With the use of clean edges, clever repeats and trompe l’oeil effects,
Geometric revives the mood of the 60’s with its ‘Op Art’ geometry and
explorations of colour, line, movement and illusion.’

-Cole & Son CEO, Simon Glendenning

Andaz, London, with Geometric by Cole and Son..

"Cole & Son has launched the autumn 2011 Collection, Geometric, at London Design Festival. Consisting of fifteen designs, the leading wallpaper manufacturer’s latest offering is a selection of contemporary designs influenced by intricate patterns and vivid graphics. The modern collection is a unique juxtaposition coming from a factory that still uses traditional methods.

Following the success of last year’s installation, Cole & Son has returned to Andaz Liverpool Street to showcase the eclectic range of smart and contemporary Geometric wallpapers in an installation for LDF. The back wall of the Andaz Lounge (lobby) displays the dramatic new large repeat digital panel design – Circus. As a humorous twist, the angular nature of the wallpapers is offset by three life-size animal sculptures, each dressed in their own patchwork of Geometric patterns to showcase the collection."








"Founded in 1875, Cole & son retains the original spirit of the company, combining skilled craftsmen with traditional processes and the latest modern technology. Today, the Cole & Son archive consists of approximately 1,800 block print designs, 350 screen-print designs and a huge quantity of original drawings and wallpapers, representing all the styles from the 18th, 19th and early 20th centuries."








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dorothy draper
and
annette kelm....

Big Print #6
(Jungle Leaves - cotton twill 1947 design Dorothy Draper, courtesy Schumacher &Co)
2007 C-Print

"Annette Kelm's works reveal both an interest in historical context,
the history of industrial, craft and design and in questions concerning the artificial and the ambiguity historically experienced by cultural phenomena. Her photographs, which are realistic in their effect and oscillate between precision and ambiguity, transmit her motifs into a highly complex network of relationships, which are both visual and substantive in nature, in which constructive conflicts arise between what is shown and what is intended; thus seeing becomes more important than knowing."

from like you... here.

Big Print #6 (Jungle Leaves - cotton twill 1947 design Dorothy Draper,
courtesy Schumacher &Co) 2007 C-Print

Dorothy Draper:

"Born to a wealthy and privileged family in 1889, in one of the most exclusive communities in American history, Tuxedo Park, Dorothy Draper was the first to “professionalize” the interior design industry by establishing, in 1923, the first interior design company in the United States, something that until then was unheard of, and also at a time when it was considered daring for a woman to go into business for herself.

As Carleton Varney writes in the biography of his mentor, The Draper Touch, she revolutionized the concept of “design” by breaking away from the historical “period room” styles that dominated the work of her predecessors and contemporaries. As an artist she was a modern, one of the first decorators of the breed, and a pioneer. She invented “Modern Baroque”, a style that had particular application to large public spaces and modern architecture. She craved public space, the canvas on which she did her most inspired work ( e.g. the restaurant at the Metropolitan Museum of Art, New York, nicknamed “The Dorotheum”). To Dorothy, public space represented a place for people to come and feel elevated in the presence of great beauty, where the senses could look and feel and absorb the meaning of a quality life. She used vibrant, “splashy” colors in never-before-seen combinations, such as aubergine and pink with a “splash” of chartreuse and a touch of turquoise blue, or, one of her favorite combinations - “dull” white and “shiny” black. Her signature “cabbage rose” chintz, paired with bold stripes; her elaborate and ornate plaster designs and moldings - over doors, on walls and ceilings; her black and white checkered floors (The Quitandinah Palace & Casino Resort, Petropolis, Brazil); her massive, paneled, lacquered doors (Arrowhead Springs Hotel, California), some framed with bolection (Hampshire House, New York) or with elaborate plaster or intricate mirror frames (Camellia House, Drake Hotel, Chicago) – all contributed to dramatic design often referred to as “the Draper touch”.

Big Print #1 (Lahala Tweet - cotton chevron, fall 1949 design Dorothy Draper,
courtesy Schumacher &Co) 2007

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vintage wallpaper
and psychedelic
architectural
landscapes.

oh yeah....





Now, that I am on the UCLA campus three days a week, I'm excited to spend more time at the Hammer Museum. I find this to be one of the most exciting programs happening in Los Angeles at the moment. This upcoming exhibition, opening on October 4, is curated by Robert Gober. This exhibition will feature some of the wallpapers Charles made as a wallpaper designer, in the early 20's, and they will be installed on the walls. So excited!

Heat Waves in a Swamp: The Paintings of Charles Burchfield
Hammer Museum, Los Angeles

Sunflowers (design for M. H. Birge & Sons Company wallpaper), 1921.
Watercolor and graphite on paper mounted on board, 27 1/2 x 20 in.


Heat Waves in a Swamp will be the first major Charles Burchfield exhibition to be mounted on the west coast and the first in New York for more than twenty years. Arranged chronologically, it approaches Burchfield’s work with a new perspective facilitated in part by the curatorial sensibilities of Robert Gober. Working with Hammer coordinating curator Cynthia Burlingham, Gober has augmented a large selection of watercolors with the inclusion of extensive biographical material that continually infuses Burchfield’s own thoughts about his work and artistic practice. An obsessive collector, organizer, and archivist, Burchfield left a treasure trove of well-maintained sketches, notebooks, journals, and doodles spanning his entire career. This material is now part of the Burchfield Penney Art Center at Buffalo State College, which houses more than twenty five thousand objects by this visionary American artist. The exhibition will travel to the Whitney Museum of America Art in New York and the Burchfield Penney Art Center.

Although aware of the art of his time, Charles Burchfield spent his working life immersed in his own local environment in upstate New York, trusting and then challenging his creative instincts, often looking backwards in order to go forward, and steadfast in his belief of “the healthy glamour of everyday life.” His paintings vibrate with color and sound like visual symphonies where the humming of insects, rustling leaves, bells, moonbeams, and vibrating telephone lines are woven together to reveal the beauty and power of the American landscape. Side by side with his journals and notes these paintings explore both physical and psychological terrain. Edward Hopper, fellow artist and close colleague, once said that Burchfield’s work "is most decidedly founded, not on art, but on life, and the life that he knows and loves best.”

taken from Hammer Museum Blog here..

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