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KENNETH ANGER was an audacious filmmaker, a self-proclaimed magus, a never-closeted queer, a shameless scandalmonger, a sometime Satanist, a difficult person, and, as P. Adams Sitney put it, the “conscious artificer of his own myth.” He was also the King of Pop—at least that’s what I thought on first seeing Scorpio Rising (1963) in the mid-1960s, age sixteen, at New York’s Museum of Modern Art.There were other movies on that program; I remember being impressed by Gregory Markopoulos’s Ming Green and Ed Emshwiller’s Relativity. But Scorpio Rising blew everything else away: the en...
For his current exhibition at David Kordansky Gallery in New York, Fred Eversley has produced a new body of sculptures that realize ideas initially explored by the artist in writing some fifty years ago. The “Cylindrical Lenses,” which consist of six vertically-oriented structures measuring between seven and nine feet tall, mark the first time that Eversley has made free-standing, floor-based works in resin—a material that has been intrinsic to his practice since the very beginning.
The Pop iconoclast obsessively documented his life, but he also lied constantly, almost recreationally.
a href= http://www.acagalleries.com target= _blank ACA Galleries /a and MB Abram are currently showing John Baeder’s first exhibition at the