pictures; Charlie Chaplin, the first international superstar; The life and career of Buster Keaton; A newfound fascination for silent film star Mary Pickford; The making of "Wings," the first film to win a best picture Oscar; A 2005 Turner Classic Movies contest that asked young composers to write a score for a silent Greta Garbo film, "The Temptress"; A look back at comedian Harold Lloyd; Conductor Gillian Anderson on leading orchestra scores for silent films, including "Nosferatu"; The story of Laurence Austin, who operated an L.A. theater devoted to the silent era, until his murder in 1997; and Hollywood's love affair with a new silent movie, "The Artist." Full episodes of "Sunday Morning" are now available to watch on demand on and Paramount+, including via Apple TV, Android TV, Roku, Chromecast, Amazon FireTV/FireTV stick and Xbox.
