Fleming on India

"India has always depressed me. I cant bear the universal dirt and squalor and the impression, false I am sure, that everyone is doing no work except living off his neighbour.  And I am desolated by the outward manifestations of the two great Indian religions. Ignorant, narrow-minded, bigoted? Of course I am."

-Ian Fleming, Thrilling Cities (1963)

Coming to you from 35,000 feet...

This post (and the last one) were written as I head back to Boston from a long two days of meetings in Texas.  I caved and decided to use the inflight WiFi service.  Blame it on the slew of beverages consumed pre-flight and onboard, but normally I'm strictly against using this service.  For me, time in the air is time disconnected from office obligations and should be savoured as such.

There's nothing better than switching my phone to Airplane Mode before a long, cross-country flight and settling in to several hours of music, reading, cocktails and gazing out the window as the scenery moves by.

(So long as it's not on USAirways...)

Cheers!

The Photography of Tina Barney

There's something beautifully authentic in the candid portraits of Tina Barney.  I love the fact that she allows her audience tiny glimpses into her subject's world.  In particular, her Theatre of Manners collection, which captures a fleeting glimpse of a Northeastern WASPy lifestyle that has, in many ways, changed beyond recognition today.

My favourite picture below is 1982's Sunday New York Times.  There's something about the paper's various sections spread out and shared amongst the multi-generational group, the green bottles of beer on the table and the almost full ashtray that speak to a world we'll never see again but I would have loved to be a part of...

From the bio page on her website:

Tina Barney was born in 1945 in New York.  Since 1975, she has been producing large-scale photographs of family and friends.  Her meticulous tableaux chronicle the complexity of interpersonal relationships.  These lush color prints have been exhibited and collected by major institutions around the world.  Among her exhibitions are a mid-career exhibition at The Museum of Modern Art, New York, in 1991 and the Whitney Biennial, 1987. More recently, her work has been shown at the New York State Theatre in New York, in 2011;  The Barbican Art Centre, London;  Museum Folkwang in Essen, Museum der Art Moderne, Salzburg, and others.  In October, her work will be included in a major portraiture exhibition at The National Gallery, London.   Barney was the recipient of a John Simon Guggenheim Memorial Fellowship in 1991, and  the 2010 Lucie Award for Achievement in Portraiture.  Her monographs include Tina Barney:  Theatre of Manners, The Europeans, and her new book from Steidl, Players. She lives in New York and Rhode Island.

The Flag, 1977

The Suits, 1977

Amy, Phil & Brian, 1980

Ada's Hammock,1982

Beverly, Jill & Polly, 1982

Diane, Mark & Tim, 1982

In the Garden, 1982

Sunday New York Times, 1982

Mark, Amy & Tara, 1983

(Long) Weekend in Wine Country

I am currently taking some much needed time to relax in Napa, CA.  There will be plenty of updates and photos to post upon my return in a few days.

Approaching the main house

I've spent the last two nights at the Silverado Resort, which despite not being the most updated accommodation in the area, is not without it's charm.  It's proximity to Stag's Leap, Clos Du Val and Far Niente more than make up for it.

The view from the back porch

In addition to my time in Napa and Sonoma, I will be sharing some thoughts on my time in San Francisco.

Updates to follow...but for now, I'm headed back to the pool and then the vineyards.

Land Rover Defender at Heathrow

Easily the coolest choice of vehicle for British Airways...

French New Wave - A Primer

Well documented in the blogosphere, magazines and our hazy collective memories -especially by those, like me, far too young to remember - the films of Goddard, Truffaut, and the like have endured in the nearly six decades that have passed since the 'movement' started.

Aside from the artistic and cinematic innovation that the films of this genre brought about, they have visual style that is entirely unique and impossible to recapture in today's era of digital filmmaking.  They are truly products of setting with an almost primitive charm about them.  While some techniques (i.e. dizzyingly quick edits, colour filters and characters breaking the fourth wall) may seem cheap and amateur today, it should be noted at at the time they were revolutionary.

Oftentimes, the location and overall 'feel' of these films becomes a vital character in and of itself.  From the smoky Cinecitta screening room of Contempt to the ultra-mod art gallery of Woman in Chains, the viewer is transported to a time and place that will never again exist...if it ever even did.

"...they have visual style that is entirely unique and impossible to recapture in today's era of digital filmmaking."

Having recently revisited some of the classics of the era, I'm struck by how influential they are on modern works,  from the 'New Hollywood' films of the 1970s, to Pulp Fiction.  While imitation may be the sincerest form of flattery, it would appear that the director Wes Andersen, in particular, was heavily influenced by the genre.  Moonrise Kingdom and Rushmore, two perennial favourites of mine, have uncanny parallels to Pierrot le Fou and The 400 Blows, respectively.

Just scrolling through these images has given me the urge to find a cafe, light up a Galuloise and contemplate the absurdity of modern existence.

Essential Viewing:

• The 400 Blows (Les quatre cent coups, 1958)
• The Spies (Les Espions, 1958)
• Breathless (À bout de souffle, 1960)
• A Woman is a Woman (Une femme est une femme, 1961)
• Contempt (Le Mépris, 1963)
• Pierrot le Fou (1965)
• Le Weekend (1967)
• Woman in Chains (La Prisonnière, 1968)

The Mercedes Museum - Stuttgart

June found me spending a fair amount of time in southern Germany and Switzerland both for work and pleasure.  While the World Cup and supporting Die Mannschaft occupied most of my free time, I had the chance to spend a weekend in Stuttgart.

Exterior of the museum

Aside from overindulging in currywurst, Leberkäse, and far too many bottles of Krombacher pils, I spent an afternoon at the Mercedes Museum.  In addition to the obvious models of classic Mercedes sports cars and sedans, there were fascinating exhibits on the development of the brand and German industry in general from the post-war period to the modern day. 

A few specimens that captured my interest...

The very model my father drove in the 80's - with the exception of the paint colour

My personal pick of the entire collection

Does anyone know this model?

Reminds me of Nantucket for some reason

I prefer the English name to the German, but a romantic notion that feels lost 

The legendary 300SL Gullwing - a bit cliche, but truly a game changer

While the current state of the Mercedes brand's perception worldwide is up for debate (I find certain models a bit too flashy these days,) there is certainly no lack of craftsmanship and beautiful, functional design - particularly with these older models. 

The museum will be closed from September, but is certainly worth the visit for anyone that appreciates the golden era of automotive design.

Details on the museum can found here.