As strangely delightful and surprising as the idea of Twin Peaks ever airing on national, basic cable television.

creaturesofcomfort:

Site: Sculpture in the Environment

for Best Products, at the time the largest catalog showroom merchandiser in the United States.  

c. 1980

More info + pictures at Site.

(Source: friendsxfamily)

manystuff:

The online exhibition Print Error / Publishing in the digital age proposes to highlight, in a critical, conceptual and experimental way, one of the most important contemporary phenomena: the radical transformation of print media and its impacts on transmission of information and preservation of contents.

Stéphanie Vilayphiou is a Brussels-based graphic designer, member of the collective Open Source Publishing. She is especially interested in sharing of knowledge, questioning its social accessibility and alternatives to copyright. Through commissioned and self-initiated projects she explores manipulation of text: typography, code, vocabulary, translation. She currently works, in the frame of the European research project Libre Graphics Research Unit, on the editing of a reader on the mutual relation between tools, practice and free culture in graphic design.

In The map or the territory she selected a controversial book, Michel Houellebecq’s “The map and the territory”, which became renown for its evident quotes from Wikipedia, non-acknowledged by the author nor by the publisher. She took the book’s digitized text and wrote a software filter, which looks for each sentence (or part of it) in Google Books, finding the same sequences of words in other books. Visually the book transforms then in a digital collage of quotations (whose context is maintained in the background), loosing even the last bit of originality. Vilayphiou embodies her sharp irony within a functional mechanism, exploiting Google’s industrial collection of texts and smartly expanding the mediating properties of language through the networks.

Ruth Van Der Beek, THE ARRANGEMENT (2013)

rvbbooks:

The Arrangement is a group of images Ruth Van Beek made with a collection of books on flower arranging. She has been collecting books on this subject for years, mostly instructional books dating from fifties to the the seventies. They combine colorful still lives of flower arrangements with the functional photograhphy of a manual. Ruth Van Beek is specially interested in the translation of the strict rules and symbols of Japanese Ikebana into instructional books for Dutch housewifes.

vjeranski:

Ah Ha, 1975

Bruce Nauman

Interior shot of Alvar Aalto’s studio in Helsinki

(via imrevolting)

Jason Rosenberg, Wildflowers, 2012, watercolor on paper 

Joel Evey and Rasmus Svensson’s “Lifestream” from Bodega, an exhibition space with a tendency for the graphic arts. (Karma, looks like you’ve got a Philly counterpart).

via sight unseen

T Magazine’s piece on “Brooklyn: The Brand” is a long time coming, but articulates some good points:

“Brooklynization,” after all, represents a serious attempt at repudiation: of Manhattan, of course, whose nosebleed real estate prices pushed the creative class out to Brooklyn in the first place; but also of the logic of globalization, and its elevation of an international elite with no ostensible connection to either specific places or the making of physical things. If the old battle cry of youth authenticity was once Never Sell Out, the new one is Never Scale Up. Here, though, is where the story gets a little complicated, for standardization and homogenization are the gods of capitalism, and they are jealous indeed.

Elsewhere: ”Très Brooklyn!”? (Mais NON!)

Disegno no. 4 is out! Very happy to have contributed a short feature piece on Caroline O’Donnell of CO-DA, designer of this year’s winning entry for the Young Architects Program at MoMA PS1. 

More info at: disegnodaily.com

cambridgebook:

The Critic as Artist

by Oscar Wilde

Publication Studio.

A two-part meditation, this conversation-as-essay explores the significance of the audience, and critical reception of a work of art, to the meaning of the work itself. Key to this reception is the sensitive observer, in the familiar persona of the refined aesthete.

Available from Cambridge Book at Project no. 8 in the Ace Hotel.