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SHOP HIGHLIGHTS

@fetishpriest

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Paco Rabanne, 1934–2023

c. 1960, Boutique designed by Ugo La Pietra Aldo Jocober and Paolo Rizzatto in Milan, Italy. The cylindrical dress containers are electrically operated to move up and down from the ceiling by @fetishpriest

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c. 1962, Brochure on Loudspeaker Units by Braun

Courtesy: Braun AG, das programm, Wolfgang Schmittel by @fetishpriest

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SWIPE LEFT — c. 1969, Advertisement for ‘Karelia’ lounge chair by Liisi Beckmann

Courtesy: Zanotta SpA, Italy by @fetishpriest

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c. 1973, Archival images of ‘Ariante’ by Marco Zanuso for Vortice

Courtesy: Fondazione Anna Querci; L’Utopie du Tout plastique by @fetishpriest

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c. 1969, ‘Things Seen’ article in Design Magazine, pp. 70

Groovy GRP: Lightness and stackability are two prime requirements of inexpensive all-purpose upright chairs. Vico Magistretti, who designed this glass-reinforced polyester stacking chair for Studio Artemide, Milan has added elegance. Particularly successful are the slender grooved legs, S-shaped in section, which present a front and rear elevation of distinction. The Selene chair measures 47 cm x 78 cm x 50 cm and comes in white, black, orange or red GRP. Magistretti has also designed the Studio, a matching table in the same range of colours

Courtesy: Object Plastic by @fetishpriest

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c. 1966, ‘Peinture acrylique blanche sur tissu rayé blanc et vert’ by Daniel Buren

Courtesy: Wallpaper, Artnet by @fetishpriest

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c. 1967, Chrome-plated brass floor lamp by Ben Swildens for Verre Lumière

Nº 02: ‘ABCD’ lounge chair and sofa by Pierre Paulin

Courtesy: La Galerie Meubles, Demisch Danant, Christine Paulvé by @fetishpriest

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SWIPE LEFT — c. 1980s, Thierry Mugler’s apartment in Paris, France

Caption reads: “In Mugler’s living room, tables and metallic pillow-chairs in the corners are hardly above ground. The eye-level, trompe l’oeil frescoes are by his friend, painter Keso Dekker”

Courtesy: Keehnan Konyha by @fetishpriest

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c. 1973, Containerisation: Styrofoam carved into kitchen utensil-shaped niches in ‘Sculptured Home’ by designer, Lino Schenal

Courtesy: Carla De Benedetti by @fetishpriest

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c. 1941, Model for ‘Contoured Playground,’ with original equipment attachments

Materials: Plaster and steel

Isamu Noguchi first created the design for Contoured Playground in 1941, utilizing “earth modulations” to construct a compact landscape for freeform play

Nº 02: c. 1940, Isamu Noguchi with plaster model for Contoured Playground and jungle gym element from Playground Equipment for Ala Moana Park

Nº 03—04: c. 1961, Noguchi and a young consultant reviewing his plans for Riverside Drive Park Playground

Courtesy: F.S. Lincoln, The Noguchi Museum Archives, The Isamu Noguchi Foundation and Garden Museum, New York by @fetishpriest

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c. 1985, ‘Face of the Earth’ by Vito Acconci

Like climbing Mount Rushmore, or like entering the mouth of a whale in an amusement park, ‘Face of the Earth’ by Vito Acconci is both fun and scary. It is at once monument and mythic playground. The 32’ x 28’ x 30” stepped, Astroturf-covered, head-shaped mini-park—with seating arrangements in the eyes, nose and mouth—is a place for people to meet, sit together, and talk

Acconci’s concern for immediate access to his work, for the art-initiated as well as the general public, has led to his utilization of architectural conventions, and of easily identifiable images and forms in his work, which invite participation and let viewers feel literally at home. In ‘Face of the Earth,’ Acconci takes a staple of many myths—personification of landscape—and produces, through the combination of pop iconography and architectural utility, a “down to earth” figure that can be walked through and—to some extent—even lived in. While big enough to swallow you up, ‘Face of the Earth’ is at the same time inviting—a “friendly” resting place. At the heart of Acconci’s serial paradox of creation and destruction rests the inescapable contradictions of co-existence, which he exposes for our enlightenment and dismay

Location: City Hall Park on Broadway & Chambers Street, New York

Courtesy: Charles Frazier, Public Art Fund, Inc. by @fetishpriest

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c. 1968, ‘T2’ Table Lighter by Dieter Rams for Braun

Classic Rams table lighter with cylindrical form and pronounced ignition. The packaging, an example of the best of '60s Braun graphic design, is currently on permanent display at The Design Museum, London

Courtesy: @das_programmagram by @fetishpriest

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