Yesterday was an extended travel day. I got in around 5 PM last night, and had to unpack the car and take care of other business. So blogging opportunities were limited.
Oddly, I have to work today, and have meetings tonight. But tomorrow is a company holiday. I’m planning to post something of a trip report then.
In the meantime, a few obits.
Anouk Aimée, French actress. NYT (archived). IMDB.
Kevin Brophy, actor. Other credits include “Matt Houston”, “Trapper John, M.D.”, and a spinoff of a minor SF TV show from the 1960s.
Ben Vautier, French artist. I haven’t done an “Art, damn it! Art!” watch for a while, and he seems like a good candidate.
Forever looking to provoke, Mr. Vautier found a kindred spirit in 1962 when he met George Maciunas, who spearheaded the avant-garde Fluxus movement of the 1960s, which included Yoko Ono, Nam June Paik and other artists, and which drew from the iconoclastic Dada movement of the early 20th century.
Fluxus, as articulated in Mr. Maciunas’s 1963 manifesto, was intended as a revolution, a call to comrades to “promote living art, anti-art, promote non-art reality,” while purging the world of “dead art, imitation, artificial art.”
Mr. Vautier certainly did his part, as both a visual and performance artist, with works that straddled the line between conceptual art and punchline.
At the Documenta art festival in Kassel, Germany in 1972, he famously strung a banner that read “Kunst Ist Überflüssig” (“Art Is Superfluous”) across the top of the august Fridericianum museum.
He strove to show that art could be found in daily life, and in ordinary objects, as with his series “Tas,” in which he piled dirt and garbage into lots and signed them as if they were masterpieces.
Starting in the 1960s, Mr. Vautier gave staged performances — he called them “gestes” (“gestures”) — that could seem like practical jokes on the audience. In one, “Audience Piece No. 8” (1965), guests were informed that the next piece was to be presented in a special area. Ushers then led them in groups through back exits and abandoned them.
In “Piano Concerto No. 2 for Paik,” an apparent concert from the same year, a pianist fled the stage before playing a note and the orchestra chased him in hot pursuit, trying to drag him back.
Mr. Vautier was often all too willing to shock. In one performance piece, he urinated in a jar, which he then exhibited as if it were high art. In another, he repeatedly slammed his head against a wall.
James Kent, NYC chef.
He opened his own restaurant, Crown Shy, in 2019 with a partner, Jeff Katz, the general manager of Del Posto, an Italian restaurant in Manhattan that closed in 2021. “At Crown Shy, the Only False Step Is the Name” read the headline of a “critic’s pick” review by Pete Wells, the restaurant critic of The New York Times. (The name refers to tall trees’ tendency not to allow their upper stories to grow entangled with the branches of their neighbors.)
Mr. Wells wrote that Mr. Kent’s dishes “regularly over-deliver.” He singled out for praise “an almost absurdly creamy purée of white bean hummus under a fiery red slick of melted ’nduja; a beef tartare with toasted walnuts and rye croutons; and oysters served with “cucumber jelly, diced cucumbers, grains of jalapeño and microleaves of purple shiso.”
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Crown Shy garnered one star from the Michelin restaurant guide. Saga earned two.
It was fine dining worthy of the European tradition, but with American casualness and an embrace of pop culture.
Mr. Kent played Wu-Tang Clan and the Notorious B.I.G. at Crown Shy. He eschewed a formal dress code. With his chef coat he could often be seen wearing expensive sneakers.
His spray-painted murals earned him a reputation as “a chef that’s also a wildly talented graffiti artist,” as Bloomberg reported in 2016. He was commissioned to do artwork at NoMad Hotel and the restaurant tech company Salido.
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In April, The Times reported that Mr. Kent and Saga Hospitality Group had leased 3,000 square feet on the ground floor of the former Domino Sugar refinery in Brooklyn for a bakery and a “casual all-day restaurant.”
That same month, the lifestyle magazine The Robb Report described yet more ambitious plans. Mr. Kent was opening a new 140-seat restaurant on Park Avenue inspired by the Grand Central Oyster Bar, where his grandmother Sue Mingus first went on a date with the jazz musician Charles Mingus, who became her husband and whose legacy she took charge of overseeing until her death in 2022.
At the same time, Mr. Kent was planning a fast-casual fried chicken sandwich restaurant on the level of Shake Shack, The Robb Report said. LRMR Ventures, a private investment firm of LeBron James and his friend and business partner Maverick Carter, was backing Saga Hospitality Group’s expansion.
Investors “believe Kent’s a rare, multidimensional talent who’s primed to become the next great American restaurateur,” The Robb Report wrote.
He was 45.