Bamboo in the Big Apple

Japanese bamboo work is having something of a moment, with a major exhibition on this art form at the Metropolitan Museum of  Art.  Over at the Erik Thomsen Gallery you’ll find Masterpieces of Bamboo Art  a fabulous exhibit  of 30 Japanese baskets, all signed by their makers, and made in the last 100 years. Bamboo basket making originated in Japan in medieval times and baskets were first used to display flowers on Buddhist altars, then later in tea drinking ceremonies.  The baskets in this exhibit are primarily from three eras: the Heisei (1989 – present); the Showa (1926-1989); and the Taisho (1912-1926).  Executed in various shapes such as hexagonal, conical and round, the pieces all display the extraordinary craftsmanship and artistry of the basket makers,  especially in their range of weaves (or plaits) which include lozenge technique, circle plaiting, and twill plaiting (herringbone effect).

Handled Flower Basket in the form of a gourd, Maeda Chikubōsai, Showa era (1926-89)

The main body of this basket by Maeda Chikubōsai is executed in a variant of mat plaiting, using double horizontals and creating an intricate undulating surface. There’s elaborate knotting on the branches which form the handle, and around the rim.

Auspicious Clouds flower basket in Chinese style with small handles, Suzuki Kyokushōsai, Taisho era (1912-26)

Auspicious Clouds, by Suzuki Kyokushōsai exhibits a number of elaborate plaiting techniques, including hexagonal and circular (base) as well as wrapping and knotting. 

Tall Handled Flower Basket, Wada Waichisai II, Taisho era (1912-26)

Wada Waichisai II was the second in a lineage founded by Waichisai I (1851–1901), one of the pioneers of bamboo art in the Kansai region.

Connection, Tenabe Chikuusai IV, Heisei era (1989-present)

Tanabe Chikuunsai IV was born in 1973 to one of Japan’s most prestigious families of bamboo craftsmen.  He is the chosen son, representing the fourth generation of bamboo artists in his family. It’s easy to see why – his technique is fabulous. He also created a site-specific sculpture for the Met show.

For this exhibit, the gallery has also commissioned a detailed catalogue  with lovely photos of the works.

The exhibit continues through November 10th.  Erik Thomsen Gallery  is at 23 East 67th Street.

Ikebana at the UN

The Japanese Mission to the United Nations  has hosted a series of events with the theme “Peace Is…”  using art and culture as a medium for connecting people with the UN and its objectives.  The Permanent Mission of Japan has collaborated with Japanese artists residing in New York, who believe in the power of art to bridge divisions and bring people together. 

In celebration of the 50th Anniversary of ASEAN, “Peace Is Beautiful” guided the activities of this fourth event, which included a demonstration of Ikebana, led by Master Noritaka Noda of the Ikenobo Society of Floral Art. More than flower arranging, Ikebana is an elevated art form in Japan, using plants to create new forms suggesting the forces of nature and the beauty of longing in our hearts. Working with two assistants, Master Noda began with the tall leaves, then the flowers (coxcomb and iris), then the smaller leaves and finally the ferns, selecting, trimming, placing and bending them…

Noritaka Noda explaining his Ikebana arrangement to Hajime Kishimori

into an arrangement representing mountains, cascades, a town, a river and the beautiful landscape.   Afterwards, the ambassadors from ASEAN and the other guests were invited to make our own flower arrangements, assisted professional Ikenobo teachers. 

Liz Daly and Hitomi with their Ikebana

I was lucky to have the guidance of the very patient and gracious Hitomi, who helped me create this piece.

Dancers from ASEAN countries performed at Peace Is…

Attendees were also treated to a lovely performance of traditional dances from Cambodia, Laos and Indonesia.

Congratulations to the Permanent Mission of Japan for this excellent initiative!

A New Look at Tiffany Glass

detail, Poppy Shade, probably Clara Driscoll, 1900-06

I’ve never been a big fan of Tiffany glass, but I’m glad I saw the fabulous collection of 100  Tiffany lamps on the fourth floor The NY Historical Society.  It gave me an appreciation for the design, craft and technological innovation of Louis Comfort Tiffany, who developed his own opalescent sheet glass, which he manufactured in Corona, Queens.  While most of the artisans and designers of Tiffany Studios were anonymous, this exhibit highlights the role of women designers, especially Clara Wolcott Driscoll, who not only managed the Women’s Glass Cutting Department (the “Tiffany Girls”) but designed many of the lampshades and mosaic bases.  She was also paid the same as her male counterparts!  One of the explanatory panels in the exhibit recounts how Tiffany started hiring women (many with art school training) as an experiment when the male glass cutters went on strike in 1892.  It worked out well, so he continued employing women, believing that they were better at selecting colors, cutting the glass and wrapping it in copper foil.  However, the mores of the day dictated that women stop working once they married, so there was constant turnover.  Clara Driscoll left after 21 years when she married in 1909.  I was impressed by the wide variety of designs – most taken from nature, some inspired by Japan and China.  As you go through you’ll see that much care was also taken with the bases, which were designed separately.  Here’s a small selection of what you’ll find:

Lotus Pagoda Shade and Mushroom Base

There’s no designer attributed to this Lotus Pagoda Shade (and Mushroom Base), but you can clearly see the marrying of a “nature” and an “Eastern” theme.

Daffodil Shade, designer unknown, 1910-13 with Library Standard Base

Daffodils were one of Louis Comfort Tiffany’s favorite flowers.

detail of Cobweb Shade, mosaic floral base, Clara Driscoll, 1899-1902

The Cobweb Shade, designed by Clara Driscoll, has a mosaic base of narcissus flowers.   

Bookmark Shade Nodes, designer unknown, 1906-10

This Bookmark Shade 1906-10, is the only lamp known in this pattern, which pays homage to the15th and 16th century printers, whose marks are on the rondels.  This colophon of the anchor and dolphin belonged to the Italian Renaissance printer Aldous Manutius.

detail, Peacock lampshade, probably Clara Driscoll

Clara Driscoll probably designed this shade depicting peacock feathers; I especially liked the blue-green “eyes”  and the gold and orange borders. (There’s also a Peacock base)

Iron calipers, pincers, shears, jacks and paddles used in making leaded glass

Up on the mezzanine level you’ll find not only more lamps and lampshades, but also glass blowing tools like these, used by Maurice Kelly in the early 1900’s.

Bamboo Shade, designer unknown, 1900-06

This Bamboo Shade (1900-06, designer unknown) is the only lampshade that used curved glass.

This is a very small selection of the 100 lamps on display.  Be sure to get up to see this, yes, illuminating exhibit at the NY Historical Society, 170 Central Park West and 77th Street.

Art Deco and All That Jazz

Canapé Gondole, designed by Marcel Coard, ca. 1925, carved indian rosewood, indian rosewood-veneered wood, brass, and linen velvet.
Textile, Le Feu (Fire), designed by Yvonne Clarinvaland manufactured by Tassinari & Chatel, 1925 Warp: silk weft: tussah silk and its technique is compound satin weave

The turn of the 20th Century has become a hot topic this year, since 2017 is the centenary of the U.S.’s entry into WWI.  The Cooper Hewitt examines the period following the end of that conflict in The Jazz Age: American Style in the 1920s, an overview of  the various European  trends –  considered hallmarks of refined taste – that influenced Art Deco, such as  Bauhaus, deStijl, Scandinavian and Viennese design. Covering two floors, the show contains  400 examples of interior design, industrial design, decorative art, jewelry, fashion and architecture inspired by these styles.  

Evening Dress and Underslip,designed by Gabrielle Chanel and produced by House of Chanel, 1926 blue silk chiffon with applied blue ombré silk fringe

The Roaring 20’s  was an age of new beginnings, as Americans threw off the strictures and mores of the 19th century and sought to put the war behind them.  It was an era when things moved faster.  Rapid industrialization dramatically shortened manufacturing times, thus facilitating mass production – and consumption.  The rise of the automobile and the airplane made transcontinental and intercontinental travel faster, easier and more accessible.  Design became sparer, more abstract, incorporating geometric and arabesque motifs influenced by advances in transportation and industry.  Musical tastes were changing, as African-American musical forms such as the blues and jazz entered mainstream America’s living rooms via sheet music and radio, and could also be heard  in the numerous cabarets and supper clubs that sprung up as night life – dining, drinking and dancing outside the home – became increasingly popular ways for Americans to shake off the post war doldrums. Cocktails and cigarettes became symbols of a newly liberated society.   This was the age of the Flapper:  having served their country in various capacities during WW1, women gained the right to vote in 1920, cut their hair,  shortened their hemlines, and started to claim their independence.  Changing norms and a sense of possibility infused those heady times.

 Here are some examples of what you’ll see in this wonderful show (it was hard to edit my selections). 

Poster, designed by Charles Delaunay and printed by Imprimerie R de Gonell, 1934, offset lithograph on paper.

Perhaps nothing personifies that age like its music and films. This exhibit showcases how jazz music and the social world surrounding it shaped design, with images of musicians and  dancers gracing everything from vases to textiles.  It also shines a light on the ambivalence – on both sides of the Atlantic – towards Africa and African-Americans, featuring textiles and jewelry inspired by  African masks and wildlife, along with  a video loop of short clips of performances by Louis Armstrong,  Josephine Baker and Lena Horne,  but also offering examples, such as the posters by Paul Colins, of how the contributions  of Africans and African-Americans were exoticized  and caricatured.  

Blues by Archibald Motley, Archibald J., Jr. (1891-1981), oil on canvas 1929. Photo, courtesy of the Cooper-Hewitt

This 1929 oil painting Blues by  Archibald Motley Jr. (a significant figure in the Harlem Renaissance and in the Chicago arts scene) conveys the sights and sounds of a mixed race (or black-and-tan) nightclub in the late ’20s, where patrons could be free from the censures of white society, as racial barriers continued to be widely observed and enforced. 

Purse, (France)1910–30 cotton, glass and metal beads. Stitching on black cotton machine-made net; chain stitch using a hook and block cotton threaded with glass beads.

Egypt-mania was spawned in 1922 with the discovery of King Tutankhamen’s tomb, and imagery of that era, especially scarabs and lotus flowers, invaded every facet of design.  Cartier and other luxury jewelry designers offered their own versions of King Tut’s resplendent jewels in diamond encrusted platinum brooches, bracelets , earrings and cases, often accented by rubies, emeralds, onyx, coral, jade and lapis.

B3 Chair, designed by Marcel Breuer 1925, manufactured by Standard-Möbel 1927-28. Chrome-plated tubular steel, canvas. Photo courtesy of the Cooper-Hewitt

At the beginning of this era, original works in American colonial designs as well as those from 17th- and 18th-century France and England still conveyed social status.  However, the International style of chrome tube furniture by renowned architects such as  Mies van der Rohe and Marcel Breuer soon came to be seen as symbols of the future; not only was  this  metal used in emblems of progress like cars and radios,  but it allowed for a  cleanliness in design, marking  a break with Victorian stuffiness.  Because of chrome’s affordability, these new designs could be mass manufactured and widely diffused to an emerging middle class.

Zeppelin Airship Cocktail Shaker and Traveling Bar, J.A. Henckels Twin Works, 1928, silver-plated brass. Photo courtesy of the Cooper-Hewitt

Airplane purse,designed by Josèph Andrée Chouanard; Automobile purse, designed by Rose; both manufactured by Beauvais Manufactory, 1928, tapestry and silk; Pair of Airplane Brooches, produced byCartier, 1930s, diamonds, platinum

Travel – in automobiles, trains, airplanes, airships and balloons – was a dominant motif of the 1920’s, found in jewelry, cocktail shakers, furniture and accessories.

Brooklyn Bridge, Joseph Stella, 1919-20, oil on canvas

The influence of industrial design, an appreciation of New York’s urban environment, and a fascination with travel are captured in Joseph Stella’s oil painting of the Brooklyn Bridge, whose fractured light through the suspension cables give it a futuristic undertone.

Renards (Foxes) Ten-Panel Screen, designed by Armand-Albert Rateau, ca. 1921–22. Gilt and lacquered wood, patinated bronze

The exhibit continues on the second floor focusing mainly on the influence the Parisian  1925 Exposition Internationale des Arts décoratifs et industriels modernes (hence Art Deco)  had on textiles, clothing, and home décor, not only those sold in luxury boutiques but also ones found in department stores.  You’ll also find examples from the Wiener Werkstatt and Italian Futurism that found their way into American fashion and furnishings of that era.

The exhibit continues through August 20th.  Be sure to see it.  But don’t stop there….

 

Mystery Clock, produced by Maurice Coüet and Cartier, 1929, carved nephrite, enamel, gold, cabochon emeralds, cabochon rubies, carved citrine, rose-cut diamonds, carved and calibré-cut coral, pearls, carved stone, platinum.

Also on the 2nd floor, you’ll find two ancillary exhibits.  In the room that had been the Carnegie family library (a/k/a the Teak Room)  is the fantastic Jeweled Splendors of the Art Deco Era:  The Prince and Princess Sadruddin Aga Khan Collection.  Prince Sadruddin was the UN High Commissioner for Refugees for 12 years, as well as a  co-founder of the Paris Review and an ardent environmentalist. This collection, which is being publicly displayed for the first time,  was created for his Egyptian-born wife Catherine from 1972 until his death in 2003.  It is absolutely fabulous.

Box, produced by Van Cleef and Arpelsand manufactured by Strauss, Allard & Meyer, 1928, lapis lazuli, calibre-cut and other diamonds, frosted rock crystal, jadeite, white gold

In it you’ll find over 100 examples of luxury cases, compacts and other small items, mostly for women,  from notable houses such as Cartier, Van Cleef & Arpels, and Bucheron, made between 1910 and 1938,  featuring  exquisite craftsmanship and complex designs executed with diamonds, lapis lazuli, coral, cabochon rubies,  enamel, gold and platinum.  It will come as no surprise the Prince and Princess collected  Persian miniatures and manuscripts . 

This exhibit is on through August 27th.  And since you’re on the second floor,  

eModel D25 WE Radio, 1952 and E15 WE Radio, 1953, both by Crosley Rdio, molded pastic and metal

Also stop by The World of Radio , where you can see eight decades worth of radios,  and a rare public showing of  “The World of Radio” a 16 foot-wide cotton batik mural by Canadian artist Arthur Gordon Smith that covers one wall. 

Radio was made possible by Giulio Marconi, inventor of the long-distance radio transmission, and in the 1920’s radios became smaller and sleeker.  Powered by household electrical outlets, it quickly became part of Americans’ household furnishings – think of those large wooden radio cabinets – and a shared family experience. Over time, with the development of the transistor, radios in the 1950’s became even smaller, portable, and multi-functional, like the clock radio.  You’ll find not only  models from the early days of this medium, but also an iPod nano with an FM tuner, bringing this show into the 21st century.

You’ll also find sketches for radio designs and photographs of the interiors of homes showing how radios were incorporated into domestic environments.

detail, The World of Radio, Arthur Gordon Smith, 1934, cotton batik

The highlight of this exhibit for me was the 1934 batik mural The World of Radio  whose center  depicts the singer Jessica Dragonette, standing atop a globe with an NBC microphone held up by the allegorical figure of Radio.  She is surrounded by skyscrapers, airplanes, zeppelins, and other icons of the age’s technological breakthroughs. If you look closely at the mural, you’ll see that the lines that radiate from her – seemingly rays of light –  are actually made up of music notes. 

This exhibit is on display until September 24th.  However, I urge you to see all three of these shows before the main one closes on August 20th.

The Cooper Hewitt is on Fifth Avenue at 91st Street.