Frank Stella

Painters Painting: The New York Art Scene 1940-1970 is a 1972 documentary directed by Emile de Antonio. It covers American art movements from abstract expressionism to pop art through conversations with artists in their studios. Artists appearing in the film include Willem de Kooning, Jasper Johns, Andy Warhol, Robert Rauschenberg, Helen Frankenthaler, Frank Stella, Barnett Newman, Hans Hofmann, Jules Olitski, Philip Pavia, Larry Poons, Robert Motherwell, and Kenneth Noland.

The film features artist Frank Stella as he walks us through his 2012 exhibition “Black Aluminum Copper Paintings” at L&M Arts. The film also features commentary on Frank’s life and career from Adam Weinberg (Alice Pratt Brown Director, Whitney Museum of American Art, NY) and Ann Temkin (Marie-Josée and Henry Kravis Curator of Painting and Sculpture, Museum of Modern Art, NY).

Each and every year hundreds of people flock to New Bedford, MA in bleak mid-winter to partake in a celebration like none other. They read this single book out loud over the course of two full days without stopping. All of these people have one thing in common: they are obsessed with Moby Dick, the book that most call the Great American Novel.

In the world of 1970s car racing, Hurley Haywood was cool, calm and collected. A five-time 24 Hours of Daytona winner, three-time Le Mans winner and Trans-Am champion, Haywood was a Hollywood archetype: a strikingly handsome man brought up by a good Midwestern family. Yet Haywood was often overshadowed by racing partner and volatile mentor, Peter Gregg—the Batman to his Robin—whose abrupt suicide in 1980 shook the sport to its core. And yet Haywood had secrets of his own. Despite multiple encounters with women, some that included public appearances alongside Penthouse models, he remained elusive about his personal life. With deft use of archival footage and exclusive interviews featuring actor and fellow racer, Patrick Dempsey, Hurley reveals a greater insight into Haywood’s tightrope walk between career and sexuality, while posing the question—will motorsport ever be ready for openly LGBT racers?

Metropolitan Museum of Art curator Henry Geldzahler reflects on the 1960s pop art scene in New York.