#robert mann gallery

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Ed Sievers, en Robert Mann Gallery

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vanessahudgens:  A great night indeed 📸 @gettyimages

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by Cig Harvey

Robert Mann Gallery

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© Michael Kenna, Ten Slanted Poles, Castilenti, Abruzzo, Italy, 2015

Michael Kenna – Robert Mann Gallery | MONOVISIONS - Black & White Photography

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(Larry Fink, Jean Sabatine, Christmas, Martins Creek, December 1983. ©Larry Fink, Courtesy Robert Mann Gallery

[illustraction]

JAMES BOND by Paul Mann (2018-2024) - AMP: ALTERNATIVE MOVIE POSTERS (Part 5/10)

PAUL MANN is probably the greatest living illustrator after Robert McGinnis. After a long career as an Ad illustrator, his Star shone even brighter when he was commissioned to revisit James Bond's Dr. No creating an instant iconic AMP. Since then he did many more James Bond related paintings / limited edition prints which are ALL gathered above (Click on each image for details).

Director: Terence Young, Guy Hamilton, John Glen Actors: Sean Connery, Roger Moore, George Lazenby, Pierce Brosnan, Daniel Craig

ALL OUR AMP / Limited edition prints ARE HERE

If you like this entry, check the other 9 parts of this week’s Blog as well as our Blog Archives

All our NEW POSTERS are here All our ON SALE posters are here

The posters above courtesy of ILLUSTRACTION GALLERY

[byneddiedingo]

Rosemary Leach, Daniel Day-Lewis, Simon Callow, Helena Bonham Carter, Rupert Graves in A Room With a View (James Ivory, 1985) Cast: Helena Bonham Carter, Maggie Smith, Julian Sands, Denholm Elliott, Simon Callow, Judi Dench, Daniel Day-Lewis, Rosemary Leach, Rupert Graves. Screenplay: Ruth Prawer Jhabvala, based on a novel by E.M. Forster. Cinematography: Tony Pierce-Roberts. Production design: Brian Ackland Snow, Gianni Quaranta. Film editing: Humphrey Dixon. Music: Richard Robbins. 

James Ivory and producer Ismail Merchant had a collaboration that began with the formation of Merchant Ivory Productions in 1961 and lasted until Merchant's death in 2005. It usually included the screenwriter Ruth Prawer Jhabvala. The trio developed a reputation for literary adaptations that were beautifully filmed with opulent sets and costumes and a gallery of celebrated stars -- most of them British. But the trouble with developing a distinctive style is that you can become a cliché: "Merchant Ivory" eventually became a label for a film that was tastefully middlebrow -- well-done and entertaining but just a tad safe. It's a pity, because their best films -- Howards End (1992), The Remains of the Day (1993), and this one -- set a high standard, despite their "safeness." Few films have a better sense of place and time than A Room With a View in its depiction of Florence at the start of the 20th century. Granted, it leans a bit too heavily on the cliché about stuffy Brits losing their cool in the warmer climate of Tuscany, but that's the fault of E.M. Forster's novel -- not one of his major works -- and not of Jhabvala's Oscar-winning screenplay. Oscars also went to the art direction team and to costumers Jenny Beavan and John Bright, and it was nominated for best picture, for the supporting performances of Denholm Elliott and Maggie Smith, for Ivory's direction, and for Tony Pierce-Roberts's cinematography. The cast includes Helena Bonham Carter (in her "corset-roles" period) and Julian Sands, along with a then little-known Daniel Day-Lewis. Proof that Day-Lewis is one of the greatest actors of all time is no longer needed, but it's worth contemplating that he created the character of the prissy Cecil Vyse in this film within a year of appearing as the gay street punk Johnny in My Beautiful Laundrette (Stephen Frears), and that he would follow with the sexy Tomas in The Unbearable Lightness of Being (Philip Kaufman, 1988), the paralyzed Christy Brown in My Left Foot (Jim Sheridan, 1989), and the dashing Hawkeye in The Last of the Mohicans (Michael Mann, 1992). Day-Lewis's Cecil Vyse verges on a caricature of the sexually repressed Brit, but he has an affecting moment near the end when, after Lucy (Bonham Carter) breaks off their engagement, he emerges as a vulnerable, three-dimensional character. Richard Robbins's fine score is memorably supplemented by Kiri Te Kanawa's recordings of two Puccini arias: "O mio babbino caro" from Gianni Schicchi and "Chi il bel sogno di Doretta" from La Rondine.

[circletemple]

2023 happenings

1. SdNVW (San Diego New Verbal Workshop) experimental choir, inaugural performance at Department, Pauline Oliveros, The Greeting, XVI, Teach yourself to Fly, San Diego 22nd Jan

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2. SdNVW (San Diego New Verbal Workshop) experimental choir performance at Department, Pauline Oliveros, Removing The Demon, San Diego 15th Feb

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3. Dom Cooper for Project Blank, at the Bread & Salt gallery, performing The Forming Cloud, San Diego 11th Mar

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4. SdNVW (San Diego New Verbal Workshop) experimental choir performance at Intervals, Cardew- The Great Learning Paragraph 7, San Diego 29th Apr

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5. With Zane performance at Contact SD, improvised, San Diego 22nd May

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6. SdNVW (San Diego New Verbal Workshop) experimental choir performance at Art Produce, Zane S.B.-Windchime Meditation, San Diego 27th May

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7. United Bible Studies - Procession/Chop Chop From Ballads of Seduction, Fertility and Ritual Slaughter compilation, Vinyl/CD//Download (Was Its Das? WAS58) 24th June

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8. SdNVW (San Diego New Verbal Workshop) open rehearsal at Bread & Salt, Pauline Oliveros-Sonic Meditation One Word, Bob Marsh-Five Movements Five Sounds, Robert Ashley-She Was A Visitor, Nobody Home/Poor Bird trad, Stuart Saunders Smith-Return & Recall, New Verbal Workshop-Ante Axis, Max Oestreicher-Piece for Saxophone & Choir, San Diego 29th June

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9. SdNVW (San Diego New Verbal Workshop) performance at the Lightbox Theater, Max Oestreicher-Piece for Saxophone & Choir, San Diego 30th June

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10. SdNVW (San Diego New Verbal Workshop) open rehearsal at Bread & Salt, San Diego20th July

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11. Unknown Heretic for Stay Strange San Diego Folk Arts Rare Records, - Idumea, Go Dig My Grave, Improv and Depth Charge, San Diego 5th Aug

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12. SdNVW (San Diego New Verbal Workshop) experimental choir performance at Park by Observatory, North Park for Project Blank, Zane S.B.-Windchime Meditation, San Diego 11th Aug

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13. SdNVW (San Diego New Verbal Workshop) open rehearsal at Bread & Salt, San Diego Aug 31st

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14. SdNVW (San Diego New Verbal Workshop) experimental choir performance at City Gallery, City College, Brian Black-Earwigging Chorus, San Diego 2nd Sept

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15. SdNVW (San Diego New Verbal Workshop) performing A Piacere by Sharon Chohi Kim and Elana Mann at How We Gather, Mandeville Art Gallery, UCSD, San Diego Oct 7th

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16. SdNVW (San Diego New Verbal Workshop) performing at Kitschmas, Bread & Salt Gallery, Overlapping medley, Simply having a wonderful Christmas Time, Return & Recall: My Favorite Things, The_Snow_It_MMM+EE+LLL+TTT+SSS, San Diego Dec 1st

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17. SdNVW (San Diego New Verbal Workshop) performing at USD with Ensemble X, John Cage-Imaginary Landscapes, Cornelius Cardew-Great Learning Dec 10th

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Nazraeli Press : Robert Mann Gallery : Michael Kenna : Photographs and Stories

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English Speaking Union, NYC, 1975 © Larry Fink – Courtesy Robert Mann Gallery

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Book Club © Julie Blackmon, courtesy Robert Mann Gallery - qui.

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Loosely based on the Charles Dickens’ classic novel, “Great Expectations” is a sensual tale of a young man’s unforgettable passage into manhood, and the three individuals who will undeniably change his life forever. Through the surprising interactions of these vivid characters, “Great Expectations” takes a unique and contemporary look at life’s great coincidences. Credits: TheMovieDb. Film Cast: Finnegan Bell: Ethan Hawke Estella: Gwyneth Paltrow Walter Plane: Hank Azaria Joe: Chris Cooper Ms. Dinsmoor: Anne Bancroft Prisoner / Lustig: Robert De Niro Jerry Ragno: Josh Mostel Maggie: Kim Dickens Erica Thall: Nell Campbell Owen: Gabriel Mann Finnegan at Age 10: Jeremy James Kissner Estella at Age 10: Raquel Beaudene Carter Macleish: Stephen Spinella Ruth Shepard: Marla Sucharetza Lois Pope: Isabelle Anderson Man on Phone: Peter Jacobson Marcy: Drena De Niro Anton Le Farge: Lance Reddick Mr. Barrow: Craig Braun Mrs. Barrow: Kim Snyder Security Guard: Nicholas Wolfert Ted Rabinowitz: Gerry Bamman Senator Elwood: Dorin Seymour Hitman #1: Clem Caserta Hitman #2: Frank Pietrangolare Hitman #3: Dennis Paladino Hitman #4: Clem Caserta Jr. Cop on Boat: Marc Macaulay Clemma: Ana Susana Gerardino Waiter: Francis Dumaurier Lover: Pedro Barquin 7 Year Old Girl: Kendall Williamson Singing Indian Woman: Shobha Jain Singing Indian Girl: Aditi Jain Anchor Woman: Margo Peace Waitress: Kimmy Suzuki Doorman: John P. Casey Taxi Driver: Adusah Boakye Gallery Waitress: Dyan Kane Gallery Receptionist: Anne Ok Gallery Guest: Alva Chinn Gallery Guest: G.B. Thomas Gallery Guest: Albert Zihenni Gallery Guest: Fritz Michel Gallery Guest: Lisa Herth Gallery Guest: Nino Pepicelli Gallery Guest: Wills Robbins Gallery Guest: Jewel Turner Gallery Guest: Jim Taylor McNickle Gallery Guest: Martin Alvin Gallery Guest: William Rothlein Gallery Guest (uncredited): Maria Capp Gallery Guest (uncredited): Stephen Sherman Cop #2 (uncredited): Paul Neglio DJ (voice) (uncredited): Gary Newton Richard (uncredited): Dale Resteghini Film Crew: Director: Alfonso Cuarón Novel: Charles Dickens Original Music Composer: Patrick Doyle Screenplay: Mitch Glazer Editor: Steven Weisberg Director of Photography: Emmanuel Lubezki Production Design: Tony Burrough Art Direction: John Kasarda Set Decoration: Susan Bode Tyson Costume Design: Judianna Makovsky Sound Designer: Richard Beggs Executive Producer: Deborah Lee Producer: Art Linson Co-Producer: John Linson Casting: Jill Greenberg Sands Makeup Artist: Vivian Baker Key Makeup Artist: Angel De Angelis Makeup & Hair: Ilona Herman Makeup Artist: Manlio Rocchetti Hairstylist: Anthony Veader Key Makeup Artist: Cecilia Verardi Makeup Artist: Linda Kamp Makeup Artist: Sara Seidman Vance Movie Reviews:

[hudgenssource]

Vanessa Hudgens at the Vanity Fair Oscars Party hosted by Radhika Jones at Wallis Annenberg Center for the Performing Arts in Beverly Hills - March 12th

[itsloriel]

Lunar Eclipse and Wild Phlox, Rockport, Maine, 2021

by Cig Harvey

Robert Mann Gallery

[denimbex1986]

'While the decision to release Christopher Nolan’s acclaimed film Oppenheimer in the summertime undoubtedly boosted the film commercially, this decision also presents a challenge for the film’s, and Nolan’s, Oscar prospects, as Hollywood studios typically release their most Oscar-worthy films in the fall, when Oscar nominations are voted on.

However, this seems to be a minor concern, as while Oppenheimer, which has presently grossed more than $600 million at the worldwide box office, has been somewhat overshadowed by the blockbuster comedy fantasy film Barbie, Oppenheimer, with its reverberating themes and striking visuals, has dominated the public discourse and will likely continue to do so by the time that the 2024 Oscar nominees are announced.

While Oppenheimer seems to be virtually assured of receiving multiple Oscar nominations, specifically in the Best Director and Best Picture categories, there is also a palpable sense that Nolan, who received five previous Oscar nominations, is destined to win his first Oscar for Oppenheimer, if for no other reason than because it feels like it’s Nolan’s turn.

However, while Oscar victory seems likely, if not inevitable, for Nolan and Oppenheimer, there is still a long way to go for Nolan and Oppenheimer, as there are several upcoming films that could bring defeat for Nolan, who is deservedly regarded as the greatest living filmmaker who has yet to win an Oscar.

Christopher Nolan Deserves Three Oscar Nominations for Oppenheimer

Christopher Nolan, whose most recent Oscar nominations were the Best Director and Best Picture nominations that Nolan received for his 2018 historical war thriller film Dunkirk, deserves, and will most likely receive, three Oscar nominations for Oppenheimer, for Best Director, Best Picture, and for Nolan’s screenplay, which was adapted from the 2005 book American Prometheus, a full-scale biography of theoretical physicist J. Robert Oppenheimer, the creator of the world’s first atomic bomb.

Of these three possible Oscar nominations, Nolan is most clearly deserving of a Best Director nomination for Oppenheimer, which represents a brilliant directorial achievement, as Nolan flawlessly interweaves the dramatic aspects of Oppenheimer’s complex life with the fascinating and richly detailed story of the development of the atomic bomb.

Of all the films that are presently eligible for the 2024 Academy Awards, Nolan’s direction of Oppenheimer represents the most challenging directorial assignment and most impressive achievement, as while there are doubtlessly other great filmmakers who could have successfully translated Oppenheimer’s story, and that of the creation of the atomic bomb, perhaps no other filmmaker, dead or living, could have made a better film than Oppenheimer.

Of course, the technical and visual mastery that is showcased in Oppenheimer is grounded in Nolan’s intricate, layered screenplay, which seamlessly presents objective and subjective perspectives while marshalling a large gallery of characters, all of whom, regardless of the length of their screen time, appear in the film as distinctive, important, unique figures.

The Toughest Oscar Competition Has Yet to Arrive

If the voting window for the 2024 Academy Awards ended now, Christopher Nolan and Oppenheimer would be the leading Oscar contenders alongside Barbie and Barbie director Greta Gerwig, who presently seems to be Nolan’s strongest competition for the Best Director Oscar.

However, as Hollywood studios are known to save their strongest films for the fall season, there are several upcoming films that have also generated strong Oscar buzz, most notably the Michael Mann-directed biographical drama film Ferrari, the Martin Scorsese-directed Western crime drama film Killers of the Flower Moon, and the drama film Saltburn.

Indeed, Hollywood insiders have already declared that Killers of the Flower Moon, which received effusive critical acclaim at the 2023 Cannes Film Festival and is slated to be released theatrically in North America in October 2023, is currently the favorite to win Oscars for Best Adapted Screenplay, Best Director, and Best Picture, all of the categories that Nolan could possibly receive nominations for.

Excluding the actual merits of the unreleased Killers of the Flower Moon, while Nolan currently seems to have tremendous momentum in his bid to win an Oscar, Killers of the Flower Moon, and Scorsese, could emerge as clear Oscar favorites by the end of 2023, depending, of course, on how the film is received by audiences and critics.

Finally, as the 2024 Academy Awards will mark the first Oscar ceremony for which the Academy’s controversial new diversity policy will take effect, what better way is there for the Academy to demonstrate its commitment to diversity than to make Barbie director Greta Gerwig the fourth female filmmaker in Academy history to win the Best Director Oscar?

Christopher Nolan: The Greatest Living Filmmaker Without an Oscar

Whether or not Christopher Nolan wins an Oscar for Oppenheimer or any other film in his career, Oppenheimer represents the latest example of how Nolan has become, arguably, the greatest, and the most influential, filmmaker of the 2000s.

While Nolan has received several previous Oscar nominations, Nolan’s career also stands as a rebuke of the Oscar voting process, as several of Nolan’s previous films have received much more acclaim and are much more relevant today than most, if not all, Oscar-winning films from the past twenty years.

Indeed, as 2008’s The Dark Knight, Nolan’s sequel to 2005’s Batman Begins and the second installment in Nolan’s The Dark Knight Trilogy, is considered by many people to be not only Nolan’s best film but also one of the greatest films of the 2000s, while the film received multiple Oscar nominations, Nolan was ignored.

As Steven Spielberg, who is one of Nolan’s great admirers, had to wait approximately twenty years to receive his first Oscar, Nolan, who made his feature directorial debut with the 1998 crime thriller film Following, shouldn’t feel discouraged if he doesn’t win an Oscar for Oppenheimer. In fact, such an oversight might prove that Nolan is simply too good to win an Oscar.'

[a-sense-of-drama]

Check out Jeff Brouws, Terrible, Banning, California (1991), From Robert Mann Gallery