The work of Charles Wilkin is a loose collection of thoughts and observations in many ways and less about one specific theme. He sees it as being a reflection of the world we live in, with all its ugliness and cruelty. From that, he strives to extract the beauty and empathy hidden underneath and within us all, revealing the unknown, the unspoken and intangible things that make us truly human.
For him, collage as a medium replicates this frenetic and inherent collision of people, culture, and emotions we all experience. He believes the true meaning of his work is derived directly from the intertwining of these associations, and the spontaneity of his creative process. This gives his work the freedom to live creatively in the moment, and the ability to respond to current events, despite his imagery being derived primarily from vintage magazines.
We focus our attention to collage art today re examining Mariano Peccinetti’s works blended with fantasy, sci-fi, surrealism. It’s a wonder how a stack of vintage magazines and a pair of scissors can yield such visually intriguing results:
Upper Playground’s Heritage Preservation Society in conjunction with the California Historical Society presents the first edition of Barbary Coasters. Culled from a fine assortment of ninteenth century liquor and medicinal advertisements, theater playbills and secret society symbology, the 4-coaster set pays tribute to the debaucherous era of San Francisco. Available online: BARBARY COASTER SET
Agostino “Bimbo” Giuntoli opened The 365 Club in 1931 when the Eighteenth Amendment to the Constitution was in full swing. Though known for the silver buckets, showgirls, multi-course dinners, and crooners, Bimbo’s also operated as one of the many speakeasies during the Prohibition years. Family owned and operated to this day, Bimbo’s is a true San Francisco institution, where one might even still be able to catch a glance at the naked lady dancing in the fishbowl behind the bar.
The Heritage Preservation Society together with one of San Francisco’s most classic clubs, Bimbo’s 365, present the Mr. Bimbo Prohibition Cup & Saucer. We celebrate and honor the man, the myth, who started it all and created the Copa Cabana of the West Coast and ultimately the best show in town.
The Mr. Bimbo Prohibition Cup and Saucer is culled from vintage Bimbo’s advertisements from the 30’s and 40’s and is limited to 140 sets.
Featured at the Alden Projects booth at the NADA Fair New York this past weekend was this gem; a 1964 exhibition poster of Ed Ruscha’s exhibition at Ferus Gallery, featuring an iconic photograph by Dennis Hopper. Probably our favorite thing we saw all weekend…
This is the vintage exhibition poster commemorating Ed Ruscha’s second one-person exhibition that opened at Ferus on October 20th, 1964 and where Ruscha originally exhibited his paintings of gasoline stations for the first time. This printing constitutes the original reception context for his friend, Dennis Hopper’s now infamous 1961 photograph taken through a windshield at the intersection of Santa Monica and Melrose: it captures a pit stop to which Ruscha would return again: a Standard Station and its doubled signs. A billboard over the gasoline station reads: “Smart Women Cook with Gas in Balanced Power Homes,” slyly eliding Ruscha’s own interest in signs, wordplay, gasoline stations, and small fires evident in his then-recent works. The photographic image is juxtaposed not with the quotidian details of the exhibition’s place and time, but simply with the loud signal of an early Op-like typeface, honking the artist’s name in green ink: “RUSCHA”.
Although Dennis Hopper’s photographs were incorporated into several Ferus Gallery exhibition poster contexts, this one—whose vantage and subject dovetails so closely with the young Ruscha’s own aims—was both a familiar and uncanny choice. “The Double Standard photograph of mine,” Hopper recalled, “which I took in 1961 was Ed’s announcement for his 1964 show (at Ferus) of paintings of Standard gas stations, one of which I bought, I think, for $780.” That the double boomerang of Hopper and Ruscha’s photographic readymades depicting urban scrawl — gasoline stations, billboards/signs, wordplay, font-play, and more — finds cross-pollination in this particular and original ephemeral context is a combustible elixir of Los Angeles car, cool, fame, and flame. This perplexing publication is the authentic 1964 issue, printed in its vintage strike. Very good condition. With no pinholes or time staining. Not to be confused with the different printed context of Ace Gallery’s re-issue of Hopper’s negatives as over-sized, boutique art photographs in 2006.
If you were to be looking for a shoe for your Spring adventures and ventures, may be say that this perfectly butter Nike Blazer High Vintage with, as Hypebeast says, an “unassuming light ‘Sail’ grey tumbled leather base upper juxtaposed against bold hits of either purple or green that envelope the Swoosh,” is the right shoe for you. And us. And me. And we.
We just picked up a few items of Levi’s Vintage Collection over the past few weeks, and they are fast becoming our very favorite things in our closet. On top there, we highly recommend the 1950s Crew Sweat. (via)