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Posts Tagged ‘Atelier Bow-Wow’

A Week in Culture: Claire Cottrell, Art Book Shop Owner and Editor

February 19, 2013 | by

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DAY ONE

7:00 A.M. Wake up to dog barking and strong skunk smell in house. Fear that door to garden was left open and skunk is loose in house. Get out of bed to confirm. Garden door is not open and skunk is not loose. Go back to bed for thirty minutes. 

7:30 A.M. Get out of bed. Wash face. Gather belongings, including black cocoon coat purchased for an imminent trip to Paris found for sixteen dollars the day before at a second-hand store. Head home to Mount Washington.

8:00 A.M. Arrive at home. Make tea. Take daily vitamins. Make new favorite quick morning oatmeal: half cup of oats, two heaping tablespoons of maple syrup, cinnamon, chopped apple, fresh dates, walnuts, boiling water. Settle in to enjoy oatmeal and tea. Realize that laptop, aka lifeline, is in Amos’s car. Freak out. Cancel all morning obligations, citing laptop debacle. Text Amos.

8:05 A.M. Amos drops off laptop.

8:10 A.M. Finish oatmeal. Finish tea. Resume all morning obligations. Including: reviewing reactions to Sybil’s sad demise on last night’s Downton Abbey, looking at Atelier Bow-Wow’s pet architecture—otherwise known as teeny tiny buildings on teeny tiny sliver of land—for an article, researching Bruno Munari’s useless machines for a contribution to the new arts journal, synonym. cover

9:15 A.M. Tackle e-mail. Respond to e-mails from three weeks ago. Debate including ‘apologies for the delayed response.’ Decide against it thinking, No need to always apologize. For all they know I answer e-mail every few weeks because I live in a cabin removed from civilization and spend most of my time in nature. Read More »

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Straight Talk

September 14, 2011 | by

BMW Guggenheim Lab. Courtesy of Atelier Bow-Wow.

Readers of Robert Musil’s The Man Without Qualities will recall the “Collateral Campaign,” a fictional initiative to commemorate the seventieth anniversary, in 1918, of the ascent of Austrian Emperor Franz Josef to the throne. As the novel progresses, so too does the campaign: it will be a whole year of festivities, it will be The Austrian Year, The Austrian Peace Year. The planning draws in prominent personages who introduce more and more ambitious proposals; it launches scores of dinner evenings, plenipotentiary committees, and public debates.

Musil’s subject, and the admixture of sympathy and satire he brought to it, seems awfully familiar in 2011. Nowadays, we are fairly encircled by Collateral Campaigns—by artistic enterprises whose intentions, intellectual and social, are unimpeachable, yet which seem always to hover between event and discourse, between process and product. Example: the new BMW Guggenehim Lab in the East Village, which opened last month.

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