EL AL Poster Competition–We Have a Winner!

Chis Kim A., shown here with his poster alongside Liora Avrahami from EL AL Airlines, designer Arnold Schwartzman, and Skirball curator Doris Berger. Photos by Shoshana Maimon.

We have a winner! When we opened the exhibition To the Point: Posters by Dan Reisinger last month, not only were we excited to have the unique and inspired designs of Dan Reisinger on view in our Ruby Gallery, but thanks to his many years of collaboration with EL AL Israel Airlines and the support of the Consulate General of Israel, we were able to offer the opportunity for anyone to share their designs with us and enter a contest to win airfare to Israel via EL AL! We are happy to announce that Chris Kim A. (click here to read how he got the “A” from Andy Warhol!) has won the contest, and excited to share the winning poster as well as the designs of seven other finalists below.
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Peace in a Polar Vortex

On a recent trip to Washington, DC, I was determined to augment my usual schedule of visiting dozens of museums and eating a gigantic pile of Ethiopian food with an architectural adventure: a visit to a Moshe Safdie building that I had never seen in person before. As the managing curator of the exhibition Global Citizen: The Architecture of Moshe Safdie at the Skirball, I had been singing the praises of the United States Institute of Peace (USIP) Headquarters, one of my favorite Safdie designs, in tour after tour. Now I wanted to see it for myself. So on my last day in the District, I braved a polar vortex that plunged temperatures below zero degrees and set out for USIP, located next to the National Mall.

The Department of State on the left and USIP on the right—located next to one another on the National Mall.

The Department of State on the left and USIP on the right—located next to one another on the National Mall.

After a quick ride on the Metro from Logan Circle, I took a ridiculously cold walk on 23rd Street toward the Mall. Along the way I passed several office buildings, including the staid facade of the Department of State. As I approached USIP, I immediately noticed that the structure both blended in with and stood out from its bureaucratic neighbors. The windows facing 23rd were not altogether different from many office buildings, but the warm color of the stone was a nice contrast to the grey tones that dominated nearby facades. I reflected that this was a nice example of “progressive contextualism,” Moshe Safdie’s philosophy of using cues from a building’s physical and cultural surroundings in its design.

Arriving at the front of the headquarters, I caught sight of one of its best features: translucent glass sails held aloft by a steel frame. Skirball_safdie_Institute of Peace 2Safdie intended for the sails to bring to mind the wings of a dove, symbolizing the USIP’s mission of promoting peaceful resolutions to international conflict. To me, they exemplified one of my favorite things about Safdie’s work: while his buildings blend in with their surroundings, they are entirely unique entities. The USIP Headquarters was definitely unlike any other building or monument on the Mall.

I hurried to the entrance excitedly, ready to see those sails from the inside. My enthusiasm was quickly tempered by reality, however, when the guards informed me that I couldn’t go inside without an appointment. Continue reading


#SafdieSnapshots: Share Yours!

The first contribution to our #SafdieSnapshots photo album: “You never know who you might see at the SkyPark at Marina Bay Sands: if you’re an early riser, you might just be lucky enough to see a world-famous architect swimming laps in the infinity pool he created!” (Julia K)

The first contribution to our #SafdieSnapshots photo album: “You never know who you might see at the SkyPark at Marina Bay Sands: if you’re an early riser, you might just be lucky enough to see a world-famous architect swimming laps in the infinity pool he created!” (Julia K)

Here are two good New Year’s Resolutions for us all: (1) travel more; and (2) organize the thousands of photos we all store on too many devices, hard drives, and clouds. If you’ve managed to do a bit of (1) and need help achieving (2), then share your #SafdieSnapshots!

Since opening the retrospective Global Citizen: The Architecture of Moshe Safdie, many gallery visitors have raved about their personal experiences of an actual Safdie building. What about you? Been moved at Yad Vashem Holocaust History Museum? Gone to Habitat ‘67 or Crystal Bridges or the Peabody Essex? Or (lucky you!) have you swum in the infinity pool way up high atop Marina Bay Sands?

Well, here’s hoping you took a camera with you. We invite you to contribute your fave pix to our #SafdieSnapshots photo album. E-mail your contributions to blog@skirball.org—or share them via Facebook, Twitter, and Instagram using the hashtag #SafdieSnapshots. Continue reading


Architectural Centerpieces (Florals Are So Last Year)

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.

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


Let Us Show You Around


Photo by Bebe Jacobs


Photo by Bebe Jacobs

When I began my job as a curator at the Skirball in summer 2012 I was asked to rethink the exhibition program in the Ruby Gallery, which is not only an exhibition space, but also the most communicative and communal space at the Skirball. I thought that we should find ways to work with these parameters and not against them. When I began to reflect on my own experiences at the Skirball, I remembered that I immediately felt welcome and, to my surprise, I found out that the notion of welcoming is an important part of the Skirball’s mission statement. So it seemed like a perfect first idea—to create a large piece about welcoming as seen through the eyes of insiders and outsiders. By “insiders,” I mean everyone who works here (staff, docents, volunteers) and by “outsiders,” I mean artists that weren’t familiar with the Skirball. I had already worked with Antje Schiffers and Thomas Sprenger a few times before in Germany and knew they would be a perfect fit for such an open yet specific idea. So I contacted them and asked if they could imagine developing a project about the idea of welcoming that includes all the people who work here. They were excited about the idea. Antje and Thomas spent two weeks in residency at the Skirball, interviewing the “insiders,” and then they returned home to process everything they’d learned. The final result is a smile, they said, a mural consisting of wall painting, text, and paintings on wood, now up in the Ruby Gallery through September 1. The exhibition has been up for a few months now, so I felt it was time to catch up with Antje and Thomas, and reflect on the fascinating process that led to this wonderful mural.

Let’s start by talking a bit about the process, about how this project gained shape.
Thinking about the Ruby Gallery, our first impulse was to work with its functions, not to insist on it being just an exhibition space. We knew very quickly that we wanted a big mural. And it was clear that we would include the voices of all the insiders—all the people who work here—in that mural.

welcoming-officeWe talked to people from the security department and administration as well as to Museum curators, docents, and volunteers. For that purpose we opened a ‘welcoming office,’ which most of the time was a physical office in the Museum department. But it also was a traveling office; we met the kitchen staff in the kitchen, Continue reading


Building Baseman’s House

How exactly did we build Gary Baseman’s house in our Getty Gallery for the exhibition, The Door Is Always Open? It probably would take about fifteen separate blogposts to describe it and I’d still be leaving things out. So, by sharing some behind-the-scenes images, I’ll try to show how we went from this:

IMG_2956…to this:

IMG_2903…to this:

IMG_3688Hopefully, this will help explain why we decided against this:

(The initial design plan called for using pre-made movie set flats such as the one shown here)

The initial design plan called for using pre-made movie set flats such as the one shown here

…and opted for this:

(he design team used period furniture and windows along with home moulding and trim to create their own “sets”.

The design team used period furniture and windows along with home molding and trim to create their own “sets”

There are so many good discussions to have it’s hard to know where to begin. From how best to use the furniture from Gary’s parents: Continue reading


Brooklyn’s Best: Our Noah’s Ark Puppet Designer

There's Chris, greeting me at the door to his studio.

Chris Green, at the entrance to the Red Hook studio suite.

Brooklyn is cool. Way cooler than I am (47, married with child, driver of a Volvo, living in Brentwood—you get the picture). And even cooler than Brooklyn in general is a particular artist’s enclave in a particular section of Brooklyn called Red Hook that is the workplace of designer/puppeteer Chris Green. Chris is none other than the visionary creator of thirty-five-plus kinetic animals—some freestanding with moving parts and others full puppets in the bunraku tradition—that inhabit Noah’s Ark at the Skirball™. Designed in collaboration with the Noah’s Ark creative consultant team led by Alan Maskin and Jim Olson of Seattle-based Olson Kundig Architects, Chris’s life-sized creatures, from Japanese red foxes to South African zebras, are absolute icons of Noah’s Ark. Their beautifully carved wooden heads and outlandish bodies are fashioned from discarded items as diverse as whirling air ventilators and wooden sake cups.

Hence my excitement over visiting Chris in his Brooklyn studio while on a family trip to the East Coast last week. My mission was to check in on a new family of animals that Chris is working on: four mountain gorillas who will be coming aboard Noah’s Ark permanently this June. These adorable gorillas have movable arms and hands, and bodies made from repurposed material. Their heads, made of basswood, are carved by Chris’s gifted colleague and studio-mate, Eric Novak.

Isn't he just so serene and beautiful!

One of the gorilla heads in process; carved by Eric Novak.

Each time I’ve visited Chris’s studio over the past seven years I’ve felt like I was entering Geppetto’s workshop, and this time was no different. It’s a magical place, with dusty tools and gadgets of all sizes and puppets of every conceivable style—some created by Chris and others by Eric or one of the other designers who share the two-story workspace, capacious by New York standards. Continue reading


How Visions Connected with Voices: An Interview with Arnold Schwartzman

Arnold Schwartzman, Master’s Series 2012. Quote: Susan Sontag. Harold Grinspoon Foundation, West Springfield, MA.

Arnold Schwartzman, Master’s Series 2012. Quote: Susan Sontag. Harold Grinspoon Foundation, West Springfield, MA.

Arnold Schwartzman is the creative director of the Voices & Visions poster exhibition, in which compelling Jewish texts are graphically visualized by contemporary designers. The program was initiated and produced by the Harold Grinspoon Foundation in West Springfield, Massachusetts, and we at the Skirball Cultural Center are excited to be the first institution to show this engaging poster series. In curating this exhibition for our Ruby Gallery I had the chance to meet and talk to Arnold Schwartzman about this project.

Arnold, you have two functions in the Voices & Visions exhibition: you are the creative director and you also designed a poster. Let’s talk about the poster first. You chose the quote by Susan Sontag, “Silence remains, inescapably, a form of speech,” and came up with a simple, yet complex image of silent speech. How did you find the visual language for it? And why did you choose this quote?
As the creative director of the Voices & Visions project I had the advantage of being able to choose the pick of the crop of quotations prior to offering them to the other artists. I decided to select the Susan Sontag quotation as I realized that there are many ways to visually interpret speech. The challenge was which direction I should take, other than displaying a zipped-up mouth!

I have always been intrigued by sign language of one sort or another. I was once invited to design a poster for the revitalization of the city of Naples, Italy, in which I incorporated an engraving of the Neapolitan hand gesture for ”beauty.” On another occasion I designed the cover of the house magazine of a television network. I created the magazine’s name in nautical flag semaphore, a nod to the company general manager’s naval background. Or for the opening title sequence to my documentary on World War ll, Liberation, I spelt out the letter V for Victory in Morse code. I recall, as a child during the war, seeing the dot-dot-dot-dash painted on many of London’s street walls and air raid shelters.

After finally arriving at my concept, my next step was to decide on the technique and medium. At first I contemplated drawing the hands realistically, or perhaps in a more decorative style, then serendipity stepped in during a visit to my local art store—I finally found the answer when I noticed a display of wooden articulated hands. “Bingo, I’ve got it!”

How did your collaboration with the Grinspoon Foundation actually come about?
My wife, Isolde, who is my collaborating partner, and I had the opportunity to meet with philanthropist Harold Grinspoon and Madeline Calabrese, the campaign’s project manager, in New York City in March 2011. But my involvement with the Harold Grinspoon Foundation began earlier with a telephone call from venerated graphic designer and educator Louis Danziger. He was one of the artists who visually interpreted well-known quotations for the landmark advertising campaign Great Ideas of Western Man that was produced by the Container Corporation of America (CCA) between 1950 and the 1970s. Harold Grinspoon’s idea was to take the CCA concept and translate it to a Jewish perspective by selecting significant quotations by Jewish luminaries throughout history, each representing a Jewish value, and have them interpreted by Jewish artists. And it was Danziger who asked if I was interested in the project as he wished to recommend me as creative director.

Our first task was to come up with a name and logotype for the project. I finally proposed the name Voices & Visions as it not only expressed the coming together of the two entities of words and images, parallel to this I discovered that by strategically placing the two Vs together they form a Star of David.

Indeed, that is a wonderful “coming together.” Could you talk a bit more about the process, about the making of Voices & Visions?
Certainly. A team of scholars chose the quotations, after which copyright clearance was obtained prior to sending invitations to the prospective participants. With the knowledge of the unique styles of each of these artists, we carefully chose quotations that we thought would stimulate their style and thinking. This approach produced unexpected results—some predictable, some surprising.

In June 2012 Isolde and I spent a week in Springfield, Massachusetts, supervising the print check on the large run of the eighteen V&V posters, printed in several formats. After a period of eighteen months we now find it most gratifying to see the fruits of our labor so beautifully displayed at the Skirball Cultural Center.

Isolde and Arnold Schwartzman in front of Arnold’s Visions & Values poster. Photo by Doris Berger.

Isolde and Arnold Schwartzman in front of Arnold’s Voices & Visions poster. Photo by Doris Berger.

Actually, the title Voices & Visions makes me think of the Skirball’s permanent exhibition called Visions and Values, for which you created an amazing audiovisual kaleidoscope of Jewish contributions to humanity as well as graphic decade panels of notable events. Both of those works feature a multi-perspectives approach­­, and so does Voices & Visions. Continue reading


Protest Poster or Valentine?

Decades of Dissent installation shot. Photo by Christina Williams.

“Dear Erin” began a letter I received almost one month after the opening of Decades of Dissent: Democracy in Action: 1960–1980. The letter continued, “You can imagine my surprise and amusement on finding my Gay-In poster reproduced in the Los Angeles Times. Produced 42 years ago, the poster had minimal exposure or impact. Today, it serves as a reminder of the time when gay people were beginning their journey to full equality.”

The letter was from Bruce Reifel, who had created one of my favorite posters in Decades of Dissent. With affectionate couples set against a bright background, Gay-In announced a gathering of gays and lesbians in Los Angeles’ Griffith Park in 1970. The event, organized by the Gay Liberation Front, was revolutionary. During a time when gays were expected to confine their social activities to private spaces, they asserted their right to inhabit public space.

Gay-In, Bruce Reifel, Silkscreen, 1970, Los Angeles, California

I had learned these things about the Gay-In poster in the process of curating Decades of Dissent. What I had missed, however, was the fact that Bruce had made it. The label I had written for the poster attributed the piece to the Gay Liberation Front. When Bruce’s letter arrived, the historian in me was extremely excited. Not only would I have a chance to correct my error, but I would likely deepen my knowledge of an object and the story behind it in the process. Continue reading