Jean-Michel Basquiat: The Radiant Child, out in select theaters today in New York, draws on before-unseen footage of filmmaker Tamra Davis in conversation with the artist, and new commentary from Basquiat's contemporaries and supporters, among them Julian Schnabel, dealer Bruno Bischofberger, and longtime girlfriend Suzanne Mallouk.
The documentary also revisits what was once thought to be the only existing video-taped interview with Basquiat, short clips of which feature in Radiant Child: a 1982 interview at Basquiat's Crosby Street studio, conducted as part of a program on "Young Expressionists" by the video magazine ART/new york.
Russian art center owner and heiress Maria Baibakova is racking up frequent flier miles these days, not that she needs them. (Her father is mining oligarch Oleg Baibakov.) While traveling this year, the 24-year-old founder of Baibakov Art Projects, a private, non-profit contemporary art center in Moscow, has scoped out art scenes in India; Cairo, Egypt; the UAE; and Cape Town, South Africa. Baibakova said she sees similarities between developing art scenes in the places she's visited and in Moscow, a city that's not exactly thought of as a contemporary art destination, though Baibakova would like to make it one. One similarity: a need to cultivate better-informed audiences.
James Franco, movie star and America's best-known MFA student, has opened his first solo art show. Curated by P.S. 1 and Art International Radio founder Alanna Heiss, The Dangerous Book Four Boys at Clocktower Gallery features Franco's short films, photographs, drawings and sculpture. It's on view through September.
The title is a play on Conn and Hal Iggulden's guide to mischief, The Dangerous Book For Boys, a gift to Franco from a friend. Scrawled-on pages of the book, framed in plexiglass, constitute the drawing portion of the show. As a whole, the show can be seen as a grown-up interpretation of boyhood interests: Violence and sight gags are key, with a strain of sexual confusion. In one film, an anonymous young man smashes apart a plywood house; another film, the self-explanatory Dicknose in Paris, stars Franco with a rubber penis tied to his face. A window at the gallery entrance reveals a Little Tikes log cabin scored with bullet holes.
Tonight at Anthology Film Archives in New York, Migrating Forms—the art-meets-cinema form born from the former New York Underground Film Festival—returns for its second annual year.
Migrating Forms opens with Kevin Jerome Everson's Erie (2010), a collection of single-take shots depicting black American life in communities around the Great Lakes. The festival closes on the May 23 with new videos by Stanya Kahn that examine the artist's relationships with her mother and a friend, and finally, herself (Sandra, 2009; Kathy, 2009; It's Cool, I'm Good, 2010).
Currently on view in the group show "Redux" at New York's Cristin Tierney Gallery (through Feb. 4) are two works by Joe Fig, both related to his 200