Let’s talk about gallery walls. Pretty much a thing since the Académie des Beaux-Arts stacked masterworks on top of the each other at the Paris Salons of centuries past, the gallery wall has reached fever-pitch levels of popularity in homes over the past decade. A mainstay on social media and lifestyle blogs, this “collection” style of art display is like the black dress of the home decor world—constantly reinvented and never really going out of style. But how to achieve it? If you’re worried about attempting the look without leaving your walls a mess of plaster holes, bent nails, and crooked frames—we gotchu. Here are 4 surprisingly simple ways to hack the gallery wall!
When writer and actress Tavi Gevinsonvacated her West Village apartment for Fort Greene, Brooklyn, she did so for many of the same reasons people turn to New York’s most populous borough: SPACE. “My old apartment was adorable, but small,” the Rookie Magazine founder says, “and after two years, I had really outgrown it.”
After learning of partnership potential with 300 Ashland, a new development along Brooklyn’s Flatbush Ave thoroughfare, she jumped at the opportunity. Gevinson’s new digs, which need to function as both home and workspace for the self-employed maven, fit all of her needs perfectly. Not only did her new one-bedroom have ample space and natural light, but its central location afforded proximity to several train lines and some of the city’s best cultural institutions. Just down the block is the esteemed Brooklyn Academy of Music (which Tavi has already been sure to snap selfies from) and the Brooklyn Museum and Brooklyn Botanical gardens are a short subway trip away. Another exciting development? The Brooklyn Public Library has plans to open a branch right in the base of 300 Ashland.
To help celebrate her new home, west elm and Street Easy teamed up with Tavi to help outfit her new apartment and share a special glimpse into the avid bookworm’s reading nook. Take a closer look below as Tavi shares five of her favorite books, pulled from her new neighbor, The Brooklyn Public Library! Want to see more of the space? Head over to Street Easy to see the Tavi’s full apartment!
This short story collection is both sweeping and intimate; cinemascoped and lived-in; a blend of Kathleen Collins’ filmmaking perspective with details that feel culled from personal experience. One story describes a love scene as though the narrator is setting up shots for a movie. Another covers a couple’s whole life together in a series of vignettes and half-unspoken rapport, like maybe true love is a kind of two-person omniscience; maybe true love is background music. Sex is, in part, a way for these characters to get to know themselves, and to know how they are seen by others. The reader listens in on inner and shared dialogues about blackness, black womanhood, and family. Collins died in 1988 and these stories were published posthumously, but the questions she explored remain relevant–and her capturing of them, revolutionary.
I don’t think you have to be a good person to make good art, but it’s really nice when the forces of creativity and compassion feed each other, instead of being at odds. When I interviewed Adrian Tomine about this book of graphic stories, he talked about how being a father has affected his work: “When I was a young, single guy, people either sucked, or they were awesome. And that was it. I loved some people, and everybody else could go to hell, you know? And I think now I have really complicated feelings about the average person that I meet. I realize that’s actually a really useful thing as a writer, to try and bring into your work. To take that feeling of, This guy’s kind of an asshole, but I sort of feel sorry for him, and I sort of relate to him, and to try to impose that on these fictional characters, has been a fun challenge for me.” I’ve always loved his books, going back to his earliest Drawn & Quarterly comics from when he was a teen. But in Killing and Dying, the care given to every character, all in uniquely difficult positions, is a beautiful example of how being open in life can open up possibilities within art. Also, comics seem like the hardest thing to make (to me), and I have so much respect for anyone who does them.
I read this book about the witch trials in Salem when I was doing The Crucible on Broadway. I needed help understanding the gravity of words and actions that, in 21st century secularism, seemed either inconsequential (“go to hell”) or silly (dancing in the woods). Much has been written of the witch hunt over the years — it was Marion Starkey’s already extensive The Devil in Massachusetts that inspired Arthur Miller to write his play begin with — but nothing captured my attention like this one. Stacy Schiff’s descriptions are utterly enthralling, without falling into the sensationalist, cover-story-feeling tone of other books that try to make history “fun.” Schiff lets the research speak for itself: According to court records, Mary Warren’s tongue hung out of her mouth for so long that it turned black. When Tituba spread her story of meeting with the devil throughout Salem, Schiff writes that it was like she’d handed out hallucinogens. That helped me process what it would be like for your world to actually be that small; no images, no information, no culture, nothing but your community and your beliefs and like, a bog. Schiff’s portraits of people/characters I’d hated since high school–Reverend Parris, for example–humanized them in ways political allegories can’t. (The Crucible is a rare allegory which treats its characters like people instead of symbols, but it’s not perfectly spelled out for every production or, say, 16 year-old English student.) I’d imagine rereading The Witches now would illuminate even more about America’s history of paranoia and hysteria. It would also help to see how, when assigning roles of heroes and villians gets you nowhere, understanding where everyone is coming from may actually make for progress, rather than fatality.
What to do when you’re totally fatigued from being inundated with images and notions of conventional beauty? Place it in historical context, of course! I like having this around as a reference book and to lend some perspective; make my daily experience with appearance more interesting. While it’s largely concerned with representations of beauty in art, it reads more like philosophy than art history. One of many Umberto Eco works that have had me rethink what I’d previously believed about personal style, taste, and aesthetics.
Everyone I know who saw the last production of this play talks how about how it wrecked them emotionally. I didn’t get to see it, but reading it is so gutting that I don’t know if I could handle a performance. It centers on the relationship between a young actress and her esteemed playwright father. Both have been hollowed out by their respective experiences with abusive parents and with show business. Act I begins with them bracing themselves for the review of the daughter’s new play, but their frenetic opening night energy turns grim. Success becomes as threatening as failure. And then–well, I started tearing up just describing Act II to a friend the other day. The last time I reread I’m Gonna Pray For You So Hard, I was reminded of this line from Shaw’s Man and Superman: “There are two tragedies in life. One is not to get your heart’s desire. The other is to get it.” And yet! This story isn’t fueled by cynicism or bitterness, but Halley Feiffer’s deep sense of compassion.
There’s an oft-quoted phrase that says “the best camera is the one you have with you.” Today, the camera that almost everybody has with them is an iPhone and, despite its tiny size, it actually packs quite the photographic punch. Over the course of time that I’ve had one, my iPhone has slowly worked its way up to becoming my default camera—my bulky DSLR coming out only when I need a truly “professional” shot. There’s no denying the iPhone’s (or any smartphone’s) benefits—it’s compact, actually fits into a pocket, and takes photos that genuinely rival consumer-grade point-and-shoot cameras. (For anybody skeptical of the iPhone’s photo-taking power, I highly recommend Austin Mann’s exhaustive iPhone 5S review.) As with any camera, though, the iPhone’s capabilities are vastly improved when you learn how to use it, taking advantage of everything it has to offer. Below, you will find my own favorite tips for making the most of your iPhone’s camera—from ways to expertly compose a shot to tricks for getting a more “manual” look. Let’s get snapping!
1. Shoot with a grid! Like many professional cameras, the iPhone’s camera app has a grid feature that allows you to view your shots with a 3×3 grid overlaid on top of it. There are numerous benefits to shooting this way, from making sure objects are truly centered to making sure your image is perfectly aligned. Although a grid, what with its right angles and implications of exactitude, seems like it might be creatively stifling, it actually opens up a world of awesome compositional possibility. On the iPhone, the grid isn’t turned on by default. Go to the “Photos & Camera” section of the Settings app to turn it on.
2. Get fancy with your focus! The iPhone automatically adjusts its focus and exposure every time you reframe a shot (you can see it doing this with the little square that pops up on screen when you do this). However, “manually” adjusting your focus for more customized shots is easy-peasy: just tap the screen once to choose the object or location that you want focused/properly exposed. If you want your camera’s focus to be on something that isn’t in the frame or you want to be able to shift your composition after focusing, the AE/AF Lock feature is great. Simply press down on the screen and hold until the focus square pulsates twice. You will then see the words “AE/AF Lock” at the top of your screen. This feature is especially useful if you’re trying to get a nice “blurred” effect on your image—just lock your focus on something super close up and then take your photo!
3. Get the perfect shot! One feature that professional photographers use to ensure the perfect shot, especially with portraits, is burst mode. Essentially, taking photos in burst mode takes a number of photos in quick succession, allowing you to edit through them and find the perfect shot (no blinking eyes or awkward poses!). The iPhone has this feature built in—simply press and hold down the camera’s shutter button. Instead of the singular “snap” noise that accompanies a tap on the shutter, you’ll hear a quick succession of snaps—and your iPhone will capture photos for as long as you hold the button. Quick tip: for super-simple snapping, and to take photos the old fashioned “button” way, simply hold down the top volume button to snap a photo.
4. Optimize your shooting environment! Whether you’re shooting with a professional camera or an iPhone, the same rules of lighting and composition apply. It’s always best to use natural light (even with the iPhone 5S’s new “True Tone” flash, artificial light looks, well, artificial). Aligning your grid with elements in your environment also leads to more appealing compositions. Check out our guide for shooting interiors for tips for composing the best photos.
5. Get the best apps! Although I recommend shooting in the iPhone’s main camera app before importing to other apps like Instagram (this allows you to save a high-res photo and then crop to your specifications), I do have a few exceptions to this rule. The VSCO Camapp, which is quickly becoming the gold standard of iPhoto photography, is a superbalternative to the iPhone’s built-in camera. Its camera mode allows for even more manual control, from focus lock to a two-finger tap that allows you to adjust your exposure and focus separately—a feature that I use an a regular basis. VSCO also has a number of amazing filters and post-processing options that allow for great fine-tuning and photos that look remarkably film-like. Aside from VSCO cam (a must-have for any iPhone photographer), I also recommend AfterLightfor its post-processing and framing options.
The Kingston, New York studio of Blackcreek Mercantile. Written and photographed for Design*Sponge.
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On a drizzly November morning last week, I found myself standing in the Kingston, NY studio of Joshua Vogel, learning way more about bees than I ever thought humanly possible. Joshua, a wildly talented woodworker—and apparently quite the loquacious fellow—has just finished telling me about propolis, the bee-produced material that is a key ingredient in his company Blackcreek Mercantile’s cutting board oil. Did you know that this wondrous, naturally anti-bacterial varnish is the only thing aside from honey and wax that honeybees produce? Did you know that, in the winter, bees will form a massive huddle and vibrate in unison to keep warm? I certainly didn’t. Although I’m meant to be snapping photographs of the space, I can’t help but feel momentarily transfixed. Joshua’s obvious passion for everything he does is quite clear—and it’s infectious.
It’s this passion that led Vogel to create his two businesses—Blackcreek Mercantile and his fine art branch, Joshua Vogel. It’s also what led him to pen a do-it-yourself handbook on the art and history of hand-carved spoons, due out next fall from Chronicle Books. At his Midtown Kingston studio, housed in a former pajama factory, this passion is a guiding and energizing force. With a rambunctious and gung-ho team that includes woodworker Dan Votke, apprentice Max Friedman, and Josh’s partner, Kelly Zaneto, the atmosphere here is one of warmth, vitality, and conviviality. When I arrive, music is playing, coffee is brewing, wood is being turned, and Josh and Kelly’s daughter, Violet, is playing merrily in the office with studio assistant Rachel Silverbloom. If it was cold and dreary outside, one would never know.
This is to say nothing of Joshua’s actual work which is, simply put, absolutely stunning. Wonderful examples of lovingly handcrafted woodwork, Josh’s sculptures and design objects are beautiful both to look at and to hold. From elegantly carved spoons to luxurious black cutting boards, the boundary between art and functionality is practically non-existent. These are the sort of objects that one will want to use and display.
With the holidays just around the corner, Josh’s studio is producing at full-force, so we are thrilled that we were able to sneak in for a behind-the-scenes peek. We hope you enjoy the visit as much as we did!
Background: You know the phrase “the best thing since sliced bread?” Well, as it so happens, the exact date of this world-changing invention is in relatively recent history. Introduced by Wonder Bread in 1929, the concept of pre-sliced bread encapsulated many of the ideals of the time. The late 20s and early 30s saw the introduction of Modernism to America, largely through the over-the-top ornamentalism of the Art Deco and Moderne movements—it wasn’t so much about functionality, but the novel and the superficially futuristic. Scientific and industrial advances had captured the nation’s imagination, something that created a thirst for products that embodied these ideas—even if that product was bread, pre-sliced. Since then, Wonder Bread has become part of the the American canon, the embodiment of the American impulse for wild innovation and an icon of our Atomic Age. In 1939, Wonder Bread took part in New York City’s World’s Fair, an event that showcased similarly futuristic productions, from advances in agricultural technology to the latest and greatest in automobiles. Although it may not seem this way today—indeed, we have long-since abandoned the fluffy white goodness of Wonder Bread for healthier options—Wonder Bread (and its mythology) fit in perfectly.
Design: Carlton Cabinet
Designer: Ettore Sottsass
Date: 1981
Movement: Postmodernism
Country of Origin: Italy
Manufacturer: Memphis
Materials & Construction: Wood, plastic laminate
Background: While the garish colors, irregular forms, and shamelessly commonplace materials featured in this cabinet might come off as distasteful and ostentatious to some, this was in many ways the whole point. Ettore Sottsass, the object’s designer, was the founder and primary maker of the Italy-based Memphis Design Group, a collective that adopted many of the Postmodernist impulses of the early 1980s. Eschewing the perceived banality and false objectivity of Modernism, the Memphis group sought to dismantle the notion that design should be (or even could be) purely functional. In stark opposition to the “less is more” and “form follows function” dictums of Modernism, Sottsass and his cohorts subscribed much more to architect Robert Venturi’s notion that “less is a bore,” giving priority to emotion, humor, and symbolism rather than any utopian ideal. Although many designers and critics found Memphis design ugly and overly novel, others saw its blatant disregard for rules as liberating—a welcome breath of fresh air in a design world that had for too long been dominated by rigidity and precision.
After spending several years living within the concrete confines of Manhattan, designer Bill Hovard began to get the itch that befalls many a longterm New Yorker—the desire to uproot to greener, quieter pastures. In 2002, Bill began his search by drawing a 90-mile radius around the city and eventually followed the country’s siren call to the quiet town of South Kortright, NY. Nestled deep within the Catskills, South Kortright features breathtaking mountain views, hillsides filled with grazing livestock, and the zen-like comfort that can only be found when one travels beyond the realm of cellphone reception. Although Bill had originally envisioned settling in a Federal-style farmhouse, his path led him to a derelict, but charming, 19th century barn. Despite its disrepair, the structure was solid and featured hand-hewn, old-growth post and beam construction, a bluestone foundation, and dazzling natural surroundings. “It was love at first sight,” Bill says.
Once he settled on the location for his country retreat, it was time to get to work. Over the course of eight years, Bill renovated the barn into a beautiful, comfortable, and fully-functional living space. “It was important to strike a balance between old new” Bill notes, “and no attempt was made to hide or mask renovations or additions. Ultimately, it was preserving the past and creating a dynamic space with 21st century amenities.” For Bill, this meant sourcing materials that were regional and appropriate to the home: locally quarried bluestone, repurposed oak fixtures salvaged from other structures, and milled cherrywood for the floors and cabinetry. Filled in with antique and Modernist furniture, the home is a balanced, timeless mixture of Bill’s tastes and regional flavor.
Today, Bill has vacated the city permanently to focus full-time on Hudson Made, a lifestyle brand that features artisanal wares from regional artists and makers. “In late August, the western field on the property is in full bloom with milkweed and offers nourishment to monarch butterfly on their migration South,” Bill says. “This is how the property was suitably named. ‘Milkweed Barn’ has subsequently gone from weekend retreat to full-time residence. It is now home.”
DIY picture frames, made from tape. Concepted, styled, photographed, and written for Design*Sponge.
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When I moved into my dorm room for my freshman year of college, the first thing I did was unpack a gigantic envelope filled with magazine clippings. I had spent the entire summer going through various fashion magazines, cutting out pages with an X-Acto knife and saving them so that in the near future, I could wallpaper my entire dorm with them. I made a point of arriving early on move-in day so that I could stake out my space in the room and begin what amounted to an extreme makeover. It goes without saying that, upon finding me knee-deep in fashion photos with hands blue from sticky tac, my new roommate was none too pleased. I could tell that he, a quiet skater dude who brought just a single poster with him, was horrified by my shameless takeover of the wall space. At the time, I was quite convinced that I was something of a fashionista and could not be swayed from the belief that my decorating antics were at the absolute pinnacle of taste. In retrospect, I could have toned it down a bit.
When I moved into my first apartment a year and a half later, I had mostly abandoned this style of decorating. Instead, I was determined to make my new living space as adult as possible. After all, this was a real apartment. Equipped with cheap frames from the dollar store, I arranged several of my own photographs on my bedroom walls. Even if they weren’t expensive custom frames, they made me feel infinitely more grown up.
Indeed, there is something inherently sophisticated about hanging picture frames on one’s walls. Perhaps it’s because they lend a space some semblance of intent, rather than the feeling that random bits have been thrown together. Unfortunately, many rentals and dorms restrict frame use because of rules forbidding nails or tacks. Additionally, frames can be cumbersome to move and ones that aren’t from the dollar store can be quite costly.
As a cheap, easy and surprisingly chic alternative, consider framing magazine clippings, photographs and postcards with different colored tapes. The supplies travel lightly, can be changed frequently and can be purchased for very little.
