Archive for 'The Antiques, Design and Art World'

Ethyl wins

February 10, 2012 by Ronn Ives, under The Antiques, Design and Art World.

 

 

 

So, today I debated WHICH MUSICAL person/group was the MOST IRRITATING – i.e., which one(s) were most likely to drive me right OUT of a room.

Obviously I had time on my hands, and thank god for a pal dropping by who not only likes doing such things but encourages it!

We started with perimeters that seemed reasonable (at first):  Rock groups from the 60′s and 70′s. Plenty of material there… Garry Lewis and the Playboys, The Fugs, Country Joe and the Fish, The Grateful Dead, later Elton John, ALL those pseudo-operatic disco mega-orchestral groups, or Billy Joel, Jimmy Buffet, the other cabaret/bar types… we slid easily into the 80′s.

But, something was missing. Sure, his or her popularity has always been a mystery to me (I KNOW I’VE STEPPED ON TOES ALREADY…), but THEY don’t have the incredibly irritating EDGE I sought for in this high-intensity comparison contest. Face it, The Spice Girls HAD no edge. They were just dull. That’s all. Talentless, corporate Products.  Disposable.  I also had to leave behind the idea of a certain period or style of music. It was an unnecessary boundary anyhow. But wait… AH HA! “Musicals” are a favorite hate of mine… “STAGE” musicals especially… and comparo-test was pretty easy after that.

The person’s voice had to be loud AND irritating, their GESTURES had to be jerky & artless, their choice of music HOKEY & KITSCHY at the very least… we’re talkin’ Ethyl Merman! Ethyl can chase me out of a room ANYTIME!

I LOVE these intellectual challenges. It’s not as exciting as watching food get hit by cars, but it’ll do for today.

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Benglish

January 5, 2012 by Ronn Ives, under The Antiques, Design and Art World.

 

Last night, my wife wanted to eat at a little pizza joint not far from home.  Years ago, we used to frequent it every Thursday night before we attended an auction in the same low-budget strip mall.  I loved that auction.  It was local, friendly, quirky, and good little jewels flowed through there unknown to most of the buyers and the seller.  User friendly.  Golden days… golden days…

She wanted to eat there because she is taking a sewing machine class in the same mall.  She already knows how to sew, but her new machine – like all the machines she buys – is a costly, techno-marvelously complex tool requiring a thick book and probably three languages.  I don’t know.  I don’t want to know.  She does.  Our clothes washing machine requires a book.  Our dishwasher requires a book.  The sewing machine.  The camera.  The computer.  The programs.  You name it.  Require books.  NO LONGER is design Intuitive.  Designers are too close to their subjects.  They make too many assumptions.  They are not good designers, they are engineers who then pass their data over to manufacturers and translators in China or India who then translates it back to us in “Benglish”.  THIS is our Digital World.

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Morton, Campbell, and Swanson

December 15, 2011 by Ronn Ives, under The Antiques, Design and Art World.

On Soundtracks and Lifetracks

 

I suppose two gauges for the greatness of a FILM SOUNDTRACK would be 1) that it completes the strength of the imagery, dialog, and conceptual intentions of the film, and 2) it can be heard without the film, and not only be appreciated but offer a “shorthand” of the film’s issues.  At the basic hobbyist stage of movie appreciation, I know these are obvious statements. But, I am sitting here listening to the soundtrack for “Wings of Desire” – one of my favorite films of all time – and am again struck with the power of the music, AND the poetry and artful prose of the dialog.

***

I avoided MY high school reunions for 25 years. I didn’t miss that skool or those daze. High school was necessary but three years too long – therefore reunions seemed excessive. There was a 10th, maybe a 15th, and definitely a 20th year reunion. I attended none. My fellow ex-students, the organizers (god bless them for caring and doing this), would mail us biographic questionnaires. These were intended to not only catch us up on classmates but once again allow others to find us (in the days before the web).  Whether or not we attended the reunion events, the compiled reunion booklet was distributed to everyone.

I decided – from Reunion One – since I would not be attending in person – I would slowly concoct an entire fictional past.  What the heck.  I would write an ongoing “bio” that begins the night of our glorious graduation.  Over the years, I added bogus updates and submitted them to the next reunion booklets. Given the chance to do it AGAIN, I might design this other “life” to be more exciting and adventurous than the “very normal” one I created… but, I intentionally designed one I thought would blend in with the other HONEST bios I expected to read.  If for some reason you actually read mine, you might realize, for example, that NO ONE (in their right mind) would name their children after tee-vee dinners (“Morton”, “Campbell”, and “Swanson”).

I was, therefore, extremely normal and extremely out of my mind at the same time.

For 25 years I concocted this Just-Add-Water LIFETRACK. Then, reaching the 25th reunion, I decided I wanted to reconnect with my long lost, REAL, old friends. So… I backtracked two and a half DECADES, “came clean” in the Quarter Century Bio… and sometimes wonder why I did this bull shit at all.

I never come up with clear answers. Sometimes I think it was from a need to stay connected yet separate – a part of things but elitist – you know, “insider jokes”.  (There was a lot of that going around.)  At other times, it seemed like an experiment in comparison. Now where am I versus him or her? Who won? Who’s happier? If HE were writing MY story, would I like it?

 

…Hey, wait! I am!!

 

… and forty three years have passed.

It’s not like we have a whole pocket full of quarter-centuries to jingle away.

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Car Crunching

October 24, 2011 by Ronn Ives, under The Antiques, Design and Art World.

This is nothing but Car Rambling, so if you don’t like Car Rambling, hit the gas…

 

My safest, shortest, typical home-to-work-to-home weekly round trip total is 175.6 miles.  And, I’m averaging 35 mpg.  That’s 5 gallons of fuel a week which, at $3.29 gallon, is $16.50 a week  /  $66.00 a mo.  (I’m just playing Number Crunching… bear with me.)  Then there’s my other driving (though I don’t have much of a life) and the other car.

This morning, I was on the web looking at the Official Gov 2006-07 Scion xB fuel mileage ratings, which are 26 city / 30 highway / 28 overall.  A couple other “official” sites claim 31 city / 34 highway.  Unofficial sites with personal reports are ALL OVER the map, but it’s clear some people drive their cars as though they wanted them to be a different type or don’t know how to drive at all, while others report such crazy-high numbers (65 mpg???) they’re to be ignored as deluded or mathematically challenged.  Overall, I seem to fit into the high average, but there is a noticeable minority who seem to squeeze 2-5 more mpg out of the xB – yet do not report HOW.  It COULD be an altitude or ambient temperature issue, which is out of my control.  If it’s somehow a fuel or after-market equipment solution (less restrictive air filter, low-resistance tires, etc.) I’d like to know.

 

 

I’m not partial to low-resistance tires, since the trade-off is weaker handling and longer braking distances.  I was recently in a damned-near-total-crash on the highway, and the ONLY things that got me out of it (besides my awareness) were the tires and brakes (and, to a lesser degree, the suspension and a low center of gravity).  The xB did very well in this true emergency test.  Once out of it I said “Way to go, xB!”  xB said “You too!”

 

In my youth, I did not experience sensitive handling until I drove a VW bug.  Mind you, THIS was in 1966, and all the other cars available to me were hulking Detroitmobiles, so it was relative.

 

 

But, the VW WAS a revelation in handling.  It was also a piece of unreliable crap and, in other ways, a gd deathtrap.  I had two of them.  I also had two Chevy Corvairs, which were also much better than their bigger General Motors cousins, but again, the negatives were equal to the positives.  Not until my 1970 Datsun 240Z did almost everything you could want come together in one car.  I still had a few niggling complaints, but they were minor and I loved that machine.  Actually LOVED it.  I also enjoyed my 1975 Datsun longbed pickup.  It was like driving an obedient monkey (except for the lumbar-killing bench seat).  My 1949 Buick was, as I intended, an entirely different sort of driving experience.  When I had that car and two sports cars at the same time, I had a very Jekyll / Hyde car life.  I always needed to change my mindset when I changed cars.

 

 

 

The two-and-half-ton, all-American steel Buick Super ragtop reached 60 mph in the time it took to bake a cake (well, okay… in 19 seconds), there was no such thing as goosing it through a yellow light, I needed to call ahead if I wanted to make a reservation for braking to a stop, it cornered like a drunken Rhino on Valium, and chugged a gallon of gas every 9 miles… but my god everyone felt Hollywood-Cool in that car!  My all-black 1987 Mazda RX7 rotary Twin Turbo reached 60 mph in 6 seconds, had monster powerful brakes, took corners at 80 (+) mph without even squeaking a tire, and got a mediocre 18 mpg.

 

 

Taking out the Buick was like going somewhere in public with your famous, fascinating Uncle.  He got all the attention and you loved being with him while he signed autographs.  Taking the RX7 out was like going for a power-lunch with your close, good-looking friend in the Armani suit who’s detached and always all-business – an exhilarating but emotionally detached experience.  When I met the 1992 Mazda Miata, it was all over.  Not only was it a convertible, it was more sensitive, light, thrifty, demanded more of my attention, and was huge fun even if less muscular.

 

 

It didn’t look sleek and wasn’t tire-burning fast like the 240Z, nor intimidating and no-nonsense like the RX7, and certainly not gloriously romantic and ritzy like the Buick.  And, little Miata wouldn’t tote anything larger than a toaster.  Miata was about SPORT.  It was a joyful puppy.  I had that one for 10 years.  I’ve owned my second Miata for 9 years now.

 

 

I looked at / drove a new one last year, and did not walk away impressed.  I found too many budget compromises and design changes for the sake of novelty.  I hope this all gets smoothed out by the time I’m ready to consider my next sports car (if there IS one).  Miatas have been the most reliable cars I’ve ever owned, and the Scion xB is headed to that category also.

 

 

 

I told you this was nothing but Car Rambling.

 

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The Top Ten Over-rated Products

August 7, 2011 by Ronn Ives, under The Antiques, Design and Art World.

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Top Ten Worsteds

July 16, 2011 by Ronn Ives, under The Antiques, Design and Art World.

TOP TEN WORST NATIONAL TEE-VEE ADS OF ALL TIME:

“I want to teach the world to sing” Coca Cola ads.

Any of the Happy Crapping Bear Family-in-the-Woods wipe-with-fewer-sheets ads for whichever toilette paper company that is.

Any of the cutie pie fluffy puppy ads for the company hawking the “Oh Gee!  Be-careful-with-your-delicate-ass” toilette paper.

The manly hair dye ads where the sports commentators watch the GRAY haired pickup man in the bar get shot down by the buxom chick – so he goes away, dyes his hair, and returns to immediately score with the same dumb pair of blonde boobs.  A one-nighter made in Loser Heaven.

The menstruation blood-absorbing pads that fly around like birds because they have “panty wings”.  I’ll take Hitchcock’s birds over these anyday.

All McDonald’s fast food ads with that perv Ronald McDonald.  I wouldn’t let MY grand kids anywhere NEAR him.

Couples who find God, all His Peace, and His Carnival Fun Ride because one of them swallowed Viagra.

The Dad who tells his kids to listen to Rice Krispies because they “talk”.  Dad’s not just insipid, he’s clinically “special K”.

ALL political endorsement ads.

Charlie the Tuna ads.  Uh, you’re feeling REJECTED because someone didn’t KILL and EAT you????  Charlie, do you attend the SAME school as Special K Dad?

 

 

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“The King is naked as a Jaybird”, or:

July 12, 2011 by Ronn Ives, under The Antiques, Design and Art World.

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Name your Top Ten most Hated cars:

July 10, 2011 by Ronn Ives, under The Antiques, Design and Art World.

 

Mid-1970′s Ford Mustang II
http://www.shnack.com/history/pics/1974FordMustang_large.jpg

1958 Mercury Turnpike Cruiser
http://image57.webshots.com/757/3/27/25/2333327250010957762dKBtiK_fs.jpg

Citroen 2VC
http://www.free-images.org.uk/cars/citroen-2cv6.jpg

Pontiac Aztek
http://www.avto-otchet.net/CarReviews/2697_0.jpg

Ford Pinto
http://cache.jalopnik.com/assets/resources/2007/03/pinto.jpg

Cadillac Cimmaron
http://www.furious.pl/img/time_cadillac_cimmaron.jpg

Volkswagen “Thing”
http://www.shaunsayre.com/70s/fads/thing.jpg

Mazda rx-2
http://freewarelist.net/images/6779rx2.jpg

ford bronco
http://www.bronco.com/cms/files/67bronco.jpg

(So many from which to choose…)

 

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Interview with musician Paul Casper

July 6, 2011 by Ronn Ives, under The Antiques, Design and Art World.

 

 

This is a recent chat between Paul Casper, Ambient music artist who works under various names, and, Ronn Ives, Visual artist and owner of FUTURES Antiques:

Paul Casper gathering sounds for his next album

 

 

R:  Paul, you work under various names.  What are they and why did you choose to release your music in this “segmented” manner?

 

P: Ronn, they are Frore, Lilt and The Shadow Foundry. Frore is Drone ambient. . .  or Tribal or Ethnic Ambient. . . Saying I write  ambient is kinda like saying I play in a rock band. . .  what kind? . . .  there are a million variations. . .  even in a genre like Ambient.  Frore is currently my main project. It is very slow.  The music is electronic. . . as is all my music.  But, in Frore I also mix a lot of abstract rhythms and ‘exotic instruments” like didgeridoo, fujara (a HUGE Slovakian  flute) overtone flutes, rattles, Tibetan singing bowls, etc.  Frore is kind of brooding. Heavily influenced by images of early man and cave art. . .  that dance around in my head.  Although the newest Frore stuff if becoming a bit more floating with less beats and not quite as dark since, I’m starting work on a soundtrack for documentary about Buddhism and Meditation. . . Lilt is idm/ lo-fi groove ambient? Something like that. It has more pronounced melodies with very glitch / lo-fi drums. I use a lot of sine wave samples for instruments, static, broken things. . .  in some tracks I play a broken Rhodes piano. Lilt started because I had a lot of poor recordings I had made, with lots of clicks and pops in them. and I wanted to see if i could turn them in to something. . . . . It’s about enjoying imperfection. . .  and it’s basically a meditation on my own laziness.  :) The Shadow Foundry is just strait up Halloween music. I love Horror movies, but especially classic horror movies. I composed music for the documentary, Nightmares In Red White and Blue : The Evolution of the American Horror Film, a few years ago.  Last year I was thinking how much fun I had doing it, and how I’d love to make some more music like that again. So, I started writing some and put the CD out myself. I Sold a few on line and some in a local Halloween Supply store.There is a chance that it may become my main project.  (PS: “Nightmares…” is now on Hulu.com  So, you can watch it for free!)  All of these projects are broken up, because they just don’t mix well with each other. . . .  I guess I just have a lot of interests. It’s almost like different identities. 

 

R: Paul, I’ll get back to the “identities” issue, but can you talk about influences on your music, or even your interest in the use of sound?

 

P:  Old things influence Frore. I mean old. . .  megalith structures, stones, archeology, dead civilizations. As a kid, me and a friend of mine always thought we could go in the “woods” by his house and find an old indian tribe living there and join them.  That might have something to do with it.

 

Newer things influence Lilt. . .  but not too new. I wanted it to be super cold, electronic and futuristic, but that never happened. I ended up gravitating to . . .  i don’t know, something else. Quirky machines that are chugging along. No sound is out for any project, but especially Lilt. Beats are made from recordings of mouth noise (that sticky sound you tongue and lips  make when you open your mouth) lamp switches. . .  lots of “junk” sounds find a way in to everything. . . .  for all projects.

 

I HATE the idea that one sound is good and another is bad. That one is music and the other is not. This doesn’t mean that I want to listen to sirens and nails against a chalk board all day, but they can all be harnessed and molded in to new sounds. . .  or you can bring out different aspects of each sound. It’s kind of like saying this color can be used to paint. . .  but that one over there . . . is not fit to used on any canvas.  That’s just makes no sense to me.

 

R:  I agree.  Being a visual artist, and [for the last number of years] often using crude, unusual, or “unacceptable” materials, I find it ALL offers POTENTIAL.  The trick is to use it at the right time in the right way in the right amount for the right idea.  I once took on the idea of creating serious drawings on “black velvet” – one of those “anti-quality, awful, cliche” materials.  I think I proved it could be done despite its associations with Crying Elvis and Big Eyed Children. 

 

At one time in my studies – perhaps in the midst of undergraduate college when a young artist seems most concerned with CONTROL of their mediums – I would not allow for “happy accidents”.  This phase required that necessary belief which drove me to think in greater depth about my goals – but once I had all the control I could use, I then reincluded the “happy accident” because I now understood how to use or shelve it (for the time being).  It was like building my own dictionary.  “Which words do I need to express this idea?” 

 

Now back to “identities”… WHY do you find it interesting or necessary to use various perimeters for your work?

 

P:  Well they’re just different genres of music, they each have a different vibe. I use a lot of Hammond B3 organ and electric piano in Lilt, but I don’t want those sounds in Frore. It would kill the feel.  The Shadow Foundry has a lot of pipe organ and that just doesn’t fit in to the sound of the others.

 

R:  What I meant was why not release different moods or styles on separate albums?  Why use different identities? What is the value of different identities, especially if the public is aware of them?

 

P: I think of them as a movie  series. . . .or for lack of a better term, franchises. (Not that I make any money off of them, like a franchise)  But, each style is a world unto it’s self. They may share the same studio and director, but they’re all separate.  . . .

 

R:  Do you think of your works as “narrative” or “abstract” or “non-referential”?  And, do these categories, in any way, define the length of a piece?

 

P:  Damn, those sound like art school terms.  I never thought about it. Except for The Shadow Factory, I’d say they’re abstract. TSF  is a bit more narrative, at least in the first album, it’s basically a trip through a haunted house.. . track 2 Entering the Manor, track 3 Tattered Sheets, track 14 Enjoy your Stay, You Will Never Leave. . .  stuff like that. Although I read in a review that the first Frore album was like taking a journey. . . which is kinda the point. . . .but I don’t know is that would make it narrative. . .  But the only thing that defines the length, is  really. . . just what i feel like doing at the time. But, I think, maybe in the future, more Frore albums will have a stronger defined theme.

 

R:  Well, you’re dealing with an ex-Art School Grad student and Prof, so you’re quite right, but from what I understand, most music has a narrative component, not to mention the abstraction of sound to represent the narrative, but part of Modernist music can be the lack of those components, and can be non-referential (non-objective).  So, going by your response, abstracted narrative is your main point of view.  Brian Eno’s “Music for Films” would be a good example from the 1970′s.  Even his titles imply this. 

 

Do you think you’ve EVER done a piece that has NO – ZERO – external references?  If so, what motivates you to create THESE works?  How would you determine a structure?  Mathematics?  Or does this sound painfully dull to you?

 

P: Hmm. No, I don’t think so. I have no formal training in music, so everything I know originally comes from listening to other music carefully, then analyzing what I like about it, why, what can i do to imitate it, make it my own and the build something new out of the concepts. So everything is based on something I’ve heard and a technique dismantled in my head. . . up until a point.  Over the years you start to learn your own variations on a trick, technique or idea and then a spin off on that one, and an off shoot of that one and so on and so on, until it doesn’t resemble anything that you started off with years ago. But deep down under all the layers of you is a seed of something you’ve forgotten about. As far as structure : Structure is only determined by what feels right. . . nothing is set in stone. Math: I hate math.       But when I write, and listen to the sounds I mostly see or feel – visual patterns and textures in my head. I kinda see what looks like in different shades and colors of rust and light that vibrate and pulse. . .and I picture all the sounds like strands of a basket being woven.  If one sequence of notes I wrote is at X frequency, then one octave above another set of notes will move at half that tempo. . .  these two patters will cross every Y seconds. . .  but every fourth time they cross I’ll leave Z notes out creating a gap. That is when a new sound can come in that gap, but every 5 times it will change to this . . . . . and so on for every track of the song.

 

R:  THAT sounds like Math, Mr. Casper.

 

P: … Yes, but I’m not happy about it. 

 

R:  Every artist has a pre-determined image of his/herself, I suppose.  What is yours?

 

P: Not at all what I thought it was going to be.  In high school I just knew I’d be in some industrial band, weigh 150 lbs still have my head shaved. Live in a great loft over looking urban decay, surrounded by massive synths and Asian chicks wearing PVC.So, in that respect I’ve failed quite miserably. . . .  plus I over shot my weight by like 50 lbs.  (Sigh)  I don’t know. . .  I feel way behind. . .  like where I’m at now, is where I should have been ten years ago.  I can’t really seem to come up with an image. . . . as an “artist”. I just started telling people that I’m a “musician”. For years i would just say, “I do music”.

 

I’d love to try sound installations. Or a collaboration with another musician . . . or even visual artist.. I tried a synth pop band once with a friend years ago. . .  but other than that, I’ve never worked or played with another musician. . or artist. . . .  most people seem to be flaky or just don’t follow through.. . . probably why i went instrumental and just do it all myself.

 

R:  I relate to this.  The isolated Artist is not only a stereotype, but often accurate for many reasons, so I set out to try and change that.  It began with simple ideas like organizing artists for entry into juried and non-juried exhibitions (your basis Herd Survival attitude), to more sophisticated Group Projects with individual freedoms (collective editioned portfolios, etc.), to actual Integrated Group Projects (requiring each artist do a portion of the final project with no one having singular control), to artists asking one another to finish what they began.  These sorts of efforts were VERY unusual in the VISUAL arts, but of course NOT unusual in music.  My motives were less about “jazz” (improvisation) (though I have also done this) and more about politics and the aesthetic energy of shared efforts, but such ideas, even rare as they are, seem to always fade away after a year or five or ten, and the artists go back to their singular internal sources.  Neither is always good or bad.  It just IS. 

 

What YOU mention as a negative is a human condition.  Lazy unreliability, motives shifting between cooperation and greed, etc.., which leads those who have more discipline to eventually walk off exasperated.  I think collaboration is incredibly difficult, and requires not only patience, but a clear, firm belief in that process, and an abiding respect for the others involved.  HARD to create or find. 

 

Now to the tougher question:  If you were doing ten years ago what you are doing now, what would you have had to give up that you gained in these ten years?

 

P:   I’m not too sure … maybe an independence.  The idea of F*ck it.  I’m just going to do what I want.

 

R:  Back to the “Identities” thing again…  For years, I created various projects and attitudes under a cluster of pseudonyms.  Their original purpose was to segregate styles and philosophies, which is what you describe too.  For me, part of the “art” of it became creating actual characters with their own identities.  They had their own appearances, beliefs, sex, flaws, even their own handwritings.  They even gained slightly different followings. 

 

Here’s my question: Aside from the convenience of creating your own organizational “pigeonholes” (and I don’t mean that in a derogatory way), do your identities express separate, conflicting, similar, or complimentary visions of your music, and, for example, would you supply different graphics, portraits, myths, etc. for each of the creators?

 

Paul:  Oh yeah. Always the same creator, but totally different graphics, layouts, designs, concepts. Even if I were to use the same picture for each album or set of sounds. . . they would all be very very different from each other. . . . not a bad project to try. . . . As far as similarities go, I can hear it. But, most people who hear all the different projects can’t tell at all. 

 

Ronn:  Naturally, you will hear and understand the differences better than anyone else (until a scholar comes along and makes you his/her Thesis), but are you saying you might try noticeably different graphics, etc. to help amplify the differences already indicated by the different names?  If so, do you have any inkling what they might be?

 

Paul: Oh yeah, always different graphics. I think of them as little worlds or movies. What works for a quirky cartoon movie doesn’t work for Dracula or  2001 A Space Odyssey. It just doesn’t fit the bill. Although, it would be interesting to use all the same sounds and graphics for each project but combine them in different ways. Force them in to the respective holes.

 

I’ll have to put that on the list of many other project ideas. Up with sound installations,visual artist collaboration projects etc . . .

 

Right now I’m working on more Frore, but without all of the ethnic/world  instruments. Just pure electronic floating music. And I’ll be playing another show at the Edgar Cayce A.R.E. in Virginia Beach around Christmas (2011) time.

 

Ronn: Paul, thanks so much for your time and thought.  I’m a fan.

 

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Home is where the Art is

March 23, 2011 by Ronn Ives, under The Antiques, Design and Art World.

I received my latest copy of “Modernism” magazine. I may have small qualms about it, but overall I look forward to each issue.
What struck me about this one (Spring 2011) is how so much of what is covered has been or is in my life or available in FUTURES Antiques.

 

Article on Frank Lloyd Wright’s “Falling Water”: Went there, did that. Take the “long” tour. It’s amazing. This was my MECCA journey… it is THE residential structure in which I would most prefer to spend my life (with second choice going to Richard Neutra’s Kaufmann Desert House. Both are discussed in this issue.).

 

Article on Eileen Gray: Sometimes downright decadent, I love her Bauhaus style designs, and have one of her E.1027 tables in my home.

 

Article on Jens Quistgaard: Many of his designs are in my home collection and used daily, as well as things available at my store.

Article “A Modernist Beauty Emerges”: Naturally, I have sold many of the designs shown in this restored home.

 

Article “American Modern – 20th century Design Rises to the Top at Boston’s Museum of Fine Arts”: Shows and mentions many objects I have or do offer at FUTURES. Good design is NOT all squirreled away in collections, inaccessible and out of our normal-people price range.

 

And, there is a photo of a George Nelson Marshmallow Sofa. Perhaps the saddest story of my collecting/FUTURES Antiques is about a pair of those sofas. I can’t even go into it. I’m still in therapy.

Don’t ask.
Ronn.

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