Monday, January 23, 2017
Here's a nifty term I learned from reading Nassim Nicholas Taleb:
Flâneur (pronounced: [flɑnœʁ]), from the French noun flâneur, means "stroller," "lounger," "saunterer," or "loafer." Flânerie refers to the act of strolling, with all of its accompanying associations. A near-synonym is boulevardier.
The flâneur was, first of all, a literary type from 19th century France, essential to any picture of the streets of Paris. The word carried a set of rich associations: the man of leisure, the idler, the urban explorer, the connoisseur of the street. It was Walter Benjamin, drawing on the poetry of Charles Baudelaire, who made this figure the object of scholarly interest in the 20th century, as an emblematic archetype of urban, modern experience. Following Benjamin, the flâneur has become an important symbol for scholars, artists and writers.
Thursday, January 19, 2017
The descendant of architectural stained glass makers, Maurice Heaton created Gothic Revival style lighting fixtures from hand-blown flat glass in his father's workshop early in his career. Later, he was praised for his modernist murals, screens, and lighting fixtures.
In 1947, he invented a process of fusing crystals of enamel to glass surfaces, allowing for rich experimentation for glass-enameled ornament. Through this technique, he became renowned for the opulent colors and textures in his work.
Because of his engineering background, he was also able to build his own kilns, which helped to broaden the scope of his work.
Education: Stevens Institute of Technology, Hoboken, New Jersey
Wednesday, January 18, 2017
Ted Lambert is regarded as one of the premier Alaska artists, a true pioneer. Born in 1905, and raised in the Chicago area, Lambert moved to Alaska in 1925 and went to work as a miner near McCarthy. He held several jobs, predominantly working at a copper mine and mushing dogs—first for adventure, and then as a mail carrier.
Lambert left Alaska in 1931 to study art for a year at the American Academy of Art in Chicago, then moved to Seattle, where he began a mentorship under Eustace Ziegler, with whom he traveled throughout Alaska and painted. Eventually Lambert settled down in Fairbanks, where he stayed for twenty years and solidified his reputation as a painter and an artist.
In 1960 he disappeared from the remote cabin he was living in at Bristol Bay. No trace of his body was ever found, but among the effects rescued from his last home was a memoir of his early days in Alaska. These memoirs reveal Lambert to be a keen and intelligent observer and relay the adventure story of a young man who would become one of Alaska’s most important artists.