Saturday, June 27, 2009
Take as an example the contrast between British and American customs: In Britain, people queue for everything and apply strictly the norm of :first come first served". In the US, the price is much more used as a selection mechanism, thus wealth matters more.
In the context of the Titanic, this would mean: among Brits, a larger proportion of women and children than men should have survived; among Americans, the survivors should be more frequent in first class than third class.
Wednesday, June 24, 2009
Margot Louise Hemingway was born in Portland, Oregon, and was the granddaughter of writer Ernest Hemingway. Hemingway was named for the wine, Château Margaux, which her parents, Puck and Jack Hemingway (eldest son of Ernest), were drinking the night she was conceived.
Reminder courtesy of Cozette
Wednesday, June 17, 2009
June 6 - Aug 23. 2009 on exhibit at the Museum of Modern Art in Arnhem, Netherlands (Museum van Moderne Kunst Arnhem)
the exhibition is part of the Arnhem Mode Biennale.
Klavers en van Engelen
Michael van der ham
Collections: A/W 2009-10
Wednesday, June 10, 2009
Thursday, June 4, 2009
Was reading an article in Artforum and it reminded me of this Yoko Ono piece, Play It By Trust (1966). Although not a big fan of her work, I appreciate her part in Fluxus.
The idea with this piece was that the players lose track of their pieces as the game progresses; ideally this leads to a shared understanding of their mutual concerns and a new relationship based on empathy rather than opposition.
I've always liked this piece. Maybe I'm just fed up of opposition right now.
Tuesday, June 2, 2009
453 West 17th Street
April 25–June 6
From 1942 to 1952, the war-battered British government ran something called the Utility Furniture Scheme. It issued plans intended to encourage “quality” furniture-making that would also conserve natural resources––with success on both counts to be guaranteed by the plans’ modernist designs. In his compelling, complex show at this gallery, Francis Cape, who once earned his living as a carpenter, re-creates some of those designs. Working in unfinished poplar, Cape provides pared-down versions of Utility beds, chairs, and wardrobes that look like they could be prototypes for the original pieces. Cape’s furniture comes juxtaposed with four square photographs from our own time that document examples of demotic design destroyed, or gone wrong, in post-Katrina New Orleans and impoverished sites in upstate New York, where the artist lives.