Tag Archive | MOMA

Eye On Design: Landi Chair By Hans Corey

Landi Chair
All Photos By Gail

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 194151.

Landi Chair

Landi Chair was designed by Hans Corey and manufacured from bent and pressed aluminum.

Landi Chair

“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.

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Eye On Design: Royal Festival Hall Chair By Robin Day

Royal Festival Hall Chair
All Photos By Gail

Robin Day’s prizewinning design for the Royal Festival Hall chair, created for entry into MoMA’s 1948 International Low-Cost Furniture Competition, helped to launch his career as an industrial designer. Day enjoyed a long-term consultancy with Hille, the chair’s manufacturer, as well as the establishment of a studio with his future wife, Lucienne.

Royal Festival Hall Chair

Epitomizing  the contemporary style and technological innovation of the 1951 Festival of Britain, the chair was featured in the couple’s Home and Gardens pavilion as well as in the lounge of the new Royal Festival. The chair also appeared in that year’s Milan Triennale and was soon put into production for an international market. Robin Day’s radical molded plywood seating design appears on the point of taking flight, as if lifted off its slender steel legs by the surge of energy and hope also expressed in the Festival of Britain that year. The lemon-yellow upholstery and copper-plated legs add to the extraordinary visual vitality of this sculptural piece.

Royal Festival Hall Chair

The fabric hung in the background (left) is by Austrian-born textile designer Marian Mahler, a contemporary of Robin and Lucienne Day. The yellow textile on the right is a length of Lucienne’s 1958 design Mezzanine, which was presented to the Museum by Denver-based Lucienne Day collectors Jill A. Wiltse and Kirk H. Brown III.

Photographed as Part of the Exhibit, The Value of Good Design, on View at The Museum of Modern Art Through June 15th, 2019.

Modern Art Monday Presents: Ouro Preto: St. John’s Eve By Alberto da Veiga Guignard

Ouro Preto St Johns Eve
Photo By Gail

This painting depicts a St. John’s Day eve in the Brazilian town of Ouro Preto, whose central plaza is illuminated with colored lanterns to mark the end of the winter solstice. Lincoln Kirstein commissioned Guignard to make the painting after seeing a drawing of the same subject. His description of the artist’s work — “tight and detailed’– characterizes much of the art that Kirstein favored. Guignard’s meticulous craftsmanship and attention to particulars are visible in this works finely rendered architectural features, tiny revelers, and distinctive indigenous flora.

Ouro Preto: St. John’s Eve (1942) by Alberto da Veiga Guignard was photographed as part of the exhibit Lincoln Kirstein’s Modern, on View at NYC’s Museum of Modern Art Through June 15th, 2019.

Modern Art Monday Presents: Joan Miró, Woman (Opera Singer)

Woman Opera Singer
Photo By Gail

In a series of pastels made in the fall of 1934, Joan Miró pursued what he called “aggressiveness” through color. Rendered in acidic, highly saturated and dissonant hues of thickly applied pastel, the isolated figure of Woman (Opera Singer) appears to protrude from the paper’s surface, Her asymmetrical head, twisted open mouth, overinflated genitalia, and single toenail resist the corporeal ideals embraced by the various fascist parties that were gaining power across Europe at the time.

Photographed as part of the Exhibit Joan Miró, Birth of the World, on View at The Museum of Modern Art Through June 15th, 2019.

Eye On Design: Inflatable Chair By William H. Miller Jr.

Inflatable Chair
All Photos By Gail

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.

Inflatable Chair

During World War II, Miller collaborated with a cousin of Franklin D. Roosevelt to design a pocket-sized water-desalination device that became standard equipment for Army and Navy Fliers.

Photographed as Part of the Exhibit The Value of Good Design, On View Through June 15th, 2019 at the Museum of Modern Art in NYC.

Inflatable Chair Installation View
Installation View

Eye On Design: Slinky Designed By Richard James

Slinky with Original Box
Slinky Toy with Original Box (Photo By Gail)

Slinky was once just a little old everyday spring on a ship,” read a brochure describing the origins of the popular toy. Speaking about inventory Richard James, it continued, “One day Dick took it home to show his family. His little boy, Tommy, surprised everybody by making the spring walk down the stairs — all by itself! That gave Dick the idea to make this little old spring into a toy. His wife, Betty, named it Slinky!” What started as a chance discovery went on to become an international bestseller that has helped generations of children ponder the principles of gravity and tension.

Richard James, who began his career as a naval engineer, spent a few years perfecting his design before bringing it to market in 1945. It was Betty James, his wife, who brought Slinky its international success, marketing the cleverly named toy with a catchy jingle and playful television ads. When she died in 2008, The New York Times estimated that the number of Slinkys sold since the 1940s could circle the globe 150 times.

This Slinky was Photographed as Part of the Exhibit, The Value of Good Design, on View at The Museum of Modern Art Through June 15th, 2019.

Eye On Design: Hang-It-All Clothes Hanger By Charles Eames

Hang It All Clothes Hanger
Photos By Gail

Designing couple Charles and Ray Eames’s interest in design for children extended to many different kinds of playroom objects, including this hanging rack made from colorful wooden balls. The Hang-It-All Clothes Hanger (1953) remains in production to this day, and you can find an inexpensive version at any Flying Tiger Shop.

Photographed as Part of The Value of Good Design, on Exhibit Through June 15th, 2019 at The Museum of Modern Art in NYC

Hang It All Clothes Hanger
Installation View