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Tag Archives: 1970s

Articles: 

Shenyang’s Oddball Architecture: As I gear up for a year studying the history of Chinese architecture in Beijing, I love reading articles like this (if only to satiate myself!). There’s a great many ‘oddball’ buildings in China–it’s being treated like an architect’s wonderland right now, often with few limits on funding or structure. Sometimes this results in great works of architecture, such as (IMHO) the CCTV tower by Rem Koolhaas/OMA, but then you have the case in point of this article, the Feng Yuan building, a misguided attempt to fuse international modern architecture with Chinese aesthetics.

‘Selma’ Costumes Reveal Class and Consciousness of the Movement: I desperately want to see this movie! I really love seeing costume designers vividly display their characters’ fears, desires, and ambitions in the way they dress themselves.

Meet the Woman Who Can’t Feel Fear:

“Okay. I was walking to the store, and I saw this man on a park bench. He said, ‘come here please.’ So I went over to him. I said, ‘what do you need?’ He grabbed me by the shirt, and he held a knife to my throat and told me he was going to cut me. I told him — I said, ‘go ahead and cut me.’ And I said, ‘I’ll be coming back, and I’ll hunt your ass.’ Oops. Am I supposed to say that? I’m sorry… I wasn’t afraid. And for some reason, he let me go. And I went home.”

The original story was featured on this week’s episode of Invisibilia (NPR), which I thoroughly enjoyed.

Social Issues–A Woman in Uniform: Being a police officer in contemporary America is fraught with issues–it’s a tough life to lead as a man, but I would argue it’s even tougher to occupy that role as a woman. This is an interesting exploration of both one woman’s experience as a NY police officer, as well as an examination of what the literal uniform means to her.

Plan of Watts Towers

Buzzfeed’s Great Middle California Architectural Road Trip: If I ever get back to my home state, I would love to actually complete this trip. I’ve read about the Watts towers and are desperate to see them! (Check out the comments–seems like everyone who has visited thinks it’s pretty cool, too.)

Books: 

Best American Nonrequired Reading 2014: This group of stories/plays/peoms/podcasts/what-have-you was chosen by a select group of high-school-aged kids from around the US. The result is an eclectic (and wonderful) mix of literature. My favorites: ‘An Interview with Mona Eltahawy’ by Yasmine El Rashidi, ‘Embarazada’ by Andrew Foster Altschul, ‘The Saltwater Twin’ by Maia Morgan, and ‘Joy’ by Zadie Smith.

Olikoye Cover Art, via Medium.com

Olikoye: Okay, not a book, but rather a (very) short story, from one of the authors I have heard a lot about in recent months. I’ve been excited to read Americanah by this author (Chimamandah Ngozi Adichie), and this was a great story in and of itself. It tells a family history of sorts through naming rites, shedding light on both the family in particular as well as Nigerian culture.

Random Content from Around the Internet: 

Monolith Controversies Exhibition: Venice, Italy 2014.

Monolith Controversies: The award-winning Chilean entry into the Venice architecture biennale 2014. This exhibition is about the prefabricated concrete block and how it came to shape residential space in turbulent 1970s Chile (during that era, Chile faced a 180 degree political turn from the communist policies of Salvador Allende, to the conservative, religious dictatorship of Pinochet via coup).

This photorealistic painting by John Baeder is typical of the diner facades that he painted throughout his career.

As I have mentioned, I’m curating an exhibition on John Baeder this summer at the Masur Museum of Art (although at this point it’s a total toss up as to which paintings are going to end up in the gallery from our permanent collection). From my work so far, I have been able to gather a partially-formed picture of Baeder’s life’s work. Questions hang in the air when his work is first seen: why did Baeder paint diners, and why so many? What do they mean, for him and for us?

Baeder did not grow up in Georgia so much as he grew up in diners; in his written work, Diners, he viscerally described the diners of his childhood as places of wonder, filled with vibrant flavors and even stronger personalities.

Few things can be hailed as more truly ‘American’ than the diner. Over the years, many ideas and items have been reinterpreted and converted within the United States, creating bastardized concepts that hail as much to the Old Country as they do to the U.S. (think hamburgers, democracy). The diner, however, grew from the American working class culture in the late 19th century, fueled in later years by the invention and proliferation of the automobile.

For Baeder, diners were a home away from home: the rattle of the kitchen, the smell of meat on the grill, the flourished, hand-painted script that decorated the menu were all indications that he was at once where he came from and where he was going. His words become weighted with sadness throughout his lifelong journey: he recognizes that the death of an American art form, the diner, is upon us, as much as he stubbornly proves its worth.

This is a later photo of the Empire Diner, which Baeder deplored; he felt as if it had lost its soul as a diner, replacing the ‘diner’ atmosphere with a sleek restaurant copy that capitalized on the past popularity of true diners.

The Empire was a particularly strange case for Baeder–he painted this diner, but grudgingly. It had candles burning visibly in its windows, all steel and lights and kitsch, playing on the popularity of the art of the diner without embracing its imperfect and true qualities.

For Baeder, diners are lucid dreams. They are real yet fragile, subject to the whims of the changing cultural landscape, and Baeder struggles to salvage and deify them, the knowledge that a simple commemoration is not enough to reverse the damage that time has done.

Diners are an anthropological gem of modern-day America. They are the unsung key to understanding the roots of American society, even as their structures rot and give way to high-rise buildings.