#striped house in utrecht

[freeleague]

Aourbon animal from the zookeepers wife

‘We can do the same with extraterrestrials by transmitting powerful, intentional, information-rich radio signals to nearby stars. Vakoch said, ‘If we went to a zoo and suddenly a zebra turned toward us, looked us in the eye, and started pounding out a series of prime numbers with its hoof, that would establish a radically different relationship between us and the zebra, and we would feel compelled to respond. Vakoch believes that simply showing that we are searching for extraterrestrial life could be the key, Forbesreports.

A judge barred him from unsupervised time with the dogs outside the wife’s home, but reserved the right to reconsider if he took the schutzhund training. During a divorce proceeding, he sought visitation rights.

Our modest food and fresh drinks are reason enough to get your. The wife claimed it was because the husband failed to give the stand down command in German as the dog was trained. How can we get the galactic zookeepers to reveal themselves?’ We havent forgotten our roots - not as animals, but in treating all like family - including you. Teenager stabbed in ‘far-right’ incident in Surreyĭouglas Vakoch, president of METI said, ‘Perhaps extraterrestrials are watching humans on Earth, much like we watch animals in a zoo. No-one noticed meteor exploding over Earth in November Read more: At least one killed after shooting in Dutch city of Utrecht Perhaps surprisingly, they also suggested how to attract the attention of the ‘zookeepers’ – and get out. The Zookeeper always wants to take the Rhino for a walk. The stripes on the zebra tend to peel away in the heat. The Bears exhibit is nothing more than the guys cut from the football team during training camp. Ken Globovic (aka Gobbles), hailed as the Supreme Exalted Zookeeper of the animal house known as Zeta fraternity, has been arrested for beating up the dean. If our civilisation met truly advanced aliens, they might well put us in a planet-sized zoo – much as we do with less intelligent species.Īnd it might have already happened, scientists have already warned (and that would explain why we’ve never seen any aliens.Īt a meeting of the the METI (Messaging Extraterrestrial Intelligence) Project in Paris this week, scientists discussed the idea of whether we really are in a zoo. When no one else is looking, you swear that the monkeys are mocking you. Are we living inside an alien zoo? (Getty) The Zookeeper’s Wife screenwriter Angela Workman told SheKnows about a funny incidenct with a camel when she visited the set.

[happilyrainyinternet]

The Best Window Curtains, According to Interior Designers

You may not appreciate the importance of window dressings — which, in addition to looks, provide privacy and block light — until you move into a place with naked windows. Luckily, adding curtains is one of the easier — and less expensive — projects you can undertake to transform a room. To help you dress your windows with the least amount of headache, we turned to 10 interior designers for their favorite curtains, lots of which are surprisingly quite budget friendly. (If you’re shopping for curtains, you’re likely looking at rods, and this list has a bunch of expert-recommended options to choose from.)

Before we get to the blackout curtain— which include a range of ready-made styles in different opacities, colors, and patterns, as well as a couple of custom options — some quick guidelines for how to size the drapery you choose for your space. When it comes to measuring your windows, Megan Hersch, the owner of Studio MG Interiors and online interior-design service RoomLift, says you should measure 12 to 24 inches beyond the window on either side to determine how wide each curtain panel should be, so that you have some gather. In determining the length of your curtain, Hersch says it depends on how formal you want them to look — and how much cleaning you want to do. “I typically measure the drapery so that it just ‘kisses’ the floor,” she says. “This way, nothing is dragging and trapping dirt, but you are sure they don’t look too short.” For a more formal look, she suggests adding an extra 1.5 inches so the drape just “breaks” on the floor. The most dramatic look is to have the panels “puddle” on the floor, which means adding anywhere from 8 to 12 inches to the length of the curtain (the type of fabric, whether stiff like taffeta or soft like velvet, will also determine how naturally it gathers on the floor).

A sheer curtain is a great choice if you want a little bit of everything from your window treatments — privacy, light, and looks — without having to commit too heavily to any one of those needs. As Megan Huffman, a designer with the online interior-design service Modsy, puts it, sheer curtains “provide the ability to allow natural light into a space and help brighten up dark rooms while still allowing privacy,” adding that, “there’s nothing I love more than a crisp, white, sheer curtain.” She recommends this pair from West Elm, which features a subtle crosshatch pattern that adds a bit of texture. If you like the look of sheer curtains during the day but also want to keep light pollution from coming through at night, Huffman says these can easily be hung on a double curtain rod with a pair of thicker, more opaque blackout curtains.

Interior designer Nicole Fuller also loves the sheer look, noting that sheer curtains made with linen in particular allow for that “gauzy feel” as the sun shines through the fabric. Linen drapes in general, she adds, “are incredibly timeless.” Fuller told us her favorite linen curtains come from Restoration Hardware’s Perennials line. But Hersch did us one better: She pointed us to these less expensive Perennials dupes from Restoration Hardware’s teen line, which she says will often have “very affordable,” premade drapery panels. (Hersch says Pottery Barn’s teen line is another source of affordable but expensive-looking curtains.) The curtains shown are made from a linen-cotton blend and cost about a third of their counterparts from the Perennials line.

For something more opaque (and still less expensive than Restoration’s regular line), try this linen-cotton style, which has the same look as the curtains above, but with a blackout lining that offers full privacy and light control.

For basic, neutral curtain panels that are less than $20 apiece, Dani Mulhearn, a senior designer at online interior-design service Havenly, recommends these curtains she uses in her own home. She says they “add a bit of softness and dress up standard window treatments in a space.” While Mulhearn cautions they are not true blackout curtains — just “room-darkening” — they still work great for privacy. She likes the pearl color, calling it “a great neutral that goes with any cool or warm color schemes.” (If pearl’s not your thing, there are 16 other colors available.) Mulhearn also appreciates the fact that they have grommets, which are “a super-functional” detail that negates the need to buy curtain rings, and makes opening and closing them easy.

For faux linen blackout curtain, these are Mulhearn’s go-tos. She likes that they’re affordable, come in a variety of neutral colors, and are available in various lengths, from 63 inches to 108 inches. They also have a grommet top, which means you don’t need to get additional curtain rings to hang them from a rod.

If you’re looking for solid curtains with more drama, Huffman recommends using velvet ones — specifically, these light-blocking matte velvet curtains from Anthropologie that come in an array of jewel tones. The fabric’s piled texture and more substantial feel add heft to a space, not to mention color, making them a functional and stylish choice, she says. Each panel is made to order, which accounts for the price tag (velvet is also generally a more expensive material because of the way it is made).

If you want to stick to neutral colors but crave a bit more personality, consider these cotton-canvas patterned curtains from West Elm that also come recommended by Mulhearn. She told us they “have a little sheen to them,” with a “subtle enough pattern to give your windows that ‘dressed up’ feel without being super flashy,” noting that they also block most light and help insulate windows.

This curtain is Decorilla design expert Devin Shaffer’s choice. He says the panel’s raised pattern, which is made with metallic threads and kind of looks like tree bark, reminds him of the outdoors. While noticeable, the neutral-colored pattern is subtle enough that it won’t overwhelm a room, he adds.

Pinstripes add a “casual and coastal feel” to otherwise straightforward drapery, according to Modsy designer Katherine Tlapa, who says these curtains “add height and brighten a space with their simple vertical striping” while still being “clean and classic.” Interior designer Bachman Brown agrees that patterned curtains like this can do wonders for a room. “A large-scale pattern is one of the best drapery treatments you can do for a window,” he says. “It sets the tone for the room, and nothing draws your eye more than a grand-scaled fabric.”

Decorist designer Katy Byrne likes experimenting with boldly patterned curtains because “unlike paint, drapes can add a lot of color to a room while being much easier to swap out with changing trends.” She recommends these ikat panels that she says “would add a fun highlight to a playroom or kids’ space.”

If you want to splurge on custom drapery, interior designer Betsy Burnham, who also prefers “clean, unfussy treatments,” recommends the Shade Store. She likes its solid linens, opting for those with “inverted pleat drapery,” like this one, “for its tailored feel.” If you don’t like the linen fabric, Burnham says these curtains can be customized with a range of other materials.

For many of us, lockdown means looking: gazing at the views outside our windows, the traffic and the trees, with thoughts of post-pandemic life dancing through our heads. We ought to give some thoughts to those windows too, whether they are panes, sheets, or entire walls of glass. As my mother once said regarding domestic architecture, “A house without a porch is like a man without a country.” To my mind, a similar rule applies to windows—without blinds or shades or shutters or curtains, many windows are just featureless voids. I’m not the only one who thinks this: Scores of AD100 interior designers from Manhattan’s Jeffrey Bilhuber to Milan’s Studio Peregalli consider a window undressed to be a window unfinished.

Historically speaking, windows have typically had some sort of covering, to regulate sunlight, protect interiors from inclement weather, and to provide privacy for you and yours. In the ancient world, they were simple fabric panels that could be folded back or lifted up and then held in place, in one manner or another, for the duration.

Time-travel thousands of years later to the minimalist Bauhaus era, where rejection was the rule yet curtains were still considered essential decorative components. Le Corbusier specified curtains and shades for his projects, and Dutch architect Gerrit Rietveld’s houses possessed their own complement of window treatments, from full-length to café short. Alas, Rietveld’s marvelous little 1924 house for and in collaboration with the young widow Truus Schröder in Utrecht, his very first architectural commission and now a museum, possesses no shades or sheer window treatments anymore—a curatorial mistake, to my mind, because that decision deifies the architecture while ignoring the domesticity of Schröder and her children for which it was built. (Rietveld, though married, would become his client’s lover and live there too, returning to his family only at night.)

Luxurious floor-to-ceiling curtains outfitted the Czech Republic’s Villa Tugendhat, one of modernism’s most celebrated residences, a glass-walled villa designed by architect Ludwig Mies van der Rohe and decorated with designer Lilly Reich in the 1920s. Some of them were made of silver-gray shantung silk, while others were fashioned of black or white velvet, the uncomplicated lengths and plain colors framing a green landscape. The Frenchman Jean-Michel Frank may have been a pioneering reductivist, but even he understood the power of a pretty window. After all, he was the man who put dramatically ruffled curtains into Elsa Schiaparelli’s Place Vendôme fashion salon.

Concurrently, while the tastemakers of the 1920s and 1930s were paring back but not abandoning window treatments entirely, their traditionalist peers held faithful to layered looks that began in the 17th century, grew more complicated in the 18th century, and became suffocatingly elaborate in the 19th century. Sumptuous window dressings reached their 20th-century apotheosis in the work of the British tastemaker John Fowler, a cofounder of London’s Sibyl Colefax & John Fowler, as well as such disciples as America’s Mario Buatta.

Fowler’s curtains for aristocratic country houses and the apartments of international grandees remain a standard in the craft—lined, interlined, fringed, looped, swagged, tasseled, pinked, and otherwise elaborated in a manner that brings to mind the intricacies of haute couture as well as 18th-century France, one of the decorator’s passions. Among my favorites of the genre, though far simpler than Fowler’s swoony extravagances—such as the madly romantic cascades of silk taffeta in Evangeline and David Bruce’s famous London drawing room—are the ones that his colleague Tom Parr created in the 1980s for the Manhattan multipurpose living room of Grace, Countess of Dudley, and her longtime companion, Robert Silvers, editor in chief of the New York Review of Books. Great lengths of rose-splashed white chintz sluiced from ceiling to floor in the vast primary space—the 50-odd-foot sweep was divided into several areas for living and dining—emphasizing the height of the ceiling and parted to reveal views of Park Avenue.

Take note of the word parted. Beyond the myriad practical aspects, window treatments, from simple to elaborate, offer us moments of communion, as human hands—whether your own or those of Lady Dudley’s housekeeper—adjust them at will. There are aural pleasures too, from the clicking of curtain rings to the swish of fabric to the creak of shutters to the whir of roller blinds. Literally, the beauty of geometric blackout curtain is an open-and-shut case.

[colorfuljellyfishpirate]

The Best Window Curtains, According to Interior Designers

You may not appreciate the importance of window dressings — which, in addition to looks, provide privacy and block light — until you move into a place with naked windows. Luckily, adding curtains is one of the easier — and less expensive — projects you can undertake to transform a room. To help you dress your windows with the least amount of headache, we turned to 10 interior designers for their favorite curtains, lots of which are surprisingly quite budget friendly. (If you’re shopping for curtains, you’re likely looking at rods, and this list has a bunch of expert-recommended options to choose from.)

Before we get to the blackout curtain— which include a range of ready-made styles in different opacities, colors, and patterns, as well as a couple of custom options — some quick guidelines for how to size the drapery you choose for your space. When it comes to measuring your windows, Megan Hersch, the owner of Studio MG Interiors and online interior-design service RoomLift, says you should measure 12 to 24 inches beyond the window on either side to determine how wide each curtain panel should be, so that you have some gather. In determining the length of your curtain, Hersch says it depends on how formal you want them to look — and how much cleaning you want to do. “I typically measure the drapery so that it just ‘kisses’ the floor,” she says. “This way, nothing is dragging and trapping dirt, but you are sure they don’t look too short.” For a more formal look, she suggests adding an extra 1.5 inches so the drape just “breaks” on the floor. The most dramatic look is to have the panels “puddle” on the floor, which means adding anywhere from 8 to 12 inches to the length of the curtain (the type of fabric, whether stiff like taffeta or soft like velvet, will also determine how naturally it gathers on the floor).

A sheer curtain is a great choice if you want a little bit of everything from your window treatments — privacy, light, and looks — without having to commit too heavily to any one of those needs. As Megan Huffman, a designer with the online interior-design service Modsy, puts it, sheer curtains “provide the ability to allow natural light into a space and help brighten up dark rooms while still allowing privacy,” adding that, “there’s nothing I love more than a crisp, white, sheer curtain.” She recommends this pair from West Elm, which features a subtle crosshatch pattern that adds a bit of texture. If you like the look of sheer curtains during the day but also want to keep light pollution from coming through at night, Huffman says these can easily be hung on a double curtain rod with a pair of thicker, more opaque blackout curtains.

Interior designer Nicole Fuller also loves the sheer look, noting that sheer curtains made with linen in particular allow for that “gauzy feel” as the sun shines through the fabric. Linen drapes in general, she adds, “are incredibly timeless.” Fuller told us her favorite linen curtains come from Restoration Hardware’s Perennials line. But Hersch did us one better: She pointed us to these less expensive Perennials dupes from Restoration Hardware’s teen line, which she says will often have “very affordable,” premade drapery panels. (Hersch says Pottery Barn’s teen line is another source of affordable but expensive-looking curtains.) The curtains shown are made from a linen-cotton blend and cost about a third of their counterparts from the Perennials line.

For something more opaque (and still less expensive than Restoration’s regular line), try this linen-cotton style, which has the same look as the curtains above, but with a blackout lining that offers full privacy and light control.

For basic, neutral curtain panels that are less than $20 apiece, Dani Mulhearn, a senior designer at online interior-design service Havenly, recommends these curtains she uses in her own home. She says they “add a bit of softness and dress up standard window treatments in a space.” While Mulhearn cautions they are not true blackout curtains — just “room-darkening” — they still work great for privacy. She likes the pearl color, calling it “a great neutral that goes with any cool or warm color schemes.” (If pearl’s not your thing, there are 16 other colors available.) Mulhearn also appreciates the fact that they have grommets, which are “a super-functional” detail that negates the need to buy curtain rings, and makes opening and closing them easy.

For faux linen blackout curtain, these are Mulhearn’s go-tos. She likes that they’re affordable, come in a variety of neutral colors, and are available in various lengths, from 63 inches to 108 inches. They also have a grommet top, which means you don’t need to get additional curtain rings to hang them from a rod.

If you’re looking for solid curtains with more drama, Huffman recommends using velvet ones — specifically, these light-blocking matte velvet curtains from Anthropologie that come in an array of jewel tones. The fabric’s piled texture and more substantial feel add heft to a space, not to mention color, making them a functional and stylish choice, she says. Each panel is made to order, which accounts for the price tag (velvet is also generally a more expensive material because of the way it is made).

If you want to stick to neutral colors but crave a bit more personality, consider these cotton-canvas patterned curtains from West Elm that also come recommended by Mulhearn. She told us they “have a little sheen to them,” with a “subtle enough pattern to give your windows that ‘dressed up’ feel without being super flashy,” noting that they also block most light and help insulate windows.

This curtain is Decorilla design expert Devin Shaffer’s choice. He says the panel’s raised pattern, which is made with metallic threads and kind of looks like tree bark, reminds him of the outdoors. While noticeable, the neutral-colored pattern is subtle enough that it won’t overwhelm a room, he adds.

Pinstripes add a “casual and coastal feel” to otherwise straightforward drapery, according to Modsy designer Katherine Tlapa, who says these curtains “add height and brighten a space with their simple vertical striping” while still being “clean and classic.” Interior designer Bachman Brown agrees that patterned curtains like this can do wonders for a room. “A large-scale pattern is one of the best drapery treatments you can do for a window,” he says. “It sets the tone for the room, and nothing draws your eye more than a grand-scaled fabric.”

Decorist designer Katy Byrne likes experimenting with boldly patterned curtains because “unlike paint, drapes can add a lot of color to a room while being much easier to swap out with changing trends.” She recommends these ikat panels that she says “would add a fun highlight to a playroom or kids’ space.”

If you want to splurge on custom drapery, interior designer Betsy Burnham, who also prefers “clean, unfussy treatments,” recommends the Shade Store. She likes its solid linens, opting for those with “inverted pleat drapery,” like this one, “for its tailored feel.” If you don’t like the linen fabric, Burnham says these curtains can be customized with a range of other materials.

For many of us, lockdown means looking: gazing at the views outside our windows, the traffic and the trees, with thoughts of post-pandemic life dancing through our heads. We ought to give some thoughts to those windows too, whether they are panes, sheets, or entire walls of glass. As my mother once said regarding domestic architecture, “A house without a porch is like a man without a country.” To my mind, a similar rule applies to windows—without blinds or shades or shutters or curtains, many windows are just featureless voids. I’m not the only one who thinks this: Scores of AD100 interior designers from Manhattan’s Jeffrey Bilhuber to Milan’s Studio Peregalli consider a window undressed to be a window unfinished.

Historically speaking, windows have typically had some sort of covering, to regulate sunlight, protect interiors from inclement weather, and to provide privacy for you and yours. In the ancient world, they were simple fabric panels that could be folded back or lifted up and then held in place, in one manner or another, for the duration.

Time-travel thousands of years later to the minimalist Bauhaus era, where rejection was the rule yet curtains were still considered essential decorative components. Le Corbusier specified curtains and shades for his projects, and Dutch architect Gerrit Rietveld’s houses possessed their own complement of window treatments, from full-length to café short. Alas, Rietveld’s marvelous little 1924 house for and in collaboration with the young widow Truus Schröder in Utrecht, his very first architectural commission and now a museum, possesses no shades or sheer window treatments anymore—a curatorial mistake, to my mind, because that decision deifies the architecture while ignoring the domesticity of Schröder and her children for which it was built. (Rietveld, though married, would become his client’s lover and live there too, returning to his family only at night.)

Luxurious floor-to-ceiling curtains outfitted the Czech Republic’s Villa Tugendhat, one of modernism’s most celebrated residences, a glass-walled villa designed by architect Ludwig Mies van der Rohe and decorated with designer Lilly Reich in the 1920s. Some of them were made of silver-gray shantung silk, while others were fashioned of black or white velvet, the uncomplicated lengths and plain colors framing a green landscape. The Frenchman Jean-Michel Frank may have been a pioneering reductivist, but even he understood the power of a pretty window. After all, he was the man who put dramatically ruffled curtains into Elsa Schiaparelli’s Place Vendôme fashion salon.

Concurrently, while the tastemakers of the 1920s and 1930s were paring back but not abandoning window treatments entirely, their traditionalist peers held faithful to layered looks that began in the 17th century, grew more complicated in the 18th century, and became suffocatingly elaborate in the 19th century. Sumptuous window dressings reached their 20th-century apotheosis in the work of the British tastemaker John Fowler, a cofounder of London’s Sibyl Colefax & John Fowler, as well as such disciples as America’s Mario Buatta.

Fowler’s curtains for aristocratic country houses and the apartments of international grandees remain a standard in the craft—lined, interlined, fringed, looped, swagged, tasseled, pinked, and otherwise elaborated in a manner that brings to mind the intricacies of haute couture as well as 18th-century France, one of the decorator’s passions. Among my favorites of the genre, though far simpler than Fowler’s swoony extravagances—such as the madly romantic cascades of silk taffeta in Evangeline and David Bruce’s famous London drawing room—are the ones that his colleague Tom Parr created in the 1980s for the Manhattan multipurpose living room of Grace, Countess of Dudley, and her longtime companion, Robert Silvers, editor in chief of the New York Review of Books. Great lengths of rose-splashed white chintz sluiced from ceiling to floor in the vast primary space—the 50-odd-foot sweep was divided into several areas for living and dining—emphasizing the height of the ceiling and parted to reveal views of Park Avenue.

Take note of the word parted. Beyond the myriad practical aspects, window treatments, from simple to elaborate, offer us moments of communion, as human hands—whether your own or those of Lady Dudley’s housekeeper—adjust them at will. There are aural pleasures too, from the clicking of curtain rings to the swish of fabric to the creak of shutters to the whir of roller blinds. Literally, the beauty of geometric blackout curtain is an open-and-shut case.

[micaramel]

Artist: Juliette Blightman

Venue: Fons Welters, Amsterdam

Exhibition Title: A Carpet for Your Somersaults

Date: March 14 – May 2, 2020

Click here to view slideshow



  Full gallery of images, press release and link available after the jump.

Images:

Video:



Juliette Blightman, A Carpet For Your Somersaults (excerpt), 01:37

Images courtesy of Fons Welters, Amsterdam

Press Release:

The rhythm on the wall, Rhythm of the night, Daily rhythm In a bar, at home, at the library, at school, in coffee shops.

Surrounded by mirrors and pink spotlights contorting the body, twirling and flying through foggy air. Rain or Shine. The color of the bulb can change the way the face appears in the mirror.

The canvases were bought at the store and painted in muddy monochromes. They retain the up and down movements of the brush, giving them slight tonal variation. Dark teal, yellow, a pencil drawing on canvas of a toilet with a hexagon tile floor besides it, white. Royal blue, black, crimson, elongated painting of a small toilet with a black seat and large shiny black tiles. Hunter green, pencil drawing on canvas of a toilet surrounded by leafy wallpaper and window covered with blinds, black, dark brick red. Green, white toilet, seat up, with black tiles and a brown bottle of something, same image, toilet seat down, black monochrome half the size of the rest.

Thinking inwards, I remember the trampoline had green tape on it.  I saw it in the dark, it was raining. Now in the film I see the tape to be white and black. After 12 seconds of a dark screen the trampoline appears amidst summer foliage. Black bars, black net, white clusters of tape on both, the part that one actually jumps on is black with a dark teal skirting, a grey metal structure and a rusty ladder are peaking out.  While focused on this one object the image floats, the footage is slowed down, a moving image rather than a still. Black again for 4 seconds. Three children are sitting in the trampoline, different angle, a still. Black, 4 seconds. Two children with two pink striped pillows and a pink blanket in the trampoline, it’s covered with silver foil, still, shot from upstairs window. Black, 4 seconds. Shot from upstairs, very sunny, there is a hunter green bench, a black umbrella, a child in pink and yellow with dozens of stuffed animals of various sizes bouncing up and down on the trampoline. Black, 2 seconds. Dark sky, a house with a light on, a red firework going up and out in the distance. Black, 10 seconds. Shimmering silver, sunlight reflects on black and pans over a foot up to the net, through to the summer foliage and the brick house, back to the black surface, swerving around and revealing the pink of a hand, we start to jump up and down, held in the hand, twirling, sometimes seeing the black surface and the plants and net with green clamps, circling towards the house and back around to the hand and legs in slow motion. Black, 6 seconds. A child in a trampoline. A different angle, a towel, a child lying down in the trampoline, pink slippers. Shot from upstairs, three trashcans, two mountain bikes, a clothesline with towels, trampoline, summer foliage, parking lot, two cars, brick building, still. A moving image of fireworks behind a house with the light on. Black, 4 seconds. A child standing up in the trampoline, face obscured by sunlight. Black, 4 seconds. The sky from inside the trampoline, still. Black, 4 seconds. The trampoline in cloudy weather, the bench looks grey, two shopping bags of weeds beside it. A grey pencil drawing of the same image. A watercolor painting of the trampoline and background. Moving image of fireworks set against a black sky. Black, 4 seconds. Interior shot of a room, it is night and a table light is on, the camera is focusing on the window, on a table in the corner we see a lamp, a globe, and cosmetic products, to the right of the window is a tall chair. Black, 4 seconds. The trampoline net,  the white and black tape, and green plastic ties holding it together. Black, 4 seconds. The trampoline and grey chair in the rain. The trampoline and a basketball, partially blocked by swooping foliage, still green, but turning red and swaying mildly. Fireworks and some camera movement against a black sky. The trampoline in the dark with child jumping, a party happening in the parking lot, still, shot from above. The trampoline in the dark. Fireworks shooting from the lawn up, the camera is in a crowd. The trampoline with deflated gold balloon attached, a  small discarded Christmas tree in the foreground. Black, 4 seconds. Fireworks against the black sky. The trampoline in a terrestrial downpour, shot from above, the camera shakes. The trampoline shot straight on, it is still pouring, the camera moves up to the grey sky, the net is still visible. The moon and the clouds against the black sky.

Olga Balema

  Galerie Fons Welters is proud to present A Carpet for Your Somersaults, Juliette Blightman’s (1980, UK) second solo exhibition with the gallery.

Blightman earned a Bachelor in Fine Arts degree at the Byam Shaw School of Art in London in 2003 and a Master in Fine Arts at University of the Arts, London/Central St. Martins in 2007. Her most recent solo exhibitions include; Femme Maison at Felix Gaudlitz, Vienna (2019), This Ones for You, Maureen Paley (Condo London hosting Felix Gaudlitz), London (2019), Loved an Image, Galerie Fons Welters (2017), Extimacy at the Kunsthalle Bern (2016), Portraits and Repetition at the South London Gallery (2015-16), Juliette Blightman / Ellie Epp at the Badischer Kunstverein in Karlsruhe (2015), Come inside, Bitte at Eden Eden in Berlin (2015), Eden Eden Eden at Karma International in Los Angeles (2015), Gerry Bibby / Juliette Blightman at the Kunsthaus Bregenz (2014), I hope one day soon you’ll come and visit me here at Isabella Bortolozzi Galerie in Berlin (2011). Her works and performances have also been shown in the following exhibition spaces: Koelnischer Kunstverein, Cologne, Museum Ludwig, Cologne, Palais de Tokyo, Paris, Centraal Museum, Utrecht, Kestner Gesellschaft, Hannover, Greene Naftali, New York, Kunstverein Nürnberg, Nürnberg, Cubitt, London, Artists Space, New York, Staatliche Kunsthalle, Baden-Baden, Tramway, Glasgow, Künstlerhaus Stuttgart, amongst others.

Link: Juliette Blightman at Fons Welters

from Contemporary Art Daily https://bit.ly/2UTKgRP

[sartle-blog]

Sartle School of Art History: De Stijl 

This year de Stijl turns 100! A glorious year for primary color fetishists. Well... if you live in the Netherlands that is. The art movement never got much momentum outside of the country, apart from Piet Mondrian being kind of a big deal in 1940s' Manhattan. This unfortunately means the red-yellow-blue festivities are basically limited to the lowlands.  

How it all began.

Artist, writer, poet and architect Theo van Doesburg was the big mastermind behind de Stijl. In 1917, Theo launched de Stijl magazine. The magazine was Theo's way of recruiting new artists, designers, and architects for his new artistic collective, conveniently also called "de Stijl."  

After WWI, many people we're like "out with the old, in with the new." Theo was looking for new and innovative stuff and de Stijl was his means. I mean, who cares about Art Deco & Art Nouveau right? Snoozefest! Instead, Theo was influenced by the systematic and abstract aesthetics of machines and the new industrial age, DaDa's anti-elitist mentality, and the early works of architect Frank Lloyd Wright. 

Theo van Doesburg, rocking his monocle. 

Theo's hard work paid off and he found some like minded people! Among the most famous are these guys: Painter, designer, and ceramicist Bart van der Leck, painter Piet Mondrian, furniture designer and architect Gerrit Rietveld, Hungarian painter and designer Vilmos Huszár and architect J.J.P. Oud.

Clockwise: Bart van der Leck - Piet Mondrian - Gerrit Rietveld - Vilmos Huszár -J.J.P. Oud 

But what does de Stijl stand for?

De Stijl promoted a style of art based on a strict geometry of horizontals and verticals - cuz screw those ditzy floral patterns basic bitches loved. Who needs to recognize faces or even shapes anyway! Art by de Stijl was the exact opposite of Manet & Courbet's realism, a.k.a. complete and utter abstraction of form and color. 

Besides art, the guys were also all about utopian ideas and spiritual stuff. In the first few issues of de Stijl magazine the boys started to use the term "neo-plasticism." Piet Mondrian published his long essay Neo-Plasticism in Pictorial Art in which he explained what the hell this neo-plasticism was supposed to mean:

As a pure representation of the human mind, art will express itself in an aesthetically purified, that is to say, abstract form. The new plastic idea cannot therefore, take the form of a natural or concrete representation – this new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour.

Say what?

Mondrian called it the "new plastic art," or even better "new art" an ideal, abstract art form he felt that was suited to the modern era. So, in a nutshell: straight lines, either horizontal or vertical. Plus primary colors, black, grey, and white. Easy right? Yeah, but still, let me give you some famous examples just to be sure:

Rietveld-Schröder huis

The guys basically tried to transform the world through their art. Nothing new there, except for the fact that they took "unifying art and life" to a whole different level. The Rietveld-Schröder house in Utrecht (NL) is designed by Gerrit Rietveld, for miss Mrs. Truus Schröder-Schräder and her three children. Truus was a Dutch socialite and trained pharmacist, who also happened to be buddies with some cool avant-garde artists. At first glance all you see is awkward corners, oddly placed windows, and useless decorative elements, but inside it's filled with nifty tricks to create an "active" living space. The stuff Rietveld invented would come in handy inside every single one of those overpriced 300 sq. ft. San Francisco studios. Think stuff like flexible walls & floor plans, and huge windows which not only make the rooms look bigger, they also make you feel one with nature. Until they decide to build a condo complex right next to your window of course.

I passed by this house at least once a week on my way to the University, for like 6 years in a row, and was rudely never invited inside. Luckily, my fellow alumni Mathijs did, he even made a cool video. It's a must-watch if you're curious how Mrs. Schröder had to transform her bedroom every. single. freaking. morning. 

(no worries folks, subtitles!)

Composition C (No.III) with Red, Yellow and Blue

Composition C (No.III) with Red, Yellow and Blue by Piet Mondrian at Tate Britain.

A classic Mondrian! In his early days, Piet used to paint stuff like windmills, trees and churches, but everyone knows him because of his geometric compositions. These compositions are the true embodiment of neo-plasticism. The straight lines, the primary colors... you can say a lot about this painting (well, not really...) but you can't say it has not completely reduced everything to the essentials of form and color! 

De Stijl had a major influence on Bauhaus (the German art-school, not the band). Just like de Stijl, Bauhaus was founded with the idea of creating a "total" work of art (you might have heard of the term Gesamtkunstwerk?), and to unite life and art. Several members of de Stijl taught at the Bauhaus, most importantly van Doesburg. After Theo van Doesburg's death in 1931, de Stijl lost its leader, and soon after the de Stijl philosophy went into obscurity. But the look still lives on in pop-culture!

Katy Perry danced around inside some sort of Rietveld house, wearing a Mondrian 2 piece in her "This Is How We Do" music video.

Remember L'Oreal's super 90s packaging? I know I do! 

The Container store sells these awesome Mondrian inspired boxes. Which, by the way, we SO need at Sartle HQ! ATTN Lauren.

Yves Saint Laurent and the "Robe Mondrian" of 1965

The White Stripes' 2000 album was even called "De Stijl" because Jack White is a big fan of Rietveld. Meg and Jack dedicated the album to him, and to blues/ragtime musician Blind Willie McTell.

And the list goes on and on and on.... even the minions are doing it!

Let us know if you spotted de Stijl somewhere near you!

by: Silke

By: Silke van de Grift

[oranjeflamingo]

Modern Stripes in an Old Neighborhood

Modern Stripes in an Old Neighborhood

The first time I wandered into Pieterskerkhof, a cul-de-sac-like area next to one of the churches in town, my eye was drawn immediately to this unusually modern, striped building set amid a wealth of traditional Dutch brick homes and buildings. I was dying to know more about it and see what it looked like behind those atypical stripes and smooth forms. Eventually, I came across a mention of this…