In the practice of Ikebana, the art of Japanese flower arrangement, selecting a vessel is an important step in design and informs the meaning of the composition. In Ikebana there are also designated vessels for seasonal compositions with corresponding lighter and darker color palettes as well as design elements that help shape the artist’s choice of flowers and plants.
You’ve seen the ‘otherworldly’ furniture designs of Chris Schanck in this space before, and I’m sure you’ll agree that they never fails to turn heads. Whether you’re already a fan or on the cusp of becoming one, get ready to be dazzled by many more of Schank’s maverick designs in the coming months as we showcase selections from Off World, the artist’s current and long-running exhibit at the Museum of Arts and Design in Manhattan. Among the numerous stand-out pieces in Off World is this wildly successful experiment with a bold Pomegranate red color, as seen on the above console, which is part of the designer’s Grotto series. Continue reading Eye On Design: Pomegranate Grotto Console By Chris Schanck
Combining traditional references with a contemporary aesthetic, this Merino Wool Felt Long Coat (2017) pays homage to the matrilineal social structure of the Tlingit tribe, and specifically to the artist’s mother and great- grandmother. Artist Tanis S’eitlin found inspiration in the Chilkat robe, a type of Tlingit regalia, that her mother made toward the end of her life.
Continue reading Eye On Design: Merino Wool Felt Long Coat By Tanis S’eitlin
In Beth Lipman’s Margin For Error (2014) an infant Crib and an adult Cradle are oriented to evoke the universal journey from birth to death. The crib tilts downward, sinking slowly into the floor, propelling its inhabitant toward childhood, adolescence, adulthood, and old age, at which point the cradle awaits occupation.
Patti Warashina’s Kilns series subversively undermined the macho “cult of the kiln:” a phrase used to coin the sexist culture that surrounded kiln-building during the mid-twentieth century. As a ceramics student at the University of Washington, Warashina observed that kiln-building lessons were directed towards men, while surface decoration was the jurisdiction of women. Continue reading Modern Art Monday Presents: Patti Warashina, Gold Finger