Jus wutever u kno.

Russian Ark by Alexander Sokurov

'The movie consists of one unbroken shot lasting the entire length of the film (96 minutes), as a camera glides through the Hermitage, the repository of Russian art and history in St. Petersburg. The cinematographer Tillman Buttner, using a Steadicam and high-def digital technology, joined with some 2,000 actors in an tight-wire act in which every mark and cue had to be hit without fail; there were two broken takes before the third time was the charm.

Sokurov reportedly rehearsed his all-important camera moves again and again with the cinematographer, the actors and the invisible sound and lighting technicians, knowing that the Hermitage would be given to him for only one precious day. What we see is the grand sweep of Russian history in the years before the Revolution, and a glimpse of the grim times afterwards.’

Roger Ebert


And So Will I Wonder…?

I lived, but then in living I was feeble in life and
always knew that they would bury me here in the end,
that year piles upon year, clod on clod, stone on stone,
that the body swells and in the cool, maggot-
infested darkness, the naked bone will shiver.
That above, scuttling time is rummaging through my poems
and that I will sink deeper into the ground.
All this I knew. But tell me, the work—did that live on? 

Miklos Radnoti

ICO Ending

'ICO was designed and directed by Fumito Ueda, who wanted to create a minimalist game around a “boy meets girl” concept. The team employed a “subtracting design” approach to reduce elements of gameplay that interfered with the game’s setting and story in order to create a high level of immersion.

The protagonist is a young boy named Ico who was born with horns, which his village considers a bad omen. Warriors lock him away in an abandoned fortress. During his explorations of the fortress, Ico encounters Yorda, the daughter of the castle’s Queen. The Queen plans to use Yorda’s body to extend her own lifespan. Learning this, Ico seeks to escape the castle with Yorda, keeping her safe from the shadow-like creatures that attempt to draw her back.’


Lot Description

Roy Lichtenstein (1923-1997) 
Seductive Girl 
signed and dated ‘rf Lichtenstein ‘96’ (on the reverse) 
oil and Magna on canvas 
50 x 72 in. (127 x 182.8 cm.) 
Painted in 1996. 

Price Realized



$22,000,000 - $28,000,000

Sale Information

12 November 2013, New York, Rockefeller Plaza

Seductive Girl is a majestic and monumental Pop tribute to art history’s most enduring subject: the female nude. Executed in 1996, it represents Roy Lichtenstein’s triumphal return to the comic heroines of the 1960s, which had defined him as one of the major painters of the twentieth century. This beguiling playmate, rendered in the Lichtenstein’s bold signature style, belongs to a series of larger-than-life Nudes that were instigated in 1993 and curtailed by the artist’s death in 1997. During this prolific period, he explored the theme extensively, producing prints, drawings, collages and large canvases like the present work. Together the series has been recognized as a significant component within the artist’s oeuvre. The Nudes were well represented within the recent touring retrospective organized by the Art Institute of Chicago and Tate Modern and their joyous sensuality has attracted many long-standing admirers, including the artist Jeff Koons, who has declared: “The later women paintings and nudes that Roy did are absolutely gorgeous” (J. Koons in “Conversation,” M. Francis & S. Ratibor (eds.), Lichtenstein: Girls, exh. cat., Gagosian Gallery, New York 2008, p. 16).


CHEVALIER lounge chairs, pair

France , 1939
glass, chrome-plated brass, hide
26 w x 36 d x 30 h inches

This design was created by Chevalier for the exhibit “L’Art du Bois” in Paris.

LITERATURE: Furniture & Interiors of the 1940s, Philippe, pg. 62

Estimate: $20,000–30,000
Result: $42,000

From: Important 20th Century Modern Design, 25 September 2005 Auction


A Time Capsule of 1940’s Downtown Los Angeles

The founder of Prelinger Archives, Rick Prelinger, shares a look at 1940s Los Angeles via old Hollywood stock footage:

As you know, the present wipes out the past faster in Los Angeles than perhaps anywhere else, and the everyday landscape of the past can often be very difficult to imagine.

Here’s an outtake from an unknown feature film (specifically, a ”process plate” intended for rear projection behind characters driving in a car). If it was ever used, it was seen fuzzy and out of focus. Today, however, it’s amazing documentation of a lost neighborhood. Watch the signs, the spectators and passersby, and the streetscapes, and marvel how historical images can carry evidentiary value that no one ever imagined they would.