Charles Ray’s sculptures are often loosely patterned on pre-existing ideas and things. Such is the case with Tractor(2005), which takes as its point of departure a boyhood memory and, more directly, an abandoned vintage tractor found in the San Fernando Valley, California.
LA-based designer Alex Brokamp is inspired by the Maya Angelou quote “I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.” When designing new pieces, his goal is to instill a meaningful connection between object and consumer that searches for a balance between physical and emotional attraction to an object.
Installation View at ICFF 2019
Brokamp’s commitment to combining technology, spatial awareness, and innovation has been a common theme throughout his work. The Collate Table Collection is no exception. The coffee and side tables in this collection are made using cutting-edge fabrication techniques and are inspired by process art; so the pieces celebrate the manner in which something is made being equally important as the outcome.
The Collate Tables are crafted from aluminum plates that have patterns cut into them using CNC (computer numerical control) toolpaths. The cellular shape of the tabletop allows thetoolpaths to create a playful pattern on the surface. This millwork not only gives insights into the high-tech fabrication process, but also creates an interesting dialogue and engaging experience for anyone looking at and walking around them.
The table treats the aluminum plate as the canvas and the toolpaths act as the brushstrokes. The finish on these aluminum tables can be anodized in several different color options as well.
Photographed in May 2019 at the ICFF at Javits Center, NYC.
Born in the United States, Isamu Noguchi (1904 – 1988) lived in Japan until he was 13 years old, and was deeply affected by Japanese art and culture. In 1930, the artist returned to Japan to study its sculptural traditions and ceramics
Miss Expanding Universe (1932) was the first sculpture Noguchi made upon his return to the United States in 1932. In this work, he combined machine-age streamlining with characteristics of ancient Japanese funerary sculpture (haniwa).
Later that same year, the artist transformed this flowing form into a sacklike costume for the pioneering dancer and choreographer Ruth Page and her ballet, Expanding Universe.
The Born To Rock F-4B Electric Bass (1995) has a patented design with the following specifications:
Hollow aluminum-tube-frame body
One piece ‘headless’ Plexiglas neck and fingerboard
34 Inch scale
Precision bass-style split coil-pickup with volume and tone controls
The bass relies on a lightweight frame that holds the strings at tension over a tension-free neck, which avoids the warping associated with wooden instruments. Since the open, skeletal design has no conventional headstock, the tuners are mounted below the bridge at the bottom of the body. This bass guitar belongs to Steve Miller.
Photographed as Part of the Exhibit Play It Loud: Instruments of Rock & Roll at the Metropolitan Museum of Art.
The Landi Chair (1938) was among the examples of international design in the exhibition Die Gute Form (Good Form), which the designer Max Bill curated on behalf of the Swiss Werkbund — an organization established in 1913 to promote good design — and which travelled to venues in Switzerland, Austria, Germany and The Netherlands from 1941–51.
Landi Chair was designed by Hans Corey and manufactured from bent and pressed aluminum.
Landi Chair Installation View With Kitchen Clock (1953) and Sun Lamp By Max Bill (1951)
“We’ve tried in this exhibition to dispense as much as possible with ‘appearance’ and focus instead on what is modest, true [and] even good,” Bill wrote in the exhibition catalogue.
Photographed as Part of the Exhibit, The Value of Good Design, on View at The Museum of Modern Art Through June 15th, 2019.