FIST FIGHT

Posted on 2017-02-20

Ice Cube and Charlie Day star as high school teachers prepared to solve their differences the hard way in the comedy “Fist Fight,” directed by Richie Keen (“It’s Always Sunny in Philadelphia”).
On the last day of the year, mild-mannered high school English teacher Andy Campbell (Day) is trying his best to keep it together amidst senior pranks, a dysfunctional administration and budget cuts that put jobs on the line. But things go from bad to worse when he accidentally crosses his much tougher and deeply feared colleague, Ron Strickland (Cube), who challenges Campbell to an old-fashioned throw down after school. News of the fight spreads like wildfire and ends up becoming the very thing this school, and Campbell, needed.

In theatres March 3rd, 2017

fistfightmovie.com

  

LURKA & BATU – KNEQQ / STRUCK

Posted on 2017-02-20

The second collaborative release from Lurka & Batu, out via the former’s Fringe White imprint, consists of two obtuse club cuts.

fringe-white

  

HANNAH WHITAKER – LIVE AGENT

Posted on 2017-02-13

Each photograph was shot on a single sheet of 4×5 film, through layered exposures and in-camera masking. Whitaker’s process begins with a sketch, which she uses to hand-cut a set of paper screens to be inserted into the camera during exposure. The sketches used in Live Agent incorporate wavy scribbling, marking a new turn towards the gestural. These forms are then painstakingly and repeatedly redrawn to make the screens, draining them of any purported spontaneity and burying them under a laborious process. Requiring thorough planning, the completed photographic image may involve up to 30 screens (or 30 exposures) and several weeks of shooting. The resulting image is determined less by any one subject than by its own complex construction.

With a longstanding interest in forms of automation, Whitaker’s process draws from the punch cards used at various points in the history of computing. Similarly employing holes in paper, her screen sets can be thought of like computer programs-they can be run repeatedly, inputting different information to get a different output. As a result, the show features multiple photographs shot with the same screens, compelling different content to adhere to the same visual schematic.

Opposite – Point and Flex (triptych), 2017

Exhibition runs through to March 11th, 2017

M+B
612 North Almont Drive
Los Angeles
California 90069

www.mbart.com

  

JOHN WICK: CHAPTER 2

Posted on 2017-02-13

In this next chapter following the 2014 hit, legendary hitman John Wick [Keanu Reeves] is forced back out of retirement by a former associate plotting to seize control of a shadowy international assassins’ guild. Bound by a blood oath to help him, John travels to Rome where he squares off against some of the world’s deadliest killers

In theatres February 17th, 2017

www.johnwick.movie

  

STEFAN HEYNE – SUPER VISION

Posted on 2017-02-13

Since the late 1970s, German photography abroad bears the influence and legacy of the “New Objectivity” of the Becher School (aka Dusseldorf School) and its well-known protagonists, such as Andreas Gursky, Candida Höfer, and Thomas Struth. Stefan Heyne’s “New German Abstraction” opposes this clarity and is emphatically non – representational. He has consistently pushed his photo -based images into radical abstraction and set aside visual clarity for the “indefinite”. In some early work, Heyne switched off the autofocus of a digital SLR camera (or deliberated used blur effects) to dissolve the shape and definition of his compositions. The result leaves the objects in his pictures in a state of uncertainty, resisting the usual observational parameters. Faint traces of things appear in the light, only to disappear again in the contiguous darkness.

In his recent large-scale color series of “SEAT” works Heyne achieves a radical degree of abstraction through the use of high definition reproductions of perhaps one of the purest motifs of all: the cloudless sky. The color spectra of pure light that are revealed in these images seem blurry and ‘out of focus’, but they are not – instead, the viewer is confronted with an endless depth of space. His emphatic abstractions are in essence, rigorous in their ‘realism’.

In her catalogue essay for Speak To Me (DKW), 2012, Curator Karen Irvine observed that, “Heyne is interested in making beautiful pictures that impart visual pleasure and spark the imagination. By frustrating our viewing process and our need to know what an image “is,” he forces our active participation in the work, and highlights the subjectivity of experience in the process. As he probes the boundaries of photography–how it is defined and what it can, and cannot, depict–he finds that there are none. In his deft hand, the camera becomes an instrument not of literal transcription, but poetic possibility.”

Opposite – “3314,” 2013

Exhibition runs through to April 15th, 2017

Diane Rosenstein
831 North Highland Avenue
Los Angeles
California 90038

www.dianerosenstein.com

  

MOONLIGHT

Posted on 2017-02-13

A timeless story of human self-discovery and connection, Moonlight chronicles the life of a young black man from childhood to adulthood as he struggles to find his place in the world while growing up in a rough neighborhood of Miami.

In theatres February 17th, 2017

moonlight.movie