“To ping is to sing.” “To pong is to go wrong.”Commissioned for this show, Solomon designed a new accompanying supergraphic overlooking the Ping-Pong tables with those few words. A supersized red ball appears to hurl through space. Stauffacher Solomon's supergraphics at Sea Ranch were rooted in the severity of her mentor Hoffman’s training but also showed her rebellious side, with bold use of color and humor (find the suggestive figures in the Sea Ranch’s Moonraker Pool Center next time you visit). Her work there, painted in a few days, covered an unfinished building that had gone over budget. Since her contributions to supergraphics and Sea Ranch are well known in the design worlds, this smaller show explores less familiar aspects of her career. Following the success of her interpretation of Swiss Modern graphics, Stauffacher Solomon returned to school at the University of California, Berkeley, and worked with the overlaps of architecture and landscape architecture. She ended up painting all kinds of green rectangles, including the series that resembled ping-pong tables. Her master’s thesis was entitled “Notes on the Common Ground between Architecture and Landscape Architecture.” Her ideas later coalesced in a book from Rizzoli, Green Architecture and the Agrarian Garden. This phase depicts her evolution from almost pure graphics to landscape depicted graphically. Yet her first book from Rizzoli, and the art that accompanied this period, was still rooted in the discipline of graphic design. Her journey moves on to a series of artworks that she gathered in a second book from Rizzoli, Good Mourning California, which embraces her home state and its many quirks yet foretells its possible demise. Some of the drawings of women seem influenced by German-American artist Richard Linder. The pieces are rougher, wilder, even angry. Without watching the two videos in the exhibition, it might be difficult for the uninitiated visitor (i.e. not a design aficionado) to make sense of Breaking all the Rules. Listening to Stauffacher Solomon describe her life and work on the videos provides the necessary frame of reference. She describes her early art studies, working as a dancer at San Francisco’s Copacabana nightclub while still a teenager, meeting her future husband at 17, befriending leading bohemians, rebuilding her life as a very young widow and mother, being disciplined by Swiss Modernism, applying that discipline to California in the 1960s, becoming the darling graphic designer of the city’s architecture scene (no surprise—trying to rein in the future chaos of postmodernism), and trying to synthesize thoughts on architecture, landscape architecture, design, the environment, and everything else. It will take a different show (and larger venue) to tell Bobbie Stauffacher Solomon’s design and personal story more completely, but this is splendid first look. Be sure and play some ping-pong.
Posts tagged with "Palm Springs Art Museum":
Wessman argues that the building is a poor example of mid-century architecture and is problematic to lease due to its awkward layout, low ceilings and other deficiencies. The building also stands in the way of a proposed new street for the area that would form an east-west axis connecting the Palm Springs Art Museum with other areas like the Palm Springs Convention Center.Writing for AN in 2011, Tom Stoelker reported that the museum's relationship to the Town & Country Center is "tricky."
The complete list of nominated Frey buildings are: Kocher-Samson Building (1934), Frey and A. Lawrence Kocher Sieroty House (1946) Loewy House (1946-47) Carey-Pirozzi House (1946) Palm Springs City Hall (1952) Fire Station #1 (1957), Frey and Robson Chambers Frey House II (1964) Tramway Valley Station (1963) Tramway Gas Station and Visitors Center (1965) North Shore Yacht Club (1959)
There is the opportunity to connect the museum to tourists and residents, expand within the new complex, and gain visibility—literally—from blocks away. On the other hand, they’ll likely incur the wrath of Palm Spring’s vigilant preservationist community. “We are very interested in working with the city and Wessman, but we are by no means endorsing the destruction of Town and Country,” said museum spokesperson Bob Bogard. “The museum is very interested in an east-west corridor.”