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rocklandhistoryblog · 4 years ago

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FLASHBACK FRIDAY – NEWS FROM YESTERYEAR

HENRY VARNUM POOR DIES

Excerpt from the Journal News December 9, 1970 #50Years Ago

HENRY VARNUM POOR DIES

Henry Varnum Poor, 82, eminent American artist, died yesterday at his home in New City. One of the original coterie of artists and writers who settled on South Mountain Road shortly after World War I, he had been a resident of the county for 50 years.

Mr. Poor was equally famed as a painter, potter, and a designer of homes. “A jack-of-all-trades” is how the artist, a member of the National Academy and the National Institute of Arts and Letters, used to describe himself.

He said he had taught himself potting to make a living. He came to design homes for others because of his success in designing and building his own.

Mr. Poor was born in Chapman, Kan., in 1888. His family came originally from Andover, Me., where Mr. Poor’s grandfather had a mill and was a blacksmith.

Mr. Poor graduated from Stanford University as a Phi Beta Kappa and a four-letter-man in athletics. His training in art was at Stanford, where he later returned to teach, at the Slade School in London and at the Academie Julien in Paris.

He was a veteran of both World Wars. During World War I, as a member of the AEF, he saw service at the French front and was at St. Mihiel when the armistice was signed.

Mr. Poor was chief of the Army’s art unit for the Alaskan Theater, with the rank of major during World War II. He later wrote and illustrated the “Artist Sees Alaska,” a book about his experiences.

After World War I he lived for a time in San Francisco, where he was one of the founders of the California School of Fine Arts.

He moved to Rockland County in 1920, when he and the late Shakespearean actor-Rollo Peters, bought some 40 acres of land. It was then he built his house from red sandstone, which he himself quarried and hauled from his own pit, and from sturdy chestnut trees he felled and hewed in the front yard.

Mr. Poor later designed homes for Maxwell Anderson, Milton Caniff, John Housman, and Burgess Meredith. He designed many others, the most recent for the manufacturer, Jules Billig.

Lucie Glenn, in an article in The Journal-News two years ago, said the houses seemed to be bred from the land around them and described them as “timeless houses so reminiscent of provincial French chateaux.”

At least one room for each house he designed had a curved outside wall and each had a curving turret staircase, giving the illusion of no support. Mr. Poor told Mrs. Glenn they were inspired by stairways in the Louvre and in old castles. His signature throughout the houses was in ceramic murals and tiles.

The houses were as much collectors’ pieces as Mr. Poor’s paintings and ceramics, which won him steady acclaim, awards and commissions from museums and private connoisseurs from all over the world.

During the Roosevelt era, Mr. Poor painted 12 murals in fresco for the Department of Justice building in Washington and a large mural, “Conservation of American Wildlife,” for the Department of the Interior building.

He painted murals for the rotundas of the Pennsylvania State College administration building and the Louisville Courier-Journal building, and made ceramic murals for Mt. Sinai Hospital, New York, and Deerfield, Mass., Academy.

Mr. Poor’s paintings hang permanently in the country’s principal museums, among them the Metropolitan Museum of Art in New York. For his landscapes he often chose Rockland County scenes, such as “High Tor and Haverstraw,” “Spring at Grassy Point,” or a brooding grey “View Over Nyack . . . Winter.”

His first conspicuous success was as a ceramist in a showing held at the Montross Gallery in New York. The clay he used for his pottery and tiles he had found along the Hudson.

The book Mr. Poor wrote on pottery, “From Mud to Immortality,&rdquot; is considered a definitive work on the subject.

In the foreword, he said it was in the self-taught tradition that he started “and have now for 36 years continued in the making of pottery. But not as a spare time or casual avocation. From the beginning, it was a 12-hours-a-day job by which I earned my living to the complete exclusion, during the first ten years, of any serious painting. But not of drawing. I drew constantly the birds, beasts, flowers, fruits, all the things around me, and was constantly occupied with their adaptation to ceramic design.”

Mr. Poor was one of the founders and the president of the Skowhegan School of Painting and Sculpture and a member of the Artists Equity Association. He had been a member of the Federal Commission on Fine Arts and an artist-in-residence at the American Academy in Rome. He was one of the founders of the American Designers Gallery.

Mr. Poor is survived by his widow, Bessie Breuer, the novelist; two daughters, Anne K. Poor of New City, who is also noted as an artist, and Mrs. Josephine Hoagland of California; a son, Peter V. Poor, a television director and producer in New York, and six grandchildren.

Services will be held Friday at 11am. at the New City Methodist Church. The Rev. John Paul Griffith will officiate. Interment will be in Mt. Repose Cemetery, Haverstraw.

IMAGE: Henry Varnum Poor (1887-1970), portrait of an artist, very possibly a self portrait, oil on board, signed and dated '1944' L/L, titled verso 'The Painter in Tan Smock', 23 1/2" x 19 3/4", frame 30" x 26 1/2".

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This Week in Rockland (#FBF Flashback Friday) is prepared by Clare Sheridan on behalf of the Historical Society of Rockland County. To learn about the HSRC’s mission, upcoming events or programs, visit www.RocklandHistory.org or call (845) 634-9629.

#rockland history #local history #rockland county #rocklandhistory #nyshistory #nys history #Henry varnum Poor #south mountain road

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politicsprose · 7 years ago

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2017 Holiday Newsletter

Welcome to the 2017 Politics and Prose Holiday Newsletter. As always, we’re proud to present a selection of some of the year’s most impressive books. Happy holidays to all!

Graphics

Chris Ware’s new collection, Monograph by Chris Ware (Rizzoli), assembles countless strips, pages, magazine covers, sculptures, photographs, and other things into a thorough and astoundingly generous retrospective of the artist’s career. It comes replete with commentary written by Ware himself, who charts his path from RAW to Jimmy Corrigan to Building Stories and beyond. Reading this book is like touring the interior of a vast and seemingly impossible mechanism carved from space metal, while your tour guide chats amiably and bemoans the lack of carpets. There are also individual booklets within the book that you can flip through, and several of his New Yorker covers depicted in their full glory. For any fan of the cartoonist, this is probably the single best purchase you could make this holiday, a blueprint for everything Ware has done over the past few decades. But for artists, this is something even better: Chris Ware opens the door backstage, shows you how he performs the magic tricks, and then gives you a chance to do it yourself. - Adam W.

Art and Artists

The Art Museum, by the editors of Phaidon Press, brings together an astonishing cross-section of work from around the globe and throughout time, reproduced in over 1,600 beautiful color images. The reader can jump from virtual room to virtual room by flipping the pages, or stay in one place for a comprehensive study. This book is perfect for an art lover, a person who wants to learn about art, or someone who loves art but whose feet just can’t take the Smithsonian anymore. A single book doesn’t get more entertaining or informative than this, and finally there is no crowd standing in front of what you want to see. - Bill L.

Women Artists in Paris: 1850-1900 (@yalepress) edited by Laurence Madeline, former curator at the Musée d’Orsay, is a must-own for art lovers, historians, and feminists alike. This stunning exhibition catalogue presents over eighty paintings by thirty-seven different artists. Paris in the late nineteenth century was considered the place for artists to train, and people came from around the world to develop their technique. This catalogue is a testament to the exceptional and varied work produced by the women who journeyed to Paris to pursue their artistic ambitions. These artists fought to achieve recognition at a time when artistic talent and creative genius were thought to be reserved for men, all the while also trying to adhere to the social norms that governed the lives of respectable women. They persevered in the face of rejection and condescension, and created masterful works of art in the process. The scholarly essays that open the book are fascinating and well worth the read, but the catalog of full-page color reproductions that follow are what readers will find irresistible. Here you will encounter works by household names like Mary Cassatt alongside those by artists still waiting to achieve the widespread public recognition they are due, such as Marie Bashkirtseff and Cecilia Beaux. - Alexis J. M.

Projects (@abramsbooks) chronicles forty-four Andy Goldsworthy installations around the world, as they change and evolve with their environments. This book, a companion volume to Goldsworthy’s Ephemeral Works, includes stunning photographs, site maps, and an extensive interview. You’ll find his usual cones and labyrinths made of wood and stone, but unlike his “ephemeral” works, whose construction marked an endpoint, these pieces began life only when Goldsworthy finished them, for they evolve as they are weathered by the seasons. Goldsworthy documents, for example, walls covered in porcelain clay, as they dry, crack and tear away, and enormous slate chambers, enclosing wind-fallen branches, which gradually transform as moss and fungi cover them. He repaves an ancient forest track with rectangular stones and cuts a new path across an Ohio estate, always maintaining 950 feet above sea level. An igloo of woven branches sits inside a pit, accessed through a doorway via steps in a terraced wall. A flowing line of fallen cypress weaves through eucalyptus trees, which overtake a California landscape. But whatever he does in these installations, Goldsworthy invites us to experience nature freshly. This gorgeous, glossy volume will make an extraordinary gift for the art or nature lover in your life. - Amanda H.D.

Rothko: The Color Field Paintings (@chroniclebooks) is a tribute to one of the greatest periods by a single painter in art history. Mark Rothko (1903-1970), one of the leading Abstract Expressionists, pioneered the large, flat fields of solid color that Clement Greenberg dubbed “color field painting.” He worked his way toward them throughout the 1940s, and by 1949 had “arrived,” as his son, Christopher Rothko, says in the Foreword. The artist pursued color fields for the rest of his life, arranging two, three, and four color rectangles in dramatic and shimmering patterns that establish kinetic relationships between the viewer and the canvas. Presenting fifty of Rothko’s iconic paintings in chronological order, this book allows you to watch the artist develop his style and discover what the colors and rectangles could do; you can see the shades deepen, and darken. The volume also allows you to savor the full, luminous power of each composition, giving you the images one by one, with plenty of white space for the colors to breathe. Janet Bishop, curator of painting and sculpture at the San Francisco Museum of Modern Art, provides a commentary on Rothko’s legacy. - Bennard F.

Alexander Calder (1898-1976) was the son and grandson of sculptors, but when he went to school he studied engineering. Later, committing himself to art, he chose painting, like his mother. It took a few years before he accepted his fate and turned to sculpture. This brief period of indecision is the single moment of angst in the life of one of the twentieth century’s most joyful and original modern artists. Inheriting his father’s dexterity as well as his “playful, lively, fantastic” tendencies, Calder (Knopf) dedicated his life to animating the inanimate. In Jed Perl’s lively, affectionate, and thorough account to 1940, Calder’s life was pretty much on track from the start. With the avant-garde “always part” of it, he grew up in the artistic circles of both France and the U.S., a peripatetic life he continued. He was an incorrigible punster (see his work A Merry Can Ballet) and everything he did was infused with humor. Perl traces Calder’s jeux d’esprit from the early portraits and objects he made by bending wire, works that “suggested rapidly executed line drawings leaping into the third dimension,” to the elaborate Cirque Calder that was meant to be performed, not just looked at, and on to his abstractions, which were also a “menagerie…of unexpected forms” in motion, and which Perl, in the spirit of his subject, describes as “motions galumphing, jagged, swishy, swirly.” As playful as they were serious, these mobiles (named by Duchamp) and stabiles (so-called by Jean Arp) revolutionized sculpture, taking a stationary form, making it move, and creating new relationships between the viewer and the art. Perl is tireless in tracing Calder’s influences, which included Miró, Klee, Hélion, Saul Steinberg, Mondrian, Edgar Varèse, Martha Graham, and Malcolm Cowley. All were his friends, and Perl’s engaging, scholarly, and buoyant biography—and its 400-plus photos—makes it easy to see why. - Laurie G.

Among the few things known about Vivian Maier: she was a great photographer. She worked as a nanny. She was born in New York, lived in France from age six to twelve, grew up in a splintered family, spent the last fifty years of her life in Chicago, and left tens of thousands of photos, negatives, slides, and undeveloped rolls of film in storage. Once these surfaced after being auctioned off, their new owners began the myth-making that Pamela Bannos, a professor of photography, both charts and refutes. Her Vivian Maier (Chicago) is a kind of Emily Dickinson of photography; while she roamed the streets relentlessly, she let no one in. Her neighbors thought she was homeless because she spent so much time on a park bench. In lieu of friends to interview, Bannos turned to the photos for clues to Maier’s life. She has studied seemingly every image Maier recorded, and follows in her footsteps from Maier’s first forays with a camera in the early 1950s, in France, through her development as a prodigious street photographer in New York and Chicago, and her travels through Europe, South America, and Asia. Looking at what Maier looked at, Bannos reads these images beautifully, giving insight about Maier’s brilliant sense of composition, her experiments, and her ever-evolving technique. She identifies the cameras Maier used, points out angles, notes lighting and shadows, and traces recurrent themes. She brings the pictures to life so vividly, and is so convincing about what was in Maier’s mind at the moment she framed each shot, that this eloquent photographic interpretation itself becomes a masterful biography of Maier not as an eccentric but as a true artist and an uncommonly independent woman. - Laurie G.

Vermeer Diptych

The ne plus ultra of Vermeer art books, Vermeer in Detail (@abramsbooks) is a conclusive cataloguing of all thirty-two paintings by the master, accompanied by 170 extremely intimate—often full page—magnifications. Satisfyingly, in this one volume is everything the eye can take in from a Vermeer painting, elucidated by a thorough presentation of all the documentation and research we do have about the dismayingly mysterious, historically unreachable Johannes Vermeer. And yet this canonical volume’s greatest asset is the lightness with which author Gary Schwartz wears his learning. An American art historian residing in the Netherlands, Schwartz delivers prose unencumbered by any scholastic staidness or over-certainty, taking an intelligent but lightsome tone wholly befitting Vermeer’s oeuvre (“Dear Reader: it’s every Vermeer scholar for himself on this one,” he avers at one point). The manner in which Schwartz groups his chosen details into chapters is itself a revelation, providing fascinating insight into life in 17th- century Delft, as well as into Vermeer’s technical genius, yet nowhere detracting from the sheer awe of viewing the Old Master at such microscopic proximity. - Lila S.

A fascinating exercise and assay, Traces of Vermeer (@oupacademic) serves as an elucidating technical accompaniment to the broader scope of Vermeer in Detail. Jane Jelley is, first and foremost, a painter. But she has become something of a reconstructive art historian through her engagement with Vermeer and his artistic process. Vermeer’s startling command of light, the snapshot-like quality of his 17th century masterworks, has long baffled even his greatest admirers. It would seem he used a camera obscura as an optic aide, but how exactly Vermeer might have used it—and whether its use in some way detracts from his genius—has been highly controversial. Jelley brings a vast knowledge, and, more importantly, practice, of traditional painting techniques to this discussion: grinding one’s own pigment, preparing canvases, long apprenticeships, third glazes. Through trials in the studio, she proposes a novel suggestion as to how exactly Vermeer could have used a camera obscura lens to arrive at his compositions, plot them onto canvas, and then prepare and layer paint to create his unparalleled works. The process, she maintains, would only further elevate Vermeer’s genius. Jelley’s engaging prose is a boon to both scholars and casual art appreciators. - Lila S.

#books #Holidays #art #artists #vermeer

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arplis · 5 years ago

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Arplis - News: Uk Concept Kitchen Bath And Beyond

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suicidaloilpiglet · 7 years ago

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Paul Winkler (AU/DE)

Turmoil

2000

17:41

‘The films of Paul Winkler, one of Australia’s most prolific experimentalists, contest prevailing images of landscape as a reflection of national and social cohesion, instead meditating on a disconnection between everyday perception and the Australian environment.’ Alex Gerbaz

‘In his films Winkler is meticulously transposing rules of architectural construction into the building of a visual artifice. These films are like ephemeral pyramids. They are like monuments that we are at time permitted to enter. What lies buried within the inner chamber of a Winkler film is the sarcophagus of Technique itself. For those entering there are innumerable pitfalls lying in wait for the unwary weaned on the warm milk of mainstream cinema.’ Dirk de Bruyn

Quintessa Matranga and Rafael Delacruz and Marc Matchak (US)

Lebenswirklichkeit

2017

26:26

Young artists produce a barely fictional representation of themselves, quoting mumblecore and aspirational dramedy simultaneously. Through the narrative and productive gesture alike a localised situation is created within New York City. Of possibly ambitious young Americans possibly examining their possible careers. The mildest nostalgia is indicated, perhaps to San Francisco pre-dot com or Seattle pre-G8. They look at each other and they look at themselves.

Katherine Botten (AU)

2017

Sunday/ Sexy Young Artist Dominic Will Do ANYTHING To Get Into NEW18: Curator Couch. 2017 Map the world on my world. Map my world on the world.

Starring: Oscar Miller and Dominic Sargent.

Stephen Dillemuth (DE)

Elbsandsteingebirge 1789-1848

1994

50:51

“South of Dresden, the bizarre landscape of the Elbsandsteingebirge served as a treasure trove for the motifs of almost all German romantics. Their paintings today shape our romantic vision of the time between the French Revolution and the March Revolution in Germany. In a journey through pictures, films and texts, to a trip in the Elbe Sandstone Mountains, we are confronted with our own projections: Was the romance political? Or was politics romantic? ”

Josef Strau: That you tried both, and ask if the exhibition is still related? Or has something new opened up?

Stephan Dillemuth: There was also a parallel, as here, for example, the time of the French Revolution and of the Vormarz (the period from 1815 to the March Revolution in 1848, the Red), one could certainly take any other historical section, but it is important That one then comes to different points, which can not be taken as a direct argument for the time, but which at least take up new points of view.

But what else, Schüttpelz has told us that many of the romantics are very young converts to Catholicism because they found this so medieval, and he compared it with the New German wave. It has played in a very funny and liberating way with totally respectable and bourgeois attitudes, but then immediately identified by the success, everything was already over again, and only a stock-conservative and boring story. So question: How can you keep a broken attitude, also against art? Not that the object or the action, for example, would be as it is meant, but if one believes in what results from it, the stability of one’s own attitude, etc., it becomes really serious. Romanticism is always at the beginning when it has something incredulous and playful, and it reacts like a medieval and Catholicism, but also in the sense of Arno Schmidt, to the surrounding chaos, from within me with outwardly protruding inwardness. Someone has also claimed that the aftermath of the French Revolution led to a revolution in art, which was later called Romanticism. But if you believe it again, you land at the Biedermeier.

Charlie Ahearn and Martin Wong (US)

Portrait of Martin Wong

1998

18:00

‘Martin painted the LES ghetto with the most enigmatic realism of bricks to be seen. In 1992 my friend Martin invited me up to his Ridge St apartment as he began his autobiographical Chinatown series reflecting his youth in San Francisco and later New York. After he was diagnosed with HIV he returned to SF where he later passed away in 1999.’ Charlie Ahearn

RIP Martin Wong

Alex Bag (US)

The Artist’s Mind

1996

30:01

‘This is living-dead art, a critical-hysterical acting out of the deodorized-bathroom neurotic, the suicidal biochemical-test subject and the terminal media addict we all recognize as ourselves.’ John Kelsey

‘This is a different time. Puppets and costumes seem funny, relevant. Club culture exists in the same temporal frame, not wedged between the covers of a coffee table book. Limelight is still open. Drugs are still fun/funny. The Internet is too slow for video.’ Rob Mckenzie

In commemoration of Damien Hirst’s 1995 Turner Prize, Bag made The Artist’s Mind, which takes the form of a PBS-style show chronicling a day in the life of a contemporary visual artist. In this episode, aspiring sculptor/painter “Damien Bag” demonstrates his creative process, which begins with eating breakfast, shopping at Wal-Mart and scouring the local highways in search of fresh road kill. Prompted to discuss his work, Damien says his pieces represent “a form of duality” and “a lot of metaphors.”

0rphan Drift (UK)

Bruises

1997

15:05

‘0rphan Drift is a collaborative media artist and avatar that emerged in London, 1994. The video, performances, installations and eponymous cyberpunk novel 0(rphan)d(rift>) addressed the future through the science -fictional, nascent technologies and related shifts in perception and matter-energy. 0D re-emerges in reconfigured form, again addressing the future as it speaks to us in this moment. Considering current narratives around climate change, bio-capital and related migratory patterns they re-imagine the urban as porous, interspecies and terraformed.’

Excerpts from a 30 minute video commissioned, with accompanying slide installation, by Beaconsfield Arts for screening at John Cage ‘Classic’ audiovisual event. Inaugural concert by (rout).

Here the re edit is set to a section of Cage’s album ‘Shock’, and produced on the 0rphan Drift analogue editing suite, complete with MX30 Panasonic mixing desk.

Hana Earles (AU)

$1070

2017

08:00

Working and making art, in the office and in your bedroom.

I could set the building on fire.

You shouldn’t smoke in your bed.

Carolee Schneemann (US)

Interior Scroll - The Cave, 1975 - 1995

1995

07:32

‘In the early ’60s, Schneemann’s “action” paintings, some embedded with images of nude female figures, literally moved from surface to environment, and her staging of work from static objects to interactive events. Along with her colleagues in the Judson Dance Theater, she pioneered crossovers from music, theater, and dance to art. Transferring the orgiastic qualities in her art from paint to the performance of “her own body,” Schneemann broke ground in charged Dionysian extravaganzas that yielded some of the most memorable and challenging images of the period: serpents writhing over her nude body (Eye Body: Thirty-six Transformative Actions, 1963); an erotic flesh fest of entangled bodies, chickens, sausages, and fish (Meat Joy, 1964); a lecture-performance in which she discussed her work and posed questions to an audience such as “Does a woman have intellectual authority?” as she dressed and undressed (Naked Action Lecture, 1968). In Interior Scroll, 1975, she unwound a scroll from her vagina and read a text about “vaginality.” For many, the problem with her exuberant, Reichian-influenced, utopian-tinged abandon, lies in her “performance” of her own body. We need only glance at the historical record for proof that prior to Schneemann, the female body in art was mute and functioned almost exclusively as a mirror of masculine desire. (Think of Yves Klein’s manipulation of nameless female models as voluptuous paintbrushes for the production of his “Anthropométries” series in the early ’60s.) We have done a terrible injustice to ourselves in continuing to marginalize Schneemann as an “angry woman” or “bad girl.” To pigeonhole her art as aberrant is to risk reducing her oeuvre to sensationalism. Schneemann’s blanket of protection from decades of neglect and misrepresentation has been her sheer exuberance and focused search for the real through uberphysicality. I’m not sure that we, the audience, have fared so well.’ Jan Avgikos

Lutz Mommartz and Sigmar Polke (DE)

Der schöne Sigmar

The Beautiful Sigmar

1971

22:44

New Year party with Sigmar Polke at the department of the Kohlhöfers in Düsseldorf / Germany.

‘The films of Lutz Mommartz are each based on a single idea; the effect then is more sustainable, says Lutz Mommartz. These ideas are often brilliant, sharp and provocative, but just as often they lose lot of their radicalism during the realization. Although Lutz Mommartz is a very conscious Filmmaker, his films convey ostensibly the image of a naive author. Lutz Mommartz manages to combine both features in his films. He knows about his enormous naive playfulness, but bringing it under rational control, he uses it consciously. Because he wants to achieve an effect with each film. Film should be a trigger that activates the audience. Although film currently could provide only general climate conditions or lead to climate improvements, but it could not lead to direct political action. The combination of aesthetics and politics rationale appears to him out of place; the commitment would get lost in the art. Lutz Mommartz believes in socialism, but (you should write that!): “Chemistry is the only chance for socialism!” Because 5 % conscious people would always face 95 % inconscious. For Lutz Mommartz there is no form of government that could counteract this. The relationship between these two groups is the only tragedy that there is today. In order to make the relationship bearable Lutz Mommartz sees only one solution: Drugs.’ H.P. Kochenrath

Pauline Senn and Juan Davila (AU)

50:48

‘Juan Davila is a writer, but first and foremost an artist. His controversial work still divides opinions. Davila was born in 1956 in Santiago, Chile, and lives and works in Melbourne, Australia. At the time of the military coup in Chile, when Pinochet seized power from Allende, Davila was part of the art scene there. His paintings in response, some of which appear in the documentary, shocked both those of the political left and right. In this documentary, Juan Davila talks about this period, and about modern art, censorship of expression and the oppression of the Mapuche Indians, the original inhabitants of Chile. He also talks about beauty and the shocking effect of painting it today. Davila has grown reluctant to the idea of being interview, given the failure of the media to address the complexity of his work. For the first time on film he speaks about this in terms of his upbringing - both bourgeois and Indian. We accompany Juan Davila as he revisits his indigenous Mapuche nanny’s daughter, women who have greatly influenced his work. He takes us to the oldest church in Santiago where, as a young buoy, he saw paintings by 17th century Indian artists in the Western manner that would profoundly influence his future work. And we see the artist at work, painting en plein air in a burnt forest at home in Australia.’

Jack Smith (US)

Flaming Creatures

1963

40:43

Sylvère Lotringer :Were you ever competitive? Did you ever believe in that?

Jack Smith: Yes, of course, when you’re young. It’s drilled into you, and you have to slowly find your way out of it, because you find it doesn’t work. Capitalism is terribly inefficient. The insane duplication, the insane waste, and the young only know what’s put in front of them… But then, by experience, things are happening to you and you find out that this doesn’t work. I mean this is not productive. It produces waste. I looked through your magazine and I was repelled by the title. It’s so dry, you just want to throw it in the wastebasket, which I did. Then I picked it out… Listen: Hatred of Capitalism is a good name for that magazine. It’s stunning. I’ll never admit that I thought of it.

SL: I doubt that by saying that directly you’ll change anything. Language is corrupt.

JS: Listen, you are a creature, artistic I can tell, that somehow got hung up on the issue of language. Forget it. It’s thinking. If you can think of a thought in a most pathetic language… Look at what I have to do in order to think of thoughts. I have to forget language. All I can do with no education, nothing, no advice, no common sense in my life, an insane mother I mean, no background, nothing, nothing, and I have to make art, but I know that under these conditions the one thing I had to find out was if I could think of a thought that has never been thought of before, then it could be in language that was never read before. If you can think of something, the language will fall into place

in the most fantastic way, but the thought is what’s going to do it. The language is shit, I mean it’s only there to support a thought. Look at Susan Sontag, that’s a phenomenon that will never occur, only in every hundred years. Anybody like that. She says things that you would never have thought of. And the language is automatically unique. Whatever new thoughts you can think of that the world needs will be automatically clothed in the most radiant language imaginable.

Bonny Poon (CA)

Beautiful Balance

2017

01:07:45

Of Bodies… Borders… Boredom…

A dazzling and debauched cast of zombies interpret the erotic story of heroes, Whitney and Taylor. The setting is Frankfurt am Main, Germany’s financial heart.

��We are very similar.” “A slave?”

Starring:

Nathaniel Monjaret, Adrian Manuel Huber, Aziade Cirlini, Mohamed Almusibli, Chingy Hong, Lili Reynaud-Dewar, Julian Tromp.

#peoplesoup

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cooperhewitt · 7 years ago

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Modern Pioneer

A pioneer of modern design, Ruth Reeves was at the forefront of American textiles throughout her career, perpetually interested in the discovery of a national American voice in design. After studying at Pratt and the San Francisco School of Design, Reeves traveled to Paris, where she lived between 1921 and 1927. In America, the field of textile design held little respect and virtually no official training, but Reeves, who was trained as a painter, created her own path, teaching herself and learning from the artists and textile designers she met in Paris. Reeves’ career truly began on her return to the United States, where she befriended Donald Deskey, Henry Varnum Poor and other innovative designers of her time. Together, she and several other designers opened the American Designers Gallery in 1928 in an attempt to create a definition for American modern design and offer Americans a coherent vision of a national style.

Reeves’ varied work included painting, advertising, and fashion and book illustration in addition to textile design, for which she is most well known. In 1932 she collaborated with Donald Deskey on the decoration of Radio City Music Hall, producing carpet designs throughout the building. Later in the same decade, Reeves was awarded research support from several important funders, including a Fulbright scholarship, a Guggenheim Fellowship, and award from the Carnegie Institute and the Ford Foundation, all of which she used to study abroad, where she researched and took inspiration from the native textiles and costumes of South and Central America, as well as India.

Her work with textiles in Guatemala and India inspired some of her most original hand-printed fabrics, and lead to important collaborations with Macys and other retailers. Her process for designing and creating these fabrics was inventive and unique, as she liked to experiment with innovative materials and often worked with chemists to augment the capabilities of the vat dyes she used for printing. Because of her training as a painter, Reeves often worked out her ideas for textiles designs in oil on canvas before abstracting and simplifying them for use in a patterned repeat. Abstract Fleura is a perfect example of her colorful designs — modern, refreshing, and original.

Emily Shapiro is a graduate of the Master’s program in the History of Decorative Arts and Design at Cooper Hewitt, Smithsonian Design Museum/Parsons The New School for Design. She worked at the Smithsonian Center for Education and Museum Studies for two years after graduating from Brown University in 2009, and is pursuing research in 20th century fashion and interiors.

from Cooper Hewitt, Smithsonian Design Museum http://ift.tt/2tZDQVW via IFTTT

#cooper hewitt #design conversations

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janicecpitts · 6 years ago

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Exterior House Paint

Contents

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skilltradecontractor · 6 years ago

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Exterior House Paint

Contents

Home improvement springfield

Porch builders builders warehouse

Paint saves energy hy-tech insulating house

Exterior ceramic house

Exterior paint job inspired

Dc Deck Building home improvement springfield Mo porch builders builders warehouse Kitchens The cafe, which counts Dan Jarvis and Dickie Bird amongst its regulars, is based in the

Sep 29, 2017 … How often you paint the exterior of your house depends, in large part, on the materials on your house. Different materials require different …

Wood Suppliers Near Me In 1975, when Hilgers started training at a Y.M.C.A. near here, the place had an abundance of boxers … He started at the belt and

A good exterior painting job will extend the life of your siding and trim and increase the value of your house. Learn the best techniques for applying paint.

These tips and resources will help you choose the best exterior house paint colors and color combinations for your home. Remember, it is just paint.

Home Improvement Springfield Mo Porch Builders builders warehouse Kitchens The cafe, which counts Dan Jarvis and Dickie Bird amongst its regulars, is based in the town’s Tobacco Warehouse. And

We've asked some of the South's most respected architects for their input on exterior house paints. Whether you're looking to achieve the perfect patina, or to …

Reviews on Exterior House Painting in Reno, NV – Radcliffe Painting, The Painter , Machutta & Son Painting, Cruz Painting Services, Pro – Touch Painting, Pat …

Dutch Boy carries a variety of interior & exterior house paint colors & has provided superior house paint quality to consumers since 1907

Plumber Kansas City Since 1979, Stinson/ Northside Plumbing has been providing residents and businesses in the greater kansas city area with quality plumbing repair, service, general installation and

Free Deck Design All slide content and descriptions are owned by their creators. F.A.Q. Terms Privacy DMCA Terms Privacy DMCA Home Window Repair Durham Nc Porch Builders Builders

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#chloe evans #Exterior House Paint

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maangelilli-blog · 6 years ago

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Mark Angelilli

RJ Thompson

History and Theory of Graphic Design

9 April, 2019

Milton Glaser

Born in New York City, MIlton Glaser is one of the most profound graphic designers in American History. Some even view him as the epitome of graphic design on a global scale. For his education, Glaser attended High School of Music and Art. Later on at the age of twenty-two, he went on to graduate from the Cooper Union School of Art. A few years later he traveled to Italy in order to study printmaking with Giorgio Morandi, who is a well known painter and printmaker. Morandi became a face of fame due to his introspective paintings of bottles and boxes. Glaser worked alongside Morandi for a matter of two years from 1952-1953. However, it wasn’t until the following year, in 1954, in which his success would skyrocket.

It was this year that he co-founded Pushpin Studios with the help of Seymour Chwast, Edward Sorel, and Reynold Ruffins. With this team directing Pushpin Studios, together they applied a ground-breaking effect on the bearing of graphic design. Glaser would grow his reputation even more in the coming years. In 1968, Glaser, along with Klay Felker founded New York magazine. Up until the year 1977 Glaser was able to serve as the president, as well as design director. New York Magazine became the gold standard to look up to for other city magazines (“Biography”, para. 3).

Fifteen years after the founding of New York Magazine, Glaser assisted in starting another design firm. This time he partnered up with Walter Bernard. The two of them created WBMG, which is located in New York City. WBMG has designed more than 50 magazine, newspapers, and periodicals globally. The Washington Post, La Vanguardia in Barcelona, and O Globo in Rio de Janeiro have all undergone redefinition by WBMG. They have also consulted on projects with other notorious names such as The Los Angeles Times, The Boston Globe, The Dallas Times Herald, The East Hampton Star, the New York Daily News and the National Post (“Biography”, para. 6).

Glaser even started his own studio named after himself called Milton Glaser, Inc. Founded in 1974, this studio produces a broad scope of design. Milton Glaser, Inc manufactures corporate identities and produces logos, brochures, signage, and annual reports for advertising purposes. In 1990, the studio was accountable for formulating the interior design of a museum located in Manhattan’s South Street Seaport, which is named New York Unearthed. He designed the logo for Tony Kushner’s Pulitzer Prize winning play, Angels in America in 1993. Glaser’s work has not been limited to just commercial enterprises. Around the world, Glaser has had his art exhibited. The profound designer was a one-man show at the Museum of Modern Art, the Centre Georges Pompidou, the Lincoln Center Gallery, and the Houghton Gallery in New York (“Biography” para. 7).

Largely influenced from the history of art and graphic design from decades earlier, Glaser created a new design combination that involves both conceptual and intellectual ideas (Philadelphia Museum of Art, para. 1). As for his New York Film Society Poster, there’s nothing that is too flamboyant about this piece. Actually, it is quite simplistic. However, this simplicity is in no way diminishing the creativeness of the work. The clarity of the design is what makes it comprehensible. What’s being shown is a side view of people sitting in a theatre. Rather than creating realistic people, he uses basic geometric shapes. They have been composed in such a way that they are perceived as a generic human figure. As for the color scheme, he uses the primary colors of red, yellow, and blue, as well as some small green shapes. To make these colors stand out, they are placed on a black background to act as a neutralizer. Glaser does a good job of demonstrating the idea that art doesn’t have to be necessarily flashy or realistic for it to be successful. He understands that humans visualize what we see as generic shapes and forms, even though we may not notice this primarily. He forms the body using right-angled “L” shapes. The hands and the feet, from looking at a side view, are just small triangles. As for the head he used slightly warped rectangles to make it appear that the heads are glancing upwards. Simplicity doesn’t equate to elementary. Glaser exemplifies this perfectly with this design.

Yet another famous poster he has done was for the Golden Globe Award winning television show, “Mad Men.” It really has a psychedelic feel to it. Glaser utilizes of multitude of colors that just seem to all come at you at once. In the foreground, he uses the black silhouette of a man that makes it seem like the vivid colors appear more striking. The man does not give his attention to the viewers. Rather he is faced towards the design, demonstrating that he is more interested by the glamour within the life of fortune and wealth. The poster gives off a distinct aesthetic; one that yells power, seduction, corruption, business, and fame. Given the saturation of the hues, the depiction of a woman, an alcoholic beverage, and a businessman, it produces these sort of vibes for the observer.

For the Multidisciplinary Design Conference in San Francisco, Glaser designed a poster titled “Gravity Free”. The illustration depicted has a strong relationship with the title. A man seems to be tossing up his own severed head which appears to be floating in mid air gazing back at his own body. Surrounded by him are a number of birds. As we know, a bird’s ability to take flight in the air makes it seem as if it is defying gravity. Together, these two aspects of the work pander to the idea of them being unaffected by gravity, hence the title. When taking into consideration the basic laws of design, we see a good use of contrast between colors. Red and green are opposite on the color wheel meaning they compliment each other well, which makes for a visually appealing design. It is also noticeable that Glaser makes use of a gradient between the complementary colors so that they gradually fade into one another. As for the typography, he gives the lettering a touch of curvature which adds to the effect of being “gravity free, since this produces the illusion that the words are freely floating about.

In 2009, Glaser constructed a logo for the identity of the SVA Theatre. He puts a big emphasis on line quality in this piece. The constant use of lines generate the principle of repetition. The intersection of the lines also creates an implied weight and density. The base of the building where all lines intersect seems the most dense, while the top of the building is less dense because there are only the diagonal lines that are free from interference with the others.

For the last design analysis, he made a poster that sheds light on the health issue of arthritis. The typography is used as a centerline that creates symmetry, given the letter “A” on each side. Color theory is promoted well due to the use of the red-green color scheme implemented on the letter up above. Jagged line combined with the red hue a represents pain, just as the disease provides. Meanwhile, the “A” on the bottom half of the poster is smooth and is a shade of blue, which can be perceived as a more comforting color. This counteracts against the upper half of the poster.

Most importantly, as a designer Glaser was part of the movement that opposed modernism. The Pushpin Studio eagerly studied graphic design that was made in previous eras. They experimented with fine art and commercial art. This included wood-cut illustration, Art Deco, comic books, Art Nouveau and Victoriana. During the 1960’s and 1970’s, the studio earned international reputation for its innovativeness.

Works Cited

Milton Glaser | Biography, www.miltonglaser.com/milton/c:biography/#1.

Art, Philadelphia Museum of. “Milton Glaser: Design, Influence and Process.” Philadelphia Museum of Art, www.philamuseum.org/exhibitions/2001/39.html.

Britannica, The Editors of Encyclopaedia. “Giorgio Morandi.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 16 July 2018, www.britannica.com/biography/Giorgio-Morandi.

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vikingpaintingandremodeling · 4 months ago

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Viking Painting and Remodeling, the trusted house painters in South San Francisco. Our team of experienced painters is dedicated to providing high-quality painting services that exceed your expectations. We offer a comprehensive range of services, including exterior and interior painting, color consultation, and surface preparation.

Viking Painting and Remodeling 29 Wilms ave, South San Francisco, CA 94080 (415) 828–1707

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itsworn · 6 years ago

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Gasser-Style 1967 Pontiac GTO Returns to its Day Two Attitude—and Altitude

It was the summer of 1967. Fourteen-year-old Larry Porteous and his twin brother, Lee, along with the rest of their family, were towing the family boat from their home in Berkeley to Lake Berryessa in Northern California. Then he saw it roar by them on the highway: a Tyrol Blue 1967 GTO. It was raised up gasser-style, looking mean and ready to rumble. He decided then and there that he had to have a GTO like that one.

Larry’s fascination with Pontiac GTOs did not go unnoticed by his dad. Larry and Lee were always talking about GTOs and constantly playing his 45-rpm record of Ronnie & the Daytonas’ “Little GTO.” One day their dad came home with a GTO’s Unlimited patch, which Larry sewed on the back of his Levi’s denim jacket. By now it was October 1969, just before his 16th birthday. He had the patch; now he and his twin brother resolved to get a real GTO.

At a teenager, Larry Porteous and his twin brother, Lee, spotted this gasser-style GTO while on a family vacation. Two years later they would buy the very same car. Larry drove it daily for years (minus the jacked up suspension) and then decided to return it to its day-two look on the eve of his 50th anniversary of ownership.

“1967 GTO, 4-speed, 8-track stereo, 17,000 miles, and many extras” is what the ad read in the Sunday San Francisco Chronicle classified Hot Rods For Sale section. “It was November 9, 1969,” remembers Larry. “My brother, my father, and I decided to take a look at the car in the ad. When we got there we were blown away! It was loaded with speed equipment!” Incredibly, it was the exact same car they had seen two summers before on the way to Lake Berryessa.

Tom Masini, the man selling the car, purchased the GTO new, optioning it with a four-speed, a console, reverb speakers, and the Rally gauge package, but without power steering or brakes. A regular customer of Al Arata from Arata Pontiac in South San Francisco, he had first bought a new red 1965 GTO with Tri-power, then the blue 1967 GTO. Masini got the itch for another new GTO, ordering a 1970 Pepper Green Judge with Ram Air IV. Arata offered Masini $2,100 trade-in value on his blue GTO. While waiting for the new car to be built and delivered, he thought he would try to get a little more money for it through a newspaper ad. He said he would sell it to the brothers for $2,200, a hundred bucks more than Arata would pay for it.

Here’s how Larry and the GTO looked back in the day. Other than a repaint and some interior work, it remains as it was in the 1960s.

The two brothers first had to figure out how to talk their father into buying it, and second, how to come up with some money. Larry and his brother prepared a detailed list of the speed equipment on the car, complete with the retail cost of each of those parts. They then pointed out to their father that the GTO had $1,200 worth of aftermarket speed equipment on it, making the sale price of $2,200 a really good deal.

As to paying for the GTO, Larry says, “My brother and I had been saving everything we could. We gathered up all our paper route money. Plus, I sold my trumpet and my bicycle. Together we came up with $600. Our mother took out a loan for $1,600 through her teacher’s credit union for the rest of the money. Dad thought it would be a fun car for the twins to share.”

Larry had put all the old suspension parts in storage, but reinstalling them “proved a more difficult task than I first imagined,” he said. “It was critical for the rearend setup to be precise with the welded traction bars, Panhard bar, and lift tubes under the coil springs to raise the rearend and maintain correct driveline angles. The first shop to help with this got it wrong, but I was able to have a second shop get it right. The raised gasser look isn’t something that’s done much these days. Not a lot of people know how to do that kind of work now. I know a raised car fights gravity in many ways, but nothing is cooler than a 1960s day-two street machine!”

The GTO’s gasser-style look had been done by Al’s Automotive across the bay in South San Francisco. Al’s lifted the rear and installed a set of massive traction bars, as well as a Panhard bar for stability. The front spindles were cut and reverse-welded to achieve the look of a straight-axle car, but with better drivability and giving it a level stance. Goodyear Blue Streak tires, thin in the front with super-wide cheater slicks in the back, were mounted on a set of 15-inch American Racing wheels.

Legendary Bay Area drag racing specialist Gotelli’s Speed Shop in South San Francisco warmed up the engine with a hot Isky cam, a Mallory dual-point ignition system, and an Edelbrock dual-quad intake topped with a pair of Carter AFB carbs. Other mods included a Hayes 3,200-pound three-finger clutch and an exhaust system with cutouts.

Tom Masini, the GTO’s original owner, had the legendary Gotelli’s Speed Shop in South San Francisco build up the GTO’s 400-inch V-8. Back in the day, Larry chained the hood closed to make sure thieves couldn’t get at it.

Upgraded interior items included a wood-rimmed three-spoke steering wheel, Stewart-Warner Motor Minder vacuum and temperature gauges, and an eight-track stereo tape player with Motorola Vibrasonic reverb and four speakers.

The brothers started having fun with the GTO as soon as they got it home, but the fun almost came to an abrupt end just a month later. Larry explains, “We were on our way to pick up my older brother at the San Francisco Airport. Just as we were merging onto Highway 80 near Berkeley, we hit a puddle. The 12-inch Goodyear cheater slicks hydroplaned, sending us into a violent spin in the middle of the four-lane highway. We finally came to a stop stalled perpendicular to traffic, pointing us towards the San Francisco Bay. I hit the key and it fired back up, and we continued to the airport. That was nearly the end of the car and me! I can’t believe we didn’t hit anyone, but the roads weren’t as crowded back then as they are now.”

Among the speed parts Gotelli’s put on the Pontiac mill was an Edelbrock dual-quad intake mounting two Carter AFBs and a Mallory dual-point ignition. An Isky cam keeps things lively.

Asked if he did much street racing, Larry replied, “I raced it just a few times, and I always won. I think most guys took one look at the car and how it was set up and didn’t even try to go up against it. It looked pretty intimidating! One guy threatened to steal the engine, so I got a chain and padlocked the hood. I also installed a hidden kill switch. That was the best thing I ever did. They tried to steal the car five times, but they could never find the kill switch.” The car never did get stolen, but Larry did lose three eight-track and two cassette stereos in the attempts.

A year later (and before the next California rainy season), all the race suspension and the huge Blue Streaks were removed and put into storage, returning the car to stock height. Although the GTO took on a slightly different personality with the stock suspension, the American Racing wheels were retained. Larry and his brother had some really good times with the GTO, driving it daily throughout high school and helping Larry get the prettiest girl at school. It also served as a tow vehicle from time to time for the family boat (a 1966 18-foot flat-bottom V-drive Hallet Hot Boat with a 392 Hemi that the family still owns). When the oil embargo hit in 1973, Larry’s brother began to worry about fuel costs and wanted to sell the car. Larry still loved the GTO and bought out his brother.

Other than new front-seat upholstery, the GTO’s interior is exactly as it was when Larry drove the car daily.

Now with full ownership, Larry used the car every day. He drove it while in college and through dental school. He drove it to Los Angeles and commuted in it to his hospital residency program. He continued to use it daily back in the San Francisco Bay Area after he started his own dental practice. From 1969 to 1992, Larry racked up around 200,000 miles on his beloved GTO.

In 1995, he decided to repaint the car after what he said was “much mental anguish over the pros and cons of disturbing the original patina.” Preservation of as much of the car as possible was the goal. Not happy with what PPG offered as Pontiac Tyrol Blue, he enlisted the services of master painter Bill Grey of Citrus Heights, California, to get the color right. Larry explains, “We were able to come up with a custom mixed Sikkens paint that was a fantastic match to the original. The underside of the trunk lid and the doorjambs still wear their original and non-faded paint that matches the new paint job.”

Thieves stole a total of five tape decks out of the GTO over the years, but it still has its Motorola Vibrasonic reverb.

Larry debuted the freshly painted GTO in 1996 at the Goodguys car show in Pleasanton, California. His son Lance, then 7 years of age, helped polish the American Racing wheels. The Blue Streak cheater slicks were remounted once again after being in storage since 1970. The car was a crowd favorite that day, and the local newspaper featured the GTO with a photo of Lance with the car.

Lance, now 30 and inspired by vintage photos of his dad’s GTO, had been urging his dad to return the car to the gasser-style suspension it had in 1969. Since all the original performance suspension parts have been saved, and with the 50th anniversary of ownership approaching, it was refitted with the old suspension. In the spring of 2018 it was sitting high again, just as it was back in the late 1960s when Larry first saw it thundering down the highway as a kid.

The Blue Streaks went into storage in 1970 when Larry removed the lifted suspension (after a scary freeway spinout). They rejoined the GTO when it was raised again.

At a Glance 1967 GTO Owned by: Larry Porteous Restored by: Owner; Bill Grey, Citrus Heights, CA (paint) Engine: 400ci V-8 Transmission: Muncie M22 close-ratio 4-speed manual Rearend: Chevrolet 12-bolt with 3.90 gears and Positraction Interior: Black vinyl bucket seats with console Wheels: 15-inch American Racing Tires: P225/70R15 Goodyear front, 8.00/8.20-15 Goodyear Blue Steak cheater slicks rear Special parts: Isky race camshaft, Edelbrock dual-quad aluminum intake manifold, twin Carter AFB carburetors, Mallory ignition, Hayes 3,200-pound three-finger clutch, Chevrolet 12-bolt rearend, rear traction bars with Panhard rod, cut and reverse welded front spindles

Just before Larry turned 16, his father gave him this GTO’s Unlimited patch, which he promptly sewed on his denim jacket. Given the careful way he’s kept the GTO over the years, it’s no surprise that he still has the jacket, too.

The post Gasser-Style 1967 Pontiac GTO Returns to its Day Two Attitude—and Altitude appeared first on Hot Rod Network.

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albinohare · 6 years ago

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Luxury Real Estate Headlines: Second Week in September 2018

Highlights from this week’s top news stories on luxury and global real estate, art, collectibles and home.

Austin, Texas | Jonathan Creath, Kuper Sotheby’s International Realty

A winding front drive leads to the front of the provincial-style stone house. The mansion features rustic interior details, such as exposed stone and wood beams reclaimed from the Chicago Stock Exchange, in addition to sleek contemporary finishes.”

Andy Roddick, Brooklyn Decker Selling Texas Mansion for $6 Million – Mansion Global

This Startup Factory Loft in San Francisco has a Secret Room – Bloomberg

Seven Properties Near Schools – Financial Times

‘L Word’ Actress Laurel Holloman Lists Scenic Canyon Retreat for Sale – Los Angeles Times

Philip Johnson’s ‘Livable Glass House’ Offered for $7.7M with Plan for New Build – Mansion Global

The House Frank Lloyd Wright Designed for His Son is for Sale – Architectural Digest

Bayfront Water Mill Home with a Private Dock Lists for $30M – Curbed

Glyfada: A Jewel on the Athenian Riviera – Mansion Global

Explore the Nyack Home Where Famed Painter Edward Hopper Went to School – Hudson Valley Magazine

Circa-1896 Queen Anne in Eureka Valley Asks $2.9 Million – Curbed

Dubai’s Real Estate Rises – Mansion Global

$700,000 Homes in South Carolina, Vermont and Utah – The New York Times

Taylor Swift Sells Updated Midcentury Home in Beverly Hills for $2.65 Million – Los Angeles Times

India’s Real Estate Has Room to Grow – Mansion Global

Gibson Sotheby’s International Realty Expands to Cape Cod with oldCape Sotheby’s International Realty Acquisition – Boston Business Journal

Hot Southeast Asian Markets Are Likely to Keep on Booming – Mansion Global

How Luxury Brands are Honoring Their Heritage in the Digital Age – CMO.com

Amazing Homes That are Modern-Living Goals – Inside and Out – Elle Decor

Sotheby’s Taps Star Hip-Hop Producer Swizz Beatz to Organize an Upcoming Contemporary Auction – artnet News

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arplis · 5 years ago

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Arplis - News: Uk Concept Kitchen Bath And Beyond

Arplis - News source https://arplis.com/blogs/news/uk-concept-kitchen-bath-and-beyond

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connorrenwick · 7 years ago

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Los Angeles Artist RETNA Waxes Poetic About His Public Art Installation For the New RH West Palm

Special report by Jesse Bratter.

It’s an idyllic oasis in the heart of West Palm Beach: Lushly landscaped gardens rich with Medjool date palms; Moroccan-tile fountains signaling the Barista Bar, where the handcrafted donuts are as much of a pick-me-up as the coffee; a sun-drenched Rooftop Restaurant filled with verdant olive trees and ingredient-driven fare; and French-marble and Belgian-blue-limestone floors traveling through the intimate loggias of the ever-so-European Wine Vault. And we haven’t even gotten to the furniture yet. Because it is, after all, a furniture store—the new RH West Palm, The Gallery at CityPlace to be exact. And there are four floors and 80,000 square feet showing the breadth of RH’s collection to prove it, from RH Interiors to RH Modern, Outdoor, Baby & Child, TEEN, and RH’s interior design services and hospitality offerings.

SONNEMAN – A Way of Light for Restoration Hardware

While you wait for your table to open up in the restaurant, you might stroll, with Bellini in hand, past the American minimalist 1950s-style Metropolitan sofa by John Birch of WYETH, or the Marignan, Jonathan Browning’s crystalized version of an industrial chain-link chandelier. You may even come upon iconic reissues like the 1967 Orbiter II lamps, which Robert Sonneman, of SONNEMAN – A Way of Light, first designed 50 years ago and reimagined for RH Modern along with other signature pieces from his archives. With celebrated restaurateur Brendan Sodikoff at the helm of RH Hospitality, RH Chairman and CEO Gary Friedman is changing the way shoppers shop, creating a destination and human experience, and adapting a mentality that says come for the furniture and stay a while.

Photo by Jesse Bratter

But perhaps the most eye-catching element of all is the building itself. Designed by James Gillam of Backen, Gillam & Kroeger Architects, the gray-tinged structure rises out of the ground with a towering tone-on-tone hieroglyphic-esque art installation as though an archeological dig just unearthed an ancient, lost city. The mural is the creation of Marquis Duriel Lewis, the Los Angeles-based artist better known as RETNA. And fans will be pleased by the authentic manifestation of his stylistic alphabet. “The city wanted us to do something related to art for the community,” says Friedman. “I thought long and hard and wanted to bring Art Basel and Miami to Palm Beach and spice it up a bit. RETNA painted the entire back façade. It’s a great juxtaposition and surprise. I love his work because it’s graphic and architectural.”

Read on for RETNA’s take on street art, his installation for RH, and the role it plays in West Palm Beach’s efforts to integrate public art into the cityscape.

Your moniker, RETNA, came from a Wu Tang song: “Kinetic globes light will then shine, burns your retina.” Why did those lyrics resonate with you?

In graffiti culture, you look to stand out. You have to look for a name that is original that can make an impact. The letters had a good structure, making for strong, elegant shapes. I took the I out of my name. (I like to say I took the eye out so I can be the 3rd eye—everyone has two RETNAs.) Also, my early work was very colorful, and now it’s very monochromatic, representing the cones and the rods of a retina.

Where do you think the shift from vandalism to contemporary/fine art came into play with graffiti/street art?

That question is probably answered with the contribution of many artists over the years. In the 1980s, you had early pioneers participate in exhibitions at underground venues and it was more closely associated with the hip hop movement. While there were a few breakout artists, the word graffiti held a negative connotation. There are some that practice the tradition that don’t like the word graffiti; they prefer the term aerosol art, as you would identify an oil painter or watercolorist for example. I think in the ’90s—with the crackdown of graffiti in the states, the Buff as we would call it—you saw it spread very far to new heights in Europe where the subway graffiti system was in full swing. The Europeans seemed to embrace it more—that was my observation as they created great materials and had many more varieties of colors to produce more advanced renderings. It seemed like because of the appreciation of the arts in Europe, it was championed a bit more, or so it seemed.

I think we as graffiti writers saw a shift in the game as our movement was a very hierarchal system that really focused on the letters, and those who did not have good style or great aesthetics to the almighty tag, those who did not put up a sufficient quantity of work could not sustain a long career in the traditional graffiti sense. Although the monetary gain was never really part of the goal, the defiant nature was admired by your peers. With that said, a movement was brewing that saw street art phasing in where artists who did images illegally—whether with stencils or posters—gained traction, as the general public could identify with images that were easily recognizable. They did not adhere to the same standards as graffiti writers and a quiet tension arose between the two groups. To many traditionalists, this felt like the rug was being pulled out from under the graffiti realm. I can honestly say I was one of them but instead of complaining about it, I decided to change my position and follow my passion for muralism and design.

Photo by Jesse Bratter

Verdi’s Aida at the San Francisco Opera \\\ Photo by Cory Weaver, Courtesy of the San Francisco Opera

You’ve now designed album covers and opera sets, exhibited in solo shows, major art fairs and museums. Did you ever think you could make this big of an impact with street art when you were a kid?

I think the street art movement helped many outsiders of the culture who would not normally like graffiti or vandalism accept certain aspects of it, and it allowed artists to be accepted and commissioned for greater artistic projects, which range from the examples you mentioned in the question. I always knew the impact of what I was a part of would have a big influence, although I don’t think we have seen the scope of the role it will play just yet. Now you see beautiful murals going up all over the world and the public is starting to understand the key role art plays in the harmony of life’s uplift.

Your artwork is your own type of hieroglyphics/calligraphy. Tell me more about the symbols you use—are they deliberate or more decorative?

It’s my own interpretation of the Latin alphabet, my stylized version of text. The pattern is never the same as each building is unique and I never will write the same quote or phrase. Usually I try to identify what will relate to the area I’m in and what will work aesthetically on the building—I like to accent but still emit the grit in a very elegant way that will resonate with all walks of life. I like to think the building itself plays a role on the structure of the symbols as it has to flow in harmony with the architecture. My work may look decorative to some, which is expected due to the nature of how the work can be viewed, but there is without question an order to the madness.

Photo by Jesse Bratter

So architecture is a strong influence for you. What else brought you to designing your patterns? And what inspired your mural for RH West Palm?

Architecture does play a fundamental role in my work. When I was a youth, my aspiration was to be an architect. I’m inspired by civilizations of the past—the architecture remains timeless. The sequence of the events I participated in this year and the stylistic approach started with a Southern Pacific building I painted at ROW DTLA in Los Angeles. I created new formations for the letters S and E in my work representing the Union of Family (Male x Male x Female x Female). The S is phallic, representing Man, and the E in its dome-like shape represents the woman. The shape formations started to develop with the Cuauhtemoc building in the Tlatelolco neighborhood of Mexico City—it’s my tallest mural at 21 stories. The work I recently completed at The Kennedy Center played a crucial part as well. And we end this year with Monument, the title of the work at RH West Palm, which represents restoring the planet’s hardware. I wanted to address the idea of reusable energy and materials to better the environment.

RETNA at the Kennedy Center \\\ Photo by Scott Suchman for WNO

ROW in DTLA

Tell us about your creative process and your partnership with RH.

RH provided an architectural rendering and our team overlaid some of my work onto the building to get a sense of what the scale and color format would look like. I used Liquitex 12-inch freestyle brushes and a roller, and we broke up the wall into four equal parts to get a nice symmetry throughout the façade. The walls are always freestyle in my projects, so the mock-up gives a general idea of what we plan to achieve but I rarely work from a sketch; it’s all done spontaneously. RH is a good partner due their patronage of the arts and the risks they are willing to take to break out of the social norms within the corporate environment. The fact that they commissioned me, a graffiti writer out of Los Angeles who now has broken into the world of galleries, museums and operas but is still grounded on the street art scene like my forefathers Basquiat, Haring and others, is an honor for me and says a lot about RH. This is their flagship store and that speaks volumes.

Monument, the title of the work at RH West Palm, which represents restoring the planet’s hardware. I wanted to address the idea of reusable energy and materials to better the environment.

This mural aligns with West Palm Beach’s public arts efforts. And you’ve also had a presence in Wynwood and the Miami art fairs. What are your thoughts on the South Florida art scene?

The city of West Palm Beach was very accommodating and supportive, along with Gopal Rajegowda from Related, who has been instrumental in the development of the city’s center, which will continue to grow with the work that Nicole Henry Fine Art is doing with her mural program, bringing established and emerging artists to the area. South Florida is a destination for the arts, relaxation, great design, good nightlife, great food, home to many great collections, muses and inspiration, and, of course, the luxury brands that have made South Florida their home for years now. I am grateful to all of the people who have let me perform for them. I think what’s nice about these public projects is that they give access to everyone. The art belongs to the people and let’s hope they enjoy it as much as we do.

Jesse Bratter is a freelance writer and stylist whose appreciation for craftsmanship led her to co-found the artisan marketplace In The Pursuit. You can follow Jesse on Instagram and In The Pursuit on Instagram and Facebook.

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zillowcondo · 7 years ago

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The 5 Best Green Restaurants In the US

The French painter Paul Cezanne once wrote that, “The day is coming when a single carrot, freshly observed, will set off a revolution.”

His pronouncement has proved prescient, if not necessarily in the way he predicted. The first shots of the food revolution in the United States were, arguably, fired by Alice Waters at Berkeley’s Chez Panisse, who raised the banner on behalf of local, organic and sustainable cuisine.

The political implications of mixed seasonal greens with local goat cheese have become clear over the decades. She, joined by other chefs and food critics, has educated diners about the health risks of pesticides, the environmental costs of factory farms and the carbon footprints of certain fruits and vegetables imported from South America during our winter.

The solution proposed by countless politically-minded chefs has been to support small-scale farms close to home. And while the cause has been advanced by both humble food co-ops and celebrity chefs, spurring a locavore and farm-to-table movement that has swept across America in recent years, there are a few chefs and restaurants that have garnered particular attention for their use of local ingredients. Many of these chefs and their respective restaurants have also taken the extra step toward environmental practices, in some cases earning LEED-certifcation for their low carbon outputs and sustainability.

Of course, sourcing from local farms and adhering to the latest practices sustainability means nothing if your food is average. Thankfully, when it comes to the food, some of the most environmentally mindful restaurants across the country are now also some of the best, with Michelin stars to prove it. Here are a few that stand out:

Founding Farmers, Washington, D.C.

Quite a few eateries in the Washington, D.C. make area “best of farm-to-table” lists but Founding Farmers stands out from the rest of the pack. And no, it’s not because President and Michelle Obama are frequent visitors. It was Washington, D.C.’s first LEED Gold Certified restaurant and the first upscale-casual, full-service LEED Gold restaurant in the country.

Since 2008, Founding Farmers has been an eco-friendly leader in the food and beverage industry. The 8,500-square-foot restaurant was built out of reclaimed and recycled materials—heart-of-pine wood from an old textile mill was used for the flooring—and utilized VOC paints and adhesives in its construction. Ninety percent of the construction waste was recycled. The restaurant has an in-house water filtration system, installed low-flow toilets in restrooms and uses biodegradable garbage bags and recycled paper products (even on menus) throughout the space. The restaurant is carbon neutral, offsetting 100 percent of it’s carbon emissions by purchasing green power credits.

Then there’s the food. Founding Farmers doesn’t always use locally sourced produce and meat because it feels it doesn’t necessarily imply the smallest carbon footprint. Instead, the restaurant buys ingredients from 42,000 family-run farms around the country, thereby helping small farmers, ranches and fisheries and farming communities. Farms and fisheries include Anson Mills in South Carolina, Piedmont Ridge Farm in Maryland and Cleanfish in California. As a result, the food is flavorful and hearty and most importantly, good for you. Brunch showcases regional specialties such as New Orleans–style stuffed French toast and glazed yeast donuts. Supper draws in crowds because of its friendly atmosphere and lovely farmhouse setting. Diners relax at communal wooden tables or comfy booths under reclaimed wood beams and dine on dishes such as line-caught plank salmon and southern pan-fried chicken with white gravy. Even the wines, spirits and beer are organic or from small town distilleries and breweries.

1924 Pennsylvania Ave NW Washington, DC 20006 202.822.8783

ABC Kitchen, New York, NY

In 2010 we saw one of New York’s – and America’s – most important culinary figures embrace it as well. Simply put, a man synonymous with fine dining today has gone green.

This is not to say that before the opening of ABC Kitchen, Jean-Georges Vongerichten was serving inorganic or unsustainable dishes, but one of the trademarks of his cuisine has been the exotic touches that can be traced back to his stint at the Oriental Hotel in Bangkok. Vongerichten’s dishes have long been scented by chilis, lemongrass and kaffir lime leaves at his flagship Jean-Georges and his Spice Market restaurants. At Prime, another if his restaurants, the grass-fed and organic steaks that dominate the menu are delicious but not especially sustainable. At ABC Kitchen, on the other hand, the menu is inspired more by the Hudson Valley than Southeast Asia, and while it isn’t vegetarian by any means, meat serves more as an accent rather than as slabs of beef. Here, Vongerichten explores the possibilities of local and sustainable cuisine: whole wheat pizzas are topped with Jersey tomatoes, the potatoes served with his classic blackened sea bass come from upstate.

The décor of the restaurant also reflects the sustainable ethos: The menus are printed on recycled paper, tables are made from reclaimed wood and the vintage dessert plates and flatware reflect a commitment to reusing and recycling. The waitstaff is outfitted in studied casual outfits of Converse sneakers and flannel shirts – sometimes it feels like the entire borough of Brooklyn has been redecorated in a similar country farmhouse look – but we like that.

While admittedly not the first of their kind, Vongerichten and his executive chef, Dan Kluger, have brought their own particular take on this craze. The free-range fried chicken arrives light as tempura, in a beer batter crust, and while I’m not sure what is local or sustainable about the caramel sundae, it would get my nod for dessert of the year. Other authorities were similarly impressed: The New York Times awarded ABC Kitchen two (of three) stars and the eatery also won the James Beard Award for “Best New Restaurant” of the year. Vongerichten’s rebirth as a locavore is, we hope, not a sign that a chameleon chef has found the latest gimmick to attract diners, and instead that when it comes to what and how we eat, ABC Kitchen is a sign that conscious and not conspicuous consumption is here to stay.

35 E 18th St, New York, NY 10003 212.475.5829

Uncommon Ground, Chicago, IL

Chicago’s Uncommon Ground is the poster child for green restaurants in the United States, and we aren’t the first to have noticed. In 2013, they received recognition from the Green Restaurant Association as the “World’s Greenest Restaurant.” Mayor Rahm Emanuel stated, “Uncommon Ground is a great example of what our city can do and what our country can do, use water and energy more efficiently, grow more sustainable food, while boasting the world’s most sustainable businesses.”

Not only does the restaurant divert 95 percent of its waste from the landfill through a robust composting and recycling program, but they also produce onsite renewable energy. The interior design is warm and earthy, donning wooden table tops from trees that came directly from ones downed in Jackson Park in Chicago.

Most notably, they built the first Certified Organic rooftop in the nation, which patrons can go up and visit. When dining there once, I was pleasantly surprised at how much time their rooftop farmer spent giving me the grand tour of his elevated bounty and explaining the building process. The rooftop is fit with solar panels surrounded by manicured raised garden beds of herbs, tomatoes and more.

Obviously a rooftop can only supply so much for the restaurant, but the local concept goes beyond just their own building, to a commitment to source the majority of their food from local, sustainable organic producers – 24 percent of which comes from within 300 miles of the restaurant. Their menu is constantly changing according to the seasons, which makes each visit a unique experience that gives patrons a strong sense of time and place.

While people rave about the fried chicken and collar greens, true midwesterners like myself will can vouch for their hearty meatloaf, made with local grassfed beef and of course, wrapped in bacon and served with mashed potatoes, brussels sprouts, and fried nordic creamery cheese curds (a product commonly found amidst Chicago’s lively farmers markets). For dessert, I’d venture toward the seasonal crème brulee or s’mores tart.

They support the local economy by more than just helping out local farmers, but also local artisans, as you will regularly find local artist’s work featured inside and local musicians entertaining diners.

They’ve even gotten into the local brewing business, boasting their own in-house brewery at one location called Greenstar Brewing, where they brew up seasonal, sustainable concoctions that are served up at the restaurant.

On the spirits side, Uncommon Ground created what they call an “eco-cocktail”, the Agripolitan, featuring organic vodka and orchard fruits. This eco-cocktail program has raised funds to plant over 10,000 trees in India as well as to work with Chicago Rarities Orchard Project (CROP) to build a community rare-fruit orchards in Chicago. The eco-cocktail’s ingredients change according to the seasons with varying orchard fruits.

They’ve also received accolades as a World Society for the Protection of Animals (WSPA) Humane Restaurant, The Governor’s Sustainability Award and the Green Business of the Year by the Chicago Chamber of Commerce.

Original Lakeview Location: 3800 Clark Street Chicago, IL 60613 773.929.3680

New Edgewater Location: 1401 West Devon Ave. Chicago, IL 60660 773.465.9801

Bar Agricole, San Francisco, CA

Bar Agricole is right at home in its stark, industrial surroundings of San Francisco’s SOMA (South of Market) neighborhood. Intentionally austere and minimalist, the restaurant’s sustainable design is how they earned Gold LEED certification. That, combined with their local, seasonal, farm to table fare (this is San Francisco, after all) makes Bar Agricole a green giant.

It’s no wonder Owner Thad Vogler speaks of his tavern endearingly as the “Farm Bar.” As Erin Archuleta of Tablehopper observes, “Thad believes his tavern in this SOMA outpost will truly uphold a San Francisco tenet: the intersection of urbanity and agriculture in our daily lives.”

In fact, Bar Agricole says it could not exist without the organic and biodynamic farmers from which they source and claims these farmers are one of the main reasons why the restaurant came to be in the first place. “It’s a mutually beneficial setup: we get amazing stuff that makes our food nourishing and intensely flavored, while supporting the people who have made it their life’s work to care for the land, preserving and improving it for future generations,” touts their website.

A main source of meat and produce for the establishment, Heart Arrow Ranch, started a RSA, or restaurant supported agriculture program (in the same line of thinking as a CSA, community supported agriculture program for individuals). The restaurant supports the farm financially in the early season in order to ensure they can acquire the necessary seeds and equipment up front. Eventually Bar Agricole reaps the benefits in the spring and summer of the cornucopia of fresh veggies and meat.

Woodleaf Farm provides them with delectable local, organic fruits, La Tercera Farm offers chicory and other fresh Italian greens and herbs, Full Belly Farm garlic, and McEvoy Ranch organic olives and olio nuovo, just to name a few local suppliers. The restaurant will even go foraging for mushrooms like white chanterelles in Mendocino during winter, should the rains bring a good harvest to bear.

Brandon Jew, coming previously from notable San Francisco locavore-focused restaurants like Magnolia, Quince, and Zuni, heads up the kitchen, which includes a hybrid gas and wood burning, eco-friendly Beech oven made from the oak at Woodleaf Farm.

Farm to Bar Cocktails

It’s not just their food that receives applause, but their drinks to boot, which contain farm fresh ingredients. The James Beard Foundation named Bar Agricole one of the five finalists for their Outstanding Bar Program award in 2012 and it has been nominated every year since. The emphasis on a killer classic cocktail menu instead of just great food can be attributed to Vogler, who has dedicated the better part of his professional life to being a bar manager or consultant to restaurants. His mission appears to have been to convince these establishments of the importance of tackling their cocktail and edible menus in an equally ingredient-focused fashion. But heck, why not just start your own restaurant and bar where you have complete control over your ingredients?

Keeping Up (green) Appearances

Bar Agricole went to great lengths to ensure that every detail of interior design and décor of this single-story, 4,000-square-foot space reflected Vogler’s and architect Aidlin Darling Design’s sustainable sensibilities and respect for history. The restaurant was built inside a three-story historic corrugated metal warehouse and maintained its historic exterior.

Chairs and tabletops were crafted by Sebastian Parker, a local woodworker, remarked, “All the wood for the chairs came from seasoned red wine barrels. According to the man who sold me the wood, the white oak was originally milled in France, coopered into barrels in Japan, and then sold to Firestone Vineyard in Napa Valley. They used them for half a century before I got to them.” The wood for Parker’s tabletops came from the reclaimed lumber of old Northeastern farmhouses.

Concreteworks built the host stand, custom floors, booths and bar using their ultra-high performance concrete reinforced with organic fibers called Ductal. The coffee and service bar illustrates the simplistic beauty of their poured concrete and is finished atop with a reclaimed wood bar. Concreteworks uses post-consumer recycled material and industrial products to replace the raw aggregates normally used in concrete. They have replaced almost 80 percent of the total product weight of their concrete with material that would otherwise end up in landfills.

The reclaimed whiskey tank oak ceiling supports a green roof above. Three large skylights allow for natural light to come in, decreasing the need for artificial light during the day. Each skylight comes fit with its own winding glass sculpture by artist Nikolas Weinstein and is made from distorted Pyrex cylinders that sieve the day’s light down to patrons below. Outside parking space was minimized in order to build a street-front 1,600-square-foot garden and dining patio surrounded by unpretentious wood paneling and raised beds filled with herbs.

355 11th Street San Francisco, CA 94103 415.355.9400

Providence, Los Angeles, CA

Before he opened a top rated restaurant in Los Angeles (arguably the best if you love fish), Chef Michael Cimarusti grew up on the east coast, in the great state of…you guessed it, Rhode Island, where he spent many a weekend fishing and digging for razor clams.

Cimarusti’s resume is not short on experience, having attending the Culinary Institute of America in Hyde Park, NY (graduating with honors) and honing his skills at An American Place (NYC), The Forager House Restaurant (New Hope, PA) and Le Cirque (NYC).

Cimarusti is completely dedicated to procuring the finest sustainable seafood—from regional coasts and international waters—and treats those ingredients with uncompromising respect and sophisticated technique. “First and foremost, what guides us here is sustainability,” Cimarusti says. “We use only wild-caught, sustainable products, mostly from American waters, and look to highlight their finest qualities.”

The accolades for Providence include multiple James Beard Award nominations; “Top 50 Restaurants in the United States” by Gourmet magazine; “Best Seafood Restaurant” by Los Angeles magazine; the #1 ranking in “Jonathan Gold’s 101 Best Restaurants” in the Los Angeles Times; and two highly coveted Michelin stars.

5955 Melrose Ave Los Angeles, CA 90038 323.460.4170

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