Unicorn Natural History

Posted on August 19, 2013 by MsSusanB

Detail from The Unicorn Defends Itself (1495-1505), a large tapestry in the main gallery.

Who says unicorns aren’t real? Mr. Rockefeller’s tapestry unicorns have been the celebrity draw for the last 75 years uptown at The Cloisters, and are the cavorting centerpieces of the show, Search for the Unicorn. But it took some brave curators to finally display all the unicorn-themed stuff in the Met’s collection and truly reveal the place this beloved icon has held in science, medicine, and art for the last 2,000 years.

The small micro-show in the Romanesque gallery just inside the entrance presents ivory coffers, playing cards, etchings, a carved-bone parade saddle, and coats of arms featuring unicorns in all manner of activity.

But the surprises are loans from NYPL and the National Library of Medicine in Bethesda showing the unicorn’s inclusion in scientific texts, which attest to sightings and miracle cures from the impressive cloven-hoofed trotter.

Pome’s 1694 identification of species in General History of Drugs. Courtesy: US National Library of Medicine, Bethesda.

Conrad Gesner’s Histories of the Animals (1551), the most popular natural history book during the Renaissance, included the unicorn among its 1,200 woodcut images of the world’s quadrupeds. Gesner, who also published images of fossils for the first time here, was a stickler for documentation, and asserts that unicorns had been seen in Mecca by a reliable source. He wrote several pages about how to discern real from fake unicorn horns and told how it should be used to purify water, counteract poisons, and treat epilepsy.

General History of Drugs, which achieved global circulation after it was published in 1694, was written by Pierre Pome, the pharmacist to Louis XIV known for his expertise in medicines and treatments from exotic cultures. Pome gave unicorns their own chapter and described five species living in the Arabian desert and in proximity to the Red Sea. In Chapter 33, he correctly proclaimed “unicorn horn” to be narwhal tusk.

Narwahl tooth (a.k.a. unicorn horn). Source: Metropolitan Museum of Art.

The narwhal’s gracefully shaped, unicorn-looking incisor tooth is given a place in the show, too. One from a private collector is in the Romanesque gallery alongside one of the tapestries, The Unicorn in Captivity (the one in the fenced-in pasture); the second stands behind glass opposite the rest of the tapestries in their usual gallery.

Fancied by rich and powerful in years gone by, Charlemagne, Suleyman the Magnificent, Charles VI of France, and Lorenzo de Medici all owned this Arctic collectible.

We couldn’t take photos inside the show, but don’t worry. The Met’s done a fantastic job documenting everything online, so take time to peruse all the items in the show. Then click on our Flickr site to see the famous Unicorn gallery and glimpse the Cloisters on a perfect summer day.

Do you have 13 minutes? If so, you’ll enjoy the hilarious introduction to the show by curator Barbara Drake Boehm and her speculation on why it took the Cloisters 75 years to mount a show on unicorns. The natural history of unicorns starts around 3:40, and she’ll take you through all the key library materials. Watch to the end to find out where the unicorn was last sighted in the 21^st century. It wasn’t Toys ‘R’ Us.

Vote for Plain or Fancy at The Met

Posted on August 12, 2013 by MsSusanB

Our vote for best “fancy” object: A beach shell embellished with enamel and gold by Barnabe Sageret around 1745.

You wouldn’t think that a presentation of luxury items would emphasize democratic participation, but that’s just what the Metropolitan Museum has embedded (on line and onsite) within its thought-provoking, beautiful show, Plain or Fancy? Restraint and Exuberance in the Decorative Arts, on view on the first floor through August 18.

The curators of European Decorative Arts have assembled “plain” objects to the left side of the gallery, “fancy” ones on the right, and…well, they’ve asked you to decide about the ones in the middle. Tablet screens in the exhibition and the Met’s web site have an interactive that lets you choose if some of these are to your taste and how you’d classify them. You can enter a comment about each that shoots off to the show’s Twitter feed.

Our vote for best “plain” object: The obviously expensive porcelain bowl used by Marie Antoinette at her “fantasy” dairy farm. The curators tell us that the head of the Sèvres Manufactory was worried that his other clients would think it was too “barbaric.”

The whole idea of the show was to gather some of the greats from the European Decorative Arts collection and ask the viewers to consider their own feelings about “plain” and “fancy” (derived from “fantasy”). If something is “plain”, do you feel more noble admiring a piece’s elegant simplicity? If you see a grandly embellished bauble, does it make you cringe, or give you a sense of relief that someone else’s purchase is stimulating the economy?

The curators don’t refrain from hammering these gems into their socio-political contexts. One of the “plain” porcelains is a Sèvres bowl used by Marie Antoinette as she cavorted with friends on her fantasy dairy farm pre-Revolution. Several “plain” pieces of silver tableware were likely made from melted down “fancy” pieces after Cromwell’s 17^th-century reformation in England. The photos on our Flickr site let you in on what the curators said about many of our favorite items.

Is it “plain” or “fancy”? A clean design on a giant 1635 glass goblet inscribed with a detailed cartography of the course of the Rhine River. J.P. Morgan liked it and gave it to the Met.

Items range from the 1400s to the 20^th century. One of our favorites in the “fancy” imagination department is a snuff box made from a beach shell decorated lavishly with enamel and gold. Who wouldn’t want to look at that? Another is a gigantic Dutch glass goblet that has been engraved with a detailed map showing the entire course of the Rhine River. Amazing.

The show is filled with Wedgwood, Sèvres, Wiener Werkstätte, and other surprises. Although you can see the items in the show on the Met’s website, it’s much better to examine these items up close in person and read what the curators had to say about each.

Better yet, think about how you feel about the designs, and weigh in on Metmedia and Twitter. What do you choose?

Patching Up the Emperor’s Carpet

Posted on August 2, 2013 by MsSusanB

Installation view of the Emperor’s Carpet, second half 16th century. Iran, Safavid period (1501–1722). Source: The Met.

If royal guests had walked all over your Persian carpet for the last 600 years, how many repairs would you need? Before coming to the Met, the 16^th-century Emperor’s Carpet, covered in animals and poetry, was once owned by the Shah of Iran and the Hapsburgs.

Since this large, beautiful carpet arrived in New York 60 years ago, the Metropolitan Museum was only able to display it twice because it was in such fragile shape. When they turned it over, they saw it had been patched over 700 times. How could they stabilize it and install it in their expansive New Galleries of the Art of the Arab Lands on the second floor?

You’ll find out all about the behind-the-scenes work analyzing, stabilizing, patching, and repairing it in the micro- show, Making the Invisible Visible: Conservation and Islamic Art.

Restored corner of the Emperor’s Carpet.

The show features all manner of science, technology, and process that the magical conservators put to work for other pieces, too – ceramics, tapestries made of gold and silver threads, wood, and works on paper over the last 2,000 years. One of our favorites is the child’s coat made from antique pashmina. They also have examples of the natural materials that were crushed and pounded into pigments for all these beautiful dyes and paints.

Although the gallery is tiny, the Met decided to send visitors on a treasure hunt by providing a brochure through which seekers of conservation wizardry can locate the Emperor’s Carpet and other works throughout the dozens of Islamic Art galleries. See the details on these and more our Flickr site.

Child’s coat from India on display in the show. Tailored in the late 19th c., but but fabric woven late 18th c. The textile is from Kashmir and is likely pashmina.

One of the shockers is seeing what the conservators reckon are the true colors of the 1707 Damascus room, long a favorite of Met period-room fans. The science showed that the darkened panels that we’re so familiar with were once bright, bright blue and gold.

If you can’t see the conservator’s showcase before August 4, read about all the science and technology on line at the special web site. You’ll find links to the stories of rehab for the carpet, the child’s coat, the gold-weave chadar, and more.

If you have eight minutes, take a look at three years of work on the royal carpet by the Met’s magicians:

All Smiles at The Mouse Museum on 53rd St

Posted on July 29, 2013 by MsSusanB

View of Oldenburg’s Mouse Museum/Ray Gun Wing at MoMA. Photo: Jason Mandella. © 2013 The Museum of Modern Art

Is it the best museum in the world? One of the happiest places to be in New York right now is Claes Oldenburg’s Mouse Museum and Ray Gun Wing, currently installed in MoMA’s atrium as the scene-stealing companion to the Fifth Floor exhibit, Claes Oldenburg: The Street and The Store, which ends August 5.

You’ll want to take your time contemplating the Pop master’s 1970s curated collection of average, everyday stuff that he showcased inside a geometric mouse-head structure, originally a design he proposed for Chicago’s (then unbuilt) Museum of Contemporary Art.

In the mid-1960s, Oldenburg began collecting souvenirs, rubber toys, and crazy stuff he found on his wanderings and storing them on shelves of his 14^th Street studio. An early idea was a display of artificial vegetables and other food with Fluxus genius George Maciunas. It never happened, but luckily some of the 1960s-style replicas repurposed here in the Mouse collection.

Inside view. On loan from the Austrian Ludwig Foundation, since 1991. © 1965–77 Claes Oldenburg. Photo by MoMA Imaging Services Dept. © 2013 The Museum of Modern Art

Oldenburg decided to submit his museum to Documenta 5, whose theme was “inquiry into reality—today’s imagery.” He washed off his dusty collection (you can hear the tape of that inside) and he and some friends organized 367 objects into display categories. For Documenta, the little building itself was fabricated in Germany.

What’s really inside? In a riff on the classification systems that were then in vogue by conceptual artists, Oldenburg “classified” all his fun stuff – landscape, human beings, food, body parts, clothing (including makeup), tools, animals, buildings (including monuments and souvenirs), money containers, smoking articles, and studio remnants.

Here’s MoMA’s take on the importance of this little museum and its Ray Gun Wing:

Now, enjoy a virtual walk-through to examine this tiny museum’s treasures, shot by Christian Zurn when it was on display at MUMOK in Vienna last year. Do yourself a favor and go see this spectacularly funny, whimsical collection for yourself.

Want to spend some time with Claes himself? Here’s a YouTube of the master recollecting his life in the Sixties, travels to LA with Warhol, and how his soft sculptures came to be, click here.

Shimmering Curtains of Liquor-Bottle Caps Hung in Brooklyn

Posted on July 27, 2013 by MsSusanB

Installation view in the Iris and B. Gerald Cantor Gallery on the Fifth Floor. Brooklyn Museum photo: JongHeon Martin Kim.

They’re big, they’re from Africa, they’re hung in one of the most spectacular art spaces in the City, and you need to see them before August 18. If you’re going out to Brooklyn to see the Sargent show, be sure to see the spectacular contemporary installation, Gravity and Grace: Monumental Works by El Anatsui.

The one-man retrospective of London-trained Ghanaian artist El Anatsui (his first) takes up half of the Brooklyn Museum’s Fifth Floor, but really shines under the skylight in the Iris and B. Gerald Gallery.

You might have seen his large piece hung in the African gallery on the First Floor of the Met or his installation in the 20s on the High Line, but in Brooklyn you’ll see 30 big, shimmering pieces arranged on walls and suspended under the dome. They’re all made out of scrounged metal material and wire from garbage dumps near his home, but the experience of seeing these big, beautiful pieces could not feel further from the source.

Hung from the ceiling, the metal-and-wire pieces look like open-weave textiles fabricated on a grand scale. Visitors wander through Anatsui’s hangings, silently gazing, stepping up to look close, and then move further back to wonder how he creates such a lightweight, effortless illusion from years of collected, flattened, punched bottle caps and stuff.

Two more galleries feature other large-scale works, arranged and pinned on walls, bunched like beautiful fabrics. Anatsui creates his gigantic constructions, carefully sorting the different colors of metal from the various brands of beverages. He says it’s like doing a watercolor wash, and when you view the work in person, you’ll be stunned by the variety of color, pattern, and lovingly arranged metal tapestries.

Here’s a time-lapse video of the Brooklyn crew installing the show, initially mounted at the Akron Art Museum. Anatsui says that he enjoys giving installation crews and curators a lot of leeway in how they hang his work, and he was a little surprised (in a good way) about some of the choices by the crew in Brooklyn. See for yourself. The big, shiny silver sculptures snaking across the floor are made of milk tin lids.

Virtual Visit to the Met’s Punk Couture Show

Posted on July 19, 2013 by MsSusanB

Too hot to get over to the Met this weekend and climb up all those high stairs out front? Stay in the comfort of your air-conditioned home and take this virtual tour of the Met’s Punk: Chaos to Couture show (closing August 14).

Curator Andrew Bolton explains the real-life inspirations for much of the iconic looks in this show –people from music, pop, and celebrity worlds, taking you through the galleries one by one, emphasizing the importance of recycling and deconstruction to the haute couture designers of today.

Our favorites: Rodarte’s crochet looks alongside those of Westwood and McLaren, McQueen’s faux recycled trash bag dresses, Chris Bailey’s spiked Burberry ensemble, and the great finale – Comme des Garcon’s amazing collection with trousers, mutton sleeves, and disassembled pieces of clothing brilliantly attached for maximum punch to the runway models.

Look closely, remember, and enjoy.

Think…Download…Make at New Museum

Posted on July 6, 2013 by MsSusanB

Open-source vacuum assembled from downloadable instructions, a red thermos, hardware store items, and 3D printed parts

If you haven’t been exposed to the DIY (Do It Yourself) movement, drop into the New Museum’s Adhocracy show at its Studio 231 storefront this weekend.

It’s a 25-project showcase of cutting-edge design solutions, including DIY as well as some film, video, low-tech high tech, and crazy, new approaches to making stuff in the 21^st century.

The DIY sections that we particularly liked were the household appliances made by downloading Open Source instructions, manufacturing components with 3D printers, and buying the remaining bits and pieces at the hardware store. Why spend money on a Dyson when you can build your own vacuum cleaner from a thermos container and other scrounged parts? Each solution is more fascinating than the next, with displays of OS-compatible coffee grinders, water boilers, and bicycle parts and their instructions.

Larisa Daiga uses Unfold’s Stratigraphic Manufactury (3D ceramic device) to make coil pots from Gowanus sludge

Other displays highlighted the best inventions from Kickstarter (e.g. Central Standard Time wristbands and iPod Nano multimedia wristwatches) and solutions for using the Arduino microcontroller – lion tracking collars in Kenya and an earthquake-sensing device created and marketed by a 14-year old in Chile. It tweets you when there’s a tremor. Click here to see some photos, and if you feel like making something, explore your options on Adafruit..

Right in the storefront window, NYC ceramicist Larisa Daiga uses a ceramic 3D printer to make a tiny coiled pot. Larisa told us that she couldn’t touch the porcelain, because it was actually sludge from Brooklyn’s beloved Superfund site, the Gowanus, and loaded with biotixins.

Daiga felt it was interesting to be part of Unfold’s Stratigraphic Manufactury project, making coil pots (one of the oldest technologies of humankind) with toxic waste. Days spent in the window of Adhocracy let her contemplate how sludge might be reused and recycled instead of being trucked and dumped into unsuspecting landfills in the rest of the country. View her Adhocracy output and see the machine at work on her Flickr feed.

Another DIY favorite from Helsinki is featured in the show — Restaurant Day, when everyone in the city has permission to open their own restaurant on the curb. It’s one step beyond Smorgasburg.

Washington, D.C. Museum Videos Reach 14 Million YouTube Views

Posted on July 1, 2013 by MsSusanB

Since Smithsonian branches and other Washington, D.C. museums, zoos, and gardens began posting videos on line in 2007, collective YouTube views have climbed to 14 million, as chronicled in our latest report, Washington D.C. Museums: 2013 Video and Social Media Rankings.

Although the 14 million total is less than the 49 million views racked up by New York museums, don’t forget that two high-profile DC institutions – National Geographic and the Smithsonian – produce significant amounts of programming distributed on their popular cable TV channels, dedicated apps, and snazzy web sites. Even though it has a DC museum space, NatGeo (a joint venture with Fox Cable) has largely abandoned YouTube; however, the 18 individual Smithsonian branches are all still posting their own stuff regardless of the more comprehensive joint venture with Showtime.

In the Top 2012 Cultural Museum Video, archival footage is cleverly coupled with behind-the-scenes looks at the National Archives’ 1940s Census release

In the Top Cultural Museum Video, archival footage is cleverly coupled with behind-the-scenes looks at the National Archives’ 1940s Census release

Here are some findings from our report on video and social media produced by DC institutions:

As of year-end 2012, the Washington museums having the highest number of total YouTube channel views were the Library of Congress (4.5M), the National Archives (2.1M), and the United States Holocaust Memorial Museum (1.6M). The top two are information powerhouses with massive collections to push out for public consumption, and the third is right on their heels with an innovative series with curators interpreting interesting items from their collections.

All-time top DC museum video, one of Edison’s earliest films, with over 329K hits on YouTube

Edison still delivers. It’s interesting that the top ranked DC museum video of all time is Edison Kinetoscopic Record of a Sneeze, Jan. 7, 1894, the earliest surviving copyrighted movie – suggesting that our greatest media innovator is having the last laugh, contributing over 329,000 hits to the number-one ranking by Library of Congress on YouTube. It’s short enough for Fred Ott to be on Vine.

Four museum video channels have surpassed 1 million views. To put the DC numbers in context, if they were merged with the New York museum video rankings, the Library of Congress (4.5M) would rank seventh, just ahead of the Metropolitan Museum of Art. The Library of Congress would rank eight (2.1M), just ahead of the New York Public Library.

The National Zoo produced Washington’s top-viewed 2012 museum video – Shanthi, the National Zoo’s Musical Elephant, Plays the Harmonica!. Over 290,000 viewers watched this middle-aged mom experiment with a musical instrument in her enclosure and listen to her keeper talk about her performance. Shanthi’s viewership greatly surpassed the numbers generated by the most popular 2011 Washington museum video, the National Portrait Gallery’s Conan O’ Brien as Seen by Artist John Kascht. Surely, Conan would be amused.

The Smithsonian American Art Museum’s Top Exhibition Video of 2012 features curator Chris Melisinos describing why video games belong in an art museum

The top cultural video was a behind-the-scenes work at the National Archives for the release of the 1940s census. Over 115,000 family historians watched Learn About the 1940s Census, which showed the Archives census team, provided information on how to find your family’s records, and worked in interesting archival footage from the original census.

The Smithsonian American Art Museum produced Washington’s top video about a museum exhibition. Over 28,600 people watched The Art of Video Games: Chris Melissinos, Curator, a brief look into the evolution of the stories, technology, and visualization advances of this mass entertainment medium.

A few of the Flickr sets from Library of Congress

The most active Twitter users are the National Museum of American History, the National Air and Space Museum, and the National Postal Museum. But except for Air and Space, it’s a different set for Facebook followers.

The most active Flickr users are the National Archives, the Library of Congress, and the Smithsonian American Art Museum. The Archives has organized its photos into creatively themed sets, such as “White House Wednesdays,” “Millinery Monday,” pictures of the 1940s census being taken, and pets of the First Families. The Library of Congress also posts a folder containing “mystery” photos and asks the public to help to identify them.

All the detailed video and social media statistics on 42 museums are in the report. Click here to see what’s included and make a purchase from our Its News To You Reports shop.

Enjoy the most popular DC museum video, a musical visit with the National Zoo’s sensation, Shanthi:

Mardis Gras Indians Land in NC Beach Town

Posted on June 28, 2013 by MsSusanB

“Chief Albert Lambreaux: No Hum Bow, Don’t Know How” costume. In the pilot, the character returns to his devastated home six months after Katrina, enters, and emerges in this costume.

Towering feathered headdresses, intricate beaded panels, plumes, and miles and miles of ruffled edging adorn more than a dozen Mardis Gras Indians that are camping out until November 3 at the Cameron Art Museum in Wilmington, North Carolina.

The dazzling incarnations are all part of the exhibition, Well Suited: The Costumes of Alonzo V. Wilson for HBO’s ® Treme. Alonzo was on hand for the opening, where he explained the challenges he faced designing elaborate, 60-lb. Mardis Gras Indian costumes for the actors playing characters living in New Orleans’ Tremé neighborhood (the Third Ward) in the months after Hurricane Katrina.

The African-American men who bead the panels and feather the elaborate costumes for their Mardis Gras Indian tribes typically take all year to execute their visions, which reflect their position in the tribe (e.g. the Big Chief, Second Chief, Spy Boy, Wild Man). To meet HBO’s production schedule, Alonzo and his team often had a much shorter time to create the patches, headdresses, staffs, panels, and shoes for the script’s characters.

Alonzo Wilson explains how the cycle of life and the seasons are reflected on the beaded apron of the “Big Chief: Tree of Life” costume.

For the series, Alonzo felt it was important to embed part of each character’s story into the stories being told on the panels, even if the costume was only seen for a few minutes on TV. Thankfully, the exhibition (and our Flickr feed) lets you closely examine some of this character development-in-beadwork – a chief shedding a crystal tear for his hurricane-damaged home, a white buffalo evoking the return of bounty post-Katrina, and stunning use of hurricane weather symbols amidst a bold S.O.S.

Originally mounted by the Ogden Museum of Southern Art, curator Bradley Sumrall was impressed by Alonzo’s use of narrative that broke through the typical Hollywood stereotypes of African Americans and Indians. “We could have just done a show with traditional Mardi Gras Indian costumes, but Alonzo’s work had so much narrative built in.” With the mix of African-American, Native American, government, city, and current-event references, Bradley felt the layers of meaning in such intricate craftwork was an achievement worthy of a fine-art exhibition.

"Spy Boy: Katrina Memorial" costume. Feathers on lower half spell out "S.O.S.", the international distress signal, using the universal symbol for hurricanes from weather maps.

“Spy Boy: Katrina Memorial” costume. Feathers on lower half spell out the “S.O.S.” distress signal, using the universal weather-map symbol for hurricanes.

The NC stop for the show is a way for others to understand a bit more about New Orleans people, neighborhoods, and culture. Plus, Wilmington is Alonzo’s hometown. The movie and slide show inside the gallery provide an even deeper window into to this achievement – showing how Alonzo and his crew learned from the traditional craftsmen, shared new beading techniques, and received some “rescue help” from the locals when the production deadlines were too much to handle.

The exhibition all adds up to win-win storytelling about Alonzo, his team, New Orleans, and the Indians. Read an interview with Alonzo on the HBO blog and see behind-the-scenes production photos on page 40 of the Wilmington magazine Salt.

More Time Tripping at Grand Central

Posted on June 26, 2013 by MsSusanB

Annex window view of Lothar Osterburg’s model of his dream of Grand Central as a zeppelin docking station back in the 1930s

Even if you didn’t manage to board the historic train cars at Grand Central in May, you can still go back in time, courtesy of 18 artists featured in the GCT exhibition in the New York Transit Museum Annex, On Time: Grand Central at 100.

Inspired by The Clock and the continual flow of people and trains through Grand Central, MTA Arts for Transit cooked up a delightful mix of contemporary 2D works, models, videos, and digital art that puts a smile on the face of every commuter, tourist, and art-seeker that we’ve seen inside the tiny Annex.

Look closely to find this minute secret portal: Ledge with Lunette, 2013 by Patrick Jacobs

Look closely to find this minute secret portal: Ledge with Lunette by Patrick Jacobs

Have you seen the mysterious Zeppelin posters by Lothar Osterburg on the subway? Right in the Annex window you’ll see the gigantic, fun-house model that he created to photograph as one step in the process of making the photogravure you see on the A train. Kids and parents can’t resist Lothar’s newspaper-covered multi-story GCT impression and the funny, fat yellow old-time taxis and zeppelin ends that poke out. Right next to it, you can examine his resulting print, Zeppelins Docking on Grand Central.

People are usually transfixed by the 2008 video documenting Frozen Grand Central, where Improv Everywhere staged a 250-person flash mob, where people “froze” for 5 minutes as commuters, tourists, and workers wondered what was going on.

Another hit is Grand Central Diary. London Squared Productions interviewed tourists and commuters about GCT, animated the furniture and items around the terminal, and…well, just watch The Clock and the Maintenance Cart speak for themselves:

Nearby, several small digital screens show Alexander Chen’s Conductor, a 15-minute video loop that animates the subway lines, suggesting trains moving through the system. He turns the subway lines into an animated stringed instrument. No wonder he’s working for Google Creative Labs. Spend a few moments, take a look, and experience it here.

Close-up of Viewmasters and other leave-behinds inside Jane Greengold’s Lost and Found.

Another must-see piece (among many) is Jane Greengold’s Lost and Found. She’s created a sort-of fiction about the dozens of tagged items in the vitrine, evoking the memories and observations of generations of conductors who found items that train passengers left behind. Actually, the items you’re looking at are actual leave-behinds collected by real-life conductors, so Jane’s work isn’t entirely made up. The archeological discoveries include things from the old Lake Shore Limited on the NY Central, a 1948 boxed baby tooth, 1943 ration cards, 1952 Viewmasters, a Kennedy campaign button, and a Kindle.

Get to the Annex before July 7. In the meantime, check out curator Amy Hausmann and her artists telling about the fun they had contemplating time, architecture, fashion, and Jackie O.

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