This week in the Voice, out today, Camille Dodero writes about Andy Warhol’s New York, and what it looks like more than two decades after the Pope of Pop’s death: “In other words, 25 years ago, the famous man who had famously written his own script finally had it taken away. New York City is, of course, a different place than it was then. But nothing has changed so drastically that the creator of the Can That Sold the World has stopped being one of New York City’s most deeply abiding myths.”
Robert Sietsema noshes as Barboncino, a Neapolitan pizzeria in Crown Heights: “There’s scant signage outside. Inside, you’ll find a darkened warren of wood-clad rooms on two levels, lit by the flicker of votive candles. The benches are hard and backless, and the place feels like a house of worship for the god Pizza.”
Grayson Currin looks at the freak folk scene and wonders whether it’s over: “Mirel Wagner is something of an island with these songs. Those once tucked beneath the vague banners of New Weird America and freak folk have dispersed into celebrity, anonymity, and sometimes infamy…Those who might have been Wagner’s contemporaries have–depending on your perspective or generosity–largely grown or retreated from their embrace of cosmic strangeness.”
Aaron Hillis talks with Tim and Eric about their Billion Dollar Movie: “The two squander the biggest budget in cinema, attempt to reinvigorate a dead mall overrun by a hobo and a killer wolf, and run into a cast of weirdoes, including Will Ferrell, Zach Galifianakis, and Will Forte. “
Michael Feingold reviews Athol Fugard’s Blood Knot: ” Two brothers share a house. Zachariah (Colman Domingo) is black; Morris (Scott Shepherd) is white. Zach, who does the heavy labor that earns their income, lives for simple, immediate pleasures. Morrie, who has been away many years and only recently returned, keeps the house in order, handles the money, and plans for the future…Name the house South Africa, call the two men by their race, and it’s all about apartheid.”
R.C. Baker reexamines James Rosenquist’s F-111, writing: “MOMA’s new installation of the painting, presented in a room built to mimic the original dimensions of Leo Castelli’s space, reveals that Rosenquist was an early adopter of the visual overload we now take for granted.”
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