Scouts at Work

(Above) The final logo for the BSA Centennial coming in 2010, was first drawn by Scout Philip Goolkasian, selected as the winner and later finalized with the assistance of graphic design legend Kit Hinrichs.
(Above, from left) Graphic designer Scott Abel, logo-contest winner Philip Goolkasian, and Pentagram partner Kit Hinrichs team up to finalize a symbol for the future.
(Above) Kit Hinrichs, a partner at Pentagram in NY since 1986, happens also to be an Eagle Scout — as well as a Vigil Honor member of the Order of the Arrow.

A WEEK OR SO AGO, I WAS DOING A STUDY ON CENTENNIAL LOGOS, curious about the creative approach many companies and organizations take to show the world they have reached this historic milestone. After all, 100-year anniversaries only come around once, as they say. I hate to see corporations and businesses blow this great opportunity with a weak, ill-planned celebration. Unfortunately, many companies simply slap a ribbon banner across whatever corporate logo they have with the words “Celebrating 100 Years” and call it a day.... or, a century, that is. When I stumbled upon this story about the 100th anniversary of the Boy Scouts of America, and saw that the famous designer Kit Hinrichs was involved, I thought it was worth sharing with my readers. What intrigued me about the Boy Scout logo was the approach they took to get there. They held a contest for active Scouts nationwide.

“We could have hired a well-known, professional graphic design firm to create the logo,” said Robert Mersereau, project director for the 100th anniversary celebration, “but we thought that if our intention was to create a symbol to celebrate the youth of America, we should let youth create it.”

The winner (from over 4,000 entries) was 17-year-old Eagle Scout Philip Goolkasian of Fresno, CA. His reward? He got to work with famed designer Kit Hinrichs for the “final” design. Philip said he was at a football game when he started sketching ideas for the logo but left in the 3rd quarter because his idea was starting to gel. I am sure many of you who are artists know exactly what Philip was feeling.

“The way Philip worked the eagle into the BSA type using negative space and gave every element a distinct hierarchy was quite sophisticated,” Hinrichs said. “The kid has real talent!” Hinrichs suggested that Philip replace his serif font with Futura, and worked with him to tweak the final look.

Philip plans to study architecture in college. So far, he’s applied to Notre Dame and Catholic University, as well as schools in his home state: Cal Poly at San Luis Obispo and Cal Poly Pomona.

When Is a Doll Not a Doll?

All images © Larry Torno
Click image for larger view.



All images © Larry Torno


IN THE PROJECT ROOM at the Bruno David Gallery in St. Louis, photographer Larry Torno presents a new series of photographs titled “When is a Doll not a Doll?” The series began during the summer of 2007 when Torno was offered the opportunity to photograph an extensive collection of a vintage American toy: the renowned Barbie Doll. By experimenting with composition and light, the artist infuses “personalities” into otherwise lifeless plastic, and the photos of the famous figure evolve from simple documentation to a kind of portraiture. Although it is impossible to deny the semblance of personality that Torno has captured in these photographs, he explains that these images are not truly portraits because the human qualities necessary to impart insight into character are absent in the plastic figurines. The spectator may have a hard time believing this, however, given the convincing attitude and ambiance that accompanies the icon. His photographs are enhanced by Barbie’s breadth of genre and depth of style, as there is always another posh model waiting for her close-up. Through these vivid images of the timeless figure, Torno liberates Barbie from her box and places her again into the realm of the imagination.

The exhibition corresponds with the upcoming 50th anniversary of the Barbie Doll. Barbie, created by Mattel co -founder Ruth Handler, was unveiled at the American Toy Fair in New York on March 9, 1959. A fully illustrated catalogue with an essay by Kara Krekeler accompanies the exhibition.

All photographs © Larry Torno, St. Louis

Surrealist Film From 1923

Le Retour A La Raison (The Return to Reason) is a short black and white film by Man Ray from 1923. The music was composed and performed by Donald Sosin. This is really an intriguing film—and shows the joy of using a new medium in an entirely different way. Imagine, using nails, odd things hanging from strings, unrelated clips spliced together and other such things put together as a single artistic statement. Sure, it’s naive and awkward to our eyes today. But in 1923, this was new stuff—raw, cutting edge artistic experimentation.

1949 - A Great Year for Homer Page

(Above) New York, June 18, 1949 (Click any image for larger view)
(Above) New York, September 9, 1949
(Above) New York, 1949
(Above) New York, May 11, 1949 (Click any image for larger view)

(Above) New York, June 18, 1949
(Above) New York, August 11, 1949
(Above) This is the book that is available with the Guggenheim works of Homer Page.

A FEW WEEKS AGO WHEN WE WERE IN KANSAS CITY, we stopped by the Nelson-Atkins Museum of Art to see the fabulous photo collection there. It is outstanding.

On special exhibit was the exhibition of Homer Page, a man who received a Guggenheim Fellowship in 1949. I had never heard of him.

Page studied art and social psychology at the University of California from 1936 to 1940 and worked in the Bay Area shipyards during the war. He took up photography in 1944 with the encouragement of his neighbor and friend, none other than the famed photographer Dorothea Lange. He advanced quickly, ending up with an exhibition at the Museum of Modern Art in 1947.

After winning his Guggenheim in late 1948, Page went the following year to NYC to make photographs. It was a monumental year, as I witnessed in this exhibition of his work. And though he gained some fame and recognition for this work, he turned to shooting for magazines after that. In fact, it was precisely because of this that Page dropped somewhat off the art world’s radar screen. Adding to his slide into obscurity, Page rarely let any of his Guggenheim photos out of his hands. Upon his death in 1985, he was remembered only by a small circle of professional peers. To a younger generation of art historians, photographers, curators and collectors—he was essentially unknown.

Nelson-Atkins photography curator Keith F. Davis wrote that “the importance of Page’s Guggenheim work is a result of booth its form and content. Stylistically, his photographs represent a crucial missing link between the warm, humanistic socially motivated documentary work of the1930s and early 1940s (as seen in the work of Dorothea Lange), and the tougher, moodier, grittier work of the later 1950s (exemplified by Robert Frank). In Page’s photographs, we find, in essence, a previously unknown bridge between these very different artistic eras.”

Though Page may be largely unknown to a newer generation of Americans—the Guggenheim Foundation can rest assured that the money granted to Homer Page in 1949 was well spent.

Six Beautiful Things

(Above) Paint Decorated Leather Parade Hat
Possibly Pennsylvania
Circa 1790
With scrolled brim, in black paint, the top bears initials M.A., the sides bear word “AMERICA” and initials “FA” with a fire hydrant.

(Above) Metal Globe
France
1950’s
A large advertising hand painted metal globe wrapped in metal film.

(Above) Collection of 18th c. Sake Bottles
Japan
1780’s
Edo period green, cream and orange glazed ceramic Sake bottles with beautiful craquelure throughout.

(Above) Santos
Philippines
c. 1900s
Original one of a kind hand carved wood Santos head with beard. Mounted on a wood stand.


(Above) Collection of Seven 19th c. Wood Hand and Glove Models
United States
19th century
Unusual collection of seven 19th century hand and glove models, with articulated jointed fingers, several mounted on bases. Many can be shown vertically or horizontally. Excellent patina.

(Above) Roman Marble Stele, 2nd-3rd century A.D.
2nd - 3rd century A.D.
“Farewell Dommnina”

ISN’T IT GREAT TO KNOW THAT there are incredible and rare objects out there—just waiting to be acquired? Barring fire or disaster, great objects just move from hand-to-hand, collection to collection. Everything we own of rarity or value— we are simply caretakers for. Eventually, everything goes to someone else, or to a museum or back to an antique shop or auction house.

In some ways I admire those who can live their lives simply—without the need or desire for “things.” Alas, I am not one of those. Living with art—or things which attract my eye, give me spirit and soul. I live through the objects I find, rescue, or purchase. I feel their history. I sense the maker’s hands. I am curious as to their meaning. I am drawn to compelling and powerful objects like a moth to a flame. Many of you, I know, are the same way.

Does the need to collect objects fill a psychological need? Do I need “things” to feel good? I guess I’d have to say it does. So, then, my goal should be to sell or give away my last object on my deathbed— because as they say, we can’t take it with us.

So, if you are still collecting things—or even if you are not—enjoy these items that you can find on 1stdibs.com. Oh, I forgot to tell you, the parade hat at the top of this post—it’s priced at $11,000.

Urban Camouflage. Or, Fun at Walmart.

(Above and below) A traditional military Ghilli suit, that looks oddly like Chewbacca of Star Wars fame.




EVER HEAR OF A GHILLI SUIT? Most normal people haven’t, I am quite sure. But if you watch enough History Channel episodes, you are bound to see one. Ghilli suits are the incredibly textured camouflage suits worn by military snipers, and now worn by hunters and paintball enthusiasts. I guess everyone has a hobby. I thought that I should show you some images of real Ghilli suits before telling you about Urban Camouflage

Urban Camouflage deals with the question how to camouflage oneself and one’s identity in the urban space. Their costumes are inspired by the military camouflage suit, examples of which are shown above. Urban camouflage says “it was an adventure to wear the suit in the stores because of the conflicts with the employees, the reaction of the customers and also to see the camouflage effect in a real, urban situation.”

The video is hilarious, perfect for a Saturday. Think of this as a Saturday morning cartoon. There are more examples of their “urban camo” adventures on their website.

The Painter Susan Moore

(Above) This painting was used on the cover of TIME magazine some years ago.
Click any image for larger view.


SUSAN MOORE IS A PHILADELPHIA ARTIST who once spent some time in St. Louis. Her husband is the comic graphic artist Charles Burns, whom I reported on in January. These portraits are quite large in scale, and though she uses real models, the portraits are intentionally devoid in personality, allowing the viewer to fill in the blanks. Her recent work, shown at the top, uses oil paint sticks, and is psychologically darker than her earlier work. Moore’s work is in many public and private collections, and even graced the cover of TIME magazine some years ago.