Posted in Art or Commerce?, Authorship, Exhibition, Internet, New Media, Old Media, Photography, Popular Culture, tagged art world, artists, commerce, creativity, Design, Etsy, Etsy.com, galleries, Popular Culture, selling on December 23, 2010| Leave a Comment »
Happy news! Artists and the people who love them meet at last, on mutual ground. No more stark, unfriendly gallery spaces where some intern behind the front desk refuses to acknowledge your arrival. No more standing around at openings with a plastic cup of lousy wine in one hand and a gussied-up Ritz cracker in the other, hoping for a chance to speak with the artist. No more stratospheric prices that make you feel like a dwarf star in the vast art world universe. Really? Really! (more…)
Posted in Border Violations, Conflicts of Interest, Design, Exhibition, Installation, Multimedia, Popular Culture, surveillance, Theater, tagged Darfur, Design, Hugh Grant, interior design, Janjaweed, Roland Emmerich, Starck on August 14, 2008| 1 Comment »
Roland Emmerich. He’s the big-budget director of “Independence Day,” “Universal Soldier” and “Eight-Legged Freaks.” I came across an article on Emmerich and his design aesthetic in the New York Times’ August 7, 2008 Home section.
The Times devoted two whole pages and thirteen photos to the redesign of Emmerich’s townhouse in the “buttoned-up” Knightsbridge section of London. Apparently he redesigned the place primarily to shock his neighbors. It’s not a townhouse anymore; it’s a fun house of cultural and pop-cultural references: Mao Tse-Tung, Pope John Paul II, pseudo Renaissance paintings, Barbie dolls and Philippe Starck chairs… If it shocks the neighbors, he’s happy. Whatever…
But what about the miniaturized diorama tables in the living room? The ones that Emmerich commissioned from his movie prop department. The ones that depict, in the Times’ words, “notorious events”? (more…)
Posted in Design, tagged Design, graphic design, Iranian design, Milton Glaser, Persia, Reza Abedini, Saul Bass on April 8, 2008| 2 Comments »
Iranian graphic designer Reza Abedini may not be as familiar to Americans as, say, Milton Glaser (designer of the “I Love New York” logo) or Saul Bass (designer of Hitchcock’s “Vertigo” title sequence, as well as the famous title sequences for “James Bond” movies). But in the international arena, Abedini is well-known for his contemporary and literate use of Persian calligraphy, often in conjunction with English language type faces, photography and graphics. He’s been sited for “his passion for graphic design, in particular Persian type and typography, [which] has led him into linking literature and aesthetics, searching for a unique visual dialect that reflects Persian poetic sensibilities.” (www.princeclausfund)
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