Film To Watch: Art Bastard – Rise of a Rabble-Rouser

gia on the move art moviesIn a madcap art world obsessed with money, fame and hype, how does an artist driven by justice, defiance and his own singular style thrive? ART BASTARD is the tale of a rebel who never fit into today’s art world… yet has become one of its most provocative, rabble-rousing characters nevertheless. At once a portrait of the artist as a young troublemaker, an alternate history of modern art and a quintessential New York story, ART BASTARD is as energetic, humorous and unapologetically honest as the uncompromising man at its center: Robert Cenedella.

CAVU Pictures presents a Concannon Productions film, ART BASTARD, written and directed by Victor Kanefsky and produced by Chris T.

The new documentary will release in New York on May 20th at the Angelika Film Center and Lincoln Plaza Cinemas and on June 3rd in Los Angeles/Orange County at the Laemmle Monica Film Center in Santa Monica and Edwards University Town Center 6 in Irvine, followed by a national release.

Cenedella was a contemporary of Andy Warhol. But he has essentially served as the anti-Warhol. His noisy, raucous, color-splashed paintings of city scenes approach the world with a sincerity that defies the irony, frivolity and controversy-for-the-sake-of-controversy that have become the cultural currency since the 60s.

Yet, as ART BASTARD reveals, Cenedella couldn’t be any more a product of these times. He was the son of a blacklisted writer, raised on crushed 50s dreams. He’s been haunted by dark family secrets that had him questioning his identity. His passionate convictions started so young they got him kicked out of high school. Even when he found solace and expression in art, he was an unabashed outsider – never a gallery darling, not pursued by museum curators, but an artist who was going to have his say regardless of who was paying attention. Even so, over time, Cenedella’s vast canvases, rife with the chaotic beauty of politics, humor, history and humanity, drew admirers from all walks of society – even from the vaunted art patrons who rejected him.

In a fast-moving series of riveting interviews with family members, art critics, museum directors, New York power brokers, art students and Cenedella himself, director Victor Kanefsky candidly presents Cenedella’s personal journey – and reveals the creation of a modern art career that ignored all the modern art rules.

Kanefsky follows Cenedella from his days selling cheeky “I Like Ludwig” buttons to pay his art school tuition to his apprenticeship in New York with George Grosz (1893-1959), the German painter and graphic artist who was the most outstanding caricaturist and political satirist of the period after World War I.

Grosz inspired Cenedella with his merging of refined technique with blistering social critique; from Cenedella’s provocative 1965 “Yes Art” exhibit which became the most popular – and debated – show of the year, lambasting the crass commercialism of the blossoming Pop Art movement, to his sudden, 12-year break from painting and his fruitful return as a teacher, mentor and unbowed iconoclast of American painting.

While Cenedella forthrightly questions the mechanics – and profit-making — of the art world, he has it out for no one. As he puts it: “It’s not what they show that bothers me, it’s what they don’t show.”

What ART BASTARD shows, in stunning cinematic detail, are the living, breathing, storytelling canvases that Cenedella has created for six decades. Set to a rollicking soundtrack, the film not only tours Cendella’s life. It also tours his eye-poppingly intricate, New York-centered paintings as one might travel the city – peering into every corner to uncover Cenedella’s characters, commentary and emotions.

Running Time: 84 minutes
Rating: Not Unrated
Language: English

Bonus Tracks for the Weekend: I Feel Like Dancin’

gia on the move music

“All I want to do is lift you up right now…” SUMif

gia on the move music

Here’s what we think you should be listening to this week. And accidental find while reviewing several artists from our submissions, SUMif is the electro-pop moniker of Steph Wells, who traded in her acoustic guitars for midi controllers in hopes of achieve her life goals of traveling the world, making people dance.

In a previously life she spent her days writing country tunes in Nashville, TN ‘chasing love’. We already do – love her, that is, at Gia On The Move.   @stephwells

Macklemore & Ryan Lewis, Death Cab for Cutie, Headline 2016 Bumbershoot Music & Arts Festival

AnnouncementThe official lineup for the 46th Annual Bumbershoot Music & Arts Festival at the Seattle Center over Labor Day weekend, Friday Sept. 2 through Sunday Sept. 4 includes  Headliners: Seattle natives and hip hop duo Macklemore & Ryan Lewis, alternative rock band Death Cab for Cutie, and critically acclaimed Norwegian producer KYGO, among others.

More than 140 additional artists will perform throughout the weekend on more than a dozen indoor and outdoor stages spread throughout the 74 acre festival grounds, including both Memorial Stadium and KeyArena.

To celebrate Seattle’s Festival, headliner Macklemore will throw out the first pitch at Safeco Field during “Bumbershoot Night” on April 29. Fans who purchase a ticket to the Bumbershoot section at Safeco Field will receive a Mariners Bumbershoot T-shirt.

TicketsTickets are available at a special discount using promo code “BUMBERSHOOT”

Event Pass Information and Lineup

Passes for Bumbershoot go on sale Friday, April 29 at 10 a.m. PT

3-Day Passes, starting at $180
Gold Passes, $400
Emerald VIP, $700

Bumbershoot 2016 (PRNewsFoto/Bumbershoot)Arts and Culture Programming Highlights

In addition to a diverse music lineup that includes 90 acts, from international headliners to emerging local artists, Bumbershoot programming includes comedy, film, dance, theatre, words and ideas, youth activities, and more.

Comedy: Ron Funches from NBC’s Undateable as Shelly will bring his comedic talents to Bumbershoot along with Comedians of Comedy alum Morgan Murphy, The Improvised Shakespeare Company, and Seattle native Nick Thune.

film-iconFilm: With something for every age and taste, the 1 Reel Film Festival — curated by the Seattle International Film Festival — will serve up a selection of the year’s best short films.

dance_iconDance: Returning in 2015 after a few year hiatus, Bumbershoot’s dance programming offers a strong lineup of talent in 2016 including MaximumVELOCITY, a showcase of top contemporary choreographers and dance groups and the Northwest’s premiere breaking and street dance competition, Reign Supreme, which drew huge crowds in 2015.

Theatre-Set-Theatre-masks-iconTheatre: Curated by Theatre Puget Sound, 2016 theatre performances will include Are You There God? It’s Me, Karen Carpenter, a musical that juxtaposes classic coming of age novel Are You There God? It’s Me, Margaret with the music of the Carpenters and an unforgettable performance from Tattprov, which includes one member of the comedy group getting a tattoo based on a suggestion from the audience.

PoetryWords & Ideas: Words & Ideas guests include local poet, writer and filmmaker Sherman Alexi, podcast sensation Chris Allen, Seattle’s premiere political comic (according to Seattle Weekly), Brett Hamil, and the writers of Amazon series Transparent.

YOUNGERSHOOT: Returning for its 6th year the Seattle Children’s Museum presents YOUNGERSHOOT, a place for children ages 10 and younger and their guardians to enjoy the festival together with kid-focused entertainment, hands on activities, and performances.

0002_porkshankFood: Other stand out features this year include B-Eats, a new food program created in partnership with Dan Bugge of Matt’s in The Market and Radiator Whiskey to curate a diverse mix of gourmet style cuisine from local chefs.

Seattle-based nonprofit Center for Infectious Disease Research (CIDResearch) is the official non-profit partner of Bumbershoot 2016. As part of the relationship, Bumbershoot will donate a portion of each pass sold and encourage fans to donate as well, helping spread global health awareness.

Full Lineup

Musical Performances

Macklemore & Ryan Lewis // Death Cab for Cutie // KYGO // Tame Impala // G-Eazy // Pretty Lights // Halsey // DJ Snake // Porter Robinson // Zeds Dead // Bryson Tiller // Michael Franti & Spearhead // Run The Jewels // Billy Idol // ZHU // Fetty Wap // Marshmello // Father John Misty // Explosions In The Sky // Third Eye Blind // Logic // Andrew Bird // Tyler, The Creator // Melanie Martinez // Reggie Watts // Margo Price // Anderson .Paak & The Free Nationals // Chevy Metal // Flatbush ZOMBiES // Maren Morris // Kamasi Washington // Jai Wolf // JoJo // Cashmere Cat // The Front Bottoms // Black Joe Lewis // The Motet // TOKiMONSTA // The Blind Boys of Alabama // St. Lucia // Hippie Sabotage // TroyBoi // Gryffin // Bob Moses // Zella Day // Atlas Genius // Bishop Briggs // Jagwar Ma // Banners // Jimi Charles Moody // Barns Courtney //The Flavr Blue // Donna Missal // Hinds // Lewis Del Mar // Joywave // Naked Giants // Manatee Commune // Shaprece // White Denim // Escondido // Lemolo // Iska Dhaaf // Radiation City // Coast Modern // Erik Blood // Rabbit Wilde // Ryan Caraveo // Secret Weapons // Grave & The Pink Slips // Chastity Belt // Dude York // Desi Valentine // Fly Moon Royalty // Stag // Low Cut High Tops // So Pitted // Strangers You Know // Treasure Fingers // Maiah Manser // Super Square // Pony Time // Snuff Redux // Lisa Prank // DoNormaal // Tracksuit Wedding // COSMOS // Zach Van Lue


Ron Funches // The Improvised Shakespeare Company // Kate Berlant // Nick Thune // Goddamn Comedy Jam // Morgan Murphy // Dan Soder // Andy Haynes // Billy Wayne Davis // Adam Ray // Tiffany Haddish // Kevin Barnes // Whitmer Thomas // Jena Friedman // Dan St. Germain // Fahim Anwar // Ashley Barnhill // Moses Storm // Rachel Walls // Seattle’s Most Wonderful // Khadija Hassan // Barbara Holm // Wilfred Padua // Queerz: We’re Hilarious // Stand-up for Yourself with Amy Miller // Natalie Holt // Levi Manis // Improv: Carskee, Jesse + Josh=Josh, CSz Seattle Presents ComedySportz, FEELINGS, The Midnight Goats

Words & Ideas

Writers of Transparent // Seattle Review of Books featuring Sherman Alexie, Robert Lashley, and EJ Koh // Seattle Files with Chris Allen // Seattle Process with Brett Hamil // Why Storytelling? Why Professional Wrestling? Why Now? // Why Tech Industry? Why Homelessness? Why Now? // Why Memes? Why Internet Dating? Why Now? With Emmett Montgomery // Hugo House Presents The Oracle // Battle of The Word Poetry Slam


Reign Supreme Breakin’ Competition // MaximumVELOCITY

Theatre (Curated by the Theatre Puget Sound)

SWING // Tattprov // DUMP: A Garbage Burlesque // Are You There God? It’s Me Karen Carpenter // Can’t Talk Right Now // Mik Kuhlman “House 30”

Visual Arts

Brent Watanabe // Seattle Experimental Animation Team // Interstitial Theatre // Seattle Center Sculpture Walk // Fine Arts Poster by Ryan Molenkamp

Additional Programming

FILM curated by Seattle International Film Festival // YOUNGERSHOOT curated by Seattle Children’s Museum


B-Eats feat. Local chefs of Matt’s In The Market, Radiator Whiskey, Garcia, New Luck Toy, Bok Bok Korean Fried Chicken, and Pike Place Fish Guys

Kitchen Fires Heat Up “My Mañana Comes”

Reviewed by Marc Wheeler

gia on the move theatre reviews marc wheeler

Peter Pasco and Richard Azurdia
Photo by Ed Krieger

As a national dialogue on income inequality and immigration reform takes center stage in America, Elizabeth Irwin’s playful yet deeply potent My Mañana Comes is a timely immersion into the very real struggles the working class face as they attempt to keep their heads — and those of their families — above water.

Set in the kitchen of an upscale Manhattan restaurant, My Mañana Comes — directed by Armando Molina for The Fountain Theatre — follows the lives of four busboys whose behind-the-scenes hustle and bustle allow this fine establishment’s wealthy clientele to enjoy the “good life.”

gia on the move theatre reviews march wheeler

Pablo Castelblanco and Richard Azurdia
Photo by Ed Krieger

Jorge (Richard Azurdia) is a Mexican immigrant who works and saves (and saves and saves…) hoping to one day build a dream home for his family across the border. Pepe (Pablo Castelblanco) is also a Mexican immigrant, though unlike Jorge, is a fresh-faced youngster who’d rather not deprive himself of life’s simple pleasures. Whalid (Peter Pasco) is a Latino ladies man from Coney Island who talks a big game and speaks of “greener pastures,” but who’d rather stare into his phone when responsibility calls. And finally, Peter (Lawrence Stallings) is an African American New Yorker who eschews futuristic dreaming to live in the now, busting his ass to make life work for him and his family.

gia on the move theatre reviews march wheeler

Lawrence Stallings and Peter Pasco
Photo by Ed Krieger

My Mañana Comes is specifically written to be performed by actors of color, yet is targeted for audiences of all shades (a welcome treat to both acting and theatergoing communities). Furthermore, while it’s adequately accessible to English-only attendees, the show’s experience is heightened to those who comprenden even un poquito de Español.

Race and cultural explorations don’t end there, however. The politics inside this Upper East Side kitchen run deeper than the frequent boys-will-be-boys banter (“Ride my nuts, Brooklyn taco” being my personal favorite.) Stakes get raised and lines get drawn — eventually.

The play’s set-up is a long one. Endless “shop talk” and expository chit-chat make up the large initial chunk of this 80-minute piece. While the players are often charming and their unfolding’s quite engaging, significant conflict doesn’t arrive until late in the game when the restaurant’s management decides to cut the busboys’ shift pay, a decision that results in disbelief, panic and ultimatums.

Performances are largely solid. Azurdia’s Jorge is serious and pensive as he plans and saves for a better tomorrow. Castelblanco’s Pepe is endearing in his innocence, yet layered in hopeful desires. Pasco is winsome as the handsome Whalid, yet this dreamer’s head-in-the-clouds persona is likened with Pasco’s notable line-flubbing. Lawrence Stallings is dynamic in his portrayal of Peter, an often charismatic team player who takes pride in his work, and whose passion bleeds into radicalism when livelihoods and equity are threatened.

Scenic design by Michael Navarro in tandem with Dillon Nelson’s props and set dressing earn high marks for their superb recreation of a kitchen in an upscale eatery. Jennifer Edwards’ lighting is especially exceptional in the show’s stark, intimate moments as well as its more colorful, fanciful transitions — transitions that movement director Sylvia Blush maximizes by having cast members float as if in hopeful dream (or is that drown as if in deadly waters?) toward their fated tomorrows.

Stephen Sachs is producer. Simon Levy and Deborah Lawlor are co-producers. James Bennett is associate producer.

At its heart, My Mañana Comes is a testament to human dignity, giving visibility to the unsung heroes who are the lifeblood of the American economy. Despite its meandering beginning, it ultimately prevails in its affecting characters and provocative ending. As the rich get richer on the backs of the poor, and as defamation of minorities and immigrants amid threats of walls plague our daily headlines, My Mañana Comes shows what can happen when a match strikes desperation, thus begging the collective question, What will our tomorrow bring?

Now playing through June 26, 2016
Saturdays – 3 PM and 8 PM
Sundays – 3 PM
Mondays – 8 PM

The Fountain Theatre
5060 Fountain Ave
Los Angeles, CA 90029 (Fountain and Normandie)

Tickets: $15 – $34.95
Premium: $34.95 (VIP center section, includes one free beverage)
Regular: $30 (Side Sections)
Seniors 65 or older: $27 (Side Sections)
Students: $20 (valid ID required)
Rush: $15 (at door, 15 minutes prior to curtain, subject to availability)
Monday nights: Pay-What-You-Can

323-663-1525 or

Parking (secure, on-site): $5.00

Power vs Women in “A Gulag Mouse” at Sacred Fools

by Tracey Paleo, Gia On The Move

gia on the move danielle ozymandias arthur jolly women prison camp

“But if she could talk, she would tell you… what? That the skin can grow so tough that nothing penetrates- not the groping of men’s hands or the cutting of their whips? Or that there are places men cannot touch- places where you can remain inviolate, so deep inside, behind fences and guards and dogs, behind a thousand kalanchas, across 87 miles of frozen tundra, and that there you can stay, for years? Are these the words she is looking for? What would she say to you, if she could cry out from inside such a deep place?”

We need only pause for a moment to see the reality of prison life in A Gulag Mouse; to hear the violence of desperation.

Arthur Jolly has written, at face value, a myopic story of five women imprisoned in a brutal Siberian labor camp, without anything but what they can trade, work, lie, maim or even kill for. To the rest of the world they are forgotten. And there is nothing to hope for but survival. All of the women in A Gulag Mouse trapped as they are, will most likely not make it out alive to the end of their sentences. If any do, the scars of the mind will be far worse than the scars on their bodies.

The story centers around Anastasia, a former nurse, who, rather than succumbing to one more beating from her inordinately abusive husband, unexpectedly and unfortunately returned, alive, from the war,
stabs him, which lands her in a Siberian labor camp. Once there, she must deal with and defend herself against the vicious, bunk house inmates who have constructed a depraved pecking order over food scraps, bed privileges and sexual services; an intricate, ever-shifting, codependency which has them nearly killing each other at any given moment. Anastasia’s “soft hands” and “pretty hair” become an immediate battle grounds for the other women who know her beauty is about to usurp the regular favorite and possibly any remnants of certainty they’ve worked so hard to achieve. The reality is however, that the conditions of the camp are so harsh, she probably won’t even survive the week. She is therefore, expendable.

Written as a thriller, A Gulag Mouse, currently making its Los Angeles premiere at the Black Box theater at Sacred Fools (spectacularly renovated as an intimate semi-round) certainly has guts. The raw, gray, set design by Aaron Francis enhanced by the lighting design of Matthew Richter and Adam Earle, deeply evokes the stark and tenuous conditions of the camp as does the costuming by Linda Muggeridge. And although the direction takes a slightly disorienting turn towards the end of the show, it remains steady in its horrifying, realistic impact, entrenched in Jolly’s own idea of the “inextricable experience of being a woman”. Indeed this play was written as a response to his own personal struggle of being powerless to help the most important women in his own life, at a time when they were in crisis.

There is a strong sense of “sacrifice” in this play, indeed it is an overarching thread which ultimately separates Anastasia as the new prisoner from the gang.

Also remarkable is the way Jolly has amalgamated this “scenario of a thousand lives” into a single focal point of violent abuse and reprehensible ideologies or more than acceptable social standards by the men they’ve had to defend themselves against on the outside as well as inside of the camp.

In a word, brutal.

A Gulag Mouse
Now Playing Until May 15
Friday and Saturday at 8pm
Sunday, May 8 & 15 at 7pm
at Sacred Fools Theatre Company
1076 Lillian Way
Los Angeles, CA 90038

Written by Arthur Jolly
Directed by Danielle Ozymandias
Starring: Kimberly Atkinson, Heather L. Tyler, Dan DeRyuck, Emily Goss, Crystal Keith, Brandon Bales.

Produced in Special Arrangement with Next Stage Press

For tickets and information visit: or call 310-281-8337

The Queen Mary Rolls Out Historic Menu on May 26

gia on the move history queen maryOn May 26, 1936, some 250,000 were on hand to wish ‘God Speed’ to the Queen Mary as she left Southampton for the first time. As evening approached, passengers dressed for dinner – perhaps sharing cocktails or sending telegrams to loved ones – or – like Mrs. C.N. Pillman, stopping in at the Purser’s office to pick-up her winnings for the ship’s first distance-traveled pool. Excitement must have been in the air as bellboys and stewards rang dinner gongs and well-groomed passengers – traveling in every class – made their way to the ship’s restaurant salons. But what did they eat? We now know.

This year, Queen Mary guests attending the May 26 Maiden Voyage anniversary dinner will be served a modern version of the menu presented to First Class passengers on their first evening at sea.

“While the Queen Mary has previously re-created historic menus to mark important events, the creation of this particular menu was difficult as no records of the meal are present in our archives. The information was uncovered in one of many Queen Mary books recounting the ship’s illustrious history and its maiden voyage – eighty years ago,” said Queen Mary Chef, Todd Henderson.

Cunard Lines Chef Martin Riccault welcomed his First Class guests with an elaborate table – now re-created by the ship’s present day Chef, Todd Henderson, which is not identical, but will reflect the historic evening through gastronomy research of the period.

Chef Riccault’s original menu included:

  • Honeydew Melon Glacé
  • Croutes-au-pot au Perles (Potato soup in pastry)
  • Tranche de Turbotin Poche Normande (Turbot)
  • Poulard de Braisée Belle Mère (Flattened Chicken)
  • Haricots verts at beurre (Haricot Beans)
  • Pommes Garfield (French Fries)
  • Salad francaise
  • Fraises Chantilly (Strawberries with Cream)
  • Petite-fours
  • Dessert
  • Café

Chef Henderson’s Menu will feature:

  • Chanrentais Melon Gelee (Speck, Sea Salt, Basil Herb Crystals)
  • Croute-au-Pot au Pomme Perles (Puff Pastry, Fried Ramp & Potato Soup, Bacon Leek Oil)
  • Cotes Courtes Braisée Belle Mère (Wagyu Short Rib, Fava Bean Purée, Glacé di Viande)
  • Salad Francaise (Petit Greens, French Vinaigrette)
  • Chocolate Creme Brûlée with Strawberries and Chantilly Cream
  • Café

The Maiden Voyage Anniversary Dinner will be held in the Grand Salon, formerly the First Class Dining Room. Guests will be treated to after dinner remarks by Randolph Churchill, great-grandson of the ship’s most illustrious passenger. Lord Alan Watson (MP), Baron of Richmond and noted Churchill scholar and author will discuss Churchill’s life-long connection to the Queen Mary; a relationship that began long before the maiden voyage and continued through Churchill’s retirement.

“It is my hope that those attending the Anniversary dinner will imagine themselves as part of a living history that now enters its ninth decade. Perhaps they will toast Mr. Churchill or raise a glass to the memory of the 800,000 Allied troops Queen Mary safely ferried during WWII. Or, maybe they will simply enjoy a wonderful meal served aboard the greatest ocean liner of all time,” Henderson concluded.

For more information, please visit: