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August 28, 2012


Filed under: taryn simon — Tags: — admin @ 3:07 pm

I had the pleasure of catching an incredible exhibit in New York at The Museum of Modern Art.  A photography exhibit that will have you thinking about politics and life and very introspective i found.

I hope you enjoy this post! Love, Jamie

Following is the write up:

This exhibition is the U.S. premiere of Taryn Simon’s (b. 1975, New York) photographic project A Living Man Declared Dead and Other Chapters I–XVIII. The work was produced over a four-year period (2008–11), during




which the artist travelled around the world researching and documenting bloodlines and their



related stories. In each of the 18 “chapters” that make up the work, external forces of territory, power, circumstance, or religion collide with the internal forcesof psychological and physical inheritance.


The subjects Simon documents include victims of genocide in Bosnia, test rabbits infected with a lethal disease in Australia, the first woman to hijack an aircraft, and the living dead in India. Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood, and other components of fate.



Simon’s project is divided into 18 chapters, nine of which will be presented at MoMA. Each chapter is comprised of three segments: one of a large portrait series depicting bloodline members (portrait panel); a second featuring text (annotation panel); and a third containing photographic evidence (footnote panel).

A Living Man Declared Dead and Other Chapters I–XVIII exploits photography’s capacity to at once probe complex narratives in contemporary politics and organize this material according to classification processes characteristic of the archive, a system that connects identity, lineage, history, and memory.



August 21, 2012

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Filed under: Uncategorized — admin @ 8:47 pm




Filed under: paula scher — Tags: — jherzlinger @ 8:09 am

My newest art crush is Paul Scher! I have always been in love with maps.  My Grandfather had a superb collection of maps, since the time he was a child in Austria, vienna to be exact.  He had kept a record of how the borders were constantly changing depending on who won the war!

These maps are such an amazing interpretation! i hope you enjoy this post! Much love, Jamie!

In the early 1990s, renowned graphic designer Paula Scher began painting small, opinionated maps—colorful depictions of continents and regions, covered from top to bottom by a scrawl of words. Within a few years, the maps grew larger and more elaborate.

“I began painting these things sort of in a silly way,” Scher, a partner at the Pentagram design firm, said in a recent conversation. “And I think at one point I realized they would be amazing big. And I wondered if I could even do it. If I could actually paint these things on such a grand scale, what would happen?”

All of this detail is the result of work that Scher describes as “incredibly laborious and obsessive”—yet the paintings as a whole don’t feel like the product of tortured obsession; rather, they exude a sort of whimsical, brassy ingenuity. And, unlike their predecessors, the maps in the

exhibition eschew opinion in favor of a barrage of facts—or at least the appearance of fact. “They’re all wrong,” Scher says. “I mean, nothing’s in the right spot. I put in what I feel like. It’s my comment on information in general. We receive a lot of information all the time and mostly it’s lies or slight mistruths.”

Even so, the paintings throb with implication. As Scher explains, “The way the maps work is that they’re total abstractions, and yet they have all this meaning attached to them.” The map of Florida in 2000 jumps out with obvious political import; the state is labeled by county, and the surrounding

black Gulf ripples with the corresponding presidential election results. Yet, Scher’s paintings are at their best when meaning remains tantalizingly elusive. Look at her grand, multicolored patchwork of the United States, reminiscent of the U.S. maps that span the inside cover of many elementary school textbooks.

Up close the painting overwhelms the eye with detail, but step back and it’s the same handsome, lumbering, forthright America we all grew up with—laid open to inspection, hiding nothing, and yet fundamentally inscrutable. This ambiguity lies at the heart of Scher’s cluttered, precise, beautiful maps—

and, unlike real maps, you seem to grow more lost the longer you look at them.



August 14, 2012


Filed under: moshe safdie — Tags: — jherzlinger @ 8:11 am

Moshe Safdie was born in 1938 and graduated from McGill University in 1961 with a degree in architecture. After apprenticing with Louis I. Kahn in Philadelphia, he returned to Montreal, taking charge of the master plan for the 1967 World Exhibition, where he also realized an adaptation of his thesis as Habitat ’67, the central feature of the World’s Fair.

I have always be in love with architecture and had I not gone into fashion first, would have gone into architecture.  Of course I say that, knowing full well I had a hard time sitting through lectures while I was in school.  I came upon Moshe Safdie’s work when I was looking into visiting Singapore and understanding all the buzz about it! The newest playground there is Marina Bay Sands designed by Moshe Safdie.  It is a multifaceted resort.  it is three 55-story towers and on top a Sky Park.

In 1970, Safdie established a Jerusalem branch office, commencing an intense involvement with the rebuilding of Jerusalem. He was responsible for major segments of the restoration of the Old City and the reconstruction of the new center, linking the Old and New Cities. Over the years, his involvement expanded and included the new city of Modi’in, the new Yad Vashem Holocaust Museum, and the Rabin Memorial Center. During this period, Safdie also became involved in the developing world, working in Senegal, Iran, Singapore, and in the northern Canadian arctic.

In 1978, following teaching at Yale, McGill, and Ben Gurion Universities, Safdie relocated his residence and principal office to Boston, as he became Director of the Urban Design Program and the Ian Woodner Professor of Architecture and Urban Design at the Harvard Graduate School of Design. In the following decade, he was responsible for the design of six of Canada’s principal public institutions, including the Quebec Museum of Civilization, the National Gallery of Canada, and Vancouver Library Square.

The most recent commissions are Marina Bay Sands, an integrated resort in Singapore, the National Campus for the Archaeology of Israel in Jerusalem, the renovation and expansion to the Central Library in Philadelphia, the West Edge project, a mixed-use facility in Kansas City, Missouri, the Renaissance Square project in Rochester, New York, and the Crystal Bridges Museum of American Art in Bentonville, Arkansas.




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