Lawren Harris at the Hammer Museum

North Shore, Lake Superior, Oil on Canvas, Lawren Harris, Hammer Museum, Photo Romi Cortier
North Shore, Lake Superior, Oil on Canvas, Lawren Harris, Hammer Museum, Photo Romi Cortier
Lake Superior, Oil on Canvas, Lawren Harris, Hammer Museum, Photo Romi Cortier
Lake Superior, Oil on Canvas, Lawren Harris, Hammer Museum, Photo Romi Cortier
Mt. Lefroy, Oil on Canvas, Lawren Harris, Hammer Museum, Photo Romi Cortier
Mt. Lefroy, Oil on Canvas, Lawren Harris, Hammer Museum, Photo Romi Cortier
Pic Island, Oil on Canvas, Lawren Harris, Hammer Museum, Photo Romi Cortier
Pic Island, Oil on Canvas, Lawren Harris, Hammer Museum, Photo Romi Cortier
Icebergs, Davis Strait, Oil on Canvas, Lawren Harris, Hammer Museum, Photo Romi Cortier
Icebergs, Davis Strait, Oil on Canvas, Lawren Harris, Hammer Museum, Photo Romi Cortier
Lake Superior, Oil on Canvas, Lawren Harris, Hammer Museum, Photo Romi Cortier
Lake Superior, Oil on Canvas, Lawren Harris, Hammer Museum, Photo Romi Cortier
Mountain Forms, Oil on Canvas, Lawren Harris, Hammer Museum, Photo Romi Cortier
Mountain Forms, Oil on Canvas, Lawren Harris, Hammer Museum, Photo Romi Cortier

I almost missed the Lawren Harris exhibit, which just closed at the Hammer Museum. Fortunately my client and favorite gal pal Sharon Lawrence reminded me about the show. What a gift. I wish I would have had my photo taken in front of one of them to give you a sense of their scale. The larger pieces, like Mountain Forms above, are about 60 x 60 and remarkably stunning, especially when viewed from a distance.

There’s no doubt that Lawren’s use of color is both superb and stunning. However, it’s his remarkable stylized line work that screams Art Deco and truly draws me in. The dates on these pieces range from 1922 – 30, the height of the deco era. That said, the establishment refers to him as a pioneering modernist and a leading figure in defining Canadian art in the twentieth century. While Harris is a household name in his native Canada, he’s practically unknown in the United States.

My research shows that actor, art connoisseur and collector  Steve Martin was instrumental in bring this show to the Hammer,  as well as guest curating it. Ann Philbin, the Hammer’s director, had visited Martin’s home and was intrigued by his collection of Lawren Harris landscape paintings. Ms. Philbin delved further into the works of Lawren Harris and then invited Martin to curate the exhibit. Martin wisely chose not to include any works from his personal collection to avoid any conflicts interest. As you may know, every time a painting his hung in a museum exhibit, it adds to the provenance of the piece. That provenance will follow the painting to market any time it’s taken to auction, or sold to a new collector. Thus it would be in bad form to curate a show, add works from your collection, and then sell it at a later date touting its provenance that you helped create. Martin’s love of the work was his motivation for helping bring it to the Hammer, helping to open the doors to a new American audience. I for one am thrilled to have been exposed to this remarkable painting.

The Idea of North: The Paintings of Lawren Harris will be on view at the Art Gallery of Ontario (AGO) July 2 – September 11, 2016.

Learn more about the upcoming exhibit here.

Amazon’s Doppler Tower is on point with vertical texture, rivaling other Seattle Skyscrapers

Olive 8, Seattle, Photo Romi Cortier
Olive 8, Seattle, Photo Romi Cortier
Olive 8, Seattle, Photo Romi Cortier
Olive 8, Seattle, Photo Romi Cortier
Olive 8, Seattle, Photo Romi Cortier
Olive 8, Seattle, Photo Romi Cortier
Premiere on Pine, Seattle, Photo Romi Cortier
Premiere on Pine, Seattle, Photo Romi Cortier
Amazon, Seattle, Photo Romi Cortier
Amazon’s Doppler, Seattle, Photo Romi Cortier
Amazon, Seattle, Photo Romi Cortier
Amazon’s Doppler, Seattle, Photo Romi Cortier
Amazon, Seattle, Photo Romi Cortier
Amazon’s Doppler, Seattle, Photo Romi Cortier
Amazon, Seattle, Photo Romi Cortier
Amazon’s Doppler, Seattle, Photo Romi Cortier

On my recent visit to Seattle I couldn’t help but notice  the vertical texture on several of the new skyscrapers, including Amazon’s Doppler Tower. I’d walked out the door of the Westin Hotel looking for a bite to eat, and was completely wowed by what I saw. There’s been so much construction in Seattle since my last visit some five years ago.

What I loved about Amazons Doppler Tower is how the vertical metal bands were mounted perpendicular to the building, shimmering in the light as you walked by. Therefore, the colors changed as you moved past the building like iridescent fish scales. There was an ebb and flow to the tonality of building, looking more red at the top, and yellow orange towards the bottom. I’ve done a ton of research on this tower and can find no reference to the textural surface employed by architectural firm NBBJ. Opened in December of 2015, the three block campus is on track to receive LEED Gold certification (Leadership in Energy and Environmental Design).  One of the unseen design concepts that makes this building so efficient is their use of waste heat from nearby data centers at the Westin Hotel.  The system transfers  heat via water piped underground to the Amazon campus, thus heating the buildings. The cooled water is then piped back to the Westin. Oh, and did I mention that have a dog park on top of one of the towers… they do.

Olive 8, a mixed-use building that includes both condos and a Hyatt Hotel, opened in 2009 and was designed to reach LEED Silver certification.  While it’s known as Seattle’s greenest luxury hotel, I love it for those deep blue glass fins lining the buildings exterior. When Seattle is at its grayest, a little reflected blue light can’t be a bad thing.

Premiere on Pine is also Leed Silver certified and boasts 40 stories of downtown luxury living. Built by Weber Thompson it features an exterior design palette that is a tad more traditional with tones of  earthy rust, gray and bronze, designed to compliment the vintage masonry of of the adjacent 1929 Paramount Theater.

I’m so looking forward to my next visit to Seattle. By then Amazon’s Tower II should be complete, and by 2017 their three sphere bio-domes will be the talk of the town. Amazon’s new corporate headquarters are making quite the splash in the Emerald City.

Premier on Pine

Olive 8 Condos 

Olive 8 Hyatt

 

Inside the Seattle Public Library

The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier
The Seattle Public Library, Photo Romi Cortier

Its been open for 12 years and the Seattle Public Library still thrills. Designed by Rem Koolhaas and Joshua Prince-Ramus of the Dutch firm OMA/LMN,  this public space attracts nearly 2 million people annually.

Initially the 11 story structure was hailed as ‘the most important new library to be built in generations, and the most exhilarating‘ as declared by The New Yorker, and it received the 2005 national AIA Honor Award for Architecture. More recently Lawrence Cheek, architecture critic for the Seattle Post-Intelligencer, revisited the library in 2007 and changed his previous high praise for the building calling it ‘profoundly dreary and depressing, cheaply finished or dysfunctional, relentlessly monotonous, badly designed and cheesily detailed‘.  Wow. I find this building to be a refreshing blast of color in a town that can be remarkably drab and dreary, rivaled only by the Chihuly Garden and Glass Museum at the foot of the Seattle Space Needle. Having lived in Seattle for over a decade, I know how truly depressing those gray skies can be and how devoid of color the Seattle landscape can be during the winter.  This public space is exactly what Seattle needs, and continues to be a vital resource for the community, especially the increasing homeless population.

One of my favorite features of this building is the translucent metal and glass skin that allows for views of the puget sound and surrounding  buildings. The use of perforated metal within the glass panels act as reflecting agents, reducing the damaging effects of the sun on the interior, while also preventing the building from overheating and becoming a glass terrarium. I also love the bold use of color which makes me think of childhood books and the basic building blocks of learning. And that red hallway! Have you ever seen anything like it? It’s like traveling through an Aorta to the heart of the building.

In 2001 Rem Koolhaas submitted stunning plans to LACMA during their competition to find an architect to ‘re-invision’ the museums discordant sprawling buildings.  At the time, it was to sophisticated for my taste, and I felt like the demolition of all the  existing buildings was a  waste of natural resources, not to mention money,  which I felt could be better spent on arts programs. Now, with their looming choice for a big black blob meant to emulate the La Brea Tarpits meandering over Wilshire boulevard, I’d give anything to have Koolhass reconsidered. Why on earth would LA want a massive black structure to absorb more heat, as global warming heats up our environment. We’re already experiencing 90 degree weather in February! It doesn’t take a rocket scientist to see what a disaster that would be.

My opinions aside, the next time you visit Seattle, be sure to add the Seattle Public Library to your ‘to do’ list, and decide for yourself: dreary and depressing, or fireworks for your pupils?

Hours and Info here.

Warhol’s Soup Can Paintings at MOMA

Campbell's Soup Cans, Andy Warhol, MOMA, Photo Romi Cortier
Campbell’s Soup Cans, Andy Warhol, MOMA, Photo Romi Cortier
Campbell's Soup Cans, Andy Warhol, MOMA, Photo Romi Cortier
Campbell’s Soup Cans, Andy Warhol, MOMA, Photo Romi Cortier
Campbell's Soup Cans, Andy Warhol, MOMA, Photo Romi Cortier
Campbell’s Soup Cans, Andy Warhol, MOMA, Photo Romi Cortier
Campbell's Soup Cans, Andy Warhol, MOMA, Photo Romi Cortier
Campbell’s Soup Cans, Andy Warhol, MOMA, Photo Romi Cortier
Campbell's Soup Cans, Andy Warhol, MOMA, Photo Romi Cortier
Campbell’s Soup Cans, Andy Warhol, MOMA, Photo Romi Cortier

Andy Warhol’s Soup Can exhibit at MOMA, recently closed in October 2015. I’d made a pit stop at MOMA on my last day in New York to see the Picasso Sculpture Exhibit and was beyond thrilled to stumble upon this show that I didn’t even know was on display. A recent article on artnet news echoed my sent sentiment by saying: Weirdly, the New York art world hasn’t much cottoned on to the epochal exhibit in its midst; there’s far less buzz about it than there should be. I’d have to agree, it caught me completely off guard.

Like many of you, I’ve seen the famous Soup Can prints over the years at auctions and galleries. And to be honest, I didn’t really know that the fine art painting ensemble existed.  I’d always thought of it as a print series, and seeing all 32 of the original paintings in person was quite informative. I immediately noticed that the background of the paintings were soft gray instead of white, like the prints. The paintings were also, well, painterly. I could see the pencil marks under the paint, and the transparent nature of the paint allowed for variations in tone and coverage. Thus, in some areas, the white canvas was still visible. This tells me the the whole is greater than the sum of its parts. It’s not about each painting being absolutely letter perfect, but more about the concept of them as series, like cans of soup on the grocery store shelves. To quote MOMA: The Soup Cans mark a breakthrough for Warhol, when he began to apply his seminal strategies of serial repetition and reproduction to key subjects derived from American commodity culture.

For any artist who’s strived to create a series of paintings, there’s an immediate level of respect that happens when you walk into a museum or gallery, and see such a labor of love as this. It appears simple at first, but it’s quite the contrary. It’s like seeing a chic angled Bob haircut on a woman. While it looks simple as a finished product, it’s technically one of thee most difficult haircuts to accomplish. It requires thin partings with even tension,  while accurately cutting section after section. Over directing the hair while cutting can create graduation, or layering, in an area you may not want. Then you need to follow up with a superb blowout and a final cut on dry hair… all to create a simple strong cut that always falls into place after shaking your head from side to side.  The Soup Cans are over 50 years old, and they still hold up, just like a good haircut.

 

 

Delahaye’s at Peterson Automotive Museum

1938 Delahaye, Type 135M, (Collection of the Mullin Automotive Museum) Peterson Automotive Museum, Photo Romi Cortier
1938 Delahaye, Type 135M, (Collection of the Mullin Automotive Museum) Peterson Automotive Museum, Photo Romi Cortier
1938 Delahaye, Type 135M, (Collection of the Mullin Automotive Museum) Peterson Automotive Museum, Photo Romi Cortier
1938 Delahaye, Type 135M, (Collection of the Mullin Automotive Museum) Peterson Automotive Museum, Photo Romi Cortier
1938 Delahaye, Type 135M, (Collection of the Mullin Automotive Museum) Peterson Automotive Museum, Photo Romi Cortier
1938 Delahaye, Type 135M, (Collection of the Mullin Automotive Museum) Peterson Automotive Museum, Photo Romi Cortier
1953 Delahaye, Type 178m (The Margie and Robert E. Petersen Collection) Petersen Automotive Museum, Photo Romi Cortier
1953 Delahaye, Type 178m (The Margie and Robert E. Petersen Collection) Petersen Automotive Museum, Photo Romi Cortier
1953 Delahaye, Type 178m (The Margie and Robert E. Petersen Collection) Petersen Automotive Museum, Photo Romi Cortier
1953 Delahaye, Type 178m (The Margie and Robert E. Petersen Collection) Petersen Automotive Museum, Photo Romi Cortier
1939 Delahaye, Type 165, (Mullin & Peter Mullin Automotive Museum Foundation) Petersen Automotive Museum, Photo Romi Cortier
1939 Delahaye, Type 165, (Mullin & Peter Mullin Automotive Museum Foundation) Petersen Automotive Museum, Photo Romi Cortier
1939 Delahaye, Type 165, (Mullin & Peter Mullin Automotive Museum Foundation) Petersen Automotive Museum, Photo Romi Cortier
1939 Delahaye, Type 165, (Mullin & Peter Mullin Automotive Museum Foundation) Petersen Automotive Museum, Photo Romi Cortier
1939 Delahaye, (Mullin & Peter Mullin Automotive Museum Foundation) Peterson Automotive Museum, Photo Romi Cortier
1939 Delahaye, Type 165, (Mullin & Peter Mullin Automotive Museum Foundation) Peterson Automotive Museum, Photo Romi Cortier

The Delahaye is the epitome of Art Deco on wheels, particularly the two models shown above from the late 1930’s. Those voluptuous fenders known as the French curve reflected the periods fascination with flight, strongly resembling the fairings on the wheels of Rene Couzinet’s Rainbow Plane.

Rene Couzinet's Rainbow Plane, Image Courtesy Dieselpunks.org
Rene Couzinet’s Rainbow Plane, Image Courtesy Dieselpunks.org

Emile Delahaye founded his automotive manufacturing company in France in 1894,  creating vehicles for 60 years until they closed their doors in 1954. It’s remarkable that a company could produce such stunning cars for over half a century, and yet be unknown to the general public by the turn of the millennium. It seems the French government levied punitive taxes aimed at luxurious non-essential products after World War II, making life very difficult for all luxury auto-makers in France. Thus most Delehaye autos were allocated for export to French colonies, including those in Africa. The exception to the rule being military vehicles, which they also produced. During the early 1950’s a jeep-like vehicle known as the VLRD was created to compete with the ‘traditional’ American jeep built during the same period…. we all know how that turned out. By the way, the American Jeep was founded in 1941 and has continued to be a strong brand for 75 years, with a little government help during the great recession of 2008.

As I’ve mentioned before, Art Deco is the celebration of speed and joyous movement, particularly in regards to planes, trains and automobiles. The stunning red Delahaye above personifies art deco, and if I were to place money on the one car in the museums collection that could have inspired the exterior of the new Peterson, this would be the car. The bold candy apple red color combined with voluptuous curves and strong visceral bands of chrome, make a strong argument for the sexy exterior of the museum.

The Peterson Automotive Museum, Los Angeles, Photo Romi Cortier
The Peterson Automotive Museum, Los Angeles, Photo Romi Cortier

Check out this great video I found with British sex symbol Diana Dors, posing with her Delahaye, as well as footage that lets you hear how amazing this car sounded.

 

A Design Diary by Romi Cortier