Salvador Dali

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Andy Warhol, Salvador Dali and Takashi Murakami Saturday 20th August 2011 Carlo Harris attends Red Carpet Auction Events presents 'Convergence of the Arts' featuring a multi-million dollar collection of rare fine art, collectibles and sculpture up for bid, including originals by Andy Warhol, Takashi Murakami, Salvador Dali Kaufman, Wesselman, Agam, Rockwell, Mel Ramos, Erte, Pino and Romero Britto, held at Fillmore on Miami Beach Miami Beach, Florida

Andy Warhol, Salvador Dali and Takashi Murakami
Andy Warhol, Salvador Dali and Takashi Murakami
Atmosphere and Andy Warhol
Atmosphere and Andy Warhol
Atmosphere and Andy Warhol

Salvador Dali and Barack Obama Thursday 15th January 2009 President-elect Barack Obama waxwork unveiling at Madame Tussauds New York City, USA

Salvador Dali and Barack Obama

Un Chien Andalou Review


Essential
It was released in 1929, but it still has the power to make audiences cringe today and it may remain the most notorious 16 minutes of film ever made. Called by director Luis Buñuel a "call to murder," and born of the Surrealist movement in art, Un Chien Andalou is one of the chief cultural artifacts from a time when film aspired to something larger than mere storytelling.

There is no plot, per se, but rather an amalgamation of images centering on a romance seemingly being conducted between the film's leads. Although Buñuel subverts every expectation that a viewer might bring to the film (time moves arbitrarily forward and backward, characters vanish and reappear, and the action remains stubbornly illegible), the images he uses to convey his deeper meanings remain passionate, resonant, and alarmingly, weirdly sexual to this day. These deeper meanings have to do with the innate drives sublimated to society, and in Un Chien Andalou they pop out everywhere with horrifying insistence: ants crawl from a hole in a human hand, pubic hair grows on faces, and, in the film's most infamous passage, an eyeball is slit with a razor just as a cloud cuts across the face of the moon. It's unsettling at least, but it also genuinely hypnotizes.

Continue reading: Un Chien Andalou Review

L'Âge D'or Review


Essential
A lot of people were upset earlier this year with the ultra-conservative piety offered by Mel Gibson in his The Passion of the Christ: Letters were written, ecumenical and Jewish groups spoke out, journalists interviewed patrons, critics took sides. It constituted a contretemps, I suppose, but if Gibson thinks he was persecuted, I direct him to the historical moment, in 1930, when Luis Buñuel's first feature film L'Âge d'or was loosed on an apparently unprepared Paris. Letters were written then too, but, additionally, the police stormed the theater, patrons endeavored to set it aflame, Surrealist art works in the lobby were destroyed, and the film's producer was threatened with excommunication by the Vatican. Personally, I'd choose the tough questions from Diane Sawyer.

Of course, ultra-conservative piety was never the problem with Buñuel. On the contrary. Today, more than twenty years after his death, he remains cinema's most gleeful blasphemer, and in L'Âge d'or his contempt for the church found its most straightforward representation. Pauline Kael described the picture as "deliberately, pornographically blasphemous," a summation that cannot be improved upon; an example of Buñuel's heresies might include the concluding sequence in which Jesus is written into the same Marquis de Sade material that served as the basis for Pasolini's Salò, or The 120 Days of Sodom, and there are many more. (The woman for whom the film was commissioned was, incidentally, a direct descendent of the Marquis's.)

Continue reading: L'Âge D'or Review

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