Word: viewers
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...Exit Through the Gift Shop” is, much like its maker, both exhilarating and infuriating. It is brilliant, eccentric, and wild. The viewer gets precious glimpses into the creative process of Banksy himself as he hurriedly fixes, by flashlight, one of his infamous mouse stencils on a grimy Los Angeles street. But it is also highly provocative, as Banksy seizes this opportunity to critique our own defacement of this urban art form...
...action in reflections—in mirrors, the sleek surfaces of the Jones home, and, during the climactic sequence, in a swimming pool. This technique effectively communicates the characters’ absorption in their own images, and how they define themselves through their purchases. It also accuses the viewer of engaging in the same kind of tireless self-promotion. Not only does our consumerism make us fall prey to advertisements, but our fixation with self-image puts us in danger of becoming advertisements ourselves...
...movie quickly backtracks to images of the turbulent 1960s, introducing the viewer to the troubled times in which The Doors emerged. The band starts as most do: one talented person meets another, who has other talented friends, and they come together pretty casually. But the person who stands out almost immediately is Morrison, and it is his life that the film essentially follows, up until his sudden death...
Dicillo offers an intimate look at Morrison, allowing the viewer to see him as person, not just another rock star falling off the deep end. The film even includes footage of Morrison in his hometown with his family, when he started reading Friedrich Nietzsche and William Blake at the age of 16. In fact, the name of the band originates from a line in Blake’s “The Marriage of Heaven and Hell...
Participating artist Soojin Kim’s room of deceptively banal or kitsch paintings and sculptures of cookies and crackers tantalizes the viewer, while the half-eaten sweets evoke a sense of nostalgia or loss. Kim describes her work in relation to memories of her father indulging in American candies and sharing them with her during the Korean War. Despite the unity of the subject matter, Kim’s work exhibits a remarkable range, with a Wayne Thiebault-esque canvas of peanut butter cups, a bronze relief of a bitten Oreo, and a wall of small oil paintings arranged...