Postcards From the Edge of Reality

Who buys postcards of buildings anymore? Actually, do they even make postcards of buildings anymore?! Well in the last century they appeared to make one of almost anything made with bricks and mortar. Perhaps it was because Mid-Century building design was simply more iconic and/or novel than today. Whatever the reason I find that these long lost postcards capture a haunting, often futuristic mood that even staring at the building in reality (if it were to still exist) wouldn't quite provide. This selection of scans convey how the photography and image capturing techniques of the era conspired with the design it was documenting to create a beautiful distortion of reality.

Federal Building, Los Angeles, circa 1942. The modernist late Deco lines of the building (designed by Gilbert Stanley Underwood and and Louis A. Simon) take on a more sinister sense of style and mystery thanks to the quality of the vintage B&W film.

Ok this mock film promo by artist David H. Lambard is a more contemporary image, but is still evocative nonetheless.

A promotional card for the Theme Building at Los Angeles International Airport, circa 1961. 

The B&W illustration helps to accentuate the Space Age spirit of the design.   

Modernist tower at the 1933 Century of Progress World's Fair, Chicago.

Federal Building at the 1933 Century of Progress World's Fair, Chicago.

Moderne tower at the 1933 Century of Progress World's Fair, Chicago.

Theme Centre (Trylon and Perisphere) at the the New York World Fair, 1939.

Citizen's State Bank, Oklahoma, built in 1958, this Atomic-era landmark on Route 66 has fought off all kinds of threats of demolition. I felt the colouring of the original postcard detracted from the design so I bled it out to emphasise the killer Gold Dome. 

Executive Inn, Standiford Motel, Louisville, Kentucky. Again the original colouring of this motel lobby postcard was a sickly hue of orange. I bled out the colour and re-coloured the seat covers & water feature to fit the Computer Black aesthetic. I really love the diamond motifs and the glass brick walls (a real obsession of mine).

Fountain Of Planets, New York World Fair 1964.

Idlewild (JFK) Airport Arrivals Building, early 1960s.

Some postcards completely dispensed with any notion of reality as these cards from the 1939 New York Fair reveal.

AWOL

....so, I've been exiled in paternity, for what seems like an eternity, but I'm back in business! First up, here's a selection of pieces I've spotted over the last few of months....

Modernist earrings, circa 1950s

Mid-Century wall hanging depicting sinister Harlequin musicians, screen print.

untitled, mixed media by Larry Rosenfeld, early 1980s.

Post Modern Cubist-style portrait, USA, circa 1980s 

Untitled Post Modern artwork, mixed media, USA, circa 1988.

Mid-Century wall clock.

Mid-Century 'Eye' clock, circa 1950s.

Diamond-shaped Mid-Century wall clock.

 Mid-Century Polish Coffee Set.

Modernist wall sconce, circa 1950s. 

Modernist vase, Italy, circa 1950s.

Le Corbusier-style, Post Modern sofa & armchair, circa 1980s.

 E Gomme for G-Plan Tola (African Mahogony) dining room chairs, circa 1950s.

Mario Botta 'Quinta; Chairs for Alias Italy, circa 1985.

Charles Rennie Mackintosh 'Willow' Chair for Cassina, circa 1980s.

Geometric vase.

Cruet set by Hornsea, late 1950s

Post Modern Vase, Italy, circa mid 1980s, 

Charcoal Modernist sideboard.

 Black & Gold rotating TV stand, late 1950s.

Vinyl Record Cabinet with ebonised Dansette legs, teak & brass, 1950s

Mid-Century drawers by Stag.

Cabinet with ebonised 'Rocket' legs by Glendale of London, early 1960s.

Angular Coat Hook, France, circa 1950s.

Angular Coat Hook, France, circa 1950s.

EBAY FINDS: October 11

 

 THIERRY MUGLER DESK. circa late 1980s

 'FROZEN SPHERES' by FRANK LLOYD WRIGHT (T-Shirt)

 POSTMODERN SALT & PEPPER SET by DAVID TISDALE circa 1988

 

 'MISS DORM' ARMCHAIRS by PHILIPPE STARCK circa 1982

MODERNIST CUP & SAUCER by SUSIE COOPER circa 1932

JOAN CRAWFORD by HARRIS. Oil on canvas. Mid Century. 

 

SUNGLASSES. France, Mid-Century.

POSTMODERNISM AT THE V&A

I was lucky enough to attend the Press View of the V&A's new exhibition 'Postmodernism: Style & Subversion 1970-90'. Aside from some amazing mini-Danish pastries laid on, the exhibition itself was also pretty good too. When I say pretty good, I actually mean it was pretty much everything I love about being alive all condensed into one (large) space. So yeah, it was actually amazing.

 Style & Substance 1970-90

I was going to post some pictures on here but the guy next to me got in some serious hot water for snapping in there, so I'll just provide other pictures of some of the things on display in the show....

...well, apart from this one, largely because it's not an actual display piece, also because it's slightly illegible and most importantly, it demonstrates wallpaper with the 'Bacterio' pattern designed by Italian supremo, Ettore Sottsass.

Sottsass was a highly respected Italian designer for Olivetti, who at a relatively late age, sensed the Punk spirit in the air and decided to rebel against the increasingly staid and dull modern design of the 70s (well, have you ever been in a Danish furniture purist's shop? yawn!). He formed a collective of New Wave designers dubbed 'Memphis' and, launching in Milan 1981, they set out the template for the 80s - irreverent retro-futuristic designs that referenced high and low art from 30s Deco to the 50s Atomic and beyond. It was completely impractical but who cares because it looked amazing (oh, and they didn't do brown).

Unsurprisingly I'm a huge fan of Memphis, and plan to feature more of their stuff in a forthcoming post. However, at this particular exhibition they have a whole room dedicated to Memphis that features the likes of LA designer (and my favourite of their crew) Peter Shire's 'Bel Air' armchair:

Also included is Michele De Lucchi's prototype models for Girmi homeware products. Why these never went into production is beyond me:

courtesy of Barbaric Interior blog

last but not least, Sotsass' own iconic 'Casablanca' sideboard makes an appearance:

there is even an amazing rare photo of a pre-Chanel Karl Lagerfeld in his 1981 Monte Carlo apartment, which he had decorated exclusively with Memphis (as you do).

Aside form bonkers 1980s furniture the exhibition also features fantastic architecture by the Vegas-inspired Robert Venturi and Denise Scott Brown and Charles Moore's highly controversial 'Piazza d'Italia' in New Orleans which managed to piss off every purist by essentially being a giant camp stage set combining the classical with lots of neon (and a fountain in the shape of Italy for good measure):

The Art featured tended to reveal the Dystopian clash of glamour and despair within Postmodernism. A favourite of mine is Rem Koolhaas'  'Delirious New York' from 1976:

Delirious New York Book 

Ron Arad's 'Concrete Stereo' 1983 also continues this apocalyptic vision:

there's so much more in the show from ceramics and jewellery to a final section on pop culture including original outfits from Annie Lennox, Klaus Nomi and they even have Rachel from Blade Runner's stunning dress suit!

I can't tell which I love more, the designs themselves or the fact that almost everything in the exhibition was (and often still is) reviled by authenticity obsessed purists. I think I'll have to go again to decide.

Postmodernism: Style & Subversion: 1970-90 opens at the V&A, September 24 and runs until 8 January 2012.