#Art Deco Society of Chicago

[ajl1963]

Deco Doings - October, 2023

Autumn by William Welsh, 1930. Image from Pinterest. Here are some Art Deco events to partake during October. Metropolitan Museum of Art Art for the Millions: American Culture and Politics in the 1930s (In Person Event)      Thursday, September 7 – Sunday, December 10, 2023, Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY Ida York Abelman (American, New York 1910–2002)Man and Machine,…

[archinform]

Crossroads Room, Dearborn Station, Chicago

A lost Fred Harvey Restaurant in Chicago, designed by Samuel A. Marx, with murals by Edgar Miller

Fred Harvey Crossroads Room, Dearborn Station, Chicago, c. 1940, architect Samuel A. Marx. Source: Chicago History Museum

I only learned about this long-gone but exceptional moderne restaurant interior a couple of days ago, while perusing a lengthy post on the Forgotten Chicago site.

Another mostly forgotten Art Deco landmark is seen above by noted Chicago architect and art collector Samuel Marx for the Fred Harvey Crossroads Restaurant at Dearborn Station. Perhaps best known locally for the original incarnation of the legendary Pump Room at the Ambassador East Hotel (now PUBLIC Chicago) in 1938, this Marx commission included a restaurant seating 102, a 50-seat cocktail lounge, and a 31-person lunchroom. Edgar Miller, Chicago’s great and recently rediscovered artist, was commissioned for the murals that commemorated both old Chicago and the southwestern routes served by the Santa Fe Railroad. Patrick Steffes, Chicago’s Million Vacant Lots, and Other Recent Research Finds, Forgotten Chicago, May 31, 2014

Dearborn Station. Designed by Cyrus L. W. Eidlitz, the station opened in 1885 at 47 West Polk Street, Chicago. Source: Dearborn Homes website

An earlier Fred Harvey Restaurant in Dearborn Station, 1899

Cover and contents page of Architectural Record, Vol. 88 No. 1, July 1940. PDF of entire issue is available from Architectural Record Archives here.

The scans below are from pp. 40-43 of this issue:

Text of the article:

Description on back of postcard

Another view of the restaurant. Source: Chicago History Museum

A view of the bar. Source: Chicago History Museum

The Crossroads Room featured curving walls in each of its three rooms, chrome fixtures with indirect lighting, and a serpentine bar. Marx specially designed all the furniture. He used a wide-ranging color scheme throughout the project, including "brilliant green, reddish brown, deep chocolate brown, pigskin, Indian red, black, and white," colors that were seen in much of Santa Fe's advertising through the years. Other distinctive decorating touches included Indian and roadrunner motifs and rather bizarre round neo-Baroque wall cases containing what appear from photographs to be cactus sculptures. These unique features would no doubt have reminded patrons of the exotic destinations of the Santa Fe Railroad in the American Southwest. Although Fred Harvey was best known for promoting travel to the West and Southwest, the new spaces were also full of depictions of the history and early life of Chicago. For the 183-seat Crossroads restaurant, Miller created a large wall mural depicting early nineteenth-century pioneer life in Chicago, including a cntral rendering of Indians, fur traders, and Fort Dearborn. For the 50-seat cocktail lounge, adjacent to the main entrance, Miller illustrated early Chicago settlers along with various livestock.... Patrick Steffes, "Crossroads Room," in Robert Brueggman, editor, Art Deco Chicago: Designing Modern America. Chicago Art Deco Society, 2018, pp. 313-315.

Enlarged view of floor plan, from p. 41 illustration above

Crossroads Room menu, Saturday, January 14, 1950 (ebay)

Crossroads Room, matchbook cover (ebay)

Anemo-Light advertisement; this type of anemostat indirect lighting was used in the Crossroads Room.

Portrait of architect Samuel Marx at his desk in his office in Chicago, Illinois, February 15, 1941. Source: Chicago History Museum

Art Institute of Chicago, works by Samuel A. Marx

Sources:

Andrew Raimist, Architectural Ruminations

Robert Brueggman, editor, Art Deco Chicago: Designing Modern America. Chicago Art Deco Society, 2018.

Chicago History Museum, images of buildings designed by Samuel a. Marx

Liz O'Brien, Ultramodern: Samuel Marx, Architect, Designer, Art Collector. Pointed Leaf Press, 2012

Old Chicago Station Gets New Restaurant, Architectural Record, Vol. 88 No. 1, July 1940, pp. 40-43

The Pump Room, Architectural Forum, July 1940, pp. 21-24

Samuel Abraham Marx, Wikipedia

Samuel A. Marx in the Art Institute of Chicago collections

Patrick Steffes, Chicago’s Million Vacant Lots, and Other Recent Research Finds, Forgotten Chicago, May 31, 2014

[kickmag]

Alan Oldham Reintroduces JOHNNY GAMBIT For A New Generation (Interview)

Alan Oldham is what society now calls a multi-hyphenate, but in times past, the term was Renaissance man.

For the past three decades plus, he has been an innovative purveyor of electronic music and a comic book writer and artist extraordinaire. Oldham started his trek as an eclectic art fan during the ‘80s in his Detroit hometown. He combined his love of the German Expressionist movement in film, the clean lines of Art Deco-inspired objects and more to start writing the narrative and visuals for his characters. The first major result was his trench coat-laden hero JOHNNY GAMBIT. Oldham hit paydirt and was signed to Hot Comics out of Chicago in 1986. The company folded soon after and the character would have two more issues published in 1987-88 by Detroit’s Eclectic Press.

Oldham did not have any time to think about the next move for JOHNNY GAMBIT because he was busy creating the cover art for the first Detroit Techno releases from childhood friends like Derrick May and Juan Atkins. These same friends also supplied him with music for his influential Fast Forward radio show being broadcast on WDET. This writer remembers listening to Oldham play Detroit Techno, house music and industrial in the early morning hours as listeners would call in and get an education on the new sounds that have laid the foundation for today’s myriad of electronic artists. He also worked as a DJ for Mike Banks’ sci-fi and funk-dipped techno crew Underground Resistance. As the ‘90s moved on Oldham started making his own music and founded the Generator and Pure Sonik labels.

Today, Oldham is just as excited about creating as he was years ago. A current resident of Berlin, he still travels the world as a DJ and has had art exhibitions in several countries. He is having a rebirth of sorts with JOHNNY GAMBIT and a Kickstarter relaunch. The new graphic novel is bringing GAMBIT back with a remastered 2 CD set. I spoke with Oldham last month shortly after his set at the Charivari Music Festival in Detroit. We talked about GAMBIT, the early days of Detroit Techno, and what it is about the city that drove him to greatness among his many other career-defining moments.

“It just motivates you to push further so that’s one thing about Detroit. It’s not an easy place. No one’s going to pat you on the back and tell you good job. If anything, they will shit on you. So, it motivates you to push forward, to push internationally and outside of the city.“

How did you decide to bring Johnny Gambit back now?

I’d been working on the book for almost 15 years now. I started it in 2007 and it’s been kind of in the back of my mind to bring back JOHNNY. We did a run in the ‘80s and I didn’t get a chance to finish the original story because my publisher(s) went out of business and then time went by so I thought I’d just reboot it completely.

What was your original inspiration for the character?

Well, that’s a really good question. JOHNNY GAMBIT is basically the kitchen sink character for everything I liked at the time; Japanese animation, Japanese Manga, “Miami Vice,” “Love & Rockets,” the movie “Metropolis” by Fritz Lang, Art Deco design, prototype cars that were never made, and there was a comic back in the ‘80s called “Mister X” that was a huge influence.

I saw where Marvel later came out with the character in “Uncanny X-Men” #266.

There was a girl, well, woman now, that I met at the old Chicago Con back in ’86, and we became friends. Turns out she worked for Marvel so we stayed in touch. It turned out I was going to New York for my first visit back in ’87 and she invited me up to visit Marvel. That was a once-in-a-lifetime opportunity for me ‘cause you got to see the real Mighty Marvel bullpen with your own two eyes. So I got to NYC, went up there and I had a bunch of my old JOHNNY GAMBIT number ones with me and she introduced me to a few of the editors like Archie Goodwin and Carl Potts, and I was just leaving my comic as a calling card.

Fast forward to 1990, I’m at Todd Johnson’s old comic shop in Ferndale, and I notice a character named Gambit with the hair to one side and a trench coat. But they gave him powers and they changed it enough so where you can’t sue them. You know how it is, they take the idea and add just enough to it so they can say hey, we came up with this on our own. But the resemblance was uncanny, no pun intended. So yeah, there’s nothing you can really do about it. At this point, it’s just an interesting story. Read more.

[aic-american]

Jazz Bowl, Viktor Schreckengost, 1931, Art Institute of Chicago: American Art

The Jazz Bowl was originally designed for Eleanor Roosevelt in celebration of her husband Franklin Delano Roosevelt’s re-election as governor of New York, and it has since become an icon of the Jazz Age and an Art Deco masterpiece. Cowan Pottery liked the design, which captures the architecture, music, and nightlife of New York City as Viktor Schreckengost knew it, and the company decided to put the bowl into production. Using Schreckengost’s template and a sgraffito technique, workers scratched the design into the engobe, or black glaze. Schreckengost then inspected and signed the bowl. The final Egyptian blue glaze was applied to reflect New York at night. Through prior acquisition of the Antiquarian Society; Thorne Rooms exhibition Fund; Bequest of Elizabeth R. Vaughan; and the Winfield Foundation Size: 23.5 × 42.6 × 43.2 cm (9 1/4 in. × 16 3/4 × 17 in.) Medium: Glazed earthenware, engobe

https://www.artic.edu/artworks/181778/

[theatrehistoricalsociety-blog]

Art Deco Theatres

Theatre architecture in the 20s, other disciplines, embraced the clean and streamlined design that was Art Deco. This was a sea change from the palatial opulence of much of the early 20th century design that treated every surface as something to decorate. 

The following are excerpts from introduction to the 1989 THS annual “Glamour, Glitz and Sparkle: The Deco Theatres of John Eberson” by Richard Guy Wilson - Architecture Historian - University of Virginia.

“The term Art Deco has come to mean the attempt in the period between the two world wars to forge a new visual aesthetic, not only in architecture, but in the other design arts as well.”

“In the decades of the 20s and 30s, Americans were bombarded with the belief that a new age had come into being, a modern age controlled by machine and modern technology.”

“The full experience for many Americans came inside the new movie theatre...There one could really not just see, but feel the full kinetic impact, the physical and sensual three dimensions of modern design.”

Photos of the Oswego Theatre in Oswego, NY

Lake Theatre in Oak Park, IL

Beverly theatre in Chicago, IL

Paramount Theatre in Aurora, IL

Penn Theatre in Washington D.C.

The last two are of the Paramount Theatre in Oakland, CA

[aic-design]

Carbon and Carbide Building, Chicago, Illinois, Perspective Sketch, Burnham Brothers, Architects, 1927, Art Institute of Chicago: Architecture and Design

Designed by the sons of Daniel H. Burnham, the leading commercial architect in Chicago, the Art Deco Carbide and Carbon Building represented a stylistic departure from office buildings in the Neoclassical style, which had dominated the city since the 1893 World’s Columbian Exposition. The Burnham brothers clad the tower in polished granite and dark-green and gold terracotta, in keeping with the bold, often exotic materials used in Art Deco design in the 1920s and 1930s. This high decorative quality was intended to set the office building apart from its neighbors, to serve, in the words of the company, as a “distinctive and perpetual advertisement” for the building’s occupants. The low angle of this perspective sketch emphasizes the tower’s soaring height, as it looms over pedestrians and cars on Michigan Avenue. Restricted gift of the Friends of the Library and the Architecture Society (proceeds of the Seventy-Fifth Anniversary of the Burnham Library Benefit) Size: 93.3 × 59.8 cm (36 3/4 × 23 9/16 in.) Medium: Graphite on tracing paper

https://www.artic.edu/artworks/70451/

[hallowgracie]

Huntress: The Chicago Lodge

tags | ask to be added or removed | @the-traveler-is-with-me​, @written-inmoonlight​

In Huntress, the Hunters and Rangers (members of the Hunters’ Society, a guild for monster-hunters) can stay at Lodges, areas where they have access to spells, healing, training areas, places to repair their weapons, and a good night’s sleep. There is at least one lodge in every city or municipality. 

While the characters run their more rustic lodge in the fictional small town of Three Ships Point, Michigan, they are in for a surprise when they visit the Lodge in Chicago for information on the shadowy corruption in the nearby forest. They also come to face with one of the powerful Celestials, a mysterious race said to be descended from the stars. 

No content warnings for this passage.

Athena reflexively looked over her own shoulders—-the city of Chicago was always in motion, never still. The shadows shifted all too quickly—making it harder to spot the ones that were out of place.

Despite the bright lights and safety in numbers, Athena felt like a mouse surrounded by traps. 

She allowed Lorcan to take her hand and usher her into the back-entrance of the Chicago Lodge.

She was greeted by warm lights and a surprisingly clean art-deco inspired interior. She couldn’t help but look around, amazed and intrigued by such a different take compared to theirs in Three Ships Point. 

This place looked more like a hotel or a fancy business building in Lansing. She couldn’t imagine what the other facilities within this Lodge had to look like.

They were led to the actual entrance, through a doorway between two elegantly-curved staircases leading up to the second floor and onwards. A great crystal chandelier hung from the ceiling, although Athena noticed that the crystals used were ones renown for their power in warding off evil. 

In the center of the marble floor was the imprint of a compass rose. In the center of that rose stood a woman that made Athena’s heart stop a moment.

For this woman looked like her mother.

She had the same slender body that Athena and her sisters inherited, the same mint green eyes as Shana and her mother’s, and her white-blonde hair even had the same sort of glow that her mother’s did, that Athena could never figure out. 

 She did a double-take, hanging back as Mr. Castellan and Helena approached.

“This is Yvaine Gray, she is our informant,” Mr. Castellan said, although to Athena’s ears he sounded a million miles away and underwater. “Ms. Gray is a Celestial, and an important ally to our Lodge.”

“It’s nice to meet you.” Helena offered her hand and a polite smile.

Yvaine’s pale green eyes flicked down towards Helena’s hand disdainfully, then back up to Helena’s face. She then smiled—although it didn’t quite reach those pale eyes—and shook the tips of Helena’s fingers.

“I am happy to offer my assistance to the Hunters’ Society.” Yvaine’s voice was quiet, demure, like the whisper of snow falling. “I owe much to them—-they once saved my sister from a terrible fate.”

She then scanned over the party, her gaze latching onto Athena’s.

“You’re Athena Belfrey, is that correct?”

“Um, yes.” Athena blinked—despite her colder demeanor and gray flowing cardigan over an ivory dress, she resembled her mother too much, it was uncanny. “And this is Lorcan Shields, and my cousin, Helena—“

“Yes, yes.” Yvaine dismissed her with a casual wave of her elegant hands. Athena noticed she had painted her nails a perfect white. “I was hoping I might meet one of Isolde Belfrey’s daughters while your party visited.”

“My mom?” 

“Yes.” Yvaine’s smile grew, much warmer and more genuine. Although there was still a secretiveness about it, like she and Athena were conspiring on some wonderful joke.”Your mother and I used to be great friends. I was devastated to hear of her passing.”

She paused. “I was hoping we might be able to speak in private. I had some things I meant to give to her daughters—but somehow, I never made it to Three Ships Point in the last four years to give it to you kids.”

She looked to Mr. Castellan and to Helena. “Would either of you mind that?”

Mr. Castellan looked to Helena. “I have no problem with it. If a Celestial has any gifts to give, you might as well take them. There are hardly any left, anymore.”

Helena turned to Athena. “It’s your choice.”

Athena met Yvaine’s eyes—so much like Shana’s, like her mother’s. 

“Yes, I’d like to go.”

“Excellent.” Yvaine suddenly became solemn and businesslike. She handed a large book to Lorcan, who initially staggered under the weight of it. “When the Hunters Society sent out their summons for information, I decided to look through my journals for information—and when I found something, I made a copy of the relevant volume.”

Her eyes met Lorcan’s. “Take good care of them, Mr. Shields. It’s not every day that an outsider gets to handle centuries of Celestial knowledge.”

She turned back to Athena. “Is one hour sufficient to settle in and freshen up?”

“Yes.”

“I will meet you in the lobby, then.”

Then Yvaine Gray disappeared, leaving Athena wondering what exactly would happen in their little chat.

[arh4591-5500]

Draft Narrative

Contempora

Item Groupings

*items included in the Replication Section of the Exhibition will prioritize buildings/sites/content not otherwise represented within the larger exhibition EX- material culture/graphic design/and fine arts representations for such buildings as the Woolworth building will be included in the Building Section of the show rather than grouped with Replication items.

Mini models/ Commemorative Items- objects associated with specific buildings and events related to those buildings- DEPRIORITIZING THESE IN THE REPLICATION SECTION

Toys- opportunity for interactive elements within the exhibition

Domestic Items/Industrial Design/Furniture- everyday items for use in the home or within skyscrapers themselves

Fashion/ Advertising/Graphic Design- clothing, textiles, jewelry, advertising associated with these items

2D (fine arts representations)- emergence of early Abstraction and American     Modernism as well as realism

Knock-off Buildings- full scale replication- look-alike buildings in secondary cities - transitional content from Building/Construction Sections of show

Narrative Themes:

- How an aesthetic developed in architectural practice is appropriated by a different design field- ie- fashion, industrial design, graphic design etc

- Public Perception- initial negative reactions to early skyscrapers vs. aesthetic fad of skyscraper style picked up by other fields of design

- Physical scale difference between skyscraper vs. everyday object- what is this experience like?

- Time scale difference between the time involved in constructing a building vs. the “fad” of fashion and objects

- Difference between the fixed site of a tower (first hand experience when viewing in person) vs. objects which can circulate nationally like commemorative objects (second hand experience)

- Prioritizing derivative objects/designed items vs. more straight forward representations of buildings (like paintings or prints)- the process of abstraction or the conceptualization of the skyscraper as transformational

- Knock-off or replica buildings- what other cities start to build skyscraper look-alikes from other more prominent precedents

- Capitalism- the money (and potentially the luxury) of a tower vs. the accessibility of everyday items/objects for purchase

Object List (Refined)

- Mini models/ Commemorative Items- All mini models and commemorative items will be displayed in the Building section of the exhibition in association with the building they represent rather than in the replication portion of the show. Replication will be reserved objects which represent a more abstracted representation of skyscrapers rather than a 1:1 relationship.

- Knock-off Buildings

Wall text rather than specific objects...

- Domestic Items/Industrial Design/Furniture-

   Furniture

Skyscraper Bookcase End table- Frankl- PMA

Lounge Chair and Ottoman- Howe and Lescaze- PMA

Skyscraper Desk Frankl- Grand Rapids Art Museum

Skyscaper Chair- Frankl- Cooper Hewitt

Skyscraper Cabinet- Frankl- Art Institute of Chicago

Art Deco Setee- Fady- Chicago Historical Society

   Home Objects

Skyscraper Radio- Frankl- Cooper Hewitt

Sutton Mantle Clock- Seth Thomas- Cooper Hewitt

Waste basket- Deskey- Cooper Hewitt

Vase 1930-40- Coors Porcelain Co- Cooper Hewitt

Cocktail Shaker with tray- Fisker- Cooper Hewitt

Cocktail Shaker and tray 1928- Weber- Cooper Hewitt

Cocktail Shaker 1928- Meridian Silver- Cooper Hewitt

Tea Service- Munk- Cooper Hewitt

Table Architecture Set- Cambridge Glass- Yale

Skyscraper Water Pitcher- Rice- DIA

- Fashion/ Advertising/Graphic Design -

Vintage Vogue Covers- would need to be purchased

Shaw-Walker “Jumping Man”- Furniture city, Grand Rapids Public Museum

Shaw-Walker newspaper advertisements (as text images)

Textile in Skyscraper Pattern- NY Historical Society

Manhattan Textile 1930- Ruther Reeves for W&J Sloane- NY Historical Society

Textile 1935- Cooper Hewitt

Americana Print Manhattan Textile- Copper Hewitt

The Way to Reach the Moderns Brochure- Cooper Hewitt

The Savoy Cocktail Book- Cooper Hewitt * could also be displayed alongside a grouping of cocktail shakers and accessories

- 2D - FIne Art/ Painting/Drawings/ Prints

Woolworth Building No. 28- Marin National Gallery *could be displayed with Woolworth Content in Building Section instead

Design for a Skyscraper 1930- Ely Jacques Kahn- Cooper Hewitt

Study for Maximum Mass- Ferriss- Cooper Hewitt

The Skyscraper Window- 1934- Hassam- Vanderbilt

VIew of the Woolworth Building- Vanderbilt- Vanderbilt

The Skyscraper and the Hovel- Hassam- PAFA

Watercolor of Detroit- Gelsavage- Detroit Historical Society

Radiator Building- Night New York- O’Keeffe- Crystal Bridges

Telephone Building- Marin- Crystal Bridges

Woolworth Building the Dance- Marin- Crystal Bridges *could be displayed with Woolworth Content in Building Section

- Toys-

* additional toys will be added from the National Building Museum collection

Build a Skyscraper Toy 1948- CCA

Game of Broadway- Parker Brothers- NY Historical Society

Proposed Sequence TBD with Final Checklist Items:

1. Commemorative Items and Mini-Models- these could also either serve as transition from the “Building” Section into Replication or could be paired directly with items in the “Building” Section, mini model keepsakes could also be broken out separately and make sense with “toys”

2. Knock-off buildings- transition from “building section” to replication by introducing the concept of replication through very literal look-alike buildings, from there can transition to explanation abstraction and how recognizable aspects of skyscrapers became part of other design aesthetics

3. 2D Paintings- another good transition from specific building content and the abstraction that is key in the replication section Advertising- could also just be an extension of the 2D/Painting grouping “artistic representations of skyscrapers”

4. Fashion- related to advertising (especially magazine covers…)

5. Domestic Items/Industrial Design/ Furniture- THIS SECTION WILL NEED THE MOST FLOOR SPACE- using the furniture as a anchor for this grouping- depicting the pervasiveness of skyscraper aesthetics in all aspects of daily-life, multiple groupings of items based on size/scale of what is successfully borrowed from the checklist

6. Toys- smaller grouping and extension of “domestic items”

[ryersonlib]

Please join us this Thursday, April 11, for a lecture on Interior Design in the 1930s -- Making America Modern.

The Ryerson and Burnham Libraries and the Chicago Art Deco Society invite you to join design historian Marilyn Friedman, author of Making America Modern: Interior Design in the 1930s, for a lecture on the development of interior design in America during the 1930s as seen in exhibition displays, model homes, and private commissions.

Friedman’s book demonstrates how fifty designers embraced influences as diverse as art deco, the Bauhaus, the Viennese Secession, Shintoism, and streamlining to create a quintessentially American modern interior design using innovative construction techniques and new materials.

Prior to the lecture some collection materials, including the image shown here (a photograph of the bar in Elizabeth Arden’s penthouse at 834 5th Avenue from our Historic Architecture and Landscape Image Collection) will be on display in the Ryerson & Burnham reading room from 5:00 until 6:00.

This event is free with museum admission, which is free of charge for Illinois residents on Thursdays from 5:00 until 8:00.

[swalkerwebdesign-blog]

Project 1: Letterform

I was initially struck by the vintage style of Righteous when I was exploring fonts on Google Fonts. The description on Google Fonts mentioned the font was inspired by the deco posters of Hungarian artist Robert Bereny, specifically a piece entitled “Modiano”. 

I began to research this period in art history to better understand the font development. Art Deco and Art Moderne represented a period between 1920 and 1945 and derived from the 1925 an art exposition held in Paris. The style incorporated cubism and avant-garde painting styles, along with smooth lines used in Arte Nouveau styles. The style was also incorporated into architecture. The first building to represent Art Deco in America was the Nebraska State Capitol Building in 1919. Other identifying features of the style included intense colors, smooth stones, metal casements, monumentality, vertical lines, ornamentation, mosaics, and relief carvings. As fairs and exhibitions, like the Chicago World Fair, began to pop up in America, the style of Art Moderne began to gain popularity. The smooth finished, line emphasis, and metal frames included only subtle differentiating features that made the style hard to isolate from Art Deco.

These styles can be seen in work from Leonetto Cappiello in “Pates Baroni”, Theophile Steinlen’s “Le Chat Noir”, and Vogue’s 1926 cover.

An emergence of graphic design occurred in the late 19th into early 20th century and had led to the modern “poster” design. Post industrial revolution and World Wars caused a demand for campaigns, which brought advertisements and graphic design to every day life. These posters are seen in Bereny’s work along with US Army Recruitment posters, like “Wake Up America” by James Montgomery Flag. The Great Depression in the 1930s also influenced posters and campaigns. The Franklin D. Roosevelt administration created the Works Project Administration to help stimulate the economy, especially for artists. This initiative led to a series of graphic art pieces promoting national parks within the United States, like Alexander Dux’s “See America”.

I consolidated my research choosing keep points from the Righteous font family history to be used as the body copy for my letterform analysis:

“Righteous was designed by the Astigmatic One Eye Typographic Institute. It was initially inspired by the all capitals letterforms in the 1932 poster by Hungarian artist Robert Berény, “Modiano”. The Art Deco style transitioned into the 1930s style of Art Moderne, which is reflected in the grid based, geometric forms of this font family. Block colors featuring shades of red, gold, and black and smooth lines are representative of this movement. I chose Righteous because of its vintage inspiration and whimsy features.”

To draw attention to distinguishing features of the font family, I noticed asymmetric features and differing widths. I used lines to highlight the individual widths and circles to emphasize the angled ends on the vertical line in an “a” form.

I used the history to inspire my wireframe sketches. For the Art Deco designs, I focused on ornamenting the letter with artifacts indicative of the era. Some of these artifacts included cigarette holders, hats, gloves, pearls, mustaches and canes. 

I chose to focus one of my designs on Art Moderne’s influence on architecture. 

The font in itself has a whimsical nature, so I explored this as well. The lowercase “a” in Righteous reminded me of a childish drawing of a fish, so my sketches became influenced by a fun, nostalgic feeling.

I began to transfer wireframe sketches to digital style tiles using Adobe XD. I used gilded and bold colors along with more sultry black, grey, and red shades seen in many posters of the time. For the fish, I began to explore indicative colors of sea-life and settled on a classic goldfish orange. To contrast the bright orange, I used the blue of the ocean and referred to a color wheel to choose the shade of blue I felt would be best for the page. 

I settled on a darker toned navy-violet. However, I wanted to maintain an emphasis on the “a” form, so I did not use the orange color for the rest of the content on my page. I chose a contrasting sea foam color that would stand out against the navy background while remaining within the range of blue shades.

While I was initially drawn to the vintage, flapper society style characterized in Righteous, I decided to focus on the more whimsical nature of the font after comparing the style tiles.

Adding to the whimsy and extending the oceanic design of my page, I incorporated more features that would indicate to the viewer that the “a” is representing a fish in water. I added waves and bubbles to bring the page to life. Since the bubbles were placed closer to the letterform, I wanted to use one of the bubbles as the button for my letter analysis. 

After critiques, I felt the need to make the button clearer, so I added a white speck on the bubble and a subtle drop shadow to create a 3D effect that would differentiate the button from the rest of the bubbles. The purpose of this detail was to influence a viewer’s interaction with my page. 

Other interactions include the underline that appears when viewer’s mouse over hyperlinks, and the ability to scroll through the font family “showcase” at the top of the page.

To aid in my understanding of how to layout my html, I created a box wireframe on my final XD style tile to separate the content. 

Doing so helped make the transfer from static design to live code more comprehensible and easier to manipulate. After coding a box html skeleton, I began to include my content and various assets I created in Photoshop and Illustrator. I added jquery to allow my button analysis to have a behavior. 

The page was uploaded to Github desktop and is now live at https://swalker97.github.io/Walker_project1-jquery/index.html.

References

https://fonts.google.com/specimen/Righteous

https://99designs.com/blog/design-history-movements/historys-most-famous-posters/

https://circaoldhouses.com/art-deco-art-moderne/

[alicescripts]

Live show: Los Angeles, California

On October 30, we are releasing the Alice Isn’t Dead novel, a complete reimagining of the story from the ground up. It is a standalone thriller novel for anyone looking for a scary page-turner, whether they’ve heard this podcast or not. Available for preorder now. And preordering helps authors out tremendously, so please consider it. Thanks so much!

Hi, this is Joseph Fink. What you’re about to hear is the live Alice Isn’t Dead performance at the Largo in Los Angeles on April 5, 2018. This live episode was not any material from the podcast, but instead was a standalone show focused on the weird and interesting sites and places of LA. It was an incredible night, and thank you to those who came out to see it. Enjoy the show.

--

Oh. I’m sorry, I uh, I didn’t expect um, I-I didn’t know that anybody would be listening. [clears throat] OK. Um, when you tell a story, you should expect an audience but sometimes I don’t think about that. I just tell the story the same way I breathe, just move life in an out of my body.  I suppose you could listen if you want.

My name is Keisha. I’m a truck driver. It’s weird isn’t it the-the way say our jobs as though they were an identity rather than a thing we do for money. I mean do you think that outside of capitalism we’d confuse our self image with what pays the bills? [chuckles] Sorry. I-I got away from myself. Story not polemic, right.

I became a truck driver because, well, that-that’s a long one. I thought my wife alice was dead. But she isn’t dead. And she’s out there somewhere on the highways and back roads, and I’m trying to find her. Just driving my truck around and around looking for her. That’s who I am really. I am the one that looks for Alice. And Alice is the one who isn’t dead, but isn’t here.

I was in Los Angeles. All downtowns are the same downtown, they are landscapes built for the facilitation of money and business without thought to he human experience. And we are tiny to these monuments and that we are allowed to pass among them is a privilege, not a right. Still each downtown bears some mark of its city. The LA downtown, despite surface similarities, could not be mistaken for New York or Chicago, it’s too eclectic. It’s too strange in its architecture. LA is, is much more than movies but – movies infuse everything because movies are the only history the city will acknowledge. The history of the indigenous people, the history of the Latino people, these are set aside. The city looked at all the people that had already come and thought, ah! A blank slate! And so they did not draw from the Gabrielino or the Chumash or even the Spanish in their missions, they drew from the movies. From the foundational idea that LA could and should be anywhere in the world. So the style of LA is every style, each house and each neighborhood built in wildly different ways. It’s art deco and Spanish stucco and mid-century modern.

In Brand Park, out in Glendale, there’s this enormous house turned public library that is less actual Middle Eastern and more movie Middle Eastern, built by the wealthy white man whose garden that park once was. There’s nowhere in LA that feels stylistically of one piece, and it is that incoherence that provides the coherence of the city.

You see, I’ve come to town on your word, Alice. Only it wasn’t your word direct of course just – whispers through a network of safe houses and gatekeepers, those living on the fringe of society who can be trusted with the kinds of messages we send back and forth. But who knows how the messages mutate mouth to mouth? But still, even through this mutilation of intent, I can hear your voice, like a heartbeat, your skin and bone.

It’s Tanya in Omaha, a friend of the cause, who reaches out to me on my radio to finally lay your words to rest. There’s a meeting in Los Angeles, you’ve heard. You don’t know the exact nature and purpose of this meeting, no one seems to, but the word is that it’s a meeting of those at the heart of it, the ones that are making the real choices, that shape every decision that we think we freely make. So I’ve come to town to find that meeting. I will find this meeting and then… shit, I don’t know. And then I will decide what to do next.

I’m faced with a mystery that’s so much bigger than myself that it sits like an uneven weight in my chest. I feel off balance, so I take comfort in smaller mysteries, ones that don’t matter at all. In Pico-Robertson, a five minute walk from six different synagogues, and a celebrity chef kosher Mexican restaurant called Mexikosher, is a strange synagogue with no windows. The architecture is unmistakable. Modern LA Jewish has a certain look and this place has it, right down to the arches designed to look like the two tablets of the Commandments. Except this synagogue is several stories tall, and with no visible entrance.

What does it mean to blend in? What-what does it mean to, to disguise, what does it mean to stick out? These are intrinsically Jewish questions. A people that has, throughout over a thousand years of oppression, variously done all three. And this way too the building is very Jewish. Of course it is not a synagogue. It is, in fact, 40 oil wells hidden inside a soundproofed structure designed to look like a synagogue. And it is not the only one, just five minutes down the road is an office building with no doors and no windows, that one is 50 wells.

The machinery of our system is not hidden below us, it is disguised among us. Rocks that are actually utility boxes, trees that are cell towers. That vacant house that we walk by day after day, the one with the opaque windows? Actually a maintenance entrance for the metro.

Which buildings are real and which ones are disguises? It doesn’t matter, I suppose. But that’s what makes me enjoy considering it.

Sylvia’s here too. She’s really come a long way from the teenage runaway I first discovered on the side of a highway. Did you tell her about the secret meeting, Alice? She is both more vulnerable and far braver than either of us, did you send her to this place? [sighs] We reunited on one of the vacant cul-de-sacs near LAX, where neighborhoods that had once been an airport’s buffer zone were now demolished.

“Heya,” Sylvia said, as though we were meeting at the continental breakfast at a hotel, not on a dark empty street after months of not seeing each other. “Hey yourself,” I said. “Why did you come?” She shrugged, performed nonchalance. “Same reason as you, I guess.”

Well then I guess neither of us knew. Because I had no idea why I was there, I didn’t even knew who was meeting in this town, let’s start with that. OK what what organization, what secret brotherhood, what ancient cabal that influences world events is now sitting around the table in some sterile backroom in this sunny, thirsty city?

I could have asked Sylvia what she knew about it, but I didn’t. I felt like I would be following a script you gave to me, Alice, and I am not interested in your dictating my actions. So instead I asked her: “How you been?” And she took a long slow breath that was more answer than words could ever be. “[sighs] I’ve been good,” she said. “You know, trying my best, finding places to sleep, finding a friendly face on the other side of a meal.” She shrugged. “I guess it’s the same struggle for everyone. But those of us who live on the road, everything is amplified, you know?” I do know. Goddammit, I know.

I wasn’t even sure where in the region this meeting might be held. So I drove out east to the desert where the mountains looked like set backdrops, unreal and perfect, taking up half the sky. Palm Springs, the town killed by cheap plane tickets. Why drive two hours from the city for the weekend, when it’s possible to weekend in Honolulu or Costa Rica instead? Then, having died, Palm Springs hung on just long enough for everything dated about it to become vintage cool. Now it’s back, a mid-century modern paradise of steel beams and rock walls and that style of beautiful, but featureless wooden security fence that only exists in Southern California. Old motels not updated since the heyday of the 50’s now are converted to hip resorts with (farmed) table food and upscale tiki bars. The city is an Instagram feed. Which is both snark and compliment, because it is a genuinely beautiful place.

I wondered the town, feeling that there was something worth finding there, but unsure where it would be hidden. I visited Elvis’ Honeymoon Hideaway, a garish airplane of a house with giant wings of a roof looming at the end of a cul-de-sac, providing kitsch to the dwindling population of Elvis enthusiasts.

That house was built on sale for 9 million a few years back and is now reduced to an easy 4, so make those owners an offer and you too could own a house that is listed as a historical site. A place where Elvis had sex a few times. It probably doesn’t have a dishwasher, though, so… Just south of Cathedral City, I saw a sign that looked familiar. It’s this huge neon pink elephant, mouth wide in mid-laugh, splashing herself. A pink elephant carwash. The sign has a twin sister in Seattle, that one is famous. It was weird running into her in the desert too. It was like driving through the suburbs and suddenly finding out that 150 years ago, they also built an Eiffel tower in Pomona.

I stopped the car and I just gawked up at her. It made me so happy. And then, looking down from the sign, the horror came to me. I saw someone walking towards me with a shuffle that I recognized. Like their legs had no muscle or bone but were heavy sacks of meat attached to their body. One dead leg thrust forward after another, and as the man came close, he looked up and I went from dread suspicion to horrible certainty.

He’s one of those creatures that I call Thistle men. Sagging human faces hung limply on skulls that are the wrong shape. Yellow teeth, yellow eyes. They are serial murderers hunting the back roads of our highway systems, and one of them was here.

He made eye contact with me. He laughed, a sound like hanging knives clattering together. And then he was gone. The neon elephant’s face no longer seemed friendly. I mean it, too, seemed to be laughing.

Sylvia and I, we split up for the day. We just watched the traffic and people, looking for suspicious crowds, folks that don’t fit in with the tourists and the beautiful people working as baristas just for now. Of course we don’t know what those suspicious crowds would even look like. Grey men in grey suits going greyly about the tedious business of running the world? Or, like the Thistle men, monsters of hideous aspect?

I reached out to my friend Lynn who works as a dispatcher at my trucking company. She and I became friends soon after I started. She doesn’t take shit, I don’t give shit, we get along that way. “Any unusual moments in Los Angeles?” I said. “Strange shipments, unsual routings, anything?” “You know I can’t tell you that,” she said. “What if I said please?” I said. She snorted into the phone. [chuckles] “In that case, sure,” she said. “I always like you when I’m polite, let me see what I can find.”

Sylvia and I saw nothing of note that day. We ate together at a Korean barbeque place built into the dome of what had once been a restaurant shaped like a hat. “This is nice,” she said towards the end of the dinner. It was, it really was.

You know, a city is defined by its people but it’s haunted by its ruins. There are no cities without vacant lots, the skeletons of buildings, ample evidence of disaster and failure. Our eyes slide past them because they tell a different story about our city than the one we wanna hear. A story in which all of this could slip away in a moment. Even though we know this fact is true, even more for Los Angeles than most cities. This city will some day be shaken to the ground, or burned, or covered over with mud, or drowned by the rising sea or strangled by draught. The question is, as it is for each of us in our personal lives, not if it will die but how.

I like to go and look at these broken places where the refuse of recent history shows. It allows me to look at a region differently, maybe see what I was missing. And if a secret meeting was gonna be hidden here, where but in the cracks? So I peer in. I search.

Above the Pacific Coast highway in the hills of Malibu that are so beautiful when they aren’t falling or burning, is what remains of a house. That house was a mansion built in the 50’s and burned in the 80’s when its location finally caught up to it. There’s now a popular hike that goes right into the ruins, so any walker can go see this place where people lived as recently as 30 years ago. A ruin shouldn’t be so new. A Roman home destroyed by a volcano, well OK you know. A medieval castle, sure. Even an old stone settler’s hut, 100 years old, alright, OK that make sense. But a house that once held a television and a shower? It feels wrong to walk on the foundation, stepping over the bases of walls and around the chimney. It was a home not so long ago, and now it is transformed. Transformation is uncomfortable, and easily mistaken for an ending.

In Griffith Park, I met with Sylvia in the old zoo. All the animal enclosures are still there, and you can sit in them and look at where once caged animals lived, and now wild animals are free to come and go.

Sylvia and I sat in the artificial caves, trying to imagine what the purpose of this secret meeting was. Sure, generally the word was out that it was a meeting of those in control in order to further control us, but specifics were, as they often are, lacking. Sylvia asked me: “Do you feel like this story is too convenient?” And I had no way to respond but nodding. “But we still have to look for it, right?” she said. And I nodded again.

As the sun moved behind the hills, it got very cold. She said, “Yeah”. And I said, “Yeah.” And neither one of us meant it.

Gentrification comes for us all. Let’s leave aside for a moment the many issues of endangered communities and rocketing prices, and consider just two cases of what people will look past to get access to LA property. December 6, 1959, in the hills just below Griffith Park, a doctor lived with his wife in a mansion with an incredible view. The Christmas tree was up for the season, wrapped gifts underneath. At 4:30 in the morning, the doctor got out of bed, retrieved a ball-peen hammer and murdered his wife with it. Then he attacked his daughter, though she survived. And then he took a handful of pills and was dead by the time police arrived.

That house stood empty ever since, still filled with the family’s things: the furniture, the tree, wrapped gifts underneath. A prime house in a prime LA area, but who would live in a house where such horror had happened? For 60 years, no one. Well, the house sold for 2.2 million last year. A view of the city, just above those (-) [0:21:06]. Well at this point, who wouldn’t take some hauntings and a terrible bloody past for that?

Meanwhile the Cecil Hotel in Hollywood, site of an inordinate number of murders and suicides, where the Night Stalker lived in the 80’s while causing terror across the region, where just a few years back, a body floated in the water tank for days before being discovered, is now the boutique Stay on Main. A rebranding for this rebranded city. Even our murders are getting gentrified.

Maybe it’s me. I don’t know, maybe I just don’t like change. Change is often wonderful. But we should definitely think hard about what we are changing into, and what that change might mean. We should just spend a little time thinking about that.

[long break]

Still searching for this meeting. I went up the coast, over the Grade and down toward Axnard, not as cool as Ventura or as rich as Camarillo. Oxnard gets by. As I waited to hear from Lynn, I walked on Silver Strand, just watching the surfers. Many, even now in the winter. Nothing will keep them out of those frigid Alaskan currents. I headed south to Channel Island harbor. It was absolutely peaceful on its shore. The ocean is chattering and restless, the harbor sleeps. It does not stir except to send crumbling waves in the wake of the few boats in and out.

During my walk, I saw a rowboat. Old, practically falling apart. Something about the occupants of the rowboat made me look closer. Stooped figures in awkward postures that looked painful. One of them turned to face me, though the boat was 60 feet offshore, and even at that distance, I could see. Two Thistle men, floating in a rowboat in the (Sound).

“Ooooooooooooooooo,” one of them shouted at me in a gentle high-pitched voice. “Ffffffffffffffffffffffffffff.” There was something that looked a lot like a human arm poking out over the rim of the rowboat.

I returned to my truck. Not everything is my problem.

Worship is a feeling so all-encompassing that it can be easy to misunderstand from outside. Take the worship of Santa Muerte, a Mexican (folk) saint of death, likely a legacy of pre-Colombian devotion, dressed in the clothes of the colonizing religion. The church has spent a long time trying to suppress her worship, but of course the church has never been good at actually suppressing much, and devotion to Santa Muerte has only spread in recent times.

Like many figures of death, she represents healing and well-being. Religion often lies in embracing contradiction. Those on the outside, they see this as a weakness but those on the inside recognize it as strength. The temple of Santa Muerte in Los Angeles is just down on Melrose Avenue, sharing a building, as everything in LA does now, with a weed store. It is a one-room shrine established by a husband and wife, full of life-sized skeletons bearing (-) [0:25:04]. It would be easy as an outsider to default to one’s own associations with skeletons and come to one’s own emotional conclusions, but it is healthier to embrace the contradiction of these symbols of death. That, after all, physically hold us up for as long as we live. To deny Santa Muerte is to deny our own bodies.

Meanwhile on the other end of the spectrum, the Bob Baker Marionette Theater carries a different kind of worship: devotion to a performance style that time has left behind. And the outside of the building is – let’s face it, it’s creepy. Because, like skeletons, puppets have taken on a certain cultural connotation in the wider world. But we should try to see it from the inside, as the earnest expression of performance and joy.

Mm mm. No I can’t. Mm mm, I ju- not with puppets. Skeletons, fine. Loose-skinned monsters from whatever world, well I’ve deal with them, but puppets? Mm mm.

Lynn got back to me. “You didn’t hear this from me,” she said. “That goes without saying,” I said. “No it doesn’t,” she responded, “because I just told you that. Now, there have been some shipments that don’t belong to any company. Or the company info is missing from them, I can’t understand what I’m looking that. They certainly don’t hold up to any scrutiny at all, so I don’t think that they were expecting scrutiny. These things stand out so bad that they might as well be big red arrows pointing at a location in Los Angeles.”

It was late afternoon. Sylvia was asleep in the back of the truck’s cab. I lowered my voice. “Where?” She told me. I looked at Sylvia, knowing she would want me to wake her up, to take her with me. But I didn’t. I let her sleep. I went alone. Better that one of us survive.

I went where Lynn told me: up La Cienega, past a mall and a hospital. I came to the address she gave me. An unassuming place. If it weren’t for the brightly lit shine, I might not have even spotted it from the street. I went through the gates. There was a courtyard there, deserted. The air was still and there was no sound, but the stillness felt temporary, like the pause after an act of violence before anyone can get over their shock and react. I continued through the doors to a dark room. Not the grand hall I might have expected for a meeting like this, but a cozy place. Rows of theater seats. A stage draped in red curtains, from which a speaker stood addressing the crowd. There was music. Was that music? Or was it the shifting and squirming of inhuman bodies? Because there was something inhuman in this place, I could feel it. Not the people in the seats, they seemed completely human. Looking up at the person speaking, following the narrative, and slowly having information dawn on them.

In fact, the people in the seats did not at all seem like the kind of people I would expect at a meeting like this. Were these the powerful, the wicked? Were these the unseen hands ushering us to disaster? Looks can be deceiving. Everything can be deceiving, up to and including the truth, but no. I did not think that these were monsters, I thought they were people like me. People lured to the spot for the same reason I had been, because the story of the meeting had been a very good story. It played exactly into how I had thought the world works. It fed my suspicions and it led me to this place. And I think the same is true for every person in that room. They were there, like I was there, looking for a good story. But why were they led there? Hmm? If the meeting itself was a decoy, then what was the true purpose of this moment?

And that’s when I saw them. Lingering in the shadows at the edges of the crowd. Men with faces that sagged. Flesh that peeled. Yellow teeth, yellow eyes. Thistle men ringed the crowd. (Wools to sheep, parks to bunnies). Hunters. Prey. Did the people in their seats notice? Did they look into the shadows and see the inhuman eyes peering back at them, did they smell the breath of the Thistle men, like mildew, like soil? A smell of rot from deep within, cold lungs, did they hear the occasional laugh coming from a gurgling broken throat? Did they look beside them at seats that were empty and think, wasn’t someone here just moments ago? Or was there? But surely there wasn’t, because where could they have gone? And then the shadows at the edges of the crowd, the people that had once sat in those seats, were led into a place from which they could never return.

I understood. A simple plan: tell an irresistible story. A story that is exactly what all of us fighting Thistle might want to hear. That we were right all along. That the world really is against us in so simple and easy a way that the culprits could all meet in one room. And we would come to hear that story, and then Thistle would take us. Why hunt when instead they could lure?

Standing in the door to that hall of horrors, I saw the faces of the Thistle men as they turned and noticed. One gave a yelp and started to lope towards me and I fled. Where the courtyard had been empty, it was now packed shoulder to shoulder full of men with loose faces and eyes that went yellow at the edges and wet lips hiding sharp teeth. They were waiting for the crowd inside. Hungry creatures preparing to feed on any person that stepped out of that theater. I pushed into and past them, using their momentary surprise to escape, and I ran until my throat was dry and ragged, through that courtyard and out to where the lights of the strip club across the way flashed back and forth, back and forth, and then into my car and then onto the maze of freeways where it is so easy to disappear.

I kept my eye glued on the mirrors, but no one was chasing me. Somewhere behind me, an audience of innocents remained in Thistle’s trap, and I wouldn’t help them. I couldn’t.

Instead, I went back to the truck. Sylvia was still asleep in the cot. I sat in the driver’s seat. I was exhausted. The sun had fully set, and I allowed my eyelids to drift downwards. “Hi,” said Sylvia. She was in the passenger’s seat turned sideways towards me. It was light again. I don’t know how long I’d slept, I know I didn’t dream. There are small mercies in life, I guess. “Did you find out anything?” Sylvia said. I looked in her eyes. She’s so young. It wasn’t right and it wasn’t fair that she was out here like me on this labyrinth of roads and rest stops. But that’s just what it was. For her and for me and for so many others.

And she looked at me with trust. And I looked right back and I said, “I didn’t find anything. I don’t think the meeting is even real. Let’s get out of here.” Sylvia yawned, she stretched, she nodded. “Yeah OK,” she said. “Might as well. Too bad this turned out to be nothin’.” “Too bad,” I said.

So now here I am telling the story from just outside of Ashland, Oregon. Los Angeles is hundreds of miles behind me now. It isn’t far enough.

I love you, Alice. I stayed alive another day. You do the same, OK? OK.

[applause]

Joseph Fink: Thank you to everyone who came out for our Largo show. We will be back in two weeks with chapter 1 of our third and final season. This show would not be possible without our Patreon supporters. Such as the incredible Ethel Morgan, the indomitable Lilith Newman, the victorious Chris Jensen, and the electrifying Melissa (Lumm).

If you would like to join these folks in helping us make this show, please check out patreon.com/aliceisntdead, where you can get rewards like director’s commentary on every episode, live video streams with the cast and crew, bonus episodes, and more.

Thanks for listening, and see you soon.

[ajl1963]

Deco Doings - May, 2023

Spring by William Welsh, 1930. Image from Pinterest. Plattsburgh State Art Museum Origins: The Evolution of an Artist & His Craft, Selections from the Rockwell Kent Collection (In Person Event)      Tuesday, November 8, 2022 – Friday, August, 11, 2023, 235 Myers Fine Arts, 101 Broad Street, Plattsburgh, NY. Museum Hours: Tuesday – Sunday Noon – 4:00 PM (EDT).   New York Adventure Club Temple…

[berndculley8587-blog]

The Setups You Ought To Change Instantly After Getting A New TELEVISION.

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[aic-american]

Jazz Bowl, Viktor Schreckengost, 1931, Art Institute of Chicago: American Art

The Jazz Bowl was originally designed for Eleanor Roosevelt in celebration of her husband Franklin Delano Roosevelt’s re-election as governor of New York, and it has since become an icon of the Jazz Age and an Art Deco masterpiece. Cowan Pottery liked the design, which captures the architecture, music, and nightlife of New York City as Viktor Schreckengost knew it, and the company decided to put the bowl into production. Using Schreckengost’s template and a sgraffito technique, workers scratched the design into the engobe, or black glaze. Schreckengost then inspected and signed the bowl. The final Egyptian blue glaze was applied to reflect New York at night. Through prior acquisition of the Antiquarian Society; Thorne Rooms exhibition Fund; Bequest of Elizabeth R. Vaughan; and the Winfield Foundation Size: 23.5 × 42.6 × 43.2 cm (9 1/4 in. × 16 3/4 × 17 in.) Medium: Glazed earthenware, engobe

https://www.artic.edu/artworks/181778/

[wolfliving]

World cities and world fairs

*From upbeat technophilia to autocratic menace.

https://www.citylab.com/design/2018/10/worlds-fairs-and-the-death-of-optimism/571969/

(...)

Just as manufacturing moved East, so too have World’s Fairs. The Bureau International des Expositions (BIE) still has its headquarters in Paris but it’s notable that the World Expo Museum is now located in Shanghai, a city that saw the largest ever World’s Fair in 2010, with 246 countries taking part and 73 million total visitors. As well as broadcasting the city’s strengths globally, the event was used to reinvent the dilapidated industrial areas along the city’s riverside. Though the forthcoming Horticultural Expo in 2019 appears less ambitious, Beijing has planned a multitude of green projects for an expected 16 million visitors. Dubai, by comparison, expects around 25 million visitors for its “Connecting Minds, Creating the Future” Expo in 2020. While such figures are astronomical, achievements can also be measured in other ways. Last year, the World’s Fair in the Kazakh capital Astana may have attracted a mere 4 million attendees, but it effectively, if not uncritically, shifted its image away from a backwater post-Soviet planned city.

One notable aspect to this Expo shift—not unlike that of recent Olympics—is the move from liberal democracies to more authoritarian governments. Setting aside the considerable human rights issues with these regimes, the actual processes of establishing World’s Fairs have exacted a heavy toll from parts of their societies. The Chinese government reputedly displaced 18,000 households to provide space for the Shanghai Expo, with Amnesty International highlighting the repression of female anti-eviction activists. Dubai and Kazakhstan have been similarly condemned for autocratic rule, humanitarian abuses, and corruption. In the case of the latter, the former chairman behind the Expo, Talgat Yermegiyayev, was arrested on charges of embezzling funds. Such activities are not absent in the West, with the Milan Expo of 2015 being the focus of bribery accusations and mafia-linked tenders, resulting in police raids and arrests. The lack of accountability and transparency in many of these projects can lead to inflated costs and private profit off of public investment.

How much optimism or innocence one might think World’s Fairs have lost depends on how much one believes they had to begin with. While sinister occurrences could be regarded as anomalies, they were still intrinsically connected to the festivities; the assassination of President McKinley (Buffalo, 1901) and the serial killings of H.H. Holmes (Chicago, 1893) happened amidst the overwhelming influx of Exposition visitors. Certainly, the optimism and innocence could be naivety. “No feature of the great [1904 St Louis] fair has proven to be more popular than the daily demonstrations of the effects of radium,” declared The San Francisco Call, even as this “marvelous element” was irradiating its handlers. In the New York World’s Fair of 1939, the Johns-Manville building boasted an Art Deco relief by Hildreth Meière in tribute to “Asbestos, the Magic Mineral” even as concerns about the catastrophic health impact of the material were becoming a chorus....

[aic-design]

Carbon and Carbide Building, Chicago, Illinois, Perspective Sketch, Burnham Brothers, Architects, 1927, Art Institute of Chicago: Architecture and Design

Designed by the sons of Daniel H. Burnham, the leading commercial architect in Chicago, the Art Deco Carbide and Carbon Building represented a stylistic departure from office buildings in the Neoclassical style, which had dominated the city since the 1893 World’s Columbian Exposition. The Burnham brothers clad the tower in polished granite and dark-green and gold terracotta, in keeping with the bold, often exotic materials used in Art Deco design in the 1920s and 1930s. This high decorative quality was intended to set the office building apart from its neighbors, to serve, in the words of the company, as a “distinctive and perpetual advertisement” for the building’s occupants. The low angle of this perspective sketch emphasizes the tower’s soaring height, as it looms over pedestrians and cars on Michigan Avenue. Restricted gift of the Friends of the Library and the Architecture Society (proceeds of the Seventy-Fifth Anniversary of the Burnham Library Benefit) Size: 93.3 × 59.8 cm (36 3/4 × 23 9/16 in.) Medium: Graphite on tracing paper

https://www.artic.edu/artworks/70451/