Do not judge a building by its façade.

Public housing has a rather negative image – initially associated with slums and poverty, these areas were (and still generally are) avoided by middle to upper income citizens. Whether in fear of catching starvation, encountering violence, or simply being disturbed to see how the other half really lives, public housing venues are the last place you would find the “well-to-do”.

Le Corbusier, Shondan House, 1956.
Ahmedabad, Gujarat, India.

However, this sort of housing can actually be quite nice, and some countries are incorporating it into their city schemes for the entire population, not just the poor, huddled masses.

Role Models

The Role Model Essay. Yep, I can hear the groans now. Remember that wonderful paper that you had to write in high school, which perhaps even swayed the college acceptance letter towards a yes or a no? Well, that’s the subject I’m going to be pontificating about today.

I can smugly sit here and say that I never had to write such an essay. However, that does not mean that I never thought about it. Please, with all of the American teen drama shows/films/series, there is no escaping that one second of seeing the angst of ‘Who do I write about’ and wondering about it for yourself! (Possible references here may include Spanglish – you know, Adam Sandler, Paz Vega; Gilmore Girls with the incomparable Alexis Bledel; Dawson’s Creek – Katie Holmes, Michelle Williams, Joshua Jackson, James Van Der Beek; and there were a fair few essays in Boy Meets World!).

The obvious ones spring to mind: Mother Theresa, Bill Gates, Sports figures, Humanitarian Actors and Actresses, etc. Great. All fine. But admittedly, for this kind of essay – as subjects, they are a bit overdone. So, in order to diversify somewhat, allow me to propose a lesser-known candidate. Ok, so, high school may be over, but I think that it is definitely worthwhile to pay attention to the hidden humanitarians and those contributors to the arts who have not been lauded as such. James T. Dyke is one such person.

 

Georges Lemmen
Madame Lemmen Reading, 1907.
Watercolour and gouache on paper.
Dyke Collection and National Gallery of Art, Washington, D.C.

 

Those who are heavily involved within the art world will, I’m sure, be aware of who this man is. For those of you who aren’t, allow me to explain. James T. Dyke is one of the foremost American collectors of 19^th- and 20^th-century French drawings and prints. He has been an avid collector for over thirty years, resulting in a spectacular collection of art. However, this is not why I believe that he should be put into the spotlight. No, it is for his generosity and commitment to culture that he deserves some recognition. It is his collection of French drawings which is in the National Gallery of Art, and it was he who made this exhibition possible. As Chairman of the Trustees’ Council, he not only made his collection available to the public, but he also permanently donated several of the pieces to the Gallery. What’s more, this exhibition is open free of charge to the public. His philanthropy is not purely arts-based however, as numerous donations in his name can be traced to medical sciences and the National Guard, amongst others. So, there it is – culture, generosity, and commitment to the arts. Could you ask for anything more?

 

Edgar Degas
Two Women Ironing, c.1885.
Pastel and charcoal on three joined sheets of brown paper.
Dyke Collection and National Gallery of Art, Washington, D.C.

 

To take full advantage of the collection which has been made accessible to the public at Washington’s National Gallery of Art, head over to the Color, Line, Light: French Drawings, Watercolors, and Pastels from Delacroix to Signac exhibition. It will be running until the 26^th May 2013, so you can still make it! However, a peek at Victoria Charles’ French Painting could prove to be somewhat easier if you don’t happen to live in the D.C. area.

Impressionist, and proud

Underdogs have taken note and reclaimed terms that were once hurtful or derisory: ‘queer’ has become a positive label for the LGBT community, ‘nerd’ and ‘geek’ are no longer insults but badges of honour (thanks in part to the Gleeks), ‘slut walk’ participants have tried to de-stigmatise the word, and the Tea Party movement’s ‘tea-baggers’…well, that’s a bad example. But this ‘current’ propensity for linguistic reappropriation is not such a modern phenomenon…

The Impressionists came to be known as such after a 10-year battle for recognition. In 19^th-century France, artistic esteem could only be attained by recognition by the Academy of Fine Arts and the displaying of their artwork in the Salons, or yearly exhibitions in Paris. This new art movement was too mind-blowing for those stuffy old codgers – Manet’s Luncheon on the Grass didn’t make the grade because of the daring inclusion of a stark-naked lady frolicking at a picnic. I can’t imagine what they would make of Prince Harry’s trip to Las Vegas…

 


Reconstruction of Prince Harry’s trip to Vegas…
Edouard Manet, Luncheon on the Grass, 1863.
Oil on canvas, 208 x 264.5 cm.
Musée d’Orsay, Paris.

 

A brief glimmer of hope came in 1863 when Napoleon III, shocked by the quality artwork that was being sidelined, opened an exhibition alongside the official Salon, an Exhibition for Rejects. This group of artists received more visitors than the official Salon, but most came along for a good chuckle at these deluded ‘artists’ and their strange paintings. Requests for another exhibition were denied, until in 1874 they decided to take matters into their own hands…

Thirty artists including Monet, Renoir, Pissarro, Sisley, Cézanne, Degas and Morisot participated in a private exhibition, which was still too zany for many. Louis Leroy wrote a sarcastic, satirical review, coining the term ‘Impressionists’ as a play on words of the title of Monet’s painting Impression, Sunrise. The term caught on, and what was meant to be a moniker of derision became a badge of honour for the group. And Leroy must have been laughing on the other side of his face when Impressionism spread beyond France, paving the way for Modern art, and even becoming the long-lasting legacy of 19^th-century French art.

So take a leaf out of the Impressionists’ book and wear those insults with pride. My suggestions for some topically beleaguered individuals include: Prince Harry – ‘The Naked Prince’, Todd Akin – ‘The Legitimator’, and I’m sure Julian Assange could put a positive spin on ‘coward’, ‘tool’ or ‘cyber terrorist’.

Sweden’s Nationalmuseum has an exhibit dedicated to 19^th-century France and the beginning of the Modern era, until 3 February 2013. If you would like to read more about the peppy Impressionists, try this impressive art book or compact gift version, written by Nathalia Brodskaya.

 

Mode – Jean Paul Gaultier

La mode est-elle forcément synonyme d’extravagance ?

En général pas dans la vie de tous les jours.

Jean-Paul Gaultier est une exception dans le cercle des créateurs de mode, qui a le premier voulu intégrer à ses créations les caractéristiques du monde qui l’entoure. Ce qui le différencie ? La provocation.


Botte de Mousquetaire, France, XVIIème siècle.
Musée international de la chaussure, Romans-sur-Isère.


Mule non utilisable pour marcher, cuir de chevreau noir et satin bleu ciel, petit cabochon de porcelaine, Vienne, vers 1900.
Hauteur du talon : 20 cm.
Collection Guillen, musée international de la chaussure, Romans-sur-Isère.

Depuis le début de sa carrière dans les années 70, on le connaît pour ses créations hors-normes, souvent multi-ethniques (il a fait sensation avec une collection intitulée « Barbès ») et toujours transgenres.

Ses silhouettes androgynes sont facilement reconnaissables, parées de matières brillantes et métalliques. Madonna en est le symbole parfait.

L’exposition du musée De Young de San Francisco retrace la carrière du couturier, mettant en évidence ses talents artistiques qui mélangent couture, photographie et musique.


Escarpins de Marilyn Monroe décoré de strass Swarovski.
Créé par Salvatore Ferragamo pour le film Le Milliardaire de George Cukor en 1960.
Musée Salvatore Ferragamo, Florence.

Pour vous familiariser avec l’histoire d’un accessoire de mode cher à Gaultier et faisant toujours sensation lors de ses défilés, vous pouvez consulter le livre L’Art de la chaussure.

Fashion Passion

Fashion is not my thing. I’ve stated before that I am a neutral, solid colour kind of girl. Occasionally I’ll throw on something bright to mix it up, usually a pair of stilettos. Leading me to the point in which I must confess to my deep, inherent, undeniable love of shoes, and, more specifically, boots. (Cue in blaming my mother, who tried to get me to care about blouses, skirts, and dresses as well, but was less successful. Apologies and gratitude, mom!)


I shoulda been a contend…er, Musketeer
Musketeer boot, France, 17th century.
The International Shoe Museum, Romans-sur-Isère.


Where you goin’? Nowhere…
Mule, unsuitable for walking, in black kidskin and sky blue satin, small cabochon in porcelain, Vienna, c. 1900.
Height of heel: 20 cm.
Guillen Collection, The International Shoe Museum, Romans-sur-Isère.


Clothes like Audrey; shoes like Marilyn
“Low-cut” pumps of Marilyn Monroe decorated entirely with red Swarovski strass.
Created by S. Ferragamo for the film Let’s Make Love, directed by George Cukor in 1960.
Museo Salvatore Ferragamo, Florence.

Once upon a time my friends wanted to go out for the evening; I didn’t want to open my closet, because it can get very taxing as a 20-something, even if she doesn’t care that she’s seven years out of style. I sent a nearest and dearest to do my dirty work. She called out, “Do you want to wear black … or black?” Noting and making fun of the fact that my wardrobe was by and large black. I’m not Goth, not that there’s anything wrong with anyone that is, I just happen to think black is complimentary to everything else I’ve got going on.

All of that said, Jean Paul Gaultier the designer does not stir any excitement in my brain or gut. I do not feel the need to overcharge my credit card or make sure I grab the latest magazines with his newest lines in them. However, Jean Paul Gaultier the man is a man among men, a hero for anyone that’s ever tried to fit in, and for that, I salute him.

Persistently causing a stir from the mid 1970s until now, Gaultier keeps the world guessing as to which multicultural controversy he’ll strike next. Performing artists and film makers all vie for his talent and creative eye (Madonna, Marilyn Manson, and Luc Besson to name a few). And who could blame them? This enfant terrible stands up for what he believes in and is not ashamed to do so. Unlike Gaga, though, his outbursts do not irritate me to a point of soundless fury.

See all of his glory at the de Young Museum’s The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk through 19 August 2012. And while you’re envisioning yourself in his latest trends, grab The Art of the Shoe to try and coordinate colours and styles.

-Le Lorrain Andrews

Bienvenue chez Les Maîtres fous…

Les Grecs lisaient le destin dans le vol des oiseaux. Les Romains mêlaient l’eau et le vin. Les Aztèques déchiffraient l’avenir dans des cœurs humains qu’ils offraient à leurs dieux. À chaque civilisation ses moyens d’entrer en contact avec le « monde des esprits »…

Or, dans ce domaine, l’imagination des Africains semble inépuisable et inégalable ! Boire le sang d’un chien fraîchement égorgé ou observer la position de bâtonnets remués par une souris enfermée dans une boîte… Autant d’exemples qui relèguent cartes à jouer et autres boules de cristal au rang de jouets pour enfants !

Ces pratiques africaines de divination ont été révélées en images dans les années 1950 et 1960 avec l’essor du « cinéma ethnographique » ou « cinéma direct », et surtout à travers les films documentaires de Jean Rouch. Il s’agit effectivement d’un cinéma très « direct », où rien n’est édulcoré et j’avoue qu’il m’est même arrivé de faire des cauchemars après avoir vu Les Maîtres fous…



Présentée du 11 au 29 juillet 2012 au musée du quai Branly, à Paris, l’exposition Les Maîtres du désordre vous invite à entrer dans le monde mystérieux de l’art divinatoire. Vous deviendrez peut-être à votre tour un chamane : une personne capable d’entrer en contact avec les esprits pour ensuite expliquer aux simples mortels le sens du « désordre » qui nous entoure !

En attendant, les statuettes, les instruments de musique ou encore les masques divinatoires reproduits en très haute qualité dans Les Arts de l’Afrique noire vous initieront aux mystères du monde invisible.

Masters of Disorder: the Shamans or the French?

MASTERS OF DISORDER, the forces at work in the world around us (especially my bedroom), unseen and unheard by all except those few who can divine their want and will. These are the ‘shamans’, or other spiritual leaders, who mediate between the real and spirit worlds, trying to make sense of the ‘disorder’ around us, mystically communicating with the ethereal and “negotiating with the forces of chaos”. The musée du quai Branly has put on an impressive multisensory display of these religious men from a number of tribes around the world that are still in existence today, with many anthropological ‘finds’ (or plunders) accompanied with work by current artists.

It is a welcome opportunity to celebrate what remains of these cultures’ diverse religious and spiritual beliefs, although it is a shame to see that there doesn’t seem to be any acknowledgement of France’s historical involvement in their previous colonisation of these societies. These ‘colonisation deniers’ would like to forget about France’s centuries-long ‘civilising mission’, notably in Africa, whereby “Africans who adopted French culture, including fluent use of the French language and conversion to Christianity,” were rewarded for their efforts with French citizenship and suffrage. Whilst this carrot-not-stick method was preferable to torture, slavery, murder and atrocities, it was still a dark chapter in the history of France, which still overshadows the country and its international relations today.



I’m not asking for an exhibition dedicated to the exploitation of Africa, I just believe that it is hypocritical for a country to celebrate the longevity of belief systems that it was initially instrumental in disrupting, without acknowledgement or apology for the fact.

If I were to choose a subheading to compliment the exhibition title ‘Masters of Disorder’, ‘France’s direct rule in Africa’ would be a good contender.

Leave your Western ideas of spirituality to one side and explore the world of shamanism at the Musée du Quai Branly’s exhibition Les Maîtres du désordre, from 11 April to 29 July 2012, or read about pre‑colonial African Art with this beautifully illustrated ebook.