Farrah Fawcett 1986 VHS THE BURNING BED original release

Farrah Fawcett

Farrah Fawcett

This controversial, 1984 made-for-television movie gave Farrah Fawcett her first true showcase as an actress. Playing an abused wife who kills her monstrous husband (Paul Le Mat), Fawcett demonstrates a facility with the moral ambiguities of the story, which concerns the painful but fascinating questions of where justice lies. Fine support from Richard Masur and Grace Zabriskie, and the assured direction is by Robert Greenwald (Xanadu. --Tom Keogh

Contemporary artist Keith Edmier has long been exploring the impact of public history on personal memory in his work. The pop icons of his youth-- such as Evel Knievel-- were seminal figures in the developing artist's psyche. Perhaps the most important figure in the artist's pantheon of inspiration is Farrah Fawcett. The object of many teen boys' affections in the 1970s, Fawcett was a particularly resonant figure for Edmier as she herself was an artist, a fact that he discovered in an issue of the teen magazine Dynamite.In August 2000, after Edmier extended a formal invitation to the actress to join him in making a work of art, Edmier and Fawcett began what would become a two-year collaboration which produced several sculptures (including two large-scale nude sculptures of each other) and numerous photographs and drawings. The results of this extraordinary project are chronicled in this volume.The essay by Lynn Zelevansky, curator of contemporary and modern art at Los Angeles County Museum of Art where the exhibition of the work debuted, explores other potent artist/muse pairings and how the traditional hierarchy of this kind of undertaking has been eroded by Fawcett's full participation in the project. She also considers how their project engages pop culture, writing: "...[Fawcett] and Edmier have reminded us about the world of images we inhabit, where it can be difficult to tell the real from the imaginary. They have held a magnifying glass to the relationship between fantasy and reality, celebrity and fan, allowing us to understand something about the way that mass culture impacts lives and shapes memory."

Contemporary artist Keith Edmier has long been exploring the impact of public history on personal memory in his work. The pop icons of his youth-- such as Evel Knievel-- were seminal figures in the developing artist's psyche. Perhaps the most important figure in the artist's pantheon of inspiration is Farrah Fawcett. The object of many teen boys' affections in the 1970s, Fawcett was a particularly resonant figure for Edmier as she herself was an artist, a fact that he discovered in an issue of the teen magazine Dynamite.In August 2000, after Edmier extended a formal invitation to the actress to join him in making a work of art, Edmier and Fawcett began what would become a two-year collaboration which produced several sculptures (including two large-scale nude sculptures of each other) and numerous photographs and drawings. The results of this extraordinary project are chronicled in this volume.The essay by Lynn Zelevansky, curator of contemporary and modern art at Los Angeles County Museum of Art where the exhibition of the work debuted, explores other potent artist/muse pairings and how the traditional hierarchy of this kind of undertaking has been eroded by Fawcett's full participation in the project. She also considers how their project engages pop culture, writing: "...[Fawcett] and Edmier have reminded us about the world of images we inhabit, where it can be difficult to tell the real from the imaginary. They have held a magnifying glass to the relationship between fantasy and reality, celebrity and fan, allowing us to understand something about the way that mass culture impacts lives and shapes memory."