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September 30, 2011


Filed under: Helmut newton — Tags: — jherzlinger @ 12:48 pm

Continuing on the theme of introducing you to my favorite photographers, I decided it is time to start bringing you fashion and my roots and why I am so influenced and all the rest.  The world’s greatest fashion photographer is Helmut Newton

Born in Berlin in 1920 to a wealthy Jewish family, Helmut Newton was a delicate child prone to fainting. When he was around 8 years old his brother began showing him the ‘gutter’ of Berlin, a red light district which was inhabited by prostitutes like the ‘Red Erna’,

who wore thigh boots and carried a whip. Helmut remembers, “my eyes were poppin’ out of my head.” But the Newtons lived at the other end of the social scale, vacationing at posh European spas and hotels that would later become his backdrops. At 12 he saved his money to purchase

his first camera at a five-and-dime. The first roll of film he shot was at an underground subway. The whole roll came back black except for the one image he shot above ground. A few years later he decided to travel abroad and become a famous photo reporter. “In 1936 I arranged to have myself thrown out of school as a hopeless pupil,”

says Helmut. With the help of his mother Helmut began working as an apprentice for Else Simon, a female fashion-and-portrait photographer who operated a studio under the name of Yva. His father’s prophetic response to the chosen path was, “My boy, you’ll end up on the gutter.”

His first job as an assistant lasted for two years and was abruptly ended in 1938 when the Nazis stepped up their attack on the Jews. Yva was forced to close her studio, and later died in a concentration camp. Helmut fled Germany to Singapore and worked as a photojournalist for the ‘Singapore Strait Times’.

“The next few years had little to do with photography; I was busy keeping my head above water and trying to avoid starvation. I rarely gave the paper the kind of photos they were hoping for,” he recalls.

In the early 1940′s Helmut moved to Australia, where he enlisted in the Australian Army and served for five years. He then moved to Melbourne, opened a studio and was determined to make a living as a photographer. Meanwhile, his family had fled to South America. Helmut would meet an Australian actress named June Browne,

whom he’d marry. He would take any job that he could get doing wedding photos, baby books, and mail-order catalog assignments. In 1952 he began working for Australian Vogue, which led to a short-term move to London in 1957. “My years in Australia were wonderful. I met June, we married, but photographically,

much as I loved this country and it’s people, it did not form me as a photographer nor did my work there amount to anything.” London would be “equally sterile and unproductive. The moment I hit Paris I knew this was it for living and taking photographs. The life was in the streets, in cafes, restaurants. Beautiful women seemed to be everywhere.”

In the late 1950′s he found work at ‘Jardin des Modes’ and in 1961 began a long-running and fruitful association with French Vogue which would last until 1983. During this period he would also work for Elle, Marie Claire, Queen, Nova, Playboy, Stern,US and Italian Vogue.

In 1971 while in New York for a Vogue assignment, Helmut suffered a major heart-attack which would change his life and transform his photography. With the encouragement from his wife June, Helmut pursued overtly sexual themes in his photos, deriving elements from his own history to instill a menacing edge to his works.

This edge brought him to the forefront of fashion photography and possibly made him the most influential figure in his field during the 1970′s. Women were pictured bolder and more aggressive, usually in disquieting situations, photographed in a a realistic reportage style. While the bulk of his models were depicted as members of the social elite,

they would be ‘caught’ in seedy environments exploring kinky fantasies with prostitutes and cross-dressers. And then alternating this juxtaposition showing members from the margins of society engaged in fetish driven meetings with the social elite, surrounded by sumptuous hotels and ancient midnight streets, all of them saturated

with decadence, luxury, and privilege. While American Vogue would only published distilled version of this period, his most risqué photos were accepted by European magazines. “The term ‘political correctness’ has always appalled me, reminding me of Orwell’s ‘thought police’ and fascist regimes,” he comments on censorship in America.

Helmut published his first book ‘White Women’ in 1976, which featured the most radical selections from this period. Despite negative American reviews it sold some 1500 copies in a week there. ‘The Eyes of Laura Mars’ was a Hollywood film inspired by the photos by Helmut Newton. Ironically the photos he contributed to the

film were not satisfactory. The director wanted scenes of blood and corpses which were of no interest to Helmut. He defended his fashion photos as erotic rather than violent.

I do so hope you look further into his work! It is just stunning!

Much Love,


September 29, 2011


Filed under: Uncategorized — jherzlinger @ 1:23 pm

I had the pleasure of being introduced to Matthew Buckingham’s work most recently, and needless to say totally fell in love with it!  His philosophy regarding the viewer and the viewer’s emotions are always what interests me in design.  As artists of different mediums and time periods, we are all a bit obsessed, which is what drives our talent, to design and practice for the sake of the end result leading to an emotion.

When you have read this, I sincerely hope you look his work up and catch one of his videos or his art.  All stunningly brilliant!

Matthew Buckingham is a New York-based artist who utilizes photography, film, video, audio, writing, and drawing to question the role social memory plays in contemporary life. Buckingham’s work has been shown at numerous institutions around the world, including

The Museum of Modern art, New York; The Moderna Museet, Stockholm;

among several others.

American artist Matthew Buckingham (born in 1963 in Nevada, Iowa, USA). His films, slide shows, and photographs all present various historical figures, real and make-believe alike: a politician, a freed slave, a drama coach, a lexicographer, a camera inventor, a philosopher, and the like.

The artist chooses such figures for what their life experience reveals about issues running through the contemporary world.

As a fully-fledged historiographer, no less, Matthew Buckingham invites viewers to experience history and its constructive methods, as well as feel its closeness to the present.

“The past is never dead. It’s not even past”, wrote William Faulkner. This oft-repeated quotation perfectly situates what he has been involved with since the mid-1990s: challenging the connection we have with history. Surprised by our understanding of history,

as well as by the objectivity value we grant it, the artist re-interprets historical facts, the better to question the meaning of documents and images, and incorporate them on the basis of different viewpoints.

For Buckingham, each work is the springboard for nothing less than an historical investigation. He seeks out ancient sources as well as the way in which publications have reported the event in the course of history. He chooses situations which retain an extreme topicality.

Matthew Buckingham’s work may be fuelled by an important theoretical basis, but it matters to him to come up with installations whose scope is based on textual experience as much as imagery and space. Understanding, representation,

and physical experience are all worked in such a way as to lend substance to thoughts and events.

As an example,three installations made in 2007 are brought together in this show: The Spirit and the Letter presents the writings of the novella writer, essayist and feminist Mary Wollstonecraft (1759-1797); Everything I Needimagines the thoughts of Charlotte Wolff (1897-1986),

forerunner of gender theories and theories about homosexuality, during her flight back to Berlin in 1978, after 35 years of exile in England; and False Futurelinks back up with the early cinematographic images shot by Louis Le Prince (1841-1890), French inventor of the camera,

who mysteriously disappeared in a train between Dijon and Paris. In these three installations the artist makes use of the principle of spectator identification associated with different image arrangements, aimed at giving to each one of these situations a stronger actuality.

These three works well illustrate Matthew Buckingham’s approach and method, which also borrows from the historian, the archivist, the anthropologist and the detective. In his installations, the artist gives preference to the way the viewer negotiates between several sources and documents.

He is interested by the encounter between work and viewer, leaving the latter a great deal of autonomy, running counter to the conveyance of a more unified sense. Each project seems comparable to the state of the beginning of his own research, when things crop up in a dispersed way,

without any immediate coherence. By summoning up historiography within the exhibition venue, Matthew Buckingham recognizes in the exhibition’s form a capacity for honing the onlooker’s perceptions. ”Looking for forms of interdependence, analyzing contemporary problems by

nearing their complex relationships in mind, this is perhaps a way of sidestepping cynicism and naivety.”

To briefly describe Matthew Buckhingham’s work, one could suggest it’s a cross between the films and exhibition design of Charles and Ray Eames and Bruce Nauman’s sculptural video and performance works.

Like Buckingham, the Eameses were obsessed with creating new ways of communicating information. For films like Glimpses of the USA (shown on seven screens for the American exhibition in Moscow in 1959) they carefully

constructed systems of presentation in which the viewer’s participation was primary. Many of Nauman’s video pieces—from Walking in an Exaggerated Manner Around the Perimeter of a Square (1967–68), to Good Boy Bad Boy (1985), and Mapping the Studio I (Fat Chance John Cage) (2001)—explore how understanding might be both supported and undermined through extended viewing of a situation set up by the artist. The aftereffects of watching them are similar to experiencing Buckingham’s work. One could also invoke other examples—the cinematic works of Fernand Leger, Dan Graham’s instruction-based works, Walid Raad’s fictionalized archives, and Deimantas Narkevi cius’s history projects.

Despite often having history, fiction, or narrative as their subject, each one of Buckingham’s projects reframes the question of experience itself,

experience as the result and totality of a person’s perception, interpretation, and memory.The setting in which Buckingham installed Muhheakantuck–Everything has a Name , is useful in understanding how his work encompasses

the contradictions of knowledge and experience. Imagine standing in line on the most inelegant of piers, then boarding a boat made for very short commuting rides. Soon after the boat begins its trip on the Hudson River, the sun begins to set and a film starts.

It describes the history of the Hudson—most significantly, what happened on its shores at the beginning of European domination. Images of the Hudson taken from helicopter are washed out, magenta-tinged, as if this was faded stock footage from the ’70s.

A voiceover describes a horrible history of violence and economic injustice with measured language and tone. Here we are on that very same spot in which it took place, desperately trying to imagine or connect this landscape of skyscrapers to its much longer history.

Buckingham’s restagings can only unfold over time—by willful reassembly in the viewer’s thought and memory. He employs various strategies: multiple screens, split image and text, screens interrupting and reflecting the projection, projection rooms echoing the

rooms depicted in the film, and so on. Taking history and memory and projecting them through a prism, Buckingham creates a spectrum of ideas that can only theoretically coalesce into a whole.




September 28, 2011


Filed under: john dickinson — Tags: , — jherzlinger @ 6:05 am

“A room is finished when you cannot remove something without it being missed. Everything must earn its keep.”

So said John Dickinson (1920—1982), American decorator and designer, who was known for furniture and interiors that were “spare, cerebral, uncompromising, and original.” Such as carved-wood lamp bases shaped like femurs or a table of galvanized tin ingeniously worked to resemble draped fabric.

Renowned designer John Dickinson  created many original furniture designs with much detail and flair. Animal legged chairs and African inspired tables were among his most iconic works from the 1960′s.

Dickinson loved the design paradox Andree Putman calls, “rich and poor”–expensive upholstery details worked in plain canvas, an elegant slipper chair upholstered in white Naugahyde, muslin curtains done in the most Balenciaga way, expensive wool cord used as simply as jute twine.

Many design insiders today still consider John Dickinson the most innovative and original American interior and furniture designer of the 20th-century. Designers as diverse as Andree Putman, Michael S. Smith, John Saladino, Vicente Wolfe and Gary Hutton sing his praises.

“John Dickinson’s furniture passes every test–for originality, quality and style,” said Liz O’Brien, a leading New York dealer in 20th-century design. “His design is for the ages. It’s burned into our cerebral cortex.”

He has been one of my most favorite designers and his furniture pieces are truly iconic and splendid!  If you have the chance to purchase a piece, have no worries whether it will fit the style of your home, as John’s work transcends time and place!




September 24, 2011


Filed under: SATURDAY SUPPER — jherzlinger @ 12:31 pm

You know me and how much I love pretty. I’m accused of liking only pretty things, so this weekend the menu is simple, classic and you guessed it, pretty .  Hope you have a chance to make all or at least one of these delicious dishes and don’t forget to peek below each recipe for wine selections that go with each item on the menu!

Have a very pretty weekend and let me know how the dishes turned out! Love, Jamie






You can make one large tart which looks impressive or 6 individual ones. It is best served hot but also good at room temperature.

1 lb puff pastry

4 tablespoons olive oil

4 shallots, sliced

1 tablespoon finely sliced basil leaves

Salt and freshly ground black pepper

1 lb  fresh asparagus

1/4-1/2  lb 0z finely sliced Serrano ham (or another ham such as Parma ham depending on how much you like ham)

8 oz Taleggio cheese

*Heat oven to 350 degrees. Roll out the pastry into a thin rectangle 15 x 9 in or 6 smaller rectangles about 4 x 6 in. Slip onto a baking sheet. Take a sharp knife and lightly score the pastry about 1/4 in inside the pastry edge so that you create a rim for the tart. Prick the internal rectangle of the pastry with a fork and chill for 30 minutes.

*Heat the oil in a large frying pan and gently saute the shallots until they are meltingly soft. Mix in the basil , season to taste and set aside. Meanwhile, trim the asparagus, removing the touch ends of the stalks then drop into a pan of boiling, salted water. Cook for about 5 minutes or until al dente. Drain and spread out on wax paper to cool.

*Spread the shallots over the pastry within the rim. Arrange the asparagus on top then tear the ham into strips and scatter over the asparagus mixture. Remove the rind from the cheese and cut into fine slices. Dot over the filling. Immediately place in the center of the oven and bake for about 10 minutes, then reduce the temperature to 300 degrees and cook for another 10 minutes until pastry is crisp and cheese is bubbling. Serve garnished with a few basil leaves.

TO DRINK: Serve with a Sauvignon Blanc like Cantina Terlano, Quartz Sauvignon Blanc, 2009.


1 1/4 lb new potatoes, scrubbed clean

4 red peppers, quartered and seeded

3 tablespoons white wine vinegar

1 tablespoon Dijon mustard

1 large bunch chives, finely chopped

10 tablespoons extra virgin olive oil

Salt and freshly ground black pepper

3/4 lb raw chorizo sausage

2 oz wild rocket, washed(you can use, baby mache lettuce, or a spring lettuce mix

*Put the potatoes into a pan. cover with cold water and boil for about 20 minutes or until they are dender; drain. When cool enough to handle, peel and thickly slice.

*Meanwhile, turn the grill to its highest setting. Grill the peppers skin side up until they begin to blister and blacken. Transfer to a bowl and cover. Once cool, peel, then cut into broad strips.(i you don’t have a grill, you can do this in the broiler-but I have to tell you-I bought a Calphalon stove top grill,

AWESOME! it works exactly like a real grill-this is from all my episodes of CHOPPED!

*Whisk together the vinegar, mustard, chives and 9 tablespoons olive oil in a large bowl. Season to taste. Add the sliced peppers and new potatoes and season to taste.

*Slice the chorizo into thick rounds and fry briskly in the remaining tablespoon of oil until crisp and lightly colored on both sides. Drain on kitchen paper and mix into the potato salad. If you want to serve the salad while the chorizo is still warm, gently mix in the rocket now, or leave until room temperature.

TO DRINK: A chilled, fruity, spicy rose like Domaines Ott, Rose “Chateau Romassan”, 2010.


6 tablespoons extra virgin olive oil

1 onion, finely diced

1 clove garlic, finely chopped (plus extra for rubbing lamb)

3/4 lb fresh tomatoes, peeled and roughly chopped

10 ounces chicken stock

2 lb flageolet beans, drained and rinsed

4 sprigs of thyme

Salt and freshly ground black pepper

3 trimmed racks of lamb

3 tablespoons finely chopped parsley

*Heat 4 tablespoons olive oil in a wide saucepan over a medium heat. Add the onion and garlic and gently fry until meltingly soft. Add the chopped tomatoes and fry briskly until they reduce to a thick paste, then add the stock, beans and three sprigs of thyme.

Bring to the boil, season to taste and simmer for about 30 minutes until the sauce thickens around the beans and the dish tasted good.

*Heat the oven to 375-400 degrees. This temp-depends on your oven.Place the lamb in a roasting tray and rub with 2 tablespoons oil then cut end of a garlic clove and a bruised sprig of thyme. Season with salt and pepper and place in the center of the oven. Roast for 20 minutes, then remove and allow to sit for 5 minutes before carving.

Reheat the beans, remove the thyme, add the parsley and serve with the lamb cutlets.

TO DRINK: A Cabernet Sauvignon like Amapola Creek, Cabernet Sauvignon (Sonoma), 2007.


For the Meringues

3 egg whites

1/3 lb sugar

1/2 tablespoon cornstarch

Pinch of salt

1/2 tablespoon finely chopped rosemary

1 teaspoon white wine vinegar

For the Topping

3/4 cup heavy cream cream (if you don’t have extra thick cream, lightly whisk double cream until it forms soft peaks)

1/2 lb raspberries

1/2 lb white grapes, halved, seeded

To Decorate

Icing sugar(confection sugar)

6 small sprigs rosemary

*Heat oven to 300 degrees. Line a baking sheet with greaseproof paper.

*Put the egg whites in a large, clean, dry bowl and whisk until they form stiff peaks. Add a quarter of the sugar and whisk until the mixture is stiff and glossy. Add half the remaining sugar and whisk until glossy. Repeat with the remaining sugar. Finally, gently fold in the cornstarch, salt, rosemary and vinegar.

*Spoon the mixture onto the paper in the form of 6 evenly spaced dollops. Using a knife, gently spread each dollop into a circle about 3 inches in diameter. Place in the oven and immediately reduce the temperature to 275 degrees .

*Bake for about 40 minutes or until the meringue is crisp outside but marshmallowy inside. Remove from the oven and when cool enough to handle, peel of the greaseproof paper and set aside.

*Shortly before you are ready to serve, spoon the cream onto the meringues. Mix together the raspberries and grapes and pile onto the cream. Lightly dust with icing sugar and garnish with rosemary sprigs. Keep chilled until ready to serve.(but-dont put the cream until you are ready to eat as it will soften the meringue

TO DRINK: Sweet Chenin Blanc like De Morgenzon, Chenin Blanc, 2009.

September 23, 2011


Filed under: pierre jeanneret — Tags: — jherzlinger @ 12:41 pm

OK-so, did you know that Courbusier’s name is really Charles Edouard Jeanneret? How I came to find out about Pierre his cousin, is in designing a “man cave”, I can’t even believe I typed that! I want to have pieces that are very masculine and play well

with the more modernist sofa and cabinetry I am doing. Many of these images you are going to be familiar with, and many you will think Corbusier.  But remember Pierre was right there alongside him as well as Charlotte Perriand, whom I have written about before.  If you have a moment to look at a

post I did on her, you will enjoy the images and her story.

For most of his life Swiss architect and furniture designer Pierre Jeanneret (1896-1967) worked alongside of, and often in the shadow of, his cousin Le Corbusier. In 1926 they published their manifesto “Five Points Towards a New Architecture” which served as the backbone of

their architectural aesthetic. The five points describe a building structure that includes a free plan without internal walls, a roof terrace, an expanse of continuous windows, columns to support the house and a simple façade. Their follow-up building, the Villa Savoye (1928-31), (THEIR)

was a representation of their outlined ideology. Practically an entire glass building with a primarily undivided interior, the elegance was established by the columns, which made it look as though it was floating above the ground.

In 1929 at the Paris Salon d’Automne he unveiled a set of modern furniture– including tubular steel chairs, stools and a set of modular steel storage units– designed in collaboration with Le Corbusier and Charlotte Perriand. The storage units lent themselves to the creation of an interior

space unbroken by walls as they doubled in a standing form as open room dividers. The pieces from this show have since become icons of classical modern design. In the 1960s the Italian company Cassina reproduced the chaise longue and the Fauteuil Grand Confort

armchair from the show as part of their ‘Masters’ series.

In the early 1950s Le Corbusier and Jeanneret started a project in Chandigarh, India designing and producing low cost buildings for the community. Le Corbusier left the project in the middle and Jeanneret became the Chief Architect and Urban Planning Designer.

He stayed in Chandigarh

for fifteen years and the city evolved into a landmark of modern architecture. His works there included the Punjab University Campus, several schools, houses and hostels.

During his time in India Jeanneret expanded his architectural aesthetic of finely cut machine edges and chrome steel lines, to include the symbols and structures of Eastern philosophy. At the Punjab University, the library he designed, Gandhi Bhawan,

is a structure with three pinnacles

symbolizing the ascension into the three worlds of Indian philosophy. Jeanneret became a beloved member of the community and in early 1999 there was an extensive photography exhibit of the work he and Le Corbusier did at Chandigarh. When he left in 1965 he told the people,

“I am leaving my home and going to a foreign country.” When he died in 1967 his ashes were scattered on Sukhna Lake in Chandigarh at his request.

Amazing right!

Have a great day!




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