![]() He met director Larry Clark as a nineteen-year-old when he was skateboarding in Washington Square Park. You still didn’t trust grown ups or authority.”Ģ. ![]() You liked making people upset and that carried over into my 20’s… I still carried all that aggression. That was part of the lure, you liked that feeling, it was kind of exciting. Kids became brutal, you would get spit on all the time, you would get in fights every day. “Skating was really provocative and people hated you. But skating and skate films very much influenced his movies. You would go to school and come home and get your skateboard and disappear, then come back at night.” Korine was good enough to get corporate sponsorship, but upon realizing that he wasn’t brave enough to go for the big tricks––and wouldn’t ever be––he quit skating for directing. “It was a different time back then and it was more like obviously pre-internet and pre-cell phones…. Harmony Korine grew up in Nashville, but would go to New York for the summers to skate, crashing with at his grandma’s house in Queens. Korine started out as a teen skateboarding phenomenon. But before you go, here are 10 things to know about the filmmaker-cum-painter-in no particular order.ġ. His new show, “Blockbuster,” opened at Gagosian on September 11th. , opens next year.) Either way, feel free to decide for yourself. Maybe the point is that these paintings, which sell for hundreds of thousands of dollars, bankroll Korine’s movies (his latest, Perhaps the paintings are attention-economy relational aesthetics: the point isn’t whether it’s genius or stupid, the point is––as became cliche with reality TV––that you’re looking at it. The paintings in “Fazors,” his 2016 solo show, resemble visual ASMR or acid Gagosian’s press release, at least, argues that the works are inspired by ![]() Korine’s paintings, like his movies, are trippy. His first solo show, “Shooter,” debuted in 2014 at Gagosian, which now represents him. You have no future, your only option is to self-destruct.īut in the early aught-teens, Korine also became a painter. (1997) (then hailed as “the worst movie of the year”), Korine’s films explore youth culture as death cult, the demented, edgelord-y boredom of being a teen under neoliberalism. (1995) at age nineteen and directing cult classic ![]()
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