September 3, 2010 · Print This Article
Review of the Art documentary “William Kentridge: Anything is Possible”
I love Art documentaries, I have watched almost every one that I could get my hands on over the years much to the displeasure of my wallet (they are always more expensive then theÂ averageÂ film) and anyone I share a Netflix account with (watch enough art films and Netflix will make all sorts of assumptions about you in it’sÂ recommendedÂ filmsÂ algorithm).
Art docs have always been for me a great way to survey the work, personality, and tone of any artist. Its rare that the average person can get one on one time with an Artist of interest and when you do it’s more often after they have talked to 40 people before you and are 8 cups deep into the free beer or wine the gallery/school/institution/art fair put out. So in effect you get less thenÂ stellarÂ conversationsÂ (not always mind you, theÂ exceptionsÂ are often amazing) or and this is the truth for anyone artist, politician, scientist, what have you; that its hard to always be “on” and be able to talkÂ extemporaneouslyÂ and with give and take about your work. Art professors the world over try to beat the need for this skill into their students but the dirty secret is the professors often times are no better and have been no better for 20+ years. Fact is it’s a hard skill to learn for anyone and Art docs help with the magic of editing to give you the best moments of conversation possible.
Thats why its so saddening when you often times see artists speak vaugly, paradoxically, or with a straight faced serious non sequitur, much as the case with Art:21’s first feature length, solo artist film outside of the biennialÂ Art in the Twenty-First Century series. Art:21’s “William Kentridge: Anything is Possible” is a well directed film with good production values. “Anything is Possible” has everything I look for in a good Art doc except William Kentridge is the typical “say nothing by saying much” artist in the film and this is after the director/editor has worked to make it as structured, poignantÂ &Â narrativelyÂ focused as possible since it is in their best interest to do so.
It’s kind of painful to watch after a while since it is clear with how Kentridge’s monologues are woven into the tapestry of the film as intros or outros to scenes and quickly cut that the production team didn’t really know how to make use of statements like “making art was a way ofÂ arrivingÂ atÂ knowledgeÂ that was not subject to cross examination” and treated hisÂ narrationÂ more like a soundtrack to pop a scene or set a tone, not to make aÂ statementÂ to be followed by theÂ audience. Very little of what William Kentridge says in the film sheds light on his youth, early career, family, later career or deeper intent other then then the very basic themes of aÂ pieceÂ or style.
Having said this his skill as a stop motion filmaker, animator & stylized puppeteer is very facinating. His highly graphic, russian constructivism style of working has great impact and the director of “Anything is Possible” made strong use of this fact. The film by and large is a visual symphony of the various components that Kentridge uses in his practice, introducing them one at a time and then at the last movement bringing them all together in one operatic scene with as much scope as possible. Where the end of the film centers around the ArtistsÂ collaborationÂ with the Metropolitan Opera in a performance of Shostakovitch’s 1928 work “The Nose”. Then you see the shadow puppets, the animated drawing, the mix of 3d & 2d interaction, the projections that swallow the entire stage making humans look like ants & the politicalÂ pageantryÂ that winds it’s way through much of Kentridge’s work. Then and saddly only then does the film start to pay off.
I love the series Art:21 and know how difficult it is to organize, finance and execute interviews, artists, performances & such but I walk away from this first long form solo film wishing they had picked someone else to showcase and the feeling it was actually a behind the scenes for a yet to be released Met Opera DVD. Kentridge’s work and in many ways the man himself is so esoteric that few will be able to really sink their teeth into this or even care to try? I am not saying make the first film on anything asÂ extremeÂ as the out of favorÂ Chapman brothers or zeitgeistÂ Shepard Fairey but something moreÂ accessibleÂ and of interest to the twenty first century might be apropos.
The first line of the film is “My job is to make drawings not sense” which I realize he says to elicit a response from the audience of 60-70 year olds that are inÂ attendanceÂ (watch the film and like Where’s Waldo find someone born after Tang was invented) but it is sadly true of his general take on thisÂ opportunityÂ to speak to a larger audience, anÂ occasionÂ that he drops and never picks up. You see when I said earlier that the average person rarely gets a one on one with an Artist they are interested in it is doubly so for an artist to get the opportunityÂ to broadly speak to a captive audience in such a way as this and when you do: teach us, illuminate us, speak to us, move us for sadly in life you get one or two chances at most and we move on to someone who will.
The broadcast premiere of “William Kentridge: Anything Is Possible” takes place this October 21 at 10:00 p.m. ET on PBS (check local listings). Susan Sollins, Art:21’s Executive Director & director of this documentary made a good film out of a poor subject choice, hopefully next time a more fitting and engaging person will be showcased.
“The” documentary on Street Art that was almost 20 years in the making has finally solidified around one person and is coming out. What began as a overview of the works of people like Space Invader, Shepard Fairey, Thierry Guetta & others has grown to include the famously camera shy Banksy. The film titled “Exit Through the Gift Shop” will premiere in Chicago on April 23rd at the Landmark Century Theater & New York City on April 16th at the Landmark Sunshine Theater.
From yesterday’s L.A. Times:
“The legal adventures of Shepard Fairey came to a head today when the L.A. street artist received a sentence of two years probation from a Boston court as part of a plea arrangement with prosecutors.
Fairey agreed to plead guilty to three vandalism charges in exchange for the prosecutors dropping 11 other charges. The artist pleaded guilty to one charge of defacing property and two charges of “wanton destruction of property” valued at under $250.
The judge also ordered Fairey to pay $2,000 to a graffiti removal organization and said that the artist cannot possess tagging materials except for legal art installations.”
Are we in the midst of a Shepard Fairey backlash? Not exactly, but there is some sort of reassessment going on. The L.A.-based political poster artist designed an iconographic image that reverberated nationally, along with other forms of viral street art that have been piquing the interest of city dwellers for years–but the question that’s being debated at the moment is whether Fairey’s output makes for good art, or even good design. This comes in the wake of Fairey’s 20 year survey exhibition at the ICA Boston, along with news that he has won the Brit Insurance Design of the Year award (chosen by a panel that included MOMA architecture and design curator Paola Antonelli).
Reviews of “Shepard Fairey: Supply and Demand,” at the ICA have been middling to negative. In his review of the show this week, for example, the L.A. Times‘ Christopher Knight delivered a clear-eyed and even-handed assessment of Fairey’s oeuvre:
“The 39-year-old designer … possesses a limited pictorial vocabulary, while the grandest curatorial claims made for the nearly 250 examples in the galleries are unsupportable. But the 20-year success of “Obey Giant” can’t be denied, nor can the efficacy of its strategies in establishing “Obama Hope” in the public consciousness. If neither adds up to major art or effective counterculture politics, both are plainly worth considering.” (Read the full article here).
“this entire show seemed like a set up to me, not even getting into the fact that the BPD arrested the guy on the way to the show. (Yeah, what better way to boost the rebellious cred than getting arrested. Brilliant!!) The images were of the highest production value, but even he will tell you, this ain’t art. Not when you’re doing avatar stencils for Joey Ramone and saying things like ‘I’m not a musician, but I’m still gonna rock it hard as nails.'”
It’s not only Shepard Fairey-as-artist who’s being dissed, it’s Shepard Fairey the designer. In an article for the London Times here).ot Poster of the Year. Or Ad Campaign of the Year. And the prize’s self-defined role is to reward the most “innovative and forward thinking” design. This poster is neither innovative or forward thinking, certainly not compared with last-year’s winner, the bargain-basement laptop in reach of the world’s poor, designed by Yves Béhar” (read the full article
What I find most interesting is how all the Fairey take-downs seem to mirror Obama’s own “coming down to earth” transition in national press coverage of late, and I’m not just talking about Fox News. Even so-called liberal media outlets like MSNBC have their pundits training a colder, harder eye on the President, as his budget proposals, his stated commitment to health care and his nods to arts funding come under fire, often from both sides of the political spectrum. It seems that buoyant moment when a single iconic image and the word Hope could move a nation is over. In the worlds of art and politics alike, now it’s time for deeper scrutiny, (hopefully) more intelligent debate, reassessment and repositioning.
Cue Soul II Soul: “back to life… back to reality.”
via Obey Giant
“These commemorative stickers mark Barack Obama’s historic victory and were designed by groundbreaking artist Shepard Fairey-the same artist who designed the world-famous, iconic “Hope” poster for Obama.
You can get one sticker for free. For a $3+ donation, we’ll send you 5 stickers. For a $20+ donation, we’ll send 50 stickers. Stickers are 4.5″ x 6” (about the size of a postcard) and may take 5-7 weeks to arrive.