In February, 1925, Rea Irvin, The New Yorker’s first art editor, designed the cover of the magazine’s inaugural issue. That cover’s central character, a dandy peering at a butterfly through a monocle, would come to be known as Eustace Tilley, and he has graced the cover of the magazine nearly every February in the ninety-five years since. This is all a matter of historical record—but Barry Blitt, in this year’s Anniversary Issue, tells a different origin story. We recently talked to Blitt about drawing a familiar face.
You’ve drawn many a Eustace Tilley. Is there something pleasing about revisiting familiar forms?
Well, certain familiar forms are probably traumatic to revisit, but Tilley is a joy to draw repeatedly. All the hard work has been done for you—it’s a beautifully designed image. Hard to make a mess of those shapes and colors, though I give it the old college try.
In motor racing, a win or podium finish is often immortalized with the reward of a trophy but to foster and create the enthusiasm leading up to the race and attract the masses of racing enthusiasts and fans to witness many of the world’s greatest historic motoring races, it was often the beautifully executed imagery that drove people to the tracks.
Often a work of art in itself, historic motor racing posters manage to capture the very spirit of each race, venue, marques and their respective drivers best. What better way to celebrate heritage of motor racing then through this outstanding offering of nearly 60 original posters and artwork, all offered without reserve.
From a Wall Street Journal online article (Feb 21, 2020):
“I don’t have this precious career as an actor that I had to preserve. I’m an older guy, I’ve had a career, and the most personal thing I’ve ever done was Mr. Show, so, in a way I’ve said my piece, so I just don’t have all that much to lose really compared to somebody who’s an actor for a living and dreaming of their own show. My daughter asked me this question. This was a kid who grew up in Hollywood. She said, “If it’s bad, how bad would it be?” And I thought, Well, it’s Vince Gilligan and Peter Gould. The worst thing it would be, would be an experiment that just didn’t pan out, but an interesting one at the very least.”
It’s fair to say that in 1998, no one who saw Bob Odenkirk perform a Mr. Show sketch buck naked on the stage of Radio City Music Hall for Comic Relief VIII—a cupped hand his only nod to decency—would have predicted his turn to drama. Odenkirk is now critically celebrated for his portrayal of greasy lawyer Saul Goodman in AMC’s Better Call Saul.
The 57 year-old stars on the fifth and penultimate season of the show, which premieres this weekend and has moved far away from its first season branding as “a Breaking Bad spinoff.”
“After 96 years on this earth, Yona has moved up to build a Spatial City and install some Space Chains in the sky. The Fonds de Dotation Denise and Yona Friedman, which he founded last year, will continue his work.”
From an Instagram post (02/21/20)
Yona Friedman (5 June 1923 – 21 February 2020) was a Hungarian-born French architect, urban planner and designer. He was influential in the late 1950s and early 1960s, best known for his theory of mobile architecture.
In 1958, Yona Friedman published his first manifesto : “Mobile architecture”. It described a new kind of mobility not of the buildings, but for the inhabitants, who are given a new freedom.
Mobile architecture is the “dwelling decided on by the occupant” by way of “infrastructures that are neither determined nor determining”. Mobile architecture embodies an architecture available for a “mobile society”. To deal with it, the classical architect invented “the Average Man”. The projects of architects in the 1950s were undertaken, according to Friedman, to meet the needs of this make-believe entity, and not as an attempt to meet the needs of the actual members of this mobile society.
The teaching of architecture was largely responsible for the “classical” architect’s under-estimation of the role of the user. Furthermore, this teaching did not embrace any real theory of architecture. Friedman proposed then teaching manuals for the fundamentals of architecture for the general public.
The spatial city, which is a materialization of this theory, makes it possible for everyone to develop his or her own hypothesis. This is why, in the mobile city, buildings should :
touch the ground over a minimum area
be capable of being dismantled and moved
and be alterable as required by the individual occupant.
The Spatial City is the most significant application of “mobile architecture”. It is raised up on piles which contains inhabited volumes, fitted inside some of the “voids”, alternating with other unused volumes, making it look aesthetically pleasant. The basis of its design is that of trihedral elements which operate as “neighbourhoods” where dwellings are distributed without a price.
This structure introduces a kind of merger between countryside and city (compare to Paolo Soleri’s Arcology concept) and may span:
certain unavailable sites,
areas where building is not possible or permitted (expanses of water, marshland),
areas that have already been built upon (an existing city),
This spanning technique which includes container structures ushers in a new development in town-planning. Raised plans increase the original area of the city becoming three-dimensional. The tiering of the spatial city on several independent levels, one on top of the other, determines “spatial town-planning” both from the functional and from the aesthetic viewpoint. The lower level may be earmarked for public life and for premises designed for community services as well as pedestrian areas. The piles contain the vertical means of transport (lifts, staircases). The superposition of levels should make it possible to build a whole industrial city, or a residential or commercial city, on the same site. In this way, the Spatial City forms what Yona Friedman would call an “artificial topography”. This grid suspended in space outlines a new cartography of the terrain with the help of a continuous and indeterminate homogeneous network with a major positive outcome: this modular grid would authorize the limitless growth of the city.
The spaces in this grid are rectangular and habitable modular “voids”, with an average area of 25–35 square meters. Conversely, the form of the volumes included within the grid depends solely on the occupant, and their configuration set with a “Flatwriter” in the grid is completely free. Only one half of the spatial city would be occupied. The “fillings” which correspond to the dwellings only actually take up 50% of the three-dimensional lattice, permitting the light to spread freely in the spatial city. This introduction of elements on a three-dimensional grid with several levels on piles permits a changeable occupancy of the space by means of the convertibility of the forms and their adaptation to multiple uses.
In Yona Friedman’s own words “The city, as a mechanism, is thus nothing other than a labyrinth : a configuration of points of departure, and terminal points, separated by obstacles”.
Domestic sales of craft beers have grown to more than $27 billion annually, representing about a quarter of the American beer market. “Sunday Morning” producer Sara Kugel talked with Marcus Doucet, who opened Manchester, N.H.’s Backyard Brewery, one of more than 7,000 craft breweries in the U.S.
Whole and intact grains—whole wheat, barley, wheat berries, quinoa, oats, brown rice, and foods made with them, such as whole wheat pasta—have a milder effect on blood sugar and insulin than white bread, white rice, and other refined grains.
Fish, poultry, beans, and nuts are all healthy, versatile protein sources—they can be mixed into salads, and pair well with vegetables on a plate. Limit red meat, and avoid processed meats such as bacon and sausage.
Choose healthy vegetable oils like olive, canola, soy, corn, sunflower, peanut, and others, and avoid partially hydrogenated oils, which contain unhealthy trans fats. Remember that low-fat does not mean “healthy.”
The red figure running across the Healthy Eating Plate’s placemat is a reminder that staying active is also important in weight control.
The main message of the Healthy Eating Plate is to focus on diet quality.
The type of carbohydrate in the diet is more important than the amount of carbohydrate in the diet, because some sources of carbohydrate—like vegetables (other than potatoes), fruits, whole grains, and beans—are healthier than others.
The Healthy Eating Plate also advises consumers to avoid sugary beverages, a major source of calories—usually with little nutritional value—in the American diet.
The Healthy Eating Plate encourages consumers to use healthy oils, and it does not set a maximum on the percentage of calories people should get each day from healthy sources of fat. In this way, the Healthy Eating Plate recommends the opposite of the low-fat message promoted for decades by the USDA.
Watch a Q&A with Steven Chu, who’s devoted a large part of his scientific career to searching for solutions to our climate challenges.
0.06 – What does sustainability mean to you?
0.34 – What are the present challenges in sustainability?
1.50 – How can we help every person see the importance of being sustainable?
3.24 – What can I do to be more sustainable in my everyday life?
5.22 – What’s the most sustainable form of energy in your opinion?
6.44 – How do you try to do research in the lab in a sustainable way?
8.34 – Where do you see our world’s climate status in 50 years?
10.19 – Do you feel hope in humanity when it comes to tackling climate change?
Steven Chu born February 28, 1948) is an American physicist and a former government official. He is known for his research at the University of California at Berkeley and his research at Bell Labs and Stanford University regarding the cooling and trapping of atoms with laser light, for which he won the Nobel Prize in Physics in 1997, along with his scientific colleagues Claude Cohen-Tannoudji and William Daniel Phillips.
Chu served as the 12th United States Secretary of Energy from 2009 to 2013. At the time of his appointment as Energy Secretary, Chu was a professor of physics and molecular and cellular biology at the University of California, Berkeley, and the director of the Lawrence Berkeley National Laboratory, where his research was concerned primarily with the study of biological systems at the single molecule level. Chu resigned as energy secretary on April 22, 2013. He returned to Stanford as Professor of Physics and Professor of Molecular & Cellular Physiology.
Chu is a vocal advocate for more research into renewable energy and nuclear power, arguing that a shift away from fossil fuels is essential to combating climate change. He has conceived of a global “glucose economy”, a form of a low-carbon economy, in which glucose from tropical plants is shipped around like oil is today. On February 22, 2019, Chu began a one-year term as president of the American Association for the Advancement of Science.
The lives and oeuvres of Impressionist pillars Cézanne, Degas, Gauguin, Manet, Monet, Renoir, Rousseau, Seurat, Toulouse-Lautrec, and van Gogh are each explored in-depth in TASCHEN’s Basic Art series. Now, this volume combines all 10 monographs into one for the price of three.
“These seductive books have slick production values, excellent illustrations, and smart texts. Each one is a fast-food, high-energy fix on the topic at hand.” – The New York Times Book Review
This book gathers ten Basic Art monographs into one volume featuring:
Cézanne, Degas, Gauguin, Manet, Monet, Renoir, Rousseau, Seurat, Toulouse-Lautrec, and van Gogh
a detailed chronological summary of the life and oeuvre of each artist, covering their cultural and historical importance
approximately 1,000 illustrations with explanatory captions
With blockbuster exhibitions, record-breaking auction prices, and packed museums, Impressionism remains close contender for the world’s favorite period of painting. Its favorite subjects— from dappled harbor scenes and summer days to vibrant Parisian salons and gardens—brim with optimism and joie de vivre. The works once dismissed as unfinished or imprecise are now beloved for their atmospheric evocation of time and place, as well as the stylistic flair of rapid brushstrokes upon canvas.
What we take for granted today—the relativity of perception depending on the viewer, lighting mood, or location to the object—was then the inspiration for some of the finest paintings in art history. Consider Monet’s 30+ variations of the Rouen Cathedral, Cézanne’s dazzling experimentation with color, Gauguin’s primitivist innovations, or Manet’s scandalous nudes: rarely has a single genre produced so many brilliant artists in such a short time.
Since 1985, TASCHEN’s Basic Art series has published some 200 individual volumes, making it the world’s most successful art-book series. Each title contains an extensive text on the artist’s life and work, a detailed biography, and some 100 high-quality color illustrations with explanatory captions. With Ten in One, TASCHEN now presents ten Basic Art monographs in one volume. A must for every art lover!
This presentation by Julia Browne, PhD, a clinical and research fellow in the Center of Excellence for Psychosocial and Systemic Research at Massachusetts General Hospital and Harvard Medical School was part of Schizophrenia Education Day 2019.