With the dominance of ‘black box’ minimalist des
ign in the 1970s it was hardly surprising that the next big movement would head in the opposite direction, towards more decoration; it didn’t have anywhere else to go.
Once the Bauhaus mantra of ‘form follows function’ had been reduced to its absolute basic skeleton, a quiet revolution began in Italy.
To experience the Cirque du Soleil is to embark upon a sensory voyage in which one is transported to another world where gravity seems to have no hold and shapes, colours and sound blend into one. Like Alice in Wonderland come to life, this is a successful melange of circus, theatre, art and acrobatics that transcends age in its appeal. Cirque du Soleil is hard to define because there is nothing to compare it to; this unique experience that draws from other art forms sets the yardstick for modern performing arts because it is, in effect, the greatest live show of the modern era.
Music delights, feeds the so
ul and punctuates special moments in our lives, but music can be light, fluffy and superficial or a true work of enduring art and wonderment. To the latter category belong the master works of musical geniuses like Beethoven and Mozart, whose intricate dance with sound has endured the test of time and musical styles. Such genius deserves nothing less than the finest instrument, so is it not surprising that the noblest instrument of all is itself a masterful work of beauty and craftsmanship.
From the moment I laid eyes on them, the streets of Havana captivated me. I can’t recall if it was the exuberant friendliness of the people, the fragile beauty of worn façades or the bright colours of American road cruisers from the fifties, but I was immediately fascinated by this singular Caribbean mix. Through my lens I found Havana to be photogenic, intense and multifaceted.
The name Fabe
rgé forever connects Russia with sublime works of jewellery. For many decades the famous maker of those iconic imperial Easter eggs and other exquisite works of art seemed destined for the annals of history. Now, as Russia regains its confidence and dynamism it is only fitting that the long absence has come to an end…
Critics and historians frequently refer to the artistic trajectory set in motion by the paintings of Giorgio de Chirico, the man who paved the way for the most fascinating and significant developments in art between the two World Wars, as a “Copernican revolution”.
Realising that Cubism and the formal avant-garde had run its course, de Chirico set about realising his life’s mission, to become a painter who was able to “show that which cannot be seen”.
Critics looking for evidence of how art changed in the latter half of the twentieth century could do little better than consider the name that Andy Warhol chose for his studio.
The Factory was originally based at 231 East 47th Street in Midtown Manhattan on the fifth floor, a sprawling space that became the meeting place for a dissolute posse of artistes manqué ranging from Velvet Underground’s Lou Reed and John Cale to future Warhol Superstars Holly Woodlawn and Candy Darling. This relentlessly social aspect was common to all of Warhol’s workspaces: while the artist busied himself with his endless stream of silk-screened images, the Factory hangers-on would entertain themselves with a variety of dubious activities.
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