The Modus House is a statuesque design that's simultaneously sleek, bold and understated. With a parti based on simple geometric lines, it's a unified concept of creative physicality that should function well as a purposeful building or as an architecture-inspired interdisciplinary work of art.
I have never known a time in my life when I wasn't an artist. My first writing was published (a poem) when I was 17, and I made a clay sculpture that was exhibited when I was 16. I was around 12 or 13 when I started designing cars and boats, and I think I was in the 4th or 5th grade when I drew a [scaled] design of a building. I taught my first art class at the Boys Club when I was around 15. However, in the entire 12 years of my public education I did not have one single African-American male teacher of any subject.
Earlier this year I conduced a feature podcast with Ruth Ericson, a curator at the Institute of Contemporary Art (ICA) about the epic Black Mountain College (BMC) exhibition she worked on under the direction of Helen Molesworth, who spearheaded the touring exhibition and presentation. In Part Three of our conversation Ericson and I first talk about pottery at BMC, and about Ruth Asawa’s prolific body of work created while at BMC. In conclusion, we talked about the African-Americans involved with BMC, including Jacob Lawrence.
Peter Voulkos, Rocking Pot, 1956, stoneware with colemanite wash, 13 5⁄8 x 21 x 17 1⁄2 inches. Smithsonian American Art Museum. Gift of the James Renwick Alliance and various donors and museum purchase © Voulkos Family Trust
In the broadest sense, the power of sympathy is beyond measure. Unfortunately, however, in the Western world the word sympathy often gets conflated with self-pity. From a blog post at Dictionary.com: Nowadays sympathy is largely used to convey commiseration, pity, or feelings of sorrow for someone who is experiencing misfortune. For me the term has very little, if anything, to do with commiseration. It's really about affinity. Click image to read more and see more images.
Until 1967 less than “a dozen museum exhibitions had featured the work of African American artists,” and though things have slowly gotten better for Black artists, it didn’t happen by magic. It happened because African-American artists were courageous enough to take to the streets and demand change! So I’m calling on African American Artists of a Certain Status to do the right thing and speak out forcefully against homelessness and the social acceptability of poverty, the ongoing [extrajudicial] killings of African-Americans, the school-to-prison pipeline, the slave-like conditions of the federal penitentiary and all other forms of “Jim Crow 2.0.”
In blurring the lines between art and object, how many legs does a table require? And if weight and tension can be used to generate support, what shape and form might those legs take on?
Maximizing minimalism by turning basic elements into something beautiful, intense and extreme.
"Lounge Decor" chaise lounge and "Octagon Lamp" are original artistic designs by Max Eternity. Conceptually, the idea for these works is an elegant repose for the human form held solid and with ease - a bold and enduring sophistication for the modern age.
There’s no shortage of unique and interesting homes in San Francisco, but at least one street in the city has more than its fair share, and it’s called Laidley Street. Built by Ross Levy Architects, the Abelson Gunthrie House truly represents modernist residential design on a grand scale. (Editor's Note: This article was originally written and published for MaxEternity.com in December 2013)