Sunday, October 25, 2009
Friday, October 23, 2009
Social Media: Behind the Eyes of an Artist
Social Media has been the prime topic of my design studies as of late. I've always been plugged in, one way or another, through Facebook, Friendster, MySpace, Twitter, Plaxo and so on. Up until recently, I haven't explored Social Media for art or design purposes. Surprisingly, there's a wealth of creative efforts popping up throughout social media, giving us instant access to contemporary art and artists across the globe. I recently stumbled on Art 21 through a friends' Facebook page. It's a series produced by PBS to capture contemporary artists from the 21st century. It's definitely worth checking out. http://www.pbs.org/art21
It's an amazing glimpse into the world of emerging and established contemporary artists, giving the viewer a indepth look at the design process itself as well as the perspectives of the featured artist. This series, produced by PBS lends itself to developing a greater awareness and appreciation for art. Artistic endeavors often times go unnoticed simply from lacking awareness of the intention behind the process and the more symbolic meanings implied by the artist. The art I've come to love did not transpire simply from a visual appreciation, but by understanding the meaning, efforts and intentions of the artist. The segment on "Systems" is a great look into the artistic process and the different hidden dilemmas and constraints each artist is up against. The segment featuring artist Julie Mehretu is an especially interesting take on the process due to the enormous scale of her work being showcased. The massive form of the piece shown (30X80') dictated much of the process, requiring a special studio with ample space in Berlin and many assistants working fervently with a time constraint of one year. So interesting and insightful! It's only being shown until 11/13/09 so look it up soon.
Here's to Social Media and the Arts!!
Wednesday, October 14, 2009
Julia Briggs
One of my favorite artists is a woman by the name Julia Briggs. Her work is simply amazing. Two paintings hang in the living room of a good friends' house, always leaving me somewhat envious they're not housed in my own livingroom. While I have tried on numerous occasions to find more information about the artist herself, there is little public information available other than the artist's website. Briggs' work is reflective of a childlike playfulness, with impressionist and cubist influences. Human forms become more linear and geometric in shape, although it seems to capture an energetic quality that gives her pieces a very realistic feel. It reminds me of references made in Scott McClouds book, Understanding Comics. The author contends that depicting charcters through simple and basic visuals help the reader identify with the character better than a descriptive drawing would. I see his point in that giving more details sometimes enables the viewer to focus on just that: the details, rather than the concept or meaning behind it. Briggs work seems to do the same. The subject's material is simple but incredibly interesting, and the incredible use of color and highlighting bring a new dimension to her pieces. Her inspiration seems to be tied to several areas. Nature and culture seem to be an obvious influence in her work. Her subject's are generally staged in everyday occasions which seem to reflect fold memories or the act of being present in everyday life. Children also seem to be an inspiration, possibly from her own childhood and her own children. Even her website has a an entire page devoted to children's paintings. They feature adorable animal creatures, such as owls, fish elephants, etc. in the same playful and enchanting style as her other pieces.
Other inspirations seem to reflect women in general. All of her human subjects are female, usually nude, and covered only by their own limbs or plantlife. The style of her work also reflects a very impressionistic quality and also makes visual cubist references. Again, one of my favorite artists, and judging by the pictures it's no surprise why.
Tuesday, October 13, 2009
The Face of a Wine
Those of you that know me, know I'm a bit of a wine snoot. Not snob, but snoot. And yes there is a distinct difference. Snob implies a perceived hierarchy and superiority. Snoot, on the other hand, simply says, "I love it. I drink it. Although often times I don't know what I'm doing, it's interesting nonetheless and I have a good time." There you have it.
Being the snoot that I am, I'm always amused by the different facets of wine. Though I've never been much for the "stuff," i.e. cheesy wine paraphernalia, the one wine "accessory" that always has me intrigued and is usually overlooked, is its label. Yep, labels. I love 'em. I don't go so far as to save them, like some, though I thoroughly enjoy them. Even (for lack of a better word) those that suck. I love them for what they symbolize. And I love understanding what labels say about what's inside. Labels are to wine what the curb appeal is to your home. And coming from a professional, what's on the outside generally does a good job reflecting what's on the inside. I don't see too many homes with overgrown, shabby exteriors that happen to have immaculate, turn-key interiors. Once in a blue moon, but generally that's the rule used in valuations. Interiors are judged by exteriors. Like many things in life, unfortunately.
Wine really is no different. And because our ever-changing perception plays such a heavy hand in what we consider good or bad, labels become even more important. Our likes and dislikes are so mercurial based on our perceived senses, it's not even funny. Food, mood, occasion, temperature, environment and the opinion of the person sitting next to you can all drastically affect the way we perceive a wine. How many times have you been out at a tasting room having a great time, decide to buy a bottle of something fabulous, and somehow the same wine tastes a little less fabulous at home? The wine is still the same, but your perception of the occasion altered the way you felt about it. Even wine judges have been busted for giving opposing sentiments for the same wine. Yes, my friend, it does happen.
So because our relationship with wine is such a finicky one, the label acts as a good anchor. It provides a starting point. An icon. It's the image, the skin, the voice of a wine. If the wine is the signified, the label is its signifier.
While the different variables within us can "change" the way it tastes, the label always remains the same. It is the graphic blueprint for what we consume. Sure, in places like St. Helena and Napa, connoisseurs are more concerned with who's making it and could care less about the label. Some, in addition, are knowledgeable enough to choose a style by region, varietal or fermentation method that will suit their liking before even tasting, but those are in the minority. The label speaks to the masses. It can reflect cache, quality, history, style, occasion, allocation, production, reputation and much much more.
That's the other beauty about wine; It is the only industry where the professionals openly (and truthfully) share their secrets to each other. In part due to the fact that although you can have the same grapes, from the same region using the same fermentation methods it will still yield a completely different product. And although the process is definitely one of science, it's also very much an art in its own right.
The other fun part is the wide diversity and types of labels. From etching, foiling, styles that range from digital graphics to original hand drawings replications, the possibilities are endless.
Here are a few of my favorite labels, all wines currently in production and ready to drink (for all you over 21ers out there). What do these labels say to you?
Sunday, October 11, 2009
Color Me Impressed
So let's talk about color. Possibly my favorite topic ever. I love color. Any and all colors; I do not discriminate. Even the mustard yellows and puke green uglies. Yep, they have their place as well.
Part of the reason I love color is because it's an emotional experience. And I, admittedly, am an emotional being. Color can satisfy any emotion and create any desired mood. Plus, it's seductive, engaging, stimulating and so much more. Without our ability to perceive color, the world would appear to lack depth and vibrancy.
On a recent job assignment, I found myself completely intoxicated by home's interior design and use of color. Not only was the structure itself phenomenal, but the interior and artistic improvements were quite stunning. The residence at one point of former Governor and Supreme Court Justice Warren Earl, the property itself is considered an unofficial landmark. Built in the 1920's this 4500 square foot medditeranean estate sits in the heart of the fabulous 40's, one of Sacramento's more prestigious neighborhoods.
From the outside the home looks anything but unusual, but step inside and take a glimpse at what appears to be unpresedented for interiors of this style of home. Generally, when two paradoxical designs come together, many times the result is unfavorable or awkward. With this estate, somehow it works. Although having undergone substantive updating, the original bones have remained intact as well as its original charm and character.
Though I know many of you already may hate it, I myself was delighted by the interior, being the color lover I am. It somehome seems to work, mostly inpart due to a theme consistently carried throughout the house. Each room represents a different palatte, and expresses its own design with each color scheme. The color itself becomes the design. And I can personally attest to the fact that each room elicits a completely different feeling based on the different colors used. I commend the designer for taking such risks, as color (wonderful as it may be) is not the easiest thing to pull off when saturating a 20x30 foot room. You may love it or hate it, but it remains a strong design regardless. There is a cohesive quality as the theme of color and post-modern art is carried out throughout, balanced by the conservative nature of the structure itself. Though it seems unintuitive, the classic Mediterranean style helps temper the bold and intense delivery of the interior. A contemporary modern or minimalist structure would be overkill. So yes, another example of how color in design evokes feeling and looks good doing it. I love my job.
Saturday, October 10, 2009
Dining and Design
EllaAdmittedly, I'm a bit of a restaurant junkie. After all the years of serving, it's felt a bit like home. And although I can't say I've missed being a player in the industry, I'm still a sucker for its culinary goodness. The boutique wines, stylized ambiance, creative blending of ingredients that manage to satiate the most high maintenance of palates. Assuming, of course, it's executed in the most ideal fashion (which, sadly, is many times not the case). However, when done right, the culinary experience is a heavenly one.
With a recent resurgence of upscale dining and bistro cafes in the Midtown area, guests have become accustomed to the utmost standards of dining perfection, on all fronts. Partaking of the restaurant scene these days almost requires a hunger for indulgence, no pun intended. So long are the days of simply gravitating towards the next good eats; We want to be spoiled. Satisfied...And stimulated as well. Wow, we are a demanding bunch, aren't we?!
What does all this have to do with design? I'm glad you asked! The answer is...Everything! If we consider one facet of design to be the creation of a structured function, it makes sense that design can be applicable to any aspect of culture that exists to generate a purpose. For the sake of this blog, we'll set the scope within visual culture, as design is quite the amorphous elusive entity, isn't it?
L Wine Lounge and Urban Kitchen
Anyway, back to design and dining. Every notable restauranteur has some concept in mind, whether it be a general theme, ambiance or the even the menu itself. Each facet within the restaurant works together to create something specifically intended for its audience. It is, in essence, a design of designs. But not just any design...Restaurants these days go over the top to create an experience for their guests. It is no longer just about the meal, it is the experience that counts. We diners don't just want our tummies filled, we want to feel good too. In this arena, feeling good means not only physical satisfaction, but environment and spatial surroundings, music and other noise factors, service, temperature, the list goes on....And often times, looks count.
Being a spatially sensitive creature, I often go for spots that do generate a feel-good sensation. It doesn't have to look pretty, but there is something to be said for aesthetics in the sense it evokes an emotive quality. Call me crazy, but there really is something to feng shui. Color, in and of itself, is an emotional experience; Is it dark and dramatic, or light and airy? Its use can sometimes make or break a place (or at least compel or prevent a return visit). Spatial layout is another factor. Is it organized, functional and thoughtfully planned, or is it cramped, bare or awkward? What about separation of functions? Is the kitchen visible from the dining room? Such a thing, which historically considered to be a restaurant fauxpas, is now a trend among some spots (like The Kitchen) that attempt to draw the diner into the experience as a witness to the culinary process. It is, after all, an art form in itself...The designs really are endless.
There are a plethora of eateries in Midtown that feature some impressive designs. Local spots like Ella (http://www.elladiningroomandbar.com/) and L lounge (http://www.lwinelounge.com/) have gone above and beyond to create an experience for their guests with their respective designs. And not just the front, but the back of the house as well. Creators of Ella budgeted an astounding 4.5 million for its project. L Lounge exhibits an impressive front as well with extensive mosaic tiling, a custom woodworking cellar and 3 distinct atmospheres which their website describes as "warm and intimate to grand and celebratory." Both are good representations of quality design in the sense of aesthetics, meal presentation, attention to details and functional separation of space.
Unfortunately, it practically takes a cult following to stand out amongst the competition in this economy. One spot that's been quite successful at that is Jack's Urban Eats. Granted, it has been coined, "home of the greasy salad", yet that doesn't seem to stop the masses from coming. People like Jack's because it's easy, fast and offers all those customizing salad options. We've learned from Starbuckology how American's love to have it their way, no matter how nuanced or obsessive. It is interesting what type of design can make one place thrive, and another burnout. I would have to argue that Jack's success is largely thanks to functionality and efficiency. There is something about watching a meal being made before our eyes. Don't get me wrong, the food is tasty, but not necessarily something we couldn't do at home.
What does all this have to do with design? I'm glad you asked! The answer is...Everything! If we consider one facet of design to be the creation of a structured function, it makes sense that design can be applicable to any aspect of culture that exists to generate a purpose. For the sake of this blog, we'll set the scope within visual culture, as design is quite the amorphous elusive entity, isn't it?
L Wine Lounge and Urban KitchenAnyway, back to design and dining. Every notable restauranteur has some concept in mind, whether it be a general theme, ambiance or the even the menu itself. Each facet within the restaurant works together to create something specifically intended for its audience. It is, in essence, a design of designs. But not just any design...Restaurants these days go over the top to create an experience for their guests. It is no longer just about the meal, it is the experience that counts. We diners don't just want our tummies filled, we want to feel good too. In this arena, feeling good means not only physical satisfaction, but environment and spatial surroundings, music and other noise factors, service, temperature, the list goes on....And often times, looks count.
Being a spatially sensitive creature, I often go for spots that do generate a feel-good sensation. It doesn't have to look pretty, but there is something to be said for aesthetics in the sense it evokes an emotive quality. Call me crazy, but there really is something to feng shui. Color, in and of itself, is an emotional experience; Is it dark and dramatic, or light and airy? Its use can sometimes make or break a place (or at least compel or prevent a return visit). Spatial layout is another factor. Is it organized, functional and thoughtfully planned, or is it cramped, bare or awkward? What about separation of functions? Is the kitchen visible from the dining room? Such a thing, which historically considered to be a restaurant fauxpas, is now a trend among some spots (like The Kitchen) that attempt to draw the diner into the experience as a witness to the culinary process. It is, after all, an art form in itself...The designs really are endless.
There are a plethora of eateries in Midtown that feature some impressive designs. Local spots like Ella (http://www.elladiningroomandbar.com/) and L lounge (http://www.lwinelounge.com/) have gone above and beyond to create an experience for their guests with their respective designs. And not just the front, but the back of the house as well. Creators of Ella budgeted an astounding 4.5 million for its project. L Lounge exhibits an impressive front as well with extensive mosaic tiling, a custom woodworking cellar and 3 distinct atmospheres which their website describes as "warm and intimate to grand and celebratory." Both are good representations of quality design in the sense of aesthetics, meal presentation, attention to details and functional separation of space.
Unfortunately, it practically takes a cult following to stand out amongst the competition in this economy. One spot that's been quite successful at that is Jack's Urban Eats. Granted, it has been coined, "home of the greasy salad", yet that doesn't seem to stop the masses from coming. People like Jack's because it's easy, fast and offers all those customizing salad options. We've learned from Starbuckology how American's love to have it their way, no matter how nuanced or obsessive. It is interesting what type of design can make one place thrive, and another burnout. I would have to argue that Jack's success is largely thanks to functionality and efficiency. There is something about watching a meal being made before our eyes. Don't get me wrong, the food is tasty, but not necessarily something we couldn't do at home.
L Wine Lounge
Restauranteurs surely have their work cut out for them. Patrons these days are a demanding bunch, and won't settle for less. Why stick to mediocrity with 30 other amazing venues within a stone's throw? The successful know it takes more than just good food and good service to thrive in the industry. To make it an experience worth repeating, it takes a brilliant concept, an untouched market and impeccable attention to detail. When it comes to dining design, the whole really is greater than the sum of its parts.
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