Have an election night hangover? Worried about the state of world now that Republicans have control of the House again? Forget your troubles by diving into the arts in this week's print edition of Miami New Times.
We'll start things off with a little reminder that things can be worse. Staff Writer Gus Garcia Robert's "Art Caper," details how South Florida artists, investors and a film crew got screwed by film producer Gino Cabanas. What Cabanas claimed was Fox's next reality show, Work of Genius, which put the spotlight on budding artists, turned into a major time and money suck for all involved. And it looks like the show will never see the light of day.
Next up, Carlos Suarez De Jesus provides an in depth look into the world of
octogenarian painter Arnold Mesches in "Desolation Row." Mesches, 87,
has been around from Ike to Obama, and his art has evolved all along the
way.
The artist -- who was investigated by the FBI during the Hoover years and
later obtained the agency's files to use in his work -- has been an
activist all of his life. But Mesches says he shies away from stepping
into the quagmire of propaganda, instead mentioning the political
realities of the times in hopes viewers will raise their own questions
when they encounter his art. "These paintings are all about ideas and
how I have experienced the world and my life," he says. "I want to be
provocative rather than overt, instead of hitting people on the head."
If Mesches' work is a bit too serious for you then read Karina
Longworth's "Zach Attack" which tells you why you should go watch Due
Date, the new flick starring Zach Galifianakis and Robert Downey Jr.
Even if it can be called the Hangover 2, without the good looking guy
and the guy from The Office, Longworth says filmmakers found something
that works and are juicing it for all it's worth.
In interviews to promote Due Date, director Todd Phillips has claimed
the film was intended as a battery-recharging quickie in between the
king-making success of The Hangover and the high-pressure assignment of
creating a franchise-cementing sequel. The best thing that can be said
about Due Date is that it lives up to Phillips's advance billing: From a
breakneck pace that makes its 95-minute running time fly by, to the
high-contrast patina of its high-speed Super 35 source stock, to a
stoner-esque disinterest in Chekhovian payoff that's such a balls-out
fuck-you to conventional screenwriting that it's sort of exciting, Due
Date is fast, lazy, and out of control in a manner that's basically
commendable.
Finally, if you're thinking about getting over election night blues with
a little adulterous sex, Dan Savage will set you straight. Check out
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