Mu­sic, books, exhibitions'…(: a look at the sea­son’s high­lights.

VOGUE Hommes International (English) - - CONTENTS - By OLIVIER LALANNE and DI­DIER PÉRON


A trib­ute is be­ing paid once again to the Amer­i­can king of colour pho­tog­ra­phy, Wil­liam Eg­gle­ston, in a new Paris ex­hi­bi­tion. The theme is the tran­si­tion be­tween an ini­tial black–and– white pe­riod and the spec­tac­u­lar con­ver­sion to full– colour pho­tog­ra­phy, which has be­come the hall­mark of this master of de­serted Americana. It wasn’t un­til 1976, though, that the MoMa held the ex­hi­bi­tion of Wil­liam Eg­gle­ston’s work that proved to be a mile­stone in the his­tory of pho­tog­ra­phy, be­cause it was the first to show pic­tures in colour. Mak­ing colour pho­tog­ra­phy a le­git­i­mate form of art came late in the day, as if colour could only be as­so­ci­ated with films, ad­ver­tis­ing and mag­a­zines: one had to guard against vul­gar­ity, after all! Eg­gle­ston, a stylish, ec­cen­tric character, had blown the lock off the taboo with his per­fect images that were as im­pres­sive as paint­ings.

(!Paris!), FON­DA­TION HENRI CARTIER– BRES­SON un­til 21st De­cem­ber 2014.


Born in New York in 1928 into an im­mi­grant fam­ily of Hun­gar­ian Jews, Wil­liam Klein would have loved to be around the flam­boy­ant Americans par­ty­ing in Paris’s Saint– Ger­main–des–Prés in the 1930s. He spent time at the Sor­bonne, dur­ing his mil­i­tary ser­vice, which clearly bored him. How­ever, he did meet Fer­nand Léger there. He was later no­ticed by the great Ital­ian stage di­rec­tor, Gior­gio Strehler, who ex­hib­ited his paint­ings in the cor­ri­dors of his Pic­colo Teatro in Mi­lan. It was while Klein was pho­tograph­ing his own paint­ings of geo­met­ric fig­ures for an ar­chi­tec­ture re­view that he first un­der­stood the in­ter­est in pho­tog­ra­phy. The rev­e­la­tion led him to aban­don the “noble” art of paint­ing for the more di­rect medium, and gave him the strength of mind to break out of the frame and the eye of the lens. His re­portage on New York com­mis­sioned by Vogue in 1954, which the ed­i­tor re­fused to pub­lished, on the grounds that it was “too vulgar”, made the head­lines when Chris Marker turned it into a leg­endary al­bum for French pub­lish­ers, Seuil. The rest is his­tory. Klein’s work is in per­pet­ual mo­tion, in his pho­tos, films and doc­u­men­taries, which in­clude Muham­mad Ali, the Great­est (&1969&), Grands soirs et petits matins (&1978&) and Who are you, Polly Mag­goo? (&1966, Prix Jean–Vigo&). Arte has brought his com­plete works to­gether in a 10–DVD boxed set.


—Hedi Sli­mane was ap­pointed cre­ative di­rec­tor of Saint Lau­rent in 2012, by which time he was al­ready one of the big­gest stars in the fash­ion world. But he is also very much an all–round artist, whose in­spi­ra­tion is breathtaking on all fronts, in­clud­ing pho­tog­ra­phy, one of his pas­sions. He is cur­rently show­ing a se­lec­tion of his rock pho­tos at the Pierre Bergé–Yves Saint Lau­rent foun­da­tion. Black–and–white prints of a num­ber of stu­dio por­traits — in­clud­ing gi­ants such as Lou Reed, Brian Wilson, Amy Wine­house and Keith Richards — have been cho­sen from 15 years of ar­chives and are on show for the first time. A video in­stal­la­tion com­pletes the Hedi Sli­mane Sonic show, which jux­ta­poses mu­si­cal pe­ri­ods, London ( & 2003–2007 & ) and Cal­i­for­nia (&2007–2014&), in a doc­u­men­tary for­mat, paint­ing the por­trait of two gen­er­a­tions of per­form­ers and their fans.

FON­DA­TION PIERRE BERGÉ — YVES SAINT LAU­RENT (!Paris!), un­til 11th Jan­uary 2015.

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