From 1943 to 1947, Georgia O’Keeffe painted a series that explored the intricate shapes and surfaces of animal bones. The bones were pictured in their entirety or in magnified detail. In this abstract variation, Pelvis II (1944) O’Keeffe draws attention to the blue sky seen through the empty socks. The work demonstrates her ability to present what the writer Jean Toomer described as “the universe through the portal of a bone.”
Photographed in the Metropolitan Museum of Art in Manhattan.
Interlocking organic shapes of dull and sharp appendages support one another like a monument in the characteristic space of Yves Tanguy’s My Life, Black and White (1944). Having met the poet Andre Breton in 1925, Tanguy remained true to the Surrealist movement throughout his work, borrowing shapes and motifs from Jean Arp and Joan Miro.
Photographed in the Metropolitan Museum of Art in NYC.
Composed of Vinylite and manufactured by a chemical company (Gallowhur Chemical Corp. of Windsor, VT) this Inflatable Chair (1944) typifies the application of innovative materials and production techniques — heightened during wartime — to domestic products. Designer William H. Miller was an employee of Gallowhur Chemical. Continue reading Eye On Design: Inflatable Chair By William H. Miller Jr.→