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Q I grew up in an unusual building, the Vermeer Studios, two side-by-side structures on 66th Street east of Park Avenue. We had 19th-century landscapes in our apartment, and I remember my father going next door to visit A. Conger Goodyear, who collected modern art, and coming back and saying “You can’t believe what that man has on his walls!” What can you tell me about the Vermeer? ...
Alice Cooper live in Detroit 1971 - Is It My Body
Here are a few video clips that will be of interest to Mick Ronson fans.
All The Young Dudes at the Agora-- wow.
via vz
Ralph Peer (May 22, 1892 – January 19, 1960) was born Ralph Sylvester Peer in Independence, Missouri. He died in Hollywood, California. Peer was a talent scout, recording engineer and record producer in the field of music in the 1920s and 1930s.
Peer spent some years working for Columbia Records, in Kansas City, Missouri until 1920 when he was hired as recording director of General Phonograph's OKeh Records label in New York. In the same year he supervised the recording of Mamie Smith's "Crazy Blues", reputed to be the first blues recording specifically aimed at the African-American market. In 1924 he supervised the first commercial recording session in New Orleans, Louisiana, recording jazz, blues, and gospel music groups there.
He is also credited with what is often called the first country music recording, Fiddlin' John Carson's "Little Old Log Cabin In The Lane"/"That Old Hen Cackled and The Rooster's Goin' To Crow". In August 1927, while talent hunting in the southern states with Victor Records he recorded both Jimmie Rodgers and the Carter Family in the same session at a makeshift studio in Bristol, Tennessee, known as the Bristol Barn Session. This momentous event could be described as the genesis of country music as we know it today. Rodgers, who later became known as the Father Of Country Music, cut "The Soldier's Sweetheart" and "Sleep, Baby, Sleep", while the Carters' first sides included "Single Girl, Married Girl".
hollywood locusts descend on jc westside
(taking up both sides of the block street parking and blocking drive ways for better part of december)
Mobile Minimalism - Flavio Galvagni of Lab Zero has a few projects that I think deserve mention here.
another justin discovery thanks dude!
Q & A with Anne Matthews, author of "If Walls Could Talk"
While working on her essay on how buildings sound, author Anne Matthews became intimately more aware of her own surroundings, of the differences in ambient noise, for example, associated with buildings in various settings. Matthews, the author of several books, teaches at Princeton University. Here she discusses the writing of "If Walls Could Talk" with Preservation's associate editor Eric Wills.
EW: Why do you think the movement to preserve sound has recently gained momentum?
AM: Because the world is getting infinitely noisier very fast. Alex van Oss is very eloquent on the subject in my story. We are literally not wired to handle the noise, and yet when we seek silence, tranquility, and natural sound, the social, cultural, and geographical barriers are higher than ever. When you want peace and quiet you really have to work for it these days. It's something that you value much more when you do find it. The preservation impulse takes over at that point. Something that's marvelous and vanishing inspires the desire to save it for the future.
The New York City Office of Emergency Management (OEM) is sponsoring a design competition to enhance the City's ability to provisionally house residents after a major coastal storm. Read the invitation letter from OEM's Commissioner.
But the Ennis, as noted, is in bad shape. It's now owned by a private conservancy, the Ennis House Foundation, that has at least succeeded in making it stable. But far more remains to be done. Ten million dollars is the estimate.
The Ennis is, as far as I'm concerned, the poster child for a problem nobody seems to be interested in solving: How do we protect our great works of architecture?
How is it, for example, that a buyer will spend $135 million for a painting by Gustav Klimt, but nobody will foot the bill to save a masterpiece of architecture? Wright's best houses are certainly, in my view, greater total works of art than all but the most remarkable of individual paintings.
The problem, I suppose, is that a plutocrat can't hang a building on the wall to impress his or her friends. The United States needs to find a way, as so many European countries have, to find a permanent solution for our great architecture.
From its first placard, the exhibition pulled no punches. There, within corridors that were his own creation, came blunt questions of the man's achievement and legacy:
"Genius? Fraud? Artist? Who is Frank Gehry?"
Such was the introduction to a recent retrospective on Mr. Gehry's long career in architecture and design. The exhibition was held inside the architect's first Ohio building - the sculpture-for-living that is the University of Toledo's Center for the Visual Arts.
Adjoined to the Toledo Museum of Art, the center opened 15 years ago next month as a home to the university's art department and the museum's reference library. Outside the 51,000-square-foot building is an agglomeration of boxy shapes and zig-zagging angles clad in gray lead-coated copper plates.
Mr. Gehry has described the building's skin as a jazz excursion, complete with visual riffs and syncopated rhythms that lift the eye up, then down, then back around. One critic called it "a collision of the Merrimack and the Monitor on the museum's grounds."
The University of Toledo’s Center for the Visual Arts adjoining the art museum has been called by one critic ‘a collision of the Merrimack and the Monitor on the museum’s grounds.’
It's just such design creativity that lifted Mr. Gehry to the pedestal of the world's most well-known living "starchitect." Yet that iconoclasm has often generated controversy for his projects in Toledo and elsewhere.
rejuvination
hueckel china of ca
hardware store display signs
unicat
via jz
the gemmary
Close Radio 111 audio works recorded for KPFK by visual and performance artists between 1976 and 1979. Includes rarities and never-before heard cuts from mostly LA / CalArts-based artists such as John Baldessari, The Kipper Kids, Martha Rosler, Jack Goldstein, Ant Farm, Hermann Nitsch, Paul McCarthy, Mike Kelley and many, many others. From the Evidence of Movement show at the Getty.
“Making art has never been a mystery to me,” Prince continues. “It’s never been something that’s very difficult.” The “umpires” of the art world could re-purpose that same statement as an indictment of Prince’s work. “I’m old enough to not worry about being judged,” Prince responds. “Most artists have made their decision about their work before it goes out of the studio. What am I going to say about something I did 30 years ago? There’s nothing to say.”
Gesner can be credited for a large part of the unique visual culture that comprises the Malibu landscape. His Wave House, built in 1957, inspired the Danish architect Jorn Utzon, who went on to design the Sydney Opera House. More recently, Getty Museum architect Richard Meier insisted the museum restore a Gesner house on property it had acquired years ago. "Meier said, 'Don't tear the house down. It's an example of his work, and a very good one.' I can't believe he did this, but he did," Gesner boasts. "They put about a million dollars into fixing it up so it could be a center for their trustees. I was amazed I had designed it, it looked so great."
art about art about...
and [no comments] about art
As one Philip Johnson house opens to the world, another may be headed for the trash heap.
The Historical Review Committee imposed a 90-day demolition delay on the Alice Ball house last Thursday, after dozens of letters in objection to the planned razing were submitted. The owner, architect Christina Ross, had filed for a demolition permit, following the Environmental Commission’s rejection of a proposed second house on the property. The earliest Ms. Ross may demolish the house is 90 days from the date of her application, November 1.
Under New Canaan’s demolition delay ordinance, a single objection to the razing of certain historical structures can halt demolition for 90 days. The ordinance’s intent is to allow more time to find a buyer willing to preserve an older structure, or at least salvage or document historical artifacts.
The Alice Ball House, designed by Mr. Johnson for a woman and built in 1953, was purchased by Ms. Ross for $1.5 million in 2005.
Ms. Ross had planned to convert the existing three-bedroom, three-bath home into a pool house with changing rooms and a play room; install a pool and build a six-bedroom house with a four-car garage at the rear of the property. Additions built on to the original 1,300 square-foot design would be removed, and plans call to extend the existing driveway to a proposed 7,200 square-foot home, following what was an old carriage road.
But due to wetlands on the property — the modern having been built on a filled wetland — the proposal required approval from the Environmental Commission. After five months of public hearings and deliberation, the commission unanimously denied the application in April, 2006.
Greetings all.
This is the long awaited Funky16Corners Radio Podcast Archive.
Here you will find titles, tracklists and download links for all the editions of the Funky16Corners Radio podcasts.
You will also find, with each podcast a link to the original post.
This page will be updated as each new podcast is added. I hope you dig it.
Peace
Larry
From Andy Warhol to Lonelygirl15, modern media culture thrives on the traffic in counterfeit selves. In this world the greatest artist will also be, almost axiomatically, the biggest fraud. And looking back over the past 50 years or so, it is hard to find anyone with a greater ability to synthesize authenticity — to give his serial hoaxes and impersonations the ring of revealed and esoteric truth — than Bob Dylan.
It’s not just that Robert Zimmerman, a Jewish teenager growing up in Eisenhower-era Minnesota, borrowed a name from a Welsh poet and the singing style of an Oklahoma Dust Bowl troubadour and bluffed his way into the New York folk scene. That was chutzpah. What followed was genius — the elaboration of an enigmatic, mercurial personality that seemed entirely of its moment and at the same time connected to a lost agrarian past. From the start, Mr. Dylan has been singularly adept at channeling and recombining various strands of the American musical and literary vernacular, but he has often seemed less like an interpreter of those traditions than like their incarnation.