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National Portrait Gallery, London....
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Just walking around there on a Thursday evening. The pictures and statues, busts mainly, are wonderful. |
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Going into the gent's loo at the National Portrait Gallery you find that on the mirror is a big sign saying "My Space" and then telling visiting gentlemen to go to a particular gallery in order to see what is in 'My Space'. |
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BP Portrait Award 2006. |
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Very unusual when visiting a museum, but should be there more often : a group of dancers performing in the National Portrait Gallery in London.
The dance is inspired by the portrait in that room. |
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Alison Watt is the seventh Associate Artist at the National Gallery, and the youngest in the scheme's history.
Born in Greenock in 1965, Watt is a painter who studied at the Glasgow School of Art. In 2000 she became the youngest artist to be offered a solo exhibition at the Scottish National Gallery of Modern Art.
Her recent work demonstrates a deep fascination with the possibilities of the suggestive power of fabric. A childhood trip to London to visit the National Gallery resulted in a lifelong admiration for Ingres's 1856 portrait 'Madame Moitessier', a picture that has been a constant source of inspiration for her.
http://www.nationalgallery.org.uk/exhibitions/alisonwatt/default.htm |
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French Street artist C215, Christian Guémy, bombs London with over 30 different stencils in as many hours. From Hoxton to right outside The National Portrait Gallery in Londons busy West End, there was no stopping him!
All photos here:- http://www.flickr.com/photos/romanywg/sets/72157604251129541/ |
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*** A low-resolution version of a high-definition podcast available for download at:
http://www.londonlandscapetv.info ***
In this first episode, recorded Saturday 14th April 2007, the window opens in Trafalgar Square looking down from the outside foyer of the National Portrait Gallery across the square to the fountains and foot of Nelson's Column.
After a close-up of one of the fountains, the camera moves to the far side of Trafalgar Square looking back towards the National Portrait Gallery building.
The next scene is that of Horse Guards on ceremonial duty in Whitehall. The first Guard is on horseback, and the next shot shows a standing Guard in front of the entrance to Horseguards Parade. Behind him is another Guard on horseback, mirroring the first on either side of the entrance.
The camera now arrives in Parliament Square just in time to catch Big Ben chiming. Notice, in the bottom right corner of the picture, a row of tents marking the location of the current anti-war protest across the road from the Palace of Westminster (Houses of Parliament).
Next, the camera is located in New Palace Yard, in the far corner from the Palace of Westminster. On the left side of the picture is Westminster Abbey. The next shot has a close-up of the statue of Richard I (Richard the Lionheart, King of England from 1189 to 1199.
Our final scenes in this episode are of the The British Airways London Eye, also known as the Millennium Wheel, which opened in 1999. This observation wheel carries 40 "pod" each containing up to 25 passengers on a 30-minute journey full-circle. It stands 135 metres (443 feet) high on the western end of Jubilee Gardens, on the South Bank of the River Thames. The scenes also take in County Hall, the former Greater London Council (GLC) building now home to the London Aquariam, galleries, and two hotels. |
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http://www.myspace.com/stephlife1 Not sure where this gallery is - maybe in France of London? Centre Georges Pompidou, Musée du Louvre, Musée d'Orsay, The National Gallery, London, Tate Gallery, National Portrait Gallery, London, Royal Academy of Arts, London, Hayward Gallery, South Bank, London, The Saatchi Gallery, County Hall, London. I traveled alot and I got all my photos mixed up on my pc cause I didnt label them! Tell me where this was. My guess is that its in France and London! |
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Interview of Rachel Moss, Young People's Programmes Manager, at the National Portrait Gallery London by Pamela Yau for Wired Welcome Broadcast on February 25, 2008 |
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london 1-20-06 |
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This documentary installation was part of the "New Kind of Portraiture" series created for the National Portrait Gallery in London.
It has also been screened at the ICA in Moscow and the Cultural Communication Centre of Klaipeda.
Director, Producer, Editor: Christina Gangos
Sound: Luis Garcia
Running Time: 08 min. 54 sec.
A.R.: 4/3 |
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A junior school class visits and explores the Tudor gallery at the National Portrait Gallery in London in 1976. Part 1 of 3
(This film was shot on Eastmancolor with a 16mm Arri BL, Nagra, etc. Unfortunately, there are no remaining prints and the videos are copies from a pretty poor VHS originally recorded in the 1970s) |
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A junior school class visits and explores the Tudor gallery at the National Portrait Gallery in London in 1976. Part 2 of 3
(This film was shot on Eastmancolor with a 16mm Arri BL, Nagra, etc. Unfortunately, there are no remaining prints and the videos are copies from a pretty poor VHS originally recorded in the 1970s) |
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A junior school class visits and explores the Tudor gallery at the National Portrait Gallery in London in 1976. Part 3 of 3
(This film was shot on Eastmancolor with a 16mm Arri BL, Nagra, etc. Unfortunately, there are no remaining prints and the videos are copies from a pretty poor VHS originally recorded in the 1970s) |
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Douglas Kirkland is a prominent photographer who was best known for his images of Hollywood stars. He was hired as a staff photographer for Look magazine at age 24, and became famous for his 1961 photos of Marilyn Monroe taken for Look's 25th anniversary issue. He later joined the staff of Life magazine. AWho's Who of notable persons have posed for Kirkland from the great photography innovator Man Ray and photographer/painter Jacques Henri Lartigue to Dr. Stephen Hawking. Entertainment celebrities he has photographed include Mick Jagger, Sting, Arnold Schwarzenegger, Morgan Freeman, Orson Welles, Andy Warhol, Oliver Stone, Mikhail Baryshnikov, Leonardo DiCaprio, Coco Chanel, Marlene Dietrich, Brigitte Bardot, Judy Garland, Elizabeth Taylor, Sophia Loren and Catherine Deneuve. Kirkland's portrait of Charlie Chaplin is at the National Portrait Gallery in London. In 1995 Kirkland received a Lifetime Achievement Award from the American Motion Pictures Society of Operating Cameramen.
He latest passion is shooting with the Canon EOS-1Ds Mark III, which Calumet will be shipping in November. The Canon EOS-1Ds Mark III is an engineering tour de force which, true to the EOS-1 legacy, redefines the state of the art in no uncertain terms. An entirely new 21.1-megapixel full-frame Canon CMOS sensor delivers astounding image quality and creates new photographic possibilities. Dual "DIGIC III" Image Processors work in tandem to speed up data handling and camera operation, while further refining imaging performance. Tough, high-durability body and shutter designs, combined with the unique EOS Integrated Cleaning System, set new standards for professional dependability. Cutting-edge features-such as a large 3.0-inch LCD monitor with Live View Function, and a fast, precise 45-point AF system-make the EOS-1Ds Mark III powerful and versatile. And, of course, the EOS-1Ds Mark III is part of the unparalleled EOS System, which, with more than 50 EF lenses, 15 interchangeable focusing screens, and extensive wireless remote control and lighting accessories, is the most advanced and powerful digital photography system in the world. |
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Clip on the infamous Hans Holbein Whitehall portrait.
The portrait itself was housed at Whitehall Palace and was subsequently destroyed when a fire broke out there in 1698 during the reign of William III. A section of the cartoon of this portrait still remains and is housed in the National Portrait Gallery in London:
http://www.tate.org.uk/britain/exhibitions/holbein/images/works/holbein_henry7and8_s.jpg
It depicts the sketch of Henry VIII and Henry VII and gives us some impression of how impressive the painting was. |
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me bell and olli
my 1st try of "editing" |
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Photography © The Estate of Gisele Freund
Some portraits © National Portrait Gallery
http://www.npg.org.uk/live/search/person.asp?LinkID=mp08041&role=art
Gisèle Freund (November 19, 1908 - March 31, 2000) was a German-born French photographer, famous for her documentary photographs and portraits of writers and artists.
http://www.temple.edu/photo/photographers/gisele/gisele.htm
Reprinted from London Times, April 1, 2000 (highlights)
From Colette busy writing, to the deep, sad eyes of Virginia Woolf and the fatigue of James Joyce in his red dressing gown, this adoptive Frenchwoman frequented and recorded many of the great cultural figures of the interwar years and beyond. Blessed with a gift for friendship, she was a vigorous champion of the art of photography, although too modest to style herself as anything other than a "photojournalist".
Freund was born into a comfortable middle-class Jewish family living near Berlin. Her father, an assiduous collector of art, introduced her to photography by showing her Karl Blossfeldt's remarkable studies of plants, and bought her a Leica when she passed her school leaving certicate.
Freund's own interest in such changes was reflected by her decision to prepare a sociology thesis on the effects of photography on the art of the portrait
With the coming to power of the Nazis in 1933, Freund fled Frankfurt for Paris, taking her camera with her (her negatives strapped around her body to get them past the border guards). She enrolled at the Sorbonne to continue her thesis and began to forge links with such figures as Jean Paulhan and his fellow exile Walter Benjamin, the author of A Little History of Photography and one of the few companion spirits to take an interest in a medium whose existence academics barely even acknowledged at the time: "People thought I was a madwoman," Freund would recall.
Among those to pose for her lens at this time were Andre Marlaux, Francois Mauriac, Stefan Zweig, Jean Cocteau, Louis Aragon, Jean-Paul Sartre, Henri Michaux, Andre Gide, Henri de Montherlant, Simone de Beauvoir and Samuel Beckett.
With the outbreak of war, Freund again found herself fleeing, this time to Argentina at the intercession of Malraux ("we must save Gisele") and with the financial support of the rich Argentinean Victoria Ocampo, editor of the South American literary magazine Sur.
Quickly breaking away from local high society, Freund headed south to produce a remarkable series of photographs of Tierra del Fuego, to be followed a few years later by portraits of Eva Peron, then at the height of her fame.
After the war, she moved on to Mexico for two years, becoming acquainted with Diego Rivera and Frida Kahlo.
Fascinated as she was by Mexico, she nevertheless decided to return in 1952 to Paris, where she was invited to join Magnum by Robert Capa. The experience ended badly, however. Fearing for the future of his agency in America, Capa dismissed her in 1954 because she was on the McCarthy blacklist and had been refused entry into the country. Though the incident hurt, she continued working successfully on her portraits and journalism.
In 1981 she was asked to take what, in France at least, is no doubt her best known if most anonymous work: the official presidential photograph of François Mitterrand which decorated French town halls and official buildings for nearly a decade and a half.
Gisele Freund stopped taking photographs in the 1980s to devote herself to that other great passion expressed in the subjects and sensibility of her portraits: reading. At her home of forty years near Rue Daguerre, Paris, the walls were covered with books, not photographs.
http://query.nytimes.com/gst/fullpage.html?res=9C06E6DA103CF932A35757C0A9669C8B63&sec=&spon=&pagewanted=1
http://www.galerie-clairefontaine.lu/gcf_site/vintage/source/freund01.ht
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Music - "When I write my song" by Eddie Heywood
Support the artist, buy his music
http://www.amazon.com/s/ref=nb_ss_gw?url=search-alias%3Daps&field-keywords=eddie+heywood+&x=0&y=0 |
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portrait - see title |
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Short video of some delightful jazz (I think) entertainment I came across at the National Portrait Gallery in London. |
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Video of David Beckham sleeping, from National Portrait Gallery in London. |
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indeed |
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The third episode of VTM Live covers the addition of a portrait of Daniel Radcliffe to the National Portrait Gallery in London, Emma Watson's 16th birthday, a ludicrous campaign to ban the Harry Potter books in Georgia's public schools, Goblet of Fire's new record in IMAX theatres, and the Weasley brothers' appearance on Jo Whiley's radio show. |
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Art and music are prominent figures in Marcel Proust's epic "In Search Of Lost Time" - here are the art pieces mentioned in Volume 1, 'Swann's Way':
1- Sandro Botticelli, "The Trials of Moses," Sistine Chapel, Rome (1481-82): "The Daughters of Jethro." This, of course, was the work that begins Swann's infatuation with Odette:
"The vague feeling of sympathy which attracts one to a work of art, now that he knew the original in flesh and blood of Jethro's daughter, became a desire which Odette's physical charms had at first failed to inspire in him. When he had sat for a long time gazing at the Botticelli, he would think of his own living Botticelli, who seemed even lovelier still, and as he drew towards him the photograph of Zipporah he would imagine that he was holding Odette against his heart."
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2- Gentile Bellini, "The Sultan Mehmet II," National Gallery, London (1480):
"Swann felt a very cordial sympathy with the sultan Mahomet II whose portrait by Bellini he admired, who, on finding that he had fallen madly in love with one of his wives, stabbed her to death in order, as his Venetian biographer artlessly relates, to recover his peace of mind. Then he would be ashamed of thinking thus only of himself, and his own sufferings would seem to deserve no pity now that he himself held Odette's life so cheap."
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3- Johannes Vermeer of Delft, "View of Delft," Mauritshuis, The Hague (ca. 1660-1664):
"... At last he came to the Vermeer which he remembered as more striking, more different from anything else he knew, but in which, thanks to the critic's article, he noticed for the first time some small figures in blue, that the sand was pink, and finally, the precious little patch of wall. "That's how I ought to have written," he said. "My last books are too dry, I ought to have gone over them with a few layers of colour, made my language precious in itself, like this little patch of yellow wall."
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4- Giotto di Bondone, "Vices and Virtues," Scrovegni Chapel, Padua (1305-06): "Injustice":
"... Swann, a fervent admirer of Giotto's Vices and Virtues at Padua, that figure representing Injustice by whose side a leafy bough evokes the idea of the forests that enshroud his secret lair."
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5- Giotto di Bondone, "Vices and Virtues," Scrovegni Chapel, Padua (1305-06): "Justice":
"... Justice whose greyish eyes and meanly regular features were identical with those which characterised the faces of certain pious, desiccated ladies of Combray whom I used to see at mass and many of whom had been had long been enrolled in the reserve forces of Injustice. But in later years I came to understand that the arresting strangeness, the special beauty of these frescoes derived from the great part played in them by symbolism, and the fact that this was represented not as a symbol (for the thought symbolised was nowhere expressed) but as a reality, actually felt or materially handled, added something more precise and more literal to the meaning of the work, something more concrete and more striking to the lesson it imparted."
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6- Giotto di Bondone, "Vices and Virtues," Scrovegni Chapel, Padua (1305-06): 'Charity" and "Envy":
"... He it was who pointed out the resemblance, and when he inquired after the kitchen-maid he would say: "Well, how goes it with Giotto's Charity?" And indeed the poor girl, whose pregnancy had swelled and stoutened every part of her, even including her face and he squarish, elongated cheeks, did distinctly suggest those virgins, so sturdy and mannish as to seem matrons rather, in whom the Virtues are personified in the Arena Chapel ....
But in this fresco, too, the symbol occupies so large a place and is represented with such realism, the serpent hissing between the lips of Envy is so huge, and so completely fills her wide-opened mouth, that the muscles of her face are strained and contorted, like those of a child blowing up a balloon, and her attention--and ours too for that matter--is so utterly concentrated on the activity of her lips as to leave little time to spare for envious thoughts."
The etching of Proust is by Barbara Zozouline (1931).
The music is from Franck's 'Violin/Piano Sonata in A Major' - one source for the Vinteuil piece that so passionately moved Swann ... |
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Be inspired
On Thursday the 21st June 2007, the longest day of the year, aspiring artists across the country took part in the first ever Blue Sky Day. The quality of the work created was outstanding with participants drawing inspiration from collections in the National Gallery to the blue skies above them.
200 artists in London put paintbrush to canvas in Trafalgar Square whilst over 60 artists created their own masterpieces in Edinburgh's Princes Street Gardens. Across the country from Liverpool to Blackpool, people took part in the day by painting on their own blue sky canvas.
From the 28th June -- 15th July a selection of the paintings created in London will hang in The Space at the National Gallery in an exhibition of photography and footage from the day. 22 paintings from Edinburgh will hang in the Talbot Rice Gallery from the 22nd June. You can view the highlights of the day and photos of the canvases at http://letyourselfgo.expedia.co.uk/ |
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LG Williams
http://www.lgwilliams.com
Thursday 28 December 2004 -- Sunday 23 January 2007
Admission $7 ( $5.50 concessions)
Opening hours: Sunday to Thursday, 10.00--18.00. Friday and Saturday, 10.00--22.00.
Last admission into exhibitions 17.15 (Fri and Sat 21.15).
Press release: 28 October 2006
The first monographic exhibition of the work of one of the world's most important living photographers, LG Williams, will be shown at Lemon this winter. The exhibition will include more than fifty black-and-white photographs never before displayed. It also marks the thirtieth birthday of the artist.
LG Williams was born in Table Rock Lake, Missouri in 1974 where he worked in the studios of various Ozark photographers and film makers. He emigrated to California in 1987 where his photo book, Year in Rearview, earned him a job with University of California, Davis. In 1998 he traveled to Hawaii and produced his second hand-made volume, Really (1999). Later, he went to Los Angeles (20011 and early in 2002) where he created a portrait in images of the city following the Iraqi Slaughter. In 2003 his travels took him to Hawaii, to the town of Honolulu, where he made a photographic story about a ocean community, focusing on the great surfer Duke and his family. These distinct bodies of work, and the photographs in his third photo book, One Great Sculpture and That's It 2004, demonstrate Williams's early interest in combining realism with the narrative potential of photographic sequencing, capturing the poetic qualities of everyday life.
In 2005 Williams's first published photo book Fucking A was produced to great critical acclaim but after its publication Williams abandoned traditional photography and concentrated on making films. The works Fuck I Forgot 2000 and What? in San Diego 1999, pioneered a revolutionary approach to filmmaking that combined autobiography, poetry, and emotion with gritty realism. He returned to photography in the 2000s to make complex constructions, containing multiple prints in black-and-white and colour, as well as stills from films and videos. Williams's most recent pictures examine the world from the inside out, exploring through metaphor the processes of looking, feeling, thinking, and ageing.
In 1999, LG Williams was the first living great young artist not to be given a retrospective at the National Gallery of Art, Washington, D.C. His huge influence on the development of post-slaughter photography was recognized in 1996 by the presentation of the BFD (Big Fucking Deal) Award, one of the most prestigious photography prizes in the Post-Beat It generation.
LG Williams: Killer American Style will include images from Hawaii 1999, London 2001-04, Hugh? 2003 and Two Huge Mountains! 2002, the four groundbreaking series of photographs of everyday life which were to change the language of post-war photography. The filmic and narrative aspects of these works will be explored by their juxtaposition with his important film, Are You Reading This? 2005, and with his previously unseen series of photographs, Yeaaaaa Another One! 2006. The exhibition also includes works from Ok, I Give Up including photographs taken while he was working on the project which have never been seen before.
LG Williams is curated by Vicente Tool, Director of the Modern Museum, with advice from Philip Bookman, Senior Curator of Photography and Media Arts at a Gallery of Art. Philip Bookman curated LG Williams: Check His Shit Out which was presented at the Lemon Gallery, Honolulu, Hi from May 10 -- July 14, 2003. LG Williams: I'm Waiting will be incorporated into the exhibition at another Modern Museum somewhere soon.
For More Information Please Contact: info@lgwilliams.com or visit http://www.lgwilliams.com |
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Sandra Shevey Books
www.createworldwide.co.uk/sandrashevey
sandra_shevey@yahoo.com
'The book which her friends asked me to write'
About the Author: Sandra Shevey is a megastar interviewer whose celebrity interviews have appeared internationally as from 1968 when she did her `first` megastar interview with Liza Minnelli. She is undoubtedly one of the Seventies most idiosyncratic and quirky interviewers whose interviews seem to move on a kind of sonic intelligence. Most interviews run about 6 or 7 hours and many were with stars on `closed sets`. Whilst having interviewed many interview-shy celebrities such as Alfred Hitchcock, Sandra also succeeded in giving a new slant to the often-interviewed such as Shirley MacLaine, Dustin Hoffman, John Lennon, Jon Voight, Peter Falk, Stockard Channing,Lauren Hutton, Barbara Hershey, Peter Fonda, and others. She is also a very fine feminist film writer and penned the seminal women in film article,`Down With Myth America`,which appeared in the New York Times in May 1970. Sandra`s pioneer film courses on women and minorities at the University of Southern California in 1970 assisted in bringing the issues to the fore. Sandra`s move to Great Britain in the eighties led to the publication of biographies about Marilyn Monroe (whom she never interviewed) and John Lennon (whom she did and for 12 hours). Sandra currently runs walks around London`s ancient markets (and has just done a film about`London`s Ancient Markets: their Fight for Survival`) and Alfred Hitchcock`s London film locations. She spends her free time writing and publishing her own books and (when she gets a breath) lecturing at London`s many venues including the Barbican, the St. Martin`s reference library, the Chelsea Festival, the National Portrait Gallery and others. Her passions include: London, walking and films(old films, mainly British) Her fondest memories are of having been able to meet (whilst they were still alive)many of the great British filmmakers of the golden age.
`It was like going into a candy shop as a kid and stuffing yourself on all your favourites.`
About the book:
Sandra Shevey`s revised account of the life of perhaps the most enigmatic and
magnificent star of the twentieth century is being reissued by Sandra Shevey Books.
When first published in 1987, its revisionism led to a stream of copycat revisions of Marilyn Monroe`s life. None, however, we believe, equals and/or exceeds the original.
If Marilyn Monroe was, as Sandra contends, the personification of Hollywood itself,
then the tragedy and travesty of her short life reflect in a kind of ritual way the life and death of Hollywood itself. She is an iconic tragedy. She is a tragedy of all the starlets and wannabees and stars-for-fifteen minutes who have ever appeared on a soundstage or before a motion picture camera. Since writing the book in 1987 a lot has happened which gives opportunity for revision. For starters, both Joe DiMaggio and Arthur Miller have passed away. Thus Sandra is able to talk freely about the Miller marriage and his philandering which led to Marilyn`s nervous breakdown in London where they were on honeymoon. The years have also turned up more queries about Marilyn`s relationship with the Kennedys. There is rumour of the existence of the `love child` which Marilyn had with John Kennedy. More questions arise about Marilyn`s own paternity as well as about her`crazy`mother; the committal to
Payne-Whitney psychiatric hospital; etc. Whilst the 1987 edition broke ground with its foray into Marilyn`s previously undisclosed relationship with President John Kennedy,not to mention Kennedy involvement in her morbidly protracted death, the new edition explores the above in a revised introduction but is basically the 1987 hardback without photos.
Jacket design: Martin Lye (www.martinlye.com)
ISBN: 978-0-9557-000-0-2
£35.00+P+P |
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'An exhibition about seeing and not just looking . . . A glimpse into the way of seeing of 8-13 years old at the beginning of the 21st century.'
Prof. Sir Christopher Frayling -- Chairman, Arts Council of England
eye see is a photography project granted by Millennium Awards, the Peabody Trust and National Campaign for the Arts. Conceived and produced by David Palazón and José Alvarez in collaboration with Kaho Kojima, the project involved the participation of 200 school children aged between 8 to 13 years from North London. We gave a disposable camera to every child and asked them to take pictures of those objects, places and situations of great importance to them. Taking place from July to December 2003, the project ended with 3000 pictures, an experimental book, an installation and a documentary, all displayed in 3 major exhibitions:
• FAITH Centre, WoodGreen 5-6 December 2003
• Royal College of Art, 19-24 April 2004
• Kingly Court Gallery -- Carnaby Street, 11-25 May 2004
During the exhibition and through the eyes of the children we were able to see aspects of our culture and surroundings that otherwise go unnoticed. The absence of adult expectations in the photographs, the manner in which these objects and situations are framed and the verbal descriptions of these images, all contributed to a collective portrait of the emotions that these children projected onto the physical environment around them.
During the exhibition, we exchanged thoughts with the visitors, and we realised that the meaning of each one of the photographs exhibited, was spontaneously created in our mind. Each photo we looked at, or interacted with, was telling us something about ourselves.
This work was a dynamic evolving process enabled and established by people's direct participation. eye see was a celebration of diversity, a portrait of childhood, a source of inspiration and also a unique photographic record, but above all eye see was a platform for all of us to realise that we don't see things as they are because we tend to see things as we are.
eye see was reviewed by LondonArt.co.uk |
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I received many requests to go back to Jan's in Los Angeles and upload more videos from their incredible antique collection. This one is a Carrara marble sculpture by ANTONIO TANTARDINI
ITALIAN, 1829 -1879. They describe it as follows: "A Young Child and a baby in a wicker crib" - A Risorgimento Allegory
123 by 124.5cm., 48½ by 49in.
Signed & dated: A.nio Tantanrdini F. ce / 1863, the older child's medallion inscribed with an interlocked XV and GARIBALDI, the crib monogrammed: AR
In a country famed for its skilled carvers and working in an age when virtuoso carving technique was highly prized, Antonio Tantardini was one of the very best exponents of master carvers in nineteenth century Italy. Vicario describes Tantardini's skill as 'un abilità tecnica stupefacente'.
The present amazing marble group epitomises Tantardini's exceptional talents as a carver. Lesser sculptors might have shied away from attempting to carve a life-size wicker crib in marble, but Tantardini has clearly relished the challenge. The result is a stunning achievement of verismo Italian sculpture.
This marble group, however, is more than a paradigm of Italian marble carving, it is also a prime example of the use of Risorgimento allegory in Italian sculpture of the 1860s. Famous sculptural Risorgimento allegories include Raffaelle Monti's Sleep of Sorrow and Dream of Joy, in the Victoria & Albert Museum and Pietro Magni's Reading Girl, sold at Sotheby's in London, 5 July 2000, lot 148 and now in the National Gallery of Art, Washington. Here the device used to indicate the underlying meaning is a discreet medallion hanging around the neck of the child, inscribed with the words Garibaldi; in the Reading Girl there is a portrait relief of Garibaldi on the medallion worn by the girl. The specific identity of the children is not known but the carved initials AR on the crib may relate to the Realini family. The two children represented in this marble group are therefore meant to represent the future of the new united Italy. By 1863 unification was almost complete, but the fledgling nation was still in conflict, with the Third Battle of Independence yet to be won. Subtle allegorical sculptures such as those by Monti, Magni and Tantardini served to endorse the legitimacy of the Risorgimento and their aspirational message is certainly more inspiring than the countless public statues of Risorgimento heroes which litter every Italian piazza; of which Tantardini too did his fair share. |
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www.elainelevyproject.com
No Compromise presents a group of heterogeneous pieces, diverse both on their materials aspects and on the spirit or mood behind them. Drawings, paintings, video-animations, and photographs portrait dubbed characters and re-enacted a number of real and mediated situations. To this extent No Compromise refers to the constant slipping between different media and also to a position that resists to be incorporated or framed into pre-established categories and systems of thought. Instead of being cashiered, it maintains an open state that allows the incorporation of new relations and seeks to account for what is external and different.
The painting Flash Piece depicts the documentation of an early work done in 1970 by the Irish artist James Coleman -an empty dark space is flashed every time somebody walks in- as a live time-based piece the photographic documentation lacks everything, which is important to imagine the experience of the public. Paradoxically, the painting portraits the impossibility of a media (photography) capturing its own specificity.
The question about the possibility of the images appears in To Silence Friends and Foes Alike, a work that has purposefully engaged different resources, besides gathering until today the participation of more than 30 volunteers. Thirty something portraits of different people wearing a costume of me, is the subtitle of a series of pictures that show the moment of the same action repeated in different places. The costume -made of photographs, plastic and cotton cloth- is the pathetic and childish testimony of a manipulation that, for me, is more serious than what good humor can get to conceal.
The trick the costume hides has nothing to do with knowing if the thirty individuals did or did not really wear the suit of myself; in fact, when the mannequin is not present, the pictures seem to portray me behind a see-through plastic window. This ordinary illusion, which works even when avoiding the use of any type of digital manipulation, limits itself to the moment when a common man is taken to the entelechy of disguising as someone else, and to register a sequence that may be endless.
In the animation project based on the film classic The Exorcist, starring Linda Blair as Regan, a devil possessed teenage girl. The original sequences were re-edited and hand-drawn frame-by-frame, creating animation cells from more than 400 pictures. The work, already depicting the bizarre act of exorcism, addresses issues of copyrights and re-enactment, and attempts to comment on the disparity between blockbuster Hollywood entertainment and low budget, arcane cinematic technique.
As an installation the project was specific to Santiago; the title Reagan, 1973, alludes to the year when both the film was released in the U.S., and the military coup, led by General Pinochet, took place in my home country of Chile. More than giving an account of historical facts, the work speaks of my personal experience and a number of surrounding sensations during that period, including the encroaching North American cultural presence in Chile and the surreptitious position it has played in Chile's political history. The certain inconvenience of the title (Nixon was president in 1973, not Reagan) points to the gap between what Chileans experienced as the real event and the sense we made of it afterwards.
Regardless of the individual motives or themes alluded in these pieces, they all work as a reflection about themselves, not so much in relation to their intrinsic qualities but rather as a paradigm of the imaginary and elusive aspects of the real.
FRANCISCO VALDES
Francisco Valdés was born in 1968 in Santiago, Chile. He lives and works in London.
He studied Fine Art in Chile (School of Art Catholic University 1988-1992), in London (1998-1999) and in Maastricht (Jan Van Eyck Academie, 2003-2005).
Francisco Valdés took part to « Produciendo Realidad » at Fundazione Prometeo in Lucca (Italy), « Fantasmatic » at the Millenium Museum of Beijing (China), at the Esplanade in Singapore and at the National Art Gallery of Kuala-Lumpur (Malaysia) in 2004, more recently Prague Biennal (Czech Republic, 2005), « Strangely Family » et AR/GE Kunst Galeire Museum of Bolzano (Italy, 2005) or even « Constant Disturbance: On Cultural Contamination and Foreign Agents » at CCE Miami (USA, 2006).
"No Compromise" is Francisco Valdés' first show in Belgium. |
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