AMBOS (Art Made Between Opposite Sides) serves as an idea lab for international creative collaboration. Through artist interventions and commuter collaborations that address bi-national transition and identity, AMBOS seeks to create a greater sense of interconnectedness in the border region while simultaneously documenting the border artisan market scheduled for demolition (seen here on the right).
Artist coordinators include Tanya Aguiniga (LA/TJ), Cog*nate Collective (LA/SD/TJ), Relaciones Inesperadas (TJ), Ingrid Hernandez (TJ) with Peter Wisse (Netherlands), POLEN [Adriana Trujillo and Jose Inerzia] (TJ) and Isabel Gil Gomez + Pablo Martinez Zarate + Juan Alberto Apodaca (Mexico City).
Tanya Aguiñiiga's Border Quipu project involved a team of volunteers who gave two pieces of string to commuters waiting in line to cross the border and are asked them to tie the strings into a knot.
Photo: Tanya Aguiñiga
The knots were collected and added to a large scale quipu to that was displayed on a billboard at the border. The strings represent Mexico and the US on either side of the border and our mental state while crossing. Border Quipu will be exhibited at Pacific Standard Time next year.
The closing party took place on the Tijuana side of the border crossing. Mariachis played between car lanes, food, art talks and DJ's all happened in and around the soon to be demolished border artisan marketplace. 
It's usually not a good thing to be stuck at the border for hours, so having the closing party at the border was a surreal experience.  

Moisés Horta Valenzuela recorded audio at the border for sound installations.

Photo: AMBOS

Weekend / Stuff

John Baldessari posters, including one with Bob Matheny.

 1962 La Jolla School of Arts Faculty Exhibition at the Art Center in La Jolla (now The Museum of Contemporary Art San Diego)
The exhibition included Don Dudley, Beatrice Levy, Guy Williams, Fred Holle, Rhoda Lopez, Sheldon Kirby and Mac McClain.

 Guy Williams

This was a pretty major paper score. 

Erik Gronborg / Experience

The first major retrospective devoted to Erik Gronborg presents a full picture of the Danish-born American artist’s creative life over fifty-five years. Guest-curated by Dave Hampton, this project brings together examples of Gronborg’s sculpture in cast bronze, carved wood, and other media, as well as studio furniture and a comprehensive survey of his ceramics. Images of the remarkable house and garden that Erik and his wife Irina have carefully modified over the years in Solana Beach will add environmental context for the objects in the exhibition.

Photos of Erik's home and garden were taken by Darren Bradley

A timeline of Gronborg cups

In addition to the clay, wood, plastic, and metal- Gronborg’s writing is also featured in the exhibition. This includes the Gronborg typeface on the cover. 
The publication is available for free at the Mingei.

THE ERIK GRONBORG EXPERIENCE runs until March 12, 2017

General Lighting Company / Case Study

The Visionease by General Lighting Company 

Arts & Architecture (1949)

Louis Danziger designed this ad, which ran in Arts and Architecture in 1949. 
The Marv Rand photo was taken in Case Study House 8 (The Eames House), while it was under construction.  

Merit specified for the Case Study House Program 

J.R. Davidson House (1950)
Source: Julius Shulman © J. Paul Getty Trust. Getty Research Institute

Ladislav Sutnar design for General Lighting Company

Source: MoMa

Although we know some great designers worked on the graphics for General Lighting, many of the lamp designs are just credited to the General Lighting Company, with no specific designer named. That's often the case when in-house designers are used.

One of those in-house designers was the company's president, Harry Handler (I bet that name was rough in junior high). 
He designed several versions of this gooseneck lamp for his company. 
There is a notable exception with this sconce design by George Nelson in 1947.

And this George Nelson design from 1947.

Source: Wright (Up for auction now!)

Nelson also designed this solid rod three arm version of the lamp. It was included in two different Walker Art Center publications, in 1949 and 1950.

So back to this lamp. 
Was Nelson's contribution the third "straight" arm, or did he design the Visionease as well?

Weekend / Stuff

Ceramics, including Wayne Chapman and Kenji Fujita

Wood totem

Is anyone missing a Neutra table?

Weekend / Stuff

The Coloring Toy (1955) by the Eames Office. Deborah Sussman is responsible for much of the package design. The hands coloring on the box belong to Sansi Girard (Alexander's granddaughter).
Photo book documenting the Herman Miller plant on 4131 Redwood Ave in Los Angeles

Yep, more iron

Well done iron