Bryn Craig was born in 1931 in Lansdale, PA. He studied at the Philadelphia Museum College of Art and with the Art Students League of New York, and taught at the Philadelphia Museum College of Art. At 83, Craig is represented by three galleries, and continues to create.
The artist’s work explores the relationship between people and interiors. Many of his canvases are filled with a subtle moodiness and subdued emptiness. He distorts rooms, elongates perspectives, or skews proportion of items in order to convey the real essence of a place.
Bryn Craig, The Star Quilt, oil on canvas, 2014, Gallery Bergelli
Craig writes, “Although my work is representational, I am definitely not a photo realist. I try to include much more than just the surface of a place. I want to express my emotions about the subject and to stimulate emotions in the viewer.” To me, Craig’s painting above conveys the strangeness one feels when they are staying at a friend’s house on vacation – the uncanny sensation that a room is yours, but also is not home. Those silent moments of being alone in a shared vacation home, perhaps on the Cape, can be calming but also disorienting.
Craig’s process involves photographing one location at various times of day, and from many angles. Although he uses the snaps to direct some of his painting, he is not concerned if a lighting fixture is out of place, or a building changes colors. In this way, his works become a sort of fantasy invention.
Drawing from his travels as well as from his commonplace interiors, Craig’s paintings are imbued with color, feeling and texture.
Before there was Damien Hirst or Jeff Koons and their brand of self-aware, “meta” art that serves as both commentary and appropriation, there was Louise Lawler. Born in 1947, the photographer’s work focuses on challenging prevailing art worlds, and systems of aesthetics. Under the assumption that taste and style is merely a byproduct of institutional spheres of influence, her work is cheeky – always presented with a wink. Along with other greats like Cindy Sherman and Barbara Krueger, these art stars came to be known as “The Pictures Generation” due to an eponymous exhibition at the Met.
Some of her best-known works include photographs of uniformed art handlers carefully transporting a Gerhard Richter painting (as if it were an holy relic, or a vestige of a lost culture) and a Damien Hirst spin-painting shown through a closet door.
Here is a modern take on a vaguely antiqued, yet very minimal room:
Jonathan Adler Smart Phone Dock: Cast in the shape of a rotary telephone, this porcelain docking station will keep a smartphone secure with a dash of old school style.
Ore International Off White Ceramic Table Lamp: A simple, contoured design adds a decorative element to any room. Topped with cream-colored nylon shade.
A Modern Digital Illustration by ColourscapeStudio: “I’ve nicknamed this piece the Yarn Ball… it came to me as I was unpacking my craft box after moving house. I’d never really noticed the lines before other than a rolled up ball! Perfect for a minimalist home in neutrals, or your craft room in bright and cheerful colors, this print will certainly get some attention.”
The MIAC Whirlwind Jute Rug in Natural/Iron: Made as part of an exclusive collection of handwoven rugs with Santa Fe’s Museum of Indian Arts & Culture (MIAC). Hand braided from handspun jute by artisans in India, the printed pattern is inspired by design elements from an early 20th century Native basket.
Brick White Quilts and Shams by Villa Home: Welcome to the world of incomparable comfort, beauty and style. Enter an oasis of serenity: your bed, made with sumptuous Villa bedding designed to create a splendid haven, a place to escape the demands of everyday life.
“Dream” Sparkler art print by Lucy Hodkiewicz:Everyone’s favorite summer activity, drawing with sparklers, expertly captured in an instant.
Safavieh Bali Brown Nesting Tables: A transitional design and an easy-to-match brown finish. The table can be un-stacked to add extra table space when entertaining. Made in Indonesia; a piece of paradise in your home.
As seen on many feminist artist’s prints and advertisements, and quoted by Louise Lawler, “Whenever I hear the word culture I take out my checkbook.”
My husband and I recently purchased a home in Brooklyn that was built in 1860. It is technically a “pre-pre-war” building, meaning it’s lived through the Civil War, and all of the World Wars. The Brooklyn Historical Society keeps amazing records on the evolution of city blocks, parks, and skylines.
Perusing the digital collection, I was able to see what part of our new neighborhood looked like at almost every decade – the outdoor marketplaces, the children in backyards, the evolution of the subway system. This virtual timewarp essentially showed me that although my new home is almost 154 years old, its bones, original architecture, and facade have not changed so much. There is something fascinating about the fact that in 154 years, New York City and its boroughs can change so swiftly and yet, in many ways remain stagnant.
Seymour Joseph Guy – The Contest for the Bouquet – The Family of Robert Gordon in Their New York Dining Room 1866
The trim in our home is so similar to Guy’s that it is uncanny. We’ve also recently become obsessed with Victorian gilded frames, and the keeping of cloches and terrariums. Everything old is new again! Look at those nail-heads on the mahogany chairs – are those not on trend for 2014? Even the chandelier with its cantilevers and pulleys can be found in stores ranging from Pottery Barn to Arhaus. The retro-futuristic Victorian fixtures are replete with decorative harnesses and pulleys echoing maritime mechanics It seems simple machines will always remain a basic of human existence.
Guy, who was born and trained in England, settled in 1854 in New York. Typical of the time period, this highly-detailed “conversation piece” (a portrait with narrative elements) was commissioned by Robert Gordon in 1866. Three of the Gordon children have finished breakfast and appear to vie for a small corsage before setting off for school. Gordon, a founding trustee of The Metropolitan Museum of Art, collected American paintings, some of which he displayed in the dining room of his home at 7 West 33rd Street, depicted here. The room was decorated in the up-to-date Renaissance Revival style.
“I was never going to get any sleep. I was going to have Alice in Wonderland conversation after Alice in Wonderland conversation until I died of exhaustion. Here, in the restful, idyllic Victorian era.” ― Connie Willis, To Say Nothing of the Dog