• Frieze Art Fair New York 2013
  • Frieze Art Fair New York 2013
  • Frieze Art Fair New York 2013
  • Frieze Art Fair New York 2013

26 May 2013 / , ,

For a concentrated dose of the worlds contemporary art scene, Frieze Art Fair in New York delivers an overwhelming and diverse breath of art that leaves you breathless and mesmerized. Now I don’t know much about contemporary art, I’m more nostalgic and prefer turn-of-the-century art, but my curiosity for something new and the promise of works from 180 galleries was enough to ferry me happily to Randall Island for a day of discovery. Once there you’re immediately thrown into the works, and after acclimating to the crowds and maze of galleries you find yourself in a comfortable balance of weaving between artworks of different styles and nationalities. Each gallery providing a different flavor to please all tastes; I found myself increasingly drawn to the more simple, monotone, modern, illustrated works and intrigued by playfulness in texture and form. Leaving with the feeling that I missed something (it’s hard not to), I found myself itching for more art, more diversity, and more Frieze. View my shortlist of favorites here, and learn more about the fair at http://friezenewyork.com.

  • Saul Bass, Vertigo, 1958.
  • Saul Bass, In Harms Way, 1965.
  • Saul Bass, Anatomy of a Murder, 1959.
  • Saul Bass, The Man With the Golden Arm, 1955.

03 May 2013 / ,

As any designer can attest to, Saul Bass’s rhythmic and organic shapes and typography tend to breach many—ok most—daydreaming sessions, so what better time than now to reflect on this modern design master. With arrestingly fresh graphics set to a natural visual rhythm Saul Bass captivates with his film title sequences and bold posters, alongside creating the most iconic corporate logos of our time, a stunning contrast, and confirmation of his design prowess. What I love most about his work is his ability to use the simplest elements to create a visual language that articulates the essence of a theme or subject easily and beautifully. This is seen throughout his work from the title sequence of The Man with the Golden Arm to his poster design for Hitchcock’s Vertigo and logo designs for Bell and Continental Airlines, all contain something inherently special and inherently simple. But it’s the playful nature of Bass’s work that hooks me the most, digging me out of design coma and into a design world set to jazz and titled by Saul Bass. Delve further into Bass’s design by checking out his goliath of a book here.

  • Kate Seabrook, Endbahnhof.
  • Kate Seabrook, Endbahnhof.
  • Kate Seabrook, Endbahnhof.
  • Kate Seabrook, Endbahnhof.
  • Kate Seabrook, Endbahnhof.

26 April 2013 / ,

Kate Seabrook has an eye for beauty in the most unexpected of settings, taking her on a photographic journey through Berlin’s highly efficient and surprisingly beautiful U-Bahn system. The project Endbahnhof leads us from one station to the next, depicting the various (and uniquely German) tile designs, typographic treatments, and architecture of each stop en route. Individually these wall designs speak to the characteristics of what’s above ground, and seen collectively you get a sense of the visual history of Berlin—an ever evolving and diverse aesthetic that remains consistent in quality and beauty. This concern for public design is proof of its importance, and a reflection of the culture and ambience of a city. Which is why I love Kate’s documentary efforts so much, and her aim to photograph every U-Bahn stop, giving us all a chance to envy and admire Berlin’s U-Bahn and her work. See Endbahnhof in its entirety at Endbahnhof.eu.

  • Romare Bearden, Pittsburgh Memory, 1964.
  • Alma Thomas, Late Night Reflections, 1972.
  • Beauford Delaney, Portrait of a Young Musician.
  • Mark Morrisroe, Untitled, 1981.

24 April 2013 / , ,

I think that the success of any Blues inspired exhibition can only be measured by how you feel during or after your visit, giving a sensibility that is uniquely blues and uniquely from that era. In this spirit the exhibition Blues for Smoke at the Whitney Museum is a success, something that is truly a sensory experience, providing an interdisciplinary look into contemporary painting, print, sculpture, video, and sound works from the era. The exhibition is an eclectic mix of moody pieces like David Hammons’s Chasing the Blue Train (grin provoking), abstract pieces by Alma Thomas, Jack Whitten, and Edward Clark (personal favorites), and interesting installations like Zoe Leonard’s Blue Suitcases and Rodney McMillian’s From Asterisk in Dockery. The entirety of the exhibition is scattered and abstract, a make-shift library and video room breaks the flow and changes what you’re attune to, all the better as it makes the exhibition more authentic to the Blues aesthetic. Speaking to the cultural undertones, racial commentary, and diverse history of the Blues era this exhibition justly captures a sense of something unique to American culture, and a show not to miss. See it now through April 28. http://whitney.org/Exhibitions/BluesForSmoke.

  • Aron Vellekoop León, New Statesman.
  • Aron Vellekoop León, Heijmans.
  • Aron Vellekoop León, Protospace.
  • Aron Vellekoop León, GDFB 2012.

16 April 2013 / ,

Aron is a master of direction, and each of his mouth-watering illustrations moves and guides the eye almost imperceptibly until you’ve absorbed every line, shape, and color effortlessly. But it’s not only the directionality that guides this effortless journey, it’s the simple use of color, texture, and geometric forms that gives his work an air of the bygone years of printmaking. I simply love the mid-twentieth century style it evokes and what I think is a modern and fresh take on the work of A.M. Cassandre. But on a fundamental level these illustrations are just plain fun to look at. See more fantastic compositions at http://aronvl.com.