CHICAGO – Cinemax’s ominous new series “The Knick” is a hospital drama that’s very much in the voice of its director, Steven Soderbergh. Set in New York City at the turn of the 20th century, the series presents the medical world as it inches closer and closer to modernity, while making contemporary parallels to the desperate hustle by surgery room clients and their doctors alike regarding treatment of the human body. What has changed in the politics of medicine? What hasn’t?
Art World Bares its Soul in Adam Goldberg’s Superlative ‘(Untitled)’
CHICAGO – One of the best and most exciting surprises of the 2009 film year is a smaller, claustrophobic film starring Adam Goldberg and set in the art gallery world of New York City. “(Untitled)” is an honest, uncompromising character study.
Taking its name from the practice of inscribing artwork with no label at all, (Untitled) involves three people, two who are practicing artists and one who owns a small Soho art gallery. Adrian (Adam Goldberg) is a composer of atonal symphonies – think using buckets and chains for sounds instead of harmonics – and although recognized as a significant craftsman he still needs to supplement his living by providing piano atmosphere in a haughty bistro.
His brother Josh (Eion Bailey) is a “successful” artist, having found a niche market selling his works to decorate hotel lobbies and corporate hallways. He is the biggest income generator for Madeleine (a revelatory Marley Shelton), who owns a small but cutting edge gallery. Embarrassed that she has to rely on Josh’s commercial work to stay afloat, she coyly hides his work in the back when clients come to call.
When Madeleine sees Adrian perform one of his symphonies, she not only gets a commission for him but takes him on as a lover. When the three attitudes of the principal characters collide – Adrian’s outsider inclination, Josh’s desperate need for artistic credibility and Madeleine’s blind worship of the next edgy art happening – the very question of who decides what art can be is philosophically rendered.
Photo credit: Parker Film Company/Samuel Goldwyn Films