Paul Ben-Itzak’s new 40-page Memoir, including art by Ansel Adams, Robert L. Berry, Lou Chapman, James Daugherty, Gustave Caillebotte, Jacob Lawrence, Sylvie Lesgourgues, David Levinthal, Roy Lichtenstein, Sam Peckinpah, Charles M. Russell, Saul Steinberg, and Frank Lloyd Wright from both current exhibitions and the AV Archives, is now available. To receive your own copy as a PDF or Word document, including 35 illustrations, please send $19.95 to the AV by designating your PayPal payment to firstname.lastname@example.org, or write us at that address to learn about payment by check. Your purchase includes a complimentary one-year subscription to the Arts Voyager and Dance Insider ($29.95 value). Above: Saul Steinberg, “Train,” From the exhibition Along the Lines: Selected Drawings by Saul Steinberg, on view through October 29 at the Art Institute of Chicago.
Parce que oui, la Culture française – comme d’ailleurs tous les cultures qui déferle vers Paris – appartient au monde qu’elle a si souvent rayonné, et il faut refusé de la laisse etre confiné et sequestré par les forces de l’Obscurantisme.
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The Open Studios or Portes Ouvertes de Belleville and those of the Prè Saint-Gervais, performers including Berlin’s Constanza Macras, Portugal’s Vera Mantero, a major exhibition devoted to Camille Pissarro paintings rarely seen in France, Belgium’s Alain Platel, Spain’s Israel Galvan, Crystal Pite — these are just a few of the major cultural happenings in Paris and environs this Spring that the Arts Voyager and Dance Insider will be able to cover with your support.
Many of you first read about these internationally renowned artists and events for the first time in English in our journals and, continuing our 20-year mission of bringing you stories not told elsewhere, we’ll also be reporting on Giulio D’Anna, a Netherlands-based Italian choreographer whose “OOOOOOO” is inspired by Zagreb’s “Museum of Broken Relationships,” and Jasna Vinovrski’s “Lady Justice,” addressing the relationship between justice and art. Speaking of art, we’d also like to bring you Yasmina Reza’s “Art” as interpreted at the Theatre de la Bastille by the pioneering Belgium theater company STAN . And of intersections between art and society, this year’s Chantiers (Building Projects) d’Europe festival at the Theatre de la Ville features countries in the front lines of the refugee crisis, notably in six short films from Greece addressing this topic and a public brainstorming session with artists from six countries. Most of all we’ll be able to bring you into the studios of the 200+ artists taking part in the Open Studios of Belleville — a neighborhood which in its very MULTI-CULTURAL contours and dimensions provides the best retort to the cloistered vision of French culture represented by the National Front. (We share the FN’s stated pride in traditional French culture; we simply argue that this definition is too limited and does not do justice to the grandeur and ouverture to the world that has always been French culture.) Click here to read our coverage of last year’s Open Studios / Portes Ouvertes de Belleville.
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France, too, is at the crossroads. On May 7 the country will choose between the fear represented by the National Front and the hope and optimism represented by Emmanuel Macron. Between closure and opening. In the campaign between these two ‘cultures’ that has raged in this country for the past two years, CULTURE has been all but forgotten. (Among Macron’s refreshing ideas: More library hours.) With your help, we will be able to do our part in restoring some light to what has always been France’s principal calling card around the world. Our calling for more than 20 years.Many thanks and
Christophe Martinez, Untitled #1, 2017. 146 x 115 cm unframed and without margins. Pigment print on paper. Oeuvre unique. Copyright Christophe Martinez.
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NOTE DE PRESENTATION (English Translation Follows)
Textures et lumières: Sans affection particulière, ni volonté documentaire, les photographies produites sont issues de technologies hybrides…. Pour Christophe Martinez, la chambre photographique produit plutôt qu’elle n’enregistre. Penser, essayer, opérer, transformer, sous la seule réserve d’une recherche d’équilibre où n’interviennent que des phénomènes travaillés. C’est ainsi qu’une somme d’actions et d’expérimentations aboutissent à un d’accompagnement des techniques et des matériaux photographiques. Une forme de capillarité lumineuse par les lois fondamentales de l’optique, de la nature de la lumière, de la photochimie ainsi que des pratiques numériques. Ces différents protocoles échangent leurs répliques dans une danse à la fois élémentaire et sensible.
Christophe Martinez est né en 1978. Il vit et travaille à Paris. Pour l’artiste se sont les conditions de la photographie et les dispositions de la matière photographique s’imposent en premier. C’est dans ce cadre qu’il va développer des variantes de recherche et d’approfondissement autour des questions qu’il se pose.
Christophe Martinez, Untitled #2, 2014 115 x 146 cm unframed and without margins. Pigment print on paper. Oeuvre unique. Copyright Christophe Martinez.
(For the complete portfolio of 22 images, visit our sister site the Maison de Traduction.)
Textures and light: Without any particular pre-meditated inclination, nor any specific documentary intent, the photographs produced result from hybrid technologies…. For Christophe Martinez, the darkroom produces rather than simply records. Reflect, attempt, operate, transform, with the sole condition being the search for an equilibrium where only methodically developed phenomena intervene. Thus a sum of actions and experiments leads to a marriage of techniques and photographic matter. A form of luminous capillarity arrived at by applying fundamental laws of optics, nature, and light, and with the use of both photo-chemical and digital processes. These different protocols dialogue in a dance at the same time elemental and sensitive.
Christophe Martinez was born in 1978. He lives and works in Paris. For the artist, it is above all photographic conditions and the disposition of photographic material that prime. It is in this framework that he has developed the variants of his research and the depth surrounding the questions that he poses.
(For the complete portfolio of 22 images, visit our sister site the Maison de Traduction .)
Curated by Paul Ben-Itzak.
Text by Christophe Martinez, translated by Paul Ben-Itzak.
Pour tout renseignment / For information contact :
Français: Christophe Martinez, firstname.lastname@example.org
English or Français: Paul Ben-Itzak, email@example.com
Raghu Rai, “Backdrop Series.” Image courtesy Aicon Gallery.
By Paul Ben-Itzak
Text copyright 2011, 2017 Paul Ben-Itzak
NEW YORK –“In the course of my work,” says Raghu Rai, receiving his first major solo exhibition in New York through March 20 at the Aicon Gallery at 35 Great Jones, “I find that I have been moving to focus on the changing equations of our times, trying to record the deeper universal human responses.” A giant of photography who was nominated for the legendary Magnum Photos agency in 1977 by Henri Cartier-Bresson, Rai has been published by the New Yorker, Life, Time, and others, and has always prized a certain fidelity to the reality of his subjects. “‘When I slice out a space, a moment,” he explains, “it should be done with such simplicity and faithfulness that when I give it back to life, life starts moving and flowing around it without a stutter.”
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By Paul Ben-Itzak
Copyright 2011, 2017 Paul Ben-Itzak
NEW YORK — Only a true art fanatic with a death wish would walk 50 blocks downtown from his digs on the Upper West Side to the Chelsea Art Valley on a polar night in Manhattan, when the towering buildings on the seemingly interminable blocks between 10th and 11th Avenue make the art voyager feel particularly naked in the Naked City. So there I was — oui, moi — with a scribbled list of a dozen galleries hosting openings Thursday night, in search of high middle-brow art ‘arrosed’ by red, red, wine. What I found was middle-concept middling art watered down by tepid white wine (doesn’t stain like red), with only one artist worth remarking among the 12, this defeated art voyager treading wearily home in his Fort Worth Mexican flea market tan cowboy boots, only to be saved by Joel McCrea riding out of the high country with Randolph Scott riding herd.
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As of January 1, 2017, new Arts Voyager articles and art will be made available exclusively to subscribers and delivered via e-mail.
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Keith Haring. Manhattan Penis Drawings for Ken Hicks, 1978. Graphite on paper. 8 1/2 x 5 1/2 inches (21.6 x 14 cm). ©Keith Haring Foundation. Courtesy Gladstone Gallery, New York. First published on the Arts Voyager in 2012.
By Paul Ben-Itzak
Text copyright 2016 Paul Ben-Itzak
Today my DVD deck on my more or less brand new lap-top broke down just after I’d popped in “Breakfast at Tiffany’s” for my annual refresher course in pursuing one’s dreams and fleeing one’s disappointments with panache. Every year Blake Edwards’s film of Truman Capote (note to French media: It’s CA-POE-TEE not CA-POHT)’s novel teaches me something new. Two years ago, I finally understood why George Peppard’s insisting, “You belong to me, Holly” is not misogynistic. (If I told you there would be no need for you to view the film.)
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