the bookshop also offers a selection of books that relate to each temporary exhibition, which will enable you to extend and deepen your visit.
around the exhibition
many special activities will take place as part of The Jazz Century exhibition...
* the Trio Boi Akih music salon on 14 March
* the Africa jazz series of concerts, accompanied by conferences and meetings centred around jazz from 20 to 28 March
* guided tours of the exhibition starting on 21 March
* a jazz Before on 4 April
* meetings in the Jacques Kerchache reading room on 18 April and 17 May
* a Spring holidays programme in New Orleans from 11 to 19 April
* series of films from 14 to 24 May (programme timetable to be confirmed)
The Jazz Century
temporary exhibition ticket or twin ticket
from 17 March to 28 June 2009
curator: Daniel Soutif
Jazz, along with the cinema and rock music, stands as one of the major artistic events of the 20th century. The sounds and rhythms of this hybrid musical style have made their mark on world culture.
The exhibition, created by the philosopher and art critic Daniel Soutif, presents the relationship between jazz and the graphic arts chronologically throughout the entire 20th century. From painting to photography, cinema to literature, not forgetting graphic design or comics, the exhibition pays particular attention to the development of jazz in Europe and France during the 1930s and 40s.
Minnie The Moocher
Les vidéos du site sont consultables à l'aide du plugin Flash. Vous pouvez le télécharger gratuitement à l'adresse suivante : http://www.macromedia.com/go/getflashplayer_fr. Dans ce film, Stéphane Martin, président du musée, présente les principaux aspects du musée : le jardin, l'architecture, l'accueil, le plateau des collections avec sa rivière et les mezzanines.
the exhibition includes many sounds and video clip. Amongst these, the soundies,the ancestors of video-clips. Below is an example of these brought to you by the museum...
Courtesy Mark Cantor - Celluloid Improvisations Music Film Archive
the route of the exhibition
5. The Swing Years 1930-1939
After the Jazz Age, Swing came into fashion and large orchestras, like those of Duke Ellington, Count Basie, Benny Goodman and Glenn Miller, would get the masses dancing throughout the 1930s.
With the advent of sound in the cinema, many films bear the distinctive stamp of this era, and prestigious artists like Frantisek Kupka or the realist Thomas Hart Benton drew their inspiration from the seductive syncopated rhythms of jazz. During this period, the majority of artists who has emerged within the context of the Harlem Renaissance, like Carl van Vechten, continued their work while other African-American painters like William H. Johnson were setting out on their careers.
6. War Time 1939-1945
The Second World War made a deep impression on world culture. Music for armies and other V-Discs were on all fronts. Jazz and the influence it exerted over other artistic worlds of course could not escape the effects of this tragic war. Thus, it was during these years that Piet Mondrian, who had immigrated to New York, discovered Boogie Woogie which would have a definitive impact on his major works. In Paris at this time while the outfits worn by the “Zazous” (Zoot Suit!) — who probably got the name from Cab Calloway — demonstrated their opposition to the occupation in an ironic, albeit not very risky way, Dubuffet became drawn to the music these young people listened to and made some superb paintings and very lively drawings based on it. As regards Matisse, he created his famous Jazz in 1943 … As for American dances, the Jitterbug was now in fashion, immortalised in a magnificent series of paintings by William H. Johnson.
The end of this decade saw an event which would prove to be of fundamental importance for the future, the as-yet unknown graphic artist Alex Steinweiss created the first album cover for the Columbia…
10. Contemporaries 1980-2002
The visual arts began to regularly resort to using the adjective "contemporary" all through the 1960s, probably because the word “modern” no longer fit the new forms which were appearing. The term "contemporary jazz", on the other hand, has not become dated: in the “Jazz Worlds” (to use the title of a book by André Hodeir), the eras live side by side and, nowadays, they sometimes merge and blend. The exhibition gives an outline of the past two decades by highlighting the dominance of three distinct movements: the first, under the leadership of Wynton Marsalis, historicises Bebop in an almost academic way following the example of so-called classical music and regularly takes it uptown onto the distinguished stage of the Lincoln Art Center in New York; the second, with John Zorn at the forefront, pursues and develops the libertarian and avant-garde tradition inherited from Free and which settled Downtown in the small, independent clubs where Jewish composers are often celebrated — Great Jewish Music, is the title of a series of records by Zorn with a notable tribute album to Serge Gainsbourg; the third is, to put it simply, the rest of the world and Europe in particular where many very talented musicians demonstrate the universality of jazz and its multiple descendants which do no more than merely reference the American model.
Moreover, jazz’s presence in contemporary art remains considerable as demonstrated by the many pictures imbued with Black Music painted by Jean-Michel Basquiat over the course of his brief career, videos by Adrian Piper or Lorna Simpson, or even that admirable photograph by Jeff Wall inspired by the prologue to Ralph Ellison’s The Invisible Man.
Enitled Chasing the Blue Train, the large installation made in 1989 by legendary African-American artist David Hammons - with its small toy train running non-stop, its piles of coal and its piano lids standing on their sides - provides the entire exhibition with the following conclusion: if the 20th century, this jazz century, is well and truly over, the train of the music which accompanied it perhaps more than any other, will always be in motion.