Archive for the ‘Fashion’ Category

Sculpture | Robots à la Fonssagrives

Friday, February 27th, 2015

SLS, 2012
46 x 21in / 117 x 53cm
Bronze



Mia Fonssagrives-Solow: Robots
Kasher Potamkin
New York City | USA
Until April 4th 2015



KA, 2009
36 x 16in / 91 x 41cm
Aluminium


CQ2, 2014
16 x 10in / 91 x 25cm
Bronze


Rhodes, 2012
24 x 12in / 61 x 30in
Aluminium


The words SOLD OUT shout proudly from beneath a picture of a cute silver robot ring on the Gagosian’s on-line shopping page. The rings are from an edition made in 2010 by sculptor and jewellery designer, Mia Fonssagrives-Solow. If you’re interested in seeing something more substantial, over twenty of her bronze and aluminium sculptures of robots, fembots and aliens that she created over the last seven years, are being exhibited for the first time in Mia Fonssagrives-Solow: Robots at New York’s Kasher Potamkin gallery.

Should the surname Fonssagrives sound familiar – born Lisa Bernstone in 1911, Mia’s mother was a Swede, who studied painting, sculpture and dancing in Berlin, before moving to Paris, where she met and married Fernand Fonssagrives and became a model. Before the couple moved to the United States in 1939, she had already achieved international modelling stardom and was recognisable from the covers of magazines such as Town & Country, Vogue, and Harper’s Bazaar. Working with fashion photographers including George Hoyningen-Huene, Man Ray, Horst, Erwin Blumenfeld and Richard Avedon, it was reported that she was the ‘highest paid, highest praised, high fashion model in the business.’ Meanwhile, Fernand became a fashion photographer himself, whose career also took off to the point where he was, reportedly, the highest paid photographer in New York. But, sadly, by 1950 things had gone awry between the golden couple and they divorced. Shortly after Lisa married another very famous photographer, Irving Penn. ‘She was the inspiration and subject of some of Penn’s greatest photographs,’ said Alexander Liberman, editorial director of Condé Nast , which publishes Vogue. In later life, Lisa Fonssagrives-Penn would become a fashion designer and also a sculptor, producing unremarkable, semi- abstract, figurative work in marble, bronze and fibreglass, and represented by the Marlborough Gallery in New York.

Growing up on the farm the family bought at Huntington on Long Island, Mia was nevertheless constantly immersed in her parents’ world of fashion and art. She says that Penn proved irresistible. Ultimately, she considered him to be her second father. But as she grew and was sent to a progressive, mixed-sex senior school in the city, she struggled, caused trouble, and after being banned from one class, ended up doing woodwork instead. The processes of working with wood, the odours of the freshly cut raw material, the glues, and the resinous finishes, all left a strong impression on her that would influence her future creativity. After attending New York’s famous design school, Parsons, Mia and a friend decided to move to Paris to create a fashion collection together. Things were going remarkably well, but after a time Mia had become restless. However, a timely stroke of luck got them a contract to design clothes for a new Woody Allen film, What’s New Pussycat? (1965) that was filmed in Paris, and they went on to great success designing for Hollywood stars and other films, including the James Bond classic, Thunderball. Ten years later, Mia gave it all up to refine her woodworking skills, afterwards becoming a sculptor and jewellery-maker. She was later to marry self made New York property developer Sheldon Solow, who, according to Forbes magazine has a current net worth of $3.6 billion.

Her sculptures have graced Asprey and the windows of Cartier and Bergdorf Goodman, but not everyone would refer to Mia Fonssagrives-Solow’s robots – ranging in height from young child size to small adult – as high art. However, in an art world dominated by ’serious’ work that a lot is written about and sells for ever-increasing amounts of ’serious’ money, sculpture that is capable of putting a smile on the otherwise mean-mouthed face of a ’serious’ critic is not too bad a thing.

All photos courtesy Kasher Potamkin



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Exhibition | The Architecture of Fashion

Friday, February 20th, 2015

Tour LVMH, Manhattan, New York,
by Atelier Christian de Portzamparc, 1995 > 1999

Photo © Atelier Christian de Portzamparc



Archimode
Six architects for fashion
Villa Noailles
Hyères | France
22 February > 22 March 2015




Mobile Art by Zaha Hadid Architects for Chanel 2008
Top, in Hong Kong, above, in New York
Photos © François Lacour



The Mobile Art Chanel Contemporary Art Container – to give it its full title – Karl Lagerfeld and Zaha Hadid’s touring pavilion, was conceived in 2007 when the design magazine Wallpaper* got the unlikely couple together for a photo shoot. Making its first appearance in Hong Kong in March 2008, the travelling pavilion, showcasing the work of twenty leading international artists, each inspired by Chanel’s quilted 2.55 bag, visited Tokyo and New York before it was given a permanent home in 2011 at the Institut du Monde Arabe in Paris – designed, incidentally, by another famous architect, Jean Nouvel.

Beneath the heading, ‘Chanel, Hugo Boss, Rick Owens: Fashion’s Latest Muse Is Architecture’, in summer 2014, writer Nick Remsen explained on the vogue.com website, ‘There’s a certain modishness – and beauty – in the urban blueprint, its pylons and crosswalks and anterooms rife for creative repurposing. I wasn’t particularly surprised, then, to see Karl Lagerfeld close his Emirati resort 2015 show via looks embellished with motifs of the world’s tallest building, the local Burj Khalifa [830m to tip].’ Soon afterwards, Lagerfeld showed Chanel’s fall 2014 couture collection, citing building materials, including concrete, as a inspiration, ‘Le Corbusier goes to Versailles!’ he told Vogue’s Hamish Bowles.

Remarkable and unique as it was, and remains, Mobile Art was not the first instance of a relationship between architecture and fashion, a phenomenon which dates as far back as the first decades of the 20th century – if not further – when opinionated, pioneering, Viennese functionalist architect, Adolf Loos (1870 > 1933), asserted that the naked woman is unattractive to man, and told the world that women dress and ornament themselves to appeal to man’s sickly sensuality. Fervent anti-ornamentalist, Loos, in his book Why a man should be well-dressed, didn’t confine his critical interest in fashion to women. The list of built works attributed to him includes an office building, several villas and houses, a café, a bar, and between 1910 and 1913 he designed the men’s haberdashery Kníže’s second floor, and later its shop front. Oddly, illustrating his story with amusing images of badly-dressed architects and their buildings, Hadley Freeman explained on The Guardian website, in 2008, that architects as a group ‘are just as style-conscious as fashion designers.’ On the other hand, in an interview on the Dezeen site last year, world-renowned Australian industrial designer Marc Newson, who has dabbled in architecture – Azzedine Alaia Boutique, Paris, 2006 – Qantas First Class Lounge, Sydney, 2007 – said, ‘Most industrial designers don’t have a clue about fashion… There’s never very successful crossovers, creatively.’ Putting the problem down to the ‘terrible snobbery’ between the two industries, Newson summed up by saying that the fashion industry was faster, more efficient and more in tune with contemporary culture than design and architecture.

Kris Van Assche Boutique, Paris, by Ciguë, 2013
Photo © Maris Mezulis



In London, Casablanca-born Joseph Ettedgui, who, with his family, established the Joseph brand and retail chain in 1972, achieved success through his ability to spot up-and-coming talent, working with many young designers and architects before they became famous. In the early years, well before the brand was sold and went global, Kenzo Takada, Margaret Howell, Katharine Hamnett, John Galliano and Azzedine Alaïa produced collections of clothes for Joseph, while Norman Foster, Eva Jiricná and Andrée Putman designed the company’s shops and restaurants.

Between 1993 and 1995, British architect John Pawson built the Calvin Klein Collections Store in New York, followed closely by the flagship Jigsaw Store in London. As Archie Juinio observed on the vogue.it website, ‘Since the ‘90s important changes have taking place in the business strategies for fashion: big groups have bought prestigious fashion houses, while flagship stores have acquired an essential importance in marketing strategies. In this scenario, the architect is called upon and assumes a key role: he or she has to translate their ideas into tangible forms, underlining the brand’s values.’

Before she dedicated herself to the pursuit of stricter, modernist design and architectural ideals – which owed much to Loos and his many followers across Europe – Eileen Gray had designed the art deco front of her Paris furniture and home accessories shop, Jean Desert, in 1922, where wealthy avant-garde patrons Elsa Schiaparelli, and Charles and Marie-Laure de Noailles, keen to experience a different kind of living, would congregate. The Noailles would commission architect Robert Mallet-Stephens to design their modernist Villa Noailles in Hyères, the venue for the forthcoming Archimode: Six architects for fashion exhibition, which includes, among others, Zaha Hadid’s Mobile Art for Chanel, Prada Transformer by Rem Koolhaas OMA in Séoul, and the Tour LVMH building by Christian de Portzamparc in New York. It also features work by less well-known contemporary architects, Diplomates, who designed the Boutique Damir Doma, as well as Ciguë’s Boutique Isabel Marant and Boutique Kris Van Assche.

Photos courtesy Villa Noailles



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The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances whatsoever, fall due must be borne by the source supplier



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Photography | Arthur Elgort’s Big Picture Show

Thursday, February 5th, 2015

Linda Evangelista, Dominica, 1990.

AE: ‘Linda was a great model. She did whatever it took to get the job done.’



Arthur Elgort
The Big Picture
Galleria Carla Sozzani
Milan | Italy
6th February > 6th April



In her book Grace, A Memoir (Chatto & Windus, 2012), Grace Coddington, creative director of American Vogue since 1986, described how for his first job for her at British Vogue in 1971, photographer Arthur Elgort sent a group of girls and boys, dressed in the designer Kenzo’s startlingly bright clothes, running through Paris’s Jardin des Tuileries. It was the point at which Elgort’s own career would take off. ‘His pioneering spirit has led us up the snowy mountains of North America, across rivers in China, through India on elephant back, on safari with big game, and home on the range with gangs of cowboys,’ Coddington wrote in her introduction to the monograph, Arthur Elgort: The Big Picture (Steidl 2014).

Elgort would quickly became established as one of the best known and most emulated photographers. With freely moving models, natural light, and a reportage approach, he was a breath of fresh air in fashion photography. His young, pretty models wore less make-up and were casual and lively in front of the camera, moving about freely in outdoor locations. The risks he took with his pictures changed the industry.



Pigeon coop, Brooklyn, New York, 1997

AE: ‘I’ve always liked the immediacy of photography. Either you get the shot or you don’t… Have some fun, and move on to the next subject with no fuss…’



Apollonia, British Vogue, 1971

AE: ’When my career was just beginning I noticed that most of the magazines had plenty of studio photographers – All I saw were models standing still. So I decided to do something else… I took my models out on the streets of New York, Paris, or wherever I was…’



Charlotte Rampling, Paris, 1984

AE: ’I have always liked a girl that was comfortable in front of the camera,
whether she was jumping or posing, smiling or frowning, sitting on a couch or on an elephant in Nepal…’



Kate Moss in Nepal, British Vogue, 1993

AE: ’When I first saw Kate I thought, ‘She’s not very tall and doesn’t seem that special.’ But it didn’t matter. She is incredibly photogenic. Every picture was perfect – she just did it so naturally.’



Azzedine Alaïa and Naomi Campbell, 1987

AE: ’Some of my best pictures were taken when I wasn’t ‘working’ – models getting ready, people on the street, the little moments in between shots… It’s those real moments that can’t be faked.’



Arthur Elgort: The Big Picture at Galleria Carla Sozzani encompasses five decades of Arthur Elgort’s photographic work on French, Italian, British, and American Vogue – magazines for which he continues to work today – as well as about 80 of his personal pictures. He has shot important advertising campaigns for prestigious fashion houses including Chanel, Valentino, and Yves Saint Laurent. His work is exhibited in the permanent collections of the International Center of Photography in New York, the Victoria & Albert Museum in London, and in the Museum of Fine Arts in Houston, Texas. Elgort has also directed two films, Texas Tenor: The Illinois Jacquet Story (1992), and the documentary Colorado Cowboy (1993), which won the award for Best Cinematography at the Sundance Film Festival in 1994. In 2011 Elgort received the Board of Directors’ Special Tribute Award from the Council of Fashion Designers of America.

All images courtesy Galleria Carla Sozzani, © Arthur Elgort.
All quotes by the photographer from the monograph Arthur Elgort: The Big Picture, Steidl 2014



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The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances whatsoever, fall due must be borne by the source supplier



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All Categories | Storms, Smoke & Power Cuts

Friday, January 2nd, 2015

Apologies!
Due to a combination of wild storms that blew smoke from the wood fire back down the chimney, setting off  alarms in every room, and covered everything in a fine layer of soot, and the power cut that, in amongst all of this, plunged our friends’ isolated, converted corn mill where we were staying into deep, velvety darkness, The Blog isn’t posting this week.

In the meantime, you might like to take a look at our reminder of the diverse range of international visual arts and events-related subjects we posted in 2014.

Best wishes for 2015



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The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

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All Categories | Omnipresence 2014 / 2015

Friday, December 26th, 2014

2014 proved to be an exciting year at The Blog.

We published posts relating to exhibitions as diverse as Egon Schiele; The Radical Nude at London’s Courtauld Gallery, and Robert Heinecken: Object Matter at MoMA in New York, to another about VKhUTEMAS – often called the Russian Bauhaus – at Berlin’s Martin-Gropius-Bau museum. We admired rare and exotic posters in The Art of Travel, exhibited at Cannes during the annual film festival and auctioned afterwards by Christie’s.

We showed a selection of compelling images from Roxanne Lowit Photographs Yves Saint Laurent, a glitzy new book – with an introduction by no less a figure than Pierre Bergé – and wrote about Vitra’s more modest new publication Everything is Connected, which relies totally on visual language rather than written text to relate the company’s labyrinthine story.

We loved Korean artist Lee Bul’s captivating installations at the UK’s Ikon Gallery in Birmingham, and the Museum für Gestaltung’s 100 Years of Swiss Design exhibition – as well as the accompanying Lars Müller book – showing selections from the Museum’s consolidated collections, now housed at the Schaudepot in Zürich’s burgeoning New Toni development.

We covered the Saul Steinberg 100th Anniversary Exhibition at Pace MacGill in New York, and we assembled our own photographic tribute to The Years of ‘La Dolce Vita’, from the paparazzi images on show at the Estorick Collection of Modern Italian Art, in London.

We published extracts from Christie’s International Head of 20th Century Decorative Art & Design Philippe Garner’s scintillating interview with Zeev Aram, on the subject of Japanese furniture designer Shiro Kuramata. And we salivated over Serge Mouille’s 1950s sculptural lighting included in Phillips Design sale in New York.

We hope the journey so far has been as interesting for you as it has for us.

As the globe – at least in communication terms – continues to shrink, the cultural landscape forever widens and diversifies. What was formerly remote has often become more easily accessible. In response, 2015 will see The Blog extending its reach and venturing into geographical and subject areas we may have so far ignored, exploring and gaining entry for our followers to a broader range of thought-provoking, disparate and topical events in the omnipresent visual arts and associated artistic disciplines.



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The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us which we think might interest you.

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier



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Illustration | Drawing Fashion Forward

Friday, December 19th, 2014

At Home, 1967
Published in The New York Times Magazine

Mixed media
© Courtesy of Estate of Antonio Lopez and Juan Ramos
and Galerie Bartsch & Chariau



Drawing Fashion.
Masterpieces of a Century
Museum für Kunst und Gewerbe Hamburg
Hamburg | Germany
19th December 2014 > 3 May 2015



I own a copy of Paris Vogue’s ‘Homáge a Paris’ June / July 1985 issue, the cover illustrated with a painting of a bare-shouldered, three-quarter length female model against a minimal evening backdrop of the city, unmistakable because of the small, blurred, floodlit silhouette of the The Arc de Triomphe in the distance, placing her, unmistakably on the sophisticated and romantic Champs-Élysées. Hands, clenched below her chin, she wears long black gloves, with diamond earrings and a diamond necklace. Her black hair is piled high on top of her head. Her black-mascara’d eyes closed in ecstasy, her full red-lipped mouth with even white teeth smiles wide with sheer delight. The perfect picture of Parisian glamour – a huge gold ribbon cinches the waist of her spangled black dress, and, extending off both sides of the cover, binds her image to the magazine. The message is unmistakable. The artist who created it was René Gruau (1909 > 2004).

Georges Lepape
Untitled, 1915
Published on the cover of Harper’s Bazaar

Watercolour and gouache
© VG Bild-Kunst, Bonn 2014



Mats Gustafson
Kopfbedeckung, 2005
Fashion from Comme des Garçons

Watercolour
© Mats Gustafson / Art + Commerce



Réne Gruau
Untitled, 1955
Fashion from Dior
Published in International Textiles

Brushed ink and gouache
© Nachlass Réne Gruau



Gruau, whose heyday was in the 1940s and 50s was one of the main attractions in the enormously successful, Drawing Fashion: 100 years of fashion illustrated exhibition in 2010 at London’s Design Museum. From today, and deservedly so, re-jigged and rearranged to suit the new venue, the same material is getting a fresh outing under the title Drawing Fashion. Masterpieces of a Century at the Museum für Kunst und Gewerbe Hamburg. The new exhibition celebrates the genre as represented in 165 images, covering the whole of the 20th century period, with a few examples from the 21st, from the unique collection of original artworks of renowned Munich art dealer Joelle Chariau.

Split into seven sections – the first two representing a particular style or epoch – the extravagant art deco of the 1910s and twenties is followed by the more dignified fashions of the thirties and forties. Each subsequent decade is represented by its outstanding illustrators – the fifties by René Gruau (1909 > 2004), the sixties to eighties by the remarkable, prolific and highly-influential New Yorker, and close associate of Karl Lagerfeld, Antonio (Antonio Lopez, 1943 > 1987), who worked in Paris from 1969 to the mid 70s. Then come those who are still working today like, sensitive master of the watercolour wash, the Swede, Mats Gustafson (b 1951), the Swiss, François Berthoud (b 1961), of whom Anna Piaggi Vogue Italia fashion contributor and style icon – wrote: ‘While François illustrates fashion in an apparently formal and decorative way, in reality he analyses his subject in depth and with an elegant sense of detachment before recreating it in his atelier-laboratory…. with a sharp sense of irony and a visual culture rooted in conceptual art!’ This section also includes Parisian Aurore de La Morinerie (b 1962), who spent two years studying the Chinese calligraphy that was to become a formative influence on her style.

François Berthoud
Girl in a room
, 1996
Fashion from Jil Sander, published in Interview Review

Monotype and oil
© François Berthoud



The Fashion Illustration Gallery (Paris) website has examples of work by most, but not all of the big names from the 20th and 21st centuries. Their list is dived into two alphabetically-ordered groups – the younger illustrators, followed by the more mature or no longer living, or so it appears – which puts flavour of the moment, David Downton, whose slick, nostalgic style pays tribute to those who went before him – such as Gruau – right at the top. It’s interesting to see, however, some young people like Daisy De Villeneuve, with her own inimitable, primitive style, pushing the genre in a very personal and alternative direction. Former fashion designer, Richard Haines‘ matter-of-fact, laid-back watercolour sketches come close to caricature. Award-winning, Japanese fashion illustrator Hiroshi Tanabe, who quickly became established after leaving college in 1990, has an assured graphic hand that produces reduced, often minimal images with a whiff of the 1970s about them, which are at the same time bang up to date.



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The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us which we think might interest you.

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier



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Photography | Guy Bourdin: Red or Dead

Friday, November 21st, 2014

Charles Jourdan advertising campaign, spring 1976



Guy Bourdin: Image-Maker
Somerset House
London | UK
27th November 2014 > 15th March 2015



Charles Jourdan advertising campaign, autumn 1977



The Pentax calendar, 1980



Vogue Paris, May 1970



Charles Jourdan advertising campaign, autumn 1979



The photographer Guy Bourdin (1928 > 1991), whose favourite colour was blood red, needs no introduction, and his uncompromising pictures tell their own stories. Good news for us, because we are on holiday this week and don’t have time to write one of our usual in-depth previews/reviews. Don’t miss Guy Bourdin: Image-Maker at Somerset House!

All images by Guy Bourdain © The Guy Bourdin Estate, 2014
Courtesy Somerset House



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The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier



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Fashion | Roxanne Lowit’s Yves Saint Laurent

Sunday, November 2nd, 2014
YSL model, Paris





Roxanne Lowit Photographs
Yves Saint Laurent
Introduction by Pierre Bergé
Thames & Hudson
208pp hardback
200 photographs, 80 in colour
Designed by Baron & Baron
Available now




‘I love that I met him on top of the Eiffel Tower.’
‘I love how his designs empowered women.’
‘I love his tuxedo; it transformed women’s evening wear.’
‘I love that he had a silly side.’
‘I love that I called him ‘Yves’, even though everyone
else called him ‘Monsieur Saint Laurent’
‘I loved that he had such a passion for his work.’
‘I loved how detail-oriented and hands-on he was.’
– Roxanne Lowit on Yves Saint Laurent




YSL, New York, December 1983




‘Roxanne appeared out of nowhere, placed a big cardboard model of the Empire State Building into [Yves'] arms, and took the picture that was to become so well known.’
Pierre Bergé

‘Yves was a darling, gentle man, who always wanted everyone around him to be happy.’
Jerry Hall

Stripped naked by fans, she was still to sing La Vie en Rose [Yves] said, ‘You cannot go on naked,’ so he took off his tuxedo cummerbund, put it around my breasts, and draped Loulou’s [de La Falaise] scarf on my hips like an Egyptian belly dancer.’
Grace Jones at the opening night at Le Palace




Catherine Deneuve, Paris, 1988




‘…He [Yves] would kid around, you know – something light and very silly. He had a great sense of humour.’

It was absolutely breathtaking! Yves was forever creating magic on the runway…beauty was his only master and it was sacred to him.’

…’I held him tight. It was Yves’ sensitive side that I felt most connected to.’





Shalom Harlow, Haute Couture, Paris, January 1993




‘Roxanne chooses her subjects, scrutinises them, lays them bare, and allows each one to reach a moment of truth.’
Pierre Bergé

‘Yves: you were a genius, an innovator: you changed the world of fashion, and kept the fantasy alive.’
Roxanne Lowit





All photographs © Roxanne Lowit, from
Roxanne Lowit Photographs Yves Saint Laurent,
courtesy Thames & Hudson


















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The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier







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All Categories | The Blog Will Return Next Week

Friday, August 22nd, 2014

Untitled #1, Norfolk, UK

Untitled #2, Norfolk, UK

Untitled #3, Norfolk, UK

Photographs by Pedro Silmon, 2014




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The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us which we think might interest you.

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier




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All Categories | The Blog Team is on Holiday

Friday, August 1st, 2014

Kielder Water from below the Kielder Observatory, Northumberland, UK

Kielder Observatory, by Charles Barclay Architects, completed 2008

Photographs by Pedro Silmon, 2014




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The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us which we think might interest you.

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

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