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H5, voir la french touch : 30 ans de graphisme et de musique électronique
David Bailey, Alexis Bernier, Etienne de Crecy, Ludovic Houplain, Mirwais
- Bernard Chauveau
- 17 Mai 2024
- 9782363063526
Une exposition organisée à l'initiative de la ville de Versailles (berceau de la French Touch) dans le cadre de la 8e édition du festival ElectroChic, regroupe des archives inédites - dont des esquisses tirées de la réalisation du dernier clip de Daft Punk - plus de deux cents pochettes de disques formants une installation in situ, des extraits de publicités, de court-métrages et de vidéoclips, et une installation sonore et visuelle, le tout mis en scène dans une scénographie ludique pensée par H5. Destinée aux nostalgiques des dancefloor des années 90 et 2000, aux amoureux du graphisme, tout comme à un public plus large, cette exposition rend hommage à l'histoire du collectif parisien, à la lumière de 30 ans de collaborations artistiques et musicales, et pose un nouveau regard sur ce mouvement culte qu'est la French Touch. L´ouvrage sera quant à lui composé de plus plusieurs textes : préfaces, contextualisation, histoire croisée, une quarantaine d´interviews, playlist, chronologie). Richement illustré, ce livre d´exposition se veut également monographique sur toute cette partie de l´oeuvre de H5.
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J'adore les années 1980.
Le regard de David Bailey sur l'époque de tous les excès.
Dans les années 1980, la mode veut marquer l'époque et trouve un chroniqueur parfait en la personne du légendaire photographe britannique David Bailey. S'il a façonné avec talent le style des Swinging Sixties, la mode de ces Eighties lui pose un nouveau défi: couleurs plus pétantes, élégance plus sophistiquée, mannequins sculpturaux, maquillage extrême, élasthanne, lycra, combinaisons, power dressing, coiffures volumineuses et, comme le formule Grace Coddington dans son introduction, «des vestes à épaulettes sur des mini-jupes aussi courtes possibles et des talons dangereusement hauts».
Eighties compile les photos de mode avec lesquelles Bailey a une nouvelle fois défini l'air du temps, publiées dans Vogue Italia, Vogue Paris, Tatler et d'innombrables autres magazines. Elles racontent le prêt-à-porter, la haute couture et les défilés des plus grands créateurs de cette décennie, parmi lesquels Azzedine Alaïa, Comme des Garçons, Guy Laroche, Missoni, Stephen Jones, Valentino et Yves Saint Laurent, faisant de ce livre un hommage à une époque qui a démantelé la hiérarchie établie du «bon goût» pour redonner une place à l'amusement et au sexe dans la mode, et nous rappeler qu'aucun des deux n'est un gros mot. Les bijoux étincellent, les soies chatoient, les costumes prennent du volume. Les plus belles top-modèles du monde s'y montrent joueuses, invincibles, provocatrices et sexy. Toutes les icônes des années 1980 y défilent, notamment Catherine Bailey, Naomi Campbell, Cindy Crawford, Catherine Deneuve, la princesse Diana, Jerry Hall, Marie Helvin, Grace Jones, Kelly LeBrock, Christy Turlington et Tina Turner.
La culture des années 1980 résonne aujourd'hui sur nos écrans, sur les podiums et les scènes de concert, si bien que le moment est idéal pour replacer cet héritage de maximalisme et d'excès dans son contexte. Eighties nous en offre l'occasion unique, avec David Bailey comme guide et comme interprète, qui ne craint jamais de décocher des clins d'oeil à son public. Comme le dit Bailey dans son avant-propos : «Les années 1980 se sont avérées magiques.» Ce livre redonne vie à cette magie. -
130 photographs of Damien Hirst taken by David Bailey during a single shoot lasting eight minutes. Each pose is spontaneous and determined not by Bailey but by Hirst, who mocks the camera with his tongue poked out, mouth open wide and hands pulling at his cheeks.
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Le photographe anglais David Bailey est surtout connu pour ses photos de stars ou encore ses séries de mode, mais beaucoup moins pour ses instantanés de la vie quotidienne rassemblés ici.
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David Bailey's loving homage to his wife, in Polaroids taken over nearly 40 years.
For the past 38 years, David Bailey (born 1938) has photographed his wife Catherine using Polaroid film. Developing organically over the decades, a book grew with no specific purpose in mind. The result is this visual poem, a witness to their working collaborations and personal adventures. In Bailey's words: "The years went by with great ease and charm. I have been lucky to have such a willing and beautiful subject in my wife and partner in this adventure we have shared together. It came about not by making a plan. All my good ideas seem to happen by accident. My books start with a vague idea, then grow into something I never knew ... the average Polaroid takes a few minutes to develop. This book has taken nearly 40 years." -
1980s Polaroids of small-town Australia: a rare take on the country's landscape and people from David Bailey.
David Bailey's (born 1938) love letter to Australia, Bailey's Matilda is no rosy portrait of "the lucky country," but a gritty yet affectionate vision of rural and small-town Australia in the early 1980s: black-and-white images of a dead cockatoo, kangaroo and sheep, of painted advertising for Queensland's beloved XXXX beer, of a gravestone and dead tree trunks against a lead sky. His human subjects are the Indigenous people of Australia, not the descendants of its white colonists. Bailey embraces all the flaws and accidents of his prints--their blurrings, smudges and stains--and enhances them with his own scribbles and crops, creating painterly results. In his own words it's all about chance: "This book should have been washed up in a bottle on the sea shore."
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Bailey on home turf in London's East End: a democratic vision of its people, places and buildings.
Born and bred in London's East End, David Bailey (born 1938) has returned to visit and photograph his home turf again and again over the decades: "I've watched it slowly fade with time, from a city being bombed in the Blitz to a smoking ember of what it once was." Road to Barking is Bailey's latest portrait of the East End, specifically the diverse borough of Barking and Dagenham, described by the leader of its council, Darren Rodwell, as "the last bastion of working-class London where traditional Cockney mingles with over 120 languages from around the world." From buskers, flower sellers and butchers to snow-dusted stone angels in a cemetery and abandoned boats on the edge of the Thames, from yawning passengers on the Tube to police officers and punks and all in between, Bailey's vision is loving and democratic.
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This is Havana as an icon of one of the most distinct and revealing cultural divides left in a world hurtling towards homogeneity, Havana as seen by a master at the height of his craft. Bound in an embossed leather cover.
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"The idea for a book on the East End formed sometime in the 1980s. The London Docks had already closed down or were starting to. I chose to shoot mainly in the districts of Silvertown and Canning Town. I have over the years spent many weekends shooting whatever took my fancy. The other two times I had bursts of photographic energy in the East End were in the 1960s and from about 2004 to 2010. These were my three key periods to draw pictures from, instead of just trolling through the last fifty years of archives. In the late 1940s and early 1950s I heard a quote on the radio, 'Go west, young man.' At the time I didn't give it much thought. Later I assumed it was from America and that it went back to the middle of the nineteenth century, when America's west coast was opening up to great wealth and opportunities. The cockneys should have listened, but they didn't. They went east like their ancestors before them. The ones that moved east out of 'Old Nichol' went to Whitechapel, then on to Stepney and Bow, then to what is now called Newham and later to Barking, Dagenham and onto Essex. My mother was from Bow, my father it seems was from Hackney, my grandfather from Bethnal Green. Before him they all were from Whitechapel as far as records show." David Bailey
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En deux volumes aux reliures toilées, l'un rose indien et l'autre vert anis, le photographe David Bailey nous livre son portrait de l'Inde, très personnel, à mille lieues des clichés touristiques ou de la vision du National Geographic.
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La série de photos de mode de David Bailey pour Vogue avec l'actrice parfois modèle, Angelica Huston.
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David Bailey burst onto the scene in 1960, when his work for Vogue revolutionized fashion photography. Funny, outspoken, brutally honest and ferociously talented, he became as famous as his subjects . . . In Look Again , Bailey describes growing up in working class East London where his dyslexia led to him being written off as stupid at school but his drive and ambition led to his meteoric rise as a photographer. He writes about life in 60s London and New York, his friendship with photographers Donovan and Duffy, and annoying his rival Lord Snowdon. His love-life was always headline-worthy. He propelled his girlfriend, model Jean Shrimpton, to stardom - and was threatened with a shotgun by her father. When he married Catherine Deneuve Mick Jagger was his best man. He went on to marry Marie Helvin and then found happiness with Catherine Dyer. He has photographed many famous names, from Queen Elizabeth II (Bailey called her 'girl') to the Krays, from Michael Caine and Mick Jagger to Anjelica Huston. He is also a film and documentary director, is friends with Kate Moss and Damien Hirst and has never stopped working. Crammed full of eye-opening and irreverent stories, this is a fantastically entertaining memoir by a true icon.
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Liberation begins in the imagination : a reader
David Bailey, Allison Thompson
- Tate Gallery
- 9 Décembre 2021
- 9781849767668
Today, around a million British people are of Caribbean descent, reflecting a history of post-war migration that essentially begins and ends with the Nationality Act of 1948 and the Immigration Act of 1972 - the so-called Windrush Generation. For many, London in particular was where the cultural archipelago of the Caribbean came together for the first time - communication and travel between the islands being difficult. This British-Caribbean connection gave rise to a diverse, complex and exciting wealth of Black cultural forms. At one end of the spectrum, British-Caribbean art is abstract, symbolist and at times cosmological; at the other it is socially realist, with many other positions in between or off that spectrum. Where art is engaged with changes in society, it evokes a community's struggle to forge an identity and livelihood for itself in an environment that often proved hostile. Other works evoke deeper historical experiences, in particular the traumatic after-images of plantation slavery and its legacy in culture and society.
This comprehensive volume brings together key writings on the interrelationship of Britain and the English-speaking Caribbean nations, focussing specifically on the art of the Caribbean diaspora in Britain from the 1920s to today. Combining classic writings with some newlycommissioned contributions, it explores intersecting areas of Black- British cultural production and reflects the diversity of the Black-British experience. With contributions from a range of scholars, Liberation through Imagination is an invaluable sourcebook for those interested in the rich and diverse field of postcolonial British-Caribbean art.
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De 1962 à 2008 l'oeil de David Bailey a photographié des personnalités du monde de l'art aussi variées que Jean-Luc Godard, Yves Saint Laurent ou Francis Bacon.
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Ocean's apart : britain & the caribbean
Alex Farquharson, David a. Bailey
- Tate Gallery
- 25 Novembre 2021
- 9781849767651
This fascinating book traces the connection between Britain and the Caribbean in the visual arts from the 1950s to today, a social and cultural history more often told through literature or popular music.
With its multi-generational perspective, it reveals that the Caribbean connection in British art is one of the richest facets of art in Britain since the Second World War, and is a lens through which to understand the Caribbean diasporic experience in all its social, cultural, psychological and political complexities across generations.
Featuring around 40 artists - among them Aubrey Williams, Frank Bowling, Althea McNish, Donald Locke, Sonia Boyce, Isaac Julien, Black Audio Film Collective, Lubaina Himid, Peter Doig, Chris Ofili, Steve McQueen, Alberta Whittle, and many more - it includes a variety of works mostly by UK-based African-Caribbean artists, but also by artists who were not originally from the Caribbean but who relocated there or have made important work about it. Arranged chronologically it sheds light on a number of themes such as Caribbean modernism, social and political struggles, subculture and its policing, the front room as a private and public space, after-images of slavery and the Middle Passage, and syncretic and creolised metaphor and allegory (carnival, folklore, new world religions). Readers will find themselves charting a course between two worlds: London or other urban localities in the UK and images of formerly British Caribbean nations.
With contributions by a variety of authors, including Paul Gilroy and fashion designer Grace Wales Bonner, Oceans Apart presents post-war British art history in its global and transnational dimensions, and reveals how these were shaped by the struggle against Empire and its legacies.