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heartbreakers at club gibus paris
chinese rock
info (i saw 'em at maxes '78)
johny thunders ann arbour pt. 1 pt. 2
maxes nyc pt 1 pt 2 pt 3
MUSIC, architecture and art melded in a picture-perfect Modernist moment in 1957 every time abstract painter Karl Benjamin went to work. In the studio of his custom-built post-and-beam ranch that hewed closely to the airy Case Study model mastered by Pierre Koenig and Richard Neutra, Benjamin would huddle over his canvases to create vivid geometric compositions while playing and replaying Miles Davis' records on the hi-fi.
"I think I wore out two copies of 'Birth of the Cool,' " Benjamin recalls. "Miles' music spoke to me, spoke to my attitude, my outlook. In visual arts, negative area -- the space between things -- is very important, and with Miles, the space between the notes took on new meaning. This restrained lyricism moved me deeply. Of course you're not thinking about it at the time, but the music and the painting coincided." At 81, Benjamin could be seen as the venerable poster boy for the Orange County Museum of Art's new show "Birth of the Cool: California Art, Design, and Culture at Midcentury." His sensibility is writ large in the exhibition, opening today, which celebrates the Modernist aesthetic as filtered through paintings (Benjamin's included), architecture, music, graphic design, decorative arts, furniture, film and animation produced by Southern California's creative community during the '50s.
Gathering more than 150 objects, "Cool" includes work from midcentury design polymaths Ray and Charles Eames as well as photographs by Julius Shulman, whose meticulous portraits of Case Study homes (built between 1945 and 1966 under the auspices of Arts & Architecture magazine) established Southern California as a breezy outpost of International Style.
Reinventing industrial landscapes
house with excavation in front
bob dylan approximately
Paul has been treated so badly,” says a woman whose Manhattan apartment was designed by Paul Rudolph, the Kentucky-born architect. She is referring to the indifference, and worse, that has greeted much of Rudolph’s architecture in the last three decades. Even before he died, of mesothelioma, in 1997, Rudolph was forced to travel to Asia to find clients. Since his death, several of his works in the United States have been demolished, and others are being threatened with the same fate. But inside this apartment, Rudolph is receiving the kind of treatment most architects can only dream of. The owners have kept the main rooms — completed almost four decades ago — exactly as they have been.from design times fall '07
these catalogs are always full of modern treasures
SOLLO RAGO Modern Auction
- Saturday/Sunday, October 27/28, 2007 at 12 pm
Download Session One PDF (6.7 MB)
Download Session Two PDF (4.2 MB)
Pre-order a print catalogue
catalogues mail/go online October 12
Previews begin 10/20
kodak bldg 50 rochester ny (photographic paper facility) imploded
fire towers for sale!
FFLA
downtown jc stinks
great places in america
golden era of country music photos. any bets on the high bid?
fall cider report
Today (october 5th), the apple cider season started. Penn Vermont Farm finished their first pressing of the year around 10:30 am. and by 11 they were hosing down the Cider House. It is before noon and I am having my first glass, not yet ice cold even though it was in the coldest part of the walk-in. It is incredible. I'm sure, the hogs will agree (see bottom photo)from adman
tent encampment
Herbert’s contribution to architectural criticism has not been fully measured. His opinions were often hyperbolic; his prose outrageous; the path of his thinking inimitably complex. Unforgettable samplers would have to include his comparing Frank Gehry’s Guggenheim Museum in Bilbao to the “reincarnation of Marilyn Monroe,” and calling Zaha Hadid’s Center for Contemporary Art in Cincinnati “the most important American building to be completed since the end of the cold war.” Famously, he wrote positively in September 2002 that Daniel Libeskind’s tower proposal for Ground Zero “attains a perfect balance between aggression and desire,” only to switch allegiances five months later. As a newly converted partisan of the proposal by the team THINK, he wrote, “Daniel Libeskind's project for the World Trade Center site is a startlingly aggressive tour de force, a war memorial to a looming conflict that has scarcely begun.” A close reading—and no one more deserves a closer re-reading than Herbert—reveals that he has not really contradicted himself here but refined his opinion. To many, his views were inflammatory, even dangerous to architecture. “Whoopee,” he might have said. Has anyone else stirred up so much heated passion about cold bricks?
$1.5M marfa tx missile base
The Missile Base Infrastructure The Missile Base consists of 57 acres of real estate. The center secured portion of the property is protected by the original barbed-wire-topped chainlink fence. There is a paved road leading into the property with dual entry gates. Above ground is the original 40 X 100 shop building, two concrete targeting structures, two manufactured homes, two 8 X 8 X 40 storage containers, and the silo tops of the three missile silos, two antenna silos, one entry portal and a few other misc structures. Below ground is a huge complex consisting of 16 buildings and thousands of feet of connecting tunnels.via vz
tuxedo park ballroom
Architects and artists use drawing in the design process as a tool to express ideas. Drawing Architecture, an exhibition of more than 50 drawings from the L.J. Cella collection, is currently on display at the Albright-Knox Art Gallery. The exhibition features the drawings of contemporary architects and artists, from Frank Gehry to Modernist master Richard Neutra. The drawings range from scattered thoughts across a page ripped from a sketchbook to highly detailed architectural renderings. Each drawing is a look at different techniques in expression. The exhibition explores the process of design, rather than the final building form.
checkered past
Jonathan Quinn
Jon was the first real artist i met after moving to nyc's east village in 1983. he was a graduate of sva and tight with some of the group material art crowd and the fleshtones music scene. (new fleshtones book just out!!!) he put me in my first nyc art show. a one nighter group show he was putting together at club 57. jon was a conceptual painter then. he used painted pictures of the sea/sky as a symbol of dialectics. he soon moved into photography and film. we just spoke over the phone after a long hiatus. hes currently working on a masters in film history (i think thats what he said). pls look through his current photographic artworks "water." they are a great continuation of his painted work from the 80's and his film writing is quite good too. i brought him up to date with some of our mutual friends he hasnt seen in a while. he says hi.
free jazz ~ punk rock / lester bangs
I'll be the first to admit that I know next to nothing about music technically, but the way I always looked at it, it made perfect sense that you could take one guy playing two moronic chords over and over again, let one other guy whoop and swoop all around him in Ornettish free flight, and if the two players were blessed with that magic extra element of conviction and the kind of inspiration that produces immense energy if nothing else, then hell, they could only complement each other. Because, to get just a little cosmic about it (any free jazz critic has a right to at least once in each article), the two principles of metronomic or even stumblethud repetition and its ostensible converse of endless flight through measureless nebulae should by the very laws of nature meet right in the middle like yin-yang, etc.
All of this, of course, relates intimately to the search for new forms and absolutely open-ended freedom of expression that all the arts were undergoing in the dear, dead Sixties. I can recall my own shivers of delight when, in early 1965, I first heard the Yardbirds and the Who unleash their celebrated deluges of searing feedback. It struck me immediately that this was one element which perhaps more than any other gave the rock renaissance of the day a full-fledged shot at matching the experimental forays that jazz had been experiencing since the turn of the decade
model No. 300 lionel hell gate bridge in box