Painter John Currin in New York Magazine:
You famously painted a topless portrait of Bea Arthur. Were you a big fan? [The] Bea Arthur painting is from Maude, which I used to watch as a kid. In the eighties, I didn’t have TV for, like, a whole decade. When I started watching again in the nineties, The Golden Girls was in syndication. When I had a loft with Sean and Kevin Landers, we’d always take a break in the afternoon and watch The Golden Girls. When I made the painting, I was living in Hoboken and still making abstract paintings, and I was very frustrated. I was walking back from the PATH train and this vision of Bea Arthur just came to me.
I happen to love this painting. Whether Currin's intent or not, it underscores her femininity and gives her a heightened respect. There will never be another like her!
Gossipy speculation inside, circa 1955:
It looks as though Grace is trapped in her own legend. She's been billed as unapproachable, reserved, self-controlled, to the point where everyone believes she just couldn't break down and be human.
And Grace looks so remote up there on a pedestal. And who put Grace on the pedestal? Did she? Or her father? Does she feel superior to men? Or is she afraid of them? What about women? Does she want to be one of them, a wife and mother? Can she play the female part off-stage?
Between her clean white gloves, Grace Kelly holds that happiness. She can cherish it or crush it. So far she has done neither.
Claudia Varosio's film posters make me wish I had a home theater to decorate. I love how she chooses a simple image for each film, whether it be the shoes from Me and You and Everyone We Know, the barber's chair from The Man Who Wasn't There, or Maggie Cheung's legs from In the Mood for Love. See all of 'em here.
Like everyone else, I've had some laughs watching the recent retirement rapping escapades of Joaquin Phoenix. Maybe Casey's documentary will supply more Andy Kaufman-esque hilarity. But this week I saw Two Lovers, supposedly Joaquin's last film (we'll see), and I'm not sure the laughs are worth it if he doesn't come back to acting. In the film he plays Leonard, a damaged twentysomething fumbling between two budding romances. I've never seen an actor capture someone wrestling off serious depression and grasping for happiness more effectively. When he enters a scene, it is as if the entire cast around him, impressive as it is (Isabella Rossellini, Gwyneth Paltrow, Vinessa Shaw), falls away. If you can still find this one playing somewhere, check it out. It deserves more attention. Portrait by Critical Times.
I realized today that I haven't yet mentioned on the blog that I'm pregnant. I guess it didn't seem on point until I saw this great card from one of my favorite printmakers, Loaded Hips Press. Turns out she's expecting too! My tummy is about the size of her illustration right now, so I can still breathe and move around. I can't wait to be as big as a whale! Check out more of Loaded Hips' cool "60s girl group powered" images here. Her lovely Savannah linocut print is hanging in our living room.
I dug these up from our basement yesterday. Fotonovels were "a collection of books that were filled from front to back with photos from a particular movie" and had "a shorter life than disco itself." Like comic books, but with real photographs! They were so exciting to me as a child. Grease was my favorite (you can tell how worn it is). I also loved Ice Castles (I was especially taken with the "Lexie" embroidered on her collar). And I made sure everyone knew that Mork & Mindy was mine. I just found out that they sold Close Encounters and Heaven Can Wait too! Oh how I wish I had copies of those.