Showing posts with label Superman. Show all posts
Showing posts with label Superman. Show all posts

Tuesday, January 5, 2021

January 5, 2021 by Tosh Berman

 


As a child of the 1950s, the medium of the television hit me pretty hard. I was exposed to that world, mostly through my grandparents, who allowed me an endless amount of television time. My young life was scheduled due to the programming of children's shows and, of course, "The Adventures of Superman." My primary concern was to get in front of the TV set at a specific time, so I won't miss the episode of Superman. I believe my first reading experience is going over the TV Guide, which, all in truth, was my bible. I also learned how to use a calendar and mark the days off for hardcore viewing of my favorite shows. 

Brigitte Bardot, due to my father taking me to see "And God Created Women" was my first movie star experience. Without a doubt, George Reeves, who played Superman, was the first male star in my odd orbit. The only contemporary actor I can think of now, compared to Reeves, would be Kyle MacLachian. Still, the image of Reeves as Superman is etched in my DNA as a figure of great importance. I never fully understood his death by suicide. There is controversy to this day if he was shot by another or shot himself in the head. That, I don't find troubling in itself, but more of the fact that how can Reeves die from a bullet when he's Superman?

I did read the Superman comic book, but I always imagined the imagery of Superman being Reeves on the comic page. Therefore Superman will always be George Reeves. The truth is it seems Reeves was frustrated being identified with the role of Superman. It was a struggle for him from some sources, being in his 40s, wearing the outfit of the superhero, and being branded as that character. Still, there were also reports of him taking the role very seriously. He kept his private life very private while making the series and even quit smoking in fear that he would be photographed smoking. 

The other interesting aspect of Reeves's Superman is the character of Clark Kent. I was intrigued that Superman's best friends, Jimmy Olsen and Los Lane, could never recognize Kent being Superman. In the comic book, Kent was often seen as a coward or dumb to hide his secret identity as the Man of Steel. In the TV show, Kent was very masculine, smart, and brave. Also, the issue that Kent always wore the Superman outfit under his beautifully tailored suit.  My interest in dandyism partially came from the idea of Superman wearing a beautiful suit and then removing it to expose the Superman outfit. Which I gather means he never took off the uniform that came from his planet Krypton. Legend has it that the fabric was part of his bedding when he was sent to Earth to be saved from the destruction of his home planet. 

Reeves's Clark Kent is very much the American hero, and clearly, Superman is American. The false (or is it real?) identity of Kent is a farm boy in the Mid-West. That upbringing made Superman, at least emotionally, an American. The irony is Superman/Kent are total outsiders. Perhaps they are the ultimate immigrants coming to America, or to some, a dangerous presence in the American conscience.  We often look at the stars at night as a sign of hope against the misery that is on the landscape that is Earth. Heaven, in theory, is above, and the Man of Steel came out of the sky. Perhaps there is a touch of Ziggy Stardust as well, another primary cultural importance to me as a teenager. 

As I got older, I became more attracted to the idea of Clark Kent. His whole life is both real but also based on a lie. In the true sense, immigrants who come to America can make a new life out of their discarded past. Hollywood is such a landscape where one can change its image to suit their passion or need for occupation/work.  What I took from my Superman experience is my skill in making schedules for watching the shows. That transferred to future activities such as work and the idea that one needs another identity, perhaps a secret one, to do work. 




-Tosh Berman. 

Friday, December 15, 2017

Review of Mike Kelley: Kandors 1999-2011 at Hauser & Wirth Los Angeles

Art © Mike Kelley Foundation for the Arts. All Rights Reserved / Licensed by VAGA, New York, NY. Courtesy the Mike Kelley Foundation for the Arts and Hauser & Wirth. Photo: Fredrik Nilsen

MIKE KELLEY: Kandors 1999-2011

Hauser & Wirth Los Angeles
The exhibition is on view through January 21, 2018

As a child, I have always fantasized about having my own secret headquarters where I can be free from the outside world. All of this was fueled by my reading of comic books such as Batman (The Bat-Cave) and Superman (The Fortress of Solitude). The Bat-Cave seemed to fit, if not my budget, at least my aesthetic of living in a cave full of computers and lab equipment, plus a large garage to house my Bat-Mobile. Still, Superman's pad of choice, The Fortress of Solitude, appealed to my minimalist nature, and since Superman can't feel the cold, this is the only location for him to meditate and think about the world that he has been placed in. Mike Kelley's "Kandors 1999-2011" immediately brought up my childhood feelings for a secret, but a secure place that will separate me from the cruel outside world.

Kandor is the imaginary city of Superman's birth on the planet Krypton. The villain Brainiac, who first appeared in "Action Comics" (#242) in July of 1958, shrunk and bottled the entire city of Kandor, until Superman rescued the bottles and had them placed within his sanctuary The Fortress of Solitude. When we enter the gallery spaces, we approached rock formations or borders that look very much like they came from outer space. The rooms are almost pitch dark, except for lighting focusing on the rock sculptures and a projection of a video by Kelly in the next room. I spent a lot of time in this room, not only watching the video, but also to get the feel of my childhood as I walked around the sculptures and placing myself back in time.

The other gallery is the actual representation of Kandor in various bottles, with mock-up architectural models of the city as well as two or more workers doing design work for the preservation of the city Kandor. At this point, one wonders if Kelley planned to build his version of Kandor, which in fact, he did, and that is what is being exhibited in this current show at Hauser and Wirth Los Angeles. Again, my childhood love for the Superman comic makes me feel very comfortable with the exhibition space. I relate to the oxygen tanks that are pumping air into these bottles, and also they are figures of great beauty, especially with the lighting and the reflection of these giant jars with the cities in them.

Kelley was rebuilding Kandor but also making his version of the narrative that is Kandor on the planet Krypton. There is a strong sense of placement or home in this work, and it is both a joyful and sad experience to walk through these ruins. Superman, although I never took him seriously, I now think of him as an immigrant who had lost his home. Of course, due to the modern world's making, we see this issue come up again and again. There is the political/natural disaster of such an existence, and then to focus all of that on Superman is also a portrait of a figure who has no real home. The secret headquarters, which houses his culture, away from the prying eyes of the earthlings. It's a sad and profound statement on a world that is both imagined as well as being real. Mike Kelley's "Kandors" is a fascinating exhibition and one of the best shows I have seen in a long time.
- Tosh Berman