david a. hess

…Capitalism is basically a system where everything is for sale, and the more money you have, the more you can get. And, in particular, that’s true of freedom. Freedom is one of the commodities that is for sale, and if you are affluent, you can have a lot of it. It shows up in all sorts of ways. It shows up if you get in trouble with the law, let’s say, or in any aspect of life it shows up. And for that reason it makes a lot of sense, if you accept the capitalist system, to try to accumulate property, not just because you want material welfare, but because that guarantees your freedom, it makes it possible for you to amass that commodity. […] what you’re going to find is that the defense of free institutions will largely be in the hands of those who benefit from them, namely the wealthy, and the powerful. They can purchase that commodity and, therefore, they want those institutions to exist, like free press, and all that.
—  “Anarchism : Noam Chomsky interviewed by David Dobereiner, John Hess, Doug Richardson & Tom Woodhull” in: C. P. Otero (ed.), Language and Politics, Black Rose, 1988, pp. 166-196, January, 1974.
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Sean Pertwee, Ben McKenzie, Michael Chiklis, Cory Michael Smith, Chris Chalk, Erin Richards, Robin Lord Taylor, Drew Powell, Camren Bicondova, Morena Baccarin, Jessica Lucas and David Mazouz at the FOX FANFARE AT SAN DIEGO COMIC-CON on Saturday, July 23

Here's the full speech Jared Leto gave at the Independent Spirit awards

I’d like to thank, first of all, the youngest and the most inspiring actor in the entire fucking room, Bruce Dern. In case this is the last time that I get to thank anyone, I’ve wrote down a couple names. I want to thank Film Independent and Jason Weinberg. Thank you Jason for making this so fun and so classy and so cool. I’m really so honored to be able to work with you. Robin Baum, as well, the most beautiful and classy publicist in the business—wherever you are and your daughter somewhere, hiding. To my bigger and better brain, thank you for everything. Nick Sullivan and Jim Toth, I love you guys so much, thank you. Josh Lieberman, Mora Rifter, Jean-Marc Vallee, Matthew McConaughey—alright, alright, alright. After Dallas Buyers Club, I think I’m going to pull the opposite of a McConaissance and just do romantic comedies. I do want to say, my mother took me—Oh hey Keanu. I love you.— she introduced me to art house cinemas when I was a kid and she introduced me to  independent cinema. And I’m so fucking proud to be a part of this gang of dreamers here today—people who take risks and put it all on the line and people who change lives. Very, very proud to be a part of you guys. To continue the list now: Jennifer Garner, Robbie Brenner, Rachel Winter, Holly Wiersma, Logan Levy, Nathan Ross, Cassian Elwes, Robin Mathews, Kurt and Bart—they have no last names, but they are wonderful—Joe Newcomb, Nicholas Chartier, the absolutely incredible team at Focus Features—I love you guys. You are amazing at what you do. Calpernia Addams, Mark Twain, David Bowie, Pink Floyd, Ansel Adams, Steve Jobs, Mozart, the one and only River Phoenix, Kurt Cobain, the seven billion human beings on the planet, and all of the planets and animals. Keith Stanfield. The late, great James Gandolfini, his kid, and his wife, who are here—I share this with you. Will Forte, you are talented and incredible—thank you so much. Michael Fassbender, David Fincher, Terrence Malick, Scorsese, Hermann Hesse, Stanislavski, Boleslavsky, Darren Aronofsky, Marisa Tomei, Reese Witherspoon, Diane Kruger, Sarah Polley, Peter Bogdanovich, Maria Bello, Peter Travers, Wayne Gretzky. I don’t know why I said that. I think that ’s a typo actually. Fucking iPhone. Sorry, the iTunes guys are here. Thank you as well. I want to say, #mymindisblown, just to get a little trending topic in there. I would like to thank the makers of vegan butter and baby Jesus. I have to thank Christopher Walken, who always deserves to be thanked. Homemade burritos, my brother Shannon, my mother Constance, Whitcomb L. Judson—the inventor of the zipper, the city of angels, and this is a special one: I want to thank all of the woman I’ve been with and all of the women who think they’ve been with me. Dr. Seuss. Ted Sarantos. Netflix. Philip Seymour Hoffman. My future ex-wife, Lupita, I’m thinking about you. And just a couple more: The C.I.A… I mean, CAA. The Echelon, the dark force, the dreamers, the believers, the 36 million who have died of AIDS. And the 35 million who are still living with H.I.V. AIDs around the world, I dedicate this to you. To the L.G.B.T. and Q community, here’s to life.

[x]

This was so heartfelt and touching. He thanked River Phoenix. And told Keanu he loved him. Just perfect.

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10 Trickiest Trompe L’oeils in Summer Gallery Shows

The practice of tricking viewers to think an artwork is something else dates back to antiquity, but it never gets old. Indeed it’s one of the top trends of the summer art season, judging by the number of gallery shows featuring objects that flaunt mad technical skills–and a deadpan sense of humor–to make you do that double-take. See if you can guess the materials of these trompe l’oeil works currently on view in Chelsea and the Lower East Side.

From top: David Adamo, “Untitled (orange peel),” 2014, bronze, at Kai Matsumiya; Nicolas Party Blackam, “Stone (orange),“ 2012, acrylic on stone, at Salon 94 Bowery; Hannah Cole, "Safety Fence,” 2015, acrylic on canvas, at The Lodge Gallery; Bill Adams, “Balls,” 2015, clay, acrylic, and marker, at Kerry Schuss; Matthias Merkel Hess, 3 of his “5 Gallon Bucket,” 2015, stoneware, at Salon 94 Freemans; Martha Friedman, “Loaf 1,” 2010, cast rubber, at The Hole; Leslie Wayne, “Paint Rag 57 (Adinkra),” 2015, oil on panel, at Mixed Greens; Lauren Seiden, “Cloaked,” 2015, graphite on paper, at Louis B. James; Bertozzi and Casoni, “Cestino della discordia,” 2012, glazed ceramic, at Sperone Westwater; Sarah Harrison, “Rug 13,” 2015, oil on panel, at Mixed Greens.

There’s an interesting story behind this mosaic. Are you ready? [Takes deep breath] Here goes. In 1910, the area around Seventh Avenue & Christopher Street was being widened by the City, which declared eminent domain and razed about 300 buildings. Among them was an apartment building owned by a man named David Hess. Hess fought the City and eventually lost, and this small triangle was all that was left of his former property. Instead of shrugging his shoulders and giving it to the City as asked, Hess installed this mosaic on his property—the date was July 27, 1922. The property essentially became part of the sidewalk used by the public anyway, but technically it is private property. Hess sold the triangle in 1938 to the cigar store it can be found in front of. See it today in front of Village Cigars near the Christopher Street 1 train station. It reads, “Property of the Hess estate, which has never been dedicated for public purpose.”