#samuel cashwan

[woodelf68]

From 1969 - 1989, this cast terrazzo hippo sculpture stood outside the entrance of the Hudson's department store in Oakland Mall in Troy, Michigan. The work of Russian-born artist Samuel Cashwan, and cast by Italian immigrant Aldo Bernardi, the sculpture entitled Sleeping Hippo was a replica of another that had been in Northland Mall since 1954. In 1989, the Dayton Hudson Co. donated the sculpture to the Detroit Zoo, where it stands outside the front gates to welcome visitors to this day and charm new generations of children, having benefited from some restoration work in 2012 to fill in cracks that had developed over the years. (source)

For @nostalgiamonth

[detroitlib]

View of statue of a woman representing Spring, on the south lawn of the Detroit Institute of Arts. Sculpture by Samuel Cashwan.

Outdoor civic memorials and memorial and historical tablets located in the city of Detroit, 1939, City Plan Commission, 718 D484o

Courtesy of the Burton Historical Collection, Detroit Public Library

[thebowerypresents]

Daughters Let Loose on Brooklyn Steel on Thursday Night

Daughters – Brooklyn Steel – December 19, 2019

This week, I’ve seen footage of the snow squall rolling onto the island of Manhattan filmed from a number of different angles. Maybe because the night was so cold, when Daughters took the stage at Brooklyn Steel on Thursday, I thought of that enormous, hungry mass of freezing air, swallowing suddenly and totally. The Providence, R.I., band’s music descends like a curtain, overwhelming and irresistible with crushing guitars and relentless drums. Vocalist Alexis Marshall has fronted death-metal acts before, but the nihilistic barks of tracks like openers “The Reason They Hate Me” and “The Lords Song,” managed to make something even bleaker of his clean shouts fronting Daughters. Where Show Me the Body’s Julian Cashwan-Pratt, prowling the stage like an animal readying to kill in his trademark gray sweat suit and red glasses, was all rage and defiance during the band’s opening set (“First one to the stage gets a free T-shirt,” he sneered), Daughters were the cold.

The photographer Neal Boenzi was known for his ability to turn New York city into anything without making it look like anywhere else, maybe most famously for a certain picture, taken from the Empire State Building in the 1966 smog. In it, the city looks dead, more like a warning of a future Armageddon than an obscure day in the past. Behind Daughters at Brooklyn Steel, the artwork for their latest release, 2018’s You Won’t Get What You Want, (something like a skull, but even more vacant, maybe after centuries of desiccation) loomed over the band and the writhing crowd. As they played, guitarist Nicholas Sadler’s lead lines spread their tendrils, annexing a steely empire of bitterness, inch by inch. At that moment, the city must have looked similar: empty skyscrapers knifing the sky, but losing the war, being dragged under an icy veil. —Adlan Jackson | @AdlanKJ

Photos courtesy of Brian C. Reilly | www.briancreilly.com

[detroitlib]

View of statue of a woman representing Spring, on the south lawn of the Detroit Institute of Arts. Sculpture by Samuel Cashwan.

Courtesy of the Burton Historical Collection, Detroit Public Library