The Skirball is delighted to present this holiday pop-up shop, now open through January 4, inspired by the new exhibition Light & Noir. On opening night, these eager first shoppers discovered the array of merchandise, from wearables to home décor, books to kid-friendly novelties. Photo by Steve Cohn.
In January, when I began reading about our upcoming exhibition Light & Noir: Exiles and Émigrés in Hollywood, 1933–1950, I was instantly inspired. Due to my personal interest in fashion and design, I was very aware of the influence film noir has had in these areas. I was eager to explore the possibility of a holiday pop-up shop to complement the exhibition. It was the beginning of an exciting journey.
We had many questions. Where would I find vintage items from the period? How much vintage vs. reproduction should make up the product mix? With a very limited budget, how would we create an evocative environment? Many existing relationships needed to be engaged, and new ones pursued and cultivated.
GlamAmor Shares Noir Essentials—Early during the research stage, I came across a six-part webinar series on The Style Essentials: History of Fashion in Film, by Kimberly Truhler, Woodbury College professor, author, film and costume design expert, and creator of GlamAmor. Each webinar covers one decade, and I signed up for the session on the 1940s. After viewing Kimberly’s informative and enjoyable presentation, I contacted her and was pleased to learn that she is passionate about film noir! Even better, she was willing to give us informed suggestions for our project.
Come hear GlamAmor founder Kimberly Truhler—pictured above left in a fabulous green vintage coat (above left) on opening night with me—give a talk on the history of fashion in film noir (including the classic Mildred Pierce, pictured above right)—Sunday, December 7, at 1:00 p.m. A valued consultant to us on the pop-up shop, Kimberly has studied film and costume design history for more than twenty years. Photo on left by Steve Cohn. Film still on right from Mildred Pierce © Warner Bros.; courtesy of Warner Bros./Photofest.
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.
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.
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.
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. Safdie 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
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 email@example.com—or share them via Facebook, Twitter, and Instagram using the hashtag #SafdieSnapshots. Continue reading
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
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.
We 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
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:
Hopefully, 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
…and opted for this:
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
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.
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