Thanks to Jesse's post for reminding of something that may be of interest to the media historians and archivists among us — the Library of Congress is currently restoring many and perhaps, eventually, all of the films of Charles and Ray Eames. The project, which began in 2018, was funded in part by Herman Miller, a furniture producer with the rights to many of the Eames' designs, including the iconic lounge and shell chairs. The restorations are quite impressive, with a polished sheen redolent of Instagram's finest sponsored content. As we touched on in class, Eames' modernism is effective in erasing, or at least blurring, the line between consumer capitalism and domestic lifestyle; I'd argue that these new restorations further drive home that point, and I would not be surprised to see them pop up in digital marketing campaigns for companies like Herman Miller, Design Within Reach, or any other purveyors of rather expensive mid-century modern furnishings. As Amy Auscherman, an archivist at Herman Miller noted in an interview, “I like to joke that if the Eameses had Instagram, they would be really good at it.” On that note, @eamesoffice on Instagram is very much worth a follow.
Link to films: https://www.hermanmiller.com/stories/why-magazine/preserving-the-eameses-film-legacy/
https://www.culturedmag.com/eames-hollywood-legacy/
Hi Robert, thanks so much for this wonderful content including the Instagram page. For those interested in the intersections of Modernism, consumer capitalism, the film industry, design, and questions of domesticity I recently had the please of re-encountering Sarah Morris's 2010 film "Los Angeles" projected at a party during Frieze Week. Morris also produced the quite wonderful "Points on a Line," which offers a comparative portrait of Philip Johnson's Glass House and Mies van der Rohe's Farnsworth House.
ReplyDeleteLos Angeles: https://vimeo.com/15130678
Points on a Line: https://sarahmorris.com/single_films/points-on-a-line/
^ also, this is Anastasia commenting - not sure why it comes up as "Unknown"
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