Monday, November 23, 2009

A Mini Metamorphosis


It all started when Brooke from Velvet and Linen wrote about her office upgrade. She was asking us about what lantern to choose to replace a shabby cute chandelier.
At first I gently mocked her for her choice, a lantern from the Wisteria catalog. I reasoned that since she and her architect husband Steve have impeccable taste and resources why on earth would she settle for a $250. lantern made in China?

But after I saw how cute it looked, I had to eat a tasty piece of humble pie. Go HERE to get it.


I had a case of my own shabby cute going on in my kitchen. I chose these two chandeliers five years ago. They were well priced and sweet enough. But lately they have really been bugging me, and I knew it was time for a little upgrade.

So I asked Brooke about some choices I made, amongst them her lantern. My reservations about Brooke's Wisteria lantern were two fold: One the shape was very much like one I already have in my living room.

The other concern was the fleur de lis motif on the Wisteria chandelier. Here in New Orleans we have to be careful not to use too many fleur de lis, lest we look like a Saints rally. And the last concern was cost. I needed two lanterns, and with the shipping charges and taxes two lanterns would take me well over $700. I'd like to say that $700. is cheap (and really it is), but it's too much for me.

I e-mailed Brooke a ton of images (thank you Brooke for playing with me, especially when you were not feeling well). We both like this lantern. It has Chinoiserie lines, and the price was very right - around $120. per lantern (with free shipping). Go HERE to get it.

It came flat packed.
Ooooh! When I first saw it I thought that were alot of parts! But my living room lantern also had to be assembled, so I knew we could do this. I forgot to ask Brooke if the Wisteria lantern arrived intact, or if she had to put it together too.

I didn't have a thing to worry about, because my super Tangoman Alberto put them together for me while I was at work!

They are very cute. I chose them not only for their cuteness, but because of their size. I wanted an over size lantern. I think a lantern (like a clock) has to be big and over the top to make a great design statement, and this baby is 34 inches tall! We have high ceilings so the proportion is perfect.

Another funny thing is that my little Wal Mart (yes Virginia I shop at Wal Mart) lantern reminded me of something. Oh yeah! It's a Julie Neill lantern! Of course hers sells for $2,000.- $3,000. and is made by a cute local boy welder as opposed to a guy in a factory in China. And hers also has some crystals and a crown.

But, hey I've got a box full of crystals too, though for me, it's overkill, so I think I'll leave them off. And too many crowns in New Orleans is as tricky as too many fleur de lis.

My box o'crystals

Okay, now we are going off on a tangent. As creative types I know you can go there with me.
Our kitchen is crap. It's cute, but it's crap. It needs a major renovation, but we do not, and may never have the money to do a proper renovation. I like to be optimistic and do small things that can make it clean and attractive.
When we first moved in, I resurfaced the counter tops (for $15.!), and Alberto recovered the cabinet doors and removed some too. We inherited a Bosch dishwasher (which looks like crap, but I love how it works), and a 1980's style stove. We had our own cheapo refrigerator, and a portable island. I made do and cleaned the horrible stove. But I always thought if I could replace the hideous black glass stove with a white one, it would be a small upgrade.

A couple of weeks ago our neighbors were having an estate sale. They had put their dad into assisted living, and were cleaning out the house. They were selling the stove for $50. The WHITE stove. So I jumped on it. It is not in perfect condition, though Mr. Stanley (the dad) never used the oven. There's some rust on the stove from sitting in an empty house. But I cleaned it up, and it looks (and works) just great.

The kitchen was a bit of a war zone for about a week. I've learned not to rush Alberto.

Soon the old shabby cute chandeliers were down. Jenny do you want them?

Alberto wanted to know exactly where the new lanterns were to hang. I devised a way to let him know with some twine, and circus acrobatics on the ladder to tack the twine to the ceiling where the lantern should hang.

One of the things I desperately wanted to correct was the fact that the lighting fixtures did not hang over the table or the island. The Feng Shui of the room was always slightly ajar. So here was my chance to balance the energy.

The first one to go up was the one over the table. Woo Hoo! It looks great!

Then the table became the work bench for Alberto, a catch-all for his tools.

So did the baker's rack. It was like this for days. Patience. I have learned patience.

In the meantime, I did lots of cleaning, and moving things around. I put up this great metal folk art cat done by Charles Gillam over the stove. The kitchen is filled with art, and flea market stuff. There is no theme per say, but it does have an urban country flavor. The cat creeping along the top of the stove makes us both smile. And his cats-eye-marbles for eyes glimmer when we turn the hood light on.

The counter tops got a bit of a de-cluttering. We like our tools in view and on hand. I role model on Julia Child's Boston kitchen, and on Martha Stewart's kitchen in Turkey Hill.

I have always had plate racks in my kitchens, something I picked up from my days of decorating with English country style.

We don't have the wall space for a hanging plate rack, so these counter top ones do the trick for our everyday dishes. The antique canisters on top are from the Paris flea market.

The lantern over the island is finally up! Doesn't it look great?! You can also see more of our kitchen tools displayed on the French pot rack, and the mid century credenza.


I have many sets of china and platters stored there and in the cupboards over the sink.

Alberto built this rolling pantry that is tucked under the stairs. I was inspired HERE and asked him to build it for me. He's the best isn't he?!

It is so nice to have the lantern centered over the island. A toggle hook placed in the ceiling, and swagging the chain from the electrical source is pretty easy. Of course it had to have a dimmer switch. The one over the island was easy for Alberto to install.

At first Alberto told me that the lantern over the dining table could not have a dimmer, because of the way the wiring was installed for the light itself, and a tandem outdoor light. They shared the same electrcial box. Even with 25 watt bulbs the lantern over the table was way too bright. Alberto asked if I could deal with it, and I said certainly not. In the meantime I ordered some 7 watt bulbs online, and prayed that 42 watts of light would be dim enough to dine by.

Alberto is an electrical engineer, so he got motivated to rewire the whole mess. He made another opening for a seperate electrical box, one for the lantern, and one for the outside light.

No job is ever as simple as it sounds, and Alberto had some issues to deal with. But with the help of Cholo, all's well that ends well and mama has her dimmer switch!

My hero Alberto with his helper Cholo

I need to touch up the paint, but I think it looks pretty spiffy.

All the tools have been put away.

Everything has been cleared off the bakers rack.

All the cook books have been dusted.

A few pumpkins are lined up for Thanksgiving.

I've done a practice run for the table setting. We are having a small dinner party on Thanksgiving.

So I hope you like my mini Metamorphosis Monday!


Make sure you go to Between Naps On The Porch to see more wonderful and clever transformations!


Sunday, November 22, 2009

Jeanne Claude


There are certain people that have changed my way of thinking and therefore formed me as a person. Jeanne Claude and Christo changed my way of thinking about creating art.
They thought out of the box. Way out of the box.
In addition their life long dedication to one another, and their partnership in work and in life is also something I aspired to.
Though I have never become a great artist, their influence helped me in my pedestrian work as an event designer. To this day I am still wrapping things ala Jean Claude and Christo.
In my personal life I am involved in the kind of partnership they role modeled for me.
And lastly at age 60, I think of the next two decades to come as my final curtain, and so am sentimental when someone I so admire passes from this earth.
Jeanne Claude passed away last Wednesday at the young age of 74.
Besides being a great artist and partner to Christo, I admired her as one of The Great Red Heads. I have had a fascination and admiration for woman of a certain age and artistic nature who dye their hair wonderful shocking shades of red: Lucy, Collette, Shirley MacClaine, Jeanne Claude - well you get the idea.
So condolences to Christo, and their family and friends, and to us the world at large who have lost a great good heart, and a true original thinker.



The most common error is the misunderstanding that the artist is Christo
The artist is not Christo
The artists are Christo and Jeanne-Claude
from the Christo's web site in a fascinating section called Common Errors


Jeanne Claude and Christo - Their Life Together

1935 Christo: American Bulgarian-born Christo Vladimirov Javacheff, June 13, Gabrovo, of a Bulgarian industrialist family.

Jeanne-Claude: American, French-born Jeanne-Claude Denat de Guillebon, June 13, 1935, Casablanca, of a French military family, educated in France and Switzerland.


1952

Jeanne-Claude. Baccalaureat in Latin and Philosophy, University of Tunis.

1953-56
Christo: Studies at Fine Arts Academy, Sofia, Bulgaria.

1957
He studies one semester at the Vienna Fine Arts Academy.

1958
Christo arrives in Paris where he meets Jeanne-Claude.
Packages and Wrapped Objects

Wrapped Oil Barrels 1958-59



1960

Birth of their son, Cyril, May 11. Cyril Christo is a poet. He studied at Cornell University and graduated from Columbia University in 1982. Five books of his poems have been published. In 1998 he married Marie B. Wilkinson. Their son Lysander Christo was born September 22, 2005.

1961
Project for the Wrapping of a Public Building
Stacked Oil Barrels, Dockside Packages at Cologne Harbor. Tarpaulin and rope. Duration: 2 weeks. Their first collaboration.

1962
Iron Curtain-Wall of Oil Barrels, Rue Visconti, Paris, 1961-62 240 barrels. Height: 4. 3 meters (14 feet). Width: 3. 8 meters (13 feet). Depth: 1. 7 meters (5 feet 6 inch). Duration: 8 hours.

Stacked Oil Barrels, Gentilly, near Paris.

Wrapped Woman 1962

Showcases.

1963
Store Fronts and Show Windows

1964
Establishment of permanent residence in New York City.

1966
Air Package 1966. Stedelijk van Abbemuseum, Eindhoven, The Netherlands. Rubberized canvas balloon and rope Diameter: 5.18 meters (17 feet.). Duration: One month.

and Wrapped Tree 1966.

42,390 Cubicfeet Package 1966 at the Walker Art Center and the Minneapolis School of Art. Length:18 meters (60 feet) Polyethylene: 720 square meters (8,000 square feet). Manila rope: 914 meters (3,000 feet) Duration: Three days.

1968
Wrapped Fountain and Wrapped Medieval Tower, Spoleto, Italy Polyethylene and ropes. Duration: 3 weeks.

Wrapping of a Public Building "Wrapped Kunsthalle Berne 1967-1968" Fabric: 2,430 square meters (27,000 square feet.) Rope: 3,050 meters (10,000 feet.) Duration: 7 days.

5,600 Cubicmeter Package, Documenta 4, Kassel, Germany 1967-68 An Air Package 82 meters (280 feet) high, six concrete foundations arranged in a 275 meter (900 foot) diameter circle. Fabric: 1,980 square meters (22,000 square feet) Weight: 6,350 kilograms (14,000 pounds). Rope: 3,657 meters (12,000 feet) Duration: two and a half months.

Corridor Store Front, total area: 135 square meters (1,500 square feet).

1,240 Oil Barrels Mastaba, and Two Tons of Stacked Hay, Philadelphia Institute of Contemporary Art.

1969
Wrapped Museum of Contemporary Art, Chicago. Tarpaulin: 900 square meters (10,000 square feet) and rope. Duration: 40 days.

Wrapped Floor and Stairway. Museum of Contemporary Art, Chicago. House painter&Mac226;s cotton drop cloths, 252 square meters (2,800 square feet) and rope. Duration: 40 days.

Wrapped Coast, Little Bay, One Million Square Feet, Sydney, Australia, Erosion Control fabric: 90,000 square meters (1,000,000 square feet) and 58 kilometers. (36 miles) of ropes. Duration:
Two months.


1970
Wrapped Monuments, Milano: Monument to Vittorio Emanuele, Piazza del Duomo, Milano, Italy. Polyethylene and rope.
Duration: Two days.

Monument to Leonardo da Vinci, Piazza della Scala, Milano, Italy. Polyethylene and rope. Duration: Seven days.

1971
Wrapped Floors, Covered Windows and Wrapped Walk Ways, Haus Lange, Krefeld, Germany. House painter's cotton drop cloths. Duration: 30 days.

1972
Valley Curtain, Grand Hogback, Rifle, Colorado, 1970-72, Width: 381 &Mac246; 417 meters (1,250-1,368 feet). Height: 56 &Mac246; 111 meters (185- 365 feet). Nylon polyamide fabric: 12,780 square meters (142,000 square feet). Steel cables: 49,895 kilograms (110,000 pounds); 800 tons of concrete. Duration: 28 hours.

1974
The Wall, Wrapped Roman Wall, Via V. Veneto and Villa, Borghese, Rome, Italy. Polypropylene fabric and Dacron rope. Height: 15 meters (49 feet). Length: 250 meters (820 feet). Width varying between: 4 and 5,5 meters (13 to 18 feet). Duration: 40 days.

Ocean Front, Newport, Rhode Island. Surface: 128 x 97 meters (450 x 320 feet). 13,500 square meters (150,000 square feet) polypropylene fabric floating over the ocean. Duration: 8 days.

1976
Running Fence, Sonoma and Marin Counties, California, 1972-76. 5.5 meters. (18 feet ) high, 39.4 kilometers (24-1/2 miles) long, crossing 14 roads. 2,050 fabric panels: 192 square meters (240,000 square yards) of woven nylon fabric suspended from 144 kilometers (90 miles) of steel cables. 2,080 steel poles, each: 9 cm. (3-1/2 inch) diameter, 6.4 meters (21 feet long). Duration: 14 days.

1977
The Mastaba, Project for United Arab Emirates, in progress.

1978
Wrapped Walk Ways, Loose Park, Kansas City, Missouri, 1977-78 12,000 square meters (15,000 square yards) of woven nylon fabric over 4.5 kilometers (2.8 miles of walkways. Duration: 14 days.




1983
Surrounded Islands, Biscayne Bay, Greater Miami, Florida, 1980-83. Pink woven polypropylene fabric floating around eleven islands: 585,000 square meters (6.5 million square feet). Duration: 14 days.

1984
Wrapped Floors and Stairways and Covered Windows, Architecture Museum, Basel, Switzerland. House painter&Mac226;s cotton drop cloths. Duration: 30 days.

1985
The Pont Neuf Wrapped, Paris, 1975-85. 40,876 square meters (454,178 square feet) woven polyamide fabric. 13,076 meters (42,900 feet ) of rope. Duration: 14 days.


1991
The Umbrellas, Japan-U.S.A., 1984-91. 1,340 blue umbrellas in Ibaraki, Japan; 1,760 yellow umbrellas in California. Each umbrella: height: 6 meters (19 ft 8 in), diameter: 8.66 meters (28 ft 6 in). Valley size in Japan: Length: 19 kilometers (12 miles). Width: 4 kilometers (2. 5 miles). Valley size in USA: Length: 29 kilometers (18 miles). Width: 4 kilometers ( 2. 5 miles) Duration: 18 days.

1992
Over The River, Project for The Arkansas River, Colorado. in progress.

1995
Wrapped Floors and Stairways and Covered Windows 1995. Museum Würth, Künzelsau, Germany. House painter&Mac226;s cotton drop cloth on the floor and stairs and brown wrapping paper on the glass of the windows. Duration: 3 months.

Wrapped Reichstag, Berlin, 1971-95. 100,000 square meters (1,076,000 square feet) of polypropylene fabric. 15,600 meters (51,181 feet) of rope and 200 metric tons of steel. Duration: 14 days.

1998
Wrapped Trees, Fondation Beyeler and Berower Park, Riehen-Basel, Switzerland 1997-98. 178 trees. 53,283 square meters (592,034 square feet) of woven polyester fabric, 23 kilometers (14.3 miles) of rope. Duration: 21 days.

1999
The Wall,13,000 Oil Barrels, Gasometer, Oberhausen, Germany,1998-99. An indoor installation. Height: 26 meters (85 feet). Width: 68 meters (223 feet). Depth: 7.23 meters (24 feet). Duration: 6 months.


2005

The Gates, Central Park, New York City, 1979-2005 7,503 vinyl gates, with free-flowing nylon fabric panels, anchored to 15,006 steel bases on 37 kilometers (twenty-three miles) of walkways. Duration: 16 days.

2009 Jeanne Claude passes away at age 74


Here are some web sites to read more about Jean Claude and Christo.

http://www.wolfgangvolz.com/seite5.htm

http://www.christojeanneclaude.net/index.shtml

http://www.washingtonpost.com/wp-dyn/content/gallery/2009/11/19/GA2009111902946.html


Recently I wrapped some chandeliers at the shop I work in, perch. New Orleans, for an art exhibition. People loved them and asked how I came upon the idea, and I told them it was my very humble homage to Jeanne Claude and Christo. Sadly few knew who I was speaking of. So in the spirit of a vanishing breed, I continue to offer information for those who don't know some of the great artists that are dying out, to now have the joy of discovery.