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Friday, June 27, 2014

Charles Baudelaire - L'Albatros

Charles Baudelaire
L'albatros, Baudelaire:

Cette vidéo vous sera utile si vous présentez "L'albatros" de Baudelaire à l'oral de français.

Le poème "L'albatros" constitue la pièce 2 de la première partie des "Fleurs du Mal" et se situe donc au début de la section "Spleen et Idéal".

Dans cette vidéo, j'articule mon commentaire de "L'albatros" de Baudelaire autour de deux axes de lecture :
I - Les albatros tournés en dérision par les hommes
II - La valeur symbolique de l'Albatros

Vous trouverez le commentaire composé entièrement rédigé de "L'albatros" en cliquant sur le lien ci-dessous :

 L'Albatros by Charles Baudelaire
Slow Reading

Thursday, June 26, 2014

Magical Images That Prove Levitation Is Possible

Magical Images
That Prove Levitation Is Possible

By Katherine Brooks

“Once you have tasted flight, you will forever walk the earth with your eyes turned skyward," Leonardo da Vinci famously mused.

Artists have long been fascinated with the prospects of flying and floating, from da Vinci's sketches of flying machines to Marc Chagall's dreamy paintings. And as advancing technology has catapulted art into the 21st century, the dream of "tasting flight" has become that much more real. Take for example, the mesmerizing art of levitation photography.

Black Balloon Antics by Damon Dahlen

We have photographer Damon Dahlen to thank for this hypnotic moving image, a kaleidoscope of visual trickery and aesthetic awe. He's the mind behind an entire series of levitation photographs that seems to achieve the impossible. Men and women defy gravity with magical ease -- dancing, falling, hovering and soaring in midair. The stunning acts are captured in GIF form, bringing the act of flying to new and more beautiful heights.

To create his levitation objets d'art, Dahlen engages in a complex process of puzzling together static photos one after another. "I generally shoot the levitating person (a person in frame, resting on a stool or a ladder) and then a base shot. I then lay the levitation photo over the base photo and remove what the person is resting on," he explained. His moving images -- the GIFs -- are a bit more complicated, and can take anywhere between a couple of hours to a several days to complete. He has to repeat the process above over and over again, shooting several photographs, and taking into consideration speed and emphasis as the images come together in a frenzy of motion.

"I love the fact that the GIF has unlocked the middle ground between photo and video," Dahlen added. "It's no longer a medium that is just used for quick hits of funny parts of videos. With the powerhouse that photoshop has become and the realization that this new ability can allow artists to play in spaces that were not possible before makes the possibilities seem endless."

His results, featuring dark marionettes and ethereal music box dancers, seem well worth the exhaustion. Take a peek at Dahlen's hypnotic GIFs below and let us know your thoughts on his levitation style in the comments.

What Did She Say?


Let Me Pull Some Strings

A Sudden End


Flail Nowhere

Strobe Death

Why Walk When You...

Smooth, Stop, Repeat

Just Blink

Shortest Distance Between Two Points...

Give Me A Banana, NOW!


I Know This Is Possible

Music Box Dancer

Pink Pumps

It's Me!

Ghostly Maneuvers


The Eye

Look Over There

 Stormy End!

One Way Or The Other

Wednesday, June 25, 2014

Stunning Portraits of Mixed-Race Families

Stunning Portraits
Mixed-Race Families

By David Rosenberg
Doyle Family, 2010
Citizenship: American. Ancestries: African, American Indian, Creole, Cuban, French, Irish. Languages: English, Spanish, French. Live in New York.

Fascinated by the evolution of identity, the photographer  Cyjo, who styles her name CYJO, has created a series of portraits that examines how race, ethnicity, and heritage contextualize a person as an individual, and how they coexist within the framework of a family.

Cyjo identifies herself as a Westerner of Korean ethnicity (she was born in South Korea and raised in the United States) and photographed the series “Mixed Blood” from 2010–13 in both New York and Beijing. She has explored the dynamic between individual and collective identities in her previous work via a more abstract approach, but, with “Mixed Blood,” she uses the more literal approach of portraiture.

Over time, as humans migrate and change environments, the definition of identity has evolved to adjust to a broader definition of race and ethnicity. Cyjo pointed out that, in 2000, the United States Census for the first time allowed people to choose more than one identifier when noting their race. Almost 7 million people chose to count themselves as mixed race, a number that has continued to grow over the past decade and a half.
Chandola Family, 2013
Citizenships: Indian, Korean. Ancestries: Indian, Korean. Languages: English, Korean, Mandarin, Hindi. Live in Beijing.
 Snodgrass Family, 2013
Citizenships: American, Chinese. Ancestries: German, Han Chinese, Irish. Languages: English, Mandarin. Moved back and forth to China since 1999.
 Valter Family, 2010
Citizenship: American, German. Ancestries: African-American, American Indian, Bahamian, French, German. Languages: English, German, French, Spanish. Live in New York.

Throughout “Mixed Blood,” Cyjo wanted to portray the ever-changing definition of race and to examine the uniqueness of the individual within their families.
“The format for ‘Mixed Blood’ had the individuals together but standing separately (with the exception of select mothers and babies) which allowed the individual and group identities within the family unit to be more clearly observed,” she said.

Cyjo found some of the families she photographed in the series through friends, and others she found through happenstance, something she said helped to form a narrative for the work.
“The organic process of accumulating a group brought a sense of random sincerity as opposed to a fixed image or expectation that could occur if people were specifically researched and then chosen to be a part of the project,” she added. “The accident of inclusion allows for the outcome or end product to be more of a surprise and that excites me.”

Separating the individuals within each portrait, with parents on the left and children on the right, also makes it easier for the viewer to compare and contrast each family. It is also possible to get a glimpse into the family’s living environment, another example of how cultures are shared. Although Cyjo set up the portraits, she said there is still an element of spontaneity in the images, seen through subtle body positions or expressions of the participants.
Kishimoto Family, 2013
Citizenships:Chinese, Japanese. Ancestries: Han Chinese, Japanese, Xibo Chinese. Languages: Mandarin, Japanese, English. Live in Beijing.
Casarosa Family, 2010
Citizenships: American, Italian, Korean. Ancestries: Italian, Korean. Languages: English, Italian, Korean. Live in New York.

Cyjo said one of the reasons she began the series was a curiosity about exactly what “mixed ethnicity” currently represents, noting that as countries such as China continue to modernize, how the mix of new culture will blend with longstanding traditions will be interesting to follow. While there are people who fear cultural blending, Cyjo said the idea of a global identity and our definition of self, culture and race is rooted in life experiences and personal choices.

“But the bigger question is how will cultures and people maintain their individuality?” she asked. “What will be those cultural differences aside from language and food that will make a culture unique? There’s so much more we can learn from each other, especially from our differences.”
Huang Rierson Family, 2013
Citizenships: American, Belgium. Ancestries: French, Hakka Chinese, Han Chinese, German, Irish, Scottish. Languages: Mandarin, French, English. Live in Beijing.
James Family, 2010
Citizenship: American. Ancestries: American Indian, Chinese, Dutch, English, Filipino, German, Irish, Japanese, Prussian. Languages: English, French, Pidgin English (a mix of English, Hawaiian, Chinese, Japanese, and Filipino). Live in New York.


The Hapa Project

The Hapa Project is a multiracial identity project created by artist Kip Fulbeck. The project embodies a range of mediums, including a published book, traveling photographic exhibition, satellite community presentations, and online communities

Fulbeck began the project in 2001, traveling the country photographing over 1200 volunteer subjects who self-identified as Hapa (defined for the project as mixed ethnic heritage with partial roots in Asian and/or Pacific Islander ancestry)

Each individual was photographed in a similar minimalist style (directly head-on, unclothed from the shoulders up, and without jewelry, glasses, excess make-up, or purposeful expression)

After being photographed, participants identified their ethnicites in their own words, then hand-wrote their response to the question “What are you?”
Over 1200 volunteer participants were photographed at dozens of shoots throughout California and Hawaii, as well as Illinois, New York, and Wisconsin

The Hapa Project was created to promote awareness and recognition of the millions of multiracial/multi-ethnic individuals of Asian/Pacific Islander descent; to give voice to multiracial people and previously ignored ethnic groups; to dispel myths of exoticism, hybrid vigor and racial homogeneity; to foster positive identity formation and self-image in multiracial children; and to encourage solidarity and empowerment within the multiracial/Hapa community

Fulbeck notes a main objective “… was to make the book I wish I owned when I was a kid. I never knew anyone else like me, going through things I went through, not fitting in, always having to choose sides … ”
“Identity is a personal process and I’m adamant that it should be a personal decision, not one made by a community, a government or others”

Fulbeck also states that despite its utilization of common racial classifications, The Hapa Project is fundamentally a project about identity rather than race: “It’s about identity using race as a starting point.”  He argues that race in itself is not biologically determined, but socially created:

“For the record, race is not a scientifically sound assumption. For example, there is no DNA difference between human beings. We are all African. Biologically, race does not exist. It is a social and cultural construct … ”

“The U.S. is a country with a long history of social genocide (Native Americans, African slavery, etc.) and this was all due to the seeming differences we attributed to race. Yes, it is very convenient to categorize people according to race. It is also extremely inaccurate”

The project has exhibited throughout the U.S. and abroad

Sunday, June 22, 2014

Editta Sherman - The "Duchess of Carnegie Hall"

Editta Sherman
"Duchess of Carnegie Hall"
Bill Cunningham dressed his muse Editta Sherman in a vintage dress and feathered hat he had made himself to echo the spirit of Grand Central Terminal's ornate rooftop sculpture

Cunningham had amassed a collection of 500 outfits and shot more than 1,800 locations, including Bowery Savings Bank   and 21 Club

Editta Sherman (July 9, 1912 – November 1, 2013) was an Italian-American photographer, often referred to as the "Duchess of Carnegie Hall", since she lived and worked in Carnegie Hall Artist Studios for over 60 years.
Originally formed as a diverse artist enclave and bohemian work-live rental studios to financially support Andrew Carnegie's struggling concert hall, Sherman's home from the 1940s until 2010 allowed her to be part of a unique artistic community of neighbors. Her life's work consists of thousands of historical large format 8×10 negative camera portrait images taken of celebrities, writers, poets, models, sports heroes, politicians, and many others (including many of the famed former tenants of Carnegie Hall).

Sherman was born in Philadelphia, Pennsylvania, the oldest of eight children born to Nunzio and Pierna Rinaldo, immigrants who moved to the United States from Italy in 1910. Her father operated a photography studio in New Jersey where she learned the art at a young age. Editta was married in 1935 to Harold Sherman, a sound engineer and inventor, as well as her business partner. He died at the age of 50 years old, after suffering blindness and diabetes, leaving Editta with five young children to bring up as a single mother. She and her husband were instrumental in raising charity funds for the American Theatre Wing during World War II by volunteering to take portraits of Hollywood stars to aid in the American war effort.

Sherman was a muse of Andy Warhol who filmed her with filmmaker Paul Morrissey in the 1970s. She also appeared in the Abel Ferrara film Ms. 45 in 1981. She was a model as well as photographer and was photographed by Francesco Scavullo and symbolized aging gracefully at age 60 years old in his book "On Beauty" in the 1970s. A decade-long collaboration with her longtime friend and neighbor, William J. Cunningham, a New York Times fashion photographer, resulted in the Fashion Institute of Technology/Penguin Books 1978 publication of their book Facades, visually detailing 200 years of fashion and New York City architecture. In November 1967 Kodak Films sponsored a solo exhibit of Editta's celebrity portraits in a three-week public show at Grand Central Terminal, in New York City.

Sherman lived in Carnegie Hall until July 2010, and continued to work there until September 2010, having become an icon for renter's rights and affordable housing for the elderly in fighting eviction against the City of New York, the current owner of Carnegie Hall. All former residents have now relocated, and The Carnegie Hall Corporation plans to demolish the commercial and residential studios — which in their 1950s Bohemian heyday numbered as many as 170 — to create educational and rehearsal space for the hall. The $200 million project is to be completed in 2014.




Bill Cunningham (American photographer)

Bill Cunningham
(American photographer)

William J. Cunningham (born March 13, 1929) is a fashion photographer for The New York Times, known for his candid and street photography.
Bill Cunningham, Editta Sherman on the Train to the Brooklyn Botanic Garden, ca. 1972.
New-York Historical Society, Gift of Bill Cunningham.

Born in Boston, Cunningham dropped out of Harvard University in 1948 and moved to New York City, where he initially worked in advertising. Not long after, he quit his job and struck out on his own, making hats under the name "William J." This business folded when he was drafted. After serving a tour in the U.S. Army, he returned to New York and started writing for the Chicago Tribune.
 Bill Cunningham, Paris Theater (built 1947), ca. 1968-1976.
New-York Historical Society, Gift of Bill Cunningham.

During his years as a writer he contributed significantly to fashion journalism, introducing American audiences to Azzedine Alaïa and Jean-Paul Gaultier.

While working at the Tribune and at Women's Wear Daily he began taking photographs of fashion on the streets of New York. After taking a chance photograph of Greta Garbo, he published a group of impromptu pictures in the Times in December 1978, which soon became a regular series. His editor, Arthur Gelb, has called these photographs "a turning point for the Times, because it was the first time the paper had run pictures of well-known people without getting their permission."
Cunningham photographs people and the passing scene in the streets of Manhattan every day, focusing on their genuine usage of clothing to express personal style. He is known not to overly photograph celebrities (like a paparazzi would) or people that use fame to showcase clothing they didn't originally pick themselves (sponsored, free clothing). Most of his pictures, he has said, are never published. His personal independence philosophy was cited by CNN: "You see if you don’t take money, they can’t tell you what to do, kid." 

Designer Oscar de la Renta has said, "More than anyone else in the city, he has the whole visual history of the last 40 or 50 years of New York. It's the total scope of fashion in the life of New York." He has made a career taking unexpected photographs of everyday people, socialites and fashion personalities, many of whom value his company. According to David Rockefeller, Brooke Astor asked that Cunningham attend her 100th birthday party, the only member of the media invited.

In 2008 he was awarded the Officier de l'ordre des Arts et des Lettres by the French Ministry of Culture.

In 2010, filmmaker Richard Press and Philip Gefter of The Times produced Bill Cunningham New York, a documentary about Cunningham. The film was released on March 16, 2011. It shows Cunningham traveling through Manhattan by bicycle and living in a tiny apartment in the Carnegie Hall building. The apartment has no closet, kitchen, or private bathroom, and is filled with filing cabinets and boxes of his photographs. The documentary also details his philosophy on fashion, art, and photography, as well as observes his interactions with his subjects while taking photos.

He was featured on BBC Two's The Culture Show in March 2012.

Bill Cunningham:
Words of Wisdom

Bill Cunningham: Facades, is on view at the New York Historical Society from March 14 through June 15, 2014.