Picasso and Chagall

 By Jonathan Shih

In 1948, two of the 20th century’s most influential artists, Pablo Picasso and Marc Chagall, were captured together at the Madoura ceramics workshop in Vallauris, France. This moment, photographed by Reporters Associes, showcases the intersection of their creative worlds, as Picasso was immersed in pottery, a medium he began exploring in the mid-1940s. The Madoura workshop, run by local potters, became central to Picasso's artistic evolution during this period. By 1948, he was fully committed to his ceramic work, creating a series of pieces that fused his iconic surrealism and Cubism with traditional ceramic techniques. This period marked a significant expansion of Picasso's creative boundaries, as he experimented with clay and the three-dimensional form, ultimately producing some of his most celebrated works.

Marc Chagall, a contemporary of Picasso and another giant of modern art, was equally involved in the vibrant artistic community of the South of France. While his contributions to art were distinct, Chagall’s own work was marked by surreal imagery and a deep connection to his Jewish heritage. The photograph of Picasso and Chagall in the Madoura workshop serves as a powerful symbol of the camaraderie that existed among leading modern artists in mid-century France. The artists’ shared dedication to their craft and mutual respect highlight the cross-pollination of ideas that defined the artistic climate of the time, fostering an environment of creativity and innovation.

The year 1948 was a transformative time in the art world, as post-World War II Europe witnessed a flourishing of artistic movements. Vallauris, a small town on the French Riviera, became a hub for ceramic art, with Picasso's influence pushing the boundaries of what ceramics could achieve. This photograph not only captures a personal moment between two great minds but also serves as a reminder of the dynamic and interconnected world of modern art. Picasso’s ceramics, which he produced at Madoura, would go on to become some of his most iconic works, while Chagall’s influence in the realm of painting, stained glass, and other mediums continued to resonate in the global art scene.

At Eternity’s Gate

 By Jonathan Shih

At Eternity’s Gate (2018) is a biographical drama directed by Julian Schnabel, starring Willem Dafoe as the legendary painter Vincent van Gogh. The film explores the final years of Van Gogh’s life, focusing on his struggles with mental illness, his passion for painting, and his complex relationships with fellow artists and society.

Set in the late 19th century, the movie follows Van Gogh as he moves to Arles and later to Auvers-sur-Oise, where he creates some of his most famous works. His friendship with Paul Gauguin (Oscar Isaac) is a key element in the film, showing their contrasting artistic philosophies and the emotional toll it takes on Van Gogh. The film also depicts his interactions with his supportive brother, Theo (Rupert Friend), and his turbulent experiences with the people who misunderstood him.

Rather than presenting a conventional biopic, At Eternity’s Gate is an immersive and impressionistic portrait of Van Gogh’s psyche. The cinematography, with its handheld camera work and shifting perspectives, places the audience inside Van Gogh’s mind, blurring the lines between reality and hallucination. The film’s vibrant color palette and expressive visual style mirror Van Gogh’s own artistic approach.

Willem Dafoe’s performance is a highlight, capturing the painter’s vulnerability, anguish, and unrelenting drive to create art despite societal rejection. The film challenges the long-standing myth that Van Gogh’s art was purely a product of his mental illness, instead portraying him as a visionary who saw the world differently.

At Eternity’s Gate is a poetic and meditative film that invites viewers to experience Van Gogh’s world through his eyes. While slow-paced and introspective, it offers a deeply emotional exploration of the artist’s genius and torment, making it a moving tribute to his enduring legacy. 

Liz Sexton: Masks for Climate Change

By Jonathan Shih

St. Paul-based artist Liz Sexton expands her papier-mâché mask series with marine-themed sculptures, depicting walruses, manatees, and polar bears on dry land. Using accessible materials like cloth, wire, and acrylic paint, she crafts lifelike, wearable pieces for her solo exhibition Out of Water at the Minnesota Marine Art Museum. Partnering with photographer Ben Toht, Sexton highlights species threatened by climate change, capturing them in unexpected settings like grocery stores and laundromats to underscore the fragile balance between human environments and aquatic ecosystems. 

Agnes Varda

 By Jonathan Shih

Agnes Varda, a pioneering French filmmaker and visual artist, was renowned for her innovative approach to cinema, particularly her ability to transcend the boundaries of conventional storytelling. Born in Brussels in 1928, Varda is considered one of the key figures in the French New Wave, alongside other legendary directors like Jean-Luc Godard and François Truffaut. However, her style and philosophy were distinct, often blending documentary techniques with experimental narrative forms. Varda's works were deeply personal and often explored themes of identity, memory, and the passage of time, making her one of the most unique voices in 20th-century cinema. "I need images…I need representation which deals in means other than reality. We have to use reality but get out of it. That’s what I try to do all the time," she once said, emphasizing her desire to explore beyond mere realism.

Throughout her career, Varda’s work challenged traditional notions of storytelling. She frequently incorporated a variety of genres, from fiction to documentary, and used imagery as a means to express complex emotions and thoughts. One of her most iconic films, Cléo from 5 to 7 (1962), follows a woman’s two-hour journey through Paris, as she awaits the results of a medical test. Varda’s camera captures both the exterior world and the inner turmoil of her character in a way that is both intimate and experimental. Her use of "reality" in this film is not a straightforward depiction of life but rather an exploration of time, space, and consciousness. Varda’s approach to filmmaking was never just about capturing reality but about reshaping it to reflect inner truths and subjective experiences.

Varda’s influence extended beyond the realm of film, as her legacy as a visual artist and feminist icon continues to inspire generations of filmmakers and artists alike. Her work in photography, installation art, and short films allowed her to push the boundaries of traditional media and create a body of work that is as diverse as it is profound. In her later years, films like The Gleaners and I (2000) and Varda by Agnès (2019) further solidified her place as a master of visual storytelling, blending personal reflection with larger societal themes. Varda's career is a testament to the power of cinema and art to explore the complexities of human experience, reminding us of her enduring commitment to going beyond the surface to reveal deeper truths. Her unique ability to play with the concept of reality in her work continues to resonate today, securing her place as one of the most influential filmmakers in history.

Platoon

By Jonathan Shih

In 1986, Platoon made a profound impact on both Hollywood and the public, presenting an unflinching portrayal of the Vietnam War. Directed by Oliver Stone, the film was a raw and emotionally charged examination of the horrors of war, focusing on the psychological toll it takes on soldiers. It also marked the beginning of a new era of Vietnam War films, differing greatly from previous, more sanitized portrayals of the conflict. In Platoon, Willem Dafoe and Charlie Sheen played central roles, both bringing depth and vulnerability to their characters. Dafoe, as Sergeant Elias, embodied the moral compass of the platoon, while Sheen, as Chris Taylor, a young recruit, navigated the chaos of war, torn between the values of Elias and the brutal reality embodied by his fellow soldier, Sergeant Barnes (played by Tom Berenger).

The movie’s success was not only due to its harrowing content but also the performances of its cast. Willem Dafoe's portrayal of Sergeant Elias earned him an Academy Award nomination for Best Supporting Actor. Dafoe’s nuanced performance, marked by moments of compassion and rage, showcased his ability to convey the complex emotions of a soldier trying to maintain his humanity amid the violence surrounding him. Charlie Sheen’s role as Chris Taylor helped establish him as a leading actor in Hollywood. As a young man who transforms throughout the movie, Sheen's character becomes a symbol of both innocence lost and the harsh lessons of war. His performance resonated with audiences, cementing Platoon as a defining film of the 1980s.

Released at the height of the 1980s, Platoon was a reflection of the era’s increasing interest in more realistic, gritty depictions of war, diverging from the glorified and often fantastical portrayals common in earlier films. The film’s success at the box office and at the Academy Awards—winning four Oscars, including Best Picture and Best Director—made it a cultural touchstone of the decade. For Dafoe and Sheen, Platoon marked a turning point in their careers. It solidified their status as serious actors, capable of handling complex and emotionally demanding roles. The film remains one of the most important works in the history of American cinema, both for its artistic merit and its unflinching look at the cost of war, making it a film that continues to be studied and remembered by cinephiles and historians alike.

Richard Sandler: The Layering of Randomness

By Jonathan Shih

 

Richard Sandler is an award-winning photographer/filmmaker, who shot the streets of New York City from 1977 until the early 2000s. A native New Yorker, Richard was born in Queens in 1946. At the age of ten, he was riding the subway into the city to take in the excitement of Times Square. In 1977, he decided to leave a career as a chef and then acupuncturist before jumping headfirst into photography. With no formal training, Richard soaked up any information he could find; books, advice from roommates, a photo history class, and a photo workshop with Garry Winogrand. After a short stint in Boston, he moved back to New York to shoot some of the sincerest photographs of that era.

“You could say, ‘look how fup New York City was in the 80s, look at all this graffiti, but also it was very beautiful,” he said. “The layering of randomness, of one person’s tagging over another, and it would go on for months and years, and it started to look like Jackson Pollock.”

Sandler, who earned money as a photojournalist, was constantly taking pictures. “I’d take the subway into the city with five rolls of film, get out on the street, and just shoot,” he added.

Richard stopped taking photos for a while after the 2001 terrorist attacks, focusing instead on documentary film. “After 9/11 put the still cameras down because the sound on the street, the protests and the marching and the soul-searching and the mourning and the arguing that went on in New York, the sound was more important,” he said.

The Enigmatic Vivian Maier Part II

By Jonathan Shih

 

"If you really have something to say, better to be behind the camera than in front of it." — Vivian Maier

Happy birthday to the enigmatic Vivian Maier (1926–2009), the legendary street photographer whose incredible work remained hidden during her lifetime. Her life journey is the true depiction of the fact, how capturing moments in photographs passes legacy throughout the decades.

Vivian Dorothy Maier was born in New York but spent her childhood in France, returning to the US to eventually settle in Chicago working as a nanny. While pursuing her profession as a nanny for over four decades, she secretly documented the streets of Chicago, New York, and beyond, capturing raw, unfiltered moments of her surroundings.

Her works were discovered by a man named John Maloof. He bought some boxes from her rented storage unit at auction. The boxes contained 1000s of negatives, prints and undeveloped rolls of film, and fortunately, he had enough passion and interest in them to curate a body of work. There were actually also two other collectors, Ron Slattery and Randy Prow, who found some of her prints and negatives around the same time, but it was John Maloof who made it his job to introduce the world to Vivian Maier's legacy. Her photographs showcase a masterful eye for composition, humor, and human emotion, often highlighting the simple lives of the working class, children, and the unnoticed beauty of fleeting moments. Maier’s use of light, reflections, and unique perspective set her apart, making her one of the most compelling street photographers of the 20th century.  

Though she never sought recognition, her posthumous fame has recognized her as a visionary artist, reminding us of the power of photography to preserve history and human connection.

Drugstore Cowboy

By Jonathan Shih

 

Released in 1989, Drugstore Cowboy was a groundbreaking film directed by "Gus Van Sant" that tackled themes of addiction, crime, and the fragility of human relationships. The film starred "Matt Dillon" as Bob, a drug addict and petty criminal, and "Kelly Lynch" as his girlfriend, Nadine. Set against the backdrop of a grimy, drug-soaked Portland, Oregon, the film explores the lives of a group of addicts who rob pharmacies to support their habits. Dillon’s performance was raw and deeply human, showcasing his range as an actor beyond his previous roles in The Outsiders (1983) and Rumble Fish (1983). "Kelly Lynch" provided a captivating counterpoint to Dillon's character, bringing a sense of vulnerability and strength to the role of Nadine, who is equally trapped in the cycle of addiction but yearns for something more.

Drugstore Cowboy became one of the defining films of the late 1980s for its unflinching portrayal of drug culture and the devastating effects of addiction. The film's gritty, realistic approach to its subject matter set it apart from other films of the time, which often sensationalized or glamorized drug use. With its documentary-like style and commitment to authenticity, Drugstore Cowboy resonated with audiences who appreciated the film’s stark realism. "Gus Van Sant" also infused the film with a dark sense of humor, making it a unique experience that combined bleakness with moments of levity. The film was a critical success, earning Van Sant praise for his direction and the performances of Dillon and Lynch. It also marked a significant moment in the careers of both actors, cementing their place in the era's film landscape.

The film's impact extended beyond its initial release, influencing future films about addiction and the marginalized individuals who live on the fringes of society. Drugstore Cowboy is often remembered as a key part of the independent film movement of the late 1980s and early 1990s, which saw a rise in low-budget films with more personal and artistic storytelling. The raw performances of "Matt Dillon" and "Kelly Lynch" were integral to the film’s success and enduring appeal. Their portrayal of characters caught in the downward spiral of addiction resonated deeply with audiences, earning the film a place as a cult classic. Today, Drugstore Cowboy remains a powerful exploration of addiction, survival, and the choices that shape our lives, standing as one of the finest films of the late 1980s and an important piece of American cinema.

The Zorki 4

By Jonathan Shih

The Zorki 4, a legendary Soviet-made camera produced from 1956 to 1973, stands as a symbol of Soviet engineering in the world of photography. With its rugged design and mechanical reliability, the Zorki 4 became an essential tool for photographers in the Eastern Bloc. Developed by the Krasnogorsky Mechanism Plant (KMZ), this 35mm rangefinder camera was known for its precise build quality and its ability to produce sharp, stunning images, making it a favorite among both amateur and professional photographers. "The Zorki 4’s simple yet robust design provided a reliable alternative to Western cameras of its time, such as Leica, which were often out of reach for many." Its combination of affordability and performance meant that it became ubiquitous across Eastern Europe, capturing the everyday life of the time.

The camera features a 1s to 1/1000s shutter speed, a built-in rangefinder, and an M39 screw mount for lenses, notably the Jupiter-8, which was known for its excellent image quality. The Zorki 4’s bright and clear viewfinder, paired with its mechanical precision, made it a joy to use for those who appreciated analog photography. "With its manual controls, it allowed photographers to fine-tune their images in ways that digital cameras simply cannot replicate." For those exploring street photography or capturing portraits, the Zorki 4 proved to be an invaluable companion, giving each image a vintage, timeless quality that is still highly sought after today by collectors and photography enthusiasts.

The Smoker by Vincent Van Gogh

By Jonathan Shih

We already know an awful lot about Van Gogh, but we recently found out something new! Pinning down when Van Gogh painted ‘The Smoker’ (1) is tricky, as the work is not mentioned in his letters. It was initially thought to be from late 1888, but our Senior Researcher Teio Meedendorp identified it as one of eight studies from Van Gogh’s first weeks in Arles, so early 1888.

The painting’s loose brushwork and rich colours align with his early Arles style. Van Gogh’s later Arles portraits feature flat, uniformly toned backgrounds, but ‘The Smoker’ has a dynamic blue background with shades that add depth. It’s also similar in style to ‘An Old Woman of Arles’ (2), both paintings having backgrounds that emphasize depth and decorative detail.

The curtain in the background suggests the painting was made in a colder season, likely to keep cold air out of a café. Though Van Gogh didn’t directly mention ‘The Smoker’ in his letters, he did discuss portraits like ‘An Old Woman of Arles’ and other personal details during this time (February–March 1888), which helps place ‘The Smoker’ in his early Arles period.

1 ‘The Smoker’, c. 27 February 1888 © The Barnes Foundation, Philadelphia

2 ‘An Old Woman of Arles’, c. 24 February 1888 © Van Gogh Museum