“I have been in meetings where people have said things that were so unbelievably stupid, so much more stupid than what appears in the film, that you couldn’t put them in a film because no one would believe it.”
“I was in the first Palm Revue with a group of about 30 people, including Candy Darling, Jackie Curtis, Alexis Del Lago—some of the legends produced and directed by Sheyla Baykal. We packed them in. One night Diana Vreeland brought Cecil Beaton and they just barely got in the back door. It was a big show—music, dancing, comedy, tableaux, solo spots.”
“The power of cinema lies in its ability to cut across social barriers. That’s what we’ve been trying to do. Literacy is not necessary—the upper classes should not be the guides for you to understand and appreciate a film. It has to be direct human contact. It can communicate with the psyche.”
“I was always performing, but never with intent. I was loitering with intent.”
“Maybe there shouldn’t be any difference between how one looks at art and how one looks at anything else?” And I work on that premise. If it’s interesting, it’s interesting.”
“For me, and perhaps for other immigrant writers, there’s a death and a series of rebirths. It’s very painful and traumatic letting go of the old self.”
“When you really start to think about what your organs look like and what would happen if your skin were ripped off or your chest were opened up and you looked inside, it’s not something you want to identify with, but something you want to distance yourself from.”
“That to me is what writing is—to try and strip away the layers.”
“Memory is this terribly treacherous terrain, the very ambiguities of memory go to feed self-deception. And so quite often, we have situations where the license of the person to keep inventing versions of what happened in the past is rapidly beginning to run out. The results of one’s life, the accountability of one’s life is beginning to catch up.”
“The Church was a very sick place. The Church that I knew was an extremely hypocritical institution. That might be where I got my initial inspiration of perversity, growing up within the Catholic Church.”
“I love a strapless dress that makes you look voluptuous. It’s an art form.”
I won’t be young forever, he said to himself one afternoon as he crossed the sunlit yard past the apple trees in which unpruned suckers stood up on the branches like witches wands and entered the woods.
The intercom’s blast, big and commanding, woke Natty. “Y’d think there’s a fuckin’ fire somewhere,” he thought irritatedly.
Trainyard at Noon
Platforms sag and buckle where tall weeds
Chair made from copper plumbing pipes, Chair by James Raglione. This piece appears in the portfolio Furniture Designed by Artists, curated by Ursula Helman.
Glazed earthenware piece, Perfuming the Sultan’s Bed Chamber by Jeff Perrone.
Couch, by John Chamberlain, made from urethane foam, a parachute and canvas. This piece appears in the portfolio Furniture Designed by Artists, curated by Ursula Helman.
Installation, troubled, by Laurie Parsons and installation shot at Galerie Rolf Ricke.
Stainless steel sculpture with electric motor and speed control, Corner Basher by Liz Larner.
Portfolio curated by Olivier Mosset.
Floor lamp made from welded steel, a perforated sheet of copper, cast bronze, and an electrical fixture. This piece appears in the portfolio Furniture Designed by Artists, curated by Ursula Helman.
Copper bench by Paul Mogensen. This piece appears in the portfolio Furniture Designed by Artists, curated by Ursula Helman.
Brass, steel, and plastic electric menorah by R. M. Fischer. This piece appears in the portfolio Furniture Designed by Artists, curated by Ursula Helman.
Table and chair made from plywood, Diningroom Table and Chair by David Deutsch. This piece appears in the portfolio Furniture Designed by Artists, curated by Ursula Helman.
Maple and stainless steel chaise longue, Sofa Parzival by Robert Wilson. This piece appears in the portfolio Furniture Designed by Artists, curated by Ursula Helman.
Oil and beeswax on wood panel painting of two conjoined stars of David, Untitled by David Ortins.
Chair and ottoman set by Roy Lichtenstein. This piece appears in the portfolio Furniture Designed by Artists, curated by Ursula Helman.
Four photographs, Self-Portrait, Celina Fischer Von Czettritz, Violeta Sanchez, Untitled and Betty Lago—Azzedine Alaia by David Seidner. Portfolio remarks by Betsy Sussler.
Acrylic on canvas painting, Freeze by Steve DiBenedetto.
Fir wood desk with clear matte varnish, Desk Set by Donald Judd. This piece appears in the portfolio Furniture Designed by Artists, curated by Ursula Helman.
Untitled (Stockade), acrylic on canvas, by Steven Parrino.
Hammock made from painted corten steel and cadmium plated wire, Samoa by Forrest Myers. This piece appears in the portfolio Furniture Designed by Artists, curated by Ursula Helman.
Two framed animal hides, both titled Domestic Abstraction by Tony Tasset.
Social statement by Guerrilla Girls, the “conscience of the art world.”
Section titled “Furniture Designed by Artists,” curated by Ursula Helman featuring furniture works by Forrest Myers, James Raglione, Paul Mogenson, and Donald Judd among others.
