This picture will be science fiction. You are astonished? But science fiction can be in the past as well as the future. This picture is a trip back to Nero’s time, and that means it is a trip into an unknown dimension. What do we know about the Romans? This has made problems for me. My other pictures have all been autobiographical to one degree or another… But now I must become detached, and that has been very hard work.
First I have to invent this world of Nero. Then I must see it from a very narrow point of view, so it will appear foreign and unknown. I am examining ancient Rome as if this were a documentary about the customs and habits of the Martians. To be detached from your own creation is unnatural—I must look on my son as a stranger…
Because the film is so detached, the sex in it will not be erotic. Everyone says Fellini is making a dirty movie. But everything will be abstract, detached. The sex in SATYRICON will be like those ancient Indian statues on the positions of love. Even as you see a woman kissing a monster, it means nothing, because it is so old, so far away, from another civilization…
If you see with innocent eyes, everything is divine… All artists are equal when they are themselves. — Federico Fellini
Federico Fellini, FelliniSatyricon (1969), from top: Hiram Keller; Keller and Martin Potter (right); Mario Romagnoli (right); Fellini with actor on set; Fellini Satyricon; Capucine; U.S. poster; Fellini Satyricon; Keller.
I’m interested in awkward operas; operas in which there are unsolved riddles… in which there’s a space—both musically and thematically—for a world to evolve and be imagined around the story. — William Kentridge
In conjunction with the upcoming Metropolitan Opera’s new production of Alban Berg’s WOZZECK—featuring production design by Kentridge—the artist will be at the Morgan Library andMuseum for a talk about his work.
David Reinfurt—co-founder of Dexter Sinister and The Serving Library and co-author of the monograph Muriel Cooper—will present a slideshow lecture on A *NEW* PROGRAM FORGRAPHIC DESIGN (2019), his “do-it-yourself textbook that synthesizes the pragmatic with the experimental and builds on mid- to late-20th-century pedagogical models to convey advanced principles of contemporary design.”
Reinfurt’s new book provides… in-depth access to a historical analysis, exquisite close-focus portraits of multi-talented creative makers past and present, alongside his own research and examples of his class assignments. This intelligent book contains new insights regarding graphic design history, thought, and practice… [and] is a reminder of Walt Whitman’s call for “a force infusion of intellect” to confront the future. — Sheila Levrant de Bretteville, director, Yale University Graduate Program in Graphic Design
In conjunction with BAUHAUS BEGINNINGS, open for one more week at Getty Center, BAUHAUS—BUILDING THE NEW ARTIST is an online exhibition that “offers an in-depth look into the school’s novel pedagogy.”*
Following the end of World War I, the provisional government of the short-lived Free State of Saxe-Weimar-Eisenach in Germany initiated an effort to reestablish two schools, the Weimar School ofApplied Arts (Weimar Kunstgewerbeschule) and the neighboring Academy of Fine Arts (Hochschule für bildende Kunst), as a single, unified institution…
Upon the recommendation of Belgian architect Henry van de Velde, who had previously directed the Weimar School of Applied Arts, the Berlin architect Walter Gropius was invited to head the new school. Gropius’ request to rechristen the institution under a new name, BAUHAUS STATE SCHOOL (Staatliches Bauhaus), was approved in March 1919.*
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