“Alabama Cotton Tenant Farmer’s Wife,” (1936).
Bud Fields and His Family, Hale County, Alabama, Summer 1936.
“The most realistic and
important moral effort
of our generation.”
“Let Us Now Praise Famous Men.“
In the spirit of Walker Evans and the Great Depression, Slate is asking for photos that document our current economic crisis. Flickr pool here. Shoot the Recession.
Walker Evans in 1937
In
a
gentle
way,
you
can
shake
the
world.
~Gandhi
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
“A man
should look
as if he bought
his clothes
with intelligence,
put them on
with care,
then
forgot
about them.”
-Hardy Amies
“Life
itself
is
the
proper
binge.”
~Julia Child
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.
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."
“The golden moments
in the stream of life
rush past us
and we see nothing
but sand.
The angels
come to visit us,
and we only know them
when they are gone.”
-George Elliot
“I’d Rather Go Naked Than Wear Fake Chanel”
Following her counterfeit faux pas, the culture’s rebellious “bad girl” Courtney Love has been granted a reprieve by Karl Lagerfeld’s court. Fortunately, the iconic rock star is now decidedly back in fashion.
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."
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.
The Errant Aesthete©
July, 2007 - March, 2012
The Errant Aesthete©
All Rights Reserved
If you would like to reprint an article or repurpose a photo, please email for permission.
EMAIL: worddrawing@gmail.com
Sixty-nine years ago, in the summer of 1936, FORTUNE sent writer James Agee and photographer Walker Evans south to document the lives of cotton sharecroppers. Their story was to be part of a series called “Life and Circumstances.” Agee was a published poet, not long out of Harvard, who once described himself as “a great deal more a communist than not.” Evans–the partner Agee insisted upon for this plum assignment–was on loan to FORTUNE from the Farm Security Administration. They left New York by car on a mid-June afternoon and were gone two months, long enough for Agee to conclude that the story he had found was too subversive for FORTUNE, and possibly bigger than any magazine could hold, and more important than his career.
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I remember seeing this project for documenting the recession somewhere with a comment that in the past there were bread lines and car lines at the gas tanks to photograph. But with all the unemployed staying in doors online, there won’t be much out there to shoot.