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Living in a Modern Way: California Design 1930–1965 edited by Wendy Kaplan

by
ABR Arts 12 December 2013

Living in a Modern Way: California Design 1930–1965 edited by Wendy Kaplan

by
ABR Arts 12 December 2013

Living in a Modern Way:California Design 1930–1965 is the catalogue accompanying an exhibition of the same name at the Los Angeles County Museum of Art in 2011–12. The exhibition is now showing at Queensland’s Gallery of Modern Art, after a stint in Seoul.

With its stylish dust jacket, based on a 1956 record cover by Paul Bass, California Design proclaims the subject’s characteristics from the outset: clean lines, strong colours, modernism, commercialisation. The complex reasons for the emergence of a peculiarly Californian design character from 1930 to 1965 are comprehensively explored in this superbly designed and copiously illustrated volume. The influence of this regional form of modernism, one that largely celebrates the Californian ideal, has been international. Nowhere has its influence been felt more strongly than in Australia.

The story of the evolution of Californian design from the 1920s to the 1960s is a complex one. A combination of geography and climate, progressive art and design training, a massive population increase due to immigration (including designers and architects from Europe), the associated consumer-led demand following World War II, and a desire to break with tradition all led to an extraordinary period of innovation and creativity in design and architecture. Shrewd trading on ‘the California Look’, already well established by 1950, ensured that Californian design became known throughout the United States and much of the rest of the world.

Wendy Kaplan, a senior curator at LACMA, and her international team of authors pursue different themes in this enjoyable and multidisciplinary catalogue. The catalogue does not propose a single ‘Californian style’, but a cultural phenomenon that resulted in heterogeneous design, craft, and architecture. As one Californian jeweller interviewed for the book commented when looking back on the period, ‘It’s hard to have a movement when you’re a thousand miles long.’

Buff, Straub & Hensman 1955–61 (later Buff, Hensman and Associates) Recreation pavilion, Mirman House, Arcadia 1958. Photo by Julius Shulman, 1959 Getty Research Institute © J. Paul Getty Trust. Used with permission. Julius Shulman Photography Archive, Research Library at the Getty Research InstituteBuff, Straub & Hensman 1955–61 (later Buff, Hensman and Associates) Recreation pavilion, Mirman House, Arcadia 1958. Photo by Julius Shulman, 1959 Getty Research Institute © J. Paul Getty Trust. Used with permission. Julius Shulman Photography Archive, Research Library at the Getty Research Institute

The essays in California Design include discussions of the conditions that led to the design culture, émigré designers, architecture and the home, the pros and cons of the war on design and production, designer–craftsmen, textiles and fashion, graphic design, and marketing. However popular Californian modern design may seem today, it is worth remembering the famous Californian architectural photographer Julius Shulman’s comment: ‘Good design is seldom accepted. It has to be sold.’

The book offers refreshing insights into the development of the creative culture and an analysis of the circumstances that led to this multifarious design movement. Against the background of a vibrant art and design teaching culture in California, there is the arrival of contemporary European design brought by émigrés from Germany and Austria during the 1930s, and a culture of small-scale manufacturing that enabled designers to experiment. Central to all of this is a vast domestic market that boomed after World War II. (To put things into perspective, California is little more than half the size of New South Wales and in 1940 it had the same population as Australia; now it has almost double Australia’s population.)

MAGNUSSON-GROSSMANgreta Lamp LACMA 001Greta Magnusson Grossman, Ralph O. Smith Manufacturing Company c. 1949–54 Burbank. Lamp c. 1949; manufactured c. 1949–54. Iron, aluminum. LACMA, Decorative Arts and Design Council Fund © Great Magnusson Grossman Estate. Photo © 2011 Museum Associates/LACMA

It is mostly because of the publication of architectural photographs that the more famous names – Charles and Ray Eames, Pierre Koenig, Richard Neutra, Eero Saarinen – are so well known. In particular, their Case Study Houses from the 1940s and 1950s, a project that the magazine Arts and Architecture championed to promote modern architecture and interior design, ensured international recognition. California Design adds greatly to this select group by presenting a wealth of other architects, designers, and craftspeople, thereby giving a much more nuanced and rewarding view of the period.

The authors and curators introduce the full gamut of design, ranging from automobiles and ‘Atomville’ (a proposed design for a community of subterranean homes safe from nuclear attack) to surfboards and swimsuits. A fascinating chapter on the designer–craftsman in postwar California grapples with the complex and competing issues of the designer and artist in creating objects for one-off and batch or mass production. This issue has great relevance in Australia. By the late 1960s the designer-craftsman is replaced by the artist-craftsman. Designing goods for the public was surpassed by the artist creating the expressive object, and by the ensuing growth of the craft movement. Textiles woven and printed gave richness and warmth to the cool modernist interiors favoured by architects. These important components are given their own chapter. It also covers fashion which is very much a celebration of the Californian way of living. Not surprisingly, it is in fashion that the influence of Hollywood, with its emphasis on casual living, is strongest.

AvantiPalmSprings LACMA 001Raymond Loewy for Studebaker Corporation. Avanti automobile (image from company brochure) designed 1961, manufactured 1963–64 / Courtesy: Studebaker National Museum, South Bend, Indiana.

The importance of good design and its promotion was appreciated at the highest levels on both commercial and ideological grounds. Its power was even harnessed by America’s propaganda artillery during the Cold War. At the opening of an exhibition of American design in Moscow in 1959 – and in a comment prefiguring our own recent ‘kitchen cabinet’ by decades – Richard Nixon said to Nikita Khrushchev, ‘I want to show you this kitchen, it is like those of our houses in California.’

California Design 1930–1965: Living in a Modern Way is on show at the Queensland Art Gallery, Brisbane, until 9 February 2014.

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