A Look at California's 2010 Amendment to the Anti-Paparazzi Act, and a Call
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Steve Rubell and Ian Schrager Opened Studio 54 40 Years Ago, and It Soon Became the Epicenter of New York City's Nightlife for Nearly Three Years
Steve Rubell and Ian Schrager opened Studio 54 40 years ago, and it soon became the epicenter of New York City's nightlife for nearly three years. While it lasted, many photographers flocked to the bacchanal to capture the celebrities and other lucky denizens as they danced and snorted and frolicked under that iconic Man in the Moon with the coke spoon sculpture. One of the men on the scene was Gene Spatz, a pioneering paparazzo and street photographer who most people have never heard about. Unlike Ron Galella's work – which has been exhibited and is collected as fine art – after Spatz died in 2003 the archive of images was inherited by his younger sister, Amy Lowen, and packed away in filing cabinets in her Kentucky home. She avoided the task of assessing what she had in her possession for nearly a decade until she began to unearth her brother's forgotten treasures. "While he was working in the late Seventies, I had gotten married, moved to Louisville, Kentucky, and wasn't a part of Gene's day-to-day life," Lowen tells Rolling Stone. "It wasn't until he was gone, and I had brought everything home and put it in storage, that I began to open up these envelopes and discover his work." The black-and-white photographs included scenes from iconic clubs like Studio 54 and Xenon; shots of Carrie Fisher, Jackie Kennedy Onassis, Mary Tyler Moore and Robert Redford; as well quirky New York City street life tableaus in the 1970s and Eighties. Lowen recognized some of the celebrities in the photos, but she wasn't sure what exactly her brother's archives contained – or its value to the world. -
Directed by Morgan Neville Produced by Gil Friesen Produced by Caitrin
Directed by Morgan Neville Produced by Gil Friesen Produced by Caitrin Rogers WORLD PREMIERE U.S. DOCUMENTARY COMPETITION SUNDANCE FILM FESTIVAL 2013 Running Time: 90 minutes | Language: English SYNOPSIS Millions know their voices, but no one knows their names. In his compelling new film TWENTY FEET FROM STARDOM, award-winning director Morgan Neville shines a spotlight on the untold true story of the backup singers behind some of the greatest musical legends of the 21st century. Triumphant and heartbreaking in equal measure, the film is both a tribute to the unsung voices who brought shape and style to popular music and a reflection on the conflicts, sacrifices and rewards of a career spent harmonizing with others. These gifted artists span a range of styles, genres and eras of popular music, but each has a uniquely fascinating and personal story to share of life spent in the shadows of superstardom. Along with rare archival footage and a peerless soundtrack, TWENTY FEET FROM STARDOM boasts intimate interviews with Bruce Springsteen, Stevie Wonder, Mick Jagger and Sting to name just a few. However, these world-famous figures take a backseat to the diverse array of backup singers whose lives and stories take center stage in the film. DIRECTOR’S STATEMENT About two years ago, I sat down with Gil Friesen, a longtime music industry veteran from A&M Records, whom I only knew by reputation. He told me he wanted to make a film about backup singers. He didn’t know what the film was going to be, but he knew there was something intriguing in there. -
Marco Pittori
7358 Beverly Blvd Los Angeles, CA 90036 [email protected] | t. 323.936.7020 www.artspacewarehouse.com Mon – Fri 10am – 6pm | Sat 10am – 8pm | Sun 12 – 6pm MARCO PITTORI Marco Pittori was born in Switzerland in 1978. He studied at the School of Design in Aarau, Switzerland working in stone, gravure, screen and letterpress. Pittori creates vibrant artworks that pay homage to the mesmerizing images of Brad Elterman and the mythic culture of 1970’s Hollywood. By using licensed images of Brad Elterman’s photographs, he provides viewers with a window into a fascinating and exclusive time on Los Angeles’ Sunset Strip. Looking through Elterman’s photographs, one can quickly realize that he wasn’t the average teenager growing up in the 1970s. Rather, his celebrity photographs attest that he was living the dream. As his classmates munched on Cap’n Crunch and listened to the new Runaway’s record, Brad hung at the infamous Tropicana Motel with Joan Jett. On weekends, he swam with the The Sex Pistols, frequented the Playboy Mansion, and casually grabbed late night grub with Joey Ramone. Young and clever, Brad knew where to be and how to get in. With his cool demeanor and Bob Dylan hairstyle, he fit the part. At the age of 17, Brad became one of Hollywood’s most influential celebrity photographers, providing uncensored documentation of the gritty-glamorous life of 1970′s Rock n’ Roll. Marco Pittori states of Elterman’s photos, "Brad’s photos provide a rare, often raunchy glimpse into a rock and roll history where it seems Brad is always at the right place at the right time, camera ready.” Some of Marco Pittori’s multi-layered photographs are based on Brad Elterman’s iconic images “Behind the Beverly Hills Hotel, 1977”. -
Papa Paparazzo Laura Kipnis a Gilt-Edged Tribute to the Godfather of Celebrity Photography
LUXURY & DEGRADATION Papa Paparazzo Laura kipnis A GILT-EDGED TRIBUTE TO THE GODFATHER OF CELEBRITY PHOTOGRAPHY. world of overmanaged surfaces. His most famous shot, of a deafening. Watch Crumb being hurtled up from the low-rent windswept Jackie, glancing back at the camera with a half cultural precincts of underground comics into the lofty envi- smile, has an undeniable aura—it’s hard to take your eyes off rons of Art, with Zwigoff crosscutting between Robert’s her. Galella calls it his Mona Lisa, though admits Jackie only tragically crazy brothers and his cartoons, coasting on the smiled because he disguised his voice—she didn’t realize he familiar Romantic trope linking artistic inspiration to neu- was the one calling her name. rotic and psychosexual origins. Of course, this hasn’t exactly The term paparazzo derives from the name of one of the hurt Crumb’s ascent from Comic-Con to the museum walls. swarming photographers in Fellini’s La Dolce Vita; it’s also The revisionist process is also clanking away in the 2010 supposedly a play on the Italian word for the annoying buzz- documentary about Galella’s career, Smash His Camera, by ing of a mosquito. One thing you can say about Galella is Oscar-winning filmmaker Leon Gast (When We Were that he never feared being annoying, or shirked the hazards. Kings). The film premiered at MoMA—fittingly, given the Marlon Brando knocked out five of his teeth when Galella artistic burnish Gast confers on Galella, opening with him wouldn’t stop photographing him; Galella sued, settling for in the darkroom actually developing his own prints, then $40K, the amount it cost to reconstruct his jaw. -
La Cultura Italiana
LA CULTURA ITALIANA FEDERICO FELLINI (1920-1993) This month’s essay continues a theme that several prior essays discussed concerning fa- mous Italian film directors of the post-World War II era. We earlier discussed Neorealism as the film genre of these directors. The director we are considering in this essay both worked in that genre and carried it beyond its limits to develop an approach that moved Neoreal- ism to a new level. Over the decades of the latter-half of the 20th century, his films became increasingly original and subjective, and consequently more controversial and less commercial. His style evolved from Neorealism to fanciful Neorealism to surrealism, in which he discarded narrative story lines for free-flowing, free-wheeling memoirs. Throughout his career, he focused on his per- sonal vision of society and his preoccupation with the relationships between men and women and between sex and love. An avowed anticleric, he was also deeply concerned with personal guilt and alienation. His films are spiced with artifice (masks, masquerades and circuses), startling faces, the rococo and the outlandish, the prisms through which he sometimes viewed life. But as Vincent Canby, the chief film critic of The New York Times, observed in 1985: “What’s important are not the prisms, though they are arresting, but the world he shows us: a place whose spectacularly grand, studio-built artificiality makes us see the interior truth of what is taken to be the ‘real’ world outside, which is a circus.” In addition to his achievements in this regard, we are also con- sidering him because of the 100th anniversary of his birth. -
Limits on Newsgathering
An Exploration of Limits on Newsgathering Names: Emma Creekbaum, Cari Zahn and Margaret Bukowski Advisor: Dr. Annette Taylor Freedom of Information Act and Privacy Rights The Constitutionality of Restrictive Orders Against The Constitutionality of California Anti-paparazzi Animal welfare records disappeared in February 2017 from the U.S. Department of Agriculture the Press Laws website. The information removed includes reports on inspections, research facilities, and enforcement. USDA said it removed the records to protect the privacy of animal owners. USDA said information Restrictive orders against the press are often deemed unconstitutional by higher courts On July 6th, 2010, freelance photographer Paul Raef was arrested after chasing Justin Bieber that doesn’t jeopardize individual privacy might be re released on the USDA’s Animal and Plant because the orders because the information they protect should be public knowledge, they are down a freeway in Los Angeles in order to obtain a photograph of the famous singer. Raef Health Inspection Service’s website. All other information will be available through approved FOIA found to not violate privacy issues, or do not interfere with the sixth amendment. Courts issue became the first person charged under the new California Anti-paparazzi law signed by former requests. If this issue goes to court, the court will ask if the information truly violates Exemption 6, restrictive orders that limit the discussion of facts in a criminal case in order to protect parties Gov. Arnold Schwarzenegger. The state’s 2010 Assembly Bill 2479 was designed to curtail which says information containing personnel files should be private and kept from the public. -
Experiences of Flânerie and Cityscapes in Italian Postwar Film
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks STROLLING THE STREETS OF MODERNITY: EXPERIENCES OF FLÂNERIE AND CITYSCAPES IN ITALIAN POSTWAR FILM TORUNN HAALAND Submitted to the faculty of the University Graduate School in partial fulfilment of the requirements for the degree Doctor of Philosophy in the Department of French and Italian, Indiana University OCTOBER 2007 Accepted by the Graduate Faculty, Indiana University, in partial fulfilment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee Distinguished Professor Emeritus Peter Bondanella Professor Andrea Ciccarelli, Rudy Professor Emeritus James Naremore, Professor Massimo Scalabrini September 24 2007 ii © 2007 Torunn Haaland ALL RIGHTS RESERVED iii For Peter – for all the work, for all the fun iv ACKNOWLEDGMENTS My thanks go to the members of my dissertation committee, who all in their own way inspired the direction taken in this study while crucially contributing with acute observations and suggestions in its final stages. Even more significant was however the distinct function each of them came to have in encouraging my passion for film and forming the insight and intellectual means necessary to embark on this project in the first place. Thanks to Andrea for being so revealingly lucid in his digressions, to Jim for asking the questions only he could have thought of, to Massimo for imposing warmheartedly both his precision and encyclopaedic knowledge, and thanks to Peter for never losing faith in this or anything else of what he ever made me do. Thanks to my brother Vegard onto whom fell the ungrateful task of copyediting and converting my rigorously inconsistent files. -
Strict Liability and the Anti-Paparazzi Act: the Best Solution to Protect Children of Celebrities
LEE_9 (EGK) 5/28/2015 10:08 PM Strict Liability and the Anti-Paparazzi Act: The Best Solution to Protect Children of Celebrities Matthew Lee* Celebrities faced with overly aggressive, and often dangerous, paparazzi behavior are left with only the Anti-Paparazzi Act as legal recourse in California. Although the public may accept such limited legal recourse due to the nature of celebrity, it is important to consider the fact that aggressive paparazzi behavior also affects those who have not chosen to be celebrities—the children of celebrities. To effectively protect celebrities’ children, this Note advocates for a strict liability standard for media outlets that publish content displaying celebrities’ children obtained as a result of overly aggressive paparazzi tactics. Others have suggested numerous remedial measures that include increased funding for police to restricting the areas in which paparazzi are permitted to go. These measures fail to address the cause of the problem, namely the fact that paparazzi are financially incentivized to obtain content displaying celebrities’ children. * J.D. Candidate, 2015, University of California Hastings College of the Law. Thank you to Professor Depoorter for his invaluable guidance and mentorship. I would also like to thank Michael Charlebois, Elliot Hosman, Emily Goldberg Knox, Claire Lesikar, Jane Petoskey, Nicole Teixeira, Jason Quinn, and the rest of Hastings Law Journal for their gracious and diligent work. I would also like to express my deepest gratitude to my parents, Hansen and Debbie, and family for their continued support throughout all my endeavors. [6] LEE_9 (EGK) 5/28/2015 10:08 PM June 2015] STRICT LIABILITY AND THE PAPARAZZI 7 Table of Contents Introduction ................................................................................................... -
Robert Indiana
P A U L K A S M I N G A L L E R Y Miss Cole, January 9, 1979, photograph, 10 x 8 inches Liza Minnelli, Andy Warhol and Bianca Jagger, January 10, 1978, photograph, 8 x 10 inches Grace Jones, January 1, 1978, photograph, 10 x 8 inches RON GALELLA DISCO YEARS September 6-October 7, 2006 Private View Wednesday, September 6, 6-8 pm “Big ideas had only caused problems. Now the culture just wanted to go disco.” Anthony Haden-Guest Paul Kasmin Gallery is pleased to announce our upcoming photography exhibition, DISCO YEARS by RON GALELLA on view at 511 West 27th Street from September 6 through October 7, 2006. DISCO YEARS will consist of more than 100 black and white vintage prints taken throughout the Seventies. Widely acknowledged as the most controversial celebrity photographer in the United States, Galella has been lauded as “the godfather of American Extraordinare” by Newsweek. Featured on the cover of Life and famously sued for harassment by Jackie Onassis, Galella has been hosed down by friends of Brigitte Bardot and punched by Marlon Brando. DISCO YEARS brings us in touch with the New York Club scene and all it had to offer from the rockers and the fashonistas to the jet-setting socialites and freaky artists that helped define the decadent decade. Included within are snapshots of Andy Warhol, Elizabeth Taylor, Halston and Liza Minelli. This exhibition will coincide with the release of Galella’s new book DISCO YEARS, published by Powerhouse Books, with foreword by Anthony Haden-Guest and afterword by Michael Musto. -
An Homage to Marcello Mastroianni Saturday, September 22, 2018 Castro Theatre, San Francisco
Ciao, Marcello! An Homage to Marcello Mastroianni Saturday, September 22, 2018 Castro Theatre, San Francisco An overdue homage to a great star 60 years after the making of “La Dolce Vita”, featuring the works of four directors for one actor in one day. Presented in collaboration with The Leonardo da Vinci Society, The Consul General of Italy and The Italian Cultural Institute of San Francisco. With gratitude to Luce Cinecittá, Janus Films, Kino Lorber, and Paramount Pictures. Yesterday, Today and Tomorrow (1963) 119 min. BD 10:00 AM Directed by Vittorio De Sica with Sophia Loren 8½ (1963) 138 min. 35 mm 1:00 PM Directed by Federico Fellini with Claudia Cardinale, Anouk Aimèe, Sandra Milo A Special Day (1977) 106 min. 35 mm 3:30 PM Directed by Ettore Scola with Sophia Loren La Dolce Vita (1960) 173 min. DCP 6:00 PM Directed by Federico Fellini with Anita Ekberg Via Veneto Party 9:00 PM-10:30 PM Divorce Italian Style (1961) 105 min. 35 mm 10:30 PM Directed by Pietro Germi with Daniela Rocca, Stefania Sandrelli Marcello Mastroianni A more intimate Marcello, who after the 10 years in the theater under the artistic wing of Luchino Visconti, arrives to the big success of “La Dolce Vita”, never forgetting the intimate life of the average Italian of the time. He molds and changes according to the director that he works with, giving us a kaleidoscope of images of Italy of the 60s. Marcello said: “Yes! I confess, I prefer cinema to theater. Yes, I prefer it for approximation and improvisations, for its confusion. -
Fall 2021 Catalog Download
Fall 2021 Contents New Titles 5 Collector’s Editions 29 Toiletpaper 51 Backlist 57 Photography 58 Contemporary Art 70 Fashion & Lifestyle 72 Architecture & Design 74 Antiques & Collectibles 74 Distributors 76 Contacts & Press Office 78 New Titles 6 Photography Mike Mandel Zone Eleven Photographs by Ansel Adams Zone Eleven is a reference to Ansel Adams’ Zone System, a method to control exposure of the negative in order to obtain a full range of tonality in the photographic print from the deepest black of Zone 0 to the brightest highlight in Zone 10. Zone Eleven is a metaphor coined by artist Mike Mandel in his challenge to create a book of Adams’ photographs outside of the bounds of his personal work. Many of these photographs were found in the archives of his commercial and editorial assignments, and from his experimentation with the new Polaroid material of the times. For this book, Mandel has unearthed images that are unexpected for Adams, and created a new context of facing Text by Erin O'Toole page relationships, and sequence. Zone Eleven is the product 28 x 23 cm | 11 x 9 inches of Mike Mandel’s research of over 50,000 Adams images 112 pages, 83 b&w, hardbound located within four different archives to present a body of ISBN 978-88-6208-748-3 Fall 2021 Adams’ work that was unknown until now. $55 | €50 | £45 Mike Mandel is well known for his collaboration with Larry Sultan in the 1970s - 1990s. They published 'Evidence' in 1977, a collection of 59 photographs chosen from more than two million images that the artists viewed at the archives of government agencies and tech-oriented corporations. -
Studio 54: Night Magic, the First Exhibition to Explore the Trailblazing Aesthetics and Continuing Impact of New York City's L
Installation March Museum 13 ) –November 8 view, Studio , 2020. 54: Night Magic (Photo: Jonathan . Brooklyn Dorado Museum, , Brooklyn Studio 54: Night Magic, the First Exhibition to Explore the Trailblazing Aesthetics and Continuing Impact of New York City’s Legendary Nightclub, on View through November 8 Highlighting the revolutionary creativity, expressive freedom, and sexual liberation celebrated at the world-renowned nightclub, the exhibition will present over 650 objects ranging from fashion, photography, drawings, and film to stage sets and music Following the Vietnam War, and amid the nationwide Civil Rights Movement and fights for LGBTQ+ and women’s rights, a nearly bankrupted New York City hungered for social and creative transformation as well as a sense of joyous celebration after years of protest and upheaval. Low rents attracted a diverse group of artists, fashion designers, writers, and musicians to the city, fostering cultural change and the invention of new art forms, including musical genres such as punk, hip-hop, and disco. In a rare societal shift, people from different sexual, sociopolitical, and financial strata intermingled freely in the after-hours nightclubs of New York City. No place exemplified this more than Studio 54. Though it was open for only three years—from April 26, 1977, to February 2, 1980—Studio 54 was arguably the most iconic nightclub to emerge in the twentieth century. Set in a former opera house in Midtown Manhattan, with the stage innovatively re-envisioned as a dance floor, Studio 54 became a space of sexual, gender, and creative liberation, where every patron could feel like a star.