#artist is anton ebert

[diioonysus]

"Mother is a verb. It's something you do. Not just who you are." 

[athis3]

Oddly surrreal painting of a group of middle class ladies gossiping about something or someone unseen by a member of the circle of Austrian artist Anton Ebert (1845-1896). The womens' doll-like features and the zombie-like stare of the woman on the right with the peacock feather fan deliver a frissance of weirdness that goes way beyond Ebert's own middle-class kitsch. It might be going overboard to say this painting is ahead of its time, but that's how it looks to me.

The Gossips circle of Anton Ebert (German, 1845–1896) 

[connoisseur-art]

•*•❧❦❧•*• •*•❧❦❧•*•

Kıtchen Idчll (1873) ~ Anton Ebert (Austrıαn, 1845~1896)

[zzh0a0]

"Odalisk with hooka"

Artist Anton Ebert 🇦🇹🇨🇿

1869

[whileiamdying]

Robin Williams was one of a kind. His rare energy, purity, and fundamental essence—that “spark of madness,” to use his words—will never be matched. His mind really seemed to function on another level entirely; all one had to do was put him in front of a camera, and magic was bound to happen. Many people probably forget that Williams was a gifted dramatic actor, and that he even won an Academy Award for Best Supporting Actor for his role in Gus Van Sant’s Good Will Hunting. Still, Robin Williams will likely be best remembered as a man who made us laugh. His comedy was distinctly his own. There simply was nothing else like it, and probably never will be again. But, like every great artist that passes away, his spirit lives on through his work. We can visit Robin Williams whenever we wish, through the many wonderful performances that he gave us. In doing so, we remind ourselves that we, too, must hold on dearly to our own little sparks of madness. Watch Now: Have you seen all of Robin Williams’s work? Be sure to catch one of his early films, “Seize the Day,” streaming now on Fandor! Also, don’t forget to jump into previous episodes of our series, “The Gush,” in which we praise the likes of Joaquin Phoenix, Lakeith Stanfield, Tom Cruise, Josh Brolin, and Tessa Thompson. While you’re at it, join us in paying homage to other artists who have since passed on, but whom we can never forget, like Roger Ebert, Heath Ledger, and Anton Yelchin.

[savetopnow]

2018-03-10 04 MOVIE now

MOVIE

Birth. Movies. Death.

THE STRANGERS: PREY AT NIGHT Review: Home Invasion Leaves Home

The New Poster For BLINDSPOTTING Tests Your Bias

Details Come Out About That Already Weird-Ass Joker Movie

EVERTHING SUCKS! Isn’t Perfect, But It Certainly Doesn’t Suck

Friends Who Kill Together, Stay Together

CineVue

Film Review: Bombshell: The Hedy Lamarr Story

DVD Review: La Prisonnière

Oscars 2018: The Shape of Water wins Best Picture, Best Director

Film Review: Annihilation

Oscars 2018: Our final predictions

Cinema Blend

Cool New Mission: Impossible Fallout Photos Take Us Behind The Scenes With Tom Cruise

Why Jessica Jones Is Different From Working On Other Marvel Shows For Carrie-Anne Moss

Super Smash Bros. Is Coming To Nintendo Switch

Alan Cumming Is Finally Coming To Doctor Who For An Epic Role

10 Visually Stunning Movies That Aren't On Blu-ray But Need To Be

Cinema Scope

Madame Hyde (Serge Bozon, France/Belgium)

The Green Fog (Guy Maddin, Evan Johnson, Galen Johnson, US/Canada)

Cocote (Nelson Carlo de Los Santos Arias, Dominican Republic/Argentina/Germany)

The Uses of Disenchantment: Guillermo del Toro’s The Shape of Water

3/4 (Ilian Metev, Bulgaria/Germany)

Comicboook.com

'Avengers: Infinity War' Will Show Thanos' Younger Years

'Avengers: Infinity War': Josh Brolin Says Thanos Has the "Capacity to Love"

Avengers: Infinity War - Gregg And Loeb Tease Coulson Return To Marvel Cinematic Universe

Kevin Feige Reveals There Are a Couple of Marvel Characters That Haven't "Come Home"

'Black Panther' Sequel Confirmed by Marvel Studios Head

Film Comment Magazine

TCM Diary: Secret Ceremony (1968) + The Legend of Lylah Clare (1968)

Deep Focus: A Wrinkle in Time

Film of the Week: Montparnasse Bienvenüe

Readers’ Poll 2017: Your Comments

Interview: Ashley McKenzie

Film Inquiry

“It Takes Me Right Back To Those Early Days; I’m Living It Again.” Chimps, Oscar Snubs & Favorite Films With Dr. Jane Goodall

Art Vs. Artist: What Do We Do When Our Heroes Fail Us?

Anarchic Cinema: The Anti-Film & Why I Hate Andy Warhol

HAVE A NICE DAY: Money Makes the Story Go Round

BEAST OF BURDEN: Daniel Radcliffe Delivers The Goods

Film School Rejects

The Academy Needs to Wrap its Head Around Mo-Cap Performance

Netflix Goes Extreme for Rob Liefeld

The Tao of Nicolas Cage: Someone in Spain Loves Nic Cage

‘Guardians of the Galaxy’ Takes the Hand of the MCU and Discovers An Awesome Mix

The Tepid Relationship between Romantic Comedies and the Oscars

Reddit Movies

I’m David Oyelowo. I’ve been in a few movies you may have seen (Selma, A United Kingdom, Queen of Katwe) and hopefully are about to see (Gringo). AMA!

Kristen Wigg cast a Cheetah in Wonder Woman 2

First Poster - 'Lowlife'

Susan Sarandon: Hollywood Constantly Rewards "Mediocrity" and Actors Who "Don’t Ask Questions"

Anya Taylor-Joy pays tribute to Thoroughbreds costar Anton Yelchin: 'I think he'd be proud of the film'

Roger Ebert

A Wrinkle in Time

The Strangers: Prey at Night

The Death of Stalin

The Hurricane Heist

Thoroughbreds

Screen Rant

Avengers & Coulson Reunion Will Be Resolved in a ‘Surprising Way’

Marvel Studios is Already Hiring Diverse Filmmakers For Future Films

17 Guardians Of The Galaxy Vol. 3 Fan Theories That Make Too Much Sense

Battlestar Galactica Movie Will Likely Gender Swap Roles

What A Jon/Daenerys Pregnancy Could Mean For Game Of Thrones Season 8

Slash Film

‘Jessica Jones’ Showrunner Melissa Rosenberg on the Internal Struggles and New Foes of Season 2 [Interview]

What is the Future of Your Favorite Marvel Characters After ‘Infinity War’?

/Answers: Our Favorite “Kids on an Adventure” Movies

Kevin Feige Confirms ‘Black Panther 2’ is Happening, Discusses Spin-Off Possibilities

‘Wonder Woman 2’ Confirms Kristen Wiig as Cheetah – Here’s What You Need to Know About This Fierce Villain

[mrmichaelchadler]

Thumbnails 1/25/19

Thumbnails is a roundup of brief excerpts to introduce you to articles from other websites that we found interesting and exciting. We provide links to the original sources for you to read in their entirety.—Chaz Ebert

1. 

"Still grieving, Anton Yelchin's parents try to move forward with new documentary": Amy Kaufman of The LA Times reports on "Love Antosha," scheduled to premiere at Sundance.

“Perhaps the biggest revelation in the film is just how much Anton struggled with cystic fibrosis — a diagnosis he hid from the public and the entertainment business. As a precocious kid, he was pink-cheeked and enthusiastic, shooting short films with childhood friends and constantly performing impressions for his parents. He never seemed sick and barely demonstrated any signs of someone with the progressive disease, which causes mucus to form in the lungs. In fact, he appeared so healthy that his parents decided not to tell him the full details of his diagnosis — CF patients have a life expectancy of around 37 — until he was 17. ‘I didn’t want to introduce him exactly to what it was, because he was so artistic and so sensitive,’ said Irina. ‘I was just afraid that he would go into it and he would get panicked or get affected by it too much. He didn’t even know what it was for real, how difficult and dangerous that illness was. Only after 17, 18, that’s when we talked, because I said: ‘You can’t go to this club. They are smoking there.’ You feel good, but it doesn’t mean you cannot get worse.’’ Upon learning about his illness, Anton worked hard to stay healthy, constantly running up and down the stairs and researching herbal remedies to try on top of his prescribed medications. Before long days on set, he’d wake up two hours early to put on an inflatable vest that helped him to clear his airways.”

2. 

"John Fricke on the 80th Anniversary of 'The Wizard of Oz'": The Emmy-winning Oz historian/author chats with me at Indie Outlook, in anticipation of the film's return to the big screen January 27th, 29th & 30th, courtesy of Fathom Events.

“For the last half century, you could start talking about ‘The Wizard of Oz; to just about anybody over the age of three, and there would be an immediate, shared reference point. People levitate from their chairs when they start discussing the movie. About six or seven years ago, The Weather Channel did a special on the 100 Most Pivotal Moments in Weather History, and at number 53, they listed the tornado in ‘The Wizard of Oz.’ That sequence actually inspired people to become meteorologists. There’s no question that the film has impacted all ages on a multitude of levels. If you grew up watching it on TV, every time you revisit the film, you think, ‘That was the one night we were able to stay up late, put on our pajamas and have popcorn and orange soda with our family, and we all watched it together.’ I remember one poignant story about a man who grew up in a very troubled house. He said that the ‘Oz’ broadcast was the one very peaceful night of the year, because both of his parents loved that movie. As you say, Margaret Hamilton nailed it, as did Ray Bolger when he was a guest on ‘The Judy Garland Show.’ He spoke of growing up with the Oz books, and the great philosophy that they expressed. His mother had pointed out to him the message of these books: ‘Everybody has a brain, everybody has a heart, and everybody has courage. These are the gifts that God gives people on earth, and if you use them properly, they lead you home. And home isn’t a place. It’s the people you love and the people who love you. That’s a home.’”

3.

"Stephen Reinhardt (1931-2018): The Liberal Judge With a Fighting Spirit": Politico's Lara Bazelon eulogizes the late judge, who passed away in December, while honoring his extraordinary legacy.

“Judge Stephen Reinhardt, 87, reigned for 38 years as the liberal lion of the U.S. Court of Appeals for the 9th Circuit, the nation’s largest appellate court with jurisdiction over nine states. Nothing, it seemed, could kill him. Not triple bypass surgery in 1982, not quadruple bypass surgery in 2001. Not the execution—over his fierce objection—of individuals he believed had been wrongfully convicted, nor the Supreme Court’s numerous other reversals of his most famous decisions—decisions upholding the right to die, striking down the requirement that students recite the Pledge of Allegiance, declaring unconstitutional a law prohibiting late-term abortions. Not the slow loss of his beloved wife, Ramona Ripston, to dementia, and the stress, sadness and loneliness that came with it. Not even the election of President Donald Trump, whose rhetoric and policies targeted the very people—immigrants, the criminally accused, the powerless—whose rights the judge had done everything he could to protect. But in March, after he had gotten a clean bill of health from his cardiologist, Reinhardt’s heart stopped suddenly. His death left the hundreds who knew and loved him—his family, his law clerks, his colleagues and large circle of friends—grief stricken and in shock.”

4. 

"You ain't seen nothin' yet, but there's nothin' aplenty": Martha P. Nochimson reviews Adam McKay's Oscar-nominated satirical drama, "Vice," for Eye on Media.

“‘Vice,’ Adam McKay’s interpretation of Dick Cheney’s reign of terror, comes to a false ending in the middle of his film. The music rises to a mock triumphant crescendo, and credits roll over a montage of happy family scenes in which the actors we have seen portray the infamous Dick (Christian Bale) and his wife Lynne (Amy Adams) luxuriate in the lap of domestic affluence as they cavort with children and dogs. The credits are the actual credits of Vice, but prematurely displayed. The faux closure falsely celebrates the Cheneys’ permanent exit from politics when, after Carter’s win as president and the loss of Gerald Ford, Cheney’s prospects for running for and winning high political office began to seem impossible. What? It’s a tease. The movie isn’t ending; rather it winks at us about how stories work, and continues on to document the most destructive period of Cheney’s political life. It’s a mysterious rhetorical move by McKay. But it isn’t the only one, and it isn’t the first one. ‘Vice’ is a film about Dick Cheney and his partner in crime Lynne, to be sure, but it’s also about the way we talk about history, how we know what we know, how we fill in the gaps in our partial knowledge with our own fictions, and who has a voice in creating historical narratives.”

5. 

"Aaron Sorkin remembers William Goldman: 'He was the dean of American screenwriters and still is": An exclusive essay from the Oscar-winning screenwriter, published at The LA Times. 

“When I was starting out in my 20s, Bill Goldman saw something in me and took me under his wing, where I’ve remained and where I’ll continue to remain despite his death. I’m not the only writer he mentored — Scott Frank, Tony Gilroy, Ben Affleck and Matt Damon are just a few he tutored personally, and countless others have been and will continue to be taught by his examples. ‘Kid, the next time I say, ‘Let’s go someplace like Bolivia,’ let’s go someplace like Bolivia.’ ‘They could always surrender.’ ‘For a second there I thought we were in trouble.’ Those three quotable lines aren’t just from the same movie (‘Butch Cassidy and the Sundance Kid’), they’re from the same scene. ‘You keep thinkin’, Butch, that’s what you’re good at.’ ‘Who are those guys?’ ‘Well we tried goin’ straight, what should we try now?’ ‘The fall’ll probably kill you!’ A movie about two outlaws coming to grips with a world that’s changing around them won Bill his first Academy Award. Deep Throat never said, ‘Follow the money.’ It was a line Bill wrote for the character of Deep Throat in his screenplay ‘All the President’s Men,’ for which he won his second Academy Award.”

Image of the Day

At Vanity Fair, Donald Liebenson hails Thelma Todd and Zasu Pitts as the greatest female comedy team of classic Hollywood, and explains "why they still pack a punch."

Video of the Day

The invaluable YouTube channel, Be Kind Rewind, has a wonderful series of videos dissecting that circumstances that resulted in various Best Actress triumphs at the Oscars. The video embedded above focusing on Joan Crawford's 1946 victory, where she finally won the accolade for "Mildred Pierce," also serves as an exceptional introduction to the icon's career bereft of camp. 

from All Content http://bit.ly/2WiyAYB

[nightmareonfilmstreet]

Jayne Mansfield Doc MANSFIELD 66/67 is a Kooky Look at a Campy Starlet

New Post has been published on https://nofspodcast.com/jayne-mansfield-doc-mansfield-6667-kooky-look-campy-starlet/

Jayne Mansfield Doc MANSFIELD 66/67 is a Kooky Look at a Campy Starlet

Jayne Mansfield was a Hollywood starlet born under the blinding light of the fifties, and shadowed by the sex-positivity of the swinging sixties. In either a desperate plea to the underworld, or a rather calculated publicity stunt – Jayne soon found herself knocking on the door of the devil himself, in Church of Satan Founder Anton LaVey.

Opening with bold, hot pink lettering, Mansfield 66/67 warns us that the film we are about to watch conveys ‘opinions expressed that are not approved or endorsed’. But, we were well aware we’d be digging through rumours – the film’s tagline is “a true story based on rumor and hearsay”. Is there anything more delectable than a Blonde Bombshell making deals with the devil? Bring on the Gossip!

As John Waters stated,

“Jayne was always in on the joke.”

In an aim to be campier that its subject matter, Mansfield 66/67 introduces us to a chorus of dancing ladies in garish blonde wigs to guide us through our journey. Pink and blue lights skew a barren set, while our partygoers wiggle to an aptly selected track that croons “The Devil Made Me Do it”. Honoring the 50th year of her death, the extravagant documentary aims to shed a light on the final two years of Jayne’s life.

Mansfield 66/67 features interviews from an eclectic cast of characters; filmmaker and artist Kenneth Anger, gossip columnist A.J. Benza, actress Susan Bernard, drag performer Peaches Christ, filmmaker Cheryl Dune, actress Tippi Hedren, filmmaker John Waters, and many more. The documentary is directed by P. David Ebersole & Todd Hughes, who served as executive producers on the amazing Room 237 documentary inspired by interpretations surrounding Stanley Kubrick’s The Shining.

Writhing in rumours, Mansfield 66/67 sniffs out the thread of truth in Jayne’s life. Reading between the lines of Tabloid headers and faulty memories, we hear the story of a starlet who longed for a steady spotlight – clinging to stardom on the heels of Marilyn Monroe only to be cast aside as Sharon Tate strolled in. A woman who oozed sexuality and harnessed it, exploited it’s quirks – only to find herself hunting for other opportunities as motherhood changed her body; seemingly all the public valued and her only meal ticket (despite playing violin, and *possibly* speaking over 5 languages, I might add).

And then there was Anton. Their budding relationship was a wet dream for Tabloids, and everyone exploited it. But when you take a closer look, you see that Mansfield and LaVey were two sides of the same coin. They were the two extremes the public feared and revered; sexuality and violence. The documentary so correctly coins them “Beauty and the Beast“, because their odd pairing teased something forbidden.

But all is not well in.. Hell.

Mansfield’s beau at the time, Sam Brody, is rumored to have angered LaVey – who in turn concocted up a curse on his head. LaVey professed that Brody would die in a car accident within a year. In 1966 and 1967, the couple had seven fender benders until the one that tragically took both of their lives; a bizarre crash where reporters argue Jayne was either beheaded on impact or merely wig-scalped.

A strange story begs for an even stranger retelling in Mansfield 66/67. The film is a bit of a hodge-podge of classic documentary interviews and archival materials, spliced with experimental dance numbers, performance art and cartoon animation. Though mixed-media the content, the subject is all Jane. With it’s eclectic voice, there is no doubt or question that Mansfield 66/67 successfully celebrates the life and controversy of a quirky Hollywood idol.

2.5/4 eberts

  Mansfield 66/67 is currently touring several film festivals across the world. The film will see a limited release through October/November. Dates and locations can be found HERE.

[diioonysus]

sleep + art

[nightmareonfilmstreet]

[Review] Jayne Mansfield Doc MANSFIELD 66/67 is a Kooky Look at a Campy Starlet

New Post has been published on https://nofspodcast.com/jayne-mansfield-doc-mansfield-6667-kooky-look-campy-starlet/

[Review] Jayne Mansfield Doc MANSFIELD 66/67 is a Kooky Look at a Campy Starlet

Jayne Mansfield was a Hollywood starlet born under the blinding light of the fifties, and shadowed by the sex-positivity of the swinging sixties. In either a desperate plea to the underworld, or a rather calculated publicity stunt – Jayne soon found herself knocking on the door of the devil himself, in Church of Satan Founder Anton LaVey.

Opening with bold, hot pink lettering, Mansfield 66/67 warns us that the film we are about to watch conveys ‘opinions expressed that are not approved or endorsed’. But, we were well aware we’d be digging through rumours – the film’s tagline is “a true story based on rumor and hearsay”. Is there anything more delectable than a Blonde Bombshell making deals with the devil? Bring on the Gossip!

As John Waters stated,

“Jayne was always in on the joke.”

In an aim to be campier that its subject matter, Mansfield 66/67 introduces us to a chorus of dancing ladies in garish blonde wigs to guide us through our journey. Pink and blue lights skew a barren set, while our partygoers wiggle to an aptly selected track that croons “The Devil Made Me Do it”. Honoring the 50th year of her death, the extravagant documentary aims to shed a light on the final two years of Jayne’s life.

Mansfield 66/67 features interviews from an eclectic cast of characters; filmmaker and artist Kenneth Anger, gossip columnist A.J. Benza, actress Susan Bernard, drag performer Peaches Christ, filmmaker Cheryl Dune, actress Tippi Hedren, filmmaker John Waters, and many more. The documentary is directed by P. David Ebersole & Todd Hughes, who served as executive producers on the amazing Room 237 documentary inspired by interpretations surrounding Stanley Kubrick’s The Shining.

Writhing in rumours, Mansfield 66/67 sniffs out the thread of truth in Jayne’s life. Reading between the lines of Tabloid headers and faulty memories, we hear the story of a starlet who longed for a steady spotlight – clinging to stardom on the heels of Marilyn Monroe only to be cast aside as Sharon Tate strolled in. A woman who oozed sexuality and harnessed it, exploited it’s quirks – only to find herself hunting for other opportunities as motherhood changed her body; seemingly all the public valued and her only meal ticket (despite playing violin, and *possibly* speaking over 5 languages, I might add).

And then there was Anton. Their budding relationship was a wet dream for Tabloids, and everyone exploited it. But when you take a closer look, you see that Mansfield and LaVey were two sides of the same coin. They were the two extremes the public feared and revered; sexuality and violence. The documentary so correctly coins them “Beauty and the Beast“, because their odd pairing teased something forbidden.

But all is not well in.. Hell.

Mansfield’s beau at the time, Sam Brody, is rumored to have angered LaVey – who in turn concocted up a curse on his head. LaVey professed that Brody would die in a car accident within a year. In 1966 and 1967, the couple had seven fender benders until the one that tragically took both of their lives; a bizarre crash where reporters argue Jayne was either beheaded on impact or merely wig-scalped.

A strange story begs for an even stranger retelling in Mansfield 66/67. The film is a bit of a hodge-podge of classic documentary interviews and archival materials, spliced with experimental dance numbers, performance art and cartoon animation. Though mixed-media the content, the subject is all Jane. With it’s eclectic voice, there is no doubt or question that Mansfield 66/67 successfully celebrates the life and controversy of a quirky Hollywood idol.

2.5/4 eberts

  Mansfield 66/67 is currently touring several film festivals across the world. The film will see a limited release through October/November. Dates and locations can be found HERE.

[nightmareonfilmstreet]

[Review] Jayne Mansfield Doc MANSFIELD 66/67 is a Kooky Look at a Campy Starlet

New Post has been published on https://nofspodcast.com/jayne-mansfield-doc-mansfield-6667-kooky-look-campy-starlet/

[Review] Jayne Mansfield Doc MANSFIELD 66/67 is a Kooky Look at a Campy Starlet

Jayne Mansfield was a Hollywood starlet born under the blinding light of the fifties, and shadowed by the sex-positivity of the swinging sixties. In either a desperate plea to the underworld, or a rather calculated publicity stunt – Jayne soon found herself knocking on the door of the devil himself, in Church of Satan Founder Anton LaVey.

Opening with bold, hot pink lettering, Mansfield 66/67 warns us that the film we are about to watch conveys ‘opinions expressed that are not approved or endorsed’. But, we were well aware we’d be digging through rumours – the film’s tagline is “a true story based on rumor and hearsay”. Is there anything more delectable than a Blonde Bombshell making deals with the devil? Bring on the Gossip!

As John Waters stated,

“Jayne was always in on the joke.”

In an aim to be campier that its subject matter, Mansfield 66/67 introduces us to a chorus of dancing ladies in garish blonde wigs to guide us through our journey. Pink and blue lights skew a barren set, while our partygoers wiggle to an aptly selected track that croons “The Devil Made Me Do it”. Honoring the 50th year of her death, the extravagant documentary aims to shed a light on the final two years of Jayne’s life.

Mansfield 66/67 features interviews from an eclectic cast of characters; filmmaker and artist Kenneth Anger, gossip columnist A.J. Benza, actress Susan Bernard, drag performer Peaches Christ, filmmaker Cheryl Dune, actress Tippi Hedren, filmmaker John Waters, and many more. The documentary is directed by P. David Ebersole & Todd Hughes, who served as executive producers on the amazing Room 237 documentary inspired by interpretations surrounding Stanley Kubrick’s The Shining.

Writhing in rumours, Mansfield 66/67 sniffs out the thread of truth in Jayne’s life. Reading between the lines of Tabloid headers and faulty memories, we hear the story of a starlet who longed for a steady spotlight – clinging to stardom on the heels of Marilyn Monroe only to be cast aside as Sharon Tate strolled in. A woman who oozed sexuality and harnessed it, exploited it’s quirks – only to find herself hunting for other opportunities as motherhood changed her body; seemingly all the public valued and her only meal ticket (despite playing violin, and *possibly* speaking over 5 languages, I might add).

And then there was Anton. Their budding relationship was a wet dream for Tabloids, and everyone exploited it. But when you take a closer look, you see that Mansfield and LaVey were two sides of the same coin. They were the two extremes the public feared and revered; sexuality and violence. The documentary so correctly coins them “Beauty and the Beast“, because their odd pairing teased something forbidden.

But all is not well in.. Hell.

Mansfield’s beau at the time, Sam Brody, is rumored to have angered LaVey – who in turn concocted up a curse on his head. LaVey professed that Brody would die in a car accident within a year. In 1966 and 1967, the couple had seven fender benders until the one that tragically took both of their lives; a bizarre crash where reporters argue Jayne was either beheaded on impact or merely wig-scalped.

A strange story begs for an even stranger retelling in Mansfield 66/67. The film is a bit of a hodge-podge of classic documentary interviews and archival materials, spliced with experimental dance numbers, performance art and cartoon animation. Though mixed-media the content, the subject is all Jane. With it’s eclectic voice, there is no doubt or question that Mansfield 66/67 successfully celebrates the life and controversy of a quirky Hollywood idol.

2.5/4 eberts

  Mansfield 66/67 is currently touring several film festivals across the world. The film will see a limited release through October/November. Dates and locations can be found HERE.

[a-modernmajorgeneral]

Oddly surrreal painting of a group of middle class ladies gossiping about something or someone unseen by a member of the circle of Austrian artist Anton Ebert (1845-1896). The womens' doll-like features and the zombie-like stare of the woman on the right with the peacock feather fan deliver a frissance of weirdness that goes way beyond Ebert's own middle-class kitsch. It might be going overboard to say this painting is ahead of its time, but that's how it looks to me.

The Gossips circle of Anton Ebert (German, 1845–1896)