Hello! Welcome to Seen, New York Magazine's new, limited-run, online art magazine, which launches today and continues through December 19. New York has been a part-time art magazine for 40 years — from covering graffiti in 1968 to Oscar Murillo in 2014. At least for the next five weeks, Seen is an experiment in taking that coverage full-time, in the form of a romping daily chronicle of the art world — the traveling circus of galleries and gallery shows, museums, and art fairs, too, but also the bigger, embarrassingly alluring kaleidoscopic universe of style, design, fashion, film, and (a little bit of) nightlife. A big part of it will be our art critic and resident sage, Jerry Saltz, who'll be doing more of his insightful, incisive, all-hours commentary about art, the art world, and the art market here. But Seen is much more than Jerry — there will be regular contributions from Carl Swanson, Wendy Goodman,...
- 11/17/2014
- Vulture
The Whitney’s moving, MoMA is swelling, and now the Met has entered the museum-expansion sweepstakes too. The mother of all museums announced — or rather mumbled in agreement after New York’s Carl Swanson broke the news in March and Robin Pogrebin pressed the question in the Times — that it hopes to gut-renovate, or possibly even tear down and replace, the Lila Acheson Wallace Wing, where its historically spotty collection of modern and contemporary art is now on awkward display. The Met is pursuing two admirable, but possibly incompatible, goals: to provide an adequate and permanent home for Leonard Lauder’s $1 billion gift of 79 Cubist artworks, and to make room to catch up with the 21st century. But the director Thomas Campbell also hinted at a third, much more troubling aim: to open the museum toward Central Park and create a new entrance. That would draw more crowds into the...
- 5/20/2014
- by Justin Davidson
- Vulture
Tim Doyle was asked by Matt Dye of Blunt Graffix to create a poster for the Bijou Metro’s screening of Robocop!
From Doyle- “Robocop is by far one of the most influential films in my little life. I saw it in the theater in 1987 when I was merely 10 years old, and it completely rewired my brain in new and dark ways. And I thank Paul Verhoven for it every single day of my life. Listening to Verhoven’s commentary, he pointed out that for him- Robocop is a Jesus allegory, calling it ‘The American Jesus.’ And in keeping with great American traditions, this Titanium Jesus raises from the grave not for forgiveness, but for revenge. It’s a bloody mess, and brilliant social satire that has yet to be eclipsed in my opinion. The design is obviously lifted from Dali’s Crucifixion Hypercubus- my favorite film meets my favorite Crucifixion depiction.
From Doyle- “Robocop is by far one of the most influential films in my little life. I saw it in the theater in 1987 when I was merely 10 years old, and it completely rewired my brain in new and dark ways. And I thank Paul Verhoven for it every single day of my life. Listening to Verhoven’s commentary, he pointed out that for him- Robocop is a Jesus allegory, calling it ‘The American Jesus.’ And in keeping with great American traditions, this Titanium Jesus raises from the grave not for forgiveness, but for revenge. It’s a bloody mess, and brilliant social satire that has yet to be eclipsed in my opinion. The design is obviously lifted from Dali’s Crucifixion Hypercubus- my favorite film meets my favorite Crucifixion depiction.
- 4/9/2014
- by Ricky
- SoundOnSight
In this week's New York magazine, Carl Swanson uses the opening of an exhibition at the New Museum to explore the question of whether or not 1993 changed the world. As part of the issue, we interviewed several directors, musicians, actors, and TV showrunners for their thoughts and memories from two decades ago. A selection, below: Albert Hughes, co-director of Menace II Society Our intention was to shock. We were heavily influenced by gangsta rap, and we wanted to make a movie equivalent. Hood movies had been made for a black market. Very few people knew our real goal was to make one for white people. When we completed it, because this was our first film, we thought, This is a piece of shit. This is not what we wanted to make. It wasn't hard enough. It was just soft. And then we started getting the reactions. New Line took us...
- 2/4/2013
- by Jennifer Vineyard
- Vulture
Earlier this year, New York's Carl Swanson went to New Mexico to watch Aaron Paul (a.k.a. Jesse Pinkman) shoot an episode of Breaking Bad. (Everyone here was jealous; you are not alone.) That story ran in our TV issue. Now, with the fifth season of the show premiering on Sunday, we're breaking into Swanson's vault to share with you an excerpt from his transcripts. Herewith, a snippet of conversation that took place on a spring day in Vince Gilligan's on-set office. Sigh.Is that tattoo real?Fake. Thank God. I mean, it’s so aggressive. It’s a Celtic scorpion — I never really knew that. When I got here for the pilot, I had no idea what Jesse’s whole vibe would be. I had an idea about who the character was, but they asked, “Do you think Jesse would have tattoos?” And I was like, “Probably.
- 7/13/2012
- by Carl Swanson
- Vulture
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