1963

Orange Disaster #5
Warhol was preoccupied with news reports of violent death—suicides, car crashes, assassinations, and executions. In the early 1960s he began to make paintings, such as Orange Disaster #5, with the serial application of images revolving around the theme of death. “When you see a gruesome picture over and over again,” he commented, “it doesn’t really have any effect.” Yet Orange Disaster #5, with its electric chair repeated 15 times, belies this statement. Warhol’s painting speaks to the constant reiteration of tragedy in the media, and becomes, perhaps, an attempt to exorcise this image of death through repetition. However, it also emphasizes the pathos of the empty chair waiting for its next victim, the jarring orange only accentuating the horror of the isolated seat in a room with a sign blaring SILENCE.  

Jennifer Blessing

© 2009 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York

Him

© Maurizio Cattelan, 2001
(photorealist sculpture of a miniature Hitler in prayer – an icon of fear.)

what is the best moment of the day?
I LOVE THE SMELL OF NAPALM IN THE MORNING

what kind of music do you listen to at the moment?
WAGNER, MOSTLY.

do you listen to the radio?
YES, A LOT, BUT I LOOK FOR COMMERCIALS.

what books do you have on your bedside table?
THE BLIND LEADING THE NAKED.

do you read design magazines?
I LOOK AT THE PICTURES.

where do you get news from? newspapers?
ANYWHERE, THEY ARE MOSTLY LIES ANYWAY.

do you notice how women are dressing?
OH YEZ.

do you have any preferences?
NO, ANYTHING GOES.

what kind of clothes do you avoid wearing?
MINI SKIRTS.

do you have any pets?
DO BACTERIA COUNT?

when you were a child, did you want to become an artist?
NO, I WANTED TO BECOME A DESIGNER, BUT I WASNT SMART ENOUGH.

where do you work on your artistic concepts?
ON THE PHONE.

who or which organization would you like to develop
something for?
I TEND NOT TO WORK WITH A SPECIFIC PERSON IN MIND.
ART IS A MATTER OF STATISTICS: IT’S NOT ABOUT INDIVIDUALS,
IT’S ABOUT PEOPLE.

do you discuss your work with other artists?
I TRY TO DISCUSS IT WITH EVERYONE: EVERY PIECE IS A TEST,
AND IT NEEDS TO BE CONFRONTED, CRITICIZED, DESTROYED
AND REBUILT. I TEND TO AVOID MY OWN OPINIONS,
AND JUST TRUST THE OTHERS.

describe your style, like a good friend of yours would describe it.
LAZY.

can you describe an evolution in your work from your first projects
to the present day?
I TRY TO MOVE SIDEWAYS: SO THERE ARE NO EVOLUTIONS,
ONLY DIGRESSIONS.

what project has given you the most satisfaction?
PROBABLY THE ONES I COULDNT REALIZE:
THEY ARE STUCK IN MY MIND, AND THERE IS NOTHING I CAN
DO TO GET RID OF THEM.

is there any artist from the past, you appreciate a lot?
WARHOL UEBER ALLES.

is there any designer and/or architect from the past,
you appreciate a lot?
BORROMINI.

any advice for the young ?
GET OLD SOON.

what are you afraid of regarding the future
EVERYTHING.

interview with Maurizio Cattelan on april 13, 2004
designboom 

Untitled, 2009

Please return immediately to its rightful owner

Vermeer’s The Concert was Isabella Gardner’s first major acquisition. She bought it with the help of experts at a Paris auction sale. Gardner placed it on a table alongside the window, a location where she often placed her most prized paintings, with a chair in front of it to invite viewing.

The Gardner Museum is offering a $5 million reward for information leading to the recovery of these stolen artworks in good condition. Anyone with information—about the theft, the location of these artworks, or the investigation—is encouraged to contact the Museum’s Director of Security Anthony Amore directly at 617-278-5114 or theft@gardnermuseum.org. The Museum can ensure complete confidentiality.


Isabella Stewart Gardner Museum

Seconds

In his 1986 autobiography, Rock Hudson: His Story, written with Sarah Davidson, Hudson says Seconds is his best work and describes it as “Controversial as hell — a horror film that is bizarre . . . frightening. I play a sixty-year-old man, a ‘reborn.’ I’ve had a facelift, and there’s a before and after, and for most of the picture I’m the ‘after.’ At the Cannes Film Festival they compared it to the Faust story.”

 
Seconds is bleak, unsettling, claustrophobic, a complex and riveting film about alienation and the limits of science, and it’s as much of our time as it is of its own. 
 
Bright Lights Film Journal
November 2008 | Issue 62
Copyright © 2010 by Robert Ecksel

 

Miniature

Portrait of Mrs. Russel, 1781
watercolor on ivory in gold locket frame

JOHN SMART (c. 1740-1811), English miniature painter, was born in Norfolk; he became a pupil of Cosway, and is frequently alluded to in his correspondence. This artist was director and vice-president of the Incorporated Society of Artists, and exhibited with that society. He went to India in 1788 and obtained a number of commissions in that country. He settled down in London in 1797 and there died. He married Edith Vere, and is believed to have had only one son, who died in Madras in 1809. He was a little man, of simple habits, and a member of the Society of Sandemanians. Many of his pencil drawings still exist in the possession of the descendants of a great friend of his only sister. Several of his miniatures are in Australia and belong to a cadet branch of the family. His work is entirely different to that of Cosway, quiet and grey in its colouring, with the flesh tints elaborated with much subtlety and modelled in exquisite fashion. He possessed a great knowledge of anatomy, and his portraits are drawn with greater anatomical accuracy and possess more distinction than those of any miniature painter of his time. 

See The History of Portrait Miniatures, by G. C. Williamson, vol. ii. (London, 1904). (G. C. W.) 

Philip Mould Ltd., London 
Classic Encyclopedia

The secret of longevity: no food, no husband and no regrets

Brain scientist and Nobel laureate Rita Levi-Montalcini tells Richard Owen why she wants to forget turning 100

“The professoressa is a bit tired,” an adviser to Rita Levi-Montalcini warned me as I prepared to interview Italy’s Nobel prize-winning Life Senator on the eve of her 100th birthday. “Don’t wear her out.” 

I arrive to find the professoressa, as she is universally known, in the dress shop below her office in Rome, in an elegant black dress buttoned to the neck and a gold brooch of her own design, white hair immaculately coiffed, examining the rails of clothes with close and lively attention. 

She is about to catch a plane for Sicily, she says, to address a conference, but can spare some time. In the office Levi-Montalcini, a diminutive, bird-like figure with an alert manner and engaging smile, speaks for more than an hour with an insight, stamina and sharp intellect that someone half her age would envy. Tired at 100? I don’t think so – but pessimistic, yes. This astonishing woman – who studied medicine, survived Fascism and prejudice, and went on to win the Nobel Prize in 1986, who still takes an active part in politics in the Senate, is planning another book and campaigning for the rights of women in Africa – thinks we are all doomed. 


For Rita Levi-Montalcini is a global expert on the brain. She founded the European Brain Research Institute (EBRI) in Rome five years ago, and marked her 100th birthday last Wednesday not with a party but with an EBRI seminar at Rome’s city hall on Capitol Hill, entitled “The Brain in Health and Disease”, with speakers from all over the world. She herself delivered the opening remarks. “The brain has two hemispheres” she says, “one ancient or archaic, which governs our emotions and instincts, the other younger, which governs our capacity to reason. Today the archaic brain tends to dominate. It is the cause of all the tragedies that happen like the Shoah (the Holocaust) and it is putting an end to humanity today. It was the part of our brains which got us down from the trees, but it is the cause of all the disasters and the cause of the great danger to our planet today. It is taking the human race toward extinction. The end is already at hand.”

Crikey. Is there no hope? There are some good people in the world, after all. “ Unfortunately, human behaviour is not merely a result of genes. A child from the age of 2 or 3 absorbs what is in the environment around him or her, and what generates hatred for anyone perceived to be ‘different’ – we absorb everything that is in around us, whether it is anti-Semitism or the other forms that this hatred takes. 

“All the things that camouflage themselves as ‘intelligence’ and reasoning are in reality instinct – and low-level instinct at that.” Hence terrorism, fundamentalism and weapons of mass destruction, and hence “totalitarian regimes such as those of Mussolini and Stalin that govern not by reason but by archaic instinct. The danger is that in moments of tragedy this is the side of the brain which prevails and controls our behaviour, and these are the kind of people who prevail.” 

Does she see a danger today of a resurgence of xenophobia and racism? “Yes, I do, absolutely. Because in critical moments, in moments of great crises, as I said, we tend to use the instinctive part of our brains, not the reasoning, rational part.” 

We are sitting not far from the Villa Torlonia, Mussolini’s Rome villa, now a museum and park. Did she feel frightened during the Fascist period? “No. I felt disdain and hatred for Mussolini, not fear.” At university in Turin, her home town, which she entered in the 1930s – when Fascism was at its height – she did not realise she faced persecution because she was Jewish. 

“My university friends, who were Catholics, naturally, did not see any difference between myself and them. I didn’t feel any sense of danger when the persecutions started, it was all outside my experience.” 

The initial obstacle to entering university was not Fascism, but her father. In her autobiography she writes that she and her twin sister Paola (an artist who died in 2000 and whose artworks decorate her office walls) were born to Adamo Levi, “an electrical engineer and gifted mathematician”, and Adele Montalcini, “a talented painter and an exquisite human being”. There were two older siblings, Gino and Anna, also both now dead. 

“The four of us enjoyed a most wonderful family atmosphere,” she writes, “filled with love and reciprocal devotion. Both parents were highly cultured and instilled in us their high appreciation of intellectual pursuit. It was, however, a typical Victorian style of life, all decisions being taken by the head of the family, the husband and father. 

“He loved us dearly and had a great respect for women, but he believed that a professional career would interfere with the duties of a wife and mother. He decided that the three of us – Anna, Paola and I – would not engage in studies which open the way to a professional career, and that we would not enroll in the University.” Asked about her father, she says, without bitterness, that he “was a person of great intellectual and moral value, but he was a Victorian. As a child, I saw him as a person who dominated everything I did.” 

It was because she felt that her mother was also “dominated” that Levi-Montalcini never married. “I decided I would never marry and I kept my word. I did not want to be ‘in second place’ like my mother, whom I adored. I told my father I did not intend to be just a wife and mother. I didn’t know I wanted to be a scientist then, I didn’t know what science was, but I wanted to dedicate my life to helping others. 

“I decided to study medicine. My father didn’t approve but he could not stop me.” She smiles. “I was 20 by then.” What she got from her family, she says, were “values: we were free from the religious point of view, that was not imposed, but behavioural standards had to be rigorously good. The sense of duty was strong in the family, we were never rewarded or punished. We had to behave properly and with decorum.” 

The family was descended from Sephardic Jews from Spain who came to Italy in the 14th century, but she is resolutely “a lay person”. “I was very proud of Spinoza, for me he was a great Jewish thinker. But there was never a sense of pride, no sense that we were better than other people. This never entered our way of thinking. I felt Jewish, but also very Italian. I never had religious instruction. When people asked me what my religion was I told them I was a ‘free thinker’, though no one knew what I meant – not even me.” 

At the University of Turin she sat at the feet of “the famous Italian histologist, Giuseppe Levi. We are indebted to him for a superb training in biological science”. She graduated in 1936 with a summa cum laude degree in medicine and surgery, and enrolled in the three-year specialisation in neurology and psychiatry. “I was still uncertain whether I should devote myself fully to the medical profession or pursue research in neurology.” 

This time it was Mussolini who stood in the way, with the 1938 racial laws barring academic and professional careers to non-Aryan citizens, and then Italy’s entry into the Second World War in 1940. Instead of leaving Italy, the Levi-Montalcinis determined to stick it out. “I decided to build a research unit at home and installed it in my bedroom,” she writes in her autobiography. “My inspiration was a 1934 article by Viktor Hamburger reporting on the effects of limb extirpation in chick embryos.” 

When the bombs began to fall in Turin she moved to “a country cottage, where I rebuilt my mini-laboratory and resumed my experiments.” When Mussolini was deposed in 1943 and the Germans occupied Italy the family fled to Florence, where it lived “underground”, secretly supporting the partisans until the Allies arrived in August 1944. She volunteered as a doctor for the Allied forces, helping war refugees and dealing with typhus and other diseases. 

After the war she returned to Turin University, but was invited by Hamburger to join him in the US, at St Louis, to “repeat the experiments which we had performed many years earlier on the chick embryo”. She stayed until 1977, becoming a full professor, and founding a research unit in Rome and heading the Institute of Cell Biology at the Italian National Council of Research. In 1986 her crowning achievement was the Nobel prize for discovering the Nerve Growth Factor. 

Her discovery, she says, was the highlight of her long life. “I immediately understood the importance of this discovery, which is more important today than it was then and which went completely against the dogmas of the time. The recognition in Stockholm gave me great pleasure, but it does not compare with the moment of the discovery itself, when I realised I was opening up a whole new scenario.” 

Italy today has “immense human capital, a huge capacity for innovation, for tolerance and a capacity to live together in this beautiful country. And Italians are proud of their country and their past.” 

What does she think of Silvio Berlusconi? “Let’s say that I am on the Left and Berlusconi isn’t.” She has in the past referred to the fact that Italy’s Catholic culture conditions attempts to introduce more liberal laws on bio-ethical issues, from artificial insemination embryo research and living wills. So what did she make of Pope Benedict XVI’s controversial remark that condoms “aggravate” the fight against Aids by encouraging promiscuity? 

“It didn’t convince me as a scientist. But I was the first woman to be given the honour of being admitted to the Pontifical Academy of Sciences and I have enjoyed excellent relations with the Popes.” She is proud of her foundation to help African women, which raises money to help them study at university. “So far we have funded 7,000.” 

Male and female brains, she insists, are genetically identical. “But men have always imposed their will on women, by their physical force.” She still goes regularly to her European Brain Research Institute, on the outskirts of Rome, where she encourages a team of women scientists “who are extremely talented. But I don’t differentiate between men or women.” 

Do the workings of the brain still hold mysteries? “No, it is much less mysterious. We have the most amazing scientific and technological advances. We have been able to see how the brain does work. And now discoveries are being made by by anatomists and physiologists or experts in behavioural science, physicists and mathematicians, computer experts, biochemists, and molecular scientists. The barriers are breaking down between disciplines. At 100 years of age I am still making discoveries about the factor that I myself discovered more than half a century ago.” 

As for herself, “my sight and my hearing aren’t as good, but the brain is fine. I believe I have a higher mental capacity today than I had when I was younger, with all the experience I have lived”. And her birthday? “I’m trying to forget about it. It just happened that I was born 100 years ago, merit had nothing to do with it. The secret of life is to keep thinking. And to stop thinking about ourselves. That’s the only message I have.” 

Apart, that is, from the secret of death. “I am indifferent to my own death, that only affects my body. What will remain of me is what I have achieved, the work I have done during my lifetime. You don’t die at the time of your physical death. Your message lives on. I am not in the least frightened of dying, it will only affect this very small body that I have lived in. It is not important when I die. The important thing is to have lived with serenity using the rational left-hand side of one’s brain, and not the right side, the instinctive side, which leads to misery and tragedy.” 

How to live to 100
 
If you want to live to a 100, you might consider following Rita Levi-Montalcini’s routine: get up at five in the morning, eat just once a day, at lunchtime, keep your brain active, and go to bed at 11pm. 

“I might allow myself a bowl of soup or an orange in the evening, but that’s about it,” she says. “I’m not really interested in food, or sleep.” 

The secret, she says, is work: she still goes to her laboratory every morning to supervise an all-female team developing her Nobel prize-winning research on brain cells, and in the afternoon she goes across town to her foundation in another part of Rome raising funds to help African women to study. 

She remains a passionate advocate of the rights of women, and still remembers the thrill as a small girl of seeing women in uniforms driving trams in the First World War when the men were at the front. 

“I have never been ill, and I don’t see the impairment of my hearing and sight as a handicap,” she says. She wears a hearing aid, and peers at you closely when you talk to her, but tells you – convincingly – “my brain functions better today than it did was I was 20”. 

She loves the theatre, but is not a great opera fan: “I love colours, flowers, works of art, but I don’t know much about music, apart from a bit of Beethoven and Bach, and some Schubert, Mozart and Chopin.” 

She tries, she says, to “encourage the young to have faith in themselves, and in the future”. She admired the late Pope John Paul II, but is not religious:”I envy those who believe in God, but I cannot. I cannot believe in a deity who rewards and punishes us and wants to hold us in his hands. But something of us lives on after death.” 

Our soul? “No, our message survives us. Our actions, our thoughts, they way we are are remembered.”
Not all human beings should live to a 100 though, even if this were biologically possible. “No. There is no room. If we all lived to be a 100 or more, there would be no space for the newborn.” 

Life, she says, “has not treated me badly. I am a woman with no regrets – and, I think, without any grave sins on my conscience”. Does she ever get tired of life? “Never.” 

April 27, 2009

The Times

Girl with kitten

Bruce Davidson, London 1960

“I’m like Zsa Zsa Gabor,’’ Bruce Davidson says. “I’m famous, but no one knows for what.’’

Photography people know very well what Davidson is famous for. In a career that’s spanned more than half a century, he’s shot Marilyn Monroe and the civil rights movement, the building of the Verrazano-Narrows Bridge and the Supremes having a snowball fight. His photo essays on a Brooklyn youth gang in the ’50s, East Harlem in the ’60s, the New York subway system in the ’70s, and New York’s Central Park in the ’90s are classics.
A protege of Henri Cartier-Bresson and longtime member of the legendary agency Magnum Photos, Davidson was the first photographer to win a fellowship from the National Endowment for the Arts. Along with such contemporaries as Diane Arbus and Lee Friedlander, he helped transform documentary photography in the ’60s.
Davidson, 77, laughs when he recalls going to a burlesque show in Atlantic City with Arbus. Rumpled, relaxed, a little roly-poly, he’s Daddy Warbucks bald beneath a baseball cap and as amiable as Annie. He recalls Arbus saying, “You know, Bruce, you’re better when people are not looking at the camera, and I’m better when people are looking at the camera.’’

© 2010 The New York Times Company

Oh, where, Oh, where have all the great photographic films gone?…

Paris, France, July 1939
William Vandivert 

✶✶✶
 
Fernandel
FRANCINE
Méfie toi ma Francine
De tous les potins du quartier
Des ragots de la voisine
Des cancans du laitier
Par dessus tout ma belle
Ne va pas t’alarmer
De chaque fausse nouvelle
Des gens bien informés…

Faut pas, faut pas Francine
Écouter les racontars
Des badauds par trop bavards
Faut pas, faut pas Francine
Te laisser embobiner par les bobards
Ne crois pas qu’Hitler soit mal avec Staline
Et que les boches aient bombardé Madagascar
Faut pas, faut pas Francine
Te laisser dégonfler par les âneries des canards

Méfie toi je te l demande
La TSF a des dangers de la sale propagande
Des speakers étrangers
Si parfois tu dégotes
Stuttgart à la Radio
Dis toi que tu serais idiote
D’en croire un traître mot

Faut pas, faut pas Francine
Écouter les racontars
Du salopard de Stuttgart
Faut pas, faut pas Francine
Te laisser embobiner par ces bobards
Quand je pense qu’il veut faire croire
Quand il jaspine
Que c’est un bon français
De Barbès-Rochechouard
Faut pas, faut pas Francine
Te laisser dégonfler par ces discours là!

Le Führer d’une voix tendre
Nous redit chaque samedi
Je ne veux plus rien prendre
Maintenant que j’ai tout repris
J’adore l’Angleterre
J’adore les Français
Pourquoi me faire la guerre
Quand je veux qu’on me fiche la paix!

Faut pas, faut pas Francine
Écouter les racontars
Du plus barbant des barbares
Faut pas, faut pas Francine
Te laisser embobiner par ses bobards
S’il prend pour nous désarmer sa voix câline
C’est pour mieux nous tomber dessus un peu plus tard
Faut pas, faut pas Francine
Te laisser dégonfler par ces propos de paix

Faut pas, faut pas Francine
Te laisser dégonfler par ces propos de paix, Si! Na!

 
paroles: A. Willemetz, musique: C. Oberfeld, 1939