Erica Galvin

Dominique Lévy, Brett Gorvy, Amalia Dayan and Jeanne Greenberg Rohatyn will become LGDR, a one-stop shop for artists and collectors. from Art Life Culture https://ift.tt/3BrZsZL via IFTTT

Image via Wikimedia Commons As a beverage of choice and necessity for much of the population in parts of the ancient world, beer has played an important role in archaeology. Beer cans, on the other hand, have not. Unlike millennia-old recipes , beer cans seem like no more than trash, even in a field where trash is highly treasured. This is a mistake, says archeologist Jane Busch . “The historical archaeologist who ignores the beer can at his site is like the prehistoric archeologist who ignores historic pottery.” David Maxwell, an expert in animal bones who trained as a Mayanist, has recognized the truth of this statement by turning his passion for beer can collecting into beer can archaeology, a tiny niche within the smaller field of “tin can archaeology.” Maxwell became the reigning expert on beer can dating when “in 1993, he published a field-identification guide in Historical Archaeology,” notes Jessica Gingrich at Atlas Obscura , “which has since become an industry standard an

Frank Lloyd Wright had his eccentricities, in not just his personal and professional conduct but also the very language with which he described the world. Among the enduringly fascinating elements of his idiolect is the word Usonian, which refers to things of or pertaining to the United States of America.  Wright didn’t coin the term: its earliest recorded user is the early 20th-century writer James Duff Law, who declared that “We of the United States, in justice to Canadians and Mexicans, have no right to use the title ‘Americans’ when referring to matters pertaining exclusively to ourselves.” The most famous architect in American history took Usonian further, using it to label an American architectural sensibility — of, naturally, his own design. Though Wright did envision an ideally Usonian city , his clearest expressions of the aesthetic stand today in the form of the Usonian houses. Built between 1934 and 1958, these sixty or so residences take advantage, as Wright saw it, of

After Brian Wilson created what Hendrix called the “psychedelic barbershop quartet” sound of the Beach Boys’ Pet Sounds, he moved on to what he promised would be another quantum leap beyond. “Our new album,” Smile, he claimed, “will be as much an improvement over Sounds as that was over Summer Days.” But in his pursuit to almost single-handedly surpass the Beatles in the art of studio perfectionism, Wilson overreached. He famously scrapped the Smile sessions, and instead released the hastily-recorded Smiley Smile to fulfill contract obligations in 1967. Smiley Smile’s peculiar genius went unrecognized at the time, particularly because its centerpiece, “Good Vibrations,” had set expectations so high. Recorded and released as a single in 1966, the song would be referred to as  a “pocket symphony” (a phrase invented either by Wilson himself or publicist Derek Taylor). Even the jaded session players who sat in for the hours of recording — veterans from the famed “ Wrecking Crew ” — kn