Hilary Alexander shares a conversation with Karl Lagerfeld, who speaks about Chanel's Spring 2011 couture collection, among other things - including why he is always late ("I’m late all the time but not because I’m rude or lazy but only because I forget to look at my watch"), his interest in books about French language, and his current favorite musician, Anna Calvi.
After watching this, I of course had to check out Calvi, who is English and fabulous. Have a listen.
Also, 'navy blue is better on TV than black...more becoming.' Noted.
Monday, January 24, 2011
Wednesday, January 19, 2011
Coachella 2011???
Looks really good to me, most pumped for Arcade Fire, the Strokes, AnCo, Ratatat, Ariel Pink's Haunted Graffiti, Crystal Castles, Cut Copy!!! Just to name a few...
Monday, January 17, 2011
Crunchy Breakfast Burrito (or really chunky quesadilla?):
This is good. So good. So00o0o good. Enjoy this hearty breakfast meal; truly a breakfast for champions. Not for the weak. Only for the strong. Lumberjack approved. Sooo good.
Anyways, here are there bare necessities to make this treat. (Keep in mind the permutations are endless...)
-Brown Rice Tortilla: We don't normally come across these types of tortillas but Trader Joe's has them for cheap. These are special in that, once cooked, they have a very unique crisp to them that is unlike any other tortilla. Soy and gluten free!
-Eggs
-Beans
-Cheese
-Hashbrowns
So we used pinto beans, a blend of jack, mozzarella, and cheddar cheese, and organic, cage free brown eggs. Yum. Though we didn't put any bacon or sausage this time around, it wouldn't be a bad idea to dice some up and toss them in. If you're a vegetarian I'd recommend Trader Joe's veggie sausage patties. Those are verrryyyy choice.
This is super easy to make. Just scramble up some eggs however you prefer, and heat up the beans with some cheese, and fry up some hashbrowns. Once your constituents are ready, toss some oil on a pan and throw the tortilla on.
Toss in the yummy stuffings (i.e. beans, eggs, cheese etc) then fold up the tortilla as if you were to make a really chunky quesadilla.
Let the tortilla fry, then flip it over. Repeat the flipping process until both sides are nice and fried and the insides are nice and gooey.
Then... viola! You're done. Naturally, there is a lot of room for your own creativity so please feel free to add (or subtract) ingredients and such.
FANGS!
A collaboration with Makan Negahban.
Friday, January 7, 2011
Cheese, Rib, Lava
These lava cakes were my dessert contribution to xmas dinner.
Rib. The primest of Prime.
8 lava cakes = 16 huevos
Cheese plate #643 of my life? I'm obsessed. Another amazing cheese spread by Arielle!
Yes and maybe the greatest bobblehead of all time...
All photos taken by Alyssa Murray.
Russian Paper
Russian artists Alexei Lyapunov and Lena Ehrlich use colorful paper to design small scale sculptures that depict detail-oriented scenes of people in settings that remind me of interior design models. Really stunning work.
See more of their ridiculously awesome work here.
See more of their ridiculously awesome work here.
Wednesday, January 5, 2011
Cup'pa Joe!
Say hello to the new logo design on the company's iconic white cup, marking Starbucks' 40th anniversary. We'll take a sip out of them this Spring. In the meantime, take a moment to observe the progression of the logo since it's opening as a small retail store in Seattle in 1971. Click here to hear a little something from the CEO, and learn more about the historical significance of "the siren," that mermaid-like creature that we have observed for so long.
Tuesday, November 30, 2010
A Conversation with Wayne Thiebaud
On Thursday, November 18, renowned painter and UC Davis art professor emeritus, Wayne Thiebaud, shared a conversation with art critic Kenneth Baker and a large (full house) audience of students and faculty. He spoke openly and humbly about his work, and his experience with painting as a practice for the last seventy years.
As a realist, representational painter, Thiebaud’s signature images of cakes, hot dogs, and lipsticks, exemplify the importance of scale. Thiebaud discussed the concept of size and it’s relationship to scale as one of the challenges he faces in his creative process. Baker helped to shape the conversation, as he inquired about Thiebaud’s dependence on the subject, meaning whether he worked from memory, or direct observation. In response, Thiebaud revealed that for his paintings of lipstick and shoes, he worked from memory, building on conventions he learned during his time as an advertising art director. Also, his famous cakes and other food shapes were made from memory. A favorite quote from the conversation was his description of the cakes, in which he says, you just “make a circle, get out a spatula and ice the cake with paint.” Listening to these words spoken by the creator of an iconic painting (that I have admired for years), is incredibly insightful. He even revealed his daily routine, in which he wakes up early in the morning to paint, breaks for tennis and lunch with his wife, and then back to painting. The nature of his schedule speaks to his commitment as an artist, and how he enjoys making these perfect little worlds, which he refers to as a “privilege” to do everyday.
Baker addressed the idea that every really good painting should have a drop of poison in it, with the artist making the most beautiful thing he can and hoping there’s a tiny flaw in it. Thiebaud’s feeling on this concept is that there has to be contrast, meaning something a bit off, or strange about the painting. If the painting is too sweet, there’s not enough salt in it. More specifically, this idea transitioned into a dialogue about “Night City,” one from his series of paintings of San Francisco that depict the concept that cities strive to be more than they are. This work points to the way Thiebaud uses color and scale to work with the content information in the painting. By including intense light and dark colors, he plays up the dirtiness of a city. Using architecture and pavement in the painting, Thiebaud addresses the ambition and craziness of putting a big building on such little earth, juxtaposed by the marvelous joy of surrendering to a city. After this portion of the discussion, Thiebaud trotted out my other favorite quote of the day, “I’m in the oil business.”
After spending roughly an hour with an artist whom I hold in very high regard, I feel somehow closer to Thiebaud’s work, having been exposed to his sharpness and charming presence. At ninety years old, it was an absolute pleasure to listen to him speak, to put a face to his incredible artworks, and to witness a candid discussion about the challenges and successes during his 70 years of painting.
As a realist, representational painter, Thiebaud’s signature images of cakes, hot dogs, and lipsticks, exemplify the importance of scale. Thiebaud discussed the concept of size and it’s relationship to scale as one of the challenges he faces in his creative process. Baker helped to shape the conversation, as he inquired about Thiebaud’s dependence on the subject, meaning whether he worked from memory, or direct observation. In response, Thiebaud revealed that for his paintings of lipstick and shoes, he worked from memory, building on conventions he learned during his time as an advertising art director. Also, his famous cakes and other food shapes were made from memory. A favorite quote from the conversation was his description of the cakes, in which he says, you just “make a circle, get out a spatula and ice the cake with paint.” Listening to these words spoken by the creator of an iconic painting (that I have admired for years), is incredibly insightful. He even revealed his daily routine, in which he wakes up early in the morning to paint, breaks for tennis and lunch with his wife, and then back to painting. The nature of his schedule speaks to his commitment as an artist, and how he enjoys making these perfect little worlds, which he refers to as a “privilege” to do everyday.
Baker addressed the idea that every really good painting should have a drop of poison in it, with the artist making the most beautiful thing he can and hoping there’s a tiny flaw in it. Thiebaud’s feeling on this concept is that there has to be contrast, meaning something a bit off, or strange about the painting. If the painting is too sweet, there’s not enough salt in it. More specifically, this idea transitioned into a dialogue about “Night City,” one from his series of paintings of San Francisco that depict the concept that cities strive to be more than they are. This work points to the way Thiebaud uses color and scale to work with the content information in the painting. By including intense light and dark colors, he plays up the dirtiness of a city. Using architecture and pavement in the painting, Thiebaud addresses the ambition and craziness of putting a big building on such little earth, juxtaposed by the marvelous joy of surrendering to a city. After this portion of the discussion, Thiebaud trotted out my other favorite quote of the day, “I’m in the oil business.”
After spending roughly an hour with an artist whom I hold in very high regard, I feel somehow closer to Thiebaud’s work, having been exposed to his sharpness and charming presence. At ninety years old, it was an absolute pleasure to listen to him speak, to put a face to his incredible artworks, and to witness a candid discussion about the challenges and successes during his 70 years of painting.
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