Back in Princeton; tired, cold and drowsy; You would feel the same coming from that beach to Princeton.*
Exhibition:
Brooklyn Museum has a very tempting exhibition, which I will try to catch up next week: © MURAKAMI works of Takashi Murakami, the most famous of contemporary Japanese artists: he is considered a link between fine arts and media-animation.
Film:
I just finished watching Bernardo Bertolucci’s movie, The Conformist (1970) based on the novel by the same name by Alberto Moravia (1951). The movie focuses on the psychology of new bourgeoisie in fascist Italy, pretty much like most of the movies Bertolucci made in 70’s. The thing that astonished me was the scenic quality of the images, which is also apparent in the transitions between each two plans. Although this picturesque quality is visually fulfilling, sometimes the symbolism is too obvious – even for Bertolucci it is too much I think.
These days I am very much into American Film Noir and I am watching lots of movies in this genre. Soon I will write about them. Just a quick advertisement is needed here; you don’t need to be a movie lover to enjoy this genre; the good thing about them is that you don’t even need to try to follow the story, you just sit and enjoy watching a good film. If you want to start from somewhere, I suggest you start with Double Indemnity directed by Billy Wilder in 1944. I cannot stop myself from saying this: it has the most amazing dialogs one can ever imagine.
Flower Ball (3-D), Takashi Murakami, 2007
Exhibition:
Brooklyn Museum has a very tempting exhibition, which I will try to catch up next week: © MURAKAMI works of Takashi Murakami, the most famous of contemporary Japanese artists: he is considered a link between fine arts and media-animation.
Film:
I just finished watching Bernardo Bertolucci’s movie, The Conformist (1970) based on the novel by the same name by Alberto Moravia (1951). The movie focuses on the psychology of new bourgeoisie in fascist Italy, pretty much like most of the movies Bertolucci made in 70’s. The thing that astonished me was the scenic quality of the images, which is also apparent in the transitions between each two plans. Although this picturesque quality is visually fulfilling, sometimes the symbolism is too obvious – even for Bertolucci it is too much I think.
These days I am very much into American Film Noir and I am watching lots of movies in this genre. Soon I will write about them. Just a quick advertisement is needed here; you don’t need to be a movie lover to enjoy this genre; the good thing about them is that you don’t even need to try to follow the story, you just sit and enjoy watching a good film. If you want to start from somewhere, I suggest you start with Double Indemnity directed by Billy Wilder in 1944. I cannot stop myself from saying this: it has the most amazing dialogs one can ever imagine.
Flower Ball (3-D), Takashi Murakami, 2007
* From Pink to Blue, by RN, Sanibel Island, April 2008
5 comments:
سلام تمشک هنر پرور
از زمینی ترین چیز و پایین ترین نقطه به آسمانی ترین و بالاترین پرداخته ای .خویست که همیشه رو به تعالی و اوج حرکت کنیم.شاید هنر همین باشد:از زمین به آسمان نگاه کنی و آسمان را به زمین بیاوری
Masoud Jan
Thanks! I am flattered that you see all this glory in this photo, Although I rarely look up to the hight almighty sky and in most of my photos the horizon line is so high up - I deliberately give a small space to the sky.
In general I am very interested in the reflections of sky and clouds on earthly subjects.
تمشک جان
چه خوب که این قدر به اطلاعات هنری آدم اضافه می کنی فیلم ها رو می گیرم حتما
خوب و خوش باشی
گل ها همه به من نگاه می کنند.ء
چند حلقه دارد این توپ منقوش به گل خندان؟
Aadam Golabi Jan
I am happy to hear that my posts are of some use!
Dearest A. Sh.
I don't know about the exact number of the flowers. and you are right it seems that they are really looking at us, especially if we see them directly and face to face.
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