ART OF DARKNESS

摘要

In The Late 1970s, The Young Artist Kathryn Bigelow Had A Thought-Provoking conversation with a friend of a friend by the name of Andy Warhol. "Andy was saying that film is way more populist than art-that art's very elitist, so you exclude a large audience," she recalls. Around the same time, she visited the Museum of Modern Art, paying special attention to Kazimir Malevich's Suprematist Composition: White on White and Piet Mondrian's color-block grids. "I remember thinking, The audience for this is very specific," Big-elow says over lunch in her hotel suite at the Ritz-Carlton Central Park, not far from the museum. "A Malevich or a Mondrian requires that you come to it with a certain amount of information, a context. And you don't necessarily need that with film. A movie is accessible, available. That was exciting to me from a political standpoint."