Esoteric Survey

Kenji Fujita / VKG Source: LACMA TA / VKG Stahl House Photo: Julius Shulman Stahl House / Fishy on VKG table Photo: Julius Shulman   Photo: Julius Shulman Tackett and Tuttle Fish / Brown Saltman

Source: Rago  Source: Rago 

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 /$1 2  Non-members      Reservations:  619-704-7498

C.J. Paderewski in San Diego Photo: Chimay Bleue A Quincy Jones, Emmons House in Pacific Palisades  Malibu Eugene Weston III in  Eagle Rock Princess Leia keeping an eye out Volume 1 is  here

" 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: 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: A lexander 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

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: The La Jolla School of Arts 1960-1964 Curated by Dave Hampton The Oceanside Museum of Art Look at all those Rhoda Lopez ceramics 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: A Conversation with Guest Curator Dave Hampton and 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 Saturda