On Friday night, Oliver Stone's new movie, Snowden, premiered at the Toronto Film Festival. Early reviews were embargoed until then. But I can tell you, from the reaction of a tony crowd at a summer screening in East Hampton, let the award season begin with this movie.
For Guild Hall curator Christina Strassfield, a show on minimalism was a no brainer. Currently on view in two large galleries, stark works in sand colors, geometrics, in brown felt material, in bright neon, the exhibition displays art from the collection of Bridgehampton resident Leonard Ruggio, whose passion is minimalism, a midcentury movement that challenges our notions of the types of materials can be used in art, and in fact our traditional notions of beauty.
Hamptons Journal: Robert Wilson: Art with Edge at the Watermill Center / Adrian Nivola at The Drawing Room
Against a wall proclaiming "Make America Great Again" in blood red, an electric chair did not seem out of place. Not for
Hamptons Journal: Nona Hendryx Pays Tribute to Bowie at LongHouse Reserve Jubilee/ Richard Mishaan's Design at Guild Hall, and the East Hampton Historical Society
Jack Lenor Larsen's LongHouse Reserve, home to a spectacular sculpture garden including Yoko Ono's "Wishing Tree," became
The subtitle of the unflinching documentary, Robert Mapplethorpe: Look at the Pictures, comes from Senator Jesse Helms, enemy
Robert Wilson will spend the next 30 years behind bars.
What is a mentor? A teacher? A protector? A guide? A master? An editor? A coach? A fresh eye? All these things. The 2015 class of Rolex artistic protégés will remember what their distinguished mentors have taught them: To trust themselves. To be fearless. To get joy from difficulty. To bring narrative to a project. To rehearse in a hallway for three days and not be afraid. To juggle. To avoid being academic or theoretical. To become more "wild". To work hard. To question their identity. To use all five senses. To learn that to be an artist is a solitary journey, most often a frightening one.
On Tuesday, a special chess tournament, the first in the Hamptons, at Jack Lenor Larson's LongHouse Reserve, gave an opportunity
The next rollicking 300 pages detail, in masterful prose, the rise of Glass as a musician/composer/entrepreneur and simultaneously the avant-garde art scene that exploded in New York City in the '50s and '60s, where Glass was the red-hot epicenter of the music world.
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