Month: March 2018

Amanda Parer

Amanda Parer, “Rabbits” from Her “Intrude” Series

Amanda Parer examines the relationship between humans and the natural world in her massive inflatable artworks. The Tasmania-based artist works with a team including New York based co-producer Chris Wangro. Together, Parer Studio realizes her larger-than-life versions of translucent rabbits, a series of works called” Intrude”.

The white fabric appears opaque during the day as it reflects sunlight. After dark, the creatures take on a different dimension: they are illuminated from within and reduce surrounding humans into diminutive silhouettes. Parer grew up in Australia, where rabbits are a non-native species and are considered a serious pest as opposed to a domestic pet.  Since being introduced by settlers in the late 18th century, their overpopulation has caused substantial ecological destruction.

“They represent the fairytale animals from our childhood – a furry innocence, frolicking through idyllic fields. Intrude deliberately evokes this cutesy image, and a strong visual humour, to lure you into the artwork only to reveal the more serious environmental messages in the work. They are huge, the size referencing ‘the elephant in the room’, the problem, like our environmental impact, big but easily ignored.”- Amanda Parer

Calendar: March 31

Year: Day to Day Men: March 31

Changing His Tunes

The thirty-first of March in 1889 marks the official opening date of the Eiffel Tower in Paris. The wrought-iron lattice tower was constructed as the centerpiece for the 1889 Paris Exposition, and as a memorial to commemorate the centennial anniversary of the French Revolution. 

Maurice Koechlin and Émile Nouguier, two senior engineers employed by Alexandre Gustave Eiffel’s company Compagnie des Établissements Eiffel, produced a sketch of a great metal pylon, narrowed as it rose, for the centerpiece of the Paris Exposition. With the assistance of Stephen Sauvestre, the company’s head architect, the men refined the design with the addition of decorative arches at the base of the tower and a glass pavilion on the first level. Gustave Eiffel approved the design and bought the patent rights for their design. This design for the Eiffel Tower was on display at the 1884 Exhibition of Decorative Arts under the company’s name.

On the thirtieth of March in 1885, Gustave Eiffel presented his plans to the Society of Civil Engineers at which time he discussed the technical difficulties and emphasized both the practical and symbolic aspects of the structure. Little progress on a decision was made until Édouard Lockroy was appointed Minister of Trade in 1886. A budget for the Paris Exposition was passed and requirements for the competition being held for the exposition’s centerpiece were altered. All entries were now required to include a study for a three-hundred meter, four-sided tower on the Champ de Mars. A judging commission set up on the twelfth of May found all proposals, except Eiffel’s design, either impractical or lacking in details. 

Gustave Eiffel signed the January 1887 contract in his own capacity rather than as a representative of the company. The contract granted him 1.5 million francs toward the construction cost, less than a quarter of the expected cost. Eiffel was to receive all income from the commercial exploitation of the structure during the Paris Exposition and for the following twenty years. To manage the construction, he established a separate company for which he provided half the necessary capital.

The French bank, Crédit Industriel et Commercial, CIC, helped finance the Eiffel Tower’s construction through acquiring funds from predatory loans to the National Bank of Haiti. As a result, the Haitian government was sending nearly half of all taxes collected on its exports to finance the construction of the tower. While the tower was being built as a symbol of France’s freedom, the newly independent Haiti’s economy was hindered in its ability to start schools, hospitals and other basic establishments necessary for an established country. 

Work on the Eiffel Tower’s foundations began at the end of January in 1887 with the formation of the four concrete slabs for the legs of the tower. While the east and south legs were easily done; the west and north legs, being closer to the Seine River, needed pilings twenty-two meters deep to support their concrete slabs. All four slabs supported blocks of inclined limestone for the ironwork’s supporting shoes. The foundation structures of the Eiffel Tower were completed at the end of June.

An enormous amount of preparatory work was done for the assemblage of the ironwork. Seventeen hundred general drawings and over thirty-six hundred detailed drawings of the eighteen thousand separate parts were needed. The task of drawing the components was complicate by the complex angles in the design and the degree of precision required; the position of the rivet holes were specified to within one millimeter. No drilling or shaping was done on site; all finished components, some already partially assembled, arrived on horse-drawn carts from the factory. If any part did not fit, it was sent back to the factory. The entire structure was composed of over eighteen thousand pieces joined with two and a half million rivets. 

The main structure of the Eiffel Tower was completed at the end of March in 1889. On the thirty-first of March, Gustave Eiffel led a group of government officials and members of the press to the top of the tower. As the lifts were not yet in operation, the ascent by foot took over an hour; most of the party chose to stay at the lower levels. Gustav Eiffel, Émile Nouguier, the head of construction, Jean Compagnon, the City Council president, and the reporters from “Le Figaro” and “Le Monde Illustré” completed the ascent. Eiffel hoisted a large Ticolor flag as a twenty-five gun salute was fired at the first level.

The Eiffel Tower was not opened to the public until the fifteenth of May, nine days after the opening of the Paris Exposition. The lifts, however, were still not completed. Nearly thirty-thousand visitors climbed the seventeen thousand steps to the top before the lifts opened on the twenty-sixth of May. Notable visitors to the tower included inventor Thomas Edison, Edward VII the Prince of Wales, stage actress Sarah Bernhardt and “Buffalo Bill” Cody whose Wild West show was part of the Exposition.

Calendar: March 30

A Year: Day to Day Men: 30th of March

Midnight Vignette

On March 30, 1796, German mathematician Carl Friedrich Gauss discovers the construction of the heptadecagon. 

Carl Friedrich Gauss, the only child of poor parents, was rare among mathematicians in that he was a calculating prodigy, who retained the ability to  do elaborate calculations in his head through most of his life. He was recommended by his teachers to the Duke of Brunswick in 1791 who enabled him financially to attend local schools and later to study mathematics at the University of Gottingen, Germany. 

Due to his pioneering work, Gauss became the era’s preeminent mathematician, first in the German-speaking world and later became regarded as one of the greatest of all time. Gauss made many contributions to the fields of number theory, geometry, probability theory, geodesy, planetary astronomy, the theory of functions and the theory of electromagnetism. 

As the number seventeen is a Fermat prime, the regular heptadecagon is a constructible polygon, that is, one that can be constructed by using a compass and an unmarked straightedge. Carl Friedrich Gauss showed this in 1796 at the age of nineteen. The significance of this lies not in the result but in the proof, which rested on the analysis of the factorization of polynomial equations. This proof represented the first progress in regular polygon construction in over two thousand years.

After Gauss’s death in 1855, the discovery of so many novel ideas among his unpublished papers extended his influence well into the remainder of the century. Acceptance of non-Euclidean geometry came with the almost simultaneous publication of Riemann’s general ideas about geometry, the Italian Eugenio Beltrami’s explicit and rigorous account of non-Euclidean geometry, and Gauss’s private notes and correspondence.

Gillian Golding

Gillian Golding, “Giant Rabbit”, Hand-Colored Silkscreen, Edition of 75, Printmakers in Residence, 80 x58 cm.

Gillian Golding is an English artist specialising in limited edition prints: etchings, linocuts, lithographs and screenprints. She teaches at the Printmaking Department at Goldsmith’s College in London and is a member of Pierre Presse, a lithography atelier in southwest France. She has won numerous awards including The University of Aberystwyth Purchase Prize from the National Print Exhibition.

The Book of Soyga

Illustration from the Book of Soyga

The “Book of Soyga”, also titled “Aldaraia”, is a 16th-century Latin treatise on magic, Elizabethan scholar John Dee is known to have possessed one copy of this work. After John Dee’s death, the book was thought to be lost. However in 1994, two manuscripts were located in the British Library (Sloane MS. 8) and the Bodleian Library (Bodley MS. 908), written under the title “Aldaraia sive Soyga Vocor”, by Deborah Harkness, a scholar on the life of John Dee.

The Sloane 8 version from the British Library is also described as “Tractatus Astrologico Magicus”.  Both versions of “Aldaraia sive Soyga Vocor” differ only slightly.

Calendar: March 29

A Year: Day to Day Men: 29th of March

A London Morning

March 29, 1959 was the release date of the film “Some Like It Hot”, directed and produced by Billy Wilder and starring Marilyn Monroe, Tony Curtis, and Jack Lemmon.

“Some Like It Hot” was shot in California during the summer and autumn of 1958. Many scenes were shot at San Diego’s Hotel del Coronado which fit the look of the movie’s 1920s period and was near Hollywood. The soundtrack created by Adolph Deutsch has an authentic 1920s jazz feel using sharp, brassy strings to create tension.

For the cinematography, Billy Wilder chose to shoot the film in black and white as Jack Lemmon and Tony Curtis dressed in full drag costume and make-up looked ‘unacceptably grotesque’ in early color tests. Despite Marilyn Monroe’s contract requiring color film, she agreed to film in black and white after seeing the early color tests of the make-up.

The film is notable for featuring cross dressing, and for playing with the idea of homosexuality, which led to its being produced without approval from the Motion Picture Production Code. The code had been gradually weakening in its scope during the early 1950s, due to increasing social tolerance for previously taboo topics in film, but it was still officially enforced. The overwhelming success of “Some Like It Hot” is considered one of the final nails in the coffin for the Hays Code, the moral guidelines that was in effect from 1930 to 1968.

It was voted as the top comedy film by the American Film Institute on their list ‘AFI’s 100 Years…100 Laughs’ in 2000. In 1989, this film became one of the first twenty-five films inducted into the United States National Film Registry. Though sometimes said to have been “condemned” by the Roman Catholic Church’s Legion of Decency, that body gave the film its less critical rating as “morally objectionable”. In 2017, the BBC conducted an international survey for the best comedy in film history among 253 film critics from 50 countries, which ranked “Some Like It Hot” as number one.

Note: The studio United Artists hired Barbette, a famous female impersonator, to coach Jack Lemmon and Tony Curtis on gender illusion for the film. Barbette, whose greatest fame came from his performances in Europe in the 1920’s and 30’s, may have been the inspiration for the 1933 German film, “Viktor und Viktoria”, which features a plot about a woman pretending to be a female impersonator, whose gimmick was removing her wig at the end of her act (Barbette’s signature gesture).

Calendar: March 28

A Year: Day to Day Men: 28th of March

Tightly Stretched in the Sun

On March 28th in 1890, Paul Whiteman was born in Denver, Colorado. Originally a violinist, he became an American bandleader, later known as the King of Jazz for popularizing a musical style during the 1920s and 1930s that contributed to the introduction of jazz to mainstream audiences. 

During 1917 and 1918, Whiteman conducted a forty-piece United States Navy band and, after the war, formed the Paul Whiteman Orchestra. In 1920, he moved his popular dance band to New York City where they made recordings for the Victor Talking Machine Company. The popularity of these recordings led to national fame. Whiteman became the most popular band director of that decade. While most bands consisted of six to ten men, his band was more imposing with as many as thirty-five musicians. By 1922, Whiteman was overseeing twenty-eight ensembles on the East Coast and earning over a million dollars a year. 

While most musicians and fans considered improvisation essential to the jazz style, Paul Whiteman thought that jazz could be improved by orchestrating the best of it with formal written arrangements. His recordings were popular both commercially and critically; his style was often the first form of jazz most heard during the era. Over the course of his career, Whiteman wrote over three-thousand arrangements. 

Whiteman hired the best jazz musicians for his bands; these included such notables as Frankie Trumbauer, Joe Venuti, Steve Brown, Wilbur Hall, Jack Teagarden and Bunny Berigan. He encouraged talented and upcoming African-American musicians and planned to hire many of them; however, his management persuaded him not to do so due to America’s segregation at that time. In 1925, Whiteman hired the team of Bing Crosby and Al Rinker to perform intermittently with his band to break up the selections. 

Paul Whiteman provided music for six Broadway shows and produced more than six-hundred phonograph recordings. in 1942, he joined Capitol Records and produced such records as “I Found a New Baby” and “Trav’lin Light” which featured Billie Holiday. Whiteman appeared in the 1945 George Gershwin bio-film “Rhapsody in Blue”, the 1947 Dorsey Brothers bio-film “The Fabulous Dorseys” and as himself in the 1940 “Strike Up the Band”, among others. 

After a long and prolific career as a band leader, Whiteman disbanded his orchestra in the early 1940s. He worked as a music director for the ABC Radio Network and hosted several television shows for ABC. The Paul Whiteman’s TV Teen Club from Philadelphia and Grady and Hurst’s 950 Club proved to be the inspiration for WFIL-TV’s afternoon dance show called American Bandstand.