The Center for Contemporary Arts in Santa Fe is bringing back its popular ArtScreen series this summer. Every Monday--from June 16 through July 28--the CCA Cinematheque will present a different film focusing on art and artists. Subjects include the Los Angeles contemporary arts scene, Andy Warhol’s Factory, Keith Haring and Robert Mapplethorpe. Each film will be introduced by an artist or art historian. The series is unveiled this Monday with Cool School: Story of the Ferus Gallery. The film takes a look at L.A.’s seminal Ferus art gallery, which helped discover Ed Kienholz, Ed Ruscha and Robert Irwin and hosted groundbreaking shows by Andy Warhol, Jasper Johns and Roy Lichtenstein. Tickets are $8 for members, students and seniors, $9 for nonmembers and $40 members/$45 nonmembers for a series pass good for all seven films. For a complete listing of all the films in this year’s ArtScreen, log on to ccasantafe.org.
What do you get when you cross a serious actor like Edward Norton with a summer mega-hit? Maybe "cross" isn't the the best descriptor. This Frankenstein's top half is Norton-fueled character drama, while the lower end is all CG car-tossing. The Incredible Hulk manages to keep its continuity pants on, tattered though they may become. (Speaking of pants, this flick really makes a point of exploring how the Hulk finds a way to keep them on in spite of drastic size changes.)
Harmony Korine is bat-shit insane. To use the charitable, art-world-approved term, he’s “eccentric.” Now, this character assessment is based not on personal observation, but on careful consumption of his cinematic work. From the Larry Clark-directed opuses Kids and Ken Park (both of which Korine wrote) to his full-on writing/directing efforts Gummo and Julien Donkey-Boy, Korine has demonstrated a singular talent that has inspired some to call him the freshest voice in modern indie cinema and others to label him one seriously messed-up young dude.
It’s no trade secret that CBS has long coveted the “silver hair” demographic. But seniors tuning into the Eye Network this week to catch reruns of “NCIS,” “The Ghost Whisperer” or any one of a dozen variations on “CSI” may be shocked to find the sexually promiscuous period drama “Swingtown.” Or not.