Stanley Kubrick

Stanley Kubrick
LACMA Art of the Americas Building, Level 2
November 1, 2012–June 30, 2013

Stanley Kubrick was known for exerting complete artistic control over his projects; in doing so, he reconceived the genres in which he worked. Kubrick’s relatively concise oeuvre is vast in the subjects, themes, and philosophies that he tackled. The exhibition covers the breadth of Kubrick’s practice, beginning with his early photographs for Look magazine, taken in the 1940s, which evidence his obsession with visual composition that continued to characterize his groundbreaking directorial achievements of the 1950s through the 1990s. His films are represented through a selection of annotated scripts, production photography, lenses and cameras, set models, costumes, and props. In addition, the exhibition explores Napoleon and The Aryan Papers, two projects that Kubrick never completed, as well as the technological advances developed and utilized by Kubrick and his team. Kubrick’s legacy continues in art, literature, and design, and his films remain vitally relevant today. By featuring this legendary film auteur and his oeuvre as the focus of his first retrospective in the context of an art museum, the exhibition reevaluates how we define the artist in the 21st century, and simultaneously expands upon LACMA’s commitment to exploring the intersection of art and film.


“(PAGE 138): WENDY’S P.O.V. Shooting along landing into open doorway of bedroom. MAN, dressed in Dog’s costume, kneeling at foot of bed.”

This sequence from The Shining (dir: Stanley Kubrick, 1980) became famous for it’s obliqueness, but I’ve always admired Kubrick’s unexplained inclusion of The Dogman,  who’s presence in the hotel is articulated through Jack’s flashbacks and Danny’s visions in Stephen King’s book. I prefer seeing The Dogman (and that other dude) filtered through Wendy’s point-of-view: a chilling, incomprehensible tableau, albeit perfectly contextualized within the madness of the Overlook Hotel

-Jason Underhill