Dustin Johnson has done just fine financially in his first four years on the PGA Tour.
Tag Archive: Fine
LOS ANGELES (Reuters) – Fine art, jewelry and Hollywood memorabilia owned by Tony Curtis — including the yachtsman jacket he wore in “Some Like It Hot” — brought in over $1 million on the auction block on Saturday, more than twice the presale estimates.
Curtis, who enjoyed a 60-year career in show business before his death in 2010 at age 85, appeared in more than 100 films and received an Oscar nomination for the 1958 drama “The Defiant Ones.” He was an art lover and painter as well.
The estate items on sale at Julien’s Auctions in Beverly Hills featured property Curtis acquired throughout his life, from the time he served in the U.S. Navy during World War II to the 2000s. The presale estimate on the collection was $500,000.
By Larry Fine
NEW YORK (Reuters) – Pancho Gonzalez was inducted Saturday into the U.S. Open Court of Champions.
Self-taught on the public courts of Los Angeles, Gonzalez, the son of Mexican immigrants, won back-to-back titles at the U.S. championships in Forest Hills in 1948-49 and won two matches to help the U.S. team beat Australia for the 1949 Davis Cup.
This has been a summer of OK comedies – not great, not terrible, enough laughs to keep you watching but not to render the kind of comedic experience that leaves you feeling as though you’ve been worked over because you’ve been laughing so hard.
Think Bad Teacher and Horrible Bosses – the kind of movie you won’t resent devoting time to on cable or pay-per-view but feel slightly abused for coughing up the price of a first-run movie theater ticket. A Good Old Fashioned Orgy fits the category easily.
That’s because, at heart, it’s a series of sketches assembled into what can roughly be called a narrative. Good-looking actors uttering mildly funny, occasionally (very occasionally) uproarious jokes and doing things that run the gamut from inappropriate to just plain gross: You know the formula.
Americans have always been dreamers. But given the current state of the world economy, we must temper “Dream big!” optimism with pragmatism.
Read More…
More on Small Business America
A Conversation with The Summer Set’s Brian Dales
Mike Ragogna: Brian, how are you?
Photographer Lydia Anne McCarthy’s new show, Refraction, at Daniel Cooney Fine Art is “a series of portraits made with refracted light, the highlights rendered as spectrum and the shadow areas as undefined lines and shapes.” McCarthy took the photos with a self-constructed camera where the lens was replaced with a Fresnel, or magnifying sheet. The show consists of six large scale images of ethereal portraits.
The faces of the subjects are mostly obscured by McCarthy’s technique, but the angles and light refractions give a mood that clues the viewer in to who they are, or who they might be. McCarthy’s Refraction shows she’s interested in how the camera itself can be manipulated in order to get a new kind of image, rather than relying on work in photoshop. Her photograph “Antonia” has a lovely contemplative quality to it; McCarthy captures her model mid-thought and the image seems candid rather than posed.
Refraction is at Daniel Cooney Fine Art, 511 West 25th Street, #506 New York, NY until July 29th.
Read More…
More on Photography
The bottom half of “Weary Herakles,” a nearly 2000-year-old sculpture, will be reunited with its top half soon, reports the Boston Globe. The Turkish museum that houses the statue’s legs has petitioned for the Boston Museum of Fine Arts (MFA) to return its top half, and the MFA recently stated that it planned to carry out the repatriation.
In the video below, Geoff Edgers reports on the statue for the Boston Globe, detailing the piece’s history as well as his personal experiences with it. He recalls visiting the statue’s legs in Turkey, and notes that “There’s a giant poster on the wall next to the bottom half saying, you know, ‘give us this top half back.’”
Story continues below.
All golfer Tiger Woods has to do is pay a $164 fine – less than a round of golf at Torrey Pines – and his dealings with Florida authorities over his infamous car accident will be over.
“It’s funny to be playing a mom,” Elizabeth Reaser says with a laugh. “I mean, I’m not a mom in real life. I don’t even have a dog.”
But Reaser is playing a mom – again – in The Art of Getting By, which opened June 17. The bittersweet coming-of-age comedy casts her as mother to Emma Roberts, whose relationship with a classmate played by Freddie Highmore is the focus of the film. Reaser plays a woman who, having becoming a parent at a young age, has drifted through several brief marriages and, in her mid-30s, is back on the dating scene in Manhattan.
“Really, I feel much more connected to that age – the daughter – than to this one,” says Reaser, 35, in a telephone interview. Still, it’s not the first time: As she notes, she plays matriarch to the vampire clan that includes Robert Pattinson in the Twilight film series. But her own relationship with her mother as a teen was a stormy one.
British world number one Luke Donald and a mightily relieved Swede Robert Karlsson made the U.S. Open cut with no margin to spare on Saturday as five former champions failed to advance.
There’s dramatic movie violence – and then there’s sadistic, nihilistic movie violence. If you’ve got a taste for the latter, Kidnapped (opening in limited release Friday 6/17/11) should be right up your alley, calling to mind the equally repellent The Strangers (2008).
From Spain, the film is an exercise in audience manipulation (to the point of torture) that builds to a climax that is, at minimum, hateful. In some ways, it calls to mind the dreadful Michael Haneke film, Funny Games, in its willingness to pointedly foil audience expectations of what a violent thriller should be.
Except that filmmaker Miguel Angel Vivas isn’t as dispassionate and chilly as the coldly vicious Haneke. He has made a movie that grabs the audience by the throat and takes it for a sickening thrill ride – then crashes the car into a wall, just for the fun of it.
Free backswing, better weight shift produce power, accuracy
It’s always thrilling when a filmmaker emerges – to see the movie that truly marks his arrival as someone to watch and pay attention to because he not only has something to say but he knows how to say it.
So it is with J.J. Abrams’ Super 8, a great leap forward for someone who already has proven himself as a formidable TV auteur, capable of making the leap to movies by shaking up old franchises (Mission: Impossible, Star Trek) with a new vision.
But Super 8 is something else again: the arrival of a director who’s made a movie with the confidence and sensitivity to remind you of the first time you saw E.T. It’s a movie that will put you on the edge of your seat, even as it puts a lump in your throat.
