Allied Member, ASID
December 5, 2013
For all the years I have been in love with architecture, one of my top favorites has always been Tom Kundig, of Olson Kundig. He is true to his practice, form concrete, steel, glass, a metal
He never misses. I should start a fan club! I am in the midst of a project, and was having a total ADD meltdown,
so naturally I go to my library to get grounded, and pull Kundig’s book out,
one of them I should say, and then in this months Architectural Digest they have a piece on him
I always get asked “if I could choose” yup, I would have Kundig design a house for me, and be beyond thrilled. He is thee guy!
Ok, here is the story of Tom Kundig, the photos tell you really all you need to know
Kundig’s work encompasses residential, commercial and institutional
and is located around the world. His signature detailing and raw, kinetic construction explore new forms of engagement with site and landscape, which he frames in the workings of unique, building-size machines. In his houses, which are quickly becoming recognized as modern-day classics, brute strength and tactile refinement are held in perfect equilibrium. Recent projects and current projects include the mixed-use Art Stable and 1111 E. Pike, Le Massif de de Charlevoix master plan, a gravity-fed winery in the Naramata Bench of British Columbia, adaptive reuse of the Georgetown Brewing Company and Nissan Stadium Seattle, the Rolling Huts and private residences in Spain and throughout North America, including the Pierre, Shadowboxx, Studio Sitges and Outpost.
In 2006, Princeton Architectural Press released Tom Kundig: Houses; the book is one of the Press’s bestselling architecture books of all time. Kundig has been published in over 250 publications worldwide, including the Financial Times, Wall Street Journal,
November 14, 2013
It never ceases to amaze me where artists get their inspiration from. I am personally asked that question a lot, but never has it come into my focus, a scientific aspect to my being intellectually curious.
But as the saying goes, ” that is what makes horse races”!
Francis belongs to a generation of primarily non-objective painters whose formal repertoire nevertheless
draws considerable sustenance from a wide range of previously
unavailable images now in general circulation due to the invention of the electron microscope as well as notable advances in telescopic technology. In Francis’s case the obvious
associations between microscopic images of spores and sperm and the fundamentals of creation, allied to an avid personal interest in mycology, clearly informed the paintings for
which he first gained recognition in the early 1990s.
September 18, 2013
Richard Serra is for me, one of the most intriguing sculptors of our time. It is not because the scale of his works are like football fields, but because the steel and the shapes and most of all his life story. You know that has always been my “thing” so to speak, the history.
It is who we are and we can use everything we learned, things we loved and the pains and pangs we experienced to our advantage. We take our lives with us into everything we do and we bring our lives to everyone we meet. Most like a scrapbook. It’s all good. And Serra is a prime example.
One of the preeminent sculptors of our era, Richard Serra (American, b. 1939) has long been acclaimed for his challenging and innovative work, which emphasizes materiality and an engagement between the viewer, the site, and the work. In the early 1960s,
Serra and the Minimalist artists of his generation turned to unconventional, industrial materials and began to accentuate the physical properties of their art. Over the years, Serra has expanded his spatial and temporal approach to sculpture and has focused primarily
on large-scale work, including many site-specific works that engage with a particular architectural, urban, or landscape setting.
His father was a Spanish native and mother was a Russian from Odessa (committed suicide in 1979). Serra was born in San Francisco and he went on to study English Lit at the Berkeley and later at the University of California Santa Barbara between 1957 and 1961. While at Santa Barbara,
he studied art with Howard Warshaw and Rico Lebrun. On the West Coast, he helped support himself by working in steel mills, which was to have a strong influence on his later work. Serra discussed his early life and influences in an interview in 1993. He described the San Francisco shipyard where
his father worked as a pipe-fitter as another important influence to his work, saying of his early memory: “All the raw material that I needed is contained in the reserve of this memory which has become a reoccurring dream.”
After studying painting with Josef Albers at the Yale University between 1961 and 1964, Serra continued his training abroad, spending a year each in Florence and Paris. In 1964, he was awarded a Fulbright Scholarship for Rome. Since then, he has lived in New York, where he first used rubber in
1966 and began applying his characteristic work material lead in 1968.
His latest sculptures in weatherproof steel are big enough to test the boundaries of the immense Gagosian Gallery on 24th Street in Chelsea, though their power has less to do with their sheer magnitude than with the way they carve up the space.
His ponderous way with black oil paintstick isn’t much in evidence here, except for a single drawing installed in the front window. Nor are the rectangular slabs from his 2006 exhibition at Gagosian, or the boat-shaped labyrinths shown at the gallery’s 21st Street location in 2009.
Rather, this show, titled “Junction/Cycle” after its two main components, revisits the graceful spirals and ellipses Mr. Serra exhibited here around 2001. The two sculptures at Gagosian almost fill the rooms that house them. “Cycle” measures 57 feet at its longest
point, “Junction” 75 feet; they are 14 and 13 feet high, with “Cycle” nearly brushing the front gallery’s ceiling trusses. Together they weigh 441 tons. Yet they’re nimble, exquisitely responsive to each other and the space around them.
If you have a moment to look further his story is really good and his work fantastic! More importantly Enjoy!
September 12, 2013
Italian Photographer Luisa Lambri is one of the most renown photographers for architecture. Her work begun in the 1990′s when Luisa Lambri started
travelling around the globe in search of landmarks of modernist architecture: mostly private houses. Among the images taken by the artist, there are buildings
by architects such as Mies van der Rohe, Le Corbusier, Giuseppe Terrangi, Walter Gropius, Alvar Aalto, and several other master architects. What looks at first
glance as carefully crafted architectural photography is in fact rather osciallating between an objective representation of these spaces and Lambri’s entirely
subjective perception and apprehension of them, an interpretation of spaces rather than a document of them. In contrast to the objective image of classic architecture photography that mainly approaches the building from the outside, establishing a physical and conceptual position for herself and the viewer! I hope you enjoy her work!
She totally rocks it! Love, Jamie
August 20, 2013
A fantastic British artist!
Peter Doig-A sense of tranquility -alomost I would say of photo-realism, but not. His work is influenced by the impressionists, but you will see how he has taken that influence into a more modern approach!
Born in Edinburgh in 1959. He grew up in Trinidad, Canada, & London. His art work around the early 1900s was quite different from
other artist in the London scene of art, which then brought him support internationally. He drew his paintings from pictures of post cards, but he never photorealist. His work consists of abstract landscapes. “Peter Doigs work captures moment of
tranquility, which contrast with uneasy elements. He uses unual colour combination & depicts scenes from unexpected angles.”
July 30, 2013
My love of Street Art or Graffiti Art started as a kid growing up in new york. It seemed to be everywhere Then, it was mostly Tag Art, where the artist signed his or her name. I then watched as it turned into pictures, think Keith Haring on the handball courts and the subways.
So I have decided to share some fore fathers of this style with you, as the prices for Graffiti Art are soaring and it is thrilling to watch a new movement-well, new old movement really come into its own and be respected enough to have the likes of the biggest auction houses in the world handle it. Art that was at one time considered vandalism is now hanging on captain’s of industry walls.
There is an exhibition opening in London of one of thee most famous French street artists, named Blek Le Rat.
Blek le Rat is known to many as the godfather of street art and to the French as its grandfather. But having honed his craft for more than 30 years, the spry 61-year-old, whose real name is Xavier Prou. Blek’s spray-painted stencils of rats first appeared on the banks of Seine
He began his artwork in 1981, painting stencils of rats on the street walls of Paris, describing the rat as “the only free animal in the city”,and one which “spreads the plague everywhere, just like street art”. His name originates from achildhood cartoon “Blek le Roc”, using “rat” as an anagram for “art”
Initially influenced by the early Graffiti Art of New York City after a visit in 1971, he chose a style which he felt better suited Paris, due to the differing architecture of the two cities
Have a great day!
July 11, 2013
When I am not working in New York or Arizona, it seems I spend a lot of time in Los Angeles. I love the beach in Santa Monica and the museums are fabulous! One of my favorite museums in the world is the Getty Museum. First of all, the architecture and the landscaping is enough to go and see in and of itself!
The art, is spectacular!
The first time I saw works by JULIUS SHULMAN was at The Getty. Since then I have become such a fan, that on my pursuit of bringing you the best of everything related to art, I am bringing you him!
I love the documentation of the architecture, and for those of you who are familiar with Palm Springs and Palm desert, you will certainly then recognize some of the architecture.
For 70 years, Shulman steadily created one of the most comprehensive visual chronologies of modern architecture and the development of the Los Angeles region. The prints in the exhibition are selected from a portfolio of more than 70,000 images.
Julius Shulman is renowned for some of the
most iconic photographs in architectural history. His images seem to reveal the essence of an architect’s vision and capture the spirit of the eras in which they were produced.
Under the experimental Case Study House Program, architects were commissioned to design innovative single-family homes in California. Shulman photographed the majority of the Case Study projects, such as the one above, free of charge
Julius Shulman’s photographs of Southern California’s inventive modern homes promoted the careers of numerous visionary architects including Richard Neutra, John Lautner, and Pierre Koenig. Mid-20th-century homes come alive through
Shulman’s compositions of carefully posed models set against streamlined furnishings and breathtaking vistas.
Shulman’s widely published images marketed the West Coast’s casual residential elegance to the world. Decades after the initial prints were created, Shulman’s scenes continue to
herald the beauty and livability of modern architecture and the glamour of the California dream.
Julius Shulman’s intuitive timing and distinctive camera angles produced bold portraits of hundreds of modern structures beyond Los Angeles. Through Shulman’s lens, buildings become unique studies of mass, shadow, and light. In this image, Shulman’s perspective captures the dynamic lines of a suspended spiral ramp in San Diego.
While global demands for his talent allowed Shulman to travel extensively, Los Angeles has always been his home. The thousands of photographs he has taken of the city now serve as significant visual records of the unique urban fabric of Los Angeles. Poetic images of subjects not normally associated
with Shulman, such as streetscapes, movie palaces, factories, and bustling markets, highlight the energy and style of a metropolis that continues to define itself.
Have a great day! Happy thoughts! Jamie
July 9, 2013
Going through other art blogs is a great way to learn about and discover new art that I already didn’t know about. There are so many talented artists out there and I love learning about a new one every day! We are so lucky to have a great tool like the internet to get onto and quickly search artists and see their work instantly. But nothing compares to seeing art in person. This week I am in New York working with a client, but I am hoping I have time to sneak off and go to one of my favorite museums! Today I am really excited to introduce you to the well rounded, talented artists, GERHART RICHTER! I really enjoyed writing this blog, and I hope you enjoy reading it!
“Picturing things, taking a view, is what makes us human; art is making sense and giving shape to that sense. It is like the religious search for God.”-Gerhart Richter says.
Gerhart Richter is a German visual artists. Richter is a well rounded artists, not focusing on just one medium, but allowing himself to explore the world of art through various ways. Richter officially began painting in 1962. He has worked mediums ranging from oils on canvas to overpainted photographs, to even stain glass.
“Nearly all of Richter’s work demonstrates illusionistic space that seems natural and the physical activity and material of painting—as mutual interferences. For Richter, reality is the combination of new attempts to understand—to represent; in his case, to paint—the world surrounding us.”
July 2, 2013
Man Ray was one of the artists to be considered the embodiment of surrealism! There used to be a famous bar/hangout on 26th and Sixth in
the City called man Ray! Fond memories, less I digress! I hope you enjoy this post and my trail of thinking on Surrealism! Have a wonderful day!
Man Ray, the master of experimental and fashion photography was also a painter, a filmmaker, a poet, an essayist, a philosopher, and a leader of American modernism.
Known for documenting the cultural elite living in France, Man Ray spent much of his time fighting the formal constraints of the visual arts. Ray’s life and art were always
provocative, engaging, and challenging.
Born Emanuel Rabinovitch in 1890, Man Ray spent most of his young life in Williamsburg, Brooklyn. The eldest child of an immigrant Jewish tailor, he was a mediocre student
who shunned college for the bohemian artistic life in nearby Manhattan. In New York he began to work as an artist, meeting many of the most important figures of the time.
He learned the rudiments of photography from the art dealer and photographer, Alfred Steiglitz and began to experiment on his own.
In 1914, Man Ray married the Belgian poet, Adon Lacroix, and soon after met the experimental artist Marcel Duchamp. Duchamp was to be one of Man Ray’s greatest influences
as well as a close friend and collaborator. Together the two attempted to bring some of the verve of the European experimental art movements to America. The most energetic of these
movements was “dada.” Dada was an attempt to create work so absurd it confused the viewer’s sense of reality. The dadaists would take everyday objects and present them as if they
were finished works of art. For Man Ray, dada’s experimentation was no match for the wild and chaotic streets of New York, and he wrote “Dada cannot live in New York. All New York
is dada, and will not tolerate a rival.”
March 29, 2013
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The artwork of Yoshitomo Nara is deceptively simple. Peopled with entities that call to mind toddlers or infant animals with their balloon heads, persimmon pit-eyes, and pinprick noses, each work is a peek into a world that seems eerily familiar.
A long-term resident of Cologne, Nara is being met with increasing international attention, having already exhibited in Milwaukee, L.A., Cologne and Seoul and New York
With a couple of books both in their second run, a limited edition wristwatch and a clothing line that incorporates motifs from his artwork, Nara is well on his way to developing a cult following in Japan.
In the drawings, children are engaging in innocuous solo activities: holding a flag, playing in a box, sitting on a potty, holding a book, standing in a puddle. But sometimes they are brandishing sharp little implements–knives and saws. Nara captures these scenes in a moment of stillness.
The enigmatic, abbreviated quality of Nara’s style may be an invitation for you to take your best sub textural potshot. But take care. In doing so, you risk revealing a lot about you, more than might be comfortable. Nara’s artworks are sticky-sweet booby traps, Rorschach tests for a post-modern innocence quotient. They are candy-cane puzzles begging to be deciphered, only to reveal the cavities inside our own grown-up hearts.