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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"I've never seen a diamond in the flesh 
I cut my teeth on wedding rings in the movies 
And I'm not proud of my address, 
In a torn-up town, no postcode envy" 






Jason Kachadourian grew up in Baltimore and now lives in Brooklyn.  He is cofounder of an art space called The Bakery.  He makes art and furniture.  jasonkachadourian@gmail.com





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DISC Interiors : "A Bright and Modern Santa Monica Space"
featured on Domaine Home 




Thank you Domaine Home!

"Giving an ultra-modern home a rustic, comfortable vibe can be a daunting task, but DISC Interiors, skilled at creating California-cool spaces, is just the team to do it. David John and Krista Shrock, the designing duo behind the firm, were hired by a family of four to make their modern home, built in 2008 by JFAK Architects, more family-friendly and hip. “They wanted to pull the spaces together and balance the modern architecture with some rustic yet refined elements."  

full story on Domaine here.



The guest room: custom DISC bed with with vintage rug and blanket by Hollywood at Home


Looking to the home’s many skylights and vast windows, the designers played off the surrounding greenery and colors of the ocean for the color scheme. “We like to bring the exterior colors inside, and the windows are a main feature of this home, so this played heavily in our design,” they say. To balance the home’s many white walls, the designers incorporated a lot of black elements, too. “We try to keep it minimal and not mix too many colors. We usually pick one or two colors over the neutral colors, blacks and whites.”





the kitchen with bar stools by Thomas Hayes and lighting by Robert Lewis Studio





Custom coffee table by Lawson Fenning, vintage rug, and brass accessories by Carl Aubock




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"A Frame for Life"

"Design can be a powerful force. I have never understood why interior design is often so underestimated, misunderstood and trivialised. It is too often dismissed as something superficial, without intrinsic value. An ‘add-on’. It’s a mistake that it is considered a luxury to be applied if there is money left at the end, rather than an integral part of making and shaping new realities from the outset." - Ilse Crawford, taken from "A Frame for Life"





"I consider myself a quiet revolutionary. My design puts the human being at the centre. I am fascinated by what drives us, brings us together and ultimately makes us feel alive. At Studioilse we address changing times and values in our mission to promote good, sensible design and its power to improve the way we work and live. The studio manifests this through design that makes buildings, spaces, brands and furniture that are warm, not ‘cool’. We are interested in how design affects us rather than in the image, integrating design with human behaviour, starting from the point of view of the individual. We look at a project from physical and emotional perspectives, practical and poetic, individual and social before creating a design that engages us physically, emotionally, subliminally and sensorially, so as to make a place that enhances life and enables us to thrive. A place that people love. You can design the most incredible place and yet it requires people to make it a reality. Buildings and their interiors are made to be used. From the outset, the people who will live there, use it, operate it, adapt and adopt it are as much a part of our understanding of the context we are working with as the financial facts or the physical possibilities. " - Ilse Crawford












"For us interior design is about so much more than choosing furniture, and it is our mission to change this perception. Good interior design is always about more than the way things look (although that is certainly an important part of the toolkit). It is about making sure the human experience is prioritized when we build. It is about human happiness and well being. It is about making life better. After all, inside buildings is where we live. "






go to Rizzoli here for more information.





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"In the cities and buildings, the value and life is in the Void.
 Not as a left over, rather as a crafted human space." 

an afternoon at a home designed by Sebastian Mariscal in Venice California.







more information on Sebastian Mariscal's site.





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"Simplicity is the glory of expression." - Walt Whitman
 
 a new book, "The Impossible Collection of Design" by Frédéric Chambre







"The longer you look at an object, the more abstract it becomes, 
and, ironically, the more real." - Lucian Freud

"In recent years, the decorative furnishings niche has become of tremendous interest to collectors, causing a surge in the auction market and bringing record sales. Chosen by design expert Frédéric Chambre, this selection of furniture designs unspools like the frames of a film, an epic picture composed of one hundred years of creative innovations in form, materials, and techniques. As in art history, themes can be traced across changing trends: design versus the machine, design versus craft, design versus art—a story that continues to unfold. This hand-bound oversize luxury edition traces the development of twentieth-century design from the Art Nouveau and Arts and Crafts movements through Bauhaus and Art Deco, Pop Art and the Memphis school, to today’s digital age, illustrating the dynamic story of a groundbreaking century through the evolution of everyday human objects. With degrees in law and art history, Frédéric Chambre became a partner at the Calmels-Chambre-Cohen auction house in 1996. Chambre co-founded Pierre Bergé and Associates in 2002, and became vice president and partner in 2005; he was co-organizer of the February 2009 sale of the Yves Saint Laurent and Pierre Bergé collection at Christie’s in Paris."

more info here..




SERGE MOUILLE (1922–88), 
France. Saturne ceiling light. Metal, aluminum, brass. H: 385.8 in. (980 cm), W: TK. Galerie Patrick Seguin, Paris.   © Thierry Depagne – Archives Galerie Patrick Seguin   


"Is Serge Mouille a manufacturer of lighting systems, a collector of mollusk shells, a transcendent sculptor, like Calder, or an aluminum maniac?"
 Madeleine Fuchs, Décor d’aujourd’hui, December 1954
 





JEAN-MICHEL FRANK (1895–1941), France. Lamp. 
Ivory strips on bronze base. H: 20.47 in. (52 cm). Private collection, Galerie Vallois, Paris. © Arnaud Carpentier – Archives Galerie Vallois Paris 





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