Fashion Designers Catch Up with Arthur Diamond on Pockets

After decades of wearing shirts with two to four pockets, and cargo pants with many pockets, I am gratified to finally be vindicated as a fashion-forward trendsetter.

(p. D1) IN 1901, Levi’s gave its famous 501 jean its famous fifth pocket. It wasn’t, as many assume, the teensy pocketwatch slot above the right front pocket–that had been there since the jean’s beginnings in 1879–but rather the back left pocket. That unassuming addition granted generations of men (and eventually women) double the rear-end real estate in which to stash bifolds, bandannas, crumpled bar receipts and, of course, awkward hands. For a mere sliver of space, it marked a revolution in clothing.

These days, our relationship to pockets is undergoing a similar sea change. Whereas Levi’s took a subtle approach, menswear designers are now stitching pockets on garments with the abandon of Jackson Pollock flinging paint on canvas. No longer an afterthought or mundane change-holder, pockets are the defining component of many designs.

For the full story, see:
Jacob Gallagher. “Pick Pockets.” The Wall Street Journal (Saturday, Sept. 8, 2018): D1-D2.
(Note: the online version of the story has the date Sept. 6, 2018, and has the title “Think Your Clothes Have Enough Pockets? Think Again.”)

“The Oppressive Communality” of Open Floor Plans

(p. D1) These days, people are taking another look at developing basements or attics as getaway bonus spaces to ensure family peace. As the idea of the open-plan home–the combination kitchen, living and dining room that’s long dominated residential layouts–has aged, it’s revealed its flaws. When parents are relentlessly texting children all day and then corralling the whole family into a single living space all night, there’s no escaping each other, and nerves can fray.
. . .
(p. D2) The oppressive communality of the open plan has fueled the backlash, as has constant connectedness. Jen Altman, a child family psychologist of 17 years, sees the pendulum beginning to swing away from helicopter parenting. These days, she hears parents howl versions of “I just need 10 minutes to myself.”
“I’ve always thought that aloneness and separation are as vital to development as attachment and connection,” said Dr. Altman, who practices in Ho-Ho-Kus, N.J.
. . .
“It’s hard to get away from the open plan because of the way we live,” she said. “It’s the space where everyone congregates–meals are prepared, kids do their homework.” But she found herself seeking respite in the detached room–“sort of an at-home getaway,” she said. Though bright bands of colored paint ring the walls, “the space never reads ‘playroom,'” she said, thanks to a floor of black rocks and shells, and a muted Oriental rug. After Ms. Vidal moved in her beloved midcentury Heywood Wakefield vanity, her design books and mementos made the space hers.
“It’s a bit of separation from being on top of one another,” she said of the room. “It helps me focus.”

For the full story, see:
Elizabeth Anne Hartman. “Hideaway We Go.” The Wall Street Journal (Sat., Aug. 19, 2017): D1-D2.
(Note: ellipses added.)
(Note: the online version of the story has the date Aug. 17, 2017, and has the title “The Open-Floor-Plan Backlash: How Family Members Are Escaping Each Other.”)

Pineapple Displays “Plodding Banality” of Conceptual Art

(p. A4) LONDON — How did a pineapple become a postmodern masterpiece?
The aesthetic merits of tropical fruit inadvertently entered Britain’s national cultural conversation after two students jokingly placed a store-bought pineapple on an empty table at an art exhibition this month at Robert Gordon University in Aberdeen, a port city in northeastern Scotland.
When they returned a few days later to the exhibition — part of the Look Again festival, which aims to highlight Aberdeen’s cultural heritage — they were shocked to discover their pineapple protected by a glass display case, instantly and mysteriously transformed into a work of art.
After one of the students, Lloyd Jack, 22, who studies business, put a photograph of the pineapple on Twitter, along with the words, “I made art,” the image was shared widely on social media, turning the fruit, fairly or not, into a cultural sensation. To some, though, the stunt was a self-promoting social media prank befitting the digital age.
Mr. Jack’s post received nearly 5,000 likes on Twitter. Before long, the work, which the two students titled “Pineapple,” had been deconstructed on art blogs and social media worldwide; parsed in Paris, Texas and Tokyo; and even featured on Canadian television. Some on Twitter lauded its “genius,” while others ridiculed it as the latest example of conceptual art’s plodding banality.
. . .
Others saw hidden meaning in the pineapple, including an art professor at the university who, Mr. Gray said, enthusiastically lauded the “purposeful way” in which the display case had pressed down on the fruit’s leaves.
“It just goes to show the ludicrousness of conceptual art and how anything can become art,” Mr. Jack said.
. . .
Peter York, an author and cultural commentator, noted that the pineapple display, consciously or not, wittily reflected Duchamp’s notion that if you declare something art, it becomes art.
“I rank pineapples quite highly as they are quite decorative objects, sort of colonial superfruits, with leaves that look like green fountains at the top,” he said. “But you wouldn’t really want a pineapple exhibited in your home.”

For the full story, see:
DAN BILEFSKY. “Scots Plumb a Pineapple’s Hidden Meaning After it Becomes Accidental Art.” The New York Times (Fri., MAY 12, 2017): A4.
(Note: ellipses added.)
(Note: the online version of the story has the date MAY 11, 2017, and has the title “How a Humble Pineapple Became Art.”)

Abstract Art Belongs in “the Trash Heap of Art History”

(p. A20) . . . , Mr. Safer sometimes raised hackles, as when he questioned the basic premise of abstract art in a 1993 report, calling much of it “worthless junk” destined for “the trash heap of art history” and saying it was overvalued by the “hype” of critics, art dealers and auction houses. The art world recoiled, but Mr. Safer, who described himself as a “Sunday painter,” stood his ground.

For the full obituary, see:

ROBERT D. McFADDEN. “Morley Safer, Chronicler of Vietnam and Mainstay of ’60 Minutes,’ Dies at 84.” The New York Times (Fri., May 20, 2016): A20.

(Note: ellipsis added.)
(Note: the online version of the obituary has the date May 19, 2016, and has the title “Morley Safer, Mainstay of ’60 Minutes,’ Is Dead at 84.”)

Old Photographic Technology Makes a Limited Comeback

(p. C1) The Phoenix artist Annie Lopez wanted to stand out among her contemporary peers. Instead of trying to invent something utterly new, she has been turning to a 174-year-old photographic printing process — cyanotypes, once used for copying architectural drawings — and giving it her own distinctive twist.
Ms. Lopez created a dress pattern cut from tamale wrapping paper and printed all over with cyanotypes, which have a distinctly cyan-blue color. She printed the cyanotypes herself, in a process that took about 25 minutes per sheet of images. No darkroom was needed.
That ease has brought cyanotypes roaring back to relevance, attracting a surprising number of true-blue adherents showing their work in galleries.
, , ,
(p. C2) Anna Atkins, considered by many to be the first female photographer and the first person to create a book of photo-based images, blended science and art in botanical cyanotypes, starting in the 1840s. Atkins’s “Honey Locust Leaf and Pod” (circa 1854) is featured in the Worcester show.
The fine-art application was scarce for more than a century after Atkins’s day — rare enough that Steichen once called his use of cyanotypes a “secret” in a letter to his friend and mentor Alfred Stieglitz. For fine artists, it was often considered an “ugly stepchild” of the larger medium, Ms. Burns said, “because it was too easy.”
Amateurs embraced cyanotypes more easily. “In terms of popular usage they were big until the turn of the 19th and 20th centuries, and women’s periodicals were giving people instructions on how to make them,” Ms. Burns said. “But then they fell off the map of photography.”
Well into the 20th century, the long-dormant medium was awakened by artists looking for something different.
“As of the 1960s, people started to be interested in reviving old photo processes,” said Dusan Stulik, a former senior scientist at the Getty Conservation Institute who has studied cyanotypes for decades. “Cyanotypes handle subtle light well, and they are fairly sturdy.”
On a gut level, cyanotypes produce a result that is universal. “The color blue strikes some chord in us that goes beyond words,” said the San Francisco photography dealer Jeffrey Fraenkel. “It’s that simple.”

For the full story, see:
TED LOOS. “Photography’s Stepchild Snaps Back.” The New York Times (Sat., Feb. 6, 2016): C1-C2.
(Note: ellipsis added.)
(Note: the online version of the article has the date Feb. 5, 2016, and has the title “Cyanotype, Photography’s Blue Period, Is Making a Comeback.”)

How to Monopolize a Dead Technology

(p. C3) LOS ANGELES — When Quentin Tarantino’s “The Hateful Eight” is released in a special roadshow version (with overture, intermission and additional footage) on Dec. 25, it will represent a feat worthy of the heist in the director’s “Jackie Brown.”
The film is scheduled to open on 96 screens in the United States and four in Canada, all in 70-millimeter projection, a premium format associated with extravaganzas of the 1950s and 1960s.
Yet from a theatrical standpoint, the technology is nearly obsolete. Last year, “Interstellar” opened in 70 millimeter at only 11 comparable locations. There were only 16 in 2012 for “The Master,” which renewed interested in the format. No film has opened with 100 70-millimeter prints since 1992. According to the National Association of Theater Owners, 97 percent of the 40,000 screens in the United States now use digital projection.

. . .
“We looked around for anybody who was selling them,” said Erik Lomis, Weinstein’s president of theatrical distribution and home entertainment. “We tried to keep it as quiet as possible as to why. Eventually word leaked out why we were looking for them, and then the price went up.”
. . .
“We’ve been accused of actually cornering the market on 70-millimeter projectors,” Mr. Cutler said. “It’s probably pretty true. There probably aren’t too many out there that we didn’t find.” Most of them were destroyed, he added, during the conversion to digital projection.
. . .
Ultra Panavision also produces subtle aesthetic effects, unusual even to viewers familiar with 70 millimeter. The lens “for lack of a better word is a softer lens,” Mr. Sasaki said. During a screening of test footage for the film, he pointed out the impressionistic qualities of the focus and explained how the image catered to our eyes’ natural depth cues.
With projectors found and lenses made, the next hurdle is labor: Most theaters no longer have projectionists with a working knowledge of these machines. Mr. Cutler’s company will provide training for each site. “One way or the other, we will fulfill this need,” he said. “It will be a combination of house staff that we can train, professional projectionists that we can bring in, projectionists that we can find locally, and potentially some technical staff that we’ll bring in.” Every theater showing the film will get a spare set of belts, fuses and light bulbs, and instructions. Mr. Cutler’s staff will also be standing by for calls.

For the full story, see:
BEN KENIGSBERG. “In a World Gone Digital, Room for a Lost Format.” The New York Times (Thurs., NOV. 12, 2015): C3.
(Note: ellipses added.)
(Note: the online version of the story has the date NOV. 11, 2015, and has the title “Tarantino’s ‘The Hateful Eight’ Resurrects Nearly Obsolete Technology.”)

For Movies, Film Option Survives Digital Advance

(p. B1) Faced with the possible extinction of the material that made Hollywood famous, a coalition of studios is close to a deal to keep Eastman Kodak Co. in the business of producing movie film.
The negotiations–secret until now–are expected to result in an arrangement where studios promise to buy a set quantity of film for the next several years, even though most movies and television shows these days are shot on digital video.
Kodak’s new chief executive, Jeff Clarke, said the pact will allow his company to forestall the closure of its Rochester, N.Y., film manufacturing plant, a move that had been under serious consideration. Kodak’s motion-picture film sales have plummeted 96% since 2006, from 12.4 billion linear feet to an estimated 449 million this year. With the exit of competitor Fujifilm Corp. last year, Kodak is the only major company left producing motion-picture film.
. . .
Film and digital video both “are valid choices, but it would be a tragedy if suddenly directors didn’t have the opportunity to shoot on film,” said Mr. Apatow. director of comedies including “Knocked Up” and “The 40 Year-Old Virgin,” speaking from the New York set of his coming movie “Trainwreck,” which he is shooting on film. “There’s a magic to the grain and the color quality that you get with film.”

For the full story, see:
BEN FRITZ. “Movie Film, at Death’s Door, Gets a Reprieve.” The Wall Street Journal (Weds., July 30, 2014): B1 & B8.
(Note: ellipsis added.)
(Note: the online version of the article was dated July 29, 2014.)

Seven Seconds to See Whether Design Is Right or Wrong

(p. B14) Jacob Jensen, an industrial designer whose sleek minimalism exemplified the style known as Danish modern, most notably with the stereo systems and other audio products he created for the consumer electronics company Bang & Olufsen, died on May 15 [2015] at his home in Virksund, Denmark.
. . .
. . , Mr. Jensen wrote of his working method:
“In my view, constructing a fountain pen, writing a poem, producing a play or designing a locomotive, all demand the same components, the same ingredients: perspective, creativity, new ideas, understanding and first and foremost, the ability to rework, almost infinitely, over and over. That ‘over and over’ is for me the cruelest torture.
“The only way I can work,” he continued, “is to make 30-40 models before I find the right one. The question is, when do you find the right one? My method is, when I have reached a point where I think, O.K., that’s it, there it is, I put the model on a table in the living room, illuminate it, and otherwise spend the evening as usual, and go to bed. The next morning I go in and look at it, knowing with 100 percent certainty that I have 6-7 seconds to see and decide whether it’s right or wrong.
“If I look at it longer, I automatically compensate. ‘Oh, it’s not too high,’ and ‘It’s not so bad.’ There are only those 6-7 seconds; then I make some notes as to what’s wrong. Finished. After breakfast, I make the changes. That’s the only way I know.”

For the full obituary, see:
BRUCE WEBER. “Jacob Jensen, 89, Danish Designer, Dies.” The New York Times (Fri., May 22, 2015): B14.
(Note: ellipses, and bracketed year, added.)
(Note: the date of the online version of the obituary is MAY 21, 2015, and has the title “Jacob Jensen, Designer in Danish Modern Style, Dies at 89.”)

Castro to Writers and Artists: “Against the Revolution, No Rights at All”

(p. A13) Ricardo Porro, an architect who gave lyrical expression to a hopeful young Cuban revolution in the early 1960s before he himself fell victim to its ideological hardening, died on Thursday [December 25, 2014] in Paris, where he had spent nearly half a century in exile.
. . .
Mr. Porro’s two schools have voluptuous brick domes and vaults, built by hand in the Catalan style reminiscent of Antoni Gaudí, that are almost bodily in their gentle embrace. Supporting them, and contrasting with their soft curves, are angular columns and buttresses that speak of the shattering force of revolution.
. . .
Before the schools were completed, however, artistic expression was stifled as Cuba moved into the Soviet orbit. Mr. Castro had famously answered his own rhetorical question in 1961 about the rights of writers and artists: “Within the revolution, everything. Against the revolution, no rights at all.”
Almost overnight, the art schools’ distinctive style was officially anathema. “You realize that you’ve been accused of something,” Mr. Porro recalled in “Unfinished Spaces,” a 2011 documentary directed by Alysa Nahmias and Benjamin Murray. “And then you realize that you have been judged. And then you realize you are guilty. And nobody tells you.”

For the full obituary, see:
DAVID W. DUNLAP. “Ricardo Porro, 89, Exiled Cuban Architect.” The New York Times (Tues., DEC. 30, 2014): A13.
(Note: ellipses, and bracketed date, are added.)
(Note: the online version of the obituary has the date DEC. 29, 2014, and has the title “Ricardo Porro, Exiled Cuban Architect, Dies at 89.”)

A Federal “Building Whose Banality Is Exceeded Only by Its Expense”

(p. A3) WASHINGTON–They span 75 feet, weigh 4,300 pounds and can’t move.
The four, black aluminum clouds comprising the once-mobile component of “Mountains and Clouds”–one of the final works of sculptor Alexander Calder, which dominates the Hart Senate office building’s 90-foot-high atrium–haven’t drifted for more than a decade. They once rotated at a gentle speed, but have been frozen in place for years after a bearing failed.
. . .
, , , , mirroring the mixed feelings toward Mr. Calder’s sculpture, many in Washington didn’t appreciate the contemporary Hart building’s break with traditional architecture. In 1981, Sen. Daniel Patrick Moynihan (D., N.Y.) suggested in a “sense of the Senate” resolution that the plastic covering that had protected the building from wintry elements was preferable to the exterior itself.
“Whereas the plastic cover has now been removed revealing, as feared, a building whose banality is exceeded only by its expense,” said the resolution, which never came to a vote. “Therefore, be it resolved, That it is the sense of the Senate that the plastic cover be put back.”

For the full story, see:
KRISTINA PETERSON. “A Nebulous Debate in Washington.” The Wall Street Journal (Fri., Dec. 26, 2014): A3.
(Note: ellipses are added.)
(Note: the online version of the story has the date Dec. 25, 2014, and has the title “Calder Sculpture Triggers Heavenly Debate in Washington.”)