Tackett Associates / In Situ

Kenji Fujita / VKG
Source: LACMA


Stahl House
Photo: Julius Shulman

Stahl House / Fishy on VKG table
Photo: Julius Shulman

 Photo: Julius Shulman

Tackett and Tuttle

Fish / Brown Saltman

Hap Sakwa

Source: Rago 

Source: Rago 

Crafting the Revolution

Close out San Diego’s Craft Revolution with an insider’s look at how it all came together. By focusing on members of the Allied Craftsman group, this exhibition explores San Diego craft from 1940s modernism to the funk and post-modernism of the 1970s. Learn how curator Dave Hampton’s ten years of research informed this exhibition, and how the Getty’s Pacific Standard Time collaboration has created new interest in this often overlooked period of San Diego’s art history. 

$8 Members, students and faculty /$12 Non-members   
Reservations:  619-704-7498

In the know / Soleri Bells / Volume 2

C.J. Paderewski in San Diego
Photo: Chimay Bleue

A Quincy Jones, Emmons House in Pacific Palisades 


Eugene Weston III in Eagle Rock
Princess Leia keeping an eye out

Volume 1 is here

Abacus / Paul Rand

"Abacus" Paul Rand, L. Anton Maix, Inc.

Photogram book jacket, 1943

From the L. Anton Maix "Campagna Collection", "Abacus" by Rand and "Ovals" by Joel Roninson.
Both were selected for the Good Design Exhibition

"Abacus" was $6.75 a yard, the same as Ray Eames "Crosspatch"

Abacus in Color
Source: paul-rand.com

To / From

To: Greta Grossman 
From: Gio Ponti
Source: Great Magunusson Grossman: A Car and Some Shorts

To: Alvin Lustig
From: Joseph Albers
Source: Born Modern : The Life and Design of Alvin Lustig

To: Alexander Girard
From: Charles Eames
Source: Wright

To: Sansi Girard
From: Ray Eames
Source: Wright

To: Eero and Lily Saarinen and Charles and Ray Eames
From: Alexander and Susan Girard
Source: Wright

To: Henry Ford II
From: Charles Eames, advised by the Alexander Girards
Source: Brocatus

Dear Mr. Ford:  
I have been driving Fords continuously since 1929, and we have had Ford convertibles since 1941.  
We believe in the use of standard production models.  
Up until now we have been able to find one acceptable anonymous model.   
The following is what we could consider as an anonymous model – one we would like to buy now: 
Black Convertible, natural top, minimum of advertising signs and symbols attached – preferably none.
The interior: simple neutral tan leather or good neutral color synthetic material – no two-tones – preferably matching tan paint on interior metal, but would accept black if that is standard.  
We have needed a new car for some time, but have been unable to obtain any assurance from our local agent that our requirements are in any way possible to fulfill. On a recent visit to the Alexander Girards in Santa Fe, we were advised by them that our only recourse was to write to you directly and that by so doing we would undoubtedly obtain the information we cannot obtain here. We are taking the liberty of following the Girards’ advice, and trust that this letter will be channeled by your office to the appropriate department.  
Thank you for the many positive things that bear the name of Ford.  
Charles Eames

Wright / Modern Design / March 2012

Wright has some great things up for auction this month, like this super rare
George Nelson for Howard Miller weathervane.

Early Eames Aluminum Group

Eames Toy

Bruce Goff door. How sick is this?

Dan Johnson Gazelle Chair

Ruth Duckworth

This line is often attributed to Paul Laszlo for Glenn of California.  I've never seen any documentation to support that.
If anything, it looks more like Brown Saltman to me.  At least Laszlo had a history of designing for Brown Saltman. 
Treadway had one in 2009 marked "12/9/65 J.M." That doesn't seem to be anything related to Laszlo, Glenn or Brown Saltman.
Instead of going with names without any documentation or the ever so annoying "attributed," 
"in the manner," "after," "in the style," and the other euphemisms for saying we don't know, 
why can't it be OK just to say it's a really cool thing by an unknown designer? 

Contemporary Art Wins a Beachhead

Contemporary Art Wins a Beachhead: The La Jolla School of Arts 1960-1964
Curated by Dave Hampton

mmm mmm... Ephemera

Rhoda Lopez

Fred Holle
 Collection of my good friend Susan

Mac McClain

Mac McClain, Tijuana Weekend
The Forward collection

Fred Holle, Kachina
Collection of Richard Allen Morris

How come my kindergarten class never went to any cool field trips like this?

The field trip went outside to try out abstract art.
The Oceanside School of arts?

Fred Holle X 4

You should go to this:
former La Jolla School of Arts faculty and students,

Remembering the Art Center in La Jolla
An informal conversation about what it was like to take classes and attend exhibition openings at the 
Art Center and the prevailing culture and environment there in the early 1960s
Saturday, April 14, 2012 - 2:00 p.m.