May 15, 2010
Silver Spring, Maryland
I’ve been working on converting my “junk” closet into a walk-in clothes closet. Surprisngly simply changing which closet I hang my clothes in has made a huge difference in me actually hanging them up (as opposed to piling them on the bed for weeks and weeks as the sleeping space grows smaller and smaller. . . but I digress).
I bought this poster years ago on EBay—before I’d even been to Au Bon Marche for real—and had it mounted “billboard-style.” I almost gave it away as it’s been in storage for a few years, but I’m glad I never got around to it. The letterpress print is by Dylan Fareed courtesy of 20×200.com in a giltwod thrifted frame. I’m also rebuilding my milk glass collection, which sorta disappeared somewhere between Takoma Park and Silver Spring.
This was my weekend project. This is one side of a triptych of framed screen that was made for hanging jewelry. I think it works better as a one-sie myself. (The ceramic tile is also thrifted—I bought it because it reminded me of how much I loved visiting New Mexico.)
The screen on this panel was ripped, so I just tore it all off and jerry-rigged something from strips of fancy yarn and hookeye screws. I had actually seen something similar on one of the blogs I follow—an empty photo frame with the earrings hung from wire stretched across the back.—and I’d been dying to try it. (BTW, the middle section, which also has five pegs for necklaces, is currently under the coffee table awaiting its final upcycling.)
As you can tell I sorta buy green earrings obsessively. Seeing them all hanging in a row every time I walk by the closet (both earring frames are on the outside walls of the closet) is making me very happy indeed.
Can fish be jolie laide?
Synneve: Why are you taking a picture of this window?
Me: Cause it’s cool.
Synneve: (unconvinced) Oh.
Uhm Synneve, did I mention that I take pictures of everything these days?
At the opening for the new Hot Shots show at Jen Bekman gallery: “I know, I google-stalked you.”
View from Taxi #1
View from Taxi, #2
I think they’re missing the point . . .
Dans le vitrine (which I hope means “in the window”)
Here kitty kitty . . .
Whatchu looking at?
Beautiful ladies (who made me smile when I stopped to chat with them and buy a photograph—from the lady on the left—while strolling down Fifth Avenue, around the 40s . . )
“1 + 1” (Bedroom, Sligo Avenue, Silver Spring, Maryland)
Here’s my Dylan Fareed letterpress print from 20×200.com in a frame I bought at the Grace Episcopal thrift store yesterday for $1.00. I like how the baroque frame both contrasts with and complements the unadorned but rounded font of the text. You can’t tell from this picture, but the frame is gilded wood, which makes me think of the actual wooden blocks used for handprinting. I was fortunate enough to speak with Dylan on Friday (for work), and I learned that his art practice is primarily about collaboration. So not only is it quite rare to have a piece for which he is both artist and printer, but the sentiment speaks very much to who he is as an artist (though, I think it was actually inspired by a love affair). It’s also a good reminder to me that sometimes I need to ask for help and stop going it alone all the time. Practice makes perfect (or something close), right?
“Still Life with Afghan” (Silver Spring, Maryland)
I bought this afgham for a few dollars at a thrift shop at University and Piney Branch. I sewed the pillow in the middle from a vintage scarf, and the Eiffel Tower pillow from a tea towel. The butterfly pillow is from Now & Then. You can’t really see the lamp, but I inherited it from Cate and found the celluloid lamp shade at Moonshadow Antiques. A lot of the art on the wall is from 20 x 200.com. The center picture is the first fine art piece I ever bought. It’s of the Green Mill during the day, and I agonized about spending $100 for it. I was shocked when I went to pick it up, and all they handed me was the unframed photo. I’m feeling very Eggleston-esque.
“Woman Waiting” by Jason Polan from Every Person in New York (Image courtesy of 20×200.com)
I’m fresh out of raindrops on roses and whiskers on kittens, but not to worry, I’ve still got a few of my favorite things to rave about. . .
The Blog: I discovered Orangette a few days ago by way of a can’t-wait-for-it-to-be-yummy-in-my-tummy recipe for salsa verde and potatoes. (Editors Note: I made and took pix of the recipe this weekend. Expect a post soon, by which I mean, whenever I get around to downloading the pix.) Molly Wizenberg is a Seattle-based home chef-foodwriter turned home chef-food writer-restauranteur. I love her voice and the pix she takes and generally if I lived in Seattle, I’d be pining for her to be my best friend. (And I”m not just saying that because she’s also got a thing for poetry and has spent oodles of time in Paris and now owns a pizzeria.)
The Bookstore: I’m ashamed to admit that I can’t remember who introduced me to The Little Bookroom, but thank you whoever you are. These gorgeous little travel books are worth buying even if you never quite make it out of the armchair and onto the aeroplane. Whether your want a catalog of all the shops in Paris selling handmade items or you want to eat your way through Tuscany or if you’ve a hankering to find out where to get the best cocktails in Buenos Aires, The Little Bookroom has a guide for you. Not to mention journals for capturing every detail and literary essays—such as E.B. White’s ever-fresh Here is New York—to keep you company on the plane ride. And by the by, they’re having a sale now so you can score bonus points for being ye olde thrifty shopper.
The Boy: Jason Polan likes to draw things. A lot of things. Like giraffes. And every piece of art in New York’s Museum of Modern Art. I first discovered Jason through 20×200.com when the $20 featured offering was photocopies of his hands. I especially loved that particular artwork because for weeks it made me debate whether or not that was art. I then spent the next few weeks kicking myself because I missed out on one of the 20×200 lower-priced editions of his “Every Person in New York” series. Since then, I’ve spent an awful lot of time wishing drawing could be my super power. Lucky for me, it’s Jason’s. And I’m hoping to snag one of his “10 Things of Mine and One of Yours” portfolios in the near future. So now you know all about Jason Polan. You’re welcome. (p.s. Click here to browse the Jason Polan editions on 20×200.com.)
So you know how I said I’d probably mention 20×200.com at least a billion times over the life of this blog, well, you can start counting.
Wednesday’s one of my favorite days because that’s when the 20×200 photography edition arrives. Today featured a double edition from Chinese photographer Shen Wei, and it was love at first sight for the first photo in the pair, “Blessing over the Rice Machine, Guiyang, Guizhou Province.” (The second half of the pair is gorgeous too, it just didn’t –to paraphrase Emily Dickinson–blow the top of my head off.)
I’ve been very drawn to industrial stuff lately, especially scenes that have a certain air of neglect, or maybe I’m responding to a sense of age, of staying power despite or in spite of. . . . In this particular photograph I think it’s especially the luminous colors that draw me in, that pop of green in the lower right, the earthy paper of the blessing. Maybe I like the idea that there is aesthetic satisfaction to be found in even the most seemingly unaesthetic settings . Something about the composition feels almost postcard-like to me, in the sense that there’s a whole story waiting to be unpacked within the borders of the frame. This is one of those images that I could be lost in for a long long time.
I think I’m going to mosy over to 20×200.com and see if there’re still any $20 editions left to order. I encourage you to do the same (but not if you’re getting the last one and leaving me heartbroken . . . )
More later, since I still have to report back on my finds at this weekend’s Handmade Mart in my hood.