Sophie Taeuber-Arp Dada Head, 1920 Painted wood with glass beads on wire
Salvador Dalí Retrospective Bust of a Woman, 1933 (some elements reconstructed 1970) Painted porcelain, bread, corn, feathers, paint on paper, beads, ink stand, sand, and two pens
Elevating the functional to a timeless work of art.
Fiat 500f Berlina – 1968. The bestselling version of the Cinquecento, it remained in production until 1973
Resilient Chair, 1948-49 by Eva Zeisel || Stone on Stone fabric, c. 1950 by Vera Neumann
Floor lamp, c. 1950 by Serge Mouille
Werra 135mm film camera, c. 1955-1960. Manufactured by Zeiss-Werk, Jena, East Germany (DDR) || Microphone (model MD8-C), 1962 by Marko Turk. Manufactured by Elektroakusticni Laboratorij, Ljubljana, Yugoslavia
Lumio Book Lamp, 2013 by Max Gunawan
Communications receiver (model S-40A), 1947 by Raymond Loewy Associates
“Is there art in a broomstick? Yes, says Manhattan’s Museum of Modern Art, if it is designed both for usefulness and good looks.” This quote, from a 1953 Time magazine review of one of MoMA’s mid-century Good Design exhibitions, gets to the heart of a question the Museum has been asking since its inception: What is good design and how can it enhance everyday life?
Featuring objects from domestic furnishings and appliances to ceramics, glass, electronics, transport design, sporting goods, toys, and graphics, The Value of Good Design explored the democratizing potential of design, beginning with MoMA’s Good Design initiatives from the late 1930s through the 1950s, which championed well-designed, affordable contemporary products. [source: MoMA]
Benjamin Bowden Spacelander bicycle 1946 Fiberglass, chrome-plated steel, leather, and rubber
Launched at the Britain Can Make It exhibition organized by the Council of Industrial design in 1946, this curvaceous product hinted at a future of consumerist affluence, and the glamour associated with the utopian worlds of science-fiction films. It was one of many prototypes for new, industrially produced goods that over 1.4 million people queued to see. While it could be admired, the bicycle could not be bought at the time of the exhibition, owing to continued shortages of materials and labour after World War II. ”Britain Can’t Have It” became the show’s popular nickname.
From The Value of Good Design, an exhibition at MoMA in Feb 10-Jun 15, 2019.
Ian Cheng Emissary Forks At Perfection 2015-16 Live simulation and story (colour, sound). Infinite duration
”A video game that plays itself,” as Cheng describes it, this digital simulation is generated in real time with no fixed beginning or end. Created using the Unity engine, a popular software tool for developing 3-D video games and AI models, the animation takes place far in the future. It tells the story of Talus Twenty Nine, an artificial intelligence that oversees a lush terrain in which new plants and animals constantly evolve in a Darwinian setting. The AI resurrects an ancient cadaver from the twenty-first century, and summons a pet dog to guide the undead through his posthuman world. Every time the program is run, a new scenario unfolds. The result is an endlessly changing, fantastical model of biological evolution and machine learning in the absence of human life. [source: MoMA]
Emissaries is a trilogy of simulations about cognitive evolution, past and future, and the ecological conditions that shape it. It is composed of three interconnected episodes, each centered on the life of an emissary who is caught between unraveling old realities and emerging weird ones. [source: Ian Cheng]
Emissary in the Squat of Gods Emissary Forks At Perfection Emissary Sunsets The Self
A sleek, Newyork-lofty adaptation of Florian Zeller’s play, translated into English by Christopher Hampton. Yes, it was funny and dark and drunkenly depressed to the point of self-destruction, but all I remember is Hupper’s magnetic performance – and that slutty red mini dress. I remember thinking how is it possible for this tiny slender figure to exude such fierce energy. Even those who don’t particularly care about her style, would have no choice than simply bow to her charisma.
Isabelle Huppert. The Mother Chris Noth. The Father Justice Smith. The Son Odessa Young. The Girl
American expatriate writer Gertrude Stein was a high priestess of early-twentieth-century modernism for the many who visited her fabled Paris apartment. She collected and promoted the art of the avant-garde, including that of Picasso and Matisse, and her own abstract, repetitive prose inspired the experiments of playwrights, composers, poets, and painters. ”There was an eternal quality about her,” sculptor Jo Davidson wrote. ”She somehow symbolized wisdom.” He chose to depict her here as ”a sort of modern Buddha.” Delighted by the sculpture, Stein composed one of her famous prose portraits of Davidson, later published in Vanity Fair alongside a photograph of his work.
Jo Davidson (1883-1952) Terracotta, 1922-23
PS: A bronze version is included in the vast Met Collection, in NYC.
PS1: Another bronze version can be seen in Bryant Park, NYC.
PS2: A terracotta head portrait of Gertrude Stein, produced at the same time Davidson was completing the full-figure cast bronze edition, is at the Columbus Museum, in GA
PS3: Another bronze version apparently belongs to the Whitney, in NYC, but is not on view.
PS4: A photo of Gertrude Stein posing for Jo Davidson, by Man Ray in 1922, is at the Getty Museum, in L.A. Man Ray photographed Stein for the first time in 1922, and was granted exclusive rights to photograph her until 1930.
PS5: Finally, click on the link for the portrait of Jo Davidson by Gertrude Stein in Vanity Fair, February 1923.
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