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Events

Barton Myers: Works of Architecture and Urbanism
September 12–December 12, 2014
With works as varied as a Vidal Sassoon Salon from 1968, the U.S. Expo Pavilion in Seville, Spain in 1992, and his steel houses, this exhibit will present an overview of almost fifty years of architecture. Barton Myers first attracted attention in the late 1960s for his civic buildings and urban projects in Canada. He returned to the United States in 1984 to open a Los Angeles office and became known for his performing arts centers, campus buildings, and steel houses among many projects. 

The Barton Myers papers were donated to the Architecture and Design Collection of the AD&A Museum, UC Santa Barbara in 2000.  The archive covers Myers’s work from 1968 through 2002 and includes sketches and computer drawings, watercolors, images by well-known photographers, detailed study models and models of blocks-long sections of cities, as well as research notes, correspondence, lectures, and writings.

The West Hollywood Design District Presents Decades of Design 1948–2014
November 19, 2014–February 2015
The first-ever retrospective exhibition uncovering, examining and celebrating six decades of rich design history in West Hollywood. The curated ­­gallery will showcase design pioneers and present tastemakers through bold graphics, photographs and original product.

Heath Ceramics Annual Sale
November 21–25, 2014
Heath's annual sale at their locations in Los Angeles, San Francisco and Sausalito offer deals on merchandise along with special presentations.

FOG Design + Art Fair
January 15–18, 2015
Benefiting the San Francisco Museum of Modern Art (SFMOMA), FOG Design+Art is a four-day celebration and exploration of modern and contemporary design, architecture, and art with dynamic exhibits, custom installations, art galleries, lectures, and discussions with leaders in the art and design worlds.

 

 

Competitions

Registration Opens: October 1
Breaking New Ground
The California Endowment

Deadlne: November 30
Sir Geoffrey Jellicoe Award
International Federation of Landscape Architects (IFLA)

Deadline: December 8

2015 Diversity Scholarship
Gensler

Deadline: December 15
2015 Preservation Awards
Santa Monica Conservancy 

Deadline: December 31
Kitchen Design Contest
Wolf and Sub-Zero 

Deadline: January 16
Ceramics of Italy Tile Competition 2015
Ceramics of Italy 

Deadline: February 23
I Like Design
Interiors & Sources 

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Tuesday
Nov192013

Exhibition Review: Celebrating the Machine in Twenties Paris

By Michael Webb

Leger: Modern Art and the Metropolis at the Philadelphia Museum of Art is a dazzling exhibition with a misleading title. In the 1920s, Berlin, not Paris, defined the metropolis, and German artists had a love-hate relationship with its oppressive streets, flashing lights, and surging crowds. Filmmakers followed their lead—in Berlin: Symphony of a Great City, People on Sunday, and the dystopian vision of Metropolis.

In contrast, progressive French artists were infatuated by the idea of Modernism, detached from the everyday. Le Corbusier extolled the ocean liner and airplane as the embodiments of “L’Esprit Nouveau,” which was also the title of a magazine he published. He was largely ignored; beyond the coterie of Modernists Paris remained deeply conservative. The centerpiece of the Philadelphia exhibition is Leger’s The City, a monumental canvas he painted in 1919 on his return from the battlefields. It’s a powerful composition—one of the PMA’s treasures—but its urban elements are abstracted and the artist did not pursue the theme.

French Avant-Garde and the Machine would more accurately describe this exhibition. Curator Anna Vallye has gathered an extraordinary selection of paintings, posters, and sculptures, but the movie clips almost steal the show. In these, the machines upstage the actors: a montage of wheels and pistons in La Roue and a mad-scientist’s laboratory in L’Inhumaine. Leger designed posters for both and sets for the latter , and the exhibition juxtaposes these with the celebrated railroad posters of A.M Cassandre.  Another highlight is a model of the unrealized De Stijl villa that Theo Van Doesberg designed in 1923: a dynamic assembly of cantilevered white planes accented in primary colors that someone should take off the shelf and build in the Malibu hills.

The exhibition runs through January 5 and, if you go, don’t miss the PMA’s room 189: A chapel-like space in which a dozen of Brancusi’s finest sculptures are permanently displayed. And be sure to order the exhibition catalog ($38 with free shipping from the museum’s Web site), which illustrates most of the exhibits, adding five informative essays and a wealth of documentation.

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