Archive for August, 2015

Sculpture | On the Other Side of Richard Deacon

Friday, August 28th, 2015

Siamese Metal #1, 2008
Steel. Private collection.
Photo Mathias Schormann



Richard Deacon
On The Other Side
Kunstmuseum Winterthur
Winterthur | Switzerland
Until 15 November 2015



North – Fruit, 2007
Glazed ceramic. Private collection.
Photo Hans Ole Madsen

Alphabet C, 2009
Powder-coated steel.
Courtesy Galerie Ropac, Paris.
Photo Charles Duprat



Visitor figures for Richard Deacon’s 2014 retrospective exhibition at Tate Britain in London – the UK’s teeming metropolis – were massive. The previous year the sculptor’s large, permanent outdoor work ‘Footfall’ had been installed at Kunstmuseum Winterthur in the relatively small city of Winterthur – population 108,000 – located in the northern canton of Zürich, Switzerland. A selection of 40 works produced during the past 10 years, augmented by others already in the Kunstmuseum’s collection, form the body of On The Other Side, the artist’s current and first solo exhibition there.

Sturdy and complete – Deacon’s sculptures have no loose ends – they nevertheless convey sensitivity through their carefully-selected materials and the fine finishes each individual piece is given. Much of his ability to achieve the high standard of workmanship he requires, derives from his close working relationship with his collaborator of thirty years, Matthew Perry. On the Tate blog, Perry explained: ‘Richard has an idea; he wants to put things together in a certain way, and I go away and make a vocabulary for him to work with. The reality of this work is that it’s always eccentric and it’s very hand-made, it’s not a process of mass production. You have very complex shapes that have to be joined, and they are routed together so that they are strong, but elegant.’



Footfall, 2013, installed at Kunstmuseum Winterthur
Stainless steel.
Photo Serge Hasenböhler

Infinity #34, 2008
Steel. Private collection.
Photo Ken Adlard

Undergrowth, 2006
Glazed ceramic. Private collection.
Photo Ken Adlard



Born in 1949 in Bangor, Wales, winner of the 1987 Turner Prize and one of the UK’s most successful artists, the dome-headed and bespectacled 66 year-old – two years older than his close contemporary sculptor of similar standing, Antony Gormley – is based in London where he is represented by the highly-respected Lisson Gallery, on whose site Deacon’s impressive list of achievements is listed. However, he is also represented by galleries in Denmark, France, Germany, Spain, one on America’s east coast and another on its west. He has exhibited with increasing regularity since 1975 in galleries and museums throughout the world, from London to Caracas, from Maastricht to Tokyo, picking up public and private commissions along the way, including the design of stage sets for the Ballet Rambert.

At one time referring to himself as fabricator, as opposed to sculptor, he later qualified his statement by explaining that he liked the double sense of the word fabrication in English, which can mean a construction as well as an imagined event. However, rather than taking the more conventional sculptor approach of having an idea then choosing a material to execute it in, Deacon uses the material itself as a starting point and has taken inspiration from, among others, rocks, minerals and chains. He has drawn inspiration from such diverse sources as mathematics, caves, carved Buddhas, Donald Judd’s work and, famously, even a toy model of Marge Simpson’s head.

Copper, 2012
Wood, epoxy resin and copper pigment.
Courtesy Marian Goodman Gallery, New York.
Photo Cathy Carver



Deacon’s method of organising work for his shows is also unusual. Although at first he made work especially for exhibitions, he later changed things around so that he now continuously builds up a stock, constructing exhibitions based on that stock, with the object of achieving better continuity. On The Other Side at Kunstmuseum Winterthur – a compact gallery with big ideas, which in recent years has hosted exhibitions of work by such major names as Édouard Vuillard, Gerhard Richter and Richard Hamilton – is restricted to works in wood, metal and ceramics used in organic and constructed shapes

All photos courtesy Kunstmuseum Winterthur. © The photographers


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Architecture | Über-Architekt: Paul Schneider-Esleben

Thursday, August 20th, 2015

Portrait of the architect Paul Schneider-Esleben
with one of his models for Köln-Bonn Airport, 1962 > 1971



Paul Schneider-Esleben: Architect
Architekturmuseum der TU München
(Pinakothek der Moderne)
Munich | Germany
Until 18 October 2015



Haniel-Garage, Düsseldorf 1950 > 53
Photo Rudolf Eimke



In 1974 German band Kraftwerk scored an international hit with the single Autobahn. Founding Krafwerk member Florian Schneider-Esleben’s architect father, Paul, had his first taste of success in 1953 with his design for a multi-storey car park. Lightweight and transparent it was unlike any built before, and many since. While Kraftwerk would become one of most influential groups in the history of popular music, Paul Schneider-Esleben (1915 > 2005) became one of Germany’s most famous architects.

Mannesmann-Hochhaus / Mannesmann Skyscraper, Düsseldorf, 1954 > 58
Photo Inge Goertz-Bauer



To mark what would have been Paul Schneider-Esleben’s 100th birthday on 23 August, Munich’s architecture museum – part of the Pinakothek der Moderne – has mounted the first retrospective of his work.

Completed in 1958, his starkly simple Mannesmann skyscraper, a 22-storey administration block situated directly on the Rhine at Düsseldorf, is perhaps the architect’s most famous building. It was the first steel skeleton and curtain wall structure in Germany, and as such owed a debt to Mies van der Rohe, who was later somewhat critical of Schneider-Esleben’s innovative variation on the former’s construction technique. Van der Rohe did, however, praise Schneider-Esleben’s Kugelrohr PSE 58 chair – it won a silver medal at the 1960 Milan Triennale – which he regarded as a further development of his own iconic Barcelona chair design (c 1929).

Rolandschule / Roland school, Düsseldorf 1957 > 62
Photo Inge Goertz-Bauer



Innovative in technique and conceptually, Schneider-Esleben gained the cooperation of artists from the avant-garde ZERO group and Joseph Beuys for his masterful and elegant Köln-Bonn Airport (1962–1971), for which he developed such a convincing traffic concept that he was soon being called upon to act as advisor to airport projects worldwide. In form the airport buildings bear some resemblance to his British architect contemporary, Denys Lasdun’s (1914 > 2001) National Theatre, completed in 1976.

Monastery and offices of the Jesuit order, Nymphenburg, 1961 > 65
Photo Sigrid Bühring

Köln-Bonn / Cologne-Bonn airport, 1962 > 73
Photo Walter Moog



His approach displaced by the fashion for post-modernist ideas and architecture, Schneider-Esleben built little during the 1970s and 80s. And, although the majority of his buildings survive, the demolition of his later ARAG headquarters (1991), in Düsseldorf, highlights the ongoing debate over the heritage value of post-war modernism, in which many of the arguments are based on fluctuating tastes.

Stepped extension to the Allgemeinen Versicherungs-AG
(ARAG) headquarters building, Düsseldorf, 1976 > 79
Photo Günter Abend



While Paul Schneider-Esleben: Architect is on show at the Architekturmuseum der TU München / Munich, other related activities elsewhere in Germany this summer designed to provide a variety of ways of celebrating and engaging with the architect’s work – some of which are listed on the Architektenkammer Nordhein-Westfalen website – include the North Rhine Westphalia Ministry of Economic Affairs and Energy, tenant of the Mannesmann block, throwing open its doors to allow the public a rare glimpse of the interior of the building.

All images courtesy Architekturmuseum der TU München,
© Architekturmuseum der TU München and the photographers


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The Blog’s publishers insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees that may, under any circumstances whatsoever, fall due, must be borne by the source supplier



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Exhibitions | Honnegger’s Concrete Rugs

Friday, August 14th, 2015

H 12, 2005
Hand tufted rug



Gottfried Honegger
– Teppich Konkret / Concrete Rugs
Museum für Gestaltung Zürich
Zürich | Switzerland
26 August > 1 November 2015



H 27, 2005
Hand tufted rug



Not to be confused with the subject of our previous post, Concrete Buildings – What’s Not to Love Now? – the rugs in this exhibition are certainly not made of concrete. To be clear, the term ‘concrete art’ was first introduced in 1930 by De Stijl founder, Dutch artist Theo van Doesburg (1883 > 1931) in his Manifesto of Concrete Art, published in the first and only issue of the magazine Art Concret. While the members of De Stijl envisioned the ideal fusion of form and function, in his manifesto van Doesburg maintained that there was nothing more concrete or more real than a line, a colour, or a plane (a flat area of colour). Gottfried Honegger, aged 97, whose rugs embody the spirit of concrete art as well as those of De Stijl, is a leading artist with a major retrospective on show at the Centre Pompidou in Paris until 14 September, 2015.

It’s fitting that the Honigger’s rug exhibition is being shown in Switzerland, not just because Honegger is Swiss, but because another Swiss artist, former Bauhaus student Max Bill (1908 > 1994), who took up the concrete art (aka concrete-constructivist art) baton, organised the first international exhibition of work by the movement in Basle, in 1944. Bill stated that the aim of concrete art is to create ‘in a visible and tangible form, things which did not previously exist – to represent abstract thoughts in a sensuous and tangible form’. Some years later, Gottfried Honegger would go one stage further, declaring that the primary purpose of art is to change the world. There is a museum of concrete art in Zürich. Somewhat less well known than the great Bill, Gottfried Honneger (aka Gottfried Honegger-Lavater) is nevertheless a prominent figure in the story of concrete art.

H13, 2005
Hand tufted rug



During a sojourn in Paris in 1939, he produced a few landscape paintings and some portraits in a cubist style, but the outbreak of war meant he returned to Switzerland, where he created little more that might be called fine art until 1949. He studied window-dressing at the Zurich Kunstgewerbeschule and afterwards became a very successful graphic designer. From 1955 to 1958 he was art director of the Basel-based pharmaceuticals company Geigy, which, as well as being involved in pioneering drugs research, had an in-house packaging and publicity design department. The cutting edge work produced at Geigy was crucial to the development of the globally-influential Swiss Style in graphic design.

On a trip to New York in 1958, where he met several abstract expressionist painters, Honegger decided to become an artist himself, and stayed there. His first exhibition, in which he showed monochrome paintings on surfaces covered by a repetitive pattern of geometric elements in thin card, was held in the city. Relocating to Paris in 1961, he would concentrate on painting, exploring circles and squares, and by 1968 had begun to produce sculpture. One of the first artists based in France to be inspired by the possibilities opened up by computers, in 1970, he produced computer-aided low relief works. His multi-panel paintings with cut-out sections that involve the wall behind in the work, were executed in the 1980s.

H18, 2005 (detail)
Hand tufted rug



In 1990, Honegger and his wife Sybil Albers were instrumental in setting up l’Espace de l’Art Concret, at Mouans-Sartoux, close to Mougins, in the South of France, a museum dedicated to concrete art. Ten years later they donated their personal collections of over 550 works by avant-garde and abstract artists to the French state, with the proviso that they are kept on permanent exhibition in a purpose-built building, designed by Swiss architects, Gigon and Guyer.

The 1990s saw his relief works, freed from the flat plane, transform into sculptures in painted metal, and in 1999, Transfiguration (Metamorphosis) a retrospective of Honegger’s painting and sculpture work was shown at Jean Nouvel-designed Fondation Cartier in Paris – itself a fusion of design and form in steel and glass. Honegger’s more recent work, the Pliages is in the form of white cylinders with foldout cut-away sections.

The rugs on display in the forthcoming Gottfried Honegger – Teppich Konkret exhibition in the Schaudepot at the Museum für Gestaltung Zürich, are a natural extension of the artist’s relief pieces, simply executed in another medium.

All images courtesy Museum für Gestaltung Zürich
All rugs by Gottfried Honegger © Tisca Tiara


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The Blog’s publishers insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees that may, under any circumstances whatsoever, fall due, must be borne by the source supplier



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Books | Concrete Buildings – What’s Not to Love Now?

Friday, August 7th, 2015

Pierresvives by Zaha Hadid Architects, 2002 > 12, Montpellier, France
Archives, a library and sports department offices for the Hérault region.
The inclined concrete building combined with graphic
windows combine to give an impression of rapid movement

Photo © Iwan Baan



100 Contemporary Concrete Buildings
By Philip Jodidio
Published by Taschen
Hardcover, 2 volumes in slipcase,
730 pp, full colour



Bicentennial Civic Centre by Lucio Morini + GGMPU,
2010 > 2012. Córdoba, Argentina
Ministerial offices with cutout concrete facade
Photo © Leonardo Finotti



In the minds of many, concrete is synonymous with real or fictional, dysfunctional worlds. And, no matter how good they are, novels such as J G Ballard’s Concrete Island, in which his character Robert Maitland, a wealthy architect, finds himself stranded in a section of wasteland in the middle of a relentlessly busy motorway intersection and is forced to survive in his crashed Jaguar on whatever he manages to forage, don’t do concrete’s reputation any favours. Taschen’s non-fiction two-volume boxed set, celebrating the diversity of the best buildings constructed from this versatile, man-made stone, just might.

Editor-in-chief of French art magazine Connaissance des Arts in Paris since 1980 – his numerous published books include the Taschen series on contemporary American, European and Japanese architects, as well as monographs on Tadao Ando, Norman Foster, Santiago Calatrava, and Richard Meier – the books’ author, Philip Jodidio’s reputation and experience lend gravitas to subject matter already weighted down by its long-established association with urban decay and the detritus of past wars and present conflicts, but paradoxically imbues concrete’s history with unexpected lightness and sensitivity, in what must be the most comprehensive study thus far on the subject.

Amongst the global selection of individual architects (except for Foster, probably excluded because concrete is of a lesser importance than glass and steel in his building palette) and architecture practices’ projects, all the aforementioned practitioners are included. Alongside other famous names, such as Luis Baragan, Marcel Breuer, David Chipperfield, Antoni Gaudi, Herzog & de Meuron, Denys Lasdun, Oscar Niemeyer and of course Le Corbusier and Zaha Hadid, the publication also features many architects whose names are probably less familiar, but nonetheless worthy of inclusion.

Roberto Garza Sada Center for Arts, Architecture and Design,
Tadao Ando, 2009 > 12. New Mexico, USA
Part of the University of Monterrey, Monterrey.
The massive concrete
anchor of the building provides ample shade for pedestrians

Photo © Shigeo Ogawa



Jodido’s informative introduction reminds us that the Romans used concrete, but it comes as a surprise to learn that the ancient Egyptians invented and sometimes built with a variation of it. It’s interesting to discover that the concrete rotunda of the Pantheon was constructed without steel reinforcement – the key element that greatly strengthens the substance, allowing it to perform far better under stress, and which has been the backbone of countless concrete structures since the technique was invented by a Frenchman in the mid-1850s. By 1889, we learn that the first reinforced concrete bridge had been built in San Francisco and the construction of the Théâtre des Champs Élysées in Paris in 1913 established concrete – up until then regarded as ‘vulgar’ in certain quarters – as a ‘quality’ building material. Used, misused and abused, it is one that is as ubiquitously employed today in the construction industry, as once were bricks, wood and stone. Jodidio’s book set is about now rather than then, and our picture selections compare three recently-completed very different ‘quality’ buildings of similar scale from around the world, built for very different uses and designed by three very different architectural practices.

Lavishly-illustrated with high-quality photographs and sometimes the building plans of monumental as well as retail and small-scale residential projects, and with mug shots of the majority of the architects, as well as a respectable amount of informative text in English, French and German, you certainly get a lot for the modest price. From a readers’ perspective, however, the very long measure used for the relatively small – 11 or 12pt – condensed, sans serif text, throughout the book, might have been easier on the eye with more leading, or split into two, or even three columns.

Taschen has been known to publish gigantic books, as well as small fat ones. These two are neither excessively large, nor, at 352 pages each, so abnormally thick as to invite comment, but not only is the 100 Contemporary Concrete Buildings package designed to resemble a sturdy and uncompromising block of concrete, it is almost as heavy as one.

All images courtesy Taschen


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The Blog’s publishers insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees that may, under any circumstances whatsoever, fall due, must be borne by the source supplier



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Exhibitions | Reminder: Don’t Miss These…

Saturday, August 1st, 2015

McDermott & McGough, Those Moments, 1955, 2010
Tricolour carbon print. Courtesy the artists and Cheim & Read, New York.
On show at The Hammer Museum in Los Angeles, see below



The Blog team return next week.
Whether you’re staying at home or travelling,
here’s our selection of some of the best
of what’s on show this summer >>>



Doug Aitken, Sunset (black and white), 2011
Hand carved foam, epoxy with LED lights and hand silk-screened acrylic.
Courtesy the artist, 303 Gallery, New York, Galerie Eva Presenhuber, Zurich, Victoria Miro Gallery, London and Regen Projects, LA. Photo © Brian Forrest.
On show at the Schirn Kunsthalle Frankfurt, see below



>>> Until 23 August 2015
Coop Himmelb(l)au
Frankfurt Lyon Dalian

DeutschesArchitekturmuseum (DAM)
Frankfurt | Germany
Vienna-based architectural practice with the long-winded name Coop Himme(l)blau Wolf D Prix & Partner, long-time player on the international architecture scene, founded in 1968 in response to the predominance of rectilinear grids, set out to liberate architecture from its functional confines by rendering space more dynamic and buildings gravity-defying. The exhibition presents three of the studio’s latest projects: the new European Central Bank building (2015) in Frankfurt am Main, Germany, the Musée des Confluences (2014) in Lyon, France, and the Dalian International Conference Centre in China (2012), see image below.

>>> Auction 28 Aug 2015
Japanese Whisky
Christie’s
Admiralty | Hong Kong
Featuring Hanyu Ichito’s Full Cards Series of 54 bottles of the spirit, each with beautifully-designed individual labels on a playing card theme, which are expected to sell for HK$1.8 m > 2.4 m / £150,000 > 200,000 / US$230,000 > 310,000.

>>> Until 28 August 2015
Joana Vasconcelos:
Material World

Phillips
(Selling exhibition)
London | UK

Forty works representing various periods of sculptor and installation artist Joana Vasconcelos’s career to date, coinciding with the publication of her monograph by Thames & Hudson.

>>> Until 13 September 2015
Perfect Likeness:
Photography and Composition

The Hammer Museum
Los Angeles | USA

Having reached a point when everyone thinks he / she is a photographer, and where photography of every possible style and quality pervades every corner of our daily lives, this exhibition looks at the carefully composed images of fine art photographers such as Thomas Demand, Andreas Gursky, McDermott & McGough and Jeff Wall.

>>> Until 13 September 2015
Design Derby:
The Netherlands – Belgium (1815 > 2015)

Museum Boijmans
Van Beuningen

Rotterdam | Netherlands

Like for like Dutch and Belgium design objects – from sumptuous and elegant Belgian art nouveau to the more austere Dutch version, and from the contemporary tours de force of Belgium design to the level-headed Dutch design of today – confront one other in friendly competition.

>>> Until 25 October 2015
Fast Fashion
The Shadowy Side of Fashion

Museum für Kunst und
Gewerbe Hamburg

Hamburg | Germany
A critical glimpse behind the scenes of fashion – consumerism, economic interests and ecological issues – throwing light upon fashion and its victims; poverty and affluence; global and local effects; wages and profits; garments and chemicals; clothes and ecology; as well as new fibre technologies.

>>> Until 26 September 2015
Larry Bell 2D-3D:
Glass & Vapor

White Cube, Mason’s Yard
London | UK
Larry Bell (b 1939, Chicago) is a leading exponent of the California ‘Light and Space’ movement. The exhibition includes three early glass installations as well as collages on paper and new, kinetic Light Knot sculptures. To coincide with a major presentation of a Standing Wall installation of thirty-two, six foot square glass panels (c1989 >2014) currently on show at the Chinati Foundation, Marfa, Texas, USA, at White Cube, Bell has installed 6 x 8 An Improvisation.

>>> Until 27 September 2015
Doug Aitken
Schirn Kunsthalle Frankfurt
Frankfurt | Germany
Following on from his Station to Station: A 30 Day Happening extravaganza at London’s Barbican, The Shirn dedicates its entire exhibition space, inside and out, to the impressive work of American multimedia-artist Doug Aitken, in the most comprehensive solo presentation of his film, music, architecture, performance and sculpture in Germany and elsewhere to date, see image above

>>> Until 27 September 2015
Germaine Krull
A Photographer’s Journey

Jeu de Paume
Paris | France
The idea of the female career photographer – rather than dabbler or dilettante – didn’t properly materialise until free-spirited women such as Gertrude Krull (1897 > 1985) thrust herself headlong into the male-dominated mêlée in the 1920s.



One-sheet poster for Sullivan’s Travels, directed by Preston Sturges, 1941
Poster art direction by Maurice Kallis. Courtesy Sikelia Productions.
On show at MoMA in New York, see below

Dalian International Conference Centre, China, by
Coop Himmelb(l)au Wolf D Prix & Partner, in Vienna, Austria

Photo © Duccio Malagamba.
On show at the Deutsches Architekturmuseum, Frankfurt, see above



>>> Until 27 September 2015
What is Luxury?
V&A
London | UK
The world’s biggest museum of the decorative arts and design has a permanent, historic collection of over 4.5 million objects. By definition it is a museum of things, many of which are extremely valuable and considered to be luxurious items. With over 100 objects, ‘From a diamond made from roadkill to a vending machine stocked with DNA, a golden crown for ecclesiastical use to traditional military tailoring, this exhibition addresses how luxury is made and understood in a physical, conceptual and cultural capacity.’

>>> Until September 30
Scorsese Collects [film posters]
Museum of Modern Art
New York City | USA
In celebration of director Martin Scorsese’s enduring commitment to the preservation of international film culture, MoMA presents 34 works from his collection, centred around a rare, billboard-size poster for the 1951 film Tales of Hoffmann. The exhibition will be accompanied by the film series Scorsese Screens throughout August.

>>> Until 4 October 2015
From Bauhaus to Buenos Aires:
Grete Stern & Horacio Coppola

Museum of Modern Art
New York City | USA
The first major exhibition of the German-born Grete Stern and the Argentinean Horacio Coppola, two leading figures of avant-garde photography who, in the 1930s, established themselves on both sides of the Atlantic.

>>> Until 18 October 2015
The 80s. Figurative
Painting in West Germany

Städel Museum
Frankfurt | Germany
Shedding light on the new and dynamic figurative painting that developed in the 1980s almost simultaneously in Berlin, Hamburg and the Rhineland. Works by among many other artists, Martin Kippenberger, Albert Oehlen, and Salomé.

>>> Until 25 October 2015
Barbara Hepworth: Sculpture
for a Modern World

Tate Britain
London | UK
Retrospective of one of Britain’s greatest artists, Barbara Hepworth (1903 > 1975), one of the few women artists to achieve widespread recognition and international prominence, featuring many of her most significant sculptures in wood, stone and bronze alongside her rarely seen works that exemplified modernism from the 1920s onwards.

>>> Until 25 October 2015
Gilbert & George:
The Early Years

Museum of Modern Art
New York City | USA
‘It’s not a collaboration. . . We are two people, but one artist,’ say the inseparable British artists, Gilbert and George, who have been creating art together for almost fifty years. This exhibition focuses on their early years, from 1969 to 1975, when the art world around them was largely engaged in pop, minimal, and conceptual work, while the pair developed a wholly unique vision.

>>> Until 26 October 2015
Radikal Moderne Planen
und Bauen im Berlin
der Sechziger Jahre

/ Planning and Building
in Berlin in the 1960s

Berlinische Galerie
Berlin | Germany
Via 300 known works and recently rediscovered material representing 30 architects, planners, photographers and artists, this is the first detailed examination of a decade in architecture and urban planning that shaped a city divided not only by a wall, but also by political ideologies.

>>> Until 31 October 2015
Stone Fenoyl (1945 > 1987).
An Imaginary Geography.
A Documentary Record

Château de Tours
(in association with Jeu de Paume)
Tours | France

Famous for his ability to discover and nurture new photographers, and for his admiration of anonymous 19th century photographs, iconographer, curator, art buyer, gallery and Vu agency (now Viva) founder, Pierre de Fenoyl was the first director of France’s National Foundation Photography in 1976. Champion of the work of Brassai, Henri Cartier-Bresson, Duane Michals and André Kertész, alongside prints, documents, films and publications, this retrospective also shows the black and white landscape photography he created himself from 1984.

>>> Until 1 November 2015
Fotografia Futurista
Galleria Carla Sozzani
Milan | Italy
With over one hundred original photographs, representing the work of over thirty photographers, this exhibition demonstrates how, over a fifty-year period, the futurists took possession of the photographic language and used it as a medium to capture the pulse of early 20th century life. In so doing, they transformed photography into the dynamic, potent and multifaceted force it became in both art and commerce in the twentieth century.

>>> Until 31 January 2016
Shoes: Pleasure and Pain
V&A
London | UK
Exploring the euphoria and obsession they can inspire, more than 200 pairs of historic and contemporary shoes from the V&A’s unrivalled international collection, worn by or associated with high profile figures including Marilyn Monroe, Queen Victoria, Sarah Jessica Parker and the Hon Daphne Guinness are on display. Famous shoes, such as the ballet slippers designed for Moira Shearer in the 1948 film The Red Shoes, are exhibited alongside footwear by 70 named designers including Manolo Blahnik, Christian Louboutin, Jimmy Choo and Miuccia Prada.



Tell us what you think
The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us that we think might interest you.

The Blog’s publishers insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees that may, under any circumstances whatsoever, fall due, must be borne by the source supplier



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