Ricky Swallow
500 Words on ARTFORUM

"And there’s been a weird sort of liberation in that––the fact that they are made, composed, and created by someone else and then collected and recast by me."

Field cup (turquoise) 2010 patinated bronze

"COLLECTING OBJECTS––such as modern ceramics, Native American pottery, baskets, and Inuit carvings––and arranging them in different rooms in our home has, for some time, run parallel to my art practice. For this show, I wanted to capture that sense of vitality––how collecting has affected my studio logic and the forms of the pieces themselves. There’s a quote I like by Ken Price where he talks about working with the cup as a form, and the ways in which it presents formal restrictions that create a structure to work within. He also speaks about the objects’ universal quality, how the cup can exist as its own subject matter. That really articulated and echoed some of the concerns I had when I began constructing the vessels, bottles, bowls, cups, and jugs that the other sculptures in this show evolved from. There’s a collective ownership and understanding that one brings to such recognizable forms.

I’ve also been thinking about the individual and handmade aspects of my work. This has led to a concern for the pacing of each exhibition. When I was planning this show, I knew that I didn’t want there to be much in the viewer’s peripheral vision. It needed to have the kind of breathing room that is there when I actually make each sculpture, even though in the studio environment everything looks kind of crazy and cramped. In the gallery there is that space––that ratio of intimacy of construction and experience that is important to me."

- Ricky Swallow

go to ART FORUM here
to read the entire 500 words.

view the MODERN ART show here...
or in person in London till Feb. 19.

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R A T T A N
(on the hunt for more)












































R A T T A N


1. Egon Eiermann, 1949, Rattan Lounge Chair E10, Richard Lampert
2. David Weeks Studio 2010
3. Martin Visser Rattan and Chrome Lounge Chair Netherlands 1960's Mid Century Martin Visser Rattan and Chrome Lounge Chair with new Army Green Waxed Cotton Seat and Back Cushions, via Nickey Kehoe Shop, Los Angeles






"Rattan (from the Malay rotan) is the name for the roughly 600 species of palms in the tribe Calameae, native to tropical regions of Africa, Asia and Australasia. n forests where rattan grows, its economic value can help protect forest land, by providing an alternative to loggers who forgo timber logging and harvest rattan canes instead.

Rattan is much easier to harvest, requires simpler tools and is much easier to transport. It also grows much faster than most tropical wood. This makes it a potential tool in forest maintenance, since it provides a profitable crop that depends on rather than replaces trees. It remains to be seen whether rattan can be as profitable or useful as the alternatives.

Generally, raw rattan is processed into several products to be used as materials in furniture making. From a strand of rattan, the skin is usually peeled off, to be used as rattan weaving material. The remaining "core" of the rattan can be used for various purposes in furniture making. Rattan is a very good material mainly because it is lightweight, durable, and — to a certain extent — flexible."














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You have read this article army canvas / david weeks / nickey kehoe shop / rattan / the materials of furniture making with the title January 2011. You can bookmark this page URL https://gigibytes.blogspot.com/2011/01/r-t-t-n-on-hunt-for-more-r-t-t-n-1.html. Thanks!

And we also have to trust the viewer and trust the power of the object.
And the power is in simple things
I like the kind of clarity that that brings to thought.
It keeps thought from being opaque.

- Felix Gonzalez-Torres

"Untitled" (The End) 1990

"Love gives you the space and the place to do other work. Once that space is filled, once that space was covered by Ross, that feeling of home, then I could see, then I could hear. One of the beauties of theory is when you can actually make it into a practice."



"How can you be feeling if you’re not in love? You need that space, you need that lifting up, you need that traveling in your mind that love brings, transgressing the limits of your body and your imagination. Total transgression."



"No, the year before he got the diagnosis of AIDS he had his appendix removed and they tested the blood and it was HIV positive. But he was a fucking horse. He was 195 pounds, he could build you a house if you asked him to. It’s amazing, I know you’ve seen it the same way I’ve seen it, this beautiful, incredible body, this entity of perfection just physically, thoroughly disappear right in front of your eyes."



"And that’s the problem I have with the sensational, literal pieces. I’m Brechtian about the way I deal with the work. I want some distance. We need our own space to think and digest what we see. And we also have to trust the viewer and trust the power of the object.

And the power is in simple things. I like the kind of clarity that that brings to thought. It keeps thought from being opaque."









all text from 1995 BOMB
a conversation between
Felix Gonzalez-Torres and Ross Bleckner.






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Amsterdam Modern
& the search for the dining room chair:
Kho Liang Ie

Amsterdam Modern: chairs. The search ended yesterday.

"Bent Plywood Stacking Chairs with Grey metal legs;
Stackable and Adjoinable by Kho Liang Ie a Dutch Designer."

Yesterday's mission: Chairs for the new dining room stone table. After a few weeks of endless internet and Los Angeles store shopping, I finally visited the Amsterdam Modern Warehouse in Van Nuys, just a short drive from downtown Los Angeles. Morgan, from The Brick House , reminded me I needed to make a trip out there to meet Ellen, the woman behind Amsterdam Modern. She rocks! We finally decided on the chairs pictured below. Warm, golden wood that works perfectly with our stone dining room table.

white stone + black iron base + plywood chairs = yes!

the chairs we took home.....
durable, sturdy, and tall.....


the designer:
"Born in 1927 in Magelang, Indonesia, of Chinese Parents, Kho Liang Ie came to the Netherlands in about 1949 where he trained as an interior designer and designer at the Rietveld Academy. In 1958, he was appointed aesthetic consultant and designer at Artifort. His contribution shifted Artifort’s focus to the top of the international market. Kho Liang Ie attracted foreign designers such as Pierre Paulin and Geoffrey Harcourt, which has made his influence noticeable right up to the present day.

As an interior designer, Kho Liang Ie made his name with his design for Schiphol Airport in the nineteen-sixties. His work reflects purity, warmth and freedom. Kho Liang Ie died on 1st January 1975. "


taken from Artifort's site here...







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Amsterdam Modern is mid-century modern and cool (50's thru late 70's) furniture, lighting and other household goodies. Our inventory is shipped directly from Amsterdam. It comes from all corners of Holland. We have purchased retail stores that have gone out of business and have some special shoppers that collect for us when we aren’t there ourselves. Although we primarily sell to the trade, decorators and Television (yes, Mad Men too :) we also sell directly to the public.......












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You have read this article chairs for the dining room / elements of a room / kho liang Ie with the title January 2011. You can bookmark this page URL https://gigibytes.blogspot.com/2011/01/amsterdam-modern-search-for-dining-room.html. Thanks!

Just carrying a ruler with you in your pocket should be forbidden,
at least on a moral basis. The ruler is the symbol of the new illiteracy.
The ruler is the symptom of the new disease, disintegration of our civilization.

Friedensreich Hundertwasser





















For Hundertwasser, human misery was a result of the rational, sterile, monotonous architecture, built following the tradition of the Austrian architect Adolf Loos, author of the modernist manifesto Ornament and crime (1908).

He called for a boycott of this type of architecture, and demanded instead creative freedom of building, and the right to create individual structures. In 1972 he published the manifesto Your window right — your tree duty. Planting trees in an urban environment was to become obligatory: "If man walks in nature's midst, then he is nature's guest and must learn to behave as a well-brought-up guest."




1. 'Spiralental' decorative plate, 1983. Earthenware.
2. The last grand project built by architect Friedensreich Hundertwasser (1928-2000), a Rogner spa in Bad Blumau, far eastern Austria.

You have read this article austrian architecture / hundertwasser / the ruler is the symptom of the disease with the title January 2011. You can bookmark this page URL https://gigibytes.blogspot.com/2011/01/just-carrying-ruler-with-you-in-your.html. Thanks!

"Broken Obelisk" .....
by Barnett Newman......

" It had generated some controversy in Washington, a city known for its monumental sculptures, as it appeared as a reference to a broken upside-down Washington monument at a time of civil unrest in 1968. "

Barnett Newman

January 29, 1905 – July 4, 1970

"Newman was unappreciated as an artist for much of his life, being overlooked in favour of more colorful characters such as Jackson Pollock. The influential critic Clement Greenberg wrote enthusiastically about him, but it was not until the end of his life that he began to be taken really seriously.?

The Broken Obelisk, a memorial to Martin Luther King, Jr., Rothko Chapel 1963-67 Cor-Ten steel, in two parts, overall 25' 5” x 10' 6" x 10' 6"

"Broken Obelisk was designed in 1963–64 and two were cast in 1967. First exhibited in front of the Seagram Building in New York and another next to the Corcoran Gallery of Art in Washington, D.C., in 1969 another was cast for the collection of the Museum of Modern Art in New York City, while two others are permanently installed in Red Square on the campus of the University of Washington in Seattle and in front of the Rothko Chapel in Houston.

The sculpture in Houston is dedicated to Martin Luther King, Jr. It was initially acquired from the Corcoran Gallery of Art in Washington D.C. in 1971. In Washington, it had stood at the corner of New York Avenue, NW, and 17th Street. It had been part of an exhibit put on by the Corcoran in 1967 titled "Scale and Content" that included other sculptures.

These were Tony Smith's "Smoke and Glass" and Ronald Bladen's "The X". It had generated some controversy in Washington, a city known for its monumental sculptures, as it appeared as a reference to a broken upside-down Washington monument at a time of civil unrest in 1968.












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Lots of Sottsass soon
to be on view in
Los Angeles!











LAMA is pleased to announce that unique Ettore Sottsass works from the Max Palevksy estate will be offered in the March 6, 2011 Modern Art & Design auction.

(great podcast here, from the LAMA blog here)

"During the course of his life, Max Palevsky, most noted as a pioneer in the computer industry, amassed an astounding collection of Modernist art and Italian design to adorn his three extraordinary homes in California. In 1984, Palevsky commissioned renowned Italian architect and designer Ettore Sottsass to redesign the interiors of his Malibu estate. Sottsass, who at the time was mostly unknown in the United States, was a driving force in European design, especially for founding the Memphis Movement in Italy.

Highlights from the Palevsky design collection will include a number of Ettore Sottsass custom designs such as a marble entry table, a custom headboard with built-in nightstands, and a unique marble and steel coffee table. In addition to the Sottsass designs, four Murano glass windows, a selection of Venini glass, a rare Carlo Scarpa vase for Venini, and Alessandro Mendini designs will also be offered for sale."

here....

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"Interieurs Couture"
by Ivan Terestchenko











Ivan Terestchenko's photographs have been a huge source of inspiration to me. He recently set up an online shop, with a series he calls, "Interieurs Couture." There are very few photographers that are able to portray such quiet beauty, narrative, and emotion. His online shop with these exquisite photographs will be up for a short time more.... Hurry!

"They are photographs taken in the homes of famous couturiers during the last twenty years.
Each print, made in Piezography, the ultimate museum quality printing technique, size 30cm X 40 cm, is signed and dated.."




go to the site here...
go to Ivan Terestchenko's portfolio here...






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"Born in England and educated in France, Ivan Terestchenko read History of Art at the Ecole du Louvre and was a painter until the age of 30 when he switched to photography and landed his first assignment with french Vogue . He contributes to many international publications. Recently, Ivan photographed "The Private World of Yves Saint Laurent and Pierre Bergé" published simultaneously in four international editions, in France, UK, Germany, and in the US. His other book credits includes "Paint and Colour in Decoration" by Farrow and Ball, published by Cassel illustrated (UK) and Rizzoli International (US).







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when art & architecture collide
aka
the dance of the old and the young

works by Thomas Houseago in outdoor space at L & M Arts, Venice, CA

Lately, there is something in the air about Los Angeles. Los Angeles is on a serious roll. It's not a city for everybody, I can understand that. But for the time being, it's my home. The light and snow-capped mountains will confuse you, or at least help you forget about the traffic for a moment. And recently, there has been a serious abundance of art & design in Los Angeles. Take a deep breathe fellow traveler, this week in Los Angeles there is a ton going on.

Thomas Houseago's "All Together Now" opened last week at the newly opened L & M Arts in Venice. Have you been to L and M Arts yet? The two galleries are delightful mind puzzles. Bricks, light, and angles all come together in the masterful buildings. wHY Architecture is behind these works, and may I suggest you spend some time in their presence?

"I wanted to create a dance between the old and the new: The old is revived by the new, and the new lives within the old," says Kulapat Yantrasast, of wHY Architecture. (read more here) There is a unity of old bricks, black sheets of glass, and the outdoor area that makes L & M Arts such a delight to visit.

Thomas Houseago, a L.A. sculptor with international attention, is showing in these 2 spaces at the moment. Large scale bronzes, cast aluminum, and redwood sculptures are both inside and on the lawn outside. In my humble opinion, Houseago is one of the most important sculptors in Los Angeles at the moment, making use of the space of the city. Referencing the past, while attempting to push it forward.

A side note: I truly wish more galleries in Los Angeles would push sculptors to make outdoor works, and show it outdoors. In a city rich with nature, our next step is to adorn our public areas with more L.A. sculptors' works. Agree or disagree?

- David John

bottle II, 2010, bronze

taken from press release:

"Houseago is known for playing a formal game, manipulating volume and relief to create tension between two and three-dimensional space. Body parts are impossibly linked together, and realistically sculpted limbs lead to drawn representations of others. This visual play gives these hulking figures a sense of fragility and awkwardness while remaining imposing and dynamic at the same time.

These works often reveal the physical marks of fabrication, with skeletons of iron bars exposed, raw edges from jigsaw cuts, and plaster and hemp slathered on the forms. They are both sensually and crudely constructed, as if their maker is also in a physical battle with these figures. In the end, he gives new life to these classic forms.

Houseago acts as cultural sponge, taking his visual cues from a disparate number of sources from tribal art to Picasso. But this vocabulary is then synthesized through a 21st century lens, and merged with rock 'n roll, science fiction, and animation. The work self-consciously references the past, but remains utterly innovative and contemporary."









go to L and M here...




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Shigeo Fukuda

“I believe that in design, 30 percent dignity, 20 percent beauty and 50 percent absurdity are necessary,” he once told the Japanese design magazine Idea."

"Electric vigor series"

read more here...
(thank you rodney and taka)



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YHBHS interview

Mauro Bonacina, artist

"I try to chose iconography, everyday motifs, and cliches that we understand and share in our collective memory, so that the work can relate to the past, the present and the future."

NEW YORK. USA. 10.13.2010. 11:32, 2010
Acrylic 102 x 116 ", Angel painting

(via Charles Bank Gallery)

There are elements of excess, violence, death, and fragility in your work.. What was the time like in your life when you were creating this work? Do you think it is apparent in the final work?

I made the work for the show in three weeks whilst i was in New York. I like the idea that the artist should not be constricted by the studio. I definitely think that art can be made anywhere at anytime. I think i am more interested in stimulating the viewer to have their own notion of what the work might be, and might be relating to, rather than the work being purely descriptive or biographical. Furthermore I think every artist's work is inevitably biographical in one way or another, but that does not mean that the work's content is related directly to the artist actual life.

NEW YORK. USA. 10.21.2010. 12:36, 2010
Spray paint on acrylic paper 21 x 27 "

Is your work about the past, present, the future? Where does your consciousness exist? The past, present, or the future?

My consciousness exists here and now, as far as I am concerned. I try to chose iconography, everyday motifs and cliches that we understand and share in our collective memory, so that the work can relate to the past, the present and the future.



Is important humor in your practice?
Humor is very important to me as a human being.

LONDON.ENGLAND.29.11.2009.14:38, 2009
Ceramic pot, cabinet, paint brush, oil, enamel and aluminium

The piece that first attracted me to your work was LONDON.ENGLAND .29.11.2009.14:38, 2009. The work is appears almost as if you installed a piece inside someone's home.

You work has a conversation about space, interiors of a gallery, and the the place it inhabits. Do you ever imagine your work outside the gallery, and being lived with? Where did you find this cabinet and bathtub?

The reading of a work is without a doubt influenced by context. In fact my work also deals with this matter-it is very important that the work takes into consideration the world it inhabits. I guess a large proportion of works after leaving the gallery space end up existing in living spaces and storage spaces. I search through architectural savage yards for many of the objects I use in my works, but then again it really depends on the work. If there is a need for a conceptual idea to be realized by fabricating something, buying it new from a shelf or even stealing it, so be it. I try not to close the practice down within such formal parameters.


Do you fear or think about death?

I think death is inevitable, as such it is inevitable that we think about it.

What motivates you to work?

Addiction



















MAURO BONACINA
Born 1977, Milan, Italy Lives and works in London
go to Mauro Bonacina's site here...





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"when formless becomes attitude"

"It was already quite dark in the fully packed salon.
The monstrous furniture melted to formless masses."
Franz Werfel, Buenos Aires 1941

Lothar Windels, 2000
Joseph

Robert Morris, 1983,
House of the Vetti

I'm currently absorbing the book, "FORMLESS FURNITURE" edited by Peter Noever. A fantastic history of art furniture! This is the catalog from the 2008 MAK show in Vienna. Take a look at the show here.... Here's an excerpt from the catalog....

"While Robert Morris created well-publicised works of art from thick felt, he did no more than accept the material, barely recontextualizing it as "fine art."

German designer Lothar Windels's felt armchair created in 2000 is an explicit reference to Beuys, Windels called his furniture by the artist's biblical name, JOSEPH. For his opulent object, Windels treated his material in a literally rapturous fashion. A 12 meter long and approximately, three centimeter thick felt path was folded into a seat with armrests, combined with a somewhat shorter second path that was turned over into a backrest and affixed with three long metal screws...."













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1. Felicia Ferrone Design.. go here., 2010
2. Fontana Arte, 1960.





"Felicia Ferrone studied architecture in the United States before beginning her career in Milan, apprenticing with some of today’s most influential architects and product designers. Her minimalist sensibilities are evident in the formal simplicity of the Revolution Collection, as is her passion for reinterpreting conventional designs, offering fresh solutions that enrich our everyday environments."




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"Fontana Arte has a long history which is what makes their product so exclusive and renowned. The company was formed in 1932 by Gio Ponti, as an artistic division in the company Luigi Fontana, historically, the company leader in advanced glass manufacturing and design. By using glass, architect Ponti realized what an enormous potential this material could offer in the making of furnishing complements for interiors. Urged by this intuition, he started to design and produce furniture, lamps and objects with glass as the main distinguishing feature.

His new design concept was being used as a complement to the interior decoration of many houses that he personally designed. Seventy five years on and they are still among the most exclusive and respected companies in the world."











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summerlove
fades, and the
crooks take to
the street, my friends.














It was summerlove
leave this town
It's too cold to bathe
and the leaves are brown
Summerlove left this town



































"The stairway connecting the high, narrow space of the vestibule to the long, low room of the library proper is among the most remarkable inventions of mannerist architecture....

As has often been remarked, it resembles a lava flow that the walls seem intent on containing. Here the volutes assume a character totally at odds with the static quality of the consoles from which they derive, having been invested with great power, bulging forward in the center only to recede in the lateral swirls and assume conventional form to either side of the balustrade. The large volutes easing the transition from the central to the lateral stairs also stabilize the balustrade. The opposing forces given physical form here are undeniably biomorphic in character."
















"I have always thought that you need to work both inside and outside the system to develop the best critical position. So even when exhibiting with galleries and museums I have always kept this balance. I was never especially aggressive toward galleries because they are privately owned. Within the gallery system you will find everything from crooks to the very best people. Institutions are different, they are more general and in most countries they’re funded by public money. They are absolutely not innocent and the use of public money can be put under scrutiny."


Daniel Buren, interview here.







summerlove
fades, and the
crooks take to
the street, my friends.



1. Geneto Design, Tokyo
2. Banks Violette, Mariann Goodman Gallery
3. Vestibule of the Laurentian Library, Michelangelo, 1524-59. Florence, San Lorenzo.
(text taken from here)
4. Daniel Buren, blackness










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You have read this article banks violette / blackness / daniel buren / geneto design with the title January 2011. You can bookmark this page URL https://gigibytes.blogspot.com/2011/01/summerlove-fades-and-crooks-take-to.html. Thanks!

"Every great architect is - necessarily - a great poet"
aka
tell me your secrets, and I might tell you mine.





























"Every great architect is - necessarily - a great poet"
aka
tell me your secrets, and I might tell you mine.

1. bassamfellows
2. frank llyod wright





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My work is all about merging the rationality
and clarity of Modernism with the warmth and texture of nature.
Bassamfellows



"Frank Lloyd Wright has indubitably left his mark on this age. But it is not merely the mark of an architect. Speaking before an audience in London during the late 1930s, Frank Lloyd Wright stated that "Every great architect is - necessarily - a great poet". Whether or not this is true of every great architect remains a matter of debate. There are few, however, who will not see in that statement an apt description, perhaps the most apt description, of Wright himself."

taken from here...













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the study of a bench
for the lover's dining room.
(black + red)

























the study of a bench
for the lover's dining room.
(black + red)


1. Jean Michel Wilmotte, via Holly Hunt
2. Minoru Yamasaki, attribution bench USA, c. 1975










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a study
in black
and white
















































































a study
in black
and white




1. Victor Vaserly, 1967
2. Roman Williams... here..
3. Unknown tumbler. A study in benches. black and white wallpaper.
4. Black and White, by Stephan Van Den Burg, here....








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Craft and Folk Art Museum, Los Angeles
Crossing the Line :A Space by Tanya Aguiñiga

January 23 – May 8, 2011







In an upcoming exhibition, Crossing the Line: A Space by Tanya Aguiñiga, at the Craft and Folk Art Museum from January 23 to May 8, 2011, Aguiñiga will create a spontaneous, site-specific structure. Made up of criss-crossed yarn with floating woven pieces that are intersected with furniture made specifically for the exhibition, the work will experiment with boundaries and suspension. The result will be a sort of cave where visitors can seek respite, with a mix of the functional and the purely aesthetic—a connection of disparate planes.

“Having grown up on the US/Mexico border, I am naturally drawn to the beauty of the unplanned, the creation of environment using non-traditional techniques and finding inspiration in changing perspectives,” she says.









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Philip Johnson’s first constructed commission
the Booth House now for sale.












"When we visited the homes of friends, we felt closed in and unaccountably claustrophobic. Our home’s Breuer tables, Eames chairs, and the open plan made everything feel light and airy. The layout and floor-height sills seemed to form a continuum with the surrounding landscape. Their homes felt smaller without the immediacy of sun and sky throughout the seasons.

In the weeks before my father’s death last year, our family sat before the huge crackling fireplace and listened to John Coltrane as the panorama of the misty woods began to bud, smells of coffee and pancakes emanating from the kitchen. We didn’t need to think or talk. It was more than sufficient to just sit together, our house another companion.

But now we need to think. And to act.

Our mother is eighty-six. She has projects that need an urban location: the publication of my father’s book, the disposition of his archive, the production of a film about him. She needs our help, and we live in Boston.

We are obligated to dispose of the house. And this obligation has taken us into its history anew, and almost shockingly made us aware of the significance and value it enjoys beyond its taken for- granted identity as our cherished home. Owning a Philip Johnson house is indeed special, but owning his first commissioned work means also owning the progenitor of its kind.

written by Jesa Damora, "Growing Up Inside Greatness, and Parting With It"



















Philip Johnson’s first constructed commission, the Booth House built in 1946. Also, the first Bauhaus inspired home built in the New York northern metropolitan area, preceding Philip Johnson’s own memorable Glass House and the many mid-century modern homes built in New Canaan, CT. The spare elegance of the home represents the brief moment in America’s post-war history when a simple, informal, unencumbered domesticity became fashionable.

Philip Johnson’s architecture of the period was inspired by Mies van der Rohe. The Miesian hallmark is evident in the reductive rectilinear design with minimal interruption in the flow of space within the building and out to the exterior landscape. In the Booth House, twenty-eight feet of floor to ceiling glass on one side of the living room commands an expansive view across acres of woodlands. The panorama includes a thirty-six acre nature preserve. The 2320 square foot 3 bedroom home and 800 square foot studio building has been the home of two architects for 55 years.








go to the home's website here.
and buy it here.
$2,000,000.00




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"art only need be interesting".....

Empiricism emphasizes the role of experience and evidence, especially sensory perception, in the formation of ideas, over the notion of innate ideas or tradition in contrast to, for example, rationalism which relies upon reason and can incorporate innate knowledge.























I'm thinking of Donald Judd today. And the idea of factory made forms, bean bags and pillows. The below text is taken from Judd's NY times obituary, written by Roberta Smith, in 1994. The above images are not Donald Judd's works but are by Martin Creed, and Elad Lassry. I'm sure there is a connection somewhere.




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"Mr. Judd disliked the word Minimalist, calling himself "an empiricist" when pressed, and refused to call his work sculpture because he thought that implied carving. Like the efforts of other Minimalists, including Dan Flavin, Frank Stella, Carl Andre and Robert Morris, his simple, factory-made forms were seen as "radically depersonalized" (in the words of one critic, Hilton Kramer), devoid of emotion and signaling a dead end for art.

Much was made of the fact that Mr. Judd's work was fabricated by others and that mathematical progressions sometimes determined his compositions. One of his most famous, and most misconstrued, pronouncements was "Art need only be interesting."

text taken from here...





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Portrait of a coffee table....
pt. 1.
"a study for the minimal moon lounge."

Portrait of a coffee table....
pt. 1.
"a study for the minimal moon lounge."



1. via environment, leblon coffee table. Reclaimed Peroba wood. . "Its wood is also one of the most durable, 34% harder than oak and slightly harder than black locust. It has a fine texture, a faint warm rosy brown hue, and when it is weathered and aged, it grows in character and texture, almost resembling petrified stone."

2. Onyx Italian 70's via current Rago Auction. Onyx is a cryptocrystalline form of quartz. The colors of its bands range from white to almost every color (save some shades, such as purple or blue).

3.. Burl wood coffee table by Milo Baughman. Burls yield a very peculiar and highly figured wood, one prized for its beauty by many; its rarity also adds to its expense. It is sought after by people such as furniture makers, artists, and wood sculptors.

4. Marble. Two part Triangular coffee table from Talisman London. 1970's.







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