Invitation Party Paying For Own Food

.. between the notes of Lonnie Liston Smith ....

.. between the notes of Lonnie Liston Smith ....
.. who would have thought ... have already spent 27 years ... sembra appena ieri....
ripensando al quel giorno... all'apparenza.. forse un giorno come un altro... in effetti oggi riflettendo posso dire che è stato come avventurarsi al primo giorno di scuola.... è da allora che dedico a fondo positivamente ogni giorno della mia vita alla Cultura HipHop senza mai risparmiarmi, attraversando tutte le stagioni, superando i dubbi senza esitazione, al fine di preservare la Cultura Hip Hop… si! talvolta esponendomi… si! magari mettendo anche a repentaglio utili opportunità…
spesso denunciando cose per le quali non si può tacere, come sulle ingiustizie…
diventando cosi perfino un personaggio scomodo per alcuni… il fine?
Ribadisco… semplicemente Unlike many of my colleagues fight for the things I believe in and especially trying to defend what he has given and still gives meaning to my life!
maintain my integrity has cost me and continues to cost me a lot of sacrifice, unfortunately I had to give up many times to people who have pioneered and led the way at a time when they were perfect "unknown", even to friends who I considered important ... hoping for better times, through different phases, exceeding certain targets ... learning from the mistakes or wrongs ... learn ... learn more!
As I soon learned that each side deserved to win and every little or great achievement, often instead of finding comfort and support to find out that next to you, without going too far, travel together envy and ignorance of some unfortunate weaknesses of men ... sad and small, unable to enact its own light and free ... always ready to argue and bring you down, do not get me wrong ... it is not constructive criticism, I'm talking about real slander ... you ... sometimes lethal potions are the most lethal poisons and poisonous snakes found in nature ..
different from the controversy still surface, which are equally harmful, especially if told and passed down by word of mouth, with the intent to destroy rather than enhance the merits
... with the intent to remove intrinsic what history has already established ...
yet never make me break down (or at least totally) by adversity and rough ...
I have always raised! ... .... What is my purpose?
... humble ... but fame and success, money and derivatives. ...
many years I worked hard for the good of many ... day after day, one piece after another ...
and so gradually over the years ... no hurry .. because only the "Suckers" are in a hurry ....
and that's the real story goes!
Now it's time to reap the fruits of my efforts social and personal ... I just want to feel good ... and find my space to do the things I love, without having to pander anyone, in order to express and transmit my music and teach others to appreciate and love what I have achieved with the Dance and I was recognized in world of hip-hop culture (the real one)!
I try to learn something every day, trying to become more worthy and able to represent this honorable and challenging responsibility that one day I was given,
you who do not choose it ... but ... but the passion that you choose!
happened on any day, any hour in a "by chance" and told me how in this song I'm listening now Lonnie Liston:
"Like with me on a trip to the galaxy flying high ... ...."
And so the story went ... since then shows me the way and became a reason for living ...
goes far beyond a superficial eruption of talent emerging in adolescence, regardless of the form ... there is much truth beyond the singing and dancing ... there is the awakening of consciences and '... be such a force that brings together generations and people of different cultures and backgrounds ...
and do not want to fall into the usual rhetoric of the old story of the 4 disciplines lists
etc ... which I think in the long run also determines the allergy away some of us. So
HipHop is all he did raise my curiosity to dramatically amplifying my interests ... dovendomi confronted daily with humility toward something rather than end up in me, I began to take me somewhere ... and that is the question that might arise spontaneously ... I wonder where I lead? In fact my long reflection led me to the emergence of a doubt that maybe is not so fundamental that question ... but ... but
How do you like?
And I can tell you after so many years ... I still like a lot what I do, because every time I speak, as well as learn something I feel happy again like the first time ... all right if
find my roots ... and the knowledge that emerges, it stimulates my go, my go .. and are proud to be constantly referred to the essence ... it's my music that speaks to me or my emotions transmitted through Breakin '!
Why this story comes from afar ... and will go a long way off, with or without my contribution ...
So I chose to make profit without hiding my contribution by working for a purpose bigger than me ... so anyone who wants to draw is free to do so and maybe inspire someone else positive, such as happened to me meet and learn from the great HipHop History of this and still continue to excite and whenever I have the opportunity! Men
wrong and times change ... but these are the values \u200b\u200band content ... my passion is in essence unchanged despite being in constant transformation phase ...
"Only The Strong Survive!" as that phrase engraved in color in those images faded slides of an old VHS films seen and reviewed hundreds of times!

Today, despite my contribution is recognized worldwide
... Why in this country do not have the opportunity to express my passion?

For those who know me or have had the opportunity to appreciate my music (Next Diffusion ... etc.) know that my experience as a Producer dating from the early 80's when many do not even know what he meant
Beat Maker ... Why all the books of "HipHop Italians" do not tell them anything about my music
of "Supa produce NexTone?

Many people know my reputation as a DJ and know that I love to party as I learned from the great American Dj also surely have heard of my extensive discography on vinyl all original ... I do not know how many but there are many! Why
despite 25 years of devotion to the music, for me it is still very difficult to play in this country instead of performing abroad? All

know my reputation as a Bboy ... 90% of my dates are from abroad ...
in this country in recent years has produced a DJ, dancers and teachers like mushrooms ...
because very often they are not even involved in all of these Conventions and Battle of "Hip Hop"?

I want to conclude by telling you a story ...
curious as I just mentioned in the Convention are not involved in dance often regarded as Deejay and events ... or Jam music are still not known for being a dancer ...
Now some of you can give me a explanation?

There are expropriating meditate every day ... ... the nostro è proprio uno strano Paese!!!

What Swimsuit It Gretchen Wearing

Domenico Brancale and Clemens-Tobias Lange to Artelibro 2010




Artelibro For 2010, Saturday 25 September at 15.00-16.00 in the Museo Civico Archeologico di Bologna (Sala del Risorgimento, Via dell'Archiginnasio, 2), there will be a presentation of the artist's book by Domenico Brancale , a close friend of Chorus, and Clemens-Tobias Lange ice.

"The winter of 2009/2010 was rather cold and became more and more space inside us, so we decided to make a book."
...
The poet and artist Domenico Brancale Clemens-Tobias Lange icing I have the volume of their collaboration was born. Through reading and pictures show the Birth of the book, which is on cards jelly. In fact side by side pictures of the frozen rivers of Siberia and lyrics by Domenico Brancale. The techniques adopted requires the most attention because it is strictly a production manual, but can achieve similar effects to melt and ice.



http://www.ctl-presse.de/

Yg Entertainment Jobs

Philippe Lacoue Labarthe, the caesura et l'impossible

Philosophe, écrivain et poète, Philippe Lacoue - Labarthe (1940-2007) refusait traditionnelles les limitations de la philosophie. Ses research has faced fundamental issues: politics and his "fiction" from the Greeks to the twentieth-century disasters, the myth and its challenges; the mimesis and hyphenation in theater and writing poetry.

From his reading of Hölderlin, he held that "willful and oppressive questioning, at the gates of insanity on the tragedy and mimesis is inextricably biography. This perseverance of the question, the test of the impossible, he has experienced in his thoughts and his life. The best tribute we can pay him is to read, to call into play his work in all fields - philosophy and poetry, theater and music - which he strove to "resist to the death."

These are the different dimensions of thinking Philippe Lacoue - Labarthe qu'interrogent texts in this collection, presented at the international meeting organized by the philosophers of Parliament in Strasbourg in 2009.

With texts: Jacob Rogozinski, André Hirt, Antonia Birnbaum, Helga Finter, Francis Fischer, Esa Kirkkopelto, Maud Meyzaud, Jean-Christophe Bailly, Isabelle Baladine Howald, Mehdi Belhaj Kacem, Marc Goldschmit, Évelyne Grossman, Jérôme Lèbre, Susanna Lindberg, Boyan Manchev, Jean-Clet Martin, Patrick Werly, Sylvie Decorniquet, Sara Guindani, Huang Kuan-min, Artemy Magun, Andrea Potestà, Jean-Luc Nancy.

Sommaire

Jacob Rogozinski, Résister à la disparition

I. Portrait de Lacoue - Labarthe

André Hirt,« Sainteté » de Lacoue

II. Lacoue - Labarthe et la théâtralité

Antonia Birnbaum, La sobriété, de Lacoue - Labarthe à Hölderlin Helga Finter, L’écho de la scène Francis Fischer, Une scène primitive Esa Kirkkopelto, Comparatifs de Hölderlin Maud Meyzaud, Une langue révolutionnaire

III. Poétiques de Lacoue - Labarthe

Jean-Christophe Bailly, L’infinitif de la césure Isabelle Baladine Howald, Est-ce une faute de mourir ? Mehdi Belhaj Kacem, Politique de Lacoue - Labarthe Marc Goldschmit, impossible condition for the existence poetic Evelyne Grossman Add as expiration Lèbre Jerome, A lyricism no subject Susanna Lindberg Tones elementary Manchev Boyan, The last romantic or In Poetic anarchy Jean-Clet Martin, Patrick Werly Typography, Lacoue - Labarthe, between dissolution and "harsh reality"

IV. Lacoue - Labarthe and philosophy

Decorniquet Sylvie, The life of the mind, dizziness and grace of thought before death Sara Guindani, Powers of mimesis in Lacoue - Labarthe Huang Kuan-min, Incipit vita: the challenge of modernity in Lacoue - Labarthe Artemy Magun, A dance for two Andrea Potestà, The emphasis of the hidden

V.

Jean-Luc Nancy, Philippe

Published with the assistance of the International College of Philosophy and philosophers of Parliament.

Alabama Players Wear 12

Invitado de Latinale 2010: Laura Erber

Laura Erber. Photo: Private

Poem with background of Paul Van Ostaijen 2

Pamplona's girl now lives in Honolulu

with a pearl necklace plastic

an oven - it will continue growing

-

it was his spleen gay

your chouchou

with her around you saying

flonflons, pink,

ruban bleu

the dishes shook

words gorgeous gorgeous!

vacancies vacancies

but she was resolved and progressed

(IN: cast & rags, Publisher House, 2008, p.20)

----------------- -----------------

The End of Empire

I began by writing about dry lips in Tennessee.

II

I wondered if the secret song of Hungarian girl was not

the roman-fleuve

a Lotte Lenya ancestor.

IV

A woman who stood against the edge of the box dreaming of the late Empire.

V

She had no depth whatsoever.

VI

only air glow and nothing more.

VII

anyone dreamed of saving it in a glass tube.

IX

would come the new century, the end of empire, the end of Hungary, the end of the roman-fleuve , come?

X

She looks at us from afar with a look of panic contained.

XI

How many meters of the language to hang himself in the soliloquy?

XI

How two people can get away without losing sight?

XII

And Tennessee?

(This book was published in cast & rags, Publishing House, 2008)

--------------------------- -------

Laura Erber was born in 1979 in a terrestrial planet formed billions of years ago 4:54. Published Insones (7 Letters, 2002), Bodies and the days / Körper und tage (Merz-Solitude, 2006) and cast & rags (2008). With the Italian writer Federico Nicolao and Korean artist Koo Jeong-A received the book Mysterious Celia (Villa Medici editions and Io, 2007). He was writer in residence at Akademie Schloss Solitude (Germany) and the Pen Center Vlaanderen (Belgium). He had poems published in poetry magazines in Brazil (Enemy Rumor, Cactus, Poetry Forever) and collaborated since 2004 in the journal Chorus una costellazione (Genoa, Italy). She holds a Master of Arts, PUC-Rio with the dissertation No man's langue: Poetry in flight Gherasim Luca. In addition to a writer is artista visual. Seus trabalhos investigam as alianças e descontinuidades entre palavra e imagem. Participou de exposições em diversos centros de arte, tais como Grand Palais de Paris, Fundação Miró, Museu de Arte Moderna do Rio de Janeiro, Oi Futuro, Centro Cultural Banco do Brasil, IASPIS, Jeu de Paume. Além disso, como toda Meidosemmes, ela sonha apenas em entrar no Palais de Confettis…

Laura Erber nace en 1979 en un planeta telúrico formado hace 4,54 billones de años. Ha publicado Insones [Sonámbulos] (7 Letras, 2002), Os corpos e os dias [Los cuerpos y los días]/ Körper und Tage (Merz-Solitude, 2006) y Vazados & Molambos [Vacíos y Harapos] (2008). Ha realizado junto al escritor italiano Federico Nicolao y la artista coreana Koo Jeong-A el libro Celia Misteriosa (Villa Medici y ediciones Io, 2007). Ha sido escritora visitante en la Akademie Schloss Solitude (Alemania) y en el Vlaanderen Pen Center (Bélgica). Tiene poemas publicados en diversas revistas de Poesía de Brasil ( Inimigo Rumor , Cacto , Poesia Sempre ) and collaborates since 2004 with the magazine Costellazione Chorus A (Genoa, Italy). Has a master's degree in Philology from the PUC in Rio ( Pontifícia Universidade Católica do Rio de Janeiro ) obtained with the dissertation " No man's langue: a poesia em drain Ghérasim Luca" [No man's langue: poetry Luca Ghérasim in flight], in addition to serving as writer and visual artist. Deepen its work on partnerships and discontinuities between word and image. He has participated in exhibitions held in various art centers, such as the Grand Palais Paris the Miró Foundation the Museum of Modern Art in Rio de Janeiro , Oi future, the Centro Cultural Banco do Brasil , IASPIS, and the Jeu de Paume . Moreover, like all meidosema [ Meidosemme ], no more dreams to enter the Hall of Confetti [1]

---

[1] Michaux, H . Meidosemmes . Le Point du Tour. Paris, 1948. Reprinted in Michaux, H. "Portrait des Meidosemmes" in La vie dans le plis. Gallimard. Paris, 1949.

Scorpio Men And Flirting

YEAR NUMBER VI VII

SUMMARY

Jerôme Combier Umber

Jean-Luc Nancy Seasons of the world

Jean-Christophe Bailly 's coming, Jean-Luc Nancy

Philippe Lacoue-Labarthe phrase XVII scene

Mario Richter Questions about Rimbaud

Roger Laporte short

Adrienne Sabrier Drawings

In memory of Aldo Buzzi Aldo Buzzi

not understand

Mario Nicholas The acrobat wireless

Alfonso Cariolato A Dialogue between Anthony and

Olivier Kervern Photography

Gianni D'Elia Poems

Laur Erber Picnic with Stroszek

Yoshimasu Gozo Garden Abandonment

Jean-Charles Fitoussi As I have written some of my film Hedwig

Marzolf & Sarah Moon ... Because every time maybe it's the last

Fanny Drugeon Poetry object mocking

Klaus Ramke Bible


198 pages

chorus@nicolao.org

How Much Plan B Is At Walmart

Saul Leiter Early Colors



Torna finalmente in vendita sul sito del prestigioso editore Steidl Early Colors , lo straordinario libro su Saul Leiter. Ne consigliamo a tutti l'acquisto, augurandovi buon acquisto e buone vacanze




Early Color - Second printing
Steidl & Partners
€48.00

Although Edward Steichen exhibited some of Saul Leiter’s color photographs at the Museum of Modern Art in 1953, for forty years afterwards they remained virtually unknown to the art world. Saul Leiter: Early Color provides the first opportunity to see a comprehensive presentation of images by one of photography’s great originals.

Leiter moved to New York in 1946 intending to be a painter and through his friendship with the abstract expressionist Richard Pousette-Dart he quickly recognized the creative potential of photography. Though he continued to paint, exhibiting alongside Philip Guston and Willem de Kooning, Leiter’s camera became — like an extension of his arm and mind — an ever-present interpreter of life in the metropolis.

The semi-mythical notion of the ‘New York street photographer’ was born at the same time, in the late-1940s. But Leiter’s sensibility — comparable to the European intimism of Bonnard, a painter he greatly admires — placed him outside the visceral confrontations with urban anxiety associated with photographers such as Robert Frank or William Klein. Instead, for him the camera provided an alternative way of seeing, of framing events and interpreting reality. He sought out moments of quiet humanity in the Manhattan maelstrom, forging a unique urban pastoral from the most unlikely of circumstances.

None of Leiter’s contemporaries, with the single and partial exception of Helen Levitt, assembled a comparable body of work in color. The lyricism and intensity of his vision come into fullest play in his eloquent handling of color: to the rapid recording of the spontaneous unfolding of life on the street, Leiter adds an unconventional sense of form and a brilliantly improvisational, and frequently almost abstract, use of found colors and tones. Leiter’s visual language of fragmentation, ambiguity and contingency is evoked in Saul Leiter: Early Color by one hundred subtle, painterly images that stretched the boundaries of photography in the second half of the twentieth-century.

Legs Ache And Forgetful

Olivier Kervern

Su numero 6 di Chorus Una Costellazione appena uscito, a partire da pagina 109, torna Olivier Kervern con una magnifica serie di photographs.







Olivier Kerven (Fontainebleau, 1977) Young talent of French photography, writing for the journal Purple, contested by directors from across the Alps for his photographs of the scene, already published in Italy by the editions of the Green Room ( IMPRÉVU moteur , Rome 2002) and No. 5 Chorus, Kervern has the gift to explore genres (portraiture, photography landscape, reportage) and countries (India, China, the major European capitals) traendone volontariamente my pocket significantly immagini particolarmente per la ricerca emozionanti Formale e capacità di pensare che of the caratterizzano (http://www.olivierkervern.com).

Pokemon Soul Silver Sav With Arceus In Party

Irving Penn Photographs Les petits métiers

Irving Penn

Small business

at the Fondation Henri Cartier-Bresson

2, impasse Lebouis
75014 Paris France


5 / 05 / 2010 27 / 07 / 2010

Keep models of their natural environment and install them in a studio facing the camera, not only did designed to isolate them, it transformed them.

Irving Penn, Worlds in a Small Room , 1974

Fondation Henri Cartier-Bresson tribute to one of the masters of photography of the twentieth century recently vanished, exposing Irving Penn May 5 to July 25, 2010, Small trades. Born in 1917, including fashion photographer for Vogue, Penn has photographed in the early fifties small trades in Paris, London and New York. Admirer of the work of Eugene Atget French, he also took into account the wider project of the German August Sander : Men of the twentieth century.

This presentation contains hundreds of drawings ever shown in Paris, taken from J. Paul Getty Museum in Los Angeles, which acquired in 2008 as a partial gift, the first set of the series selected by Irving Penn himself. Small businesses have particular importance for Penn who worked on the negative several times. The first prints made in the early fifties are silver gelatin prints. From 1967, Penn has reworked these same negative in order to obtain another set of prints made with platinum / palladium.

Né en 1917, Irving Penn a révolutionné la photographie dans une quête de l’autre sans pareil.

A l’instar de Cartier-Bresson, qu’il citait parmi ses influences, il s’oriente d’abord vers la peinture et le dessin. Après avoir étudié le graphisme auprès d’Alexey Brodovitch à Philadelphie, il débute sa carrière en 1943 avec sa première couverture pour le Vogue américain.
Ses images se définissent par une élégante simplicité et une rigueur méticuleuse, devenues les caractéristiques de son approche intime du monde « dans une petite pièce ». Selon « son arbre des influences »*, Morandi, Léger et Matisse sont les racines alors que Brodovitch et Liberman forment le tronc solide de sa carrière.

Dans les ramifications, on voit également Sander, Cameron ou Nadar. En quelques années seulement, Irving Penn va inventer sa lumière dans un souci d’authenticité avec une rangée d’ampoules au tungstène, un fond avec une toile neutre et des techniques de tirage. Il va également se confronter à des sujets académiques comme le nu ou la nature morte. Entre deux séances photo pour Vogue, il va photographier les plus grands ; actrices, écrivains, mannequins (Picasso, Colette, Marlène Dietrich…).

Died in 2009, this secretive man, a lot of freedom, imposed for more than sixty years a new way of seeing, an incredible energy. Irving Penn's photographs are exhibited in major museums and major collections are part of the United States and Europe.

Les Petits Métiers (Trades Small)

Wanderer in Paris Vogue in June 1950 to cover his first haute couture collections, he seized the opportunity to undertake the project staff based on his admiration of the traditions of representation of small businesses. Alternating idealization et ironie, les représentations photographiques des travailleurs se distinguent souvent par leur approche documentaire et typologique – le plus célèbre exemple étant le projet d’August Sander Hommes du XXème siècle, conçu en Allemagne entre les deux-guerres qui prétendait faire un portrait vrai de la population de l’époque.

Recrutés à Paris dans la rue par Robert Doisneau et Robert Giraud, les modèles se rendaient au studio, rue de Vaugirard, dans leur tenue de travail et recevaient un dédommagement pour la peine.

Devant un arrière-plan fait d’un rideau de théâtre abandonné, Penn alternated sessions with mannequins and prominent cultural figures for Vogue and others with humble workers for his project of small businesses. In addition to traditional small merchants, he also photographed people from the neighborhood and eclectic Mouffetard, as the sculptor or the bohemian singer Benoîte Lab.

Penn continued working on small business in London in September of that year. Informed by the hawkers in London, he photographed the fishmongers, newsagents, scavengers as well as chimney sweeps which are undoubtedly associated with the image of the city.

Back in New York in fall 1950, Penn continued his exploration of business the following year.

In a studio overlooking the East River, he photographed both local vendors and delivery people he met that the trades related to modern American lifestyle, sports, entertainment and new technologies.

Draws

the mid-'60s, Penn began a period of extensive experiments that allowed him to first learn and then perfect the technique of platinum print. For the process au platine, la couche sensible à la lumière est absorbée dans les fibres du papier du support laissant ainsi apparaître sa texture alors que pour les tirages gélatino-argentiques, les particules sensibles à la lumière sont suspendues dans une émulsion de gélatine qui recouvre le support papier.

Irving Penn commença par créer un agrandissement négatif aux dimensions égales à celles de l’image finale. Après avoir appliqué un encollage, il enduisait à la main une feuille de papier sensibilisée par les sels de platine et de palladium. Une fois le papier sec, il l’exposait par contact avec le négatif pendant une période allant de quelques minutes à plusieurs heures.
Après avoir développé le tirage, il l’immergeait dans une série de bains pour retirer l’excédent de sels et fixer l’image.

Penn a exploré d’infinies variations du procédé, y compris en combinant deux ou plusieurs négatifs de contrastes variables, ou en recouvrant le tirage de diverses combinaisons de platine et de palladium qu’il exposait à nouveau sous le même négatif ou sous un autre. Relativement fort en contraste, les tirages gélatino-argentiques décrivent bien les tenues et les outils, modelés par la lumière naturelle.
Les tirages platinum are tighter in the figures and their dimensions are larger than the silver gelatin prints, giving the models almost sculptural monumentality. The photographs that result are very expressive, revealing a range of hues ranging from gray shaded with deep blacks.

Publications

year of their creation, several selections of small businesses in Paris, London and New York appeared in international editions of Vogue. The portraits of the artisans made by Penn in Paris, London and New York not only demonstrate the diversity of jobs found dans chaque ville mais aussi les différentes attitudes des travailleurs face à leurs activités. Dans l’ouvrage Worlds in a Small Room de 1974, Penn fit l’observation suivante:

En général, les Parisiens doutaient que nous ferions exactement ce que nous leur avions dit. Ils pensaient que quelque chose de louche allait arriver, mais ils arrivaient au studio plus ou moins comme convenu – motivés par le cachet. Les Londoniens étaient différents des Français. Etre photographiés en tenue de travail était pour eux la chose la plus logique au monde. Ils arrivaient au studio, toujours à l’heure et se présentaient devant l’appareil photo avec un sérieux and pride that were particularly poignant. Of the three, the Americans were the group most unpredictable. Despite our recommendations, some came to the meetings changed from head to foot, shaven and sometimes even in their dark suits Sunday, convinced to make their first step towards Hollywood.

The project of the Small business has developed in the spirit of Penn because he believed that many of these activities could disappear. Interested in the extinction of cultures around the world, he traveled from 1948 to 1971 to photograph Native to Cuzco, Crete, Extremadura, Benin, Cameroon, San Francisco, Nepal, New Guinea, and Morocco.

Initially, Penn published excerpts of each series in Vogue magazine and then in 1974 he assembled them in the book Worlds in a Small Room ** and made the following comment: I preferred to confront alone the person himself away from everyday accidents, wearing his own clothes and jewelry, isolated in my studio. This person only I could distill the image I wanted and the cold light of day for carrying on the movie ... Keep

models of their natural environment and installer dans un studio face à l’objectif, n’avaient pas seulement pour but de les isoler, cela les transformait.

Penn avait une grande estime pour « les petits métiers ». Sachant combien ces gens s’identifiaient à leur travail, il a sciemment inclus leurs outils (comme leurs tenues) dans ses portraits.
Penn a positionné avec précaution les travailleurs avec leurs outils afin de créer des compositions équilibrées qui mettent en valeur leur savoir-faire. Penn a convoqué ses modèles dans le territoire neutre du studio, démontrant ainsi que son intérêt n’était pas de faire le portrait d’un milieu but rather a psychological portrait. The images collected reveal a profound gender models, and transformed into icons of modern times proud.


The exhibition catalog published by J. Paul Getty Museum brings the entire series of small trades and an interview with Edmond Charles-Roux, the editor of Vogue for sixteen years who has assisted Penn when ordering in Paris. It can be appreciated even in the printed book, the difference between reproduction prints of silver gelatin and platinum prints.

Irving Penn

Les petits métiers

à la Fondation Henri Cartier-Bresson

2, impasse Lebouis
75014 Paris
France

du 5 / 05 / 2010 au 27/07/ 2010

Irving Penn : The Small Trades
was designed by Virginia Heckert, associate curator in the department of photographs, and Anne Lacoste, assistant curator of the department of photographs.

Back Hurts When I Drink Something

Coup de coeur: the enchanting Scampi

... by double-clicking on the image you can directly access the products section of our favorites of the Chorus who now runs the adorable Scampi and his concert at the Boule Noire in Paris. By double-clicking on the link The favorite chorus however you can access this section of the site in its entirety.

Could Cats Survive Parvo?

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Mauri

Bumps On Tounge From Adderall

PAUL AND THE BIENNIAL Sommaripa POMEZIA 2010

Sommaripa Paul and the German art critic Fattino

Paul Sommaripa the art critic FattinoTedeschi II Biennale 2010 Pomezia

WORKS BY PAUL Sommaripa

STRALCIO DI CRITICA DI FATTINO TEDESCHI

IL TEMPO IN UN RESPIRO

an emblem of contemporary art that offers ecological bare the soul of this renowned master of the brush and love for the natural environment. Colors, harmonies of transparencies, forms of beauty that speak of space, past, remember that old perfume far, only the memory of this artist can to set in motion, exercising with her emotional state to return to the beauty of that time. Walking through the maze of memory, now paved with new current needs, Sommaripa affects the target, determined to research the subject caught in its metaphysical dimension. Artist chromatic tones high hours low hours, like the musical notes of a great performer who intends to order the scenes of a large orchestra arranged for a big concert, with musical instruments so the painter Paul Sommaripa listening to music in his works of Its colors before taking part in the Quadrennial art of Rome, that will also showcase his works. And nothing could stop the creative impetus of a man capable of making each space as an agora that encourages the encounter of every culture, every review free or bound by cultural contradictions that makes the artist protagonist of the scene, actor unsurpassed in the color of the day taking a sign and representative forms in the harmony of the decor, capable of representing the work of each of us, sometimes troubled journey in which man lives. Among harness dreams of new life, he pushes the mysterious past of memory, nourishes nostalgia fixing our thoughts evade existence, to find that the wind of revival shake to change the path worn often a life of new desires realized, but able to influence our behavior that only artists like Paul Sommaripa can give meaning and a reason to make our life happy.