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arrington
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Name: Laura
Gender: Female
Interests: books, history, france, correspondance and travel, medieval art, all types of films, pimms and lemonade, running, and more popcorn than the "body for life" program allows
Expertise: medieval art research and commentary, surviving and thriving in obscure locations, latin paleography; most recently, b-grade USSR photography
Industry: Art
Message: message meEmail: email me
Member Since:
2/17/2004
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| At a bend in the road in rural Arkansas stand a couple of gas stations amid acres of leafy greens. Here is the world's most socially conscious bathroom stall.
"Save Darfur"
"Go Green"
"Obama 08!"
Support the Trooops"
"Support the Troops by bring them home"
etc...
And below the slogans someone had summed it all up:
"We cannot have all things to please us/ no matter how we try" - Gillian Welch
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| De-installation/Installation at the AAC Selections from the Inter-American Development Bank Art Collection (how's that for a title?) came down this week: 67 works off the walls, conditioned and packed. Conditioning the Secco. This position through 67 works gives you a greater appreciation for the cotton pickers of yesteryear. 
Rare sight: Leslie takes a break.  The Wolfe Gallery that was holding the Inter-American work is being made over for a Jim Henson exhibition (muppets guy). There are sketches and notebooks and puppets and Kermit in a special appearance. Miss Piggy was booked. The color scheme is orange and purple and lime green. 
Model of entrance to Wolfe Gallery for Henson 
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| La Vie en Noire.
Il n'y a pas trop de rose dans La Vie en Rose. The poster is nice though.
I suppose it could have gone the other way. It could have been a candy colored hallmark card to Paris. Maybe this is what they were trying to avoid. But why set the stage with all the grit and grim and forget that the music is a counterpoint to this? It is nice to see the movie restore the songs of Parisian cabaret to the rough slice of life from which they undoubtedly came instead of always serving as a backdrop for cartoons or Julia Ormond wandering Paris. But once you've done that, you're in a prime position to let the romance of the songs, their joy and their gumption, stand out. Surely what is remarkable about these songs is that from poverty, distress, and war came melodic, unabashedly romantic music, and spirited too. The movie La Vie en Rose doesn't tell you why such songs should come from the gutter, doesn't evoke much of what they meant, and doesn't really explain why Edith Piaf was their most famous interpreter. Mainly, it just shows you how rocky it was being Edith Piaf. | | |
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