30 Wednesday Nov 2011
16 Wednesday Nov 2011
12 Saturday Nov 2011
02 Wednesday Nov 2011
30 Wednesday Nov 2011
by Bruce Matthews
24 Thursday Nov 2011
by Sally Steele
16 Wednesday Nov 2011
by Kim Steele
12 Saturday Nov 2011
by Kim Steele
02 Wednesday Nov 2011
by Sally Steele
Publisher’s Musings: Dateline Saigon ~ January 26, 2015
As publisher, I have vowed not to include politics. But after visiting the War Remnants Museum here, which brought tears to my eyes, I think my renewal of the power of photography urged me to reflect on this exhibition, which covers the second floor, of heart wrenching imagery. In an era that has eroded the value of images with self-indulging selfies, seeing photos by some of my heroes, Larry Burrows, Robert Capa and Phillip Jones Griffith (whom I met) rocked me to the core. Burrows and Capa died here. Visitors seemed unable to focus on them.
Life Magazine is well represented here with large reproductions. As an Air Force cadet, I was frightened by what I saw. The images contributed to my request for a Conscientious Objector status. It was considered the first ‘live’ coverage of a war. I remember clearly one issue with tiny pictures of the 58,000 men who died. Both the imagery of the devastation of incursions wreaked on the Vietnamese and the impact the war had on the shooters, it was the darkest period of U.S. history. In the name of stopping Communism, our inexcusable use of Agent Orange is illustrated in the museum in unfathomable images. It is the power of this photography that is widely considered to be what initiated President Johnson’s withdrawal from the war. Despite the pain, it was life-affirming to see the power of photography!
This is Picasso's umpteenth fifteen minutes of fame:
His renovated mansion in Paris, Musée Picasso Paris, has just re-opened after an exorbitant five year renovation, ribbon cut by François Hollande himself, but under the dark shadow of the Cultural minister, Korean-born Fleur Pellerin, who declared she has not ‘read’ a book in years and could not name a book of the recently awarded Nobel Prize winner for Literature, Patrick Modiano, France’s fifteenth in the category.
Back on home turf, there are two private gallery showings of his work that rival any museum exhibitions, in fact many of the pieces were loaned from museums. They almost seem to challenge one another, since they are both top tier galleries, The Gagosian Gallery in Chelsea and Pace Gallery, both in New York. The Gagosian is a photograph-based exhibition, titled "Picasso & the camera" curated by an old friend of his, John Richardson, designed by a Las Vegas show designer David Korens. There are many images of his various mistresses, s well as films. Despite his reputation as a misogynist, the museum’s president, Anne Baldassari, denies this but claims he only had difficulty maintaining relationships. I saw the MoMa exhibition in the 1990's of his with a room dedicated to his various wives and mistresses and the progressive horrification of their faces as he lost interest in them. Quite revealing. The Pace exhibition focuses in a different direction. On his enduring relationship with his last wife Jacqueline Roque, until his death, with tender imagery and a loving hand.
As an artist, I cannot help but to admire his vitality and fecundity. I read a memoir of life in the South of France, especially the summer jaunts to the country with the likes of Francoise Gilot. To top off the adoration, the exhibition at the Met of Lauder’s Cubist collection (Interesting Openings below) features many of his paintings from that period.
On every trip to NY, I visit one of my favorite urban spaces, The Grand Central Oyster Bar. Between my passion for oysters and my adoration for Guastavino's tile craft, this is my ideal spot. We traveled to 103rd Street this last trip to enjoy a beautifully illustrated and informative exhibition at The Museum of New York, of his sumptuous tilework throughout New York employed by McKim, Mead and White, and NY City (including the recently uncovered bottom to the Queensborough Bridge, now a Farmer's Market).
Guastavino tile is the "Tile Arch System" patented in the United States in 1885 by Valencian (Spanish) architect and builder Rafael Guastavino (1842–1908). Guastavino vaulting is a technique for constructing robust, self-supporting arches and architectural vaults using interlocking terracotta tiles and layers of mortar to form a thin skin, with the tiles following the curve of the roof as opposed to horizontally (corbelling), or perpendicular to the curve (as in Roman vaulting). This is known as timbrel vaulting, because of supposed likeness to the skin of a timbrel or tambourine. It is also called "Catalan vaulting" and "compression-only thin-tile vaulting".
Guastavino tile is found in some of New York’s most prominent Beaux-Arts landmarks and in major buildings across the United States.
Clément Léon, a 31-year-old writer who after an unofficial campaign period and two rounds of voting was elected the “night-life mayor” of Paris, beating out 13 other nocturnal candidates.
While shooting for Paris Match Magazine in Paris, I frequented one of the bastions of night life: Les Bains Douches and touched the stars. In 1978, this unique place transformed clubbing into an art de vivre t de vivre and quickly became a cultural institution. A centre of gravity on a universal scale for the world of media, show business and the arts. Andy Warhol, Jean-Michel Basquiat, Yves Saint-Laurent, Karl Lagerfeld, Naomi Campbell, Claudia Schiffer, Bono, Prince, David Bowie, Mick Jagger, etc. The list is never-ending.
Boulevardier Bistro spirited eatery in the new Bishop Arts corridor in Dallas enjoys a full house. They celebrate the signature cocktail of the same name, which happens to be this publisher's favorite drink at home: sweet vermouth, bourbon and Campari finished with a choice of bitters.
I live absolutely like an oyster.
Boulevardier Serge Gainsbourg: sexy, successful, scandalous, subversive, satirical...Style Icon and inspiration for the costume as hustle look of Best Picture Oscar 2014 nominee, American Hustle...
Remembering Keith Haring on the 24th anniversary of his untimely death...and the brilliance of Eric Good in creating AREA, where "art merged into the context of a nightclub," showcasing Warhol, Basquiat, Hockney, Scharf and of course...Haring. Those were distinctively & definitively the days.
In one of my favorite spaces in the world, The Morgan Library which still exudes the prestige of the scion, along Madison Avenue, is a sweet exhibit on novella, The Little Prince, by French cum American, pilot Antoine Saint-Exupery. Despite his sympathies, alongside Lindbergh for the Nazi party, his illustrations are sublime and the message uplifting to adults and children alike.
"One sees clearly only with the heart. What is essential is invisible to the eye."
The Little Prince: A New York Story from The Morgan Library, NY
"CreatureCast is a collaborative blog produced by members of the Dunn Lab at Brown University, along with assorted friends. This project, which is focussed on zoology in the broad sense, serves as a forum to present original content that we have produced and observations by others that we find interesting and beautiful."
CreatureCast from CreatureCast, Dunn Lab, Brown University
DON'T BE DISGUSTING!
"The respective aims of Baldassare Castiglione’s “Courtier,” which recommends sprezzatura, the Renaissance equivalent of being cool, Della Casa’s message is: Don’t be disgusting."
New York Times, by Judith Martin from THE NEW YORK TIMES
"Hell is other people." Jean-Paul Sartre, (1905-1980) the French philosopher, and novelist, in uniform, ca. 1935-45
Bill Brandt wrote: "Photography is still a very new medium and everything is allowed and everything should be tried." William Meyers from the Wall Street Journal; Photograph of Frances Bacon
..."The FLANERIE Balzac termed the 'gastronomy of the eye' "...
London's Odd & Empty Corners, by
Guy Trebay from THE NEW YORK TIMES
FASHION VICTIMS: The Pleasures and Perils of Dress in the 19th Century
June 18, 2014 – June 30, 2015
Transport yourself back to the 19th century where beautiful outfits fashioned by seamstresses and shoemakers supplied the privileged with enviable ensembles. Swathed from head to toe in expensive garments and shod in delicate footwear, fashion-forward women graced the boulevards and the ballrooms with their colourful presence. Their tailored male companions cut equally refined figures in their black coats, spotless white linens, lustrous top hats and shiny boots. Yet presenting an elegant exterior was not without its perils. The discomfort of constricting corsets and impossibly narrow footwear was matched by the dangers of wearing articles of fashion dyed with poison-laced colours and made of highly flammable materials.
From the challenges faced by those who produced fashionable dress to the risks taken by those who wore it, this exhibition provides thought provoking insights into what it means to be a fashion victim.
THE BATA SHOE MUSEUM: THE BATA SHOW MUSEUM
THE LOST MUSEUM
July, 2014 – May, 2015
A group of students, professors, and artists calling themselves “The Jenks Society for Lost Museums” has spent the past year researching the Jenks Museum, re-collecting scattered relics and remnants, and transforming words into rooms and fragments of curatorial description into spectral art. They have built a three-part installation that re-imagines the office of the museum’s founder, showcases the remaining fragments of the collection, and conjures the ghosts of artifacts once found in the museum back into existence – as reimagined by over 80 artists.
An axe and a gun, bottles of arsenic and a walking stick, portray John Whipple Potter Jenks, founder of the museum. Tattered labels speak of fragility and decay. The installation tells the story of Jenks and the museum that was his life’s work, of his sudden death on the building’s steps and of the museums subsequent decline. The collection – 92 truckloads of artifacts and specimens – hauled to a dump on the Seekonk River.
It is a work of art that relies on subtlety and rewards the curious, a story that displays loss over time and demonstrates the uncertainties of preservation, an exhibit that presents a memory of the past and promotes hope for the future.
JENKS MUSEUM OF NATURAL HISTORY and ANTHROPOLOGY: JENKS MUSEUM OF NATURAL HISTORY and ANTHROPOLOGY
June 19, 2014 – April 12, 2015
The exhibition explores the theme of equilibrium, what to walk means, the function of the arch of the foot and the relationship between the foot and the mind, the horizontal and vertical, walking
and dancing, posture and the vertiginous void, scaling a mountain and discovering oneself, lightness and fatigue, a walk and a landscape, travelling by foot and the town or city. These themes
are examined in interviews, artwork, handmade objects, priceless volumes, like the first editions of Dante’s Divine Comedy and the anatomical essays of Andrea Vesalio and Jean-Jacques Manget.
Another section of the exhibition is devoted to the phenomenology of walking. Exemplary walks will be shown in a spectacular setting: from the steps of royalty (Queen Elisabeth II of England) and those of world leaders (Mao Tse Tung, John F. Kennedy and Fidel Castro), to comedic walks (Charlie Chaplin), the steps of dictators (Adolf Hitler and Benito Mussolini), and, finally, those of Mohandas Ghandi and Pope John Paul II.
MUSEO SALVATORE FERRAGAMO: MUSEO SALVATORE FERRAGAMO
THE ART OF THE CHINESE ALBUM
September 6, 2014 – March 29, 2015
This exhibition showcases the album, one of the most intimate of Chinese painting formats. The special structure of the album, in which each turn of the page is an opportunity to remake the world anew, presents unique possibilities and challenges for artists. For Dai Benxiao (1621–1693), the album was a chance to plumb the depths of a single style, like a jazz improviser testing the limits of a single musical mode. For Shitao (1642–1707), the album provided the opportunity to shock and surprise the viewer with radical shifts in perspective and subject from page to page. For Dong Qichang (1555–1636) and his followers, the album was a stage on which to display their art historical knowledge by devoting each leaf to the style of a different old master. This exhibition explores these and other ways that artists have used this format from the twelfth century to the present.
METROPOLITAN MUSEUM OF ART: METROPOLITAN MUSEUM OF ART
HOLLYWOOD GLAMOUR: Fashion and Jewelry from the Silver Screen
September 9, 2014 – March 8, 2015
Hollywood Glamour: Fashion and Jewelry from the Silver Screen presents designer gowns and exquisite jewelry from the 1930s and ‘40s—the most glamorous years of Hollywood film. The exhibition focuses on the iconic style of sultry starlets of the period, including Gloria Swanson, Anna May Wong, Greta Garbo, Marlene Dietrich, Mae West, and Joan Crawford. Hollywood style in this era was a blend of on- and off-screen fashion and accessories, including dramatic costumes created for the screen by famous designers such as Adrian, Travis Banton, and Chanel and dazzling jewelry from makers of the era like Trabert & Hoeffer-Mauboussin and Paul Flato. Along with eye-catching gowns once worn by famous figures and the sparkling jewels that contributed to their allure from the MFA and private collections, photography by Edward Steichen along with period photographs, film stills, and film clips capture the style of the silver screen era. Enjoy a glimpse of Hollywood in the Golden Age of glamour.
MUSEUM OF FINE ARTS, BOSTON: MUSEUM OF FINE ARTS, BOSTON
CUBISM: The Leonard A. Lauder Collection
October 20, 2014 – February 16, 2015
Over the past 40 years, Leonard Lauder has selectively acquired masterpieces and seminal works to create the most important collection in private hands of works by the four preeminent Cubist artists: Mr. Lauder made his first two Cubist acquisitions in 1976 and continues to add to the Collection, which is distinguished by its quality, focus, and depth. In coordination with Mr. Lauder’s announcement of the gift of the Cubist works, the Metropolitan Museum, with support from a group of trustees and supporters, including Mr. Lauder, has established a new research center for modern art, housed at the Metropolitan. The Leonard A. Lauder Research Center for Modern Art will serve as a center for scholarship, archival documentation and collections, and innovative approaches to studying the history of Cubism, its origins and influence. The Center has been envisioned by Mr. Lauder as a means to transform the presence of modern art at the Metropolitan in dialogue with its encyclopedic collections. With its own dedicated two-year fellowships—with two new recipients arriving each year—the Center will also sustain focused research on all aspects of modernism, the Leonard A. Lauder Collection and the Metropolitan Museum’s growing holdings of early and mid-20th-century art.
METROPOLITAN MUSEUM OF ART: METROPOLITAN MUSEUM OF ART
KILLER HEELS: The Art of the High-Heeled Shoe
September 10, 2014 – February 15, 2015
Killer Heels explores fashion’s most provocative accessory. From the high platform chopines of sixteenth-century Italy to the glamorous stilettos on today’s runways and red carpets, the exhibition looks at the high-heeled shoe’s rich and varied history and its enduring place in our popular imagination.
As fashion statement, fetish object, instrument of power, and outlet of artistic expression for both the designer and the wearer, throughout the ages the high-heeled shoe has gone through many shifts in style and symbolism. Deadly sharp stilettos, architecturally inspired wedges and platforms, and a number of artfully crafted shoes that defy categorization are featured among the more than 160 historical and contemporary heels on loan from designers, from the renowned Brooklyn Museum costume collection housed at the Metropolitan Museum of Art, and from the Bata Shoe Museum. Designers and design houses represented in Killer Heels include Manolo Blahnik, Chanel, Salvatore Ferragamo, Zaha Hadid X United Nude, Iris van Herpen X United Nude, Christian Louboutin, Alexander McQueen, André Perugia, Prada, Elsa Schiaparelli, Noritaka Tatehana, Vivienne Westwood, and Pietro Yantorny.
BROOKLYN MUSEUM: BROOKLYN MUSEUM
ZERO: Countdown to Tomorrow, 1950's–60's
October 10, 2014 – January 7, 2015
ZERO: Countdown to Tomorrow, 1950s–60s, a large-scale exhibition opening October 10 at the Guggenheim Museum, tells the story of this important post-World War II network of artists, and presents a rare chance to encounter the works they created and glimpse the world they envisioned.
The roots of the ZERO network lie in the smaller group of artists that formed in Düsseldorf in 1957. Founded by Piene and Mack (who were joined in 1961 by Uecker), Group Zero approached art with a positivity not found in dominant European artistic styles of the time, notably Tachisme and Art Informel. Turning away from the desolation of war, the Zero artists chose a hopeful outlook, seeking fresh ways to approach their practice: they incorporated utilitarian materials such as nails and cork into their work, and focused on light, monochrome and fire paintings, motion, serial structures, and viewer activation. Through a series of one-night “Evening Exhibitions” held in Mack and Piene’s studios, and a magazine called ZERO that they co-edited and produced in three issues (1958–61), the group brought attention to both their own work and that of likeminded artists from Europe and beyond. Throughout the 1960s, Klein, Yayoi Kusama, Piero Manzoni, Lucio Fontana, Jan Schoonhoven, Jesús Rafael Soto, Jean Tinguely, and many others, exchanged ideas and exhibited together.
GUGGENHEIM MUSEUM: GUGGENHEIM MUSEUM
PAUL STRAND: Master of Modern Photography
October 21, 2014 – January 4, 2015
This major retrospective presents the work of a critical figure in the history of modern art, American photographer and filmmaker Paul Strand (1890–1976), whose archive of nearly 4,000 prints stands as a cornerstone of the Museum’s collection. Emphasizing the influential artist’s most important projects from the 1910s through the 1960s, the exhibition surveys Strand’s entire life’s work, including his breakthrough trials in abstraction and candid street portraits, close-ups of natural and machine forms, and extended explorations of the American Southwest, Mexico, New England, France, Italy, Scotland, Egypt, Morocco, Ghana, and Romania.
This exhibition includes approximately 250 of Strand’s finest prints, selected primarily from the Museum’s holdings, with important early prints from public and private collections. The wide range of imagery highlights how Strand radically changed his work at several key moments in an effort to identify photography's pivotal role as a means of understanding and describing the modern world. The exhibition also features works by fellow artists from the Alfred Stieglitz circle (Georgia O’Keeffe, John Marin, and Arthur Dove), screenings of Strand’s films, and a selection of archival materials.
PHILADELPHIA MUSEUM OF ART: PHILADELPHIA MUSEUM OF ART
HORST: Photographer of Style
September 6, 2014 – January 4, 2015
This autumn the V&A will present the definitive retrospective of the work of Horst P. Horst (1906-99), one of the 20th century’s master photographers. In a career that spanned six decades, Horst photographed the exquisite creations of couturiers such as Chanel, Schiaparelli and Vionnet in 1930s Paris, and helped to launch the careers of many models. In New York a decade later, he experimented with early colour techniques and his meticulously composed, artfully lit images leapt from the magazine page.
The exhibition will display Horst’s best known photographs alongside unpublished and rarely exhibited vintage prints, conveying the diversity of his output, from surreal still lifes to portraits of Hollywood stars, nudes and nature studies to documentary pictures of the Middle East. It will examine his creative process through the inclusion of original contact sheets, sketches and archive film footage.
VICTORIA and ALBERT MUSEUM: VICTORIA and ALBERT MUSEUM
26 CHARACTERS, Exhibitions
April 5, 2014 – November 2, 2014
Award-winning celebrity photographer Cambridge Jones has captured a gallery of rogues and rascals, wizards, witches and wild things, which unfolds through the Story Museum’s atmospheric and unfinished buildings. Many of Britain’s best loved writers and storytellers have transformed themselves into the characters they most loved as children in this new, interactive photographic exhibition.
THE STORY MUSEUM: THE STORY MUSEUM
KIMONO FOR A MODERN AGE
July 5, 2014 – October 19, 2014
A blend of the traditional and the modern characterized life and dress during Japan’s Meiji (1868–1912), Taishō (1912–1926) and Shōwa (1926–1989) periods. During the early 20th century, a majority of Japanese women continued to wear traditional kimono. But, as demonstrated in the exhibition, the kimono evolved to reflect the introduction of vibrant synthetic colors, new modes of textile production, and bold abstract and figurative design motifs, often inspired by Western art movements and important current events, such as space exploration.
DESIGNING HOME: Jews and Midcentury Modernism
April 24, 2014 – October 6, 2014
Designing Home: Jews and Midcentury Modernism is the first exhibition to look at the contribution of Jewish designers, architects, patrons, and merchants in the creation of a distinctly modern American domestic landscape. In the aftermath of World War II, the hub of world Jewry shifted from Europe to America. We look at the cultural context in which many Jewish émigré architects and designers from Europe in the 1930–40s were welcomed and embraced into the creative communities that sprang up around the US—including Black Mountain College, the Museum of Modern Art in New York, the Walker Arts Center in Minneapolis, and even in the Bay Area at Pond Farm in Guerneville. The story told in this exhibition gives remarkable insight into Jewish assimilation into American society. At the same time, Designing Home goes beyond a simple exploration of physical Jewish contributions to the history of modern architecture and design—an impact that continues today—to examine broader cultural and social themes.
CONTEMPORARY JEWISH MUSEUM: CJM