the bookshop also offers a selection of books that relate to each temporary exhibition and which will enable you to extend and deepen your visit.
many special activities will take place as part of The Jazz Century exhibition...
* the Trio Boi Akih music salon on March 14th
* the Africa jazz series of concerts, accompanied by conferences and meetings centred around jazz from March 20th to 28th
* guided tours of the exhibition starting on March 21st
* Early evening jazz on April 4th
* meetings in the Jacques Kerchache Reading Room on April 18th and May 17th
* spring holiday program in New Orleans from April 11th to 19th
* series of films from May 14th to 24th (programme timetable to be confirmed)
The Jazz Century
temporary exhibition ticket or twin ticket
from March 17th to June 28th 2009
curator: Daniel Soutif
Jazz, along with 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 left their mark on world culture.
The exhibition, created by the philosopher and art critic Daniel Soutif, presents the chronological relationship between jazz and the graphic arts throughout the entire 20th century. From painting to photography, cinema to literature, without 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 sound and video clips. Amongst these, the soundies, the ancestors of the video-clip. Below is an example of these brought to you by the museum...
Courtesy of Mark Cantor - Celluloid Improvisations Music Film Archive
the exhibition plan
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 cinema, many films could express the musical revolution of the period, encouraging prestigious artists such as Frantisek Kupka or the realist Thomas Hart Benton to draw their inspiration from jazz music's seductive syncopated rhythms. During this period, the majority of the artists who had emerged within the context of the Harlem Renaissance, such as Carl van Vechten, naturally continued to work whilst other African-American painters like William H. Johnson began to come to light.
6. War Time 1939-1945
The Second World War deeply impacted world culture. Army music and other V-Discs appeared on all fronts. Naturally, jazz was equally affected by the tragedy of war, as were the other domains over which it exerted some form of influence. Thus, it was during these years that Piet Mondrian, who had immigrated to New York, discovered the Boogie Woogie which would have a definitive impact on his major mature works. Simultaneously in Paris, whilst the "Zazous" manifest their opposition to the occupation in an ironic, albeit not risky manner through the Zoot Suit! - which probably got its name from Cab Calloway — Dubuffet became drawn to the music listened to by these young people and consequentially produced a series of superb paintings and drawings. As regards Matisse, he created his famous Jazz in 1943 … In terms of American dance, the Jitterbug was now in fashion, immortalised in a magnificent series of paintings by William H. Johnson.
The end of the decade witnessed a fundamentally important event, namely the creation of the first Columbia album cover by the yet unknown graphic artist Alex Steinweiss…
10. Contemporaries 1980-2002
The visual arts regularly began using the adjective "contemporary" throughout the 1960s, probably because the word “modern” no longer corresponded to the new forms which were emerging. The term "contemporary jazz", remains fresh, even to this day: in the “Jazz Worlds” (to use the title of a book by André Hodeir), the different eras exist 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, in brief, the rest of the world and Europe in particular where many very talented musicians demonstrate the universality of jazz and its multiple descendants with few references to the American model.
Moreover, jazz’s presence in contemporary art remains considerable. This is demonstrated by Jean-Michel Basquiat who, despite his brief career, imbued many of his works with the spirit of Black Music. It is equally true of the videos by Adrian Piper and Lorna Simpson, and the wonderful photograph by Jeff Wall inspired by the Ralph Ellison’s prologue to The Invisible Man.
The conclusion to the exhibition is provided by the legendary African-American artist, David Hammons, with his monumental 1989 installation enitled Chasing the Blue Train. With its small toy train running non-stop, its piles of coal and its piano lids propped up on their sides, Hammons suggests that though the 20th century - the jazz century - is over, the train of music that accompanied it remains in sure motion.