Marc Maet - Diary of a Painter II (1995)
Marc Maet was my teacher in my first year at the Academy, he was the coolest dude I had ever met. Cowboy boots, pitch black combed back thinning hair and a black moustache. We had to paint still-lives and every now and then he gave demonstrations. Whenever he picked up a brush to fix a part of a painting one could only be in awe of the confidence with which he put down a section. He was a very no-nonsense kind of guy pushing us to creating strong images that had nothing to do with concepts or vague narratives.
(Wouter Van de Voorde, for Der Grief)
Francis Alÿs - The Modern Procession (2002)
On June 23, 2002, Francis Alÿs staged The Modern Procession, in collaboration with the Public Art Fund, to mark The Museum of Modern Art’s move from 11 West Fifty-third Street to MoMA QNS in Long Island City. Accompanied by New York City police, some one hundred participants set out at nine o’clock on that Sunday morning to walk through the streets of midtown, over the Queensboro Bridge, and up Queens Boulevard to MoMA QNS. They carried palanquins holding effigies of iconic works from the Museum’s collection, including Pablo Picasso’s Les Demoiselles d’Avingnon and Marcel Duchamp’s Bicycle Wheel, as well as a living icon, the artist Kiki Smith.
The subdued rhythms of Banda de Santa Cecilia’s processional music set the marchers’ slow pace, motivating them as they grew increasingly hotter and more tired during the three hour trek from midtown to Queens. The music established the solemnity of the ritual. Clad in white, blue, and green shirts and black pants, the processors carried palanquins, roses, and banners; they strew rose petals along the path and walked dogs. The procession exuded a feeling of solemn joy and many onlookers felt compelled to join in and follow the unusual group of marchers over the bridge to Long Island City.
"Henry van de Velde, Die Engelwache, 1893; Museum für Gestaltung Zürich, Kunstgewerbesammlung" via
Dior Homme AW14
Shot backstage by Lea Colombo.
Delicate silver chains rested atop black ties worn with pinstripe suiting, a silver Lily of the Valley brooch pinned above the breast pocket. The stripes then became a fine polka dot that spread over leather briefcase bags and shoes. Lily of the Valley returned printed small all over a suit, and layered busily onto a sweater. Illustrative roses, like those on Charles Rennie Mackintosh furniture, appeared dotted randomly over suits and shirts, before being blown up large onto an oversized pin stripe coat.
Peter Paul Rubens - Jupiter & Callisto (1613)
During this period there were two main audiences for depictions of the loves of Jupiter: anonymous consumers of pornography, and the Holy Roman Emperor.
(Malcolm Bull, The Mirror of the Gods: Classical Mythology in Renaissance Art)
Joseph De Bruycker - ceiling fixture (~1930)
This lamp originated from an interior in Kortrijk, Belgium that was furnished by De Breuycker.
Vincent Van Duysen - VDV Residence (1999)
Designed in 1999, this house is a tribute to local brick as a building material. This house seems to be sculpted out of terracotta, with chunks cut out of the mass revealing the same material. The use of a proper traditional red brick could also be considered as an attempt to ‘fit in’ with the neighbours in this typical suburban street in a small Flanders’ village. But if the choice of the external material is befitting for the single family home, the geometry and complexity of the internal layouts and the choice of the internal surfaces do not.