"Immersive Frida Kahlo" in San Francisco
Renate Stendhal's informed critique of the most recent in an
increasingly long lineage of lucrative immersive artist phenomena was a
refreshing breath of air. She astutely describes and deconstructs the
presentation, confirming my suspicions and allowing me to resolutely stay home.
Many thanks, Renate!
Jim Van Buskirk
Absolutely agree. Her review is point blank and
point on. That's because she is an elegant writer and, as you say, an asute
Renate Stendhal's Article: "Immersive Frida Kahlo" in San Francisco
I have to agree with Mr. Moore's preference for Goulding's Nightmare Alley.
Though I admire Guillermo del Toro very much, his version misses the scathing
film noir of Goulding's 1947 film. Bradley Cooper is a fine actor but he
isn't Tyrone Power, who was one of the most beautiful men in Hollywood. It
is that beauty laced with noir that makes Goulding's film so powerfully
haunting. As for Sorkin's Being the Ricardos, it is terribly miscast.
Bardem completely misses the portrayal of Desi and Kidman is not Lucy! Sorkin
needs to focus on his writing. He is a one-pony director and not a filmmaker.
Miles David Moore's review: Mid-Century Modern
Delight and Deep Thinking
Every time I read an article by Karren Alenier I am transported - another world
opens up to me. Delight draws me - there is nothing like good writing! And it
inspires. I enter the world of her stories - and then ask: What are my values?
How do I see? What filters am I peering through? It is delight and deep thinking
which calls me deeper.
Karren Alenier's column: The Stories We Tell About Slavery & Racism
West Side Story
The problem is that Spielberg is so mundane. Yes, he became a respected
craftsman of money-making movies for the masses and yes, he is a
successful/extremely profitable producer/director and yes, he gave us
"woke" entertainment in his version of West Side Story. What he
didn't give us was Bernstein and Robbins. Either he doesn't understand
what Bernstien/Robbins were creating (forget Sondheim, he was irrelevant to the
beauty of this work), or Steven was listening to and chasing the box-office
bucks. As a director, he is without vision and adverse to taking risks. Mundane,
yes, a Hollywood power broker, yes, a master filmmaker, no!
Verdino-Süllwold's comparison-review of the two film versions of West Side Story is a marvel. Verdino-Süllwold not only knows her theater and film; she also knows the neighborhoods where the two films were shot, and this gives her evaluation of the films an authenticity lacking in other reviews. Verdino-Süllwold's articles are a prime example of why Scene4 is one of the best arts magazines today.
Miles David Moore
Carla Maria Verdino-Süllwold's Review:
A Tale of Two West Side Stories
Me and Marie
Thank you for your
article regarding Marie Laurencin and her relationship with Gertrude Stein and
Pablo Picasso. I truly believe she is an artistic force that has been virtually
ignored. Why? I do not know. I have spent years researching her and have gotten
used to the blank stares that greet me when her name is mentioned. She designed
costumes for the Ballet Russe, collaborated with both Andre Grolt and Pierre
Poiret producing home decor and had an entire museum in Japan dedicated to her
work. Coco Chanel commissioned a portrait, but hated it Was she shunned because
she was a lesbian? Hmmm. I prefer to believe she is a diamond, hidden from view.
Your article has cracked the door into her life and I say thank you!
Kerrie White Loya
Karren Alenier's article: The Muse
For All Seasons - A Book
Your reverence for the printed word is inspiring and the instance with
the Thai reader is not only touching but as you say: "There was nothing
embarrassing about this personal moment." Yet, I don't know why, but
your conclusion about "holographic?" books in the future scares me.
Digital has destroyed so much of the deep treasure and pleasure of reading on
paper with ink that I fear this new possibility will just finish the
dumbing-down and vaporizing of the reading experience.
Arthur Danin Adler's column: For All Seasons - A Book
Philip Gerstein's Exhibit at AMP gallery
Very much enjoyed seeing your work and reading your statement. You are
right: these glass bead paintings need to be seen in person. The texturing in
the trio with the gray blue is stunning. It adds so much to see them as they
contrast internally and dialogue with each other. Your words about knowing when
to stop, when a painting becomes "self-sufficient," how I wish I had
thought of those words, a perfect description and answer to those who say they
never know when to stop. Bravo! I'm glad I made the trip.
Philip Gerstein's article: Sometimes There Is Bliss
The Span of Black Ladders
Although I personally know Brian George, I want to make this letter to
him public, in celebration of his skill as Essayist and of the pleasure this
essay has given me.
My very dear Brian!
I seem to learn a lot from you
-- or perhaps more accurately, my reading of your work opens up the deeper
reservoirs that have been waiting for a long span, desiring of just such an
opening... . I had postponed reading your de Chirico
"channeling". I liked the beginning so much, I knew I could not do
justice to the whole until I came to it with a clearer head and better formed
desire. It had to happen at the right time. And tonight was finally one of those
chances, and I took it, gratefully! "Though the signs were mixed, your
naked mothers once threw caution to the wind", to quote just one
paradoxically pungent line of your Essay. I just truly and unabashedly enjoyed
it, the thought behind each segment, the 'cloak' in which it was
wrapped, the rapture of which it was but a reverberation... . Both you and de
Chirico came alive, became fiction -- yes, there was this awareness of both,
often at the same time -- one looking for the other, the other having found more
than he had looked for... . I thank you for this chance, as I have for
several of your other essays I had the privilege to read and re-read.
Brian George's article: The Span of Black Ladders
Many thanks for your
enthusiastic and big-hearted response! This is exactly the type of feedback I
hope to get. Positive feedback of any type is good, of course, but it means
much more when someone is clearly connecting with the work on an intuitive
level and a piece "opens up deeper reservoirs," as you say.
You've resurrected me
with your lovely memoir or rather a collection of memories. I, too, have a long
immigrant history and it's importance to me and to this country is priceless.
Thank you for taking us on this journey into the past with your beautiful
writing. I look forward with tears and joy for the next journey.
has changed. Everyone here is an immigrant or the descendant of an immigrant yet
the grief at our borders and on our streets ignores that as the dominant group
fights to keep its claim as to who and what is an American. Thank you for
reminding us who we are and who we were.
Carla Maria Verdino-Süllwold's article: Whispered Footsteps Part One
Howard Beale et al
Les Marcott writes with perception and gusto. His quick portayal of the decline
of professional news journalism is disturbing and disheartening. As he says:
"But the problem is that when everyone's a journalist, no one's a
journalist." Very reminiscent of Aaron Sorkin's The Newsroom where they go round
and round fighting so-called citizen-jounalism. Mr. Marcott, Chayefsky and
Lumet not only created a prophet they gave us a portrait of the future which is
Les Marcott's column: That's The Way It Is
Vladimir and Estragon
With machine guns instead of Pozzo and Lucky. Altenir Silva is having fun with classics again. Well done!
Altenir Silva's play: The War
Reviews of poetry by poets are essential.
Alenier's commentaries are energetic understandings of a poet's texts
and intent. This is a dimension we value in Karren's writing.
enjoyed Karren Alenier's review of this new book of poetry. I like how she
uses both the Trinidadian poet's words and the words he doesn't use to
convey his heartfelt regard for human life.
Karren Alenier's column: News Of The Living
Another excellent review by Scene4's exceptional M. D. Moore. As Arthur
always says: it's the writing. In this case, add perception. But I have to take
a bit of umbrage with Mr. Moore for leaving out of his profile of Frank the
10-hour film (mini-series), Godless. For me, it is Scott Frank's most
brilliant writer-director stint of his current brilliant career as a writer and
Miles David Moore's review: Orphans of the Storm
Those Moments of Magic
There are moments, when the essence of an object
Is captured perfectly and with grace.
There are moments, when a highlighted shape formed by nature is
Then there are moments of magic when a trained eye
Such as Jon Rendell's when the next level of beauty
Is reached through the juxtaposition of several seperate
Shots to create a Moment of Magical association. Bravo.
Anne McGravie Wright
Jon Rendell's photography: Nature vs Man-Made
The extensive use
of heroin in jazz during the 1940's-50's has been analyzed by many
people, to no reader's great satisfaction–and least not to this
reader. In this piece, Brian George offers a truly creative point of entry from
which to consider the phenomenon. I'm very grateful for his effort.
Brian George's article: Itutu
Tempus Edax Rerum
that art is isn't it, impressions? And those impressions remain, if the art
remains or is an irreducible memory. I concur: step into the painting, dive into
the music, forget about time and place and all the biographical philandering
that scholars never seem to get enough of. Absorb the impression. I love Monet
and Debussy and so many sensitives from the time. Nice thoughts.
Arthur Danin Adler's column: A Brief Toast For This New Year's Eve
The Road to Freedom
This is a
fine article and Ms Verdino-Süllwold's writing is excellent as always. My only
complaint is not with the author, rather with the magazine. This important
subject warrants a complete issue devoted to it from South to North. But I'm
grateful for this issue.
Carla Maria Verdino-Süllwold's article: The Road to Freedom
By The Shores Of The Potomac
A splendid review, especially made rich by poems and visuals. Anytime we have a poet writing journalism, we are all the better for it!
Karren Alenier's column: By Broad Potomac's Shore
Babe Ruth Is Not Just a Candy Bar
Now you got me, Mr. Silva. This second play in your trilogy is wonderful
(and I don't use that word very often, PR maven that I am). Its humor is
straight out of Camus right into Robin Williams. I'd love to watch you
write, it must be fun. I can't wait for the third one!
Altenir Silva's play: 2. Babe Ruth & Jack
to admit that I knew little about Kandinsky other than his paintings and their
influence on other painters. Obviously there was so much more about him. Though
he attained an international reputation from his art work, the rest of his
amazing life and achievements seems to have been suppressed because of the times
he lived in, other than scholars and academics who followed him and honored him.
He was an unsung genius! I truly appreciate what Ms Renaud has done with her
Kandinsky Anew series, especially this latest article which is so relevant
today, so contemporary. I can understand why she has liked him so much for the
past 30 years. I'm "woke" to him. Thank you for that.
Lissa Tyler Renaud's article: Towards International Unity:
Kandinsky's Inclusive Arts Aesthetic
only wonder what happens if you marry one, or your boss is one, or you find out
that all the time it's your mother under the bed. Mr. Marcott asks:
"Did you really think the Boogeyman would get you if you didn't eat
your breakfast cereal?" I did, and that's why I skip breakfast for
Les Marcott's column: The Boogeyman
looks beautiful especially the beautiful way it is presented on the pages. I
especially love the portrait of the King's back with the sweat marks. I
don't think his work is too "provincial", too Thai. Good paintings
and good sculpture are universal in their appeal.
Janine Yasovant's article: Everything is an Illusion
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