My good friend Joy Brown is in China again working on large bronzes at a foundry. I’ve been posting her journal and images to her blog that some of you may find interesting.
Drag the media player slider to 29 minutes, Blitt is on the second half of the show.
Here’s Barry Blitt’s web site. Click on “What-not” for a collection of his New Yorker covers including all the covers mentioned in the interview. Fantastic stuff.
I love his work and it was nice to hear that he works exclusively in pen and ink and not Photoshop.
This is the entire 1995 American Masters program in nine linked parts on YouTube. It’s well worth watching (full screen). We saw it when it first aired on PBS many years ago and I bought the DVD which is now out of print and tough to find. This may be the only way to see this excellent biography of Richard Avedon, one of the greatest photographers in history.
When Tina Brown hired Avedon to be a staff photographer at The New Yorker I saved every image they printed of his. Together Brown and Avedon started the process of loosening up what was getting to be a rather stuffy (if still excellent) magazine. I have many of Avedon’s photo books including Into the American West, now out of print but an incredible collection of portraits.
Absolutely incredible. Watch the video, full screen.
Note: we haven’t had enough snow (any real snow) this year and haven’t put on our snowshoes once.
I thought I had a flashlight fetish: I have a bunch of “low end” Surefire G2 flashlights in the house and in the cars as well as a Surefire headlamp for hiking and some Streamlights in various sizes and shapes. The collections shown at core77 and at the CandlePower Forums show just how far people get into this stuff.
Flashlights are interesting objects, they have utility but they also have an aesthetic which has many aspects: fine machined steel or aluminum or plastic, the design of the switch, power (lumens), battery type and life, and lastly, how cop-like or weapony or “tactical” they are.
Oh, on my keychain I carry a Photon Micro-Light and I have to say, it’s fantastic, one of my most used flashlights. I also have one of these lights in my camera bag and another in my carry-on bag I take on planes. Not “tactical” but very “practical.”
THIS MUST BE THE PLACE is a series of short films produced and directed by Ben Wu and David Usui that explore the idea of home.
The three films they have up now are excellent, each in its own way.
The Glass House happens to be in my backyard (New Canaan, Connecticut) and I’ve never been there. This is a nice piece at core77 on restoring and preserving a Donald Judd concrete sculpture that’s installed on the 47 acre grounds.
This is an incredible collection of machine-art and the Mad Max association is spot on.
Imus Geographics looks like the map lover’s dream come true. And, in my old home town of Eugene, Oregon.
[via Steve Splonskowski]
This is quite an amazing video of Japanese gift wrapping. I used large photographs that were on my seconds pile this year and the rag paper is to thick for this technique but this technique would work well with old maps or any thinner newsprint. Note the diagonal pattern, amazingly simple yet a beautiful design.
[via The Kid Should See This]
American Masters just aired a great documentary on the designers Charles and Ray Eames, the influential American designers. I highly recommend watching it by following the above link.
I first posted about Susan Kare here: Making the Macintosh Project but I’ve known about her since the mid-1980′s because both her icon and font designs were the “face” of the original Macintosh and stayed with us for close to ten years.
Juan Rayos has made a wonderful introduction to Spain’s national art museum in Madrid. Both the video and background music are excellent. Beautifully produced. Watch full screen, very well worth it. Chock full of visual ideas and visual design beauty.
This video introduces Museo Reina Sofía, a expanded museum with various sites and locations (Sabatini Building, Nouvel Building, Palacio de Cristal and Palacio de Velázquez), experiences and audiences. Along with this idea of campus, the collection, exhibitions and public programs are shown as a new form of mediation between the audience and the Museum’s program.
PS: Now I know where Picasso’s Guernica ended up.
[via The Kid Should See This]
I have this “disease” and there’s a very fine line between hoarding lots of stuff looking for patterns and the kind of high end collecting these folks do. Each class of collecting (hooding and high end collecting) has its extremes.
What these folks do that I haven’t done yet is curate their collections; my various collections sit in boxes in the basement and at some point when I’m not looking my wife may dispose of them. The sad part is, I might not notice for a while. Matchbooks, postcards, stamps, cigar boxes, coins, political cartoons, boarding pass stubs, embossed napkins, sea shells, pasta and a lot more. Ugh.
Another form of this is scrapbooking which tends to be about personal history but can be less focused as well. I tend to collect paper ephemera so my collections are probably a hybrid of objects and scrapbooking minus the curation and scrapbook.
In a way, blogging and reblogging is a type of collecting and curating, it’s just not objects that are being curated, it’s ideas or videos about ideas (like collecting and collectors).
Taken with iPhone 4S through glass, 2″ across
I met an old and dear friend, Mamen Saura who was visiting New York and we went to a exhibition at the Metropolitan Museum of Art: Wonder of the Age: Master Painters of India, 1100–1900.
The exhibition is made up mostly of book pages displayed flat. The scale is so small that the museum has a box of large magnifying glasses that are essential for seeing the pieces, even if you have perfect vision (which I don’t, I used both my reading glasses and the magnifiers).
I hadn’t been to the Met in years and I have to say, it’s so overwhelming my head was spinning. Mamen and I took in the first room of this six room show and had to go sit down and have lunch, we were totally exhausted. We went back and saw the rest of it but in fact, we both ran out of energy before the end. I plan to return with my wife Anne to see it again, it’s that good.
On the way to that exhibition we passed through the new permanent exhibition of Islamic art which is also spectacular. The Met really knows how to display art and while this is to be expected, not every museum does as good a job. I’m not trying to be a “New York snob” but in fact, MoMA is also an excellent place to see an exhibition: the Henri Cartier Bresson show that Anne and I saw there recently was beautifully presented.
Note: nn closer inspection of this Indian art from the 1500′s we found the beginnings of Apple marketing to the rich and famous. We weren’t aware that Apple made pink iPads but no doubt the teenage girls of that era were pleased as punch over it.
Flickr user Ewald Mario Bauer has assembled a number of flickr galleries which are collections of images that others have taken and allowed to be included in the galleries of other flickr members.
Note the page numbering on the bottom, there are 14 pages of them.
Frankly, I never looked on galleries as something of meaning because it seemed like a fancier way for people to collect links to favorite photos. But after looking through many of Ewald’s galleries I think a better explanation of them is a flickr feature that allows a user to curate a collection of things they find of interest and share that collection with others. I guess I was looking at this flickr feature from a bit too paranoid a viewpoint. In fact, being placed in someone’s gallery is useful in that it will lead new viewers to your photo stream.
Sometimes being included in galleries is something you don’t want, like some of my yoga images of my wife and our yoga teacher being included in galleries of “hot women.” As the owner of the image, you’re notified when someone includes it in a gallery and you can check things out and delete it from that gallery if you don’t want to be included as well as block the flickr member who made the gallery if they seem to be less than decent (my wife had mixed feelings, being flattered to be included in such a gallery).
I’ve not made a gallery on flickr and I’m not sure I’ll get around to it but I’m looking at this flickr feature in a new way after poking through Ewald’s curated collections.
Great animated video by Derek Sivers. This really is quite a common feeling and his conclusion – get it out there for the world to see – is brilliant.
Jessica at Design Blog has a great post that goes Behind the Scenes of the Catch Me if You Can Title Sequence.
Here’s the title sequence:
Kuntzel + Deygas stylistically transpose the handmade design of Saul Bass using decidedly modern means. Accompanied by John Williams’ unexpectedly unctuous score, the duo’s title sequence for Steven Spielberg’s Catch Me If You Can is simply outta sight.
You may want to watch the title sequence at Art of the Title as it’s higher resolution.
The fact that it was done with rubber stamps is fantastic.
If memory serves it seems to me that the way the title sequence pans through scenes is reminiscent of the Pixar title sequence from Ratatouille which is reminiscent of various James Bond movie title sequences including Casino Royale.
All of this is reminiscent of video games which pan through scenes…
I guess everything IS a remix.