View allAll Photos Tagged Robert Brown Review
My Summary Notes
This painting has involved me timewise more than other recent works. That is mostly because I never know what to expect when I start a picture. It evolves through an abstract and almost automatic network of lines which gradually leads me further into development of planes, colors, shapes and eventually into a coherent composition as well as some kind of oblique narrative elements as, for example, some suggestions of a recent trip to Egypt.
In reviewing the most recent phase I think adding the large figure element has helped a great deal to develop a foreground, middle ground and background. I'm always trying to make space in a picture even though I like to make strong two dimensional patterning as well. I draw strong inspiration from Picasso and Braque's Cubist paintings, German Expressionist painters like August Macke and to some extent from Ernst Ludwig Kirchner as well as French painters Robert Delaunay and Jacques Villon. Also the Italian Futurists like Boccioni and Carrá as well as many others of the European Modernist painting tradition.
Now I am at the phase of adjusting chromatic colors, brightening and muting as I deem fit. I found that the painting was way too cold in overall surface appeal. For that reason I have introduced warmer tones, especially yellows, oranges and browns to counter the blues, gray greens and violets. I'm also seeking to create some surprises or disruptions in the whole scheme of things, like the Klee-like patterning developing at the top of the picture. I like how the added warm zones begin to add some kind of fractioning of the surface into zones of varying temperatures of color.
It's hard to tell when I will finish, but I will continue posting progressive changes and notes which I hope you may find interesting in gaining some insight into my working process.
From Wikipedia, the free encyclopedia
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Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
Italian postcard by Rotalfoto, Milano, no. 490. Collection: Marlene Pilaete.
Sophia Loren (1934) rose to fame in post-war Italy as a voluptuous sex goddess. Soon after, she became one of the most successful stars of the 20th Century, who won an Oscar for her mother role in La ciociara/Two Women (Vittorio De Sica, 1960).
Sophia Loren was born Sofia Villani Scicolone in the charity ward of a Roman hospital in 1934. She was the illegitimate daughter of construction engineer Riccardo Scicolone and piano teacher and aspiring actress Romilda Villani. Riccardo was married to another woman and refused to marry Romilda, leaving her without support. Romilda, Sofia, and sister Maria returned to Pozzuoli to live with Sofia's grandmother. Pozzuoli was a small town outside Naples and one of the hardest hit during World War II. The family shared a two-room apartment with the grandmother and several aunts and uncles. The shy, stick-thin girl regularly went hungry and had to flee from bombings. At 14, Sofia had a voluptuous figure and entered a beauty contest. She was selected as one of the finalists but did not win. In 1950, she was one of the contestants at the Miss Italia competition. She earned the 2nd place and was awarded ‘Miss Eleganza’. While attending the Miss Rome beauty contest, earlier in 1950, she had met judge Carlo Ponti, an up-and-coming film producer, 22 years her senior. Ponti had helped launch Gina Lollobrigida's career and now began grooming Sofia for stardom. He hired an acting coach to tutor her. At 16 she was in her first film, the Totó comedy Le Sei Mogli di Barbablù/Bluebeard’s Six Wives (Carlo Ludovico Bragaglia, 1950) under the name Sofia Lazzaro. She also appeared as an extra in Luci del varietà/Lights of the Variety (Federico Fellini, 1950), the smash hit Anna (Alberto Lattuada, 1951) and Quo Vadis (Mervyn Leroy, 1951). During the early 1950s, she secured work modelling for fumetti magazines. These comic-like magazines used actual photographs. The dialogue bubbles were called 'fumetti' - hence the popular name. At 17, she was cast by Ponti in her first larger role as the commoner who caught the prince's eye in the filmed opera La Favorita/The Favorite (Cesare Barlacchi, 1952). The next year she earned third billing after Silvana Pampanini and Eleanora Rossi-Drago in La Tratta Delle Bianche/The White Slave Trade (Luigi Comencini, 1953) and she played, complete with blackface and an Afro, the lead in another filmed opera, Aida (Clemente Fracassi, 1953) by Giuseppe Verdi. Her singing was dubbed by Renata Tebaldi. Ponti eventually changed her name to Sophia Loren.
Sophia Loren appeared for the first time with Marcello Mastroianni in the romantic comedy Peccato che sia una canaglia/Too Bad She's Bad (Alessandro Blasetti, 1954). They would make 13 films together, including Tempi nostri/A Slice of Life (Alessandro Blasetti, Paul Paviot, 1954), La bella mugnaia/The Miller's Wife (Mario Camerini, 1955), and La fortuna di essere donna/What A Woman (Alessandro Blasetti, 1956). L'Oro di Napoli/Gold of Naples (Vittorio de Sica, 1954), an anthology of tales depicting various aspects of Neapolitan life, was distributed internationally. At AllMovie, Jason Ankeny writes that in reviews "Loren was singled out for the strength of her performance as a Neapolitan shopkeeper, surprising many critics who had dismissed her as merely another bombshell". The film established her persona as a sensuous working-class earth mother. It also began a fruitful, career-long collaboration with De Sica. Sophia’s first film to find international success was La Donna del Fiume/The River Girl (Mario Soldati, 1955), in which she danced sensually the Mambo Bacan. Hal Erickson at AllMovie: "Through it all, Sophia Loren looks like a million lire - and she even gets to sing and dance!". She came to the attention of Stanley Kramer who offered her the female lead in The Pride And The Passion (Stanley Kramer, 1957) opposite Cary Grant and Frank Sinatra. Sophia played a Spanish peasant girl involved in an uprising against the French. This was the turning point in her career, and the film proved to be one of the top US box office successes of the year. Her next English-language film was Boy on a Dolphin (Jean Negulesco, 1957) with Alan Ladd, where she was memorable mostly for emerging from the water in a wet, skin-tight, transparent dress. With her va-va-va-voom image, she became an international film star and got a five-picture contract with Paramount Pictures. Among her Paramount films were Desire Under the Elms (Delbert Mann, 1958) with Anthony Perkins and based upon the Eugene O'Neill play, Houseboat (Melville Shavelson, 1958), a romantic comedy co-starring Cary Grant, and the Western Heller in Pink Tights (George Cukor, 1960) in which she appeared for the first time with blonde hair (a wig). Most of these films were received lukewarmly at best.
In 1960 Sophia Loren returned to Italy to star in the biggest success of her career, La Ciociara/Two Women (Vittorio De Sica, 1960). She played a widow desperately trying to protect her daughter from danger during WW II, only to end up in a destructive love triangle with a young radical (Jean Paul Belmondo). Hal Erickson at AllMovie: "A last-minute replacement for Anna Magnani, Sophia Loren brought hitherto untapped depths of emotion to her performance in Two Women; she later stated that she was utilizing 'sensory recall,' dredging up memories of her own wartime experiences." Loren won the Best Actress Oscar for her performance, and also the Cannes, Venice ánd Berlin Film Festivals' best performance prizes. Next, she played in Spain Samuel Bronston's epic production of El Cid (Anthony Mann, 1961) with Charlton Heston, followed by the De Sica episode of the anthology Boccaccio '70 (Vittorio De Sica, Federico Fellini, Luchino Visconti, 1962). On the strength of her Oscar win, she also returned to English-language fare with Five Miles to Midnight (Anatole Litvak, 1963), followed a year later by The Fall of the Roman Empire (Anthony Mann, 1964), for which she received $1 million. Among Loren's other films of this period are The Millionairess (Anthony Asquith, 1960) with Peter Sellers, It Started in Naples (Melville Shavelson, 1960) with Clark Gable, Lady L (Peter Ustinov, 1965) with Paul Newman, Arabesque (Stanley Donen, 1966) with Gregory Peck, and Charlie Chaplin's final film, A Countess from Hong Kong (1967) with Marlon Brando. Despite the failure of many of her films to generate sales at the box office, she invariably turned in a charming performance and she wore some of the most lavish costumes ever created for the cinema. Her best Italian films include the triptych Ieri, oggi, domani/Yesterday, Today And Tomorrow (Vittorio De Sica, 1963), a comedy that poked fun at a Catholic priest and gently mocked the Italian law on birth control, and Matrimonio all' Italiana/Marriage Italian Style (Vittorio De Sica, 1964) with Loren as the hooker who lures Mastroianni into marriage.
After several miscarriages and a highly-publicized struggle to become pregnant, Sophia Loren gave birth to son Hubert Leoni Carlo Ponti in 1968. She started to work less and moved into her 40s and 50s with roles in films like De Sica's war drama I Girasoli/The Sunflowers (Vittorio De Sica, 1972), Il Viaggio/The Voyage (Vittorio De Sica, 1974) opposite Richard Burton, and reuniting with Marcello Mastroianni in the mob comedy La Pupa del Gangster/Get Rita (Giorgio Capitani, 1975). An artistic highlight was Una giornata particolare/A Special Day (Ettore Scola, 1977) which earned a Golden Globe for Best Foreign Film. Loren played a bored housewife on the day of the first meeting between Mussolini and Hitler. Left alone in her tenement home when her fascist husband runs off to attend the historic event, Loren strikes up a friendship with her homosexual neighbour (Marcello Mastroianni). As the day segues into night, Loren and Mastroianni develop a very special relationship that will radically alter both of their outlooks on life. When a dubbed version of Una giornata particolare/A Special Day found favour with American audiences, Hollywood again came calling, resulting in a pair of thrillers, The Brass Target (John Hough, 1978) and Firepower (Michael Winner, 1979) which offered her a central role as a widow seeking answers in the murder of her chemist husband. In 1980, Loren portrayed herself, as well as her mother, in Sophia Loren: Her Own Story (Mel Stuart, 1980), a made-for-television biopic adaptation of her autobiography. Actresses Ritza Brown and Chiara Ferrari played Loren at younger ages. She made headlines in 1982 when she served an 18-day prison sentence in Italy on tax evasion charges, a fact that didn't damage her career or popularity. In her 60s, Loren ventured into various areas of business, including cookbooks, eyewear, jewelry, and perfume. In honour of her lengthy career, Loren was the recipient of a special Oscar in 1991. She also made well-received appearances in her final film with Mastroianni, Prêt-à-Porter/Ready to Wear (1994), Robert Altman's take on the French fashion scene, and in the comedy hit Grumpier Old Men (Howard Deutch, 1995) playing a femme fatale opposite Walter Matthau and Jack Lemmon. In 1995 she received the Golden Globe Cecil B. DeMille Award. At the age of 72, she appeared scantily-clad in the 2007 edition of the famous calendar of Italian racing tire giant Pirelli. It made her the oldest model in the calendar's history. The photos by Dutch photographers Inez van Lamsweerde and Vinoodh Matadin proved that she was still a major international sex symbol. In 2007 Carlo Ponti died. It had been controversial in her native Italy when Sophia Loren had married her mentor Ponti in 1957. Not only was he 45 to her 23, but he had been married previously, and neither the Catholic Church nor the Italian government recognised his Mexican divorce. Ponti was charged with bigamy, but the charges were dropped when they had their marriage annulled. They continued living together - scandalous at the time - and remarried after his legal problems had been cleared. Ponti and Loren made three dozen films together. They had two children, symphony conductor Carlo Ponti Jr. and film director Edoardo Ponti. After four years off the big screen, Sophia Loren co-starred in a film version of the Broadway musical Nine (Rob Marshall, 2009). She played the mother of famous film director Guido Contini, portrayed by Daniel Day-Lewis. According to Jason Ankeny at AllMovie, "Loren proved she still had movie star charisma with a role in Chicago director Rob Marshall's Nine - a lavish tribute to all things Italian." Loren made a two-part television biopic of her early life titled La Mia Casa È Piena di Specchi/My House Is Full of Mirrors (Vittorio Sindoni, 2010), based on of the memoir written by her sister Maria Scicolone. At 80, Sophia Loren returned to the screen in Human Voice (2014) directed by her son Edoardo Ponti. At the presentation Tribeca Film Festival in New York, 'the timeless beauty' stunned the press once again when she walked on the red carpet in a chic red pantsuit hand-in-hand with her 41-year-old son to promote the short film. Human Voice is based on the play by iconic French playwright Jean Cocteau and sees La Loren play a woman in her twilight years facing revelations from her past. In late 2014, she also presented her first memoir, Ieri, oggi, domani. La mia vita/Today and Tomorrow: My Life as a Fairy Tale. It includes old pictures, letters, and notes detailing encounters with Cary Grant and other film partners. In 2020, La Loren returned to the screen as Madame Rosa in a new film adaptation of Romain Gary's 'La vie devant soi', La vita davanti a sé/The Life Ahead (Edoardo Ponti, 2020).
Sources: Jason Ankeny (AllMovie), Hal Erickson (AllMovie), Shyam Dodge (Daily Mail), Jenny (IMDb), Wikipedia, NNDB, TCM, and IMDb.
And, please check out our blog European Film Star Postcards.
Italian postcard by Edizione R.D.V., Milano, no. 101. Sophia Loren in La donna del fiume/The River Girl (Mario Soldati, 1954).
Sophia Loren (1934) rose to fame in post-war Italy as a voluptuous sex goddess. Soon after, she became one of the most successful stars of the 20th Century, who won an Oscar for her mother role in La ciociara (Vittorio De Sica, 1960).
Sophia Loren was born Sofia Villani Scicolone in the charity ward of a Roman hospital in 1934. She was the illegitimate daughter of construction engineer Riccardo Scicolone and piano teacher and aspiring actress Romilda Villani. Riccardo was married to another woman and refused to marry Romilda, leaving her without support. Romilda, Sofia, and sister Maria returned to Pozzuoli to live with Sofia's grandmother. Pozzuoli was a small town outside Naples and one of the hardest hit during World War II. The family shared a two-room apartment with the grandmother and several aunts and uncles. The shy, stick-thin girl regularly went hungry and had to flee from bombings. At 14, Sofia had a voluptuous figure and entered a beauty contest. She was selected as one of the finalists but did not win. In 1950, she was one of the contestants in the Miss Italia competition. She earned 2nd place and was awarded ‘Miss Eleganza’. While attending the Miss Rome beauty contest, earlier in 1950, she had met judge Carlo Ponti, an up-and-coming film producer, 22 years her senior. Ponti had helped launch Gina Lollobrigida's career and now began grooming Sofia for stardom. He hired an acting coach to tutor her. At 16 she was in her first film, the Totó comedy Le Sei Mogli di Barbablù/Bluebeard’s Six Wives (Carlo Ludovico Bragaglia, 1950) under the name Sofia Lazzaro. She also appeared as an extra in Luci del varietà/Lights of the Variety (Federico Fellini, 1950), the smash hit Anna (Alberto Lattuada, 1951), and Quo Vadis (Mervyn Leroy, 1951). During the early 1950s, she secured work modelling for fumetti magazines. These comic-like magazines used actual photographs. The dialogue bubbles were called 'fumetti' - hence the popular name. At 17, she was cast by Ponti in her first larger role as the commoner who caught the prince's eye in the filmed opera La Favorita/The Favorite (Cesare Barlacchi, 1952). The next year she earned third billing after Silvana Pampanini and Eleanora Rossi-Drago in La Tratta Delle Bianche/The White Slave Trade (Luigi Comencini, 1953) and she played, complete with blackface and an Afro, the lead in another filmed opera, Aida (Clemente Fracassi, 1953) by Giuseppe Verdi. Her singing was dubbed by Renata Tebaldi. Ponti eventually changed her name to Sophia Loren.
Sophia Loren appeared for the first time with Marcello Mastroianni in the romantic comedy Peccato che sia una canaglia/Too Bad She's Bad (Alessandro Blasetti, 1954). They would make 13 films together, including Tempi nostri/A Slice of Life (Alessandro Blasetti, Paul Paviot, 1954), La bella mugnaia/The Miller's Wife (Mario Camerini, 1955), and La fortuna di essere donna/What A Woman (Alessandro Blasetti, 1956). L'Oro di Napoli/Gold of Naples (Vittorio de Sica, 1954), an anthology of tales depicting various aspects of Neapolitan life, was distributed internationally. At AllMovie, Jason Ankeny writes that in reviews "Loren was singled out for the strength of her performance as a Neapolitan shopkeeper, surprising many critics who had dismissed her as merely another bombshell". The film established her persona as a sensuous working-class earth mother. It also began a fruitful, career-long collaboration with De Sica. Sophia’s first film to find international success was La Donna del Fiume/The River Girl (Mario Soldati, 1955), in which she danced sensually the Mambo Bacan. Hal Erickson at AllMovie: "Through it all, Sophia Loren looks like a million lire - and she even gets to sing and dance!". She came to the attention of Stanley Kramer who offered her the female lead in The Pride And The Passion (Stanley Kramer, 1957) opposite Cary Grant and Frank Sinatra. Sophia played a Spanish peasant girl involved in an uprising against the French. This was the turning point in her career, and the film proved to be one of the top US box office successes of the year. Her next English-language film was Boy on a Dolphin (Jean Negulesco, 1957) with Alan Ladd, where she was memorable mostly for emerging from the water in a wet, skin-tight, transparent dress. With her va-va-va-voom image, she became an international film star and got a five-picture contract with Paramount Pictures. Among her Paramount films were Desire Under the Elms (Delbert Mann, 1958) with Anthony Perkins and based upon the Eugene O'Neill play, Houseboat (Melville Shavelson, 1958), a romantic comedy co-starring Cary Grant, and the Western Heller in Pink Tights (George Cukor, 1960) in which she appeared for the first time with blonde hair (a wig). Most of these films were received lukewarmly at best.
In 1960 Sophia Loren returned to Italy to star in the biggest success of her career, La Ciociara/Two Women (Vittorio De Sica, 1960). She played a widow desperately trying to protect her daughter from danger during WW II, only to end up in a destructive love triangle with a young radical (Jean-Paul Belmondo). Hal Erickson at AllMovie: "A last-minute replacement for Anna Magnani, Sophia Loren brought hitherto untapped depths of emotion to her performance in Two Women; she later stated that she was utilizing 'sensory recall,' dredging up memories of her own wartime experiences." Loren won the Best Actress Oscar for her performance, and also the Cannes, Venice ánd Berlin Film Festivals' best performance prizes. Next, she played in Spain Samuel Bronston's epic production of El Cid (Anthony Mann, 1961) with Charlton Heston, followed by the De Sica episode of the anthology Boccaccio '70 (Vittorio De Sica, Federico Fellini, Luchino Visconti, 1962). On the strength of her Oscar win, she also returned to English-language fare with Five Miles to Midnight (Anatole Litvak, 1963), followed a year later by The Fall of the Roman Empire (Anthony Mann, 1964), for which she received $1 million. Among Loren's other films of this period are The Millionairess (Anthony Asquith, 1960) with Peter Sellers, It Started in Naples (Melville Shavelson, 1960) with Clark Gable, Lady L (Peter Ustinov, 1965) with Paul Newman, Arabesque (Stanley Donen, 1966) with Gregory Peck, and Charlie Chaplin's final film, A Countess from Hong Kong (1967) with Marlon Brando. Despite the failure of many of her films to generate sales at the box office, she invariably turned in a charming performance and she wore some of the most lavish costumes ever created for the cinema. Her best Italian films include the triptych Ieri, oggi, domani/Yesterday, Today And Tomorrow (Vittorio De Sica, 1963), a comedy that poked fun at a Catholic priest and gently mocked the Italian law on birth control, and Matrimonio all' Italiana/Marriage Italian Style (Vittorio De Sica, 1964) with Loren as the hooker who lures Mastroianni into marriage.
After several miscarriages and a highly-publicized struggle to become pregnant, Sophia Loren gave birth to her son Hubert Leoni Carlo Ponti in 1968. She started to work less and moved into her 40s and 50s with roles in films like De Sica's war drama I Girasoli/The Sunflowers (Vittorio De Sica, 1972), Il Viaggio/The Voyage (Vittorio De Sica, 1974) opposite Richard Burton, and reuniting with Marcello Mastroianni in the mob comedy La Pupa del Gangster/Get Rita (Giorgio Capitani, 1975). An artistic highlight was Una giornata particolare/A Special Day (Ettore Scola, 1977) which earned a Golden Globe for Best Foreign Film. Loren played a bored housewife on the day of the first meeting between Mussolini and Hitler. Left alone in her tenement home when her fascist husband runs off to attend the historic event, Loren strikes up a friendship with her homosexual neighbour (Marcello Mastroianni). As the day segues into night, Loren and Mastroianni develop a very special relationship that will radically alter both of their outlooks on life. When a dubbed version of Una giornata particolare/A Special Day found favour with American audiences, Hollywood again came calling, resulting in a pair of thrillers, The Brass Target (John Hough, 1978) and Firepower (Michael Winner, 1979) which offered her a central role as a widow seeking answers in the murder of her chemist husband. In 1980, Loren portrayed herself, as well as her mother, in Sophia Loren: Her Own Story (Mel Stuart, 1980), a made-for-television biopic adaptation of her autobiography. Actresses Ritza Brown and Chiara Ferrari played Loren at younger ages. She made headlines in 1982 when she served an 18-day prison sentence in Italy on tax evasion charges, a fact that didn't damage her career or popularity. In her 60s, Loren ventured into various areas of business, including cookbooks, eyewear, jewellery, and perfume. In honour of her lengthy career, Loren was the recipient of a special Oscar in 1991. She also made well-received appearances in her final film with Mastroianni, Prêt-à-Porter/Ready to Wear (1994), Robert Altman's take on the French fashion scene, and in the comedy hit Grumpier Old Men (Howard Deutch, 1995) playing a femme fatale opposite Walter Matthau and Jack Lemmon. In 1995 she received the Golden Globe Cecil B. DeMille Award. At the age of 72, she appeared scantily clad in the 2007 edition of the famous calendar of Italian racing tire giant Pirelli. It made her the oldest model in the calendar's history. The photos by Dutch photographers Inez van Lamsweerde and Vinoodh Matadin proved that she was still a major international sex symbol. In 2007 Carlo Ponti died. It had been controversial in her native Italy when Sophia Loren had married her mentor Ponti in 1957. Not only was he 45 to her 23, but he had been married previously, and neither the Catholic Church nor the Italian government recognised his Mexican divorce. Ponti was charged with bigamy, but the charges were dropped when they had their marriage annulled. They continued living together - scandalous at the time - and remarried after his legal problems had been cleared. Ponti and Loren made three dozen films together. They had two children, symphony conductor Carlo Ponti Jr. and film director Edoardo Ponti. After four years off the big screen, Sophia Loren co-starred in a film version of the Broadway musical Nine (Rob Marshall, 2009). She played the mother of famous film director Guido Contini, portrayed by Daniel Day-Lewis. According to Jason Ankeny at AllMovie, "Loren proved she still had movie star charisma with a role in Chicago director Rob Marshall's Nine - a lavish tribute to all things Italian." Loren made a two-part television biopic of her early life titled La Mia Casa È Piena di Specchi/My House Is Full of Mirrors (Vittorio Sindoni, 2010), based on of the memoir written by her sister Maria Scicolone. At 80, Sophia Loren returned to the screen in Human Voice (2014) directed by her son Edoardo Ponti. At the presentation at the Tribeca Film Festival in New York, 'the timeless beauty' stunned the press once again when she walked on the red carpet in a chic red pantsuit hand-in-hand with her 41-year-old son to promote the short film. Human Voice is based on the play by iconic French playwright Jean Cocteau and sees La Loren play a woman in her twilight years facing revelations from her past. In late 2014, she also presented her first memoir, Ieri, oggi, domani. La mia vita/Today and Tomorrow: My Life as a Fairy Tale. It includes old pictures, letters, and notes detailing encounters with Cary Grant and other film partners. In 2020, Sophia Loren returned to cinema after an 11-year absence. At the age of 86, she played a Jewish Holocaust survivor who befriends a 12-year-old Senegalese orphan in the Netflix film La vita davanti a sé/The Life Ahead, directed by her son Edoardo Ponti. The film is based on the novel 'La vie devant soi' by French author Romain Gary.
Sources: Jason Ankeny (AllMovie), Hal Erickson (AllMovie), Shyam Dodge (Daily Mail), Jenny (IMDb), Wikipedia, NNDB, TCM, and IMDb.
And, please check out our blog European Film Star Postcards.
British postcard by TV Hits. Photo: Firooz Zahedi / Onyx.
Delicate American actress Winona Ryder (1971) is known for her dark hair, brown eyes and pale skin. She starred in films such as Beetlejuice Heathers, Bram Stoker's Dracula, Edward Scissorhands, and the television series Stranger Things. In 1994, she won a Golden Globe for Best Supporting Actress in the film The Age of Innocence (1993), and Ryder was nominated twice for an Oscar.
Winona Ryder was born Winona Laura Horowitz in Winona (Olmsted County), Minnesota, in 1971. Yes, her name is very much the same as her birthplace. Her parents, Cindy Horowitz (Istas), an author and video producer, and Michael Horowitz, a publisher and bookseller, were part of the hippie movement. She has a brother named Uri Horowitz (1976), who got his first name after Yuri Gagarin, a half-sister named Sunyata Palmer (1968), and a half-brother named Jubal Palmer (1970) from her mother Cindy's first marriage. From 1978, Winona grew up in a commune near Mendocino in California, which had no electricity. When Winona was seven, her mother began to manage an old cinema in a nearby barn and would screen films all day. She allowed Winona to miss school to watch movies with her. In 1981, the family moved to Petaluma, California. Since Winona was considered an outsider in public school, she was sent to a public school and later to the American Conservatory Theater acting school. She was discovered at the age of thirteen by a talent scout at a theatre performance at the American Conservatory Theater in San Francisco. In 1985, she applied for a role in the film Desert Bloom (David Seltzer, 1986) with a video in which she performed a monologue from the book 'Franny and Zooey' by J. D. Salinger. Although the casting choice was fellow actress Annabeth Gish, director and writer David Seltzer recognised her talent and cast her as Rina in his film Lucas (David Seltzer, 1986) about a teenager (Corey Haim) and his life in high school. When telephoned to ask what name she wanted to be called in the credits, she chose Ryder as her stage name because her father's Mitch Ryder & The Detroit Wheels album was playing in the background. Her real hair colour is blonde but when she made Lucas (1986), her hair color was dyed black. She was told to keep it that colour and with the exception of Edward Scissorhands (1990), it has stayed that color since. Her next film was Square Dance (Daniel Petrie, 1987), in which the protagonist she portrays lives a life between two worlds: on a traditional farm and in a big city. Ryder's performance received good reviews, although neither film was a commercial success. Her acting in Lucas led director Tim Burton to cast her in his film Beetlejuice (Tim Burton, 1988). In this comedy, she played Lydia Deetz, who moves with her family into a house inhabited by ghosts (played by Geena Davis, Alec Baldwin, and Michael Keaton). Ryder, as well as the film, received positive reviews, and Beetlejuice was also successful at the box office. In 1989, she starred as Veronica Sawyer in the independent film Heathers (Michael Lehmann, 1989) about a couple (Ryder and Christian Slater) who kill popular schoolgirls. Ryder's agent had previously advised her against the role. The film was a financial failure, but Ryder received positive reviews. The Jerry Lee Lewis biopic Great Balls of Fire! (Jim McBride, 1989) was also a flop. That same year, Ryder appeared in Mojo Nixon's music video 'Debbie Gibson Is Pregnant with My Two-Headed Love Child'. At the premiere of Great Balls of Fire (1989), Ryder met fellow actor and later film partner Johnny Depp. The couple became engaged a few months later, but their relationship ended in 1993. He had a tattoo of her name and after they broke up, he had this reduced to "Wino forever".
In 1990, Winona Ryder had her breakthrough performance alongside her boyfriend Johnny Depp in Edward Scissorhands (Tim Burton, 1990). The fantasy film was an international box-office success. Ryder was selected for the role of Mary Corleone in The Godfather: Part III (Francis Ford Coppola, 1990) but had to drop out of the role after catching the flu from the strain of doing the films Welcome Home Roxy (Jim Abrahams, 1990) and Mermaids (Richard Benjamin, 1990) back-to-back. Ryder's performance alongside Cher and Christina Ricci in the family comedy Mermaids (1990) was praised by critics and she was nominated for a Golden Globe in the Best Supporting Actress category. Ryder also appeared with Cher and Ricci in the music video for 'The Shoop Shoop Song', the film's theme song. Independent filmmaker Jim Jarmusch wrote a role specifically for her in Night on Earth (Jim Jarmusch, 1991), as a tattooed, chain-smoking cabdriver who dreams of becoming a mechanic. Ryder was cast in a dual role as Mina Murray and Elisabeta in Bram Stoker's Dracula (Francis Ford Coppola, 1992). In 1993, she starred as Blanca in the drama The House of the Spirits (Bille August, 1993) alongside Antonio Banderas, Meryl Streep, and Glenn Close. It is the film adaptation of Isabel Allende's bestseller of the same name. Together with Michelle Pfeiffer and Daniel Day-Lewis, she starred in Age of Innocence (Martin Scorsese, 1993), the film adaptation of Edith Wharton's novel. She was Martin Scorsese's first and only choice for the role of May Welland. For years, she kept the message he left on her voicemail, informing her she got the role. Her part earned her a Golden Globe for Best Supporting Actress and an Oscar nomination. She also earned positive reviews for her role in the comedy Reality Bites (Ben Stiller, 1994). She received critical acclaim and another Oscar nomination the same year as Jo in the drama Little Women (Gillian Armstrong, 1994). In 1996, she starred alongside Daniel Day-Lewis and Joan Allen in The Crucible (Nicholas Hytner, 1996), an adaptation of Arthur Miller's stage play about the Puritan witch hunt in Salem. The film was not a success; however, Ryder's performance was favourably reviewed. A year later she portrayed an android in the successful horror film Alien: Resurrection (Jean-Pierre Jeunet, 1997) alongside Sigourney Weaver's Ripley. In 1998 she starred in Woody Allen's Celebrity (1998). after Drew Barrymore turned down the role. In 1999 she starred as a psychiatric patient with borderline syndrome in the drama Girl, Interrupted (James Mangold, 1999), based on Susanna Kaysen's autobiographical novel. Girl, Interrupted, the first film on which she served as executive producer, was supposed to be Ryder's comeback in Hollywood after the flops of the past years. However, the film became the breakthrough for her colleague Angelina Jolie, who won an Oscar for her role. In this decade, she was involved with Dave Pirner, the lead singer of the group Soul Asylum, from 1993 to 1996 and with Matt Damon from December 1997 to April 2000.
Winona Ryder appeared alongside Richard Gere in Autumn in New York (Joan Chen, 2000), a romance about an older man's love for a younger woman. She also made a cameo appearance in the comedy Zoolander (Ben Stiller, 2000). The comedy Mr. Deeds (Steven Brill, 2002) with Adam Sandler became her biggest financial success to date. The film failed with critics and Ryder was nominated for the Golden Raspberry award. Also in 2002, she was sentenced to three years probation and 480 hours of work for repeatedly shoplifting $5,000 worth of clothes. The incident caused a career setback. She withdrew from the public eye in the following years and did not appear in front of the camera again until 2006. In that year, she appeared in the novel adaptation A Scanner Darkly (Richard Linklater, 2006) alongside Keanu Reeves, Robert Downey Jr., and Woody Harrelson. In 2009, she made an appearance in Star Trek: The Future Begins (J. J. Abrams, 2009) as Spock (Zachary Quinto)'s mother Amanda Grayson. The prequel became a huge success at the box office and Ryder earned a Scream Award for Best Guest Appearance. She also appeared alongside Robin Wright and Julianne Moore in Rebecca Miller's Pippa Lee (2009), and alongside Natalie Portman and Mila Kunis in Darren Aronofsky's Black Swan (2010). Ryder starred in the television film When Love Is Not Enough: The Lois Wilson Story (John Kent Harrison, 2010), for which she was nominated for a Screen Actors Guild Award. She starred in the comedy The Dilemma (Ron Howard, 2011), and the thrillers The Iceman (Ariel Vromen, 2012), and The Letter (Jay Anania, 2012) opposite James Franco. In Tim Burton's Frankenweenie (2012) she lent her voice to the character Elsa Van Helsing. Since 2016, she has embodied the main character, Joyce Byers, in the Netflix series Stranger Things (2016-2022), for which she received positive responses. Her role in the series has been described by many as a comeback. Since 2011 Winona Ryder is in a relationship with Scott MacKinlay Hahn.
Sources: Pedro Borges (IMDb), Wikipedia (Dutch and German), and IMDb.
And, please check out our blog European Film Star Postcards.
"VIDEO KILLED THE RADO STAR?"
Well, just about, I'm a tad knackered at the moment!
G’day, I’ve been a wee bit quiet for the past few weeks as I reviewed movies at this year’s 2007 Melbourne (Australia) International Film Festival. I broadcast the reviews over about two and a half hours all up on my show, Zero-G: Science Fiction, Fantasy & Historical Radio, on 3RRR FM. (rrr.org.au)
The above picture is the sign on the Erwin Rado Theatre at 211 Johnson Street, Fitzroy, where the MIFF has its headquarters. The building's nothing much to look at from outside, really! But the sign...well, THAT has character!
Below the MIFF offices, the theatre, named after the director of the Film Festival from 1957 - 1983, has a charming old 69 seat cinema that can screen 16mm and 35mm film as well as DVD, LaserDisc, VHS, Data and MiniDV.
The MIFF’s access to the theatre expired at the end of 2007 and, ideally, it really should have its own dedicated screening facility, as other major city’s film festivals have. Still, the office itself has now moved to a more central location in Melbourne, which is handy!
To find out more about the MIFF go here:
www.melbournefilmfestival.com.au/
Anyway, I thought I’d post some of reviews here, inspired by films that I particularly enjoyed at this year’s event.
The full transcripts can be found at:
-AACHI & SSIPAK-
SOUTH KOREA
This continuously violent South Korean animated adult feature presents a future where human excrement is an energy source. Citizens have a monitoring chip attached to their arses and particularly productive individuals are rewarded with addictive drug laced munchies called Juicy Bars.
I shit you not.
The story begins with a roadwarrior highway battle as the swarming blue mutant Diaper Gang (!) attempts to truckjack a cargo of Juicy Bars, only to encounter a devastatingly lethal cyborg enforcer who makes Judge Dredd look like a human rights campaigner.
Headshot bodies fall at a rate that would impress Aeon Flux and Samurai Jack combined as the repressive government, assorted roving bands of bandits and con men, including the title characters Aachi and Ssipak (pronounced ‘she-pock’) along with a feisty would-be actress, all compete for the Juicy Bars.
Given the outrageous level of mayhem and the giggling concept that lies at the, er, bottom of the plot, it’s hardly worth noting that the animators cheerfully raid pop culture for many sequences, including the films Aliens and Indiana Jones & The Temple Of Doom. The latter is extensively overmined for one tunnel chase set up.
The animation is quite stylistically vigorous while the off the wall social commentary reminds me a little of the kind of thing that animator Ralph Bakshi attempted in his Fritz The Cat days, well before the likes of South Park and its shock-anime kin. There’s also something to be said for the biting political satire that runs through the narrative, which results in the government and gang leader being merely two opposite sides of the same ruthless coin.
People with kids could have pointless fun banning them from seeing this film, but apparently MTV’s thinking of doing a telly series based on it anyway, so, futile or what?
Subtle it isn’t, but it is a species of wicked fun that will gather bums on seats!
Director Joe Bum-jin
2006/90mins
-A FEW DAYS IN SEPTEMBER-
ITALY/FRANCE/PORTUGAL
The first film directed by screenwriter Santiago Amigorena, A Few Days In September
(Quelques Jours en Septembre), is a laid back but quite charming French spy thriller that makes espionage a family affair...and a realistically bickering family at that.
Elliot, mostly alluded to or played as an off screen voiceover by Nick Nolte until near the film’s conclusion, is an ex-CIA agent with knowledge about the upcoming 911 attacks. He hopes to trade the information for a stake that will enable him to reunite and live with his biological daughter and step-son, legacies of two seperate cover identity marriages in France and the U.S.
Much sought after by various factions, Elliot entrusts his grown up children, Orlando (Sara Forestier) and David (British actor Tom Riley) to the capable care of Irène, a cool, experienced French secret agent who used to be Elliot’s colleague. The potentially overwhelming meta-story takes a back seat to the character relationships, which makes a nice change to the usual breathless adventures that would normally puff up this kind of story into a by-the-numbers action thriller.
Juliette Binoche brings marvelous, stylish depth to her role as world wise spy Irène, providing a wryly sophisticated setting for her charges’ inevitable romance. (What IS it with the French anyway? After Irène’s arm is injured she turns up wearing a chic scarf as a sling, but of course!) Always gorgeous, the actress pitches the character as being adept enough at her deadly trade so that she can afford to enjoy herself while she works. Forestier is all sharp edged, angry eyed angst as she works through father/daughter issues while Riley nervously cooks (his character worked in a restaurant) for the two formidable women who have abruptly complicated his life with their Amazonian expertise with firearms. I also very much enjoyed the arch Franco/American banter between Orlando and David.
Seeking Elliot through the medium of his children is William Pound, a whacko ‘wet work’ assassin who has a penchant for poetry, drives a florist’s delivery van and has a mobile phone plagued by the world’s most annoying ringtone. Pound’s character is tightly wound by John Turturro, who played one of the convicts in O Brother, Where Art Thou? and also an equally obsessive relative of the title character in the television series Monk.
A Few Days In September benefits from first rate cinematography, including some playful soft focus shots that whimsically render Venice and Paris, cheekily explained by Irène’s habit of removing her glasses to ‘see things differently’. There’s also a cracking good shot through the dark framed doorway of a Venetian Chapel which reminded me of a signature frame from a John Ford Western, only instead of Mesas and sagebrush we get the Venice Lagoon and a passing ocean liner.
Although this film lingers perhaps a little too lovingly on the wrangling entanglements of its main characters I still found it pleasant and rewardable viewing. Amigorena certainly knows how to inject off-beat life into his characters.
Director/Screenwriter Santiago Amigorena
2006/115 mins
-BUG-
USA
When down on her luck small town waitress Agnes White (played by Ashley Judd) invites eccentric drifter Peter Evans into her seedy motel room she receives much more than she bug-aned for!
Director William Friedkin (The Exorcist, & The French Connection) gets almost unbearably psychological in this cross genre movie that wisely adds no excess fat to the one set, pressure cooker Tracy Lett’s play that it’s adapted from. As the two main characters’ relationship slowly emerges from a far too tightly spun chrysalis the film builds to one of the most intensely wound paranoic conclusions seen on screen.
Michael Shannon is gauntly convincing as Evans, a role that he pioneered in the original stage play and intially at least, reminds me a little of a young Steve McQueen or perhaps, Joachim Phoenix. Harry Connick Junior has a supporting part in the film as Agne’s ex-convict, ex-husband.
Bug’s maddeningly paced escalating tension is supported by an appropriately chittering score, composed by Brian Tyler, who also gave us soundtracks for the films Constantine, Bubba Ho-Tep, the Children of Dune miniseries, as well as episodes of Star Trek: Enterprise and the upcoming Aliens Versus Predator 2: Survival Of The Fittest. Speaking of Star Trek, Ashley Judd also played Ensign Robin Lefler in Star Trek: Next Generation.
Bug is a film that creeps up on you and by its final scuttling rush will definitely get under your skin...one way or another.
Director- William Friedkin
Screenwriter-Tracy Letts
2006/101mins
-EL TOPO-
(MEXICO)
El Topo (“The Mole”) was director Alejandro Jodorowsky's third film. The infamous Mexican allergorically surreal Eastern/Western is presented at the festival in a very fine new restoration (a bit of a shock for those used to seeing it in its customary raddled grindhouse/cult prints!) along with its natural companion piece, The Holy Mountain.
This comprehensively startling but compelling film begins, not unlike the Lone Wolf And Cub Samurai series, with the black clad, flute playing gunslinger El Topo (played by the director himself) riding across the wastelands in company with a taciturn child companion. After a blood drenched encounter with drunkenly bestial bandits El Topo replaces the boy with a seductively manipulative woman who urges him to become the greatest shootist in the world by seeking out and defeating four master gunfighters.
As with the wuxia martial arts films that this story frequently references the quest for the masters proves dangerous, difficult, baffling and wonderous.
The gunslinger’s odyssey to achieve enlightment and mastery is populated with exotic encounters and inventive, symbolically charged imagery. Deflating balloons signal the start of duels, capering outlaws with shoe fetishes rape feminised sand paintings and carve bananas with sabres, civilised townsfolk prove more depraved and debauched than the wasteland bandits, herds of rabbits mysteriously die at El Topo’s feet, incestuously deformed trogalytes living in oil drums tunnel to escape their underground prison, and live bullets are caught and deflected by butterfly nets.
This visual melange is supported by Jodorowskys and Nacho Méndezs evocative music which, by turns soothing or jarring, echoes across the many desert based sequences and permeates the locations, which frequently read more like artistic installations than sets grounded in any kind of mundane reality. In fact, there is a timeless anachronistic feel to the desert that makes you question whether this is nominally a period Western or indeed set in some kind of post-apocalyptic Stephen King future.
El Topo is rendered even stranger by its renowned mid-film gear change, one of several enigmatic transformations that can be interpreted as Buddhist inspired reincarnations of the title character.
Just imagine what might have been if Jodorowsky had pulled off his mid-70s adaptation of Frank Herbert's Dune, with its intended cast of Salvidor Dali as the Emperor, Mick Jagger playing Feyd Rautha and Orson Welles as Baron Harkonnen? As it is the Acid Western tradition at least got another outing in Jim Jarmusch's more recent film, Dead Man, which, for all its many remarkable charms, by comparison to El Topo is cast into monochrome shade.
A bizarre chimera even by Zero-G's notoriously unhinged standards El Topo is a cult classic given gloriously grotesque new life by its own recent transfiguring restoration.
Director/Screenwriter Alejandro Jodorowsky
1971/125mins
-FIDO-
Canada/USA
Fido fiendishly expands upon the gag featured in Shaun of the Dead (amongst other films) that zombies could be domesticated to perform simple tasks. Zombies helping in the kitchen? Uh-oh, better make sure they keep those rotting fingers are kept hygenically away from food preparation surfaces with a pair of crisp, clean white cotton gloves....
In an alternate 1950s the all encompassing ZomCom, which apparently helped win the Zombie War, protects and serves the walled small towns of America. Now, we all know that the only reason to provide zombies with clever electronic control collars is so that the gadgets can malfunction; cue zombie outbreak! It’s the slyly subversive juxtaposition of wholesome mom and apple-pie Leave It To Beaver sitcom with Zombie killing procedural that lends this consistently bemusing film a wicked Addams Family style where Pop naturally reads Death Magazine and scenes shot in cars are filmed using good old fashioned rear screen projection.
Not that we’re talking Black and White telly, nosirree Bob! Fido is filmed in full, glorious technicolour, complete with ginormous finned automobiles, two toned shoes and compliant Stepford housewives who wait at the front door for their patriarchal hubbies to take the martini from their submissive, manicured hands. Happily, Carrie Anne-Moss in one of the main roles, as Helen Robinson, is more of a buddingly feisty Desperate Housewife after the armed and dangerous example of Bree Hodge. (From The Matrix to a zombie packed Pleasantville is indeed an ironic career path!) It’s not long before Helen kicks over the domestic traces following the example of her young son, Timmy (knowingly played by the intriguingly named K’Sun Ray) and his new pet zombie, the Fido of the title, embodied by Billy Connolly. Connolly plays the long suffering Fido with toothy glee, moaning and groaning and lurching in the throes of what could easily double as a hangover of fatally heroic proportions.
Keep an eye out (easy to do in a zombie film) for Dylan Baker, as the nervously cheerful Bill Robinson. Baker has had the sleeper part of Doctor Curt Connors in the Spider-Man films and, as comic book fans anticipate, should eventually get to mutate into the super-villain, The Lizard.
Fido is my genre pic of the Festival, in the tradition of another year’s shambling B-schlock spoof, The Lost Skeleton Of Cadavra. I ask you, how can I not enjoy sinking my teeth into a film where a pet zombie is addressed with a line like: “What’s that Fido? Timmy’s in trouble?”
It’s enough to make Lassie dig her way out of her grave!
Director- Andrew Currie
Screenwriters- Robert Chomiak, Andrew Currie, Dennis Heaton
2006/91mins
-HANSEL & GRETEL-
GERMANY
If you go down to the woods today.....you’d better take your copy of the Brothers Grimm Cookbook For Baking Independent Elderly Female Cannibal Sorceresses.
German director Anne Wild and screenwriter Peter Schwindt settle for a straightforward retelling of the classic rural ‘stranger danger’ story wherein the devious Gretel proves the most resourceful of two deliberately lost children who end up on the menu of the obligatory member of the local Guild of Almagamated Wicked Witches & Confectioners.
Deliberately lost? How do you think the kids got to be wandering around in Blair Witchburg in the first place? Sometimes tactfully omitted from modern retellings of this familiar story is the neglected element of child abandonment, a practice forced upon starving families in situations of plague, famine, wars and other social upheavals. In this case, it’s the pragmatic step-mother who pushes her more sentimental but nontheless compliant woodcutter husband into cutting loose the kids.
In early versions of the story it’s usually just the natural mother who suggests jettisoning the offspring...a much more useful cautionary tale for parents to use as and Awful Threat when disciplining naughty anklebiters.
Leaving aside observations about how Hansel and Gretel underlines the historical distrust of skilled single women of independent means this is actually a moderately creepily staged film. The woods are suitably threatening, and the witch herself, though certainly not up to Buffy The Vampire Slayer standards is a reasonably nasty albeit dimwitted piece of work...
I never can figure out quite why witchy poo needed to go Hannibal Lector on kiddies when she was capable of whipping up enough food to fatten a small army, not to mention all that square footage of gingerbread real estate. Let’s just assume it’s an alternative lifestyle choice, along the lines of supergenius Wile. E. Coyote yearning after Roadrunner drumsticks in spite of the fact that he had enough credit to order truckloads of expensive gadgets from the ACME Corporation.
(On the subject of ghoulish folks developing a fondness for ‘long pig’ just what DID those darling children do with the oven fired witch after they fried her arse?)
We all know how this ends, after making off with the witch’s portable property the kids, in a remarkable act of forgiveness, share their taxfree windfall with their deadbeat dad...though their step mother has obligingly dropped dead in the meanwhile.
Hmm, did anyone actually see step-mama and Ms Witch in the same room at the same time?
Don’t expect a Post-Modern fractured fairytale from Hansel and Gretel and you won’t be led astray by what’s essentially a traditionally told, moderately unsettling film.
Director- Anne Wild
Screenwriter- Peter Schwindt
2006/76mins
-THE HOLY MOUNTAIN-
MEXICO
If you thought Alejandro Jodorowsky’s third film, El Topo, was weird...well, no caca Sherlock!
Wait until you get a load of this....
His next surreally allegorical outing, 1973’s The Holy Mountain, scales even more whackily experimental heights. Like El Topo, The Holy Mountain has also been recently, lovingly restored, all the better to trip out on the eye bulging psychedelic imagery!
Again, as with El Topo, the nominal protagonist is on a messianic quest to achieve enlightment. Even more ironically symbolic in this case since the central thief character bears a strong and exploitable resemblance to the traditional representation of Jesus Christ.
Horácio Salinas plays the hapless thief, leaving Jodorowsky himself the catalytic role of a tower dwelling alchemist who charges him to accompany seven influential but materialistic powerbrokers to Lotus Island where they will achieve eternal life once they have climbed the eponymous Holy Mountain.
Initially the dialogue is thin on the ground but soon ramps up to cheerfully inexplicable levels where a line like “hypersexed brown native vampires” can pass without comment or indeed comprehension. Politics, art, sexuality, and filmmaking, amongst many other subjects, all cop a satirical hiding in this extraordinary film which relies heavily upon fantasy imagery drawn from tarot cards, astrology and religion.
Just listing a few of the oddball ideas gives you an idea of the unique scope of Jorodowsky’s fevered imagination.
Two women are ‘cleansed’ of clothing, make-up, jewellery, false nails, and hair by a black robed priest who himself has ebony varnished fingernails. A screaming man lies covered in tarantulas...no big acting stretch there! The Invasion of Mexico is renacted by lizards dressed in Mezoamerican costumes battling frogs wearing Conquistador armour and missionary robes. (I have my doubts about this sequence, it sure looks like the poor frogs are really being blown up by explosives?) A mulitple amputee writes cryptic messages in the dirt with a severed animal leg. Parading prostitutes turn out to be just as holy as priests. Roman soldiers cast the thief in plaster and create a line of life-sized crucifiction merchandise. Art factory paint coated nude backsides stamp out images on a production line while live body painted nudes are built into installations so they can be fondled by gallery patrons. Gas masked soldiers attend dances and machine guns and hand grenades are painted in rainbow colours. Spartan like warriors pursue a cunning plan to emasculate 1000 heroes to create a shrine of 1000 testicles....and nevermind what they did with the other 1000! Eviscerated victims spill chicken guts....and I mean they literally pull chickens from their wounds’ while Liederhosen wearing Teutonics trip on drugs and strongmen are able to turn intangible and teleport through entire mountains.
Distantly reminiscent of Fellini’s Satyricon, and to some extent Roma, The Holy Mountain also boasts the most startling Orgasmatron machine since the erotic cult film Barbarella, in the form of a Giant mechanical vagina that’s manipulated like a theramin.... well, if a theramin was played by a giant dildo!
Is it any surprise, really, in the wake of the cult success of El Topo, that The Holy Mountain’s producer Allen Klein also managed The Beatles and that those fans of all things psychedelic, John Lennon and Yoko Ono helped fund the movie?
Landmark or landfill experimental film? The Holy Mountain remains an obvious precursor to movies like Eraserhead, The Cremaster Cycle, and The Qatsi Trilogy.
Climb it at your own peril. (You know you want to!)
Director/Screenwriter Alejandro Jodorowsky
1973/114mins
-lLS-
France
Clementine (Olivia Bonamy) and Lucas (Michael Cohen) live happily in pastoral rural isolation in a rundown chalet in the Romanian woods, until one night they are attacked by....THEM! No, not by lurching giant ants from a 1950s horror film but by...well, that would be telling. Some horror films take their time building suspense but Moreau and Palud’s shiversome first feature nails you straight to the wall and keeps you hanging there for the economical just-over-an-hour’s running time. And I do mean ‘running’.
The adept direction and unrelating pace set within the atmospheric confines of the old chalet (a dream of a location to create nightmares in) is ramped up by genuinely unnerving sound effects design, an evocatively tense soundtrack, solid if necessarilly Spartan performances by the two leads, and the teasing revelation of the nature of the besiegers.
There’s nothing particularly new about the ingredients stirred into this terrifying mix. In fact, you could, after the credits have rolled and the lights come up again, sit back and tick off the horror cliches one by one, starting with the usually tiresome pronouncement, “Based On A True Story”. Commentators seem uncertain about the veracity of that, but in this case it adds to the overall feel of unease that permeates the ending of this film. I found myself thinking, “Y’know, I can see how that could actually happen....brrrr!”
Ils...it took me a while to realise that the title is merely the French word for “Them”... is one of the most disturbing horror films I’ve seen in some time, and all without buckets of blood or lashings of sickly inventive torture porn. With its efficient minimalist approach it’s very close in tone to the best of the New Wave of Japanese horror that burst upon the West several years ago now.
Directors/ Screenwriters- David Moreau and Xavier Palud
2006/70 mins
-ISLAND OF LOST SOULS-
DENMARK
A big budget supernatural fantasy for young adults that's part Spielberg, part Lucas, with an added dash of Harry Potter, but which ultimately wears its ample CGI well to create an enjoyable and in a few places reasonably scary film.
When two children move to a quiet country town the last thing they expect to find is a haunted island plagued by a supernatural confluence of kidnapped souls. When a young girl taps into the mystic mayhem it results in her brother being possessed by the spirit of a centuries dead member of an ancient order of sorcerous crimefighters.
The film's young actors are capable and ‘self possessed’ in the face of some quite formidable magical opposition, including a new and nasty take on that familiar player from Central Horror Casting, the living Scarecrow, along with a necromancer who could be brother to both Nosferatu and the Star Wars Emperor, right down to the cadaverous features and handy ability to cast Sith lightning from his fingies! I especialy liked the offbeat character of the trainspotting psychic investigator who inevitably comes to the kid’s aid in their hour of dire peril.
A fun little romp that’s no longer than it should be at an economical 100 minutes.
Director- Nikolaj Arcel
Screenwriter- Ramsus Heisterberg
2007/100mins
Sessions
Sun, 12th of August, 1:00 PM
ACMI
-KHADAK-
Belgium/Germany/The Netherlands
Bagi, played by Batzul Khayankhyarvaa, is a young nomad, who, along with his family are wrenched from their nomadic existence by the Mongolian government who want to consolidate people in towns, villages and cities as the fledgling democracy gears up to enter the 21st century’s global economy. After rescuing Zolzaya (Tsetsegee Byamba), a beautiful female coal thief, Bagi boldly goes where nomad has gone before on a shamanistic quest that culminates in fantastical revelations about Mongolia’s future relation with the environment.
Khadak is underpinned by a hypnotically compelling narrative fascination with magic realism that often contrasts the shabby reality of the concrete high rises with the colourfully organic traditional nomadic traditional yurt dwellings.
The film overflows with powerful imagery, including a simple but effective camera roll that causes an iconistic prayer-scarf draped tree to turn upside down as the land itself is inverted by mineral exploitation and pollution. A deserted town, in reality an abandoned former Soviet barracks, stands in for one potential future. Tractors, used to haul the disassembled yurts, are started and allowed to run aimlessly free across the steppes as the government agents burn the nomads’ links to their former lifestyle behind them.
Khadak doesn’t always offer too nostalgic a view of the nomadic struggle; many of the former rural folk cheerfully adapt to their new circumstances and some seem to pragmatically thrive, especially Bagi’s mother, who ends up running heavy machinery at the coal mine where immense draglines swing with saurian grace across the screen.
The film’s reverberating score resonates across the wind blown, echoing steppes, giving way to some moments of pure musical bliss, especially when some of the newly urbanised young people get together for astonishing ‘jam’ sessions.
Both lyrical and hard edged Khadak is a film, like Martin Scorsese’s Kundan, whose exotic sights and sounds will be welcome guests in my yurt for as long as they choose to stay.
Directors/Screenwriters- Peter Brosens, Jessica Hope Woodworth
2006/105mins
-LAST WINTER, THE-
USA/Iceland
It’s damn cold in Northern Alaska but not cold enough, as tough but soft centered Ron Perlman’s advance oil drilling preparation crew discover when they set out to re-open an isolated test drilling site that may be viable in the face of looming energy shortages. The arctic circle tundra is thawing rapidly, unleashing the kind of environmental horror movie that used to be in vogue back in the 1970s and which is all too timely now as global warming makes its presence felt in the real world.
Perlman, as usual, is excellent, giving the kind of inflected performance that graced Hellboy, Cronos, City Of Lost Children and his impressive work in the television fantasy series Beauty & The Beast. The ensemble players are also deftly sketched in, often in a low key fashion that adds realism.
Director Larry Fessenden successfully follows up and even references in one brief bit of dialogue, Wendigo, one of his earlier, not entirely disimilar horror outings. As with some other genre films in this year’s festival the horror elements are timeless; from the simmering sexual and tensions and hostility between the boffins and the bluecollars to the classic scenario of the besieged ice station. The latter is a character in itself, in the ‘Thingy’ tradition of both Howard Hawks and John Carpenter’s seperate adaptations of John W. Campbell’s seminal very Cold War science fiction novella, Who Goes There? Best possible use is made of this stunning location, as the screen often becomes an overwhelmingly vast white or dark canvas to trap and diminish the hapless blue collar workers.
Crystal clear sound design helps ‘sell’ the visuals and the impressive CGI special effects are first rate, without ever detracting from the practical drama of the sheer dangers of living and working in such an extreme environment.
The Last Winter is a cunningly ambiguous chiller that cleverly maintains a plausible alternative explanation for the film’s lethal events up to and possibly including the final admirably restrained frame which begs teasingly to be opened out into a wider shot but leaves the audience wanting more, leaving room for a possible but unecessary sequel.
Oil be back!
Director- Larry Fessenden
Screenwriters- Larry Fessenden, Robert Leaver
2006/107mins
-MEN AT WORK-
IRAN
A carload of Iranian buddies on their way down the mountains from a skiing holiday stop for a toilet break at a precipitous roadside layover and discover a monolithic rock
that just HAS to be tumbled down the slopes.
If you’re a bloke, you automatically know how it is.
If you’re a woman, equally, you KNOW how we are!
An amusing exploration of male bonding and stubborness this happily crazy film is guaranteed to contain no sociopolitical allegory whatsoever (really!) and the Iranian writer/director has asked that the U.S please refrain from invading his leg of the Axis of Evil until he has finished his next project.
Director/Screenwriter- Mani Haghighi
2006/75mins
-SEVERANCE-
UK
When completely politically incorrect arms merchant Palisade Defence rewards its crack Euro Sales division with a team-building weeked in the woods of Eastern Europe the mismatched but archtypal bickering office workers soon find that they’re not quite the ‘gun’ group that they thought they were.
Yes, the comparison of choice is The Office meets Deliverance and that’s fair enough because what makes this movie so gormlessly funny is the inept Brits Abroad schtick combined with an equally knowing, wickedly timed take on the horror slasher genre that puts most inept Hollywood fun with fear spoofs to more shame than ever. The only time this film ever really fumbles is when it takes the horror too seriously, which is not all that frequently, though more noticably and perhaps inevitably, in the apocalyptic last reel.
Oddly, Severence’s particularly grungy baddies who get to fold, spindle and mutilate our heroic twonks remind me very much of the “Stalkers” from the recent popular video game, which itself references the Tarkovsky film and the less well known science fiction novel that classic is itself based on, Boris and Arkady Strugatsky’s Roadside Picnic.
The heavyweight British ensemble cast is a real corker here, and one of the most enjoyable in the festival films I’ve seen this year, including at least one former Bond villain (Toby Stephens who was Gustav Graves in Die Another Day) and the always wetly amusing Tim McInnerny who plays to his well known Blackadder type (He was both Lord Percy and Captain Darling) as the incompetent boss of the Palisade’s party.
I won’t be the last reviewer to note that Eastern Europe has become destination of choice for horror filmmakers of late. Attracted by threatening woodlands, abandoned buildings and low cost production facilities the exotic locales also perhaps wallow in a degree of smug and possibly premature Western superiority in the wake of the economic collapse of former Eastern Bloc foes. For the moment, these once hard to access countries are providing filmmakers with a place to set their stories ‘beyond the glow of the streetlights’. Again, as with other festival genre films, Severence does benefit from a marvelously decrepit Old Dark house of a location.
Severence is laced with joyfully understated sight gags, dialogue to listen for, and a good deal of well meaning irony regarding corporate responsibility. The icing on the cake is a musical score that fiddles with both ominous gypsy curses, pop tunes and even riffs off We’ll Meet Again as featured in Stanley Kubrick’s Dr Strangelove, to which black comedy there’s more than one reference.
Severance gives awful new meaning to the term, “You’e fired!”
Director- Christopher Smith
Screenwriters- James Moran, Christopher Smith
2006/90mins
-STILL LIFE-
HONG KONG/CHINA
An intimate but involving look at the disapora of displaced persons produced by China's Three Gorges Dam mega-engineering project as seen through the eyes of two people.
In the first part of the film coal miner Han Sanming (played by Sanming Han) returns after 16 years absence to his former home town of Fengjie, only to find its 2000 years of history submerged beneath the waters of the dam. Taking a temporary job in demolition, he searches for news of his ex wife, whom he hasn’t seen for 16 years.
Still Life never wanders far from the dominating horizontal visuals of the mighty Yangtze River and the monolithic concrete and steel dam. The apocalyptic rubble of the yet-to-be flooded part of the town forms another powerful metaphor, a full stop to the flow of linear time represented by the River, which itself has been given pause by the immense project.
It’s a hard life for Han, though undoubtedly far less dangerous than the notoriously hazardous Chinese coal mining industry, and it provides some extraordinary imagery.
Men in supposedly protective suits with sanitising back pack sprayers wander through gutted homes. Friends are made amongst workmates to the jaunty ringtones of their mobile phones as they exchange numbers...a socialising ritual that later prompts one of the film’s most poignant moments when a mobile ‘s unanswered ringing signals a tragic accident. Condemned buildings collapse with tired grace in the distant background as they receive explosive coup de grâces.
The second half of the film segues into another quest for closure, as Nurse Shen Hong (Tao Zhao) journeys to the town looking for her own estranged husband.
Again, the dam is another defining presence in the story, providing a backdrop for the final resolution of Shen Hong’s search.
One baffling scene (and I’d welcome any light that anyone can shed on this!) sees Shen staring at a large monument in the distance. It appears to be a Chinese alphabetical character, rendered in concrete. As she turns away, rocket motors ignite at its base and the whole giant structure lifts off into the skies. I assume this is some kind of reference to the recent successes of the Chinese manned space programme but am not sure as to why it’s relevant to the story? Unless it’s just a bit of triumphalism? Or indeed, because Shen does ignore the startling sight, perhaps it’s meant to be ironic? Enquiring minds need to know!
Actually, the overall philosophical conclusion drawn at the end of Still Life does read a little bit like some kind of inspirational tract to me....but that may just reflect my own bias, or again it could be ironic, and I won’t spoil the ending by going further into detail. (Well, cross cultural puzzles have always attracted me to World Cinema!)
Still Life is a beautifully visualised, thoughtful film with a measured pace that aptly reflects the larger elements that form the canvas that its smaller, but no less important, human dramas are played out against.
Director/Screenwriter- Jia Zhang-ke
2006/108mins
-THE WAR TAPES-
USA
Rather than be 'embedded' in a U.S military unit in Iraq filmmaker Deborah Scranton chose to give cameras to three National Guardsmen to record their own experiences deployed with Charlie Company, 3rd of the 172nd New Hampshire Mountain Infantry. Scranton provided additional remote directorial aid via text messaging and email to the three soldiers, Sgts. Stephen Pink and Zack Bazzi, and Specialist Michael Moriarty, whose stories were chosen from an overall pool of 1000 hours of footage.
The soldiers’ personal and professional accounts are sobering and revelatory and never less than enlightening.
Though it does this remarkably cohesive documentary something of a disservice to cherry pick material out of its sturdily engineered overall context it’s necessary to give some idea of the range of material included in the film.
We see several ambush eye views of the destructive force of roadside Improvised Explosive Devices which, though initiated and responded to with varying degrees of control by both combatant forces, usually result in chaos and confusion, death and destruction, for bystanders. One soldier matter-of-factly tours a vast graveyard of combat lossed vehicles, shattered and gutted by I.E.Ds, casting in an increasingly ironic light President Bush’s triumphantly naive 2003 announcement that “Major combat operations in Iraq have ended...”
The complexity of night operations are mirrored in the silvered eyed stare of soldiers seen through the eerie but tactically invaluable lenses of night vision equipment , rendering one formation of troops strikingly like a formation of stolid Terracotta Warriors. The detached professionalism of the soldiers understandably falters when a night time convoy kills a woman who was then struck repeatedly by each truck in turn.
The irony of soldiers and hired civilians (drivers and security guards) risking and losing their lives to protect re-supply cargos of, for example, cheese for hamburgers, is not lost on the troopers who wonder loudly if the complex and highly profitable logistical tail is wagging the policy dog? In fact, they’re refreshingly unguarded in their speculations about what they see, from their perspective as boots on the ground, as the reasons behind the ongoing war. Their observations are pithy, and to the point...or, rather, multiple points, as the individual opinions cover the entire spectrum of current controversy, from oil driven conspiracy to patriotic war on terror.
Soldiers will always enthusiastically relish the opportunity to grouse about their lot, reserving special venom for the shortcomings of their equipment, training, rations and orders. One complaint amongst many was that these soldiers received little or no cultural instruction to help prepare them for operating in the Iraq theatre, which ommission makes it hard to both know the enemy or understand your friends. Even a simple misunderstanding over a commonly used hand gesture for ‘Stop’ can, in the local environment, be fatally mistaken for ‘Hello!”
The fact that the Iraq conflict is, in reality, fought amongst peoples homes rather than some spiffily titled combat theatre, warzone or neutrally termed area of operations is thoughtfully underlined by frequent segues to the soldiers’ American homes, either when the troops have returned or during their absence. Surface impressions notwithstanding there doesn’t seem to be a great deal of difference between U.S and Iraqi civilians; folks, it seems, are alike all over. Stateside sequences touch upon the complicated effects that the deployment had on civilian family members, the problems of post traumatic stress disorder suffered by the veterans, and the more obvious physical injuries. For example, one of the soldiers has carpal tunnel syndrome in his hands, the result of vibration transmitted through the grips of his vehicle mounted machine gun on patrol. He also has to cope with back pain from wearing body armour in a confined space.
Crammed with ‘real time’ feedback from ongoing conflict The War Tapes makes a provocative companion piece with the 2005 documentary Gunner Palace. For balance I would also add to the recommended viewing list: Control Room (2004), Baghdad ER (2006), and My Country, My Country (2006)
Director- Deborah Scranton
2006/97mins
-WELCOME TO NOLLYWOOD-
USA/NIGERIA
Never heard of the Nigerian film industry? This inspiringly cheeky doco will rectify that and should be seen by all budding filmmakers seeking new ways to practice their art.
Something like 2400 movies per year are produced in Nigeria, making it the third most prolific film industry in the world. Film? Well, that’s a nostalgically generic term to describe the Nigerians’ enthusiastic bypassing of conventional film stock and its complex and expensive infrastructure in favour of digital video distributed directly and cheaply at local marketplaces on DVD or VCD.
The 300 or so Nigerian directors have an already rich tradition of oral storytelling to draw upon, and have embraced multiple genres usually lensing them through an action adventure filter, which has fostered a support industry of movie fight Action Camps where actors can learn the stunt fight business. Although one director claims “We don’t do science fiction” Nollywood nevertheless loves fantasy, especially religious based melodramas with plenty of demons and angels, sorcererors and witches.
Period films set in Nigeria often have a luridly portrayed but understandably anti-slavery element, which alongside with the witchcraft angle concerns some commentators who argue that focusing on these aspects promotes stereotypes.
A visit to the set of a film grounded in the recent Liberian war shows the Nigerian director, who at least partly funded the movie himself, putting his actors through boot camps to learn how to fill out their soldierly roles, including veteran advisors from both sides of the original conflict. The actors go through production hell but ironically are brought low by a botched contract with the caterers...
Nollywood; not entirely different from Hollywood!
Director- Jamie Meltzer
2007/58mins
-U-
FRANCE
A lyrical French animated feature with fluidly drawn artwork and an equally languid, but elegant plot as a Princess Mona is faced with choosing between new love and a beloved friend, who happens to be a unicorn. The charming, anthropomorphic animal cast could have been drawn by Dr Seuss, and the story is a souffle of flirtatious love with a playful musical topping.
Directors- Grégoire Solotareff, Serge Elissalde
Screenwriter- Grégoire Solotareff
2006/71mins
Italian postcard.
Sophia Loren (1934) rose to fame in post-war Italy as a voluptuous sex goddess. Soon after, she became one of the most successful stars of the 20th Century, who won an Oscar for her mother role in La ciociara (Vittorio De Sica, 1960).
Sophia Loren was born Sofia Villani Scicolone in the charity ward of a Roman hospital in 1934. She was the illegitimate daughter of construction engineer Riccardo Scicolone and piano teacher and aspiring actress Romilda Villani. Riccardo was married to another woman and refused to marry Romilda, leaving her without support. Romilda, Sofia, and sister Maria returned to Pozzuoli to live with Sofia's grandmother. Pozzuoli was a small town outside Naples and one of the hardest hit during World War II. The family shared a two-room apartment with the grandmother and several aunts and uncles. The shy, stick-thin girl regularly went hungry and had to flee from bombings. At 14, Sofia had a voluptuous figure and entered a beauty contest. She was selected as one of the finalists but did not win. In 1950, she was one of the contestants in the Miss Italia competition. She earned 2nd place and was awarded ‘Miss Eleganza’. While attending the Miss Rome beauty contest, earlier in 1950, she had met judge Carlo Ponti, an up-and-coming film producer, 22 years her senior. Ponti had helped launch Gina Lollobrigida's career and now began grooming Sofia for stardom. He hired an acting coach to tutor her. At 16 she was in her first film, the Totó comedy Le Sei Mogli di Barbablù/Bluebeard’s Six Wives (Carlo Ludovico Bragaglia, 1950) under the name Sofia Lazzaro. She also appeared as an extra in Luci del varietà/Lights of the Variety (Federico Fellini, 1950), the smash hit Anna (Alberto Lattuada, 1951), and Quo Vadis (Mervyn Leroy, 1951). During the early 1950s, she secured work modelling for fumetti magazines. These comic-like magazines used actual photographs. The dialogue bubbles were called 'fumetti' - hence the popular name. At 17, she was cast by Ponti in her first larger role as the commoner who caught the prince's eye in the filmed opera La Favorita/The Favorite (Cesare Barlacchi, 1952). The next year she earned third billing after Silvana Pampanini and Eleanora Rossi-Drago in La Tratta Delle Bianche/The White Slave Trade (Luigi Comencini, 1953) and she played, complete with blackface and an Afro, the lead in another filmed opera, Aida (Clemente Fracassi, 1953) by Giuseppe Verdi. Her singing was dubbed by Renata Tebaldi. Ponti eventually changed her name to Sophia Loren.
Sophia Loren appeared for the first time with Marcello Mastroianni in the romantic comedy Peccato che sia una canaglia/Too Bad She's Bad (Alessandro Blasetti, 1954). They would make 13 films together, including Tempi nostri/A Slice of Life (Alessandro Blasetti, Paul Paviot, 1954), La bella mugnaia/The Miller's Wife (Mario Camerini, 1955), and La fortuna di essere donna/What A Woman (Alessandro Blasetti, 1956). L'Oro di Napoli/Gold of Naples (Vittorio de Sica, 1954), an anthology of tales depicting various aspects of Neapolitan life, was distributed internationally. At AllMovie, Jason Ankeny writes that in reviews "Loren was singled out for the strength of her performance as a Neapolitan shopkeeper, surprising many critics who had dismissed her as merely another bombshell". The film established her persona as a sensuous working-class earth mother. It also began a fruitful, career-long collaboration with De Sica. Sophia’s first film to find international success was La Donna del Fiume/The River Girl (Mario Soldati, 1955), in which she danced sensually the Mambo Bacan. Hal Erickson at AllMovie: "Through it all, Sophia Loren looks like a million lire - and she even gets to sing and dance!". She came to the attention of Stanley Kramer who offered her the female lead in The Pride And The Passion (Stanley Kramer, 1957) opposite Cary Grant and Frank Sinatra. Sophia played a Spanish peasant girl involved in an uprising against the French. This was the turning point in her career, and the film proved to be one of the top US box office successes of the year. Her next English-language film was Boy on a Dolphin (Jean Negulesco, 1957) with Alan Ladd, where she was memorable mostly for emerging from the water in a wet, skin-tight, transparent dress. With her va-va-va-voom image, she became an international film star and got a five-picture contract with Paramount Pictures. Among her Paramount films were Desire Under the Elms (Delbert Mann, 1958) with Anthony Perkins and based upon the Eugene O'Neill play, Houseboat (Melville Shavelson, 1958), a romantic comedy co-starring Cary Grant, and the Western Heller in Pink Tights (George Cukor, 1960) in which she appeared for the first time with blonde hair (a wig). Most of these films were received lukewarmly at best.
In 1960 Sophia Loren returned to Italy to star in the biggest success of her career, La Ciociara/Two Women (Vittorio De Sica, 1960). She played a widow desperately trying to protect her daughter from danger during WW II, only to end up in a destructive love triangle with a young radical (Jean-Paul Belmondo). Hal Erickson at AllMovie: "A last-minute replacement for Anna Magnani, Sophia Loren brought hitherto untapped depths of emotion to her performance in Two Women; she later stated that she was utilizing 'sensory recall,' dredging up memories of her own wartime experiences." Loren won the Best Actress Oscar for her performance, and also the Cannes, Venice ánd Berlin Film Festivals' best performance prizes. Next, she played in Spain Samuel Bronston's epic production of El Cid (Anthony Mann, 1961) with Charlton Heston, followed by the De Sica episode of the anthology Boccaccio '70 (Vittorio De Sica, Federico Fellini, Luchino Visconti, 1962). On the strength of her Oscar win, she also returned to English-language fare with Five Miles to Midnight (Anatole Litvak, 1963), followed a year later by The Fall of the Roman Empire (Anthony Mann, 1964), for which she received $1 million. Among Loren's other films of this period are The Millionairess (Anthony Asquith, 1960) with Peter Sellers, It Started in Naples (Melville Shavelson, 1960) with Clark Gable, Lady L (Peter Ustinov, 1965) with Paul Newman, Arabesque (Stanley Donen, 1966) with Gregory Peck, and Charlie Chaplin's final film, A Countess from Hong Kong (1967) with Marlon Brando. Despite the failure of many of her films to generate sales at the box office, she invariably turned in a charming performance and she wore some of the most lavish costumes ever created for the cinema. Her best Italian films include the triptych Ieri, oggi, domani/Yesterday, Today And Tomorrow (Vittorio De Sica, 1963), a comedy that poked fun at a Catholic priest and gently mocked the Italian law on birth control, and Matrimonio all' Italiana/Marriage Italian Style (Vittorio De Sica, 1964) with Loren as the hooker who lures Mastroianni into marriage.
After several miscarriages and a highly-publicized struggle to become pregnant, Sophia Loren gave birth to her son Hubert Leoni Carlo Ponti in 1968. She started to work less and moved into her 40s and 50s with roles in films like De Sica's war drama I Girasoli/The Sunflowers (Vittorio De Sica, 1972), Il Viaggio/The Voyage (Vittorio De Sica, 1974) opposite Richard Burton, and reuniting with Marcello Mastroianni in the mob comedy La Pupa del Gangster/Get Rita (Giorgio Capitani, 1975). An artistic highlight was Una giornata particolare/A Special Day (Ettore Scola, 1977) which earned a Golden Globe for Best Foreign Film. Loren played a bored housewife on the day of the first meeting between Mussolini and Hitler. Left alone in her tenement home when her fascist husband runs off to attend the historic event, Loren strikes up a friendship with her homosexual neighbour (Marcello Mastroianni). As the day segues into night, Loren and Mastroianni develop a very special relationship that will radically alter both of their outlooks on life. When a dubbed version of Una giornata particolare/A Special Day found favour with American audiences, Hollywood again came calling, resulting in a pair of thrillers, The Brass Target (John Hough, 1978) and Firepower (Michael Winner, 1979) which offered her a central role as a widow seeking answers in the murder of her chemist husband. In 1980, Loren portrayed herself, as well as her mother, in Sophia Loren: Her Own Story (Mel Stuart, 1980), a made-for-television biopic adaptation of her autobiography. Actresses Ritza Brown and Chiara Ferrari played Loren at younger ages. She made headlines in 1982 when she served an 18-day prison sentence in Italy on tax evasion charges, a fact that didn't damage her career or popularity. In her 60s, Loren ventured into various areas of business, including cookbooks, eyewear, jewellery, and perfume. In honour of her lengthy career, Loren was the recipient of a special Oscar in 1991. She also made well-received appearances in her final film with Mastroianni, Prêt-à-Porter/Ready to Wear (1994), Robert Altman's take on the French fashion scene, and in the comedy hit Grumpier Old Men (Howard Deutch, 1995) playing a femme fatale opposite Walter Matthau and Jack Lemmon. In 1995 she received the Golden Globe Cecil B. DeMille Award. At the age of 72, she appeared scantily clad in the 2007 edition of the famous calendar of Italian racing tire giant Pirelli. It made her the oldest model in the calendar's history. The photos by Dutch photographers Inez van Lamsweerde and Vinoodh Matadin proved that she was still a major international sex symbol. In 2007 Carlo Ponti died. It had been controversial in her native Italy when Sophia Loren had married her mentor Ponti in 1957. Not only was he 45 to her 23, but he had been married previously, and neither the Catholic Church nor the Italian government recognised his Mexican divorce. Ponti was charged with bigamy, but the charges were dropped when they had their marriage annulled. They continued living together - scandalous at the time - and remarried after his legal problems had been cleared. Ponti and Loren made three dozen films together. They had two children, symphony conductor Carlo Ponti Jr. and film director Edoardo Ponti. After four years off the big screen, Sophia Loren co-starred in a film version of the Broadway musical Nine (Rob Marshall, 2009). She played the mother of famous film director Guido Contini, portrayed by Daniel Day-Lewis. According to Jason Ankeny at AllMovie, "Loren proved she still had movie star charisma with a role in Chicago director Rob Marshall's Nine - a lavish tribute to all things Italian." Loren made a two-part television biopic of her early life titled La Mia Casa È Piena di Specchi/My House Is Full of Mirrors (Vittorio Sindoni, 2010), based on of the memoir written by her sister Maria Scicolone. At 80, Sophia Loren returned to the screen in Human Voice (2014) directed by her son Edoardo Ponti. At the presentation at the Tribeca Film Festival in New York, 'the timeless beauty' stunned the press once again when she walked on the red carpet in a chic red pantsuit hand-in-hand with her 41-year-old son to promote the short film. Human Voice is based on the play by iconic French playwright Jean Cocteau and sees La Loren play a woman in her twilight years facing revelations from her past. In late 2014, she also presented her first memoir, Ieri, oggi, domani. La mia vita/Today and Tomorrow: My Life as a Fairy Tale. It includes old pictures, letters, and notes detailing encounters with Cary Grant and other film partners. In 2020, Sophia Loren returned to cinema after an 11-year absence. At the age of 86, she played a Jewish Holocaust survivor who befriends a 12-year-old Senegalese orphan in the Netflix film La vita davanti a sé/The Life Ahead, directed by her son Edoardo Ponti. The film is based on the novel 'La vie devant soi' by French author Romain Gary.
Sources: Jason Ankeny (AllMovie), Hal Erickson (AllMovie), Shyam Dodge (Daily Mail), Jenny (IMDb), Wikipedia, NNDB, TCM, and IMDb.
And, please check out our blog European Film Star Postcards.
Canadian postcard by Canadian Postcard, no. A 272. Photo: Winona Ryder in Heathers (Michael Lehmann, 1989).
Delicate American actress Winona Ryder (1971) is known for her dark hair, brown eyes and pale skin. She starred in films such as Beetlejuice (1988),Heathers (1989), Edward Scissorhands (1990), Bram Stoker's Dracula (1992), and the television series Stranger Things. In 1994, she won a Golden Globe for Best Supporting Actress in the film The Age of Innocence (1993), and Ryder was nominated twice for an Oscar.
Winona Ryder was born Winona Laura Horowitz in Winona (Olmsted County), Minnesota, in 1971. Yes, her name is very much the same as her birthplace. Her parents, Cindy Horowitz (Istas), an author and video producer, and Michael Horowitz, a publisher and bookseller, were part of the hippie movement. She has a brother named Uri Horowitz (1976), who got his first name after Yuri Gagarin, a half-sister named Sunyata Palmer (1968), and a half-brother named Jubal Palmer (1970) from her mother Cindy's first marriage. From 1978, Winona grew up in a commune near Mendocino in California, which had no electricity. When Winona was seven, her mother began to manage an old cinema in a nearby barn and would screen films all day. She allowed Winona to miss school to watch movies with her. In 1981, the family moved to Petaluma, California. Since Winona was considered an outsider in public school, she was sent to a public school and later to the American Conservatory Theater acting school. She was discovered at the age of thirteen by a talent scout at a theatre performance at the American Conservatory Theater in San Francisco. In 1985, she applied for a role in the film Desert Bloom (David Seltzer, 1986) with a video in which she performed a monologue from the book 'Franny and Zooey' by J. D. Salinger. Although the casting choice was fellow actress Annabeth Gish, director and writer David Seltzer recognised her talent and cast her as Rina in his film Lucas (David Seltzer, 1986) about a teenager (Corey Haim) and his life in high school. When telephoned to ask what name she wanted to be called in the credits, she chose Ryder as her stage name because her father's Mitch Ryder & The Detroit Wheels album was playing in the background. Her real hair colour is blonde but when she made Lucas (1986), her hair color was dyed black. She was told to keep it that colour and with the exception of Edward Scissorhands (1990), it has stayed that color since. Her next film was Square Dance (Daniel Petrie, 1987), in which the protagonist she portrays lives a life between two worlds: on a traditional farm and in a big city. Ryder's performance received good reviews, although neither film was a commercial success. Her acting in Lucas led director Tim Burton to cast her in his film Beetlejuice (Tim Burton, 1988). In this comedy, she played Lydia Deetz, who moves with her family into a house inhabited by ghosts (played by Geena Davis, Alec Baldwin, and Michael Keaton). Ryder, as well as the film, received positive reviews, and Beetlejuice was also successful at the box office. In 1989, she starred as Veronica Sawyer in the independent film Heathers (Michael Lehmann, 1989) about a couple (Ryder and Christian Slater) who kill popular schoolgirls. Ryder's agent had previously advised her against the role. The film was a financial failure, but Ryder received positive reviews. The Jerry Lee Lewis biopic Great Balls of Fire! (Jim McBride, 1989) was also a flop. That same year, Ryder appeared in Mojo Nixon's music video 'Debbie Gibson Is Pregnant with My Two-Headed Love Child'. At the premiere of Great Balls of Fire (1989), Ryder met fellow actor and later film partner Johnny Depp. The couple became engaged a few months later, but their relationship ended in 1993. He had a tattoo of her name and after they broke up, he had this reduced to "Wino forever".
In 1990, Winona Ryder had her breakthrough performance alongside her boyfriend Johnny Depp in Edward Scissorhands (Tim Burton, 1990). The fantasy film was an international box-office success. Ryder was selected for the role of Mary Corleone in The Godfather: Part III (Francis Ford Coppola, 1990) but had to drop out of the role after catching the flu from the strain of doing the films Welcome Home Roxy (Jim Abrahams, 1990) and Mermaids (Richard Benjamin, 1990) back-to-back. Ryder's performance alongside Cher and Christina Ricci in the family comedy Mermaids (1990) was praised by critics and she was nominated for a Golden Globe in the Best Supporting Actress category. Ryder also appeared with Cher and Ricci in the music video for 'The Shoop Shoop Song', the film's theme song. Independent filmmaker Jim Jarmusch wrote a role specifically for her in Night on Earth (Jim Jarmusch, 1991), as a tattooed, chain-smoking cabdriver who dreams of becoming a mechanic. Ryder was cast in a dual role as Mina Murray and Elisabeta in Bram Stoker's Dracula (Francis Ford Coppola, 1992). In 1993, she starred as Blanca in the drama The House of the Spirits (Bille August, 1993) alongside Antonio Banderas, Meryl Streep, and Glenn Close. It is the film adaptation of Isabel Allende's bestseller of the same name. Together with Michelle Pfeiffer and Daniel Day-Lewis, she starred in Age of Innocence (Martin Scorsese, 1993), the film adaptation of Edith Wharton's novel. She was Martin Scorsese's first and only choice for the role of May Welland. For years, she kept the message he left on her voicemail, informing her she got the role. Her part earned her a Golden Globe for Best Supporting Actress and an Oscar nomination. She also earned positive reviews for her role in the comedy Reality Bites (Ben Stiller, 1994). She received critical acclaim and another Oscar nomination the same year as Jo in the drama Little Women (Gillian Armstrong, 1994). In 1996, she starred alongside Daniel Day-Lewis and Joan Allen in The Crucible (Nicholas Hytner, 1996), an adaptation of Arthur Miller's stage play about the Puritan witch hunt in Salem. The film was not a success; however, Ryder's performance was favourably reviewed. A year later she portrayed an android in the successful horror film Alien: Resurrection (Jean-Pierre Jeunet, 1997) alongside Sigourney Weaver's Ripley. In 1998 she starred in Woody Allen's Celebrity (1998). after Drew Barrymore turned down the role. In 1999 she starred as a psychiatric patient with borderline syndrome in the drama Girl, Interrupted (James Mangold, 1999), based on Susanna Kaysen's autobiographical novel. Girl, Interrupted, the first film on which she served as executive producer, was supposed to be Ryder's comeback in Hollywood after the flops of the past years. However, the film became the breakthrough for her colleague Angelina Jolie, who won an Oscar for her role. In this decade, she was involved with Dave Pirner, the lead singer of the group Soul Asylum, from 1993 to 1996 and with Matt Damon from December 1997 to April 2000.
Winona Ryder appeared alongside Richard Gere in Autumn in New York (Joan Chen, 2000), a romance about an older man's love for a younger woman. She also made a cameo appearance in the comedy Zoolander (Ben Stiller, 2000). The comedy Mr. Deeds (Steven Brill, 2002) with Adam Sandler became her biggest financial success to date. The film failed with critics and Ryder was nominated for the Golden Raspberry award. Also in 2002, she was sentenced to three years probation and 480 hours of work for repeatedly shoplifting $5,000 worth of clothes. The incident caused a career setback. She withdrew from the public eye in the following years and did not appear in front of the camera again until 2006. In that year, she appeared in the novel adaptation A Scanner Darkly (Richard Linklater, 2006) alongside Keanu Reeves, Robert Downey Jr., and Woody Harrelson. In 2009, she made an appearance in Star Trek: The Future Begins (J. J. Abrams, 2009) as Spock (Zachary Quinto)'s mother Amanda Grayson. The prequel became a huge success at the box office and Ryder earned a Scream Award for Best Guest Appearance. She also appeared alongside Robin Wright and Julianne Moore in Rebecca Miller's Pippa Lee (2009), and alongside Natalie Portman and Mila Kunis in Darren Aronofsky's Black Swan (2010). Ryder starred in the television film When Love Is Not Enough: The Lois Wilson Story (John Kent Harrison, 2010), for which she was nominated for a Screen Actors Guild Award. She starred in the comedy The Dilemma (Ron Howard, 2011), and the thrillers The Iceman (Ariel Vromen, 2012), and The Letter (Jay Anania, 2012) opposite James Franco. In Tim Burton's Frankenweenie (2012) she lent her voice to the character Elsa Van Helsing. Since 2016, she has embodied the main character, Joyce Byers, in the Netflix series Stranger Things (2016-2022), for which she received positive responses. Her role in the series has been described by many as a comeback. Since 2011 Winona Ryder is in a relationship with Scott MacKinlay Hahn.
Sources: Pedro Borges (IMDb), Wikipedia (Dutch and German), and IMDb.
And, please check out our blog European Film Star Postcards.
Aaliyah Dana Haughton - January 16, 1979 – August 25,
2001)
www.youtube.com/watch?v=Q6MEBi4ejTs
Aaliyah Dana Haughton was a multi-platinum recording artist, fashion icon, philanthropist,
and burgeoning actress. She left behind a body of work that made an undeniable impact on R&B
music and remains a testament to her many talents. Her debut album in 1994, “Age Ain’t
Nothing But a Number,” was a hit due to her debut single “Back and Forth.” However, it was
her collaboration with a then unknown Missy Elliott and Timbaland for the album “One in a A
Million” that blew her career up.
Before her death, she also had an up-and-coming acting career in films like “Romeo Must Die”
and a role in the “Matrix” sequel. Aaliyah once told VIBE, “Of course, I would love to get
into acting and I am talking to a few producers now. That would be really exciting to be a
jack of all trades and do music, movies and TV. I love drama and I think I could be a good
dramatic actress. I have to ‘act out’ emotions in my videos a lot and I try to seem as
realistic as possible.”
She continued, “I also would like to make bigger impact on the world by giving back, and
using my celebrity to raise money for people who need it the most. What good is having money
and being famous if you can’t share it with others less fortunate than yourself? I always
felt that you should treat others how you yourself want to be treated.”
Sadly, we lost the singer in a plane crash on August 25, 2001 in the Bahamas. She was only
22 years old.
Biography
Aaliyah Dana Haughton - January 16, 1979 – August 25, 2001) was an American singer, actress,
and model. Born in Brooklyn, New York, and raised in Detroit, Michigan, she first gained
recognition at the age of 10, when she appeared on the television show Star Search and
performed in concert alongside Gladys Knight. At the age of 12, Aaliyah signed with Jive
Records and her uncle Barry Hankerson's Blackground Records. Hankerson introduced her to R.
Kelly, who became her mentor, as well as lead songwriter and producer of her debut album,
Age Ain't Nothing but a Number. The album sold 3 million copies in the United States and was
certified double platinum by the Recording Industry Association of America (RIAA). After
facing allegations of an illegal marriage with Kelly, Aaliyah ended her contract with Jive
and signed with Atlantic Records.
Aaliyah worked with record producers Timbaland and Missy Elliott for her second album, One
in a Million, which sold 3 million copies in the United States and more than 8 million
copies worldwide. In 2000, Aaliyah appeared in her first film, Romeo Must Die. She
contributed to the film's soundtrack, which spawned the single "Try Again". The song topped
the Billboard Hot 100 solely on airplay, making Aaliyah the first artist in Billboard
history to achieve this goal. "Try Again" also earned Aaliyah a Grammy Award nomination for
Best Female R&B Vocalist. After completing Romeo Must Die, Aaliyah filmed her role in Queen
of the Damned, and released her self-titled third and final studio album in 2001.
On August 25, 2001, Aaliyah and eight others were killed in a plane crash in the Bahamas
after filming the music video for the single "Rock the Boat". The pilot, Luis Morales III,
was unlicensed at the time of the accident and toxicology tests revealed that he had traces
of cocaine and alcohol in his system. Aaliyah's family later filed a wrongful death lawsuit
against Blackhawk International Airways, which was settled out of court. Aaliyah's music
continued to achieve commercial success with several posthumous releases, and has sold an
estimated 24 to 32 million albums worldwide. She has been credited for helping redefine
contemporary R&B, pop and hip hop,[1] earning her the nicknames the "Princess of R&B" and
"Queen of Urban Pop". Billboard lists her as the tenth most successful female R&B artist of
the past 25 years, and the 27th most successful in history.
Early life
Aaliyah Dana Haughton was born on January 16, 1979, in Brooklyn, New York,[2] and was the
younger child of Diane and Michael "Miguel" Haughton (1951–2012).[3] She was of African-
American descent, and had Native American (Oneida) heritage from a grandmother.[3][4][5] Her
name has been described as a female version of the Arabic "Ali", but the original Jewish
name "Aliya (Hebrew: אליה)" is derived from the Hebrew word "aliyah (Hebrew: עלייה)", meaning
"highest, most exalted one, the best."[6][7] The singer was highly fond of her Semitic name,
calling it "beautiful" and asserting she was "very proud of it" and strove to live up to her
name every day.[6] Aaliyah's mother enrolled Aaliyah in voice lessons at an early age.[2]
She started performing at weddings, church choir and charity events.[8] When Aaliyah was
five years old, her family moved to Detroit, Michigan, where she was reared along with her
older brother, Rashad.[9][10] She attended a Catholic school, Gesu Elementary, where in
first grade she was cast in the stage play Annie, which inspired her to become an
entertainer.[11] In Detroit, her father began working in the warehouse business, one of his
brother-in-law Barry Hankerson's widening interests. Her mother stayed home and raised
Aaliyah and her brother.[12]
Throughout Aaliyah's life, she had a good relationship with Rashad, who recalled Aaliyah
having a beautiful voice as a child.[11] Aaliyah's family was very close due to the
struggles of her grandparents and when they moved to Detroit, the Hankersons were ready to
take them in if necessary. These same bonds led to ties in the music industry, under the
Blackground Records label.[6]
Aaliyah's mother was a vocalist, and her uncle, Barry Hankerson, was an entertainment lawyer
who had been married to Gladys Knight.[10] As a child, Aaliyah traveled with Knight and
worked with an agent in New York to audition for commercials and television programs,
including Family Matters; she went on to appear on Star Search at the age of ten.[2] Aaliyah
chose to begin auditioning. Her mother made the decision to drop her surname.[12][13] She
auditioned for several record labels and at age 11 appeared in concerts alongside Knight.
[10][14] She had several pet animals during her childhood, including ducks, snakes and
iguanas. Her cousin Jomo had a pet alligator, which Aaliyah felt was too much, remarking,
"that was something I wasn't going to stroke."[6]
Her grandmother died in 1991. Years after her death, Aaliyah said her grandmother supported
everyone in the family and always wanted to hear her sing, as well as admitting that she
"spoiled" her and her brother Rashad. She also enjoyed Aaliyah's singing and would have
Aaliyah to sing for her. Aaliyah said she thought of her grandmother whenever she fell into
depression.[15] Aaliyah's hands reminded her of her aunt, who died when she was very young
and whom Aaliyah remembered as an "amazingly beautiful woman".[16]
Education
When she was growing up, Aaliyah attended Detroit schools and believed she was well-liked,
but got teased for her short stature. She recalled coming into her own prior to age 15 and
grew to love her height. Her mother would tell her to be happy that she was small and
compliment her. Other children disliked Aaliyah, but she did not stay focused on them. "You
always have to deal with people who are jealous, but there were so few it didn't even
matter. The majority of kids supported me, which was wonderful. When it comes to dealing
with negative people, I just let it in one ear and out the other. Those people were
invisible to me." Even in her adult life, she considered herself small. She had "learned to
accept and love" herself and added: "... the most important thing is to think highly of
yourself because if you don't, no one else will".[6]
During her audition for acceptance to the Detroit High School for the Fine and Performing
Arts, Aaliyah sung the song "Ave Maria" in its entirety in the Italian language.[17]
Aaliyah, who maintained a perfect 4.0 grade point average when graduating from high school,
felt education was important. She saw fit to keep her grades up despite the pressures and
time constraints brought on her during the early parts of her career. She labeled herself as
a perfectionist and recalled always being a good student. Aaliyah reflected: "I always
wanted to maintain that, even in high school when I first started to travel. I wanted to
keep that 4.0. Being in the industry, you know, I don't want kids to think, 'I can just sing
and forget about school.' I think it's very important to have an education, and even more
important to have something to fall back on." She did this in her own life, as she planned
to "fall back on" another part of the entertainment industry. She believed that she could
teach music history or open her own school to teach that or drama if she did not make a
living as a recording artist because, as she reasoned, "when you pick a career it has to be
something you love".[6]
Career
1991–1995: Age Ain't Nothing but a Number
R. Kelly was introduced to Aaliyah and became her mentor, as well as lead songwriter and
producer on her debut album.
After Hankerson signed a distribution deal with Jive Records, he signed Aaliyah to his
Blackground Records label at the age of 12.[18][19] Hankerson later introduced her to
recording artist and producer R. Kelly,[14] who became Aaliyah's mentor, as well as lead
songwriter and producer of her first album, which was recorded when she was 14.[2][19][20]
Aaliyah's debut album, Age Ain't Nothing but a Number, was released under her mononym
"Aaliyah", by Jive and Blackground Records on May 24, 1994; the album debut at number 24 on
the Billboard 200 chart, selling 74,000 copies in its first week.[21][22] It ultimately
peaked at number 18 on the Billboard 200 and sold over three million copies in the United
States, where it was certified two times Platinum by the RIAA.[22][23][24] In Canada, the
album sold over 50,000 copies and was certified gold by the CRIA.[25] Aaliyah's debut
single, "Back & Forth", topped the Billboard Hot R&B/Hip-Hop Songs chart for three weeks and
was certified Gold by the RIAA.[24][26] The second single, a cover of The Isley Brothers'
"At Your Best (You Are Love)", peaked at number six on the Billboard Hot 100 and was also
certified Gold by the RIAA.[24][26] The title track, "Age Ain't Nothing but a Number",
peaked at number 75 on the Hot 100.[26] Additionally, she released "The Thing I Like" as
part of the soundtrack to the 1994 film A Low Down Dirty Shame.[27]
Age Ain't Nothing But a Number received generally favorable reviews from music critics. Some
writers noted that Aaliyah's "silky vocals" and "sultry voice" blended with Kelly's new jack
swing helped define R&B in the 1990s.[28][29] Her sound was also compared to that of female
quartet En Vogue.[28][30] Christopher John Farley of Time magazine described the album as a
"beautifully restrained work", noting that Aaliyah's "girlish, breathy vocals rode calmly on
R. Kelly's rough beats".[31] Stephen Thomas Erlewine of AllMusic felt that the album had its
"share of filler", but described the singles as "slyly seductive".[2] He also claimed that
the songs on the album were "frequently better" than that of Kelly's second studio album, 12
Play.[2] The single "At Your Best (You Are Love)" was criticized by Billboard for being out
of place on the album and for its length.[32]
1996–1999: One in a Million
"If Your Girl Only Knew" (1996)
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The first single released from her second studio album, "If Your Girl Only Knew" was
described as a sassy, organ-infused song.[33] Aaliyah was noted for having "smoother, more
seductive, and stronger" singing.[34]
Problems playing this file? See media help.
In 1996, Aaliyah left Jive Records and signed with Atlantic Records.[14] She worked with
record producers Timbaland and Missy Elliott, who contributed to her second studio album,
One in a Million.[10] Missy Elliott recalled Timbaland and herself being nervous to work
with Aaliyah, since Aaliyah had already released her successful début album while Missy
Elliott and Timbaland were just starting out. Missy Elliott also feared she would be a diva,
but reflected that Aaliyah "came in and was so warming; she made us immediately feel like
family."[35] The album yielded the single "If Your Girl Only Knew", which topped the
Billboard Hot R&B/Hip-Hop Songs for two weeks.[26] It also generated the singles "Hot Like
Fire" and "4 Page Letter". The following year, Aaliyah was featured on Timbaland & Magoo's
debut single, "Up Jumps da Boogie".[36] One in a Million peaked at number 18 on the
Billboard 200,[23] selling 3 million copies in the United States and over eight million
copies worldwide.[37][38] The album was certified double platinum by the RIAA on June 16,
1997, denoting shipments of two million copies.[24] The month prior to One in a Millions
release, on May 5, 1997, music publisher Windswept Pacific filed a lawsuit in U.S. District
Court against Aaliyah claiming she had illegally copied Bobby Caldwell's "What You Won't Do
for Love" for the single "Age Ain't Nothing but a Number".[39]
Aaliyah attended the Detroit High School for the Fine and Performing Arts, where she majored
in drama and graduated in 1997 with a 4.0 GPA.[14][40][41] Aaliyah began her acting career
that same year; she played herself in the police drama television series New York
Undercover.[42] During this time, Aaliyah participated in the Children's Benefit Concert, a
charity concert that took place at the Beacon Theatre in New York.[43] Aaliyah also became
the spokesperson for Tommy Hilfiger Corporation.[44] During Aaliyah's campaign for Tommy
Hilfiger the company had sold all 2,400 of the red, white and blue baggy jeans emblazoned
with the Hilfiger name that Aaliyah wore in their 1997 advertisements and they were
constantly restocking those jeans.[45] In 1997 Aaliyah performed the Christmas carol What
Child Is This at the annual holiday special Christmas in Washington.[46] She contributed on
the soundtrack album for the Fox Animation Studios animated feature Anastasia, performing a
cover version of "Journey to the Past" which earned songwriters Lynn Ahrens and Stephen
Flaherty a nomination for the Academy Award for Best Original Song.[27][38][47] Aaliyah
performed the song at the 1998 Academy Awards ceremony and became the youngest singer to
perform at the event.[48][49] The song "Are You That Somebody?" was featured on the Dr.
Dolittle soundtrack, which earned Aaliyah her first Grammy Award nomination.[50] The song
peaked at number 21 on the Hot 100.[51]
2000: Romeo Must Die
In 1999, Aaliyah landed her first film role in Romeo Must Die, released March 22, 2000.
Aaliyah starred opposite martial artist Jet Li, playing a couple who fall in love amid their
warring families. It grossed US$18.6 million in its first weekend, ranking number two at the
box office.[52] Aaliyah purposely stayed away from reviews of the film to "make it easier
on" herself, but she heard "that people were able to get into me, which is what I
wanted."[53] In contrast, some critics felt there was no chemistry between her and Jet Li,
as well as viewing the film was too simplistic.[54] This was echoed by Elvis Mitchell of The
New York Times, who wrote that while Aaliyah was "a natural" and the film was conceived as a
spotlight for both her and Li, "they have so little chemistry together you'd think they're
putting out a fire instead of shooting off sparks.[55] Her role was well received by Glen
Oliver by IGN who liked that she did not portray her character "as a victimized female" but
instead "as a strong female who does not come across as an over-the-top Women's Right
Advocate."[56]
Aaliyah in 2000
In addition to acting, Aaliyah served as an executive producer of the film's soundtrack,
where she contributed four songs.[57] "Try Again" was released as a single from the
soundtrack; the song topped the Billboard Hot 100, making Aaliyah the first artist to top
the chart based solely on airplay; this led the song to be released in a 12" vinyl and 7"
single.[26][58] The music video won the Best Female Video and Best Video from a Film awards
at the 2000 MTV Video Music Awards.[59] It also earned her a Grammy Award nomination for
Best Female R&B Vocalist.[60] The soundtrack went on to sell 1.5 million copies in the
United States.[61]
2001: Aaliyah
After completing Romeo Must Die, Aaliyah began to work on her second film, Queen of the
Damned. She played the role of an ancient vampire, Queen Akasha, which she described as a
"manipulative, crazy, sexual being".[19] Filming both Romeo Must Die and Queen of the Damned
delayed the release of the album. Aaliyah had not intended for her albums to have such a gap
between them. "I wanted to take a break after One in a Million to just relax, think about
how I wanted to approach the next album. Then, when I was ready to start back up, "Romeo"
happened, and so I had to take another break and do that film and then do the soundtrack,
then promote it. The break turned into a longer break than I anticipated."[62] Aaliyah
enjoyed balancing her singing and acting careers. Though she called music a "first" for her,
she also had been acting since she was young and had wanted to begin acting "at some point
in my career," but "wanted it to be the right time and the right vehicle" and felt Romeo
Must Die "was it".[61] Connie Johnson of the Los Angeles Times argued that Aaliyah having to
focus on her film career may have caused her to not give the album "the attention it
merited."[63] Collaborator Timbaland concurred, stating that he was briefly in Australia to
work on the album while Aaliyah was filming and did not feel the same production had gone
into Aaliyah as One in a Million had. He also said Virgin Records had rushed the album and
Aaliyah had specifically requested Missy Elliott and Timbaland work on Aaliyah with her.[64]
During the recording stages for the album, Aaliyah's publicist disclosed that the album's
release date was most likely in October 2000.[65] Ultimately she finished recording the
album in March 2001; after a year of recording tracks that began in March of the previous
year.[66] Aaliyah was released five years after One in a Million on July 17, 2001,[2] and it
debuted at number two on the Billboard 200, selling 187,000 copies in its first week.[67]
The first single from the album, "We Need a Resolution", peaked at number 59 on the
Billboard Hot 100.[26] The week after Aaliyah's death, her third and self-titled studio
album, rose from number 19 to number one on the Billboard 200.[68] "Rock the Boat" was
released as a posthumous single. The music video premiered on BET's Access Granted; it
became the most viewed and highest rated episode in the history of the show.[69] The song
peaked at number 14 on the Billboard Hot 100 and number two on the Billboard Hot R&B/Hip-Hop
Songs chart.[70] It was also included on the Now That's What I Call Music! 8 compilation
series; a portion of the album's profits was donated to the Aaliyah Memorial Fund.[71]
Promotional posters for Aaliyah that had been put up in major cities such as New York and
Los Angeles became makeshift memorials for grieving fans.[72]
"More than a Woman" and "I Care 4 U" were released as posthumous singles and peaked within
the top 25 of the Billboard Hot 100.[70] The album was certified double Platinum by the RIAA
and sold 2.6 million copies in the United States.[24][73] "More than a Woman" reached number
one on the UK singles chart making Aaliyah the first female deceased artist to reach number
one on the UK singles chart.[74][75] "More than a Woman" was replaced by George Harrison's
"My Sweet Lord" which is the only time in the UK singles chart's history where a dead artist
has replaced another dead artist at number one.[76] In July 2001, she allowed MTV's show
Diary behind-the-scenes access to her life and stated "I am truly blessed to wake up every
morning to do something that I love; there is nothing better than that." She continued,
"Everything is worth it – the hard work, the times when you're tired, the times when you are
a bit sad. In the end, it's all worth it because it really makes me happy. I wouldn't trade
it for anything else in the world. I've got good friends, a beautiful family and I've got a
career. I thank God for his blessings every single chance I get."[77]
Aaliyah was signed to appear in several future films, including Honey,[78] a romantic film
titled Some Kind of Blue,[79] and a Whitney Houston-produced remake of the 1976 film
Sparkle.[4] Whitney Houston recalled Aaliyah being "so enthusiastic" about the film and
wanting to appear in the film "so badly". Houston also voiced her belief that Aaliyah was
more than qualified for the role and the film was shelved after she died, since Aaliyah had
"gone to a better place".[80] Studio officials of Warner Brothers stated that Aaliyah and
her mother had both read the script for Sparkle. According to them, Aaliyah was passionate
about playing the lead role of a young singer in a girl group.[81] The film was released in
2012, eleven years after Aaliyah's death. Before her death Aaliyah was cast in the sequels
of The Matrix as the character Zee.[14][82] She had filmed part of her role in The Matrix
Reloaded and was scheduled to film and reprise her role in The Matrix Revolutions as Zee.
[36] Aaliyah told Access Hollywood that she was "beyond happy" to have landed the role.[83]
The role was subsequently recast to Nona Gaye.[82] Aaliyah's scenes were included in the
tribute section of the Matrix Ultimate Collection series.[84]
In November 2001, Ronald Isley stated that Aaliyah and the Isley Brothers had discussed a
collaboration prior to her death. She had previously covered the Isley Brothers' single "At
Your Best (You Are Love)".[85] Prior to her death, she expressed the possibility of
recording songs for the Queen of The Damned soundtrack and welcomed the possibility of
collaborating with Jonathan Davis.[66] By 2001, Aaliyah had enjoyed her now seven-year
career and felt a sense of accomplishment. "This is what I always wanted," she said of her
career in Vibe magazine. "I breathe to perform, to entertain, I can't imagine myself doing
anything else. I'm just a really happy girl right now. I honestly love every aspect of this
business. I really do. I feel very fulfilled and complete."[54]
Artistry
Voice and style
"Are You That Somebody?" (1998)
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Timbaland's stuttering, idiosyncratic productions challenged Aaliyah to reveal her artistic
personality more than she had on R. Kelly's smoother musical settings.[30]
Problems playing this file? See media help.
Aaliyah had the vocal range of a soprano.[14] With the release of her debut album "Age Ain't
Nothing But a Number", writer Dimitri Ehrlich of Entertainment Weekly compared her style and
sound to R&B group En Vogue.[86] Ehrlich also expressed that Aaliyah's "silky vocals are
more agile than those of self-proclaimed queen of hip-hop soul Mary J. Blige."[86] In her
review for Aaliyah's second studio album One in a Million Vibe magazine, music critic Dream
Hampton said that Aaliyah's "deliciously feline" voice has the same "pop appeal" as Janet
Jackson's.[87] Aaliyah described her sound as "street but sweet", which featured her
"gentle" vocals over a "hard" beat.[88] Though Aaliyah did not write any of her own
material,[14] her lyrics were described as in-depth.[89][90] She incorporated R&B, pop and
hip hop into her music.[10][91][92][93][94][95][96] Her songs were often uptempo and at the
same time often dark, revolving around "matters of the heart".[97] After her R. Kelly-
produced debut album, Aaliyah worked with Timbaland and Missy Elliott, whose productions
were more electronic.[98] Sasha Frere-Jones of The Wire finds Aaliyah's "Are You That
Somebody?" to be Timbaland's "masterpiece" and exemplary of his production's start-stop
rhythms, with "big half-second pauses between beats and voices".[99] Keith Harris of Rolling
Stone cites "Are You That Somebody?" as "one of '90s R&B's most astounding moments".[30]
Aaliyah's songs have been said to have "crisp production" and "staccato arrangements" that
"extend genre boundaries" while containing "old-school" soul music.[100] Kelefah Sanneh of
The New York Times called Aaliyah "a digital diva who wove a spell with ones and zeroes",
and writes that her songs comprised "simple vocal riffs, repeated and refracted to echo the
manipulated loops that create digital rhythm", as Timbaland's "computer-programmed beats
fitted perfectly with her cool, breathy voice to create a new kind of electronic
music."[101] When she experimented with other genres on Aaliyah, such as Latin pop and heavy
metal, Entertainment Weekly's Craig Seymour panned the attempt.[97] While Analyzing her
eponymous album British publication NME (New Musical Express) felt that Aaliyah's radical
third album was intended to consolidate her position as U.S.R&B's most experimental artist.
[102] As her albums progressed, writers felt that Aaliyah matured, calling her progress a
"declaration of strength and independence".[90][103] ABC News noted that Aaliyah's music was
evolving from the punchy pop influenced Hip hop and R&B to a more mature, introspective
sound on her third album.[104] Stephen Thomas Erlewine of AllMusic described her eponymous
album, Aaliyah, as "a statement of maturity and a stunning artistic leap forward" and called
it one of the strongest urban soul records of its time.[90] She portrayed "unfamiliar
sounds, styles and emotions", but managed to please critics with the contemporary sound it
contained.[90] Ernest Hardy of Rolling Stone felt that Aaliyah reflected a stronger
technique, where she gave her best vocal performance.[100] Prior to her death, Aaliyah
expressed a desire to learn about the burgeoning UK garage scene she had heard about at the
time.[98]
Influences
As an artist, Aaliyah often voiced that she was inspired by a number of performers. These
include Michael Jackson, Stevie Wonder, Sade, En Vogue, Nine Inch Nails, Korn, Prince,
Naughty by Nature, Johnny Mathis, Janet Jackson[105] and Barbra Streisand.[106] Aaliyah
expressed that Michael Jackson's Thriller was her "favorite album" and that "nothing will
ever top Thriller."[105] She stated that she admired Sade because "she stays true to her
style no matter what ... she's an amazing artist, an amazing performer ... and I absolutely
love her."[105] Aaliyah expressed she had always desired to work with Janet Jackson, whom
she had drawn frequent comparison to over the course of her career, stating "I admire her a
great deal. She's a total performer ... I'd love to do a duet with Janet Jackson."[105]
[107][108][109] Jackson reciprocated Aaliyah's affections, commenting "I've loved her from
the beginning because she always comes out and does something different, musically." Jackson
also stated she would have enjoyed collaborating with Aaliyah.[105]
Image
Aaliyah focused on her public image throughout her career. She often wore baggy clothes and
sunglasses, stating that she wanted to be herself.[110] She described her image as being
"important ... to differentiate yourself from the rest of the pack".[111] She often wore
black clothing, starting a trend for similar fashion among women in United States and
Japan.[14][112] Aaliyah's fashionable style has been credited for being an influence on new
fashion trends called "Health Goth"[113][114] and "Ghetto Goth" also known as GHE20 GOTH1K
[115][116] Aaliyah participated in fashion designer Tommy Hilfiger's All America Tour and
was featured in Tommy Jean ads, which depicted her in boxer shorts, baggy jeans and a tube
top. Hilfiger's brother, Andy, called it "a whole new look" that was "classy but sexy".[112]
Carson Daly A former VJ on MTV's Total Request Live commented on Aaliyah's style by saying
that she was "cutting edge" ,"always one step ahead of the curve" and that "the TRL audience
looks to her to figure out what's hot and what's new".[117]
When she changed her hairstyle, Aaliyah took her mother's advice and covered her left eye,
much like Veronica Lake.[118] The look has become known as her signature and been referred
to as fusion of "unnerving emotional honesty" and "a sense of mystique".[119] In 1998, she
hired a personal trainer to keep in shape, and exercised five days a week and ate diet
foods.[120] Aaliyah was praised for her "clean-cut image" and "moral values".[121] Robert
Christgau of The Village Voice wrote of Aaliyah's artistry and image, "she was lithe and
dulcet in a way that signified neither jailbait nor hottie—an ingenue whose selling point
was sincerity, not innocence and the obverse it implies."[122]
Aaliyah was viewed by others as a role model. Emil Wilbekin, described by CNN as "a friend
of Aaliyah's" and follower of her career, explained: "Aaliyah is an excellent role model,
because she started her career in the public eye at age 15 with a gold album entitled Age
Ain't Nothing but a Number. And then her second album, One in a Million went double
platinum. She had the leading role in Romeo Must Die, which was a box office success. She's
won numerous awards, several MTV music video awards, and aside from her professional
successes, many of her lyrics are very inspirational and uplifting. She also carried herself
in a very professional manner. She was well spoken. She was beautiful, but she didn't use
her beauty to sell her music. She used her talent. Many young hip-hop fans greatly admire
her."[123]
She also was seen by others as a sex symbol. Aaliyah did not have a problem with being
considered one. "I know that people think I'm sexy and I am looked at as that, and it is
cool with me," she stated. "It's wonderful to have sex appeal. If you embrace it, it can be
a very beautiful thing. I am totally cool with that. Definitely. I see myself as sexy. If
you are comfortable with it, it can be very classy and it can be very appealing."[124] The
single "We Need a Resolution" was argued to have transformed "the once tomboy into a sexy
grown woman".[125] Aaliyah mentioned that her mother, during her childhood, would take
pictures of her and notice a sex appeal. She reinforced her mother's belief by saying that
she did feel "sexy for sure" and that she embraced it and was comfortable with this view of
her.[54]
Personal life
In her spare time, she was mostly a homebody, which dated back to her younger years, but on
occasion went out and played laser tag. She reasoned this was due to her liking "the simple
things in life".[54] Despite having a prosperous career that allowed her to purchase the
vehicle she wanted, Aaliyah revealed during her final interview on August 21, 2001 on 106 &
Park that she had never owned a car because she lived in New York City and could hire a car
or driver on a regular basis.[126]
Family
Aaliyah's family played a major role in the course of her career.[54] Aaliyah's father
Michael Haughton served as her personal manager. Her mother assisted her in her career while
brother Rashad Haughton and cousin Jomo Hankerson worked with her consistently.[127] Her
father's illness ended his co-management of Aaliyah with her mother Diane Haughton. She ran
all of her decisions by Rashad.[54]
Aaliyah was known to have usually been accompanied by members of her family and the "Rock
the Boat" filming was credited by Rashad Haughton as being the first and only time her
family was not present. In October 2001, Rashad stated: "It really boggles everyone [that]
from Day One, every single video she ever shot there's always been myself or my mother or my
father there. The circumstances surrounding this last video were really strange because my
mother had eye surgery and couldn't fly. That really bothered her because she always
traveled. My dad had to take care of my mom at that time. And I went to Australia to visit
some friends. We really couldn't understand why we weren't there. You ask yourself maybe we
could have stopped it. But you can't really answer the question. There's always gonna be
that question of why."[128] Her friend Kidada Jones said in the last year of her life her
parents had given her more freedom and she had talked about wanting a family. "She wanted to
have a family, and we talked about how we couldn't wait to kick back with our babies."[129]
Gladys Knight, who had been married to Aaliyah's uncle Barry Hankerson, was essential to the
start of Aaliyah's career as she gave her many of her earlier performances. One of their
last conversations concerned Aaliyah having difficulty with "another young artist" that she
was trying to work with. Knight felt the argument was "petty" and insisted that she remain
being who she was in spite of the conflict.[130]
Illegal marriage
With the release of Age Ain't Nothing but a Number, rumors circulated of a relationship
between Aaliyah and R. Kelly,[14][131] including the allegation that they had secretly
married without her parents' knowledge,[132][133][134][135] Vibe later revealed a marriage
certificate that listed the couple married on August 31, 1994, in Sheraton Gateway Suites in
Rosemont, Illinois.[14][133] Aaliyah, who was 15 at the time, was listed as 18 on the
certificate; the illegal marriage was annulled in February 1995 by her parents.[20][133]
[136] The pair continued to deny marriage allegations, stating that neither was married.
[131]
Aaliyah reportedly developed a friendship with Kelly during the recording of her debut
album. As she recalled to Vibe magazine in 1994, she and Kelly would "go watch a movie" and
"go eat" when she got tired and would then "come back and work". She described the
relationship between her and Kelly as being "rather close."[137] In 2016, Kelly said that he
was as in love with Aaliyah as he was with "anybody else."[138] In December 1994, Aaliyah
told the Sun-Times that whenever she was asked about being married to Kelly, she urged them
not to believe "all that mess" and that she and Kelly were "close" and "people took it the
wrong way."[139] In his 2011 book The Man Behind the Man: Looking From the Inside Out,
Demetrius Smith Sr., a former member of Kelly's entourage, wrote that Kelly told him "in a
voice that sounded as if he wanted to burst into tears" that he thought Aaliyah was
pregnant.[140]
Jamie Foster Brown in the 1994 issue of Sister 2 Sister wrote that "R. Kelly told me that he
and Aaliyah got together and it was just magic." Brown also reported hearing about a
relationship between them. "I've been hearing about Robert and Aaliyah for a while—that she
was pregnant. Or that she was coming and going in and out of his house. People would see her
walking his dog, 12 Play, with her basketball cap and sunglasses on. Every time I asked the
label, they said it was platonic. But I kept hearing complaints from people about her being
in the studio with all those men." Brown later added "at 15, you have all those hormones and
no brains attached to them."[141]
The 2019 documentary Surviving R. Kelly revealed new details about their relationship and
marriage. Jovante Cunningham, a former backup dancer, claimed to have witnessed Kelly having
sex with Aaliyah on his tour bus[142][143] while Demetrius Smith again recounted the time
Kelly feared that he had impregnated her.[142] Smith also described how he helped Aaliyah
forge the necessary documents to show she was 18 and that the wedding was short and
unceremonious, as neither was dressed up and Aaliyah looked "worried and scared" the whole
time.[142] Smith states that he is "not proud" of his role in facilitating their illegal
marriage.[142]
Aaliyah admitted in court documents that she had lied about her age. In May 1997, she filed
suit in Cook County seeking to have all records of the marriage expunged because she was not
old enough under state law to get married without her parents' consent. It was reported that
she cut off all professional and personal ties with Kelly after the marriage was annulled
and ceased having contact with him.[144] In 2014, Jomo Hankerson stated that Aaliyah "got
villainized" over her relationship with Kelly and the scandal over the marriage made it
difficult to find producers for her second album. "We were coming off of a multi-platinum
debut album and except for a couple of relationships with Jermaine Dupri and Puffy, it was
hard for us to get producers on the album." Hankerson also expressed confusion over why
"they were upset" with Aaliyah given her age at the time.[145]
Aaliyah was known to avoid answering questions regarding Kelly following the professional
split. During an interview with Christopher John Farley, she was asked if she was still in
contact with him and if she would ever work with him again. Farley said Aaliyah responded
with a "firm, frosty 'no'" to both of the questions.[146] Vibe magazine said Aaliyah changed
the subject anytime "you bring up the marriage with her".[147] A spokeswoman for Aaliyah
said in 2000 that when "R. Kelly comes up, she doesn't even speak his name, and nobody's
allowed to ask about it at all".[148] Kelly later commented that Aaliyah had opportunities
to address the pair's relationship after they separated professionally but chose not to.
[149] In 2019, Damon Dash revealed to Hip Hop Motivation that Aaliyah didn't even speak of
her relationship with Kelly in private; she tried multiple times to discuss it with him, but
was only able to find the courage to say that Kelly was a "bad man".[143] She told him that
she could only possibly discuss the relationship with a professional counselor.[143] Dash
said he was unable to watch Surviving R. Kelly because its interviews with visibly
traumatized girls struggling to discuss their encounters with Kelly reminded him of how
Aaliyah behaved when trying to recount her relationship with Kelly.[143]
R. Kelly would have other allegations made about him regarding underage girls in the years
following her death and his marriage to Aaliyah was used to evidence his involvement with
them. He has refused to discuss his relationship with her, citing her death. "Out of respect
for her, and her mom and her dad, I will not discuss Aaliyah. That was a whole other
situation, a whole other time, it was a whole other thing, and I'm sure that people also
know that."[150] Aaliyah's mother, Diane Haughton, reflected that everything "that went
wrong in her life" began with her relationship with Kelly.[139] Damon Dash also noted that
lasting trauma from her relationship with Kelly negatively affected their relationship.[143]
However, the allegations have been said to have done "little to taint Aaliyah's image or
prevent her from becoming a reliable '90s hitmaker with viable sidelines in movies and
modeling."[32]
Engagement
Aaliyah was dating co-founder of Roc-A-Fella Records Damon Dash at the time of her death
and, though they were not formally engaged, in interviews given after Aaliyah's death, Dash
claimed the couple had planned to marry.[151] Aaliyah and Dash met in 2000[152] through his
accountant and formed a friendship.[153] Dash has said he is unsure of how he and Aaliyah
started dating and that the two just understood each other. "I don't know [how we got
involved], just spending time, you know, we just saw things the same and it was new, you
know what I mean? Meeting someone that is trying to do the same thing you are doing in the
urban market, in the same urban market place but not really being so urban. It was just; her
mind was where my mind was. She understood me and she got my jokes. She thought my jokes
were funny."[154]
Dash expressed his belief that Aaliyah was the "one" and claimed the pair were not
officially engaged, but had spoken about getting married prior to her death.[155] Aaliyah
publicly never addressed the relationship between her and Dash as being anything but
platonic. In May 2001, she hosted a party for Dash's 30th birthday at a New York City club,
where they were spotted together and Dash was seen escorting her to a bathroom. Addressing
this, Aaliyah stated that she and Dash were just "very good friends" and chose to "keep it
at that" for the time being.[147] Just two weeks before her death, Aaliyah traveled from New
Jersey to East Hampton, New York to visit Dash at the summer house he shared with Jay Z.
[129]
The couple were separated for long periods at a time, as Dash recalled that Aaliyah
continuously shot films and would be gone for months often to come back shortly and continue
her schedule. Dash was also committed to "his own thing", which did not make matters any
better. Despite this, they were understanding that the time they had together was special.
Dash remembered they would "be in a room full of people talking to each other and it felt
like everyone was listening but it would be just us. It would be like we were the only ones
in the room". Dash always felt their time together was essential and Aaliyah was the person
he was interested in being with, which is why, as he claimed, they had begun speaking about
engagement.[153] The relationship was mentioned in the lyrics of Jay-Z's remix to her song
"Miss You", released after her death.
Death
Main article: Death of Aaliyah
On August 25, 2001, at 6:50 p.m. (EDT), Aaliyah and the members of the record company
boarded a twin-engine Cessna 402B (registration N8097W) at the Marsh Harbour Airport in
Abaco Islands, the Bahamas, to travel to the Opa-locka Airport in Florida, after they
completed filming the music video for "Rock the Boat".[156] They had a flight scheduled the
following day, but with filming finishing early, Aaliyah and her entourage were eager to
return to the U.S. and made the decision to leave immediately. The designated airplane was
smaller than the Cessna 404 on which they had originally arrived, but the whole party and
all of the equipment were accommodated on board.[157] The plane crashed shortly after
takeoff, about 200 feet (60 m) from the end of the runway and exploded.[156]
Aaliyah and the eight others on board—pilot Luis Morales III, hair stylist Eric Forman,
Anthony Dodd, security guard Scott Gallin, family friend Keith Wallace, make-up stylist
Christopher Maldonado, and Blackground Records employees Douglas Kratz and Gina Smith—were
all killed.[158] Gallin survived the initial impact and spent his last moments worrying
about Aaliyah's condition, according to ambulance drivers.[159] The plane was identified as
being owned by Florida-based company Skystream by the US Federal Aviation Administration
(FAA) in Atlanta. Initial reports of the crash identified Luis Morales as "L Marael".[160]
According to findings from an inquest conducted by the coroner's office in the Bahamas,
Aaliyah suffered from "severe burns and a blow to the head", in addition to severe shock and
a weak heart.[161] The coroner theorized that she went into such a state of shock that even
if she had survived the crash, her recovery would have been nearly impossible given the
severity of her injuries.[162] The bodies were taken to the morgue at Princess Margaret
Hospital in Nassau, where they were kept for relatives to help identify them. Some of the
bodies were badly burned in the crash.[163]
As the subsequent investigation determined, when the aircraft attempted to depart, it was
over its maximum take-off weight by 700 pounds (320 kg) and was carrying one excess
passenger, according to its certification.[164] An informational report issued by the
National Transportation Safety Board stated, "The airplane was seen lifting off the runway,
and then nose down, impacting in a marsh on the south side of the departure end of runway
27."[165] It indicated that the pilot was not approved to fly the plane. Morales falsely
obtained his FAA license by showing hundreds of hours never flown, and he may also have
falsified how many hours he had flown in order to get a job with his employer, Blackhawk
International Airways.[166] Additionally, toxicology tests performed on Morales revealed
traces of cocaine and alcohol in his system.[167]
Aaliyah's funeral services were held on August 31, 2001, at the Frank E. Campbell Funeral
Chapel and St. Ignatius Loyola Church in Manhattan. Her body was set in a silver-plated
copper-deposit casket, which was carried in a glass horse-drawn hearse.[168] An estimated
800 mourners were in attendance at the procession.[20][169] Among those in attendance at the
private ceremony were Missy Elliott, Timbaland, Gladys Knight, Lil' Kim and Sean Combs.
[168][170][171] After the service, 22 white doves were released to symbolize each year of
Aaliyah's life.[172] Aaliyah was initially entombed in a crypt at the Ferncliff Mausoleum in
Hartsdale, New York; she was later moved to a private room at the left end of a corridor in
the Rosewood Mausoleum.[173] The inscription at the bottom of Aaliyah's portrait at the
funeral read: "We Were Given a Queen, We Were Given an Angel."[174]
After Aaliyah's death, the German newspaper Die Zeit published excerpts from an interview
done shortly before her death, in which she described a recurring dream: "It is dark in my
favorite dream. Someone is following me. I don't know why. I'm scared. Then suddenly I lift
off. Far away. How do I feel? As if I am swimming in the air. Free. Weightless. Nobody can
reach me. Nobody can touch me. It's a wonderful feeling."[175]
Posthumous career
Immediately after Aaliyah's death, there was uncertainty over whether the music video for
"Rock the Boat" would ever air.[176] It made its world premiere on BET's Access Granted on
October 9, 2001. She won two posthumous awards at the American Music Awards of 2002;
Favorite Female R&B Artist and Favorite R&B/Soul Album for Aaliyah.[177] Her second and
final film, Queen of the Damned, was released in February 2002. Before its release,
Aaliyah's brother, Rashad, re-dubbed some of her lines during post-production.[178][179] It
grossed US$15.2 million in its first weekend, ranking number one at the box office.[180] On
the first anniversary of Aaliyah's death, a candlelight vigil was held in Times Square;
millions of fans observed a moment of silence; and throughout the United States, radio
stations played her music in remembrance.[181] In December 2002, a collection of previously
unreleased material was released as Aaliyah's first posthumous album, I Care 4 U. A portion
of the proceeds was donated to the Aaliyah Memorial Fund, a program that benefits the Revlon
UCLA Women's Cancer Research Program and Harlem's Sloan Kettering Cancer Center.[182] It
debuted at number three on the Billboard 200, selling 280,000 copies in its first week.[183]
The album's lead single, "Miss You", peaked at number three on the Billboard Hot 100 and
topped the Hot R&B/Hip-Hop Songs chart.[70] In August of the following year, clothing
retailer Christian Dior donated profits from sales in honor of Aaliyah.[184]
In 2005, Aaliyah's second compilation album, Ultimate Aaliyah was released in the UK by
Blackground Records.[185] Ultimate Aaliyah is a three disc set, which included a greatest
hits audio CD and a DVD.[185] Andy Kellman of AllMusic remarked "Ultimate Aaliyah adequately
represents the shortened career of a tremendous talent who benefited from some of the best
songwriting and production work by Timbaland, Missy Elliott, and R. Kelly."[185] A
documentary movie Aaliyah Live in Amsterdam was released in 2011, shortly before the tenth
anniversary of Aaliyah's death. The documentary, by Pogus Caesar, contained previously
unseen footage shot of her career beginnings in 1995 when she was appearing in the
Netherlands.[186]
In March 2012, music producer Jeffrey "J-Dub" Walker announced on his Twitter account that a
song "Steady Ground", which he produced for Aaliyah's third album, would be included in the
forthcoming posthumous Aaliyah album. This second proposed posthumous album would feature
this song using demo vocals, as Walker claims the originals were somehow lost by his sound
engineer. Aaliyah's brother Rashad later refuted Walker's claim, claiming that "no official
album [is] being released and supported by the Haughton family."[187] On August 5, 2012, a
song entitled "Enough Said" was released online. The song was produced by Noah "40" Shebib
and features Canadian rapper Drake.[188] Four days later, Jomo Hankerson confirmed a
posthumous album is being produced and that it was scheduled to be released by the end of
2012 by Blackground Records.[189] The album was reported to include 16 unreleased songs and
have contributions from Aaliyah's longtime collaborators Timbaland and Missy Elliott, among
others.[189] On August 13, Timbaland and Missy Elliott dismissed rumors about being
contacted or participating for the project.[190] Elliott's manager Mona Scott-Young said in
a statement to XXL, "Although Missy and Timbaland always strive to keep the memory of their
close friend alive, we have not been contacted about the project nor are there any plans at
this time to participate. We've seen the reports surfacing that they have been confirmed to
participate but that is not the case. Both Missy and Timbaland are very sensitive to the
loss still being felt by the family so we wanted to clear up any misinformation being
circulated."[190] Elliott herself said, "Tim and I carry Aaliyah with us everyday, like so
many of the people who love her. She will always live in our hearts. We have nothing but
love and respect for her memory and for her loved ones left behind still grieving her loss.
They are always in our prayers."[190]
In June 2013, Aaliyah was featured on a new track by Chris Brown, titled "Don't Think They
Know"; with Aaliyah singing the song's hook. The video features dancing holographic versions
of Aaliyah. The song appears on Brown's sixth studio album, X.[191] Timbaland voiced his
disapproval for "Enough Said" and "Don't Think They Know" in July 2013. He exclaimed,
"Aaliyah music only work with its soulmate, which is me".[192] Soon after, Timbaland
apologized to Chris Brown over his remarks, which he explained were made due to Aaliyah and
her death being a "very sensitive subject".[193] In January 2014, producer Noah "40" Shebib
confirmed that the posthumous album was shelved due to the negative reception surrounding
Drake's involvement. Shebib added, "Aaliyah's mother saying, 'I don't want this out' was
enough for me ... I walked away very quickly."[194][195]
Aaliyah's vocals were reported to be featured on the T-Pain mixtape, The Iron Way, on the
track "Girlfriend", but were pulled after being met with criticism by fans and many in
attendance at a New York listening session that he hosted for the project. In response to
the criticism, T-Pain questioned if Aaliyah's legacy was driven by her death and claimed
that were she still alive, she would be seen as trying to emulate Beyoncé.[196] According to
T-Pain, he was given her vocals from a session she had done prior to her death after being
approached to work on a track for a posthumous Aaliyah album and completing the song,
calling the exchange "just like a swap."[197]
She was featured on the Tink track "Million", which was released in May 2015 and contained
samples from her song "One in a Million".[198] Collaborator Timbaland was involved in the
song's creation, having previously claimed that Aaliyah appeared to him in a dream and
stressed that Tink was "the one".[199]
In August 2015, Timbaland confirmed that he had unreleased vocals from Aaliyah and stated a
"sneak peek" would be coming soon.[200][201]
In September 2015, Aaliyah by Xyrena, an official tribute fragrance was announced.[202]
On December 19, 2015, Timbaland uploaded a snippet of a new Aaliyah song title "He Keeps Me
Shakin" on his Instagram account and said it would be released December 25, 2015, on the
Timbaland mixtape King Stays King.[203] On August 24, 2017 MAC Cosmetics announced that an
Aaliyah collection will be made available in the summer of 2018.[204] The Aaliyah for Mac
collection was released on June 20 online and June 21 in stores, along with the MAC
collection, MAC and i-D Magazine partnered up to release a short film titled "A-Z of
Aaliyah" which coincided with the launch.[205] The short film highlighted and celebrated the
legacy of Aaliyah with the help of select fans who were selected to be a part of the film
through a casting call competition held by Mac and i-d magazine.[206] The Aaliyah for Mac
collectors box was sold at $250 and it sold out within minutes during the first day of its
initial release.[207]
Legacy and influence
Aaliyah has been credited for helping redefine R&B, pop and hip hop in the 1990s, "leaving
an indelible imprint on the music industry as a whole."[1][89][208] According to Billboard,
Aaliyah revolutionized R&B with her sultry mix of pop, soul and hip hop.[209] In a 2001
review of her eponymous album, Rolling Stone professed that Aaliyah's impact on R&B and pop
has been enormous.[210] Steve Huey of AllMusic wrote Aaliyah ranks among the "elite" artists
of the R&B genre, as she "played a major role in popularizing the stuttering, futuristic
production style that consumed hip-hop and urban soul in the late 1990s."[211] Bruce Britt
of "music world" on Broadcast Music, Inc's. website stated that by combining "schoolgirl
charm with urban grit", Aaliyah helped define the teen-oriented sound that has resulted in
contemporary pop phenom's like Brandy, Christina Aguilera and Destiny's Child.[212]
Described as one of "R&B's most important artists" during the 1990s,[213] her second studio
album, One in a Million, became one of the most influential R&B albums of the decade.[33]
Music critic Simon Reynolds cited "Are You That Somebody?" as "the most radical pop single"
of 1998. Kelefah Sanneh of The New York Times wrote that rather than being the song's focal
point, Aaliyah "knew how to disappear into the music, how to match her voice to the bass
line", and consequently "helped change the way popular music sounds; the twitchy, beat-
driven songs of Destiny's Child owe a clear debt to 'Are You That Somebody'." Sanneh
asserted that by the time of her death in 2001, Aaliyah "had recorded some of the most
innovative and influential pop songs of the last five years."[101] Music publication Popdust
called Aaliyah an unlikely queen of the underground due mainly to her influence on the
underground alternative music scene, which consists of heavy sampling and references to her
music by underground artists. Popdust also mentioned that the forward-thinking music Aaliyah
did with Timbaland and the experimental music being made by many underground alternative
artists are somewhat cut from the same cloth.[214] While compiling a list of artists that
take cues from Aaliyah, MTV Hive mentioned that it's easy to spot her influence on
underground movements like dubstep, strains of indie pop, and lo-fi R&B movements.[215] With
sales of 8.1 million albums in the United States and an estimated 24 to 32 million albums
worldwide,[216][217][218][219][220] Aaliyah earned the nicknames "Princess of R&B" and
"Queen of Urban Pop",[221][222] as she "proved she was a muse in her own right".[223] Ernest
Hardy of Rolling Stone dubbed her as the "undisputed queen of the midtempo come-on".[19]
Aaliyah has been referred to as a pop icon and a R&B icon for her impact and contributions
to those respective genres.[224][225] Japanese pop singer Hikaru Utada has said several
times that "It was when I heard Aaliyah's Age Ain't Nothing but a Number that I got hooked
on R&B.", after which Utada released her debut album First Love with heavy R&B influences.
[226][227] Another Japanese pop singer Crystal Kay has expressed how she admired Aaliyah
when she was growing up and how she would practice dancing while watching her music videos.
[228]
Aaliyah was honored at the 2001 MTV Video Music Awards by Janet Jackson, Missy Elliott,
Timbaland, Ginuwine and her brother, Rashad, who all paid tribute to her.[229] In the same
year, the United States Social Security Administration ranked the name Aaliyah one of the
100 most popular names for newborn girls.[230] Aaliyah was ranked as one of "The Top 40
Women of the Video Era" in VH1's 2003 The Greatest series.[231][232] She was also ranked at
number 18 on BET's "Top 25 Dancers of All Time".[233] Aaliyah appeared on both 2000 and 2001
list of Maxim Hot 100 in position 41 and the latter at 14.[234][235] In 2002 VH1 created the
100 sexiest artist list and Aaliyah was ranked at number 36.[236] In memory of Aaliyah, the
Entertainment Industry Foundation created the Aaliyah Memorial Fund to donate money raised
to charities she supported.[237][238] In December 2009, Billboard magazine ranked Aaliyah at
number 70 on its Top Artists of the Decade,[239] while her eponymous album was ranked at
number 181 on the magazine's Top 200 Albums of the Decade.[240] She is listed by Billboard
as the tenth most successful female R&B artist of the past 25 years, and 27th most
successful R&B artist overall.[241] In 2012, VH1 ranked her number 48 in "VH1's Greatest
Women in Music".[242] Also in 2012, Aaliyah was ranked at number 10 on Complex magazine's
100 hottest female singers of all-time list[243] and number 22 on their 90 hottest women of
the 90's list.[244] In 2014, NME ranked Aaliyah at number 18 on NME's 100 most influential
artist list.[245] Aaliyah's dress that she wore at the 2000 MTV Video Music Award's was
featured in the most memorable fashion moments at the VMA's list by the fashion publication
Harper's Bazaar.[246] In October 2015 Aaliyah was featured in the 10 women who became Denim
Style icons list created by the fashion publication Vogue.[247] In August 2018 Billboard
ranked Aaliyah at number 47 on their Top 60 Female Artists of All-Time list.[248]
Aaliyah's music has influenced numerous artists including Adele,[249] The Weeknd,[250]
Ciara,[251] Beyoncé,[252] Monica,[253] Chris Brown,[191] Rihanna,[254] Azealia Banks,[255]
Sevyn Streeter,[256] Keyshia Cole,[257] J. Cole,[258] Ryan Destiny[259] Kelly Rowland,[260]
Zendaya,[261] Rita Ora,[262] The xx,[263][264][265] Arctic Monkeys,[266] Speedy Ortiz,[267]
Chelsea Wolfe,[268] Haim,[269] Angel Haze,[270] Kiesza,[271] Naya Rivera,[272] Normani[273]
Cassie,[274][275] Hayley Williams,[276] Jessie Ware,[277] Yeasayer,[278] Bebe Rexha,[279]
Omarion,[280] and Years & Years frontman Olly Alexander.[281] Canadian R&B singer Keshia
Chanté who was said to play as her in her pending biopic back in 2008, complimented the
singer's futuristic style in music and fashion.[282] Chanté backed out of the biopic after
speaking to Diane Haughton, but has expressed a willingness to do the project if "the right
production comes along and the family's behind it". Chanté also mentioned that Aaliyah had
been part of her life "since I was 6."[283] R&B singer and friend Brandy said about the late
singer "She came out before Monica and I did, she was our inspiration. At the time, record
companies did not believe in kid acts and it was just inspiring to see someone that was
winning and winning being themselves. When I met her I embraced her, I was so happy to meet
her."[284] Rapper Drake said that the singer has had the biggest influence on his career. He
also has a tattoo of the singer on his back.[285] Solange Knowles remarked on the tenth
anniversary of her death that she idolized Aaliyah and proclaimed that she would never be
forgotten.[286] Adam Levine, the lead vocalist of the pop rock group Maroon 5, remembers
that listening to "Are You That Somebody?" convinced him to pursue a more soulful sound than
that of his then-band Kara's Flowers.[287] Erika Ramirez, an associate editor of Billboard,
said at the time of Aaliyah's career "there weren't many artists using the kind of soft
vocals the ways she was using it, and now you see a lot of artists doing that and finding
success," her reasoning for Aaliyah's continued influence on current artists. She argued
that Aaliyah's second album One in a Million was "very much ahead of its time, with the bass
and electro kind of R&B sounds that they produced", referring to collaborators Timbaland and
Missy Elliott and that the sound, which "really stood out" at its time, was being
replicated.[288]
In 2012, British singer-songwriter Katy B released the song Aaliyah as a tribute to
Aaliyah's legacy and lasting impression on R&B music.[289] The song first appeared on Katy
B's Danger EP and featured Jessie Ware on guest vocals. In 2016, Swedish singer-songwriter
Erik Hassle released a song titled "If Your Man Only Knew" which serves as a tribute to
Aaliyah's 1996 single "If Your Girl Only Knew".[290]
There has been continuing belief that Aaliyah would have achieved greater career success had
it not been for her death. Emil Wilbekin mentioned the deaths of The Notorious B.I.G. and
Tupac Shakur in conjunction with hers and added: "Her just-released third album and
scheduled role in a sequel to The Matrix could have made her another Janet Jackson or
Whitney Houston".[291] Director of Queen of the Damned Michael Rymer said of Aaliyah, "God,
that girl could have gone so far" and spoke of her having "such a clarity about what she
wanted. Nothing was gonna step in her way. No ego, no nervousness, no manipulation. There
was nothing to stop her."[292]
On July 18, 2014, it was announced that Alexandra Shipp replaced Zendaya for the role of
Aaliyah for the Lifetime TV biopic movie Aaliyah: The Princess of R&B,
Sparhawk Mill in Yarmouth, Maine. Now mostly office and commercial space, this old cotton mill was later converted to generate ~270 kilowatts of electricity. Currently owned by the town, the dam is being reviewed for removal since it blocks fish passage at the mouth of an important estuary.
Romanian postcard by Casa Filmului Acin, no. 516. Sophia Loren in Heller in Pink Tights (George Cukor, 1960).
Sophia Loren (1934) rose to fame in post-war Italy as a voluptuous sex goddess. Soon after, she became one of the most successful stars of the 20th Century, who won an Oscar for her mother role in La ciociara (Vittorio De Sica, 1960).
Sophia Loren was born Sofia Villani Scicolone in the charity ward of a Roman hospital in 1934. She was the illegitimate daughter of construction engineer Riccardo Scicolone and piano teacher and aspiring actress Romilda Villani. Riccardo was married to another woman and refused to marry Romilda, leaving her without support. Romilda, Sofia, and sister Maria returned to Pozzuoli to live with Sofia's grandmother. Pozzuoli was a small town outside Naples and one of the hardest hit during World War II. The family shared a two-room apartment with the grandmother and several aunts and uncles. The shy, stick-thin girl regularly went hungry and had to flee from bombings. At 14, Sofia had a voluptuous figure and entered a beauty contest. She was selected as one of the finalists but did not win. In 1950, she was one of the contestants in the Miss Italia competition. She earned 2nd place and was awarded ‘Miss Eleganza’. While attending the Miss Rome beauty contest, earlier in 1950, she had met judge Carlo Ponti, an up-and-coming film producer, 22 years her senior. Ponti had helped launch Gina Lollobrigida's career and now began grooming Sofia for stardom. He hired an acting coach to tutor her. At 16 she was in her first film, the Totó comedy Le Sei Mogli di Barbablù/Bluebeard’s Six Wives (Carlo Ludovico Bragaglia, 1950) under the name Sofia Lazzaro. She also appeared as an extra in Luci del varietà/Lights of the Variety (Federico Fellini, 1950), the smash hit Anna (Alberto Lattuada, 1951), and Quo Vadis (Mervyn Leroy, 1951). During the early 1950s, she secured work modelling for fumetti magazines. These comic-like magazines used actual photographs. The dialogue bubbles were called 'fumetti' - hence the popular name. At 17, she was cast by Ponti in her first larger role as the commoner who caught the prince's eye in the filmed opera La Favorita/The Favorite (Cesare Barlacchi, 1952). The next year she earned third billing after Silvana Pampanini and Eleanora Rossi-Drago in La Tratta Delle Bianche/The White Slave Trade (Luigi Comencini, 1953) and she played, complete with blackface and an Afro, the lead in another filmed opera, Aida (Clemente Fracassi, 1953) by Giuseppe Verdi. Her singing was dubbed by Renata Tebaldi. Ponti eventually changed her name to Sophia Loren.
Sophia Loren appeared for the first time with Marcello Mastroianni in the romantic comedy Peccato che sia una canaglia/Too Bad She's Bad (Alessandro Blasetti, 1954). They would make 13 films together, including Tempi nostri/A Slice of Life (Alessandro Blasetti, Paul Paviot, 1954), La bella mugnaia/The Miller's Wife (Mario Camerini, 1955), and La fortuna di essere donna/What A Woman (Alessandro Blasetti, 1956). L'Oro di Napoli/Gold of Naples (Vittorio de Sica, 1954), an anthology of tales depicting various aspects of Neapolitan life, was distributed internationally. At AllMovie, Jason Ankeny writes that in reviews "Loren was singled out for the strength of her performance as a Neapolitan shopkeeper, surprising many critics who had dismissed her as merely another bombshell". The film established her persona as a sensuous working-class earth mother. It also began a fruitful, career-long collaboration with De Sica. Sophia’s first film to find international success was La Donna del Fiume/The River Girl (Mario Soldati, 1955), in which she danced sensually the Mambo Bacan. Hal Erickson at AllMovie: "Through it all, Sophia Loren looks like a million lire - and she even gets to sing and dance!". She came to the attention of Stanley Kramer who offered her the female lead in The Pride And The Passion (Stanley Kramer, 1957) opposite Cary Grant and Frank Sinatra. Sophia played a Spanish peasant girl involved in an uprising against the French. This was the turning point in her career, and the film proved to be one of the top US box office successes of the year. Her next English-language film was Boy on a Dolphin (Jean Negulesco, 1957) with Alan Ladd, where she was memorable mostly for emerging from the water in a wet, skin-tight, transparent dress. With her va-va-va-voom image, she became an international film star and got a five-picture contract with Paramount Pictures. Among her Paramount films were Desire Under the Elms (Delbert Mann, 1958) with Anthony Perkins and based upon the Eugene O'Neill play, Houseboat (Melville Shavelson, 1958), a romantic comedy co-starring Cary Grant, and the Western Heller in Pink Tights (George Cukor, 1960) in which she appeared for the first time with blonde hair (a wig). Most of these films were received lukewarmly at best.
In 1960 Sophia Loren returned to Italy to star in the biggest success of her career, La Ciociara/Two Women (Vittorio De Sica, 1960). She played a widow desperately trying to protect her daughter from danger during WW II, only to end up in a destructive love triangle with a young radical (Jean-Paul Belmondo). Hal Erickson at AllMovie: "A last-minute replacement for Anna Magnani, Sophia Loren brought hitherto untapped depths of emotion to her performance in Two Women; she later stated that she was utilizing 'sensory recall,' dredging up memories of her own wartime experiences." Loren won the Best Actress Oscar for her performance, and also the Cannes, Venice ánd Berlin Film Festivals' best performance prizes. Next, she played in Spain Samuel Bronston's epic production of El Cid (Anthony Mann, 1961) with Charlton Heston, followed by the De Sica episode of the anthology Boccaccio '70 (Vittorio De Sica, Federico Fellini, Luchino Visconti, 1962). On the strength of her Oscar win, she also returned to English-language fare with Five Miles to Midnight (Anatole Litvak, 1963), followed a year later by The Fall of the Roman Empire (Anthony Mann, 1964), for which she received $1 million. Among Loren's other films of this period are The Millionairess (Anthony Asquith, 1960) with Peter Sellers, It Started in Naples (Melville Shavelson, 1960) with Clark Gable, Lady L (Peter Ustinov, 1965) with Paul Newman, Arabesque (Stanley Donen, 1966) with Gregory Peck, and Charlie Chaplin's final film, A Countess from Hong Kong (1967) with Marlon Brando. Despite the failure of many of her films to generate sales at the box office, she invariably turned in a charming performance and she wore some of the most lavish costumes ever created for the cinema. Her best Italian films include the triptych Ieri, oggi, domani/Yesterday, Today And Tomorrow (Vittorio De Sica, 1963), a comedy that poked fun at a Catholic priest and gently mocked the Italian law on birth control, and Matrimonio all' Italiana/Marriage Italian Style (Vittorio De Sica, 1964) with Loren as the hooker who lures Mastroianni into marriage.
After several miscarriages and a highly-publicized struggle to become pregnant, Sophia Loren gave birth to her son Hubert Leoni Carlo Ponti in 1968. She started to work less and moved into her 40s and 50s with roles in films like De Sica's war drama I Girasoli/The Sunflowers (Vittorio De Sica, 1972), Il Viaggio/The Voyage (Vittorio De Sica, 1974) opposite Richard Burton, and reuniting with Marcello Mastroianni in the mob comedy La Pupa del Gangster/Get Rita (Giorgio Capitani, 1975). An artistic highlight was Una giornata particolare/A Special Day (Ettore Scola, 1977) which earned a Golden Globe for Best Foreign Film. Loren played a bored housewife on the day of the first meeting between Mussolini and Hitler. Left alone in her tenement home when her fascist husband runs off to attend the historic event, Loren strikes up a friendship with her homosexual neighbour (Marcello Mastroianni). As the day segues into night, Loren and Mastroianni develop a very special relationship that will radically alter both of their outlooks on life. When a dubbed version of Una giornata particolare/A Special Day found favour with American audiences, Hollywood again came calling, resulting in a pair of thrillers, The Brass Target (John Hough, 1978) and Firepower (Michael Winner, 1979) which offered her a central role as a widow seeking answers in the murder of her chemist husband. In 1980, Loren portrayed herself, as well as her mother, in Sophia Loren: Her Own Story (Mel Stuart, 1980), a made-for-television biopic adaptation of her autobiography. Actresses Ritza Brown and Chiara Ferrari played Loren at younger ages. She made headlines in 1982 when she served an 18-day prison sentence in Italy on tax evasion charges, a fact that didn't damage her career or popularity. In her 60s, Loren ventured into various areas of business, including cookbooks, eyewear, jewellery, and perfume. In honour of her lengthy career, Loren was the recipient of a special Oscar in 1991. She also made well-received appearances in her final film with Mastroianni, Prêt-à-Porter/Ready to Wear (1994), Robert Altman's take on the French fashion scene, and in the comedy hit Grumpier Old Men (Howard Deutch, 1995) playing a femme fatale opposite Walter Matthau and Jack Lemmon. In 1995 she received the Golden Globe Cecil B. DeMille Award. At the age of 72, she appeared scantily clad in the 2007 edition of the famous calendar of Italian racing tire giant Pirelli. It made her the oldest model in the calendar's history. The photos by Dutch photographers Inez van Lamsweerde and Vinoodh Matadin proved that she was still a major international sex symbol. In 2007 Carlo Ponti died. It had been controversial in her native Italy when Sophia Loren had married her mentor Ponti in 1957. Not only was he 45 to her 23, but he had been married previously, and neither the Catholic Church nor the Italian government recognised his Mexican divorce. Ponti was charged with bigamy, but the charges were dropped when they had their marriage annulled. They continued living together - scandalous at the time - and remarried after his legal problems had been cleared. Ponti and Loren made three dozen films together. They had two children, symphony conductor Carlo Ponti Jr. and film director Edoardo Ponti. After four years off the big screen, Sophia Loren co-starred in a film version of the Broadway musical Nine (Rob Marshall, 2009). She played the mother of famous film director Guido Contini, portrayed by Daniel Day-Lewis. According to Jason Ankeny at AllMovie, "Loren proved she still had movie star charisma with a role in Chicago director Rob Marshall's Nine - a lavish tribute to all things Italian." Loren made a two-part television biopic of her early life titled La Mia Casa È Piena di Specchi/My House Is Full of Mirrors (Vittorio Sindoni, 2010), based on of the memoir written by her sister Maria Scicolone. At 80, Sophia Loren returned to the screen in Human Voice (2014) directed by her son Edoardo Ponti. At the presentation at the Tribeca Film Festival in New York, 'the timeless beauty' stunned the press once again when she walked on the red carpet in a chic red pantsuit hand-in-hand with her 41-year-old son to promote the short film. Human Voice is based on the play by iconic French playwright Jean Cocteau and sees La Loren play a woman in her twilight years facing revelations from her past. In late 2014, she also presented her first memoir, Ieri, oggi, domani. La mia vita/Today and Tomorrow: My Life as a Fairy Tale. It includes old pictures, letters, and notes detailing encounters with Cary Grant and other film partners. In 2020, Sophia Loren returned to cinema after an 11-year absence. At the age of 86, she played a Jewish Holocaust survivor who befriends a 12-year-old Senegalese orphan in the Netflix film La vita davanti a sé/The Life Ahead, directed by her son Edoardo Ponti. The film is based on the novel 'La vie devant soi' by French author Romain Gary.
Sources: Jason Ankeny (AllMovie), Hal Erickson (AllMovie), Shyam Dodge (Daily Mail), Jenny (IMDb), Wikipedia, NNDB, TCM, and IMDb.
And, please check out our blog European Film Star Postcards.
Canadian postcard by Canadian Postcard, no. A 298.
Delicate American actress Winona Ryder (1971) is known for her dark hair, brown eyes and pale skin. She starred in films such as Beetlejuice (1988), Heathers (1989), Edward Scissorhands (1990), Bram Stoker's Dracula (1992), and the television series Stranger Things. In 1994, she won a Golden Globe for Best Supporting Actress in the film The Age of Innocence (1993), and Ryder was nominated twice for an Oscar.
Winona Ryder was born Winona Laura Horowitz in Winona (Olmsted County), Minnesota, in 1971. Yes, her name is very much the same as her birthplace. Her parents, Cindy Horowitz (Istas), an author and video producer, and Michael Horowitz, a publisher and bookseller, were part of the hippie movement. She has a brother named Uri Horowitz (1976), who got his first name after Yuri Gagarin, a half-sister named Sunyata Palmer (1968), and a half-brother named Jubal Palmer (1970) from her mother Cindy's first marriage. From 1978, Winona grew up in a commune near Mendocino in California, which had no electricity. When Winona was seven, her mother began to manage an old cinema in a nearby barn and would screen films all day. She allowed Winona to miss school to watch movies with her. In 1981, the family moved to Petaluma, California. Since Winona was considered an outsider in public school, she was sent to a public school and later to the American Conservatory Theater acting school. She was discovered at the age of thirteen by a talent scout at a theatre performance at the American Conservatory Theater in San Francisco. In 1985, she applied for a role in the film Desert Bloom (David Seltzer, 1986) with a video in which she performed a monologue from the book 'Franny and Zooey' by J. D. Salinger. Although the casting choice was fellow actress Annabeth Gish, director and writer David Seltzer recognised her talent and cast her as Rina in his film Lucas (David Seltzer, 1986) about a teenager (Corey Haim) and his life in high school. When telephoned to ask what name she wanted to be called in the credits, she chose Ryder as her stage name because her father's Mitch Ryder & The Detroit Wheels album was playing in the background. Her real hair colour is blonde but when she made Lucas (1986), her hair color was dyed black. She was told to keep it that colour and with the exception of Edward Scissorhands (1990), it has stayed that color since. Her next film was Square Dance (Daniel Petrie, 1987), in which the protagonist she portrays lives a life between two worlds: on a traditional farm and in a big city. Ryder's performance received good reviews, although neither film was a commercial success. Her acting in Lucas led director Tim Burton to cast her in his film Beetlejuice (Tim Burton, 1988). In this comedy, she played Lydia Deetz, who moves with her family into a house inhabited by ghosts (played by Geena Davis, Alec Baldwin, and Michael Keaton). Ryder, as well as the film, received positive reviews, and Beetlejuice was also successful at the box office. In 1989, she starred as Veronica Sawyer in the independent film Heathers (Michael Lehmann, 1989) about a couple (Ryder and Christian Slater) who kill popular schoolgirls. Ryder's agent had previously advised her against the role. The film was a financial failure, but Ryder received positive reviews. The Jerry Lee Lewis biopic Great Balls of Fire! (Jim McBride, 1989) was also a flop. That same year, Ryder appeared in Mojo Nixon's music video 'Debbie Gibson Is Pregnant with My Two-Headed Love Child'. At the premiere of Great Balls of Fire (1989), Ryder met fellow actor and later film partner Johnny Depp. The couple became engaged a few months later, but their relationship ended in 1993. He had a tattoo of her name and after they broke up, he had this reduced to "Wino forever".
In 1990, Winona Ryder had her breakthrough performance alongside her boyfriend Johnny Depp in Edward Scissorhands (Tim Burton, 1990). The fantasy film was an international box-office success. Ryder was selected for the role of Mary Corleone in The Godfather: Part III (Francis Ford Coppola, 1990) but had to drop out of the role after catching the flu from the strain of doing the films Welcome Home Roxy (Jim Abrahams, 1990) and Mermaids (Richard Benjamin, 1990) back-to-back. Ryder's performance alongside Cher and Christina Ricci in the family comedy Mermaids (1990) was praised by critics and she was nominated for a Golden Globe in the Best Supporting Actress category. Ryder also appeared with Cher and Ricci in the music video for 'The Shoop Shoop Song', the film's theme song. Independent filmmaker Jim Jarmusch wrote a role specifically for her in Night on Earth (Jim Jarmusch, 1991), as a tattooed, chain-smoking cabdriver who dreams of becoming a mechanic. Ryder was cast in a dual role as Mina Murray and Elisabeta in Bram Stoker's Dracula (Francis Ford Coppola, 1992). In 1993, she starred as Blanca in the drama The House of the Spirits (Bille August, 1993) alongside Antonio Banderas, Meryl Streep, and Glenn Close. It is the film adaptation of Isabel Allende's bestseller of the same name. Together with Michelle Pfeiffer and Daniel Day-Lewis, she starred in Age of Innocence (Martin Scorsese, 1993), the film adaptation of Edith Wharton's novel. She was Martin Scorsese's first and only choice for the role of May Welland. For years, she kept the message he left on her voicemail, informing her she got the role. Her part earned her a Golden Globe for Best Supporting Actress and an Oscar nomination. She also earned positive reviews for her role in the comedy Reality Bites (Ben Stiller, 1994). She received critical acclaim and another Oscar nomination the same year as Jo in the drama Little Women (Gillian Armstrong, 1994). In 1996, she starred alongside Daniel Day-Lewis and Joan Allen in The Crucible (Nicholas Hytner, 1996), an adaptation of Arthur Miller's stage play about the Puritan witch hunt in Salem. The film was not a success; however, Ryder's performance was favourably reviewed. A year later she portrayed an android in the successful horror film Alien: Resurrection (Jean-Pierre Jeunet, 1997) alongside Sigourney Weaver's Ripley. In 1998 she starred in Woody Allen's Celebrity (1998). after Drew Barrymore turned down the role. In 1999 she starred as a psychiatric patient with borderline syndrome in the drama Girl, Interrupted (James Mangold, 1999), based on Susanna Kaysen's autobiographical novel. Girl, Interrupted, the first film on which she served as executive producer, was supposed to be Ryder's comeback in Hollywood after the flops of the past years. However, the film became the breakthrough for her colleague Angelina Jolie, who won an Oscar for her role. In this decade, she was involved with Dave Pirner, the lead singer of the group Soul Asylum, from 1993 to 1996 and with Matt Damon from December 1997 to April 2000.
Winona Ryder appeared alongside Richard Gere in Autumn in New York (Joan Chen, 2000), a romance about an older man's love for a younger woman. She also made a cameo appearance in the comedy Zoolander (Ben Stiller, 2000). The comedy Mr. Deeds (Steven Brill, 2002) with Adam Sandler became her biggest financial success to date. The film failed with critics and Ryder was nominated for the Golden Raspberry award. Also in 2002, she was sentenced to three years probation and 480 hours of work for repeatedly shoplifting $5,000 worth of clothes. The incident caused a career setback. She withdrew from the public eye in the following years and did not appear in front of the camera again until 2006. In that year, she appeared in the novel adaptation A Scanner Darkly (Richard Linklater, 2006) alongside Keanu Reeves, Robert Downey Jr., and Woody Harrelson. In 2009, she made an appearance in Star Trek: The Future Begins (J. J. Abrams, 2009) as Spock (Zachary Quinto)'s mother Amanda Grayson. The prequel became a huge success at the box office and Ryder earned a Scream Award for Best Guest Appearance. She also appeared alongside Robin Wright and Julianne Moore in Rebecca Miller's Pippa Lee (2009), and alongside Natalie Portman and Mila Kunis in Darren Aronofsky's Black Swan (2010). Ryder starred in the television film When Love Is Not Enough: The Lois Wilson Story (John Kent Harrison, 2010), for which she was nominated for a Screen Actors Guild Award. She starred in the comedy The Dilemma (Ron Howard, 2011), and the thrillers The Iceman (Ariel Vromen, 2012), and The Letter (Jay Anania, 2012) opposite James Franco. In Tim Burton's Frankenweenie (2012) she lent her voice to the character Elsa Van Helsing. Since 2016, she has embodied the main character, Joyce Byers, in the Netflix series Stranger Things (2016-2022), for which she received positive responses. Her role in the series has been described by many as a comeback. Since 2011 Winona Ryder is in a relationship with Scott MacKinlay Hahn.
Sources: Pedro Borges (IMDb), Wikipedia (Dutch and German), and IMDb.
And, please check out our blog European Film Star Postcards.
The Postcard
A postally unused postcard that was published by Fotofolio of Box 661, Canal Sta., NY, NY. The photography was by Rollie McKenna. The card has a divided back.
Dylan Thomas
Dylan Marlais Thomas, who was born in Swansea on the 27th. October 1914, was a Welsh poet and writer whose works include the poems 'Do not go Gentle Into That Good Night' and 'And Death Shall Have No Dominion.'
Dylan's other work included 'Under Milk Wood' as well as stories and radio broadcasts such as 'A Child's Christmas in Wales' and 'Portrait of the Artist as a Young Dog'.
He became widely popular in his lifetime, and remained so after his death at the age of 39 in New York City. By then he had acquired a reputation, which he had encouraged, as a roistering, drunken and doomed poet.
In 1931, when he was 16, Thomas, an undistinguished pupil, left school to become a reporter for the South Wales Daily Post, only to leave under pressure 18 months later.
Many of his works appeared in print while he was still a teenager. In 1934, the publication of 'Light Breaks Where no Sun Shines' caught the attention of the literary world.
While living in London, Thomas met Caitlin Macnamara. They married in 1937, and had three children: Llewelyn, Aeronwy and Colm.
Thomas came to be appreciated as a popular poet during his lifetime, though he found it hard to earn a living as a writer. He began augmenting his income with reading tours and radio broadcasts. His radio recordings for the BBC during the late 1940's brought him to the public's attention, and he was frequently used by the BBC as an accessible voice of the literary scene.
Thomas first travelled to the United States in the 1950's. His readings there brought him a degree of fame, while his erratic behaviour and drinking worsened. His time in the United States cemented his legend, however, and he went on to record to vinyl such works as 'A Child's Christmas in Wales'.
During his fourth trip to New York in 1953, Thomas became gravely ill and fell into a coma. He died on the 9th. November 1953, and his body was returned to Wales. On the 25th. November 1953, he was laid to rest in St Martin's churchyard in Laugharne, Carmarthenshire.
Although Thomas wrote exclusively in the English language, he has been acknowledged as one of the most important Welsh poets of the 20th century. He is noted for his original, rhythmic and ingenious use of words and imagery. He is regarded by many as one of the great modern poets, and he still remains popular with the public.
-- Dylan Thomas - The Early Years
Dylan was born at 5 Cwmdonkin Drive, the son of Florence Hannah (née Williams; 1882–1958), a seamstress, and David John Thomas (1876–1952), a teacher. His father had a first-class honours degree in English from University College, Aberystwyth and ambitions to rise above his position teaching English literature at the local grammar school.
Thomas had one sibling, Nancy Marles (1906–1953), who was eight years his senior. The children spoke only English, though their parents were bilingual in English and Welsh, and David Thomas gave Welsh lessons at home.
Thomas's father chose the name Dylan, which means 'Son of the Sea', after Dylan ail Don, a character in The Mabinogion. Dylan's middle name, Marlais, was given in honour of his great-uncle, William Thomas, a Unitarian minister and poet whose bardic name was Gwilym Marles.
Dylan caused his mother to worry that he might be teased as the 'Dull One.' When he broadcast on Welsh BBC, early in his career, he was introduced using this pronunciation. Thomas favoured the Anglicised pronunciation, and gave instructions that it should be spoken as 'Dillan.'
The red-brick semi-detached house at 5 Cwmdonkin Drive (in the respectable area of the Uplands), in which Thomas was born and lived until he was 23, had been bought by his parents a few months before his birth.
Dylan's childhood featured regular summer trips to the Llansteffan Peninsula, a Welsh-speaking part of Carmarthenshire, where his maternal relatives were the sixth generation to farm there.
In the land between Llangain and Llansteffan, his mother's family, the Williamses and their close relatives, worked a dozen farms with over a thousand acres between them. The memory of Fernhill, a dilapidated 15-acre farm rented by his maternal aunt, Ann Jones, and her husband, Jim, is evoked in the 1945 lyrical poem 'Fern Hill', but is portrayed more accurately in his short story, 'The Peaches'.
Thomas had bronchitis and asthma in childhood, and struggled with these throughout his life. He was indulged by his mother and enjoyed being mollycoddled, a trait he carried into adulthood, and he was skilful in gaining attention and sympathy.
Thomas's formal education began at Mrs Hole's Dame School, a private school on Mirador Crescent, a few streets away from his home. He described his experience there in Reminiscences of Childhood:
"Never was there such a dame school as ours,
so firm and kind and smelling of galoshes, with
the sweet and fumbled music of the piano lessons
drifting down from upstairs to the lonely schoolroom,
where only the sometimes tearful wicked sat over
undone sums, or to repent a little crime – the pulling
of a girl's hair during geography, the sly shin kick
under the table during English literature".
In October 1925, Dylan Thomas enrolled at Swansea Grammar School for boys, in Mount Pleasant, where his father taught English. He was an undistinguished pupil who shied away from school, preferring reading.
In his first year, one of his poems was published in the school's magazine, and before he left he became its editor. In June 1928, Thomas won the school's mile race, held at St. Helen's Ground; he carried a newspaper photograph of his victory with him until his death.
During his final school years Dylan began writing poetry in notebooks; the first poem, dated 27th. April 1930, is entitled 'Osiris, Come to Isis'.
In 1931, when he was 16, Thomas left school to become a reporter for the South Wales Daily Post, only to leave under pressure 18 months later. Thomas continued to work as a freelance journalist for several years, during which time he remained at Cwmdonkin Drive and continued to add to his notebooks, amassing 200 poems in four books between 1930 and 1934. Of the 90 poems he published, half were written during these years.
In his free time, Dylan joined the amateur dramatic group at the Little Theatre in Mumbles, visited the cinema in Uplands, took walks along Swansea Bay, and frequented Swansea's pubs, especially the Antelope and the Mermaid Hotels in Mumbles.
In the Kardomah Café, close to the newspaper office in Castle Street, he met his creative contemporaries, including his friend the poet Vernon Watkins.
-- 1933–1939
In 1933, Thomas visited London for probably the first time.
Thomas was a teenager when many of the poems for which he became famous were published:
-- 'And Death Shall Have no Dominion'
-- 'Before I Knocked'
-- 'The Force That Through the Green Fuse Drives the Flower'.
'And Death Shall Have no Dominion' appeared in the New English Weekly in May 1933:
'And death shall have no dominion.
Dead men naked they shall be one
With the man in the wind and the
west moon;
When their bones are picked clean and
the clean bones gone,
They shall have stars at elbow and foot;
Though they go mad they shall be sane,
Though they sink through the sea they
shall rise again
Though lovers be lost love shall not;
And death shall have no dominion'.
When 'Light Breaks Where no Sun Shines' appeared in The Listener in 1934, it caught the attention of three senior figures in literary London - T. S. Eliot, Geoffrey Grigson and Stephen Spender. They contacted Thomas, and his first poetry volume, '18 Poems', was published in December 1934.
'18 Poems' was noted for its visionary qualities which led to critic Desmond Hawkins writing that:
"The work is the sort of bomb
that bursts no more than once
in three years".
The volume was critically acclaimed, and won a contest run by the Sunday Referee, netting him new admirers from the London poetry world, including Edith Sitwell and Edwin Muir. The anthology was published by Fortune Press, in part a vanity publisher that did not pay its writers, and expected them to buy a certain number of copies themselves. A similar arrangement was used by other new authors, including Philip Larkin.
In September 1935, Thomas met Vernon Watkins, thus beginning a lifelong friendship. Dylan introduced Watkins, working at Lloyds Bank at the time, to his friends. The group of writers, musicians and artists became known as "The Kardomah Gang".
In those days, Thomas used to frequent the cinema on Mondays with Tom Warner who, like Watkins, had recently suffered a nervous breakdown. After these trips, Warner would bring Thomas back for supper with his aunt.
On one occasion, when she served him a boiled egg, she had to cut its top off for him, as Thomas did not know how to do this. This was because his mother had done it for him all his life, an example of her coddling him. Years later, his wife Caitlin would still have to prepare his eggs for him.
In December 1935, Thomas contributed the poem 'The Hand That Signed the Paper' to Issue 18 of the bi-monthly New Verse.
In 1936, Dylan's next collection 'Twenty-five Poems' received much critical praise. In 1938, Thomas won the Oscar Blumenthal Prize for Poetry; it was also the year in which New Directions offered to be his publisher in the United States. In all, he wrote half his poems while living at Cwmdonkin Drive before moving to London. It was the time that Thomas's reputation for heavy drinking developed.
In early 1936, Thomas met Caitlin Macnamara (1913–94), a 22-year-old blonde-haired, blue-eyed dancer of Irish and French descent. She had run away from home, intent on making a career in dance, and at the age of 18 joined the chorus line at the London Palladium.
Introduced by Augustus John, Caitlin's lover, they met in The Wheatsheaf pub on Rathbone Place in London's West End. Laying his head on her lap, a drunken Thomas proposed. Thomas liked to comment that he and Caitlin were in bed together ten minutes after they first met.
Although Caitlin initially continued her relationship with Augustus John, she and Thomas began a correspondence, and by the second half of 1936 they were courting. They married at the register office in Penzance, Cornwall, on the 11th. July 1937.
In early 1938, they moved to Wales, renting a cottage in the village of Laugharne, Carmarthenshire. Their first child, Llewelyn Edouard, was born on the 30th. January 1939.
By the late 1930's, Thomas was embraced as the "Poetic Herald" for a group of English poets, the New Apocalyptics. However Thomas refused to align himself with them, and declined to sign their manifesto.
He later stated that:
"They are intellectual muckpots
leaning on a theory".
Despite Dylan's rejection, many of the group, including Henry Treece, modelled their work on Thomas's.
During the politically charged atmosphere of the 1930's, Thomas's sympathies were very much with the radical left, to the point of holding close links with the communists, as well as being decidedly pacifist and anti-fascist. He was a supporter of the left-wing No More War Movement, and boasted about participating in demonstrations against the British Union of Fascists.
-- 1939–1945
In 1939, a collection of 16 poems and seven of the 20 short stories published by Thomas in magazines since 1934, appeared as 'The Map of Love'.
Ten stories in his next book, 'Portrait of the Artist as a Young Dog' (1940), were based less on lavish fantasy than those in 'The Map of Love', and more on real-life romances featuring himself in Wales.
Sales of both books were poor, resulting in Thomas living on meagre fees from writing and reviewing. At this time he borrowed heavily from friends and acquaintances.
Hounded by creditors, Thomas and his family left Laugharne in July 1940 and moved to the home of critic John Davenport in Marshfield, Gloucestershire. There Thomas collaborated with Davenport on the satire 'The Death of the King's Canary', though due to fears of libel, the work was not published until 1976.
At the outset of the Second World War, Thomas was worried about conscription, and referred to his ailment as "An Unreliable Lung".
Coughing sometimes confined him to bed, and he had a history of bringing up blood and mucus. After initially seeking employment in a reserved occupation, he managed to be classified Grade III, which meant that he would be among the last to be called up for service.
Saddened to see his friends going on active service, Dylan continued drinking, and struggled to support his family. He wrote begging letters to random literary figures asking for support, a plan he hoped would provide a long-term regular income. Thomas supplemented his income by writing scripts for the BBC, which not only gave him additional earnings but also provided evidence that he was engaged in essential war work.
In February 1941, Swansea was bombed by the Luftwaffe in a three night blitz. Castle Street was one of many streets that suffered badly; rows of shops, including the Kardomah Café, were destroyed. Thomas walked through the bombed-out shell of the town centre with his friend Bert Trick. Upset at the sight, he concluded:
"Our Swansea is dead".
Soon after the bombing raids, he wrote a radio play, 'Return Journey Home', which described the café as being "razed to the snow". The play was first broadcast on the 15th. June 1947. The Kardomah Café reopened on Portland Street after the war.
In May 1941, Thomas and Caitlin left their son with his grandmother at Blashford and moved to London. Thomas hoped to find employment in the film industry, and wrote to the director of the films division of the Ministry of Information (MOI). After initially being rebuffed, he found work with Strand Films, providing him with his first regular income since the Daily Post. Strand produced films for the MOI; Thomas scripted at least five films in 1942.
In five film projects, between 1942 and 1945, the Ministry of Information (MOI) commissioned Thomas to script a series of documentaries about both urban planning and wartime patriotism, all in partnership with director John Eldridge:
-- 'Wales: Green Mountain, Black Mountain'.
-- 'New Towns for Old' (on post-war reconstruction).
-- 'Fuel for Battle'.
-- 'Our Country' (1945) was a romantic tour of Great
Britain set to Thomas's poetry.
-- 'A City Reborn'.
Other projects included:
-- 'This Is Colour' (a history of the British dyeing industry).
-- 'These Are The Men' (1943), a more ambitious piece in which Thomas's verse accompanied Leni Riefenstahl's
footage of an early Nuremberg Rally.
-- 'Conquest of a Germ' (1944) explored the use of early antibiotics in the fight against pneumonia and tuberculosis.
In early 1943, Thomas began a relationship with Pamela Glendower; one of several affairs he had during his marriage. The affairs either ran out of steam or were halted after Caitlin discovered his infidelity.
In March 1943, Caitlin gave birth to a daughter, Aeronwy, in London. They lived in a run-down studio in Chelsea, made up of a single large room with a curtain to separate the kitchen.
The Thomas family made several escapes back to Wales during the war. Between 1941 and 1943, they lived intermittently in Plas Gelli, Talsarn, in Cardiganshire. Plas Gelli sits close by the River Aeron, after whom Aeronwy is thought to have been named. Some of Thomas’ letters from Gelli can be found in his 'Collected Letters'.
The Thomases shared the mansion with his childhood friends from Swansea, Vera and Evelyn Phillips. Vera's friendship with the Thomases in nearby New Quay is portrayed in the 2008 film, 'The Edge of Love'.
In July 1944, with the threat of German flying bombs landing on London, Thomas moved to the family cottage at Blaencwm near Llangain, Carmarthenshire, where he resumed writing poetry, completing 'Holy Spring' and 'Vision and Prayer'.
In September 1944, the Thomas family moved to New Quay in Cardiganshire (Ceredigion), where they rented Majoda, a wood and asbestos bungalow on the cliffs overlooking Cardigan Bay. It was here that Thomas wrote the radio piece 'Quite Early One Morning', a sketch for his later work, 'Under Milk Wood'.
Of the poetry written at this time, of note is 'Fern Hill', believed to have been started while living in New Quay, but completed at Blaencwm in mid-1945. Dylan's first biographer, Constantine FitzGibbon wrote that:
"His nine months in New Quay were a second
flowering, a period of fertility that recalls the
earliest days, with a great outpouring of poems
and a good deal of other material".
His second biographer, Paul Ferris, concurred:
"On the grounds of output, the bungalow
deserves a plaque of its own."
The Dylan Thomas scholar, Walford Davies, has noted that:
"New Quay was crucial in supplementing
the gallery of characters Thomas had to
hand for writing 'Under Milk Wood'."
-- Dylan Thomas's Broadcasting Years 1945–1949
Although Thomas had previously written for the BBC, it was a minor and intermittent source of income. In 1943, he wrote and recorded a 15-minute talk entitled 'Reminiscences of Childhood' for the Welsh BBC.
In December 1944, he recorded 'Quite Early One Morning' (produced by Aneirin Talfan Davies, again for the Welsh BBC), but when Davies offered it for national broadcast, BBC London initially turned it down.
However on the 31st. August 1945, the BBC Home Service broadcast 'Quite Early One Morning' nationally, and in the three subsequent years, Dylan made over a hundred broadcasts for the BBC, not only for his poetry readings, but for discussions and critiques.
In the second half of 1945, Dylan began reading for the BBC Radio programme, 'Book of Verse', that was broadcast weekly to the Far East. This provided Thomas with a regular income, and brought him into contact with Louis MacNeice, a congenial drinking companion whose advice Thomas cherished.
On the 29th. September 1946, the BBC began transmitting the Third Programme, a high-culture network which provided further opportunities for Thomas.
He appeared in the play 'Comus' for the Third Programme, the day after the network launched, and his rich, sonorous voice led to character parts, including the lead in Aeschylus's 'Agamemnon', and Satan in an adaptation of 'Paradise Lost'.
Thomas remained a popular guest on radio talk shows for the BBC, who stated:
"He is useful should a younger
generation poet be needed".
He had an uneasy relationship with BBC management, and a staff job was never an option, with drinking cited as the problem. Despite this, Thomas became a familiar radio voice and well-known celebrity within Great Britain.
By late September 1945, the Thomases had left Wales, and were living with various friends in London. In December, they moved to Oxford to live in a summerhouse on the banks of the Cherwell. It belonged to the historian, A. J. P. Taylor. His wife, Margaret, became Thomas’s most committed patron.
The publication of 'Deaths and Entrances' in February 1946 was a major turning point for Thomas. Poet and critic Walter J. Turner commented in The Spectator:
"This book alone, in my opinion,
ranks him as a major poet".
From 'In my Craft or Sullen Art,' 'Deaths and Entrances' (1946):
'Not for the proud man apart
From the raging moon, I write
On these spindrift pages
Nor for the towering dead
With their nightingales and psalms
But for the lovers, their arms
Round the griefs of the ages,
Who pay no praise or wages
Nor heed my craft or art'.
The following year, in April 1947, the Thomases travelled to Italy, after Thomas had been awarded a Society of Authors scholarship. They stayed first in villas near Rapallo and then Florence, before moving to a hotel in Rio Marina on the island of Elba.
On their return to England Thomas and his family moved, in September 1947, into the Manor House in South Leigh, just west of Oxford, found for him by Margaret Taylor.
He continued with his work for the BBC, completed a number of film scripts, and worked further on his ideas for 'Under Milk Wood'.
In March 1949 Thomas travelled to Prague. He had been invited by the Czech government to attend the inauguration of the Czechoslovak Writers' Union. Jiřina Hauková, who had previously published translations of some of Thomas' poems, was his guide and interpreter.
In her memoir, Hauková recalls that at a party in Prague, Thomas narrated the first version of his radio play 'Under Milk Wood.' She describes how he outlined the plot about a town that was declared insane, and then portrayed the predicament of an eccentric organist and a baker with two wives.
A month later, in May 1949, Thomas and his family moved to his final home, the Boat House at Laugharne, purchased for him at a cost of £2,500 in April 1949 by Margaret Taylor.
Thomas acquired a garage a hundred yards from the house on a cliff ledge which he turned into his writing shed, and where he wrote several of his most acclaimed poems. To see a photograph of the interior of Dylan's shed, please search for the tag 55DTW96
Just before moving into the Boat House, Thomas rented Pelican House opposite his regular drinking den, Brown's Hotel, for his parents. They both lived there from 1949 until Dylan's father 'D.J.' died on the 16th. December 1952. His mother continued to live there until 1953.
Caitlin gave birth to their third child, a boy named Colm Garan Hart, on the 25th. July 1949.
In October 1949, the New Zealand poet Allen Curnow came to visit Thomas at the Boat House, who took him to his writing shed. Curnow recalls:
"Dylan fished out a draft to show me
of the unfinished 'Under Milk Wood'
that was then called 'The Town That
Was Mad'."
-- Dylan Thomas's American tours, 1950–1953
(a) The First American Tour
The American poet John Brinnin invited Thomas to New York, where in 1950 they embarked on a lucrative three-month tour of arts centres and campuses.
The tour, which began in front of an audience of a thousand at the Kaufmann Auditorium in the Poetry Centre in New York, took in a further 40 venues. During the tour, Thomas was invited to many parties and functions, and on several occasions became drunk - going out of his way to shock people - and was a difficult guest.
Dylan drank before some of his readings, although it is argued that he may have pretended to be more affected by the alcohol than he actually was.
The writer Elizabeth Hardwick recalled how intoxicated a performer he could be, and how the tension would build before a performance:
"Would he arrive only to break
down on the stage?
Would some dismaying scene
take place at the faculty party?
Would he be offensive, violent,
obscene?"
Dylan's wife Caitlin said in her memoir:
"Nobody ever needed encouragement
less, and he was drowned in it."
On returning to Great Britain, Thomas began work on two further poems, 'In the White Giant's Thigh', which he read on the Third Programme in September 1950:
'Who once were a bloom of wayside
brides in the hawed house
And heard the lewd, wooed field
flow to the coming frost,
The scurrying, furred small friars
squeal in the dowse
Of day, in the thistle aisles, till the
white owl crossed.'
He also worked on the incomplete 'In Country Heaven'.
In October 1950, Thomas sent a draft of the first 39 pages of 'The Town That Was Mad' to the BBC. The task of seeing this work through to production was assigned to the BBC's Douglas Cleverdon, who had been responsible for casting Thomas in 'Paradise Lost'.
However, despite Cleverdon's urgings, the script slipped from Thomas's priorities, and in early 1951 he took a trip to Iran to work on a film for the Anglo-Iranian Oil Company. The film was never made, with Thomas returning to Wales in February, though his time there allowed him to provide a few minutes of material for a BBC documentary, 'Persian Oil'.
Early in 1951 Thomas wrote two poems, which Thomas's principal biographer, Paul Ferris, describes as "unusually blunt." One was the ribald 'Lament', and the other was an ode, in the form of a villanelle, to his dying father 'Do not go Gentle Into That Good Night". (A villanelle is a pastoral or lyrical poem of nineteen lines, with only two rhymes throughout, and some lines repeated).
Despite a range of wealthy patrons, including Margaret Taylor, Princess Marguerite Caetani and Marged Howard-Stepney, Thomas was still in financial difficulty, and he wrote several begging letters to notable literary figures, including the likes of T. S. Eliot.
Margaret Taylor was not keen on Thomas taking another trip to the United States, and thought that if he had a permanent address in London he would be able to gain steady work there. She bought a property, 54 Delancey Street, in Camden Town, and in late 1951 Thomas and Caitlin lived in the basement flat. Thomas described the flat as his "London House of Horror", and did not return there after his 1952 tour of America.
(b) The Second American Tour
Thomas undertook a second tour of the United States in 1952, this time with Caitlin - after she had discovered that he had been unfaithful on his earlier trip. They drank heavily, and Thomas began to suffer with gout and lung problems.
It was during this tour that the above photograph was taken.
The second tour was the most intensive of the four, taking in 46 engagements.
The trip also resulted in Thomas recording his first poetry to vinyl, which Caedmon Records released in America later that year. One of his works recorded during this time, 'A Child's Christmas in Wales', became his most popular prose work in America. The recording was a 2008 selection for the United States National Recording Registry, which stated that:
"It is credited with launching the
audiobook industry in the United
States".
(c) The Third American Tour
In April 1953, Thomas returned alone for a third tour of America. He performed a "work in progress" version of 'Under Milk Wood', solo, for the first time at Harvard University on the 3rd. May 1953. A week later, the work was performed with a full cast at the Poetry Centre in New York.
Dylan met the deadline only after being locked in a room by Brinnin's assistant, Liz Reitell, and was still editing the script on the afternoon of the performance; its last lines were handed to the actors as they put on their makeup.
During this penultimate tour, Thomas met the composer Igor Stravinsky. Igor had become an admirer of Dylan after having been introduced to his poetry by W. H. Auden. They had discussions about collaborating on a "musical theatrical work" for which Dylan would provide the libretto on the theme of:
"The rediscovery of love and
language in what might be left
after the world after the bomb."
The shock of Thomas's death later in the year moved Stravinsky to compose his 'In Memoriam Dylan Thomas' for tenor, string quartet and four trombones. The work's first performance in Los Angeles in 1954 was introduced with a tribute to Thomas from Aldous Huxley.
Thomas spent the last nine or ten days of his third tour in New York mostly in the company of Reitell, with whom he had an affair.
During this time, Thomas fractured his arm falling down a flight of stairs when drunk. Reitell's doctor, Milton Feltenstein, put his arm in plaster, and treated him for gout and gastritis.
After returning home, Thomas worked on 'Under Milk Wood' in Wales before sending the original manuscript to Douglas Cleverdon on the 15th. October 1953. It was copied and returned to Thomas, who lost it in a pub in London and required a duplicate to take to America.
(d) The Fourth American Tour
Thomas flew to the States on the 19th. October 1953 for what would be his final tour. He died in New York before the BBC could record 'Under Milk Wood'. Richard Burton featured in its first broadcast in 1954, and was joined by Elizabeth Taylor in a subsequent film. In 1954, the play won the Prix Italia for literary or dramatic programmes.
Thomas's last collection 'Collected Poems, 1934–1952', published when he was 38, won the Foyle poetry prize. Reviewing the volume, critic Philip Toynbee declared that:
"Thomas is the greatest living
poet in the English language".
There followed a series of distressing events for Dylan. His father died from pneumonia just before Christmas 1952. In the first few months of 1953, his sister died from liver cancer, one of his patrons took an overdose of sleeping pills, three friends died at an early age, and Caitlin had an abortion.
Thomas left Laugharne on the 9th. October 1953 on the first leg of his trip to America. He called on his mother, Florence, to say goodbye:
"He always felt that he had to get
out from this country because of
his chest being so bad."
Thomas had suffered from chest problems for most of his life, though they began in earnest soon after he moved in May 1949 to the Boat House at Laugharne - the "Bronchial Heronry", as he called it. Within weeks of moving in, he visited a local doctor, who prescribed medicine for both his chest and throat.
Whilst waiting in London before his flight in October 1953, Thomas stayed with the comedian Harry Locke and worked on 'Under Milk Wood'. Locke noted that Thomas was having trouble with his chest, with terrible coughing fits that made him go purple in the face. He was also using an inhaler to help his breathing.
There were reports, too, that Thomas was also having blackouts. His visit to the BBC producer Philip Burton a few days before he left for New York, was interrupted by a blackout. On his last night in London, he had another in the company of his fellow poet Louis MacNeice.
Thomas arrived in New York on the 20th. October 1953 to undertake further performances of 'Under Milk Wood', organised by John Brinnin, his American agent and Director of the Poetry Centre. Brinnin did not travel to New York, but remained in Boston in order to write.
He handed responsibility to his assistant, Liz Reitell, who was keen to see Thomas for the first time since their three-week romance early in the year. She met Thomas at Idlewild Airport and was shocked at his appearance. He looked pale, delicate and shaky, not his usual robust self:
"He was very ill when he got here."
After being taken by Reitell to check in at the Chelsea Hotel, Thomas took the first rehearsal of 'Under Milk Wood'. They then went to the White Horse Tavern in Greenwich Village, before returning to the Chelsea Hotel.
(Bob Dylan, formerly Robert Zimmerman, used to perform at the White Horse; Dylan Thomas was his favourite poet, and it is highly likely that Bob adopted Dylan's first name as his surname).
The next day, Reitell invited Thomas to her apartment, but he declined. They went sightseeing, but Thomas felt unwell, and retired to his bed for the rest of the afternoon. Reitell gave him half a grain (32.4 milligrams) of phenobarbitone to help him sleep, and spent the night at the hotel with him.
Two days later, on the 23rd. October 1953, at the third rehearsal, Thomas said he was too ill to take part, but he struggled on, shivering and burning with fever, before collapsing on the stage.
The next day, 24th. October, Reitell took Thomas to see her doctor, Milton Feltenstein, who administered cortisone injections. Thomas made it through the first performance that evening, but collapsed immediately afterwards.
Dylan told a friend who had come back-stage:
"This circus out there has taken
the life out of me for now."
Reitell later said:
"Feltenstein was rather a wild doctor
who thought injections would cure
anything".
At the next performance on the 25th. October, his fellow actors realised that Thomas was very ill:
"He was desperately ill…we didn’t think
that he would be able to do the last
performance because he was so ill…
Dylan literally couldn’t speak he was so
ill…still my greatest memory of it is that
he had no voice."
On the evening of the 27th. October, Thomas attended his 39th. birthday party, but felt unwell, and returned to his hotel after an hour. The next day, he took part in 'Poetry and the Film', a recorded symposium at Cinema 16.
A turning point came on the 2nd. November. Air pollution in New York had risen significantly, and exacerbated chest illnesses such as Thomas's. By the end of the month, over 200 New Yorkers had died from the smog.
On the 3rd. November, Thomas spent most of the day in his room, entertaining various friends. He went out in the evening to keep two drink appointments. After returning to the hotel, he went out again for a drink at 2 am. After drinking at the White Horse, Thomas returned to the Hotel Chelsea, declaring:
"I've had eighteen straight
whiskies. I think that's the
record!"
However the barman and the owner of the pub who served him later commented that Thomas could not have drunk more than half that amount, although the barman could have been trying to exonerate himself from any blame.
Thomas had an appointment at a clam house in New Jersey with Todd on the 4th. November. When Todd telephoned the Chelsea that morning, Thomas said he was feeling ill, and postponed the engagement. Todd thought that Dylan sounded "terrible".
The poet, Harvey Breit, was another to phone that morning. He thought that Thomas sounded "bad". Thomas' voice, recalled Breit, was "low and hoarse". Harvey had wanted to say:
"You sound as though from the tomb".
However instead Harvey told Thomas that he sounded like Louis Armstrong.
Later, Thomas went drinking with Reitell at the White Horse and, feeling sick again, returned to the hotel. Dr. Feltenstein came to see him three times that day, administering the cortisone secretant ACTH by injection and, on his third visit, half a grain (32.4 milligrams) of morphine sulphate, which affected Thomas' breathing.
Reitell became increasingly concerned, and telephoned Feltenstein for advice. He suggested that she get male assistance, so she called upon the artist Jack Heliker, who arrived before 11 pm. At midnight on the 5th. November, Thomas's breathing became more difficult, and his face turned blue.
Reitell phoned Feltenstein who arrived at the hotel at about 1 am, and called for an ambulance. It then took another hour for the ambulance to arrive at St. Vincent's, even though it was only a few blocks from the Chelsea.
Thomas was admitted to the emergency ward at St Vincent's Hospital at 1:58 am. He was comatose, and his medical notes stated that:
"The impression upon admission was acute
alcoholic encephalopathy damage to the brain
by alcohol, for which the patient was treated
without response".
Feltenstein then took control of Thomas's care, even though he did not have admitting rights at St. Vincent's. The hospital's senior brain specialist, Dr. C. G. Gutierrez-Mahoney, was not called to examine Thomas until the afternoon of the 6th. November, thirty-six hours after Thomas' admission.
Dylan's wife Caitlin flew to America the following day, and was taken to the hospital, by which time a tracheotomy had been performed. Her reported first words were:
"Is the bloody man dead yet?"
Caitlin was allowed to see Thomas only for 40 minutes in the morning, but returned in the afternoon and, in a drunken rage, threatened to kill John Brinnin. When she became uncontrollable, she was put in a straitjacket and committed, by Feltenstein, to the River Crest private psychiatric detox clinic on Long Island.
It is now believed that Thomas had been suffering from bronchitis, pneumonia and emphysema before his admission to St Vincent's. In their 2004 paper, 'Death by Neglect', D. N. Thomas and Dr Simon Barton disclose that Thomas was found to have pneumonia when he was admitted to hospital in a coma.
Doctors took three hours to restore his breathing, using artificial respiration and oxygen. Summarising their findings, they conclude:
"The medical notes indicate that, on admission,
Dylan's bronchial disease was found to be very
extensive, affecting upper, mid and lower lung
fields, both left and right."
The forensic pathologist, Professor Bernard Knight, concurs:
"Death was clearly due to a severe lung infection
with extensive advanced bronchopneumonia.
The severity of the chest infection, with greyish
consolidated areas of well-established pneumonia,
suggests that it had started before admission to
hospital."
Thomas died at noon on the 9th. November 1953, having never recovered from his coma. He was 39 years of age when he died.
-- Aftermath of Dylan Thomas's Death
Rumours circulated of a brain haemorrhage, followed by competing reports of a mugging, or even that Thomas had drunk himself to death. Later, speculation arose about drugs and diabetes.
At the post-mortem, the pathologist found three causes of death - pneumonia, brain swelling and a fatty liver. Despite Dylan's heavy drinking, his liver showed no sign of cirrhosis.
The publication of John Brinnin's 1955 biography 'Dylan Thomas in America' cemented Thomas's legacy as the "doomed poet". Brinnin focuses on Thomas's last few years, and paints a picture of him as a drunk and a philanderer.
Later biographies have criticised Brinnin's view, especially his coverage of Thomas's death. David Thomas in 'Fatal Neglect: Who Killed Dylan Thomas?' claims that Brinnin, along with Reitell and Feltenstein, were culpable.
FitzGibbon's 1965 biography ignores Thomas's heavy drinking and skims over his death, giving just two pages in his detailed book to Thomas's demise.
Ferris in his 1989 biography includes Thomas's heavy drinking, but is more critical of those around him in his final days, and does not draw the conclusion that he drank himself to death.
Many sources have criticised Feltenstein's role and actions, especially his incorrect diagnosis of delirium tremens and the high dose of morphine he administered. Dr C. G. de Gutierrez-Mahoney, the doctor who treated Thomas while at St. Vincent's, concluded that Feltenstein's failure to see that Thomas was gravely ill and have him admitted to hospital sooner was even more culpable than his use of morphine.
Caitlin Thomas's autobiographies, 'Caitlin Thomas - Leftover Life to Kill' (1957) and 'My Life with Dylan Thomas: Double Drink Story' (1997), describe the effects of alcohol on the poet and on their relationship:
"Ours was not only a love story, it was
a drink story, because without alcohol
it would never had got on its rocking
feet. The bar was our altar."
Biographer Andrew Lycett ascribed the decline in Thomas's health to an alcoholic co-dependent relationship with his wife, who deeply resented his extramarital affairs.
In contrast, Dylan biographers Andrew Sinclair and George Tremlett express the view that Thomas was not an alcoholic. Tremlett argues that many of Thomas's health issues stemmed from undiagnosed diabetes.
Thomas died intestate, with assets worth £100. His body was brought back to Wales for burial in the village churchyard at Laugharne. Dylan's funeral, which Brinnin did not attend, took place at St Martin's Church in Laugharne on the 24th. November 1953.
Six friends from the village carried Thomas's coffin. Caitlin, without her customary hat, walked behind the coffin, with his childhood friend Daniel Jones at her arm and her mother by her side. The procession to the church was filmed, and the wake took place at Brown's Hotel. Thomas's fellow poet and long-time friend Vernon Watkins wrote The Times obituary.
Thomas's widow, Caitlin, died in 1994, and was laid to rest alongside him. Dylan's mother Florence died in August 1958. Thomas's elder son, Llewelyn, died in 2000, his daughter, Aeronwy in 2009, and his youngest son Colm in 2012.
-- Dylan Thomas's Poetry
Thomas's refusal to align with any literary group or movement has made him and his work difficult to categorise. Although influenced by the modern symbolism and surrealism movements, he refused to follow such creeds. Instead, critics view Thomas as part of the modernism and romanticism movements, though attempts to pigeon-hole him within a particular neo-romantic school have been unsuccessful.
Elder Olson, in his 1954 critical study of Thomas's poetry, wrote:
"There is a further characteristic which
distinguished Thomas's work from that
of other poets. It was unclassifiable."
Olson went on to say that in a postmodern age that continually attempted to demand that poetry have social reference, none could be found in Thomas's work, and that his work was so obscure that critics could not analyse it.
Thomas's verbal style played against strict verse forms, such as in the villanelle 'Do not go Gentle Into That Good Night'.
His images appear carefully ordered in a patterned sequence, and his major theme was the unity of all life, the continuing process of life and death, and new life that linked the generations.
Thomas saw biology as a magical transformation producing unity out of diversity, and in his poetry sought a poetic ritual to celebrate this unity. He saw men and women locked in cycles of growth, love, procreation, new growth, death, and new life. Therefore, each image engenders its opposite.
Thomas derived his closely woven, sometimes self-contradictory images from the Bible, Welsh folklore, preaching, and Sigmund Freud. Explaining the source of his imagery, Thomas wrote in a letter to Glyn Jones:
"My own obscurity is quite an unfashionable one,
based, as it is, on a preconceived symbolism
derived (I'm afraid all this sounds woolly and
pretentious) from the cosmic significance of the
human anatomy".
Thomas's early poetry was noted for its verbal density, alliteration, sprung rhythm and internal rhyme, and some critics detected the influence of the English poet Gerard Manley Hopkins. Hopkins, had taught himself Welsh, and used sprung verse, bringing some features of Welsh poetic metre into his work.
However when Henry Treece wrote to Thomas comparing his style to that of Hopkins, Thomas wrote back denying any such influence. Thomas greatly admired Thomas Hardy, who is regarded as an influence. When Thomas travelled in America, he recited some of Hardy's work in his readings.
Other poets from whom critics believe Thomas drew influence include James Joyce, Arthur Rimbaud and D. H. Lawrence.
William York Tindall, in his 1962 study, 'A Reader's Guide to Dylan Thomas', finds comparison between Thomas's and Joyce's wordplay, while he notes the themes of rebirth and nature are common to the works of Lawrence and Thomas.
Although Thomas described himself as the "Rimbaud of Cwmdonkin Drive", he stated that the phrase "Swansea's Rimbaud" was coined by the poet Roy Campbell.
Critics have explored the origins of Thomas's mythological pasts in his works such as 'The Orchards', which Ann Elizabeth Mayer believes reflects the Welsh myths of the Mabinogion.
Thomas's poetry is notable for its musicality, most clear in 'Fern Hill', 'In Country Sleep', 'Ballad of the Long-legged Bait' and 'In the White Giant's Thigh' from Under Milk Wood.
Thomas once confided that the poems which had most influenced him were Mother Goose rhymes which his parents taught him when he was a child:
"I should say I wanted to write poetry in the
beginning because I had fallen in love with
words.
The first poems I knew were nursery rhymes,
and before I could read them for myself I had
come to love the words of them. The words
alone.
What the words stood for was of a very
secondary importance ... I fell in love, that is
the only expression I can think of, at once,
and am still at the mercy of words, though
sometimes now, knowing a little of their
behaviour very well, I think I can influence
them slightly and have even learned to beat
them now and then, which they appear to
enjoy.
I tumbled for words at once. And, when I began
to read the nursery rhymes for myself, and, later,
to read other verses and ballads, I knew that I
had discovered the most important things, to
me, that could be ever."
Thomas became an accomplished writer of prose poetry, with collections such as 'Portrait of the Artist as a Young Dog' (1940) and 'Quite Early One Morning' (1954) showing he was capable of writing moving short stories. His first published prose work, 'After the Fair', appeared in The New English Weekly on the 15th. March 1934.
Jacob Korg believes that one can classify Thomas's fiction work into two main bodies:
-- Vigorous fantasies in a poetic style
-- After 1939, more straightforward
narratives.
Korg surmises that Thomas approached his prose writing as an alternate poetic form, which allowed him to produce complex, involuted narratives that do not allow the reader to rest.
-- Dylan Thomas as a Welsh Poet
Thomas disliked being regarded as a provincial poet, and decried any notion of 'Welshness' in his poetry. When he wrote to Stephen Spender in 1952, thanking him for a review of his Collected Poems, he added:
"Oh, & I forgot. I'm not influenced by
Welsh bardic poetry. I can't read Welsh."
Despite this, his work was rooted in the geography of Wales. Thomas acknowledged that he returned to Wales when he had difficulty writing, and John Ackerman argues that:
"Dylan's inspiration and imagination
were rooted in his Welsh background".
Caitlin Thomas wrote that:
"He worked in a fanatically narrow groove,
although there was nothing narrow about
the depth and understanding of his feelings.
The groove of direct hereditary descent in
the land of his birth, which he never in
thought, and hardly in body, moved out of."
Head of Programmes Wales at the BBC, Aneirin Talfan Davies, who commissioned several of Thomas's early radio talks, believed that the poet's whole attitude is that of the medieval bards.
Kenneth O. Morgan counter-argues that it is a difficult enterprise to find traces of cynghanedd (consonant harmony) or cerdd dafod (tongue-craft) in Thomas's poetry. Instead he believes that Dylan's work, especially his earlier, more autobiographical poems, are rooted in a changing country which echoes the Welshness of the past and the Anglicisation of the new industrial nation:
"Rural and urban, chapel-going and profane,
Welsh and English, unforgiving and deeply
compassionate."
Fellow poet and critic Glyn Jones believed that any traces of cynghanedd in Thomas's work were accidental, although he felt that Dylan consciously employed one element of Welsh metrics: that of counting syllables per line instead of feet. Constantine Fitzgibbon, who was his first in-depth biographer, wrote:
"No major English poet has
ever been as Welsh as Dylan".
Although Dylan had a deep connection with Wales, he disliked Welsh nationalism. He once wrote:
"Land of my fathers, and
my fathers can keep it".
While often attributed to Thomas himself, this line actually comes from the character Owen Morgan-Vaughan, in the screenplay Thomas wrote for the 1948 British melodrama 'The Three Weird Sisters'.
Robert Pocock, a friend from the BBC, recalled:
"I only once heard Dylan express an
opinion on Welsh Nationalism.
He used three words. Two of them
were Welsh Nationalism."
Although not expressed as strongly, Glyn Jones believed that he and Thomas's friendship cooled in the later years because he had not rejected enough of the elements that Thomas disliked, i.e. "Welsh nationalism and a sort of hill farm morality".
Apologetically, in a letter to Keidrych Rhys, editor of the literary magazine 'Wales', Thomas's father wrote:
"I'm afraid Dylan isn't much
of a Welshman".
FitzGibbon asserts that Thomas's negativity towards Welsh nationalism was fostered by his father's hostility towards the Welsh language.
Critical Appraisal of Dylan Thomas's Work
Thomas's work and stature as a poet have been much debated by critics and biographers since his death. Critical studies have been clouded by Thomas's personality and mythology, especially his drunken persona and death in New York.
When Seamus Heaney gave an Oxford lecture on the poet, he opened by addressing the assembly:
"Dylan Thomas is now as much
a case history as a chapter in the
history of poetry".
He queried how 'Thomas the Poet' is one of his forgotten attributes. David Holbrook, who has written three books about Thomas, stated in his 1962 publication 'Llareggub Revisited':
"The strangest feature of Dylan Thomas's
notoriety - not that he is bogus, but that
attitudes to poetry attached themselves
to him which not only threaten the prestige,
effectiveness and accessibility to English
poetry, but also destroyed his true voice
and, at last, him."
The Poetry Archive notes that:
"Dylan Thomas's detractors accuse him
of being drunk on language as well as
whiskey, but whilst there's no doubt that
the sound of language is central to his
style, he was also a disciplined writer
who re-drafted obsessively".
Many critics have argued that Thomas's work is too narrow, and that he suffers from verbal extravagance. However those who have championed his work have found the criticism baffling. Robert Lowell wrote in 1947:
"Nothing could be more wrongheaded
than the English disputes about Dylan
Thomas's greatness ... He is a dazzling
obscure writer who can be enjoyed
without understanding."
Kenneth Rexroth said, on reading 'Eighteen Poems':
"The reeling excitement of a poetry-intoxicated
schoolboy smote the Philistine as hard a blow
with one small book as Swinburne had with
Poems and Ballads."
Philip Larkin, in a letter to Kingsley Amis in 1948, wrote that:
"No one can stick words into us
like pins... like Thomas can".
However he followed that by stating that:
"Dylan doesn't use his words
to any advantage".
Amis was far harsher, finding little of merit in Dylan's work, and claiming that:
"He is frothing at the mouth
with piss."
In 1956, the publication of the anthology 'New Lines' featuring works by the British collective The Movement, which included Amis and Larkin amongst its number, set out a vision of modern poetry that was damning towards the poets of the 1940's. Thomas's work in particular was criticised. David Lodge, writing about The Movement in 1981 stated:
"Dylan Thomas was made to stand for
everything they detest, verbal obscurity,
metaphysical pretentiousness, and
romantic rhapsodizing".
Despite criticism by sections of academia, Thomas's work has been embraced by readers more so than many of his contemporaries, and is one of the few modern poets whose name is recognised by the general public.
In 2009, over 18,000 votes were cast in a BBC poll to find the UK's favourite poet; Thomas was placed 10th.
Several of Dylan's poems have passed into the cultural mainstream, and his work has been used by authors, musicians and film and television writers.
The long-running BBC Radio programme, 'Desert Island Discs', in which guests usually choose their favourite songs, has heard 50 participants select a Dylan Thomas recording.
John Goodby states that this popularity with the reading public allows Thomas's work to be classed as vulgar and common. He also cites that despite a brief period during the 1960's when Thomas was considered a cultural icon, the poet has been marginalized in critical circles due to his exuberance, in both life and work, and his refusal to know his place.
Goodby believes that Thomas has been mainly snubbed since the 1970's and has become: "... an embarrassment to twentieth-century poetry criticism", his work failing to fit standard narratives, and thus being ignored rather than studied.
-- Memorials to Dylan Thomas
In Swansea's maritime quarter is the Dylan Thomas Theatre, the home of the Swansea Little Theatre of which Thomas was once a member. The former Guildhall built in 1825 is now occupied by the Dylan Thomas Centre, a literature centre, where exhibitions and lectures are held and which is a setting for the annual Dylan Thomas Festival. Outside the centre stands a bronze statue of Thomas by John Doubleday.
Another monument to Thomas stands in Cwmdonkin Park, one of Dylan's favourite childhood haunts, close to his birthplace. The memorial is a small rock in an enclosed garden within the park, cut by and inscribed by the late sculptor Ronald Cour with the closing lines from Fern Hill:
'Oh as I was young and easy
in the mercy of his means
Time held me green and dying
Though I sang in my chains like
the sea'.
Thomas's home in Laugharne, the Boathouse, is now a museum run by Carmarthenshire County Council. Thomas's writing shed is also preserved.
In 2004, the Dylan Thomas Prize was created in his honour, awarded to the best published writer in English under the age of 30. In 2005, the Dylan Thomas Screenplay Award was established. The prize, administered by the Dylan Thomas Centre, is awarded at the annual Swansea Bay Film Festival.
In 1982 a plaque was unveiled in Poets' Corner, Westminster Abbey. The plaque is also inscribed with the last two lines of 'Fern Hill'.
In 2014, the Royal Patron of The Dylan Thomas 100 Festival was Charles, Prince of Wales, who made a recording of 'Fern Hill' for the event.
In 2014, to celebrate the centenary of Thomas's birth, the British Council Wales undertook a year-long programme of cultural and educational works. Highlights included a touring replica of Thomas's work shed, Sir Peter Blake's exhibition of illustrations based on 'Under Milk Wood', and a 36-hour marathon of readings, which included Michael Sheen and Sir Ian McKellen performing Thomas's work.
Towamensing Trails, Pennsylvania named one of its streets, Thomas Lane, in Dylan's honour.
-- List of Works by Dylan Thomas
-- 'The Collected Poems of Dylan Thomas: The New Centenary Edition', edited and with Introduction by John Goodby. London: Weidenfeld & Nicolson, 2014.
-- 'The Notebook Poems 1930–34', edited by Ralph Maud. London: Dent, 1989.
-- 'Dylan Thomas: The Film Scripts', edited by John Ackerman. London: Dent 1995.
-- 'Dylan Thomas: Early Prose Writings', edited by Walford Davies. London: Dent 1971.
-- 'Collected Stories', edited by Walford Davies. London: Dent, 1983.
-- 'Under Milk Wood: A Play for Voices', edited by Walford Davies and Ralph Maud. London: Dent, 1995.
-- 'On The Air With Dylan Thomas: The Broadcasts', edited by Ralph Maud. New York: New Directions, 1991.
-- Correspondence
-- 'Dylan Thomas: The Collected Letters', edited by Paul Ferris (2017), 2 vols. London: Weidenfeld & Nicolson
Vol I: 1931–1939
Vol II: 1939–1953.
-- 'Letters to Vernon Watkins', edited by Vernon Watkins (1957). London: Dent.
-- Posthumous Film Adaptations
-- 2016: Dominion, written and directed by Steven Bernstein, examines the final hours of Dylan Thomas.
-- 2014: Set Fire to the Stars, with Thomas portrayed by Celyn Jones, and John Brinnin by Elijah Wood.
-- 2014: Under Milk Wood BBC, starring Charlotte Church, Tom Jones, Griff Rhys-Jones and Michael Sheen.
-- 2014: Interstellar. The poem is featured throughout the film as a recurring theme regarding the perseverance of humanity.
-- 2009: A Child's Christmas in Wales, BAFTA Best Short Film. Animation, with soundtrack in Welsh and English. Director: Dave Unwin. Extras include filmed comments from Aeronwy Thomas.
-- 2007: Dylan Thomas: A War Films Anthology (DDHE/IWM).
-- 1996: Independence Day. Before the attack, the President paraphrases Thomas's "Do not go Gentle Into That Good Night".
-- 1992: Rebecca's Daughters, starring Peter O'Toole and Joely Richardson.
-- 1987: A Child's Christmas in Wales, directed by Don McBrearty.
-- 1972: Under Milk Wood, starring Richard Burton, Elizabeth Taylor, and Peter O'Toole.
-- Opera Adaptation
-- 1973: Unter dem Milchwald, by German composer Walter Steffens on his own libretto using Erich Fried's translation of 'Under Milk Wood' into German, Hamburg State Opera. Also at the Staatstheater Kassel in 1977.
-- Final Thoughts From Dylan Thomas
"Somebody's boring me.
I think it's me."
"Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light."
"When one burns one's bridges,
what a very nice fire it makes."
"I think, that if I touched the earth,
It would crumble; It is so sad and
beautiful, so tremulously like a dream."
"An alcoholic is someone you don't like,
who drinks as much as you do."
"I hold a beast, an angel, and a madman in me,
and my enquiry is as to their working, and my
problem is their subjugation and victory, down
throw and upheaval, and my effort is their self-
expression."
"The only sea I saw was the seesaw sea
with you riding on it. Lie down, lie easy.
Let me shipwreck in your thighs."
"Why do men think you can pick love up
and re-light it like a candle? Women know
when love is over."
"Poetry is not the most important thing in life.
I'd much rather lie in a hot bath reading
Agatha Christie and sucking sweets."
"And now, gentlemen, like your manners,
I must leave you."
"My education was the liberty I had to read
indiscriminately and all the time, with my eyes
hanging out."
"I'm a freak user of words, not a poet."
"Our discreditable secret is that we don't
know anything at all, and our horrid inner
secret is that we don't care that we don't."
"It snowed last year too: I made a snowman
and my brother knocked it down and I knocked
my brother down and then we had tea."
"Though lovers be lost love shall not."
"Man’s wants remain unsatisfied till death.
Then, when his soul is naked, is he one
with the man in the wind, and the west moon,
with the harmonious thunder of the sun."
"And books which told me everything
about the wasp, except why."
"We are not wholly bad or good, who live
our lives under Milk Wood."
"Love is the last light spoken."
"... an ugly, lovely town ... crawling, sprawling ...
by the side of a long and splendid curving
shore. This sea-town was my world."
"I do not need any friends. I prefer enemies.
They are better company, and their feelings
towards you are always genuine."
"This poem has been called obscure. I refuse
to believe that it is obscurer than pity, violence,
or suffering. But being a poem, not a lifetime,
it is more compressed."
"One: I am a Welshman; two: I am a drunkard;
three: I am a lover of the human race, especially
of women."
"I believe in New Yorkers. Whether they've ever
questioned the dream in which they live, I wouldn't
know, because I won't ever dare ask that question."
"These poems, with all their crudities, doubts and
confusions, are written for the love of man and in
praise of God, and I'd be a damn fool if they weren't."
"Before you let the sun in, mind he wipes his shoes."
"Nothing grows in our garden, only washing.
And babies."
"Make gentle the life of this world."
"A worm tells summer better than the clock,
the slug's a living calendar of days; what shall
it tell me if a timeless insect says the world
wears away?"
"Time passes. Listen. Time passes. Come
closer now. Only you can hear the houses
sleeping in the streets in the slow deep salt
and silent black, bandaged night."
"Rhianon, he said, hold my hand, Rhianon.
She did not hear him, but stood over his bed
and fixed him with an unbroken sorrow. Hold
my hand, he said, and then: Why are you
putting the sheet over my face?"
"Come on up, boys - I'm dead."
"Life is a terrible thing, thank God."
From Wikipedia, the free encyclopedia
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Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
Treasure Island Hotel and Casino (also known as Treasure Island Las Vegas and "TI") is a pirate-themed hotel and casino located on the Las Vegas Strip in Paradise, Nevada, USA. It includes 2,885 rooms and a 47,927 sq ft (4,452.6 m2) casino. The resort is owned and operated by businessman Phil Ruffin.
Treasure Island was developed by casino owner Steve Wynn through his company, Mirage Resorts. Project designers included Joel Bergman and Jon Jerde. Wynn announced Treasure Island in October 1991, and construction began four months later. The resort opened on October 26, 1993. Treasure Island was among several family-oriented resorts to open in Las Vegas during the 1990s, taking advantage of the growing tourist demographic. Treasure Island's facade was built with a lagoon containing two pirate ships. Free pirate battles were performed daily for spectators over the next two decades. The resort has also hosted Mystère since 1993, making it the longest-running show by Cirque du Soleil.
In 2000, MGM Grand Inc. acquired Mirage Resorts and was renamed MGM Mirage. Treasure Island's pirate theme was scaled back during a 2003 project aimed at attracting a more mature audience, in contrast to the family trend of the 1990s. MGM's revamp included new signage abbreviating the resort's name as "TI", while the original pirate show, Battle of Buccaneer Bay, was replaced by Sirens of TI.
MGM struggled financially during the Great Recession. In 2009, it sold Treasure Island to Ruffin for $755 million. Ruffin targeted a middle-class clientele, making various changes to appeal to the demographic. He added two signature restaurants: Gilley's Saloon in 2010, and Señor Frog's in 2012. The pirate shows ended the following year, although the ships remain on display.
History
In 1986, casino owner Steve Wynn purchased property on the Las Vegas Strip extending north to Spring Mountain Road. He opened a resort, The Mirage, on the southern portion of the land in 1989. Wynn had always wanted to build a second casino on the remaining acreage, which was being used as a parking lot for the Mirage.
Wynn's company, Mirage Resorts, announced the Treasure Island project on October 30, 1991. Like other new resorts in Las Vegas, Treasure Island was planned as a family-oriented property, taking advantage of the growing tourist demographic. It would also cater to a middle-class clientele, unlike the Mirage. Groundbreaking took place on March 2, 1992, earlier than anticipated. Construction was originally expected to cost $300 million, but the final cost rose to $430 million.
Employees and their families stayed at Treasure Island a couple days before the opening to put the resort through a trial run. Treasure Island opened to the public at 10:00 p.m. on October 26, 1993, following a private opening for VIPs, including Nevada governor Bob Miller. The resort's facade featured a free pirate show taking place in a man-made lagoon. Wynn's other Strip resort, the shuttered Dunes, was imploded the following night in a grand ceremony which incorporated the pirate show. One of the ships fired its cannon as the implosion began, simulating the resort's destruction by cannonballs.
In 1996, Treasure Island hosted a naturalization ceremony for 93 workers. It was the first Las Vegas resort to hold such an event.[
A man robbed the casino twice in 2000, stealing more than $30,000. He was arrested after a failed third attempt, during which he shot a security guard. He was sentenced to 130 years in prison.
The Prairie Island Indian Community, owners of a Treasure Island casino resort in Minnesota, filed a $250 million damages lawsuit against Mirage Resorts in May 2000. The suit alleged that Wynn violated trademark law by using the "Treasure Island" name for his own casino resort. The suit also requested that Wynn be barred from using the name, which Wynn said he registered in 1993.
Wynn departed Mirage Resorts in 2000, when it was acquired by MGM Grand Inc., later renamed MGM Mirage.
Treasure Island's family amenities included the pirate show and an arcade. However, the pirate theme and family appeal would be gradually scaled back in subsequent years. In April 2003, Treasure Island announced a major revamp to transform the resort into a more sophisticated property aimed primarily at adults, although children would still be welcomed. Describing the resort's transformation, Treasure Island president Scott Sibella said, "We've seen a return of Las Vegas to its roots as an adult destination. As the city has evolved, so too has Treasure Island." He said, "We've evolved from a yo-ho-ho feel to a more sophisticated feel. We want to change the exterior to introduce the outside to what we've already done inside." As part of the revamp, Treasure Island began using the abbreviated name "TI". Sibella described the new name as trendy and sexy, and said it was a name that residents and guests already used. He compared the abbreviated name to the former Desert Inn resort, also known as "D.I." MGM Mirage began a marketing campaign for TI in June 2003, including advertisements in various publications.
MGM struggled financially during the Great Recession, and businessman Phil Ruffin made an offer to buy Treasure Island. MGM accepted and announced the deal at the end of 2008. The purchase was finalized on March 20, 2009, at a cost of $755 million. At the time, Treasure Island was the only hotel-casino on the Strip to be owned by a single individual, as others are corporate-owned. Because of the sale, Treasure Island was removed from MGM's extensive customer database. Later that year, the resort joined K Hotels, a worldwide collection of approximately 50 hotels. Amid the recession, Ruffin spent $20 million on various changes to target a middle-class clientele. The hotel rooms were left untouched, as MGM had conducted a $92 million renovation of them shortly before selling the resort to Ruffin.
A rooftop swamp cooler caught fire in July 2012, sending smoke through hallways of the upper hotel floors, which were evacuated. The fire caused $20,000 in damage, but resulted in only minor injuries for guests.
Ruffin is a business partner of Donald Trump's and a supporter of his presidential campaign. Trump has held several campaign rallies at Treasure Island, including one in 2016 during which an audience member attempted to assassinate him.
In 2019, Treasure Island's hotel joined Radisson Hotel Group. Under the agreement, the resort kept its name and exterior signage. Room renovations began that year. State casinos were temporarily closed in 2020, due to the COVID-19 pandemic in Nevada, and the closure allowed planned renovations across the resort to accelerate. Among the additions was an expanded sportsbook.
Features
Treasure Island includes a 47,927 sq ft (4,452.6 m2) casino, and has 2,885 rooms, located in a 36-story tower. As part of the 2003 transformation, the tower was given a darker paint color, using 6,200 gallons of terra cotta/"Salmon Stream" paint, replacing an earlier pink coloring. Treasure Island received a Four Diamond Award every year from 1999 to 2013.
Tangerine, a nightclub featuring an orange and white interior, operated from 2004 to 2007. Fashion designer Christian Audigier opened an eponymous nightclub at Treasure Island in 2008, in partnership with Pure Management Group. The decor included rhinestone-encrusted skulls and two large tanks containing jellyfish. Audigier said, "When you're going into a club, you want to see sparkling and glitter and rhinestones". Christian Audigier did not perform as well as Ruffin would have liked, prompting its closure in 2010. Ruffin's other changes included a $3 million makeover of the spa, with renovations overseen by his wife Oleksandra Nikolayenko. At one point, Treasure Island had 18,000 sq ft (1,700 m2) of convention space, which received a $4 million renovation in 2012. Four years later, the space was expanded to 30,500 sq ft (2,830 m2).
In 2013, the resort announced plans to build a three-story mall, replacing the northern portion of the pirate lagoon area. It was completed two years later, and includes a CVS Pharmacy on the first floor. At the end of 2015, the resort announced that it would lease the upper floors to Victory Hill Exhibitions. In 2016, the company opened the Avengers S.T.A.T.I.O.N., an interactive self-guided exhibit based on the Marvel Cinematic Universe.
The Mirage-Treasure Island Tram travels between the two resorts.
Theme and design
Various themes were considered for the resort, until a friend of Wynn's suggested the name "Treasure Island", resulting in a pirate theme. It is named after the 1880s novel Treasure Island by Robert Louis Stevenson. The resort was designed by Joel Bergman, who previously designed the Mirage. Bergman designed the Treasure Island tower with a floorplan that branched out three ways in a Y-shape, with elevators in the center. This was done for convenience to guests, making the walk to their rooms brief. The Y-shape was modeled after the Mirage hotel tower.
Wynn's Atlandia Design worked with Jon Jerde and Olio Design to create the pirate village and lagoon area, originally known as Buccaneer Bay, and later as Siren's Cove. During the design phase, the hotel's lobby entrance was moved to the resort's south side, in order to maintain Buccaneer Bay's location on the east side along the Strip. Jerde's assistants traveled across Europe, India and Nepal searching for historic objects such as doors and columns, which were then replicated for Buccaneer Bay. The lagoon is 65 feet deep, and originally contained 2 million gallons of water. It uses wastewater recycled from a water treatment plant located beneath the resort's parking garage. A maintenance team, including divers, works to keep the lagoon clean.
According to interior designer Roger Thomas, "We thought it would be great fun to create a pirate village with sinking ships and pyrotechnics. The day after it opened we all looked at each other and said, 'What have we done? This is so not us'". Executives realized that the resort's heavy pirate theme did not appeal to people interested in a weekend getaway. By 1998, efforts had begun to downplay the theme. Mirage conducted focus group testing to determine upcoming renovation plans for Treasure Island. A $60 million remodeling of the hotel rooms took place in 1999.
The resort initially included a roadside sign featuring an 8,000-pound pirate skull, made of fiberglass and measuring 27 1/2 feet. The skull sign was removed on July 10, 2003, in a ceremony accompanied by fireworks. Sibella said, "It's a cool sign, but it needs to complement what we're doing inside", referring to the property's revamp. The skull portion was donated to the city's Neon Museum, while much of the remaining sign was scrapped. The sign was replaced by an LED neon "TI" sign with a modern and sophisticated design. The new sign measures 137 feet high and 84 feet wide.
Various pirate memorabilia had been removed from the resort over the course of three years, and was auctioned in September 2003.
Restaurants
Treasure Island opened with several restaurants, including Buccaneer Bay Club, which overlooked the lagoon and its pirate shows. Its menu included steak and seafood. A fine-dining Italian restaurant, Francesco's, was added in 1998. It featured artwork by celebrities such as Tony Bennett and Phyllis Diller.
The arcade was replaced in 2001 by a tropical-themed restaurant and bar named Kahunaville, part of efforts to appeal to a more-adult demographic. Kahunaville included a dinner show space for live entertainment. A new buffet, Dishes, was added in 2005. An Asian restaurant known as Social House opened a year later, replacing Buccaneer Bay Club.
Ruffin made numerous restaurant changes upon taking ownership. In 2009, he replaced Francesco's with a pizzeria by the same name, stating, "It's quick and it's cheap and that's what people are looking for these days". Ruffin also replaced Social House with his own Asian restaurant, Khotan, featuring jade and ivory antiques from his personal collection. In 2010, he opened Gilley's Saloon, a popular Western-themed restaurant, bar and dance hall. It previously operated at Ruffin's New Frontier hotel-casino, which closed in 2007. The new location replaced Treasure Island's Mist Lounge.
In 2012, Ruffin opened a Señor Frog's restaurant and bar to complement Kahunaville and Gilley's. It replaced Christian Audigier and Khotan, the latter relocating elsewhere in the resort. Another new restaurant, Seafood Shack, also opened in 2012. Its interior was created with recycled materials, including reclaimed wood which lines the walls. The restaurant's centerpiece is an anchor pulled from the Atlantic Ocean. The resort also has Phil's Steak House, named after Ruffin. Kahunaville closed in 2016.
Live entertainment
Treasure Island opened with the free Battle of Buccaneer Bay pirate show, performed in the lagoon along the Strip. The 15-minute show was performed several times a day and featured 22 actors. It depicted the landing and subsequent sacking of a Caribbean village by pirates, serving to attract customers from the Strip and into the resort after each show in the same fashion as the volcano fronting the Mirage resort. Notable special effects included a full-scale, crewed British Royal Navy sailing ship that sailed nearly the full width of the property, a gas-fired "powder magazine" explosion, pyrotechnics, and the sinking of the sailing ship Brittania along with its captain.
Battle of Buccaneer Bay held its final performance on July 6, 2003, with a total of 16,334 shows performed over the course of nearly 10 years. It ended as part of the resort's ongoing revamp, which would include a new pirate show. Sibella described the original show as something that would be expected at Disneyland, while calling its successor a "sexy and beautiful, adult Broadway-caliber show."
The new Sirens of TI pirate show debuted in October 2003, marking the resort's 10th anniversary. The Buccaneer Bay was renamed Sirens' Cove and the new show utilized many of the technical elements of its predecessor. The live, free show was intended to appeal more to adults by including singing, dancing, audio-visual effects, bare-chested pirates and attractive women in the large outdoor show produced by Kenny Ortega. The original two ships were kept for the new show but repainted and altered, as well as some special effects.
Sirens of TI was closed on October 21, 2013. The closure was initially intended to be temporary, but was made permanent the following month, to the dismay of the show's actors. The reason cited by Treasure Island was the construction of the new retail space nearby. The shows had cost $5 million to put on annually. While Ruffin said the shows brought "a tremendous amount of attention" to Treasure Island, they amounted to minimal foot traffic inside the resort. The pirate ships remain on display in the lagoon, and are lit up at night.
Treasure Island is home to Cirque du Soleil's Mystère, which introduced the entertainment style of Franco Dragone. It opened on December 25, 1993, and has been voted nine times as the best production show in the city by the Las Vegas Review-Journal reader's poll. It is Cirque's longest-running Las Vegas show, reaching 13,000 performances in 2022. Mystère has been updated several times throughout its run. It takes place in a 1,600-seat theater, designed by Scéno Plus. To maximize use of the Mystère theater, Ruffin signed entertainers to perform there on nights when the show is not running. Such entertainers have included Bill Cosby, LeAnn Rimes, and Sinbad. The resort has also hosted boxing matches.
In popular culture
An hour-long promotional program, Treasure Island: The Adventure Begins, aired on NBC in January 1994. It stars Corey Carrier as a 12-year-old on vacation with his parents at the resort. There, he meets and teams up with Long John Silver (Anthony Zerbe) to find lost treasure. Mirage Resorts paid NBC $1.7 million to air the program. It was directed and produced by Scott Garen, and written by James V. Hart. The special includes an appearance by Wynn, and incorporates the Dunes' implosion as its climax. The program received low viewership ratings, and was considered an infomercial by critics, who lambasted NBC for not labeling it as such.
Treasure Island has been shown or referenced in other media as well:
In the 2004 movie Dodgeball: A True Underdog Story, while Steve the Pirate is walking down Fremont Street, someone drives by yelling "Go back to Treasure Island". An alternative ending to the movie was that the Average Joes lost the dodgeball tournament, but got their money back when Steve won it at Treasure Island.
Treasure Island appears in the 2004 video game Grand Theft Auto: San Andreas under the name "Pirates in Men's Pants", a pun referencing Pirates of Penzance.
The resort was a major production location for the 2005 film Miss Congeniality 2, which included filming of the Sirens of TI show.
In the 2007 film Knocked Up, Ben (Seth Rogen) and Pete (Paul Rudd) see Mystère at Treasure Island during their visit to Las Vegas.
(Wikipedia)
The Venetian Las Vegas is a luxury hotel and casino resort located on the Las Vegas Strip in Paradise, Nevada, United States. It is owned by Vici Properties and operated by Apollo Global Management. It was developed by businessman Sheldon Adelson through his company, Las Vegas Sands. The Venetian was built on the former site of the Sands Hotel and Casino, which was closed and demolished in 1996.
Construction on the Venetian began in April 1997, and the resort opened on May 4, 1999. Some amenities had yet to be finished, with construction continuing until the end of the year. Subcontractors later filed mechanic's liens against the resort for unpaid work, leading to lengthy litigation. The Venetian also feuded with the Culinary Workers Union regarding Adelson's decision to open the property as a non-union resort.
The Venetian was designed by Stubbins Associates and Wimberly Allison Tong & Goo. The resort is themed after Venice and has replicas of numerous landmarks from the city, including a canal with gondola rides. The Venetian includes a 120,000 sq ft (11,000 m2) casino and opened with 3,036 suites in a 35-story tower. A 12-story tower, the Venezia, was completed in 2003, bringing the room count to 4,049. The Palazzo, a sister property with its own hotel and casino, opened north of the Venetian in 2007.
The Venetian was built to accommodate convention-goers in particular, as Adelson felt that this demographic was underserved in Las Vegas. The resort includes its own meeting space, as well as the adjoining Venetian Expo. The property also includes the Grand Canal Shoppes, and was home to the Guggenheim Hermitage Museum from 2001 to 2008. The Venetian has several performance venues, which have hosted entertainment such as the Blue Man Group (2005–2012), Phantom: The Las Vegas Spectacular (2006–2012), and Human Nature (2013–2020). A sphere-shaped venue and arena, known as Sphere at The Venetian Resort, is scheduled to open in September 2023.
By the end of 2020, Las Vegas Sands sought to focus on its Macau properties, which include The Venetian Macao. In February 2022, Apollo Global Management acquired the operations of the Venetian, Palazzo, and Venetian Expo for $2.25 billion, while Vici Properties purchased the land beneath the facilities for $4 billion.
History
Background and construction
The Venetian was built on land previously occupied by the Sands Hotel and Casino, which opened in 1952. Las Vegas Sands, a company founded by businessman Sheldon Adelson, purchased the Sands resort in 1989. Adelson eventually devised plans to replace the aging resort, which he felt was no longer competitive with newer properties. The Sands closed in June 1996, and was demolished five months later to make way for the Venetian.
Construction began on April 14, 1997, with a low-key groundbreaking ceremony. Lehrer McGovern Bovis served as the general contractor. Work began without the issuance of final permits, a strategy used by several previous resorts on the Strip. The Venetian's foundation was poured two months after groundbreaking, followed by the construction of three stories. Further work could not begin until the approval of a traffic study. An extranet was used during construction to keep the project on schedule. It contained 4,500 items, including photos, illustrations, legal documents, and budgets. Project team members, based in various locations, could access the items via the extranet, increasing efficiency.
A key demographic would be convention-goers, whom Adelson considered underserved in Las Vegas. At the end of 1997, the project acquired $523 million in funding through the sale of bonds. The final cost was $1.5 billion. Financial analysts were skeptical about whether the resort would be finished, while gambling executives questioned Adelson's decision to focus on business travelers and conventions. Up to that time, gambling had been the most significant revenue generator in Las Vegas. The Venetian was expected to employ more than 4,000 people, and it saw more than 100,000 applications.
Safety at the construction site was questioned after several incidents, including a worker death in January 1998, which occurred as the result of a fall. At the end of the year, another worker was crushed and killed by an 8,000-pound facade, which fell 32 stories while being lifted by a crane. In February 1999, a trio of workers had to be rescued from the hotel tower's exterior after a cable for their scaffolding became tangled by high winds, stranding the workers 22 stories above ground. In March 1999, a natural gas leak occurred on-site after workers accidentally struck a line, closing one block of the Strip for two hours. The following day, an electrician died after falling more than 30 feet through an open hole, marking the third death since the start of construction. Bovis had previously been fined $9,300 for safety violations which included a lack of fall protection near holes.
Opening
The opening was initially scheduled for April 21, 1999. Adelson had wanted it to open a week earlier to accommodate convention-goers who were booked at the hotel. However, both opening dates were delayed due to ongoing construction work, as well as building inspections by the county. As a result, 900 convention guests had to be transferred to other hotels.
A soft opening was eventually scheduled for May 3, 1999. A private opening ceremony was held that morning and attended by thousands of VIP guests, including actress Sophia Loren and more than 500 journalists from around the world. County inspections delayed the public opening until 12:45 a.m. the following day. It was one of three new resorts to open on the Strip in 1999, along with Mandalay Bay and Paris Las Vegas.
Because construction was still ongoing, the resort opened without all of its amenities, including a retail mall and some restaurants. Much of the hotel tower was also unavailable initially, due to the inspection work. Because of this, many guests were sent to other resorts. Hotel inspections continued for several days after the opening, with only the first six floors and 320 rooms approved to operate. Construction continued after the opening, and concluded in December 1999. The resort did not receive a permanent certificate of occupancy until June 2001.
Construction litigation
Shortly after the opening, numerous subcontractors alleged that they were owed money for work performed on the Venetian. More than $230 million in mechanic's liens were filed, including $145 million from Lehrer McGovern Bovis, which also filed a fraud lawsuit against the resort. The Venetian stated that it was not responsible for covering subcontractor costs, according to its contract with Bovis. The resort also said that, despite Adelson's request, Bovis had failed to acquire mechanics-lien waivers when hiring subcontractors. According to Bovis, the Venetian had made more than 400 design changes during the final eight months of construction, while denying requests for construction extensions.
In July 1999, the resort filed a $50 million federal lawsuit against Bovis over the liens, as well as breach of contract. The resort claimed that its reputation had been damaged by the scattered opening of its amenities. Bovis filed its $145 million lien the following month. Both sides subsequently agreed to try resolving the dispute out of court. However, this did not pan out. A civil jury trial eventually began in August 2002, lasting 10 months. It was the longest-running civil jury trial and the largest construction lien case in Nevada history. The trial concluded in June 2003, when jurors found both the Venetian and Bovis in breach of contract. For incomplete and defective construction work, Bovis had to pay $2.3 million in damages to the resort, which was also ordered to pay $44.2 million to Bovis. Las Vegas Sands appealed the decision, and eventually reached an agreement with Bovis in 2005.
Subsequent years
By 2002, Condé Nast Traveler had named the Venetian as one of North America's top 20 hotels. It had also received Four Diamond and Four Star ratings from American Automobile Association and Mobil Travel Guide respectively. As of 2004, the Venetian was among the most profitable resorts in Las Vegas, second to the Bellagio. A Chinese counterpart, the The Venetian Macao, opened in Macau in 2007. That year, the Las Vegas location also added a sister property, The Palazzo. In 2020, readers of USA Today ranked the Venetian and Palazzo among the 10 best casinos in Las Vegas.
In 2004, the Venetian agreed to pay a $1 million penalty to settle a 12-count Gaming Control Board complaint. One of the complaints alleged the resort had held a drawing for a Mercedes-Benz that was rigged to be won by a high roller who had lost a large amount in the casino. The executives involved were fired.
On the morning of October 10, 2012, a man entered a closed gaming area and acquired $1.6 million in casino chips from a locked box that he broke open. He left the resort unnoticed, and the theft was not discovered until the following morning. He was arrested later in the month, with authorities recovering $396,000 in chips.
In 2013, Las Vegas Sands reached a non-prosecution agreement with the U.S. Department of Justice, following a two-year investigation into money laundering at the Venetian. Zhenli Ye Gon, a businessman and high-stakes gambler suspected of drug trafficking, had made numerous large deposits at the casino in 2006 and 2007. Las Vegas Sands acknowledged that it failed to take the matter seriously, and agreed to pay $47.4 million to the Department of Justice.
Like other casinos in Nevada, the Venetian closed indefinitely in March 2020 in response to the COVID-19 pandemic and its effects on the state. The following month, the resort announced plans to incorporate emergency medical personnel and automatic camera-based body temperature scans into its eventual reopening, which occurred on June 4, 2020.
By the end of 2020, Las Vegas Sands wanted to focus on its operations in Macau, as Asia was expected to recover from the pandemic's impact at a faster rate. The company was in early discussions to sell the Venetian, the Palazzo, and the adjoining Sands Expo. Adelson died in January 2021, and Las Vegas Sands announced two months later that it would sell the three Las Vegas facilities for $6.25 billion. Through the deal, Vici Properties bought the land under the facilities for $4 billion, and Apollo Global Management acquired the operations for $2.25 billion as part of a triple net lease agreement with Vici.The sale was finalized in February 2022.
Union history
Background
Before the start of construction, Adelson indicated that the Venetian would be a non-union resort,[83] unlike the Sands. This prompted criticism from the Culinary Workers Union, which represents the majority of Strip resort workers.[86] The union wanted Adelson to rehire Sands workers without going through the application process. In March 1997, the union urged Clark County Commissioners to reject the Venetian project, citing traffic concerns if it should be built. Later that year, the union held protests in front of a Venetian preview center, which resulted in a restraining order that limited the level of noise allowed during the protests.
Resort executives said the property would offer a wages and benefits package matching or exceeding those offered by the union. Adelson outsourced key elements of the resort to third parties, including restaurant and retail operations. He said it would be up to employees to decide on unionization, stating that the Culinary's actions were an "attempt to intimidate employers like me into signing contracts for workers I haven't hired yet, to stop me from trying to give my future employees a chance to choose whether they want union representation, and stop me from attracting like-minded, brand-name restaurateurs who want to give their employees that same freedom to choose". The union sought assurance that the Venetian would take a neutral stance during eventual union elections. Ultimately, the resort never unionized under Las Vegas Sands' ownership.
1999 protests and aftermath
A traffic study had determined that the public sidewalk in front of the future Venetian had to be removed, allowing for a widening of Las Vegas Boulevard. In an agreement with the county, the resort built a sidewalk on its own property with the condition that it be accessible by the public. More than 1,000 Culinary members picketed on the sidewalk in front of the resort on March 1, 1999, two months prior to its opening. Resort officials accused them of trespassing and warned of arrests, although the district attorney determined the sidewalks to be public property. Georgia congressman John Lewis spoke at the rally and also attempted to meet with Adelson, who turned down the offer because Lewis wanted to include union representatives. Although the protest had a permit to proceed, the Venetian contacted the Las Vegas Metropolitan Police Department (LVMPD) to intervene, despite the latter stating that it would not do so. The Venetian used loudspeakers to warn union members against protesting in front of the resort, and one Venetian security guard performed a citizen's arrest on a union member.
Several days after the protest, the resort filed a federal lawsuit against the union, the county, the district attorney, and the LVMPD. The resort stated that the protest took place on a private walkway separate from the sidewalk, and it sought a court order declaring the former as private property. The union responded: "We've been through this before, and we'll be through it again. We've battled this guy before, and we'll battle him as long as it takes. We're never going away. It's a long way from over". A judge denied the Venetian's request for a restraining order, and thousands of Culinary members protested at the resort's grand opening. However, most tourists were reportedly unaware or uninterested in the union battle, proceeding to visit the property. The Venetian accused the union of trespassing and unlawful picketing, and filed suit to prevent such activity in the future. A district court ruled later in 1999 that the resort's sidewalks constitute a public forum where individuals can exercise their First Amendment rights. The decision was appealed but upheld in 2001.
After the district court ruling, the union filed a complaint with the National Labor Relations Board (NLRB) in regard to the sidewalk dispute. The agency eventually determined that the resort violated the National Labor Relations Act (NLRA). The Venetian appealed, but eventually lost the case when it went to the U.S. Supreme Court, which declined to hear it in 2008. However, a year later, the NLRB did withdraw its finding that the Venetian violated the NLRA when it contacted police.
After Apollo's purchase was announced in 2021, the Culinary union questioned the company's prior management of Caesars Entertainment, which included a workforce cut of more than 20,000 over a 10-year period. Upon taking ownership in 2022, Apollo expressed no opposition to unionization. In 2023, a card check neutrality agreement was reached between Apollo and the Culinary union, as well as other unions. Under the deal, employees would determine whether to unionize while Apollo management refrains from taking a position on the matter.
Design
The Venetian is themed after Venice during the 1400s and 1500s, and it features numerous landmarks from the city. Initially, Adelson did not plan for the resort to have a theme. His second wife, Miriam, eventually suggested theming the resort after Venice, where they had honeymooned in 1991.
Two architectural firms worked on the project: Stubbins Associates, and Wimberly Allison Tong & Goo. Many of the resort's landmarks and statues were created by Treadway Industries. The design project included 250 artists and sculptors. For historical authenticity, the resort hired two Venice historians, while Treadway sent a team there to photograph the city. Venice mayor Massimo Cacciari was critical of the design, calling it a "mega-galactic example of kitsch" and comparing the resort with a "street walker".
The exterior entrance along the Las Vegas Strip is replicated after Doge's Palace and includes a recreation of the Rialto Bridge. It also features a 315-foot-high replica of St Mark's Campanile, topped by a statue depicting Gabriel. A revolving restaurant or lounge had been considered for the top of the tower, but it was deemed too small, measuring only 40 square feet. The Grand Canal Shoppes occupy an Indoor plaza, which depicts St. Mark's Square and features a sky-painted ceiling. Another area of the resort features 21 Renaissance-era paintings that were framed and attached to the ceiling.
The Venetian includes a replica of Venice's Grand Canal that goes through the resort's interior and exterior. Gondolas travel throughout the canal, and visitors can ride on them for a fee. In 2013, the indoor canals were drained for a month-long renovation, the first since the resort opened. At the time, the gondolas attracted an annual 500,000 riders.
Features
Casino and hotel
The Venetian includes a 120,000 sq ft (11,000 m2) casino. Due to lack of demand, the resort's poker room closed in 2000, with plans to expand the race and sports book. Amid a resurgence in poker popularity, the resort added a new $2.6 million poker room in 2006, featuring 39 tables. At 11,000 sq ft (1,000 m2), it was the third largest poker room on the Strip.[125][126] The resort eventually replaced it with the larger Sands Poker Room, which debuted in 2012. It was the largest on the Strip, measuring 14,000 sq ft (1,300 m2).
In 2001, the Venetian announced changes aimed at accommodating high rollers. This would include expansion of the baccarat pit, modifications to 18 suites, and the addition of semi-private gaming and dining areas. In 2005, the Venetian opened the Paiza Club, a high-rise private gaming area catering to Asian high rollers. Las Vegas Sands had opened the Sands Macao in China a year earlier, building up a new customer base in Asia.
In 2006, Nevada became the first state to approve mobile gambling, and the Venetian reached a deal with Cantor Gaming to provide such a service at the resort. The mobile gaming devices, developed and operated by Cantor, offered games such as blackjack and video poker. They were usable in public areas of the resort such as restaurants and the pool area. The Venetian introduced the devices in 2008, becoming the first Las Vegas resort to offer them. Cantor took over the Venetian's sports book operations in 2011, and spent $30 million to renovate the facility, which measured 10,000 sq ft (930 m2). A high-limit slot salon opened in 2013, featuring 118 machines and butler service.
The Venetian opened with 3,036 suites. The original hotel tower is 35 stories and 480 feet in height. Plans were evaluated in 2000 for a second tower, to be built atop the resort's 10-story parking garage. Construction eventually began in July 2002. The 12-story Venezia tower opened in June 2003 and added 1,013 rooms, for a total of 4,049.
The 50-story Palazzo, directly north of the Venetian, includes more than 3,000 rooms. When considered as a single property, the Venetian-Palazzo complex ranked as the world's largest hotel, with approximately 7,100 rooms. The complex has a total of 225,000 sq ft (20,900 m2) in gaming space.
In 2010, the Venetian and Palazzo partnered with InterContinental Hotels Group through a 10-year deal. The Venetian rooms were renovated in 2015. Two years later, the Venetian became the first Las Vegas resort to allow hotel bookings through Facebook Messenger.
Clubs and lounges
A nightclub, C2K, opened in late 1999 and was leased out to a third-party operator. The Venetian closed the club in August 2000, alleging rampant drug use and sexual activities. The closure came a month after a woman died at the club of an ecstasy overdose. It reopened two months later, under new management.
In its early years, the Venetian included a club known as the Venus Lounge. In 2005, Vivid Entertainment leased the space and opened it as Vivid, a 7,000 sq ft (650 m2) nightclub. Vivid closed in 2006, and sat vacant until the 2009 opening of Smokin' Hot Aces, a rock and roll bar.
Tao, a popular nightclub and restaurant, opened in 2005. It covers 60,000 sq ft (5,600 m2), including 12,000 sq ft (1,100 m2) for the nightclub. A dayclub, known as Tao Beach, opened in 2007.[ The five-acre Tao Beach covers the nightclub's rooftop.
In 2012, the Venetian opened The Bourbon Room, a 1980s-themed lounge. It took over the former La Scena lounge and accompanied the resort's new Rock of Ages show, which was performed in a separate venue. The show and lounge closed in early 2016. The Bourbon Room was replaced by the Dorsey, a cocktail bar opened later in 2016. It went on to become one of the most popular bars in Las Vegas. It is scheduled to close in June 2023, to be replaced by Juliet Cocktail Room.
Restaurants
The Venetian initially featured 15 restaurants, three of which were ready for the resort's soft opening.[ Notable chefs at the resort included Emeril Lagasse, Joachim Splichal, Stephan Pyles, and Wolfgang Puck. In contrast to most Las Vegas resorts, the Venetian opened without a buffet, as Adelson sought an upper-class clientele: "The people who want buffets are not consistent with the luxury and quality that we've put together here".
Tao Asian Bistro has consistently ranked as the highest-grossing independent restaurant in the U.S. since its 2005 opening, in part due to alcohol sales in its bar. The restaurant features Asian decor, including a giant Buddha statue. Another restaurant, Royal Star, also served Chinese food until its closure in 2006.
Bouchon, a French bistro by chef Thomas Keller, has operated since 2004. It is located in the Venezia tower and was designed by Adam Tihany. Yardbird Southern Table & Bar opened its second location in 2015, at the Venetian. Chef Mario Batali had two restaurants at the Venetian, both of which closed in 2018, after sexual misconduct allegations were made against him. Estiatorio Milos, a Greek seafood restaurant, opened in 2021.
Convention space
The resort opened with the Venetian Congress Center, offering 500,000 sq ft (46,000 m2) of meeting space, in addition to the adjoining Sands Expo behind the Venetian, which opened in 1990 as part of the earlier Sands resort. A 150,000 sq ft (14,000 m2) expansion of the Congress Center and Sands Expo brought the resort's total meeting space to 1.9-million sq ft (180,000 m2). The expansion cost $45 million and was finished in 2003.
The Venetian helped popularize Las Vegas as a convention city, particularly thanks to its Sands Expo. Las Vegas Sands renamed it as the Venetian Expo in 2021, while in the process of selling the facility. The Venetian Congress Center was also renamed The Venetian Convention Center.
Museums
Two museums, affiliated with the Solomon R. Guggenheim Foundation, opened at the Venetian on October 7, 2001. Both were designed by architect Rem Koolhaas.
The Guggenheim Las Vegas operated in a 63,700 sq ft (5,920 m2) building until January 2003, hosting only one exhibit up to that point: Guggenheim's The Art of the Motorcycle. The facility and exhibition cost $37 million to develop, and averaged 666 daily visitors; it needed 3,000 to 4,000 to justify operating expenses. The low attendance was partly attributed to decreased tourism brought on by the September 11 attacks. Several new exhibits had been considered as replacements, but none came to fruition due to lack of funding.[206] The Venetian announced in May 2003 that the Guggenheim Las Vegas space would become a new performance theater for the resort.
The Guggenheim Hermitage Museum operated in partnership with the State Hermitage Museum in Saint Petersburg. The facility measured 7,660 sq ft (712 m2) and hosted 10 exhibitions before closing in May 2008.
Other features
Since 1999, the resort has included a Madame Tussaud's wax museum, marking the first U.S. location. The resort also features the Grand Canal Shoppes, an 875,000 sq ft (81,300 m2) shopping mall. In 2000, the Venetian became the first Strip resort to open a child-care center for its employees. The Venetian opened with five pools, and the 2003 Venezia addition included another pool deck and the resort's first wedding chapel. Upon its opening, the resort also included the 63,000 sq ft (5,900 m2) Canyon Ranch SpaClub. The spa was expanded during construction of the Palazzo, bringing it to 134,000 sq ft (12,400 m2). It is among the largest spa and fitness centers in Las Vegas.
Entertainment venues
Showroom
The Venetian's C2K club served as the resort's original performance venue, known as the Showroom during live entertainment. It was managed by H&H; Entertainment, which leased the space from the resort and rented it out to performers. The venue struggled in its early years, and the Venetian had a strained relationship with H&H;, disagreeing with the type of shows being put on.[ Performers – such as impressionist André-Philippe Gagnon, magician Melinda Saxe, and singer Robert Goulet – also had disagreements with H&H;'s management style. In its early years, the Showroom had been host to several shows, though none garnered substantial success until the 2003 openings of Lord of the Dance and V: The Ultimate Variety Show.
Opaline Theatre
Lord of the Dance and V both closed in 2004, making way for construction of a new theater with 1,760 seats. The Blue Man Group opened in the new space in 2005, and performed there until 2012. The Blue Man Group Theatre subsequently became the Rock of Ages Theatre, hosting the Rock of Ages musical from 2012 to 2016, with more than 1,000 performances during that time. The theater sat vacant for the next year, eventually hosting Steely Dan in 2017, under the new name of Opaline Theatre. A circus-themed show by Base Entertainment, titled Revive, was being developed for the Opaline Theater, but was canceled in 2018, stalling plans to renovate the venue. Base has since used the theater as a rehearsal space for other, off-site shows. The venue remains vacant as of 2022.
Venetian Theatre
In 2003, the Venetian announced that Guggenheim Las Vegas would be converted into a second performance venue. The new theater has seating for 1,815 people. It debuted with Phantom: The Las Vegas Spectacular, a shortened, 95-minute version of The Phantom of the Opera. The theater cost $42 million to build, and the show's production cost another $35 million. The show opened in 2006, and ran for six years, ending after nearly 2,700 performances. The former Phantom Theatre has since been renamed the Venetian Theatre.
At the end of 2012, country singers Tim McGraw and Faith Hill took over the theater space for a 10-weekend series of concerts. In 2013, they signed on for another 10-weekend set of shows. Georgia on My Mind, a Ray Charles tribute show, ran during 2014, with Clint Holmes, Nnenna Freelon, and Take 6 as performers. Although scheduled for a six-week run, it closed two weeks early due to poor ticket sales. In 2015, after nearly five years, The Judds reunited for a series of shows at the Venetian. Singer John Fogerty also had a concert residency in the theater during 2016, in a show incorporating smoke and pyrotechnics.
The Summit
A third performance venue, the Gordie Brown Theatre, was added in October 2006, taking former ballroom space. The 742-seat venue was custom-built to host singer Gordie Brown, with a design by The Rockwell Group. In 2007, Wayne Brady also signed on to perform in the venue, which was renamed the Venetian Showroom.
Brown ended his run in 2008. An interactive game show, The Real Deal, ran in the Venetian Showroom later that year. The show involved certain audience members being selected to compete against professional poker players. It was produced by Merv Adelson, who was later accused by the resort of stopping production and thereby breaching contract. In 2009, actor Chazz Palminteri performed his one-man show, A Bronx Tale, in the showroom.
In 2013, pop musical group Human Nature began performing in the space, which was renamed the Sands Showroom. Human Nature ended its show in 2020, amid uncertainty regarding the COVID-19 pandemic.
In 2014, the resort debuted an all-female comedy series in the Sands Showroom. Puppets Up! Uncensored, an adult-oriented puppet show, opened in the showroom in July 2016. The short-lived show, created by Brian Henson and directed by Patrick Bristow, closed in September 2016.
In 2021, the Sands Showroom was renamed The Summit, and Derek Hough launched a dance show which continued into the following year. Lin-Manuel Miranda and his musical group Freestyle Love Supreme had a residency in the showroom from 2022 to 2023.
Sphere at The Venetian Resort
A sphere-shaped music and entertainment arena, known as Sphere at The Venetian Resort, is scheduled to open in September 2023. The arena's interior is covered in LED screens which accompany live entertainment. The venue includes seating for 17,500 people.
Film and television history
Films
The Venetian's casino, lobby, and exterior were among the filming locations for the 2001 film Rat Race. The hotel rooms were also portrayed in the film, although these scenes were shot on a sound stage in Canada.
The Venetian hosted the premiere of the 2003 film The League of Extraordinary Gentlemen.
The Venetian was a prominent filming location for the 2005 film Miss Congeniality 2: Armed and Fabulous.
Television
In 2000, the cooking program Emeril Live shot several episodes in the Showroom.
By 2003, the resort had made several appearances on the television series CSI: Crime Scene Investigation.
A 2005 episode of Megastructures, titled "Ultimate Casino", focuses on the resort's design and construction.
The U.S. TV series What Not to Wear shot its series finale at The Venetian and Palazzo in 2013, inviting more than 100 past contributors from the show's 10-year run to participate.
The American game show Wheel of Fortune filmed episodes for its 31st season at the Venetian and Palazzo in 2013.
(Wikipedia)
Das Treasure Island Las Vegas ist ein 4-Sterne-Hotel mit 2885 Zimmern in 36 Stockwerken in Paradise. Das Hotel liegt am Las Vegas Boulevard („Strip“) und ist durch eine Hochbahn mit dem Mirage verbunden. Das Hotel wurde 1993 vom ehemaligen Großunternehmen Mirage Resorts eröffnet. Dieses wurde später von der MGM-Mirage-Gruppe übernommen. Am 15. Dezember 2008 erfolgte der Verkauf an Phil Ruffin, den ehemaligen Besitzer des New Frontier.
Das Treasure Island wurde durch gefährlich-romantische Seefahrer-Abenteuer in der Karibik inspiriert. Jeden Abend wurde vor dem Hotel um 17:30, 19:00, 20:30 und 22:00 Uhr die berühmte Wassershow „Sirens of TI“ in Szene gesetzt. Als Hotelgast erhielt man Zugang zum VIP-Bereich, von welchem man die Wassershow hautnah miterleben konnte.
Die Show „Sirens of TI“ wurde am 21. Oktober 2013 eingestellt. Die Schließung sollte ursprünglich nur vorübergehend sein, aber im November 2013 fiel die Entscheidung die Show komplett aufzugeben. Der Grund soll der Bau von neuen Einzelhandelsflächen sein.
Außerdem findet im Hotel eine permanente Aufführungsserie des Programms Mystère des Cirque du Soleil statt.
Im Casino-Bereich befindet sich das Buffet „Dishes“.
(Wikipedia)
Das Venetian Resort Hotel ist ein Luxushotel am Las Vegas Strip, das der italienischen Stadt Venedig nachempfunden wurde.
Ausstattung
Wie die meisten Hotels am Strip liegt auch das Venetian auf der Gemarkung von Paradise (Nevada). Zu dem 4.049 Suiten umfassenden Hotel gehören achtzehn Restaurants, zahlreiche Geschäfte und Boutiquen, ein Kasino und ein Madame Tussauds-Wachsfigurenkabinett.
In dem Hotel sind venezianische Sehenswürdigkeiten wie die Rialtobrücke, der Markusplatz oder der Campanile wiederzuerkennen. Selbst die venezianischen Kanäle wurden im und vor dem Hotel nachgebaut (allerdings nur knietief), einschließlich Gondeln mit singenden Gondolieri.
Der Eigentümer Las Vegas Sands eröffnete am 28. August 2007 mit dem The Venetian Macao ein Hotel mit demselben Thema in Macau.
Am 30. Dezember 2007 wurde das Schwesterhotel „The Palazzo“ zwischen dem Venetian und dem Wynn eröffnet. Zusammen haben beide Hotels 7.128 Zimmer, es war somit zwischen 2008 und 2015 der größte Hotelkomplex der Welt. Mittlerweile wurde das Venetian vom First World Hotel in Malaysia (7.351 Zimmer) überholt und steht nun an zweiter Stelle der Hotels mit den meisten Zimmern.
Die Irish Dance Show Lord of the Dance hat eine Truppe, die nur hier auftritt.
Im Februar 2010 wurde im Venetian ein Pokerturnier veranstaltet, welches für ESPN aufbereitet wurde.
In dem Nobelhotel wurde die Actionkomödie Miss Undercover 2 – Fabelhaft und bewaffnet mit Schauspielerin Sandra Bullock von 2005 gedreht.
Technische Daten
Höhe: 145 m
Etagen (oberirdisch): 40
Fertigstellung: 1999
Architekten: The Stubbins Associates, Inc., TSA of Nevada, LLC
Restaurants
Aquaknox, ein Fischrestaurant
Bouchon, klassisches französisches Bistro
Canaletto, venezianisches Ambiente mit Grillspezialitäten.
Delmonico Steakhouse, Steakhouse mit Südstaaten-Küche
Lutece, Restaurant im New-York-Stil
Pinot Brasserie
Postrio
Royal Star
Tao
Tsunami Asian Grill, Asia-Fusion-Küche
Valentino
Zeffirino Ristorante, traditionelle italienische Küche
Canyon Ranch Cafe
Grand Lux Cafe
Noodle Asia
Taqueria Canonita
The Grill at Valentino
Tintoretto Bakery
(Wikipedia)
Spanish postcard by Postal Oscar Color S.A., Hospitalet (Barcelona), no. 231, 1964. Sophia Loren in The Fall of the Roman Empire (Anthony Mann, 1964).
Sophia Loren (1934) rose to fame in post-war Italy as a voluptuous sex goddess. Soon after, she became one of the most successful stars of the 20th Century, who won an Oscar for her mother role in La ciociara (Vittorio De Sica, 1960).
Sophia Loren was born Sofia Villani Scicolone in the charity ward of a Roman hospital in 1934. She was the illegitimate daughter of construction engineer Riccardo Scicolone and piano teacher and aspiring actress Romilda Villani. Riccardo was married to another woman and refused to marry Romilda, leaving her without support. Romilda, Sofia, and sister Maria returned to Pozzuoli to live with Sofia's grandmother. Pozzuoli was a small town outside Naples and one of the hardest hit during World War II. The family shared a two-room apartment with the grandmother and several aunts and uncles. The shy, stick-thin girl regularly went hungry and had to flee from bombings. At 14, Sofia had a voluptuous figure and entered a beauty contest. She was selected as one of the finalists but did not win. In 1950, she was one of the contestants in the Miss Italia competition. She earned 2nd place and was awarded ‘Miss Eleganza’. While attending the Miss Rome beauty contest, earlier in 1950, she had met judge Carlo Ponti, an up-and-coming film producer, 22 years her senior. Ponti had helped launch Gina Lollobrigida's career and now began grooming Sofia for stardom. He hired an acting coach to tutor her. At 16 she was in her first film, the Totó comedy Le Sei Mogli di Barbablù/Bluebeard’s Six Wives (Carlo Ludovico Bragaglia, 1950) under the name Sofia Lazzaro. She also appeared as an extra in Luci del varietà/Lights of the Variety (Federico Fellini, 1950), the smash hit Anna (Alberto Lattuada, 1951), and Quo Vadis (Mervyn Leroy, 1951). During the early 1950s, she secured work modelling for fumetti magazines. These comic-like magazines used actual photographs. The dialogue bubbles were called 'fumetti' - hence the popular name. At 17, she was cast by Ponti in her first larger role as the commoner who caught the prince's eye in the filmed opera La Favorita/The Favorite (Cesare Barlacchi, 1952). The next year she earned third billing after Silvana Pampanini and Eleanora Rossi-Drago in La Tratta Delle Bianche/The White Slave Trade (Luigi Comencini, 1953) and she played, complete with blackface and an Afro, the lead in another filmed opera, Aida (Clemente Fracassi, 1953) by Giuseppe Verdi. Her singing was dubbed by Renata Tebaldi. Ponti eventually changed her name to Sophia Loren.
Sophia Loren appeared for the first time with Marcello Mastroianni in the romantic comedy Peccato che sia una canaglia/Too Bad She's Bad (Alessandro Blasetti, 1954). They would make 13 films together, including Tempi nostri/A Slice of Life (Alessandro Blasetti, Paul Paviot, 1954), La bella mugnaia/The Miller's Wife (Mario Camerini, 1955), and La fortuna di essere donna/What A Woman (Alessandro Blasetti, 1956). L'Oro di Napoli/Gold of Naples (Vittorio de Sica, 1954), an anthology of tales depicting various aspects of Neapolitan life, was distributed internationally. At AllMovie, Jason Ankeny writes that in reviews "Loren was singled out for the strength of her performance as a Neapolitan shopkeeper, surprising many critics who had dismissed her as merely another bombshell". The film established her persona as a sensuous working-class earth mother. It also began a fruitful, career-long collaboration with De Sica. Sophia’s first film to find international success was La Donna del Fiume/The River Girl (Mario Soldati, 1955), in which she danced sensually the Mambo Bacan. Hal Erickson at AllMovie: "Through it all, Sophia Loren looks like a million lire - and she even gets to sing and dance!". She came to the attention of Stanley Kramer who offered her the female lead in The Pride And The Passion (Stanley Kramer, 1957) opposite Cary Grant and Frank Sinatra. Sophia played a Spanish peasant girl involved in an uprising against the French. This was the turning point in her career, and the film proved to be one of the top US box office successes of the year. Her next English-language film was Boy on a Dolphin (Jean Negulesco, 1957) with Alan Ladd, where she was memorable mostly for emerging from the water in a wet, skin-tight, transparent dress. With her va-va-va-voom image, she became an international film star and got a five-picture contract with Paramount Pictures. Among her Paramount films were Desire Under the Elms (Delbert Mann, 1958) with Anthony Perkins and based upon the Eugene O'Neill play, Houseboat (Melville Shavelson, 1958), a romantic comedy co-starring Cary Grant, and the Western Heller in Pink Tights (George Cukor, 1960) in which she appeared for the first time with blonde hair (a wig). Most of these films were received lukewarmly at best.
In 1960 Sophia Loren returned to Italy to star in the biggest success of her career, La Ciociara/Two Women (Vittorio De Sica, 1960). She played a widow desperately trying to protect her daughter from danger during WW II, only to end up in a destructive love triangle with a young radical (Jean-Paul Belmondo). Hal Erickson at AllMovie: "A last-minute replacement for Anna Magnani, Sophia Loren brought hitherto untapped depths of emotion to her performance in Two Women; she later stated that she was utilizing 'sensory recall,' dredging up memories of her own wartime experiences." Loren won the Best Actress Oscar for her performance, and also the Cannes, Venice ánd Berlin Film Festivals' best performance prizes. Next, she played in Spain Samuel Bronston's epic production of El Cid (Anthony Mann, 1961) with Charlton Heston, followed by the De Sica episode of the anthology Boccaccio '70 (Vittorio De Sica, Federico Fellini, Luchino Visconti, 1962). On the strength of her Oscar win, she also returned to English-language fare with Five Miles to Midnight (Anatole Litvak, 1963), followed a year later by The Fall of the Roman Empire (Anthony Mann, 1964), for which she received $1 million. Among Loren's other films of this period are The Millionairess (Anthony Asquith, 1960) with Peter Sellers, It Started in Naples (Melville Shavelson, 1960) with Clark Gable, Lady L (Peter Ustinov, 1965) with Paul Newman, Arabesque (Stanley Donen, 1966) with Gregory Peck, and Charlie Chaplin's final film, A Countess from Hong Kong (1967) with Marlon Brando. Despite the failure of many of her films to generate sales at the box office, she invariably turned in a charming performance and she wore some of the most lavish costumes ever created for the cinema. Her best Italian films include the triptych Ieri, oggi, domani/Yesterday, Today And Tomorrow (Vittorio De Sica, 1963), a comedy that poked fun at a Catholic priest and gently mocked the Italian law on birth control, and Matrimonio all' Italiana/Marriage Italian Style (Vittorio De Sica, 1964) with Loren as the hooker who lures Mastroianni into marriage.
After several miscarriages and a highly-publicized struggle to become pregnant, Sophia Loren gave birth to her son Hubert Leoni Carlo Ponti in 1968. She started to work less and moved into her 40s and 50s with roles in films like De Sica's war drama I Girasoli/The Sunflowers (Vittorio De Sica, 1972), Il Viaggio/The Voyage (Vittorio De Sica, 1974) opposite Richard Burton, and reuniting with Marcello Mastroianni in the mob comedy La Pupa del Gangster/Get Rita (Giorgio Capitani, 1975). An artistic highlight was Una giornata particolare/A Special Day (Ettore Scola, 1977) which earned a Golden Globe for Best Foreign Film. Loren played a bored housewife on the day of the first meeting between Mussolini and Hitler. Left alone in her tenement home when her fascist husband runs off to attend the historic event, Loren strikes up a friendship with her homosexual neighbour (Marcello Mastroianni). As the day segues into night, Loren and Mastroianni develop a very special relationship that will radically alter both of their outlooks on life. When a dubbed version of Una giornata particolare/A Special Day found favour with American audiences, Hollywood again came calling, resulting in a pair of thrillers, The Brass Target (John Hough, 1978) and Firepower (Michael Winner, 1979) which offered her a central role as a widow seeking answers in the murder of her chemist husband. In 1980, Loren portrayed herself, as well as her mother, in Sophia Loren: Her Own Story (Mel Stuart, 1980), a made-for-television biopic adaptation of her autobiography. Actresses Ritza Brown and Chiara Ferrari played Loren at younger ages. She made headlines in 1982 when she served an 18-day prison sentence in Italy on tax evasion charges, a fact that didn't damage her career or popularity. In her 60s, Loren ventured into various areas of business, including cookbooks, eyewear, jewellery, and perfume. In honour of her lengthy career, Loren was the recipient of a special Oscar in 1991. She also made well-received appearances in her final film with Mastroianni, Prêt-à-Porter/Ready to Wear (1994), Robert Altman's take on the French fashion scene, and in the comedy hit Grumpier Old Men (Howard Deutch, 1995) playing a femme fatale opposite Walter Matthau and Jack Lemmon. In 1995 she received the Golden Globe Cecil B. DeMille Award. At the age of 72, she appeared scantily clad in the 2007 edition of the famous calendar of Italian racing tire giant Pirelli. It made her the oldest model in the calendar's history. The photos by Dutch photographers Inez van Lamsweerde and Vinoodh Matadin proved that she was still a major international sex symbol. In 2007 Carlo Ponti died. It had been controversial in her native Italy when Sophia Loren had married her mentor Ponti in 1957. Not only was he 45 to her 23, but he had been married previously, and neither the Catholic Church nor the Italian government recognised his Mexican divorce. Ponti was charged with bigamy, but the charges were dropped when they had their marriage annulled. They continued living together - scandalous at the time - and remarried after his legal problems had been cleared. Ponti and Loren made three dozen films together. They had two children, symphony conductor Carlo Ponti Jr. and film director Edoardo Ponti. After four years off the big screen, Sophia Loren co-starred in a film version of the Broadway musical Nine (Rob Marshall, 2009). She played the mother of famous film director Guido Contini, portrayed by Daniel Day-Lewis. According to Jason Ankeny at AllMovie, "Loren proved she still had movie star charisma with a role in Chicago director Rob Marshall's Nine - a lavish tribute to all things Italian." Loren made a two-part television biopic of her early life titled La Mia Casa È Piena di Specchi/My House Is Full of Mirrors (Vittorio Sindoni, 2010), based on of the memoir written by her sister Maria Scicolone. At 80, Sophia Loren returned to the screen in Human Voice (2014) directed by her son Edoardo Ponti. At the presentation at the Tribeca Film Festival in New York, 'the timeless beauty' stunned the press once again when she walked on the red carpet in a chic red pantsuit hand-in-hand with her 41-year-old son to promote the short film. Human Voice is based on the play by iconic French playwright Jean Cocteau and sees La Loren play a woman in her twilight years facing revelations from her past. In late 2014, she also presented her first memoir, Ieri, oggi, domani. La mia vita/Today and Tomorrow: My Life as a Fairy Tale. It includes old pictures, letters, and notes detailing encounters with Cary Grant and other film partners. In 2020, Sophia Loren returned to cinema after an 11-year absence. At the age of 86, she played a Jewish Holocaust survivor who befriends a 12-year-old Senegalese orphan in the Netflix film La vita davanti a sé/The Life Ahead, directed by her son Edoardo Ponti. The film is based on the novel 'La vie devant soi' by French author Romain Gary.
Sources: Jason Ankeny (AllMovie), Hal Erickson (AllMovie), Shyam Dodge (Daily Mail), Jenny (IMDb), Wikipedia, NNDB, TCM, and IMDb.
And, please check out our blog European Film Star Postcards.
Vintage postcard.
Delicate American actress Winona Ryder (1971) is known for her dark hair, brown eyes and pale skin. She starred in films such as Beetlejuice Heathers, Bram Stoker's Dracula, Edward Scissorhands, and the television series Stranger Things. In 1994, she won a Golden Globe for Best Supporting Actress in the film The Age of Innocence (1993), and Ryder was nominated twice for an Oscar.
Winona Ryder was born Winona Laura Horowitz in Winona (Olmsted County), Minnesota, in 1971. Yes, her name is very much the same as her birthplace. Her parents, Cindy Horowitz (Istas), an author and video producer, and Michael Horowitz, a publisher and bookseller, were part of the hippie movement. She has a brother named Uri Horowitz (1976), who got his first name after Yuri Gagarin, a half-sister named Sunyata Palmer (1968), and a half-brother named Jubal Palmer (1970) from her mother Cindy's first marriage. From 1978, Winona grew up in a commune near Mendocino in California, which had no electricity. When Winona was seven, her mother began to manage an old cinema in a nearby barn and would screen films all day. She allowed Winona to miss school to watch movies with her. In 1981, the family moved to Petaluma, California. Since Winona was considered an outsider in public school, she was sent to a public school and later to the American Conservatory Theater acting school. She was discovered at the age of thirteen by a talent scout at a theatre performance at the American Conservatory Theater in San Francisco. In 1985, she applied for a role in the film Desert Bloom (David Seltzer, 1986) with a video in which she performed a monologue from the book 'Franny and Zooey' by J. D. Salinger. Although the casting choice was fellow actress Annabeth Gish, director and writer David Seltzer recognised her talent and cast her as Rina in his film Lucas (David Seltzer, 1986) about a teenager (Corey Haim) and his life in high school. When telephoned to ask what name she wanted to be called in the credits, she chose Ryder as her stage name because her father's Mitch Ryder & The Detroit Wheels album was playing in the background. Her real hair colour is blonde but when she made Lucas (1986), her hair color was dyed black. She was told to keep it that colour and with the exception of Edward Scissorhands (1990), it has stayed that color since. Her next film was Square Dance (Daniel Petrie, 1987), in which the protagonist she portrays lives a life between two worlds: on a traditional farm and in a big city. Ryder's performance received good reviews, although neither film was a commercial success. Her acting in Lucas led director Tim Burton to cast her in his film Beetlejuice (Tim Burton, 1988). In this comedy, she played Lydia Deetz, who moves with her family into a house inhabited by ghosts (played by Geena Davis, Alec Baldwin, and Michael Keaton). Ryder, as well as the film, received positive reviews, and Beetlejuice was also successful at the box office. In 1989, she starred as Veronica Sawyer in the independent film Heathers (Michael Lehmann, 1989) about a couple (Ryder and Christian Slater) who kill popular schoolgirls. Ryder's agent had previously advised her against the role. The film was a financial failure, but Ryder received positive reviews. The Jerry Lee Lewis biopic Great Balls of Fire! (Jim McBride, 1989) was also a flop. That same year, Ryder appeared in Mojo Nixon's music video 'Debbie Gibson Is Pregnant with My Two-Headed Love Child'. At the premiere of Great Balls of Fire (1989), Ryder met fellow actor and later film partner Johnny Depp. The couple became engaged a few months later, but their relationship ended in 1993. He had a tattoo of her name and after they broke up, he had this reduced to "Wino forever".
In 1990, Winona Ryder had her breakthrough performance alongside her boyfriend Johnny Depp in Edward Scissorhands (Tim Burton, 1990). The fantasy film was an international box-office success. Ryder was selected for the role of Mary Corleone in The Godfather: Part III (Francis Ford Coppola, 1990) but had to drop out of the role after catching the flu from the strain of doing the films Welcome Home Roxy (Jim Abrahams, 1990) and Mermaids (Richard Benjamin, 1990) back-to-back. Ryder's performance alongside Cher and Christina Ricci in the family comedy Mermaids (1990) was praised by critics and she was nominated for a Golden Globe in the Best Supporting Actress category. Ryder also appeared with Cher and Ricci in the music video for 'The Shoop Shoop Song', the film's theme song. Independent filmmaker Jim Jarmusch wrote a role specifically for her in Night on Earth (Jim Jarmusch, 1991), as a tattooed, chain-smoking cabdriver who dreams of becoming a mechanic. Ryder was cast in a dual role as Mina Murray and Elisabeta in Bram Stoker's Dracula (Francis Ford Coppola, 1992). In 1993, she starred as Blanca in the drama The House of the Spirits (Bille August, 1993) alongside Antonio Banderas, Meryl Streep, and Glenn Close. It is the film adaptation of Isabel Allende's bestseller of the same name. Together with Michelle Pfeiffer and Daniel Day-Lewis, she starred in Age of Innocence (Martin Scorsese, 1993), the film adaptation of Edith Wharton's novel. She was Martin Scorsese's first and only choice for the role of May Welland. For years, she kept the message he left on her voicemail, informing her she got the role. Her part earned her a Golden Globe for Best Supporting Actress and an Oscar nomination. She also earned positive reviews for her role in the comedy Reality Bites (Ben Stiller, 1994). She received critical acclaim and another Oscar nomination the same year as Jo in the drama Little Women (Gillian Armstrong, 1994). In 1996, she starred alongside Daniel Day-Lewis and Joan Allen in The Crucible (Nicholas Hytner, 1996), an adaptation of Arthur Miller's stage play about the Puritan witch hunt in Salem. The film was not a success; however, Ryder's performance was favourably reviewed. A year later she portrayed an android in the successful horror film Alien: Resurrection (Jean-Pierre Jeunet, 1997) alongside Sigourney Weaver's Ripley. In 1998 she starred in Woody Allen's Celebrity (1998). after Drew Barrymore turned down the role. In 1999 she starred as a psychiatric patient with borderline syndrome in the drama Girl, Interrupted (James Mangold, 1999), based on Susanna Kaysen's autobiographical novel. Girl, Interrupted, the first film on which she served as executive producer, was supposed to be Ryder's comeback in Hollywood after the flops of the past years. However, the film became the breakthrough for her colleague Angelina Jolie, who won an Oscar for her role. In this decade, she was involved with Dave Pirner, the lead singer of the group Soul Asylum, from 1993 to 1996 and with Matt Damon from December 1997 to April 2000.
Winona Ryder appeared alongside Richard Gere in Autumn in New York (Joan Chen, 2000), a romance about an older man's love for a younger woman. She also made a cameo appearance in the comedy Zoolander (Ben Stiller, 2000). The comedy Mr. Deeds (Steven Brill, 2002) with Adam Sandler became her biggest financial success to date. The film failed with critics and Ryder was nominated for the Golden Raspberry award. Also in 2002, she was sentenced to three years probation and 480 hours of work for repeatedly shoplifting $5,000 worth of clothes. The incident caused a career setback. She withdrew from the public eye in the following years and did not appear in front of the camera again until 2006. In that year, she appeared in the novel adaptation A Scanner Darkly (Richard Linklater, 2006) alongside Keanu Reeves, Robert Downey Jr., and Woody Harrelson. In 2009, she made an appearance in Star Trek: The Future Begins (J. J. Abrams, 2009) as Spock (Zachary Quinto)'s mother Amanda Grayson. The prequel became a huge success at the box office and Ryder earned a Scream Award for Best Guest Appearance. She also appeared alongside Robin Wright and Julianne Moore in Rebecca Miller's Pippa Lee (2009), and alongside Natalie Portman and Mila Kunis in Darren Aronofsky's Black Swan (2010). Ryder starred in the television film When Love Is Not Enough: The Lois Wilson Story (John Kent Harrison, 2010), for which she was nominated for a Screen Actors Guild Award. She starred in the comedy The Dilemma (Ron Howard, 2011), and the thrillers The Iceman (Ariel Vromen, 2012), and The Letter (Jay Anania, 2012) opposite James Franco. In Tim Burton's Frankenweenie (2012) she lent her voice to the character Elsa Van Helsing. Since 2016, she has embodied the main character, Joyce Byers, in the Netflix series Stranger Things (2016-2022), for which she received positive responses. Her role in the series has been described by many as a comeback. Since 2011 Winona Ryder is in a relationship with Scott MacKinlay Hahn.
Sources: Pedro Borges (IMDb), Wikipedia (Dutch and German), and IMDb.
And, please check out our blog European Film Star Postcards.
East-German postcard VEB Progress Film-Vertrieb, Berlin, no. 55/71, 1971. Sophia Loren in The Fall of the Roman Empire (Anthony Mann, 1964).
Sophia Loren (1934) rose to fame in post-war Italy as a voluptuous sex goddess. Soon after, she became one of the most successful stars of the 20th Century, who won an Oscar for her mother role in La ciociara (Vittorio De Sica, 1960).
Sophia Loren was born Sofia Villani Scicolone in the charity ward of a Roman hospital in 1934. She was the illegitimate daughter of construction engineer Riccardo Scicolone and piano teacher and aspiring actress Romilda Villani. Riccardo was married to another woman and refused to marry Romilda, leaving her without support. Romilda, Sofia, and sister Maria returned to Pozzuoli to live with Sofia's grandmother. Pozzuoli was a small town outside Naples and one of the hardest hit during World War II. The family shared a two-room apartment with the grandmother and several aunts and uncles. The shy, stick-thin girl regularly went hungry and had to flee from bombings. At 14, Sofia had a voluptuous figure and entered a beauty contest. She was selected as one of the finalists but did not win. In 1950, she was one of the contestants in the Miss Italia competition. She earned 2nd place and was awarded ‘Miss Eleganza’. While attending the Miss Rome beauty contest, earlier in 1950, she had met judge Carlo Ponti, an up-and-coming film producer, 22 years her senior. Ponti had helped launch Gina Lollobrigida's career and now began grooming Sofia for stardom. He hired an acting coach to tutor her. At 16 she was in her first film, the Totó comedy Le Sei Mogli di Barbablù/Bluebeard’s Six Wives (Carlo Ludovico Bragaglia, 1950) under the name Sofia Lazzaro. She also appeared as an extra in Luci del varietà/Lights of the Variety (Federico Fellini, 1950), the smash hit Anna (Alberto Lattuada, 1951), and Quo Vadis (Mervyn Leroy, 1951). During the early 1950s, she secured work modelling for fumetti magazines. These comic-like magazines used actual photographs. The dialogue bubbles were called 'fumetti' - hence the popular name. At 17, she was cast by Ponti in her first larger role as the commoner who caught the prince's eye in the filmed opera La Favorita/The Favorite (Cesare Barlacchi, 1952). The next year she earned third billing after Silvana Pampanini and Eleanora Rossi-Drago in La Tratta Delle Bianche/The White Slave Trade (Luigi Comencini, 1953) and she played, complete with blackface and an Afro, the lead in another filmed opera, Aida (Clemente Fracassi, 1953) by Giuseppe Verdi. Her singing was dubbed by Renata Tebaldi. Ponti eventually changed her name to Sophia Loren.
Sophia Loren appeared for the first time with Marcello Mastroianni in the romantic comedy Peccato che sia una canaglia/Too Bad She's Bad (Alessandro Blasetti, 1954). They would make 13 films together, including Tempi nostri/A Slice of Life (Alessandro Blasetti, Paul Paviot, 1954), La bella mugnaia/The Miller's Wife (Mario Camerini, 1955), and La fortuna di essere donna/What A Woman (Alessandro Blasetti, 1956). L'Oro di Napoli/Gold of Naples (Vittorio de Sica, 1954), an anthology of tales depicting various aspects of Neapolitan life, was distributed internationally. At AllMovie, Jason Ankeny writes that in reviews "Loren was singled out for the strength of her performance as a Neapolitan shopkeeper, surprising many critics who had dismissed her as merely another bombshell". The film established her persona as a sensuous working-class earth mother. It also began a fruitful, career-long collaboration with De Sica. Sophia’s first film to find international success was La Donna del Fiume/The River Girl (Mario Soldati, 1955), in which she danced sensually the Mambo Bacan. Hal Erickson at AllMovie: "Through it all, Sophia Loren looks like a million lire - and she even gets to sing and dance!". She came to the attention of Stanley Kramer who offered her the female lead in The Pride And The Passion (Stanley Kramer, 1957) opposite Cary Grant and Frank Sinatra. Sophia played a Spanish peasant girl involved in an uprising against the French. This was the turning point in her career, and the film proved to be one of the top US box office successes of the year. Her next English-language film was Boy on a Dolphin (Jean Negulesco, 1957) with Alan Ladd, where she was memorable mostly for emerging from the water in a wet, skin-tight, transparent dress. With her va-va-va-voom image, she became an international film star and got a five-picture contract with Paramount Pictures. Among her Paramount films were Desire Under the Elms (Delbert Mann, 1958) with Anthony Perkins and based upon the Eugene O'Neill play, Houseboat (Melville Shavelson, 1958), a romantic comedy co-starring Cary Grant, and the Western Heller in Pink Tights (George Cukor, 1960) in which she appeared for the first time with blonde hair (a wig). Most of these films were received lukewarmly at best.
In 1960 Sophia Loren returned to Italy to star in the biggest success of her career, La Ciociara/Two Women (Vittorio De Sica, 1960). She played a widow desperately trying to protect her daughter from danger during WW II, only to end up in a destructive love triangle with a young radical (Jean-Paul Belmondo). Hal Erickson at AllMovie: "A last-minute replacement for Anna Magnani, Sophia Loren brought hitherto untapped depths of emotion to her performance in Two Women; she later stated that she was utilizing 'sensory recall,' dredging up memories of her own wartime experiences." Loren won the Best Actress Oscar for her performance, and also the Cannes, Venice ánd Berlin Film Festivals' best performance prizes. Next, she played in Spain Samuel Bronston's epic production of El Cid (Anthony Mann, 1961) with Charlton Heston, followed by the De Sica episode of the anthology Boccaccio '70 (Vittorio De Sica, Federico Fellini, Luchino Visconti, 1962). On the strength of her Oscar win, she also returned to English-language fare with Five Miles to Midnight (Anatole Litvak, 1963), followed a year later by The Fall of the Roman Empire (Anthony Mann, 1964), for which she received $1 million. Among Loren's other films of this period are The Millionairess (Anthony Asquith, 1960) with Peter Sellers, It Started in Naples (Melville Shavelson, 1960) with Clark Gable, Lady L (Peter Ustinov, 1965) with Paul Newman, Arabesque (Stanley Donen, 1966) with Gregory Peck, and Charlie Chaplin's final film, A Countess from Hong Kong (1967) with Marlon Brando. Despite the failure of many of her films to generate sales at the box office, she invariably turned in a charming performance and she wore some of the most lavish costumes ever created for the cinema. Her best Italian films include the triptych Ieri, oggi, domani/Yesterday, Today And Tomorrow (Vittorio De Sica, 1963), a comedy that poked fun at a Catholic priest and gently mocked the Italian law on birth control, and Matrimonio all' Italiana/Marriage Italian Style (Vittorio De Sica, 1964) with Loren as the hooker who lures Mastroianni into marriage.
After several miscarriages and a highly-publicized struggle to become pregnant, Sophia Loren gave birth to her son Hubert Leoni Carlo Ponti in 1968. She started to work less and moved into her 40s and 50s with roles in films like De Sica's war drama I Girasoli/The Sunflowers (Vittorio De Sica, 1972), Il Viaggio/The Voyage (Vittorio De Sica, 1974) opposite Richard Burton, and reuniting with Marcello Mastroianni in the mob comedy La Pupa del Gangster/Get Rita (Giorgio Capitani, 1975). An artistic highlight was Una giornata particolare/A Special Day (Ettore Scola, 1977) which earned a Golden Globe for Best Foreign Film. Loren played a bored housewife on the day of the first meeting between Mussolini and Hitler. Left alone in her tenement home when her fascist husband runs off to attend the historic event, Loren strikes up a friendship with her homosexual neighbour (Marcello Mastroianni). As the day segues into night, Loren and Mastroianni develop a very special relationship that will radically alter both of their outlooks on life. When a dubbed version of Una giornata particolare/A Special Day found favour with American audiences, Hollywood again came calling, resulting in a pair of thrillers, The Brass Target (John Hough, 1978) and Firepower (Michael Winner, 1979) which offered her a central role as a widow seeking answers in the murder of her chemist husband. In 1980, Loren portrayed herself, as well as her mother, in Sophia Loren: Her Own Story (Mel Stuart, 1980), a made-for-television biopic adaptation of her autobiography. Actresses Ritza Brown and Chiara Ferrari played Loren at younger ages. She made headlines in 1982 when she served an 18-day prison sentence in Italy on tax evasion charges, a fact that didn't damage her career or popularity. In her 60s, Loren ventured into various areas of business, including cookbooks, eyewear, jewellery, and perfume. In honour of her lengthy career, Loren was the recipient of a special Oscar in 1991. She also made well-received appearances in her final film with Mastroianni, Prêt-à-Porter/Ready to Wear (1994), Robert Altman's take on the French fashion scene, and in the comedy hit Grumpier Old Men (Howard Deutch, 1995) playing a femme fatale opposite Walter Matthau and Jack Lemmon. In 1995 she received the Golden Globe Cecil B. DeMille Award. At the age of 72, she appeared scantily clad in the 2007 edition of the famous calendar of Italian racing tire giant Pirelli. It made her the oldest model in the calendar's history. The photos by Dutch photographers Inez van Lamsweerde and Vinoodh Matadin proved that she was still a major international sex symbol. In 2007 Carlo Ponti died. It had been controversial in her native Italy when Sophia Loren had married her mentor Ponti in 1957. Not only was he 45 to her 23, but he had been married previously, and neither the Catholic Church nor the Italian government recognised his Mexican divorce. Ponti was charged with bigamy, but the charges were dropped when they had their marriage annulled. They continued living together - scandalous at the time - and remarried after his legal problems had been cleared. Ponti and Loren made three dozen films together. They had two children, symphony conductor Carlo Ponti Jr. and film director Edoardo Ponti. After four years off the big screen, Sophia Loren co-starred in a film version of the Broadway musical Nine (Rob Marshall, 2009). She played the mother of famous film director Guido Contini, portrayed by Daniel Day-Lewis. According to Jason Ankeny at AllMovie, "Loren proved she still had movie star charisma with a role in Chicago director Rob Marshall's Nine - a lavish tribute to all things Italian." Loren made a two-part television biopic of her early life titled La Mia Casa È Piena di Specchi/My House Is Full of Mirrors (Vittorio Sindoni, 2010), based on of the memoir written by her sister Maria Scicolone. At 80, Sophia Loren returned to the screen in Human Voice (2014) directed by her son Edoardo Ponti. At the presentation at the Tribeca Film Festival in New York, 'the timeless beauty' stunned the press once again when she walked on the red carpet in a chic red pantsuit hand-in-hand with her 41-year-old son to promote the short film. Human Voice is based on the play by iconic French playwright Jean Cocteau and sees La Loren play a woman in her twilight years facing revelations from her past. In late 2014, she also presented her first memoir, Ieri, oggi, domani. La mia vita/Today and Tomorrow: My Life as a Fairy Tale. It includes old pictures, letters, and notes detailing encounters with Cary Grant and other film partners.
Sources: Jason Ankeny (AllMovie), Hal Erickson (AllMovie), Shyam Dodge (Daily Mail), Jenny (IMDb), Wikipedia, NNDB, TCM, and IMDb.
And, please check out our blog European Film Star Postcards.
Camera: Canon EOS 1V
Film: Kodak Vision 2 500T
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From Wikipedia, the free encyclopedia
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Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
From Wikipedia, the free encyclopedia
+++++++++++++++++++++++++++++++++
Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1Art directors
2The festival
3The Rencontres d'Arles award winners
4References
5External links
Art directors[edit]
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 – 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 – 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 – 1982: Alain Desvergnes [fr]
1983 – 1985: Lucien Clergue
1986 – 1987: François Hébel
1988 – 1989: Claude Hudelot [fr]
1990: Agnès de Gouvion Saint-Cyr
1991 – 1993: Louis Mesplé [fr]
1994: Lucien Clergue
1995 – 1998, délégué général: Bernard Millet [fr]
1995, artistic director: Michel Nuridsany [fr]
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle [fr]
1998, artistic director: Giovanna Calvenzi
1999 – 2001: Gilles Mora [fr]
2002 – 2014: François Hébel
Since 2015: Sam Stourdzé [fr]
The festival[edit]
A photography exhibition, Rencontres d'Arles, 2010
Events[edit]
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town's historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix's fashion show for the festival's closing (2008); and Patti Smith's concert for the Vu agency's 20th anniversary (2006).
Nights at the Roman Theatre[edit]
At night, work by a photographer or a photography expert is projected in the town's open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin's “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year[edit]
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival's favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books[edit]
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art's fundamentally hybrid forms.
Symposia and panel discussions[edit]
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards[edit]
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival's professional week: the Discovery Award (€25,000), Author's Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award[edit]
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner's book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery[edit]
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival's opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes[edit]
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography's aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images[edit]
“Rentrée en Images” has been a key part of the festival's educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival's programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget[edit]
Public funding accounted for 40% of the 2015 festival's €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee[edit]
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners[edit]
2002[edit]
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author's Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003[edit]
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author's Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993–1998) by Xing Danwen
2004[edit]
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author's Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005[edit]
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichý[1]
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author's Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006[edit]
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author's Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007[edit]
[2]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author's Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008[edit]
[3]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author's Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009[edit]
[4]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author's Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010[edit]
[5][6]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author's Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011[edit]
[7][8]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[9]
Author's Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[9]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[9]
2012[edit]
[10][11][12]
Discovery Award: Jonathan Torgovnik
Author's Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013[edit]
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author's Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal, 2013)[13]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014[edit]
Discovery Award: Zhang Kechun
Author's Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015[edit]
Discovery Award: Pauline Fargue
Author's Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016[edit]
Discovery Award: Sarah Waiswa
Author's Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017[edit]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)[14]
2018[edit]
[15][16][17]
Discovery Award: Paulien Oltheten
Author's Book Award: Photographic Treatment by Laurence Aëgerter (Dewi Lewis Publishing, 2017)
Special Mention for Author's Book Award: The Iceberg by Giorgio di Noto (Edition Patrick Frey, 2017)
Historical Book Award: The Pigeon Photographer by Julius Neubronner (Rorhof, 2017)
Photo-Text Award: War Primer 2 by Adam Broomberg and Oliver Chanarin (Mack Books, 2018)
Dummy Book Award: Phénomènes by Marina Gadonneix
Special Mention for Dummy Book Award: State of Shame by Indrė Urbonaitė
Photo Folio Review: Kurt Tong (winner)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
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O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
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Hartlepool North Sands
In the 1930s, industrial works alongside this part of the coastline, extracted magnesia (magnesium carbonate), used in the lining of kilns and incinerators, from dolomitic lime and seawater. Today, all that remains of this industrial site are some derelict buildings, old pipes and the dangerous, magnificent remains of Steetley Pier, a long, derelict structure, which stretches out into the sea here.
Hartlepool is a seaside and port town in County Durham, England. It is governed by a unitary authority borough named after the town. The borough is part of the devolved Tees Valley area. With an estimated population of 87,995, it is the second-largest settlement (after Darlington) in County Durham.
The old town was founded in the 7th century, around the monastery of Hartlepool Abbey on a headland. As the village grew into a town in the Middle Ages, its harbour served as the County Palatine of Durham's official port. The new town of West Hartlepool was created in 1835 after a new port was built and railway links from the South Durham coal fields (to the west) and from Stockton-on-Tees (to the south) were created. A parliamentary constituency covering both the old town and West Hartlepool was created in 1867 called The Hartlepools. The two towns were formally merged into a single borough called Hartlepool in 1967. Following the merger, the name of the constituency was changed from The Hartlepools to just Hartlepool in 1974. The modern town centre and main railway station are both at what was West Hartlepool; the old town is now generally known as the Headland.
Industrialisation in northern England and the start of a shipbuilding industry in the later part of the 19th century meant it was a target for the Imperial German Navy at the beginning of the First World War. A bombardment of 1,150 shells on 16 December 1914 resulted in the death of 117 people in the town. A severe decline in heavy industries and shipbuilding following the Second World War caused periods of high unemployment until the 1990s when major investment projects and the redevelopment of the docks area into a marina saw a rise in the town's prospects. The town also has a seaside resort called Seaton Carew.
History
The place name derives from Old English heort ("hart"), referring to stags seen, and pōl (pool), a pool of drinking water which they were known to use. Records of the place-name from early sources confirm this:
649: Heretu, or Hereteu.
1017: Herterpol, or Hertelpolle.
1182: Hierdepol.
Town on the heugh
A Northumbrian settlement developed in the 7th century around an abbey founded in 640 by Saint Aidan (an Irish and Christian priest) upon a headland overlooking a natural harbour and the North Sea. The monastery became powerful under St Hilda, who served as its abbess from 649 to 657. The 8th-century Northumbrian chronicler Bede referred to the spot on which today's town is sited as "the place where deer come to drink", and in this period the Headland was named by the Angles as Heruteu (Stag Island). Archaeological evidence has been found below the current high tide mark that indicates that an ancient post-glacial forest by the sea existed in the area at the time.
The Abbey fell into decline in the early 8th century, and it was probably destroyed during a sea raid by Vikings on the settlement in the 9th century. In March 2000, the archaeological investigation television programme Time Team located the foundations of the lost monastery in the grounds of St Hilda's Church. In the early 11th century, the name had evolved into Herterpol.
Hartness
Normans and for centuries known as the Jewel of Herterpol.
During the Norman Conquest, the De Brus family gained over-lordship of the land surrounding Hartlepool. William the Conqueror subsequently ordered the construction of Durham Castle, and the villages under their rule were mentioned in records in 1153 when Robert de Brus, 1st Lord of Annandale became Lord of Hartness. The town's first charter was received before 1185, for which it gained its first mayor, an annual two-week fair and a weekly market. The Norman Conquest affected the settlement's name to form the Middle English Hart-le-pool ("The Pool of the Stags").
By the Middle Ages, Hartlepool was growing into an important (though still small) market town. One of the reasons for its escalating wealth was that its harbour was serving as the official port of the County Palatine of Durham. The main industry of the town at this time was fishing, and Hartlepool in this period established itself as one of the primary ports upon England's Eastern coast.
In 1306, Robert the Bruce was crowned King of Scotland, and became the last Lord of Hartness. Angered, King Edward I confiscated the title to Hartlepool, and began to improve the town's military defences in expectation of war. In 1315, before they were completed, a Scottish army under Sir James Douglas attacked, captured and looted the town.
In the late 15th century, a pier was constructed to assist in the harbour's workload.
Garrison
Hartlepool was once again militarily occupied by a Scottish incursion, this time in alliance with the Parliamentary Army during the English Civil War, which after 18 months was relieved by an English Parliamentarian garrison.
In 1795, Hartlepool artillery emplacements and defences were constructed in the town as a defensive measure against the threat of French attack from seaborne Napoleonic forces. During the Crimean War, two coastal batteries were constructed close together in the town to guard against the threat of seaborne attacks from the Imperial Russian Navy. They were entitled the Lighthouse Battery (1855) and the Heugh Battery (1859).
Hartlepool in the 18th century became known as a town with medicinal springs, particularly the Chalybeate Spa near the Westgate. The poet Thomas Gray visited the town in July 1765 to "take the waters", and wrote to his friend William Mason:
I have been for two days to taste the water, and do assure you that nothing could be salter and bitterer and nastier and better for you... I am delighted with the place; there are the finest walks and rocks and caverns.
A few weeks later, he wrote in greater detail to James Brown:
The rocks, the sea and the weather there more than made up to me the want of bread and the want of water, two capital defects, but of which I learned from the inhabitants not to be sensible. They live on the refuse of their own fish-market, with a few potatoes, and a reasonable quantity of Geneva [gin] six days in the week, and I have nowhere seen a taller, more robust or healthy race: every house full of ruddy broad-faced children. Nobody dies but of drowning or old-age: nobody poor but from drunkenness or mere laziness.
Town by the strand
By the early nineteenth century, Hartlepool was still a small town of around 900 people, with a declining port. In 1823, the council and Board of Trade decided that the town needed new industry, so the decision was made to propose a new railway to make Hartlepool a coal port, shipping out minerals from the Durham coalfield. It was in this endeavour that Isambard Kingdom Brunel visited the town in December 1831, and wrote: "A curiously isolated old fishing town – a remarkably fine race of men. Went to the top of the church tower for a view."
But the plan faced local competition from new docks. 25 kilometres (16 mi) to the north, the Marquis of Londonderry had approved the creation of the new Seaham Harbour (opened 31 July 1831), while to the south the Clarence Railway connected Stockton-on-Tees and Billingham to a new port at Port Clarence (opened 1833). Further south again, in 1831 the Stockton and Darlington Railway had extended into the new port of Middlesbrough.
The council agreed the formation of the Hartlepool Dock and Railway Company (HD&RCo) to extend the existing port by developing new docks, and link to both local collieries and the developing railway network in the south. In 1833, it was agreed that Christopher Tennant of Yarm establish the HD&RCo, having previously opened the Clarence Railway (CR). Tennant's plan was that the HD&RCo would fund the creation of a new railway, the Stockton and Hartlepool Railway, which would take over the loss-making CR and extended it north to the new dock, thereby linking to the Durham coalfield.
After Tennant died, in 1839, the running of the HD&RCo was taken over by Stockton-on-Tees solicitor, Ralph Ward Jackson. But Jackson became frustrated at the planning restrictions placed on the old Hartlepool dock and surrounding area for access, so bought land which was mainly sand dunes to the south-west, and established West Hartlepool. Because Jackson was so successful at shipping coal from West Hartlepool through his West Hartlepool Dock and Railway Company and, as technology developed, ships grew in size and scale, the new town would eventually dwarf the old town.
The 8-acre (3.2-hectare) West Hartlepool Harbour and Dock opened on 1 June 1847. On 1 June 1852, the 14-acre (5.7-hectare) Jackson Dock opened on the same day that a railway opened connecting West Hartlepool to Leeds, Manchester and Liverpool. This allowed the shipping of coal and wool products eastwards, and the shipping of fresh fish and raw fleeces westwards, enabling another growth spurt in the town. This in turn resulted in the opening of the Swainson Dock on 3 June 1856, named after Ward Jackson's father-in-law. In 1878, the William Gray & Co shipyard in West Hartlepool achieved the distinction of launching the largest tonnage of any shipyard in the world, a feat to be repeated on a number of occasions. By 1881, old Hartlepool's population had grown from 993 to 12,361, but West Hartlepool had a population of 28,000.
Ward Jackson Park
Ward Jackson helped to plan the layout of West Hartlepool and was responsible for the first public buildings. He was also involved in the education and the welfare of the inhabitants. In the end, he was a victim of his own ambition to promote the town: accusations of shady financial dealings, and years of legal battles, left him in near-poverty. He spent the last few years of his life in London, far away from the town he had created.
World Wars
In Hartlepool near Heugh Battery, a plaque in Redheugh Gardens War Memorial "marks the place where the first ...(German shell) struck... (and) the first soldier was killed on British soil by enemy action in the Great War 1914–1918."
The area became heavily industrialised with an ironworks (established in 1838) and shipyards in the docks (established in the 1870s). By 1913, no fewer than 43 ship-owning companies were located in the town, with the responsibility for 236 ships. This made it a key target for Germany in the First World War. One of the first German offensives against Britain was a raid and bombardment by the Imperial German Navy on the morning of 16 December 1914,
Hartlepool was hit with a total of 1150 shells, killing 117 people. Two coastal defence batteries at Hartlepool returned fire, launching 143 shells, and damaging three German ships: SMS Seydlitz, SMS Moltke and SMS Blücher. The Hartlepool engagement lasted roughly 50 minutes, and the coastal artillery defence was supported by the Royal Navy in the form of four destroyers, two light cruisers and a submarine, none of which had any significant impact on the German attackers.
Private Theophilus Jones of the 18th Battalion Durham Light Infantry, who fell as a result of this bombardment, is sometimes described as the first military casualty on British soil by enemy fire. This event (the death of the first soldiers on British soil) is commemorated by the 1921 Redheugh Gardens War Memorial together with a plaque unveiled on the same day (seven years and one day after the East Coast Raid) at the spot on the Headland (the memorial by Philip Bennison illustrates four soldiers on one of four cartouches and the plaque, donated by a member of the public, refers to the 'first soldier' but gives no name). A living history group, the Hartlepool Military Heritage Memorial Society, portray men of that unit for educational and memorial purposes.
Hartlepudlians voluntarily subscribed more money per head to the war effort than any other town in Britain.
On 4 January 1922, a fire starting in a timber yard left 80 people homeless and caused over £1,000,000 of damage. Hartlepool suffered badly in the Great Depression of the 1930s and endured high unemployment.
Unemployment decreased during the Second World War, with shipbuilding and steel-making industries enjoying a renaissance. Most of its output for the war effort were "Empire Ships". German bombers raided the town 43 times, though, compared to the previous war, civilian losses were lighter with 26 deaths recorded by Hartlepool Municipal Borough[19] and 49 by West Hartlepool Borough. During the Second World War, RAF Greatham (also known as RAF West Hartlepool) was located on the South British Steel Corporation Works.
The merge
In 1891, the two towns had a combined population of 64,000. By 1900, the two Hartlepools were, together, one of the three busiest ports in England.
The modern town represents a joining of "Old Hartlepool", locally known as the "Headland", and West Hartlepool. As already mentioned, what was West Hartlepool became the larger town and both were formally unified in 1967. Today the term "West Hartlepool" is rarely heard outside the context of sport, but one of the town's Rugby Union teams still retains the name.
The name of the town's professional football club reflected both boroughs; when it was formed in 1908, following the success of West Hartlepool in winning the FA Amateur Cup in 1905, it was called "Hartlepools United" in the hope of attracting support from both towns. When the boroughs combined in 1967, the club renamed itself "Hartlepool" before re-renaming itself Hartlepool United in the 1970s. Many fans of the club still refer to the team as "Pools"
Fall out
After the war, industry went into a severe decline. Blanchland, the last ship to be constructed in Hartlepool, left the slips in 1961. In 1967, Betty James wrote how "if I had the luck to live anywhere in the North East [of England]...I would live near Hartlepool. If I had the luck". There was a boost to the retail sector in 1970 when Middleton Grange Shopping Centre was opened by Princess Anne, with over 130 new shops including Marks & Spencer and Woolworths.
Before the shopping centre was opened, the old town centre was located around Lynn Street, but most of the shops and the market had moved to a new shopping centre by 1974. Most of Lynn Street had by then been demolished to make way for a new housing estate. Only the north end of the street remains, now called Lynn Street North. This is where the Hartlepool Borough Council depot was based (alongside the Focus DIY store) until it moved to the marina in August 2006.
In 1977, the British Steel Corporation announced the closure of its Hartlepool steelworks with the loss of 1500 jobs. In the 1980s, the area was afflicted with extremely high levels of unemployment, at its peak consisting of 30 per cent of the town's working-age population, the highest in the United Kingdom. 630 jobs at British Steel were lost in 1983, and a total of 10,000 jobs were lost from the town in the economic de-industrialization of England's former Northern manufacturing heartlands. Between 1983 and 1999, the town lacked a cinema and areas of it became afflicted with the societal hallmarks of endemic economic poverty: urban decay, high crime levels, drug and alcohol dependency being prevalent.
Rise and the future
Docks near the centre were redeveloped and reopened by Queen Elizabeth II in 1993 as a marina with the accompanying National Museum of the Royal Navy opened in 1994, then known as the Hartlepool Historic Quay.
A development corporation is under consultation until August 2022 to organise projects, with the town's fund given to the town and other funds. Plans would be (if the corporation is formed) focused on the railway station, waterfront (including the Royal Navy Museum and a new leisure centre) and Church Street. Northern School of Art also has funds for a TV and film studios.
Governance
There is one main tier of local government covering Hartlepool, at unitary authority level: Hartlepool Borough Council. There is a civil parish covering Headland, which forms an additional tier of local government for that area; most of the rest of the urban area is an unparished area. The borough council is a constituent member of the Tees Valley Combined Authority, led by the directly elected Tees Valley Mayor. The borough council is based at the Civic Centre on Victoria Road.
Hartlepool was historically a township in the ancient parish of Hart. Hartlepool was also an ancient borough, having been granted a charter by King John in 1200. The borough was reformed to become a municipal borough in 1850. The council built Hartlepool Borough Hall to serve as its headquarters, being completed in 1866.
West Hartlepool was laid out on land outside Hartlepool's historic borough boundaries, in the neighbouring parish of Stranton. A body of improvement commissioners was established to administer the new town in 1854. The commissioners were superseded in 1887, when West Hartlepool was also incorporated as a municipal borough. The new borough council built itself a headquarters at the Municipal Buildings on Church Square, which was completed in 1889. An events venue and public hall on Raby Road called West Hartlepool Town Hall was subsequently completed in 1897. In 1902 West Hartlepool was elevated to become a county borough, making it independent from Durham County Council. The old Hartlepool Borough Council amalgamated with West Hartlepool Borough Council in 1967 to form a county borough called Hartlepool.
In 1974 the borough was enlarged to take in eight neighbouring parishes, and was transferred to the new county of Cleveland. Cleveland was abolished in 1996 following the Banham Review, which gave unitary authority status to its four districts, including Hartlepool. The borough was restored to County Durham for ceremonial purposes under the Lieutenancies Act 1997, but as a unitary authority it is independent from Durham County Council.
Emergency services
Hartlepool falls within the jurisdiction of Cleveland Fire Brigade and Cleveland Police. Before 1974, it was under the jurisdiction of the Durham Constabulary and Durham Fire Brigade. Hartlepool has two fire stations: a full-time station at Stranton and a retained station on the Headland.
Economy
Hartlepool's economy has historically been linked with the maritime industry, something which is still at the heart of local business. Hartlepool Dock is owned and run by PD Ports. Engineering related jobs employ around 1700 people. Tata Steel Europe employ around 350 people in the manufacture of steel tubes, predominantly for the oil industry. South of the town on the banks of the Tees, Able UK operates the Teesside Environmental Reclamation and Recycling Centre (TERRC), a large scale marine recycling facility and dry dock. Adjacent to the east of TERRC is the Hartlepool nuclear power station, an advanced gas-cooled reactor (AGR) type nuclear power plant opened in the 1980s. It is the single largest employer in the town, employing 1 per cent of the town's working age people.
The chemicals industry is important to the local economy. Companies include Huntsman Corporation, who produce titanium dioxide for use in paints, Omya, Baker Hughes and Frutarom.
Tourism was worth £48 million to the town in 2009; this figure excludes the impact of the Tall Ships 2010. Hartlepool's historic links to the maritime industry are centred on the Maritime Experience, and the supporting exhibits PS Wingfield Castle and HMS Trincomalee.
Camerons Brewery was founded in 1852 and currently employs around 145 people. It is one of the largest breweries in the UK. Following a series of take-overs, it came under the control of the Castle Eden Brewery in 2001 who merged the two breweries, closing down the Castle Eden plant. It brews a range of cask and bottled beers, including Strongarm, a 4% abv bitter. The brewery is heavily engaged in contract brewing such beers as Kronenbourg 1664, John Smith's and Foster's.
Orchid Drinks of Hartlepool were formed in 1992 after a management buy out of the soft drinks arm of Camerons. They manufactured Purdey's and Amé. Following a £67 million takeover by Britvic, the site was closed down in 2009.
Middleton Grange Shopping Centre is the main shopping location. 2800 people are employed in retail. The ten major retail companies in the town are Tesco, Morrisons, Asda, Next, Argos, Marks & Spencer, Aldi, Boots and Matalan. Aside from the local sports clubs, other local entertainment venues include a VUE Cinema and Mecca Bingo.
Companies that have moved operations to the town for the offshore wind farm include Siemens and Van Oord.
Culture and community
Festivals and Fairs
Since November 2014 the Headland has hosted the annual Wintertide Festival, which is a weekend long event that starts with a community parade on the Friday and culminating in a finale performance and fireworks display on the Sunday.
Tall Ships' Races
On 28 June 2006 Hartlepool celebrated after winning its bid to host The Tall Ships' Races. The town welcomed up to 125 tall ships in 2010, after being chosen by race organiser Sail Training International to be the finishing point for the race. Hartlepool greeted the ships, which sailed from Kristiansand in Norway on the second and final leg of the race. Hartlepool also hosted the race in July 2023.
Museums, art galleries and libraries
Hartlepool Art Gallery is located in Church Square within Christ Church, a restored Victorian church, built in 1854 and designed by the architect Edward Buckton Lamb (1806–1869). The gallery's temporary exhibitions change frequently and feature works from local artists and the permanent Fine Art Collection, which was established by Sir William Gray. The gallery also houses the Hartlepool tourist information centre.
The Heugh Battery Museum is located on the Headland. It was one of three batteries erected to protect Hartlepool's port in 1860. The battery was closed in 1956 and is now in the care of the Heugh Gun Battery Trust and home to an artillery collection.
Hartlepool is home to a National Museum of the Royal Navy (more specifically the NMRN Hartlepool). Previously known simply as The Historic Quay and Hartlepool's Maritime Experience, the museum is a re-creation of an 18th-century seaport with the exhibition centre-piece being a sailing frigate, HMS Trincomalee. The complex also includes the Museum of Hartlepool.
Willows was the Hartlepool mansion of the influential Sir William Gray of William Gray & Company and he gifted it to the town in 1920, after which it was converted to be the town's first museum and art gallery. Fondly known locally as "The Gray" it was closed as a museum in 1994 and now houses the local authority's culture department.
There are six libraries in Hartlepool, the primary one being the Community Hub Central Library. Others are Throston Grange Library, Community Hub North Library, Seaton Carew Library, Owton Manor Library and Headland Branch Library.
Sea
Hartlepool has been a major seaport virtually since it was founded, and has a long fishing heritage. During the industrial revolution massive new docks were created on the southern side of the channel running below the Headland, which gave rise to the town of West Hartlepool.
Now owned by PD Ports, the docks are still in use today and still capable of handling large vessels. However, a large portion of the former dockland was converted into a marina capable of berthing 500 vessels. Hartlepool Marina is home to a wide variety of pleasure and working craft, with passage to and from the sea through a lock.
Hartlepool also has a permanent RNLI lifeboat station.
Education
Secondary
Hartlepool has five secondary schools:
Dyke House Academy
English Martyrs School and Sixth Form College
High Tunstall College of Science
Manor Community Academy
St Hild's Church of England School
The town had planned to receive funding from central government to improve school buildings and facilities as a part of the Building Schools for the Future programme, but this was cancelled because of government spending cuts.
College
Hartlepool College of Further Education is an educational establishment located in the centre of the town, and existed in various forms for over a century. Its former 1960s campus was replaced by a £52million custom-designed building, it was approved in principle in July 2008, opened in September 2011.
Hartlepool also has Hartlepool Sixth Form College. It was a former grammar and comprehensive school, the college provides a number of AS and A2 Level student courses. The English Martyrs School and Sixth Form College also offers AS, A2 and other BTEC qualification to 16- to 18-year-olds from Hartlepool and beyond.
A campus of The Northern School of Art is a specialist art and design college and higher education, located adjacent to the art gallery on Church Square. The college has a further site in Middlesbrough that facilitates further education.
Territorial Army
Situated in the New Armoury Centre, Easington Road are the following units.
Royal Marines Reserve
90 (North Riding) Signal Squadron
Religion
They are multiple Church of England and Roman Catholic Churches in the town. St Hilda's Church is a notable church of the town, it was built on Hartlepool Abbey and sits upon a high point of the Headland. The churches of the Church of England's St Paul and Roman Catholic's St Joseph are next to each other on St Paul's Road. Nasir Mosque on Brougham Terrace is the sole purpose-built mosque in the town.
Sport
Football
Hartlepool United is the town's professional football club and they play at Victoria Park. The club's most notable moment was in 2005 when, with 8 minutes left in the 2005 Football League One play-off final, the team conceded a penalty, allowing Sheffield Wednesday to equalise and eventually beat Hartlepool to a place in the Championship. The club currently play in the National League.
Supporters of the club bear the nickname of Monkey Hangers. This is based upon a legend that during the Napoleonic wars a monkey, which had been a ship's mascot, was taken for a French spy and hanged. Hartlepool has also produced football presenter Jeff Stelling, who has a renowned partnership with Chris Kamara who was born in nearby Middlesbrough. Jeff Stelling is a keen supporter of Hartlepool and often refers to them when presenting Sky Sports News. It is also the birthplace and childhood home of Pete Donaldson, one of the co-hosts of the Football Ramble podcast as well as co-host of the Abroad in Japan podcast, and a prominent radio DJ.
The town also has a semi-professional football club called FC Hartlepool who play in Northern League Division Two.
Rugby union
Hartlepool is something of an anomaly in England having historically maintained a disproportionate number of clubs in a town of only c.90,000 inhabitants. These include(d) West Hartlepool, Hartlepool Rovers, Hartlepool Athletic RFC, Hartlepool Boys Brigade Old Boys RFC (BBOB), Seaton Carew RUFC (formerly Hartlepool Grammar School Old Boys), West Hartlepool Technical Day School Old Boys RUFC (TDSOB or Tech) and Hartlepool Old Boys' RFC (Hartlepool). Starting in 1904 clubs within eight miles (thirteen kilometres) of the headland were eligible to compete for the Pyman Cup which has been contested regularly since and that the Hartlepool & District Union continue to organise.
Perhaps the best known club outside the town is West Hartlepool R.F.C. who in 1992 achieved promotion to what is now the Premiership competing in 1992–93, 1994–95, 1995–96 and 1996–97 seasons. This success came at a price as soon after West was then hit by bankruptcy and controversially sold their Brierton Lane stadium and pitch to former sponsor Yuills Homes. There then followed a succession of relegations before the club stabilised in the Durham/Northumberland leagues. West and Rovers continue to play one another in a popular Boxing Day fixture which traditionally draws a large crowd.
Hartlepool Rovers, formed in 1879, who played at the Old Friarage in the Headland area of Hartlepool before moving to West View Road. In the 1890s Rovers supplied numerous county, divisional and international players. The club itself hosted many high-profile matches including the inaugural Barbarians F.C. match in 1890, the New Zealand Maoris in 1888 and the legendary All Blacks who played against a combined Hartlepool Club team in 1905. In the 1911–12 season, Hartlepool Rovers broke the world record for the number of points scored in a season racking up 860 points including 122 tries, 87 conversions, five penalties and eleven drop goals.
Although they ceased competing in the RFU leagues in 2008–09, West Hartlepool TDSOB (Tech) continues to support town and County rugby with several of the town's other clubs having played at Grayfields when their own pitches were unavailable. Grayfields has also hosted a number of Durham County cup finals as well as County Under 16, Under 18 and Under 20 age group games.
Olympics
Boxing
At the 2012 Summer Olympics, 21-year-old Savannah Marshall, who attended English Martyrs School and Sixth Form College in the town of Hartlepool, competed in the Women's boxing tournament of the 2012 Olympic Games. She was defeated 12–6 by Marina Volnova of Kazakhstan in her opening, quarter-final bout. Savannah Marshall is now a professional boxer, currently unbeaten as a pro and on 31 October 2020 in her 9th professional fight Marshall became the WBO female middleweight champion with a TKO victory over opponent Hannah Rankin at Wembley Arena.
Swimming
In August 2012 Jemma Lowe, a British record holder who attended High Tunstall College of Science in the town of Hartlepool, competed in the 2012 Olympic Games. She finished sixth in the 200-metre butterfly final with a time of 58.06 seconds. She was also a member of the eighth-place British team in the 400m Medley relay.
Monkeys
Hartlepool is known for allegedly executing a monkey during the Napoleonic Wars. According to legend, fishermen from Hartlepool watched a French warship founder off the coast, and the only survivor was a monkey, which was dressed in French military uniform, presumably to amuse the officers on the ship. The fishermen assumed that this must be what Frenchmen looked like and, after a brief trial, summarily executed the monkey.
Historians have pointed to the prior existence of a Scottish folk song called "And the Boddamers hung the Monkey-O". It describes how a monkey survived a shipwreck off the village of Boddam near Peterhead in Aberdeenshire. Because the villagers could only claim salvage rights if there were no survivors from the wreck, they allegedly hanged the monkey. There is also an English folk song detailing the later event called, appropriately enough, "The Hartlepool Monkey". In the English version the monkey is hanged as a French spy.
"Monkey hanger" and Chimp Choker are common terms of (semi-friendly) abuse aimed at "Poolies", often from footballing rivals Darlington. The mascot of Hartlepool United F.C. is H'Angus the monkey. The man in the monkey costume, Stuart Drummond, stood for the post of mayor in 2002 as H'angus the monkey, and campaigned on a platform which included free bananas for schoolchildren. To widespread surprise, he won, becoming the first directly elected mayor of Hartlepool, winning 7,400 votes with a 52% share of the vote and a turnout of 30%. He was re-elected by a landslide in 2005, winning 16,912 on a turnout of 51% – 10,000 votes more than his nearest rival, the Labour Party candidate.
The monkey legend is also linked with two of the town's sports clubs, Hartlepool Rovers RFC, which uses the hanging monkey as the club logo. Hartlepool (Old Boys) RFC use a hanging monkey kicking a rugby ball as their tie crest.
Notable residents
Michael Brown, former Premier League footballer
Edward Clarke, artist
Brian Clough, football manager who lived in the Fens estate in town while manager of Hartlepools United
John Darwin, convicted fraudster who faked his own death
Pete Donaldson, London radio DJ and podcast host
Janick Gers, guitarist from British heavy metal band Iron Maiden
Courtney Hadwin, singer
Jack Howe, former England international footballer
Liam Howe, music producer and songwriter for several artists and member of the band Sneaker Pimps
Saxon Huxley, WWE NXT UK wrestler
Andy Linighan, former Arsenal footballer who scored the winning goal in the 1993 FA Cup Final
Savannah Marshall, professional boxer
Stephanie Aird, comedian and television personality
Jim Parker, composer
Guy Pearce, film actor who lived in the town when he was younger as his mother was from the town
Narbi Price, artist
Jack Rowell, coached the England international rugby team and led them to the semi-final of the 1995 Rugby World Cup
Wayne Sleep, dancer and actor who spent his childhood in the town.
Reg Smythe, cartoonist who created Andy Capp
Jeremy Spencer, guitarist who was in the original Fleetwood Mac line-up
Jeff Stelling, TV presenter, famous for hosting Gillette Soccer Saturday
David Eagle, Folk singer and stand-up comedian,
Local media
Hartlepool Life - local free newspaper
Hartlepool Mail – local newspaper
BBC Radio Tees – BBC local radio station
Radio Hartlepool – Community radio station serving the town
Hartlepool Post – on-line publication
Local television news programmes are BBC Look North and ITV News Tyne Tees.
Town twinning
Hartlepool is twinned with:
France Sète, France
Germany Hückelhoven, Germany (since 1973)
United States Muskegon, Michigan
Malta Sliema, Malta
West-German postcard by Xtreme, Wuppertal, no. 32733. Nichelle Nichols with DeForest Kelley, William Shatner and Leonard Nimoy in the TV series Star Trek (1966-1969).
On 20 July, American actress Nichelle Nichols (1932-2022) passed away in Silver City. We remember her as Lieutenant Nyota Uhura in the space adventure TV series Star Trek (1966-1969). The lieutenant on the bridge of Starship Enterprise was a groundbreaking example of representation for Black Americans in Hollywood. She also played Uhura in the first six Star Trek feature films, that continue the adventures of the cast of the original series.
Nichelle Nichols was born as Grace Dell Nichols in 1932 in Robbins, a small town near Chicago, Illinois. She was the daughter of, Samuel Earl Nichols, a factory worker who was elected both town mayor of Robbins in 1929 and its chief magistrate, and his wife, Lishia (Parks) Nichols, a homemaker. Disliking her name, Nichols asked her parents for a new one; they offered "Nichelle," which they said meant "victorious maiden". Nichols studied in Chicago, New York and Los Angeles. In New York she performed as a singer for a while. She also travelled with the Duke Ellington and Lionel Hampton bands through North America and Europe. Nichols' break came in an appearance in 'Kicks and Co.', Oscar Brown's highly touted but ill-fated 1961 musical. In a thinly veiled satire of Playboy magazine, she played Hazel Sharpe, a voluptuous campus queen who was being tempted by the devil and Orgy Magazine to become "Orgy Maiden of the Month". Although the play closed after a short run in Chicago, Nichols attracted the attention of Hugh Hefner, the publisher of Playboy, who booked her for his Chicago Playboy Club. She also appeared in the role of Carmen for a Chicago stock company production of 'Carmen Jones' and performed in a New York production of 'Porgy and Bess'. Between acting and singing engagements, Nichols did occasional modeling work. After acting in various television and theatre plays, Nichols was asked for the role of Lieutenant Nyota Uhura in the television series Star Trek (1966-1969). Her role as the ship’s communications officer was significant for many reasons: It was one of the first major roles for a Black woman in a US television series, and it was among the first portrayals of a Black woman in a military-style command role in any format. In 1968, Nichols found herself in a minor media storm along with William Shatner, who played Captain James T. Kirk in Star Trek. During the episode Plato's Stepchildren, Uhura and Kirk kissed. A kiss between a white man and a black woman on American television was unprecedented and groundbreaking at the time. Through this role, Nichols became an icon and role model for young black women in the United States. She was even reportedly persuaded by legendary civil rights activist Dr Martin Luther King Jr to remain in the role during the series’ short-lived run. From 1977 until 2015, the US space agency NASA enlisted her to help get more women and people of colour to its astronaut and sciences programs. The effort led to the recruitment of Sally Ride, the first American female astronaut.
Nichelle Nichols' time in the Science Fiction series only lasted three seasons. The show was canceled in 1969, but its significance would last for decades. When the original television series was canceled, creator and producer gene Roddenberry lobbied Paramount Pictures to continue the franchise through a feature film. The success of the series in syndication convinced the studio to begin work on the film in 1975. Nichols reprised the role of Lt Uhura in Star Trek: The Motion Picture (Robert Wise, 1979). the first installment in the Star Trek film series, which stars the cast of the original television series. Star Trek: The Motion Picture received mixed reviews, many of which faulted it for a lack of action scenes and over-reliance on special effects. Its final production cost ballooned to approximately $44 million, and it earned $139 million worldwide, short of studio expectations but enough for Paramount to propose a less expensive sequel. Roddenberry was forced out of creative control for the sequel, Star Trek II: The Wrath of Khan (Nicholas Meyer, 1982). It was a box office success, earning US$97 million worldwide and setting a world record for its first-day box office gross. Critical reaction to the film was positive; reviewers highlighted Khan's (Ricardo Montalban) character, Meyer's direction, improved performances, the film's pacing, and the character interactions as strong elements. Negative reactions focused on weak special effects and some of the acting. The Wrath of Khan is considered by many to be the best film in the Star Trek series, and is often credited with renewing substantial interest in the franchise. She appeared in four more sequels, Star Trek III: The Search for Spock (Leonard Nimoy, 1984), Star Trek IV: The Voyage Home (Leonard Nimoy, 1984), Star Trek V: The Final Frontier (William Shatnert, 1989), and the last being Star Trek VI: The Undiscovered Country (Nicholas Meyer, 1991). Nichols also appeared in other films. She briefly appeared as a secretary in the comedy Doctor, You've Got to Be Kidding! (Peter Tewksbury. 1967) starring Sandra Dee and George Hamilton, and portrayed Dorienda, a foul-mouthed madam in Truck Turner (Jonathan Kaplan, 1974) opposite Isaac Hayes and Yaphet Kotto, her only appearance in a blaxploitation film. In the comedy Snow Dogs (Brian Levant, 2002), Nichols appeared as the mother of the male lead, played by Cuba Gooding Jr. In her later years, Nichelle Nichols would make a semi-retirement from appearances at fan conventions where she and other members of the original cast were treated like royalty. She made an appearance at the Los Angeles Comic Con as recently as 2021. Since 2012, her faithful manager had lived in her San Fernando Valley home after she was diagnosed with dementia. A stroke in 2015 left her dependent on care. Her family and her manager argued all the way to court over who was going to care for her. Nichelle Nichols died on 30 July 2022 in Silver City, New Mexico, at the age of 89. Her death was confirmed on Instagram on 31 July 2022, by the actor’s son Kyle Johnson.
Sources: The Independent, Wikipedia (Dutch and English) and IMDb.
And, please check out our blog European Film Star Postcards.
West German postcard by Kolibri, Minden/Westf, no. 2630. Photo: 20th Century Fox. Peter O'Toole in How to Steal a Million (William Wyler, 1966).
Golden-haired, blue-eyed Peter O'Toole (1932-2013) became an international superstar with his unforgettable turn as the British expatriate T.E. Lawrence in David Lean's epic masterpiece Lawrence of Arabia (1962). After surviving cancer and alcoholism, O’Toole made a triumphant come-back with Oscar-nominated appearances in The Stunt Man (1980) and My Favorite Year (1982).
Peter Seamus Lorcan O'Toole was born in 1932. In his autobiography 'Loitering with Intent: the Child' (1992), O’Toole writes that he is not certain of his birthplace, while he has birth certificates from two countries. According to IMDb, he was born in Connemara, Ireland. Other sources indicate Leeds, England, where he also grew up, as his birthplace. However, he was the son of Constance Jane (née Ferguson), a Scottish nurse, and Patrick Joseph O'Toole, an Irish metal plater, football player and racecourse bookmaker. As a boy, Peter decided to become a journalist, beginning as a newspaper copyboy. Although he succeeded in becoming a reporter, he discovered the theatre and made his stage debut at 17. He served as a radioman in the Royal Navy for two years. From 1952 to 1954 he attended the Royal Academy of Dramatic Art as a scholarship student. His classmates included Albert Finney, Alan Bates and Richard Harris. While at RADA he was active in protesting British involvement in the Korean War. Later in the 1960s, he would be an active opponent of the Vietnam War. O'Toole began working in the theatre, gaining recognition as a Shakespearean actor at the Bristol Old Vic and with the English Stage Company, before making an inconspicuous film debut in the Walt Disney production Kidnapped (Robert Stevenson, 1960), a faithful adaptation of the Robert Louis Stevenson classic. Two years later, O'Toole was chosen by director David Lean to play Thomas E. Lawrence in Lawrence of Arabia (David Lean, 1962). The part of the conflicted British liaison officer caught at the centre of an Arab revolt made O'Toole an international superstar. Brian McFarlane observes in the Encyclopedia of British Film: “It was a remarkable study in obsession, catching the right balance between mystic and man of action, bringing to the role kinds of intensity and zeal that few other British actors could have done”. He continued successfully in artistically rich films as well as less artistic but commercially rewarding projects. He was nominated as Best Actor for King Henry II in Becket (Peter Glenville, 1964) starring Richard Burton. Two years later he was nominated again for portraying Henry II, this time in The Lion in Winter (Anthony Harvey, 1968) alongside Katharine Hepburn.
Peter O‘Toole was one of the greatest actors of his generation. During his career, he received eight Academy Award nominations but never won the Oscar. (He had more nominations without winning than any other actor.) TCM suggests that his flamboyant personal life was maybe to blame: “Known as one of Hollywood's most infamous party animals in his prime, O'Toole earned a reputation as a prodigious drinker alongside his contemporaries and fellow countrymen Richard Harris, Richard Burton, and Oliver Reed. O'Toole's booze-fueled hijinks eventually took their toll, however, on both his career and his health. While the actor did manage to pick up his fifth Oscar nomination for the wickedly funny The Ruling Class (Peter Medak, 1972), the seventies were, generally speaking, a decade-long low-point in the actor's personal life and career.” Once considered one of the most beautiful men ever to grace the silver screen only a decade earlier, O'Toole's alcoholism had cost him his looks. In 1979, his 20-year marriage to Irish actress Sian Phillips ended in divorce, when she left him for a younger man. Medical problems threatened to destroy his life. Originally he thought the problems were the result of his drinking but it turned out to be stomach cancer. He survived by giving up alcohol and by serious medical treatment. He returned to the cinema with two triumphant performances: a sadistic, tyrannical director in the behind-the-scenes comedy The Stunt Man (Richard Rush, 1980), and an ageing swashbuckling film star strongly resembling Errol Flynn in My Favorite Year (Richard Benjamin, 1982). For both films, he received an Oscar nomination. On stage, he received good reviews as John Tanner in Man and Superman and as Henry Higgins in 'Pygmalion' (1984), and he won a Laurence Olivier Award for his performance in 'Jeffrey Bernard is Unwell' (1989). However, O'Toole found meaningful film roles increasingly difficult to come by. He appeared in such duds as Supergirl (Jeannot Swarc, 1984), Creator (Ivan Passer, 1985) and Club Paradise (Harold Ramis, 1986), but fortunately, he also appeared in the much-garlanded grand epic The Last Emperor (Bernardo Bertolucci, 1987). The film about the final Emperor of China (John Lone) won the Oscar for Best Picture.
After another series of lesser films, Peter O'Toole made again a comeback in the new decennium. In 1999 he already won an Emmy Award for his role in the mini-series Joan of Arc (Christian Duguay, 1999). In 2003, he received a Special Oscar for lifetime achievement, an honour O'Toole only reluctantly accepted. He wrote the Academy a letter stating that he was “still in the game” and proved to be so in the following years. In the blockbuster Troy (Wolfgang Petersen, 2004) he played the dying King Priam opposite Brad Pitt. In the BBC drama serial Casanova (2005), he appeared as the older version of a legendary 18th-century Italian adventurer. He was once again nominated for the Best Actor Academy Award for his portrayal of Maurice in the May-December romantic comedy Venus (Roger Michell, 2006), scripted by Hanif Kureishi. It was his eighth nomination. O'Toole co-starred as the voice of food critic Anton Ego in the Pixar box office hit Ratatouille (Brad Bird, Jan Pinkava, 2007), an animated film about a rat with dreams of becoming the greatest chef in Paris. O'Toole appeared in the second season of Showtime's hit drama series The Tudors (2008), portraying Pope Paul III, who excommunicates King Henry VIII (Jonathan Rhys Meyers) from the church. This act leads to a showdown between the two men in seven of the ten episodes. O'Toole narrated the horror comedy Eldorado (Richard Driscoll, 2011). O'Toole narrated the horror comedy Eldorado (Richard Driscoll, 2011), but in 2012 O'Toole released a statement that he was retiring from acting. Following a long illness, Peter O'Toole died peacefully in a London hospital in 2013. He had two daughters, actresses Patricia O'Toole and Kate O'Toole (1960), from his marriage to Siân Phillips. He also has a son, actor Lorcan O'Toole (1983), by American model Karen Brown. For his body of work, he has won four Golden Globes, a BAFTA, and an Emmy.
Sources: Brian McFarlane (Encyclopaedia of British Film), Nathan Southern (AllMovie), Jim Beaver (IMDb), TCM, Robert Pardi (Filmreference.com), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 21/77. Sophia Loren in La pupa del gangster/Get Rita (Giorgio Capitani, 1975).
Sophia Loren (1934) rose to fame in post-war Italy as a voluptuous sex goddess. Soon after, she became one of the most successful stars of the 20th Century, who won an Oscar for her mother role in La ciociara (Vittorio De Sica, 1960).
Sophia Loren was born Sofia Villani Scicolone in the charity ward of a Roman hospital in 1934. She was the illegitimate daughter of construction engineer Riccardo Scicolone and piano teacher and aspiring actress Romilda Villani. Riccardo was married to another woman and refused to marry Romilda, leaving her without support. Romilda, Sofia, and sister Maria returned to Pozzuoli to live with Sofia's grandmother. Pozzuoli was a small town outside Naples and one of the hardest hit during World War II. The family shared a two-room apartment with the grandmother and several aunts and uncles. The shy, stick-thin girl regularly went hungry and had to flee from bombings. At 14, Sofia had a voluptuous figure and entered a beauty contest. She was selected as one of the finalists but did not win. In 1950, she was one of the contestants in the Miss Italia competition. She earned 2nd place and was awarded ‘Miss Eleganza’. While attending the Miss Rome beauty contest, earlier in 1950, she had met judge Carlo Ponti, an up-and-coming film producer, 22 years her senior. Ponti had helped launch Gina Lollobrigida's career and now began grooming Sofia for stardom. He hired an acting coach to tutor her. At 16 she was in her first film, the Totó comedy Le Sei Mogli di Barbablù/Bluebeard’s Six Wives (Carlo Ludovico Bragaglia, 1950) under the name Sofia Lazzaro. She also appeared as an extra in Luci del varietà/Lights of the Variety (Federico Fellini, 1950), the smash hit Anna (Alberto Lattuada, 1951), and Quo Vadis (Mervyn Leroy, 1951). During the early 1950s, she secured work modelling for fumetti magazines. These comic-like magazines used actual photographs. The dialogue bubbles were called 'fumetti' - hence the popular name. At 17, she was cast by Ponti in her first larger role as the commoner who caught the prince's eye in the filmed opera La Favorita/The Favorite (Cesare Barlacchi, 1952). The next year she earned third billing after Silvana Pampanini and Eleanora Rossi-Drago in La Tratta Delle Bianche/The White Slave Trade (Luigi Comencini, 1953) and she played, complete with blackface and an Afro, the lead in another filmed opera, Aida (Clemente Fracassi, 1953) by Giuseppe Verdi. Her singing was dubbed by Renata Tebaldi. Ponti eventually changed her name to Sophia Loren.
Sophia Loren appeared for the first time with Marcello Mastroianni in the romantic comedy Peccato che sia una canaglia/Too Bad She's Bad (Alessandro Blasetti, 1954). They would make 13 films together, including Tempi nostri/A Slice of Life (Alessandro Blasetti, Paul Paviot, 1954), La bella mugnaia/The Miller's Wife (Mario Camerini, 1955), and La fortuna di essere donna/What A Woman (Alessandro Blasetti, 1956). L'Oro di Napoli/Gold of Naples (Vittorio de Sica, 1954), an anthology of tales depicting various aspects of Neapolitan life, was distributed internationally. At AllMovie, Jason Ankeny writes that in reviews "Loren was singled out for the strength of her performance as a Neapolitan shopkeeper, surprising many critics who had dismissed her as merely another bombshell". The film established her persona as a sensuous working-class earth mother. It also began a fruitful, career-long collaboration with De Sica. Sophia’s first film to find international success was La Donna del Fiume/The River Girl (Mario Soldati, 1955), in which she danced sensually the Mambo Bacan. Hal Erickson at AllMovie: "Through it all, Sophia Loren looks like a million lire - and she even gets to sing and dance!". She came to the attention of Stanley Kramer who offered her the female lead in The Pride And The Passion (Stanley Kramer, 1957) opposite Cary Grant and Frank Sinatra. Sophia played a Spanish peasant girl involved in an uprising against the French. This was the turning point in her career, and the film proved to be one of the top US box office successes of the year. Her next English-language film was Boy on a Dolphin (Jean Negulesco, 1957) with Alan Ladd, where she was memorable mostly for emerging from the water in a wet, skin-tight, transparent dress. With her va-va-va-voom image, she became an international film star and got a five-picture contract with Paramount Pictures. Among her Paramount films were Desire Under the Elms (Delbert Mann, 1958) with Anthony Perkins and based upon the Eugene O'Neill play, Houseboat (Melville Shavelson, 1958), a romantic comedy co-starring Cary Grant, and the Western Heller in Pink Tights (George Cukor, 1960) in which she appeared for the first time with blonde hair (a wig). Most of these films were received lukewarmly at best.
In 1960 Sophia Loren returned to Italy to star in the biggest success of her career, La Ciociara/Two Women (Vittorio De Sica, 1960). She played a widow desperately trying to protect her daughter from danger during WW II, only to end up in a destructive love triangle with a young radical (Jean-Paul Belmondo). Hal Erickson at AllMovie: "A last-minute replacement for Anna Magnani, Sophia Loren brought hitherto untapped depths of emotion to her performance in Two Women; she later stated that she was utilizing 'sensory recall,' dredging up memories of her own wartime experiences." Loren won the Best Actress Oscar for her performance, and also the Cannes, Venice ánd Berlin Film Festivals' best performance prizes. Next, she played in Spain Samuel Bronston's epic production of El Cid (Anthony Mann, 1961) with Charlton Heston, followed by the De Sica episode of the anthology Boccaccio '70 (Vittorio De Sica, Federico Fellini, Luchino Visconti, 1962). On the strength of her Oscar win, she also returned to English-language fare with Five Miles to Midnight (Anatole Litvak, 1963), followed a year later by The Fall of the Roman Empire (Anthony Mann, 1964), for which she received $1 million. Among Loren's other films of this period are The Millionairess (Anthony Asquith, 1960) with Peter Sellers, It Started in Naples (Melville Shavelson, 1960) with Clark Gable, Lady L (Peter Ustinov, 1965) with Paul Newman, Arabesque (Stanley Donen, 1966) with Gregory Peck, and Charlie Chaplin's final film, A Countess from Hong Kong (1967) with Marlon Brando. Despite the failure of many of her films to generate sales at the box office, she invariably turned in a charming performance and she wore some of the most lavish costumes ever created for the cinema. Her best Italian films include the triptych Ieri, oggi, domani/Yesterday, Today And Tomorrow (Vittorio De Sica, 1963), a comedy that poked fun at a Catholic priest and gently mocked the Italian law on birth control, and Matrimonio all' Italiana/Marriage Italian Style (Vittorio De Sica, 1964) with Loren as the hooker who lures Mastroianni into marriage.
After several miscarriages and a highly-publicized struggle to become pregnant, Sophia Loren gave birth to her son Hubert Leoni Carlo Ponti in 1968. She started to work less and moved into her 40s and 50s with roles in films like De Sica's war drama I Girasoli/The Sunflowers (Vittorio De Sica, 1972), Il Viaggio/The Voyage (Vittorio De Sica, 1974) opposite Richard Burton, and reuniting with Marcello Mastroianni in the mob comedy La Pupa del Gangster/Get Rita (Giorgio Capitani, 1975). An artistic highlight was Una giornata particolare/A Special Day (Ettore Scola, 1977) which earned a Golden Globe for Best Foreign Film. Loren played a bored housewife on the day of the first meeting between Mussolini and Hitler. Left alone in her tenement home when her fascist husband runs off to attend the historic event, Loren strikes up a friendship with her homosexual neighbour (Marcello Mastroianni). As the day segues into night, Loren and Mastroianni develop a very special relationship that will radically alter both of their outlooks on life. When a dubbed version of Una giornata particolare/A Special Day found favour with American audiences, Hollywood again came calling, resulting in a pair of thrillers, The Brass Target (John Hough, 1978) and Firepower (Michael Winner, 1979) which offered her a central role as a widow seeking answers in the murder of her chemist husband. In 1980, Loren portrayed herself, as well as her mother, in Sophia Loren: Her Own Story (Mel Stuart, 1980), a made-for-television biopic adaptation of her autobiography. Actresses Ritza Brown and Chiara Ferrari played Loren at younger ages. She made headlines in 1982 when she served an 18-day prison sentence in Italy on tax evasion charges, a fact that didn't damage her career or popularity. In her 60s, Loren ventured into various areas of business, including cookbooks, eyewear, jewellery, and perfume. In honour of her lengthy career, Loren was the recipient of a special Oscar in 1991. She also made well-received appearances in her final film with Mastroianni, Prêt-à-Porter/Ready to Wear (1994), Robert Altman's take on the French fashion scene, and in the comedy hit Grumpier Old Men (Howard Deutch, 1995) playing a femme fatale opposite Walter Matthau and Jack Lemmon. In 1995 she received the Golden Globe Cecil B. DeMille Award. At the age of 72, she appeared scantily clad in the 2007 edition of the famous calendar of Italian racing tire giant Pirelli. It made her the oldest model in the calendar's history. The photos by Dutch photographers Inez van Lamsweerde and Vinoodh Matadin proved that she was still a major international sex symbol. In 2007 Carlo Ponti died. It had been controversial in her native Italy when Sophia Loren had married her mentor Ponti in 1957. Not only was he 45 to her 23, but he had been married previously, and neither the Catholic Church nor the Italian government recognised his Mexican divorce. Ponti was charged with bigamy, but the charges were dropped when they had their marriage annulled. They continued living together - scandalous at the time - and remarried after his legal problems had been cleared. Ponti and Loren made three dozen films together. They had two children, symphony conductor Carlo Ponti Jr. and film director Edoardo Ponti. After four years off the big screen, Sophia Loren co-starred in a film version of the Broadway musical Nine (Rob Marshall, 2009). She played the mother of famous film director Guido Contini, portrayed by Daniel Day-Lewis. According to Jason Ankeny at AllMovie, "Loren proved she still had movie star charisma with a role in Chicago director Rob Marshall's Nine - a lavish tribute to all things Italian." Loren made a two-part television biopic of her early life titled La Mia Casa È Piena di Specchi/My House Is Full of Mirrors (Vittorio Sindoni, 2010), based on of the memoir written by her sister Maria Scicolone. At 80, Sophia Loren returned to the screen in Human Voice (2014) directed by her son Edoardo Ponti. At the presentation at the Tribeca Film Festival in New York, 'the timeless beauty' stunned the press once again when she walked on the red carpet in a chic red pantsuit hand-in-hand with her 41-year-old son to promote the short film. Human Voice is based on the play by iconic French playwright Jean Cocteau and sees La Loren play a woman in her twilight years facing revelations from her past. In late 2014, she also presented her first memoir, Ieri, oggi, domani. La mia vita/Today and Tomorrow: My Life as a Fairy Tale. It includes old pictures, letters, and notes detailing encounters with Cary Grant and other film partners. In 2020, Sophia Loren returned to cinema after an 11-year absence. At the age of 86, she played a Jewish Holocaust survivor who befriends a 12-year-old Senegalese orphan in the Netflix film La vita davanti a sé/The Life Ahead, directed by her son Edoardo Ponti. The film is based on the novel 'La vie devant soi' by French author Romain Gary.
Sources: Jason Ankeny (AllMovie), Hal Erickson (AllMovie), Shyam Dodge (Daily Mail), Jenny (IMDb), Wikipedia, NNDB, TCM, and IMDb.
And, please check out our blog European Film Star Postcards.
Camera: Canon EOS 1V, EF 2/135mm
Film: Kodak Vision 2 500T
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From Wikipedia, the free encyclopedia
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Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
Vintage postcard, no. 1030.
Delicate American actress Winona Ryder (1971) is known for her dark hair, brown eyes and pale skin. She starred in films such as Beetlejuice Heathers, Bram Stoker's Dracula, Edward Scissorhands, and the television series Stranger Things. In 1994, she won a Golden Globe for Best Supporting Actress in the film The Age of Innocence (1993), and Ryder was nominated twice for an Oscar.
Winona Ryder was born Winona Laura Horowitz in Winona (Olmsted County), Minnesota, in 1971. Yes, her name is very much the same as her birthplace. Her parents, Cindy Horowitz (Istas), an author and video producer, and Michael Horowitz, a publisher and bookseller, were part of the hippie movement. She has a brother named Uri Horowitz (1976), who got his first name after Yuri Gagarin, a half-sister named Sunyata Palmer (1968), and a half-brother named Jubal Palmer (1970) from her mother Cindy's first marriage. From 1978, Winona grew up in a commune near Mendocino in California, which had no electricity. When Winona was seven, her mother began to manage an old cinema in a nearby barn and would screen films all day. She allowed Winona to miss school to watch movies with her. In 1981, the family moved to Petaluma, California. Since Winona was considered an outsider in public school, she was sent to a public school and later to the American Conservatory Theater acting school. She was discovered at the age of thirteen by a talent scout at a theatre performance at the American Conservatory Theater in San Francisco. In 1985, she applied for a role in the film Desert Bloom (David Seltzer, 1986) with a video in which she performed a monologue from the book 'Franny and Zooey' by J. D. Salinger. Although the casting choice was fellow actress Annabeth Gish, director and writer David Seltzer recognised her talent and cast her as Rina in his film Lucas (David Seltzer, 1986) about a teenager (Corey Haim) and his life in high school. When telephoned to ask what name she wanted to be called in the credits, she chose Ryder as her stage name because her father's Mitch Ryder & The Detroit Wheels album was playing in the background. Her real hair colour is blonde but when she made Lucas (1986), her hair color was dyed black. She was told to keep it that colour and with the exception of Edward Scissorhands (1990), it has stayed that color since. Her next film was Square Dance (Daniel Petrie, 1987), in which the protagonist she portrays lives a life between two worlds: on a traditional farm and in a big city. Ryder's performance received good reviews, although neither film was a commercial success. Her acting in Lucas led director Tim Burton to cast her in his film Beetlejuice (Tim Burton, 1988). In this comedy, she played Lydia Deetz, who moves with her family into a house inhabited by ghosts (played by Geena Davis, Alec Baldwin, and Michael Keaton). Ryder, as well as the film, received positive reviews, and Beetlejuice was also successful at the box office. In 1989, she starred as Veronica Sawyer in the independent film Heathers (Michael Lehmann, 1989) about a couple (Ryder and Christian Slater) who kill popular schoolgirls. Ryder's agent had previously advised her against the role. The film was a financial failure, but Ryder received positive reviews. The Jerry Lee Lewis biopic Great Balls of Fire! (Jim McBride, 1989) was also a flop. That same year, Ryder appeared in Mojo Nixon's music video 'Debbie Gibson Is Pregnant with My Two-Headed Love Child'. At the premiere of Great Balls of Fire (1989), Ryder met fellow actor and later film partner Johnny Depp. The couple became engaged a few months later, but their relationship ended in 1993. He had a tattoo of her name and after they broke up, he had this reduced to "Wino forever".
In 1990, Winona Ryder had her breakthrough performance alongside her boyfriend Johnny Depp in Edward Scissorhands (Tim Burton, 1990). The fantasy film was an international box-office success. Ryder was selected for the role of Mary Corleone in The Godfather: Part III (Francis Ford Coppola, 1990) but had to drop out of the role after catching the flu from the strain of doing the films Welcome Home Roxy (Jim Abrahams, 1990) and Mermaids (Richard Benjamin, 1990) back-to-back. Ryder's performance alongside Cher and Christina Ricci in the family comedy Mermaids (1990) was praised by critics and she was nominated for a Golden Globe in the Best Supporting Actress category. Ryder also appeared with Cher and Ricci in the music video for 'The Shoop Shoop Song', the film's theme song. Independent filmmaker Jim Jarmusch wrote a role specifically for her in Night on Earth (Jim Jarmusch, 1991), as a tattooed, chain-smoking cabdriver who dreams of becoming a mechanic. Ryder was cast in a dual role as Mina Murray and Elisabeta in Bram Stoker's Dracula (Francis Ford Coppola, 1992). In 1993, she starred as Blanca in the drama The House of the Spirits (Bille August, 1993) alongside Antonio Banderas, Meryl Streep, and Glenn Close. It is the film adaptation of Isabel Allende's bestseller of the same name. Together with Michelle Pfeiffer and Daniel Day-Lewis, she starred in Age of Innocence (Martin Scorsese, 1993), the film adaptation of Edith Wharton's novel. She was Martin Scorsese's first and only choice for the role of May Welland. For years, she kept the message he left on her voicemail, informing her she got the role. Her part earned her a Golden Globe for Best Supporting Actress and an Oscar nomination. She also earned positive reviews for her role in the comedy Reality Bites (Ben Stiller, 1994). She received critical acclaim and another Oscar nomination the same year as Jo in the drama Little Women (Gillian Armstrong, 1994). In 1996, she starred alongside Daniel Day-Lewis and Joan Allen in The Crucible (Nicholas Hytner, 1996), an adaptation of Arthur Miller's stage play about the Puritan witch hunt in Salem. The film was not a success; however, Ryder's performance was favourably reviewed. A year later she portrayed an android in the successful horror film Alien: Resurrection (Jean-Pierre Jeunet, 1997) alongside Sigourney Weaver's Ripley. In 1998 she starred in Woody Allen's Celebrity (1998). after Drew Barrymore turned down the role. In 1999 she starred as a psychiatric patient with borderline syndrome in the drama Girl, Interrupted (James Mangold, 1999), based on Susanna Kaysen's autobiographical novel. Girl, Interrupted, the first film on which she served as executive producer, was supposed to be Ryder's comeback in Hollywood after the flops of the past years. However, the film became the breakthrough for her colleague Angelina Jolie, who won an Oscar for her role. In this decade, she was involved with Dave Pirner, the lead singer of the group Soul Asylum, from 1993 to 1996 and with Matt Damon from December 1997 to April 2000.
Winona Ryder appeared alongside Richard Gere in Autumn in New York (Joan Chen, 2000), a romance about an older man's love for a younger woman. She also made a cameo appearance in the comedy Zoolander (Ben Stiller, 2000). The comedy Mr. Deeds (Steven Brill, 2002) with Adam Sandler became her biggest financial success to date. The film failed with critics and Ryder was nominated for the Golden Raspberry award. Also in 2002, she was sentenced to three years probation and 480 hours of work for repeatedly shoplifting $5,000 worth of clothes. The incident caused a career setback. She withdrew from the public eye in the following years and did not appear in front of the camera again until 2006. In that year, she appeared in the novel adaptation A Scanner Darkly (Richard Linklater, 2006) alongside Keanu Reeves, Robert Downey Jr., and Woody Harrelson. In 2009, she made an appearance in Star Trek: The Future Begins (J. J. Abrams, 2009) as Spock (Zachary Quinto)'s mother Amanda Grayson. The prequel became a huge success at the box office and Ryder earned a Scream Award for Best Guest Appearance. She also appeared alongside Robin Wright and Julianne Moore in Rebecca Miller's Pippa Lee (2009), and alongside Natalie Portman and Mila Kunis in Darren Aronofsky's Black Swan (2010). Ryder starred in the television film When Love Is Not Enough: The Lois Wilson Story (John Kent Harrison, 2010), for which she was nominated for a Screen Actors Guild Award. She starred in the comedy The Dilemma (Ron Howard, 2011), and the thrillers The Iceman (Ariel Vromen, 2012), and The Letter (Jay Anania, 2012) opposite James Franco. In Tim Burton's Frankenweenie (2012) she lent her voice to the character Elsa Van Helsing. Since 2016, she has embodied the main character, Joyce Byers, in the Netflix series Stranger Things (2016-2022), for which she received positive responses. Her role in the series has been described by many as a comeback. Since 2011 Winona Ryder is in a relationship with Scott MacKinlay Hahn.
Sources: Pedro Borges (IMDb), Wikipedia (Dutch and German), and IMDb.
And, please check out our blog European Film Star Postcards.
British postcard by Photo-Roff in the Black & White Gallery, London, no. 1180. Photo: David Steen, 1980.
American film and television actor Lee Marvin (1924-1987) began as a supporting player of a generally vicious demeanor, then metamorphosed into a star playing tough, hard-bitten anti-heroes. Known for his gravelly smoke burnished voice and premature white hair, Marvin initially played villains, soldiers, and other hardboiled characters. A prominent television role was that of Detective Lieutenant Frank Ballinger in the NBC crime series M Squad (1957–1960). He became a major star with Cat Ballou (1965), a comedy Western in which he played dual roles, but his career waned considerably after Paint Your Wagon (1969). For portraying both gunfighter Kid Shelleen and criminal Tim Strawn, he won the Oscar for Best Actor, along with a BAFTA Award, a Golden Globe Award, an NBR Award, and the Silver Bear for Best Actor. Marvin is also remembered for his 'tough guy' characters in The Killers (1964), The Professionals (1966), The Dirty Dozen (1967), Point Blank (1967), and The Big Red One (1980).
Lamont Waltman Marvin Jr. was born in 1924 in New York City. He was the son of Lamont Waltman Marvin, an advertising executive and later the head of the New York and New England Apple Institute, and Courtenay Washington (née Davidge), a fashion and beauty writer/editor. As with his elder brother, Robert, he was named in honor of Confederate General Robert E. Lee, who was his first cousin, four times removed. His father was a direct descendant of Matthew Marvin Sr., who emigrated from Great Bentley, Essex, England, in 1635, and helped found Hartford, Connecticut. Marvin studied the violin when he was young. As a teenager, Marvin "spent weekends and spare time hunting deer, puma, wild turkey, and bobwhite in the wilds of the then-uncharted Everglades". He attended Manumit School, a Christian socialist boarding school in Pawling, New York, during the late 1930s, and later attended St. Leo College Preparatory School, a Catholic school in St. Leo, Florida, after being expelled from several other schools for bad behaviour. Marvin left school at 18 to enlist in the United States Marine Corps Reserve in 1942. He served with the 4th Marine Division in the Pacific Theater during World War II. While serving as a member of "I" Company, 3rd Battalion, 24th Marines, 4th Marine Division, he was wounded in action on in 1944, during the assault on Mount Tapochau in the Battle of Saipan, during which most of his company were casualties. He was hit by machine-gun fire, which severed his sciatic nerve, and then was hit again in the foot by a sniper. After over a year of medical treatment in naval hospitals, Marvin was given a medical discharge with the rank of private first class (he had been a corporal years earlier but had been demoted after causing trouble) in 1945 Philadelphia. Marvin's military awards include the Purple Heart Medal, the Presidential Unit Citation, the American Campaign Medal, the Asiatic-Pacific Campaign Medal, the World War II Victory Medal, and the Combat Action Ribbon.
After the war, while working as a plumber's assistant at a local community theatre in upstate New York, Lee Marvin was asked to replace an actor who had fallen ill during rehearsals. He caught the acting bug and got a job with the company at $7 a week. He moved to Greenwich Village and used the GI Bill to study at the American Theatre Wing. He appeared on stage in a production of 'Uniform of Flesh', an adaptation of the novel 'Billy Budd' (1949). It was done at the Experimental Theatre, where a few months later Marvin also appeared in 'The Nineteenth Hole of Europe' (1949). Marvin began appearing on television shows like Escape, The Big Story, and Treasury Men in Action. He made it to Broadway with a small role in a production of Uniform of Flesh, now called Billy Budd in February 1951. Marvin's film debut was in You're in the Navy Now (Henry Hathaway, 1951), which also marked the debuts of Charles Bronson and Jack Warden. This required some filming in Hollywood. Marvin decided to stay there. He had a similar small part in Teresa (Fred Zinnemann, 1951). As a decorated combat veteran, Marvin was a natural in war dramas, where he frequently assisted the director and other actors in realistically portraying infantry movement, arranging costumes, and the use of firearms. He guest-starred on episodes of Fireside Theatre (1950), Suspense (1950), and Rebound (1952). Hathaway used him again on Diplomatic Courier (Henry Hathaway, 1952) and he could be seen in Down Among the Sheltering Palms (Edmund Goulding, 1952), We're Not Married! (Edmund Goulding, 1952), The Duel at Silver Creek (Don Siegel, 1952), and Hangman's Knot (Roy Huggins, 1952). He guest-starred on Biff Baker, U.S.A. (1952) and Dragnet (1952-1953), and had a decent role in a feature with Eight Iron Men (Edward Dmytryk, 1952), a war film starring Bonar Colleano and produced by Stanley Kramer. Marvin's role had been played on Broadway by Burt Lancaster. He was a sergeant in the Western Seminole (Budd Boetticher, 1953), and was a corporal in The Glory Brigade (Robert D. Webb, 1953), a Korean War film starring Victor Mature. He was now in much demand for Westerns: The Stranger Wore a Gun (Andre DeToth, 1953) with Randolph Scott, and Gun Fury (Raoul Walsh, 1953) with Rock Hudson and Donna Reed.
Lee Marvin received much acclaim for his portrayal as villains in two Film Noirs: The Big Heat (Fritz Lang, 1953) where he played Gloria Grahame's vicious boyfriend, and The Wild One (László Benedek, 1953) opposite Marlon Brando. Marvin's gang in the film was called "The Beetles". He continued in TV shows such as The Plymouth Playhouse (1953) and The Pepsi-Cola Playhouse (1954). He had support roles in the 3D horror mystery B-movie Gorilla at Large (Harmon Jones, 1954) and had a notable small role as smart-aleck sailor Meatball in The Caine Mutiny (Edward Dmytryk, 1954), produced by Stanley Kramer. Marvin was in the war film The Raid (Hugo Fregonese, 1954) with Van Heflin and Anne Bancroft, and in episodes of the TV series Center Stage (1954), Medic (1954) and TV Reader's Digest (1955). He had an excellent part as Hector, the small-town hood in Bad Day at Black Rock (John Sturges, 1955) with Spencer Tracy and Robert Ryan. Also in 1955, he played a conflicted, brutal bank-robber in the thriller Violent Saturday (Richard Fleischer, 1955) with Victor Mature. A latter-day critic wrote of the character, "Marvin brings a multi-faceted complexity to the role and gives a great example of the early promise that launched his long and successful career." Marvin played Robert Mitchum's friend in Not as a Stranger (Stanley Kramer, 1955), a medical drama also produced by Kramer. He had bigger supporting roles in A Life in the Balance (Harry Horner, Rafael Portillo, 1955), Pete Kelly's Blues (Jack Webb, 1955) and I Died a Thousand Times (Stuart Heisler, 1955) with Jack Palance. Marvin was the villain in 7 Men from Now (Budd Boetticher, 1956) with Randolph Scott, and was second-billed to Jack Palance in Attack (Robert Aldrich, 1956). Marvin had good roles in The Rack (Arnold Laven, 1956) with Paul Newman, Raintree County (Edward Dmytryk, 1956) starring Montgomery Clift and Elizabeth Taylor, and The Missouri Traveler (Herry Hopper, 1958). Marvin finally got to be a leading man in 100 episodes in the successful television series M Squad (1957-1960). Set in Chicago, Illinois, it starred Marvin as Detective Lieutenant Frank Ballinger, a member of "M Squad", a special unit of the Chicago Police, assisting other units in battling organized crime, corruption, and violent crimes citywide. One critic described the show as "a hyped-up, violent Dragnet ... with a hard-as-nails Marvin" playing a tough police lieutenant. Marvin received the role after guest-starring in a memorable Dragnet episode as a serial killer. When the series ended Marvin appeared on such TV shows as Wagon Train (1960-1961), Route 66 (1961; he was injured during a fight scene), Bonanza (1962), The Untouchables (1961-1962; several times), The Virginian (1962), The Twilight Zone (1961-1963), and The Dick Powell Theatre (1963).
Lee Marvin returned to features with a prominent role in The Comancheros (Michael Curtiz, 1961) starring John Wayne. He played in two more films with Wayne, both directed by John Ford: The Man Who Shot Liberty Valance (1962), and Donovan's Reef (1963). As the vicious Liberty Valance, Marvin played his first title role and held his own with two of the screen's biggest stars (John Wayne and James Stewart). In 1962 Marvin appeared as Martin Kalig on the TV western The Virginian in the episode titled 'It Tolls for Thee'. He continued to guest star on shows like Combat! (1963), Dr. Kildare (1962-1964), and The Great Adventure (1963). For director Don Siegel, Marvin appeared in The Killers (1964) playing an efficient professional assassin alongside Clu Gulager. The Killers was also the first film in which Marvin received top billing. Marvin finally became a star for his comic role in the Western comedy Cat Ballou (Elliot Silverstein, 1965) starring Jane Fonda. This was a surprise hit and Marvin won the 1965 Oscar for Best Actor and several other awards. Playing alongside Vivien Leigh and Simone Signoret, Marvin won the 1966 National Board of Review Award for male actors for his role in Ship of Fools (Stanley Kramer, 1965). Marvin next performed in the hit Western The Professionals (Richard Brooks, 1966), in which he played the leader of a small band of skilled mercenaries (Burt Lancaster, Robert Ryan, and Woody Strode) rescuing a kidnap victim (Claudia Cardinale) shortly after the Mexican Revolution. He followed that film with the hugely successful World War II epic The Dirty Dozen (Robert Aldrich, 1967) in which top-billed Marvin again portrayed an intrepid commander of a colorful group (future stars John Cassavetes, Charles Bronson, Telly Savalas, Jim Brown, and Donald Sutherland) performing an almost impossible mission. In the wake of these two films and after having received an Oscar, Marvin was a huge star, given enormous control over his next film Point Blank (John Boorman, 1967), co-starring Angie Dickinson. He portrayed a hard-nosed criminal bent on revenge. Marvin, who had selected Boorman himself for the director's slot, had a central role in the film's development, plotline, and staging. Marvin also appeared in another Boorman film, the critically acclaimed but commercially unsuccessful World War II character study Hell in the Pacific (John Boorman, 1968), also starring famed Japanese actor Toshiro Mifune. Marvin was originally cast as Pike Bishop (later played by William Holden) in The Wild Bunch (1969), but fell out with director Sam Peckinpah and pulled out to star in the Western musical Paint Your Wagon (Joshua Logan, 1969), in which he was top-billed over a singing Clint Eastwood. Despite his limited singing ability, he had a surprise hit song with "Wand'rin' Star". By this time, he was getting paid a million dollars per film, $200,000 less than top star Paul Newman was making at the time.
Lee Marvin had a much greater variety of roles in the 1970s, with fewer bad-guy roles than in earlier years. His 1970s films included Monte Walsh (William A. Fraker, 1970), a Western with Jack Palance and Jeanne Moreau; the violent Prime Cut (Michael Ritchie, 1972) with Gene Hackman; Pocket Money (Stuart Rosenberg, 1972) with Paul Newman; Emperor of the North (Robert Aldrich, 1973) opposite Ernest Borgnine; as Hickey in The Iceman Cometh (John Frankenheimer, 1973) with Fredric March and Robert Ryan; The Spikes Gang (Richard Fleischer, 1974) with Noah Beery Jr.; The Klansman (Terence Young, 1974) with Richard Burton; Shout at the Devil (Peter Hunt, 1976), a World War One adventure with Roger Moore; The Great Scout and Cathouse Thursday (Don Taylor, 1976), a comic Western with Oliver Reed; and Avalanche Express (Mark Robson, 1978), a Cold War thriller with Robert Shaw who died during production. None of these films were big box office hits. Marvin was offered the role of Quint in Jaws (Steven Spielberg, 1975) but declined, stating "What would I tell my fishing friends who'd see me come off a hero against a dummy shark?". Marvin's last big role was in Samuel Fuller's The Big Red One (1980), a war film based on Fuller's own war experiences. His remaining films were Death Hunt (Peter R. Hunt, 1981), a Canadian action film with Charles Bronson; Gorky Park (Michael Apted, 1983) with William Hurt; and in France Canicule/Dog Day (Yves Boisset, 1984), with Miou-Miou. For TV he did The Dirty Dozen: Next Mission (Andrew V. McLaglen, 1985), a sequel with Marvin, Ernest Borgnine, and Richard Jaeckel picking up where they had left off despite being 18 years older. His final appearance was in The Delta Force (Menahem Golan, 1986) with Chuck Norris, playing a role turned down by Charles Bronson. Marvin had married Betty Ebeling in February 1951 and together they had four children, son Christopher Lamont (1952–2013), and three daughters: Courtenay Lee (1954), Cynthia Louise (1956), and Claudia Leslie (1958–2012). Married 16 years, they divorced in 1967. A long-term romantic relationship with Michelle Triola led, after their breakup, to a highly publicized lawsuit in which Triola asked for a substantial portion of Marvin's assets. Her case failed in its main pursuit but did establish a legal precedent for the rights of unmarried cohabitors, the so-called "palimony" law. Marvin reunited with his high school sweetheart, Pamela Feeley and they married in October 1970. She had four children with three previous marriages, they had no children together and remained married until his death in 1987. In December 1986, Marvin was hospitalized for more than two weeks because of a condition related to coccidioidomycosis. He went into respiratory distress and was administered steroids to help his breathing. He had major intestinal ruptures as a result and underwent a colectomy. Marvin died of a heart attack on 29 August 1987 in Tucson, Arizona, aged 63. He was buried with full military honours at Arlington National Cemetery.
Sources: Jim Beaver (IMDb), Wikipedia, and IMDb.
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The Baldwin Locomotive Works (BLW) was an American manufacturer of railroad locomotives from 1825 to 1951. Originally located in Philadelphia, it moved to nearby Eddystone, Pennsylvania, in the early 20th century. The company was for decades the world's largest producer of steam locomotives, but struggled to compete as demand switched to diesel locomotives. Baldwin produced the last of its 70,000-plus locomotives in 1951, before merging with the Lima-Hamilton Corporation on September 11, 1951, to form the Baldwin-Lima-Hamilton Corporation.
The company has no relation to the E.M. Baldwin and Sons of New South Wales, Australia, a builder of small diesel locomotives for sugar cane railroads.
The Baldwin Locomotive Works had a humble beginning. Matthias W. Baldwin, the founder, was a jeweler and whitesmith,[2] who, in 1825, formed a partnership with machinist David H. Mason, and engaged in the manufacture of bookbinders' tools and cylinders for calico printing. Baldwin then designed and constructed for his own use a small stationary engine, the workmanship of which was so excellent and its efficiency so great that he was solicited to build others like it for various parties, and thus led to turn his attention to steam engineering. The original engine was in use and powered many departments of the works for well over 60 years, and is currently on display at the Smithsonian Institution in Washington, D.C.
In 1831, at the request of the Philadelphia Museum, Baldwin built a miniature locomotive for exhibition which was such a success that he received that year an order from a railway company for a locomotive to run on a short line to the suburbs of Philadelphia. The Camden and Amboy Railroad Company (C&A) had shortly before imported a locomotive (John Bull) from England, which was stored in Bordentown, New Jersey. It had not yet been assembled by Isaac Dripps (under the direction of C&A president Robert L. Stevens) when Baldwin visited the spot. He inspected the detached parts and made notes of the principal dimensions. Aided by these figures, he commenced his task.
The difficulties attending the execution of this first order were such that they are not easily understood by present-day mechanics. Modern machine tools simply did not exist; the cylinders were bored by a chisel fixed in a block of wood and turned by hand; the workmen had to be taught how to do nearly all the work; and Baldwin himself did a great deal of it with his own hands.
It was under such circumstances that his first locomotive, christened Old Ironsides, was completed and tried on the Philadelphia, Germantown and Norristown Railroad on November 23, 1832. It was at once put in active service, and did duty for over 20 years. It was a four-wheeled engine, weighing a little over five tons; the driving wheels were 54 inches (1.4 m) in diameter, and the cylinders were of 9+1⁄2 inches (24 cm) bore by 18 inches (46 cm) stroke. The wheels were of heavy cast iron hubs, with wooden spokes and rims, and wrought iron tires, and the frame was made of wood placed outside the wheels. It had a 30 inches (0.76 m) diameter boiler which took 20 minutes to raise steam. Top speed was 28 mph (45 km/h)
Baldwin struggled to survive the Panic of 1837. Production fell from 40 locomotives in 1837 to just nine in 1840 and the company was heavily in debt. As part of the survival strategy, Matthias Baldwin took on two partners, George Vail and George Hufty. Although the partnerships proved relatively short-lived, they helped Baldwin pull through the economic hard times.
Zerah Colburn was one of many engineers who had a close association with Baldwin Locomotive Works. Between 1854 (and the start of his weekly paper, the Railroad Advocate) and 1861, when Colburn went to work more or less permanently in London, England, the journalist was in frequent touch with M. W. Baldwin, as recorded in Zerah Colburn: The Spirit of Darkness. Colburn was full of praise for the quality of Baldwin's work.
In the 1850s, railroad building became a national obsession, with many new carriers starting up, particularly in the Midwest and South. While this helped drive up demand for Baldwin products, it also increased competition as more companies entered the locomotive production field.
Still, Baldwin had trouble keeping pace with orders and in the early 1850s began paying workers piece-rate pay. By 1857, the company turned out 66 locomotives and employed 600 men. But another economic downturn, this time the Panic of 1857, cut into business again. Output fell by 50 percent in 1858.
The Civil War at first appeared disastrous for Baldwin. According to John K. Brown in The Baldwin Locomotive Works, 1831–1915: A Study in American Industrial Practice, at the start of the conflict Baldwin had a great dependence on Southern railways as its primary market. In 1860, nearly 80 percent of Baldwin's output went to carriers in states that would soon secede from the Union. As a result, Baldwin's production in 1861 fell more than 50 percent compared to the previous year. However, the loss in Southern sales was counterbalanced by purchases by the U.S. Military Railroads and the Pennsylvania Railroad, which saw its traffic soar, as Baldwin produced more than 100 engines for carriers during the 1861–1865 war.
By the time Matthias Baldwin died in 1866, his company was vying with Rogers Locomotive and Machine Works for the top spot among locomotive producers. By 1870 Baldwin had taken the lead and a decade later, it was producing 21⁄2 times as many engines as its nearest competitor, according to the U.S. Manufacturing Census.
In 1897 the Baldwin Locomotive Works was presented as one of the examples of successful shop management in a series of articles by Horace Lucian Arnold. The article specifically described the Piece Rate System used in the shop management.
Burton (1899) commented, that "in the Baldwin Locomotive Works... piecework rates are seldom altered... Some rates have remained unchanged for the past twenty years, and a workman is there more highly esteemed when he can, by his own exertions and ability, increase his weekly earnings. He has an absolute incentive to increase his output as much as he possibly can, because he knows that he will not, by increasing his own income, lead to cutting piece-work rates, and so be forced to make still further exertions in order to maintain the same weekly wage."
Initially, Baldwin built many more steam locomotives at its cramped 196 acres (0.79 km2) Broad Street Philadelphia shop[16] but would begin an incremental shift in production to a 616 acres (2.49 km2) site located at Spring Street in nearby Eddystone, Pennsylvania, in 1906. Broad Street was constricted, but even so, it was a huge complex, occupying the better part of 8 square city blocks from Broad to 18th Streets and Spring Garden Street to the Reading tracks just past Noble Street. Eddystone on the other hand was spread out over 600 acres. Its capacity was well over 3000 locomotives per year. The move from Broad Street was completed in the late 1920s.
The American railroad industry expanded significantly between 1898 and 1907, with domestic demand for locomotives hitting its highest point in 1905. Baldwin's business boomed during this period while it modernized its Broad Street facilities. Despite this boom, Baldwin faced many challenges including the constraints of space in the Philadelphia facility, inflation, increased labor costs, Labor tensions, the substantial increase in the size of the locomotives being manufactured and the formation of the American Locomotive Company, an aggressive competitor which eventually became known simply as Alco.
Baldwin also made most of the locomotives for the East Broad Top Railroad, some of the consolidations of the Huntingdon And Broad Top Mountain Railroad, and locomotive 11 of the Morehead And Northfork Railroad, although the Everett Railroad only has a reproduction of the name plate currently.
Because Baldwin made the locomotives of both the H&BTRR and the EBTRR around the same time in the early 20th century before WWII, the locomotive number plates of the locomotives were made identical having diameter of 16 3/4", a maximum width of 5/8" and a minimum width of 3/16" with the decorations welded onto the larger plate, all being made of brass.
From 1904 to 1943, Baldwin and Westinghouse marketed Baldwin-Westinghouse electric locomotives and A.C. electrification of railroads, particularly to the New Haven Railroad.
In 1906 the Hepburn Act authorized greater governmental authority over railroad companies, and revitalized the Interstate Commerce Commission (ICC), which stepped up its activities. The ICC was given the power to set maximum railroad rates, and to replace existing rates with "just-and-reasonable" maximum rates, as defined by the ICC.
The limitation on railroad rates depreciated the value of railroad securities, and meant that railroads stopped ordering new equipment, including locomotives. This may have been a factor in precipitating the Panic of 1907, which in turn disrupted finance and investment in new plants.[citation needed] Both of these events had a direct negative effect on the railroad industry, especially the locomotive builders.
Baldwin's locomotive output dropped from 2,666 in 1906 to 614 in 1908. The company cut its workforce from 18,499 workers in 1907 to 4,600 the following year. Baldwin's business was further imperiled when William P. Henszey, one of Baldwin's partners, died. His death left Baldwin with a US$6 million liability. In response, Baldwin incorporated and released US$10 million worth of bonds. Samuel Vauclain wanted to use these funds to expand Baldwin's capacities so it would be prepared for another boom. While other Baldwin officers opposed this expansion, Vauclain's vision won out; Baldwin would continue to expand its Eddystone plant until its completion in 1928. By 1928, the company moved all locomotive production to this location, though the plant would never exceed more than one-third of its production capacity.
Baldwin was an important contributor to the Allied war effort in World War I. Baldwin built 5,551 locomotives for the Allies including separate designs for Russian, French, British and United States trench railways. Baldwin built railway gun carriages for the United States Navy and manufactured 6,565,355 artillery shells for Russia, Great Britain and the United States. From 1915 to 1918, Remington Arms subcontracted the production of nearly 2 million Pattern 1914 Enfield and M1917 Enfield rifles to the Baldwin Locomotive Works. Baldwin expanded their Eddystone, Pennsylvania, shop opened in 1905 into the Eddystone Arsenal which manufactured most of these rifles and artillery shells before being converted to locomotive shops when the war ended.
After the end of World War I Baldwin continued to supply export orders, as the European powers strove to replace large numbers of locomotives worn out by the war effort and European locomotive factories were still re-tooling from armaments production back to railroad production. In 1919 and 1920 Baldwin supplied 50 4-6-0 locomotives to the Palestine Military Railway that became the Palestine Railways H class.
After the boom years of World War I and its aftermath, Baldwin's business would decline as the Great Depression gripped the country and diesel locomotives became the growth market on American railways towards the end of the 1930s. During the 1920s the major locomotive manufacturers had strong incentives to maintain the dominance of the steam engine. The Baldwin-Westinghouse consortium, which had produced electric locomotives since 1904, was in fact the first American locomotive builder to develop a road diesel locomotive, in 1925. Its twin-engine design was not successful, and the unit was scrapped after a short testing and demonstration period. Westinghouse and Baldwin collaborated again in 1929 to build switching and road locomotives (the latter through Baldwin's subsidiary Canadian Locomotive Company). The road locomotives, Canadian National class V1-a, No. 9000 and No. 9001, proved expensive, unreliable, frequently out of service, and were soon retired. Westinghouse cancelled its efforts in the diesel locomotive field with the onset of the Great Depression, opting to supply electrical parts instead. The early, unsuccessful efforts of Baldwin-Westinghouse in developing diesel-electric locomotion for mainline service led Baldwin in the 1930s to discount the possibility that diesel could replace steam. In 1930 Samuel Vauclain, chairman of the board, stated in a speech that advances in steam technology would ensure the dominance of the steam engine until at least 1980. Baldwin's vice president and Director of Sales stated in December 1937 that "Some time in the future, when all this is reviewed, it will be found that our railroads are no more dieselized than they electrified". Baldwin had deep roots in the steam locomotive industry and may have been influenced by heavy investment in its Eddystone plant, which had left them overextended financially and operating at a fraction of capacity as the market for steam locomotives declined in the 1930s.
In contrast, ALCO, while remaining committed to steam production, pursued R&D paths centered on both steam mainline engines and diesel switch engines in the 1920s and '30s, which would position them to compete in the future market for diesel locomotives.
In 1928 Baldwin began an attempt to diversify its product line to include small internal combustion-electric locomotives but the Great Depression thwarted these efforts, eventually leading Baldwin to declare bankruptcy in 1935. At the invitation of the owners of the Geo D. Whitcomb Company, a small manufacturer of gasoline and diesel industrial locomotives in Rochelle, Illinois, Baldwin agreed to participate in a recapitalization program, purchasing about half of the issued stock. By March 1931 the small firm was in financial trouble and Baldwin filed a voluntary bankruptcy for Whitcomb with Baldwin gaining complete control and creating a new subsidiary, the Whitcomb Locomotive Company. This action would lead to financial losses, an ugly court battle between Baldwin and William Whitcomb, the former owner of the company, and bankruptcy for both parties.
Baldwin lost its dominant position in electric locomotives when the Pennsylvania Railroad selected General Electric's PRR GG1 instead of Baldwin's design in 1934.
When Baldwin emerged from bankruptcy in 1938 it underwent a drastic change in management. The new management revived their development efforts with diesel power but the company was already too far behind. In 1939 Baldwin offered its first standard line of diesel locomotives, all designed for yard service. By this time, GM-EMD was already ramping up production of diesel passenger locomotives and developing its first diesel road freight locomotive.
As the 1930s drew to a close, Baldwin's coal-country customers such as Pennsylvania Railroad, Chesapeake and Ohio, and Norfolk and Western were more reluctant than other operators to embrace diesel technology, which could undermine the demand for one of their main hauling markets. All three continued to acquire passenger steam locomotives into the early postwar years, as dieselization was gaining momentum elsewhere in the rail industry.
In the late 1930s Baldwin and the Pennsylvania Railroad made an all-in bet on the future of steam in passenger rail service with Baldwin's duplex-drive S1 locomotive. It proved difficult to operate, prone to slipping, costly to maintain, and unsuited for its intended service. Baldwin developed a revision of the same basic design with the T1, introduced in 1943. While the T1s could operate on more tracks than the S1, they still had many of the problems of the S1 and additional mechanical problems related to their unique valve design. The whole S1-T1 venture resulted in losses for PRR and investment in a dead-end development effort for Baldwin at a critical time for both companies. In the early 1940s Baldwin embarked upon its efforts to develop steam turbine power, producing the S2 direct-drive turbine locomotive in 1944. Baldwin's steam turbine program failed to produce a single successful design. Baldwin's steam-centered development path had left them flat-footed in the efforts necessary to compete in the postwar diesel market dominated by EMD and ALCO-GE.
The United States' entry into World War II impeded Baldwin's diesel development program when the War Production Board dictated that Alco and Baldwin produce only steamers and diesel-electric yard switching engines. The General Motors Electro-Motive Division was assigned the task of producing road freight diesels (namely, the FT series). EMD's distinct advantage over its competitors in that product line in the years that followed World War II, due to the head start in diesel R&D and production, is beyond doubt, however, assigning it solely to WPB directives is questionable. Longtime GM chairman Alfred P. Sloan presented a timeline in his memoir that belies this assumption, saying that GM's diesel-engine R&D efforts of the 1920s and 1930s, and its application of model design standardization (yielding lower unit costs) and marketing lessons learned in the automotive industry, were the principal reason for EMD's competitive advantage in the late 1940s and afterward (clearly implying that the wartime production assignments were merely nails in a coffin that Baldwin and Lima had already built for themselves before the war). In his telling, the R&D needed to adapt earlier diesels (best suited to marine and stationary use) to locomotive use (more flexible output; higher power-to-weight ratio; more reliable given more vibration and less maintenance) was a capital-intensive project that almost no one among the railroad owners or locomotive builders was willing (latter) or able (former) to invest in during the 1920s and 1930s except for the GM Research Corporation led by Charles F. Kettering, and the GM subsidiaries Winton Engine Corporation and Electro-Motive Corporation.
Baldwin made steam engines for domestic US railroads, the US Army, British Railways, and made around one thousand E or Ye type engines for the Soviet Union in the Lend Lease arrangement (of an order of 2000 or so engines with other builders contributing to the total). Baldwin obtained a short-term market boost from naval demand for diesel engines and the petroleum crisis of 1942–43, which boosted demand for their coal-fired steam locomotives while acquisition of EMD's diesel locomotives was in its most restricted period.
In 1943 Baldwin launched its belated road diesel program, producing a prototype "Centipede" locomotive which was later rebuilt to introduce their first major product in the postwar market.
During World War II Baldwin's contributions to the war effort included not only locomotives and switchers but also tanks. Baldwin was one of the manufacturers of several variants of the M3 tank (M3 Lee, M3A2, M3A3, M3A5) and later the M4 Sherman (M4, M4A2). A Baldwin subsidiary, the Whitcomb Locomotive Company, produced hundreds of 65-ton diesel electric locomotives for the Army and received the Army–Navy "E" award for production. Baldwin ranked 40th among United States corporations in the value of wartime production contracts.
Between 1940 and 1948, domestic steam locomotive sales declined from 30 percent of the market to 2 percent. By 1949, there was no demand for steam locomotives. Baldwin's attempts to adapt to the changed market for road locomotives had been unsuccessful; the reliability of their offerings was unsatisfactory, epitomized by notorious failures such as their "Centipede" diesel locomotives and their steam turbine-electric locomotives, which proved to be money pits unsuited for their intended service. In July 1948 Westinghouse Electric, which had teamed with Baldwin to build diesel and electric locomotives and wanted to keep their main customer in the rail industry afloat, purchased 500,000 shares, or 21 percent, of Baldwin stock, which made Westinghouse Baldwin's largest shareholder. Baldwin used the money to cover various debts. Westinghouse vice president Marvin W. Smith became Baldwin's president in May 1949. In a move to diversify into the construction equipment market, Baldwin merged with Lima-Hamilton on December 4, 1950, to become Baldwin-Lima-Hamilton. However, Lima-Hamilton's locomotive technology was unused after the merger and market share continued to dwindle. By January, 1952 Baldwin closed its factory in Rochelle, Illinois and consolidated Whitcomb production at Eddystone. In 1953 Westinghouse discontinued building electrical traction equipment, so Baldwin was forced to reconfigure their drive systems based on General Electric equipment. In 1954, during which time they were being virtually shut out of the diesel market, Baldwin delivered one steam turbine-electric locomotive to the Norfolk and Western Railway, which proved unsatisfactory in service. After locomotive production ended, Hamilton continued to develop and produce engines for other purposes. Baldwin engine production was shifted to the Hamilton plant, but in 1960 the Hamilton engines ceased production, the plant was shuttered, and Baldwin engine production moved back to Eddystone. The last locomotives produced by Baldwin were three experimental RP-210 dual power passenger locomotives for the New York Central and New York, New Haven, and Hartford rail lines in 1956.
In 1956, after 125 years of continuous locomotive production, Baldwin closed most of its Eddystone plant and ceased producing locomotives. The company instead concentrated on production of heavy construction equipment. More than 70,500 locomotives had been built when production ended. In 1965 Baldwin became a wholly owned subsidiary of Armour and Company. Greyhound Corporation purchased Armour and Company in 1970, and the decision was made to liquidate all production. In 1972 Greyhound closed Baldwin-Lima-Hamilton for good. The "replacement and renewal parts" business was acquired by Ecolaire Inc. and became the "Baldwin-Hamilton Company - A Division of Ecolaire Inc. and lasted till 1991 to receive license fees from other companies using their designs, which was lucrative. When the licenses ran out, all remaining parts were distributed, and the company dissolved.
Arizona is a state in the Southwestern region of the United States. Arizona is part of the Four Corners region with Utah to the north, Colorado to the northeast, and New Mexico to the east; its other neighboring states are Nevada to the northwest, California to the west and the Mexican states of Sonora and Baja California to the south and southwest. It is the 6th-largest and the 14th-most-populous of the 50 states. Its capital and largest city is Phoenix.
Arizona is the 48th state and last of the contiguous states to be admitted to the Union, achieving statehood on February 14, 1912. Historically part of the territory of Alta California and Nuevo México in New Spain, it became part of independent Mexico in 1821. After being defeated in the Mexican–American War, Mexico ceded much of this territory to the United States in 1848, where the area became part of the territory of New Mexico. The southernmost portion of the state was acquired in 1853 through the Gadsden Purchase.
Southern Arizona is known for its desert climate, with very hot summers and mild winters. Northern Arizona features forests of pine, Douglas fir, and spruce trees; the Colorado Plateau; mountain ranges (such as the San Francisco Mountains); as well as large, deep canyons, with much more moderate summer temperatures and significant winter snowfalls. There are ski resorts in the areas of Flagstaff, Sunrise, and Tucson. In addition to the internationally known Grand Canyon National Park, which is one of the world's seven natural wonders, there are several national forests, national parks, and national monuments.
Arizona's population and economy have grown dramatically since the 1950s because of inward migration, and the state is now a major hub of the Sun Belt. Cities such as Phoenix and Tucson have developed large, sprawling suburban areas. Many large companies, such as PetSmart and Circle K, have headquarters in the state, and Arizona is home to major universities, including the University of Arizona and Arizona State University. The state is known for a history of conservative politicians such as Barry Goldwater and John McCain, though it has become a swing state since the 1990s.
Arizona is home to a diverse population. About one-quarter of the state is made up of Indian reservations that serve as the home of 27 federally recognized Native American tribes, including the Navajo Nation, the largest in the state and the United States, with more than 300,000 citizens. Since the 1980s, the proportion of Hispanics in the state's population has grown significantly owing to migration from Mexico. A substantial portion of the population are followers of the Roman Catholic Church and the Church of Jesus Christ of Latter-day Saints.
The history of Arizona encompasses the Paleo-Indian, Archaic, Post-Archaic, Spanish, Mexican, and American periods. About 10,000 to 12,000 years ago, Paleo-Indians settled in what is now Arizona. A few thousand years ago, the Ancestral Puebloan, the Hohokam, the Mogollon and the Sinagua cultures inhabited the state. However, all of these civilizations mysteriously disappeared from the region in the 15th and 16th centuries. Today, countless ancient ruins can be found in Arizona. Arizona was part of the state of Sonora, Mexico from 1822, but the settled population was small. In 1848, under the terms of the Mexican Cession the United States took possession of Arizona above the Gila River after the Mexican War, and became part of the Territory of New Mexico. By means of the Gadsden Purchase, the United States secured the northern part of the state of Sonora, which is now Arizona south of the Gila River in 1854.
In 1863, Arizona was split off from the Territory of New Mexico to form the Arizona Territory. The remoteness of the region was eased by the arrival of railroads in 1880. Arizona became a state in 1912 but was primarily rural with an economy based on cattle, cotton, citrus, and copper. Dramatic growth came after 1945, as retirees and young families who appreciated the warm weather and low costs emigrated from the Northeast and Midwest.
In the Mexican–American War, the garrison commander avoided conflict with Lieutenant Colonel Cooke and the Mormon Battalion, withdrawing while the Americans marched through the town on their way to California. In the Treaty of Guadalupe Hidalgo (1848), Mexico ceded to the U.S. the northern 70% of modern-day Arizona above the Sonora border along the Gila River. During the California Gold Rush, an upwards of 50,000 people traveled through on the Southern Emigrant Trail pioneered by Cooke, to reach the gold fields in 1849. The Pima Villages often sold fresh food and provided relief to distressed travelers among this throng and to others in subsequent years.
Paleo-Indians settled what is now Arizona around 10,000 to 12,000 years ago. According to most archaeologists, the Paleo-Indians initially followed herds of big game—megafauna such as mammoths, mastodons, and bison—into North America. The traveling groups also collected and utilized a wide variety of smaller game animals, fish, and a wide variety of plants. These people were likely characterized by highly mobile bands of approximately 20 or 50 members of an extended family, moving from place to place as resources were depleted and additional supplies needed. Paleoindian groups were efficient hunters and created and carried a variety of tools, some highly specialized, for hunting, butchering and hide processing. These paleolithic people utilized the environment that they lived in near water sources, including rivers, swamps and marshes, which had an abundance of fish, and drew birds and game animals. Big game, including bison, mammoths and ground sloths, also were attracted to these water sources. At the latest by 9500 BCE, bands of hunters wandered as far south as Arizona, where they found a desert grassland and hunted mule deer, antelope and other small mammals.
As populations of larger game began to diminish, possibly as a result of intense hunting and rapid environmental changes, Late Paleoindian groups would come to rely more on other facets of their subsistence pattern, including increased hunting of bison, mule deer and antelope. Nets and the atlatl to hunt water fowl, ducks, small animals and antelope. Hunting was especially important in winter and spring months when plant foods were scarce.
The Archaic time frame is defined culturally as a transition from a hunting/gathering lifestyle to one involving agriculture and permanent, if only seasonally occupied, settlements. In the Southwest, the Archaic is generally dated from 8000 years ago to approximately 1800 to 2000 years ago. During this time the people of the southwest developed a variety of subsistence strategies, all using their own specific techniques. The nutritive value of weed and grass seeds was discovered and flat rocks were used to grind flour to produce gruels and breads. This use of grinding slabs in about 7500 BCE marks the beginning of the Archaic tradition. Small bands of people traveled throughout the area, gathering plants such as cactus fruits, mesquite beans, acorns, and pine nuts and annually establishing camps at collection points.
Late in the Archaic Period, corn, probably introduced into the region from central Mexico, was planted near camps with permanent water access. Distinct types of corn have been identified in the more well-watered highlands and the desert areas, which may imply local mutation or successive introduction of differing species. Emerging domesticated crops also included beans and squash.
About 3,500 years ago, climate change led to changing patterns in water sources, leading to a dramatically decreased population. However, family-based groups took shelter in south facing caves and rock overhangs within canyon walls. Occasionally, these people lived in small semisedentary hamlets in open areas. Evidence of significant occupation has been found in the northern part of Arizona.
In the Post-Archaic period, the Ancestral Puebloan, the Hohokam, the Mogollon and Sinagua cultures inhabited what is now Arizona. These cultures built structures made out of stone. Some of the structures that these cultures built are called pueblos. Pueblos are monumental structures that housed dozens to thousands of people. In some Ancestral Puebloan towns and villages, Hohokam towns and villages, Mogollon towns and villages, and Sinagua towns and villages, the pueblo housed the entire town. Surrounding the pueblos were often farms where farmers would plant and harvest crops to feed the community. Sometimes, pueblos and other buildings were built in caves in cliffs.
The Ancestral Puebloans were an ancient Pre-Columbian Native American civilization that spanned the present-day Four Corners region of the United States, comprising southeastern Utah, northeastern Arizona, northwestern New Mexico, and southwestern Colorado. The Ancestral Puebloans are believed to have developed, at least in part, from the Oshara tradition, who developed from the Picosa culture.
They lived in a range of structures that included small family pit houses, larger structures to house clans, grand pueblos, and cliff-sited dwellings for defense. The Ancestral Puebloans possessed a complex network that stretched across the Colorado Plateau linking hundreds of communities and population centers. They held a distinct knowledge of celestial sciences that found form in their architecture. The kiva, a congregational space that was used chiefly for ceremonial purposes, was an integral part of this ancient people's community structure. Some of their most impressive structures were built in what is now Arizona.
Hohokam was a Pre-Columbian culture in the North American Southwest in what is now part of Arizona, United States, and Sonora, Mexico. Hohokam practiced a specific culture, sometimes referred to as Hohokam culture, which has been distinguished by archeologists. People who practiced the culture can be called Hohokam as well, but more often, they are distinguished as Hohokam people to avoid confusion.
Most archaeologists agree that the Hohokam culture existed between c. 300 and c. 1450 CE, but cultural precursors may have been in the area as early as 300 BC. Whether Hohokam culture was unified politically remains under controversy. Hohokam culture may have just given unrelated neighboring communities common ground to help them to work together to survive their harsh desert environment.
The Mogollon culture was an ancient Pre-Columbian culture of Native American peoples from Southern New Mexico and Arizona, Northern Sonora and Chihuahua, and Western Texas. The northern part of this region is Oasisamerica, while the southern span of the Mogollon culture is known as Aridoamerica.
The Mogollon culture was one of the major prehistoric Southwestern cultural divisions of the Southwestern United States and Northern Mexico. The culture flourished from c. 200 CE, to c. 1450 CE or 1540 CE, when the Spanish arrived.
The Sinagua culture was a Pre-Columbian culture that occupied a large area in central Arizona from the Little Colorado River, near Flagstaff, to the Verde River, near Sedona, including the Verde Valley, area around San Francisco Mountain, and significant portions of the Mogollon Rim country, between approximately 500 CE and 1425 CE. Besides ceremonial kivas, their pueblos had large "community rooms" and some featured ballcourts and walled courtyards, similar to those of the Hohokam culture. Since fully developed Sinagua sites emerged in central Arizona around 500 CE, it is believed they migrated from east-central Arizona, possibly emerging from the Mogollon culture.
The history of Arizona as recorded by Europeans began in 1539 with the first documented exploration of the area by Marcos de Niza, early work expanded the following year when Francisco Vásquez de Coronado entered the area as well.
The Spanish established a few missions in southern Arizona in the 1680s by Father Eusebio Francisco Kino along the Santa Cruz River, in what was then the Pimería Alta region of Sonora. The Spanish also established presidios in Tubac and Tucson in 1752 and 1775. The area north of the Gila River was governed by the Province of Las California under the Spanish until 1804, when the Californian portion of Arizona became part of Alta California under the Spanish and Mexican governments.
In 1849, the California Gold Rush led as many as 50,000 miners to travel across the region, leading to a boom in Arizona's population. In 1850, Arizona and New Mexico formed the New Mexico Territory.
In 1853, President Franklin Pierce sent James Gadsden to Mexico City to negotiate with Santa Anna, and the United States bought the remaining southern strip area of Arizona and New Mexico in the Gadsden Purchase. A treaty was signed in Mexico in December 1853, and then, with modifications, approved by the US Senate in June 1854, setting the southern boundary of Arizona and of New Mexico.
Before 1846 the Apache raiders expelled most Mexican ranchers. One result was that large herds of wild cattle roamed southeastern Arizona. By 1850, the herds were gone, killed by Apaches, American sportsmen, contract hunting for the towns of Fronteras and Santa Cruz, and roundups to sell to hungry Mexican War soldiers, and forty-niners en route to California.
During the Civil War, on March 16, 1861, citizens in southern New Mexico Territory around Mesilla (now in New Mexico) and Tucson invited take-over by the Confederacy. They especially wanted restoration of mail service. These secessionists hoped that a Confederate Territory of Arizona (CSA) would take control, but in March 1862, Union troops from California captured the Confederate Territory of Arizona and returned it to the New Mexico Territory.
The Battle of Picacho Pass, April 15, 1862, was a battle of the Civil War fought in the CSA and one of many battles to occur in Arizona during the war among three sides—Apaches, Confederates and Union forces. In 1863, the U.S. split up New Mexico along a north–south line to create the Arizona Territory. The first government officials to arrive established the territory capital in Prescott in 1864. The capital was later moved to Tucson, back to Prescott, and then to its final location in Phoenix in a series of controversial moves as different regions of the territory gained and lost political influence with the growth and development of the territory.
In the late 19th century the Army built a series of forts to encourage the Natives to stay in their territory and to act as a buffer from the settlers. The first was Fort Defiance. It was established on September 18, 1851, by Col. Edwin V. Sumner to create a military presence in Diné bikéyah (Navajo territory). Sumner broke up the fort at Santa Fe for this purpose, creating the first military post in what is now Arizona. He left Major Electus Backus in charge. Small skirmishes were common between raiding Navajo and counter raiding citizens. In April 1860 one thousand Navajo warriors under Manuelito attacked the fort and were beaten off.
The fort was abandoned at the start of the Civil War but was reoccupied in 1863 by Colonel Kit Carson and the 1st New Mexico Infantry. Carson was tasked by Brigadier-General James H. Carleton, Commander of the Federal District of New Mexico, to kill Navajo men, destroy crops, wells, houses and livestock. These tactics forced 9000 Navajos to take the Long Walk to a reservation at Bosque Redondo, New Mexico. The Bosque was a complete failure. In 1868 the Navajo signed another treaty and were allowed to go back to part of their former territory. The returning Navajo were restocked with sheep and other livestock. Fort Defiance was the agency for the new Navajo reservation until 1936; today it provides medical services to the region.
Fort Apache was built on the Fort Apache Indian Reservation by soldiers from the 1st Cavalry and 21st Infantry in 1870. Only one small battle took place, in September 1881, with three soldiers wounded. When the reservation Indians were granted U.S. citizenship in 1924, the fort was permanently closed down. Fort Huachuca, east of Tucson, was founded in 1877 as the base for operations against Apaches and raiders from Mexico. From 1913 to 1933 the fort was the base for the "Buffalo Soldiers" of the 10th Cavalry Regiment. During World War II, the fort expanded to 25,000 soldiers, mostly in segregated all-black units. Today the fort remains in operation and houses the U.S. Army Intelligence Center and the U.S. Army Network.
The Pueblos in Arizona were relatively peaceful through the Navajo and Apache Wars. However, in June 1891, the army had to bring in troops to stop Oraibi from preventing a school from being built on their mesa.
After the Civil War, Texans brought large-scale ranching to southern Arizona. They introduced their proven range methods to the new grass country. Texas rustlers also came, and brought lawlessness. Inexperienced ranchers brought poor management, resulting in overstocking, and introduced destructive diseases. Local cattleman organizations were formed to handle these problems. The Territory experienced a cattle boom in 1873–91, as the herds were expanded from 40,000 to 1.5 million head. However, the drought of 1891–93 killed off over half the cattle and produced severe overgrazing. Efforts to restore the rangeland between 1905 and 1934 had limited success, but ranching continued on a smaller scale.
Arizona's last major drought occurred during Dust Bowl years of 1933–34. This time Washington stepped in as the Agricultural Adjustment Administration spent $100 million to buy up the starving cattle. The Taylor Grazing Act placed federal and state agencies in control of livestock numbers on public lands. Most of the land in Arizona is owned by the federal government which leased grazing land to ranchers at low cost. Ranchers invested heavily in blooded stock and equipment. James Wilson states that after 1950, higher fees and restrictions in the name of land conservation caused a sizable reduction in available grazing land. The ranchers had installed three-fifths of the fences, dikes, diversion dams, cattleguards, and other improvements, but the new rules reduced the value of that investment. In the end, Wilson believes, sportsmen and environmentalists maintained a political advantage by denouncing the ranchers as political corrupted land-grabbers who exploited the publicly owned natural resources.
On February 23, 1883, United Verde Copper Company was incorporated under New York law. The small mining camp next to the mine was given a proper name, 'Jerome.' The town was named after the family which had invested a large amount of capital. In 1885 Lewis Williams opened a copper smelter in Bisbee and the copper boom began, as the nation turned to copper wires for electricity. The arrival of railroads in the 1880s made mining even more profitable, and national corporations bought control of the mines and invested in new equipment. Mining operations flourished in numerous boom towns, such as Bisbee, Jerome, Douglas, Ajo and Miami.
Arizona's "wild west" reputation was well deserved. Tombstone was a notorious mining town that flourished longer than most, from 1877 to 1929. Silver was discovered in 1877, and by 1881 the town had a population of over 10,000. Western story tellers and Hollywood film makers made as much money in Tombstone as anyone, thanks to the arrival of Wyatt Earp and his brothers in 1879. They bought shares in the Vizina mine, water rights, and gambling concessions, but Virgil, Morgan and Wyatt were soon appointed as federal and local marshals. They killed three outlaws in the Gunfight at the O.K. Corral, the most famous gunfight of the Old West.
In the aftermath, Virgil Earp was maimed in an ambush and Morgan Earp was assassinated while playing billiards. Walter Noble Burns's novel Tombstone (1927) made Earp famous. Hollywood celebrated Earp's Tombstone days with John Ford's My Darling Clementine (1946), John Sturges's Gunfight at the O.K. Corral (1957) and Hour of the Gun (1967), Frank Perry's Doc (1971), George Cosmatos's Tombstone (1993), and Lawrence Kasdan's Wyatt Earp (1994). They solidified Earp's modern reputation as the Old West's deadliest gunman.
Jennie Bauters (1862–1905) operated brothels in the Territory from 1896 to 1905. She was an astute businesswoman with an eye for real estate appreciation, and a way with the town fathers of Jerome regarding taxes and restrictive ordinances. She was not always sitting pretty; her brothels were burned in a series of major fires that swept the business district; her girls were often drug addicts. As respectability closed in on her, in 1903 she relocated to the mining camp of Acme. In 1905, she was murdered by a man who had posed as her husband.
By 1869 Americans were reading John Wesley Powell's reports of his explorations of the Colorado River. In 1901, the Santa Fe Railroad reached Grand Canyon's South Rim. With railroad, restaurant and hotel entrepreneur Fred Harvey leading the way, large-scale tourism began that has never abated. The Grand Canyon has become an iconic symbol of the West and the nation as a whole.
The Chinese came to Arizona with the construction of the Southern Pacific Railroad in 1880. Tucson was the main railroad center and soon had a Chinatown with laundries for the general population and a rich mix of restaurants, groceries, and services for the residents. Chinese and Mexican merchants and farmers transcended racial differences to form 'guanxi,' which were relations of friendship and trust. Chinese leased land from Mexicans, operated grocery stores, and aided compatriots attempting to enter the United States from Mexico after the Mexican Revolution in 1910. Chinese merchants helped supply General John Pershing's army in its expedition against Pancho Villa. Successful Chinese in Tucson led a viable community based on social integration, friendship, and kinship.
In February 1903, U.S. Senator Hamilton Kean spoke against Arizona's statehood. He said Mormons who fled from Idaho to Mexico would return to the U.S. and mix in the politics of Arizona.
In 1912, Arizona almost entered the Union as part of New Mexico in a Republican plan to keep control of the U.S. Senate. The plan, while accepted by most in New Mexico, was rejected by most Arizonans. Progressives in Arizona favored inclusion in the state constitution of the initiative, referendum, recall, direct election of senators, woman suffrage, and other reforms. Most of these proposals were included in the constitution that was rejected by Congress.
A new constitution was offered with the problematic provisions removed. Congress then voted to approve statehood, and President Taft signed the statehood bill on February 14, 1912. State residents promptly put the provisions back in. Hispanics had little voice or power. Only one of the 53 delegates at the constitutional convention was Hispanic, and he refused to sign. In 1912 women gained suffrage in the state, eight years before the country as a whole.
Arizona's first Congressman was Carl Hayden (1877–1972). He was the son of a Yankee merchant who had moved to Tempe because he needed dry heat for his bad lungs. Carl attended Stanford University and moved up the political ladder as town councilman, county treasurer, and Maricopa County sheriff, where he nabbed Arizona's last train robbers. He also started building a coalition to develop the state's water resources, a lifelong interest. A liberal Democrat his entire career, Hayden was elected to Congress in 1912 and moved to the Senate in 1926.
Reelection followed every six years as he advanced toward the chairmanship of the powerful Appropriations Committee, which he reached in 1955. His only difficult campaign came in 1962, at age 85, when he defeated a young conservative. He retired in 1968 after a record 56 years in Congress. His great achievement was his 41-year battle to enact the Central Arizona Project that would provide water for future growth.
The Great Depression of 1929–39 hit Arizona hard. At first local, state and private relief efforts focused on charity, especially by the Community Chest and Organized Charities programs. Federal money started arriving with the Federal Emergency Relief Committee in 1930. Different agencies promoted aid to the unemployed, tuberculosis patients, transients, and illegal immigrants. The money ran out by 1931 or 1932, and conditions were bad until New Deal relief operations began on a large scale in 1933.
Construction programs were important, especially the Hoover Dam (originally called Boulder Dam), begun by President Herbert Hoover. It is a concrete arch-gravity dam in the Black Canyon of the Colorado River, on the border with Nevada. It was constructed by the Federal Bureau of Reclamation between 1931 and 1936. It operationalized a schedule of water use set by the Colorado River Compact of 1922 that gave Arizona 19% of the river's water, with 25% to Nevada and the rest to California.
Construction of military bases in Arizona was a national priority because of the state's excellent flying weather and clear skies, large amounts of unoccupied land, good railroads, cheap labor, low taxes, and its proximity to California's aviation industry. Arizona was attractive to both the military and private firms and they stayed after the war.
Fort Huachuca became one of the largest nearly-all-black Army forts, with quarters for 1,300 officers and 24,000 enlisted soldiers. The 92nd and 93rd Infantry Divisions, composed of African-American troops, trained there.
During the war, Mexican-American community organizations were very active in patriotic efforts to support American troops abroad, and made efforts to support the war effort materially and to provide moral support for the American servicemen fighting the war, especially the Mexican-American servicemen from local communities. Some of the community projects were cooperative ventures in which members of both the Mexican-American and Anglo communities participated. Most efforts made in the Mexican-American community represented localized American home front activities that were separate from the activities of the Anglo community.
Mexican-American women organized to assist their servicemen and the war effort. An underlying goal of the Spanish-American Mothers and Wives Association was the reinforcement of the woman's role in Spanish-Mexican culture. The organization raised thousands of dollars, wrote letters, and joined in numerous celebrations of their culture and their support for Mexican-American servicemen. Membership reached over 300 during the war and eventually ended its existence in 1976.
Heavy government spending during World War II revitalized the Arizona economy, which was still based on copper mining, citrus and cotton crops and cattle ranching, with a growing tourist business.
Military installations peppered the state, such as Davis-Monthan Field in Tucson, the main training center for air force bomber pilots. Two relocation camps opened for Japanese and Japanese Americans brought in from the West Coast.
After World War II the population grew rapidly, increasing sevenfold between 1950 and 2000, from 700,000 to over 5 million. Most of the growth was in the Phoenix area, with Tucson a distant second. Urban growth doomed the state's citrus industry, as the groves were turned into housing developments.
The cost of water made growing cotton less profitable, and Arizona's production steadily declined. Manufacturing employment jumped from 49,000 in 1960 to 183,000 by 1985, with half the workers in well-paid positions. High-tech firms such as Motorola, Hughes Aircraft, Goodyear Aircraft, Honeywell, and IBM had offices in the Phoenix area. By 1959, Hughes Aircraft had built advanced missiles with 5,000 workers in Tucson.
Despite being a small state, Arizona produced several national leaders for both the Republican and Democratic parties. Two Republican Senators were presidential nominees: Barry Goldwater in 1964 and John McCain in 2008; both carried Arizona but lost the national election. Senator Ernest McFarland, a Democrat, was the Majority Leader of the U.S. Senate from 1951 to 1952, and Congressman John Rhodes was the Republican Minority Leader in the House from 1973 to 1981. Democrats Bruce Babbitt (Governor 1978–87) and Morris Udall (Congressman 1961–90) were contenders for their party's presidential nominations. In 1981 Sandra Day O'Connor became the first woman on the U.S. Supreme Court; she served until 2006.
Retirement communities
Warm winters and low cost of living attracted retirees from the so-called snowbelt, who moved permanently to Arizona after 1945, bringing their pensions, Social Security, and savings with them. Real estate entrepreneurs catered to them with new communities with amenities pitched to older people, and with few facilities for children. Typically they were gated communities with controlled access and had pools, recreation centers, and golf courses.
In 1954, two developers bought 320 acres (1.3 km2) of farmland near Phoenix and opened the nation's first planned community dedicated exclusively to retirees at Youngtown. In 1960, developer Del Webb, inspired by the amenities in Florida's trailer parks, added facilities for "active adults" in his new Sun City planned community near Phoenix. In 1962 Ross Cortese opened the first of his gated Leisure Worlds. Other developers copied the popular model, and by 2000 18% of the retirees in the state lived in such "lifestyle" communities.
The issues of the fragile natural environment, compounded by questions of water shortage and distribution, led to numerous debates. The debate crossed traditional lines, so that the leading conservative, Senator Barry Goldwater, was also keenly concerned. For example, Goldwater supported the controversial Colorado River Storage Project (CRSP). He wrote:
I feel very definitely that the [Nixon] administration is absolutely correct in cracking down on companies and corporations and municipalities that continue to pollute the nation's air and water. While I am a great believer in the free competitive enterprise system and all that it entails, I am an even stronger believer in the right of our people to live in a clean and pollution-free environment. To this end, it is my belief that when pollution is found, it should be halted at the source, even if this requires stringent government action against important segments of our national economy.
Water issues were central. Agriculture consumed 89% of the state's strictly limited water supply while generating only 3% of the state's income. The Groundwater Management Act of 1980, sponsored by Governor Bruce Babbitt, raised the price of water to farmers, while cities had to reach a "safe yield" so that the groundwater usage did not exceed natural replenishment. New housing developments had to prove they had enough water for the next hundred years. Desert foliage suitable for a dry region soon replaced grass.
Cotton acreage declined dramatically, freeing up land for suburban sprawl as well as releasing large amounts of water and ending the need for expensive specialized machinery. Cotton acreage plunged from 120,000 acres in 1997 to only 40,000 acres in 2005, even as the federal treasury gave the state's farmers over $678 million in cotton subsidies. Many farmers collect the subsidies but no longer grow cotton. About 80% of the state's cotton is exported to textile factories in China and (since the passage of NAFTA) to Mexico.
Super Bowl XXX was played in Tempe in 1996 and Super Bowl XLII was held in Glendale in 2008. Super Bowl XLIX was also held in Glendale in 2015.
Illegal immigration continued to be a prime concern within the state, and in April 2010, Arizona SB1070 was passed and signed into law by Governor Jan Brewer. The measure attracted national attention as the most thorough anti-illegal immigration measure in decades within the United States.
Congresswoman Gabrielle Giffords was shot in the head during a political event in Tucson on January 8, 2011. The shooting resulted in six deaths and several injuries. Giffords survived the attack and became an advocate for gun control.
On June 30, 2013, nineteen members of the Prescott Fire Department were killed fighting the Yarnell Hill Fire. The fatalities were members of the Granite Mountain Hotshots, a hotshot crew, of whom only one survived as he was working in another location.
Border crisis: by 2019 Arizona was one of the states most affected by the border crisis, with a high number of migrant crossings and detentions.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
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----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
Reblogged elsewhere -- thanks!:
* aubade: nothing more terrible
From the Wikipedia page on the Elgin Marbles:
[[[
The Elgin Marbles, known also as the Parthenon Marbles, are a collection of classical Greek marble sculptures, inscriptions and architectural members that originally were part of the Parthenon and other buildings on the Acropolis of Athens.[1][2] Thomas Bruce, 7th Earl of Elgin, the British ambassador to the Ottoman Empire from 1799–1803, had obtained a controversial permission from the Ottoman authorities to remove pieces from the Acropolis.
There is controversy as to whether the removed pieces were purchased from the ruling government of the time or not. [3] From 1801 to 1812 Elgin's agents removed about half of the surviving sculptures of the Parthenon, as well as architectural members and sculpture from the Propylaea and Erechtheum.[4] The Marbles were transported by sea to Britain. In Britain, the acquisition of the collection was supported by some,[5] while many critics compared Elgin's actions to vandalism[6] or looting.[7][8][9][10][11]
Following a public debate in Parliament and subsequent exoneration of Elgin's actions, the marbles were purchased by the British Government in 1816 and placed on display in the British Museum, where they stand now on view in the purpose-built Duveen Gallery. The legality of the removal has been questioned and the debate continues as to whether the Marbles should remain in the British Museum or be returned to Athens.
Contents
• 3 Legality of the removal from Athens
• 5 Damage
•• 5.1 Use as a Christian church
•• 5.2 Morosini •
•• 5.4 Elgin
•• 5.6 Athens
•• 6.1 Rationale for returning to Athens
•• 6.2 Rationale for retaining in London
• 7 Public perception of the issue
••• 7.1.2 Popular support for restitution
• 8 Other displaced Parthenon art
•• 12.1 Pros and cons of restitution
Acquisition
In December of 1798, Thomas Bruce, 7th Earl of Elgin, was appointed as "Ambassador Extraordinary and Minister Plenipotentiary of His Britannic Majesty to the Sublime Porte of Selim III, Sultan of Turkey". Prior to his departure to take up the post he had approached at least three officials of the British government to inquire if they would be interested in employing artists to take casts and drawings of the sculptured portions of the Parthenon. According to Lord Elgin, "the answer of the Government... was entirely negative."[5]
Lord Elgin decided to carry out the work at his own expense and employed artists to take casts and drawings under the supervision of the Neapolitan court painter Giovani Lusieri.[5] However, while conducting surveys, he found that Parthenon statuary that had been documented in a 17th century survey was now missing, and so he investigated. According to a Turkish local, marble sculptures that fell were burned to obtain lime for building.[5] Although the original intention was only to document the sculptures, in 1801 Lord Elgin began to remove material from the Parthenon and its surrounding structures[12] under the supervision of Lusieri.
The excavation and removal was completed in 1812 at a personal cost of £74,240 (about $4 million in today's currency).[13] Elgin intended the marbles for display in the British Museum, selling them to the British government for less than the cost of bringing them to Britain and declining higher offers from other potential buyers, including Napoleon.[12]
Description
Main articles: Parthenon Frieze and Metopes of the Parthenon
The Elgin Marbles include some 17 figures from the statuary from the east and west pediments, 15 (of an original 92) of the metope panels depicting battles between the Lapiths and the Centaurs, as well as 247 feet (of an original 524 feet) of the Parthenon Frieze which decorated the horizontal course set above the interior architrave of the temple. As such, they represent more than half of what now remains of the surviving sculptural decoration of the Parthenon. Elgin's acquisitions also included objects from other buildings on the Athenian Acropolis: a Caryatid from Erechtheum; four slabs from the frieze of the Temple of Athena Nike; and a number of other architectural fragments of the Parthenon, Propylaia, Erechtheum, the Temple of Athena Nike and the Treasury of Atreus.
Legality of the removal from Athens
As the Acropolis was still an Ottoman military fort, Elgin required permission to enter the site, including the Parthenon and the surrounding buildings. He allegedly obtained from the Sultan a firman to allow his artists access to the site. The original document is now lost, but what is said to be a translated Italian copy made at the time still survives.[14] Vassilis Demetriades, Professor of Turkish Studies at the University of Crete, has argued that "any expert in Ottoman diplomatic language can easily ascertain that the original of the document which has survived was not a firman",[15] and its authenticity has been challenged.[16]
The document was recorded in an appendix of an 1816 parliamentary committee report. The committee had convened to examine a request by Elgin asking the British government to purchase the marbles. The report claimed that the document[17] in the appendix was an accurate translation in English of an Ottoman firman dated in July 1801. In Elgin's view it amounted to an Ottoman authorization to remove the marbles. The committee was told that the original document was given to Ottoman officials in Athens in 1801, but researchers have so far failed to locate any traces of it despite the fact that the Ottoman archives still hold an outstanding number of similar documents dating from the same period.[16] Moreover the parliamentary record shows that the Italian copy of the firman was not presented to the committee by Elgin himself but by one of his associates, the clergyman Rev. Philip Hunt. Hunt, who at the time resided in Bedford, was the last witness to appear before the committee and claimed that he had in his possession an Italian translation of the Ottoman original. He went on to explain that he had not brought the document, because, upon leaving Bedford, he was not aware that he was to testify as a witness. The English document in the parliamentary report was filed by Hunt, but the committee was not presented with the Italian translation purportedly in his possession. William St. Clair, a contemporary biographer of Lord Elgin, claimed to possess Hunt's Italian document and "vouches for the accuracy of the English translation". In addition, the committee report states on page 69 "(Signed with a signet.) Seged Abdullah Kaimacan". But the document presented to the committee was "an English translation of this purported translation into Italian of the original firman",[18] and had neither signet nor signature on it, a fact corroborated by St. Clair.[16] The lines pertaining to the removal of the marbles allowed Elgin and his team to fix scaffolding, make drawings, make mouldings in chalk or gypsum, measure the remains of the ruined buildings and excavate the foundations which may have become covered in the [ghiaja]; and "...that when they wish to take away [qualche] pieces of stone with old inscriptions or figures thereon, that no opposition be made thereto". The interpretation of these lines has been questioned even by non-restitutionalists,[19] particularly the word qualche, which in modern language is translated as some. According to non-restitutionalists, further evidence that the removal of the sculptures by Elgin was approved by the Ottoman authorities is shown by a second firman which was required for the shipping of the marbles from the Piraeus.[20]
Despite the controversial firman, many have questioned the legality of Elgin's actions. A study by Professor David Rudenstine of the Benjamin N. Cardozo School of Law concluded that the premise that Elgin obtained legal title to the marbles, which he then transferred to the British government, "is certainly not established and may well be false".[21] Rudenstine's argumentation is partly based on a translation discrepancy he noticed between the surviving Italian document and the English text submitted by Hunt to the parliamentary committee. The text from the committee report reads "We therefore have written this Letter to you, and expedited it by Mr. Philip Hunt, an English Gentleman, Secretary of the aforesaid Ambassador" but according to the St. Clair Italian document the actual wording is "We therefore have written this letter to you and expedited it by N.N.". In Rudenstine's, view this substitution of "Mr. Philip Hunt" with the initials "N.N." can hardly be a simple mistake. He further argues that the document was presented after the committee's insistence that some form of Ottoman written authorization for the removal of the marbles was provided, a fact known to Hunt by the time he testified. Thus, according to Rudenstine, "Hunt put himself in a position in which he could simultaneously vouch for the authenticity of the document and explain why he alone had a copy of it fifteen years after he surrendered the original to Ottoman officials in Athens". On two earlier occasions, Elgin stated that the Ottomans gave him written permissions more than once, but that he had "retained none of them." Hunt testified on March 13, and one of the questions asked was "Did you ever see any of the written permissions which were granted to [Lord Elgin] for removing the Marbles from the Temple of Minerva?" to which Hunt answered "yes", adding that he possessed an Italian translation of the original firman. Nonetheless, he did not explain why he had retained the translation for 15 years, whereas Elgin, who had testified two weeks earlier, knew nothing about the existence of any such document.[16]
In contrast, Professor John Merryman, Sweitzer Professor of Law and also Professor of Art at Stanford University, putting aside the discrepancy presented by Rudenstine, argues that since the Ottomans had controlled Athens since 1460, their claims to the artifacts were legal and recognizable. The Ottoman sultan was grateful to the British for repelling Napoleonic expansion, and the Parthenon marbles had no sentimental value to him.[12] Further, that written permission exists in the form of the firman, which is the most formal kind of permission available from that government, and that Elgin had further permission to export the marbles, legalizes his (and therefore the British Museum's) claim to the Marbles.[20][citation needed] He does note, though, that the clause concerning the extent of Ottoman authorization to remove the marbles "is at best ambiguous", adding that the document "provides slender authority for the massive removals from the Parthenon... The reference to 'taking away any pieces of stone' seems incidental, intended to apply to objects found while excavating. That was certainly the interpretation privately placed on the firman by several of the Elgin party, including Lady Elgin. Publicly, however, a different attitude was taken, and the work of dismantling the sculptures on the Parthenon and packing them for shipment to England began in earnest. In the process, Elgin's party damaged the structure, leaving the Parthenon not only denuded of its sculptures but further ruined by the process of removal. It is certainly arguable that Elgin exceeded the authority granted in the firman in both respects".[19]
Contemporary reaction
When the marbles were shipped to England, they were "an instant success among many"[5] who admired the sculptures and supported their arrival, but both the sculptures and Elgin also received criticism from detractors. Lord Elgin began negotiations for the sale of the collection to the British Museum in 1811, but negotiations failed despite the support of British artists[5] after the government showed little interest. Many Britons opposed the statues because they were in bad condition and therefore did not display the "ideal beauty" found in other sculpture collections.[5] The following years marked an increased interest in classical Greece, and in June 1816, after parliamentary hearings, the House of Commons offered £35,000 in exchange for the sculptures. Even at the time the acquisition inspired much debate, although it was supported by "many persuasive calls" for the purchase.[5]
Lord Byron didn't care for the sculptures, calling them "misshapen monuments".[22] He strongly objected to their removal from Greece, denouncing Elgin as a vandal.[6] His view of the removal of the Marbles from Athens is also reflected in his poem "Childe Harold's Pilgrimage":[23]
Dull is the eye that will not weep to see
Thy walls defaced, thy mouldering shrines removed
By British hands, which it had best behoved
To guard those relics ne'er to be restored.
Curst be the hour when from their isle they roved,
And once again thy hapless bosom gored,
And snatch'd thy shrinking gods to northern climes abhorred!
Byron was not the only one to protest against the removal at the time:
"The Honourable Lord has taken advantage of the most unjustifiable means and has committed the most flagrant pillages. It was, it seems, fatal that a representative of our country loot those objects that the Turks and other barbarians had considered sacred," said Sir John Newport.[13]
A parliamentary committee investigating the situation concluded that the monuments were best given "asylum" under a "free government" such as the British one.[5] In 1810, Elgin published a defence of his actions which silenced most of his detractors,[4] although the subject remained controversial.[citation needed] John Keats was one of those who saw them privately exhibited in London, hence his two sonnets about the marbles. Notable supporters of Elgin included the painter Benjamin Robert Haydon.[5]
A public debate in Parliament followed Elgin's publication, and Elgin's actions were again exonerated. Parliament purchased the marbles for the nation in 1816 by a vote of 82-30 for £35,000.[6] They were deposited in the British Museum, where they were displayed in the Elgin Saloon (constructed in 1832), until the Duveen Gallery was completed in 1939. Crowds packed the British Museum to view the sculptures, setting attendance records for the museum.[5] William Wordsworth viewed the marbles at the museum and commented favorably on their aesthetics.[24]
Damage
Some of the Marbles were damaged prior to Lord Elgin's obtaining them.
Use as a Christian church
After the conversion of the Greek people to Christianity the Parthenon was eventually converted from a temple of the Virgin (Parthenos) Athena to a holy temple (hieros naos) of the Virgin Mary.[25] The church of the Parthenon and Athens in general was considered the fourth most important pilgrimage in the Eastern Roman Empire, after Constantinople, Ephesos and Thessalonica.[26] The temple's use as a Christian church constitutes the single longest period of its history (ca. 500–1450 AD) and its importance as a church and Christian pilgrimage was greater than that it enjoyed in Ancient Greece.[27] During this period, frescoes and inscriptions were added to the marble walls and columns as it was a custom of the era's pilgrim to mark their visit.[25] Altogether some 220 funerary inscriptions survive for the years 600-1200, though many more were probably lost due to structural damage to the building and erosion of the surface.[25] Similar inscriptions were found in the Propylaia as well as on the church of St. George in the Keramykos, which in antiquity was a temple of Hephaistos and is today called the Theseion.[28] From 1205 to 1456 Athens was ruled by Western Crusaders and the church was converted into a Latin cathedral, although the stream of pilgrims continued.[29]
Morosini
Another example of prior damage is that sustained during wars. It is during these periods that the Parthenon and its artwork have sustained by far the most extensive damage. In particular, an explosion ignited by Venetian gun and cannon fire bombardment in 1687, whilst the Parthenon was used as a munitions store during the Ottoman rule, destroyed or damaged many pieces of Parthenon art including some of those later taken by Lord Elgin.[30] In particular this explosion sent the marble roof, most of the cella walls, 14 columns from the north and south peristyles and carved metopes and frieze blocks flying and crashing to the ground and thus destroyed much of the artwork.Further damage was made to the art of the Parthenon by the Venetian general Francesco Morosini when he subsequently looted the site of its larger sculptures. His tackle was faulty and snapped, dropping an over life-sized Poseidon and the horses of Athena's chariot from the west pediment to the rock of the Acropolis forty feet below.[31]
War of Independence
The Erechtheum was used as a munitions store by the Ottomans during the Greek War of Independence[32] (1821–1833) which ended the 350-year Ottoman rule of Athens.
The Acropolis was besieged twice during the Greek War of Independence, once by the Greek and once by the Ottoman forces. During the siege the Greeks were aware of the dilemma and chose to offer the besieged Ottoman forces, who were attempting to melt the lead in the columns to cast bullets, bullets of their own if they would leave the Parthenon undamaged.[33]
Elgin
Elgin consulted with sculptor Antonio Canova in 1803 about how best to restore the marbles. Canova was considered by some to be the world's best sculptural restorer of the time; Elgin wrote that Canova declined to work on the marbles for fear of damaging them further.[5]
To facilitate transport by Elgin, the column capital of the Parthenon and many metopes and slabs were either hacked off the main structure or sawn and sliced into smaller sections causing irreparable damage to the Parthenon itself to which these Marbles were connected.[34] One shipload of marbles on board the British brig Mentor was caught in a storm off Cape Matapan and sank near Kythera, but was salvaged at the Earl's personal expense;[35] it took two years to bring them to the surface.
British Museum
The artifacts held in London suffered from 19th century pollution—which persisted until the mid-20th century[37] — and they have been irrevocably damaged[38] by previous cleaning methods employed by British Museum staff.
As early as 1838, scientist Michael Faraday was asked to provide a solution to the problem of the deteriorating surface of the marbles. The outcome is described in the following excerpt from the letter he sent to Henry Milman, a commissioner for the National Gallery.[39][40]
The marbles generally were very dirty ... from a deposit of dust and soot. ... I found the body of the marble beneath the surface white. ... The application of water, applied by a sponge or soft cloth, removed the coarsest dirt. ... The use of fine, gritty powder, with the water and rubbing, though it more quickly removed the upper dirt, left much imbedded in the cellular surface of the marble. I then applied alkalis, both carbonated and caustic; these quickened the loosening of the surface dirt ... but they fell far short of restoring the marble surface to its proper hue and state of cleanliness. I finally used dilute nitric acid, and even this failed. ... The examination has made me despair of the possibility of presenting the marbles in the British Museum in that state of purity and whiteness which they originally possessed.
A further effort to clean the marbles ensued in 1858. Richard Westmacott, who was appointed superintendent of the "moving and cleaning the sculptures" in 1857, in a letter approved by the British Museum Standing Committee on 13 March 1858 concluded[41]
'I think it my duty to say that some of the works are much damaged by ignorant or careless moulding — with oil and lard — and by restorations in wax, and wax and resin. These mistakes have caused discolouration. I shall endeavour to remedy this without, however, having recourse to any composition that can injure the surface of the marble
Yet another effort to clean the marbles occurred in the years 1937–38. This time the incentive was provided by the construction of a new Gallery to house the collection. The Pentelic marble, from which the sculptures are made, naturally acquires a tan colour similar to honey when exposed to air; this colouring is often known as the marble's "patina"[42] but Lord Duveen, who financed the whole undertaking, acting under the misconception that the marbles were originally white[43] probably arranged for the team of masons working in the project to remove discoloration from some of the sculptures. The tools used were seven scrapers, one chisel and a piece of carborundum stone. They are now deposited in the British Museum's Department of Preservation.[43][44] The cleaning process scraped away some of the detailed tone of many carvings.[45] According to Harold Plenderleith, the surface removed in some places may have been as much as one-tenth of an inch (2.5 mm).[43]
The British Museum has responded to these allegations with the statement that "mistakes were made at that time."[38] On another occasion it was said that "the damage had been exaggerated for political reasons" and that "the Greeks were guilty of excessive cleaning of the marbles before they were brought to Britain."[44] During the international symposium on the cleaning of the marbles, organised by the British Museum, Dr Ian Jenkins, deputy keeper of Greek and Roman antiquities, remarked that "The British Museum is not infallible, it is not the Pope. Its history has been a series of good intentions marred by the occasional cock-up, and the 1930s cleaning was such a cock-up". Nonetheless, he pointed out that the prime cause for the damage inflicted upon the marbles was the 2000 year long weathering on the Acropolis[46]
Dorothy King, in a newspaper article, claimed that techniques similar to the ones used in 1937-1938 were applied by Greeks as well in more recent decades than the British, and maintained that Italians still find them acceptable.[12] Attention has been drawn by the British Museum to a purportedly similar cleaning of the temple of Hephaistos in the Athenian Agora carried out by the conservation team of the American School of Classical Studies at Athens[47] with steel chisels and brass wire in 1953.[35] According to the Greek ministry of Culture, the cleaning was carefully limited to surface salt crusts.[46] The 1953 American report concluded that the techniques applied were aimed at removing the black deposit formed by rain-water and "brought out the high technical quality of the carving" revealing at the same time "a few surviving particles of colour".[47]
According to documents released by the British Museum under the Freedom of Information Act, a series of minor accidents, thefts and acts of vandalism by visitors have inflicted further damage to the sculptures.[48] This includes an incident in 1961 when two schoolboys knocked off a part of a centaur's leg. In June 1981, a west pediment figure was slightly chipped by a falling glass skylight, and in 1966 four shallow lines were scratched on the back of one of the figures by vandals. During a similar mishap in 1970, letters were scratched on to the upper right thigh of another figure. Four years later, the dowel hole in a centaur's hoof was damaged by thieves trying to extract pieces of lead.[48]
Athens
While the levels of nitrogen oxide, nitrogen dioxide, and particulate matter pollution in Athens are average compared to other European cites,[49] air pollution and acid rain have caused damage to marble and stonework at the Parthenon.[50] The last remaining slabs from the western section of the Parthenon frieze were removed from the monument in 1993 for fear of further damage.[51] They have now been transported to the New Acropolis Museum.[50]
Until cleaning of the remaining marbles was completed in 2005,[52] black crusts and coatings were present on the marble surface.[53] The laser technique applied on the 14 slabs that Elgin did not remove revealed a surprising array of original details such as the original chisel marks and the veins on the horses' bellies. Similar features in the British Museum collection have been scraped and scrubbed with chisels to make the marbles look white.[54] Between January 20 and the end of March 2008, 4200 items (sculptures, inscriptions small terracotta objects), including some 80 artifacts dismantled from the monuments in recent years, were removed from the old museum on the Acropolis to the new Parthenon Museum.[55][56] Natural disasters have also affected the Parthenon. In 1981, an earthquake caused damage to the east facade.[57]
Since 1975, Greece has been restoring the Acropolis. This restoration has included replacing the thousands of rusting iron clamps and supports that had previously been used, with non-corrosive titanium rods;[58] removing surviving artwork from the building into storage and subsequently into a new museum built specifically for the display of the Parthenon art; and replacing the artwork with high-quality replicas. This process has come under fire from some groups as some buildings have been completely dismantled, including the dismantling of the Temple of Athena Nike and for the unsightly nature of the site due to the necessary cranes and scaffolding.[58] But the hope is to restore the site to some of its former glory, which may take another 20 years and 70 million euros, though the prospect of the Acropolis being "able to withstand the most extreme weather conditions — earthquakes" is "little consolation to the tourists visiting the Acropolis" according to The Guardian.[58] Directors of the British Museum have not ruled out temporarily loaning the marbles to the new museum, but state that it would be under the condition of Greece acknowledging British ownership.[13]
Ownership debate
Rationale for returning to Athens
Defenders of the request for the Marble's return claim that the marbles should be returned to Athens on moral and artistic grounds. The arguments include:
• The main stated aim of the Greek campaign is to reunite the Parthenon sculptures around the world in order to restore "organic elements" which "at present remain without cohesion, homogeneity and historicity of the monument to which they belong" and allow visitors to better appreciate them as a whole;[59][60]
• Presenting all the extant Parthenon Marbles in their original historical and cultural environment would permit their "fuller understanding and interpretation";[60]
• Precedents have been set with the return of fragments of the monument by Sweden,[61] the University of Heidelberg, Germany,[62] the Getty Museum in Los Angeles.[62] and the Vatican[63];
• That the marbles may have been obtained illegally and hence should be returned to their rightful owner;[64]
• Returning the Elgin Marbles would not set a precedent for other restitution claims because of the distinctively "universal value" of the Parthenon.[65]
• Safekeeping of the marbles would be ensured at the New Acropolis Museum, situated to the south of the Acropolis hill. It was built to hold the Parthenon sculpture in natural sunlight that characterises the Athenian climate, arranged in the same way as they would have been on the Parthenon. The museum's facilities have been equipped with state-of-the-art technology for the protection and preservation of exhibits [66]
Rationale for retaining in London
A range of different arguments have been presented by scholars[13], political-leaders and British Museum spokespersons over the years in defence of retention of the Elgin Marbles within the British Museum. The main points include:
• the maintenance of a single worldwide-oriented cultural collection, all viewable in one location, thereby serving as a world heritage centre. The British Museum is a creative and living achievement of the Enlightenment, while the Parthenon, on the other hand, is a ruin that can never now be restored.[48]
• the assertion that fulfilling all restitution claims would empty most of the world's great museums – this has also caused concerns among other European and American museums, with one potential target being the famous bust of Nefertiti in Berlin's Altes Museum;[13] in addition, portions of Parthenon marbles are kept by many other European museums, so the Greeks would then establish a precedent to claim these other artworks;[12]
• scholars agree that the marbles were saved from what would have been severe damage from pollution and other factors, which could have perhaps destroyed the marbles,[12] if they had been located in Athens the past few hundred years;[13]
• experts agree that Greece could mount no court case because Elgin was granted permission by what was then Greece's ruling government and a legal principle of limitation would apply, i.e. the ability to pursue claims expires after a period of time prescribed by law;[13]
• More than half the original marbles are lost and therefore the return of the Elgin Marbles could never complete the collection in Greece. In addition, many of the marbles are too fragile to travel from London to Athens;[13]
• display in the British museum puts the sculptures in a European artistic context, alongside the work of art which both influenced and was influenced by Greek sculpture. This allows parallels to be drawn with the art of other cultures;[67]
• the notion that the Parthenon sculptures are an item of global rather than solely Greek significance strengthens the argument that they should remain in a museum which is both free to visit, and located in Europe's most visited and largest city. The government of Greece intends to charge visitors of the New Acropolis Museum, where they can view the marbles (as of 2010 the price is five Euros),
• a legal position that the museum is banned by charter from returning any part of its collection.[68]
The latter was tested in the British High Court in May 2005 in relation to Nazi-looted Old Master artworks held at the museum; it was ruled that these could not be returned.[69] The judge, Sir Andrew Morritt, ruled that the British Museum Act – which protects the collections for posterity – cannot be overridden by a "moral obligation" to return works known to have been plundered. It has been argued, however, that connections between the legal ruling and the Elgin Marbles were more tenuous than implied by the Attorney General.[70] However, despite the British Museum's charter preventing the repatriation of items within its collection, a 2005 bill concerning the repatriation of ancestral remains allowed for the return of Aboriginal human remains to Tasmania after a 20-year battle with Australia.[71]
Another argument for maintaining their location within the UK has been made by J. H. Merryman, Sweitzer Professor of Law at Stanford University and co-operating professor in the Stanford Art Department. He argued that if the Parthenon were actually being restored, there would be a moral argument for returning the Marbles to the temple whence they came, and thus restoring its integrity. The Guardian has written that many repatrionists imply that the marbles would be displayed in their original position on the Parthenon.[12] However, the Greek plan is to transfer them from a museum in London to one in Athens. The sculptures which Elgin spared have been taken down and put in the New Acropolis Museum. "Is it more spiritually satisfying to see the Marbles in an Athenian museum gallery than one in London?"[50] Other voices, this time in the House of Lords, have raised more acute concerns about the fate of the Elgin Marbles if they were to be returned to Greece. In an exchange on 19 May 1997, Lord Wyatt, stated:
My Lords, is the Minister aware that it would be dangerous to return the marbles to Athens because they were under attack by Turkish and Greek fire in the Parthenon when they were rescued and the volatile Greeks might easily start hurling bombs around again?[72]
Public perception of the issue
Neologisms
The practice of plundering artifacts from their original setting is sometimes referred to as 'elginism',[73][74][75][76] while the claim, sometimes used by looters and collectors, that they are trying to rescue the artifacts they recover has become known as the "Elgin Excuse".[77]
Opinion polls
Despite the British Museum's position on its ownership of the marbles, in 1998, a poll carried out by Ipsos MORI asking "If there were a referendum on whether or not the Elgin Marbles should be returned to Greece, how would you vote?" returned these values from the general adult population:[78]
• 40% in favour of returning the marbles to Greece
• 15% in favour of keeping them at the British Museum
• 18% would not vote
• 27% had no opinion
A more recent opinion poll in 2002 (again carried out by MORI) showed similar results, with 40% in favour of returning the marbles to Greece, 16% in favour of keeping them within Britain and the remainder either having no opinion or would not vote.[79] When asked how they would vote if a number of conditions were met (including, but not limited to, a long-term loan where by the British maintained ownership and joint control over maintenance) the number responding in favour of return increased to 56% and those in favour of keeping them dropped to 7%.
Both MORI poll results have been characterised by proponents of the return of the Marbles to Greece as representing a groundswell of public opinion supporting return, since the proportion explicitly supporting return to Greece significantly exceeds the number who are explicitly in favour of keeping the Marbles at the British Museum.[78][80]
Popular support for restitution
An internet campaign site [81], in part sponsored by Metaxa aims to consolidate support for the return of the Elgin Marbles to the New Acropolis Museum in Athens.
Other displaced Parthenon art
The remainder of the surviving sculptures that are not in museums or storerooms in Athens are held in museums in various locations across Europe. The British Museum also holds additional fragments from the Parthenon sculptures acquired from various collections that have no connection with Lord Elgin.
The collection held in the British Museum includes the following material from the Acropolis:
• Parthenon: 247 ft (75 m) of the original 524 ft (160 m) of frieze
•• 15 of the 92 metopes
•• 17 pedimental figures; various pieces of architecture
• Erechtheion: a Caryatid, a column and other architectural members
• Propylaia: Architectural members
• Temple of Athena Nike: 4 slabs of the frieze and architectural members
Further reading
• Mary Beard, The Parthenon (Profile Books, 2004) ISBN 978-1-86197-301-6
• Marc Fehlmann, "Casts and Connoisseurs. The Early Reception of the Elgin Marbles" (Apollo, June 2007, pp. 44–51)[82]
• Jeanette Greenfield 'The Return of Cultural Treasures'(Cambridge University Press 2007)
• Christopher Hitchens, Imperial Spoils: The Curious Case of the Elgin Marbles (with essays by Robert Browning and Graham Binns) (Verso, March 1998)
• Ian Jenkins, The Parthenon Frieze (British Museum Press, 2002)
• Dorothy King, The Elgin Marbles (Hutchinson, January 2006)
• François Queyrel, Le Parthénon, Un monument dans l'Histoire (Bartillat, 2008) ISBN 978-2-84100-435-5.
• William St Clair, Lord Elgin and the Marbles (Oxford University Press, 1998)
See also
• Greece – United Kingdom relations
References
• ^ "What are the 'Elgin Marbles'?". britishmuseum.org. http://www.britishmuseum.org/explore/highlights/article_index/w/what_are_the_elgin_marbles.aspx. Retrieved 2009-05-12.
• ^ "Elgin Marbles — Greek sculpture". Encyclopædia Britannica. http://www.britannica.com/eb/topic-184554/Elgin-Marbles. Retrieved 2009-05-12.
• ^ www.athensguide.com/elginmarbles. http://www.athensguide.com/elginmarbles.
• ^ a b Encycolopedia Britannica, Elgin Marbles, 2008, O.Ed.
• ^ a b c d e f g h i j k l Casey, Christopher (October 30, 2008). ""Grecian Grandeurs and the Rude Wasting of Old Time": Britain, the Elgin Marbles, and Post-Revolutionary Hellenism". Foundations. Volume III, Number 1. http://ww2.jhu.edu/foundations/?p=8. Retrieved 2009-06-25.
• ^ a b c Encyclopedia Britannica, The Acropolis, p.6/20, 2008, O.Ed.
• ^ Linda Theodorou; Facaros, Dana (2003). Greece (Cadogan Country Guides). Cadogan Guides. p. 55. ISBN 1-86011-898-4.
• ^ Dyson, Stephen L. (2004). Eugenie Sellers Strong: portrait of an archaeologist. London: Duckworth. ISBN 0-7156-3219-1.
• ^ Mark Ellingham, Tim Salmon, Marc Dubin, Natania Jansz, John Fisher, Greece: The Rough Guide,Rough Guides, 1992,<a href="http://en.wik
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New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
French postcard by Editions du Globe, Paris, no. 412. Photo: Teddy Piaz, Paris.
Sophia Loren (1934) rose to fame in post-war Italy as a voluptuous sex goddess. Soon after, she became one of the most successful stars of the 20th Century, who won an Oscar for her mother role in La ciociara/Two Women (Vittorio De Sica, 1960).
Sophia Loren was born Sofia Villani Scicolone in the charity ward of a Roman hospital in 1934. She was the illegitimate daughter of construction engineer Riccardo Scicolone and piano teacher and aspiring actress Romilda Villani. Riccardo was married to another woman and refused to marry Romilda, leaving her without support. Romilda, Sofia, and sister Maria returned to Pozzuoli to live with Sofia's grandmother. Pozzuoli was a small town outside Naples and one of the hardest hit during World War II. The family shared a two-room apartment with the grandmother and several aunts and uncles. The shy, stick-thin girl regularly went hungry and had to flee from bombings. At 14, Sofia had a voluptuous figure and entered a beauty contest. She was selected as one of the finalists but did not win. In 1950, she was one of the contestants at the Miss Italia competition. She earned the 2nd place and was awarded ‘Miss Eleganza’. While attending the Miss Rome beauty contest, earlier in 1950, she had met judge Carlo Ponti, an up-and-coming film producer, 22 years her senior. Ponti had helped launch Gina Lollobrigida's career and now began grooming Sofia for stardom. He hired an acting coach to tutor her. At 16 she was in her first film, the Totó comedy Le Sei Mogli di Barbablù/Bluebeard’s Six Wives (Carlo Ludovico Bragaglia, 1950) under the name Sofia Lazzaro. She also appeared as an extra in Luci del varietà/Lights of the Variety (Federico Fellini, 1950), the smash hit Anna (Alberto Lattuada, 1951) and Quo Vadis (Mervyn Leroy, 1951). During the early 1950s, she secured work modelling for fumetti magazines. These comic-like magazines used actual photographs. The dialogue bubbles were called 'fumetti' - hence the popular name. At 17, she was cast by Ponti in her first larger role as the commoner who caught the prince's eye in the filmed opera La Favorita/The Favorite (Cesare Barlacchi, 1952). The next year she earned third billing after Silvana Pampanini and Eleanora Rossi-Drago in La Tratta Delle Bianche/The White Slave Trade (Luigi Comencini, 1953) and she played, complete with blackface and an Afro, the lead in another filmed opera, Aida (Clemente Fracassi, 1953) by Giuseppe Verdi. Her singing was dubbed by Renata Tebaldi. Ponti eventually changed her name to Sophia Loren.
Sophia Loren appeared for the first time with Marcello Mastroianni in the romantic comedy Peccato che sia una canaglia/Too Bad She's Bad (Alessandro Blasetti, 1954). They would make 13 films together, including Tempi nostri/A Slice of Life (Alessandro Blasetti, Paul Paviot, 1954), La bella mugnaia/The Miller's Wife (Mario Camerini, 1955), and La fortuna di essere donna/What A Woman (Alessandro Blasetti, 1956). L'Oro di Napoli/Gold of Naples (Vittorio de Sica, 1954), an anthology of tales depicting various aspects of Neapolitan life, was distributed internationally. At AllMovie, Jason Ankeny writes that in reviews "Loren was singled out for the strength of her performance as a Neapolitan shopkeeper, surprising many critics who had dismissed her as merely another bombshell". The film established her persona as a sensuous working-class earth mother. It also began a fruitful, career-long collaboration with De Sica. Sophia’s first film to find international success was La Donna del Fiume/The River Girl (Mario Soldati, 1955), in which she danced sensually the Mambo Bacan. Hal Erickson at AllMovie: "Through it all, Sophia Loren looks like a million lire - and she even gets to sing and dance!". She came to the attention of Stanley Kramer who offered her the female lead in The Pride And The Passion (Stanley Kramer, 1957) opposite Cary Grant and Frank Sinatra. Sophia played a Spanish peasant girl involved in an uprising against the French. This was the turning point in her career, and the film proved to be one of the top US box office successes of the year. Her next English-language film was Boy on a Dolphin (Jean Negulesco, 1957) with Alan Ladd, where she was memorable mostly for emerging from the water in a wet, skin-tight, transparent dress. With her va-va-va-voom image, she became an international film star and got a five-picture contract with Paramount Pictures. Among her Paramount films were Desire Under the Elms (Delbert Mann, 1958) with Anthony Perkins and based upon the Eugene O'Neill play, Houseboat (Melville Shavelson, 1958), a romantic comedy co-starring Cary Grant, and the Western Heller in Pink Tights (George Cukor, 1960) in which she appeared for the first time with blonde hair (a wig). Most of these films were received lukewarmly at best.
In 1960 Sophia Loren returned to Italy to star in the biggest success of her career, La Ciociara/Two Women (Vittorio De Sica, 1960). She played a widow desperately trying to protect her daughter from danger during WW II, only to end up in a destructive love triangle with a young radical (Jean Paul Belmondo). Hal Erickson at AllMovie: "A last-minute replacement for Anna Magnani, Sophia Loren brought hitherto untapped depths of emotion to her performance in Two Women; she later stated that she was utilizing 'sensory recall,' dredging up memories of her own wartime experiences." Loren won the Best Actress Oscar for her performance, and also the Cannes, Venice ánd Berlin Film Festivals' best performance prizes. Next, she played in Spain Samuel Bronston's epic production of El Cid (Anthony Mann, 1961) with Charlton Heston, followed by the De Sica episode of the anthology Boccaccio '70 (Vittorio De Sica, Federico Fellini, Luchino Visconti, 1962). On the strength of her Oscar win, she also returned to English-language fare with Five Miles to Midnight (Anatole Litvak, 1963), followed a year later by The Fall of the Roman Empire (Anthony Mann, 1964), for which she received $1 million. Among Loren's other films of this period are The Millionairess (Anthony Asquith, 1960) with Peter Sellers, It Started in Naples (Melville Shavelson, 1960) with Clark Gable, Lady L (Peter Ustinov, 1965) with Paul Newman, Arabesque (Stanley Donen, 1966) with Gregory Peck, and Charlie Chaplin's final film, A Countess from Hong Kong (1967) with Marlon Brando. Despite the failure of many of her films to generate sales at the box office, she invariably turned in a charming performance and she wore some of the most lavish costumes ever created for the cinema. Her best Italian films include the triptych Ieri, oggi, domani/Yesterday, Today And Tomorrow (Vittorio De Sica, 1963), a comedy that poked fun at a Catholic priest and gently mocked the Italian law on birth control, and Matrimonio all' Italiana/Marriage Italian Style (Vittorio De Sica, 1964) with Loren as the hooker who lures Mastroianni into marriage.
After several miscarriages and a highly-publicized struggle to become pregnant, Sophia Loren gave birth to son Hubert Leoni Carlo Ponti in 1968. She started to work less and moved into her 40s and 50s with roles in films like De Sica's war drama I Girasoli/The Sunflowers (Vittorio De Sica, 1972), Il Viaggio/The Voyage (Vittorio De Sica, 1974) opposite Richard Burton, and reuniting with Marcello Mastroianni in the mob comedy La Pupa del Gangster/Get Rita (Giorgio Capitani, 1975). An artistic highlight was Una giornata particolare/A Special Day (Ettore Scola, 1977) which earned a Golden Globe for Best Foreign Film. Loren played a bored housewife on the day of the first meeting between Mussolini and Hitler. Left alone in her tenement home when her fascist husband runs off to attend the historic event, Loren strikes up a friendship with her homosexual neighbour (Marcello Mastroianni). As the day segues into night, Loren and Mastroianni develop a very special relationship that will radically alter both of their outlooks on life. When a dubbed version of Una giornata particolare/A Special Day found favour with American audiences, Hollywood again came calling, resulting in a pair of thrillers, The Brass Target (John Hough, 1978) and Firepower (Michael Winner, 1979) which offered her a central role as a widow seeking answers in the murder of her chemist husband. In 1980, Loren portrayed herself, as well as her mother, in Sophia Loren: Her Own Story (Mel Stuart, 1980), a made-for-television biopic adaptation of her autobiography. Actresses Ritza Brown and Chiara Ferrari played Loren at younger ages. She made headlines in 1982 when she served an 18-day prison sentence in Italy on tax evasion charges, a fact that didn't damage her career or popularity. In her 60s, Loren ventured into various areas of business, including cookbooks, eyewear, jewelry, and perfume. In honour of her lengthy career, Loren was the recipient of a special Oscar in 1991. She also made well-received appearances in her final film with Mastroianni, Prêt-à-Porter/Ready to Wear (1994), Robert Altman's take on the French fashion scene, and in the comedy hit Grumpier Old Men (Howard Deutch, 1995) playing a femme fatale opposite Walter Matthau and Jack Lemmon. In 1995 she received the Golden Globe Cecil B. DeMille Award. At the age of 72, she appeared scantily-clad in the 2007 edition of the famous calendar of Italian racing tire giant Pirelli. It made her the oldest model in the calendar's history. The photos by Dutch photographers Inez van Lamsweerde and Vinoodh Matadin proved that she was still a major international sex symbol. In 2007 Carlo Ponti died. It had been controversial in her native Italy when Sophia Loren had married her mentor Ponti in 1957. Not only was he 45 to her 23, but he had been married previously, and neither the Catholic Church nor the Italian government recognised his Mexican divorce. Ponti was charged with bigamy, but the charges were dropped when they had their marriage annulled. They continued living together - scandalous at the time - and remarried after his legal problems had been cleared. Ponti and Loren made three dozen films together. They had two children, symphony conductor Carlo Ponti Jr. and film director Edoardo Ponti. After four years off the big screen, Sophia Loren co-starred in a film version of the Broadway musical Nine (Rob Marshall, 2009). She played the mother of famous film director Guido Contini, portrayed by Daniel Day-Lewis. According to Jason Ankeny at AllMovie, "Loren proved she still had movie star charisma with a role in Chicago director Rob Marshall's Nine - a lavish tribute to all things Italian." Loren made a two-part television biopic of her early life titled La Mia Casa È Piena di Specchi/My House Is Full of Mirrors (Vittorio Sindoni, 2010), based on of the memoir written by her sister Maria Scicolone. At 80, Sophia Loren returned to the screen in Human Voice (2014) directed by her son Edoardo Ponti. At the presentation Tribeca Film Festival in New York, 'the timeless beauty' stunned the press once again when she walked on the red carpet in a chic red pantsuit hand-in-hand with her 41-year-old son to promote the short film. Human Voice is based on the play by iconic French playwright Jean Cocteau and sees La Loren play a woman in her twilight years facing revelations from her past. In late 2014, she also presented her first memoir, Ieri, oggi, domani. La mia vita/Today and Tomorrow: My Life as a Fairy Tale. It includes old pictures, letters, and notes detailing encounters with Cary Grant and other film partners.
Sources: Jason Ankeny (AllMovie), Hal Erickson (AllMovie), Shyam Dodge (Daily Mail), Jenny (IMDb), Wikipedia, NNDB, TCM, and IMDb.
And, please check out our blog European Film Star Postcards.
Spanish card, no. 2735. Sophia Loren in La bella mugnaia/The Miller's Beautiful Wife (Mario Camerini, 1955).
Sophia Loren (1934) rose to fame in post-war Italy as a voluptuous sex goddess. Soon after, she became one of the most successful stars of the 20th Century, who won an Oscar for her mother role in La ciociara/Two Women (Vittorio De Sica, 1960).
Sophia Loren was born Sofia Villani Scicolone in the charity ward of a Roman hospital in 1934. She was the illegitimate daughter of construction engineer Riccardo Scicolone and piano teacher and aspiring actress Romilda Villani. Riccardo was married to another woman and refused to marry Romilda, leaving her without support. Romilda, Sofia, and sister Maria returned to Pozzuoli to live with Sofia's grandmother. Pozzuoli was a small town outside Naples and one of the hardest hit during World War II. The family shared a two-room apartment with the grandmother and several aunts and uncles. The shy, stick-thin girl regularly went hungry and had to flee from bombings. At 14, Sofia had a voluptuous figure and entered a beauty contest. She was selected as one of the finalists but did not win. In 1950, she was one of the contestants at the Miss Italia competition. She earned the 2nd place and was awarded ‘Miss Eleganza’. While attending the Miss Rome beauty contest, earlier in 1950, she had met judge Carlo Ponti, an up-and-coming film producer, 22 years her senior. Ponti had helped launch Gina Lollobrigida's career and now began grooming Sofia for stardom. He hired an acting coach to tutor her. At 16 she was in her first film, the Totó comedy Le Sei Mogli di Barbablù/Bluebeard’s Six Wives (Carlo Ludovico Bragaglia, 1950) under the name Sofia Lazzaro. She also appeared as an extra in Luci del varietà/Lights of the Variety (Federico Fellini, 1950), the smash hit Anna (Alberto Lattuada, 1951) and Quo Vadis (Mervyn Leroy, 1951). During the early 1950s, she secured work modelling for fumetti magazines. These comic-like magazines used actual photographs. The dialogue bubbles were called 'fumetti' - hence the popular name. At 17, she was cast by Ponti in her first larger role as the commoner who caught the prince's eye in the filmed opera La Favorita/The Favorite (Cesare Barlacchi, 1952). The next year she earned third billing after Silvana Pampanini and Eleanora Rossi-Drago in La Tratta Delle Bianche/The White Slave Trade (Luigi Comencini, 1953) and she played, complete with blackface and an Afro, the lead in another filmed opera, Aida (Clemente Fracassi, 1953) by Giuseppe Verdi. Her singing was dubbed by Renata Tebaldi. Ponti eventually changed her name to Sophia Loren.
Sophia Loren appeared for the first time with Marcello Mastroianni in the romantic comedy Peccato che sia una canaglia/Too Bad She's Bad (Alessandro Blasetti, 1954). They would make 13 films together, including Tempi nostri/A Slice of Life (Alessandro Blasetti, Paul Paviot, 1954), La bella mugnaia/The Miller's Wife (Mario Camerini, 1955), and La fortuna di essere donna/What A Woman (Alessandro Blasetti, 1956). L'Oro di Napoli/Gold of Naples (Vittorio de Sica, 1954), an anthology of tales depicting various aspects of Neapolitan life, was distributed internationally. At AllMovie, Jason Ankeny writes that in reviews "Loren was singled out for the strength of her performance as a Neapolitan shopkeeper, surprising many critics who had dismissed her as merely another bombshell". The film established her persona as a sensuous working-class earth mother. It also began a fruitful, career-long collaboration with De Sica. Sophia’s first film to find international success was La Donna del Fiume/The River Girl (Mario Soldati, 1955), in which she danced sensually the Mambo Bacan. Hal Erickson at AllMovie: "Through it all, Sophia Loren looks like a million lire - and she even gets to sing and dance!". She came to the attention of Stanley Kramer who offered her the female lead in The Pride And The Passion (Stanley Kramer, 1957) opposite Cary Grant and Frank Sinatra. Sophia played a Spanish peasant girl involved in an uprising against the French. This was the turning point in her career, and the film proved to be one of the top US box office successes of the year. Her next English-language film was Boy on a Dolphin (Jean Negulesco, 1957) with Alan Ladd, where she was memorable mostly for emerging from the water in a wet, skin-tight, transparent dress. With her va-va-va-voom image, she became an international film star and got a five-picture contract with Paramount Pictures. Among her Paramount films were Desire Under the Elms (Delbert Mann, 1958) with Anthony Perkins and based upon the Eugene O'Neill play, Houseboat (Melville Shavelson, 1958), a romantic comedy co-starring Cary Grant, and the Western Heller in Pink Tights (George Cukor, 1960) in which she appeared for the first time with blonde hair (a wig). Most of these films were received lukewarmly at best.
In 1960 Sophia Loren returned to Italy to star in the biggest success of her career, La Ciociara/Two Women (Vittorio De Sica, 1960). She played a widow desperately trying to protect her daughter from danger during WW II, only to end up in a destructive love triangle with a young radical (Jean Paul Belmondo). Hal Erickson at AllMovie: "A last-minute replacement for Anna Magnani, Sophia Loren brought hitherto untapped depths of emotion to her performance in Two Women; she later stated that she was utilizing 'sensory recall,' dredging up memories of her own wartime experiences." Loren won the Best Actress Oscar for her performance, and also the Cannes, Venice ánd Berlin Film Festivals' best performance prizes. Next, she played in Spain Samuel Bronston's epic production of El Cid (Anthony Mann, 1961) with Charlton Heston, followed by the De Sica episode of the anthology Boccaccio '70 (Vittorio De Sica, Federico Fellini, Luchino Visconti, 1962). On the strength of her Oscar win, she also returned to English-language fare with Five Miles to Midnight (Anatole Litvak, 1963), followed a year later by The Fall of the Roman Empire (Anthony Mann, 1964), for which she received $1 million. Among Loren's other films of this period are The Millionairess (Anthony Asquith, 1960) with Peter Sellers, It Started in Naples (Melville Shavelson, 1960) with Clark Gable, Lady L (Peter Ustinov, 1965) with Paul Newman, Arabesque (Stanley Donen, 1966) with Gregory Peck, and Charlie Chaplin's final film, A Countess from Hong Kong (1967) with Marlon Brando. Despite the failure of many of her films to generate sales at the box office, she invariably turned in a charming performance and she wore some of the most lavish costumes ever created for the cinema. Her best Italian films include the triptych Ieri, oggi, domani/Yesterday, Today And Tomorrow (Vittorio De Sica, 1963), a comedy that poked fun at a Catholic priest and gently mocked the Italian law on birth control, and Matrimonio all' Italiana/Marriage Italian Style (Vittorio De Sica, 1964) with Loren as the hooker who lures Mastroianni into marriage.
After several miscarriages and a highly-publicized struggle to become pregnant, Sophia Loren gave birth to son Hubert Leoni Carlo Ponti in 1968. She started to work less and moved into her 40s and 50s with roles in films like De Sica's war drama I Girasoli/The Sunflowers (Vittorio De Sica, 1972), Il Viaggio/The Voyage (Vittorio De Sica, 1974) opposite Richard Burton, and reuniting with Marcello Mastroianni in the mob comedy La Pupa del Gangster/Get Rita (Giorgio Capitani, 1975). An artistic highlight was Una giornata particolare/A Special Day (Ettore Scola, 1977) which earned a Golden Globe for Best Foreign Film. Loren played a bored housewife on the day of the first meeting between Mussolini and Hitler. Left alone in her tenement home when her fascist husband runs off to attend the historic event, Loren strikes up a friendship with her homosexual neighbour (Marcello Mastroianni). As the day segues into night, Loren and Mastroianni develop a very special relationship that will radically alter both of their outlooks on life. When a dubbed version of Una giornata particolare/A Special Day found favour with American audiences, Hollywood again came calling, resulting in a pair of thrillers, The Brass Target (John Hough, 1978) and Firepower (Michael Winner, 1979) which offered her a central role as a widow seeking answers in the murder of her chemist husband. In 1980, Loren portrayed herself, as well as her mother, in Sophia Loren: Her Own Story (Mel Stuart, 1980), a made-for-television biopic adaptation of her autobiography. Actresses Ritza Brown and Chiara Ferrari played Loren at younger ages. She made headlines in 1982 when she served an 18-day prison sentence in Italy on tax evasion charges, a fact that didn't damage her career or popularity. In her 60s, Loren ventured into various areas of business, including cookbooks, eyewear, jewelry, and perfume. In honour of her lengthy career, Loren was the recipient of a special Oscar in 1991. She also made well-received appearances in her final film with Mastroianni, Prêt-à-Porter/Ready to Wear (1994), Robert Altman's take on the French fashion scene, and in the comedy hit Grumpier Old Men (Howard Deutch, 1995) playing a femme fatale opposite Walter Matthau and Jack Lemmon. In 1995 she received the Golden Globe Cecil B. DeMille Award. At the age of 72, she appeared scantily-clad in the 2007 edition of the famous calendar of Italian racing tire giant Pirelli. It made her the oldest model in the calendar's history. The photos by Dutch photographers Inez van Lamsweerde and Vinoodh Matadin proved that she was still a major international sex symbol. In 2007 Carlo Ponti died. It had been controversial in her native Italy when Sophia Loren had married her mentor Ponti in 1957. Not only was he 45 to her 23, but he had been married previously, and neither the Catholic Church nor the Italian government recognised his Mexican divorce. Ponti was charged with bigamy, but the charges were dropped when they had their marriage annulled. They continued living together - scandalous at the time - and remarried after his legal problems had been cleared. Ponti and Loren made three dozen films together. They had two children, symphony conductor Carlo Ponti Jr. and film director Edoardo Ponti. After four years off the big screen, Sophia Loren co-starred in a film version of the Broadway musical Nine (Rob Marshall, 2009). She played the mother of famous film director Guido Contini, portrayed by Daniel Day-Lewis. According to Jason Ankeny at AllMovie, "Loren proved she still had movie star charisma with a role in Chicago director Rob Marshall's Nine - a lavish tribute to all things Italian." Loren made a two-part television biopic of her early life titled La Mia Casa È Piena di Specchi/My House Is Full of Mirrors (Vittorio Sindoni, 2010), based on of the memoir written by her sister Maria Scicolone. At 80, Sophia Loren returned to the screen in Human Voice (2014) directed by her son Edoardo Ponti. At the presentation Tribeca Film Festival in New York, 'the timeless beauty' stunned the press once again when she walked on the red carpet in a chic red pantsuit hand-in-hand with her 41-year-old son to promote the short film. Human Voice is based on the play by iconic French playwright Jean Cocteau and sees La Loren play a woman in her twilight years facing revelations from her past. In late 2014, she also presented her first memoir, Ieri, oggi, domani. La mia vita/Today and Tomorrow: My Life as a Fairy Tale. It includes old pictures, letters, and notes detailing encounters with Cary Grant and other film partners.
Sources: Jason Ankeny (AllMovie), Hal Erickson (AllMovie), Shyam Dodge (Daily Mail), Jenny (IMDb), Wikipedia, NNDB, TCM, and IMDb.
And, please check out our blog European Film Star Postcards.
British postcard in the Picturegoer Series, London, no. 370.
Blonde and utterly beautiful Mary Nolan (1902-1948) appeared on stage, on screen, and most of all in the tabloids. After a 'sex scandal', she fled to Germany where she starred in 17 silent films under her real name, Imogene Robertson.
Mary Nolan was born Mary Imogene Robertson in Louisville, Kentucky, U.S. in 1902 (according to Wikipedia and 1905 according to IMDb). She was one of five children born to Africanus and Viola Robertson. Her mother died of cancer at the age of 46. Unable to care for five young children, Africanus Robertson placed Mary in a foster home. She eventually went to live in a Catholic orphanage in Missouri where she earned the nickname 'Bubbles'. The beautiful blonde arrived broke in New York in 1919. Eve Golden at Films of the Golden Age: "She really was breathtaking with her perfect bone structure, a cloud of thick blonde hair, and china-blue eyes. It wasn't long before Mary got work as an artist's model for such big shots as James Montgomery Flagg and Arthur William Brown." Famous Broadway producer Oliver Morosco launched her stage career in the choruses of Daffy Dill and Lady Butterfly (1923). Bubbles proved to be a Jazz-Age baby and a party girl by nature. Florenz Ziegfeld Jr. signed her up for his Follies shows on Broadway. As a showgirl, she performed under the stage name Imogene 'Bubbles' Wilson. For the next several years, she started a violent love/hate relationship with Ziegfeld comedian Frank Tinney. Tinney was married to the comedy star Edna Davenport. Tinney set Mary up in a West 72nd Street apartment and showered her with expensive gifts, but he also showered her with bruises, both physical and emotional. The abusive affair stirred up a major sex scandal in 1924. The tabloids exposed the tumultuous relationship when Mary was seriously hospitalised after one of their many arguments. Mary was fired by Ziegfeld and set sail for France where she was scheduled to appear in vaudeville. She made her way to London in October where she reunited with Frank Tinney. By December 1924, Tinney had resumed drinking and began to physically abuse her again. In early 1925, Nolan finally ended the relationship. She then travelled to Germany where she began to work in the film industry under the new stage name Imogene Robertson. Her first German film was Verborgene Gluten/Hidden Fires (Einar Bruun, 1925) with Alphons Fryland. Later that year, she appeared in the title role of Die Feuertänzerin (Robert Dinesen, 1925) for the Ufa. She received good reviews for her work in the film which prompted the Ufa to offer her a contract for $1500 a week. Nolan worked steadily in Germany from 1925 to 1927 and continued to receive favourable reviews for her acting. Her best-known films include the mystery Das Parfüm der Mrs. Worrington/The Parfum of Mrs. Worrington (Franz Seitz, 1925) with Ernst Reicher as detective Stuart Webbs, Das süße Mädel/The sweet girl (Manfred Noa, 1926) with Nils Asther, and the drama Die Abenteuer eines Zehnmarkscheines/The adventures of a 10-mark note (Berthold Viertel, 1926).
While in Germany, Imogene Robertson received offers from Hollywood producers to appear in American films but turned them down. She finally relented after Joseph M. Schenck offered her a contract with United Artists. She returned to the United States in January 1927. To solve the problem of audiences connecting her with her scandalous past, United Artists suggested she change her name to Mary Nolan. For United Artists, she appeared in an uncredited bit part in Topsy and Eva (Del Lord, 1927), and a supporting role in Sorrell and Son (Herbert Brenon, 1927). In 1928, Nolan was signed to Universal Pictures. Her first film for the company was Good Morning, Judge (William A. Seiter, 1928), starring Reginald Denny for which she received good reviews. Universal loaned her out to Metro-Goldwyn-Mayer for West of Zanzibar (Tod Browning, 1928), about the vengefulness of a cuckolded magician (Lon Chaney) paralysed in a brawl with his rival (Lionel Barrymore). Nolan played Chaney's defiled daughter Maizie. The film was a hit and Nolan received favourable reviews for her work in the film. The following year, she was loaned to MGM again for the romantic drama Desert Nights (William Nigh, 1929), with John Gilbert. Two thieves (Noland and Ernest Torrence) victimize a diamond mine and kidnap its manager (Gilbert), but he gains the upper hand (and falls in love with Nolan) when they flee into the hostile desert. Desert Nights was another financial success and served to boost Nolan's career. Shortly after signing with Universal in 1927, Nolan had begun a relationship with another married man, studio executive Eddie Mannix. Mannix used his clout to further Nolan's career and was responsible for her loan outs to MGM. Shortly after Desert Nights was released in 1929, Mannix abruptly ended the relationship. This angered Nolan who threatened to tell Mannix's wife Bernice of their affair. Mannix became enraged and beat her unconscious. Nolan was hospitalised for six months and required fifteen surgeries to repair damage Mannix inflicted on her abdomen. While hospitalized, Nolan was prescribed morphine for pain. She eventually became addicted which contributed to the decline of her career. In the Universal production Young Desire (Lew Collins, 1930), Nolan plays Helen Herbert aka 'La Belle Helene', a carnival sideshow dancer. She falls in love with wealthy, wet-behind-the-ears Bobby Spencer who whisks her off to his hometown of Spencerville and stakes her to an apartment and a job. But Helen's sordid past catches up with her... By then, Nolan's acting career had begun to decline due to her drug abuse and reputation for being temperamental. She was fired from the film What Men Want (1930). Nolan got into an argument with the film's director, Ernst Laemmle after she learned she was the only cast member who hadn't received a close-up shot. Laemmle banned Nolan from the set and she was subsequently fired. After threatening to file a lawsuit against Universal, the studio bought her out of her contract in January 1931. She married stock broker Wallace T. McCreary on 29 March 1931. One week before they married, McCreary lost $3 million on bad investments. The couple used McCreary's remaining money to open a dress shop in Beverly Hills. The shop went out of business within months and Nolan filed for bankruptcy in August 1931. Nolan divorced McCreary in July 1932. After her exit from Universal, she was unable to secure film work with any of the major studios. Nolan spent the remainder of her acting career appearing in roles in low-budget films for independent studios. She made her final film appearances in File 113 (Chester M. Franklin, 1933), for Allied Pictures Corporation. From then on, Nolan appeared in vaudeville and performed in nightclubs and roadhouses around the United States. Later, Mary Nolan suffered several nervous breakdowns and her health declined. She turned to heroin, and it spelt the end. In 1948, she died of cardiac arrest and liver problems (according to IMDb, but Wikipedia writes she died of a barbiturate overdose). Gary Brumburgh at IMDb: "Mary became just one more Hollywood tragedy -- an incredible beauty whose life turned absolutely beastly."
Source: Gary Brumburgh (IMDb), Eve Golden (Films of the Golden Age), Thomas Staedeli (Cyranos), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Vintage postcard.
German actor and writer Hardy Krüger (1928) passed away on 19 January 2022. The blond heart throb acted in numerous European films of the 1950s and 1960s and also in several classic American films. He played friendly soldiers and adventurers in numerous German, British and French films and also in some Hollywood classics. Although he often was typecasted as the Aryan Nazi, he hated wearing the brown uniform. Krüger was 93.
Franz Eberhard August Krüger was born in 1928 in Berlin. He was the son of engineer Max Krüger. From 1941 on Hardy attended the Adolf-Hitler-Schule at Burg Sonthofen, an elite Nazi boarding school. Here the blonde and handsome 15 year old was cast for the film Junge Adler/Young Eagles (Alfred Weidenmann, 1944) starring Willy Fritsch. This propagandafilm for the Wehrmacht was filmed in the huge Ufa studio in Babelsberg. After his successful performance as the apprentice Bäumchen, director Wolfgang Liebeneiner tried to persuade him to continue his film career. In March 1945 the young Krüger was drafted into the SS Division 'Nibelungen', where he was drawn into heavy fighting before being captured by US forces in Tirol. After his release he began to write but did not publish. Instead he started to perform in German theatres. In 1949 he made his first post-war film, the comedy Diese Nacht vergess Ich nie/I'll Never Forget That Night (Johannes Meyer, 1949), with Gustav Fröhlich and Winnie Markus. In the following years his film career took off.
Hardy Krüger became known as a handsome young man with an effortlessly natural attitude in such films as Illusion in Moll/Illusion in a Minor Key (Rudolf Jugert, 1952) starring Hildegard Knef, the drama Solange Du da bist/As Long as You're Near Me (Harald Braun, 1953) with O.W. Fischer, and the comedy Die Jungfrau auf dem Dach/The Girl on the Roof (Otto Preminger, 1953) with Johannes Heesters. The latter was the German version of the Hollywood production The Moon is Blue (Otto Preminger, 1953) starring William Holden and Maggie McNamara. Hardy Krüger and co-star Johanna Matz also appeared uncredited as tourists at the Empire State Building sequence in the American version. The quality of some of his next films did not match his talents. And although the jungle fantasy Liane, das Mädchen aus dem Urwald/Liane, Jungle Goddess (Eduard von Borsody, 1956) with a briefly topless Marion Michael was one of the biggest German box office hits of the 1950s, he declined to star in further Liane films for 'artistic reasons'.
Hardy Krüger is fluent in English, French and German, and found himself in demand by British, French, American and German producers. J. Arthur Rank cast him in three British pictures practically filmed back-to-back. The first one was The One That Got Away (Roy Ward Baker, 1957), the story of the positive and unpolitical lieutenant Franz von Werra, the only German prisoner of war to successfully escape from numerous British POW camps during the Second World War and return to Germany. The second was the comedy Bachelor of Hearts (Wolf Rilla, 1958), and the third the thriller Blind Date (Joseph Losey, 1959) with Stanley Baker and Micheline Presle. In reviews, Hardy was described as 'ruggedly handsome' and a 'blond heartthrob'. Despite anti-German sentiment still prevailing in postwar Europe, he became an international favorite. He appeared in the German Shakespeare update Der Rest ist Schweigen/The Rest Is Silence (Helmut Käutner, 1959), and in the French WW II adventure Un taxi pour Tobrouk/Taxi for Tobruk (Denys de La Patellière, 1960). A highlight was the French drama Les dimanches de Ville d'Avray/Sundays and Cybele (Serge Bourguignon, 1962). This hauntingly beautiful film about a platonic relationship between a former bomber pilot with a war trauma and amnesia, and a 12-year-old orphan girl (Patricia Gozzi), was awarded with the 1962 Best Foreign Film Academy Award. It paved Krüger's way to Hollywood.
In the USA, Hardy Krüger started in the African adventure Hatari! (Howard Hawks, 1962), at the side of John Wayne and Elsa Martinelli. His later films included Hollywood productions like the original version of The Flight of the Phoenix (Robert Aldrich, 1965) about the survivors of a plane crash in the middle of the Sahara desert, and the war comedy-drama The Secret of Santa Vittoria (Stanley Kramer, 1969) with Anthony Quinn and Anna Magnani. In the star studded war epic A Bridge Too Far (Richard Attenborough, 1977), he portrayed a Nazi General. Hardy Krüger related during the shooting how he hated to wear a Nazi uniform. Between takes he wore a topcoat over his SS uniform so as "not to remind myself of my childhood in Germany during WW II." Although he often played German soldiers, his characters were mostly positive, he personified the 'good German'. Krüger also appeared in many European productions like Le Chant du monde/Song of the World (Marcel Camus, 1965) with Catherine Deneuve, the controversial box office hit La Monaca di Monza/The Nun of Monza (Eriprando Visconti, 1969) about a 17th-century Italian nun's long repressed sexual passion, the Italian-Russian coproduction Krasnaya palatka/The Red Tent (Mikhail Kalatozov, 1969) starring Sean Connery, and the murder mystery À chacun son enfer/To Each His Hell (André Cayatte, 1977) with Annie Girardot. During that period, he made his sole appearance in a film of the New German Cinema in Peter Schamoni's comedy-western Potato Fritz/Montana Trap (Peter Schamoni, 1976). Most memorable is his role as the Prussian Captain Potzdorf in the Oscar winner Barry Lyndon (Stanley Kubrick, 1975) featuring Ryan O'Neal. His last film appearance was in the Swedish-British thriller Slagskämpen/The Inside Man (Tom Clegg, 1984) starring Dennis Hopper.
In the 1970s Hardy Krüger had taken up writing fiction and non-fiction, and he started a new career as a globe trotter for TV. In 1983, after several novels, story collections, and a children's book he published the novel Junge Unrast, an only slighty disguised autobiographic account of his life. On television, he played the role of Field Marshal Erwin Rommel in the popular American TV series War and Remembrance (Dan Curtis, 1989) starring Robert Mitchum. In 2011 appeared as the pater familias in the TV film Die Familie/The Family (Carlo Rola, 2011) with Gila von Weitershausen as his wife. Hardy Krüger married three times. His marriages with actress Renate Densow and Italian painter Francesca Marazzi ended in a divorce. He married his current wife the American Anita Park in 1978. He has three children. His daughter by Renate Densow, Christiane Krüger (born in 1945, when he was only 17) and his son by Francesca Marazzi, Hardy Jr. Krüger are both actors too. Hardy Krüger was awarded many times for his work. In 2001 he was made Officier de la Légion d’Honneur in France, and in 2009, Germany honoured him with the Großes Verdienstkreuz (Great Cross of Merit). Since then, Hardy and Anita Krüger lived in California, and in Hamburg. Krüger died at his home in Palm Springs, California, on 19 January 2022, at the age of 93.
Sources: Hal Erickson (AllMovie), Stephanie D'heil (Steffi-line - German), Tom Hernandez (IMDb), Filmportal.de, Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
German postcard by Ross Verlag, no. 1190/1, 1927-1928. Photo: Emelka Films / Süd-Film. Bayern Films. Imogene Robertson in Erinnerungen einer Nonne/Memories of a Nun (Arthur Bergen, 1927).
Blonde and utterly beautiful Mary Nolan (1902–1948) appeared on stage, on screen, and most of all in the tabloids. After a 'sex scandal', she fled to Germany where she starred in 17 silent films under her real name, Imogene Robertson.
Mary Nolan was born Mary Imogene Robertson in Louisville, Kentucky, U.S. in 1902 (according to Wikipedia and 1905 according to IMDb). She was one of five children born to Africanus and Viola Robertson. Her mother died of cancer at the age of 46. Unable to care for five young children, Africanus Robertson placed Mary in a foster home. She eventually went to live in a Catholic orphanage in Missouri where she earned the nickname 'Bubbles'. The beautiful blonde arrived broke in New York in 1919. Eve Golden at Films of the Golden Age: "She really was breathtaking with her perfect bone structure, a cloud of thick blonde hair, and china-blue eyes. It wasn't long before Mary got work as an artist's model for such big shots as James Montgomery Flagg and Arthur William Brown." Famous Broadway producer Oliver Morosco launched her stage career in the choruses of Daffy Dill and Lady Butterfly (1923). Bubbles proved to be a Jazz-Age baby and a party girl by nature. Florenz Ziegfeld Jr. signed her up for his Follies shows on Broadway. As a showgirl, she performed under the stage name Imogene 'Bubbles' Wilson. For the next several years, she started a violent love/hate relationship with Ziegfeld comedian Frank Tinney. Tinney was married to the comedy star Edna Davenport. Tinney set Mary up in a West 72nd Street apartment and showered her with expensive gifts, but he also showered her with bruises, both physical and emotional. The abusive affair stirred up a major sex scandal in 1924. The tabloids exposed the tumultuous relationship when Mary was seriously hospitalised after one of their many arguments. Mary was fired by Ziegfeld and set sail for France where she was scheduled to appear in vaudeville. She made her way to London in October where she reunited with Frank Tinney. By December 1924, Tinney had resumed drinking and began to physically abuse her again. In early 1925, Nolan finally ended the relationship. She then travelled to Germany where she began to work in the film industry under the new stage name Imogene Robertson. Her first German film was Verborgene Gluten/Hidden Fires (Einar Bruun, 1925) with Alphons Fryland. Later that year, she appeared in the title role of Die Feuertänzerin (Robert Dinesen, 1925) for the Ufa. She received good reviews for her work in the film which prompted the Ufa to offer her a contract for $1500 a week. Nolan worked steadily in Germany from 1925 to 1927 and continued to receive favourable reviews for her acting. Her best-known films include the mystery Das Parfüm der Mrs. Worrington/The Parfum of Mrs. Worrington (Franz Seitz, 1925) with Ernst Reicher as detective Stuart Webbs, Das süße Mädel/The sweet girl (Manfred Noa, 1926) with Nils Asther, and the drama Die Abenteuer eines Zehnmarkscheines/The adventures of a 10-mark note (Berthold Viertel, 1926).
While in Germany, Imogene Robertson received offers from Hollywood producers to appear in American films but turned them down. She finally relented after Joseph M. Schenck offered her a contract with United Artists. She returned to the United States in January 1927. To solve the problem of audiences connecting her with her scandalous past, United Artists suggested she change her name to Mary Nolan. For United Artists, she appeared in an uncredited bit part in Topsy and Eva (Del Lord, 1927), and a supporting role in Sorrell and Son (Herbert Brenon, 1927). In 1928, Nolan was signed to Universal Pictures. Her first film for the company was Good Morning, Judge (William A. Seiter, 1928), starring Reginald Denny for which she received good reviews. Universal loaned her out to Metro-Goldwyn-Mayer for West of Zanzibar (Tod Browning, 1928), about the vengefulness of a cuckolded magician (Lon Chaney) paralysed in a brawl with his rival (Lionel Barrymore). Nolan played Chaney's defiled daughter Maizie. The film was a hit and Nolan received favourable reviews for her work in the film. The following year, she was loaned to MGM again for the romantic drama Desert Nights (William Nigh, 1929), with John Gilbert. Two thieves (Noland and Ernest Torrence) victimize a diamond mine and kidnap its manager (Gilbert), but he gains the upper hand (and falls in love with Nolan) when they flee into the hostile desert. Desert Nights was another financial success and served to boost Nolan's career. Shortly after signing with Universal in 1927, Nolan had begun a relationship with another married man, studio executive Eddie Mannix. Mannix used his clout to further Nolan's career and was responsible for her loan outs to MGM. Shortly after Desert Nights was released in 1929, Mannix abruptly ended the relationship. This angered Nolan who threatened to tell Mannix's wife Bernice of their affair. Mannix became enraged and beat her unconscious. Nolan was hospitalised for six months and required fifteen surgeries to repair damage Mannix inflicted on her abdomen. While hospitalized, Nolan was prescribed morphine for pain. She eventually became addicted which contributed to the decline of her career. In the Universal production Young Desire (Lew Collins, 1930), Nolan plays Helen Herbert aka 'La Belle Helene', a carnival sideshow dancer. She falls in love with wealthy, wet-behind-the-ears Bobby Spencer who whisks her off to his hometown of Spencerville and stakes her to an apartment and a job. But Helen's sordid past catches up with her... By then, Nolan's acting career had begun to decline due to her drug abuse and reputation for being temperamental. She was fired from the film What Men Want (1930). Nolan got into an argument with the film's director, Ernst Laemmle after she learned she was the only cast member who hadn't received a close-up shot. Laemmle banned Nolan from the set and she was subsequently fired. After threatening to file a lawsuit against Universal, the studio bought her out of her contract in January 1931. She married stock broker Wallace T. McCreary on 29 March 1931. One week before they married, McCreary lost $3 million on bad investments. The couple used McCreary's remaining money to open a dress shop in Beverly Hills. The shop went out of business within months and Nolan filed for bankruptcy in August 1931. Nolan divorced McCreary in July 1932. After her exit from Universal, she was unable to secure film work with any of the major studios. Nolan spent the remainder of her acting career appearing in roles in low-budget films for independent studios. She made her final film appearances in File 113 (Chester M. Franklin, 1933), for Allied Pictures Corporation. From then on, Nolan appeared in vaudeville and performed in nightclubs and roadhouses around the United States. Later, Mary Nolan suffered several nervous breakdowns and her health declined. She turned to heroin, and it spelt the end. In 1948, she died of cardiac arrest and liver problems (according to IMDb, but Wikipedia writes she died of a barbiturate overdose). Gary Brumburgh at IMDb: "Mary became just one more Hollywood tragedy -- an incredible beauty whose life turned absolutely beastly."
Source: Gary Brumburgh (IMDb), Eve Golden (Films of the Golden Age), Thomas Staedeli (Cyranos), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Vintage postcard in the Movie's Images series, no. 53. Winona Ryder in Alien - Resurrection (Jean-Pierre Jeunet, 1997).
Delicate American actress Winona Ryder (1971) is known for her dark hair, brown eyes and pale skin. She starred in films such as Beetlejuice Heathers, Bram Stoker's Dracula, Edward Scissorhands, and the television series Stranger Things. In 1994, she won a Golden Globe for Best Supporting Actress in the film The Age of Innocence (1993), and Ryder was nominated twice for an Oscar.
Winona Ryder was born Winona Laura Horowitz in Winona (Olmsted County), Minnesota, in 1971. Yes, her name is very much the same as her birthplace. Her parents, Cindy Horowitz (Istas), an author and video producer, and Michael Horowitz, a publisher and bookseller, were part of the hippie movement. She has a brother named Uri Horowitz (1976), who got his first name after Yuri Gagarin, a half-sister named Sunyata Palmer (1968), and a half-brother named Jubal Palmer (1970) from her mother Cindy's first marriage. From 1978, Winona grew up in a commune near Mendocino in California, which had no electricity. When Winona was seven, her mother began to manage an old cinema in a nearby barn and would screen films all day. She allowed Winona to miss school to watch movies with her. In 1981, the family moved to Petaluma, California. Since Winona was considered an outsider in public school, she was sent to a public school and later to the American Conservatory Theater acting school. She was discovered at the age of thirteen by a talent scout at a theatre performance at the American Conservatory Theater in San Francisco. In 1985, she applied for a role in the film Desert Bloom (David Seltzer, 1986) with a video in which she performed a monologue from the book 'Franny and Zooey' by J. D. Salinger. Although the casting choice was fellow actress Annabeth Gish, director and writer David Seltzer recognised her talent and cast her as Rina in his film Lucas (David Seltzer, 1986) about a teenager (Corey Haim) and his life in high school. When telephoned to ask what name she wanted to be called in the credits, she chose Ryder as her stage name because her father's Mitch Ryder & The Detroit Wheels album was playing in the background. Her real hair colour is blonde but when she made Lucas (1986), her hair color was dyed black. She was told to keep it that colour and with the exception of Edward Scissorhands (1990), it has stayed that color since. Her next film was Square Dance (Daniel Petrie, 1987), in which the protagonist she portrays lives a life between two worlds: on a traditional farm and in a big city. Ryder's performance received good reviews, although neither film was a commercial success. Her acting in Lucas led director Tim Burton to cast her in his film Beetlejuice (Tim Burton, 1988). In this comedy, she played Lydia Deetz, who moves with her family into a house inhabited by ghosts (played by Geena Davis, Alec Baldwin, and Michael Keaton). Ryder, as well as the film, received positive reviews, and Beetlejuice was also successful at the box office. In 1989, she starred as Veronica Sawyer in the independent film Heathers (Michael Lehmann, 1989) about a couple (Ryder and Christian Slater) who kill popular schoolgirls. Ryder's agent had previously advised her against the role. The film was a financial failure, but Ryder received positive reviews. The Jerry Lee Lewis biopic Great Balls of Fire! (Jim McBride, 1989) was also a flop. That same year, Ryder appeared in Mojo Nixon's music video 'Debbie Gibson Is Pregnant with My Two-Headed Love Child'. At the premiere of Great Balls of Fire (1989), Ryder met fellow actor and later film partner Johnny Depp. The couple became engaged a few months later, but their relationship ended in 1993. He had a tattoo of her name and after they broke up, he had this reduced to "Wino forever".
In 1990, Winona Ryder had her breakthrough performance alongside her boyfriend Johnny Depp in Edward Scissorhands (Tim Burton, 1990). The fantasy film was an international box-office success. Ryder was selected for the role of Mary Corleone in The Godfather: Part III (Francis Ford Coppola, 1990) but had to drop out of the role after catching the flu from the strain of doing the films Welcome Home Roxy (Jim Abrahams, 1990) and Mermaids (Richard Benjamin, 1990) back-to-back. Ryder's performance alongside Cher and Christina Ricci in the family comedy Mermaids (1990) was praised by critics and she was nominated for a Golden Globe in the Best Supporting Actress category. Ryder also appeared with Cher and Ricci in the music video for 'The Shoop Shoop Song', the film's theme song. Independent filmmaker Jim Jarmusch wrote a role specifically for her in Night on Earth (Jim Jarmusch, 1991), as a tattooed, chain-smoking cabdriver who dreams of becoming a mechanic. Ryder was cast in a dual role as Mina Murray and Elisabeta in Bram Stoker's Dracula (Francis Ford Coppola, 1992). In 1993, she starred as Blanca in the drama The House of the Spirits (Bille August, 1993) alongside Antonio Banderas, Meryl Streep, and Glenn Close. It is the film adaptation of Isabel Allende's bestseller of the same name. Together with Michelle Pfeiffer and Daniel Day-Lewis, she starred in Age of Innocence (Martin Scorsese, 1993), the film adaptation of Edith Wharton's novel. She was Martin Scorsese's first and only choice for the role of May Welland. For years, she kept the message he left on her voicemail, informing her she got the role. Her part earned her a Golden Globe for Best Supporting Actress and an Oscar nomination. She also earned positive reviews for her role in the comedy Reality Bites (Ben Stiller, 1994). She received critical acclaim and another Oscar nomination the same year as Jo in the drama Little Women (Gillian Armstrong, 1994). In 1996, she starred alongside Daniel Day-Lewis and Joan Allen in The Crucible (Nicholas Hytner, 1996), an adaptation of Arthur Miller's stage play about the Puritan witch hunt in Salem. The film was not a success; however, Ryder's performance was favourably reviewed. A year later she portrayed an android in the successful horror film Alien: Resurrection (Jean-Pierre Jeunet, 1997) alongside Sigourney Weaver's Ripley. In 1998 she starred in Woody Allen's Celebrity (1998). after Drew Barrymore turned down the role. In 1999 she starred as a psychiatric patient with borderline syndrome in the drama Girl, Interrupted (James Mangold, 1999), based on Susanna Kaysen's autobiographical novel. Girl, Interrupted, the first film on which she served as executive producer, was supposed to be Ryder's comeback in Hollywood after the flops of the past years. However, the film became the breakthrough for her colleague Angelina Jolie, who won an Oscar for her role. In this decade, she was involved with Dave Pirner, the lead singer of the group Soul Asylum, from 1993 to 1996 and with Matt Damon from December 1997 to April 2000.
Winona Ryder appeared alongside Richard Gere in Autumn in New York (Joan Chen, 2000), a romance about an older man's love for a younger woman. She also made a cameo appearance in the comedy Zoolander (Ben Stiller, 2000). The comedy Mr. Deeds (Steven Brill, 2002) with Adam Sandler became her biggest financial success to date. The film failed with critics and Ryder was nominated for the Golden Raspberry award. Also in 2002, she was sentenced to three years probation and 480 hours of work for repeatedly shoplifting $5,000 worth of clothes. The incident caused a career setback. She withdrew from the public eye in the following years and did not appear in front of the camera again until 2006. In that year, she appeared in the novel adaptation A Scanner Darkly (Richard Linklater, 2006) alongside Keanu Reeves, Robert Downey Jr., and Woody Harrelson. In 2009, she made an appearance in Star Trek: The Future Begins (J. J. Abrams, 2009) as Spock (Zachary Quinto)'s mother Amanda Grayson. The prequel became a huge success at the box office and Ryder earned a Scream Award for Best Guest Appearance. She also appeared alongside Robin Wright and Julianne Moore in Rebecca Miller's Pippa Lee (2009), and alongside Natalie Portman and Mila Kunis in Darren Aronofsky's Black Swan (2010). Ryder starred in the television film When Love Is Not Enough: The Lois Wilson Story (John Kent Harrison, 2010), for which she was nominated for a Screen Actors Guild Award. She starred in the comedy The Dilemma (Ron Howard, 2011), and the thrillers The Iceman (Ariel Vromen, 2012), and The Letter (Jay Anania, 2012) opposite James Franco. In Tim Burton's Frankenweenie (2012) she lent her voice to the character Elsa Van Helsing. Since 2016, she has embodied the main character, Joyce Byers, in the Netflix series Stranger Things (2016-2022), for which she received positive responses. Her role in the series has been described by many as a comeback. Since 2011 Winona Ryder is in a relationship with Scott MacKinlay Hahn.
Sources: Pedro Borges (IMDb), Wikipedia (Dutch and German), and IMDb.
And, please check out our blog European Film Star Postcards.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
Italian postcard by TV film. Sophia Loren and Eleonora Brown in La ciociara/Two Women (Vittorio De Sica, 1960).
Sophia Loren (1934) rose to fame in post-war Italy as a voluptuous sex goddess. Soon after, she became one of the most successful stars of the 20th Century, who won an Oscar for her mother role in La ciociara (Vittorio De Sica, 1960).
Sophia Loren was born Sofia Villani Scicolone in the charity ward of a Roman hospital in 1934. She was the illegitimate daughter of construction engineer Riccardo Scicolone and piano teacher and aspiring actress Romilda Villani. Riccardo was married to another woman and refused to marry Romilda, leaving her without support. Romilda, Sofia, and sister Maria returned to Pozzuoli to live with Sofia's grandmother. Pozzuoli was a small town outside Naples and one of the hardest hit during World War II. The family shared a two-room apartment with the grandmother and several aunts and uncles. The shy, stick-thin girl regularly went hungry and had to flee from bombings. At 14, Sofia had a voluptuous figure and entered a beauty contest. She was selected as one of the finalists but did not win. In 1950, she was one of the contestants at the Miss Italia competition. She earned the 2nd place and was awarded ‘Miss Eleganza’. While attending the Miss Rome beauty contest, earlier in 1950, she had met judge Carlo Ponti, an up-and-coming film producer, 22 years her senior. Ponti had helped launch Gina Lollobrigida's career and now began grooming Sofia for stardom. He hired an acting coach to tutor her. At 16 she was in her first film, the Totó comedy Le Sei Mogli di Barbablù/Bluebeard’s Six Wives (Carlo Ludovico Bragaglia, 1950) under the name Sofia Lazzaro. She also appeared as an extra in Luci del varietà/Lights of the Variety (Federico Fellini, 1950), the smash hit Anna (Alberto Lattuada, 1951) and Quo Vadis (Mervyn Leroy, 1951). During the early 1950s, she secured work modelling for fumetti magazines. These comic-like magazines used actual photographs. The dialogue bubbles were called 'fumetti' - hence the popular name. At 17, she was cast by Ponti in her first larger role as the commoner who caught the prince's eye in the filmed opera La Favorita/The Favorite (Cesare Barlacchi, 1952). The next year she earned third billing after Silvana Pampanini and Eleanora Rossi-Drago in La Tratta Delle Bianche/The White Slave Trade (Luigi Comencini, 1953) and she played, complete with blackface and an Afro, the lead in another filmed opera, Aida (Clemente Fracassi, 1953) by Giuseppe Verdi. Her singing was dubbed by Renata Tebaldi. Ponti eventually changed her name to Sophia Loren.
Sophia Loren appeared for the first time with Marcello Mastroianni in the romantic comedy Peccato che sia una canaglia/Too Bad She's Bad (Alessandro Blasetti, 1954). They would make 13 films together, including Tempi nostri/A Slice of Life (Alessandro Blasetti, Paul Paviot, 1954), La bella mugnaia/The Miller's Wife (Mario Camerini, 1955), and La fortuna di essere donna/What A Woman (Alessandro Blasetti, 1956). L'Oro di Napoli/Gold of Naples (Vittorio de Sica, 1954), an anthology of tales depicting various aspects of Neapolitan life, was distributed internationally. At AllMovie, Jason Ankeny writes that in reviews "Loren was singled out for the strength of her performance as a Neapolitan shopkeeper, surprising many critics who had dismissed her as merely another bombshell". The film established her persona as a sensuous working-class earth mother. It also began a fruitful, career-long collaboration with De Sica. Sophia’s first film to find international success was La Donna del Fiume/The River Girl (Mario Soldati, 1955), in which she danced sensually the Mambo Bacan. Hal Erickson at AllMovie: "Through it all, Sophia Loren looks like a million lire - and she even gets to sing and dance!". She came to the attention of Stanley Kramer who offered her the female lead in The Pride And The Passion (Stanley Kramer, 1957) opposite Cary Grant and Frank Sinatra. Sophia played a Spanish peasant girl involved in an uprising against the French. This was the turning point in her career, and the film proved to be one of the top US box office successes of the year. Her next English-language film was Boy on a Dolphin (Jean Negulesco, 1957) with Alan Ladd, where she was memorable mostly for emerging from the water in a wet, skin-tight, transparent dress. With her va-va-va-voom image, she became an international film star and got a five-picture contract with Paramount Pictures. Among her Paramount films were Desire Under the Elms (Delbert Mann, 1958) with Anthony Perkins and based upon the Eugene O'Neill play, Houseboat (Melville Shavelson, 1958), a romantic comedy co-starring Cary Grant, and the Western Heller in Pink Tights (George Cukor, 1960) in which she appeared for the first time with blonde hair (a wig). Most of these films were received lukewarmly at best.
In 1960 Sophia Loren returned to Italy to star in the biggest success of her career, La Ciociara/Two Women (Vittorio De Sica, 1960). She played a widow desperately trying to protect her daughter from danger during WW II, only to end up in a destructive love triangle with a young radical (Jean Paul Belmondo). Hal Erickson at AllMovie: "A last-minute replacement for Anna Magnani, Sophia Loren brought hitherto untapped depths of emotion to her performance in Two Women; she later stated that she was utilizing 'sensory recall,' dredging up memories of her own wartime experiences." Loren won the Best Actress Oscar for her performance, and also the Cannes, Venice ánd Berlin Film Festivals' best performance prizes. Next, she played in Spain Samuel Bronston's epic production of El Cid (Anthony Mann, 1961) with Charlton Heston, followed by the De Sica episode of the anthology Boccaccio '70 (Vittorio De Sica, Federico Fellini, Luchino Visconti, 1962). On the strength of her Oscar win, she also returned to English-language fare with Five Miles to Midnight (Anatole Litvak, 1963), followed a year later by The Fall of the Roman Empire (Anthony Mann, 1964), for which she received $1 million. Among Loren's other films of this period are The Millionairess (Anthony Asquith, 1960) with Peter Sellers, It Started in Naples (Melville Shavelson, 1960) with Clark Gable, Lady L (Peter Ustinov, 1965) with Paul Newman, Arabesque (Stanley Donen, 1966) with Gregory Peck, and Charlie Chaplin's final film, A Countess from Hong Kong (1967) with Marlon Brando. Despite the failure of many of her films to generate sales at the box office, she invariably turned in a charming performance and she wore some of the most lavish costumes ever created for the cinema. Her best Italian films include the triptych Ieri, oggi, domani/Yesterday, Today And Tomorrow (Vittorio De Sica, 1963), a comedy that poked fun at a Catholic priest and gently mocked the Italian law on birth control, and Matrimonio all' Italiana/Marriage Italian Style (Vittorio De Sica, 1964) with Loren as the hooker who lures Mastroianni into marriage.
After several miscarriages and a highly-publicized struggle to become pregnant, Sophia Loren gave birth to son Hubert Leoni Carlo Ponti in 1968. She started to work less and moved into her 40s and 50s with roles in films like De Sica's war drama I Girasoli/The Sunflowers (Vittorio De Sica, 1972), Il Viaggio/The Voyage (Vittorio De Sica, 1974) opposite Richard Burton, and reuniting with Marcello Mastroianni in the mob comedy La Pupa del Gangster/Get Rita (Giorgio Capitani, 1975). An artistic highlight was Una giornata particolare/A Special Day (Ettore Scola, 1977) which earned a Golden Globe for Best Foreign Film. Loren played a bored housewife on the day of the first meeting between Mussolini and Hitler. Left alone in her tenement home when her fascist husband runs off to attend the historic event, Loren strikes up a friendship with her homosexual neighbour (Marcello Mastroianni). As the day segues into night, Loren and Mastroianni develop a very special relationship that will radically alter both of their outlooks on life. When a dubbed version of Una giornata particolare/A Special Day found favour with American audiences, Hollywood again came calling, resulting in a pair of thrillers, The Brass Target (John Hough, 1978) and Firepower (Michael Winner, 1979) which offered her a central role as a widow seeking answers in the murder of her chemist husband. In 1980, Loren portrayed herself, as well as her mother, in Sophia Loren: Her Own Story (Mel Stuart, 1980), a made-for-television biopic adaptation of her autobiography. Actresses Ritza Brown and Chiara Ferrari played Loren at younger ages. She made headlines in 1982 when she served an 18-day prison sentence in Italy on tax evasion charges, a fact that didn't damage her career or popularity. In her 60s, Loren ventured into various areas of business, including cookbooks, eyewear, jewelry, and perfume. In honour of her lengthy career, Loren was the recipient of a special Oscar in 1991. She also made well-received appearances in her final film with Mastroianni, Prêt-à-Porter/Ready to Wear (1994), Robert Altman's take on the French fashion scene, and in the comedy hit Grumpier Old Men (Howard Deutch, 1995) playing a femme fatale opposite Walter Matthau and Jack Lemmon. In 1995 she received the Golden Globe Cecil B. DeMille Award. At the age of 72, she appeared scantily-clad in the 2007 edition of the famous calendar of Italian racing tire giant Pirelli. It made her the oldest model in the calendar's history. The photos by Dutch photographers Inez van Lamsweerde and Vinoodh Matadin proved that she was still a major international sex symbol. In 2007 Carlo Ponti died. It had been controversial in her native Italy when Sophia Loren had married her mentor Ponti in 1957. Not only was he 45 to her 23, but he had been married previously, and neither the Catholic Church nor the Italian government recognised his Mexican divorce. Ponti was charged with bigamy, but the charges were dropped when they had their marriage annulled. They continued living together - scandalous at the time - and remarried after his legal problems had been cleared. Ponti and Loren made three dozen films together. They had two children, symphony conductor Carlo Ponti Jr. and film director Edoardo Ponti. After four years off the big screen, Sophia Loren co-starred in a film version of the Broadway musical Nine (Rob Marshall, 2009). She played the mother of famous film director Guido Contini, portrayed by Daniel Day-Lewis. According to Jason Ankeny at AllMovie, "Loren proved she still had movie star charisma with a role in Chicago director Rob Marshall's Nine - a lavish tribute to all things Italian." Loren made a two-part television biopic of her early life titled La Mia Casa È Piena di Specchi/My House Is Full of Mirrors (Vittorio Sindoni, 2010), based on of the memoir written by her sister Maria Scicolone. At 80, Sophia Loren returned to the screen in Human Voice (2014) directed by her son Edoardo Ponti. At the presentation Tribeca Film Festival in New York, 'the timeless beauty' stunned the press once again when she walked on the red carpet in a chic red pantsuit hand-in-hand with her 41-year-old son to promote the short film. Human Voice is based on the play by iconic French playwright Jean Cocteau and sees La Loren play a woman in her twilight years facing revelations from her past. In late 2014, she also presented her first memoir, Ieri, oggi, domani. La mia vita/Today and Tomorrow: My Life as a Fairy Tale. It includes old pictures, letters, and notes detailing encounters with Cary Grant and other film partners.
Sources: Jason Ankeny (AllMovie), Hal Erickson (AllMovie), Shyam Dodge (Daily Mail), Jenny (IMDb), Wikipedia, NNDB, TCM, and IMDb.
And, please check out our blog European Film Star Postcards.
From Wikipedia, the free encyclopedia
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Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
From Wikipedia, the free encyclopedia
History
United States
Name:Pennsylvania
Namesake:Commonwealth of Pennsylvania
Ordered:22 August 1912
Builder:Newport News Shipbuilding and Drydock Company
Laid down:27 October 1913
Launched:16 March 1915
Commissioned:12 June 1916
Decommissioned:29 August 1946
Stricken:19 February 1948
Fate:Scuttled off Kwajalein Atoll after Operation Crossroads on 10 February 1948
General characteristics (as built)
Class and type:Pennsylvania-class battleship
Displacement:31,917 long tons (32,429 t) (Full load)
Length:608 ft (185 m)
Beam:97.1 ft (29.6 m)
Draft:28.9 ft (8.8 m)
Installed power:
12 × Babcock boilers
34,000 shp (25,000 kW)
Propulsion:
4 × Curtis ungeared/Westinghouse geared turbines
4 × shafts
Speed:21 kn (24 mph; 39 km/h)
Range:7,552 nmi (8,691 mi; 13,986 km) at 12 kn (14 mph; 22 km/h)
Capacity:Fuel oil: 2,305 long tons (2,342 t)
Complement:
56 officers
72 Marines
1,031 Bluejackets
Armament:
12 × 14 in (360 mm)/45 cal guns (4×3)
22 × 5 in (130 mm)/51 cal guns
4 × 3 in (76 mm)/23 cal anti-aircraft guns
2 × submerged 21 inch (533 mm) torpedo tubes
Armor:
Belt: 13.5 in (340 mm)
Deck: 3 in (76 mm) (ends)
Turrets: 18 in (460 mm) (faces)
Conning Tower: 16 in (410 mm)
Aircraft carried:2 × floatplanes
Aviation facilities:2 × catapults
General characteristics (1931)
Displacement:
Standard: 34,400 long tons (35,000 t)
Full load: 39,224 long tons (39,853 t)
Installed power:6 × Bureau Express boilers
Armament:
12 × 14"/45 cal guns (4×3)
12 × 5"/51 cal guns
8 × 5"/25 cal anti-aircraft guns
8 × .50-cal M2 Browning machine guns
General characteristics (1942)
Sensors and
processing systems:CXAM-1 radar
Armament:
12 × 14"/45 cal guns (4×3)
16 × 5"/38 cal guns
40 × 40 mm (1.6 in) Bofors guns
51 × 20 mm (0.79 in) Oerlikon guns
USS Pennsylvania (BB-38) was the lead ship of the Pennsylvania class of super-dreadnought battleships built for the United States Navy in the 1910s. The Pennsylvanias were part of the standard-type battleship series, and marked an incremental improvement over the preceding Nevada class, carrying an extra pair of 14-inch (360 mm) guns for a total of twelve guns. Named for the Commonwealth of Pennsylvania, she was laid down at the Newport News Shipbuilding and Drydock Company in October 1913, was launched in March 1915, and was commissioned in June 1916. Equipped with an oil-burning propulsion system, Pennsylvania was not sent to European waters during World War I, since the necessary fuel oil was not as readily available as coal. Instead, she remained in American waters and took part in training exercises; in 1918, she escorted President Woodrow Wilson to France to take part in peace negotiations.
During the 1920s and 1930s, Pennsylvania served as the flagship of first the Atlantic Fleet, and after it was merged with the Pacific Fleet in 1921, the Battle Fleet. For the majority of this period, the ship was stationed in California, based in San Pedro. Pennsylvania was occupied with a peacetime routine of training exercises (including the annual Fleet problems), port visits, and foreign cruises, including a visit to Australia in 1925. The ship was modernized in 1929–1931. The ship was present in Pearl Harbor on the morning of 7 December 1941; she was in drydock with a pair of destroyers when the Japanese launched their surprise attack on the port. She suffered relatively minor damage in the attack, being protected from torpedoes by the drydock. While repairs were effected, the ship received a modernized anti-aircraft battery to prepare her for operations in the Pacific War.
Pennsylvania joined the fleet in a series of amphibious operations, primarily tasked with providing gunfire support. The first of these, the Aleutian Islands Campaign, took place in mid-1943, and was followed by an attack on Makin later that year. During 1944, she supported the landings on Kwajalein and Eniwetok in the Marshall Islands and the Mariana and Palau Islands campaign, including the Battles of Saipan, Guam, Peleliu, and Battle of Angaur. During the Philippines campaign, in addition to her typical shore bombardment duties, she took part in the Battle of Surigao Strait, though due to her inadequate radar, she was unable to locate a target and did not fire. During the Battle of Okinawa, she was torpedoed by a Japanese torpedo bomber and badly damaged, forcing her to withdraw for repairs days before the end of the war.
Allocated to the target fleet for the Operation Crossroads nuclear tests in 1946, Pennsylvania was repaired only enough to allow her to make the voyage to the test site, Bikini Atoll. She survived both blasts, but was badly contaminated with radioactive fallout from the second test, and so was towed to Kwajalein, where she was studied for the next year and a half. The ship was ultimately scuttled in deep water off the atoll in February 1948.
Description
Part of the standard-type battleship series, the Pennsylvania-class ships were significantly larger than their predecessors, the Nevada class. Pennsylvania had an overall length of 608 feet (185 m), a beam of 97 feet (30 m) (at the waterline), and a draft of 29 feet 3 inches (8.92 m) at deep load. This was 25 feet (7.6 m) longer than the older ships. She displaced 29,158 long tons (29,626 t) at standard and 31,917 long tons (32,429 t) at deep load, over 4,000 long tons (4,060 t) more than the older ships. The ship had a metacentric height of 7.82 feet (2.38 m) at deep load.[1]
The ship had four direct-drive Curtis steam turbine sets, each of which drove a propeller 12 feet 1.5 inches (3.7 m) in diameter.[2] They were powered by twelve Babcock & Wilcox water-tube boilers.[1] The turbines were designed to produce a total of 34,000 shaft horsepower (25,000 kW), for a designed speed of 21 knots (39 km/h; 24 mph).[3] She was designed to normally carry 1,548 long tons (1,573 t) of fuel oil, but had a maximum capacity of 2,305 long tons (2,342 t). At full capacity, the ship could steam at a speed of 12 knots (22 km/h; 14 mph) for an estimated 7,552 nautical miles (13,990 km; 8,690 mi) with a clean bottom. She had four 300-kilowatt (402 hp) turbo generators.[1]
Pennsylvania carried twelve 45-caliber 14-inch guns in triple gun turrets.[1] The turrets were numbered from I to IV from front to rear. The guns could not elevate independently and were limited to a maximum elevation of +15° which gave them a maximum range of 21,000 yards (19,000 m).[4] The ship carried 100 shells for each gun. Defense against torpedo boats was provided by twenty-two 51-caliber five-inch guns mounted in individual casemates in the sides of the ship's hull. Positioned as they were they proved vulnerable to sea spray and could not be worked in heavy seas.[5] At an elevation of 15°, they had a maximum range of 14,050 yards (12,850 m).[6] Each gun was provided with 230 rounds of ammunition.[1] The ship mounted four 50-caliber three-inch guns for anti-aircraft defense, although only two were fitted when completed. The other pair were added shortly afterward on top of Turret III.[7] Pennsylvania also mounted two 21-inch (533 mm) torpedo tubes submerged, one on each broadside, and carried 24 torpedoes for them.[1][8]
The Pennsylvania-class design continued the all-or-nothing principle of armoring only the most important areas of the ship begun in the Nevada class. The waterline armor belt of Krupp armor measured 13.5 inches (343 mm) thick and covered only the ship's machinery spaces and magazines. It had a total height of 17 feet 6 inches (5.3 m), of which 8 feet 9.75 inches (2.7 m) was below the waterline; beginning 2 feet 4 inches (0.7 m) below the waterline, the belt tapered to its minimum thickness of 8 inches (203 mm).[1] The transverse bulkheads at each end of the ship ranged from 13 to 8 inches in thickness. The faces of the gun turrets were 18 inches (457 mm) thick while the sides were 9–10 inches (229–254 mm) thick and the turret roofs were protected by 5 inches (127 mm) of armor. The armor of the barbettes was 18 to 4.5 inches (457 to 114 mm) thick. The conning tower was protected by 16 inches (406 mm) of armor and had a roof eight inches thick.[9]
The main armor deck was three plates thick with a total thickness of 3 inches (76 mm); over the steering gear the armor increased to 6.25 inches (159 mm) in two plates. Beneath it was the splinter deck that ranged from 1.5 to 2 inches (38 to 51 mm) in thickness.[10] The boiler uptakes were protected by a conical mantlet that ranged from 9 to 15 inches (230 to 380 mm) in thickness.[9] A three-inch torpedo bulkhead was placed 9 feet 6 inches (2.9 m) inboard from the ship's side and the ship was provided with a complete double bottom. Testing in mid-1914 revealed that this system could withstand 300 pounds (140 kg) of TNT.[10]
Service history
The keel for Pennsylvania was laid down on 27 October 1913 at the Newport News Shipbuilding and Dry Dock Company of Newport News, Virginia. Her completed hull was launched on 16 March 1915, thereafter beginning fitting-out. Work on the ship finished in mid-1916, and she was commissioned on 12 June under the command of Captain Henry B. Wilson. The ship was assigned to the Atlantic Fleet and then completed final fitting out from 1 to 20 July. Pennsylvania then began sea trials in 20 July, steaming first to the southern drill grounds off the Virginia Capes and then north to the coast of New England. Rear Admiral Austin M. Knight and officers from the Naval War College came aboard on 21 August to observe fleet training exercises. Three days later, the ship was visited by Franklin Delano Roosevelt, then the Assistant Secretary of the Navy.[11]
Rear Admiral Henry T. Mayo transferred to Pennsylvania on 12 October, making her the flagship of the Atlantic Fleet. At the end of the year, she went into drydock at the New York Navy Yard for maintenance. After emerging from the shipyard in January 1917, she steamed south to join fleet exercises in the Caribbean Sea, during which she stopped in: Culebra, Puerto Rico; Santo Domingo, Dominican Republic; and Port-au-Prince, Haiti. While in Port-au-Prince, Pennsylvania again hosted Roosevelt, who met with the President of Haiti aboard the ship. The battleship arrived back in Yorktown, Virginia on 6 April, the same day the United States declared war on Germany, bringing the country into World War I. Since Pennsylvania was oil-fired, she did not join the ships of Battleship Division Nine, as the British had asked for coal-burning battleships to reinforce the Grand Fleet. As a result, she stayed in American waters and saw no action during the war.[11]
In August, Pennsylvania took part in a naval review for President Woodrow Wilson. Foreign naval officers visited the ship in September, including the Japanese Vice Admiral Isamu Takeshita and the Russian Vice Admiral Alexander Kolchak. For the rest of the year and into 1918, Pennsylvania was kept in a state of readiness through fleet exercises and gunnery training in Chesapeake Bay and Long Island Sound. She was preparing for night battle training on 11 November 1918, when the Armistice with Germany came into effect, ending the fighting. She thereafter returned for another stint in the New York Navy Yard for maintenance that was completed on 21 November. She began the voyage to Brest, France, on 2 December by way of Tomkinsville, New York, in company with the transport ship George Washington that carried Wilson to France to take part in the peace negotiations; they were escorted by ten destroyers. The ships arrived on 13 December and the next day, Pennsylvania began the trip back to New York with Battleship Divisions Nine and Six. The battleships reached their destination on 26 December, where they took part in victory celebrations.[11]
Inter-war period
1919–1924
Pennsylvania and the rest of the Atlantic Fleet departed on 19 February, bound for the Caribbean for another round of exercises in Cuban waters. The ship arrived back in New York on 14 April, and while there on 30 June, Mayo was replaced by Vice Admiral Henry Wilson. On 8 July at Tomkinsville, a delegation consisting of: Vice President Thomas R. Marshall; Josephus Daniels, the Secretary of the Navy; Carter Glass, the Secretary of the Treasury; William B. Wilson, the Secretary of Labor; Newton D. Baker, the Secretary of War; Franklin K. Lane, the Secretary of the Interior; and Senator Champ Clark came aboard the ship for a cruise back to New York. The fleet conducted another set of maneuvers in the Caribbean from 7 January to April 1920, Pennsylvania returning to her berth in New York on 26 April. Training exercises in the area followed, and on 17 July she received the hull number BB-38.[11]
On 17 January 1921, Pennsylvania left New York, passed through the Panama Canal to Balboa, Panama, where she joined the Pacific Fleet, which together with elements of the Atlantic Fleet was re-designated as the Battle Fleet, with Pennsylvania as its flagship. On 21 January, the fleet left Balboa and steamed south to Callao, Peru, where they arrived ten days later. The ships then steamed north back to Balboa on 2 February, arriving on 14 February. Pennsylvania crossed back through the canal to take part in maneuvers off Cuba and on 28 April she arrived in Hampton Roads, Virginia, where President Warren G. Harding, Edwin Denby, the Secretary of the Navy, Theodore Roosevelt Jr., the Assistant Secretary of the Navy, and Admiral Robert Coontz, the Chief of Naval Operations (CNO), came aboard the ship. Further training was held from 12 to 21 July in the Caribbean, after which she returned to New York. On 30 July, she proceeded on to Plymouth, Massachusetts for a visit that lasted until 2 August. Anothery drydock period in New York lasted from 5 to 20 August.[11]
Pennsylvania departed New York thereafter, bound for the Pacific; she passed through the Panama Canal on 30 August and remained at Balboa for two weeks. On 15 September, she resumed the voyage and steamed north to San Pedro, California, which she reached on 26 September. The ship spent most of 1922 visiting ports along the US west coast, including San Francisco, Seattle, Port Angeles, and San Diego, and from 6 March to 19 April, she underwent a refit at the Puget Sound Navy Yard. She won the Battle Efficiency Award for the 1922 training year. She went back to Puget Sound on 18 December, and remained there into 1923. She left the shipyard on 28 January and steamed south to San Diego, where she stayed from 2 to 8 February, before continuing on to the Panama Canal. After passing through, she steamed to Culebra for a short visit. The ship then passed back through the canal and arrived back in San Pedro on 13 April. Beginning in May, she visited various ports in the area over the course of the rest of 1923, apart from a round of fleet training from 27 November to 7 December. She ended the year with another stint in Puget Sound from 22 December until 1 March 1924.[11]
1924–1931
The ship arrived in San Francisco on 3 March, where she loaded ammunition before joining the Battle Fleet in San Diego on 9 March. The fleet cruised south to the Gulf of Fonseca, then continued south and passed through the Panama Canal to Limon Bay. The ships visited several ports in the Caribbean, including in the US Virgin Islands and Puerto Rico before returning to the Pacific in early April. Pennsylvania arrived back in San Pedro on 22 April, where she remained until 25 June, when she steamed north to Seattle. By this time, she was serving as the flagship of Battle Division 3 of the Battle Fleet. While in the Seattle area, she took part in training exercises with the ships of her division that lasted until 1 September. Further training exercises took place from 12 to 22 September off San Francisco. She thereafter took part in joint training with the coastal defenses around San Francisco from 26 to 29 September. The ship underwent a pair of overhauls from 1 to 13 October and 13 December to 5 January 1925. Pennsylvania then steamed to Puget Sound on 21 January for a third overhaul that lasted from 25 January to 24 March.[11]
Pennsylvania returned to San Pedro on 27 March and then joined the fleet in San Francisco on 5 April. The ships then steamed to Hawaii for training exercises before departing on 1 July for a major cruise across the Pacific to Australia. They reached Melbourne on 22 July, and on 6 August Pennsylvania steamed to Wellington, New Zealand, where she stayed from 11 to 22 August. On the voyage back to the United States, they stopped in Pago Pago in American Samoa and Hawaii, before reaching San Pedro on 26 September. Pennsylvania went to San Diego for target practice from 5 to 8 October, thereafter returning to San Pedro, where she remained largely idle for the rest of 1925. She left San Pedro with the Battle Fleet on 1 February 1926 for another visit to Balboa, during which the ships conducted tactical training from 15 to 27 February. Pennsylvania spent early March in California before departing for Puget Sound on 15 March for another refit that lasted until 14 May, at which point she returned to San Pedro. Another tour of west coast ports began on 16 June and ended on 1 September back in San Pedro.[11]
Pennsylvania remained at San Pedro from 11 December to 11 January 1927 when she left for another refit at Puget Sound that lasted until 12 March. She returned to San Francisco on 15 March and then moved to San Pedro the next day. She left to join training exercises off Cuba on 17 March; she passed through the canal between 29 and 31 March and arrived in Guantanamo Bay on 4 April. On 18 April, she left Cuba to visit Gonaïves, Haiti before steaming to New York, arriving there on 29 April. After touring the east coast in May, she departed for the canal, which she crossed on 12 June. She remained in Balboa until 12 June, at which point she left for San Pedro, arriving on 28 June. The ship spent the rest of 1927 with training, maintenance, and a tour of the west coast. She went to Puget Sound for a refit on 1 April 1928 that lasted until 16 May, after which she went to San Francisco. She left that same day, however, and steamed back north to visit Victoria, British Columbia. She remained there from 24 to 28 May and then returned to San Francisco. She spent June visiting various ports, and in August she embarked Dwight F. Davis, the Secretary of War, in San Francisco; she carried him to Hawaii, departing on 7 August and arriving on the 13th. Pennsylvania returned to Seattle on 26 August.[11]
Another cruise to Cuba took place in January 1929, after which she went to the Philadelphia Navy Yard on 1 June for a major refit and modernization. She received a number of modifications, including increased deck and turret roof armor, anti-torpedo bulges, new turbo-generators, new turbines, and six new three-drum boilers. Her main battery turrets were modified to allow them to elevate to 30 degrees, significantly increasing the range of her guns, and her secondary battery was revised. The number of 5-inch guns was reduced to twelve, and her 3-inch anti-aircraft guns were replaced with eight 5-inch /25 guns. Her torpedo tubes were removed, as were her lattice masts, which were replaced with sturdier tripod masts. Her bridge was also enlarged to increase the space available for an admiral's staff, since she was used as a flagship. Her living space was increased to 2,037 crew and marines, and she was fitted with two catapults for seaplanes.[3][11]
Pennsylvania returned to service on 1 March 1931 and she conducted trials in Delaware Bay in March and April. She then steamed south to Cuba on 8 May for a training cruise before returning to Philadelphia on 26 May. Another cruise to Cuba followed on 30 July; the ship arrived there on 5 August and this time she steamed across the Caribbean to the Panama Canal, which she transited on 12 August to return to the Battle Fleet. She reached San Pedro on 27 August, where she remained for the rest of the year. She toured the west coast in January 1932 and before crossing over to Pearl Harbor, where she arrived on 3 February. There, she took part in extensive fleet maneuvers as part of Fleet Problem XIII. She returned to San Pedro on 20 March, remaining there until 18 April, when she began another cruise along the coast of California. She returned to San Pedro on 14 November and remained there until the end of the year.[11]
1932–1941
The ship departed San Pedro on 9 February to participate in Fleet Problem XIV, which lasted from 10 to 17 February. She returned to San Francisco on 17 February and then went to San Pedro on 27 February, remaining there until 19 June. Another west coast cruise followed from 19 June to 14 November, and after returning to San Pedro, Pennsylvania stayed there inactive until early March 1934. From 4 to 8 March, she made a short visit to Hunters Point Naval Shipyard in San Francisco and then returned to San Pedro. From there, she went to join the fleet for Fleet Problem XV, which was held in the Caribbean this year; she passed through the canal on 24 April, the maneuvers having already started on the 19th. They lasted until 12 May, at which point Pennsylvania went to Gonaïves with the rest of the fleet, which then continued on to New York, where it arrived on 31 March. There, Pennsylvania led the fleet in a naval review for now-President Franklin D. Roosevelt. On 15 June, Admiral Joseph M. Reeves took command of the fleet aboard Pennsylvania, which was once again the fleet flagship.[11]
On 18 June, Pennsylvania left New York for the Pacific, stopping in Hampton Roads on 20 June on the way. She passed through the canal on 28 June and reached San Pedro on 7 July. She then went to Puget Sound for a refit that lasted from 14 July to 2 October. The ship left the shipyard on 16 October and returned to San Francisco two days later, beginning a period of cruises off the coast of California and visits to cities in the state. She ended the year in San Pedro, remaining there or in San Francisco until 29 April 1935, when she took part in Fleet Problem XVI in the Hawaiian islands. The maneuvers lasted until 10 June, and were the largest set of exercises conducted by the US Navy at the time. The ship then returned to San Pedro on 17 June and embarked on a cruise of the west coast for several months; on 16 December, she went to Puget Sound for another overhaul that lasted from 20 December to 21 March 1936. Fleet Problem XVII followed from 27 April to 7 June, this time being held off Balboa. She returned to San Pedro on 6 June and spent the rest of the year with training exercises off the west coast and Hawaii, ending the training program for the year in San Pedro on 18 November.[11]
The ship remained in port until 17 February, when she departed for San Clemente, California at the start of a tour along the west coast. She participated in Fleet Problem XVIII, which lasted from 16 April to 28 May. Another stint in Puget Sound began on 6 June and concluded on 3 September, when she returned to San Pedro. She spent the rest of the year alternating between there and San Francisco, seeing little activity. She made a short trip to San Francisco in February 1938 and took part in Fleet Problem XIX from 9 March to 30 April. Another period in San Pedro followed until 20 June, after which she embarked on a two-month cruise along the west coast that concluded with another stay at Puget Sound on 28 September. After concluding her repairs on 16 December, she returned to San Pedro by way of San Francisco, arriving on 22 December. Fleet Problem XX occurred earlier the year than it had in previous iterations, taking place from 20 to 27 February 1939 in Cuban waters. During the exercises, Franklin Roosevelt and Admiral William D. Leahy, the CNO, came aboard Pennsylvania to observe the maneuvers.[11]
The ship then went to Culebra on 27 February, departing on 4 March to visit Port-au-Prince, Haiti from 6 to 11 March. A stay in Guantanamo Bay followed from 12 to 31 March, after which she went to visit the US Naval Academy in Annapolis on 5 April. Pennsylvania began the voyage back to the Pacific on 18 April and passed through the canal at the end of the month, ultimately arriving back in San Pedro on 12 May. Another tour of the west coast followed, which included stops in San Francisco, Tacoma, and Seattle, and ended in San Pedro on 20 October. She went to Hawaii to participate in Fleet Problem XXI on 2 April 1940. The exercises lasted until 17 May, after which the ship remained in Hawaii until 1 September, when she left for San Pedro. The battleship then went to Puget Sound on 12 September that lasted until 27 December;[11] during the overhaul, she received another four 5-inch /25 guns.[3] She returned to San Pedro on 31 December. Fleet Problem XXII was scheduled for January 1941, but the widening of World War II by this time led the naval command to cancel the exercises. On 7 January, Pennsylvania steamed to Hawaii as part of what was again the Pacific Fleet, based at Pearl Harbor. Over the course of the year, she operated out of Pearl Harbor and made a short voyage to the west coast of the United States from 12 September to 11 October.[11]
World War II
Attack on Pearl Harbor
On the morning of 7 December, Pennsylvania was in Dry Dock No. 1 in Pearl Harbor undergoing a refit; three of her four screws were removed. The destroyers Cassin and Downes were also in the dock with her. When it became clear that the port was under air attack from the Japanese fleet, Pennsylvania's crew rushed to their battle stations, and between 08:02 and 08:05, her anti-aircraft gunners began engaging the hostile aircraft. Japanese torpedo bombers unsuccessfully attempted to torpedo the side of the drydock to flood it; having failed, several aircraft then strafed Pennsylvania. At 08:30, several high-altitude bombers began a series of attacks on the ship; over the course of the following fifteen minutes, five aircraft attempted to hit her from different directions. One of the Japanese bombers hit Downes and one scored a hit on Pennsylvania that passed through the boat deck and exploded in casemate No. 9. Pennsylvania's anti-aircraft gunners fired at all of these aircraft but failed to hit any of them, apparently owing to incorrect fuse settings that caused the shells to explode before they reached the correct altitude. The gunners did manage to shoot down a low-flying aircraft that attempted to strafe the ship; they claimed to have shot down another five aircraft, but the after-action investigation noted that only two aircraft were likely hit by Pennsylvania's guns.[11]
By 09:20, both destroyers were on fire from bomb hits and the fire had spread to Pennsylvania, so the drydock was flooded to help contain the fire. Ten minutes later, the destroyers began to explode as the fires spread to ammunition magazines, and at 09:41, Downes was shattered by an explosion that scattered parts of the ship around the area. One of her torpedo tubes, weighing 500 to 1,000 pounds (230 to 450 kg), was launched into the air, striking Pennsylvania's forecastle. As part of her crew battled the fire in her bow, other men used the ship's boats to ferry anti-aircraft ammunition from stores in the West Loch of Pearl Harbor. Beginning at 14:00, the crew began preparatory work to repair the bomb damage; a 5-inch /25 gun and a 5-inch /51 casemate gun were taken from the damaged battleship West Virginia to replace weapons damaged aboard Pennsylvania.[11] In the course of the attack, Pennsylvania had 15 men killed (including her executive officer), 14 missing, and 38 wounded.[12] On 12 December, Pennsylvania was refloated and taken out of the drydock; having been only lightly damaged in the attack, she was ready to go to sea. She departed Pearl Harbor on 20 December and arrived in San Francisco nine days later. She went into drydock at Hunter's Point on 1 January 1942 for repairs that were completed on 12 January.[11]
The ship left San Francisco on 20 February and began gunnery training before returning to San Francisco the next day. Further training followed in March, and from 14 April to 1 August, she took part in extensive maneuvers off the coast of California;[11] during this period, she underwent an overhaul at the Mare Island Naval Shipyard in San Francisco. The work involved considerably strengthening the ship's anti-aircraft capabilities, with ten Bofors 40 mm quad mounts and fifty-one Oerlikon 20 mm single mounts. The tripod mainmast was removed, with the stump replaced by a deckhouse above which the aft main battery director cupola was housed. One of the new CXAM-1 radars was installed above the cupola. In addition the secondary 5-inch armament was replaced with rapid fire 5-inch /38 cal guns in eight twin mounts for a total of 16 new dual purpose guns. These guns could elevate to 85 degrees and fire at a rate of one round every four seconds. They replaced the older 5-inch /51 cal anti-ship and 5-inch /25 cal anti-aircraft guns.[3] She briefly went to sea during the Battle of Midway as part of Task Force 1, commanded by Vice Admiral William S. Pye, but the ships did not see action during the operation.[11]
Aleutians and Makin Atoll
On 1 August, Pennsylvania left San Francisco, bound for Pearl Harbor. She arrived there on 14 August and took part in further training, including guard tactics for aircraft carrier task forces. Another overhaul followed in San Francisco from 3 to 10 January 1943. After further training and tests at San Francisco and Long Beach that lasted into April, she departed to join the Aleutian Islands Campaign on 23 April. She bombarded Holtz Bay and Chichagof Harbor on 11–12 May to support the forces that went ashore on the island of Attu. While she was leaving the area on the 12th, the Japanese submarine I-31 launched a torpedo at the ship, which was observed by a patrolling PBY Catalina flying boat. The Catalina radioed Pennsylvania, which took evasive maneuvers and escaped unharmed; a pair of destroyers then spent the next ten hours hunting the submarine before severely damaging her and forcing her to surface. I-31 was later sunk by another destroyer the next day.[11]
Pennsylvania returned to Holtz Bay on 14 May to conduct another bombardment in support of an infantry attack on the western side of the bay. She continued operations in the area until 19 May, when she steamed to Adak Island for another amphibious assault. While en route, one of her gasoline stowage compartments exploded, which caused structural damage, though no one was injured in the accident. She was forced to leave Adak on 21 May for repairs at Puget Sound that lasted from 31 May to 15 June; during the overhaul, another accidental explosion killed one man and injured a second. She left port on 1 August, bound for Adak, which she reached on 7 August. There, she became the flagship of Admiral Francis W. Rockwell, commander of the task force that was to attack Kiska. The troops went ashore on 15 August but met no resistance, the Japanese having evacuated without US forces in the area having becoming aware of it. Pennsylvania patrolled off Kiska for several days before returning to Adak on 23 August.[11]
Two days later, the battleship departed Adak for Pearl Harbor, arriving there on 1 September. She embarked a contingent of 790 passengers before steaming on 19 September, bound for San Francisco. She arrived there six days later and debarked her passengers before returning to Pearl Harbor on 6 October to take part in bombardment training from 20–23 October and 31 October – 4 November. Now the flagship of Rear Admiral Richmond K. Turner, the commander of the Fifth Amphibious Force, itself part of the Northern Attack Force, Pennsylvania left Pearl Harbor on 10 November to lead the assault on Makin Atoll, part of the Gilbert Islands. She was joined by three other battleships, four cruisers, three escort carriers, and numerous transports and destroyers; they arrived off Makin on 20 November, and Pennsylvania opened fire on Butaritari Island that morning at a range of 14,200 yards (13,000 m), beginning the Battle of Makin. Early on the morning of 24 November, the ship was rocked by an explosion off her starboard bow; lookouts reported that the escort carrier Liscome Bay had been torpedoed and had exploded. Japanese torpedo bombers conducted repeated nighttime attacks on 25 and 26 November, but they failed to score any hits on the American fleet. Pennsylvania left the area on 30 November to return to Pearl Harbor.[11]
Marshalls and Marianas campaigns
At the start of 1944, Pennsylvania was at Pearl Harbor; over the course of the first two weeks of January, she took part in maneuvers in preparation for landings on Kwajalein in the Marshall Islands. She departed Pearl Harbor on 22 January in company with the invasion fleet, and on 31 January she began her preparatory bombardment of the atoll to start the Battle of Kwajalein. Troops went ashore the next day, and Pennsylvania remained offshore to provide artillery support to the marines as they fought to secure the island. By the evening of 3 February, the Japanese defenders had been defeated, allowing the ship to depart to Majuro Atoll to replenish her ammunition supply. She left shortly thereafter, on 12 February, to support the next major attack on Eniwetok in the Marshalls; five days later she arrived off the island, the Battle of Eniwetok already underway, and over the course of 20 and 21 February, she shelled the island heavily to support the men fighting ashore. On 22 February, she supported the landing on Parry Island, part of the Eniwetok atoll.[11]
On 1 March, Pennsylvania steamed back to Majuro before proceeding south to Havannah Harbor on Efate Island in the New Hebrides. She remained there until 24 April, when she left for a short visit to Sydney, Australia from 29 April to 11 May, when she returned to Efate. She thereafter steamed to Port Purvis on Florida Island, in the Solomons, to participate in amphibious assault exercises. After replenishing ammunition and supplies at Efate, she left on 2 June, bound for Roi, arriving there six days later. On 10 June, she joined a force of battleships, cruisers, escort carriers, and destroyers that had assembled for the Marianas campaign. While en route that night, one of the escorting destroyers reported a sonar contact and the ships of the fleet took evasive maneuvers; in the darkness, Pennsylvania accidentally collided with the troop transport Talbot. Pennsylvania incurred only minor damage and was able to continue with the fleet, but Talbot had to return to Eniwetok for emergency repairs.[11]
Pennsylvania began her bombardment of Saipan on 14 June to prepare the island for the assault that came the next day. She continued shelling the island while cruising off Tinian on 15 June as the assault craft went ashore. On 16 June, she attacked Japanese positions at Orote Point on Guam before returning to Saipan. She left the area on 25 June to replenish at Eniwetok, returning to join the preparatory bombardment of Guam on 12 July. The shelling continued for two days, and late on 14 July, she steamed to Saipan to again replenish her ammunition. Back on station three days later, she continued to blast the island through 20 July. This work also included suppressing guns that fired on demolition parties that went ashore to destroy landing obstacles. On the morning of 21 July, Pennsylvania took up her bombardment position off Orote Point as the assault craft prepared to launch their attack. The ship operated off the island supporting the men fighting there for the next two weeks.[11]
Operations in the Philippines
Pennsylvania left Guam on 3 August to replenish at Eniwetok, arriving there on 19 August. From there, she steamed to Espiritu Santo in the New Hebrides before joining landing training off Guadalcanal. The ship left on 6 September as part of the Bombardment and Fire Support Group for the invasion of Peleliu. She bombarded the island from 12 to 14 September and supported the landings the next day. She shelled Anguar Island on 17 September and remained there for three days, departing on 20 September. She then steamed to Seeadler Harbor on Manus, one of the Admiralty Islands for repairs. On 28 September, she arrived there and entered a floating dry dock on 1 October for a week's repairs. Pennsylvania left on 12 October in company with the battleships Mississippi, Tennessee, California, Maryland, and West Virginia, under the command of Rear Admiral Jesse B. Oldendorf. These ships, designated Task Group 77.2, formed the Fire Support Group for the upcoming operations in the Philippines. They arrived off Leyte on 18 October and took up bombardment positions; over the next four days, they covered Underwater Demolition Teams, beach reconnaissance operations, and minesweepers clearing the way for the landing force.[11]
On 24 October, reports of Japanese naval forces approaching the area led Oldendorf's ships to prepare for action at the exit of the Surigao Strait.[11] Vice Admiral Shōji Nishimura's Southern Force steamed through the Surigao Strait to attack the invasion fleet in Leyte Gulf; his force comprised Battleship Division 2—the battleships Yamashiro and Fusō, the heavy cruiser Mogami, and four destroyers—and Vice Admiral Kiyohide Shima's Second Striking Force—the heavy cruisers Nachi and Ashigara, the light cruiser Abukuma, and four more destroyers.[13] As Nishimura's flotilla passed through the strait on the night of 24 October, they came under attack from American PT boats, followed by destroyers, initiating the Battle of Surigao Strait. One of these destroyers torpedoed Fusō and disabled her, though Nishimura continued on toward his objective.[14]
In the early hours of 25 October, the Southern Force came into contact with Oldendorf's battleships, which had positioned themselves to cross Nishimura's T. At 03:53, West Virginia opened fire, followed by some of the other battleships,[11] though Pennsylvania had trouble locating a target in the darkness with her search radar. Her older Mark 3 radar was not as effective as the more modern sets on West Virginia and some of the other battleships.[15] Task Group 77.2's battleships effectively annihilated Battleship Division 2; Shima's Second Striking Force had fallen behind and had not yet entered the fray. Yamashiro was set on fire and then exploded; she turned to flee, covered by a salvo of torpedoes from the burning Mogami, but the American battleships were able to evade them without damage. Despite having disengaged from Oldendorf's battleships, Yamashiro was hit by more torpedoes and capsized and sank around 04:20.[16] Shima's ships passed the still-floating Fusō and realized that Nishimura had entered a trap, so he reversed course to flee; in the confusion, his flagship Nachi collided with Mogami, damaging her and slowing her to be attacked by American light forces. She was later sunk, as were three of the four destroyers. Later on 25 October, Pennsylvania's anti-aircraft gunners helped to shoot down four aircraft that attacked a nearby destroyer.[11][17]
Pennsylvania leading Colorado, Louisville, Portland and Columbia into Lingayen Gulf, Philippines, January 1945
Late on 28 October, Pennsylvania shot down a torpedo bomber. The ship remained on station off Leyte until 25 November, when she departed for Manus, from which she steamed to Kossol Roads off Palau on 15 December to refill her magazines. She conducted gunnery training on 22 December, and on 1 January 1945, Pennsylvania re-joined Oldendorf's Fire Support Group on the way to Lingayen Gulf for the next major operation in the Philippines. Over the course of 4–5 January, Japanese aircraft repeatedly attacked the ships, including kamikazes that destroyed the escort carrier Ommaney Bay. Pennsylvania began bombarding Japanese positions on Santiago Island at the entrance to Lingayen Gulf on 6 January before entering the gulf that night to suppress Japanese guns while minesweepers cleared the area. The next morning, the rest of Oldendorf's ships joined her in the gulf to begin the main preparatory bombardment, which continued through the 8th. On 9 January, the amphibious assault began as troops from the Sixth United States Army went ashore.[11]
Japanese aircraft struck the invasion fleet on 10 January, and four bombs landed close to Pennsylvania, though she was undamaged. Later that day, a fire control party directed Pennsylvania to shell a group of Japanese tanks that were massing to launch a counterattack on the beachhead. The ship patrolled outside the gulf from 10 to 17 January, when she returned to the gulf; she saw no further action, however, and she departed on 10 February for maintenance at Manus. From there, she left on 22 February for San Francisco, stopping in the Marshalls and at Pearl Harbor on the way. After arriving on 13 March, she underwent a thorough overhaul, including the replacement of her worn-out main battery and secondary guns. She also received more modern radar and fire control equipment and additional close-range anti-aircraft guns. With the work done, she went on sea trials off San Francisco, followed by training at San Diego. She left San Francisco on 12 July and arrived in Pearl Harbor on the 18th, where she engaged in further training from 20 to 23 July. The next day, she departed to join the invasion fleet off Okinawa.[11]
While transiting the Pacific, she stopped to bombard Wake Island on 1 August. In the artillery duel with Japanese coastal guns, one of their shells detonated close enough that fragments disabled one of the ship's fire control directors for her 5-inch guns. One of her Curtiss SC Seahawks was damaged in heavy seas, and the destroyer Ordronaux recovered the pilot. Pennsylvania loaded ammunition at Saipan before continuing on to Okinawa, arriving there on 12 August where she became flagship of Task Force 95. That night, while moored next to Tennessee in Buckner Bay, a Japanese torpedo bomber managed to penetrate the Allied defensive screen undetected; the aircraft launched its torpedo at Pennsylvania and hit her aft, causing serious damage. The torpedo opened a hole approximately 30 ft (9.1 m) in diameter, causing the ship to take on a considerable amount of water and begin to settle by the stern. Damage control teams were able to contain the flooding. Twenty men were killed and another ten were injured in the attack, including Oldendorf, who was aboard at the time. Pennsylvania was the last major US warship to be damaged in the war. The next day, salvage tugs towed her to shallow water where temporary repairs could be effected. On 15 August, the Japanese surrendered, ending the war.[11][18]
Post-war
Pennsylvania was taken under tow by a pair of tugboats on 18 August, bound for Apra Harbor, Guam, where they arrived on 6 September. The next day, she was taken into a floating drydock, where a large steel patch was welded over the torpedo hole, which would allow the ship to make the voyage back for permanent repairs. The battleship Missouri relieved Pennsylvania as flagship on 15 September, and on 2 October, she was able to leave the drydock. Two days later, Pennsylvania steamed out of Guam, bound for Puget Sound, where repairs would be effected. She was escorted by the light cruiser Atlanta and the destroyer Walke. While still en route on 17 October, the ship's number 3 propeller shaft slipped aft. Divers were sent to cut the shaft loose; Pennsylvania now had just one operational screw, and the open propeller shaft was now allowing water to leak into the hull. She nevertheless completed the voyage to Puget Sound, arriving on 24 October. The ship received the Navy Unit Commendation for her wartime service there on 3 November.[11]
On 16 January 1946, Pennsylvania was designated to be expended as a target ship for the Operation Crossroads atomic bomb tests at Bikini Atoll to be carried out later that year. Repairs were completed enough to allow her to sail to the Marshall Islands, and she left Puget Sound on 24 February. After stopping in Pearl Harbor, she arrived in Bikini Atoll on 31 May, where she was anchored along with another eighty-three warships. The first explosion, Test Able, took place on 1 July, and was an air burst. After tests determined that the ship had not been contaminated with radiation, the crew returned to the ship from 3 to 24 July. The second blast, Test Baker, was done the next day. This was an underwater detonation, and Pennsylvania was moored just 1,100 yards (1,000 m) from ground zero. She was only lightly damaged from the blast, but the surge of water caused significant radioactive contamination; work parties came aboard the ship from 17 to 21 August to prepare the ship to be towed, and on the 21st she was taken under tow by the transport Niagara, which took her to Kwajalein, where she was decommissioned on 29 August. Various radiological and structural studies were completed over the next year and a half until she was scuttled off Kwajalein on 10 February 1948. She was officially stricken from the Naval Vessel Register on 19 February.[11]
The ship's bell is on display at The Pennsylvania State University near the main entrance of the Wagner Building, home of the university's ROTC programs. It has been on permanent loan to the university from the Department of the Navy since 1955.[19] Two of the ship's 14-inch guns that had been replaced during the 1945 overhaul are on outdoor display at the Pennsylvania Military Museum in Boalsburg, Pennsylvania.[20]
German postcard by Ross-Verlag, no. 5138/1, 1930-1931. Photo: Paramount. Publicity still for The Last Outlaw (Arthur Rosson, 1927). Cooper was in this silent Western credited as 'Garry Cooper'.
American screen legend Gary Cooper (1901-1961) is well remembered for his stoic, understated acting style in more than one hundred Westerns, comedies and dramas. He received five Oscar nominations and won twice for his roles as Alvin York in Sergeant York (1941) and as Will Kane in High Noon (1952).
Frank James Cooper was born in Helena, Montana in 1901. His parents were English immigrants, Alice Cooper-Brazier and Charles Henry Cooper, a prominent lawyer, rancher, and eventually a state supreme court judge. Frank left school in 1918 and returned to the family ranch to help raise their five hundred head of cattle and work full-time as a cowboy. In 1919, his father arranged for his son to complete his high school education at Gallatin County High School in Bozeman, Montana. His English teacher, Ida W. Davis, played an important role in encouraging him to focus on academics, join the school's debating team, and become involved in dramatics. He was in a car accident as a teenager that caused him to walk with a limp the rest of his life. In the fall of 1924, Cooper's parents moved to Los Angeles to administer the estates of two relatives. Cooper joined them and there he met some cowboys from Montana who were working as film extras and stuntmen in low-budget Western films. Cooper decided to try his hand working as a film extra for five dollars a day, and as a stuntman for twice that amount. In early 1925, Cooper began his film career working as an extra and stuntman on Poverty Row in such silent Westerns as Riders of the Purple Sage (Lynn Reynolds, 1925) with Tom Mix, and The Trail Rider (W.S. Van Dyke, 1925) with Buck Jones. Cooper paid for a screen test and hired casting director Nan Collins to work as his agent. Collins changed his first name to ‘Gary’ after her hometown of Gary, Indiana. Cooper also worked in non-Western films. He appeared as a masked Cossack in The Eagle (Clarence Brown, 1925) with Rudolph Valentino, as a Roman guard in Ben-Hur (Fred Niblo, 1925) with Ramón Novarro, and as a flood survivor in The Johnstown Flood (Irving Cummings, 1926) with George O'Brien. Gradually he began to land credited roles that offered him more screen time, such as Tricks (Bruce M. Mitchell, 1925), in which he played the film's antagonist. As a featured player, he began to attract the attention of major film studios and in June 1926, Cooper signed a contract with Samuel Goldwyn Productions. His first important film role was in The Winning of Barbara Worth (Henry King, 1926) with Ronald Colman and Vilma Bánky. The film was a major success, and critics called Cooper a "dynamic new personality" and future star. Cooper signed a five-year contract with Jesse L. Lasky at Paramount Pictures for $175 per week. In 1927, with help from established silent film star Clara Bow, Cooper landed high-profile roles opposite her in Children of Divorce (Frank Lloyd, 1927) and Wings (William A. Wellman, 1927), the first film to win an Academy Award for Best Picture. With each new film, Cooper's acting skills improved and his popularity continued to grow, especially among female movie-goers. He received a thousand fan letters per week. The studio placed him opposite popular leading ladies in films such as Beau Sabreur (John Waters, 1928) with Evelyn Brent, Half a Bride (Gregory La Cava, 1928) with Esther Ralston, and Lilac Time (George Fitzmaurice, 1928) with Colleen Moore. The latter introduced synchronized music and sound effects, and became one of the biggest box office hits of the year.
In 1929, Gary Cooper became a major film star with his first sound picture, The Virginian, (Victor Fleming, 1929). The Virginian was one of the first sound films to define the Western code of honour and helped establish many of the conventions of the Western genre. The romantic image of the tall, handsome, and shy cowboy hero that embodied male freedom, courage, and honour was created in large part by Cooper's performance in the film. Cooper transitioned naturally to the sound medium, with his deep, clear, and pleasantly drawling voice. One of the high points of Cooper's early career was his portrayal of a sullen legionnaire in Josef von Sternberg's Morocco (1930) with Marlene Dietrich in her American debut. Cooper produced one of his finest performances to that point in his career. In the Dashiell Hammett crime drama City Streets (Rouben Mamoulian, 1931) he played a misplaced cowboy in a big city who gets involved with gangsters to save the woman (Sylvia Sidney) he loves. After making ten films in two years Cooper was exhausted and had lost thirty pounds. In May 1931, he sailed to Algiers and then Italy, where he lived for the next year. During his time abroad, Cooper stayed with the Countess Dorothy di Frasso who taught him about good food and vintage wines, how to read Italian and French menus in the finest restaurants, and how to socialize among Europe's nobility and upper classes. In 1932, a healthy Cooper returned to Hollywood and negotiated a new contract with Paramount for two films per year, a salary of $4,000 per week, and director and script approval. He appeared opposite Helen Hayes in A Farewell to Arms (Frank Borzage, 1932), the first film adaptation of an Ernest Hemingway novel. Critics praised his highly intense and at times emotional performance, and the film went on to become one of the year's most commercially successful films. The following year, Cooper appeared in the Ernst Lubitsch comedy Design for Living (1933) with Miriam Hopkins and Fredric March, and based loosely on the successful Noël Coward play. Wikipedia: “The film received mixed reviews and did not do well at the box office, but Cooper's performance was singled out for its versatility and revealed his genuine ability to do light comedy”. Then, he appeared in his first of seven films by director Henry Hathaway, Now and Forever (1934), with Carole Lombard and Shirley Temple. The film was a box-office success. His next two Henry Hathaway films were the melodrama Peter Ibbetson (1935) with Ann Harding, about a man caught up in a dream world created by his love for a childhood sweetheart, and the romantic adventure The Lives of a Bengal Lancer (1935), about a daring British officer and his men who defend their stronghold at Bengal against rebellious local tribes. The latter was nominated for six Academy Awards and became one of Cooper's most popular and successful adventure films.
Gary Cooper returned to Poverty Row for the first time since his early silent film days to make Mr. Deeds Goes to Town (Frank Capra, 1936) with Jean Arthur for Columbia Pictures. Cooper plays the character of Longfellow Deeds, an innocent, sweet-natured writer of greeting cards who inherits a fortune, leaves behind his idyllic life in Vermont, and travels to New York where he faces a world of corruption and deceit. For his performance in Mr. Deeds, Cooper received his first Oscar nomination. In the adventure film The General Died at Dawn (Lewis Milestone, 1936) with Madeleine Carroll, he plays an American soldier of fortune in China who helps the peasants defend themselves against the oppression of a cruel warlord. Written by playwright Clifford Odets, the film was a critical and commercial success. In Cecil B. DeMille's sprawling frontier epic The Plainsman (1936) with Jean Arthur—his first of four films with the director—Cooper portrays Wild Bill Hickok in a highly-fictionalized version of the opening of the American western frontier. That year, Cooper appeared for the first time on the Motion Picture Herald exhibitor's poll of top ten film personalities, where he would remain for the next twenty-two years. In Ernst Lubitsch's romantic comedy Bluebeard's Eighth Wife (1938) with Claudette Colbert, Cooper plays a wealthy American businessman in France who falls in love with an impoverished aristocrat's daughter and persuades her to become his eighth wife. In the adventure film Beau Geste (William A. Wellman, 1939) with Ray Milland, he joined the French Foreign Legion to find adventure in the Sahara fighting local tribes. Wikipedia: “Beau Geste provided Cooper with magnificent sets, exotic settings, high-spirited action, and a role tailored to his personality and screen persona.” Cooper cemented his cowboy credentials in The Westerner (William Wyler, 1940). He won his first Academy Award for Best Actor in 1942 for his performance as Alvin York, the most decorated U.S. soldier from the Great War, in Sergeant York (Howard Hawks, 1941). Cooper worked with Ingrid Bergman in For Whom the Bell Tolls (Sam Wood, 1943) which earned him his third Oscar nomination. The film was based on a novel by Ernest Hemingway, with whom Cooper developed a strong friendship. On 23 October 1947, he appeared before the House Un-American Activities Committee in Washington, not under subpoena but responding to an invitation to give testimony on the alleged infiltration of Hollywood by communists. Although he never said he regretted having been a friendly witness, as an independent producer, he hired blacklisted actors and technicians. He did say he had never wanted to see anyone lose the right to work, regardless of what he had done. Cooper won his second Oscar for his performance as Marshal Will Kane in High Noon (Fred Zinnemann, 1952), one of his finest roles and a kind of come-back after a series of flops. He continued to play the lead in films almost to the end of his life. His later box office hits included the influential Western Vera Cruz (Robert Aldrich, 1954) in which he guns down villain Burt Lancaster in a showdown, William Wyler's Friendly Persuasion (1956), in which he portrays a Quaker farmer during the American Civil War, Billy Wilder's Love in the Afternoon (1957) with Audrey Hepburn, and the hard-edged action Western Man of the West (Anthony Mann, 1958), with Lee J. Cobb. Cooper's final film was the British-American co-production The Naked Edge (Michael Anderson, 1961). In April 1960, Cooper underwent surgery for prostate cancer after it had metastasized to his colon. But by the end of the year the cancer had spread to his lungs and bones. On 13 May 1961, six days after his sixtieth birthday, Gary Cooper died. The young and handsome Cooper had affairs with Clara Bow, Lupe Velez, Marlene Dietrich and Tallulah Bankhead. In 1933, he married socialite Veronica Balfe, who, billed as Sandra Shaw, enjoyed a short-lived acting career. They had an ‘open’ marriage and Cooper also had relationships with the actresses Grace Kelly, Anita Ekberg, and Patricia Neal. Sir Cecil Beaton also claimed to have had an affair with him.
Sources: Wikipedia and IMDb.
From Wikipedia, the free encyclopedia
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Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
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O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
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O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
From Wikipedia, the free encyclopedia
+++++++++++++++++++++++++++++++++
Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
Vintage postcard by iauioasinu, no. 0042.
Delicate American actress Winona Ryder (1971) is known for her dark hair, brown eyes and pale skin. She starred in films such as Beetlejuice Heathers, Bram Stoker's Dracula, Edward Scissorhands, and the television series Stranger Things. In 1994, she won a Golden Globe for Best Supporting Actress in the film The Age of Innocence (1993), and Ryder was nominated twice for an Oscar.
Winona Ryder was born Winona Laura Horowitz in Winona (Olmsted County), Minnesota, in 1971. Yes, her name is very much the same as her birthplace. Her parents, Cindy Horowitz (Istas), an author and video producer, and Michael Horowitz, a publisher and bookseller, were part of the hippie movement. She has a brother named Uri Horowitz (1976), who got his first name after Yuri Gagarin, a half-sister named Sunyata Palmer (1968), and a half-brother named Jubal Palmer (1970) from her mother Cindy's first marriage. From 1978, Winona grew up in a commune near Mendocino in California, which had no electricity. When Winona was seven, her mother began to manage an old cinema in a nearby barn and would screen films all day. She allowed Winona to miss school to watch movies with her. In 1981, the family moved to Petaluma, California. Since Winona was considered an outsider in public school, she was sent to a public school and later to the American Conservatory Theater acting school. She was discovered at the age of thirteen by a talent scout at a theatre performance at the American Conservatory Theater in San Francisco. In 1985, she applied for a role in the film Desert Bloom (David Seltzer, 1986) with a video in which she performed a monologue from the book 'Franny and Zooey' by J. D. Salinger. Although the casting choice was fellow actress Annabeth Gish, director and writer David Seltzer recognised her talent and cast her as Rina in his film Lucas (David Seltzer, 1986) about a teenager (Corey Haim) and his life in high school. When telephoned to ask what name she wanted to be called in the credits, she chose Ryder as her stage name because her father's Mitch Ryder & The Detroit Wheels album was playing in the background. Her real hair colour is blonde but when she made Lucas (1986), her hair color was dyed black. She was told to keep it that colour and with the exception of Edward Scissorhands (1990), it has stayed that color since. Her next film was Square Dance (Daniel Petrie, 1987), in which the protagonist she portrays lives a life between two worlds: on a traditional farm and in a big city. Ryder's performance received good reviews, although neither film was a commercial success. Her acting in Lucas led director Tim Burton to cast her in his film Beetlejuice (Tim Burton, 1988). In this comedy, she played Lydia Deetz, who moves with her family into a house inhabited by ghosts (played by Geena Davis, Alec Baldwin, and Michael Keaton). Ryder, as well as the film, received positive reviews, and Beetlejuice was also successful at the box office. In 1989, she starred as Veronica Sawyer in the independent film Heathers (Michael Lehmann, 1989) about a couple (Ryder and Christian Slater) who kill popular schoolgirls. Ryder's agent had previously advised her against the role. The film was a financial failure, but Ryder received positive reviews. The Jerry Lee Lewis biopic Great Balls of Fire! (Jim McBride, 1989) was also a flop. That same year, Ryder appeared in Mojo Nixon's music video 'Debbie Gibson Is Pregnant with My Two-Headed Love Child'. At the premiere of Great Balls of Fire (1989), Ryder met fellow actor and later film partner Johnny Depp. The couple became engaged a few months later, but their relationship ended in 1993. He had a tattoo of her name and after they broke up, he had this reduced to "Wino forever".
In 1990, Winona Ryder had her breakthrough performance alongside her boyfriend Johnny Depp in Edward Scissorhands (Tim Burton, 1990). The fantasy film was an international box-office success. Ryder was selected for the role of Mary Corleone in The Godfather: Part III (Francis Ford Coppola, 1990) but had to drop out of the role after catching the flu from the strain of doing the films Welcome Home Roxy (Jim Abrahams, 1990) and Mermaids (Richard Benjamin, 1990) back-to-back. Ryder's performance alongside Cher and Christina Ricci in the family comedy Mermaids (1990) was praised by critics and she was nominated for a Golden Globe in the Best Supporting Actress category. Ryder also appeared with Cher and Ricci in the music video for 'The Shoop Shoop Song', the film's theme song. Independent filmmaker Jim Jarmusch wrote a role specifically for her in Night on Earth (Jim Jarmusch, 1991), as a tattooed, chain-smoking cabdriver who dreams of becoming a mechanic. Ryder was cast in a dual role as Mina Murray and Elisabeta in Bram Stoker's Dracula (Francis Ford Coppola, 1992). In 1993, she starred as Blanca in the drama The House of the Spirits (Bille August, 1993) alongside Antonio Banderas, Meryl Streep, and Glenn Close. It is the film adaptation of Isabel Allende's bestseller of the same name. Together with Michelle Pfeiffer and Daniel Day-Lewis, she starred in Age of Innocence (Martin Scorsese, 1993), the film adaptation of Edith Wharton's novel. She was Martin Scorsese's first and only choice for the role of May Welland. For years, she kept the message he left on her voicemail, informing her she got the role. Her part earned her a Golden Globe for Best Supporting Actress and an Oscar nomination. She also earned positive reviews for her role in the comedy Reality Bites (Ben Stiller, 1994). She received critical acclaim and another Oscar nomination the same year as Jo in the drama Little Women (Gillian Armstrong, 1994). In 1996, she starred alongside Daniel Day-Lewis and Joan Allen in The Crucible (Nicholas Hytner, 1996), an adaptation of Arthur Miller's stage play about the Puritan witch hunt in Salem. The film was not a success; however, Ryder's performance was favourably reviewed. A year later she portrayed an android in the successful horror film Alien: Resurrection (Jean-Pierre Jeunet, 1997) alongside Sigourney Weaver's Ripley. In 1998 she starred in Woody Allen's Celebrity (1998). after Drew Barrymore turned down the role. In 1999 she starred as a psychiatric patient with borderline syndrome in the drama Girl, Interrupted (James Mangold, 1999), based on Susanna Kaysen's autobiographical novel. Girl, Interrupted, the first film on which she served as executive producer, was supposed to be Ryder's comeback in Hollywood after the flops of the past years. However, the film became the breakthrough for her colleague Angelina Jolie, who won an Oscar for her role. In this decade, she was involved with Dave Pirner, the lead singer of the group Soul Asylum, from 1993 to 1996 and with Matt Damon from December 1997 to April 2000.
Winona Ryder appeared alongside Richard Gere in Autumn in New York (Joan Chen, 2000), a romance about an older man's love for a younger woman. She also made a cameo appearance in the comedy Zoolander (Ben Stiller, 2000). The comedy Mr. Deeds (Steven Brill, 2002) with Adam Sandler became her biggest financial success to date. The film failed with critics and Ryder was nominated for the Golden Raspberry award. Also in 2002, she was sentenced to three years probation and 480 hours of work for repeatedly shoplifting $5,000 worth of clothes. The incident caused a career setback. She withdrew from the public eye in the following years and did not appear in front of the camera again until 2006. In that year, she appeared in the novel adaptation A Scanner Darkly (Richard Linklater, 2006) alongside Keanu Reeves, Robert Downey Jr., and Woody Harrelson. In 2009, she made an appearance in Star Trek: The Future Begins (J. J. Abrams, 2009) as Spock (Zachary Quinto)'s mother Amanda Grayson. The prequel became a huge success at the box office and Ryder earned a Scream Award for Best Guest Appearance. She also appeared alongside Robin Wright and Julianne Moore in Rebecca Miller's Pippa Lee (2009), and alongside Natalie Portman and Mila Kunis in Darren Aronofsky's Black Swan (2010). Ryder starred in the television film When Love Is Not Enough: The Lois Wilson Story (John Kent Harrison, 2010), for which she was nominated for a Screen Actors Guild Award. She starred in the comedy The Dilemma (Ron Howard, 2011), and the thrillers The Iceman (Ariel Vromen, 2012), and The Letter (Jay Anania, 2012) opposite James Franco. In Tim Burton's Frankenweenie (2012) she lent her voice to the character Elsa Van Helsing. Since 2016, she has embodied the main character, Joyce Byers, in the Netflix series Stranger Things (2016-2022), for which she received positive responses. Her role in the series has been described by many as a comeback. Since 2011 Winona Ryder is in a relationship with Scott MacKinlay Hahn.
Sources: Pedro Borges (IMDb), Wikipedia (Dutch and German), and IMDb.
And, please check out our blog European Film Star Postcards.
British postcard by Heroes Publishing LTD, London, no SPC 2856.
Delicate American actress Winona Ryder (1971) is known for her dark hair, brown eyes and pale skin. She starred in films such as Heathers (1989), Beetlejuice (1990), Edward Scissorhands (1990), Bram Stoker's Dracula (1992), Alien: Resurrection (1997), Black Swan (2010), and the television series Stranger Things (2016-2022). In 1994, she won a Golden Globe for Best Supporting Actress in the film The Age of Innocence (1993), and Ryder was nominated twice for an Oscar.
Winona Ryder was born Winona Laura Horowitz in Winona (Olmsted County), Minnesota, in 1971. Yes, her name is very much the same as her birthplace. Her parents, Cindy Horowitz (Istas), an author and video producer, and Michael Horowitz, a publisher and bookseller, were part of the hippie movement. She has a brother named Uri Horowitz (1976), who got his first name after Yuri Gagarin, a half-sister named Sunyata Palmer (1968), and a half-brother named Jubal Palmer (1970) from her mother Cindy's first marriage. From 1978, Winona grew up in a commune near Mendocino in California, which had no electricity. When Winona was seven, her mother began to manage an old cinema in a nearby barn and would screen films all day. She allowed Winona to miss school to watch movies with her. In 1981, the family moved to Petaluma, California. Since Winona was considered an outsider in public school, she was sent to a public school and later to the American Conservatory Theater acting school. She was discovered at the age of thirteen by a talent scout at a theatre performance at the American Conservatory Theater in San Francisco. In 1985, she applied for a role in the film Desert Bloom (David Seltzer, 1986) with a video in which she performed a monologue from the book 'Franny and Zooey' by J. D. Salinger. Although the casting choice was fellow actress Annabeth Gish, director and writer David Seltzer recognised her talent and cast her as Rina in his film Lucas (David Seltzer, 1986) about a teenager (Corey Haim) and his life in high school. When telephoned to ask what name she wanted to be called in the credits, she chose Ryder as her stage name because her father's Mitch Ryder & The Detroit Wheels album was playing in the background. Her real hair colour is blonde but when she made Lucas (1986), her hair color was dyed black. She was told to keep it that colour and with the exception of Edward Scissorhands (1990), it has stayed that color since. Her next film was Square Dance (Daniel Petrie, 1987), in which the protagonist she portrays lives a life between two worlds: on a traditional farm and in a big city. Ryder's performance received good reviews, although neither film was a commercial success. Her acting in Lucas led director Tim Burton to cast her in his film Beetlejuice (Tim Burton, 1988). In this comedy, she played Lydia Deetz, who moves with her family into a house inhabited by ghosts (played by Geena Davis, Alec Baldwin, and Michael Keaton). Ryder, as well as the film, received positive reviews, and Beetlejuice was also successful at the box office. In 1989, she starred as Veronica Sawyer in the independent film Heathers (Michael Lehmann, 1989) about a couple (Ryder and Christian Slater) who kill popular schoolgirls. Ryder's agent had previously advised her against the role. The film was a financial failure, but Ryder received positive reviews. The Jerry Lee Lewis biopic Great Balls of Fire! (Jim McBride, 1989) was also a flop. That same year, Ryder appeared in Mojo Nixon's music video 'Debbie Gibson Is Pregnant with My Two-Headed Love Child'. At the premiere of Great Balls of Fire (1989), Ryder met fellow actor and later film partner Johnny Depp. The couple became engaged a few months later, but their relationship ended in 1993. He had a tattoo of her name and after they broke up, he had this reduced to "Wino forever".
In 1990, Winona Ryder had her breakthrough performance alongside her boyfriend Johnny Depp in Edward Scissorhands (Tim Burton, 1990). The fantasy film was an international box-office success. Ryder was selected for the role of Mary Corleone in The Godfather: Part III (Francis Ford Coppola, 1990) but had to drop out of the role after catching the flu from the strain of doing the films Welcome Home Roxy (Jim Abrahams, 1990) and Mermaids (Richard Benjamin, 1990) back-to-back. Ryder's performance alongside Cher and Christina Ricci in the family comedy Mermaids (1990) was praised by critics and she was nominated for a Golden Globe in the Best Supporting Actress category. Ryder also appeared with Cher and Ricci in the music video for 'The Shoop Shoop Song', the film's theme song. Independent filmmaker Jim Jarmusch wrote a role specifically for her in Night on Earth (Jim Jarmusch, 1991), as a tattooed, chain-smoking cabdriver who dreams of becoming a mechanic. Ryder was cast in a dual role as Mina Murray and Elisabeta in Bram Stoker's Dracula (Francis Ford Coppola, 1992). In 1993, she starred as Blanca in the drama The House of the Spirits (Bille August, 1993) alongside Antonio Banderas, Meryl Streep, and Glenn Close. It is the film adaptation of Isabel Allende's bestseller of the same name. Together with Michelle Pfeiffer and Daniel Day-Lewis, she starred in Age of Innocence (Martin Scorsese, 1993), the film adaptation of Edith Wharton's novel. She was Martin Scorsese's first and only choice for the role of May Welland. For years, she kept the message he left on her voicemail, informing her she got the role. Her part earned her a Golden Globe for Best Supporting Actress and an Oscar nomination. She also earned positive reviews for her role in the comedy Reality Bites (Ben Stiller, 1994). She received critical acclaim and another Oscar nomination the same year as Jo in the drama Little Women (Gillian Armstrong, 1994). In 1996, she starred alongside Daniel Day-Lewis and Joan Allen in The Crucible (Nicholas Hytner, 1996), an adaptation of Arthur Miller's stage play about the Puritan witch hunt in Salem. The film was not a success; however, Ryder's performance was favourably reviewed. A year later she portrayed an android in the successful horror film Alien: Resurrection (Jean-Pierre Jeunet, 1997) alongside Sigourney Weaver's Ripley. In 1998 she starred in Woody Allen's Celebrity (1998). after Drew Barrymore turned down the role. In 1999 she starred as a psychiatric patient with borderline syndrome in the drama Girl, Interrupted (James Mangold, 1999), based on Susanna Kaysen's autobiographical novel. Girl, Interrupted, the first film on which she served as executive producer, was supposed to be Ryder's comeback in Hollywood after the flops of the past years. However, the film became the breakthrough for her colleague Angelina Jolie, who won an Oscar for her role. In this decade, she was involved with Dave Pirner, the lead singer of the group Soul Asylum, from 1993 to 1996 and with Matt Damon from December 1997 to April 2000.
Winona Ryder appeared alongside Richard Gere in Autumn in New York (Joan Chen, 2000), a romance about an older man's love for a younger woman. She also made a cameo appearance in the comedy Zoolander (Ben Stiller, 2000). The comedy Mr. Deeds (Steven Brill, 2002) with Adam Sandler became her biggest financial success to date. The film failed with critics and Ryder was nominated for the Golden Raspberry award. Also in 2002, she was sentenced to three years probation and 480 hours of work for repeatedly shoplifting $5,000 worth of clothes. The incident caused a career setback. She withdrew from the public eye in the following years and did not appear in front of the camera again until 2006. In that year, she appeared in the novel adaptation A Scanner Darkly (Richard Linklater, 2006) alongside Keanu Reeves, Robert Downey Jr., and Woody Harrelson. In 2009, she made an appearance in Star Trek: The Future Begins (J. J. Abrams, 2009) as Spock (Zachary Quinto)'s mother Amanda Grayson. The prequel became a huge success at the box office and Ryder earned a Scream Award for Best Guest Appearance. She also appeared alongside Robin Wright and Julianne Moore in Rebecca Miller's Pippa Lee (2009), and alongside Natalie Portman and Mila Kunis in Darren Aronofsky's Black Swan (2010). Ryder starred in the television film When Love Is Not Enough: The Lois Wilson Story (John Kent Harrison, 2010), for which she was nominated for a Screen Actors Guild Award. She starred in the comedy The Dilemma (Ron Howard, 2011), and the thrillers The Iceman (Ariel Vromen, 2012), and The Letter (Jay Anania, 2012) opposite James Franco. In Tim Burton's Frankenweenie (2012) she lent her voice to the character Elsa Van Helsing. Since 2016, she has embodied the main character, Joyce Byers, in the Netflix series Stranger Things (2016-2022), for which she received positive responses. Her role in the series has been described by many as a comeback. Since 2011 Winona Ryder is in a relationship with Scott MacKinlay Hahn.
Sources: Pedro Borges (IMDb), Wikipedia (Dutch and German), and IMDb.
And, please check out our blog European Film Star Postcards.
The western front of the United States Capitol in 2011.
General information
Architectural style American Neoclassicism
Town or city Capitol Hill, Washington, D.C.
Country United States of America
Construction started September 18, 1793
The United States Capitol is the meeting place of the United States Congress, the legislature of the federal government of the United States. Located in Washington, D.C., it sits atop Capitol Hill at the eastern end of the National Mall. Though it has never been the geographic center of the federal district, the Capitol is the origin by which the quadrants of the District are divided and the city was planned.
Officially, both the east and west sides of the Capitol are referred to as fronts. Historically, however, only the east front of the building was intended for the arrival of visitors and dignitaries. Like the federal buildings for the executive and judicial branches, it is built in the distinctive neoclassical style and has a white exterior.
Contents
History
See also: History of Washington, D.C. and List of National Historic Landmarks in Washington, D.C.
The US Capitol dome at night (photo 2010)
Prior to establishing the nation's capital in Washington, D.C., the United States Congress and its predecessors had met in Philadelphia (Independence Hall and Congress Hall), New York City (Federal Hall), and a number of other locations (Maryland State House in Annapolis, Maryland, Nassau Hall in Princeton, New Jersey).[2] In September 1774, the First Continental Congress brought together delegates from the colonies in Philadelphia, followed by the Second Continental Congress, which met from May 1775 to March 1781.
After adopting the Articles of Confederation, the Congress of the Confederation was formed and convened in Philadelphia from March 1781 until June 1783, when a mob of angry soldiers converged upon Independence Hall, demanding payment for their service during the American Revolutionary War. Congress requested that John Dickinson, the governor of Pennsylvania, call up the militia to defend Congress from attacks by the protesters. In what became known as the Pennsylvania Mutiny of 1783, Dickinson sympathized with the protesters and refused to remove them from Philadelphia. As a result, Congress was forced to flee to Princeton, New Jersey, on June 21, 1783,[3] and met in Annapolis, Maryland and Trenton, New Jersey before ending up in New York City.
The United States Congress was established upon ratification of the United States Constitution and formally began on March 4, 1789. New York City remained home to Congress until July 1790,[4] when the Residence Act was passed to pave the way for a permanent capital. The decision to locate the capital was contentious, but Alexander Hamilton helped broker a compromise in which the federal government would take on war debt incurred during the American Revolutionary War, in exchange for support from northern states for locating the capital along the Potomac River. As part of the legislation, Philadelphia was chosen as a temporary capital for ten years (until December 1800), until the nation's capital in Washington, D.C. would be ready.[5]
Pierre (Peter) Charles L'Enfant was given the task of creating the city plan for the new capital city.[6] L'Enfant chose Jenkins Hill as the site for the Capitol building, with a grand boulevard connecting it with the President's House, and a public space stretching westward to the Potomac River.[7] In reviewing L'Enfant's plan, Thomas Jefferson insisted the legislative building be called the "Capitol" rather than "Congress House". The word "Capitol" comes from Latin and is associated with the Roman temple to Jupiter Optimus Maximus on Capitoline Hill.[8] In addition to coming up with a city plan, L'Enfant had been tasked with designing the Capitol and President's House, however he was dismissed in February 1792 over disagreements with President George Washington and the commissioners, and there were no plans at that point for the Capitol.[9]
Design competition
Design for the U.S. Capitol, "An Elevation for a Capitol", by James Diamond was one of many submitted in the 1792 contest, but not selected.
In spring 1792, Thomas Jefferson proposed a design competition to solicit designs for the Capitol and the President's House, and set a four-month deadline. The prize for the competition was $500 and a lot in the federal city. At least ten individuals submitted designs for the Capitol; however the drawings were regarded as crude and amateurish, reflecting the level of architectural skill present in the United States at the time.[10] The most promising of the submissions was by Stephen Hallet, a trained French architect.[11] However, Hallet's designs were overly fancy, with too much French influence, and were deemed too costly.[12]
A late entry by amateur architect William Thornton was submitted on January 31, 1793, to much praise for its "Grandeur, Simplicity, and Beauty" by Washington, along with praise from Thomas Jefferson. Thornton was inspired by the east front of the Louvre, as well as the Paris Pantheon for the center portion of the design.[13][14] Thornton's design was officially approved in a letter, dated April 5, 1793, from Washington.[15] In an effort to console Hallet, the commissioners appointed him to review Thornton's plans, develop cost estimates, and serve as superintendent of construction. Hallet proceeded to pick apart and make drastic changes to Thornton's design, which he saw as costly to build and problematic.[16] In July 1793, Jefferson convened a five-member commission, bringing Hallet and Thornton together, along with James Hoban, to address problems with and revise Thornton's plan. Hallet suggested changes to the floor plan, which could be fitted within the exterior design by Thornton.[17][18] The revised plan was accepted, except that Jefferson and Washington insisted on an open recess in the center of the East front, which was part of Thornton's original plan.[19]
The original design by Thornton was later modified by Benjamin Henry Latrobe and then Charles Bulfinch.[20] The current dome and the House and Senate wings were designed by Thomas U. Walter and August Schoenborn,[21] a German immigrant, and were completed under the supervision of Edward Clark.[22]
Construction
The Capitol when first occupied by Congress (painting circa 1800 by William Russell Birch)
L'Enfant secured the lease of quarries at Wigginton Island and along Aquia Creek in Virginia for use in the foundations and outer walls of the Capitol in November 1791.[23] Surveying was underway soon after the Jefferson conference plan for the Capitol was accepted.[17] On September 18, 1793 George Washington, along with eight other Freemasons dressed in masonic regalia, laid the cornerstone, which was made by silversmith Caleb Bentley.[24][25]
Construction proceeded with Hallet working under supervision of James Hoban, who was also busy working on construction of the White House. Despite the wishes of Jefferson and the President, Hallet went ahead anyway and modified Thornton's design for the East front and created a square central court that projected from the center, with flanking wings which would house the legislative bodies. Hallet was dismissed by Jefferson on November 15, 1794.[26] George Hadfield was hired on October 15, 1795 as superintendent of construction, but resigned three years later in May 1798, due to dissatisfaction with Thornton's plan and quality of work done thus far.[27]
The Senate wing was completed in 1800, while the House wing was completed in 1811. However, the House of Representatives moved into the House wing in 1807. Though the building was incomplete, the Capitol held its first session of United States Congress on November 17, 1800. The legislature was moved to Washington prematurely, at the urging of President John Adams in hopes of securing enough Southern votes to be re-elected for a second term as president.[28]
Early religious usage
In its early days, the Capitol building was not only used for governmental functions. On Sundays, church services were regularly held there - a practice that continued until after the Civil War. According to the US Library of Congress exhibit "Religion and the Founding of the American Republic" "It is no exaggeration to say that on Sundays in Washington during the administrations of Thomas Jefferson (1801–1809) and of James Madison (1809–1817) the state became a church. Within a year of his inauguration, Jefferson began attending church services in the House of Representatives. Madison followed Jefferson's example, although unlike Jefferson, who rode on horseback to church in the Capitol, Madison came in a coach and four. Worship services in the House—a practice that continued until after the Civil War—were acceptable to Jefferson because they were nondiscriminatory and voluntary. Preachers of every Protestant denomination appeared. (Catholic priests began officiating in 1826.)"[29]
War of 1812
The Capitol after the burning of Washington, D.C. in the War of 1812 (painting 1814 by George Munger)
See also: Burning of Washington
Not long after the completion of both wings, the Capitol was partially burned by the British on August 24, 1814, during the War of 1812. George Bomford, and Joseph Gardner Swift, both military engineers, were called upon to help rebuild the Capitol. Reconstruction began in 1815 and was completed by 1819. Construction continued through to 1826, with the addition of the center Rotunda area and the first dome of the Capitol. Latrobe is principally connected with the original construction and many innovative interior features; his successor, Bulfinch, also played a major role, such as the design of the first dome.
The House and Senate Wings
Daguerreotype of east side of the Capitol (1846 by John Plumbe)
By 1850, it became clear that the Capitol could not accommodate the growing number of legislators arriving from newly admitted states. A new design competition was held, and President Millard Fillmore appointed Philadelphia architect Thomas U. Walter to carry out the expansion. Two new wings were added – a new chamber for the House of Representatives on the south side, and a new chamber for the Senate on the north.[30]
When the Capitol was expanded in the 1850s, some of the construction labor was carried out by slaves "who cut the logs, laid the stones and baked the bricks".[31] The original plan was to use workers brought in from Europe; however, there was a poor response to recruitment efforts, and African Americans—free and slave—comprised the majority of the work force.[32]
The Capitol Building with flowers in the foreground (photo 2010)
Capitol dome
Main article: United States Capitol dome
The 1850 expansion more than doubled the length of the Capitol, dwarfing the original, timber-framed 1818 dome. In 1855, the decision was made to tear it down and replace it with the "wedding-cake style" cast-iron dome that stands today. Also designed by Walter, the new dome stood three times the height of the original dome and 100 feet (30 m) in diameter, yet had to be supported on the existing masonry piers. Like Mansart's dome at Les Invalides (which he had visited in 1838), Walter's dome is double, with a large oculus in the inner dome, through which is seen The Apotheosis of Washington painted on a shell suspended from the supporting ribs, which also support the visible exterior structure and the tholos that supports Freedom, a colossal statue that was added to the top of the dome in 1863. This statue was cast by a slave named Philip Reid. The weight of the cast iron for the dome has been published as 8,909,200 pounds (4,041,100 kg).
Later expansion
US Senate chamber (photo circa 1873)
When the Capitol's new dome was finally completed, its massive visual weight, in turn, overpowered the proportions of the columns of the East Portico, built in 1828. The East Front of the Capitol building was rebuilt in 1904, following a design of the architects Carrère and Hastings, who also designed the Senate and House office buildings.
The next major expansion to the Capitol started in 1958, with a 33.5 feet (10.2 m) extension of the East Portico.[citation needed] During this project, the dome underwent its last restoration.[33] A marble duplicate of the sandstone East Front was built 33.5 feet (10.2 m) from the old Front. (In 1962, a connecting extension incorporated what formerly was an outside wall as an inside wall.) In the process, the Corinthian columns were removed. It was not until 1984 that landscape designer Russell Page created a suitable setting for them in a large meadow at the National Arboretum as the National Capitol Columns, where they are combined with a reflecting pool in an ensemble that reminds some visitors of Persepolis. Besides the columns, hundreds of blocks of the original stone were removed and are stored behind a National Park Service maintenance yard in Rock Creek Park.[34]
In 1960, the dome underwent its last restoration.[33]
National Capitol Columns at the National Arboretum (photo 2008)
On December 19, 1960, the Capitol was declared a National Historic Landmark by the National Park Service.[35] The building was ranked #6 in a 2007 survey conducted for the American Institute of Architects' "America's Favorite Architecture" list.[36] The Capitol draws heavily from other notable buildings, especially churches and landmarks in Europe, including the dome of St. Peter's Basilica in the Vatican and St. Paul's Cathedral in London.[37] On the roofs of the Senate and House Chambers are flagpoles that fly the U.S. flag when either is in session. On September 18, 1993, to commemorate the Capitol's bicentennial, the Masonic ritual cornerstone laying with George Washington was reenacted. Strom Thurmond was one of the Freemason politicians who took part in the ceremony.
On June 20, 2000, ground was broken for the Capitol Visitor Center, which subsequently opened on December 2, 2008.[38] From 2001 through 2008, the East Front of the Capitol (site of most presidential inaugurations until Ronald Reagan began a new tradition in 1981) was the site of construction for this massive underground complex, designed to facilitate a more orderly entrance for visitors to the Capitol. Prior to the center being built, visitors to the Capitol had to queue on the parking lot and ascend the stairs, whereupon entry was made through the massive sculpted Columbus Doors, through a small narthex cramped with security, and thence directly into the Rotunda. The new underground facility provides a grand entrance hall, a visitors theater, room for exhibits, and dining and restroom facilities, in addition to space for building necessities such as an underground service tunnel.
$20 million in work around the base of the dome was done, and before the August 2012 recess, the Senate Appropriations Committee voted to spend $61 million to repair the exterior of the dome, which has at least 1,300 cracks that have led to rusting inside. The House wants to spend less on government operations, making it unlikely the money will be approved.[33]
Interior
Main article: United States Capitol rotunda
See also: United States Capitol Subway System
The Capitol building is marked by its central dome above a rotunda and two wings, one for each chamber of Congress: the north wing is the Senate chamber and the south wing is the House of Representatives chamber. Above these chambers are galleries where visitors can watch the Senate and House of Representatives. It is an example of the neoclassical architecture style. The statue on top of the dome is the Statue of Freedom.[39]
Underground tunnels and a private subway connect the main Capitol building with each of the Congressional office buildings in the surrounding complex. All rooms in the Capitol are designated as either S (for Senate) or H (for House), depending on whether they are north (Senate) or south (House) of the Rotunda. Additionally, all addresses in Washington, D.C. are designated NE, NW, SE, or SW, in relation to the Rotunda. Since the Capitol Rotunda is not located in the center of the District—it is slightly farther east and south—the four D.C. quadrants are not the same shape and size.
Art
The fresco painted on the interior of the Capitol's dome titled The Apotheosis of Washington was painted by Constantino Brumidi in 1865 (photo 2005)
The Capitol has a long history in art of the United States, beginning in 1856 with Italian/Greek American artist Constantino Brumidi and his murals in the hallways of the first floor of the Senate side of the Capitol. The murals, known as the Brumidi Corridors,[40] reflect great moments and people in United States history. Among the original works are those depicting Benjamin Franklin, John Fitch, Robert Fulton, and events such as the Cession of Louisiana. Also decorating the walls are animals, insects and natural flora indigenous to the United States. Brumidi's design left many spaces open so that future events in United States history could be added. Among those added are the Spirit of St. Louis, the Moon landing, and the Challenger shuttle crew.
Brumidi also worked within the Rotunda. He is responsible for the painting of The Apotheosis of Washington beneath the top of the dome, and also the famous Frieze of United States History.[41] The Apotheosis of Washington was completed in 11 months and painted by Brumidi while suspended nearly 180 feet (55 m) in the air. It is said to be the first attempt by the United States to deify a founding father. Washington is depicted surrounded by 13 maidens in an inner ring with many Greek and Roman gods and goddesses below him in a second ring. The frieze is located around the inside of the base of the dome and is a chronological, pictorial history of the United States from the landing of Christopher Columbus to the Wright Brothers's flight in Kitty Hawk, North Carolina. The frieze was started in 1878 and was not completed until 1953. The frieze was therefore painted by four different artists: Brumidi, Filippo Costaggini, Charles Ayer Whipple, and Allyn Cox. The final scenes depicted in the fresco had not yet occurred when Brumidi began his Frieze of the United States History.
Capitol Rotunda (photo 2005)
Within the Rotunda there are eight large paintings about the development of the United States as a nation. On the east side are four paintings depicting major events in the discovery of America. On the west are four paintings depicting the founding of the United States. The east side paintings include The Baptism of Pocahontas by John Gadsby Chapman, The Embarkation of the Pilgrims by Robert Walter Weir, The Discovery of the Mississippi by William Henry Powell, and The Landing of Columbus by John Vanderlyn. The paintings on the west side are by John Trumbull: Declaration of Independence, Surrender of General Burgoyne, Surrender of Lord Cornwallis, and General George Washington Resigning His Commission. Trumbull was a contemporary of the United States' founding fathers and a participant in the American Revolutionary War; he painted a self-portrait into Surrender of Lord Cornwallis.
First Reading of the Emancipation Proclamation of President Lincoln hangs over the west staircase in the Senate wing.[42]
National Statuary Hall Collection viewed from the South (photo date unknown)[43]
The Capitol also houses the National Statuary Hall Collection, comprising two statues donated by each of the fifty states to honor persons notable in their histories. One of the most notable statues in the National Statuary Hall is a bronze statue of King Kamehameha donated by the state of Hawaii upon its accession to the union in 1959. The statue's extraordinary weight of 15,000 pounds (6,804 kg) raised concerns that it might come crashing through the floor, so it was moved to Emancipation Hall of the new Capitol Visitor Center. The 100th, and last statue for the collection, that of Po'pay from the state of New Mexico, was added on September 22, 2005. It was the first statue moved into the Emancipation Hall.
Features
Under the Rotunda there is an area known as the Crypt. It was designed to look down on the final resting place of George Washington in the tomb below. However, under the stipulations of his last will, Washington was buried at Mount Vernon, and as such the area remains open to visitors. The Crypt now houses exhibits on the history of the Capitol. A star inlaid in the floor marks the point at which Washington, D.C. is divided into its four quadrants; however, the exact center of the city lies near the White House. At one end of the room near the Old Supreme Court Chamber is a statue of John C. Calhoun. On the right leg of the statue, a mark from a bullet fired during the 1998 shooting incident is clearly visible. The bullet also left a mark on the cape, located on the back right side of the statue.
Eleven presidents have lain in state in the Rotunda for public viewing, most recently Gerald Ford. The tomb meant for Washington stored the catafalque which is used to support coffins lying in state or honor in the Capitol. The catafalque is now on display in the Capitol Visitors Center for the general public to see when not in use.
The Hall of Columns is located on the House side of the Capitol, home to twenty-eight fluted columns and statues from the National Statuary Hall Collection. In the basement of the Capitol building in a utility room are two marble bathtubs, which are all that remain of the once elaborate Senate baths. These baths were a spa-like facility designed for members of Congress and their guests before many buildings in the city had modern plumbing. The facilities included several bathtubs, a barbershop, and a massage parlor.
A steep, metal staircase, totaling 365 steps, leads from the basement to an outdoor walkway on top of the Capitol's dome.[44] The number of steps represents each day of the year.[45]
Height
Main article: Heights of Buildings Act of 1910
See also: The Height of Buildings Act of 1899
See also: List of tallest buildings in Washington, D.C.
Contrary to a popular myth, D.C. building height laws have never referenced the height of the Capitol building, which rises to 289 feet (88 m).[46] Indeed, the Capitol is only the fifth-tallest structure in Washington.
House Chamber
The House of Representatives Chamber has 448 permanent seats. Unlike Senators, Representatives do not have assigned seats.[47] It is adorned with relief portraits of famous lawmakers and lawgivers throughout history. Of the twenty-three relief portraits only Moses is sculpted from a full front view and is located across from the dais where the Speaker of the House ceremonially sits.
President George W. Bush delivering the annual State of the Union address in the House chamber (photo 2003)
There is also a quote etched in the marble of the chamber, as stated by venerable statesman Daniel Webster: "Let us develop the resources of our land, call forth its powers, build up its institutions, promote all its great interests, and see whether we also, in our day and generation, may not perform something worthy to be remembered."[49]
Senate Chamber
Main article: United States Senate Chamber
Old Supreme Court Chamber (photo 2007)
The current Senate Chamber opened in 1859[50] and is adorned with white marble busts of the former Presidents of the Senate (Vice Presidents).[51]
Old Supreme Court Chamber
Main article: Old Supreme Court Chamber
From 1800 to 1806, this room served as the Senate Chamber and from 1806 until 1860, the room was used as the Supreme Court Chamber. In 1860, the Supreme Court began using the newly vacated Old Senate Chamber. Since 1935, the Supreme Court has met in the United States Supreme Court Building.
Exterior
Grounds
See also: United States Capitol Complex
Capitol Hill and its reflection pool.
Aerial view of the Capitol Grounds from the West (photo date unknown, pre-2001)[52]
The Capitol Grounds cover approximately 274 acres (1.11 km²), with the grounds proper consisting mostly of lawns, walkways, streets, drives, and planting areas. Formerly, a number of monumental sculptures were located on the east facade and lawn of the Capitol including The Rescue and George Washington. The current grounds were designed by noted American landscape architect Frederick Law Olmsted, who planned the expansion and landscaping performed from 1874 to 1892. In 1875, as one of his first recommendations, Olmsted proposed the construction of the marble terraces on the north, west, and south sides of the building that exist today.
Olmsted also designed the Summer House, the open-air brick building that sits just north of the Capitol. Three arches open into the hexagonal structure, which encloses a fountain and twenty-two brick chairs. A fourth wall holds a small window that looks onto an artificial grotto. Built between 1879 and 1881, the Summer House was intended to answer complaints that visitors to the Capitol had no place to sit and no place to obtain water for their horses and themselves. Modern drinking fountains have since replaced Olmsted's fountain for the latter purpose. Olmsted intended to build a second, matching Summer House on the southern side of the Capitol, but congressional objections led to the project's cancellation.
Flags
Up to four U.S. flags can be seen flying over the Capitol. Two flagpoles are located at the base of the dome on the East and West sides. These flagpoles have flown the flag day and night since World War I. The other two flagpoles are above the North (Senate) and South (House of Representatives) wings of the building, and fly only when the chamber below is in session. The flag above the House of Representatives is raised and lowered by House pages. The flag above the United States Senate is raised and lowered by Senate Doorkeepers. To raise the flag, Doorkeepers access the roof of the Capitol from the Senate Sergeant at Arms' office. Several auxiliary flagpoles, to the west of the dome and not visible from the ground, are used to meet congressional requests for flags flown over the Capitol.[citation needed] Constituents pay for U.S. flags flown over the Capitol to commemorate a variety of events such as the death of a veteran family member.
Major events
See also: State funerals in the United States and United States presidential inauguration
The body of former President Ronald Reagan lying in state (photo June 10, 2004)
The Capitol, as well as the grounds of Capitol Hill, have played host to major events, including presidential inaugurations held every four years. During an inauguration, the front of the Capitol is outfitted with a platform and a grand staircase. Annual events at the Capitol include Independence Day celebrations, and the National Memorial Day Concert.
In 1922 the US Post Office featured the US capitol on a US Postage stamp
The general public has paid respect to a number of individuals lying in state at the Capitol, including numerous former presidents, senators, and other officials. Other Americans lying in honor include Officers Jacob Chestnut and John Gibson, the two officers killed in the 1998 shooting incident. Chestnut was the first African American ever to lie in honor in the Capitol. The public also paid respect to civil rights icon Rosa Parks at the Capitol in 2005. She was the first woman and second African American to lie in honor in the Capitol.
Security
See also: United States Capitol shooting incident (1954), 1983 United States Senate bombing, and United States Capitol shooting incident (1998)
On January 30, 1835, what is believed to be the first attempt to kill a sitting President of the United States occurred just outside the United States Capitol. When President Andrew Jackson was leaving the Capitol out of the East Portico after the funeral of South Carolina Representative Warren R. Davis, Richard Lawrence, an unemployed and deranged housepainter from England, either burst from a crowd or stepped out from hiding behind a column and aimed a pistol at Jackson which misfired. Lawrence then pulled out a second pistol which also misfired. It has since been postulated that the moisture from the humid weather of the day contributed to the double misfiring.[53] Lawrence was then restrained, with legend saying that Jackson attacked Lawrence with his cane, prompting his aides to restrain him. Others present, including David Crockett, restrained and disarmed Lawrence.
On July 2, 1915, prior to the United States' entry into World War I, Eric Muenter (aka Frank Holt), a German professor who wanted to stop American support of the Allies in World War I, exploded a bomb in the reception room of the U.S. Senate. The next morning he tried to assassinate J. P. Morgan, Jr., son of the financier, at his home on Long Island, New York. In a letter to the Washington Evening Star published after the explosion, Muenter writing under an assumed name, said he hoped that the detonation would "make enough noise to be heard above the voices that clamor for war." J.P. Morgan's company served as Great Britain's principal U.S. purchasing agent for munitions and other war supplies.
The Capitol at night (photo 2006)
In 1954, Puerto Rican nationalists opened fire on members of Congress from the visitors' gallery. On March 1, 1971, a bomb exploded on the ground floor of the Capitol, placed by the radical left domestic terrorist group, the Weather Underground. They placed the bomb as a demonstration against U.S. involvement in Laos. On November 7, 1983, a group called the Armed Resistance Unit claimed responsibility for a bomb that detonated in the lobby outside the office of Senate Minority Leader Robert Byrd.[54] Six people associated with the John Brown Anti-Klan Committee were later found in contempt of court for refusing to testify about the bombing.[55] In 1990, three members of the Armed Resistance Unit were convicted of the bombing, which they claimed was in response to the invasion of Grenada.[56] On July 24, 1998, Russell Eugene Weston Jr. burst into the Capitol and opened fire, killing two Capitol Police officers. The Capitol is believed to have been the intended target of the hijacked United Airlines Flight 93 on September 11, 2001, before it crashed near Shanksville in Somerset County, Pennsylvania, after passengers tried to take over control of the plane from hijackers.[57][58]
Since the September 11, 2001 attacks, the roads and grounds around the Capitol have undergone dramatic changes. The United States Capitol Police have also installed checkpoints to inspect vehicles at specific locations around Capitol Hill,[59][60] and have closed a section of one street indefinitely.[60] The level of screening employed varies. On the main east-west thoroughfares of Constitution and Independence Avenues, barricades are implanted in the roads that can be raised in the event of an emergency. Trucks larger than pickups are interdicted by the Capitol Police and are instructed to use other routes. On the checkpoints at the shorter cross streets, the barriers are typically kept in a permanent "emergency" position, and only vehicles with special permits are allowed to pass. All Capitol visitors are screened by a magnetometer, and all items that visitors may bring inside the building are screened by an x-ray device. In both chambers, gas masks are located underneath the chairs in each chamber for members to use in case of emergency.[citation needed] Structures ranging from scores of Jersey barriers to hundreds of ornamental bollards have been erected to obstruct the path of any vehicles that might stray from the designated roadways.[61]
Capitol Visitor Center
Opening ceremony of the Capitol Visitor Center, December 2008. The plaster cast model of the Statue of Freedom is in the foreground.
Main article: United States Capitol Visitor Center
The underground, three-level, 580,000-square-foot (54,000 m2) United States Capitol Visitor Center (CVC) opened on December 2, 2008. The CVC is meant to bring all visitors in through one handicap accessible security checkpoint, yards away from the Capitol itself, increasing security and offering visitors educational exhibits, a food court, and restrooms. The estimated final cost of constructing the CVC was US$621 million.[62] The project had long been in the planning stages, but the 1998 killings of two Capitol Police officers provided the impetus to start work. Construction began in the fall of 2001.
Critics say that security improvements have been the least of the project's expense. Construction delays and added features by Congress added greatly to the cost. Citizens Against Government Waste have called the CVC a "Monument to Waste".[63] However many, including those who work in the Capitol, consider it a necessary and appropriate historical project. It is located completely underground, though skylights provide views of the Capitol dome.
Damein Hirst at the Ken C. Arnold Art Collection Damien Hirst (B. 1965)
Opium
lambda inkjet print in colours, 2000, on glossy wove paper, signed in black felt-tip pen, numbered on the reverse, published by Eyestorm, London, printed close to the edges of the full sheet as issued. Excellent condition.
L., S. 484 x 435 mm.
Damien Hirst
Damien Hirst
Born 7 June 1965 (1965-06-07) (age 44)
Bristol, England
Nationality British
Field Conceptual art, installation art, painting
Training Leeds College of Art and Design, Goldsmiths
Movement Young British Artists
Works The Physical Impossibility of Death in the Mind of Someone Living, For the Love of God
Patrons Charles Saatchi
Awards Turner Prize
Damien Steven Hirst[1] (born 7 June 1965) is an English artist and the most prominent[2] member of the group known as "Young British Artists" (or YBAs), who dominated the art scene in Britain during the 1990s.[3] He is internationally renowned,[4] and has been claimed to be the richest living artist to date.[5] During the 1990s his career was closely linked with the collector Charles Saatchi, but increasing frictions came to a head in 2003 and the relationship ended.[6]
Death is a central theme in Hirst's works.[7][8] He became famous for a series of artworks in which dead animals (including a shark, a sheep and a cow) are preserved—sometimes having been dissected—in formaldehyde. The Physical Impossibility of Death in the Mind of Someone Living, a 14-foot (4.3 m) tiger shark immersed in formaldehyde in a vitrine became the iconic work of British art in the 1990s,[9] and the symbol of Britart worldwide.[10] He has also made "spin paintings," created on a spinning circular surface, and "spot paintings", which are rows of randomly-colored circles.
In September 2008, he took an unprecedented move for a living artist[11] by selling a complete show, Beautiful Inside My Head Forever, at Sotheby's by auction and by-passing his long-standing galleries.[12] The auction exceeded all predictions, raising £111 million ($198 million), breaking the record for a one-artist auction[13] as well as Hirst's own record with £10.3 million for The Golden Calf, an animal with 18-carat gold horns and hooves, preserved in formaldehyde.[12]
Contents [hide]
1 Life and career
1.1 Early life
1.2 Breakthrough
1.3 Charles Saatchi
1.4 Post-Saatchi
1.4.1 Beautiful Inside My Head Forever
1.4.2 Cartrain
1.5 Painting
2 Work philosophy
2.1 Appropriation
3 Hirst's own collection
4 Restaurant ventures
5 Charitable work
6 Personal life and wealth
7 Critical responses to conceptual work
7.1 Positive
7.2 Negative
8 Artworks
9 See also
10 References
11 External links
[edit] Life and career
[edit] Early life
Hirst studied at Goldsmiths, University of London.Damien Hirst was born in Bristol and grew up in Leeds. His father was a motor mechanic, who left the family when Hirst was 12.[14] His mother, Mary, was a lapsed Catholic, who worked for the Citizens Advice Bureau and says she lost control of him when he was young.[14] He was arrested on two occasions for shoplifting.[14] However, Hirst sees her as someone who would not tolerate rebellion: she cut up his bondage trousers and heated one of his Sex Pistols vinyl records on the cooker to turn it into a fruit bowl[15] (or a plant pot[16]). He says, "If she didn't like how I was dressed, she would quickly take me away from the bus stop." She did, though, encourage his liking for drawing, which was his only successful educational subject.[15]
His art teacher "pleaded"[15] for Hirst to be allowed to enter the sixth form,[15] where he took two A-levels, achieving an "E" grade in art.[14] He was refused admission to Leeds College of Art and Design, when he first applied, but attended the college after a subsequent successful application.[14]
Michael Craig-Martin. An Oak Tree, 1973He went to an exhibition of work by Francis Davison, staged by Julian Spalding at the Hayward Gallery in 1983.[17] Davison created abstract collages from torn and cut coloured paper, which Hirst said, "blew me away", and which he modelled his own work on for the next two years.[17]
He worked for two years on London building sites, then studied Fine Art at Goldsmiths, University of London[14] (1986–89), although again he was refused a place the first time he applied. In 2007, Hirst was quoted as saying of An Oak Tree by Goldsmiths' senior tutor, Michael Craig-Martin: "That piece is, I think, the greatest piece of conceptual sculpture. I still can't get it out of my head."[18] While a student, Hirst had a placement at a mortuary, an experience that influenced his later themes and materials.
[edit] Breakthrough
In July 1988 in his second year at Goldsmiths College, Hirst was the main organiser of an independent student exhibition, Freeze, in a disused London Port Authority administrative block in London's Docklands. He gained sponsorship from the London Docklands Development Corporation. The show was visited by Charles Saatchi, Norman Rosenthal and (Sir) Nicholas Serota, thanks to the influence of his Goldsmiths' lecturer Michael Craig-Martin. Hirst's own contribution to the show consisted of a cluster of cardboard boxes painted with household paint.[19] After graduating, Hirst was included in New Contemporaries show and in a group show at Kettles Yard Gallery in Cambridge. Seeking a gallery dealer, he first approached Karsten Schubert, but was turned down.
In 1990 Hirst, along with his friend Carl Freedman and Billee Sellman, curated two enterprising "warehouse" shows, Modern Medicine and Gambler, in a Bermondsey former Peek Freans biscuit factory they designated "Building One".[20][21] Saatchi arrived at the second show in a green Rolls Royce and, according to Freedman, stood open-mouthed with astonishment in front of (and then bought) Hirst's first major "animal" installation, A Thousand Years, consisting of a large glass case containing maggots and flies feeding off a rotting cow's head.[22] They also staged Michael Landy's Market.[21] At this time, Hirst said, "I can’t wait to get into a position to make really bad art and get away with it. At the moment if I did certain things people would look at it, consider it and then say 'f off'. But after a while you can get away with things."[17]
In 1991 his first solo exhibition, organised by Tamara Chodzko - Dial, In and Out of Love, was held in an unused shop on Woodstock Street in central London; he also had solo exhibitions at the Institute of Contemporary Arts, and the Emmanuel Perrotin Gallery in Paris. The Serpentine Gallery presented the first survey of the new generation of artists with the exhibition Broken English, in part curated by Hirst. At this time Hirst met the up-and-coming art dealer, Jay Jopling, who then represented him.
[edit] Charles Saatchi
In 1991, Charles Saatchi had offered to fund whatever artwork Hirst wanted to make, and the result was showcased in 1992 in the first Young British Artists exhibition at the Saatchi Gallery in North London. Hirst's work was titled The Physical Impossibility of Death in the Mind of Someone Living and was a shark in formaldehyde in a vitrine, and sold for £50,000. The shark had been caught by a commissioned fisherman in Australia and had cost £6,000.[23] It became the iconic work of British art in the 1990s,[9] and the symbol of Britart worldwide.[10] The exhibition also included A Thousand Years. As a result of the show, Hirst was nominated for that year's Turner Prize, but it was awarded to Grenville Davey.
The Physical Impossibility of Death in the Mind of Someone Living by Damien Hirst (1991)Hirst's first major international presentation was in the Venice Biennale in 1993 with the work, Mother and Child Divided, a cow and a calf cut into sections and exhibited in a series of separate vitrines. He curated the show Some Went Mad, Some Ran Away in 1994 at the Serpentine Gallery in London, where he exhibited Away from the Flock (a sheep in a tank of formaldehyde). On 9 May, Mark Bridger, a 35 year old artist from Oxford, walked in to the gallery and poured black ink into the tank, and retitled the work Black Sheep. He was subsequently prosecuted, at Hirst's wish, and was given two years' probation. The sculpture was restored at a cost of £1,000.
In 1995, Hirst won the Turner Prize. New York public health officials banned Two Fucking and Two Watching featuring a rotting cow and bull, because of fears of "vomiting among the visitors". There were solo shows in Seoul, London and Salzburg. He directed the video for the song "Country House" for the band Blur. No Sense of Absolute Corruption, his first solo show in the Gagosian Gallery in New York was staged the following year. In London the short film, Hanging Around, was shown—written and directed by Hirst and starring Eddie Izzard. In 1997 the Sensation exhibition opened at the Royal Academy in London. A Thousand Years and other works by Hirst were included, but the main controversy occurred over other artists' works. It was nevertheless seen as the formal acceptance of the YBAs into the establishment.[24]
Beautiful revolving sphincter, oops brown painting by Damien Hirst (2003)In 1998, his autobiography and art book, I Want To Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now, was published. With Alex James of the band Blur and actor Keith Allen, he formed the band Fat Les, achieving a number 2 hit with a raucous football-themed song Vindaloo, followed up by Jerusalem with the London Gay Men's Chorus. Hirst also painted a simple colour pattern for the Beagle 2 probe. This pattern was to be used to calibrate the probe's cameras after it had landed on Mars. He turned down the British Council's invitation to be Britain's representative at the 1999 Venice Biennale because "it didn't feel right".[25] He sued British Airways claiming a breach of copyright over an advert design with coloured spots for its low budget airline, Go.
In 2000, Hirst's sculpture Hymn (which Saatchi had bought for a reported £1m) was given pole position at the show Ant Noises (an anagram of "sensation") in the Saatchi Gallery. Hirst was then sued himself for breach of copyright over this sculpture (see Appropriation below).[26] Hirst sold three more copies of his sculpture for similar amounts to the first.[27] In September 2000, in New York, Larry Gagosian held the Hirst show, Damien Hirst: Models, Methods, Approaches, Assumptions, Results and Findings. 100,000 people visited the show in 12 weeks and all the work was sold.
On 10 September 2002, on the eve of the first anniversary of the 9/11 World Trade Center attacks, Hirst said in an interview with BBC News Online:
"The thing about 9/11 is that it's kind of like an artwork in its own right. It was wicked, but it was devised in this way for this kind of impact. It was devised visually... You've got to hand it to them on some level because they've achieved something which nobody would have ever have thought possible, especially to a country as big as America. So on one level they kind of need congratulating, which a lot of people shy away from, which is a very dangerous thing."[28]
The next week, following public outrage at his remarks, he issued a statement through his company, Science Ltd:
"I apologise unreservedly for any upset I have caused, particularly to the families of the victims of the events on that terrible day."[29]
Hirst gave up smoking and drinking in 2002, although the short-term result was that his wife Maia "had to move out because I was so horrible." He had met Joe Strummer (former lead singer of The Clash) at Glastonbury in 1995, becoming good friends and going on annual family holidays with him. Just before Christmas 2002, Strummer died of a heart attack. This had a profound effect on Hirst, who said, "It was the first time I felt mortal." He subsequently devoted a lot of time to founding a charity, Strummerville, to help young musicians.[15]
In April 2003, the Saatchi Gallery opened at new premises in County Hall, London, with a show that included a Hirst retrospective. This brought a developing strain in his relationship with Saatchi to a head[6] (one source of contention had been who was most responsible for boosting their mutual profile). Hirst disassociated himself from the retrospective to the extent of not including it in his CV.[6] He was angry that a Mini car that he had decorated for charity with his trademark spots was being exhibited as a serious artwork.[6] The show also scuppered a prospective Hirst retrospective at Tate Modern.[6] He said Saatchi was "childish"[15] and "I'm not Charles Saatchi's barrel-organ monkey ... He only recognises art with his wallet ... he believes he can affect art values with buying power, and he still believes he can do it."[6]
In September 2003 he had an exhibition Romance in the Age of Uncertainty at Jay Jopling's White Cube gallery in London, which made him a reported £11m,[15] bringing his wealth to over £35m. It was reported that a sculpture, Charity, had been sold for £1.5m to a Korean, Kim Chang-Il, who intended to exhibit it in his department store's gallery in Seoul.[30] The 22 foot (6.7m) 6 ton sculpture was based on the 1960s Spastic Society's model, which is of a girl in leg irons holding a collecting box. In Hirst's version the collecting box is shown broken open and is empty.
Charity was exhibited in the centre of Hoxton Square, in front of the White Cube. Inside the gallery downstairs were 12 vitrines representing Jesus's disciples, each case containing mostly gruesome, often blood-stained, items relevant to the particular disciple. At the end was an empty vitrine, representing Christ. Upstairs were four small glass cases, each containing a cow's head stuck with scissors and knives. It has been described as an "extraordinarily spiritual experience" in the tradition of Catholic imagery.[31] At this time Hirst bought back 12 works from Saatchi (a third of Saatchi's holdings of Hirst's early works), via Jay Jopling, for a total fee reported to exceed £8 million. Hirst had sold these pieces to Saatchi in the early 1990s for a considerably smaller sum, his first installations costing less than £10,000.[6]
Virgin Mother by Damien HirstOn 24 May 2004, a fire in the Momart storage warehouse destroyed many works from the Saatchi collection, including 17 of Hirst's, although the sculpture Charity survived, as it was outside in the builder's yard. That July, Hirst said of Saatchi, "I respect Charles. There's not really a feud. If I see him, we speak, but we were never really drinking buddies."[15]
Hirst designed a cover for the Band Aid 20 charity single featuring the "Grim Reaper" in late 2004. The image showed an African child perched on his knee. This was not to the liking of the record company executives and was replaced by reindeer in the snow standing next to a child.
In December 2004, The Physical Impossibility of Death in the Mind of Someone Living was sold by Saatchi to American collector Steve Cohen, for $12 million (£6.5 million), in a deal negotiated by Hirst's New York agent, Gagosian.[32] Cohen, a Greenwich hedge fund manager, then donated the work to The Metropolitan Museum of Art, New York. Sir Nicholas Serota had wanted to acquire it for the Tate Gallery, and Hugo Swire, Shadow Minister for the Arts, tabled a question to ask if the government would ensure it stayed in the country.[33] Current export regulations do not apply to living artists.
Hirst exhibited 30 paintings at the Gagosian Gallery in New York in March 2005. These had taken 3 1/2 years to complete. They were closely based on photos, mostly by assistants (who were rotated between paintings) but with a final finish by Hirst.[34]
In February 2006, he opened a major show in Mexico, at the Hilario Galguera Gallery, called The Death of God, Towards a Better Understanding of Life without God aboard The Ship of Fools. The exhibition attracted considerable media coverage as Hirst's first show in Latin America. In June that year, he exhibited alongside the work of Francis Bacon (Triptychs) at the Gagosian Gallery, Britannia Street, London. Included in the exhibition was the seminal vitrine, A Thousand Years (1990), and four triptychs: paintings, medicine cabinets and a new formaldehyde work entitled The Tranquility of Solitude (For George Dyer), influenced by Francis Bacon.
For the Love of God by Damien Hirst (2007)A Thousand Years, one of Hirst's most provocative and engaging works, contains an actual life cycle. Maggots hatch inside a white minimal box, turn into flies, then feed on a bloody, severed cow's head on the floor of a claustrophobic glass vitrine. Above, hatched flies buzz around in the closed space. Many meet a violent end in an insect-o-cutor; others survive to continue the cycle. A Thousand Years was admired by Francis Bacon, who in a letter to a friend a month before he died, wrote about the experience of seeing the work at the Saatchi Gallery in London. Margarita Coppack notes that "It is as if Bacon, a painter with no direct heir in that medium, was handing the baton on to a new generation." Hirst has openly acknowledged his debt to Bacon, absorbing the painter's visceral images and obsessions early on and giving them concrete existence in sculptural form with works like A Thousand Years.[35]
Hirst gained the auction record for the most expensive work of art by a living artist — his Lullaby Spring in June 2007, when a 3 metre (10 ft) wide steel cabinet with 6,136 pills sold for 19.2 million dollars to Sheikh Hamad bin Khalifa Al-Thani, the Emir of Qatar.[36][37]
In June 2007, Beyond Belief, an exhibition of Hirst's new work, opened at the White Cube gallery in London. The centre-piece, a Memento Mori titled For the Love of God, was a human skull recreated in platinum and adorned with 8,601 diamonds weighing a total of 1,106.18 carats.[38]. Approximately £15,000,000 worth of diamonds were used. It was modelled on an 18th century skull, but the only surviving human part of the original is the teeth. The asking price for For the Love of God was £50,000,000 ($100 million or 75 million euros). It didn't sell outright,[39] and on 30 August 2008 was sold to a consortium that included Hirst himself and his gallery White Cube.[39]
In November 2008, the skull was exhibited at the Rijksmuseum in Amsterdam next to an exhibition of paintings from the museum collection selected by Hirst. Wim Pijbes, the museum director, said of the exhibition, "It boosts our image. Of course, we do the Old Masters but we are not a 'yesterday institution'. It's for now. And Damien Hirst shows this in a very strong way."[40]
[edit] Beautiful Inside My Head Forever
Main article: Beautiful Inside My Head Forever
Beautiful Inside My Head Forever was a two day auction of Hirst's new work at Sotheby's, London, taking place on 15 and 16 September 2008.[12] It was unusual as he bypassed galleries and sold directly to the public.[41] Writing in The Independent, Cahal Milmo said that the idea of the auction was conceived by Hirst's business advisor of 13 years, Frank Dunphy, who had to overcome Hirst's initial reluctance about the idea.[42]
The sale raised £111 million ($198 million) for 218 items.[13] The auction exceeded expectations,[13] and was ten times higher than the existing Sotheby's record for a single artist sale,[43] occurring as the financial markets plunged.[43] The Sunday Times said that Hirst's business colleagues had "propped up"[43] the sale prices, making purchases or bids which totalled over half of the £70.5 million spent on the first sale day:[43] Harry Blain of the Haunch of Venison gallery said that bids were entered on behalf of clients wishing to acquire the work.[43]
[edit] Cartrain
Main article: Cartrain
Sculpture by Damien Hirst outside the Wallace Collection for his exhibition there in 2009In December 2008, Hirst contacted the Design and Artists Copyright Society (DACS) demanding action be taken over works containing images of his skull sculpture For the Love of God made by a 16 year old graffiti artist, Cartrain, and sold on the internet gallery 100artworks.com. On the advice of his gallery, Cartrain handed over the artworks to DACS and forfeited the £200 he had made; he said, "I met Christian Zimmermann [from DACS] who told me Hirst personally ordered action on the matter."[44] In June 2009, copyright lawyer Paul Tackaberry compared the two images and said, "This is fairly non-contentious legally. Ask yourself, what portion of the original--and not just the quantity but also the quality--appears in the new work? If a 'substantial portion' of the 'original' appears in the new work, then that's all you need for copyright infringement... Quantitatively about 80% of the skull is in the second image."[45]
Cartrain walked into Tate Britain in July 2009 and removed a pack of "very rare Faber Castell 1990 Mongol 482 series pencils" from Damien Hirst's pharmacy installation. Cartrain had then made a "fake" police appeal poster stating that the pencils had been "stolen" and that if anyone had any information they should call the police on the phone number advertised. Cartrain was arrested for £500,000 worth of theft.[46]
[edit] Painting
In October 2009, Hirst revealed that he had been painting with his own hand in a style influenced by Francis Bacon for several years. According to Sarah Thornton, "For his latest violation of art-world etiquette, he’s enacting the fantasy of being a lonely romantic painter."[47] No Love Lost, his show of these paintings at the Wallace Collection in London received "one of the most unanimously negative responses to any exhibition in living memory".[48] Tom Lubbock of The Independent called Hirst's work derivative, weak and boring:[49] "Hirst, as a painter, is at about the level of a not-very-promising, first-year art student."[49] Rachel Campbell-Johnston of The Times said it was "shockingly bad".[49]
[edit] Work philosophy
LSD by Damien HirstAlthough Hirst participated physically in the making of early works, he has always needed assistants (Carl Freedman helped with the first vitrines), and now the volume of work produced necessitates a "factory" setup, akin to Andy Warhol's or a Renaissance studio. This has led to questions about authenticity, as was highlighted in 1997, when a spin painting that Hirst said was a "forgery" appeared at sale, although he had previously said that he often had nothing to do with the creation of these pieces.
Rachel Howard painted Hirst's "best spot paintings".[50] Photographed by Ross McNicolHirst said that he only painted five spot paintings himself because, "I couldn't be fucking arsed doing it"; he described his efforts as "shite"—"They're shit compared to ... the best person who ever painted spots for me was Rachel. She's brilliant. Absolutely fucking brilliant. The best spot painting you can have by me is one painted by Rachel." He also describes another painting assistant who was leaving and asked for one of the paintings. Hirst told her to, "'make one of your own.' And she said, 'No, I want one of yours.' But the only difference, between one painted by her and one of mine, is the money.'"[50] By February 1999, two assistants had painted 300 spot paintings. Hirst sees the real creative act as being the conception, not the execution, and that, as the progenitor of the idea, he is therefore the artist:
Art goes on in your head," he says. "If you said something interesting, that might be a title for a work of art and I'd write it down. Art comes from everywhere. It's your response to your surroundings. There are on-going ideas I've been working out for years, like how to make a rainbow in a gallery. I've always got a massive list of titles, of ideas for shows, and of works without titles.[15]
Hirst is also known to volunteer repair work on his projects after a client has made a purchase. For example, this service was offered in the case of the suspended shark purchased by Steven A. Cohen.[51][52][53]
[edit] Appropriation
In 1999, chef Marco Pierre White said Hirst's Butterflies On Mars had plagiarised his own work, Rising Sun, which he then put on display in the restaurant Quo Vadis in place of the Hirst work.[54]
Spiritus Callidus #2 by John Lekay, 1993, crystal skullIn 2000, Hirst was sued for breach of copyright over his sculpture, Hymn, which was a 20-foot (6.1 m), six ton, enlargement of his son Connor's 14" Young Scientist Anatomy Set, designed by Norman Emms, 10,000 of which are sold a year by Hull-based toy manufacturer Humbrol for £14.99 each.[26] Hirst paid an undisclosed sum to two charities, Children Nationwide and the Toy Trust in an out-of-court settlement,[26] as well as a "good will payment" to Emms.[54] The charitable donation was less than Emms had hoped for. Hirst also agreed to restrictions on further reproductions of his sculpture.[26]
A graphic artist and former research associate at the Royal College of Art, Robert Dixon, stated in 2006 that Hirst's print Valium had "unmistakable similarities" to one of his own designs. Hirst's manager contested this by explaining the origin of Hirst's piece was from a book The Penguin Dictionary of Curious and Interesting Geometry (1991)—not realising this was where Dixon's design had been published.[54][55]
In 2007, artist John LeKay said he was a friend of Damien Hirst between 1992 and 1994 and had given him a "marked-up duplicate copy" of a Carolina Biological Supply Company catalogue, adding "You have no idea how much he got from this catalogue. The Cow Divided is on page 647 – it is a model of a cow divided down the centre, like his piece." This refers to Hirst’s work Mother and Child, Divided—a cow and calf cut in half and placed in formaldehyde.[55] LeKay also claimed Hirst had copied the idea of For the Love of God from LeKay's crystal skulls made in 1993, and said, "I would like Damien to acknowledge that 'John really did inspire the skull and influenced my work a lot.'"[55] Copyright lawyer Paul Tackaberry reviewed images of LeKay's and Hirst's work and saw no basis for copyright infringement claims in a legal sense.[45]
[edit] Hirst's own collection
In November 2006 Hirst was curator of In the darkest hour there may be light, the first public exhibition of (a small part of) his own collection. Now known as the ‘murderme collection’, this significant accumulation of works spans several generations of international artists, from well-known figures such as Francis Bacon, Jeff Koons, Tracey Emin, Richard Prince and Andy Warhol, to artists in earlier stages of their careers such as his former assistant Rachel Howard[56] , David Choe, Nicholas Lumb, Tom Ormond and Dan Baldwin.[57]
“As a human being, as you go through life, you just do collect. It was that sort of entropic collecting that I found myself interested in, just amassing stuff while you’re alive.” - Damien Hirst, 2006.[58]
Hirst is currently restoring the Grade I listed Toddington Manor, near Cheltenham, where he intends to eventually house the complete collection.[59]
In 2007, Hirst donated the 1991 sculptures "The Acquired Inability to Escape" and "Life Without You" and the 2002 work "Who is Afraid of the Dark?" (fly painting), and an exhibition copy from 2007 of "Mother and Child Divided" to the Tate Museum from his own personal collection of works.[60]
[edit] Restaurant ventures
Hirst had a short-lived partnership with chef Marco Pierre White in the restaurant Quo Vadis.
His best known restaurant involvement was Pharmacy, located in Notting Hill, London, which closed in September 2003. Although one of the owners, Hirst had only leased his art work to the restaurant, so he was able to retrieve and sell it at a Sotheby's auction, earning over £11 million. Some of the work had been adapted, e.g. by signing it prior to the auction.[61].
Hirst opened and currently helps to run a seafood restaurant, 11 The Quay, in the seaside town of Ilfracombe in the UK.
[edit] Charitable work
Damien Hirst is a supporter of the indigenous rights organization, Survival International.[62] On September 2008, Hirst donated the work, Beautiful Love Survival, at the Sotheby’s London sale, Beautiful Inside My Head Forever, to raise money for this organization.[63][64] Later, he also contributed his writing to the book, We Are One: A Celebration of Tribal Peoples, released in October 2009, in support of Survival. The book explores the existence and threats of indigenous cultures around the world.[65][66]
[edit] Personal life and wealth
Hirst lives with his Californian girlfriend, Maia Norman, by whom he has three sons: Connor Ojala, (born 1995, Kensington and Chelsea, London), Cassius Atticus (born 2000, North Devon) and Cyrus Joe (born 2005, Westminster, London).[67] Since the birth of Connor, he has spent most of his time at his remote farmhouse, a 300 year old former inn, near Combe Martin Devon. Hirst and Norman are not married[68] although he has referred to her as his "common-law wife".[5] The artist owns a large compound in Baja, Mexico that serves as a part-time residence and art studio. The studio employs several artists that carry out Hirst's projects.
Hirst has admitted serious drug and alcohol problems during a ten year period from the early 1990s: "I started taking cocaine and drink ... I turned into a babbling fucking wreck."[50] During this time he was renowned for his wild behaviour and extrovert acts, including for example, putting a cigarette in the end of his penis in front of journalists.[69] He was an habitué of the high profile Groucho Club in Soho, London, and was banned on occasion for his behaviour.
He is reputed to be the richest living artist to date.[5] In 2009, the annually collated chart of the wealthiest individuals in Britain and Ireland, The Times Rich List, placed Hirst at joint number 238 with a net worth of £235m.[70]
[edit] Critical responses to conceptual work
[edit] Positive
Tracey Emin compared Hirst with Andy Warhol.[71]Hirst has been praised in recognition of his celebrity and the way this has galvanised interest in the arts, raising the profile of British art and helping to (re)create the image of "Cool Britannia." In the mid-1990s, the then-Heritage Secretary, Virginia Bottomley recognised him as "a pioneer of the British art movement", and even sheep farmers were pleased he had raised increased interest in British lamb.[72] Janet Street-Porter praised his originality, which had brought art to new audiences and was the "art-world equivalent of the Oasis concerts at Earl's Court".[72]
Andres Serrano is also known for shocking work and understands that contemporary fame does not necessarily equate to lasting fame, but backs Hirst: "Damien is very clever ... First you get the attention ... Whether or not it will stand the test of time, I don't know, but I think it will."[72] Sir Nicholas Serota commented, "Damien is something of a showman ... It is very difficult to be an artist when there is huge public and media attention. Because Damien Hirst has been built up as a very important figure, there are plenty of sceptics ready to put the knife in."[72]
Tracey Emin said: "There is no comparison between him and me; he developed a whole new way of making art and he's clearly in a league of his own. It would be like making comparisons with Warhol."[71] Despite Hirst's insults to him, Saatchi remains a staunch supporter, labelling Hirst a genius[72] and stating:
General art books dated 2105 will be as brutal about editing the late 20th century as they are about almost all other centuries. Every artist other than Jackson Pollock, Andy Warhol, Donald Judd and Damien Hirst will be a footnote.[73]
[edit] Negative
There has been equally vehement opposition to Hirst's work. Norman Tebbit, commenting on the Sensation exhibition, wrote "Have they gone stark raving mad? The works of the 'artist' are lumps of dead animals. There are thousands of young artists who didn't get a look in, presumably because their work was too attractive to sane people. Modern art experts never learn."[74] The view of the tabloid press was summed up by a Daily Mail headline: "For 1,000 years art has been one of our great civilising forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all." The Evening Standard art critic, Brian Sewell, said simply, "I don't think of it as art ... It is no more interesting than a stuffed pike over a pub door. Indeed there may well be more art in a stuffed pike than a dead sheep."[74]
The Stuckist art group was founded in 1999 with a specific anti-Britart agenda by Charles Thomson and Billy Childish;[75] Hirst is one of their main targets. They wrote (referring to a Channel 4 programme on Hirst):
The fact that Hirst's work does mirror society is not its strength but its weakness - and the reason it is guaranteed to decline artistically (and financially) as current social modes become outmoded. What Hirst has insightfully observed of his spin-paintings in Life and Death and Damien Hirst is the only comment that needs to be made of his entire oeuvre: "They're bright and they're zany - but there's fuck all there at the end of the day."[74]
A Dead Shark Isn't Art, Stuckism International Gallery 2003.[76]In 2003, under the title A Dead Shark Isn't Art, the Stuckism International Gallery exhibited a shark which had first been put on public display two years before Hirst's by Eddie Saunders in his Shoreditch shop, JD Electrical Supplies. Thomson asked, "If Hirst’s shark is recognised as great art, then how come Eddie’s, which was on exhibition for two years beforehand, isn’t? Do we perhaps have here an undiscovered artist of genius, who got there first, or is it that a dead shark isn’t art at all?" [76] The Stuckists suggested that Hirst may have got the idea for his work from Saunders' shop display.[77]
In 2008 leading art critic Robert Hughes said Hirst was responsible for the decline in contemporary art.[78] Hughes said Hirst's work was "tacky" and "absurd" in a 2008 TV documentary called The Mona Lisa Curse made by Hughes for Channel 4 in Britain. Hughes said it was "a little miracle" that the value of £5 million was put on Hirst's Virgin Mother (a 35 foot bronze statue), which was made by someone "with so little facility".[79] Hughes called Hirst's shark in formaldehyde "the world's most over-rated marine organism" and attacked the artist for "functioning like a commercial brand", making the case that Hirst and his work proved that financial value was now the only meaning that remained for art.[79]
[edit] Artworks
His works include:
In and Out of Love (1991), an installation of potted plants, caterpillars and monochrome canvases painted with sugar solution and glue. There were also (in a separate room) tables with ashtrays containing used cigarette butts. Eventually, the caterpillars metamorphose into butterflies, and the insects become fixed to the surfaces of the canvases. In its now fixed form, the work is held by the Yale Center for British Art and is on regular exhibit there.
The Physical Impossibility of Death in the Mind of Someone Living (1991), a tiger shark in a glass tank of formaldehyde. This piece was one of the works in his Turner Prize nomination show.
Pharmacy (1992), a life-size recreation of a chemist's shop.
A Thousand Years (1991), composed of a vitrine with a glass division. In one half is the severed head of a cow on the floor; in the other is an insect electrocutor. Maggots introduced into the vitrine feed off the cow and then develop into flies that are killed by the electrocutor.
Amonium Biborate (1993)
Away from the Flock (1994), composed of a dead sheep in a glass tank of formaldehyde.
Arachidic Acid (1994) an early example of Hirst's spot paintings.
Some Comfort Gained from the Acceptance of the Inherent Lies in Everything (1996) multiple cows in a line head-to-tail, divided cross-sectionally into equal rectangular tanks of formaldehyde, equally-spaced, each containing about 3 feet (0.91 m) of the animals.
Beautiful Axe , Slash, Gosh Painting (1999) Signed on the reverse. Gloss household paint on canvas
Hymn (1999), a scaled-up replica of his son Connor's toy: a basic anatomical model of the male human body. The sculpture is 20 ft (6.1 m) tall and composed of painted bronze.
Mother and Child Divided, composed of a cow and a calf sliced in half in a glass tank of formaldehyde.
Two Fucking and Two Watching, includes a rotting cow and bull. This work was banned from exhibition in New York by public health officials.
God, composed of a cabinet containing pharmaceutical products.
The Stations of the Cross (2004), a series of twelve photographs depicting the final moments of Jesus Christ, made in collaboration with the photographer David Bailey.
The Virgin Mother, a massive sculpture depicting a pregnant female human, with layers removed from one side to expose the fœtus, muscle and tissue layers, and skull underneath. This work was purchased by real estate magnate Aby Rosen for display on the plaza of one of his properties, the Lever House, in New York City.
Breath (2001), a 45-second film of Samuel Beckett's play for the Beckett on Film series.
The Wrath of God (2005), a new version of a shark in formaldehyde.
The Inescapable Truth, (2005). Glass, steel, dove, human skull and formaldehyde solution.
The Sacred Heart of Jesus, (2005). Perspex, bull's heart, silver, assorted needles, scalpels, and formaldehyde solution.
Faithless, (2005). Butterflies and household gloss on canvas
The Hat Makes de Man, (2005). Painted bronze that simulates wood and hats.
The Death of God, (2006). Household gloss on canvas, human skull, knife, coin and sea shells. This painting, which is a part of a group of others which were made in Mexico, are believed to be "the beginning of Hirst's Mexican period".
For The Love of God, a platinum cast of an 18th century skull covered in 8,601 diamonds.[80]
Saint Sebastian, Exquisite Pain, a black calf tied to a pole pierced with arrows. The calf is in a tank of formaldehyde. Performer George Michael has recently purchased this calf and has made it Hirst's fourth most expensive piece.