#prague mural illustration | Explore Tumblr Posts and Blogs

mishinashen · 3 years

Photo

Self-Portrait by Alphonse Mucha, 1899

Alfons Maria Mucha (Czech: 24 July 1860 – 14 July 1939), known internationally as Alphonse Mucha, was a Czech painter, illustrator, and graphic artist, living in Paris during the Art Nouveau period, best known for his distinctly stylized and decorative theatrical posters, particularly those of Sarah Bernhardt. He produced illustrations, advertisements, decorative panels, and designs, which became among the best-known images of the period.

In the second part of his career, at the age of 43, he returned to his homeland of Bohemia-Moravia region in Austria and devoted himself to painting a series of twenty monumental canvases known as The Slav Epic, depicting the history of all the Slavic peoples of the world, which he painted between 1912 and 1926. In 1928, on the 10th anniversary of the independence of Czechoslovakia, he presented the series to the Czech nation. He considered it his most important work. It is now on display in Prague.

Alphonse Mucha was born on 24 July 1860 in the small town of Ivančice in southern Moravia, then a province of the Austrian Empire (currently a region of the Czech Republic). His family had a very modest income; his father Ondřej was a court usher, and his mother Amálie was a miller's daughter. Ondřej had six children, all with names starting with A. Alphonse was his first child with Amálie, followed by Anna and Anděla.

Alphonse showed an early talent for drawing; a local merchant impressed by his work provided him with paper for free, though it was considered a luxury. In the preschool period, he drew exclusively with his left hand. He also had a talent for music: he was an alto singer and violin player

After completing volksschule, he wanted to continue with his studies, but his family was not able to fund them, as they were already funding the studies of his three step-siblings] His music teacher sent him to Pavel Křížkovský, choirmaster of St Thomas's Abbey in Brno, to be admitted to the choir and to have his studies funded by the monastery. Křížovský was impressed by his talent, but he was not able to admit and fund him, as he had just admitted another talented young musician, Leoš Janáček.

Křížovský sent him to a choirmaster of the Cathedral of St. Peter and Paul, who admitted him as a chorister and funded his studies at the gymnasium in Brno, where he received his secondary school education. After his voice broke, he gave up his chorister position, but played as a violinist during masses.

He became devoutly religious, and wrote later, "For me, the notions of painting, going to church, and music are so closely knit that often I cannot decide whether I like church for its music, or music for its place in the mystery which it accompanies." He grew up in an environment of intense Czech nationalism in all the arts, from music to literature and painting. He designed flyers and posters for patriotic rallies.

His singing abilities allowed him to continue his musical education at the Gymnázium Brno in the Moravian capital of Brno, but his true ambition was to become an artist. He found some employment designing theatrical scenery and other decorations. In 1878 he applied without success to the Academy of Fine Arts in Prague, but was rejected and advised to "find a different career". In 1880, at the age of 19, he traveled to Vienna, the political and cultural capital of the Empire, and found employment as an apprentice scenery painter for a company which made sets for Vienna theaters. While in Vienna, he discovered the museums, churches, palaces and especially theaters, for which he received free tickets from his employer. He also discovered Hans Makart, a very prominent academic painter, who created murals for many of the palaces and government buildings in Vienna, and was a master of portraits and historical paintings in grand format. His style turned Mucha in that artistic direction and influenced his later work. He also began experimenting with photography, which became an important tool in his later work.

To his misfortune, a terrible fire in 1881 destroyed the Ringtheater, the major client of his firm. Later in 1881, almost without funds, he took a train as far north as his money would take him. He arrived in Mikulov in southern Moravia, and began making portraits, decorative art and lettering for tombstones. His work was appreciated, and he was commissioned by Count Eduard Khuen Belasi, a local landlord and nobleman, to paint a series of murals for his residence at Emmahof Castle, and then at his ancestral home in the Tyrol, Gandegg Castle. The paintings at Emmahof were destroyed by fire in 1948, but his early versions in small format exist (now on display at the museum in Brno). He showed his skill at mythological themes, the female form, and lush vegetal decoration. Belasi, who was also an amateur painter, took Mucha on expeditions to see art in Venice, Florence and Milan, and introduced him to many artists, including the famous Bavarian romantic painter, Wilhelm Kray, who lived in Munich.

Count Belasi decided to bring Mucha to Munich for formal training, and paid his tuition fees and living expenses at the Munich Academy of Fine Arts. He moved there in September 1885. It is not clear how Mucha actually studied at the Munich Academy; there is no record of his being enrolled as a student there. However, he did become friends with a number of notable Slavic artists there, including the Czechs Karel Vítězslav Mašek and Ludek Marold and the Russian Leonid Pasternak, father of the famous poet and novelist Boris Pasternak. He founded a Czech students' club, and contributed political illustrations to nationalist publications in Prague. In 1886 he received a notable commission for a painting of the Czech patron saints Cyril and Methodius, from a group of Czech emigrants, including some of his relatives, who had founded a Roman Catholic church in the town of Pisek, North Dakota. He was very happy with the artistic environment of Munich: he wrote to friends, "Here I am in my new element, painting. I cross all sorts of currents, but without effort, and even with joy. Here, for the first time, I can find the objectives to reach which used to seem inaccessible." However, he found he could not remain forever in Munich; the Bavarian authorities imposed increasing restrictions upon foreign students and residents. Count Belasi suggested that he travel either to Rome or to Paris. With Belasi's financial support, he decided in 1887 to move to Paris.

Mucha moved to Paris in 1888 where he enrolled in the Académie Julian[18] and the following year, 1889, Académie Colarossi. The two schools taught a wide variety of different styles. His first professors at the Academie Julien were Jules Lefebvre who specialized in female nudes and allegorical paintings, and Jean-Paul Laurens, whose specialties were historical and religious paintings in a realistic and dramatic style. At the end of 1889, as he approached the age of thirty, his patron, Count Belasi, decided that Mucha had received enough education and ended his subsidies.

When he arrived in Paris, Mucha found shelter with the help of the large Slavic community. He lived in a boarding house called the Crémerie at 13 rue de la Grande Chaumière, whose owner, Charlotte Caron, was famous for sheltering struggling artists; when needed she accepted paintings or drawings in place of rent. Mucha decided to follow the path of another Czech painter he knew from Munich, Ludek Marold, who had made a successful career as an illustrator for magazines. In 1890 and 1891, he began providing illustrations for the weekly magazine La Vie populaire, which published novels in weekly segments. His illustration for a novel by Guy de Maupassant, called The Useless Beauty, was on the cover of 22 May 1890 edition. He also made illustrations for Le Petit Français Illustré, which published stories for young people in both magazine and book form. For this magazine he provided dramatic scenes of battles and other historic events, including a cover illustration of a scene from the Franco-Prussian War which was on 23 January 1892 edition.

His illustrations began to give him a regular income. He was able to buy a harmonium to continue his musical interests, and his first camera, which used glass-plate negatives. He took pictures of himself and his friends, and also regularly used it to compose his drawings. He became friends with Paul Gauguin, and shared a studio with him for a time when Gauguin returned from Tahiti in the summer of 1893. In late autumn 1894 he also became friends with the playwright August Strindberg, with whom he had a common interest in philosophy and mysticism.

His magazine illustrations led to book illustration; he was commissioned to provide illustrations for Scenes and Episodes of German History by historian Charles Seignobos. Four of his illustrations, including one depicting the death of Frederic Barbarossa, were chosen for display at the 1894 Paris Salon of Artists. He received a medal of honor, his first official recognition.

Mucha added another important client in the early 1890s; the Central Library of Fine Arts, which specialized in the publication of books about art, architecture and the decorative arts. It later launched a new magazine in 1897 called Art et Decoration, which played an early and important role in publicizing the Art Nouveau style. He continued to publish illustrations for his other clients, including illustrating a children's book of poetry by Eugène Manuel, and illustrations for a magazine of the theater arts, called La Costume au théâtre.

#czech art #art noveau

47 notes · View notes

mistysworldboutique · 2 years

Photo

Some 19th Century posters by Czech artist Alphonse Mucha, born in Moravia in 1860. ⁣https://mistysworldboutique.etsy.com ⁣ Mucha loved art, and in 1878 he applied to the Academy of Fine Arts in Prague.🎨 The Academy did not share his enthusiasm. They sent him away with the advice that he find a different career. ⁣ ⁣ Apparently Mucha felt the need to paint something, so he got a job in Vienna as an apprentice scenery painter for theaters.🌲🪴🎭 In 1881 a fire destroyed the Ringtheater, and Mucha then found himself without work.⁣ ⁣ With his last money, Mucha returned to Moravia where he painted portraits. He was discovered there by Count Belasi who needed some murals for his castle.🏰 The count was impressed with Mucha's skill at female forms and mythological themes, and in 1885 he sent Mucha for training at the Munich Academy of Fine Arts. ⁣ ⁣ There's no record of Mucha enrolling there, but whatever he did in Munich, it must have impressed the count who sent him to Paris in 1887 to study some more.⁣ ⁣ On December 26, 1894, French stage actress Sarah Bernhardt contacted Lemercier Publishing Company to have a poster for her play done by January 1. All of their artists were off for the holiday, but Mucha happened to be hanging around. He volunteered, and his poster went on display in Paris on schedule. The public loved it, and so did Bernhardt who gave him a six year contract. Suddenly Mucha was famous.⁣ ⁣ He then produced lots of posters and designs which often featured beautiful, young women in flowing Neoclassical-type robes. His technique was known as Mucha Style but eventually became known as Art Nouveau.⁣ ⁣ He wasn't happy about success through commercial art though, as he thought art should be about spiritual expression. His dream was to illustrate the accomplishments of the Slavic people, and in 1910 he moved to Prague to begin work on The Slav Epic, a cycle of 20 large canvases. He completed it in 1928, considering it his greatest work. ⁣ ⁣ In March, 1939, the German Army entered Prague. As a Slav Nationalist, Mucha was targeted. He was arrested and interrogated for several days before being released. His health was broken and he contracted pneumonia. He died in July of that same year.

#mucha alphonsemucha alfonsmucha artnouveau posterart czechart belleépoque

0 notes

kconne3-blog · 7 years

Text

Comm 3550:Week 4 Blog 3

Prompt: At Teufelsberg this week you will see a huge amount of graffiti. It’s a cultural phenomenon here - highly skilled artists have been allowed to paint the walls of this defunct spy station. Some murals have lasted years, while others are painted over from one week to the next. As Ledingham tells us “Public relations is best defined and practiced as the active attempt to restore and maintain a sense of community.” How is this graffiti a function of community building/maintenance? How might this space be different in the U.S.? Would the owners of this property or the federal government be likely to allow this long-term graffiti haven to continue untouched by anyone who isn’t part o the community. Post a selection of murals to illustrate your post.

At Teufelsburg the artist are allowed to express themselves through their graffiti without the legality worries associated with them decorating other items like train cars. As a result they (or at least many of them) in a way develop a relationship or agreement with the community and government to limit their the locations of their art to where they have been granted permission.

(I think this was probably my favorite piece even though it's fairly simple)

(This piece in a way has an understood not to mess with it protection because it's been there for a while)

There is actually a lot of places similar to this in the USA especially in big cities where graffiti is more prevalent. The only part that may be different is the areas allowed in due to safety regulations. The upper levels of Tefuelsburg would not have met the Building Safety Codes and the government would have probably tried to block them some how.

(A lot of the art was about USA which I thought was kind of funny since we were in Germany)

(And there were a lot of mixed views on how America was portrayed)

I've been to places similar to this in the US, so yeah I think they would probably leave this place untouched for the artist.

(This is Graffiti Alley in Baltimore, an area where the artist are allowed to paint the walls as much has they want)

(This is a photo I took at the John Lennon Wall in Prague. Its another famous spot where the government has reserved space for artist to illustrate on.)

#comm3070 extended

5 notes · View notes

jacobhinkley · 6 years

Text

Bitcoin Graffiti: How the Economic Revolution Has Painted the Streets

As bitcoin and the idea of decentralized technologies continue to disrupt the economy there’s been a new wave of artists that use the cryptocurrency’s symbolism in many different ways. Some of these creators are fairly unknown and use graffiti to describe the revolutionary aspects of bitcoin in the rebellious form of street art.

Also read: Privacy-Centric ‘Bob Wallet’ Adds Bitcoin Cash Support

Over the past few years bitcoin and cryptocurrencies have become popular and last year the technology entered a new phase of attention as a good number of mainstream onlookers finally noticed this economic phenomenon. Most of the evolutionary concepts that have changed the world have always invaded pop culture to a degree and bitcoin is no different as its logo can be seen on clothing items, coffee mugs, while also being represented in paintings and murals. One thing for sure there is a hell of a lot of interesting street art that features bitcoin and other cryptocurrency symbols all around the world as the following examples illustrate.

People say graffiti is ugly, irresponsible and childish… but that’s only if it’s done properly. ― Banksy

‘Bitcoin Bubble‘ Leake Street Graffiti Tunnel, Lambeth, London

‘Fuck the IRS‘ San Francisco, California

Pascal Boyart aka “PBOY,” Paris, France

‘R.I.P Banking System‘ by Ludo, Paris, France

‘Bitcoin Is Future for Your Kids‘ Kiev, Ukraine

‘Wolf of Bitcoin‘ Deep Ellum, Dallas Texas

‘BTC‘ Street Art Tel Aviv, Israel

Czech Finance Minister Andrej Babis, Prague, Czech Republic

Bitcoin Street Art, Elder Place, Brighton, UK

Cryptograffiti Street Art, Various Cities, United States

Bitcoin is an economic renaissance and the infectious spirit behind this technology has leaked into our everyday lives. These street murals are just a small taste of what’s to come. Moreover, if you notice, many of the graffiti-masters shown above have their QR code displayed on the artwork itself and some of these artists have collected thousands from people passing them on the streets.

Cryptocurrencies are changing the lives of many and the streets all around the world can attest to this paradigm shift within some of the messages sprayed in multi-colored arrangements within our concrete jungles.

What do you think about all the street art displayedaround the world? Let us know your thoughts on this subject in the comment section below.

Images collected from the various street artists, Ludo, Cryptograffiti, PBoy, and the many unknown artists.

Prove ownership on the Bitcoin Cash Blockchain for only 0.0005 BCH. Using the Bitcoin.com Notary.

The post Bitcoin Graffiti: How the Economic Revolution Has Painted the Streets appeared first on Bitcoin News.

Bitcoin Graffiti: How the Economic Revolution Has Painted the Streets published first on https://medium.com/@smartoptions

0 notes

bowsetter · 6 years

Text

Bitcoin Graffiti: How the Economic Revolution Has Painted the Streets

Also read: Privacy-Centric ‘Bob Wallet’ Adds Bitcoin Cash Support

People say graffiti is ugly, irresponsible and childish… but that’s only if it’s done properly. ― Banksy

‘Bitcoin Bubble‘ Leake Street Graffiti Tunnel, Lambeth, London

‘Fuck the IRS‘ San Francisco, California

Pascal Boyart aka “PBOY,” Paris, France

‘R.I.P Banking System‘ by Ludo, Paris, France

‘Bitcoin Is Future for Your Kids‘ Kiev, Ukraine

‘Wolf of Bitcoin‘ Deep Ellum, Dallas Texas

‘BTC‘ Street Art Tel Aviv, Israel

Czech Finance Minister Andrej Babis, Prague, Czech Republic

Bitcoin Street Art, Elder Place, Brighton, UK

Cryptograffiti Street Art, Various Cities, United States

What do you think about all the street art displayedaround the world? Let us know your thoughts on this subject in the comment section below.

Images collected from the various street artists, Ludo, Cryptograffiti, PBoy, and the many unknown artists.

Prove ownership on the Bitcoin Cash Blockchain for only 0.0005 BCH. Using the Bitcoin.com Notary.

The post Bitcoin Graffiti: How the Economic Revolution Has Painted the Streets appeared first on Bitcoin News.

More Stories from Pocket

The Reason Why No Photography is Allowed in the Sistine Chapel

14 Lesser-Known Ancient Sites Worth Building a Trip Around

The Long History of How Jesus Came To Resemble a White European

#Ceilings

0 notes

michaelfallcon · 6 years

Text

The Sprudge Guide To Coffee In Prague

Prague is a city of meeting points: east and west, old and new, ornate and understated, meticulously restored and graffitied. The city is small—you can explore most of it in a day. It’s charming, and during prime tourist season, crowded. Prague’s architecture also has a sort of Disney World feel. For that reason, the city’s cafes feel like havens in a storm—they are windows into the everyday Prague—the native city frequented by residents alone.

That’s not to say that the tourist’s Prague isn’t worth a visit. It is. There’s the Astronomical Clock and Tyn Church in Old Town, Wenceslas Square in New Town, and the Charles Bridge on the way to Mala Strana and Prague Castle. They are destinations that make Prague itself. Tyn Church’s high Gothic architecture makes it look like Maleficent’s castle. Wenceslas Square is where Vaclav Havel addressed the people at the end of the Velvet Revolution to welcome the end of Communism. And Prague Castle is not just impressive but also affords some of the best views of the city.

The city doesn’t seem to really wake up until mid-morning, so if you rise a little early, it’s likely you’ll only have to share these spots with a few other people—or possibly with no one but yourself. But be advised, Prague’s late wakeup time also applies to most cafes. Of course, they also tend to stay open later and usually serve beer and wine in addition to coffee.

Speaking of beer, or pivo, it’s cheap, abundant, and really good in Prague. So is gulas (think goulash), knedliky (bread dumplings), and schnitzel. And so, of course, is coffee.

Whatever you’re looking for, this guide will help you navigate Prague’s streets and abundant green spaces in its pursuit at the city’s various cafes.

EMA Espresso Bar

Conveniently located near the city’s main train station, EMA can easily be your entree into Prague’s coffee scene. Owned by roastery Alf&Bet along with two other businesses, including the Cafe Lounge and EMA II, EMA is a bustling cafe that retains a laidback air despite high traffic. Unusually, EMA doesn’t just serve Alf&Bet coffee, but also JB Kaffe, SlowMov, Drop, Candycane, Double Shot, and Gardelli.

A La Marzocco Strada produces two daily espresso options on EMA’s menu. They use a Moccamaster, V60, and AeroPress for drip coffee, and offer a food menu of mostly sandwiches, salads, and baked goods. If you’re craving something else, EMA is just a block away from Manifesto Market.

EMA is certainly known by visitors to the city, but as barista and sensory development coach Anna Markova says, EMA is still a Czech hangout and meeting spot.

EMA Espresso Bar is located at Na Florenci 1420/3, 110 00 Nové Město. Visit their official website and follow them on Facebook and Instagram.

Kavarna Misto

Tucked into the residential part of the Bubenec neighborhood right behind Prague Castle, Misto achieves the intimacy of a Victorian house while still remaining light, bright, and open. Illustrator Katerina Kynclova’s colorful hand-drawn wallpaper and simple Scandi-mod furniture help to open up the private feel of the space.

Misto exclusively serves coffee from its own roastery, Double Shot, which also has four other locations, one of which is in the aforementioned Manifesto Market. They offer batch brew made on a Marco Shuttle Brewer or single cups of coffee made with a rotating selection of brewing methods—Clever, V60, or AeroPress. The bar sports a Kees van der Westen Spirit Triplette. Misto features table service, not unlike many Czech cafes, and offers excellent food, baked goods, and alcohol menus.

Their coffee menu changes constantly, and always includes a featured drink. Ask long-time Double Shot barista and green buyer Ondrej Hurtik what his favorite Irish coffee is at the moment—during a recent visit, it was a concoction of Nikka Japanese whiskey, coconut blossom nectar sugar, and Double Shot’s washed Burundi or Ethiopia espresso. They also serve coffee flights with an accompanying palette quiz!

Kavarna Misto is located at Bubenečská 12, 160 00 Praha 6. Visit their official website and follow them on Facebook, Twitter, and Instagram.

OneSip Coffee

OneSip is delightfully tiny and invites the use of the word “quaint.” Though the cafe owners Adam Gaszczyk and Zdenek Hybl founded their own roastery, Candycane, in 2017, the cafe has continued to use Round Hill Roastery’s coffee in addition to its own. In fact, OneSip was Eddie Twitchett’s first international Round Hill wholesale account. Though small, everything about this cafe has a thoughtful and bespoke feel, from the beverages served to their Acme cups. A Kees van der Westen Mirage Idrocompresso is the focal point of OneSip’s bar—batch brew is made with a FETCO. Baked goods come from Cafe Jen and are accompanied by a selection of Ajala chocolate bars.

Though located in the heart of Old Town, this cafe is on a quiet side street. Looking through its open window, past the bouquet of fresh flowers, you can fool yourself into thinking you’re in a much smaller city than Prague, despite the popular club, a gigantic shopping center, and Old Town Hilton all within walking distance.

OneSip Coffee is located at Haštalská 755 15, 110 00 Praha 1 – Staré město-Staré Město. Visit their official website and follow them on Facebook, Twitter, and Instagram.

Double B

Just between Narodni Muzeum and Namesti Miru sits Double B. A perfect space to chill and do work, this cafe has window seats with tables custom made to suit. Double B is actually a Russian coffee house franchise, with locations in Russia and several countries throughout Europe and the Middle East. While Double B has a couple of locations in Prague, this one is the oldest and is also home to their roastery, which supplies coffee to their cafes and many of their wholesale accounts outside of Russia.

Part-owner and manager Evelyn Beinarovicha says each cafe is designed differently, according to the owner’s taste, but all of them have the same bar. There is no batch brew here, because Beinarovicha, “Likes to prepare every coffee in a special way.” V60, AeroPress, Bonavita, and Lungo are all offered alongside a menu of seasonal drinks made with in-house syrups and flavors. In summer, the cafe has a large outdoor terrace and is always dog-friendly.

Double B is located at Anglická 15, 120 00 Praha 2. Visit their official website and follow them on Facebook and Instagram.

Original Coffee

Nestled in Old Town, just south of the Sex Machines Museum between Charles and Legion Bridge is Original Coffee. A minimalist, sans-serif, Kinfolk-y vibe reminds you of the apartments of those friends (everyone has them) who have Etsy shops and use their apartments to shoot beautiful product photographs.

The walls here are white and display polaroid photos hung on twine with binder clips as well as local artists’ work. Original serves its own roastery’s coffee, which has beautifully nice packaging. Filter coffee comes courtesy of a Moccamaster, AeroPress, Chemex, V60, or French press. Espresso is made on a Fiorenzato Ducale. Homemade lemonades and special hot chocolates are also on the menu, as well as soups, sandwiches, pastries, beer, and wine. Even on the busiest days, Original feels tucked away from the madding crowd.

Original Cafe is located at Betlémská 12, 110 00 Staré Město. Visit their official website and follow them on Facebook, Twitter, and Instagram.

Dos Mundos Cafe

Dos Mundos has a cafe/roastery located near Namesti Miru, as well as a cafe near Stromovka Park, Exhibition Palace, and, fittingly, Coffee Museum Prague. The lattermost cafe has some beautiful graphic design elements, including a black and white wall mural, unique floor tiles, and gold-accented built-in shelves, giving the place a clean design and modern feel. Plus, there are swing seats. Yes, you read that correctly. Some of the seats in the cafe are actually red swings suspended from the ceiling.

The cafe exclusively serves Dos Mundos coffee. Every day it features two filter coffees, both as batch brew made on a Moccamaster and also as V60 and AeroPress. They also offer cold brew made in a drip tower. A San Remo Opera espresso machine fronts the bar. Like many cafes, they also serve beer and wine as well as pastries. The surrounding neighborhood has some excellent examples of Brutalist architecture and just around the corner is Mr. HotDoG, a cheap and great spot for anyone who comes down with a craving for that particularly American cuisine. Dos Mundos is the perfect haven to enjoy a refreshing drink after exploring nearby parks and museums on a hot day.

Dos Mundos Cafe is located at M. Horákové 600/38, 170 00 Praha 7-Holešovice. Visit their official website and follow them on Facebook, Twitter, and Instagram.

Honorable Mentions:

La Boheme Cafe: owned by an American and located near Namesti Miru, the cafe has a shabby chic eclectic vibe and exclusively serves its own coffee, each order of which comes with an information card.

Urban Cafe: walking distance to EMA Espresso Bar, Urban Cafe has a cool design and an industrial feel with a feature wall of plants and neon purple lights. They serve Fjord Coffee from Berlin.

Rachel Grozanick is a freelance journalist based in Portland, Oregon. Grozanick has contributed previously to Bitch Magazine, 90.5 WESA in Pittsburgh, and 90.7 KBOO in Portland. Read more Rachel Grozanick on Sprudge.

The post The Sprudge Guide To Coffee In Prague appeared first on Sprudge.

The Sprudge Guide To Coffee In Prague published first on https://medium.com/@LinLinCoffee

0 notes

epchapman89 · 6 years

Text

The Sprudge Guide To Coffee In Prague

Speaking of beer, or pivo, it’s cheap, abundant, and really good in Prague. So is gulas (think goulash), knedliky (bread dumplings), and schnitzel. And so, of course, is coffee.

Whatever you’re looking for, this guide will help you navigate Prague’s streets and abundant green spaces in its pursuit at the city’s various cafes.

EMA Espresso Bar

EMA is certainly known by visitors to the city, but as barista and sensory development coach Anna Markova says, EMA is still a Czech hangout and meeting spot.

EMA Espresso Bar is located at Na Florenci 1420/3, 110 00 Nové Město. Visit their official website and follow them on Facebook and Instagram.

Kavarna Misto

Kavarna Misto is located at Bubenečská 12, 160 00 Praha 6. Visit their official website and follow them on Facebook, Twitter, and Instagram.

OneSip Coffee

OneSip Coffee is located at Haštalská 755 15, 110 00 Praha 1 – Staré město-Staré Město. Visit their official website and follow them on Facebook, Twitter, and Instagram.

Double B

Double B is located at Anglická 15, 120 00 Praha 2. Visit their official website and follow them on Facebook and Instagram.

Original Coffee

Original Cafe is located at Betlémská 12, 110 00 Staré Město. Visit their official website and follow them on Facebook, Twitter, and Instagram.

Dos Mundos Cafe

Dos Mundos Cafe is located at M. Horákové 600/38, 170 00 Praha 7-Holešovice. Visit their official website and follow them on Facebook, Twitter, and Instagram.

Honorable Mentions:

La Boheme Cafe: owned by an American and located near Namesti Miru, the cafe has a shabby chic eclectic vibe and exclusively serves its own coffee, each order of which comes with an information card.

Urban Cafe: walking distance to EMA Espresso Bar, Urban Cafe has a cool design and an industrial feel with a feature wall of plants and neon purple lights. They serve Fjord Coffee from Berlin.

The post The Sprudge Guide To Coffee In Prague appeared first on Sprudge.

seen 1st on http://sprudge.com

0 notes

mrwilliamcharley · 6 years

Text

The Sprudge Guide To Coffee In Prague

Speaking of beer, or pivo, it’s cheap, abundant, and really good in Prague. So is gulas (think goulash), knedliky (bread dumplings), and schnitzel. And so, of course, is coffee.

Whatever you’re looking for, this guide will help you navigate Prague’s streets and abundant green spaces in its pursuit at the city’s various cafes.

EMA Espresso Bar

EMA is certainly known by visitors to the city, but as barista and sensory development coach Anna Markova says, EMA is still a Czech hangout and meeting spot.

EMA Espresso Bar is located at Na Florenci 1420/3, 110 00 Nové Město. Visit their official website and follow them on Facebook and Instagram.

Kavarna Misto

Kavarna Misto is located at Bubenečská 12, 160 00 Praha 6. Visit their official website and follow them on Facebook, Twitter, and Instagram.

OneSip Coffee

OneSip Coffee is located at Haštalská 755 15, 110 00 Praha 1 – Staré město-Staré Město. Visit their official website and follow them on Facebook, Twitter, and Instagram.

Double B

Double B is located at Anglická 15, 120 00 Praha 2. Visit their official website and follow them on Facebook and Instagram.

Original Coffee

Original Cafe is located at Betlémská 12, 110 00 Staré Město. Visit their official website and follow them on Facebook, Twitter, and Instagram.

Dos Mundos Cafe

Dos Mundos Cafe is located at M. Horákové 600/38, 170 00 Praha 7-Holešovice. Visit their official website and follow them on Facebook, Twitter, and Instagram.

Honorable Mentions:

La Boheme Cafe: owned by an American and located near Namesti Miru, the cafe has a shabby chic eclectic vibe and exclusively serves its own coffee, each order of which comes with an information card.

Urban Cafe: walking distance to EMA Espresso Bar, Urban Cafe has a cool design and an industrial feel with a feature wall of plants and neon purple lights. They serve Fjord Coffee from Berlin.

The post The Sprudge Guide To Coffee In Prague appeared first on Sprudge.

from Sprudge http://bit.ly/2GqiqXM

0 notes

micaramel · 6 years

Link

Artists: Cédric Eisenring, Carol Jackson, Sean Kennedy, Matthieu Manche, Caitlin Mitchell-Dayton, Miriam Laura Leonardi, Flannery Silva

Venue: Bel Ami, Los Angeles

Exhibition Title: Bloom

Co-curated with: Orion Martin

Date: September 20 – October 27, 2018

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Bel Ami, Los Angeles

Press Release:

Bel Ami is pleased to present Bloom, a group show curated in collaboration with Orion Martin.

Four murals act as the backdrop for the show: appropriations of paintings by Michel Majerus, realized through documentation gleaned online and in books, painted directly onto the walls of the space, approximate monumental paintings never seen in person by Martin or Bel Ami. A giant sneaker next to a generically geometric abstract shape tries to replicate a 1997 installation from a group exhibition Majerus participated in at Städtische Galerie Nordhorn.

Opposite from it, Caitlin Mitchell-Dayton’s Bloom, after which the show is named, stands as an equally colossal figure: the portrait of a San Francisco art student circa 2003 rendered in beefy brushstrokes, it encapsulates the era’s perfectly indie style. Feeling as fresh now as fifteen years ago, and transcending its documentarian impulse, the burgeonning identity of the young larger-than-life woman appears almost like an icon, similar to Watteau’s Pierrot, which once possibly hung as a sign in a café (it now hangs in the Louvre). Can the same shoe be attractive to everyone, and forever?

Nearby, Flannery Silva’s Bumper Ballerina sits. Based on a bird cage-like prison with a heart dangling inside, featured in the world of Elisa Design—an online illustrator who Silva purchases digital doll renderings from—Silva’s version is covered in foam tubing that acts as a protective bumper, similar to what you’d see on the bars of a baby’s crib or the handlebars of a child’s bicycle. Hanging inside the cage are two dangling novelty fishing lures shaped like penises. They are positioned to echo a ballerina’s legs en pointe, dangling above a reflective dance floor, mirroring the cage, its content and its surroundings in a circular pool of hot pink.

Sean Kennedy’s paintings on plexiglas circles originate from the designs of NASCAR automobiles, which sport sponsors’ logos as well as more incongruous graphics. Kennedy’s distorted versions render the speedy advertorial as formal autonomy brought to a stand still. While Untitled (2016-2018) is based on a 1980s design promoting BASF’s brief foray into the manufacturing of audio equipment, as suggested by soundwave-like patterns, Untitled (2018) is freed from direct branding references, looking like they are about to start spinning, perhaps like tires, perhaps like Duchamp’s Rotoreliefs.

Two paper mache sculptures by Carol Jackson feature degraded surveillance images found on the Internet, the best contemporary repository of oral culture, showing scenes of wildfires. Looking like their sliced sides open up to a landscape within, they are both alien artifacts in their strangeness and unmistakably human in their sampling of decorative language and their handmade quality. In anticipation of the apocalypse—or has it happened already?—Jackson’s sculptures testify to the banality of disasters, while casting a nearly nostalgic gaze on the deadpan slapstick comedy that is the end of human civilization.

Forever lifeless and fixed in an unclear position—is she paying respect to her patients, or simply curtsying?—Miriam Laura Leonardi’s sculpture Angels of Chaos 4 depicts a nurse, spiked onto the stem of a desiccated plant. Greeting the visitor, its eyes glowing, its face carved by a Swiss carnival mask-maker. The sculptures in the ongoing Angels of Chaos series depart from works of female artists that include a flower in their margins, which Leonardi uses as starting points for her paradoxical assemblages, in which her own expression appears hushed in the same black and white auto-portrait (her gesture copying an unknown Dada artist). The straw on Angels of Chaos 4 refers to the same material sprouting from the top of Meret Oppenheim’s 1962 Primeval Venus.

Almost-stock and found characters also make their way into Cédric Eisenring’s works. A marching band, the purpose of their parade uncertain, appears in Soft Parade, a diptych of etchings made with modified discarded industrial printing plates. Two fairy-tale-like children, originating in a shoe advertisement, but later found on the cover of Simon Finn’s 1970 psychedelic folk album Pass the Distance, faintly head toward the horizon in Still Close Friends, a white-on-white pressed velvet work. The psychedelia in Eisenring’s works, at once gentle and off-putting, draws from various narratives—children’s books to Sci-Fi literature—and is generated through elaborate processes mixing both classical and digital techniques. It is psychedelia both of our fantastic imagination and of the world now, far far away from its ubiquitous sources.

Ubiquity manifests as a riotous mix of real locations and fictional characters in Matthieu Manche’s drawings from his Sekaido series: everybody, everything, everywhere, all the time. Made using the materials and techniques of manga drawing, the black-and-white works on paper juxtapose snapshots from Manche’s travels around the world and elements from characters found in daily life in Tokyo, where Manche lives part-time. Sekaido is the prime art supply store in Tokyo and literally means “the world store.” The entirety of the series, comprised of 768 works divided in 102 subgroups, realized between 2004 and 2016, presents a world populated by the twisted, the contorted, the disfigured: at Bel Ami, a selection of four subgroups of scenes set in Antwerp, Prague, Tokyo and Pondicherry playfully toys with archetypes and tourism, patchworked signs escaping their original intentions.

Majerus died in a plane crash in 2002 at the age of thirty-five, the contents of his laptop lost in the accident.

Link: “Bloom” at Bel Ami

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2Sp515R

#micaramel

0 notes

czechthisshitout · 7 years

Text

Visit to Auschwitz 4.25.17.

*DISCLAIMER* These are my personal opinions and reflections on Auschwitz and thus reflects my own limited knowledge and personal biases.

Another one of the reasons I may have fallen behind on this blog, was my reluctance to write this post. It’s not that I don’t want to share my experience at Auschwitz, I just wasn’t sure how to approach it and wanted to make sure I did so in a respectful way. This post may be a bit more fragmented and less narrative than most of my other posts.

On Tuesday morning, we all woke up early and packed up our stuff at the Hostel in Krakow, so we could meet up with Mike by the bus by 8am. I stole some cheese and bread from the hostel breakfast, because I didn’t want to buy any food on the premises of Auschwitz (we were scheduled to be there from 9:00am to 3:30pm that day). The atmosphere on the bus ride was strange, some people were silent, others were nervously cracking jokes, by the time was got a few miles away, the bus was silent. Auschwitz is on the outskirts of a rather large Polish town, with houses and shopping malls only a few minutes away, which was very rather startling. It makes sense, as there was houses close to Auschwitz which were torn down as Auschwitz was being constructed and the town was already well established by 1930s. I guess it just goes to show that American conceptualize Auschwitz, as somewhere so inhumane and unimaginable, that is must be in some isolate, desolated place. What was even more disconcerting, was the various food and coffee stands that littered the walk to the front entrance and the brightly colored advertisements for sodas and hotdogs, just like those in the more touristy parks of Prague. Again, I recognize the necessity of having food venues, especially for children and the elderly, but the prominence of the consumerism really caught me off guard. I guess, you assume the entire “Auschwitz” experience has to be solemn and devoted to the memorial, and any aspect that seems ‘normal’ or ‘capitalizing’ off the experience, is deeply uncomfortable and disconcerting.

Anyways, we paid at the front gate and met our tour guide after a few minutes of standing right by the entrance. The weather, was decent, partly sunny and high 50s. Our tour guide was a soft spoken, middle aged Polish women, who’s grandfather worked in the Auschwitz workshops, alongside concentration camp inmates, but said never stepped out of time, as he knew him and his entire family could be killed if he did so. Her grandfather’s story really brings up the question of what is the difference between collaboration and coercion.

Everyone in the group got a headset, so we could hear what our tour guide was saying with minimal distraction to the groups, as it was fairly crowded. She was hugely knowledgeable and did a good job of illustrating the suffering of Polish prisoners and the later shift to Jewish suffering, as well the complicity of various groups during the functioning of the camp.

We started in Auschwitz I, the original camp which originally housed Polish prisoners, and had administrative building, the Nazi officers residents, the barrack, and the more ‘museum’ part of the compound. We had an intensive three hour tour, during which I saw

-The ‘main square’ in which role call was performed twice a day on the inmates, and the inmates often had to spend hours in terrible conditions and undergoing abuse from the officers.

-A massive room filled with thousands and thousands of pounds of hair, which had been forcibly been shaved by officers as women entered the camp. It was mounds upon mounds of hair, some of it beautiful braided.

-Rows and rows of camp inmate photos, taken in 1941 and 1942, before the volume became too vast, and the Nazi switched to tattooing numbers on the inmates arms. Its terrifying how thin and haunted looking some of them already were when they had the photos taken.

-Huge piles upon piles of luggage with the owner’s last names handwritten on them. The victims were asked to do this as they were being transported to the camp.

-Piles and piles of tea kettles, you could tell that many of them had were worn and well loved.

-A memorial to the children inmates, many of whom were only eight or nine years old.

-The original crematorium and gas chamber, which had functioned until early 1944 when three larger crematoriums were built at Birkenau. It was claustrophobic and dark, and I’m glad we only spent a short amount of time there.

-Terrible terrible pictures of the inmates who survived medical experiments by the Nazis doctors, many of them children.

-The inmate prison, where political and other non-Jewish inmates were held for punishment or before being killed by firing squad if they had rebelled or ‘misbehaved’ in any other way in the camp.

-A memorial to/exhibit on the Romani victims of the Holocaust. It was illuminating and disturbing to learn the many ways the Romani were treated just like the Jews. You could also tell that the exhibit had a lot less funding than other exhibitions, reflecting the negative cultural attitudes to the Romani people that continue until this day.

-A room filled with artist recreations of the few drawing from child prisoners which have survived. That was a particularly hard room to walk through.

In general, I was surprised by the emphasis on the non-Jewish, Polish inmates and the harsh conditions they had to endure, again its somewhat makes sense as Auschwitz is in Poland and was originally a camp for Polish prisoners, but the American narrative is that of Jewish suffering.This emphasis is also somewhat political in nature, as Auschwitz serves as an excellent way for the Polish to uphold a victimization narrative and distance themselves from any charges of complicity. I hate the fact that Auschwitz is used for political purposes and to possibly uphold over simplified narratives about the Holocaust. I know its inevitable and all memorials are in someway political, but there was so much suffering, so much death on such an unimaginable scale, I just want it to remain apolitical. I want it to honors both those who lost their life and those who suffered, and to educate future generations, I want it to retain some kind of ‘purity of purpose’ I suppose.

We had thirty minutes for lunch, I went back the bus and eat my bread and cheese before swinging by the bookshop and purchasing a two books, one a testimonial of one of the Nazi doctor’s assistants and the other about art the prisoners managed to make in the camp. At the end of the break we piled back into the bus and headed to Birkenau, the later, larger camp, where most of the exterminations happened. We went to the entrance/guard tower and the tour guide gave us a quick history lesson before thanks us and parting ways. For the afternoon, we were freed to explore Birkenau in our own way, at our own rate.

The first thing that struck me was just how huge Birkenau, most of the barracks are gone, the material being reused in the Post-war period, but the rows of their foundations just stretch on, row after row, there is dozens, if not hundreds of rows. What is even more sickening, is than 75% of the (predominantly Jewish) prisoners who arrived at Birkenau went died in the gas chambers within the first few days after their arrival, many never even used the barracks that splayed before me.

At Birkenau you get this nearly suffocating sense of ‘nothingness’, its not the visceral sadness I felt from many of the personal artifacts in Auschwitz I. There is no human elements there, just the skeletons of the buildings. Many of the victims that there died, weren’t just killed, they were erased, their belonging stripped from them, their bodies destroyed, many didn’t live long enough to leave any mark or reminder of their presence. So many people died in Birkenau, in such as an efficient, clinical way, the human mind can’t comprehend it. The scope is so massive, any individual can only dip their toe into the ocean worth of suffering that was the horror of the Holocaust.

We had about two hours to ‘experience’ Birkenau, I saw:

-A ‘children’s barrack, with a few murals made for children and which highlighted just how inhumane the conditions of the barracks were.

-The train line extension that dropped off the prisoners, and where they were sorted as being ‘fit’ or ‘unfit’ by Dr. Mengele. Those who were fit to work were sent to the barracks, those ‘unfit’ sent to the gas chambers. Women, children and those over 40 were most often deemed unfit.

-The ruins of the three gas chambers, which the Nazi blew up in the last weeks of the war, in an attempt to cover up their tracks, and where you can still see the steps the victims descended as they entered the building.

-The building were the all incoming prisoner were processed, registered and stripped of their belonging before being forcible shaved and showered. It was one of the few buildings intact, with large pictures on the walls of Jews waiting to be processed and the Nazi offers ‘registering’ them. When I walked through the building I was the only person within the building, the rooms were freezing and it just felt incredibly suffocating and ominous. It was one place in Birkenau were you really felt a ‘reminder’ of the victims who suffered here.

One of the weirdest things was just how ‘pretty’ it was parts of Birkenau were. The back of the camp is a wooded area with small paths between the various buildings, it was a sunny afternoon, you could hear bird song, it was *pleasant.* Not a word you would ever wanted to associate with Auschwitz. You almost feel guilty, enjoying the natural beauty where so much suffering occurred. We like to believe that beauty and suffering are two separate experiences, and its uncomfortable whenever they simultaneously occur.

I was nearly late headed back, we were supposed to be back at the bus by 3:30pm and at 3pm, I found myself on the far side of the camp, so I quickly had to cover the 2-3 mile walk back. Part of the walk involved walking back through the barracks on a rough uneven path with a tall fence on each side. It was only as I was halfway through this portion did I remember this was one of the major paths victims look from the train platform to the gas chambers. Except I was walking in the opposite direction, from the crematorium back to the entrance, it really hits you that you have this simple freedom that hundreds of thousands of victims did not. A mixture of guilt-tinted relief and dread descended over me, and I visibly sped up when I neared the main walkway. I was able to catch up with Francesca, Maddy and Mike as they were nearing the guard tower/entrance, and we were the last people back to the bus.

I was exhausted, both physically and emotionally. No to be too hyperbolic, but I can think of few instances where I was more exhausted than the bus ride back to Prague that late afternoon and evening.

#ramblings

0 notes

iofferwith-blog · 8 years

Text

MoMA century of the child - growing by design, 1900-2000 exhibition

New Post has been published on http://iofferwith.xyz/moma-century-of-the-child-growing-by-design-1900-2000-exhibition/

MoMA century of the child - growing by design, 1900-2000 exhibition

hans brockhage (german, 1925–2009) and erwin andrä (german, dates unknown) schaukelwagon (rocking car), 1950 beech frame and birch plywood seat 15 3/4 x 39 3/8 x 14 15/16″ (40 x 100 x 38 cm) the museum of modern art, new york architecture and design purchase fund

century of the child: growing by design, 1900-2000 the museum of modern art, new york july 29th to november 5th, 2012

‘century of the child: growing by design, 1900-2000’ is the first major overview of the subject of childhood as a means for modern design thinking in the 20th century. more than 500 items on display are on loan from both individuals and institutions within the U.S. and abroad, bringing together a vast archive of pieces which include small objects, toys and games, health and therapeutic products, furniture, books to public spaces such as school architecture and playgrounds.

the show draws its references from swedish reformer and social theorist ellen key’s manifesto ‘century of the child’ which presents the ‘universal rights and well-being of children as the defining mission of the century to come.’ using this as her backbone, curator juliet kinchin surveys the 20th century, presenting both individual and collective visions of a child’s material world, from utopian dreams for the ‘citizens of the future’, to more realistic approaches which address the darker realities of life and having to deal with politics, conflict and exploitation.

organized into seven chronological sections: new century, new child, new art; avant-garde playtime; light, air, health; children and the body politic; regeneration; power play; and, designer better worlds; a range of different concepts are presented revolving around the tangible and more physical aspects of children’s design – type, material, scale, and geographical representation.

‘century of the child…’ is illustrated by key pieces from the history of design like isamu noguchi’s designs for play equipment; pieces by charles rennie mackintosh, marcel breuer, alvar alto; alma siedhoff’ buscher’s bauhaus nursery furniture; a high chair by gerrit rietveld; poster and book illustrations by el lissitzky; and roald dahl’s ‘the gremlins’, rounding out with the products of today like the ‘XO laptop from the one laptop per child program’, etch-a-sketch, LEGO building blocks, as well as the slinky.

gerrit rietveld (dutch, 1888–1964) child’s wheelbarrow, 1923 (manufactured 1958) painted wood 12 1/2 x 11 3/8 x 33 1/2″ (31.8 x 28.9 x 85.1 cm) manufactured by gerard van de groenekan the museum of modern art, new york gift of jo carole and ronald s. lauder © 2012 artists rights society (ARS), new york / beeldrecht, amsterdam

designboom posed a few questions to curator juliet kinchin about the exhibition itself and what her favourite toy was as a child:

designboom: how have the thematic categories represented in the exhibition been determined? juliet kinchin: the sections are arranged broadly chronologically and the thematic focus within each reflects shifting ideas of both the modern in design and modern concepts of childhood. we tried to focus on particular centers, individuals, ideas where there was a confluence of children and new ways of thinking about design, innovation, and the future shape of society.

jean prouvé (french, 1901–1984) school desk, 1946 enameled steel and oak 28 1/2 x 45 x 34″ (72.4 x 114.3 x 86.4 cm) manufactured by ateliers jean prouvé, nancy the museum of modern art, new york dorothy cullman purchase fund

john rideout (american, 1898 – 1951) and harold van doren (american, 1895-1957) skippy-racer scooter, c. 1933 steel, paint, wood, rubber 31 3/4″ x 43 3/16″ x 6 1/2″ (80.65 x 109.7 x 16.51 cm) minneapolis institute of arts gift of funds from don and diana lee lucker

designboom: what are some of the key insights you gained on children’s design while curating ‘century of the child…’?

juliet kinchin: i think the best design is that which is flexible, stimulating, and leaves room for open-ended, playful interaction. these qualities are not just good for children, but benefit us all.

graf zeppelin toy dirigible, c. 1930 iron alloy, aluminum, enamel paint, and decals 7 ¼” x 25″ (18.4 x 63.5 cm) manufacture attributed to J.C. penney co., inc., plano, texas minneapolis institute of arts the modernism collection, gift of norwest bank minnesota

holdrakèta and original box, c. 1960 tin, box: 24″ x 6″ (61 x 15.2 cm) manufactured by lemezaru gyar, budapest (est. 1950) collection of joan wadleigh curran, philadelphia

ford convertible toy car with original box, c. 1956 tinplate and various materials car: 3 7/8″ x 5 1/8″ x 13 1/4″ (9.8 x 13 x 33.7 cm), manufactured by marusan shoten ltd., tokyo (est. 1947), subaru 360 toy car with original box, c. 1963, tinplate car: 3 3/8 x 3 3/8 x 7 7/8″ (8.6 x 8.6 x 20 cm), manufactured by bandai, tokyo (est. 1950), bruce sterling collection, new york

designboom: how have political and social circumstances influenced the development of toys and architectural spaces for children?

juliet kinchin: all design functions within larger political as well as aesthetic, intellectual and economic contexts, and therefore bears the imprint of the values we prioritize, our sense of national identity, and changing attitudes to the relationship between adults and children, to differences between boys and girls. children have great emotional pulling power that has been exploited in advertising and propaganda throughout the 20th century. because children are the physical embodiment of the future, any designer intent on shaping a future vision must bear them in mind.

omnibot 2000 remote-controlled robot, c. 1985 various materials 24″ x 15″ x 14″ (61 x 38.1 x 35.6 cm) manufactured by tomy (formerly tomiyama), katsushika, tokyo space age museum/kleeman family collection, litchfield, connecticut

renate müller (german, born 1945) indoor play area, 1985 jute, leather, wood, play area: 3 x 8 x 5″ (7.6 x 20.3 x 12.7 cm) largest puppet: 12″ (30.5 cm) collection of zesty meyers and evan snyderman / R 20th century

designboom: who played an important role in shaping the existing material world of children?

juliet kinchin: adults of one description or another, although recently children have begun to participate more proactively in the design process. at points throughout the twentieth century designers have joined forces with social reformers, educational and medical specialists, government agencies, child psychologists, parent associations–to shape the material world of children.

ladislav sutnar (american, born bohemia [now czech republic]. 1897–1976) build the town building blocks, 1940–43 painted wood thirty pieces of various dimensions largest smokestack: 7 3/8 x 2″ (18.7 x 5.1 cm) the museum of modern art, new york gift of ctislav sutnar and radoslav sutnar

teaching materials commissioned by maria montessori, 1920s wood dimensions vary manufactured by baroni e marangon, gonzaga, italy (est. 1911) collection of maurizio marzadori , bologna

designboom: how has the world view of a child influenced that of adult psychology?

juliet kinchin: in vienna at the beginning of the 20th century sigmund freud revolutionized our understanding of early childhood development and experience within the adult psyche. the concept of an “inner child” is here to stay.

joaquín torres-garcía (uruguayan, 1874–1949) three figures, c. 1925 painted wood, twelve interchangeable pieces dimensions vary daniela chappard foundation © 2012 artists rights society (ARS), new york / vegap, spain

minka podhájská (czechoslovak, born moravia [now czech republic], 1881–1963) series of personifications of childhood misdeeds, 1930 painted wood dimensions vary, largest: 5 1/8″(13 cm) tall museum of decorative arts, prague

helen + hard as (norwegian, established 1996) siv helene stangeland (norwegian, born 1966) and reinhard kropf (austrian, born 1967) geopark, stavanger, norway, 2011 photograph by emile ashley courtesy of the architects designboom: there is the saying, ‘think like a child’, but in a world directed by adults, how does their perception affect the environment and objects designed for the young?

juliet kinchin: children exert tremendous economic power as consumers, and manufacturers and designers are increasingly attentive to their needs and desires, or at least to how to manipulate them. but areas like comics, film animation, video games–initially targeted at children–show how child-appeal in design can also hook an adult audience. children encourage designers to think in terms of design that is flexible, robust, simple and imaginatively stimulating; such qualities, by extension, benefit us all.

antonio rubino (italian, 1880–1964) il bimbo cattivo (the bad child) bedroom panel, c. 1924 tempera on canvas 6′ 1 1/4″ x 65 3/4″ x 9/16″ (186 x 167 x 1.5 cm) wolfsoniana – fondazione regionale per la cultura e lo spettacolo, genoa

unknown italian designer gioco delle 3 oche (game of the 3 geese), c. 1944 12 ½ x 22 ½” (31.8 x 57.2 cm) the wolfsonian-florida international university, miami beach, the mitchell wolfson, jr. collection

designboom: what toy were you most fond of growing-up?

juliet kinchin: I adored my spirograph.

lucienne bloch (american, b. switzerland, 1909-1999) the cycle of a woman’s life study for a mural commissioned by federal art project works progress administration, for the house of detention for women, greenwich village, new york, 1935 water and pencil on board, 11 ¾” x 17 ¼” (29.8 x 43.8 cm) the wolfsonian-florida international university, miami beach, the mitchell wolfson, jr. collection

출처: 디자인붐

0 notes