The Moth at MOMA: Stories of Docs

The Moth escaped its usual cramped quarters at The Players and performed at the Museum of Modern Art tonight.
Part of MOMA’s Doc Fortnight, The Moth’s storytellers spoke about their documentary filmmaking experience.
Tony Hendra, former National Lampoon contributor and The Moth board member, told his story about playing manager Ian Faith in This is Spinal Tap, a movie without a script. Hendra had never acted in a movie nor had he improvised before.
Hendra said an unnamed old friend of his was making a film about a rock band in documentary style. I assumed he was talking about Rob Reiner. Gene realized Hendra was probably talking about Christopher Guest, a friend from National Lampoon’s first stage show, Lemmings. Hendra also gave John Belushi his first major break in Lemmings.
With his friend Belushi dead, his marriage in ruins and his recent self-funded book a financial disaster, Hendra attempted a half-hearted suicide the night before filming began. Spinal Tap gave him a new sense of purpose.
Hendra, the highlight of the evening, told the lone funny tale, his story sandwiched between four heavy stories of noble filmmaking. Unfortunately, the remaining stories all felt too similar and that weakened the overall quality of the show.
Everyone Else
The Moth shows usually have a broad themes, like love or manhood. Broader-themed evenings result in a variety of story types. Tonight’s show needed a greater range between funny and poignant. We got four heavy tales and even Hendra could not relieve the weight.
Of the four women filmmakers, Ellie Lee was the best. She had the heart of the audience when she described how 1,000 drawings–the essence of her animated film–flew out of a car trunk and scattered on a rain-drenched highway.
Gini Reticker talked of the making of her short film Asylum and her relationship with the film’s subject, a young Ghanian woman who eventually came to live with Reticker and her family. Hijinks ensue.
Jehane Noujaim created a documentary about the Arab news nework, Al Jazeera with little support except from various credit card companies. Her story meandered before the point came into focus.
Andy Borowitz, back as host, played the room beautifully. His banter with violinist Mazz Swift proves he could host a late night talk show. Why is Jimmy Fallon getting one and not him, Gene asks.


Baltimore Babes in Artland: Cone Sisters

Matisse Painting, Nice, France

Matisse Painting of Nice, France

Looking for a way to spend some time without spending any dough? Feeling a lack of cultcha while missin’ the moohla?

If you wind up in Baltimore, check out the Baltimore Museum of Art on the edge of the Johns Hopkins University campus.

The current featured exhibition, Franz West‘s “To Build a House, You Have to Start with the Roof,” takes advantage of the “please touch” school of art. Or rather, please touch some of the art.

The interactive gallery in the exhibit features a silver wall with scattered magnetic word strips in Courier Type. Yes, giant-size magnetic poetry. We created clever phrases by either busting up, or admiring then busting up, phrases and sentences left by museum-goers gone by. I decided to be impressed only if West invented Magnetic Poetry himself.

Alas, a cursory Google search shows that West was not the inventor.

The real draw for me was the museum’s Matisse and Warhol collections. The BMA benefited from a couple of hometown gals, the wealthy Cone Sisters. Around the turn of the last century, sisters Claribel and Etta hung out with Gertrude Stein and collected the art of Matisse, Gauguin, Picasso and others.

The Sisters Cone counted Henri Matisse among their friends and they amassed the world’s largest collection of Matisse’s work. The last surviving sister donated their art collecction to the museum in 1949. Without the sisters’ work, Baltimore’s museum would be a lightweight.

Seeing the local Cone collection was redemptive since G and I made an abortive trip to the Matisse Museum in Nice. We braved the local bus without a map only to be told by the bus driver at the end of the line, “Fermer, fermer!” One of the ten words in my french vocabulary, fermer means closed.

A case of tired museum feet prevented me from backtracking to find the Warhols that I missed. I did the next best thing; I bought a $10 print of a Warhol print from the Rorschach series.


Summer of Love at the Whitney

As the 40th anniversary of the 1967′s Summer of Love comes to a close, so does the exhibit at the Whitney Museum, “Summer of Love: Art of the Psychedelic Era.” Next weekend is the last chance to catch it; it folds up September 16.

On Saturday, a long line of people waited to buy tickets. (Buy ‘em online, folks.) The crowd looked a little different than a typical New York museum crowd. The people younger than 30 wore funkier clothes, perhaps aspiring to the hippie spirit. Among the not-to-be-trusted crowd (over 30), I overheard parents telling their kids “this was my era”. Real message: see, I once was cool.

H. and I had the advantage of our personal tour guide. G. knows everything about the era, about the history behind the underground publications, the story behind the album covers and the names of the bit players in the Warhol scene. G. pointed out the influential magazines Oz, IT and the East Village Other.

A wall of poster art for upcoming concerts mainly in San Francisco, London and New York featured the trendy but hard-to-read popular font and a slew of 60s bands. In the exhibit’s corners there were light shows in darkened rooms that required a different state of mind to enjoy as they were meant to be enjoyed.


The Getty Museum

Conde Nast Traveler recently named twelve iconic architects and their most iconic buildings. Of the list of twelve buildings, I have seen three.

I visited one of the three, the Getty Museum in Los Angeles, in December, 2001. (Click on the photo for a larger image.) Not a single photo could capture the essence of the place. But this photo is my favorite, though it only shows a slice of the building.

The museum is high in the hills and you take a train from the parking lot to get to the museum and gardens. The Getty is almost more about the gardens than it is about the art. In fact, I didn’t look at one piece of art inside. We just enjoyed the beautiful outdoor surroundings on a warm, late December day.

Architect Richard Meier also designed Avery Fisher Hall and the Museum of Television and Radio, both in New York.