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Archives: January 2013

In Which We Await Larry Gagosian’s Waffles


“Big Waffles,” a 2010 painting by Mary Ellen Johnson

Lately Larry Gagosian has been the subject of even more media scrutiny than usual, fueled by assorted lawsuits (Ronald Perelman, Jan Cowles) and high-profile artist defections (Damien Hirst, Yayoi Kusama). New York magazine accompanied Eric Konigsberg‘s investigative profile with a photo-illustration (by hitandrun) that attempted to depict the uberdealer as Hirst’s famous diamond-studded skull, although it succeeded only in evoking Jambi the Genie. Well, meka leka hi meka hiney ho, haters, because Gagosian has something delicious up his well-tailored sleeve. Never underestimate a man who knows the power of waffles.

In March-ish (our best guess after peeking into the construction site earlier today), Gagosian will open a restaurant downstairs from his Upper East Side gallery. Designed by Annabelle Selldorf, the eatery will be managed by nearby Sant Ambroeus, so fingers crossed that they bring on Mucca to mastermind the menu design. There will be waffles–and wine, and chili, and fun!–as Gagosian revealed in an interview with Peter Brant that appeared in the December 2012/January 2013 issue of Interview:

It will be a neighborhood restaurant. Bill Acquavella already reserved a table. He was one of the first to say, “I want to have my own table.” So that’s good news. We’re going to try to have it be a destination for people who like wine and try to get wine companies to bring us special wines. We’re going to have international cuisine. We’re going to have waffles for breakfast because I love the waffles at the Beverly Hills Hotel. I put some things on the menu that you can’t get in every restaurant, things that I like. I love chili, so we’ll have a good chili. We’ll have a couple of Armenian dishes. But we’re going to have fun with it. I could have done a menu by consensus, but so many people were telling me what to do that I finally said, “Screw it. This is what I want.” I just want to be able to go down there and have a good time and be able to entertain my friends.

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Aperture Relaunching: Sneak a Peek at the Redesign

Aperture is the storied photography quarterly that we’ve been known to purchase in duplicate, reading one copy with an X-Acto knife close at hand so as to surgically remove the suitable-for-framing images by the likes of Lee Friedlander, Joel Sternfeld, Mary Ellen Mark, Cindy Sherman, and Daido Moriyama. Sixty years after the publication’s founding–by a group that included Minor White, Ansel Adams, and Dorothea Lange–the Aperture Foundation is overhauling the magazine, a project led by executive director Chris Boot with editors Michael Famighetti and Melissa Harris.

The new Aperture debuts with the spring 2013 issue (pictured), on newsstands February 26. In addition to the bold redesign by London-based A2/SW/HK, there are more pages and images, new columns (including “Object Lessons” and “What Matters Now?”), and writing geared toward a broader audience. Each issue will examine one theme at the heart of contemporary photography, explored in two sections: “Words,” focused on ideas, interviews, and debate, and “Pictures,” immersing the reader in individual artists’ projects and series.
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London’s Design Museum Reveals ‘Extraordinary Stories About Ordinary Things’

London’s Design Museum, which opened in 1981 in a former basement boilerroom of the Victoria & Albert Museum, is gearing up to move out of its current home–once a banana warehouse–into a $125 million new building, the former Commonwealth Institute, spruced up by OMA and with interiors by John Pawson. Until the big move, slated for 2015, the museum is pulling out the stops, or at least the stories, for an exhibition of memorable objects from its permanent collection.

“Extraordinary Stories About Ordinary Things,” which opened today, focuses on stories such as national identity (road signage, the Euro), the dominance of plastic in our lives (from 1960s furniture to recent Issey Miyake garments made from upcycled plastic bottles), and Modernism, in which visitors can marvel at the work of designers such as Marcel Breuer and…Erno Goldfinger (Ian Fleming borrowed his name for a Bond villain because of a personal vendetta, according to the museum). Among the objects singled out for special treatment are the Anglepoise lamp and Jasper Morrison‘s Handlebar Table, which is among the latest additions to the museum’s 3,000-object-collection. Another recent acquisition? An AK-47, soon to be followed by a Russian cosmonaut spacesuit. Until you can make it to London (the show will be on view until 2015), visit vicariously via the Design Museum Collection App, free on iTunes.

Printed Matter Preps First LA Art Book Fair

The good people of Printed Matter are heading west for the first annual LA Art Book Fair. The left coast counterpart of the beloved NY Art Book Fair gets underway tomorrow evening with an opening preview and runs through Sunday (we’ll take a Larry Clark pop-up shop over football any day) at the Geffen Contemporary, the Frank Gehry-renovated police car warehouse-turned-exhibition space that is part of the Museum of Contemporary Art, Los Angeles.

The fair promises to be a feast of artists’ books, art catalogs, monographs, and periodicals presented by some 200 international presses, booksellers, antiquarians, and artists. Come for the zine scene–including a “Zine Masters of the Universe” exhibition featuring the work of Mark Gonzales, Ari Marcopoulos, Ray Pettibon, and Dash Snow–and stay for the Gagosian-presented homage to the late Mike Kelley, tarot card readings, and the chance to watch Jean-Philippe Delhomme sign your copy of The Unknown Hipster Diaries, among many other happenings. Can’t make it to MOCA? Snag Andrew Kuo‘s “Reasons to Move to L.A.”–all proceeds from print sales will help to keep the LA Art Book Fair free and open to the public.

Nicholas Kirkwood Wins British Fashion Council/Vogue Designer Fashion Fund

In a first for an accessories designer, shoe maestro Nicholas Kirkwood has clinched the 2013 British Fashion Council/Vogue Designer Fashion Fund, the across-the-pond version of Anna Wintour and co.’s wildly successful initiative to boost young design talent. Now in its fourth year, the BFC/Vogue award provides the winner with £200,000 (at current exchange, about equal to the stateside $300,000 purse) and access to industry mentors. Also shortlisted for the award were Roksanda Ilincic, Mary Katrantzou, Peter Pilotto, and Emilia Wickstead.

Kirkwood, who also made the 2012 shortlist, was selected as the winner based on the strength of his collections over the past few seasons, the three-year business plan he created with partner Christoper Suarez, and a presentation to a judging committee chaired by Vogue UK editor-in-chief Alexandra Shulman. “I’m thrilled,” says the London-based designer, who has collaborated with the likes of Rodarte’s Kate and Laura Mulleavy, past BFC/Vogue Designer Fashion Fund winner Erdem Moralioğlu, and the Keith Haring Foundation. “Being awarded the fund will enable us to realize our plans to develop the brand globally.” The designer unveiled his first men’s collection, Nicholas Kirkwood Men’s, earlier this month in London.

Design Jobs: Stonehill College, BOLD Worldwide, WWE

This week, Stonehill College is hiring a graphic designer, while BOLD Worldwide needs a freelance art director. WWE is seeking a photo editor, while Northern Virginia magazine is on the hunt for an art director. Get the scoop on these openings and more below, and find additional just-posted gigs on Mediabistro.

Find more great design jobs on the UnBeige job board. Looking to hire? Tap into our network of talented UnBeige pros and post a risk-free job listing. For real-time openings and employment news, follow @MBJobPost.

For Venice Architecture Biennale, Rem Koolhaas Will Return to ‘Fundamentals’

Following David Chipperfield‘s push to dispense with architectural egos and “create a tent where [architects] could show architecture instead of themselves” at last year’s Venice Architecture Biennale, Rem Koolhaas has signed on as curator of the 14th exhibition, which gets underway in June 2014. The OMA founder is also looking to escape the cult of personality–ixnay on the starchitects!–by returning to “Fundamentals” and looking back over the last 100 years of architecture.

“After several Biennales dedicated to the celebration of the contemporary, ‘Fundamentals’ will focus on histories–on the inevitable elements of all architecture used by any architect, anywhere, anytime (the door, the floor, the ceiling etc.) and on the evolution of national architectures in the last 100 years,” said Koolhaas in a recent statement. “In three complementary manifestations–taking place in the Central Pavilion, the Arsenale, and the National Pavilions–this retrospective will generate a fresh understanding of the richness of architecture’s fundamental repertoire, apparently so exhausted today.”
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Naval Battle Ends as Emeco, Restoration Hardware Settle Chair Dispute


From left, Emeco’s famous Navy Chair and a Restoration Hardware “Naval Chair” ripoff.

Restoration Hardware has raised the white–make that Silver Sage!–flag in the dispute concerning its “Naval Chair,” a shameless rip-off of Emeco’s Navy Chair, the aluminum classic designed by the Hanover, Pennsylvania-based company in 1944 for the U.S. Navy and in production ever since. In October 2012, Emeco announced that it was suing Restoration Hardware and its former CEO, Gary Friedman, for infringement of Emeco’s trade dress and trademark rights for its Navy Chair. Now comes word that the Naval/Navy battle has been settled for an undisclosed sum. “As part of that settlement, Restoration Hardware has agreed to permanently cease selling the chairs that Emeco accused of infringement, and its existing inventory of such chairs will be recycled,” noted Emeco in a statement issued yesterday. And if it’s the recycled Real Thing you’re after, look no further than Emeco’s 111 Navy Chair, made with 111 up-cycled Coca-Cola PET bottles.

Previously on UnBeige:
Emeco Sues Restoration Hardware for Copying Its Navy Chair

Quote of Note | James Gleick

“…[T]he Library of Congress is now stockpiling the entire Twitterverse, or Tweetosphere, or whatever we’ll end up calling it—anyway, the corpus of all public tweets. There are a lot. The library embarked on this project in April 2010, when Jack Dorsey’s microblogging service was four years old, and four years of tweeting had produced 21 billion messages. Since then Twitter has grown, as these things do, and 21 billion tweets represents not much more than a month’s worth. As of December [2012], the library had received 170 billion—each one a 140-character capsule garbed in metadata with the who-when-where.

The library has attached itself to the firehose. A stream of information flows from 500 million registered twitterers (counting duplicates, dead people, parodies, imaginary friends, and bots) who thumb their hurried epistles into phones and tablets and PCs, and the tweets pour into Twitter’s servers at a rate of thousands per second—tens of thousands at peak times: World Cup matches, presidential elections, Beyonce’s pregnancy—and make their way in ‘real time’ to a company called Gnip, a social-media data provider in Boulder, Colorado. Gnip organizes them into one-hour batches on a secure server for download, where they are counted and checked and finally copied to reels of magnetic tape, to be stored in a couple of filing cabinets. In different locations, for safety. If you have ever tweeted, rest assured that each of your little gems is there for posterity.”

-James Gleick considers “Librarians of the Twitterverse” on NYRBlog

Animated Furniture Dazzles at Sundance

The Sundance Film Festival wrapped up yesterday in Park City, Utah, and our pick for a breakout is Tony Donoghue‘s Irish Folk Furniture. The charming animated documentary (watch it below) follows the fate of 16 pieces of traditional folk furniture as they are repaired and return home. “In Ireland, old hand-painted furniture is often associated with hard times, with poverty, and with a time many would rather forget,” notes Donoghue, who worked for seven years at the Trust for Urban Ecology and the Natural History Museum in London before turning his full attention to filmmaking. When Irish Folk Furniture won the jury award for animation at the Sundance short film awards ceremony, he arrived at the podium carrying a pint. “The fact that I’m Irish and have this beer is completely coincidental,” Donoghue assured the audience.

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