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Wilhelm Weimar, Flowers, around 1900. MKG Hamburg. Public Domain

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Visit my new blog: https://design-is-fine.org

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Derek Ridgers, The London Youth Portraits. Read more: Museum of Youth Culture

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Gio Ponti

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Joanne Leonard, Memo Center with Wall Plaque, c. 1975.

"Joanne Leonard has described her narrative-rich scenes of everyday life as “intimate documentary.” She was part of a wave of photographers who examined the social landscape of domestic spaces in the 1970s. The feminist artist recorded parts of the home that were traditionally associated with women and often overlooked. Her goal was “to make everyday life of women a subject of some importance.”

Dotted curtains, a flowered light switch plate, and a humorous wall plaque add a personal touch to this carefully framed picture of a so-called memo center—an area near a wall phone where notes could be jotted down that was popular in 1970s homes. The plaque reads “My house is clean enough to be healthy, and dirty enough to be happy.”"

Exhibition NGA , Gelatin silver print, Gift of the Artist in honor of her daughter, Julia Marjorie Leonard, 2020.117.16

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Marcia Resnick, She always read the endings of books before the beginnings., 1978.

"A traumatic car accident motivated Marcia Resnick to turn her camera inward. In her series Re-Visions, Resnick staged photographs to explore, with humor and irony, memories of her adolescence. She used models to reenact her imagined youth, blurring the lines between truth and fiction.

In She always read the endings of books before the beginnings., hands with polished fingernails hold down the final pages of Charles Dickens’s A Tale of Two Cities. The right index finger underscores the words “The end.” In another photograph, a woman stands on her head with a book in front of her. The viewer is left to ponder the gap between Resnick’s real childhood and her imagination. In turn, we also consider the accuracy of memory and how photography constructs it." Exhibition NGA

Gelatin silver print, Robert B. Menschel and the Vital Projects Fund, 2014.178.1

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Wilhelm Weimar, Maiglöckchen - Lily of the Valley, 1898. MKG Hamburg. Public Domain

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Paul Klee, Gesetz/Law, 1938

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Dior Dress, 1951.

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a pavilion

AZ. 401.1 We had developed an exhibition system for Braun that allowed them to travel from trade fair to trade fair with the same elements and still adapt to different spatial conditions. We wanted to move away from the architectural stands that were nailed together from chipboard and hardboard and then incinerated after a single use. The exhibition system is still in use today, almost forty years later. Only at the Frankfurt trade fair was a permanent stand to be built, an exhibition pavilion in the outdoor area. We basically used the same elements for this as for the flexible system. A roof rests on narrow square supports. Glass all around. The partition walls are semi-transparent blinds. Less is more. Almost nothing. Everything takes a back seat in favour of the objects on display. We kept it natural; nature loves to produce an optimum with a minimum of effort. To do this, it uses more geometry and statics than material, it does without colours except for situations where it wants to set signals. – Otl Aicher

hfg ulm

Photo: freestanding pavilion of the electrical appliance manufacturer Braun on the grounds of the Frankfurt exhibition centre, 1959. Sensationally innovative at the time.

Source hfg ulm archiv

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Content and goal of all design is invention and discovery – instead of application.

Josef Albers

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Hansi Müller Schorp, Crockery graphic / Geschirrgraphik, 1974. Via MK&G. More beautiful objects: www.design-is-fine.org

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Marcello Nizzoli, Olivetti typewriter. New exhibition MKG Hamburg, Hello Image, The Staging of Things, starting April 4

More beautiful objects: www.design-is-fine.org

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Wanda Wulz, Io + Gatto (self-portrait), 1932. Italy. One of the most famous double exposures in the history of photography, she combined her cat Pippo with her own image. Via WestLicht

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Erich Dieckmann (attr.), armchair, 1931. Germany. Quittenbaum

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Typewriter designed in 1935 by Figini & Pollini. Source 

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Marcel Breuer, stackable plywood chair and sketch, 1935. Made by Isokon, London. Via Marcel Breuer Archive