joomla visitor

Christie’s Photographs from the Museum of Modern Art

Moments in Time

By

Leticia Marie Sanchez

Photography has become an inescapable part of our daily experience. One cannot sit in a restaurant without seeing someone snapping a photo of their spring rolls, their Tinder date, or even themselves. A few weeks ago on the Pacific Coast Highway, on a particularly crowded weekend, the man in the lane next to me took a selfie while stuck in traffic. Hopefully, police will soon be ticketing drivers for the 2017 version of DUIs: Driving under the Influence of Instagram.

For better or worse, photography is now ubiquitous.

But at one point in America history, photography was not pervasive.

In fact, as a medium it was breaking new ground in order to be recognized as an elevated genre worthy of hanging on museum walls.

An intriguing exhibit at Christie’s depicts a time when photography was first recognized as an art form.

The exhibit is in conjunction with a series of sales of more than 400 photographs from the Museum of Modern Art in New York. The sale will benefit the acquisition fund for the Museum’s Department of Photography. MOMA, founded by a coterie of “daring ladies” including Abby Aldrich Rockefeller, Lillie P. Bliss and Mary Quinn Sullivan, was the first museum in the country to establish a department devoted to photography.

The photographs being auctioned at Christie’s include works by photography pioneers Alfred Steiglitz, Ansel Adams, Man Ray, and Henri-Cartier Bresson.

What unifies the diverse iconic photographers is their ability to capture humanity through moments in time.

For instance, Henri Cartier-Bresson was influenced by 17th century Cardinal de Retz who declared,” There is nothing in this world that does not have a decisive moment.”

One of Cartier-Bresson’s photographs epitomizes the elusive, decisive moment.

The 1932 photograph, “Behind the Gare St. Lazare” depicts a mysterious black silhouette seconds before he alights from a ladder to a pool of water. The moment before his shoes get wet. Before his pants get muddy. In head to toe black, this anonymous soul could be anyone rushing to work. Yet, this is no moment of quiet desperation. Rather, the figure evokes a joyous freedom in his leap, paralleling the the image of le grand jeté, the exuberant jump of dancers featured in the posters behind him. Peeking from behind a gate, Cartier-Bresson embodies a fleeting moment poetically captured by a lens.

This image inspires us all to engage with photography to reach new heights.

derriere la gare st lazare

Henri Cartier-Bresson (1908-2004)

Behind the Gare St. Lazare, Paris,

1932

Gelatin silver print

15 ¼ X 10 ¼ in.

Printed for Cartier-Bresson Recent Photographs, 1968

© Henri Cartier-Bresson/Magnum Photos

read more

Cultural Cocktail Hour Contest- Win 2 tickets to season opening of Pittance Chamber Music

Pittance Chamber Music

Southern California Residents, please email culturalcocktail@gmail.com a message about you think is missing in the LA Arts and culture scene.

What do you think would MOST improve the performing arts in LA?

SUBJECT LINE: CCH Contest

The winning entry will receive a pair of tickets to the season opening performance of the Pittance Chamber Music!

Deadline for sending your contest entry is Thursday September 7th.

The concert is Saturday, September 16, 2017 at 3:00 p.m. at ​Eva and Marc Stern Grand Hall. The Music Center’s Dorothy Chandler Pavilion. 135 North Grand Avenue, Los Angeles, CA 90012

The season opening program program of Mozart, Berg, Brahms and Bernstein, featuring Principal players from the LA Opera Orchestra, along with Domingo Colburn Stein Young Artist, soprano Elizabeth Zharoff.

 The full program is listed below:

Soprano:        Elizabeth Zharoff 
Horn:              Steven Becknell 
Clarinet:          Stuart Clark
Violin:              Ana Landauer 

Violin:              Marisa Sorajja
Viola:               Brian Dembow 
Viola:               Shawn Mann 
Viola:               Alma Fernandez 
Cello:               John Walz 
Cello:               Rowena Hammill 
Piano:              Milena Gligic

W.A. MOZART           Quintet for Horn, Violin, two Violas and Cello in E flat, K. 407
A. BERG                        Seven Early Songs for Soprano and Piano
J. BRAHMS                 Quintet for Clarinet, two Violins, Viola and Cello, Op. 115
L. BERNSTEIN           Selected Songs 

​Eva and Marc Stern Grand Hall. The Music Center’s Dorothy Chandler Pavilion. 135 North Grand Avenue, Los Angeles, CA 90012

read more

All photography ©2017 Leticia Marie Sanchez

Fallen Leaf Lake August 2017

“If one really loves nature, one can find beauty everywhere”- Vincent Van Gogh

Tahoe for Web

 

 

 

 

 

Tahoe CCH 5

Tahoe CCH1Tahoe CCH 3

read more

An Edward Hopper moment at Fallen Leaf Lake

 

All nature photography ©2017 Leticia Marie Sanchez

Fallen Leaf Lake, August 2017

Edward Hopper, The Long Leg, 1935

Edward Hopper

 

 

 

 

 

 

Tahoe more CCH 1jpg

read more

Inspiration from Nature

All photography ©2017 Leticia Marie Sanchez

 Lake Tahoe, August 2017

 There is a pleasure in the pathless woods,

There is a rapture on the lonely shore,

There is society, where none intrudes,

By the deep Sea, and music in its roar:

I love not Man the less, but Nature more.

Lord Byron

 

Tahoe CCH 2Tahoe More CCH

read more

In the news: Classical Music to be played in north London to reduce crime

 

by

Leticia Marie Sanchez

In Broadwater Farm, an area of North London, Adam Weber, a 23 year old constable in charge of law and order, will be playing Beethoven and Mozart in an effort to reduce crime.

In the past the Broadwater Farm region was plagued by riots and violence, and Weber is hoping that classic music will have a similar effect to the use of music on the London Underground, where music was blared from speakers in 40 stations.

In the subway experiment, Weber revealed that incidents of verbal and physical aggression were reduced during the time period when the music was played.

As Bernard Berenson observed in 1952 at  Villa I Tatt in Florence, “Without art, visual, verbal and musical our world would have remained a jungle.”

For more details, please read:

http://www.classicfm.com/music-news/classical-music-broadwater-farm/

images

read more

Mozart and the Barber Shop Chase

“Why Can’t you Sit Still?

“Because I’m Mozart”

In his delightful tome, The Book of Musical Anecdotes, Norman Lebrecht reveals that the perpetually inspired Mozart led his Barber on a hair-cutting chase:

“Every moment an idea would occur to him…he would run to the clavier, the barber after him, hair-ribbon in hand.”

Luckily for Mozart, the barber had a steady hand.

read more

Wise Man of the Day: Plato

 Music Is a Moral Law. It gives soul to the Universe,

  Wings to the mind, flight to the imagination,

 Charm and gaiety to life and to everything.”

 


read more

Review: Ballet NOW- A Kaleidoscope of styles at the Music Center

Ballet Now

Review: Ballet NOW-

A Kaleidoscope of styles at the Music Center

By Leticia Marie Sanchez

With Ballet Now, the Los Angeles Music Center found itself as a global stage for the best that ballet has to offer. The performers included dancers from companies including: the New York City Ballet,  The Royal Ballet, American Ballet Theatre, Dorrance Dance, Miami City Ballet, and the Paris Opera Ballet. The superlative choreography included the work of George Balanchine, Jerome Robbins, Sir Kenneth MacMillan, Frederick Ashton, Ulysses Dove and Justin Peck. International dance sensation Tiler Peck curated the innovative kaleidoscope of pieces which kept both the dancers and the audience on their toes.

The ballet was a dynamic tapestry that skillfully juxtaposed contrasting shades of music, choreography, and talent. The program opened with the thought-provoking Increases, choreographed by Justin Peck and performed to Philip Glass’ Four Movements by Two Pianos. The palette of pale blue like a meditative Rothko, set the stage for a whimsical performance in which the dancers showcased their talent individually and collectively.  Immediately following the witty performance came the serious dreamy Pas de Deux from Prokofiev’s Romeo and Juliet. In this piece the dancers movingly conveyed the sense of all-consuming love. In contrast to the introspective emotion evoked by Romeo and Juliet, Hershy Kay’s Stars and Stripes re-energized the audience with its exuberant, clipped beat and physical feats which roused the crowd to wild applause. Tiler Peck truly proved a standout with her flawless performance.

After the boisterous brass of Stars and Stripes, the Meditation from Thais by Jules Massenet was a welcome respite of introspection, a jewel of piece, choreographed by Frederick Ashton and danced by Lauren Cutbertson and Reece Clark. Next in the unique musical dialectic curated by Peck was Red Angels, choreographed by Ulysses Dove and performed to Maxwell’s Demon by Richard Einhorn. Red Angels was highlight of Ballet Now. Although first performed in 1994, it still felt innovative, pushing the boundaries of ballet into abstract expression. The effective lighting, and sparse, modernistic contrast between red and black, allowed the audience to focus their gaze on the dancers who alternated between harmony and discord, creating tension and anticipation through their movement.

The weakest link in the program was Fancy Free, which after the electrifying Red Angels, proved anti-climatic. The music of Leonard Bernstein was sensual and evocative and the cast of dancers charming, but unfortunately, Jerome Robbin’s choreography felt dated and at times veered into misogynistic territory. Sailors gaping at female pedestrians walking alone at night (and in one case, grabbing a lady’s purse) was intended to be light-hearted and humorous but made for uncomfortable viewing, as though one were gazing at Ruth Orkin’s iconic 1951 photo, “American Girl in Italy” in which a lone female walking alone hurries past a pack of leering men. However, the set design by Oliver Smith was stunning, a page of Edward Hopper’s “Nighthawks” come to life.

During intermission, I overheard many audiences members commenting on what a treat it was to be able to enjoy shorter pieces, thereby enjoying a variety of composition, choreography, and dancers in one program. The superb lighting and striking set design complemented the varying shades of the artistic palette. Hopefully, these artistic kaleidoscopes will continue at the Music Center, keeping Los Angeles on the forefront of the international dance scene.

read more

In the news: Selfies and artistic collateral damage

Selfies: Artistic Collateral Damage?

by

 Leticia Marie Sanchez

selfie

One cannot deny the preponderance of selfies in today’s art world. One cannot enter a gallery, museum, or even concert venue without encountering a selfie taker, some more subtle and considerate than others.

Taking a selfie as a souvenir of an artistic experience is one thing. What is disconcerting is when I-phones become Weapons of Mass Destruction.

Unfortunately, the latest artistic destruction caused by a selfie apparently occurred this summer at the 14th Factory, a pop-up gallery in Los Angeles, where a clumsy student taking a selfie caused more than $200,000 worth of damage to a series of crowned pedestals by Hong Kong based multimedia artist Simon Birch.

Birch decided not to press charges against the individual because 1) she was a student and 2) it was an accident. In a statement released by Birch, the artist reveals:

“Each sculpture was painstakingly designed and built from all kinds of materials and involves 20-30 hours of man labor each. There are 64 unique ones, some made in the US, others in China. Four different creative collaborators and artists were involved in the process … It took years for the sculptures to be designed …”

An article in this week’s New York Times about the Birch incident reveals that this is only one of many episodes around the world of selfies causing artistic destruction.

https://mobile.nytimes.com/2017/07/14/arts/design/oops-a-museum-selfie-gone-wrong-causes-200000-in-damage.html

Even the powerful, mythical Hercules has been crushed by a selfie; in 2015, a 300 hundred- year-old statue depicting the demigod was damaged by two eager selfie takers in Cremona, Italy.

A thoughtless selfie taker in Lisbon caused a statue of a 16th- century Portuguese king, Dom Sebastiao, to topple over and shatter.

Other news outlets report that the 19th Century Greek sculpture “Drunken Satyr” was damaged by a selfie taker in Milan who thought it was a good idea to jump into the statue’s lap. Unfortunately, the sculpture lost a leg.

Destruction by selfie is not limited to the artworks themselves; rather the collateral damage can extend to the entire artistic experience. Last year, I missed the overture to a lovely Mozart opera due to two selfie takers sitting in my row, snapping away and chatting loudly, long after the performance had begun. There is no reset button on a live performance. Once you miss the notes, they’re gone. On another occasion, my two-year old’s quiet discovery of the fountains at the Getty Center was brusquely interrupted an individual who barked, “Move out of the way of my selfie.”

At what point does an individual’s quest for a selfie take precedence over the artistic experience of those around them? There can be no doubt that we currently live in a solipsistic society. The most popular gadgets begin with the self-serving pronoun “I”: I-phone, I-pad, I-Tunes. Me. Me. Me.

Even if we were to ignore the damage to the artworks or the irritating distraction to those around them, how meaningful of an experience can an individual have with a work of art if his eyes and fingers are consumed by his I-phone?

The 19th century art critic John Ruskin once observed, “All that is good in art is the expression of one soul talking to another.”

And by soul, I don’t think that Ruskin meant Siri.
Photo: “Immortalization of Self” by Jana Cruder and Matthew La Penta photographed by Leticia Marie Sanchez at 2016 LA Art Show

read more
Page 1 of 5012345»102030...Last »