Schwarz
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the abc's of dada 1/3
Design Blogs: The Vacuum of Enthusiasm
less stuff
nana wall
via ree
included in the below refd architectures documentary series is a segment on la maison de verre. realised by the designer pierre chareau and architect bernard bijvoet with special assistance (and this for me is the real treat) engineer/metal worker Louis Dalbet. pay extra special attention to the fabricated metal stair cases, library ladder and various mechanical features. theres very little info on him online or otherwise, but if you study available images of lmdv his contribution should be obvious.
watch video
from the netflix que:
Architectures Box Set
From Paris to Porto via Vienna and Nîmes, the Architectures series offers a unique and instructive insight into the greatest architectural achievements of our times, constituting a fine legacy for generations to come.
Architectures 1: The Dessau Bauhaus by Walter Gropius, The Siza School by Alvaro Siza, Family lodgings in Guise by Jean-Baptiste-André Godin, Nemausus I by Jean Nouvel, The Georges Pompidou Centre by Renzo Piano and Richard Rogers, The Vienna Savings Bank by Otto Wagner.
Architectures 2: The Johnson building by Frank Lloyd Wright, The Galeria Umberto I – collective work, Lyon Satolas TGV by Santiago Calatrava, The stone thermal baths by Peter Zumthor, The Paris Fine Arts School by Felix Duban.
Architectures 3: The Berlin Jewish Museum, The Paris Opera, The Convent of La Tourette, The Casa Milà, The Auditorium Building in Chicago, The Municipal Centre of Säynätsalo.
Architectures 4: Royal Saltworks of Arc-et-Senans, La Maison de Verre, The Guggenheim museum of Bilbao, Jean Prouvé's House, The Abbey church of Sainte Foy at Conques, Multimedia Library of Sendai.
Architectures 5: The Alhambra, The House of Sugimoto, The Rome Reception and Congress Building, The Yoyogi Olympic Gymnasiums, The Villa Barbaro, Phaeno Science Centre.
the ramapough mountain indians
aka: the jackson whites
via adman
mies mr chair
looking for replacement leather covers this model
japans sanaa (the new nu mu building architects) win this years pritzker award
Donald N. Frey, the engineer who spearheaded the design and development of the Mustang, the spunky, stylish, affordably priced “pony car” that the Ford Motor Company rolled out in the mid-1960s in one of the most successful car introductions in automotive history, died March 5 in Evanston, Ill., where he lived. He was 86.via adman
tree hotel harads
via vz
Ben Kefauver
an obscure 36 year old cultural reference is just not quite enough to tip off the parody.
One of the many ironies of the Schwarz urinals is that they are carefully crafted earthenware sculptures modelled on the Stieglitz photo of the “original”. Every edition has a story, but there is no beating the provenance of the 13th one. Dubbed “the prototype” and bearing Duchamp's signature, it slipped quietly onto the market in 1973 at the then fledgling gallery of Ronald Feldman in New York. Andy Warhol, who visited the gallery repeatedly, pressed Mr Feldman to trade the urinal for some of his own portraits. “Duchamp didn't sell well in those days,” says Mr Feldman, “but Andy knew what multiples meant because he made them.”
via afc news sidebar When Warhol died in 1987, his urinal was consigned to Sotheby's as part of his giant five-volume estate sale. “Fountain” was buried in a volume devoted to prints and given a lowly estimate of $2,000-2,500. It sold for $65,750 to Dakis Joannou, a Greek-Cypriot construction tycoon, and is now enshrined in the front hall of his main home in Athens. “I couldn't believe that we could actually own it,” says Mr Joannou. “People didn't appreciate its historical importance, so we got a bargain.” In the following decade, Duchamp's renown increased yet again, as did the marketing of his work. In 1999 Sotheby's put an official Schwarz urinal on the cover of its Contemporary Art evening sale catalogue; it commanded $1.8m.
Collectors of contemporary art are comfortable acquiring individual works in series, but they don't relish unlimited editions or dodgy authorship. Some may be dismayed to learn that there are at least three more “Duchamp urinals”. Gio di Maggio, a collector whose Fondazione Mudima is in Milan, and Luisella Zignone, a Duchamp collector based in Biella, both have “Fountains” that Mr Schwarz says he gave as gifts. Sergio Casoli, a Milan dealer, is also thought to own one. (He declined to comment.)
Mr Schwarz claims that these works were made in 1964 under Duchamp's direction, but were not included in the original edition due to “imperfections”. (It is unlikely that more than 17 urinals could have survived from this edition, but only Mr Schwarz knows for sure.) None of the newly discovered pieces have the “Marcel Duchamp” signature of official ready-mades. Nevertheless, the “Fountains” owned by Mr Di Maggio and Mrs Zignone have been shown in public institutions in Basel and Buenos Aires. In interview, Mr Schwarz reluctantly confirmed that he is trying to sell a fourth “Fountain” for an undisclosed sum, which one source says is $2.5m. (When pressed, Mr Schwarz says the asking price depends on whether the purchaser is a museum, a well-reputed collector or a speculator.)
The artist’s estate is not pleased. Jacqueline Matisse Monnier, the head of the Association for the Protection and Conservation of works by Marcel Duchamp, says that “neither my mother nor I ever sanctioned the sale of unauthorised ready-mades.” Mrs Monnier’s mother, “Teeny”, was married to Pierre Matisse, the dealer son of the Henri, before she married Duchamp, making her an heir to both the Henri Matisse and Duchamp estates. She sees Mr Schwarz's activities as curious given that “Arturo was a great friend of Marcel.”
Some Duchamp connoisseurs are outraged. Francis M. Naumann, a scholar and dealer who has published widely on Duchamp, argues that these urinals cannot be considered Duchamps at all. “For Duchamp, the signature was everything,” he argues. “It is the single most important element in the process of transforming an ordinary everyday object into a work of art.”
hellraisers uk
ROKU w/ instant netflix
The Rolling Stones’ classic Exile on Main Street — one of Rolling Stone’s highest-ranking Greatest Albums of All Time — is returning as a very special reissue. On May 18th, Universal Music Group is re-releasing the album with 10 never-before-heard tracks, including “Plundered My Soul,” “Dancing in the Light,” “Following the River” and “Pass the Wine,” that were produced by Jimmy Miller, the Glimmer Twins and Don Was. The disc also features alternate versions of “Soul Survivor” and “Loving Cup.”
sam you made the pants too long
swamp thing
from james meyer minimalism art and polemics in the sixties ("Specific Objects" pages 140-141):
As Francis Colpitt has observed, for Judd, to take an interest in a thing is "to value that thing." "Does the work hold your interest?" Judd would ask. "Do you want to live with it and think about it?" Declaring that a work "needs only to be interesting," Judd means that it only be worth looking at. It may not be a good work, but it held ones gaze. A work that caused one to look again was even more interesting; a great work had a lasting interest. Judd seems to have adopted Perry's notion for another reason. A term of judgement, "interest" sounded more neutral, more objective perhaps, than effusive panegyrics favored by the writers at Artnews durring the late fifties.
[...]
In short Judd did not intend to supplant Greenbergian "quality" with a non-evaluative interest. He meant to suggest that a work that was interesting was worth looking at not "merely" interesting.
ultra-devo lux ltd edtn
edit: Erwin Hauer
pierced cement blocks of very vintage vegas
(modular constructivisim)
dwell regional modern home finder
one o'clock jump ella basie williams 1957
[ ILLUSTRATION OMITTED]
In its unhallowed brazenness Waters's Visit Marfa calls for a reconsideration of Judd's enterprise and, by extension, Minimalism as a whole. Its multiple assaults could be addressed, even rebuked one by one. Still, the allusion to Judd's bed should not be overlooked, particularly in light of the recent "Minimalist-art tour" of Manhattan offered by the Guggenheim's curators. The list of attractions, recounted in the New York Times, is in no way exhaustive. Happy tourists hopped from a restaurant designed by Richard Meier in TriBeCa to the Flavinesque window display of the Apple Store in SoHo, but they could just as well have glanced at the even more Flavinesque window of the Helmut Lang boutique a block away, and rather than visiting the Jil Sander store uptown, they might have patronized Calvin Klein on Madison Avenue, replete with excellent examples of Judd's furniture. The question is, in short: Has Minimalism merely turned decor? Have Minimalist sculptors become, as Barnett Newman would have said, just new "Bauhaus screwdriver designers"? The answer is yes, but only in part, and I am not certain that Judd was the foremost agent of this devolution, even if he did design furniture. Flavin's exhibitionist staging of his wedding in the rotunda of the Guggenheim during his own exhibition there is much more to the point. Indeed, as Lucy Lippard reminds us in her 1968 essay "10 Structurists in 20 Paragraphs," Flavin himself spoke of Minimalism as a longing for a "common sense of keenly realized decoration."
Let us say, first, that this scenario is inevitable. Meyer Schapiro long ago remarked on fashion's co-optation of modern art in the immediate aftermath of the 1913 Armory Show. Since then, the market forces at play--and not simply those of the culture industry--have grown exponentially. Second, being able to design good furniture does not mean that your art becomes mere design. Judd was adamant on this point, establishing a clear distinction between the two practices even if he admitted that both his furniture and his sculptures, particularly when in plywood, had a similar look. (On this score he was perfectly right: Although Mondrian's art was long thought of as design, no one in his or her right mind would return to this misconception on account of the similarity between his late canvases and the latticed tables and shelves he built in his studio.) Third, it is hardly a tragedy that current design appropriates certain features of Minimalism, even if this appropriation is a complete misprision .
I do not mind at all that architects look at Minimal art if this leads them to dispense with their ridiculous froufrous. Fourth, Minimal art is especially hard to install, which is what led Judd to architecture in the first place. For all its ponderous piety, his Marfa fiefdom does offer us a precise document of what he meant by marrying architectural and sculptural space, and it remains stunning. Judd was perfectly correct in thinking that the best way to ensure that his works would forever be seen in a proper setting was to provide it himself.
rip alex chilton
windorsky casement windows
via justin
reclaimed redwood waterpipe
via vz
burger town
crawford tx
coffee wiffer
via vz
Koons’s recourse to an air of collegiality and aesthetic assault is dictated by a distinct vulnerability in his position. His career and the plutocratic culture that it has adorned represent an epoch-making collusion of mega-collectors and leading artists, which has overridden the former gatekeeping roles of critics and curators and sidelined the traditional gallerists who work with artists on a long-term basis of mutual loyalty. With numbing regularity, newly hot artists have abandoned such nurture for gaudy, precarious deals with corporate-style dealers like Larry Gagosian, Pace-Wildenstein, and David Zwirner. In the boom era, buzz about the opportunistic exhibitions of such dealers and the latest sales figures from art fairs and auction houses were what passed for critical discourse. The situation mesmerized newcomers, by flashing promises of ascension to the starry feeding trough. Now that such promises can no longer be made, the posturing of “Skin Fruit”—roughly, noblesse oblige, laced with a left-libertarian raciness—cannot long deflect the mounting potency of class resentment. People are going to notice that the defensive elements, in this particular scrimmage of sensibilities, are members of the putatively vanguard aristocracy of wealth and social clout. The future of art, and the corresponding character of cultured society, seem bound to be determined by some smart, talented, as yet unidentified parties among the howling sansculottes. ♦
driftwood
the story of stuff
John McLaughlin, “Untitled (#33)”, 1958
the cloud for agnes martin
The job of an art critic is to take perpetual inventory, constantly revising her ideas about the direction of contemporary art and the significance of the work she writes about. In these essays, which span three decades of assessment and reassessment, Rosalind Krauss considers what she has come to call the "post-medium condition"—the abandonment by contemporary art of the modernist emphasis on the medium as the source of artistic significance. Jean-François Lyotard argued that the postmodern condition is characterized by the end of a "master narrative," and Krauss sees in the post-medium condition of contemporary art a similar farewell to coherence. The master narrative of contemporary art ended when conceptual art and other contemporary practices jettisoned the specific medium in order to juxtapose image and written text in the same work. For Krauss, this spells the end of serious art, and she devotes much of Perpetual Inventory to "wrest[ling] new media to the mat of specificity."
take ivy again
via aw
from the netflix que
The Architectures collection explores the most important creations in modern architecture, from the 19th century to the latest creations by today's great architects. Each documentary in the series looks at one building, selected for its exemplary features and its role as a landmark in the history of contemporary architecture. The building is examined from top to bottom and analyzed from its foundations to its roofing.
Max Watman’s description of one of the liquor-distilling experts he interviews in “Chasing the White Dog” also applies to the author himself: “He hobbies hard.” In the grips of a passion for homemade spirits, Watman fumblingly assembles a rudimentary still, violating federal law and risking death by explosion or ergot (a poisonous fungus). Such dangers make him anxious, but Watman has the enthusiast’s capacity for losing himself in recondite detail. He lovingly catalogs the ingredients of a whiskey mash on display at a supply store in upstate New York: “crystal six-row malted barley, torrefied wheat, Maris Otter, Belgian candy sugar, flaked maize, amylase enzymes.” He minutely recounts his distillation experiments, but the tone is less instructional than slapstick. “After three sips, my mouth was numb,” he says about one of his early batches of whiskey. He eventually makes some respectable applejack.via vz
This site is devoted to building a history of late 20th century radical and community printing collectives in the UK; the poster collectives, the service printers and typesetters, the print resource centres. The presses were part of a chain: activists in organisations wrote and designed the books, pamphlets, posters, newspapers and leaflets which they needed to further the cause. Typesetters and printers produced them. Activists and independent bookshops distributed them. And today? Still activists, still typesetters (digital) and presses (eg Calverts), still independent bookshops (eg Housmans, Centerprise)… But to a huge extent the internet provides the means for radical communications. The history of the presses is a history that doesn't exist except in the memories of the ex-workers, friends and clients. The idea is that people who were involved in the printshops can create and edit the pages. You need to register and get a password to do this. Just click on the login link at the bottom right of this page and it will take you to a dialogue box with a link to register.via private circulation
sun city girls cloven theater (collect all 6)
van vorst park in jc thawed out enough for a few rounds of bocce and noticed the forsythia is popping. woot. please dont forget the not before mothersday rule.
digitus impudicus
this is pretty funny. tom moody posts a statement, a dissenting remark and a quibble concerning the blog post internet. neither have their comments feature turned on. (!!!???) see where im going with this?
“Orange is the sun,” she said, “and lavender is the most spiritual color of all — violet gives you calmness.”
>>cough<< bullshit >>cough<<
the great pacific garbage patch
redline guages
hoarders need to meet the pickers