The U.S. Open of art: Rauschenberg’s 1966 performance pairing tennis and technology
Think branded interdisciplinary content is a recent phenomenon? In 1966 a unique project was hatched when conceptual artists and Bell Labs engineers collaborated on a series of live installations inside a National Guard Armory in New York City. One of those, “Open Score” by Robert Rauschenberg, pitted artists—including minimalist painter Frank Stella—against each other in a live game of tennis with rackets wired to switch the stage lights on and off and produce an aural musical score. Their movements were projected on large screens by infrared camera, giving the performers and the assembled crowd of 300 a ghoulish glow inside the cavernous armory
By all accounts electrifying, now 45 years later an exhibit at Seventeen gallery in London will showcase Swedish documentary maker Barbro Schultz Lundestam’s reexamination of the seminal moment in conceptual art history. She takes the audience back to those evenings in NYC with the principles involved explaining how they pulled it off and the effect they had on the actors and spectators. Check out a trailer for the 34-minute film here.
The 1997 documentary is also available for sale on DVD, but for those near London, the installation runs through 8 October 2011.
We take the latest in zig-zagged sneakers for a spin on NYC streets
From their collection for Target to Marina, the puppet blogger, Missoni’s playful spirit is hard to miss these days. But their collaboration with Converse, one of the earlier reinventions of the family-run Italian label, is the project that we still gravitate to most. This latest and fourth edition combines a raschel knit (a fabric with a texture almost like crochet) from Missoni’s Spring 2012 collection with a version of a Chuck Taylor All Star that was originally created for the U.S. Military in the ’60s.
With leather accents and a muted colorway of tans and greys, the limited-edition shoe is serious enough for the coming fall season. Missoni’s trademark zig-zags, along with bright blue accents (you can opt for blue laces too) and the luxurious softness of the material keep you cozy, and might just bring out a smile.
Debuting tonight, 8 September 2011, as part of Fashion’s Night Out, the shoes will be available at Missoni boutiques as well as Converse’s First String stores for $200.
A Montreal artist collective collaborates with the San Diego Art Fair
En Masse, a Montreal-based art collective, has penned signature works in association with the Osheaga Festival of Arts and Music, Piknic electronik, Festival International Montréal en Art, Under Pressure, Manifesto (Toronto), Cirque du Soleil and Sid Lee, to name a few. Now the band of artists brings their talent to San Diego.
From 1-4 September 2011, four of Montreal’s core En Masse contributors, Jason Botkin, Fred Caron, Kevin Ledo, and Kirsten McCrae, have been invited by the San Diego Art Fair to oversee the creation of a mural onsite in a dynamic cross-cultural visual dialog with some of San Diego’s finest artistic talents.
Hammarhead and Triple Aught Design build a Triumph-inspired motorcycle for city streets
High-performance apparel and equipment manufacturer Triple Aught Design earlier this month offered up floorspace at their San Francisco headquarters for motorcycle builders Hammarhead Industries to set up temporary shop. The intense three-day bike build—a process involving a few dozen tools and many more sleepless hours—resulted in a beautiful bike that typically would’ve taken three months, the Jack Pine Triumph Scrambler.
“Both inspired by classic design but without being nostalgic,” as TAD founder Patrick Ma describes the bond between the two design-driven companies, they teamed up based on a shared “clean, stripped-down aesthetic of the modern design approach, upgraded with the performance advantages of current technology.” While their compatible values made the project a no-brainer, the build proved to be a different story.
James Hammarhead himself took to the shop armed with an ample supply of cold Pabst to fuel his creative fire. After working tirelessly through all hours of the three days, this California spec Jack Pine motorcycle was born.
With a reworked seat unit and custom pegs to accomodate a passenger, a new “dark matter” black paint job and weighing 45 pounds less than a stock Scrambler, the street-legal bike was designed with the SF streets in mind. A modified exhaust system and shortened rear frame loop adapt the bike to the rigors of city riding (previous builds were geared for Hammarhead’s backwoods Pennsylvania stomping grounds), while remaining true to the iconic bikes of the 1950s.
In the final nod to their deep roots in craftsmanship and hands-on approach to manufacturing, James rode the Jack Pine out of the shop moments after completion, showing both companies’ dedication to making products built for daily use.
Head to Hammarhead Industries for more information on their limited series of production builds and to Triple Aught Design to check out their gear and garments—including their to-be-released locally made Horween leather Streetfighter jacket sported by James (pictured) throughout the build.
What happens when two sustainable design outfits specializing in distinct materials team up? In the case of Rad Furniture and Hatch Workshop (both also fabricators), the partnership is geared toward “thoughtful and well-crafted” furniture with material integrity. The two Austin companies’ latest and largest retail project for a local startup, sustainable building supply and resource center TreeHouse, is no exception.
A visit to their Austin studios might find John Lee Hooker, The Talking Heads or Mother Falcon (a local Austin band, of which members help out in the shop) playing to inspire their designs. All of the projected fixtures and furnishings for TreeHouse epitomize Rad/Hatch’s sustainable philosophy, to “minimize waste during production and maximize the lifespan” of their products.
Working primarily with reclaimed objects, repurposed wood (Hatch’s material of choice) and steel (Rad’s specialty), the designs for TreeHouse maximize the value of material through clever application. Examples include a dynamic table built from salvaged sprinkler pipes and elegant screen walls constructed from recycled slats of wood.
Although designs for TreeHouse are mostly in the development stage, the work promises to “walk a line between deliberate and over-designed.” The effect of this combines beautifully raw materials with intelligent design.
Keep an eye out for Rad/Hatch Collaborative’s final designs for TreeHouse. In the meantime, browse both sites for a look at their beautifully finished work in their respective media of choice, like Rad Furniture’s sleek Barbara Stool with backrest and Hatch Workshop’s ingenious Comal Counter for kitchens. See more images of their independent projects after the jump.
Chains, ring pops and weapons in a master glass designer’s latest experiments with crystal
Though master of crystal and glass design Orfeo Quagliata, 39, has been producing his own transparent wonders for several years (he’s been working with glass since age 12 and heads up Phuze Design), a recent collaboration with Swarovski Elements has led the Mexico-based artist to explore a more subversive side of the material. After the success of his initial partnership with the crystal leaders (he made five exclusive martini shakers for Skyy Vodka, like one that evokes Mr. Big’s character and a lipstick tube, for the Mexico City Sex and the City 2 premiere), Quagliata’s new work featured in a show at San Francisco, California’s Velvet Da Vinci’s gallery this month makes almost a 180. Celebrating both the beauty of Swarovski’s crystals and showing a “lack of respect” by fearlessly grinding and melting the pieces, Quagliata’s irreverence and a playful approach to material mark his sleek designs.
Among his more outlandish explorations in jewelry, glassware and sculpture is the aptly named “Crystal Death,” a design inspired by gladiators’ iconic morningstar weapon. This crystal implement is a prime example of Quagliata’s tendency to transform something with negative associations (in this case, a piece traditionally used for killing) into a stunning work of art.
Quagliata describes the show’s one-off designs (that inspired Phuze’s new production line) as “coming out of necessity.” While he primary occupies himself with beauty and combining unexpected materials, Quagliata also focuses on functionality. In the case of his geometric glassware, the cups are made from Pyrex (a sturdy heat- and chemical-resistant material) for those craving chic, faceted mugs for their coffee. Drawing from his work for the exhibition, Quagliata simplified the production design from tall glasses with elaborate handles to short cups with a single colorful knob.
Other offshoots of the exhibition include Phuze’s Disco Line for which Quagliata removes the crystals’ foil with acid and fills hollow pieces with them. Unlike standard jewelry with crystals fixed into settings, the Disco Line’s pieces are “shimmering little worlds for the crystals to live in.” A standout from the line’s delicate rings, earrings and pendant-like pieces, the “Alpha Chain” contrasts the lightness of the crystals with heavy steel links.
For a look at Quagliata’s one-of-a-kind pieces, catch his show before it ends 28 August 2011. Visit Phuze Design for a look at Quagliata’s other jewels, like his glammed-up glass candy rings colored with ground crystals. Currently showing at Swarovski’s booth for Accessory Circuit Intermezzo in New York, his work will hit London and Shanghai soon. While his pieces are now available for purchase from his London distributor, they will be sold at MoMA next year.
The first product to come out of a video series on upcycling
Oregon’s own wooden eyewear makers Shwood today premiered a latest sunglass collaboration with San Francisco streetwear label Huf. Made of broken skateboard decks, you can see the production process of the resulting “Six-Ply Fade” in the first experimental video on Shwood’s buzzy new site “Experiment with Nature.”
We recently caught up with Shwood founder Eric Singer to chat about “Experiment with Nature” and the consequential Huf collaboration.
How did the “Experiment with Nature” project come about?
“Experiment With Nature” has been Shwood’s tagline from the beginning. Everything from product concepts and manufacturing to packaging and branding strategies begin as an experiment in our wood shop. The EWN project was designed to share this experimental process and DIY mentality with the world. The videos aren’t simply about making sunglasses, but rather the concept of transforming everyday objects or natural resources into anything interesting really. Upcoming videos will feature everything from tools to transportation, all sharing the concept of transforming everyday objects or natural resources into interesting final products. We want to inspire others to try new things and see what works.
How did you choose the content? Specifically, how did the collaboration with Huf owner Keith Hufnagel happen?
If there is one thing we have a lot of at Shwood, it’s creativity. Sometimes it can be a struggle to stay concentrated on producing sunglasses when there are so many other projects we are dying to experiment with. So we decided to share these creative experiments with others—built a website, called up our videographer and got started on the first series, “Skateboard Shades.”
We met Keith Hufnagel and crew at a tradeshow last year and immediately took a liking to one another’s brand. We decided to partner on a collaborative project and ended up with skateboard shades. Making sunglasses from old skate decks had been something we had wanted to experiment with for a long time. So it seemed like a good excuse to make the trek down to skate with our friends at Huf.
How Gap is reinventing 1969 through their design-driven heritage
Advertorial content:
For the past year, Gap has been designing their 1969 denim line in a former cigar factory on a quiet industrial block in Los Angeles. Known as the Pico Creative Loft, the move from their San Francisco headquarters signals a renewed focus on design, one that draws on Gap’s heritage of accessible quality, while also redefining their take on modern fashion in the process. When we were tapped to help tell the story of new design studio for their fall campaign, we were excited to pick up where our last successful collaboration with the brand (our joint holiday pop-up shop) left off.
During the week we spent in L.A., interviewing 1969 designers, documenting their work and the space on video and with photography, we had the rare first-hand experience of witnessing a mega-brand reinvent their strategy from the inside out. Reconfiguring their infrastructure as more design-centric shows Gap rethinking the very blueprint of how they do business. Pico operates more like a start-up, reflected in the open workspace, a pervasive entrepreneurial spirit and emphasis on collaboration. And most importantly, as you’ll see if you check out the videos and other content we produced, the designers and their team at Pico all share a passion for denim that infuses the space.
Also integral to the project and one of the best-kept secrets of the industry, Los Angeles is home to some of the few remaining U.S. facilities for treating fabric. We were lucky enough to spend an afternoon at a prototyping facility to see the highly-specialized processes—from 3D effects to stonewashing—that help realize the design concepts that come out of Pico. Again, it’s this kind of commitment to technique that enables Gap to make denim that can compete with brands considered more “high fashion.”
While it may seem like Gap’s just jumping on the design consciousness bandwagon, the project works because it stays true to the brand’s authentic design heritage. What that means at Pico is interpreting the idea of denim as a modern American symbol for pragmatism, hard work, and creativity. By embracing concepts traditionally reserved for the more hardcore denim-heads, they make premium fabrics, better cuts, innovative washes and other high design features accessible to the masses.
Rather than defining themselves with gimmicky embellishments in a denim market that’s no longer dominated by any one brand, the emphasis on design itself becomes the aesthetic. Each product embodies minimalism, incorporating just enough technical details to see wearers through a typical day, seamlessly transitioning from the office to playing soccer with your kids.
This lifestyle element is also integral to Pico’s location, drawing on the area’s tremendous influence on popular culture. Love it or hate it, the inherently laid-back lifestyle that goes with the skating, surfing and health-consciousness on the West Coast has influenced our relationship with denim (and modern dressing as a whole) for decades. The resulting products draw on the Southern California lifestyle, Los Angeles’ denim heritage and the design talent of the Pico team to give them the kind of integrity that it takes to make it in today’s market.
Key to accomplishing the overarching design concept with the fall collection was to break away from blue denim. The men’s Straight Fit in grey, a perfect example of merging materials and ideas, was born from the extremes commonly seen in standard gray and black jeans. A gunmetal warp and light gray weft provides a clean but edgy look, formal yet rebellious. In Men’s Design Director Jason Ferro’s words, keeping it “a little bit cleaner, but it still has that energy and that really nice dynamic to it.”
Another great use of the contrast between warp and weft is the olive Skinny Fit men’s jean. The pant, constructed of premium Italian denim, combines a black weft with an olive-yarn warp, creating a fantastic contrast where the lighter olive tone shines through the darker denim—letting you maintain the ruggedness of a black jean but with enough variation to set you apart from the crowd.
The new pieces in the women’s line follow these same principles, clearly illustrating where the 1969 staff was challenging themselves to move beyond the typical denim design expected from a large brand. The Mid-Weight High-Rise Legging takes a super casual fabric and shapes it into a classic denim form. With an almost-sweatpants feel, the pant allows you to stay super comfortable while retaining the look of a five-pocket jean. This non-traditional denim mix is a fantastic example of how Gap is taking an unconventional approach from the ground up, directly addressing style, comfort and lifestyle.
The legging’s sister pant, cut from a densely-knit jean fabric, the Ponte five-pocket are like every woman’s “little black dress” but also available in a deep neutral olive. Fit for any occasion, the Ponte moves with you thanks to its structured yet stretchy material—a versatile fabric that feels great against your skin and goes with just about any top, casual or formal. Unlike standard flimsy leggings that leave you feeling exposed, the Ponte hugs and supports the body in all the right places, strategically revealing and concealing—which means you don’t have to sacrifice comfort for appearance.
Ping-pong balls and dance in the U.S. debut of a visually arresting performance
On a black stage a singular ping-pong ball triggers four dancers, followed by thousands more balls dropping, rolling and flooding the scene in controlled chaos. This is “Why Patterns.” Making its U.S. debut next week, the performance piece is a collaboration between choreographer Jonah Bokaer and Snarkitecture, a creative studio founded by artist Daniel Arsham and architect Alex Mustonen.
First commissioned by Dance Works Rotterdam, the show draws inspiration from the musical composition by Morton Feldman of the same name. The creative partnership formed after Arsham met Bokaer while stage designing for the late choreographer Merce Cunningham. “We had many interests in common,” says Arsham. “In the case of ‘Why Patterns,’ I proposed the possibility of what we could do with one ball, and with 5,000 balls.” Costumes were redesigned by menswear’s Richard Chai.
With Arsham’s years of experience in stage design, the performance is a logical transition for Snarkitecture’s practice, but with the challenge of creating a lightweight set portable enough for touring. “Working within this, we created something that had a strong visual impact and some very unexpected moments that respond to the movement of the dancers,” says Mustonen.
“Why Patterns” runs from 3-7 August 2011 at the Jacob Pillow Dance Festival in Becket, Massachusetts. Tickets are $23.50-$37.50, with special pricing on Friday. Visit Jacob Pillow Dance online to purchase and for more information.
Pickle masters meet potato chip vets for a briny snack sensation
Anyone familiar with McClure’s pickles or our favorite Bloody Mary mix will like where the two brothers’ fascination with pickles has led them now. Drawing on the flavors of the tasty brines that started it all, the latest to get the McClure treatment are bags of crunchy potato chips.
Detroit’s veteran snack food company, Better Made, provided the perfect chips as a base and McClure adds their blend of spices that pack the potatoes with their distinct punch of pickle flavor. Sprinkled with the right amount of mouth-watering seasonings the chips trick your tongue into tasting zesty pickles before dissolving into the savory potato taste.
It’s not just the flavors that reflect McClure’s specialty product, but the crinkle cut also evokes the playfully familiar form pickles often take. The chips are certified vegetarian, vegan and Kosher and are trans fat-free. Each bag features McClure’s standard bold graphic and is color coded according to flavor—red for spicy pickle and green for garlic dill pickle.
Look out for McClure’s potato chips in mid-July 2011 locally in New York City and Detroit. Ohio and other pickle-friendly locations will follow, and will be available in online shop in August 2011. Prices are around $1 in Michigan and $1.75 elsewhere for a 2.5 oz bag.
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