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In 1943, when she was working in Hollywood, Dorothy Parker was one of the pre-eminent figures in the American intelligentsia. Her poems and critical writing in The New Yorker and Vanity Fair had made her a force to be reckoned with in highbrow circles; even if she wasn’t revered in academic circles at that time, she was still a shining example of the liberal, educated mind.
So a confession she made that year about the uneasy relationship that has always existed between intellectuals and the popular art form known as the comics was both startling and revelatory.
john allen
"I listened yesterday. It's no reflection on you but I could'nt see where you were going or what you were going for. This early seventies thing did'nt get noticed the first time and you talk about friends of like Dealney and Bonnie who had records out like we're supposed to remember who they are. Then you play this long winded free jazz stuff that really grates on my nerves. And that noise without a beat and sounds like someones being pinched. Then you play a reggae song, I think you called it Dub, to what, be cool? You seem to really fetishize the whole folk thing too which is obnoxious to us who don't even care. I liked it when you played that punk song though."
archive_playlists /terry reid interview
cuechamp working title
random notes on flavin at nga
Late last week I posted an excerpt from my Dan Flavin review (scroll down to the image). And smart readers know how to get their eyes on a full copy. Today I wanted to toss in some random thoughts...
I mentioned in my review that Flavin is installed on carpet. It's really awful. Buzz is that the show's curators know it, aren't happy about it, but couldn't put down wood floors because the structural floors in the I.M. Pei building are uneven. (The wood floor would crack.) Look for the NGA to do some significant floor work in the East Building sometime in the next few years; I also mentioned that some of the rooms are too densely installed. Flavins bleed into Flavins, thus diluting some of their power;
My favorite mix of installation and artwork is Flavin's monument for those who have been killed in ambush... When I blog I try not to 'give away' parts of shows, so I'll just leave it at that; If you're art-smart enough to be reading MAN, you'll love one of the last rooms of the exhibit. In it the curators have assembled Flavin work that Flavinizes other artists. Go with a friend and see who can nail all the references;
Dear National Gallery: Benches!!;
The curators of the Smithson show in LA and the Flavin show in DC independently made the same decision: My artist made site-specific works. Nothing I can do in my show can capture those works because they're so site-specific. So I'm not going to show them. Even as I type that, it sounds like it should be a mistake. But it's not. Both teams of curators made the right choice. Photographs of Spiral Jetty or Amarillo Ramp would look cheesy when surrounded by Smithson's other work. Same with Flavin's site-specific work;
Speaking of installation... why is there still a Tony Smith and Gerhard Richter installed on the mezzanine? They weren't made to be lit by green light.
Why do the Flavins in the catalog look so good? Most of the works shown in the catalog were installed one at a time in Dia's building in Chelsea, then photographed, then taken down. Smart.
No one was better than Adorno at dissecting the psychic and emotional brutality of capitalism’s regimes of commodification and the increasing pressure it exerts on individuals to define themselves through consumption. This, he argued, led to the compulsion to shut off one’s capacity for empathy, whether with working people whose labor produces commodities (how could we shop at Wal-Mart otherwise?) or those whose homes, lives and futures are being sacrificed in the name of a market-friendly abstraction called “Iraqi freedom.”via arts and letters daily
Adorno referred to this “shut off” compulsion in refreshingly severe terms, calling it “the mechanism of psychic mutilation upon which present conditions depend for their survival.” As Lee suggests, he surely would have had much to say about our contemporary equivalent of proto-Nazi “body culture,” in which such perverse phenomena as full-body cosmetic “extreme makeovers” have moved from creepy evidence of psychopathology to prime-time entertainment.
Thus, those who assume that Adorno was politically conservative because he didn’t like American mass culture don’t look closely enough at why he didn’t like it—they miss the deep ideological interconnectedness he traced between subjectivity, consumption, production, the conditions of possibility for empathy and, with this, political agency. Because he saw these questions as interconnected, his work can be very hard to read. Yes, it is stylistically complex to an extent that can repel even those who agree with his analysis—“Critique of Capitalism for Dummies” this is not. But I would argue that the complexity is necessary to accommodate his consistent constellations of concerns.
opera cast
public radio fan
found footage festival
from reblog
boltz cd rack 600 x 4
"We're going through something very similar in real estate that we did with stocks," said Robert J. Shiller - a professor of economics at Yale, whose prescient book on stocks, "Irrational Exuberance" (Princeton University Press, 2000), appeared just a few months before technology stocks began their slide. "It's driven by the same forces: that investments can't go bad; that it has the potential to make you rich; that you'll regret it if you don't do it; that it looks expensive but is really not."
"With the push of a button, Clackamas High School staff can put the almost 2,000-student school in lockdown. Teachers also can lock themselves and students inside classrooms in an emergency. Clear lines of sight throughout the building allow monitoring of large swaths of interior space."
CINEMA ZERO at S I
film screening /
to change a thing into a different thing
curated by Amy Granat
Wed Mar 30 2005 / 7:30 pm
The S I is pleased to announce a collaboration with Cinema Zero, presenting a program of experimental films, selected by founding member Amy Granat. Please join Cinema Zero and the S I for this special event.
FILM PROGRAM
Marie Menken
HURRY!HURRY!
16mm, color, sound, 3 min.
Standish Lawder / soundtrack: Terry Riley
CORRIDOR (1968-70)
16mm, b&w, sound, 23 minutes
Jud Yalkut
THE GODZ (1966)
16mm, color, sound, 9 min.
Standish Lawder / soundtrack: Robert Withers
RAINDANCE (1972)
16mm, color, sound, 16 minutes
TOTAL RUNNING TIME approx 55 minutes
Cinema Zero, founded in 2004, fosters experimental cross-collaborations. Drawing from the collaborations and events at "Degree Zero / A Certain American Scene," a series organized in Grenoble by Olivier Mosset in the autumn of 2004, Cinema Zero has continued to strengthen is mission of fostering collaboration and experimentation with its Winter Solstice Program, featuring a film program curated by Amy Granat and an exhibition by Paul-Aymar Morgue d'Algue. This winter, dancer/choreographer Felicia Ballos and Amy Granat performed at Lombard-Fried and, through March 26, artist Rich Aldrich and Granat have an installation on view at Olivier Kamm in the exhibition KA/VH : RA/AG. Ballos and artist Anna Craycroft are currently working on developing a dance performance for fall 2005 that will be presented at the S I.
37 Short Fluxus Films Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Films by Nam June Paik, Dick Higgins, George Maciunas, Chieko Shiomi, John Cavanaugh, James Riddle, Yoko Ono, George Brecht, Robert Watts, Pieter Vanderbiek, Joe Jones, Eric Anderson, Jeff Perkins, Wolf Vostell, Albert Fine, George Landow, Paul Sharits, John Cale, Peter Kennedy, Mike Parr, Ben Vautier.
"Erik Satie and his cronies, after begging everyone in the gallery to ignore them, broke out into what they called Furniture Music-that is, background music-music as wallpaper, music to be purposely not listened to. The patrons of the gallery, thrilled to see musicians performing in their midst, ceased talking and politely watched, despite Satie's frantic efforts to get them to pay no attention."
hillbilly multiple
gender drinking
trailer in the expanded field
totally eclipsed
*sound*warning
see marfa tx
MG truike
bowery restaurant supply
chefs catalog
les switch bldg
Everywhere I go, no matter what I do, there is always some drunk lady screaming, ‘Aflac!’
Hitler's chief architect, Albert Speer, oversaw Prora's design competition, which was won by Clemens Klotz - more on the strength of his party connections than his architectural talent. Nazi architecture tended towards either monumental classical modernism - such as Speer's famous Nuremberg grounds - or the folksy, resolutely German Heimatstil. But Prora is neither of these. Its precedents were modernism's bold experiments with the "linear city", in which all urban functions were organised into an infinitely extensible system, leaving clear landscape on either side. Ivan Leonidov proposed such a plan for the Russian mining town of Magnitogorsk, as did Le Corbusier with his Plan Obus design for Algiers. In practical terms these ideas were almost science fiction but Prora made them real. Behind the hotel block would have been a mini town of sanctioned leisure facilities: gymnasium and swimming pool; concert hall; movie theatre, and as the centrepiece, a festivity hall large enough for all 20,000 visitors. Tellingly the latter was handled by a dif ferent architect, Erich zu Putlitz, in a stripped-down classical style more in keeping with Nazi tastes.
Like his mentors, Niemeyer was a Modernist. Modernist architects strove to create disorientating environments that were self-contained and separate from their surroundings. Like the painters they associated with, they attempted to shock people into reevaluating their middle-class world view. Le Corbusier, one of the founders of the movement, tried to achieve this effect through the creation of what he called "Radiant Cities," made up of homogeneous concrete slab buildings which sat on columns, surrounded by parkland and ribboned with superhighways. Architects around the world incorporated modernist principles into their projects for the next several decades, but no one was able to build an entire radiant city. Then, in 1956, the President of Brazil, Jucilino Kubitchek, announced that he was going to commission the building of a new capital in a desolate area of rolling scrubland. Urban planner Lucio Costa won the bid and Oscar Niemeyer was commissioned as the chief architect.
rip john delorean
It would be equally pointless to imagine that any architectural project could be reduced, either in analysis or design, to a definitive map that could account for all the forces at play, to a totalizing diagram of formal, psychological, and social relations. The convergence of discourses and economies at the nexus of subject, space, site, or program provides an opportunity not to resurrect an ultimate truth-value of "Site" or "Program," but to utilize each force against itself, against the other forces, and against the entire project. The nostalgia of current "contextualism" can be interrogated by architecturally utilizing past or present aspects of the context to simultaneously problematize the object by the site and the site by the object. The naive problem-solving of sixties behavorialism can be similarly interrogated by architecturally utilizing the program to question certain institutional practices. In all cases, any representation of these forces will always be one of many possible representations.
Yet if we interpret everything in terms of machines and the effects of machines, if everything flows and merges, how are we going to get a grip? Here the diagram plays a fundamental role. Deleuze borrows the concept from Michel Foucault, who employs the word in Surveiller et punir (1975) with respect to panopticism. Foucault observed that the panoptical prison had a function that went beyond that of the building itself and the penitentiary institution, exercising an influence over all of society. Stressing the function of these machines, which produced various behaviours, he discovered this coercive action in workshops, barracks, schools and hospitals, all of which are constructions whose form and function were governed by the principle of the panoptical prison. According to Foucault, the diagram 'Is a functioning, abstracted from any obstacle... or friction [and which] must be detached from any specific use'.9 The diagram is a kind of map that merges with the entire social field or, in any case, with a 'particular human multiplicity'. Deleuze thus describes the diagram as an abstract machine. 'It is defined by its informal functions and matter and in terms of form makes no distinction between content and expression, a discursive formation and a non-discursive formation. It is a machine that is almost blind and mute, even though it makes others see and speak.'10
The concept of radical immanent criticism is inspired by traditions drawn from film, literature and theatre, from the ideas of the International Situationists and from recent studies of the urban field and of social theory. It is a form of criticism that tries to unmask the representation of institutions, but without disqualifying that representation or the predominant visual culture in its own right. 'Unmasking' is not something you do in order to uncover an authentic ideal unsullied by the spectacle, but to break the representation open. The aim is to be able to see realities that are free of a simulation where nothing matters any more. Seeking the authentic is a praiseworthy starting point, but a quest for authenticity that depends on the negation of spectacle is a hopeless, naIve struggle. It is more fruitful to seek a constant unmasking of all kinds of institutional values that reside and hide in our society of the spectacle. This implies that movement, dialogue and conflict are primary. Hope lies in the permanent unmasking of alienation. After all, in everyday life there will always be alienation. And without alienation there can be no philosophy
Architecture: the Essay
via architexturez>>criticism and architecture
by Georges Bataille
Architecture is the expression of the very soul of societies, just as human physiognomy is the expression of the individuals’ souls. It is, however, particularly to the physiognomies of official personages (prelates, magistrates, admirals) that this comparison pertains. In fact it is only the ideal soul of society, that which has authority to command and prohibit, that is expressed in architectural compositions properly speaking. Thus great monuments are erected like dikes, opposing the logic and majesty of authority against all disturbing elements: it is in the form of cathedral or palace that Church or State speaks to the multitudes and imposes silence upon them. It is, in fact obvious that monuments inspire social prudence and often even real fear. The taking of the Bastille is symbolic of this state of things: it is hard to explain this crowd movement other than by the animosity of the people against the monuments that are their real master. Moreover, each time that architectural composition turns up somewhere other than in monuments, whether it is in physiognomy, costume, music, or painting, one may infer a prevailing taste for divine or human authority. The great compositions of certain painters express the desire to force the spirit into an official ideal. The disappearance of academic construction in painting is, on the contrary, the opening of the gates to expression (hence even exaltation) of psychological processes that are the most incompatible with social stability. This, to a large extent, explains the strong reactions provoked for more than half a century by the progressive transformation of painting that, up until then, was characterised by a sort of hidden architectural skeleton.
It is obvious, moreover that mathematical organisation imposed on stone is none other than the completion of an evolution of earthly forms, whose meaning is given, in the biological order, by the passage of the simian to the human form. The latter already presenting all the elements of architecture. In morphological progress men apparently represent only an intermediate stage between monkeys and great edifices. Forms have become more and more static, more and more dominant. The human order form the beginning is, just as easily, bound up with architectural order, which is no more than its development. And if one attacks architecture, whose monumental productions are at present the real masters of the world, grouping servile multitudes in their shadows, imposing admiration and astonishment, one is, as it were, attacking man. One whole earthly activity at present, doubtless the one that is most brilliant in the intellectual order, demonstrates, moreover, just such a tendency, denouncing the inadequacy of human pre-dominance: thus, strange as it may seem when concerning a creature as elegant as the human being, a way opens up—indicated by painters—in the direction of bestial monstrosity; as if there were no other possibility of escaping the architectural chain gang.
In Documents # 2, May, 1929. Paris.
Architecture's place in art history: Art or adjunct?
In a community discussion of the look of Chicago led by a working group of three faculty and three visiting journalists from the University of Chicago's Franke Institute for the Humanities, W.J.T. Mitchell observed that he and his fellow faculty tend to take the local built environment for granted, depending on newcomers to provoke them to notice its qualities. Invoking Walter Benjamin's observation in his essay of 1936 "The Work of Art in the Age of Mechanical Reproduction," Mitchell concluded that Benjamin remains correct in claiming that we receive architecture in a state of distraction. (1) In this case, however, distraction was not working through architecture in the sense in which Benjamin imagined it working, to redemptive revolutionary effect. Here it was the contemplative reporters for Time, the New York Times, and the Chicago Tribune who had the most to say about how buildings engage problems of visual culture, while the faculty related to their own built environment in a mode of distraction unharne ssed to empowering revelation. (2)
Customers who bought this book also bought:
Anonymous: Enigmatic Images from Unknown Photographers by Robert Flynn Johnson
Snapshots: The Eye of the Century by Christian Skrein
Photobooth by Babbette Hines
Americans in Kodachrome 1945-1965 by Guy Stricherz
Forget Me Not: Photography and Remembrance by Geoffrey Batchen
Southern Californialand: Mid-Century Culture in Kodachrome by Charles Phoenix
other pictures - the snap*shot collection of thomas walther
sol lewitt photo grids
Bush to Cities: DROP DEAD
The news is all bad. And it's nearly impossible to focus when confronted with the 99th article about the soaring deficit, the Bush administration's efforts to privatize Social Security, or the latest multibillion-dollar request for funding the Iraq war. The numbers are incomprehensible, the arguments read like boilerplate, and it's tempting to tune it all out. Better to let the policy wonks in Washington squabble.
So here's a headline from the Washington Post, January 14, 2005: "Bush Plans Sharp Cuts in HUD Community Efforts." It makes your eyes glaze over, doesn't it? It's one of those stories that is easier to skip. After all, what's it got to do with you? But read on: "The White House will seek to drastically shrink the Department of Housing and Urban Development's $8 billion community branch, purging dozens of economic development projects, scrapping a rural housing program, and folding high-profile antipoverty efforts into the Labor and Commerce departments, administration officials said yesterday."
“Corruption in large-scale public projects is a daunting obstacle to sustainable development,” said Peter Eigen, Chairman of Transparency International (TI), launching the TI Global Corruption Report 2005 today. “Corruption in procurement plagues both developed and developing countries,” Eigen added. “When the size of a bribe takes precedence over value for money,” he said, “the results are shoddy construction and poor infrastructure management. Corruption wastes money, bankrupts countries, and costs lives.” TI is the leading international non-governmental organisation combating corruption worldwide.
“Funds being poured into rebuilding countries such as Iraq must be safeguarded against corruption,” Eigen said today. “Transparency must also be the watchword as donors pledge massive sums for reconstruction in the countries affected by the Asian tsunami,” he added. The Global Corruption Report 2005, with a foreword by Francis Fukuyama, includes a special focus on construction and post-conflict reconstruction, and highlights the urgent need for governments to ensure transparency in public spending and for multinational companies to stop bribing at home and abroad.
‘Monuments of corruption’ from the Global Corruption Report 2005:
The Lesotho Highlands Water Project, in which US$2 million were allegedly paid in bribes by Acres International and 11 other international dam-building companies.
The Cologne incinerator project in Germany, where US $13 million was allegedly paid in bribes during the construction of a US$ 500 million waste incineration plant.
The Yacyretá hydropower project on the border of Argentina and Paraguay, built with World Bank support, is flooding the Ibera Marshes. Due to cost overruns, the power generated by Yacyretá is not economic and needs to be subsidised by the government. According to the head of Paraguay’s General Accounting Office, US$1.87 billion in expenditures for the project ‘lack the legal and administrative support documentation to justify the expenditures’.
The reservoir of the Bakun dam in Sarawak, Malaysia, which will submerge 700 km2 of tropical rain forest. The mandate to develop the project went to a timber contractor and friend of Sarawak’s governor. The provincial government of Sarawak is still looking for customers to consume the power to be generated by the project.
The Bataan nuclear power plant in the Philippines, built at a cost of more than US $2 billion. The contractor, Westinghouse, admitted paying US $17 million in commissions to a friend of former president Marcos. The reactor sits on an active fault line, creating a major risk of nuclear contamination if the power plant ever becomes operational.
The Bujagali dam in Uganda, which is currently being investigated for corruption by the World Bank and four different governments after a British subsidiary of the Norwegian construction company, Veidekke, admitted paying a bribe to a senior Ugandan civil servant. The cumulative environmental impacts of Bujagali and other dams on the Nile have never been assessed.
2005 pritzker to t mayne - hopefully selma can tell us if this is a good thing
mapping sitting
If New York's Madison Avenue and Hollywood's Vine Street could meet, that imaginary intersection would provide the perfect vantage point for TCM's look at product placement in the movies. This promotional tactic, in which a real commercial product is seen in a fictional film, is thought of as a relatively recent development, perhaps dating to the prominent appearance of Hershey Food Corporation's Reese's Pieces in 1982's E.T. The Extra-Terrestrial. Truth is, Hollywood has always worked closely with various industries in promoting the consumption of their products. With this festival, TCM looks at how these relationship evolved; creating subtle advertisements and allowing certain products to become associated with particular actors and films.
The work, measuring 66 by 32 feet, was a gigantic blue-and-white striped drape that hung from the top of the rotunda. It was Mr. Buren's contribution to the Sixth Guggenheim International, an important exhibition that signaled the arrival of a post-Pop generation of artists who fabricated artworks from rubber, lead, fluorescent tubes and plywood. Led by Dan Flavin and Donald Judd, 5 of the 17 artists in the show complained that Mr. Buren's big banner would prevent viewers at certain vantage points from seeing their works and demanded it be removed. The day before the opening, the museum capitulated, and it was taken away.
gypsy lore
hand made
permanent wtc path terminal
The Movies of Yves Klein.
Yves Klein (1928 - 1962) was not a director, but during his practice,
he asked professionals from the Gaumont Studio in Paris to shoot some
of his performances and ephemeral pieces. These films have been
recently restored for the Yves Klein Archives by the Pompidou Center in
Paris.
Yves Klein Practices Judo in Japan; Yves Klein working on his murals
for the Gelsenkirchen Opera; "Anthropometries of the Blue Period"
Performance at Gallerie de France; "Dimanche 27 Novembre" Edition of
the Newspaper; Yves Klein producing anthropometries with a model; Yves
Klein testing the Air Roof; Presentation of the Air Architecture
project during the show "Antagonisms 2"; "Yves Klein: Propositions
Monochromes" Exhibitions at C.Allendy and I.Clert; Exhibition of the
Void at Iris Clert Gallery; Opening of the Gelsenkirchen Opera; Sponge
Reliefs; "Monochrome and Fire" Show in Krefeld, Prototype of the Fire
Column and Wall; Yves Klein producing Fire Paintings; Wedding of
Rotraut Uecker and Yves Klein; Studio/Apartment of Yves Klein.
rat rod pick of the day 2
rat rod pick of the day
“A photograph is a secret about a secret The more it tells you the less you know."
--d.arbus
rat rod pick of the day
bag house
lightning bolt d and d cowicide slayer edit via boing boing
todays rat rod pick
"You tell us what kind of person you think Larry Clark is after you've examined his great work of art."
harry smith << naropa audio archive << internet archive
the american look
hodgy
mcmasters
architectural products
old house web
mondo klein
135 joralemon bkln
black tom pier jersey city
The Romantic1 poet John Keats (1795-1821) coined the phrase 'Negative Capability' in a letter written to his brothers George and Thomas on the 21 December, 1817. In this letter he defined his new concept of writing:
I mean Negative Capability, that is when man is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact and reason.
What Keats is advocating is a removal of the intellectual self while writing (or reading) poetry – after all:
Beauty is truth, truth beauty – that is all
Ye know on earth and all ye need know
- Ode on a Grecian Urn, lines 49-50
It was a mystery for a New York minute. On, Tuesday the Astor Place Cube went missing—and neither the police nor local community leaders nor its creator, the famed sculptor Tony Rosenthal, knew where it was.
yve-alain bois on yves klein
Jake Morrissey examines the intense rivalry between two seventeenth-century Italian architects who transformed the architecture of Rome: Gianlorenzo Bernini and Francesco Borromini.
connecticut salt marsh barn
Heeding urgent pleas from preservation advocates, the city's Landmarks Preservation Commission agreed yesterday morning to hold a hearing on the future of the 1949 Paterson Silks retail building at Union Square. But it was too late.they couldnt even get a decent picture of the damned building!
Hours earlier, the building's most distinctive feature, a double-height, glass-walled tower, had fallen victim to the wrecking ball to make way for a Bank of America branch.
The missed opportunity jolted advocates of midcentury architecture who have been fighting to save the Paterson Silks building and the former Summit Hotel in Midtown Manhattan. Both were designed by the architect Morris Lapidus, best known for his colorful Miami Beach creations like the flamboyant Fontainebleau and Eden Roc hotels.
"I'm going to say a horrible word," warns University of Illinois at Chicago architecture professor Roberta Feldman as she discusses the public's conception of prefabricated housing. "Trailer trash. We link it with people we consider uprooted and mobile." Housing built in a factory doesn't exclusively mean double-wides, and it may offer an affordable alternative to the usual -- and more expensive -- practice of building homes from scratch on-site. But it can be hard establishing a comfort level with a something that often seems as much joke fodder as housing type.by my count thats two words. go ahead, say it again...
Renowned French conceptualist Yves Klein (1928-1962) produced a prescient body of work concerning the concept of air architecture – an immaterial architecture. From 1957 to 1962, Klein developed “Air Architecture,” a visionary project of living environments designed to reconnect people with the Earth and its elements. This concept represents an architecture that engages climate at the origin of its design process, with the ultimate goal of radically transforming society.
Birds and Glass Buildings
Published: March 7, 2005
To the Editor:
Re "A Cube in the Land of the Wheel: Redefining Public Space at the G.M. Building" (news article, March 2 [for the NYT]):
Although the redesign of the General Motors Building on Fifth Avenue seems attractive, it will likely be hazardous to birds, which cannot recognize glass as a solid surface.
Since 1997, New York City Audubon's Project Safe Flight has found more than 4,000 birds that have been killed or injured by flying into glass. The toll includes more than 100 species, 42 percent of which are in decline.
New York City Audubon is raising awareness in the architecture and design community.
We seek opportunities to work with the glass industry to develop a glass that is transparent to humans but visible to birds.
On March 11, architects and conservationists will focus on bird-friendly design at a conference in Chicago.
E. J. McAdams
Executive Director
New York City Audubon
New York, March 2, 2005
counterfeit mini
john fekner industria
As he spoke, Mr. Shulman glanced at a poster made from his most famous photograph, a night scene of a 1959 glass-box home known as Case Study House No. 22, in which two women sit chatting in a room that appears magically suspended above an infinite spread of sparkling city lights. Designed by Pierre Koenig, the house was part of a much-lauded project promoting low-cost progressive design.
mid-west home buyers too short sighted to recognize great values in FLW homes:
Small rooms, big price: Wrights are tough sell
i dont think a 20% FLW premium over compribles is asking too much for masterpiece architecture!!!
especially with prices starting in the $300,000.00 - $400,000.00 range. then again, who wants to live in the mid-west?
In an arrangement known to few of the club's patrons, CBGB [OMFUG] subleases its spaces at 313 and 315 Bowery from the organization, which shelters 175 homeless people in the floors above the club. In 2001, the organization began efforts to collect more than $300,000 in back rent from the club. Although much of that has now been paid, the club faces eviction over remaining debts of about $75,000, both parties say.
carpocalypse
The show also has a single large painting, a black-and-white photorealistic portrait of the proprietor, Paula Cooper, copied by Mr. Stingel from a photograph made by Robert Mapplethorpe in 1984.
In those early years, he [Julius Shulman] used only a rudimentary Kodak vest pocket camera on a tripod with natural light — no flash. Architects loved his work because it celebrated theirs: the purely horizontal floor, perfectly vertical walls, the play of light and shadow.
In a controversial ruling Wednesday, a court in Düsseldorf barred a company from selling the 'B9' chair originally designed by Bauhaus architect Marcel Breuer and ordered it destroy all existing stocks.
danto on sontag
houses of vinalhaven
announcing a new feature here on schwarz: rat rod watch and auction results. today's pick
A new two-mile esplanade and bicycle path - no less than 40 feet wide in most places - would run along the river, linking Battery Park at the tip of Manhattan Island to the East River Park, between the Manhattan and Williamsburg Bridges. Benches, tables, planters and trellises would line the planked walkway.
More than a dozen small, boxy pavilions for shopping, recreation, cultural programs and community gatherings would be built under the F.D.R. Drive, each with about 10,000 square feet of space. Some might have facades that could be opened in summer. The elevated highway viaduct would remain, but its underside would get new lighting and cladding to improve its appearance and acoustics.
shake hands with shorty
architecture slam : create a futuristic luxury hotel and government office complex for the year 2050 when, presumably in the name of spreading democracy there, the United States takes over the moon.
richard prince check paintings
really real
surf photographer leroy "granny" grannis american b.1917
"A new audit of spending on port security - often called the nation's "soft underbelly" - reveals a disturbing trifecta: far too little money appropriated; much of the appropriated money not spent; and much of the money that was spent going for the wrong things. This is all part of a larger problem of misplaced priorities in the homeland security budget."
The product below is an unauthorized parody that is being offered for auction by its creator, Francis Hwang. It has not been licensed or authorized by Apple, Downhill Battle, Island Records, Casey Kasem, Negativland, or U2.story via