Sex
The British photographer Jane Hilton has spent more than fifteen years getting to know “working girls” in Nevada.
Laurie Simmons abandons tiny furniture for a relationship with a Japanese Love Doll.
Randy Polumbo gives Artlog a sneak preview into his latest mobile installation: Love Stream.
No one under eighteen will be admitted into Freight + Volume Gallery during August and September.
The Greek tradition, which draws thousands of viewers and will dominate TV for the coming weeks with everything from shot-put to soccer to Jim Nantz speaking in comforting tones, apparently takes a Roman turn after the cameras turn off. ESPN unveils the orgiastic bacchanalia that is the Olympic Village at night.
When she was twelve years old, Panni Malekzadeh found her father’s stash of Playboy magazines buried in the closet. The experience fueled her sensual portrait paintings of young Persian women.
A new music video experiment by Sigur Rós provides Shia LaBeouf his first full-frontal gig.
Gallerist Perry Rubenstein unveils his new space in LA with an exhibition by late photographer and provocateur Helmut Newton.
Once a vibrant shipping port, the Hudson River Docks fell into disuse with the advent of air freight and were all but abandoned by the 1970’s. The industrial wasteland became a playground for artists and the emerging gay subculture; it was a place where men would sunbathe, cruise, and engage in sexual acts free from the constraints of society.
Joe Glassman, a self-ruinous psychiatrist played by Rip Torn, is a corrupt sex machine. Sex deadens him. He finds it thrilling in the moment, but it’s horribly numbing afterward. There’s a sordid, comic irony to his situation – this shrink is just as loony and screwed up as the patients who come to him with their problems. The subject of Milton Moses Ginsberg’s Coming Apart (1969), Joe’s the poster child for everything that’s wrong with the free sex movement, filled with a self-loathing brought upon by a pursuit of purely physical pleasures. Received tepidly upon initial release, Ginsberg’s film has gained a significant cult in the decades after its release, and today is regarded as one of the more important pieces of American independent cinema. BAM screens this film on August 23 during a brief retrospective of Ginsberg’s short directorial career, one screening featuring a Q&A session with Mr. Ginsberg himself.
