by Richard Holland
If law school resulted in no other tangible change to my life/personality it truly cast in stone my craving for escapist entertainment. I’ve seen crime scene pictures galore, I’ve done legal aid work, I work with BAS, I’ve seen enough horror. I like my entertainment light and happy, more or less. Also, I am a complete sucker for magical realism, I admit it, I’m out of the closet, you wanna make something of it. Any of you who got excited about Harry Potter, I dare you to scoff.
I saw this movie, shortly after it’s release on the airplane back from Paris. The friend we were visiting there, Adam Jolles (now the Chair of Art History at Florida State University), between spats with his dramatic, angry and lovely French girlfriend, raved about how much he enjoyed the movie and I must see it. So when I saw it available as an option on the flight, I figured why not.
What ensued was as over the top charming a movie as one could endure without slipping into diabetic shock. Directed by Jean-Pierre Jeunet. Written by Jeunet with Guillaume Laurant, I had seen Jeunet’s work before with the unique films Delicatessen and City of Lost Children (far darker films, but completely enjoyable, they are definitely on the “Brazil” pile).
The film’s protagonist is Amelie (Audrey Tautou doing an excellent personification of every straight art-boy’s dream girl) a shy, introverted waitress in Paris. Her simple life is set into upheaval by her fateful discovery of a treasure trove hidden in her apartment by a boy many years ago. After secretly returning the box to the now middle-aged man and unexpectedly changing his life, she has an epiphany and dedicates herself to elaborate attempts to aid others by giving fate a nudge (not all positive, she tortures a cruel grocer in a masterful way). At the same time she stumbles upon and finds her perfect match in a man who collects discarded photos from photo booths in Paris, who is just as much an odd-duck as she is. Wacky misadventures, misunderstandings, and tangents worthy of a Shakespeare comedy ensue.
If that wasn’t enough the Yann Tiersen soundtrack is amazing.
It is cute, yes, sappy, probably, but if you are feeling like the world is a dark evil place, no one gives a shit, everyone hates you, etc. this film can’t help but generating some happy feelings.
I have known Deb Sokolow for some time and I can say with frank honesty if I ever end up with extra cash I will buy up her book pieces. Not only do I see her career on a well-deserved upward trajectory, she hits many of the themes that tickle my fancy: paranoia, information, books, systems, and an eye to detail that I stand in awe of. For me her work is that rare culmination of fun, thought provoking, serious (particularly in the technique), and the result of much hard work and thought. Take a listen to our interview with her where she talks about her process.
I received a notice the other day that she has a new show at Western Exhibitions (who is home to lots of other artists I enjoy and admire, and BAS hasn’t managed to make Scott angry in years now, so a visit to WE is a love fest for me), which opens Friday the 15th of March. You should go check it out! In anticipation of the exhibition I did a brief online interview with Deb to talk about the new show and it goes a little something like this:
RH: So Deb, we’ve interviewed you, followed your work, like it greatly. I’ve heard you have an exciting new show opening the 15th at Western Exhibitions; can you tell us about it?
DS: The show comes from a story I wrote while at a residency in Norway this past summer. The story is loosely based on the residency’s environs and I wrote the residency’s administrators and the other artists there into the story as characters. I won’t get into too much of what the story is about here- I don’t want to reveal too much- but the idea for it comes from this feeling I had about the place. The entire two months I was there, I kept thinking, “What’s the catch?” Because the place is an artist’s fantasyland: Each artist receives a monthly stipend, a travel stipend, a beautifully designed cabin and a large, gorgeous studio with a whole wall of windows looking out on the most beautiful Nordic forest scene ever, and there is a significant amount of uninterrupted time to work. Everything about it just seemed too good to be true, so I thought that maybe the place could be a front for something else.
When I came back to Chicago, I took the story I wrote and made it into a 28 foot-long, text-and-image drawing, plus a few other ancillary drawings and books that relate directly or indirectly to the large piece or to my time spent there. For the show at Western Exhibitions, I decided to put these ancillary items in the front room so that they might function as a sort of precursor to the large drawing in the second, back room. I’ve been reading Thomas Pynchon and
Joseph Heller lately and thinking about how in their narratives, certain characters and organizations and locations are continuously mentioned in at least the full first half of the book (in Pynchon’s case, it’s hundreds of pages) without there being a full understanding or context given to these elements until much later in the story. And by that later point, everything seems to fall into place and with a feeling of epic-ness. It’s like that television drama everyone you
know has watched, and they tell you snippets about it but you don’t really understand what it is they’re talking about, but by the time you finally watch it, everything about it feels familiar but also epic.
RH: You say you spent two months in Norway on a mountain top. What was that like?
DS: The residency is on a small mountain above the small town of Dale, which has a population of 980 people and a few waterfront areas alongside a fjord. The next largest town is about an hour away. It’s fairly isolated, but luckily there is a pub that opened recently and makes its own IPA. The brewer there tells me his IPA is modeled after Indiana’s Three Floyds’s IPA. Small world. Also, one of the best parts about that mountain in the summer: the wild berries- all kinds, and picking and eating them for breakfast. So good.
RH: Berries and beer, the breakfast of champions! Was it easier to work in the relative silence or harder? I sometimes find that when I am away from the base level din of urbanity I find the lack of it distracting.
DS: It was hard. I usually make work about people, and so it was strange to be in a place with so few people. The beauty of the place also ended up being pretty distracting. I kept saying to myself, “Why am I making art when there is the most beautiful landscape out this window that I could look at for hours and hours.”
Looking back on the experience, though, it was incredibly productive in that I came back to Chicago with so many ideas that had been generated by those two months in Norway.
RH: Was there lutefisk?
DS: I think there was, but I never had it, and they weren’t serving it in the café in town. Mostly, I remember eating a tasty, creamy fishball soup and having a reindeer stew, which was delicious.
RH: So wait, the main protagonist in this piece is a disgruntled Art Institute security guard, I was one of those once (both 1st and 2nd shift), are you writing my unauthorized biography? Your unauthorized biography?
DS: I should have talked to you before I wrote the piece. I’ve never been a security guard at an art museum. Maybe you could have given me more insight into the Art Institute’s security set-up, such as whether there are any one-way mirrors in the place or whether there might be any particularly vulnerable masterpieces in the joint. What a missed opportunity!
RH: I don’t know, it was a seriously unexciting job. The highest drama I ever experienced was the demographic of the guards largely women post 50 who were serious about the religion and clean living and I was like 20 and hung over most of the time. I got lectures a great deal. They were very sweet, they wanted me to clean up my lifestyle. Their heart were in the right place.
Your work is often very narrative, with an overarching trajectory, examining events, conspiracies, the lives of drug lords, and now art thieves. Do you write prose works as well? These tales strike me that they would make great novels too.
DS: I’ve never written a novel, and the thought of doing that scares me. I have enough trouble focusing on writing a short story! Also, I think I would have some difficulty telling a story without the use of images.
RH: You work often has a set of complex sub-theme weaving in and out of the narrative. The movie Rocky comes to mind in one of your prior series. Are there various threads worked throughout this work? If so, what, if not why not?
DS: There are several sub-themes in this work: A certain fascination with the machinations of crime syndicates, the strangeness of being an artist and the strange relationship that I think any artist working in an art museum might have with that institution. I was once an intern in an art museum, and while my immediate boss was great, in general I felt like I was a tourist or sometimes an intruder in the place. Later on, after the internship, I ended up exhibiting at this museum, and the relationship this second time around to the place and to the people I had once known as an intern was very different. There are also multiple mentions of
different food items that I find humorous and have appeared in past works (i.e. noodles, sandwiches and pickles). Sandwiches in particular, I think, have this comedic potential that other foods just don’t have.
RH: I am a big fan of your book projects, do you have any planned in the near future?
DS: There are two artist books in this show- one is called “A Short History of Unconventional Ingredients Found in the Philly Cheesesteak Sandwich” and the other one is called “A Walk in Nature or the Faces of Former Bosses.” I also just wrote a short book called “The Truth about David Copperfield” (the master illusionist) which isn’t in this show, but it’s up in a concurrent exhibition at the Wadsworth Atheneum Museum of Art in Connecticut. I saw him perform once when I was a kid and have been fascinated with him since. I mean, seriously, the guy made the Statue of Liberty disappear. How cool is that?
RH: I think he was just in the news proclaiming himself the greatest magician who ever lived. What is on the horizon, what is next for you? A life of crime? Have you considered a side-line as a private detective, you have that investigative drive to chase down all possible paths.
DS: Well, Richard, I’d rather be a detective than a criminal, although criminals lead much more interesting lives. Art-wise, I’m in the brainstorming phase with a narrative that relates to my cousin Irving’s real-life connection to Lee Harvey Oswald. Irving had been a mentor to troubled youth in NYC, Oswald being one of them. It’s a story that I’m trying to flesh out and connect to other things, but I’m not really sure where it’s going. This will be a project for a Drawing Center show this fall. And after that, who knows? I’ve considered starting up a business in which people hire me to pay regular house calls to their cats to come and
entertain them… I’d wear a tool belt with all kinds of different cat toys on it. There are a lot of lonely cats out there, so I actually do think this could be a viable career option.
RH: Like a cat superhero, or cat ninja!! I love it! Thanks for talking with me Deb.
March 15 to April 20, 2013
In Gallery 1 + 2
For her second solo show at Western Exhibitions, DEB SOKOLOW will exhibit a 28-footlong drawing as well as a selection of separate but tangentially-related items inspired by a recent two-month stay at the mountaintop artist residency, Nordisk Kunstnarsenter Dalsåsen, in Norway. The show opens on Friday, March 15 with a free public reception from 5 to 8pm and runs through April 20, 2103.
Full press release:
Deb Sokolow’s concurrent MATRIX166 show “Some Concerns About the Candidate” at the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, up now through June 30, was recently reviewed in THE NEW YORK TIMES and HARTFORD COURANT. See the reviews here and here. Her work in the just-closed group show “How I Wrote Elastic Man” at Invisible-Exports in New York City was discussed on ARTFORUM.COM. See the review here.
845 W Washington Blvd
Chicago, IL 60607 USA
Gallery hours: Wed-Sat, 11am-6pm
Is the banality of your world getting to you? Does the rote day-to-day sameness make you long for some sort of mental Horace Greeley telling you to “Go west young man”(or woman)? Did three hours go missing on Saturday night? Well, have I got a show for you. If you happen to be in a market that carries it, Coast to Coast AM will bring back those X-files feelings of fear and giddiness you have forgotten. A nightly radio program that offers the opportunity to consider that the world is more complicated, magical and/or insidious than you had imagined! If you are awake, from 1am to 5am EST each night you can learn about topics as diverse as: Brain & Imagination/ UFO Updates, Our Alien Ancestry, Preparedness & Human Trafficking, Demonic Harassment & Open Lines, Near Death Experiences, Planet X (the secret planet in our solar system), and so much more. It is a magical realism meets paranoid dream come true.
Originally started by the legendary broadcaster Art Bell in 1978 as a political talk show (as West Coast AM) and evolving in 1995 to a show that covered the fringes of society, the mysteries, the unknown, the conspiracies, and fielding calls from the people wearing aluminum foil hats. Art has retired several times, seemingly for good and the host duties have moved to a team of professional broadcasters. Having produced a weekly show for the last 8 years, I cannot image the challenge of generating content for a program that runs daily. I have interviewed many people both as part of Bad at Sports and as an attorney, having done so I have a great deal of respect for people who do so professionally. While most people are perfectly nice and you can parse out their story, you don’t believe everyone, you don’t like some of them, and you worry that a few might follow you to the subway afterwards. I am impressed by how, regardless of the message and worldview of the guests the host treat each guest seriously and with respect. The guests range from professionals with vetted pedigrees, to people who likely chart fairly deep in the mental illness continuum, and each is taken seriously.
Most importantly, what if it is true? What if the Greys are secret breeding with us because their DNA has become damaged from cosmic radiation suffered in space travel, and need to build their army for the coming war with the Browns? What if the fluoride in the water is a Chinese plot? What if there is a way for a gifted medium to tap into the Akashic records (an interdimensional library that has recorded in text every single moment of everone’s lives)? What colorful world it would be.
It is great escapist entertainment. And they just might be right. Check it out.
by Richard Holland
I had kids for many reasons, they are wonderful. One of the fringe benefits is that they enable me to spend lots of time rediscovering cartoons I’ve loved in the past and exploring the current crop of offerings. I was always more Warner Brothers than Disney, but Disney has some excellent and at times charmingly subversive offerings. The best of which is today’s delightful thing: Phineas and Ferb. It is a thoroughly entertaining mix silliness, fun, with plenty of allusions and clever asides to keep adults on board. The premise is simple as laid out in the ska-power-pop-punk theme song, Phineas and his half brother Ferb are going to maximize every moment of their summer vacation, usually in the form of building something outrageous, as their disgruntled sister tries and fails to out their mischief to Mom. There is a side plot every episode pitting their pet platypus (in his closeted secret life) against his nemesis Doctor Heinz Doofenshmirtz. It is pleasantly formulaic and never becomes rote or unimaginative. Bonus in that the line “and giving a monkey a shower” in the theme makes Hank laugh every time without fail.
So, having a lousy day, bored, disgruntled. Here you go, and this episode even has a contemporary art theme:
It is our sad duty to report the premature passing of Matt Hanner, an artist, a husband and father, and a truly wonderful person. I met Matt while a student at Columbia College and he was one of those rare people that you immediately take a liking to, his charm and intelligence were a delight to be around. The stories about his generosity, kindness, good humor, and friendship are far too many in number to address here. If you didn’t know him, someone you know did, they can tell you.
I contacted a mutual friend to see if he wanted to write this post. He expressed concern about what to say and was worried that he wouldn’t be able to transcend “Matt was awesome, one of the happiest, sweetest people I have ever met. If you knew him then you know that, if you didn’t know him it is sad that you will never have a chance to.” His concern was needless, that is beautiful and exactly what should be written about Matt. I can’t possibly improve upon that.
Check out Matt’s work:
Please donate generously to the scholarship fund started in his memory:
The Matt Hanner Artistic Excellence Scholarship
Columbia College Chicago
600 S. Michigan
Chicago, IL 60605
There is a visitation and service Monday.
Monday, Dec 19
Dykes Funeral Home
2305 N Campbell
Update: Corrected Matt’s year of Birth. Also I received this published obituary.
MATTHEW ROWLAND HANNER PORTER, IN Matthew Rowland Hanner, age 40, passed away on Tuesday, December 13, 2011 at his home. He was born on April 13, 1971 in Columbus, OH to Patricia A. and the late Joseph A. Hanner. Matt was a resident of Porter, IN, formerly of Chicago, IL and Valparaiso, IN, an artist and stay-at-home dad. He was a 1989 Valparaiso High School graduate where he played on the Varsity basketball team, and graduated from Columbia College in Chicago, IL with honors. Matt is survived by his wife, Erika (nee Varricchio) Hanner of Porter, IN; children: Gigi Hanner and Josie Hanner; mother, Patricia A. Hanner of Valparaiso, IN; sister, Kathryn (Charles) Randolph of Seattle, WA; brother Mark (John Obligato) of Chicago IL; nieces, Laurel Mazar and Kelsey Randolph; nephews: Jack and Chase Krueger; mother-in-law and father-in-law: Frederick and Claudette Varricchio. He was preceded in death by his father in 2009. Friends may call at the Dykes Funeral Home, 2305 N. Campbell St., Valparaiso, IN on Monday, December 19, 2011 from 3:00-6:00 p.m. with a funeral service immediately following at 6:00 p.m. Cremation, Calvary Crematory, Portage, IN. In lieu of flowers, memorials may be made to the Matt Hanner Artistic Excellence Scholarship at Columbia College, Chicago, IL. Arrangements by Dykes Funeral Home, Inc. (219) 462-3125