#Marc Petitjean

[antronaut]

Gordon Matta-Clark in his work Conical Intersect, Paris, 1975 photo: Marc Petitjean

#Gordon Matta-Clark #Marc Petitjean #youmustcreate

[abridurif]

Gordon Matta-Clark, Conical Intersect, 1975 photo : Marc Petitjean

#gordon matta clark #conicalintersect

[ten-of-imps]

The last day of February....

I haven't made a post about a book I was going to read for Suck Your TBR Dry 2024 for this month, I was overwhelmed with books I had to finish/wanted to read. I tried to read as many black authors books as I could find around me, while also dealing with uninteresting books for me personally I had or felt the need to finish, while also dnfing some. So....

My February reed for this challenge is The Heart: Frida Kahlo in Paris by Marc Petitjean.

I'm planning to read one of these books for March prompt, and I'm not sure yet which one it will be. The first one is We Have Always Lived in the Castle by Shirley Jackson, and the second one is The Deep by Rivers Solomon.

Once again, the prompts and challenge itself is created by @bitethebard

#SYTD2024 #reading challenge #2024 #ten reads #suck your tbr dry

[sarah-khal3l]

Museum-Worthy from AICP on Vimeo.

It's Hard to make museum-worthy art. It's harder to make museum-worthy ads. Enter the 2024 #AICPAwards by 11:59pm PDT on Tuesday, March 12th. Winning work will join the film archive at MoMA.

AICP Awards Entry Site: aicpawards.awardcore.com Production Co: O Positive Executive Producers: Ralph Laucella & Marc Grill Producer: Grayson Bithell Director: Brian Billow Director of Photography: Bob Yeoman

Head of Production: Devon Clark Executive Producer: Ken Licata Production Supervisors: Deryck Highbridge, Ivan Zigas Production Coodinator: Nicolas Laucella 1st AD: Paul Norman 2nd AD: Don Johnson Creative Concepts & Consulting: BBDO ECD, Writer: Marcelo Nogueira ECD, Writer: Peter Kain SCD, Writer: Dan Oliva SCD, Writer: Scott Mahoney CCO of the Americas: Chris Beresford-Hill

Editorial: Cutters Managing Director: Craig Duncan Executive Producer: Heather Richardson Producer: Brittany Maddock Editors: John Dingfield & Aaron Kiser Editorial Assistant: Benjamin Porter Color: Company 3 Head of Production: Blake Rice Producer: Nick Krasnic Colorist: Jenny Montgomery Finish: Flavor Managing Director: Neal Cohen Executive Producer: Kate Smith Producer: Brittany Maddock Finish: Ryan Esboldt & Rob Churchill Audio/Mix: Another Country Managing Director: Tim Konn Executive Producer: Louise Rider Producer: Josh Hunnicutt Sound Designer/Mixer: Logan Vines Audio Assistant: Nora Strickstein

Additional Production Credits Camera B Cam Op: Eric Laudadio 1st AC – A Cam: Riley Keeton 1st AC – B Cam: Kyle Petitjean 2nd AC: William Hayes DIT: Matt Love Lighting Chief Lighting Tech: Jeremy Launais ACLT: Adrienne Subia SLT: Anthony Peluso SLT: Hootly Weedn Grip Key Grip: Robert Arroyo BB Grip: Chad Pearce Grip: Colby Dunford Grip: Keith Markham Art Department Production Designer: Maia Javan Art Dept Coordinator: Quentin Burchill Set Decorator: Lulu Stewart Prop Master: Matt Huish Leadman: Chad Axman Set Dresser: Roger Shay Barnickle Set Dresser: Donald Ghio Set Dresser: James Axle Set Dresser: Collin Pulsipher Set Dresser: Ryan Wallace Script / Sound / VTR Script Supervisor: Kristen Calabrese Sound Mixer: Joe Hettinger Boom Operator: Lucien Eagle-Jack VTR: Tom Myrick Make Up / Wardrobe Key Make Up: Linda Barcojo 1st Make Up: Jennifer Gerber 2nd Make Up: Theresa Broadnax 3rd Make Up: Anna Novikova Key Costumer: Laura Eckert 1st Asst Costumer: Craig Ryan 2nd Asst Costumer: Jed Carter Location / Transportation Location Manager: David Nakata Gang Boss: Craig Ash Electric Driver: Daniel (DJ) Hausfeld Grip Driver: Gary Cheek Art 5 Ton Driver: Darren Giarrusso Chef Driver: Jesus de los Santos Production Support Craft Service: Danny Tilbury Craft Service: Jayna Mims Medic: Axel Montoya On Set Layout: James Galeana Site Rep: Christina Rusboldt Compliance Coord.: Marques Jackson Production Assistants PA – P: Steve Rea PA – W: Danny Kellermeyer PA – C: Oscar Reyna PAs: Honour Norman, Jackson Shane, Steven McAnnally, Caris Yeoman, Colby LeMaster, Ryan Llanes, Riley Aronson

[evertjes]

Museum-Worthy from AICP on Vimeo.

It's Hard to make museum-worthy art. It's harder to make museum-worthy ads. Enter the 2024 #AICPAwards by 11:59pm PDT on Tuesday, March 12th. Winning work will join the film archive at MoMA.

AICP Awards Entry Site: aicpawards.awardcore.com Production Co: O Positive Executive Producers: Ralph Laucella & Marc Grill Producer: Grayson Bithell Director: Brian Billow Director of Photography: Bob Yeoman

Head of Production: Devon Clark Executive Producer: Ken Licata Production Supervisors: Deryck Highbridge, Ivan Zigas Production Coodinator: Nicolas Laucella 1st AD: Paul Norman 2nd AD: Don Johnson Creative Concepts & Consulting: BBDO ECD, Writer: Marcelo Nogueira ECD, Writer: Peter Kain SCD, Writer: Dan Oliva SCD, Writer: Scott Mahoney CCO of the Americas: Chris Beresford-Hill

Editorial: Cutters Managing Director: Craig Duncan Executive Producer: Heather Richardson Producer: Brittany Maddock Editors: John Dingfield & Aaron Kiser Editorial Assistant: Benjamin Porter Color: Company 3 Head of Production: Blake Rice Producer: Nick Krasnic Colorist: Jenny Montgomery Finish: Flavor Managing Director: Neal Cohen Executive Producer: Kate Smith Producer: Brittany Maddock Finish: Ryan Esboldt & Rob Churchill Audio/Mix: Another Country Managing Director: Tim Konn Executive Producer: Louise Rider Producer: Josh Hunnicutt Sound Designer/Mixer: Logan Vines Audio Assistant: Nora Strickstein

Additional Production Credits Camera B Cam Op: Eric Laudadio 1st AC – A Cam: Riley Keeton 1st AC – B Cam: Kyle Petitjean 2nd AC: William Hayes DIT: Matt Love Lighting Chief Lighting Tech: Jeremy Launais ACLT: Adrienne Subia SLT: Anthony Peluso SLT: Hootly Weedn Grip Key Grip: Robert Arroyo BB Grip: Chad Pearce Grip: Colby Dunford Grip: Keith Markham Art Department Production Designer: Maia Javan Art Dept Coordinator: Quentin Burchill Set Decorator: Lulu Stewart Prop Master: Matt Huish Leadman: Chad Axman Set Dresser: Roger Shay Barnickle Set Dresser: Donald Ghio Set Dresser: James Axle Set Dresser: Collin Pulsipher Set Dresser: Ryan Wallace Script / Sound / VTR Script Supervisor: Kristen Calabrese Sound Mixer: Joe Hettinger Boom Operator: Lucien Eagle-Jack VTR: Tom Myrick Make Up / Wardrobe Key Make Up: Linda Barcojo 1st Make Up: Jennifer Gerber 2nd Make Up: Theresa Broadnax 3rd Make Up: Anna Novikova Key Costumer: Laura Eckert 1st Asst Costumer: Craig Ryan 2nd Asst Costumer: Jed Carter Location / Transportation Location Manager: David Nakata Gang Boss: Craig Ash Electric Driver: Daniel (DJ) Hausfeld Grip Driver: Gary Cheek Art 5 Ton Driver: Darren Giarrusso Chef Driver: Jesus de los Santos Production Support Craft Service: Danny Tilbury Craft Service: Jayna Mims Medic: Axel Montoya On Set Layout: James Galeana Site Rep: Christina Rusboldt Compliance Coord.: Marques Jackson Production Assistants PA – P: Steve Rea PA – W: Danny Kellermeyer PA – C: Oscar Reyna PAs: Honour Norman, Jackson Shane, Steven McAnnally, Caris Yeoman, Colby LeMaster, Ryan Llanes, Riley Aronson

[jetbelly]

Museum-Worthy from AICP on Vimeo.

It's Hard to make museum-worthy art. It's harder to make museum-worthy ads. Enter the 2024 #AICPAwards by 11:59pm PDT on Tuesday, March 12th. Winning work will join the film archive at MoMA.

AICP Awards Entry Site: aicpawards.awardcore.com Production Co: O Positive Executive Producers: Ralph Laucella & Marc Grill Producer: Grayson Bithell Director: Brian Billow Director of Photography: Bob Yeoman

Head of Production: Devon Clark Executive Producer: Ken Licata Production Supervisors: Deryck Highbridge, Ivan Zigas Production Coodinator: Nicolas Laucella 1st AD: Paul Norman 2nd AD: Don Johnson Creative Concepts & Consulting: BBDO ECD, Writer: Marcelo Nogueira ECD, Writer: Peter Kain SCD, Writer: Dan Oliva SCD, Writer: Scott Mahoney CCO of the Americas: Chris Beresford-Hill

Editorial: Cutters Managing Director: Craig Duncan Executive Producer: Heather Richardson Producer: Brittany Maddock Editors: John Dingfield & Aaron Kiser Editorial Assistant: Benjamin Porter Color: Company 3 Head of Production: Blake Rice Producer: Nick Krasnic Colorist: Jenny Montgomery Finish: Flavor Managing Director: Neal Cohen Executive Producer: Kate Smith Producer: Brittany Maddock Finish: Ryan Esboldt & Rob Churchill Audio/Mix: Another Country Managing Director: Tim Konn Executive Producer: Louise Rider Producer: Josh Hunnicutt Sound Designer/Mixer: Logan Vines Audio Assistant: Nora Strickstein

Additional Production Credits Camera B Cam Op: Eric Laudadio 1st AC – A Cam: Riley Keeton 1st AC – B Cam: Kyle Petitjean 2nd AC: William Hayes DIT: Matt Love Lighting Chief Lighting Tech: Jeremy Launais ACLT: Adrienne Subia SLT: Anthony Peluso SLT: Hootly Weedn Grip Key Grip: Robert Arroyo BB Grip: Chad Pearce Grip: Colby Dunford Grip: Keith Markham Art Department Production Designer: Maia Javan Art Dept Coordinator: Quentin Burchill Set Decorator: Lulu Stewart Prop Master: Matt Huish Leadman: Chad Axman Set Dresser: Roger Shay Barnickle Set Dresser: Donald Ghio Set Dresser: James Axle Set Dresser: Collin Pulsipher Set Dresser: Ryan Wallace Script / Sound / VTR Script Supervisor: Kristen Calabrese Sound Mixer: Joe Hettinger Boom Operator: Lucien Eagle-Jack VTR: Tom Myrick Make Up / Wardrobe Key Make Up: Linda Barcojo 1st Make Up: Jennifer Gerber 2nd Make Up: Theresa Broadnax 3rd Make Up: Anna Novikova Key Costumer: Laura Eckert 1st Asst Costumer: Craig Ryan 2nd Asst Costumer: Jed Carter Location / Transportation Location Manager: David Nakata Gang Boss: Craig Ash Electric Driver: Daniel (DJ) Hausfeld Grip Driver: Gary Cheek Art 5 Ton Driver: Darren Giarrusso Chef Driver: Jesus de los Santos Production Support Craft Service: Danny Tilbury Craft Service: Jayna Mims Medic: Axel Montoya On Set Layout: James Galeana Site Rep: Christina Rusboldt Compliance Coord.: Marques Jackson Production Assistants PA – P: Steve Rea PA – W: Danny Kellermeyer PA – C: Oscar Reyna PAs: Honour Norman, Jackson Shane, Steven McAnnally, Caris Yeoman, Colby LeMaster, Ryan Llanes, Riley Aronson

[nffsjj]

Marc Petitjean Magic Tool

巻いたのはAll CDC Dun。

3年前から使ってるけどけっこう効くんだ。

TMC100BL #14 or #16

#flyfishing #フライフィッシング #flytying

[universitybookstore]

New from Other Press, The Heart: Frida Kahlo in Paris, by Marc Petitjean, translated by Adriana Hunter. “Using Kahlo’s whirlwind romance with the author’s father, Michel Petijean, as a jumping-off point, the book provides a striking portrait of the artist and an inside look at the history of one of her most powerful, enigmatic paintings.”

#books #marc petitjean #the heart #frida kahlo #frida kahlo in paris #biography #art #artists #women artists #diego rivera #other press #adriana hunter #translations #french literature #new books #new releases #lgbtq

[lupitovi]

Avec Frida, au fond ce n'était pas très important de se comprendre sans s'embrouiller avec des mots. J'ai eu beaucoup d'intimité avec elle et jamais on n'a été limités par des problèmes de langage. C'était quelqu'un qui, avant même que je dise quelque chose, avait saisi ce que je voulais dire.

Marc Petitjean - Le coeur

#marc petitjean #frida kahlo

[thefeatherbender]

Petitjean fly tyers travel bag review with Barry Ord Clarke

Petitjean fly tyers travel bag review with Barry Ord Clarke

A little tour of my tying travel bag that goes just about everywhere with me. Like all Marc Petitjean’s tools and accessories it’s beautifully designed with the traveling fly tyer in mind. Each of the bags are designed to hold different materials and all fit snugly into the travel case, individually or as a concertina set. I will be doing more tying material, tools and tying accessory reviews.…

View On WordPress

#Marc Petitjean

[bigtickhk]

The Heart: Frida Kahlo in Paris by Marc Petitjean https://amzn.to/2Y2OEkp

#The Heart: Frida Kahlo in Paris #Marc Petitjean #Frida Kahlo #Paris #biography #books #book review

[lauraumplebyfoundation]

Marc Peitijean

Marc Petitjean is a French photographer, born on the 27th of July, 1951. Petitjean is also a filmmaker, stage designer and teaches video at the School of Decorative Arts in Paris. From his balcony at 24 Rue Beaubourg in Paris, Petitjean watched the Pompidou Centre slowly arise in his neighbourhood. Since 1972, he had been photographing the disappearance of the alleyways loaded with history and the springing up of a magnificent art and culture tool. Over time Petitjean took many photos of each stage of the construction of the Pompidou Centre, including the business’s that shut down beforehand. 

#pitp #Paris #london #marc petitjean #artist research #art #foundation #college

[panfishonthefly]

The Hareline Dubbin Material Clamp

The new material clamp from Hareline Dubbin popped up on my radar a few weeks back. I was instantly intrigued by the design of these new clamps. I am a big fan of dubbing loops and use them in my fly tying a lot. In the early days, I struggled to make homemade clamps out of repurposed stationary clips. The tolerances were never good enough, and the material you were trying to secure would always fall out. Some years back, Marc Petitjean came on the scene with his Magic Clamp Tool System, and it was a considerable improvement over my homemade clamps. Recently the Swiss CDC Clamp came on the stage, once again revolutionizing the material clamp. This particular clamp still uses the “stationary store” style design but made several improvements to make it a better fly tying tool.

Not to be left out of the race, Hareline Dubbin just introduced their 2” Material Clamp Set to the fly tying marketplace. Right out of the gate, you notice something different about this tool. It has a radically different design. It leaves the “paper clip” design of previous clamps behind with a completely new form. They are built like a set of self-closing tweezers with off-set jaws. The two-inch, micro-serrated, off-set jaws securely hold a wide variety of fly tying materials. I have tested these clamps with various furs, feathers (including CDC), and synthetics, and they work exceptionally well. The handle design and the ease of opening and closing these material clamps make them very easy to use.

The clamp is sold as a set of two identical clamps. This allows you to transfer material from clamp to clamp easily, a handy feature. For example, you can use one clamp to secure the material to cut it from the hide or stem and then transfer it to the second clamp in the proper position for the tie in.

The fit and finish of the clamps are good. The micro serrations on the jaws perfectly line up, allowing you to hold delicate material like CDC securely. You operate the clamp with one hand. To open the clamp, you simply squeeze the handle to close them; you release it. The narrow 2” long jaws allow you to work with different amounts of materials so you can create a dubbing loop for a small delicate trout fly or a big predator streamer with the same clamp. The handles are coated with a rubberized “tool dip,” giving them a secure grip in hand.

The clamps work well with a variety of materials. Every style of clamp on the market usually excels in one particular area. Marc Petitjean’s Magic tool works exceptionally well with delicate CDC, but the light springs on the clamp make dealing with coarser material like hair more difficult. The Swiss CDC Clamp works well with a variety of materials, but its high price tag and limited availability is a turn off for some fly tiers. The Hareline Dubbin material clamps give the best of both worlds. You get a set of two identical clamps that work with a wide range of materials, have a new innovative design, and are reasonably priced. What more could you ask for?

If you work with dubbing loops, you will want to check out this tool. After my initial testing period, this set of clamps earned a permanent stop on my fly tying desk, at least until the next innovation comes along!

We currently have these fantastic clamps in stock! You can pick yours up today by clicking on the button below!

Did you know Panfish On The Fly now offers gift cards? A Panfish On The Fly Gift Card is the perfect gift for the hard to buy for fly fisher in your life! Grab one today by clicking on the button below.

#Hareline Dubbin Material Clamp

[chez-mimich]

GORDON MATTA-CLARK. ANARCHITECT

 “...J’amerais beaucoup (...) explorer le monde souterrain. Partir à la recherche de ces lieux oubliés, enfouis sous la ville, qu’il s’agisse de zones historiques ou des traces soubsistantes de projets et de fantasies perdu (...) Je cartographierais ces endroits perdus, je percerais des trous dans les fondations, avant de rejoindre la société à partir du monde souterrain (...) Il s’agirait de faire sortir l’art des galeries et de la conduire dan les égouts...”

Eh sì, quella del mondo sotterraneo, del metro, delle catacombe, delle fogne è una costante di molti “flanêur” parigini e Gordon Matta-Clark non fa eccezione. Un paio di settimane fa è stato davvero bello averne un’ulteriore conferma nella bella mostra che il “Jeu de Paume” ha dedicato a Gordon Matta-Clarck, figlio del pittore surrealista cileno Roberto Matta e della designer americana Anne Clarck. Dire che Gordon sia un fotografo è certamente riduttivo, ma anche dire che è un architetto o un performer sarebbe più che riduttivo, inesatto. Infatti lui è un “anarchitecte”. Il termine fu mutuato dal titolo di un libro di un architetto britannico, Robin Evans intitolato “Towards Anarchitecture”. Cosa fa un “anarchitecte”? Invece di costruire distrugge, scava, buca, sprofonda. La sua opera più celebre e celebrata (per poco), è certamente “Conical Intersect” realizzato con Marc Petitjean nel 1975 sul rudere di una vecchia casa a fianco del cantiere del Centre Pompidou a Parigi. Quante volte ci è capitato di scorgere uno scorcio attraverso il quale il paesaggio, le architetture, i luoghi ci appaiono con un aspetto insolito? Gordon Matta-Clarck, buca gli edifici, smantella l’esistente per trovare l’insolito. Gordon Matta-Clark è un grande poeta del rudere, un John Ruskin della modernità. Basti ricordare la serie di lavori sui graffiti degli anni 1972-1973, quando i graffiti erano considerati scarabocchi sui muri. Numerosi i suo interventi a New York come quelli del progetto “Bronx Floors” del 1972-1973. E poi la “pancia” di Parigi, le sue interiora, scandagliate in “Sous-sols de Paris” un film del 1977 girato in una cripta sotterranea sotto l’Opera Garnier e nelle celeberrime catacombe sotto il Boulevard Saint-Michel. Insomma un profeta della cultura “underground” nel vero senso della parola, un artista difficile e, troppo facile dirlo, anche “profondo”.

#matta-clark #jeu de paume #fotografia #parigi 2018

[junowbfa-whitecliffe]

12.10.21

Research on Gordon Matta-Clark

Figure 3: Conical Intersect, 1975, photo: Marc Petitjean

Conical Intersect (1975) was a torqued, spiraling ‘cut’ into two derelict seventeenth-century Paris buildings adjacent to the development site of the Centre Pompidou. With this site-specific work, Matta-Clark opened these old residences to light and air and commenced a dialogue about the character of urban development and the public role of art.

Gordon Matta-Clark (1943-1978) was one of the sons of the famous Chilean surrealist Roberto Echaurren Matta. After studying architecture in New York, he quickly gained his place in the margin of the prevalent architecture. In the 1970s, he was very active in the New York avant-garde scene. However, he preferred to explore the limits of architecture and art rather than being an architect or artist.

He criticized the conventions within architecture and the visual arts through his work, and he also demanded attention for problems concerning social and urban development. The interventions in the 1960s and 1970s emphasized the condition of NYC as a land of demolition. Gordon Matta-Clark didn’t destroy anything himself, but, as he put it, experiment with the alternative uses of those places that we are most familiar with. He called his work performances. Matta-Clark saw the making of incisions and the transforming of buildings as a part of this work.

https://publicdelivery.org/matta-clark-conical-intersect/

[fishing-exposed]

@FFTCOUK: #marc_petitjean #flytying #cdc MARC PETITJEAN CDC 1g packs Generally held to be some of the highest quality CDC feathers for fly tying. Available in a big range of useful colours. Bistre and Old Yellow are now back in stock. HERE >>> https://t.co/tVwyxg80mA https://t.co/bh8lDyqrQj

#baffinbay #baffin bay #baffin_bay #Baffin Bay #baffin bay rod and gun #BaffinBayRodandGun #Baf