Tuesday, March 30, 2010
In fact, that photo was taken during the Algerian War, in the late fifties. My Grandfather, who is French, had been mobilized. And just before his departure, he told my grandmother (they were dating for a year) that he didn’t love her and that he would never marry her.
But she’s very stubborn, and she asked her brother to take photos of her during their vacations, so that she could send them to my grandfather, and he would fall in love again.
The photo you see can testify.
Isn’t it childish? To me that story defines exactly my grandmother.
That photo must have a great power, since when my grandfather came back, they got married.
I wish I had a picture of my grandfather, he was very alluring and elegant too. I think that my aesthetic taste comes from the observation of my grandparents. Both of them really represent a model to me.
Monday, March 29, 2010
Because of this, and because of my appreciation of the old-fashioned letter in the mail, I was rewarded with a surprise today. I was smiling and jumping up and down when I reached inside the old mailbox and pulled out a package from "Snail Mail Eddie."
THANK YOU KIND SIR!
Sunday, March 28, 2010
. Cecil Beaton
By WILLIAM VAN METER
In a world where Miley Cyrus is considered a diva, a stroll through “Maria Callas: A Woman, a Voice, a Myth” is a refreshing detour. Now here is a woman who was both talent and tempest.
The exhibition, at Los Angeles’s Italian Cultural Institute, is composed of artifacts from Callas’s life both onstage and off. Standouts include the costume jewelry she wore in her role as Medea — golden chains adorned with archaic totems of bull’s heads and horned gods — and the black velvet Yves Saint Laurent gown from her master class. Also on display is Callas’s correspondence and her personal wardrobe, which was often as dramatic and regal as her opera regalia; she had a penchant for capes and caftans. Read more…
"Dual," a film by Alia Raza, comments on destructive competition with primal, animal-like intimidation as well as cooperative competition for mutual survival in a post-apocalyptic world. Filmed on the San Andreas Fault surrounded by the biological decay of the Salton Sea, artist Annakim Violette plays a character that is the creation of synthetic biology seeking to transinfect and overtake a human played by Alli Cripe. The two battle against and with one another in Odilon's taupe-hued nylon-coated jersey skin suits and stiff hooded shells of translucent nylon-coated spider web organza. The nuclear orange undercoat of a rabbit fur and washed leather jacket grounds the primal human aspect while Odilon's signature ball-bag becomes a weapon. Artist William Lemon III painted the faces of the film's characters to punctuate the cooperation of a new nomadic tribe.
Alia Raza is a filmmaker and artist based in New York and Los Angeles. Raza's work blends cinema and time-based video, dealing with themes that include self-presentation and its related anxieties, and the influence of contemporary culture and consumerism on self-identity. Her work (which has featured performances by Sebastien Andrieu, Devendra Banhart, Christopher Bollen, Jorge Elbrecht, Karen Elson, Patrik Ervell, Sarah Sophie Flicker, Tavi Gevinson, Liz Goldwyn, Kim Gordon, Elizabeth Hart, Damian Kulash, Lykke Li, JenaMalone, Margherita Missoni, Julia Restoin Roitfeld, Chloe Sevigny, Becky Stark, Arden Wohl) has been shown in screenings and events at the Palais de Tokyo in Paris, Greene Naftali, Moeller Snow, Renwick Gallery, Scope Art Fair, Kreilling & Dodd, LA>