Thursday, October 26, 2006
Wednesday, October 11, 2006
Tuesday, February 14, 2006
Monday, June 28, 2004
Home-Grown Cool
Oklahoma City is not very cool, especially during this time of year. Things get warmer, and muggier, and some of us go a little crazy, engaging in activities we might live to regret. Partly because of this trend, some very uncool things have happened in Bricktown (some type of fishing store has apparently moved into town), on our airwaves (R.I.P. KSYY), and on our ballots (some bigotry dressed up as political discourse). However, there are a few brave souls trying to beat back the trend and bring some cool back to Oklahoma City.
The Shoe Gypsy on Western Avenue, for instance, has been known to invite musicians to play on some Saturday nights. Right down the street, Will's lends their walls to our local artists. Further down Western, Size Records boasts a humble yet effective gallery space, as does that perennial house of beatnik-cool on the south side, the Book Beat Book Co. For some reason, these business owners have chosen to share their revenue streams with artists, musicians, authors, and performers. Is it profitable? Short answer: probably not. People show up, usually don't buy anything, and leave. Long answer: definitely. People show up, look around, discover that the place has something to offer, go home, tell others, and people come back with money they want to spend. I applaud our local business owners for thinking ahead.
It is not always easy to look at the impact our daily actions have on the long-term. Shopping at Wal-Mart doesn't always make us think of American companies going under, just like we don't always see the importance of doing something instead of complaining about how there's not anything for us to do. This city, really any city, is what we make it. Let's keep making it better.
Oklahoma City is not very cool, especially during this time of year. Things get warmer, and muggier, and some of us go a little crazy, engaging in activities we might live to regret. Partly because of this trend, some very uncool things have happened in Bricktown (some type of fishing store has apparently moved into town), on our airwaves (R.I.P. KSYY), and on our ballots (some bigotry dressed up as political discourse). However, there are a few brave souls trying to beat back the trend and bring some cool back to Oklahoma City.
The Shoe Gypsy on Western Avenue, for instance, has been known to invite musicians to play on some Saturday nights. Right down the street, Will's lends their walls to our local artists. Further down Western, Size Records boasts a humble yet effective gallery space, as does that perennial house of beatnik-cool on the south side, the Book Beat Book Co. For some reason, these business owners have chosen to share their revenue streams with artists, musicians, authors, and performers. Is it profitable? Short answer: probably not. People show up, usually don't buy anything, and leave. Long answer: definitely. People show up, look around, discover that the place has something to offer, go home, tell others, and people come back with money they want to spend. I applaud our local business owners for thinking ahead.
It is not always easy to look at the impact our daily actions have on the long-term. Shopping at Wal-Mart doesn't always make us think of American companies going under, just like we don't always see the importance of doing something instead of complaining about how there's not anything for us to do. This city, really any city, is what we make it. Let's keep making it better.
Sunday, June 27, 2004
A Reformed Film Student Looks at Fahrenheit 9/11
Michael Moore’s latest celluloid firebomb, Fahrenheit 9/11 is perhaps the one film I did not expect him to make. This work limits Moore’s onscreen presence in a way that sets this work apart from anything in Moore’s previous filmography. The resulting work feels much more restrained, and less entertaining, than The Big One or Bowling for Columbine, which relied extensively upon Moore’s well-known personality to carry the audience through topics and people that might otherwise be as exciting as CourtTV or CSPAN. Instead of couching this story so much in the framework of Moore’s own experiences (being a lifetime member of the NRA, growing up in Flint, traveling on a self-promotional tour, etc.), Fahrenheit 9/11 puts a greater emphasis on the players in this drama, and their stories.
Equal importance is given to Bush’s early business foibles in Texas, and to a formerly conservative woman who is turned into a bereaved military mom by the war in Iraq. The latter is seen in a particularly gut-wrenching scene toward the end of the film, breaking down in front of the White House moments after confronting a passerby who accused her of “staging” a scene. This woman, physically doubled over in grief, is left alone in the frame. The camera follows her, clearly willing to let her fall to pieces so long as she stays in frame. One is reminded of the scene in Bowling for Columbine where Moore comforts a home-security salesman who is unable to maintain his jovial composure once the topic of conversation turns to the high school tragedy three years prior. That Moore was noticeably absent from the scene on Pennsylvania Avenue, as well as from the majority of the work. That warm, almost cuddly presence has been replaced with a more sardonic and biting narration that guides us through the vast majority of the film. Moore’s voiceover lacks the humor, self-deprecating and otherwise, that he was able to derive from his run-ins with Corporate America in his earlier pieces.
As a reformed film student, I am left wondering why Moore would make such a drastic change to his proven formula. He may simply be tired of being constantly reminded of how fat he has become over the years, but I doubt it. I believe the reasons are slightly more complicated. First, I believe that Michael Moore realizes that this film, because of its subject matter and timing, is more polarizing and politically charged than any of his previous works, and he did not want the content to be confused with his personal reputation any more than was necessary. Secondly, much more of this film comes from second-hand, or archival sources, than any of his previous films. It simply is not possible to digitally insert Moore into the Bush ranch, or onto the flight deck of the U.S.S. Lincoln and maintain any level of believability. Also, to have Moore as a heavy screen presence in some places and absent in others would give the piece a great sense of imbalance (or, greater than Moore was comfortable with). The resulting work, however, is outstanding. It is not a documentary, but it is incredibly compelling, if not overly entertaining. I recommend it, regardless of where you find yourself in the political spectrum.
Michael Moore’s latest celluloid firebomb, Fahrenheit 9/11 is perhaps the one film I did not expect him to make. This work limits Moore’s onscreen presence in a way that sets this work apart from anything in Moore’s previous filmography. The resulting work feels much more restrained, and less entertaining, than The Big One or Bowling for Columbine, which relied extensively upon Moore’s well-known personality to carry the audience through topics and people that might otherwise be as exciting as CourtTV or CSPAN. Instead of couching this story so much in the framework of Moore’s own experiences (being a lifetime member of the NRA, growing up in Flint, traveling on a self-promotional tour, etc.), Fahrenheit 9/11 puts a greater emphasis on the players in this drama, and their stories.
Equal importance is given to Bush’s early business foibles in Texas, and to a formerly conservative woman who is turned into a bereaved military mom by the war in Iraq. The latter is seen in a particularly gut-wrenching scene toward the end of the film, breaking down in front of the White House moments after confronting a passerby who accused her of “staging” a scene. This woman, physically doubled over in grief, is left alone in the frame. The camera follows her, clearly willing to let her fall to pieces so long as she stays in frame. One is reminded of the scene in Bowling for Columbine where Moore comforts a home-security salesman who is unable to maintain his jovial composure once the topic of conversation turns to the high school tragedy three years prior. That Moore was noticeably absent from the scene on Pennsylvania Avenue, as well as from the majority of the work. That warm, almost cuddly presence has been replaced with a more sardonic and biting narration that guides us through the vast majority of the film. Moore’s voiceover lacks the humor, self-deprecating and otherwise, that he was able to derive from his run-ins with Corporate America in his earlier pieces.
As a reformed film student, I am left wondering why Moore would make such a drastic change to his proven formula. He may simply be tired of being constantly reminded of how fat he has become over the years, but I doubt it. I believe the reasons are slightly more complicated. First, I believe that Michael Moore realizes that this film, because of its subject matter and timing, is more polarizing and politically charged than any of his previous works, and he did not want the content to be confused with his personal reputation any more than was necessary. Secondly, much more of this film comes from second-hand, or archival sources, than any of his previous films. It simply is not possible to digitally insert Moore into the Bush ranch, or onto the flight deck of the U.S.S. Lincoln and maintain any level of believability. Also, to have Moore as a heavy screen presence in some places and absent in others would give the piece a great sense of imbalance (or, greater than Moore was comfortable with). The resulting work, however, is outstanding. It is not a documentary, but it is incredibly compelling, if not overly entertaining. I recommend it, regardless of where you find yourself in the political spectrum.
Tuesday, May 11, 2004
Things to be aware of...
This Friday night, May 14th, the Individual Artists of Oklahoma (www.iaogallery.org) will host the seventh annual Open Screening. For one night, and one night only, art ceases to be about credentials, reputation, press clippings, or the sturm und drang that normally go along with movie screenings, gallery openings and rock-star book signings. Instead, we offer up this one night each year to those who have simply created something and had enough belief in their creations to share them with a room full of strangers. There is something about this concept that appeals to the populist, possibly even the socialist, within us all. Cameras and home editing suites have given voice to a generation of artists, and events like the Open Screening give them a forum to share that voice. Not every artist is necessarily worth our time, but at least we get the chance to make that decision for ourselves. The Open Screening will begin at 8:00 p.m., at the Individual Artists of Oklahoma Gallery, 811 North Broadway, Oklahoma City. Tickets are $5, and proceeds go to support the mission of IAO as well as to offer a cash prize to the audience favorite.
The next day, Momentum moves to Tulsa. Momentum is a special event organized by the Oklahoma Visual Arts Coalition (www.ovac.org) to showcase art, in all media, created by artists 30 years old and younger. Momentum gives us a peek at what may be coming to us in the future, and provides young artists with encouragement and support for their artistic endeavors.
At these events, you will probably not find art created by masters, nor will you likely find masterpieces. You will, however, find art created by artists who are excited and are still changing and evolving with their art. Plus, you will find the artists themselves, and you will definitely have a good time.
This Friday night, May 14th, the Individual Artists of Oklahoma (www.iaogallery.org) will host the seventh annual Open Screening. For one night, and one night only, art ceases to be about credentials, reputation, press clippings, or the sturm und drang that normally go along with movie screenings, gallery openings and rock-star book signings. Instead, we offer up this one night each year to those who have simply created something and had enough belief in their creations to share them with a room full of strangers. There is something about this concept that appeals to the populist, possibly even the socialist, within us all. Cameras and home editing suites have given voice to a generation of artists, and events like the Open Screening give them a forum to share that voice. Not every artist is necessarily worth our time, but at least we get the chance to make that decision for ourselves. The Open Screening will begin at 8:00 p.m., at the Individual Artists of Oklahoma Gallery, 811 North Broadway, Oklahoma City. Tickets are $5, and proceeds go to support the mission of IAO as well as to offer a cash prize to the audience favorite.
The next day, Momentum moves to Tulsa. Momentum is a special event organized by the Oklahoma Visual Arts Coalition (www.ovac.org) to showcase art, in all media, created by artists 30 years old and younger. Momentum gives us a peek at what may be coming to us in the future, and provides young artists with encouragement and support for their artistic endeavors.
At these events, you will probably not find art created by masters, nor will you likely find masterpieces. You will, however, find art created by artists who are excited and are still changing and evolving with their art. Plus, you will find the artists themselves, and you will definitely have a good time.
Thursday, April 29, 2004
More "Classic" criticism from my days at LOUD
The Sedate and Irate
The Red Cup is one of those little spots that, if Oklahoma City were a big tourist destination, the locals would go out of their way to keep a secret. Not only do they serve some of the city’s most badass chai, but the owners have taken pains to make artwork into an integral part of the atmosphere. That atmosphere is very laid-back, and is imbued with a whimsical element that I found very pleasing.
The outside of the Red Cup has several key features I enjoyed. There is a small pond with a wrought-iron fountain, made from old scraps of equipment, which is not only intriguing but also oddly soothing. Leading to the pond are cement blocks mixed with bits of broken coffee mugs, which I found to be appropriate for a coffee shop. By the parking lot, a giant Red Cup watches over the cars from an enormous mural, and the vending machine out front for the “local daily newspaper” has been defaced with the word “LIES.” I chuckled a bit when I saw that.
Inside, the color red dominates much of the interior. Go figure. However, almost all of the artwork inside the café in some way features red cups. They include graphite pencil, paint, watercolors, crayon, magic markers and colored pencils. And while they are of varying quality (for example, some have a childlike dimension that is only made by little children), they all work together. One piece that stands out in my mind is “Busboy’s View” by JR Long. It is a watercolor of a sea of empty tables with little red coffee cups waiting to be bused. Again, I chuckled when I saw that.
Finally, for a limited time you will be able to take home Red Cup matchbooks, featuring the Red Cup Logo. Now, I understand that most people don’t think of matchbooks as “high art,” but it is important for us to remember that, just as any screen printer will tell you, someone put a fair amount of effort into designing and producing those matchbooks. They may not be Van Gogh, but they are free.
The Sedate and Irate
The Red Cup is one of those little spots that, if Oklahoma City were a big tourist destination, the locals would go out of their way to keep a secret. Not only do they serve some of the city’s most badass chai, but the owners have taken pains to make artwork into an integral part of the atmosphere. That atmosphere is very laid-back, and is imbued with a whimsical element that I found very pleasing.
The outside of the Red Cup has several key features I enjoyed. There is a small pond with a wrought-iron fountain, made from old scraps of equipment, which is not only intriguing but also oddly soothing. Leading to the pond are cement blocks mixed with bits of broken coffee mugs, which I found to be appropriate for a coffee shop. By the parking lot, a giant Red Cup watches over the cars from an enormous mural, and the vending machine out front for the “local daily newspaper” has been defaced with the word “LIES.” I chuckled a bit when I saw that.
Inside, the color red dominates much of the interior. Go figure. However, almost all of the artwork inside the café in some way features red cups. They include graphite pencil, paint, watercolors, crayon, magic markers and colored pencils. And while they are of varying quality (for example, some have a childlike dimension that is only made by little children), they all work together. One piece that stands out in my mind is “Busboy’s View” by JR Long. It is a watercolor of a sea of empty tables with little red coffee cups waiting to be bused. Again, I chuckled when I saw that.
Finally, for a limited time you will be able to take home Red Cup matchbooks, featuring the Red Cup Logo. Now, I understand that most people don’t think of matchbooks as “high art,” but it is important for us to remember that, just as any screen printer will tell you, someone put a fair amount of effort into designing and producing those matchbooks. They may not be Van Gogh, but they are free.
