Aesthete, billboard model, and megalomaniac VINCENT GALLO (born 1961) famously put a hex on Roger Ebert’s colon. He makes society-page appearances with the Bush twins and sells Vincent Gallo tube tops on his website for $300. He is a contrarian’s contrarian, an asshole of heroic stature. He may be the best put-on artist since Andy Kaufman — or anyhow, such is the vain hope of many of us who love him helplessly. “It’s best for me to remain small-minded on an emotional level and broad-minded on a conceptual level,” he says, and yes, he wears his pettiness and narcissism on his sleeve. His profile watermarks nearly every frame of the gorgeous Super 16mm landscape in The Brown Bunny (2003), for instance, and he designed the film’s advertising campaign around the goal of humiliating ex-girlfriend Chloe Sevigny. “All of this doesn’t matter as long as the work I do to achieve these small-minded needs is a lot more interesting than me and my reasons for making it.” Buffalo 66 (1998), itself a monument to lovingly nursed grudges, is enough to justify him indefinitely with its heartbreaking self-exposure and lunar beauty.
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