"Mr Postman, do you have a letter for me? 
Mr Postman, do you have a letter for me? 
A letter for me From my own true love 
Lost at sea 
Lost at sea"  - the decemberists








1. "Cheim & Read is pleased to announce Landline, an exhibition of six new paintings by the Irish-American painter Sean Scully. Begun in 2013, Scully’s Landline series resonates with newfound urgency and freedom. Thick horizontal bands of subtly-layered color provide his compositions with rhythmic pulse, while the interactions between striations of paint bristle with energy. Though reminiscent of the physical landscapes which inspired them, Scully’s canvases are activated by an emotional and intuitive terrain.
The retrospective, Follow the Heart: The Art of Sean Scully 1964–2014, curated by Philp Dodd will be on view at the Himalayas Art Museum in Shanghai until January 25. This exhibition will travel to the CAFA Museum in Beijing from March 13–April 23. Scully is the first western abstract artist to have a museum tour in China. Scully also has major upcoming exhibitions at Pinacoteca do Estado in São Paulo from April 11–J uly 11 and at the Palazzo Falier in Venice from May 9–November 22."

2. Source unknown




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Thomas Houseago

'Moun Room' is comprised of three chambers contained within one another. The spaces Houseago has conceived with 'Moun Room' – extending both within and outside the structure's physical walls – invite meditation upon movement and codes of behavior in response to architecture. The artist has described this work as 'a visual maze with a spiritual dimension" 





Hauser & Wirth is pleased to present 'Thomas Houseago. Moun Room', an immersive environment that represents a departure for the artist. Houseago is most widely identified with monumental sculptures of the human body, figures admired for their brute physicality and potent tactility. Drawing upon and deftly subverting classical sources, the artist creates forms that hover between power and vulnerability, old and new worlds. 










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"Down the long driveway, you'll see it. "
 
new photography book 
by Mary Gaudin 



I've followed Mary Gaudin's photographic work for a few years now and I continue to be always captivated by her eye and the stories that go along with her works. I was lucky and honored to have her do a guest post on You Have Been Here Sometime a year or so ago. Her post was about a modernist apartment she stayed in for the weekend. (Read her post here..  "It must have been a startling sight. This was postwar public housing. It was idealistic modernism...")  A few years earlier, I interviewed Mary Gaudin about her "Lifebooks" (Read the interview here..). Her recent book, "Down the long driveway, you'll see it." is a continuation on these familiar themes of architecture, and how spaces affect our psyche. Homes and the stories that become them, and how they are reflected in the materials, the furnishings, and the age that happens as life goes on.  Visit her website for more information here.. - David John








Down the long driveway, you'll see it.    

"This is a book of pictures of modernist, mid-century  New Zealand homes. The houses aren't new, they’re old and lived in. They can be a little dusty, slightly worn around the edges and all have what antique dealers like to call “patina”. But they’re perfect in the minds of the people who live in them because of what they represent, which when designed, was a better way of living

The idea for the project wasn’t so much to document the houses in purely architectural terms, but to give an idea of the way these houses were and are lived in, as well as showing details of the designs and the materials used in their construction. The use of native timbers throughout these houses has given a unique feel to the interiors. In the Martin house, for example, John Scott used rimu for cupboard doors and matai, a wood which darkens with age, for the handles. 

I also wanted to look at the way these houses fitted into their surroundings. All of the Wellington homes are connected to native bush, attracting tuis, fantails and bellbirds amongst other native birds. The owners of the Einhorn house, which backs onto the Karori bird sanctuary, sometimes see rare hihi feeding in their garden. The front of the Manning house is surrounded by an enormous pohutukawa tree which, from inside the house filters views out towards Auckland Harbour Bridge. 

The title of the book comes from a phrase in an email from Bruce Martin giving directions to his home at Bridge Pa. Filled with a lifetime of pottery both from Bruce and Estelle’s work, together with gifts from potter friends, the Martin’s home highlights the particular mix of craftsmanship and design which is reminiscent of all the homes shown in this book." 

Mary Gaudin is a New Zealand photographer living in Montpellier, France.  
Photographs by Mary Gaudin Text by Matthew Arnold



















go to Mary Gaudin's site here.



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Alma Allen

"Many of Allen’s new sculptures, made of marble, travertine, and Claro walnut, weigh several tons. Despite their solidity, the works appear to undulate and vibrate, as if they are about to be sucked in or pushed out by some external force to the point of dissipation." 




Alma Allen
January 10 – February 28, 2015
Opening reception: Saturday, January 10, 6–8pm

"Blum & Poe is pleased to present an exhibition of new sculpture by Alma Allen. This is Allen’s first exhibition with Blum & Poe and his first solo gallery presentation in Los Angeles.
Working primarily in stone, wood, and bronze, Allen’s mid- and large-scale sculptures had never been publicly shown before their inclusion and wider discovery in the 2014 Whitney Biennial. A teenage runaway without a high school degree, the self-taught artist began an initial period of intense hand carving using salvaged materials while often homeless. Demonstrating an attunement with imbalance and precariousness, Allen’s sculptural forms are a marked departure from iconic stone carvers Constantin Brancusi and Isamu Noguchi, to whom his untrained sensitivity for shape and material have been compared. Recurring forms in Allen’s work take a cue from quantum particles and body organs and make indirect associations to psychological pain and wonder.
Many of Allen’s new sculptures, made of marble, travertine, and Claro walnut, weigh several tons. Despite their solidity, the works appear to undulate and vibrate, as if they are about to be sucked in or pushed out by some external force to the point of dissipation. In a series of bronze sculptures, the edges of an unknown trajectory are revealed, as tensive and fluid as the expanding universe. Presented in groupings and as individual forms, Allen’s sculptures arrive out of inherent chaos and chance provided by nature, as well as the precision of technological operation and mastery, all the while suggesting a range of anthropomorphic and visceral associations.

The obstinate sincerity of Allen’s work belies a process as anti-scriptural as the work itself. After repeated injury from obsessive over-carving left Allen unable to use his hands for extended periods, the artist built a large-scale robotic system out of spare assembly-line parts and developed its proprietary software as a mechanized extension of hand carving. The feat of engineering with emerging technology, rather than relying on third-party fabricators, allows Allen to continue his devotion to immediacy and reckless intuition in the creation of labor-intensive sculptures. Instead of being Untitled, all works in the exhibition are referred to as Not Yet Titled. In the smallest curve in Allen’s works, and in their weighted sensuality and bare longing, is an ongoing consideration of the moment before loss and/or becoming."


more here...
Willer Gallery

"I am an obsessive researcher, I love being in the library, figuring out the roots, the links, the relationships and the influences.”  - Rebecca Willer





If there’s anything I set out to achieve, it’s that I want the look to be like the objects have grown with the person,” says Willer. “Our clients are discerning. They are people who travel, experience different cultures and who are very interested in the arts. We help them reflect their lifestyles in their decor.” Charming, perceptive, interested and interesting, Willer has confidence in what she knows but also confidence to be excited about learning more, all the time. “I am an obsessive researcher,” says Willer. “I love being in the library, figuring out the roots, the links, the relationships and the influences.” This approach to design and life is in Willer’s DNA. “My father was a diplomat towards the end of his career and when he travelled, what he always wanted to know was ‘What are the most special artefacts of the local cultures?’ and ‘What can we ship back?’ I can’t imagine not responding to my environment that way; even when I was a student, living on a shoestring, my room didn’t look like anyone else’s – for pennies, it looked different. I say my approach has always been spare, not forced, certainly accumulated over time.

 (text taken from here...) 





Paul Mathieu 'Aria' chaise, bronze & Abigail Simpson vessel




Mathilde Penicaut table lamps



more info here..



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I’ve long been interested in loops, mistakes, trance-y repetition. 
It’s like writing a novel with pages missing in all the right places. —Harmony Korine 





Harmony Korine 
December 28, 2014 - January 31, 2015
Eden Rock Gallery St. Jean, St. Barthélemy


Gagosian is pleased to present recent paintings by Harmony Korine at Eden Rock Gallery's new location on top of the iconic hotel Eden Rock in St. Barths.  Korine’s cult films of the past twenty years—from the surreal Gummo (1997) to Spring Breakers (2012), a contemporary film noir in which four college freshwomen are drawn into a murderous labyrinth of events—merge reality with fiction and hand-held camerawork with precise montage. This heady mix of the unplanned, the seductive, and the outlandish crystallizes in his lesser known, highly tactile paintings. Eschewing brush and professional paint in favor of Squeegees, leftover household paint, and masking tape, he creates loosely sequential images that echo the sonic and visual leitmotifs of his films. The accumulative hypnotic effect of the paintings is offset by lifelike randomness and impulsive energy.  

Fidget Malt Crew and Slotty (all works 2014) are inhabited by shadowy, clawed creatures reminiscent of Goya’s ghastly Caprices, obscured by layers of housepaint, sprayed with letters, and repainted over the course of several years. The rows of circles and squares that cover every inch of Fflobby Check and Slausenraver Check yield sudden variations that vacillate between considered and spontaneous mark-making, while rainbow-hued, striated paintings comprising hundreds of horizontal lines hint at distant perspectives. Korine sticks pieces of bubble wrap, plastic, and paper to the canvas as he works, imbuing the optical depths with physical relief. These fossilized scraps embody dual narratives: as literal records of process, their skeletal silhouettes also suggest drifting specters, echoing the animated wraiths of more overtly figurative works such as Tinchy Sinchy and Frost Ball Junior High. Deliberate and erratic, repetitious and random, Korine’s paintings are born of fierce life forces, conflictual yet interdependent.


more info here..


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winter 
chills and spills and thrills 








1. Blinky Palermo, 1969 painting

2. Catch, is  a collection of floor, wall and suspension lamps which plays on a visual and physical tension amongst brass elements, blown glass and the sensual light of the opal. “I let the chain turn into big graphic staples imposing themselves on fragile glass elements. […] Some sort of timeless play between the male element – the rigid metal – and the female one – the liquid glass”
via Nilafur Gallery


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 Bruce Conner: CROSSROADS

"In an untitled work from 1963 a labyrinthine and dense series of black lines simultaneously resembles a thumbprint and a black hole of space; in an inkblot drawing from 1995 the small mirrored shapes recall the self-reflective quality of fleeting images of inner thought." 






"Kohn Gallery is pleased to present Bruce Conner: CROSSROADS, on view November 8 through December 20, featuring the iconic 1976 short film of declassified footage of the first underwater atomic bomb test, The fully restored 36-minute film, with original music by Patrick Gleeson and Terry Riley, was last seen in a single screening last fall at the Museum of Modern Art, New York; the exhibition at Kohn gallery returns the film to the west coast. In addition to the film, a selection of Conner’s drawings focused similar themes of destruction and resurrection, created between 1962 and 2004.

Accompanying CROSSROADS is a group of works on paper that date from 1955 to 2004 by Conner.  These drawings not only relate symbolically to the film, as in MUSHROOM, 1962, but also in the range of emotional depth of the varying works.  The mushroom image recurs in a number of drawings from the early 60s, most likely because of the artist’s admiration for the secret, complex growth of this fungal form.  The notion of great knowledge and wisdom contained within, be it a fungus or a nylon-veiled assemblage, is a consistent theme in Conner’s works.  In an untitled work from 1963 a labyrinthine and dense series of black lines simultaneously resembles a thumbprint and a black hole of space; in an inkblot drawing from 1995 the small mirrored shapes recall the self-reflective quality of fleeting images of inner thought.  Other drawings in the exhibition from the FALLING LEAVES series, created soon after 9/11 in 2001, show the fragility of nature in the face of human borne disaster. The pathos of these works on paper is poignantly close to that elicited by CROSSROADS."





"Born in 1933, internationally recognized American artist, Bruce Conner is best known for his assemblages, surrealist sculptures, avant-garde short films and detailed paintings and drawings. Conner’s innovative film works, often utilizing montaged shots from pre-existing footage and incorporation of pop music for sound tracks, have inspired generations of filmmakers and considered to be precursors to the music video genre. He was a central figure in the San Francisco Beat scene of the 1950s and remained an active proponent of the counter-cultural movement, at large through his death in San Francisco in 2008. " (text taken from here)


Kohn Gallery
1227 North Highland Ave 
Los Angeles, CA 90038


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new plumbing by 
the watermark collection 




"Back in ’76 when Herman Abel formed Watermark, it was out of a passion for metal finishing – a passion that still remains at the heart of the company today.  Over the years we’ve learnt to apply his secret formulas to Brassware, employing a melting pot of artisans and craftspeople from across Brooklyn to help us in the creation of our unique statement products.  Our inspiration comes from the architectural details and engineering structures around us – selecting elements that are infused into our designs which are often created in partnership with the architects and designers of our famous borough.  Everything we make is produced in our factory with a care and attention to detail that only hand manufacture can bring - resulting in a quality of product that has seen us selected by some."






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the cabinets of 
JALLU Ebénistes

 



"Jallu Ebénistes creates museum quality furniture, one of a kind pieces and bespoke commissions, using straw marquetry, gypse, mica, vellum/parchment, shagreen, precious wood veneers and fine metal work. We strive for excellence using the highest quality materials and craftsmanship.  We are the only furniture making workshop in Europe that has mastered ALL of the finishes that were developed in France during the Art Deco period. We have been honored by the French Government in recognition of the excellence of our work, our innovations with these materials and our respect for the history of the trade.  My goal is provide the highest quality custom made furniture possible and I personally oversee each piece, from concept to completion. Our precision, attention to detail and professional service have been appreciated by Interior Designers and Architects for more than 18 years .  We are fully fluent in English having worked for many years in New York City before returning to Brittany France to open our own workshop in 2006."





Cabinet en gypse, laiton chromé & marbre thassos gypse, chrome plated brass & thassos marble cabinet (photo by Anais Wulf)



chevets en gypse, placage "snow white" et laiton patinée gypse, snow white veneer and patinated brass bedside cabinet designed by Douglas Mackie


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the new 
lighting 






Table Light Cylinder

Michael Anastassiades has created a series of products exclusively for Svenskt Tenn in which he plays with the concept of sincerity, through a reinterpretation of selected objects designed by Josef Frank for Svenskt Tenn.




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 The Answer is Yes 

"With a fantastical design sensibility that resulted in a long and storied career as Disneyland’s Senior Art Director, Graham is expert in creating otherworldly environments, which he demonstrates at the Craft & Folk Art Museum "



 a cabinet of curiosities filled with large balls of string expertly arranged, as if floating...


Clare Graham & MorYork: The Answer is Yes 
September 13, 2014 - January 4, 2015   

"The first solo exhibition of Los Angeles artist Clare Graham highlights the richness and complexity of nearly 40 years of his collecting and artmaking from found materials. The exhibition simulates the density of objects found in Graham's 7000 square foot Highland Park studio MorYork, a human-scaled diorama populated by his own work and a collection of curiosities that would rival the most historic wunderkammer. Staggering quantities of dominoes, soda-cans and their pop-tops, Scrabble tiles and puzzle-pieces, and other disposable items have been transformed by Graham’s refined touch into large sculptural objects that evoke forms like totems, flora, fauna, architectural fragments and furniture. Their power lies in the straightforward presentation of a formal singularity, constructed of one, two or three materials at once in repetition and in their remarkable scale

Curated by Brooks Hudson Thomas."




a wall of mirrors created from teddy-bear eyes...
 
 
"Graham’s refined touch has transformed staggering quantities of dominoes into cabinet doors, soda-cans and their pop-tops into furniture, scrabble tiles and puzzle-pieces into architectural forms, and buttons into organic sea-form chandeliers. "
 
 
Craft and Folk Art Museum 
5814 Wilshire Boulevard
Los Angeles, CA 90036
 
 
 
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“In painting, everyone 
positions their pawns” Claude Rutault 



Claude Rutault
20 November, 2014 – 3 January, 2015
Galerie Perrotin, New York    

“In painting, everyone positions their pawns” – Claude Rutault 

Galerie Perrotin, New York is pleased to present a collection of works by Claude Rutault, the artist’s first solo exhibition in America following four-decades of prominent and influential practice in France. Rutault’s work, beginning with a 1974 show staged at the office of a Parisian psychoanalyst, has consistently approached painting as a social practice embedded in the living relationships between artwork, artist, gallery, collector, museum and auction house.  The present exhibition features eighteen de-finition/methods, including early works such as “positive/negative 2” 1975 and “formats at the limit 2” 1974 (shown at the artist’s studio during a residency at PS1, New York in 1979), as well as four new pieces: “charity begins with others”, “painting against the wall, front and back”, “the exhibition” and “suicide-painting 11” (all 2014).  Claude Rutault describes himself as a painter; and indeed, viewing any one of his pieces is uncontroversially an encounter with paint on canvas. Rutault, however, does not paint his pieces himself; and neither is he in the business of overseeing their production on the model of a producer, designer, or director running a factory, studio, or workshop. Instead, the mainspring of Rutault’s practice is the writing and issuing of a set of rules, caveats, instructions and procedures called “de-finition/methods,” according to which a gallery, collector, or institution—known as the “charge-taker”—agrees to “actualize” a given work.


photograph Antoine Cadet
more info here..

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