The questions posed by Masha Tupitsyn’s work to date—Love Sounds completes a trilogy that began with Laconia and Love Dog, a pair of books drawn from her writing on Twitter and Tumblr—have generally been variations on “how do we talk about love?” So: How do we talk with love? How do we talk through love? How do we talk around love? How do we talk away from love? How do we talk in love? With Love Sounds, she’s taken these questions, and many more, and used them to grope, like a good archivist, through the thicket of love in English-language cinema. The slightly more than twenty-four hours she has emerged with are offered generously for interpretation, a process helped along by the eight categories, rendered as white text on a black ground, that both structure the work and provide its only images. In the time since...
- 12/14/2015
- by Phil Coldiron
- MUBI
The questions posed by Masha Tupitsyn’s work to date—Love Sounds completes a trilogy that began with Laconia and Love Dog, a pair of books drawn from her writing on Twitter and Tumblr—have generally been variations on “how do we talk about love?” So: How do we talk with love? How do we talk through love? How do we talk around love? How do we talk away from love? How do we talk in love? With Love Sounds, she’s taken these questions, and many more, and used them to grope, like a good archivist, through the thicket of love in English-language cinema. The slightly more than twenty-four hours she has emerged with are offered generously for interpretation, a process helped along by the eight categories, rendered as white text on a black ground, that both structure the work and provide its only images. In the time since...
- 12/14/2015
- by Phil Coldiron
- MUBI
The recent release of Ork Records: New York, New York — the newest excavation from archival label Numero Group, known for its subcultural archaeology — proves that not every stone had been left unturned when it came to punk rock. The boxed set resurfaces every single released by one of the first punk and indie labels in its prime (1976–1979), placing influential, albeit lesser-known, acts (the Feelies, a post–Dead Boys Cheetah Chrome, The dBs) alongside debut releases from what are now marquee names (Television, a post-Television Richard Hell, Big Star's Alex Chilton). At the center of it all sits Terry Ork, the bearish and eternally grinning founder of Ork Records and early manager of Television, who followed Andy Warhol to New York from his native San Diego, where Warhol was filming San Diego Surf in 1968, just before an attempted assassination on Warhol. During the film’s production, Ork — a film...
- 11/10/2015
- by Andrew Flanagan
- Vulture
New York – It’s not technically a plot spoiler when there’s zero plot. So it’s fair game to reveal that the long-unfinished, unscripted 1968 Andy Warhol feature, San Diego Surf, is almost 90 minutes of preamble to Taylor Mead getting a golden shower from the Factory’s pretty-boy surfer, Tom Hompertz. “We middle-class people really suffer watching you surfers out there,” groans Mead, who plays a restless married man yearning to put his bourgeois golfing days behind him and acquire SoCal surf-culture status. “Can’t you just piss on us?” Given that the middle class were well-
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- 10/18/2012
- by David Rooney
- The Hollywood Reporter - Movie News
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