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I discovered Beth Campbell’s wire sculptures on the internet and sadly have not seen them in person. Since this show was apparently curated in 2008 it may be too late. I love working with wire and so admire the emotional draw of these pieces. I have borrowed the following text from Nicole Klagsbrun Gallery where it seems the 2008 exhibition took place:

Known for her multivalent investigations of repetition and interiority, Campbell’s work often begins with a stutter in space. Installed together in a seemingly endless grove of wired energy, Campbell’s mobiles are a striking counterpart to installations such as “Following Room” (2007-2008), exhibited in two variations at The Whitney Museum of American Art and Manifesta 7. Engaging further with multiplied and almost imperceptibly varied realities, Campbell’s wire mobiles suggest three-dimensional flow-charts, visualizations of endless abstract possibility.

Conceived as “drawings in space” rather than sculptural forms, the bends and twists of Campbell’s wire trace the action of her hand, forming peculiar investigations of subjectivity. As in Freud’s neurological diagrams, biomorphic form yields to psychological schema. Heavy metal becomes thread-like, energized. Varying in shape, weight, and patina, lines combine in dendritic structures evoking trees and nervous systems in their infinite, fractal detail.

Campbell’s work is rooted in futurist and modernist sensibilities yet engages contemporary interest in psycho-geography and mapping. Clustered in an ever-shifting installation, each mobile becomes another’s framing mechanism, creating interlaced relationships that suspend and cascade off one another. Social, technological, and architectural systems are evoked within the mobiles’ viral network. By recognizing pattern in endless renewal, Campbell’s forms resist fixity and stasis to plumb the abstraction of cause and effect.

Beth Campbell has recently completed solo projects with the Whitney Museum of American Art, Manifesta 7, and the Public Art Fund. Previous shows include the Brooklyn Museum of Art, Carnegie Museum of Art, PS1 Contemporary Art Center, Andrea Rosen Gallery, White Columns, the Drawing Room (London), and the Tang Museum. Her work is included in collections of the Whitney Museum of American Art and the Museum of Modern Art, New York.

Nicole Klagsbrun Gallery

526 W. 26th Street, No. 213

10001 New York, NY


Witnessing the work of William Kentridge was like being struck in the head and heart. I first saw his work at the New Maxxi Museum in Rome which by great luck had opened the month we were there (photos in a previous entry). The installation was a miniature theatre built with 6 or so seats which played The Magic Flute. In the early 90’s he gained wide acclaim for his animation art. Everything in black charcoal and pencil except for bits of red and blue,  his imagery causes a pensive emotional stir.  The music and sound effects are poignantly paired as well.  I look forward to discovering much more of WIlliam Kentridge and his work. I highly recommend spending some time with the following videos, they are must see projects in my book:

William Kentridge – Sobriety, Obesity & Growing Old (1991)

William Kentridge – Weighing… and Wanting (1997)

William Kentridge – Mine (1991)

THE MANIPULATOR magazine was born in 1984 into a world almost unimaginable today: no cell-phones, no internet, no Adobe Photoshop, no digital cameras. In those quondam times, it was the cordless phone, the fax machine, the colour-copier and the Apple IIc that defined the technologically savvy.

That same year, Michael Jackson nabbed seven Grammys for Thriller and Madonna, with her rendering of Like A Virgin at the first-ever MTV Awards show, shocked audiences — not for the last time. While the future-governor was just being introduced as The Terminator, Amadeus went on to win the Academy Award for best picture. Virgin Atlantic took to the skies and Indira Gandhi was laid to rest. Between them, Margaret Thatcher, Ronald Reagan and Ruhollah Khomeini were looking after things. It all seems such a long time ago. And so it was.

Nonetheless, 1984, and the remainder of the decade, were the golden years of independent publishing. Warhol had already set the ball rolling in the 1970s with Interview, his magazine dedicated to the cult of celebrity, a matter some in the industry huffily dismissed as too inconsequential to warrant much attention.

By the time the ‘80s dawned, Nick Logan’s The Face in London and Annie Flanders’s Details in New York had set the stage for a new kind of magazine. Though each focused on a specific theme — the UK music scene in the case of the former; the Downtown-New York club scene in that of the latter – they, in effect, presaged the “lifestyle” publications that would flood the market a decade later. Emboldened by the success of these non-establishment periodicals, and by the public’s obvious hunger for such eclectic material, a whole slew of magazines had hit the stands in Europe & the US by the mid- 1980s: Egoïste, Metropolis, I-D, City, Blitz, Vibe, Paper, just a few of the many that honed in on the expanding and varied interests of the populace. One of which was photography.

The once-rigid separation between commercial and fine-art photography was fast collapsing and some of the most exciting, new work began appearing, not on gallery walls, but in magazine editorials and advertising campaigns. With the drama of photographic aesthetics being played out on so egalitarian a stage, everyone was soon spectator, analyst, arbitrator and fan. THE MANIPULATOR was a champion for photography. Over-large format had been used on occasions in the past, particularly for picture-heavy publications, ,but THE MANIPULATOR was the biggest by far, able to reprint images in gargantuan, poster-like proportions. Its content reflected an obvious bias towards architecture, design, art and photography, but it was also one of the first consumer magazines to start addressing the looming ecological plight facing the world.

Deforestation, rising sea-levels, suspect animal-husbandry, acid-rain: these were issues regularly confronted in the pages of THE MANIPULATOR, made all the more compelling by the huge pictures that accompanied the articles.

Archival photography was another favourite. Hand-tinted images taken in Japanese brothels in the late- 1800s; sepia- toned shots of Spanish bull-fighters from the turn of the century; murky photographs from the albums of the Victorian Egyptologists: all found a home in the pages of THE MANIPULATOR. When the USSR began crumbling under the onslaught of Gorbachev’s glasnost, the Novosti archives, which had been closed to the world since the revolution of 1917, were made available for reproduction in a 1989-edition of the magazine.

The romance between THE MANIPULATOR and photography as a platform for advertisements for trendsetting companies and brands for would last ten years. The decision to cease publication in 1994 was a relatively easy one – better to end it all while the magazine was still cherished and esteemed. The odd back-issue of THE MANIPULATOR would pop up as part of the set-dressing on a movie, or grace a popstar’s album cover, or be a prop in some music video, or a feature in some exhibit. Even Helmut Newton admitted to its influence when he published his same-sized Helmut Newton’s SUMO. THE MANIPULATOR was a revolution in its time ; the true trendsetting magazine in the worlds largest format.

Johnno du Plessis for the The Manipulator Family

(This text borrowed from the Manipulator website)

Thanks to my brother-in-law I am the proud owner of not one but four copies of this amazing (out of print) magazine. It was rumored that there was going to be a re-birth in 2009 but sadly I don’t think it happened. I search every now ant then for copies to add to my collection but I think I’m one of many.


I have been watching Sarah Moon’s photography since the late 90’s.  Each of her photographs seem to tell a long and complicated story  leaving the the viewer wanting to turn the page for more or dive into it for that matter. I look at her work and feel that if I stare long enough I may just fall down the rabbit hole. Would that be so bad? I like rabbit holes.  I remember the first time I saw her work in Paris I almost spent my last Franc to own a piece…I didn’t… and now I regret it!

And so….down the rabbit hole you go!

From her bio on ulike:


Sarah Moon was (1960 – 1966) a model and since 1967 she is a fashion photographer and publicity filmmaker. Works in illustration, fashion and still life, in black and white and color. ‘Very often I say to myself: I would like to make a photo where nothing happens. But in order to eliminate, there has to be something to begin with. For nothing to happen, something has to happen first.’

Bye Bye Blackbird 2001…. For the life of me I can’t figure out how I missed it. The visuals are amazing and the teaser I saw on youtube flipped me out. I recently found photographs taken by Robinson Savary the director and began a search. I still haven’t seen the entire film but it is definitely on my short list of must find cinema.

Here is a link to the TRAILER and A short synopsis from

“The film is a beautiful but tragic love story set in a circus at the turn of the century, a tale of dreams, unrequited love and the flight in every trapeze artist’s soul. Stunningly original, a visual feast. Original soundtrack by Mercury Rev.”

Director: Robinson Savary

Cast: James Thierree, Isabella Miko, Malcom McDowell, Fairuza Balk, Michael Lonsdale, Sir Derek Jacobi and Jodhi May

A new friend recently asked “Have you heard of  J. Morgan Puett?”.  While the name had sounded familiar I couldn’t put my finger on how I had known about her.  After looking at the link she sent me I realized that this was the woman who made the beautiful clothes my former boss had collected as far back as 20 years ago.  I remembered admiring the pieces at the time but they were way out of my budget.  I am excited to share these images that I am sure only scratch the surface of what she has been doing for the past 20 or more years.

J. Morgan Puett is one of those talents who defies a singular description. When someone personalizes their entire world with a unique aesthetic what do you call them? Artist, fashion designer, interior designer, producer, architect , stylist, visionary? I personally am enchanted. I’ll let you decide for yourself.

Photos courtesy of her site: which you must check out to see what she is up to now. All I know is that I want a pair of her 1990’s linen suspender pants!

Broome Street Store, NY 1990

Broome Street Store, NY 1990

Broome Street Store, NY 1990

Wooster Street Store, NY 1993

Wooster Street Store, NY 1993

Wooster Street Store, NY 1993

Wooster Street Store, NY 1993

Wooster Street Store, NY 1993

Wooster Street Store, NY 1993

display/art piece

Seasonal Designer Collection, Washed Linnens 1990

Seasonal Designer Collection, Washed Linnens 1993

I hope you have enjoyed this discovery…or re-discovery as much as I have.

Li Edelkoort is a trend forecaster but that doesn’t really describe all that she does. She employs some of the best still photographers and stylists in the business. Her creative direction is truly perfection in my eyes. I met her once in Paris at one of her lectures. She scared me a little but in a “she really knows her S*#!#” sort of way. I went with my sister to a lecture at her Paris studio . After drooling over the giant, hand made trend books filled with materials and everything from a latex paint chip, carpet samples, leaves to a toy soldier, we were asked to sit at a beautifully set table with tea, macaroons and tea sandwiches. I was enchanted. After sipping our tea for a few minutes, Li Edelkoort stood before us and personally directed the slide show. It was an amazing experience.

I had already been a fan of her magazines BLOOM and VIEW ON COLOR which I discovered at the awesome magazine shop in the LA Fashion Mart, Los Angeles. Here are some of my favorite images from the magazines. I believe that VIEW ON COLOR has been on pause for a couple of years as she focuses on BLOOM. If you ever have a chance to see the lecture do it! It’s well worth the fee! Photos courtesy of the BLOOM site.

Like many countries in Western Europe, Croatia was founded on the ruins of the Roman Empire. When they arrived in the territory of present-day Croatia, the Croats were politicaly organized in principalities. In 925, Croatian King Tomislav unitedthe principalities, establishing the first Croatian state. Later, Croatia retained its legal status and autonomy within the framework of the Hungarian empire, and the Habsburg Monarchy.

What an amazing place…Croatia is honestly one of the most beautiful countries I have visited. The nationals must have immense respect for their country because (outside of a few big cities) it is kept absolutely pristine. No graffiti, trash on the sides of the road, plastic bags flying in the air….beautiful, beautiful, beautiful and the food is fabulous! There are over a thousand Islands to discover in Croatia. I felt so lucky to experience such beautiful architecture, rich history and aesthetic inspiration. We visited the cities of Rovinj, Hvar, Split and Dubrovnik on this trip and want to return to see everything else!

Dubrovnik Street

Through the walls in Dubrovnik

Salt water pool at the Grand Villa Argentina, Dubrovnik

Twisty forest terrace at the Grand Villa Argentina, Dubrovnik

Main town port in Hvar

Town center, Hvar

Awesome ship in Hvar

Hilly streets of Hvar

Shopping streets, Hvar

My family and I had some awesome experiences in Rome and Croatia recently. I’ll cover this blog with some favorite Roman elements. What an amazingly inspirational city! This year we skipped the traditional stops like the Vatican and Colosseum and focused on the Roman walking experience. I noticed this time walking through the city an assortment beautiful corner adornments. I’m having trouble finding the meaning of them…I shall persevere.

Roman rooftops

Ornament 1

Ornament 2

Ornament 3

Ornament 4

After a couple of days walking through the streets of Rome having gleefully overwhelmed my senses with time saturated masterpieces, it was time for something new. London-based  Architect Zaha Hadid has built a beautiful new space to exhibit contemporary art. The Maxxi, or the National Museum of the XXI Arts has just opened in May and houses an eclectic and interesting group of work. We were very refreshed and newly inspired. No photos allowed inside so here’s a little taste from the public spaces.

"Calamita Cosmica"

"Calamita Cosmica"

Stay tuned for the Croatian post!

Dear friends,

After many joyful years creating objects for the home as Krislyn Design I have decided that it is time for me to transition, full force to create more conceptual and personal works of art along with intimate participation in special projects with other respected artists and creatives.  I am impassioned and moved to realize my visions beyond the limitations and demands of a retail environment.  I cherish deeply the loyalty and commitment you have shown my team and I at Krislyn Design and hope our paths will cross again in this new and exciting adventure.

The Krislyn Design studio will be functioning as usual until June 15, 2010 so please let us know how we can be of service to you prior to then.

When the time comes, I would be honored to have you join me at the exhibition of my new creations. Please e-mail further inquiries to

I am entranced by the work of John Millei. These paintings are massive and extremely moving. This show is a must see if you are in LA his work is up through June 12th at the ACE Gallery Los Angeles and Beverly Hills. My favorite are the Maritime Paintings at the Los Angeles ACE location. Click here for the Press Release. Photos courtesy of Artnet and ACE. I would also like to share a great video on youtube with John talking about The Maritime Exhibition .

Still Waters

Queen Anne's Revenge

Black Pearl

Few humans can call themselves fairies but I’m pretty sure Fiona Gall has earned it. Tinkering with glass crystals wire and all sorts of serious materials she creates utopian, other-worldly objects.

Aurora Robson‘s works are poetic. Whether using discarded plastic bottles or junk mail with ink and gouache her work seems to remind us of an important lesson:  it’s not what you use but how you execute that moves people. It takes a lot to impress me with ones use of materials. Aurora Robson’s pieces are simply exquisite.

From her site:

I am fascinated with the malleability of matter. The forms in my work are derivative of nightmares I had when I was a child. My fodder is junk mail, litter, waste & nightmares. My job is to transform these things into art. My work is a meditative practice in alchemy, enantiodromia, positive spin, acceptance & balance.

When there is a negative or downward trajectory of motion inherent to a material, I like to focus my energy on changing that direction. For example, the work I’ve been doing with plastic bottles — without intervention, used plastic bottles have basically 2 options: becoming landfill, or maybe getting recycled.  In the past year, I have intercepted approximately 30,000 bottles from the waste stream, turning them into art instead of allowing them to go into landfill, our oceans, or the environmentally costly recycling process.

Junk mail shares a similarly depressing fate with the bottles. I have transformed the activity of opening up the mail and finding a depressing mass of garbage and credit card applications into a pleasant experience wherein I am able to discover new batches of art supplies. The language, costly graphic devices and fancy printing used in junk mail also give it a persuasive, positive and personal flavor, which I prefer to use in my art. My practice is essentially about recognizing and embracing new possibilities while encouraging others to do the same.

Aurora is Canadian, but grew up in Hawaii & has lived in New York for 19 years.  She currently lives & works in Brooklyn.

Miranda Meilleur’s silver pieces are all at once haunting and beautiful.  I am enchanted by these pieces, they posess that perfect balance between an old world aesthetic and modern art.

From her site:

Miranda Meilleur is artist in residence at Manchester City College in the jewellery department where she is developing new ranges of work and acquiring fine jewellery making skills. As part of her placement she has been teaching workshops to staff and students and providing tutorial sessions.

She recently completed a commission for the Manchester Museum of Science and Industry to design and make a trophy celebrating The Joshua Phillips Award for Innovation in Science Engagement.

Whilst participating in the Setting Up Scheme Miranda has exhibited extensively throughout Britain and in January 2008 will be showcasing her work in Paris and Munich.

Silver Spoon

Pierced reformed ladel and pierced silver bowl

Silver bowls, silver spoon and silver saucer

Silver bowl, silver plant and silver tray

Pierced Silver Bowls

At the 50th Biennial of Venice, 2003 in the San Staë church on the Canale Grande something amazing happened…. Gerda Steiner & Jorg Lenzlinger created a breathtaking masterpiece. These are my kind of artists.

“The Doge (Mocenigo) needed a church so as to be able to have a monumental tomb built for himself, the church (San Staë) needed a saint so as to be able to be built, the saint (San Eustachio) needed a miracle so as to be pronounced a saint, the miracle needed a stag in order to be seen, and we built the garden for the reindeer.The visitors lie on the bed above the doge’s gravestone, and the garden thinks for them.”

In 2004 Another masterpiece: Brainforest
21st Century Museum of Contemporary Art, Kanazawa (Japan), 2004

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