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Climb On!

25 February 2014
Holly Samuelsen

The focus of this video is the off the wall climbing prowess of Catherine Destivelle and her short shorts, but please take note of the excellent textile moves of the Dogon tribespeople. The baobab bark rope twining and indigo dyed skirts and head wraps are a fine example of some advanced textile know how. Thanks for the link Dr. Coplin!

Carl Johan De Geer

21 February 2014
Cassie McGettigan

Marie-Louise and Carl Johan De GeerMarie-Louise & Carl Johan De Geer
Co-proprietors of the Fontessa fabric shop in Stockholm
xoxo

Ängelens bild

Carl-Johan de Geer, Gult rum installation

Here's what it looked like at our house, so much patterns as possible. Marie-Louise De Geer behind the newspaper.“Ängelens bild” as a dress, wallpaper at in installation in 1990, and a bedspread in a photo taken by Carl Johan:  “Here’s what it looked like at our house, so much patterns as possible. Marie-Louise De Geer behind the newspaper.”

Carl Johan De Geer in the studio copydegPalm“Palmer” in the studio, in an retail scenario, and straight up.Everything was so beautiful“Everything was so beautiful”

1790100602Monster“Monster” yardage in the Boo-Hooray booth at the Los Angeles Art Book Fair this year, then a shot of the fabric up close. Carl Johan designed “Monster” for 10-Gruppen in 1986. Here he is lounging on the box printed daybed with the rest of the hero posse in 1972:

Tiogruppen posse

Carl Johan De Geer prints at Boo-Hooray!Haren 2

Haren 1 Duvor detail Duvor, 1972Another shot of Carl Johan’s prints at the recent Boo-Hooray booth, then two looks at “Haren” (1970) and two looks at “Duvor” (1972).

Råttas barndom..

IMG_1947Råttas barndom… (1968) and Råttas barndom… installed on a cabinet in Carl Johan’s kitchen, 1975.

Carl Johan De Geer wearing Paco Rabanne, 1967AnanasAnanas selvedge Carl Johan wearing an outstanding Paco Rabanne jacket in 1967, then two looks at “Ananas” (1973)

Carl Johan De Geer Pocketbook notebooksCarl Johan De Geer fabricA group of notebooks featuring Carl Johan’s vintage designs, made by Pocket Shop a few years ago, that I can’t get my hands on though I tried and a dazzling pond scene // bunnies running // tiger in the reeds print.

flygfiskar0Carl+Johan+de+Geer+FlygfiskarMother, Father, Child10 gruppen couch“Flygfiskar” (1972) in two colorways. Designed for 10-Gruppen and then cut up, I think, for the bedroom wall you see in “Mother, Father, Child” and covering a couch in a third colorway amid the sea collection of prints at the 10-Gruppen shop at Gamla Brogatan, Stockholm, in 1975. Purrrrrrrrr. This might be my favorite pattern. Hard to choose, though.

Carl Johan De Geer 1967Den europeiska drömmen The European Dream, 2004Marie-Louise, Carl-johan, Ines Svensson…. dinner at La Coupole Paris

CarljohanDeGeerThe man looks great in his own shirt designs! In 1967. Then “Den europeiska drömmen ( The European Dream)” (2004). Then “Marie-Louise, Carl-Johan, Ines Svensson…. dinner at La Coupole Paris”.

I first MarianneLindbergDeGeerlearned of Carl Johan De Geer’s work indirectly through 10-Gruppen, a Swedish design firm for whom he designed several prints, including my all-time favorite, ”Flygfiskar,” in the early 1970s. I’ve had a picture postcard of the Flygfiskar couch up on my wall for years, hoping one day to hit on that level of loosness, scale, and joy in one of my own print designs. But I didn’t know which of group of ten had designed it….

Then I ran smack in to a whole booth devoted to Carl Johan’s photography and textiles at the LA Art Book Fair last month, and man! What a world to discover! Carl Johan Louis De Geer af Finspång—reared in a castle, flag burner, fabric designer, photographer, filmmaker, handsome man about town, radical, really unafraid of clashing. So rad.

A retrospective of his work, including film, photography, textile, painting, literature, graphics and stage design, is opening in April at Färgfabriken in Stockholm and running through the summer. Gotta get there!

Nevada County Real Estate

14 February 2014
Cassie McGettigan

Auburn CA HouseAsking $259,900
“Possibilities are endless.”
Thanks for the head’s up, Wen. xx

Marie-Louise Ekman

13 February 2014
Cassie McGettigan

Marie-Louise Ekman

MARIE-LOUISE DE GEER, "Striptease" 1973Striptease, 1973

  Dam och elefant-gata III (Lady and Elephant Street III) 2008Dam och elefant-gata III, 2008

Marie-Louise Ekman lithograph, 1976Marie-Louise Ekman lithograph detail, 1976Lithograph from 1976

Home at an Ape II By Marie-Louise Ekman ,1974Home at an Ape II, 1974 Marie-Louise Ekman, Tufted PictureTufted Picture (meaning, actually was made into a small carpet :0)

A trip with the then Madame De Geer around 1966.Marie-Louise shot by Carl John De Geer, A trip with the then Madame De Geer around 1966

Barnförbjudet, 1979A still from her 1979 film Barnförbjudet starring Bibi Andersson as “The Mother”

Marie-Louise Ekman, Hallo BabyStarring in her own film Hallo Baby, 1976

Giselle, First Act, 2012

Giselle, Second Act, 2012Marie-Louise’s set for a 2012 production of Giselle, Acts I and II

Marie-Louise Ekman, née Fuchs née De Geer née Bergenstråhle is currently the Managing Director of the Swedish Royal Dramatic Theatre. Before that, she made films, modeled, conspired with her ex-husband Carl Johan, and obviously she continues to be a great painter and designer. There is a book available!!!

BOOBS IV BOYS

8 February 2014
Cassie McGettigan

BOOBS IV BOYS nice on girls tooBOOBS IV BOYS label
RESPECT THE MAN WHO RESPECTS BOOBS!

(buy him this shirt, a collaboration with Taylor Stitch)

BOOBS IV BOYS

G&G at the Ojai Rancho Inn

6 February 2014
Cassie McGettigan

G&G at the Ojai Rancho InnI’m thrilled to let you all in on our new little zone at the fabulous OJAI RANCHO INN of the California Ojais Ranchos Inns. I made it down there last weekend and spent a very cozy Saturday evening setting up shop in the lobby of the inn with Therese, the kindest front desk boss on the planet. We’re stocking go-to travel gear like potions from Captain Blankenship and Fat & The Moon, G&G Goods Dopp Kits, postcards, and of course, a bunch of stuff covered in boobs. And more and changing items to come soon! If you’re looking for an excuse to get away some place great, get on over there! It’s such a vibey retreat.

We’re all super grateful to Kenny and Chris of Shelter Social Club for extending the opportunity to make this happen and for their unflagging sweetness and posi energy. xx

A Forgotten World

2 February 2014
Nastassia Clucas

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Earlier this week, Jana has lashed down her craft outside the  store to explore with us the art of natural perfumery. This awakening scent laboratory attracted a busy crowd eager to return to the essence of all things. Together we played around with Jasmine and other absolutes and revived colorful and nostalgic memories. Every alchemists have created their very own scent carefully blended in small vials and rediscovered an often forgotten world!

Related Maker: Captain Blankenship
 

February 14th Flowers

30 January 2014
Cassie McGettigan

From Studio Choo.
Pre-order yours today! And pick them up on Valentine’s Day at the shop.

Spring Sale

28 January 2014
Cassie McGettigan

It might still be winter in your neck of the woods, but the cherry blossoms have sprung here and besides, we need to make room at the shop for all the new things coming in soon! So our winter-spring sale continues. We are offering markdowns of 4o-50% off last season’s Gravel & Gold Goods, plus additional other clothing is additionally on sale, in the shop and on the web shop. :0)

Yayoi Kusama Working

17 January 2014
Cassie McGettigan

KUSAMA! Top Multiple Portrait of Kusama (1966) photograph by Eiko Hosoe, then Yayoi tripping out in Woodstock, then having her way with some strawberry jam, then sprawled out at Kusama’s Peep Show or Endless Love Show (1966), then witching about in her pumpkin mirror room (1991).

Making one of these lady working posts on Yayoi is pretty much a cheater’s task. I’ve come across a couple of studio shots where she is making paintings in the late 50′s–

In her early New York days, Yayoi worked continuously on dot field paintings like these, which she called infinity nets. Infinity Net is also the name of her autobiography, which is definitely worth a read. And when you read it, you find out that she thinks of this work as “psychosomatic,” exploring themes of eternity, nature, emptiness, hallucination, obsession, compulsion, accumulation, and repetition, among others. In doing so, she hopes to confront and obliterate her deepest anxieties.

These early studio snaps are rare ones. Yayoi was very much in control of how she was portrayed producing her work. Most of the many, many images of Yayoi working are not mere documentation, but collaborative works between herself and the photographer that aim to achieve the same artistic goal as her infinity nets and accumulation installations: she is absorbed into the art she makes. A lot of her work was performance art, so that makes sense. Such is also the case with this embellished print she made for the Dutch magazine TIQ in 1966—

Another way she accomplished this absorption was by covering all the actual surfaces around her in the same patterns she was making on canvas, first by applying paint on objects—

Driving Image (1959-64)

Then paint on her body in a painted environment—

“…a polka-dot has the form of the sun, which is a symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm. Round, soft, colorful, senseless and unknowing. Polka-dots become movement… Polka dots are a way to infinity.”

Then she took to the park and the streets—

Horse Play in Woodstock, a happening that happened in 1967

Where she got to painting many many many many many other bodies—

At the New School for Social Research (1970)

At the Love-In-Festival in Central Park (1968)

Over the course of the 60′s, especially at the height of the Vietnam War, Yayoi staged over 200 “Happenings” in public spaces around New York City and abroad. The performances included body painting, fashion shows, orgies, and anti-war demonstrations in which Yayoi would cover the bodies of participants with her signatures polka dots.

 

Balcony photo by Herve Gloaguen

In  An Open Letter to My Hero, Richard M. Nixon, she wrote “Our earth is like one little polka dot, among millions of other celestial bodies, one orb full of hatred and strife amid the peaceful, silent spheres. Let’s you and I change all that and make this world a new Garden of Eden…. You can’t eradicate violence by using more violence.”

Anti-war Naked Happening, New York, 1968

Anatomic Explosion on Wall Street (1968)
“The money made with this stock is enabling the war to continue. We protest this cruel, greedy instrument of the war establishment.”

Alice in Wonderland performance in Central Park, August 11, 1968

Body painting for Yayoi’s film Self Obliteration

Self Obliteration (1967) in three parts:


Another obliteration.

She also worked the obliteration theme with reflective globes—

Narcissus Garden, Kusama’s contribution to the 1966 Venice Biennale.

And, of course, with phallic soft sculpture forms all over everything—

Golden Shoes, 1965

Accumulation furniture, 1964

Accumulation No. 1 (1962). Photo by Rudolph Burkhardt.

Collage (c. 1966, no longer extant) with photograph by Hal Reiff of Kusama reclining on Accumulation No. 2

With Accumulation No.2 at her studio in New York (1962)

Eikoh Hosoe and Yayoi Kusama, 1964

And polka dotted phallic shape soft sculptured covering everything! What Kusama called “a sublime, miraculous field of phalluses.”—

With Accumulation pieces at her studio in New York (c.1963-64)

Two installation views of Infinity Mirror Room–Phalli’s Field (or Floor Show) at the Castellane Gallery, New York (1965). Photograph by Eiko Hosoe.

When I read her memoir, I was surprised to learn that Yayoi’s phallus fixation was born of her terror of sex and disgust with wieners, a fear that has endured for her. Previously, I guess I believed her whole free love image and many penii suggested that we confront sexuality and embrace sex. And maybe that is what she suggests for the rest of us. But for herself, not so much…..

With her Aggregation: One Thousand Boats Show installation at the Gertrude Stein Gallery, New York in 1963 and later at a retrospective in 2011.

Yayoi also had a straight up fashion line, Kusama Fashion Company Ltd., that sold in straight up stores, like Bloomingdales. She also had her own boutique and staged fashion shows all over Europe. Her clothing continued on the polka dot theme and also explored her dual interests in obliteration by obscuring the body beneath giant experimental muu-muus and peace and freedom through odd moments of nudity, a theme that emerged from her Happenings.

So good, right! No smiling.

Years later in 2012, you may know, she launched a collaboration with Louis Vuitton. She was 82 years old at the time and still not smiling. But shaper than ever! And now always with the red wig, hurrah! I feel like this late, extra-fancy work achieves her longstanding goal of exploring eroticism, voyeurism, and sensuality through psychedelic polka-dotted pattern.

By this time, Yayoi had been living for nearly 40 years as a voluntarily inpatient at a psychiatric hospital in Tokyo, where she still lives. She maintains a studio nearby where she works every day.

Yayoi has said that would like to live to be at least 300 years old. As long as she has the energy, she will keep working..

Photo by Jason Schmidt

P.S. Several of the most fantastic images I found for this post I found on The Looniverse site, and nowhere else. Check that spot out!

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