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quote of note

Quote of Note | Jonathan Ive

jony_ive_1“What drove the design of the wrist watch wasn’t fashion, but utilitarianism and pragmatism. An aviator commissioned Cartier to design it because he didn’t want to take his hand off the joystick when flying. But when something is worn, issues of fashion, style and personal preference come into it. I think one of the biggest challenges we found with the Apple Watch was that we wouldn’t want to all be sitting here wearing the same thing, which is why we designed a flexible system rather than a singular product.”

-Jonathan Ive, senior vice president of Design at Apple, in a recent talk at London’s Design Museum as part of DM25—a year-long series of events staged in celebration of the museum’s 25th anniversary

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Quote of Note | Thomas Mallon

weegee cover“I read old photographs for unexpected details, such as the faces in the crowd, the people witnessing what a historical novelist can only try to reconstruct. I keep photos around me while I write the way other authors keep music on in the background; they provide not only evidence but a kind of atmospheric stimulation. I don’t think I could have written Bandbox, a comic novel about the 1920s, without long exposure to that era’s madcap tabloid photography, and I can’t imagine Fellow Travelers, a novel I set during the McCarthy period, without the flash-lit, noirish Weegee photo that went onto the cover of both the hard-bound and paperback editions. For Watergate, the details of dress and facial expression in a photo of ‘the Rose Mary Stretch’—the president’s secretary attempting to re-enact how a gap in one of the Nixon tapes might have been created—told me more about Rose Mary Woods’s agonized embarrassment than any transcript of her testimony could.”

-Novelist and critic Thomas Mallon in The New York Times Book Review

Quote of Note | Heidi Julavits

believers“Our cover has always been really important. For those of you who haven’t seen it…Charles Burns, who is a graphic artist, does four portraits, so it’s split into quadrants and there’s four heads, basically—portraits of people. We’ve actually often thought and freaked out, what if something happened to Charles Burns? Because he’s so identified with the cover of our magazine, I don’t know what we would do if anything happened to Charles Burns.”

-Heidi Julavits, a founding editor of The Believer, at a panel discussion held earlier today at Albertine as part of “French and American Journals: A Literary Salon

Quote of Note | Frank Gehry

frank g“I’ve always talked to artists about designing art museums. I’ve always heard the same thing, which is the opposite of what Glenn Lowry [of MoMA] and those people always push for: the white pristine box. I guess they don’t know any better. Most of the artists I know complain about that, and younger artists today are refusing to be in that white box—it’s imposing a ‘purity’ that is in fact intrusive. You can see that those galleries at MoMA have failed; they have to redo them now….I’ve been listening to artists for 40 years about what galleries they want. Every artist I know loved Bilbao. Every museum director I know hated Bilbao.”

Frank Gehry, in a recent interview with Jori Finkel for The Art Newspaper

Quote of Note | Marc Newson on Carlo Mollino

mollino bisiluro 1955

“I discovered the work of Carlo Mollino at the beginning of my career, about twenty-five years ago. The piece that really got me excited was the ‘Bisiluro’ (pictured), which was essentially a racing car that looked like a four-wheeled motorcycle, like two motorcycles bolted together. It was a fantastically brilliant thing: two pontoons joined by a metallic membrane. He raced them. They were his obsession, though he designed them not merely to look cool, but also to be functional and aerodynamic. What subsequently attracted me to his work, more than the furniture, was his general multitasking ability. Aviation, architecture, automotives, photography, furniture—he created all of those things, and he practiced across several disciplines at a time when not many other people were doing that. He eluded any job description.”

-Multitasking designer Marc Newson in the fifth (fall/winter 2014) issue of CR Fashion Book

Quote of Note | John Currin

courbet 1871
Detail from Gustave Courbet, Apples, Pears, and Primroses on a Table, 1871-1872.

“I’ve always had this thing about yellow—I don’t like cadmium yellow. I always liked chrome yellow instead of cadmium, which are real bright, chemical-looking yellows, and they weren’t really available to painters before 1870, 1850. So I thought, it’s tacky. It’s like a polyester shirt to use those yellows. And then I was just looking at this Courbet still life and it’s filled with chrome yellow and chemical yellows. So I’m starting to realize that this whole thing about being genuine and authentic is ridiculous. And I’m not conscientious or methodical enough to work that way.”

-Artist John Currin in his recent conversation with James Cuno, president and CEO of the J. Paul Getty Trust, at the Getty Center. Watch a video of their entire talk below.
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Quote of Note | Robert Gober

(Jonathan Muzikar)
Installation view of Robert Gober: The Heart Is Not a Metaphor, on view through January 18, 2015 at the Museum of Modern Art. (Photo: Jonathan Muzikar)

“With the sink, only after I was making it as a series did I realize that I had had, years before, a recurring dream about finding a room within my home that I didn’t know existed. That room was full of sinks, but it was very different—there was sunlight pouring in the room, and there was water running in all the sinks. They were functional. So it was an image that I had a recurring dream about, but it’s not like I woke up and I said, ‘Gee, that would make an interesting sculpture.’ It’s after-the-fact. You look back and you see all these different influences: dreams, people you’ve known, things you’ve read.”

-Robert Gober in a 1989 interview with Craig Gholson for BOMB Magazine

Quote of Note | Neville Brody

neville brody“To me, the most inspiring kind of design comes from people who are not professional designers. Things like seven-inch reggae album art from the ’70s and ’80s. These people had cheap printing and bad technology, but still made impactful work. There’s something inspiring in that innocence—raw, direct, and unafraid to make mistakes.”

-Graphic designer Neville Brody in the fifth (fall/winter 2014) issue of CR Fashion Book

Quote of Note | Mick Rock on Daft Punk

daft_punk

“They’ve got this aura based on the fact that nobody knows anything about their private lives. They’re just two skinny little French guys: totally nonaggressive, very sweet, quiet, a little bit shy—until they hit the stage with their suits on and they become monsters. Monsters in the high art sense.”

-Photographer Mick Rock in an interview with Matthew Kassel in the New York Observer

Quote of Note | Pete Wells on Keith McNally

cherchemidi

“[O]f course, he worries about the interiors. Cherche Midi’s is lovely. Outside is a dystopian intersection. You’d never know it in the dining room, which feels intimate, almost private, although of course every face is on display, bathed in light the color of apricot jam.

For three decades, Mr. McNally has been rooting around in the same Lego kit: distressed mirrors, chipped subway tiles, bottles backlighted to look like stained glass. In his hands, these well-worn tricks give restaurants the battered nobility of a vintage Saab. When anyone else tries, they end up with a 1986 Ford Escort. Sets and lighting will never be the whole show.”

-New York Times restaurant critic Pete Wells in his recent review of Keith McNally‘s Cherche Midi, which opened in June on the corner of Houston Street and the Bowery in NYC

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