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Saturday, March 29, 2014

Ryan Trecartin on the Future

“Everything we do is going to be captured and archived in an accessible form, whether you want it or not. It’s going to change all our lives. We are a species that can no longer assume privacy. It’s not an individual decision, and I feel that’s exciting to explore--or something. There’s a lot of cultural content being generated right now that sees itself as post-human, but it’s assuming the twentieth century as its audience. It leans on structures that we already understand, but that we’re moving away from. My work is about humanity, and about the time I’m making it.”

~Ryan Trecartin on the future in The New Yorker

Saturday, March 8, 2014

Wes Anderson's Style


On the occasion of the opening of Wes Anderson's latest, "The Grand Budapest Hotel," Richard Brody, matching his subject's elegance, has written a review of the Anderson style: "The Grand Budapest Hotel: Wes Anderson's Artistic Credo."

It's a great read in full, but I particularly enjoyed the following lines:

"The hotel is the embodiment of Gustave’s taste, and Gustave is the embodiment of its delights. It’s a state of affairs that matches Anderson’s own art: the virtual signature that’s present like a watermark throughout his work is also a part of his personal style, his dress and his manner, his very way of life. That’s why I’ve compared him to such high stylists as Howard Hawks and Ernest Hemingway, who similarly exhibited in person the extreme stylistic precision of their work. The artist isn’t just the creator of style but also its bearer, and the artist’s very presence is a work of art in person, creation on the wing by means of a turn of phrase, a gesture, a way of dressing, the aura of charismatic influence."