Word: jeu
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Dates: during 2000-2009
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...only foreign concepts can be.At first, I went for the cream of the crop—cafés, book shops, the hip record store I frequented downtown—but before long I realized the hard truth of age discrimination: my love for Kierkegaard and my carefully cultivated jeu d’esprit meant less than nothing to The Man at Borders who saw the number “16” on my application and, without so much as a glance at my qualifications, tossed it in the shredder for sustainable recycling.So I set my sights lower: ever...
Rose Valland looked nondescript - an ideal trait for a spy. Gray and unglamorous, with black-rimmed glasses that gave her a perpetual frown, she was virtually invisible to the Nazis who, in 1940, were using the Jeu de Paume museum in Paris as a depot for thousands of plundered art masterpieces on their way to Germany. While working in a menial maintenance job, Valland eavesdropped on her Nazi bosses as they catalogued looted Vermeers and Rembrandts, and shipped them off to the private collections of top Nazis. Choice pieces were earmarked for the grand Führermuseum, which Adolf...
PARIS Edward Steichen A retrospective of 400 of Steichen's photographs (right) are on exhibit for the first time ever in Europe at the Jeu de Paume museum (through...
...elegant, extensive retrospective Edward Steichen Lives in Photography, which opened this week at Paris' Jeu de Paume, begins with a giant 5 m by 4 m shot of Manhattan's George Washington bridge. Feel free to make your own analogies. After all, Steichen (1879-1973) bridged the transition from photography's early soft-focus, pictorialist style to crisp modernism. He also linked the art world between New York and Paris, and made his own life a bridge from artist to critic to commercial photographer to museum curator. He has been hailed as the greatest photographer of the 20th century...
...film is enjoyable alone for its astounding visuals (stunning for 1930) and rampant slapstick. Like Jean Renoir’s La Regle du Jeu (The Rules of the Game), also recently screened at the Archive, L’Age d’Or works on two levels: it’s a knee-slapping farce, at the same time deeply wrapped up in a scathing social commentary aimed squarely at the upper class. The targets of the latter film’s satire are Buñuel’s usual suspects: the Church, bourgeois society and other institutions...