Don’t Stop – Digital Print Series

DON’T STOP, Wasserman Projects (web link here), Detroit, Michigan

Ken Aptekar, DON'T STOP-Wasserman Projects 2013
Ken Aptekar, DON’T STOP-Wasserman Projects 2013

Living in both Paris and New York, I have been lucky to experience the cultures of Europe and America with the perspective of an outsider. When I am in Paris, I see life there as an American who was born in Detroit and has lived for 40 years in New York. Back in the States, I look through the lens of the last 15 years of living more in Paris than in New York.

The digitally produced works in this series, DON’T STOP, developed out of a desire to reconcile two important differences between life in the two countries. France, the oldest country in Europe, has had kings in charge for most of its existence. Even though it became a republic after the French Revolution, its culture is steeped in its royal origins. Life in France is marked by class, highly developed codes of behavior, easy sensuality, significant state art patronage, refined taste, and strong federal government.

In contrast Americans regard class difference with skepticism if not denial, and privilege as nothing more than a lucky break. In the US we feel we can become anybody we want unhindered by our family’s past, our race or personal history or gender. State support of the arts is deemed a luxury we can’t afford. And finally government in America is a constant battle between State and Federal positions.

I tried to mash up these differences in my series, DON’T STOP. Fifteen large glossy pictures set democratic American pleasure-taking–DISCO!–against princely French refinement.

Ken Aptekar, 2013

Ken Aptekar, YOU SHOULD BE DANCING, 48" x 48" (123cm x 123cm), after Nicolas de Largilliere, Charles Boucher d'Orsay, Paris, musee de Carnevalet; TEXT: “You Should Be Dancing,” Barry, Robin, & Maurice Gibb, 1976, from Bee Gees album, “Children of the World”
Ken Aptekar, YOU SHOULD BE DANCING, 48″ x 48″ (123cm x 123cm), after Nicolas de Largilliere, Charles Boucher d’Orsay, Paris, musee de Carnevalet; TEXT: “You Should Be Dancing,” Barry, Robin, & Maurice Gibb, 1976, from Bee Gees album, “Children of the World”
Ken Aptekar, YOU CAN RING MY BELL, 48" x 48" (123cm x 123cm)--four panels 24" x 24" (61cm x 61cm), after Domenico Theotocopoulos, called El Greco, Saint Louis, King of France, and a Page, 1585-1590, Paris, Louvre; TEXT: from “Ring My Bell,” Frederick Knight, 1979, from Anita Ward album, “Songs of Love”
Ken Aptekar, YOU CAN RING MY BELL, 48″ x 48″ (123cm x 123cm)–four panels 24″ x 24″ (61cm x 61cm), after Domenico Theotocopoulos, called El Greco, Saint Louis, King of France, and a Page, 1585-1590, Paris, Louvre; TEXT: from “Ring My Bell,” Frederick Knight, 1979, from Anita Ward album, “Songs of Love”
WE ARE FAMILY, 48" x 72" (123cm x 183cm)--six panels 24" x 24" 61cm x 61cm) After Jean Clouet, Elisabeth d'Autriche, 1570, Paris, Louvre; Atelier de Francois Clouet, Henri II, King of France (standing with gold color), Paris, Louvre; Jean Clouet, (1480-1540-1541), Portrait of Francois 1, King of France, c. 1530, Paris, Louvre; Atelier of Francois Clouet, Francois Hercules de France, Paris, Louvre; Ecole Francaise, XVI siècle, Diane de France, (1538-1619) Duchess of Angoulême, (natural daughter of Henri II), Paris, Musee de Carnevalet; attributed to Leonard Limousin, the Dauphin and future Francois II, (enamel on copper); c. 1553, Paris, Louvre; TEXT: “We Are Family,” Bernard Edwards & Nile Rodgers, 1979, on album by Sister Sledge, “We Are Family”
Ken Aptekar, WE ARE FAMILY, 48″ x 72″ (123cm x 183cm)–six panels 24″ x 24″ 61cm x 61cm)
After Jean Clouet, Elisabeth d’Autriche, 1570, Paris, Louvre; Atelier de Francois Clouet, Henri II, King of France (standing with gold color), Paris, Louvre; Jean Clouet, (1480-1540-1541), Portrait of Francois 1, King of France, c. 1530, Paris, Louvre; Atelier of Francois Clouet, Francois Hercules de France, Paris, Louvre; Ecole Francaise, XVI siècle, Diane de France, (1538-1619) Duchess of Angoulême, (natural daughter of Henri II), Paris, Musee de Carnevalet; attributed to Leonard Limousin, the Dauphin and future Francois II, (enamel on copper); c. 1553, Paris, Louvre; TEXT: “We Are Family,” Bernard Edwards & Nile Rodgers, 1979, on album by Sister Sledge, “We Are Family”
Ken Aptekar, The More I Get The More I Want (From You Babe), 30" x 60" (76cm x 152.5cm) diptych After Jan Davidsz. De Heem, (1606-1683-4), Fruits et riche vaisselle sur une table (“Fruits and deluxe serving pieces on a table”), 1640, Paris, Louvre; TEXT: “The More I Get The More I Want,” Victor Carstarphen, Gene McFadden, & John Whitehead, 1977, on album, “Teddy Prendergrass”
Ken Aptekar, The More I Get The More I Want (From You Babe), 30″ x 60″ (76cm x 152.5cm) diptych
After Jan Davidsz. De Heem, (1606-1683-4), Fruits et riche vaisselle sur une table (“Fruits and deluxe serving pieces on a table”), 1640, Paris, Louvre; TEXT: “The More I Get The More I Want,” Victor Carstarphen, Gene McFadden, & John Whitehead, 1977, on album, “Teddy Prendergrass”
WORKS HARD FOR THE MONEY, 2013, 40" x 40" (101.5cm x 101.5cm), after Francois Boucher, Study for a Portrait of Madame de Pompadour, 1750, Paris, Louvre, SONG LYRICS: from She Works Hard for the Money, Donna Summer, Michael Omartian, 1983
Ken Aptekar, WORKS HARD FOR THE MONEY, 2013, 40″ x 40″ (101.5cm x 101.5cm), after Francois Boucher, Study for a Portrait of Madame de Pompadour, 1750, Paris, Louvre, SONG LYRICS: from She Works Hard for the Money, Donna Summer, Michael Omartian, 1983
SHAKE YOUR GROOVE THING, 30" x 60" (76cm x 152.5cm) diptych, after anonymous French artist, XVI century, Bal a la cour d'Henri II, (Ball at the court of Henry II) , Paris, Louvre; TEXT: “Shake Your Groove Thing,” Dino Fekaris & Freddie Perren, 1978, on Peaches & Herb album, “2 Hot”
Ken Aptekar, SHAKE YOUR GROOVE THING, 30″ x 60″ (76cm x 152.5cm) diptych, after anonymous French artist, XVI century, Bal a la cour d’Henri II, (Ball at the court of Henry II) , Paris, Louvre; TEXT: “Shake Your Groove Thing,” Dino Fekaris & Freddie Perren, 1978, on Peaches & Herb album, “2 Hot”
Lookin' For Some Hot Stuff, 40" x 40" (101.5cm x 101.5cm), after Jean Clouet, (1480-1540-1541), Portrait de Francois 1, roi de France, c. 1530, Paris, Louvre; TEXT: from “Hot Stuff”, Pete Bellotte, Harold Faltermeyer, Keith Forsey, 1979, on Donna Summer album, “Bad Girls”
Ken Aptekar, Lookin’ For Some Hot Stuff, 40″ x 40″ (101.5cm x 101.5cm), after Jean Clouet, (1480-1540-1541), Portrait de Francois 1, roi de France, c. 1530, Paris, Louvre; TEXT: from “Hot Stuff”, Pete Bellotte, Harold Faltermeyer, Keith Forsey, 1979, on Donna Summer album, “Bad Girls”
I WILL SURVIVE, 60" x 30" (152.5cm x 76cm) diptych, after Jean Clouet, Elisabeth d'Autriche, 1570, Paris, Louvre; TEXT: “I Will Survive,” Freddie Perren, Dino Fekaris, 1978, from Gloria Gaynor album, “Love Tracks”
Ken Aptekar, I WILL SURVIVE, 60″ x 30″ (152.5cm x 76cm) diptych, after Jean Clouet, Elisabeth d’Autriche, 1570, Paris, Louvre; TEXT: “I Will Survive,” Freddie Perren, Dino Fekaris, 1978, from Gloria Gaynor album, “Love Tracks”
I NEED HOT STUFF, 40" x 40" (101.5cm x 101.5cm), after Ecole Francaise, c. 1580, possibly by Francois Quesnel, Portrait of Henri de Lorraine, duc de Guise, Paris, Musee de Carnevalet; TEXT: from “Hot Stuff”, Pete Bellotte, Harold Faltermeyer, Keith Forsey, 1979, on Donna Summer album, “Bad Girls”
Ken Aptekar, I NEED HOT STUFF, 40″ x 40″ (101.5cm x 101.5cm), after Ecole Francaise, c. 1580, possibly by Francois Quesnel, Portrait of Henri de Lorraine, duc de Guise, Paris, Musee de Carnevalet; TEXT: from “Hot Stuff”, Pete Bellotte, Harold Faltermeyer, Keith Forsey, 1979, on Donna Summer album, “Bad Girls”
Ken Aptekar, GIVE IT TO ME BABY (Antoine de la Mothe Cadillac at the Court of Louis XIV, Versailles, 1698), 2013, 60" x 60" four panels, oil/wood, sandblasted glass, bolts, after Fernand LeQuesne, Antoine de la Mothe Cadillac Receiving the Title to Detroit at the Court of Louis XIV, Versailles, 1902, Collection: Detroit Historical Society, shown with source painting
Ken Aptekar, GIVE IT TO ME BABY (Antoine de la Mothe Cadillac at the Court of Louis XIV, Versailles, 1698), 2013, 60″ x 60″ four panels, oil/wood, sandblasted glass, bolts, after Fernand LeQuesne, Antoine de la Mothe Cadillac Receiving the Title to Detroit at the Court of Louis XIV, Versailles, 1902, Collection: Detroit Historical Society, shown with source painting
Ken Aptekar, WON'T YOU TAKE ME DOWN TO FUNKY TOWN? 40" x 40" After Joseph Siffrede Duplessis (1725-1802), Louis XVI en costume de sacre, Paris, musee de Carnevalet; TEXT: “Won’t You Take Me To Funky Town,” Steven Greenberg, 1979, on the Lipps Inc. album, “Mouth to Mouth”
Ken Aptekar, WON’T YOU TAKE ME DOWN TO FUNKY TOWN? 40″ x 40″
After Joseph Siffrede Duplessis (1725-1802), Louis XVI en costume de sacre, Paris, musee de Carnevalet; TEXT: “Won’t You Take Me To Funky Town,” Steven Greenberg, 1979, on the Lipps Inc. album, “Mouth to Mouth”
Ken Aptekar, DON'T STOP TIL YOU GET ENOUGH, 48" x 48" (123cm x 123cm)--four panels each 24" x 24" (61cm x 61cm) After Louis Tocque, (1696-1772), Marie Leczinska, 1740, Paris, Louvre, and Joseph Siffrede Duplessis (1725-1802), Louis XVI in coronation robes, Paris, Musee de Carnevalet; TEXT: “Don’t Stop Til You Get Enough,” Michael Jackson, 1979, from the album, “Off the Wall”
Ken Aptekar, DON’T STOP TIL YOU GET ENOUGH, 48″ x 48″ (123cm x 123cm)–four panels each 24″ x 24″ (61cm x 61cm) After Louis Tocque, (1696-1772), Marie Leczinska, 1740, Paris, Louvre, and Joseph Siffrede Duplessis (1725-1802), Louis XVI in coronation robes, Paris, Musee de Carnevalet; TEXT: “Don’t Stop Til You Get Enough,” Michael Jackson, 1979, from the album, “Off the Wall”
Ken Aptekar, COULD IT BE I'M FALLING IN LOVE, 30" x 30" (76cm x 76cm), after Etienne Fessard & Augustin de Saint-Aubin, based on Christophe Huet, "La Fidelite," Portrait of Ines, (Mme de Pompadour's dog), etching, private collection; TEXT: “Could It Be I’m Falling in Love,” Melvin and Mervin Steals (“Mystro and Lyric”), 1972, recorded by The Spinners on album, “Spinners”
Ken Aptekar, COULD IT BE I’M FALLING IN LOVE, 30″ x 30″ (76cm x 76cm), after Etienne Fessard & Augustin de Saint-Aubin, based on Christophe Huet, “La Fidelite,” Portrait of Ines, (Mme de Pompadour’s dog), etching, private collection; TEXT: “Could It Be I’m Falling in Love,” Melvin and Mervin Steals (“Mystro and Lyric”), 1972, recorded by The Spinners on album, “Spinners”
BURN BABY BURN, 40" x 40" (101.5cm x 101.5cm), after Nicolas de Largilliere, (1656-1746), Portrait of Marie-Anne Mancini (?), Duchess of Bouillon (saloniere who welcomed Moliere, Benserade, La Fontaine), Paris, Louvre; TEXT: “Disco Inferno,” Leroy Green & Ron Kersey, 1976, on album recorded by The Trammps, “Disco Inferno”
Ken Aptekar, BURN BABY BURN, 40″ x 40″ (101.5cm x 101.5cm), after Nicolas de Largilliere, (1656-1746), Portrait of Marie-Anne Mancini (?), Duchess of Bouillon (saloniere who welcomed Moliere, Benserade, La Fontaine), Paris, Louvre; TEXT: “Disco Inferno,” Leroy Green & Ron Kersey, 1976, on album recorded by The Trammps, “Disco Inferno”
Ken Aptekar, birds of a feather, 40" x 80" (101.5cm x 203cm)--eight panels 20" x 20" (51cm x 51cm), after boiserie panels installed in period rooms at the Musee Carnevalet, Paris; TEXT: birds of a feather
Ken Aptekar, birds of a feather, 40″ x 80″ (101.5cm x 203cm)–eight panels 20″ x 20″ (51cm x 51cm), after boiserie panels installed in period rooms at the Musee Carnevalet, Paris; TEXT: birds of a feather
Ken Aptekar, BECAUSE I WANT TO, 48" x 48" (123cm x 123cm), after Hyacinthe Rigaud, Portrait of Louis XV age five, c. 1715, Versailles, Chateau de Versailles; TEXT: BECAUSE I WANT TO
Ken Aptekar, BECAUSE I WANT TO, 48″ x 48″ (123cm x 123cm), after Hyacinthe Rigaud, Portrait of Louis XV age five, c. 1715, Versailles, Chateau de Versailles; TEXT: BECAUSE I WANT TO