Gallery 1988 was opened in Los Angeles in 2004 by Katie Cromwell and Jensen Karp. Since then, it has built up an avid following for its annual Crazy 4 Cult exhibition of work by new artists focused on popular cinema. Many of the ‘cult films’ beloved of the shows contributors are comedies and fantasies and fantasy comedies from the late 80s and early 90s: there’s a lingering love for Tim Burton, Back to the Future, The Goonies, the Evil Dead sequels, Pee Wee Herman, Donnie Darko and The Big Lebowski. Colourful and accessible, perhaps their attraction is that they treat with nostalgic, loving care the movies that mattered during the childhood and adolescence of the gallery’s target demographic, movies that were themselves often reverently referential to their predecessors. Here’s a sample of recent exhibits [Click on any image for a larger view]:
The discovery that Anthony Hopkins has been working away at some figurative paintings (see image above) inspired me to dedicate Picture of the Week to film-makers who also paint. And I wonder if you, dear reader, can work out which is which. You’ll find paintings by Sylvester Stallone, Akira Kurosawa, David Lynch, Takeshi Kitano, Pier Paolo Pasolini, Tim Burton, and Derek Jarman below (or after the break). Rolling your mouse over the image (in some cases you can click for a larger view) will reveal the name of the artist. And if you know of any more film-makers, actors and the like who have a portfolio of paintings I can add to this little gallery, please let me know and I’ll build up a collection.
I don’t get on well with biopics. I don’t like the pre-fab structure that they all seem obliged to follow, and I wince at the dramatic irony of the little moments that wink at you to indicate a shared foreknowledge of what’s going to happen. Particularly in those films that deal with artists, musicians etc., we are offered a series of obstacles to their “becoming” the celebrity we recognise, finding their voice/muse/inspiration through a series of miniature origin stories. The indignities and problems they tackle are set into context by the greatness we know they will go on to achieve – we are expected to be fascinated by John Lennon’s youth not because of what it tells us about Britain in the 1950s and 60s, but because of how it stands in contrast to Lennon the self-possessed megastar adult. There’s a moment at the beginning of Nowhere Boy when a group of schoolchildren are walking to school through the park. There’s a cut to the sign that tells us what we really need to know: STRAWBERRY FIELDS. It’s a heavy-handed, early reminder that this has meaning because it will one day become meaningful. I was also tempted to claw my own flesh every time a moment was designed to gain force from it’s understatement – the casual introduction of Paul McCartney, Kristin Scott Thomas forgetting the name of the new band that will shortly take over the music world.