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Posts Tagged ‘Jeremy Blake’s’

Morales Melodrama: Nancy Jo Sales on her Spiritual Marriage

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The story of Theresa Duncan and Jeremy Blake’s tragic deaths really should become an opera, not a sad little documentary, not a poorly-lit cinema-stylo indie movie. Everyone involved is so dramatic.

Famed writer Nancy Jo Sales, author with the solo byline on Vanity Fair piece, takes issue with Melinda Hunt’s version of events at St. Marks in the Bowery that night in July and on her own relationship with Father Frank Morales.

Morales is begging for a nickname, ala the NY Post–the frisky friar? The popular padre. The ecstatic ecclesiastical, the vivacious vicar, the randy rector, the liturgical Lothario, the cuddling canon, the sexy sacristan.

Let’s hope Father Frank got lots of Christmas gifts, so he can give up wearing Jeremy Blake’s old wardrobe.

(Photo: Jeff Mermelstein/For New York Magazine)

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Jeremy Blake’s Unfinished Work in Corcoran Show

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In today’s NYT, Dan Levin has an interesting story about how Jeremy Blake’s unfinished art work was pieced together for the show at the Corcoran:

Jonathan P. Binstock, the curator of the Corcoran exhibition, and Lance Kinz, a director of Kinz, Tillou & Feigen, decided to incorporate “Glitterbest” into their exhibitions in its incomplete state out of deference to Mr. Blake, who had approved inclusion of some of the images in the Corcoran exhibition catalog and advance announcements for the New York show. They hoped the unfinished work would give viewers insight into his creative process and provide a glimmer of what the video might have become.

It would be uncharitable–accurate, but uncharitable–to suggest that Blake’s indebtness to his dealer may have been a compelling reason for that dealer to want as much material as possible in the show.

David Sigal, who’s described as “a documentary filmmaker and videographer” was recruited to finesse the files into some sort of order. Sigal also turned to the internet to try to get some sense of Blake’s last days and found the slough of conspiracy sites, which must have been wrenching.

Alas, there’s no reaction from the not-known-for-his -reticence Malcolm McLaren about the finished portrait.

Jeremy Blake Show Reviewed in NY Sun

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Lance Esplund reviews the memorial exhibit of artist Jeremy Blake’s work at Kinz, Tillou, & Feigen. Writing in the NY Sun, Esplund examines the influence of the 60s on Blake and decides:

In Blake’s videos, there is no self-consciousness. He does more than pay homage. He is a journeyman, a mad poet exploring his youth. He revisits, re-examines, and reclaims his formative years, creating synesthetic films that meld biography, music, and painting in lyric, hypnotic, psychedelic stews.

Jeremy Blake Show Opens at Corcoran Gallery

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Washington, DC’s Corcoran Gallery of Art proceeded with the show of Jeremy Blake’s digital art, despite his suicide in July. Reviewing Wild Choir: Cinematic Portraits (which opens to the public tomorrow), Deborah Dietsch, in the Washington Times, isn’t bowled over :

His adolescent fantasies about rebellious rockers are expressed through the traditional form of portraiture, and he tries so hard to blend media that his dense verbal and visual montages lack artistic clarity.

The image above is from Glitterbest, a portrait of Malcolm McLaren, that was unfinished at the time of the artist’s death. FBLA is waiting for Tyler Green to review the exhibit, as Dietsch seems rather hasty in her unsympathetic judgment.

Earlier:
Malcolm McLaren: Jeremy Blake Was Gay
The Independent Obit of Jeremy Blake

The Independent Obit of Jeremy Blake

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Charles Darwent, writing in The Independent, continues the British tradition of ignoring dull facts while in pursuit of a good story*. Writing of Jeremy Blake’s suicide:

Blake, however, was seduced by Angelino stardust and became
increasingly preoccupied with the lives of the famous:

On 10 July, Blake returned to their Greenwich Village flat
to find Duncan dead of an overdose of barbiturates.

On the other hand, Derwent understands art:

Works like Every Hallucination on Sunset Strip are intentionally beautiful, their organic forms and lush, saturated colours morphing in synaesthetic time to poetry or music.

(*Disclaimer: this FBLA editor once worked for a British newspaper.)