summer's fading sun
aka

"heading towards post
labor day oblivion."

Hard-edge painting is painting in which abrupt transitions are found between color areas. Color areas are often of one unvarying color. The Hard-edge painting style is related to Geometric abstraction, Op Art, Post-painterly Abstraction, and Color Field painting.

The term was coined by writer, curator and Los Angeles Times art critic Jules Langsner, along with Peter Selz, in 1959, to describe the work of painters from California, who, in their reaction to the more painterly or gestural forms of Abstract expressionism, adopted a knowingly impersonal paint application and delineated areas of color with particular sharpness and clarity. This approach to abstract painting became widespread in the 1960s, though California was its creative center.

"I want to go back
To the time that I was sailing
And if I could just go home
I could go around in circles"

yo la tengo

hard edge painting:

This approach to abstract painting became
widespread in the 1960s, though California was its creative center.

summer's fading sun
aka
"heading towards post labor day oblivion."


1. George Nelson, chair.
2, Zachary Keeting, painting
3. Dustin London, more images here!











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"Paramodern
Architecture"

Shuhei Endo









"The architect today is groping for plausible paramodern architecture that can open up new possibilities by overcoming the self-imposed limitations of modernism in architecture that resulted from pursuing uniformity to excessive degrees, while taking advantage of its possibilities and effectiveness to the fullest extent.

In modernism, architects broke down the whole of architecture into such elements as post, beam, roof, and wall, and reassembled these elements again. Limitations inherent to this kind of "composition" may be regarded as a major reason why modernism in architecture never gained real richness in its character. "


Shuhei Endo, architect













Bubbletecture,
completed 1995
Shuhei Endo, architect


"The client requested that all people who will visit this place including the inhabitants of Hyogo prefecture, improves the interest for global environmental concerns and be able to experience various approaches as the place of environmental study.

We thought about creating the new environment architectural space that could share the point of contact with nature and environment providing a keyword called “the circulation” in a relation with nature for the request."

top image by
allen ruppersberg

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the
patterned
bedroom












the
patterned
bedroom


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monuments
(to our youth)
monumental.
monumenting.

monumenting: verb. the act of becoming a monument,
or slowly becoming monumental.

"I need a walk by the flowers
Let some of it shimmer off ...
Looks like nobody could take your place
And I could bleed in sympathy with you
On those days
And I could drink up everything you have
Don't let it go to waste"

"don't let our youth go to waste"


- galaxie 500

monuments
(to our youth)
monumental.
monumenting.


1. kendell geers
2. david taylor, photograph, border monument
3. aaron spangler
4. noguchi








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You have read this article lost youth / monuments / when sculptures become songs with the title August 2010. You can bookmark this page URL http://gigibytes.blogspot.com/2010/08/monuments-to-our-youth-monumental.html. Thanks!

double brass
(black and white)
L A M P S












double brass
(black and white)
L A M P S








--------------------------

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thom
felicia
interiors



















thom
felicia
interiors


more images here..







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the best
time of the day.
(here)

the best time of the day.
superb curation on so many levels.
it's rare that you feel like you know someone from their postings,
but this is surely the case with her site.

thanks best time of the day!

image via sarah strassmann
from the void series.











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"Art becomes
the Interior"

aka

"the rise and fall of a collector"

Gloria von Thurn und Taxis, Paris Apartment
photographed Oliver Mark, here

"clashing contemporary with antiquity!"
cheers to the Princess.

bernard frize painting, i'm thinking?
paired with sarah morris fabric?

"Although she was a countess, her family was impoverished, and she had worked as a waitress before marrying Prince Johannes von Thurn und Taxis, who was born in 1926. Known as the punk princess and "Princess TNT", Gloria was an icon in the 1980s. She was known for her exuberant and lavish spending and whirlwind social life.
However, on Johannes's death, the spending came to a halt as massive taxes were due on the estate he left behind."

ron mueck above a fruit bowl?
and that table? wtf? i'll take two.

Jake and Dinos Chapman in the hallway,
with is that a sculpture of Jesus, in the background.
Princess TNT's style : Parisian confidence.


Only in Paris.

Sarah Morris fabric?
Yoshitomo Nara painting. and a drum to sit on.




"And through all her troubles, she never stopped buying paintings, sculptures, and photographs by 80s and 90s art stars such as Anselm Kiefer, Donald Baechler, Takashi Murakami, Richard Prince, Andreas Gursky, and Paul McCarthy, which she thought nothing of juxtaposing with the palace's gilded furniture and ancient tapestries. Her sharp eye and adventurous taste paid off last November, when she sold 111 works at the Phillips auction house in New York for $8.4 million. "I will go on collecting," Gloria told me, "but young and up-and-coming artists, such as John Connelly, Paul Morrison, and Lisa Ruyter. I am also collecting medieval sacred art, which I have discovered I really love."


via vanity fair article, here....

"Art becomes
the Interior"


Gloria von Thurn und Taxis, Paris Apartment
photographed Oliver Mark, here



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Fall Calender:
Art/ Design opening

"Autumn Suite"
at SPECIFIC!

S P E C I F I C

Brooks' store rocks! Excited to see this upcoming show!

September 4th, 2010, 5-8 PM to celebrate the start of the season. Introducing new furniture designs by Jalal Poehlman and sculpture and painting by Sean Brian McDonald

Featuring new case goods and lighting by favorite SPECIFIC designers Marie Christophe, todosomething, WORKSTEAD, Scout Regalia and Atelier Takagi...
uh huh!



7374 Beverly Blvd Los Angeles,
CA 90036 323.930.0220 store



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when
sculptures
become
songs

"The strange logic in your clumsiest line
(It stayed, it stayed) it stayed emblazoned on my mind
You say, break up the family
And let`s begin to live our lives
I want to see all my friends tonight"

image via giulio paolini
"break up the family" lyrics.






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"sticks
and stones
may break
my bones."
(Vito Acconci)

"the name calling chair"





Ok, I'm not going to lie. Vito's work blows me away for so many reasons.. This interview, that I pulled a couple of quotes from offers a lot to think about in terms of "name calling."
I'm not sure I want to be labeled an "interior designer," or even a "blogger." Space is the place that my mind drifts to. Energizing my thoughts and the surroundings. Attempting to realize the power of objects, and a desire to transform the "concrete" into something I dare say "other:worldly."

This is what wakes me up in the morning and motivates me to turn on my computer, or open my journal with a sharp pencil ready to create. Vito sums it up the best, "You can hope, maybe, that people ascribe so many labels to you that none wins out…"

Oh the name calling chair. Go ahead, call me any name you like. But please, call me many names at the same time.

Vito Acconci
1984/1990
"the name calling chair"
cherry plywood, ash burl plywood and zebrawood plywood



---------------
(taken from interview here)

When people try to place you in a group, so to speak? Would you rather they simply focus on your work?

Vito: Everybody uses labels: they give you a handle on things – an over-simplified handle, sure, but without labels, without ads, without words, the world would be an indistinguishable mass, a blur. You can hope, maybe, that people ascribe so many labels to you that none wins out…

Art has viewers, and I was never comfortable with users – gradually, I accepted the fact that my work needed participants, inhabitants, users – and that’s what design has, that’s what architecture has.





read this incredible
interview here..








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bernard frize
vs
dan flavin


"when a painting
becomes the (invisible) light."

"Another castle crumbles, another monkey falls,
Just open up your joy and let the sailors climb the walls,
I thought I saw you laughing 10 feet in the air,
It doesn't matter if they touch you where because you can give me...

An Invisible light, An invisible light uh-oh,
An Invisible light, An invisible light to keep me alive oh,
looking for the tension
I can feel it with the fingers in my mind..."




listen here...
(thanks g! for this!)

bernard frize
vs
dan flavin


"when a painting
becomes the (invisible) light."

----------------------

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3 chairs
(1780's 1900's)
from
Obsolete






































3 chairs
from
Obsolete, Venice, CA. ( go here)

1. 1780-1810 Primitive adjustable wing back armchair stripped of fabric and brought to the original form
2. 1770-1780 Fireplace primitive windsor, low to the ground, tall back, hand made, unique
3.England, 1880-1900, Unusual leather barber chair with wood surround, shaped carved legs with original casters













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the beam desk lamp,
Fern, NYC











the beam desk lamp,
Fern, NYC

go here for more info...








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Portrait of P-Town
Pt. 3

"cape cod homes and light"

I finally arrived back in Los Angeles, and I am beginning
to sort through hundreds of photos of Cape Cod architecture.
Not only did the Cape captivate me with food, architecture, and salty air,
but the light in that area of the world is unique. Soft, warm, gentle
light that bounces off the wood shingles onto the streets, with
different strengths through the day. It might lull you into sweet oblivion, or wake you
from a restful nap on the rocky coast.

Either way, you win.

good light!

"A Cape Cod cottage is a style of house originating in New England in the 17th century. It is traditionally characterized by a low, broad frame building, generally a story and a half high, with a steep, perfectly pitched roof with end gables, a large central chimney and very little ornamentation."

missing the light of the cape today......

Portrait of P-Town
Pt. 3

"cape cod homes and light."







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Fall, Art Calendar:
Los Angeles

Eva Hesse,
rarely seen paintings

As summer comes to a slow fade, I'm beginning to get excited about some upcoming
art / design shows that will be opening very soon in Los Angeles. New work by Los Angeles artist Carlee Fernandez at ACME!, Richard Aldrich at Marc Foxx with "Slide Paintings."



First up, Eva Hesse at the Hammer Museum.
September 25 - January 2, 2011

"The Hammer Museum presents Eva Hesse Spectres 1960, an exhibition of seminal and rarely seen paintings by legendary artist Eva Hesse (1936-1970). Created when Hesse was just 24, this group of nineteen semi-representational oil paintings stands in contrast to her later minimalist structures and sculptural assemblages, yet constitutes a vital link in the progression of her work. While several recent museum exhibitions on Hesse’s work have featured a few of these paintings from 1960 however none have considered these works as a group all together. This timely reassessment of Hesse’s career furthers an understanding of her artistic contributions.

Organized by E. Luanne McKinnon, Director of the University of New Mexico Art Museum, Albuquerque, the exhibition focuses on what McKinnon terms Hesse’s “spectre” paintings for their haunted interiority and attempt to embody emotional states in abstract form.

As McKinnon notes, “Looking inwardly and outwardly and with paint as her guide, she began to paint herself out and away and ahead…The procession of paintings under examination here represents a rupture that, once completed (not as a formal solution but rather as a psychological denouement), settled back into solving the problems presented in abstraction, eventually evolving into the constructions that Hesse is lauded for.”


go to the hammer museum here..










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i think we are alone now.
i think we are alone now.
i think we are alone now.

(repeat 3x)

"Lets take the boat out
Wait until darkness
Let's take the boat out
Wait until darkness comes"

- mercy street

i think we are alone now.
i think we are alone now.
i think we are alone now.

(repeat 3x)


1. thomas houseago
2. eileen agar
3. ruby neri










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YHBHS Interview:

Eva Berendes
Pt 2. "material presence"

(read Pt 1 here)

untitled 2008
Wood, stain, wool

I can’t help but to imagine your sculptures as an essential element to a room. Are you inspired by interiors, furniture designers, as well as other artists? How do you see your work fitting into this spectrum?

Most of the work I have been interested in operates along the boundary between Fine and Applied Art- Art Deco, Bauhaus, Sonia Delaunay, Constructivism, Supremacism, Arts & Crafts, even Minimalism and other work from the 60’s that is focused on the factual presence of the material.

They all deal with the distinction of "a work“ and "a thing“. Over the past few years I have been looking at Italian design from the 80’s a lot, Memphis and all these groups and individuals surrounding them. I am very impressed with the irreverence, almost innocence in their shaping and colouring objects but also with the earnestness that I hadn’t really been able to recognise in Postmodern work before I encountered them. More recently I started to look at some 1970’s/ 80’s Japanese architecture. I just find it really inspiring how few conflicts these elegant mixtures of Modern, Postmodern and traditional Japanese influences reveal in spite of drawing from these contradictory references.

My own work I would clearly position within the realm of Fine Arts as I don’t make anything that is meant to be used or even things that resemble functional things. I do often make works which approximate to things that are commonly associated with craft or decoration, like screens, curtains, wallhangings, etc.. However, I am not aiming at transgressing the boundaries towards the Applied Arts. It’s more that the works address the concept of the distinction between the two categories and their implications which bring up relevant questions about material presence, the potential metaphysical dimension of an object and how this manifests itself, and the genealogy of abstract language in general. And it enables me to take a side path towards painting which is still at the core of what I do.

untitled, 2010

Metal, brass, varnish

------------

More so than historical references, Constructivism, Art Deco, Bauhaus: Anni Albers that are apparent in your practice, I feel there is almost a ghostly presence that is present in the faded color palette and your choice of material.

Do you believe in ghosts, or the afterlife?

I like your impression of my works exerting a presence of unsubstantiality very much, it is such a nice paradox. However, I don’t associate that unsubstantiality with ghosts or the afterlife, I think I am lacking the fantasy for that. I am more for dry approaches.

------------

------------

Your curtains bring to mind the work of an artist Felix Gonzalez Torres, and his series of curtains, and wall dividers. His work to me speaks about loss and the fragility and quickness of life. In “Jasmine and Trellis” there is such a quiet strength, and spirituality to these works, that is so powerful. What is the motivation behind these works?

The curtain was part of an ensemble of works made for a solo show I named Jasmine & Trellis after a tapestry design by William Morris. I always liked the idea of a backdrop or a piece that functions as an abstract drawing but also as exhibition design. The gallery space in Frankfurt has big windows facing the street that I think you can either go with or agaist. For Jasmine & Trellis I transformed the space into a more intimate, domestic, cabinet-like space by means of the curtains and grey wall paint which dimmed the reflections of the glossy floor in there and gave the whole show an introverted, quiet and private atmosphere.

An important aspect of those curtains, but also the screens, the new silk pieces and even new the perforated steel sculptures, is their semi- transparence. The works are constantly being animated by their surroundings. I use this recurring motif in my work to break the rigidity of the abstraction and to attribute it with this sort of unsubstantiality you mentioned which could be a metaphor for many things. It could be doubt or modesty or conflicting thoughts, like saying something and taking it back at the same time. Or about transition and penetration between things, ideas, etc..

------------

How important is the space in which you show your work? Is there a conversation in your mind about the architecture of the space and the work in which you bring to it?

The space is of course always very important, a starting point to roughly think about the type, the scale, the number and the position of the works. I try to make use of the space so it can resonate with the works and vice versa. Sometimes I have a point of reference for it, say the idea of a shop like in Silk, Grids & Souvenirs in which everything was facing the window and the sculptures resembled architectural display elements. Which was kind of the opposite of what I did for Jasmine & Trellis which took place at the same gallery. The architecture of the exhibition space has so far only been an issue as it is a condition for the works to appear and determines the atmosphere and the choreography of their perception. Not more and certainly not less than that.

------------

------------

YHBHS Interview:

Eva Berendes
Pt 2. "material presence"

(read Pt 1 here)

You have read this article elements of a room / eva berendes / eva berendes pt 2 / interviews / screens / sculpture / YHBHS interview with the title August 2010. You can bookmark this page URL http://gigibytes.blogspot.com/2010/08/yhbhs-interview-e-va-b-erendes-pt-2.html. Thanks!

Walter Gropius,
Modernism, & Cape Cod.



"pioneer of the glass curtain wall and prefabricated housing; founder of the single most influential force on modern design, the Bauhaus."

"Modern Cape Cod!"

Yesterday, while in the midst of a summer bike ride on the Cape,
a friend pointed up towards the top of the hill to point out the Murchison House,
built by Walter Gropius in the late 1950's.

The house, in its current state (top photo) is slowly being restored, and sits upon a hill overlooking the bay. After a long ride through the streets, we headed back to the
Lobster Pot, an institution, for some Wellfleet oysters & lobsters. Run!


--------------------------









"A Japanese temple was used as the inspiration for the home. The house’s canopied entrance, not visible from the street below, and the two roofs further evoke the oriental character. The Architectural Record article goes on to say: "The plan of the living areas also suggests the Japanese. There are no rooms in the conventional sense, but rather living spaces which blend together, and are linked by a broad gallery.

The house has an architectural impressiveness not often seen today." To take advantage of the views, the top floor of the house contains the main living areas. The bottom floor was reserved for functional and service areas such as Mr. Murchison’s office and guest rooms. The house was built with every amenity. Service areas included a refrigerated room for the storage of woolens and furs, a food storage area, an air conditioning system and emergency power generator. The site also has a terrace surrounding three sides of the house and a swimming pool."





-Laurel Guadazno
(read more here..)










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"probable architecture" pt 1.

aka

"the new sculptural identity."

Mr. McCracken writes that his work draws on major architectural monuments of the past, ''but it has nothing to do with the past itself. It is a matter of finding those particular forms which seem expressive of a kind of very high level of human consciousness."

"What the work of art looks like isn't too important.
It has to look like something, if it has physical form.
No matter what form it may finally have, it must begin with an idea."


-Sol LeWitt, 1967

on anti-environments:

"What I mean is any given place has a preexisting character and identity and when you intervene with a form, that form necessarily changes the character and description of the space and place giving it a new sculptural identity. Often this new identity is considered to be anti-environmental because it alters and changes the existing condition, whether it is urban, architectural or a landscape. It changes how one relates to those spaces and places both perceptually and conceptually.



People become annoyed because they feel that they have a proprietary right over their environment. When it's altered by an interjection that is utilitarian, people don't mind. If you give them a nonworking fountain or a signboard or an advertisement, it is totally acceptable, but if it's a work of art, which is by definition useless, then they protest. I have never completely understood the logic of the protest. Calvinist logic of utilitarian purposefulness continues to be the subtext of most people's reluctance to deal with art in public places."




- Richard Serra




------------------------------

probable architecture pt 1.

aka

"the new sculptural identity."



images:
1. john mccracken, 1965
2. sol lewitt, 1996, (via 16miles!)
cinder blocks, and concrete
3. sterling ruby









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