Welcome to Artcetera. Arts-and-entertainment writers and critics post movie news, concert updates, people items, video, photos and more. Share your views. Check it daily. Remain in the know. Contributors: Mary Abbe, Aimee Blanchette, Jon Bream, Tim Campbell, Colin Covert, Laurie Hertzel, Tom Horgen, Neal Justin, Claude Peck, Rohan Preston, Chris Riemenschneider, Graydon Royce, Randy Salas and Kristin Tillotson.
"Time, time. What is time? Swiss manufacture it. French hoard it. Italians squander it. Americans say it is money. Hindus say it does not exist. Do you know what I say? I say time is a crook," mutters Peter Lorre apropos of absolutely nothing in "Beat the Devil," John Huston's brilliant 1953 parody of crime-sex-comedy-adventure films.
With an all star cast (Humphrey Bogart, Gina Lollobrigida, Jennifer Jones, Robert Morley and others too numerous to mention), the movie is a cult classic that deserves its own little Northern Spark revival just for the delicious pleasure of hearing Lorre's daffy riff on time.
It would be the perfect accompaniment to Christian Marclay's "The Clock," a 24-hour-long work of genius that Walker Art Center plans to run June 14 -15 as part of Northern Spark, the dusk-to-dawn art festival that this year bounces back to Minneapolis after a season in St. Paul.
In "The Clock," Marclay splices together 24 hours of second-by-second images of clocks clipped from other movies, each of them moving inexorably and sequentially through a day and a night and a day again as time passes. There are wrist watches, digital alarms, tower clocks, train-station clocks and more snipped from murder mysteries, romantic comedies, adventure tales and every other type of cinematic encounter in which someone, somewhere glanced at a timepiece while marking time waiting for something to happen.
As "Beat the Devil" screen-writer Truman Capote said, through the lips of Lorre, "Time is a crook."
Walker has booked "The Clock" from 11 a.m. Saturday to 5 p.m. Sunday. That's a long 24 hours, perhaps broken up by popcorn and bathroom breaks?
The Textile Center in Minneapolis is seeking a new executive director following the resignation of Tim Fleming after 18 months in the post. Fleming succeeded founding director Margaret Miller who retired in June 2012.
"Our plan right now is to hire an interim director, and we're hoping to name someone within the next couple of weeks," said board chair Donna Peterson, a retired University of Minnesota associate vice president for government and community relations. "We really have not had time to decide what we want in an executive director, so we want to take our time and be sure to do it right."
The organization's programs and $831,000 annual budget are stable, Peterson said. Fleming simply resigned "to pursue other opportunities" she said.
"We just had a benefit fund raiser to celebrate our 20th birthday fund raiser and exceeded our goal," said Peterson. The organization hoped to raise $20,000 with the gala, but brought in $22,000.
The Center at 3000 University Av. S.E., runs an exhibition gallery and a shop selling hand-made clothing and textile crafts, and offers lectures, classes and other programs in the textile arts ranging from weaving, crocheting and basketry to fabric design and dying. It's classrooms and facilities serve members of 40 craft guilds throughout the state.
Kyle Fokken took first place honors for his mixed media sculpture "Fokko."
Members of the Society of Minnesota Sculptors turned out for the opening of an exhibit of art by their colleagues at the Minnetonka Center for the Arts, on view through April 3. The society's 85 members are an eclectic lot whose work typically tends toward whimsical, figurative or abstract pieces in wire, bronze, ceramic or mixed media.
Jurors Sally Johnson of Groveland Gallery and Holly Streekstra of Minneapolis College of Art and Design presented ribbon awards to: Kyle Fokken for "Fokko," a mixed media sculpture that took first place; Richards Poey for "Let's Tango, a bronze sculpture in second place; and Kate Chrisopher, whose ceramic bust, "My Vanishing Illusion," took third place.
Honorable mentions went to Thomas Zahn for his bronze "Solo Dance," Carl A. Smith III, for a wire sculpture, "My Eyes are Here," and Norman Holen for his stoneware piece, "Man with an Owl Mask."
The society is also sponsoring a one-day workshop by Twin Cities area sculptor Foster Wiley, Jr. who will explain how to "Sculpt a Head in Clay." (10 a.m. - 5 p.m. March 15, Minnetonka Center for the Arts, 2240 Northshore Dr., Wayzata/ Orono. To register go here or call 952-473-7261, ext. 16)
Matisse's "Large Reclining Nude," 1935
Break out the berets and head over to the Minneapolis Institute of Arts for a free stroll through the popular "Matisse: Masterworks from the Baltimore Museum of Art," show. Adult tickets for the special exhibition are normally $16 weekdays, $20 weekends, but for one night it will be free. Tickets are timed and limited in number, however, so savvy art fans will arrive early for the 6 p.m.-9 p.m. event March 20.
For this "Third Thursday" program the museum is embracing all things French. The Alliance Francaise Mpls/St. Paul will offer informal French lessons in the galleries. Arty types can "draw with scissors" as Matisse did when nipping out his famous and very colorful cutouts of dancers cavorting in space. Museum visitors will be encouraged to confine their cutouts to post cards or collages, however.
And everyone will be encouraged to indulge in a selfie with a life-sized cutout of Matisse in the MIA photobooth. Or visitors can take self-portraits in a life-sized replica of one of the artist's paintings. Music wiil be provided by the Atlantis Quartet, a modern jazz group.
The "Matisse" show features paintings and drawings from the collections of Claribel and Etta Cone, wealthy Victorian-era Baltimore women who were introduced to Matisse at the Paris salon of writer Gertrude Stein. Over 40 years, the sisters bought more than 500 paintings, drawings and sculpture by Matisse that they later bequeathed to the Baltimore Museum of Art. The Institute's show is on loan from the Baltimore institution through May 18.
Fionn Meade @ Guillermo Riveros
Walker Art Center has hired two new curators including a Senior Curator of Cross-Disciplinary Platforms, a new post designed to reflect the center's focus on artists who work in many fields ranging from film, video and music to dance and such stationary visual arts as painting, printmaking or photography. That post will be filled by Fionn Meade starting May 5.
Meade is presently a curator, writer and faculty member at the Center for Curatorial Studies at Bard College and Columbia University in New York City. His expertise is in film, performance and museum practice. He will also be Interim Head of the Walker's Visual Arts Department while a search continues for someone to replace Chief Curator Darsie Alexander who is leaving to become executive director of the Katonah Museum of Art in suburban New York City.
Meade's first task will be to oversee the presentation of Radical Presence, an exhibition about black performance in visual art from the 1960s to the present. One of his future shows will focus on the work of visual artists who collaborated with choreographer Merce Cunningham whose archive the Walker owns.
He previously worked as a curator at the Sculpture Center in New York City and at the Henry Art Gallery in Seattle. He has a M.A. degree in creative writing from Columbia and a M.A. from the Center for Curatorial Studies at Bard.
Isla Leaver-Yap, photo provided by Walker Art Center
The second appointee is Isla Leaver-Yap who will take the new post of Bentson Visiting Film Scholar starting March 3. Presently living in Glasgow, Scotland she is expected to do research on the Walker's Ruben/Bentson Film and Video Collection which has a high concentration of avant garde films dated from 1943 - 1985. She will report to Meade but also work closely with Sheryl Mousley, the Walker's film curator.
Leaver-Yap has extensive experience with film groups in London and New York. She has an MA in art history and English and a MSc in Art History Research from the University of Edinburg, Scotland.
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