Over on Burnaway Magazine, there’s a new article up that I wrote about visiting folk artist Howard Finster’s former home and garden in Summerville, Georgia. The artist created an area full of folk art, religious text, and junk intermingled at every turn, and visiting is a fun daytrip from Atlanta or elsewhere in North Georgia. Seeing the artist’s work here, as opposed to a museum, clarifies where the artist was coming from in both a literal and figurative sense, and strengthened my appreciation of his work. I’ve included more pictures here, and just follow the link to read the article “Howard Finster’s Paradise Garden Continues to Thrive” on Burnaway.
I visited Paradise Gardens in June. Now that I’ve gotten back from a long vacation (without a computer–possibly not the best decision I’ve ever made), I hope to catch up and posts of some of the things I’ve seen soon.
New review of mine up on the Southeast art magazine Burnaway‘s website of the group show “Gold Party” at Beep Beep Gallery in Atlanta:
Seven-year old Beep Beep Gallery likes to kick off each year with a show of new artists. This year, works by seven emerging artists have been brought together for a “gold party,” the hard-times version of a Tupperware party….
Summer Hours, a French film with Juliette Binoche, just opened in New York city and made a bit of a stir on some art blogs for wrapping a Corot in bubble wrap. The synopsis sounded charming, and I did the unthinkable a watched two films in a week, this time after paying $12.50 (!) for a ticket.
$12.50 did not quite buy me the charming, artsy French film I was expecting. The idea is that three siblings are left to divvy up the inheritance of a house and art collection upon their mother’s passing. The film built up well but it didn’t resolve at all–when the credits came on, I was surprised and most unsatisfied. Whatever happened to good old build up-conflict-resolution cycles? Aside from the beginning of the film before the mother dies, and the character of the housekeeper throughout, I felt like the story telling became an unravelling of separate pieces of thread with no end. So the director abruptly cuts the thread.
I’ve checked. I’m the only person on the Internet who left nonplussed. This film got a rave review in the NY Times and most everywhere else, has the lovely Juliet Binoche, and was sponsored by the Musee D’Orsay who let it use some of its works of art. (In return for funding the film, the Musee only asked to be included in the film in some way, which is an interesting concept.)
So maybe you shouldn’t take my word for it. The treatment of the adult children and the decisions left to them is matter of fact and unsentimental, and the wisteria is indeed lovely. That’s worth something.