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Articles on this Page
- 08/02/17--19:47: _Weekend / Stuff
- 08/07/17--21:44: _John Mason / Sculpture
- 08/08/17--17:41: _Weekend / Stuff
- 08/16/17--07:41: _Weekend / Stuff
- 08/21/17--21:53: _ Expo 70 / Noguchi
- 08/23/17--15:41: _Weekend / Stuff
- 08/23/17--20:56: _Expo 70 / Osaka
- 08/26/17--19:57: _Neutra / Chuey
- 08/30/17--07:01: _Weekend / Stuff
- 09/06/17--09:11: _Weekend / Stuff
- 09/06/17--20:48: _Don Shoemaker / Señ...
- 09/07/17--18:15: _Museo de Arte Moder...
- 09/13/17--16:57: _Weekend / Stuff
- 09/14/17--09:13: _Perriand / Japan
- 09/20/17--10:05: _Weekend / Stuff
- 09/26/17--17:33: _The Smiths / Morrissey
- 09/27/17--09:24: _Weekend / Stuff
- 10/04/17--17:58: _Albert Frey / Lina ...
- 10/05/17--06:35: _Weekend / Stuff
- 10/06/17--08:19: _Dieter Rams / JF Chen
- 10/09/17--21:56: _Colonial / Modern
- 10/10/17--17:35: _Dieter Rams / Braun
- 10/11/17--07:10: _Weekend / Stuff
- 10/20/17--06:36: _LAMA / 25
- 10/20/17--06:57: _Weekend / Stuff
- 08/02/17--19:47: Weekend / Stuff
- 08/07/17--21:44: John Mason / Sculpture
- 08/08/17--17:41: Weekend / Stuff
- 08/16/17--07:41: Weekend / Stuff
- 08/21/17--21:53: Expo 70 / Noguchi
- 08/23/17--15:41: Weekend / Stuff
- 08/23/17--20:56: Expo 70 / Osaka
- 08/26/17--19:57: Neutra / Chuey
- 08/30/17--07:01: Weekend / Stuff
- 09/06/17--09:11: Weekend / Stuff
- 09/06/17--20:48: Don Shoemaker / Señal Mexico
- 09/07/17--18:15: Museo de Arte Moderno / Mexican Modernism
- 09/13/17--16:57: Weekend / Stuff
- 09/14/17--09:13: Perriand / Japan
- 09/20/17--10:05: Weekend / Stuff
- 09/26/17--17:33: The Smiths / Morrissey
- 09/27/17--09:24: Weekend / Stuff
- 10/04/17--17:58: Albert Frey / Lina Bo Bardi
- 10/05/17--06:35: Weekend / Stuff
- 10/06/17--08:19: Dieter Rams / JF Chen
- 10/09/17--21:56: Colonial / Modern
- 10/10/17--17:35: Dieter Rams / Braun
- 10/11/17--07:10: Weekend / Stuff
- 10/20/17--06:36: LAMA / 25
- 10/20/17--06:57: Weekend / Stuff
The main reason for me going to the park was to see the nine fountains designed by Isamu Kenmochi. He was invited by Kenzo Tange , who was in charge of creating the master plan for the Expo.
Unlike some former expo sites, such as New York or Seville, that have been abandoned and forgotten, the Osaka site is Expo Commemoration Park. There is an Expo 70 museum, and a number of other museums, like the Mingei-kan, and the grounds are incredible. I spent a full day there. I'll do another post on the rest of the park. Hopefully it won't take me almost a year, like this one did.
It now houses a museum dedicated to Expo 70.
A piece of the Expo 70 Tower by Kiyonari Kikutake (below) sits near the building.
Expo 70 Tower
Kenzo Tange's vision for the Expo master plan was a futuristic aerial city that was based on the Metabolism movement. He worked with a dozen architects; including Fumihiko Maki, Noboru Kawazoe, Koji Kamiya and Noriaki Kurokawa.
A model is on display.
Those planters look like the same ones used at Kisho Kurokawa's Nakagin Capsule Tower.
I have no idea what this is.
Sori Yanagi stools are used in an area playing period footage of the expo.
Despite the music, this is a really good video tour of the grounds. It includes the Noguchi sculptures in action.
The Japan Folk Crafts Museum (Osaka Nihon Mingei Kan) began as an Expo pavilion and then reopened as the Japan Folk Crafts Museum. The first curator was Shoji Hamada. They don't allow photos in the museum. The exhibit was Kawai Kanjiro and you'll have to trust me that it was really good.
In this case, it isn't. This is also the only photo of the house shown on the MLS. Unfortunately, this is another case of expensive real estate and a small home. The property is being marketed as a $10.5 million "development opportunity."
The house was built in 1956 for Josephine Ain Chuey and her husband Robert Chuey. They were both artists. Josephine had been married to Gregory Ain. That's her sitting on the patio in 1960.
Josephine Chuey passed away in 2004 and the house was inherited by her niece and nephew, who still own it. They seem to be in financial trouble, leaving the house in a strange situation with a bankruptcy court having final say in the sale. Read about that and more at Curbed.
Don Shoemaker was born in Nebraska. He fought in WWII and moved to Mexico in 1947. Shortly after, he started a furniture and craft business in Señal SA in Morelia, Michoacán and lived there until his death in 1990.
In 1975 the Museo de Arte Moderno included work by Shoemaker in an exhibition on Mexican design. This photo comes from Karen Goyer, who has written a pretty scathing review of the 2016 exhibition. She says there are numerous fakes in the exhibition. It's a pretty widely-known fact that people are reproducing Shoemaker designs and they include fake labels. There are a few shops in Mexico City that are full of them. It seems like a museum working with the family would be able to vet the fakes out, but Karen thinks otherwise. There are also some contemporary pieces by Don's grandson, Stanley, and are noted by the museum. She doesn't feel those are right either. You can read all the dirt here.
Juan José Díaz Infante created the structure in 1967 as a pre-fab solution to the housing crisis in Mexico. He was influenced by a trip to Disneyland a few years prior. The house was installed at the museum in 1967 as part of an exhibition, Man and Plastic. It's been there ever since.
Charlotte Perriand, with support from Sori Yanagi and Junzo Sakakura, was invited by the Japanese Ministry of Commerce and Industry/Department of Trade Promotion to serve as an advisor to help increase furniture exports for Japan. Perriand had met Sakakura while they were both working at Le Corbusier’s studio. Junzo worked with Le Corbusier in Paris from 1931 to 1936.
On June 15, 1940 Perriand boarded a cruiseliner headed to Japan. This was one day after the nazis had captured Paris. She arrived in Japan on August 21, 1940.
She stayed at the Frank Lloyd Wright-designed Imperial Hotel. Then she traveled around Japan with Sori Yanagi and visited Mingei craftspeople around the county.
In 1941, after seven moths of traveling through Japan, Perriand and Sakakura produced an exhibition held at the Takashimaya department stores in Tokyo and Kyoto. They called it “Tradition, Selection, Creation.” It showcased her findings, recommendations and a number of designs she created.
A catalog of the Takashimaya exhibition was produced by Perriand and Sakakura. Choix Tradition Création. Au contact avec l'art japonais. Tokyo, Ed. Koyama-shoten. It documented the 1941 exhibition and included photos by Perriand.
The catalog included this diagram, showing a 1937 chair by Ubunji Kidokoro, the Alvar Aalto chair it was based off of, and a bamboo chair Perriand designed. The Kidokoro chair was being criticized by Perriand for not taking full advantage of the resiliency of the bamboo.
The Kidokoro chair is often misattributed to Charlotte Perriand, even though it was actually used by her to illustrate a design flaw. It was also made a few years before Perriand was even in Japan. In 2016, a pair sold for $10K at Monthly Modern Auction. In 2003, a single chair was up for sale at Phillips, with an estimate of $30k-$40k. They had a pretty convincing description with a number of references. You can read it here. Unfortunately, it's bogus. Things in the auction world were pretty loose in the early 2000s. I don't think these would get into a Phillips sale these days.
Some months back, the owner of Local Strange, a Mid-Century shop in San Francisco, found a pair of the Kidokoro chairs at an estate of a local architect. Local Strange was not claiming the chairs were designed by Perriand.
The chairs had a 1939 Golden Gate International Exposition label. That fits with the 1937 design date and doesn't work out for anything to do with Perriand because she hadn't even been to Japan yet.
A Mingei-influenced Perriand version of the 1928 tubular steel chaise lounge designed by her, Le Corbusier and Pierre Jeanneret was also on display at Takashimaya. This design is symbolic of the criticism many Japanese designers expressed about the exhibition. They said there was a typical western focus on bamboo. Isamu Kenmochi was disappointed that she did not explore more modern Japanese materials and production methods. It was clear that Perriand was heavily influenced by the Mingei. Although two of the main promoters of Mingei, Soetsu Yanagi and Shoji Hamada, were proud of the influence the Mingei crafts had on her, they were also critical on her what seemed liked "uneducated" selection of crafts and her "enchantment" with bamboo. Seems like a tough crowd, but international diplomacy was falling apart on a world scale. Japan was about to enter the war and therefore Perriand was forced to leave. Due to the naval blockade, she was forced to live out the rest of WWII in Vietnam. She was not able to return to France until 1946.
Synthesis of the Arts at Takashimaya, 1954. Perriand said her cloud shelving was inspired by shelves she saw in a 17th century palace in Kyoto.
I found these two together. at UCLA
The exhibition explores the lives and work of Lina Bo Bardi and Albert Frey. The two immigrated from their home countries. Frey from Switzerland to the United States in 1930 and Bo Bardi from Italy to Brazil in 1946. They never met, but the exhibition makes the case that there was a connection. Bo Bardi did translate Frey’s book, In Search of a Living Architecture, for Domus magazine. Beyond that, the connection is more about their work and the similar approach to changing how architecture influenced the way people lived. The exhibition also includes examples of furniture by the architects.
The exhibition is part of the Getty's Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles. It runs until January 7th, 2018
The opening was last week, but there were so many people, it was hard to take good photos. This is the only one I could get. I'll be going back. The exhibition was curated by Daniel Ostroff. They amassed a great collection, including some extremely rare examples, like the TP-1.
Do you remember these string tables? They came from the estate of a gentleman who was an industrial design professor in Pasadena during the early 1950s. The mix of modest materials, simple construction and clean lines hit all the right notes for me. I sold them a while back, which I sort of regret. However, they landed in good hands.
In October of 1992LAMA had their first auction. So on this, their 25th anniversary auction, it looks like they are offering up a little more of the modern classics than usual, including a lot of Eames!
It's safe to say that the Eames are a sentimental favorite for most modern dealers. In the whole scheme of things it doesn't sell for all that much, but it truly is some of the greatest American Design. I love that LAMA keeps putting it in their sales.
The pair of 421 N ESUs will most likely be the exception to the Eames not selling for a lot rule. These examples are as good as it gets. They are being sold individually, but it would be a shame if the same person doesn't buy both. Whatever they sell for, it will be a great deal because they should be worth double.
Ed Kiinholz currency has definitely outpaced inflation. Below them is a sweet George Herms from the Blankfort Collection. It hung at LACMA in 1980s and has a great label on the back to prove it.