John Hughes’ Lasting Legacy « The Errant Æsthete

John Hughes’ Lasting Legacy

A tribute to reclusive 80s auteur John Hughes. For the uninitiated, the filmmaker of “Sixteen Candles” and “The Breakfast Club” stopped directing in 1991 and moved back to the midwest. [via -designobserver-]

“He’s our generation’s J.D. Salinger,” says [Kevin] Smith, whose film “Dogma” shows its heroes, Jay and Silent Bob, on a pilgrimage to Shermer, Ill., a mythical town that only exists in Hughes’ films. “He touched a generation and then the dude checked out. If it weren’t for him, I wouldn’t be doing what I do. Basically my stuff is just John Hughes films with four-letter words.”

~ by Errant Aesthete on 04/11/08.

Posted in Notable Aesthetes
Tags: comedy, director, FerrisBueller, FILM, teenangst, TheBreakfastClub

Joyce Tenneson

Asaf Ben Zvi

Eugene Gabritschevsky

Larry Abramson

Will Cotton

Dietmar Busse

Andy Warhol

Eric Baker on Design

As I bounce around online looking for images I always look for the extraordinary, the esoteric, the naive, and the emblematic of a time; works that are not the pieces we often see in design history books.

Just as a map helps us find our way and shows us where we are, looking at design from years past helps us better understand the trajectory contemporary design has taken. DesignObserver.

Great Performances

Swoon Worthy

Irving Penn

The Remarkable Mr. Jones

The novelist Alison Lurie wrote:

“Whatever is worn on the head is a sign of the mind beneath it.”

Stephen Jones, the greatest milliner of his generation, disagrees.

“Whatever is worn on the head is a sign of what a person would like to be.
Hats are a passport
to another world.”

Jones advises that you wear a new hat around the house.

“Get used to it”, he said, "before you go out. Then you will wear it with nonchalance.”

Cocktail Hour

Cotton's Candied Confections

Ernst Haas

Annechovie

Patricia Gray

Post Wisdom

Tim Davis' Un Coin d'Appartement

Some may frown on Tim Davis' photographs of famous paintings. For one thing, it appears that his camera's flash intrudes upon and harms each masterpiece. However, the artist doesn't use a flash at all, instead relying on the light provided by sources within the museums where the works are housed.

Davis shoots them from angles that accentuate the available light and then creates prints that reveal the physique of the paintings.

The added beams of light modify our sense of these mostly familiar images. In certain pieces the light reveals texture (the aged paint cracks in Corot's Evocation of Love); in others it alters the figures (notably the child, now resembling a specter, in Monet's Un Coin d'Appartement).

Fifi Flowers Design

Edouard Chimot

La Boheme: Loulou

Suzanne Katzenberg

Hendrik Kerstens' Paula

"One day [photographer Hendrik Kerstens' daughter] Paula came back from horseback riding. She took off her cap and I was struck by the image of her hair held together by a hair-net.

It reminded me of the portraits by the Dutch masters and I portrayed her in that fashion."

A number of the portraits of Paula are very reminiscent of Johannes Vermeer. The austerity of the photograph, its clarity, the serene expression on the young girl’s face, untouched by the experiences of adult life and, not least, the characteristic ‘Dutch’ light, all combine to create this impression.

Bag (detail) by Hendrik Kerstens, 2007 National Portrait Gallery

The New Dutch Masters

William Wegman

L'esprit de l'escalier

L’esprit de l’escalier or esprit d’escalier (stairway wit) is the sense of thinking of a clever comeback in an encounter when it is too late.

The phrase can be used to describe a riposte to an insult, or any witty, clever remark that comes to mind too late to be useful—when one is on the “staircase” leaving the scene of the encounter.

The phenomenon is usually accompanied by a feeling of regret at having not thought of the riposte when it was most needed or suitable.

Featured: Stairway at the Louvre, Paris, 2007

EX LIBRIS

The Age of Innocence

In this classic novel of old New York, Edith Wharton recreates the city of her girlhood in the 1870s. The Arion edition has been illustrated with photographs of the actual settings of the story.

“Truly a thing of beauty” according to Forbes magazine, this edition celebrates a classic of American literature. The book has a special status as an affectionate record of the streets and buildings of New York City. At every moment of the novel the reader knows where the characters are, walking down a particular street, standing in front of a certain address, looking out the window of a familiar room.

The Arion Press edition is illustrated with images of the novel's actual setting, as they are today, captured by noted photographer Stephen Shore who brought to this project a personal knowledge of the historic buildings and streets that made up Wharton's New York world.

New York Times art critic Michael Kimmelman raved: "The work’s laconic eloquence speaks of an era and a nation."

The Kindle

Francis Bacon

Francis Bacon's sickly serene Self Portrait 1971 is a refracted faceted face akin to some of Paul Cézanne's self-portraits which are reminiscent of cut precious gem stones reflecting light. Bacon painted with a very dry brush giving the sensation of a granular, grainy effect.

The melancholia mood is of a man melting before you: a disturbing image of a disturbed man in a disturbed century. This is one of the last great self-portraits Bacon painted before he went off the rails and went back into to the lazy worn grooves of inane illustration.

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	Errant Aesthete on The Era of Misbehaving
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The Errant Æsthete