Thursday, August 14, 2008

LOIS MALONE 1929 - 2008


My friend Lois Malone passed away this morning at 2:45 a.m. She was 79 years old.

The story of Lois is not every woman’s story but it seems to start that way. She was precocious and her unconventional beauty was joined to a simple, almost austere style unpopular at the time.

Lois preoccupation with world affairs led her to an extraordinary life of world travel, including brushes with fame and infamy. She left home at eighteen for a career in the U.S. foreign service that included stints in Panama, Karachi, Cairo, Beirut, Cannes, Washington and more.

Early in her career her wit, charm and beauty served government interests very well as she gathered intelligence at cocktail parties from South America to the Riviera. Scions of industry, senators, ambassadors and rock stars all succumbed to her warmth and charisma.

After retirement she formed a consulting group with her second husband, Joe Malone. Their clients were usually corporate and banking executives seeking entree into middle eastern affairs.
But staid Wall Street types weren't the only types who appreciated her contacts and skills.
She arranged for the Grateful Dead to perform at the Son et Lumiere Theatre at the pyramids near Cairo which sealed a life long friendship with the band members.
XXXX
The Dead called her "Nursey" because of the way Lois looked after them. The band knew they were always welcome in Lois' Georgetown home and spent a number of Thanksgiving dinners there.
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I recorded ten hours of video interviews with Lois three years ago and it's my hope to be able to produce a biopic on her life.
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I'll miss her.
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Lois' Washington Post Obit:
Lois H. Malone, nee Fleischhacker, 79, died Thursday morning, August 14, 2008 at her home in St. Paul, Minnesota, of complications from pulmonary vascular disease.
Mrs. Malone lived and worked in Washington for several decades of her eclectic career. An art critic and businesswoman, as well as a translator and editor, Lois Malone served in the United States Foreign Service in several Latin American countries as well as in the Far East before joining the U.S. Senate Foreign Relations Committee.
Born in St. Paul, Mrs. Malone attended St. Josephs Academy and continued her education at the American University of Beirut and at Georgetown University, in Washington, D.C.
Mrs. Malone left Minnesota for the first time to serve in the U.S. Embassy in Panama, and then served posts in Buenos Aires, and Karachi, Pakistan. She remained in the U.S. Foreign Service for almost eight years, and left to join the staff of the U.S. Senate Committee on Foreign Relations, chaired by Senator Theodore F. Green.
In 1959, Mrs. Malone moved to Cannes, France, where she resided for four years and honed her cooking skills with Julia Child and Simone Beck. During her time in France, she developed her interests in the visual arts and learned French, her third language.
Eventually, her culinary expertise would lead her to the position of Executive Chef at the Immigration & Naturalization Service, where she cooked for dignitaries visiting from all corners of the world.
But it was her proficiency in languages and culture that led to her career as an editor and translator of articles and research papers written in French and English. She moved to Beirut in 1963, and would remain in Lebanon for the next decade.
She was the art critic for the English-language daily the Daily Star in Beirut, and would later become an art critic for several American publications, including the Manhattan (Kansas) Mercury.
In 1974 she began a career as a consultant for corporations and organizations working in the Middle East, and founded Middle East Research Associates, whose roster of clients would include an improbable range from Aramco to Martin Marietta to the Grateful Dead.
The rock band would credit Mrs. Malone as being the key player in arranging and producing a seminal concert series at the pyramids in Giza, Egypt.
Mrs. Malone is survived by her three children: her son Sean Harris, of Washington D.C., and her daughters Nicole Harris and Gaye Harris Correl (Stephen), by three grandchildren: Hailas Baatsch, Aisha Casas and Julius Correl, all of Portland. She is also survived by sisters Carole Basil, of Plymouth, Minnesota, and Judith Morrison, and her brother Thomas Fleischhacker, both of St. Paul. Interment services are private, but a Celebration of Life will be held at a later date.
In lieu of flowers, memorials may be made to Mrs. Malone‘s favorite charity, Sounds of Hope, Ltd., 253 East Fourth Street, Suite 205, Saint Paul, MN 55101. Interment services are private, but a Celebration of Life will be held at a later date. In lieu of flowers, memorials may be made to Mrs. Malone's favorite charity, Sounds of Hope, Ltd., 253 East Fourth Street, Suite 205, Saint Paul, MN 55101.

Thursday, April 24, 2008

Martinet: Costumes from French Opera and Theatre 1790

Detail of Plate #1169 Diable

I met with a great gentleman to talk about cataloguing his collection of manuscripts, ephemera and books. He brought along a recent acquisition and I scanned a selection of these 18th century, hand colored engravings. It's just a remarkable set. They are meticulously and vibrantly water colored illustrations of costumes from the French theatre. This volume has over 100 but the original 11 volume set had well over 1500. The other amazing aspect is that they are all portraits of the actors who played the roles. Some images are "clickable" -- they enlarge to full size.
Petite Galerie Dramatique, ou Recueil de différentes Costumes d'Acteurs des Théatres de la Capitale [Small dramatic gallery, or Collection of various actors' costumes from the theatres of the capital], vol. 6. Paris: Martinet, 1790



#1169 Diable




#1579 Caroline


#1325 Mathea


#1317 Lise


#1338 Francine

Detail of #1338 Francine






Thursday, February 07, 2008

Great Houses of Chicago, Mrs. Huxtable's "Terroir" & Financial Times Montage

This post has three subjects that have a random, subtle relationship. I didn't plan it but they share ideas about the sense of place that surrounds a design.

The first is an extended review of a great and heavy new book about rich people's houses in Chicago. My review was originally published on the Society of Architectural Historians Chicago Chapter Blog - this version is more personal and wanders a bit.

The second is simply a recommendation that you buy the Wall Street Journal if for no other reason than to get Mrs. Huxtable's occasional essay - especially her recent exploration of context vs. destination and spectacle architecture.
The third subject is an image - the Financial Times widespread campaign that uproots all the world's major modern banks and trading structures (some imagined, I suppose) and plops them on an island.


Great Houses of Chicago 1871-1921

Susan Benjamin and Stuart Cohen

Foreword by Franz Schulze and Arthur H. Miller

9 x 12 inches, 334 pages, ISBN: 978-0-926464-39-8 •

$75.00 Acanthus Press


Synopsis: An essential reference tool for Chicago architecture, interior design, decorative art and history libraries.

SAH and Chicago Chapter members Susan Benjamin and Stuart Cohen have produced the most comprehensive overview on Chicago’s mansions, castles and residential fortresses.

This outstanding volume balances diverse sources and matches the pantheon of architects with those early patrons - the pioneers, nouveau riche and old eastern money. Nearly 350 sepia toned photographs, drawings, and floor plans are breathtaking in scope and detail. The visual content effectively evokes the muffled footsteps of parlor maids and rebukes by gruff railroad barons.

Rare figures of inhabitants intervene only occasionally; a child on a tricycle, Mr. Eliphalet Blatchford in his library but mostly the human presence consists of portraits above highly embellished fireplaces. The majority of these pictures were taken as silent documents of wealth and expressions of erudition but they evoke a surprisingly shaky, unconfident sense of style.

Even so, readers will derive a clear sense of each family’s private aesthetic and public facade. Interior design and decorative arts are as compelling as the structures. Paintings, sculpture, textiles, carvings, animal skins, all manner of souvenirs from grand tours and chotzkes galore - are piled in impeccable abandon.

It's tempting to search for the very few objects that found their way to the Art Insitute's collection.

The Editorial content is superb in providing the ontology of Chicago’s residential style, social context, family history and the sources of wealth.

Great Chicago Houses is also peppered with aridly amusing anecdotes. It makes a surprisingly entertaining read.

I was especially touched by the 1903 Julius Rosenwald House by Nimmons & Fellows and the authors' treatment. The book’s testimony to one of the greatest of Chicago’s early entrepreneurs and philanthropists is gracious and the house itself is uncomplicated but beautifully designed.

The strange sadness that pervade the book - especially for a lifelong Chicagoan - is linked with the number of demolished structures. I've been thinking about this a lot lately. These captains of industry built these palazzo's on the prairie to last. The quality of workmanship and materials was meant to echo the european structures that they saw on their trips. It was one of their frequent and futile, strikes at immortality. I wonder if they imagined that their children would inhabit the houses after them, shuddering from the capitalistic ghosts of their patriarchs or if they thought there would be tremendous competition to acquire their peculiar ornate newel posts (done - but in salvage yards).

For the great majority - their ghosts left with a wrecking ball within fifty or sixty years! They built with a sense of permanence and luxury that would institutionalize their memories but technology, location and that wierd, short cycle - 30 years after construction - when vernacular architecure becomes distasteful - killed a lot of them.

Chicago's growth continues -- inevitable, consistent and totally unrepentant in ravaging the past.

One note for the 2nd edition: while some photo dates are available in the Illustration Credits, label dates or indication of the probable range when the pictures were taken (circa) or even “date unknown” would provide an even richer context. Knowing if the varnish on the spindles is dry or decades old would add polish to this significant volume.

Below: Julius Rosenwald Residence: Demolished


Images courtesy of Acanthus Press.

Again, With Mrs. H.

Mrs. Huxtable's brilliant contruction in the Wall Street Journal includes an archicentric use of the word "terroir" and this ruthlessly correct phrase:

"None of this matters; superperfectionism seems stale and out of date."

As usual, I agree with every character she writes even though a good friend has admonished
not to idolize, deify or carve a pedastal - I can't help myself. Why don't we hear her.

It reminds me of what Frank Lloyd Wright said about Adlai Stevenson: "He didn't win because Americans don't like a thinking man in the White House."

The Financial Times Version of the Island of Doctor Moreau

Try to get a cab or a 2 bedroom vintage rental.


Wednesday, January 23, 2008

Random Images from 2007


More Kitschmas
______________________________________

STREET ART





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STREET FASHION










She won best costume - need a hint?

She travels from north to south and for most of the year, she took

an hour from North Ave. to Belmont.


That's right - she's the CTA's Red Line!


One of the judges said, "Does she smell like urine? That would be real."

Christmas with Howard in Hinsdale included...
Ruby trout...




And a sublime red in a Lalique glass.

Hope for 2008


Thursday, November 29, 2007

MERRY KITSCHMAS: MY PRESENT

x
x
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PRThese are actual current or recent Christmas ornament offerred by lovely people on the largest internet auction site in the world. This is a virtual installation piece that I've wanted to do for the last couple of years.
The thing that spurred me on was the recent 23 million dollar sale (?) of Jeff Koons' "Hanging Heart". Koons appropriated this design from another designer and then Jeff made it big. Whoop.
I'm sure you'll find my endeavor a better, deeper and obviously cheaper art experience and a special Christmas parade of the tragic, hillarious, bizarre, immoral and gorgeous remnants of our century old capitalist and media sponsored rush toward dumping our year-end disposable income. Save the ECONOMY! Spend in December! I'm giving it away!!!!
The text in gold is my narative. The text in white is either a descriptive term from the seller or a comment made by one of my twisted friends in response to the images. Many of the images are low resolution but some of them are larger files and are actually quite beautiful. I've indicated which images have larger "click-throughs". Despite the tenor of the text, I do respect and admire the love people have for these ornaments.
The irony of this will come in a follow up posting in february.
xxx
THE NIGHT BEFORE KITSCHMAS
They come from subterranean worlds or lofty heights,
boxed carefully or in jumbled piles but rarely in between.

They signify a distant shadow of our national origin and the imaginary dress of our ancestors who were more often in rags - like the slaves that make them.







Secretly, with inner joy, they shout our handicaps.


And insure infirmity from mother to child.
They share secrets in plain site.
Their beauty belies their substance,
and courts obscenity.
Their love of nature is false and hidden.

But Everybody likes this.

Everybody cheers their anthem of love.

Because they confirm our similarity while defining our style.

And sometimes they provide some proof about something we know.

Things come out of storage in a jumble.

It is impossible to make sense all at once.

But types are sorted...

"MADE OF A BRITTLE RUBBER-LIKE MATERIAL"


and form a tribe.


By hook or by crook


through thick and thin
"MADE OF 'TAVERN WAX'"


we all come together to worship as one.




"completly unused - mint in box"


Our fears make us simple.
"Why can't you have fun?"





"The party's just started!"




There's always a moment when the one turns to tears.


Don't make us all sad now because presents are coming!

Good boys wear Prada.


Bad girls wear none.

Beauty becomes us,

As booties we buy...

'till beauty consumes us,

"Ben, the two of us need look no more

We both found what we were looking for

With a friend to call my own I'll never be alone

And you, my friend, will see You've got a friend in me (you've got a friend in me).."

and we're all just fried.
"I think this is a complete set of McDonalds McNugget Christmas Ornaments."
It's over too soon and maybe forever
"all are made of unbreakeable plastic - safe for kids and pets..."



We see ourselves fading back to the world.


We took ourselves out - now we're not mint in box.


---------THE END--------
CONCEPT AND CONTENTS k. bringe 2007

POSTSCRIPT & ADDENDUM
I ask you to think about the history of these objects - the line to market; the artist or designer responds to the trends and last years sales (pixies grabbing their knees) and they infuse aesthetic and champion their idea for resources to the company - who is rarely if ever the manufacturer. The company goes to the manufacturers in poor third world companies -with slave wagers. Prototypes are made. Formen are beaten. And the stuff is shipped back here. The consumers makes exquisite choices with their little money. They die and the family members and peers hating their decisions prompt the estate sale...

"Sometimes I think the Grandmother died and they took her good stuff. And then they threw the Christmas crap on the carpet and took a polaroid and shoved it on the auction site." --Previewer of the 2007 Kitschmas Bizare.
I liked these:





"MADE OF A BRITTLE RUBBER-LIKE MATERIAL"