The Easel

28th August 2018

Superforms and Praying Machines: Massimiliano Gioni Interviews Thomas Bayrle

Prescience is a word often associated with Bayrle. In his first job in textiles, he realized that large images could be created using mass repetition of a small image. His “superform” style resulted and it resonates strongly in our digital age. “I believe in total individualism, even in the largest mass. I think that’s the richness of art, to define this singularity in the mass.”

The Secret Society of Rebellious Artists Behind a Dreamy, Hyper-Romantic Movement

The Pre-Raphaelite Brotherhood is not to everyone’s taste. These artists wanted to overturn Victorian England’s stodgy art with an aesthetic that emphasized colour and idealized the past. They, and their swooning damsels, now look anachronistic but they were a small step toward modernism. And they have, as one critic observes, “an armour-plated niche in the English imagination”.

21st August 2018

Henri Cartier-Bresson: The Decisive Moment at the International Center of Photography

Cartier-Bresson is synonymous with the term ‘the decisive moment’. That is often taken to mean a split-second action shot – like his famous image of a man jumping a puddle. But, as a New York show highlights, this view is too narrow. Cartier-Bresson’s aim was bigger; to capture the ephemeral event that revealed a bigger truth, to “”trap” life – to preserve life in the act of living.”

‘Icons of Style: A Century of Fashion Photography’ at the Getty Museum reveals the limits of the art form

A survey of fashion photography exposes some deep fault lines – notably, is fashion photography art? One reviewer makes the case strongly, even while admitting it is the “bastard stepchild of the fine art world”. This writer is unsatisfied. Of course it is art, but “of a distinctly minor sort. As art, fashion photography is thinner than a supermodel. Call it anorexia aesthetica.”