With the exhibitions Light & Noir: Exiles and Émigrés in Hollywood, 1933–1950 and The Noir Effect in full swing, noir is in the air here at the Skirball. Inspired by the seductive femme fatales of film noir, I’ve selected ten alluring items from our Light & Noir Holiday Pop-Up Shop that are perfect for the mysterious woman on your gift list. There’s no need to go on a manhunt for a creative Hanukkah present or saucy stocking-stuffer this year. Skip the bedlam at the mall and slip into the boudoir at the pop-up shop for some of these sassy and clever gifts.
- The Perfect Red Lipstick
As the chaotic holidays approach, I heed this advice from Elizabeth Taylor: “Pour yourself a drink, put on some lipstick, and pull yourself together.” Red lipstick (and perhaps a little gin!) really is the perfect pick-me-up. During WWII, cosmetics entrepreneur Elizabeth Arden encouraged women to wear red lips as a symbol of victory. (The beauty company even released a line of cosmetics for the Marine Corps Women’s Reserve, which included the shade “Victory Red” to coordinate with their uniforms.) Personally, I look to locally-based Bésame Cosmetics for long-lasting, classically glamorous shades of red. One of my personal favorites is Red Velvet. Every Bésame product is re-created from popular vintage formulas and lovingly packaged in a retro style. Learn for yourself how to apply that perfect femme fatale look on Sunday, December 7, when Bésame Cosmetics founder Gabriela Hernandez gives a makeup talk and demo in conjunction with the exhibition Light & Noir: Exiles and Émigrés in Hollywood, 1933–1950.
- An Alluring Perfume
Perfumer Margot Elena created this irresistible “Femme Fatale” collection of fragrances, part of her TokyoMilk/DARK line. Each fragrance is stunningly packaged in matte-black bottles featuring charming lithograph illustrations for each scent. My favorite is “Everything & Nothing” No. 10, with its light hint of citrus. I’m also a fan of the coordinating hand creams.
- Compact Mirror
A slim, stylish compact mirror is a must for every glamour girl to ensure her makeup is always in place. I myself designed the pattern featured on this cute compact from LucyLu as a nod to the iconic film noir motif of striped shadows. The compact is accompanied by a protective silver leatherette pouch with a magnetic closure, which helps keep the outside of the mirror shiny and scratch-free. Continue reading
What better way to celebrate the Skirball’s presentation of The Snowy Day and the Art of Ezra Jack Keats than with window display of a snowy day? After growing up watching Bugs Bunny fool Elmer Fudd into thinking it was winter in July, Audrey’s staff member Michelle Bourdon and I wanted to go all out on that theme. We researched various winter holiday store window display designs, and then we designed our own. It took the combined talents of the rest of Audrey’s staff to make our wintry window happen!
Team Audrey’s in action! Prior to the window installation, Audrey’s staff met for two workshops to build the display elements, including falling cotton ball strands of snow, cut paper snowflakes, and foamboard buildings. Here store director Pam Balton and I consider the layout of windows for the Keats-inspired cityscapes.
Audrey’s staff member Michelle Bourdon works on trimming the needle at the top of the foamboard Empire State Building—no easy feat!
Michelle plays with an initial layout before we actually install all the pieces into the store window. Audrey’s staff cut out each and every snowflake—a job that required lots of scissors and X-acto knives!
We used both colored paper and printed fabrics to mirror Keats’s use of collage and amate paper in his art. As a special touch, we added in Amy and Roberto (with his white mouse puppet) from Keats’s book Dreams (a detail of the original is pictured here in the above right image; copyright Ezra Jack Keats Foundation). We also included Peter (from The Snowy Day) stomping his footprints into the snow.
At a recent donor dinner at the Skirball, these sculptural centerpieces showcased beautiful photographs of our campus, designed by Moshe Safdie. You can also spot one of the vivid green metal art panels off the Taper Courtyard, created by Vera Ronnen.
A common feature of Moshe Safdie’s projects is his integration of open-air spaces into his very monumental concrete and granite buildings. [In this ArtInfo interview, Safdie explains how the landscape influenced his design for the Skirball campus.] Here at the Skirball, Safdie created a series of courtyards that harmoniously link each building so that as you work your way from Winnick Hall (home to Noah’s Ark at the Skirball™) at the south end of our site toward Ahmanson Hall and Herscher Hall at the north end, you encounter blue skies and lush landscapes. As the Skirball’s founder, Uri D. Herscher, has said, Safdie “married his architecture to the hills.” The natural is as important as the architectural in creating the open, welcoming environment we have at the Skirball.
Recently the Skirball hosted an evening gala for our founding donors to celebrate the completion of our campus. The sculptural centerpieces we produced for the event are a love letter to the Skirball’s architecture. We worked with designer Gabe Gonzales at Astek Wallcovering—the firm that created the whimsical wallpaper for our recent exhibition Gary Baseman: The Door Is Always Open—to develop the build of the sculpture. Essentially each centerpiece features thirty-four interlocking round disks. Twenty-six of them display a different image on each side. Depending on how you look at the double-sided disks, you can see four different sets of images. Here are the other three views of the centerpiece: Continue reading
My colleague Doris Berger, Skirball curator, explained that she chose the Ruby Gallery as the exhibition space for Voices & Visions in part because “this gallery is a communicative space that is open to all the visitors free of charge. It is a space that is being walked through by staff and visitors alike and literally invites you to stop for a moment.”
When I first learned about the exhibition Voices & Visions and took a look at some of the names involved in the project, I geeked out a little bit. Just as there are celebrity architects like Moshe Safdie (who designed the Skirball) and Frank Gehry, there are celebrity graphic designers like Milton Glaser (of the famed I <3 NY logo), Ivan Chermayeff—perhaps best known for designing, together with Tom Geismar, television network logos like the current iteration of the NBC peacock—and Pentagram Partner Paula Scher. All of them have poster designs on display in the exhibition. Scher designed, among other things, the identity for Jazz at Lincoln Center in New York, where I worked as an intern and assistant on web projects before I joined the Skirball. Because of this connection, I was especially interested to see her Voices & Visions poster design.
Paula Scher, Master's Series 2012. Quote by Rabbi Abraham Joshua Heschel. Harold Grinspoon Foundation, West Springfield, MA.
For Voices & Visions, the creative brief was straightforward: The Harold Grinspoon Foundation sought out contemporary Jewish artists to visually interpret the words of great Jewish thinkers. Each artist was to create a thought-provoking poster based on the Jewish text for a universal audience. As Doris Berger put it, the series “highlights humanistic values that are rooted in Judaism.” They are values and ideas we can all relate to, whether we are Jewish or not. The creative director of the project, ad-man and designer Arnold Schwartzman, was the Foundation’s connection to all of these amazing graphic designers.
The thinker for Scher’s poster? Rabbi Abraham Joshua Heschel. One of the few in his family to narrowly escape the Nazi invasion of Poland, he was a great philosopher and writer who stood up for spiritual freedom, civil rights, and an end to war. In his book The Prophets, Heschel describes prophets not simply as individuals who can foresee the future, but as “the men whose image is our refuge in distress, and whose voice and vision sustain our faith.” Heschel could have easily used this definition not only to describe himself, but to describe the Rev. Martin Luther King, Jr. During the Civil Rights Movement, Heschel courageously supported King and marched by his side to Selma in 1965. [Audrey’s Museum Store at the Skirball carries a great children’s book about Heschel and King’s common purpose, entitled As Good As Anybody.] Continue reading
A portrait of my great-grandma Sarah “Sally” Goldbaum, which is now part of the Jewish Homegrown History online archive. The companion exhibition is now on view at the Skirball.
My name is Sarah Goldbaum, and Goldbaum is my great grandmother’s maiden name. Does that make me Jewish? I guess it depends who you ask.
For a long time, all of us in our family were unfamiliar with our Jewish roots. As far as I knew, my mother and grandparents were Catholic. Growing up, I’d heard the story of my grandfather Al changing his last name from his father’s surname, Molina, to his mother’s, Goldbaum. It was part of family lore.
Two summers ago, I began sorting through a box of old family photos. I talked to my mom, aunt, and grandmother, eager to find out who the people in the pictures were, where they came from, and so on. I was hoping to piece together whatever we could from memories, scribbled photo captions, and Ancestry.com. Based on information from the U.S. Census and the University of Arizona Bloom Southwest Jewish Archives, we discovered that we were Mexican on my maternal grandmother’s side and Prussian Jewish on my maternal grandfather’s side.
Soon we were able to fill in some of the blanks. After just a couple of months, I was contacted by another Goldbaum on Facebook. He lives in Ecuador. “I think we’re related,” he wrote in a direct message. There are so many Goldbaums that I figured we probably weren’t, but sent him a link to some family photos anyway. I was amazed at his response: “We are definitely related!”
My family tree, from the Prussian Jewish brothers listed up top, down to me and my new Facebook friend, Roberto.