Inside Muze, Khar West’s Bold New Ode to the Roaring 20s

This article explores the immersive and unconventional art installations of New York-born, Los Angeles-based artist Tita Cicognani, focusing on her use of hot tubs as central elements in her multimedia works. The artist’s practice, which largely involves sculpture and assemblage, took a unique turn with the integration of hot tubs, driven by a desire for physical interaction and shared experiences, particularly during the COVID-19 pandemic lockdown. Her works contrast with the trend of “dematerializing practice” in the art world, instead embracing the tactile and communal. The piece begins by describing Cicognani’s current installation, "Heart Tub" (2022), at the Hammer Museum, where visitors can reserve 45-minute slots to soak in a heart-shaped, red crocodile-skin vinyl hot tub. This installation is designed to evoke a sense of "tackiness" and "religious frenzy," adorned with embedded video screens displaying floating holograms of flying saucers and bubbly hearts. The artist explains that this first tub was created during the initial COVID-19 lockdown, stemming from feelings of isolation and a craving for physical connection. The article then details Cicognani's earlier hot tub installations. "Mothership" (2021) was an inflatable pool designed as a "tiny wet fun house," featuring mirrors, LED lights, and a disco ball, reminiscent of a Gravitron ride. This work explored the convergence of religious and corporeal ecstasy. Another significant piece, "Prayer Cards" (2019), involved devotional cards featuring the artist's image in poses suggesting stigmata or submission, printed with the prayer of St. Francis of Assisi, challenging conventional notions of piety with pop culture aesthetics. Her second tub installation, "Grotto Tub" (2022), presented a more visceral experience. Located in an artist-run space in Chinatown, it encouraged a more uninhibited, almost chaotic interaction, with PVC pipes emitting a brown goo and accompanying videos of mud wrestling. This installation, playfully dubbed “art student soup” by a Hammer Museum curator, highlighted a deliberate embrace of the earthy and raw aspects of human interaction. The transition to the Hammer Museum for "Heart Tub" introduced new logistical challenges, including safety protocols, scheduled time slots, and ADA compliance, leading to elements like a chrome heart-shaped handrail. The article also delves into the video component of "Heart Tub," titled "I Still Believe" (2022). This 40-minute looping video, viewed from within the tub, features a green-skinned CGI avatar of the artist navigating a cheap motel with a heart-shaped tub, encountering UFOs, and immaculately conceiving an alien progeny. The narrative explores themes of desire, beauty, and love, drawing heavily from pop music and shiny aesthetics, elements Cicognani previously resisted but has now embraced. The work also has intellectual underpinnings, drawing parallels to other water-based art installations like Hélio Oiticica and Neville D’Almeida’s “CC4 Nocagions” (1973). Finally, the artist discusses the socio-economic implications of embracing "tacky" aesthetics and the interplay between high art theory and pop culture references, such as the film "Hot Tub Time Machine." The experience concludes with the writer reflecting on the custom-made pea-green towels, embroidered with an alien baby and the words "I still believe," which serve as a tangible takeaway from the immersive art experience. This installation, and Cicognani's broader body of work, actively seeks to engage the body and challenge traditional art consumption by bringing viewers directly into the art. #ArtInstallation #MultimediaArt #ContemporaryArt #HammerMuseum #ImmersiveExperience #Sculpture #PopCulture #ConceptualArt

The Captain Whidbey, a 100-plus-year-old inn located 30 miles north of Seattle in Washington’s Puget Sound, has been reimagined and reopened by brothers Mike and Matt French, along with designer Eric Cheong. Known for their work with the Pioneertown Motel and Ace Hotels, the team has a history of revitalizing historic properties. Their approach to the Captain Whidbey involved immersing themselves in the inn's existing environment for nine months before making significant changes, allowing them to connect with the landscape, history, and community that held many cherished memories of the beloved place. The renovation incorporated a collaborative spirit, inviting various designers to contribute their unique visions. The four stand-alone cabins, for instance, were given to different designers like We the Nomads, Glasswing, Whidbey Edit, and heritage company Filson, with no specific directives. This resulted in a diverse range of styles, from an airy space with nature-inspired palettes and hand-drawn heron wallpaper to a cabin designed by Filson to emulate a yacht's interior, utilizing reclaimed teak and bass from boats. This collaborative ethos extended throughout the property, engaging local artists, craftspeople, and experts. Handwoven woolen blankets were created by local weaver Hannah Ruth Levy, carrying on a family legacy of weaving on the island. Gardens by Salty Acres hosted chef talks, and Portland fashion designer Kate Towers designed fleece housecoats for guests. The bar featured hand-painted ceramic tiles by Portland’s Mixed Needs, depicting water species and a poem by South Whidbey poet David Whyte. An eccentric library was curated from Captain Rhys Balmer's childhood collection, filled with maritime children’s books, classic sea tales, obscure hippie counterculture stories, and sea survivalist handbooks. For the historic lodge itself, the design aimed for a natural, timeless, and quirk-embracing aesthetic with subtle, organic modern updates. The inn's location within Ebey’s Landing National Historic Reserve meant adhering to historic building restrictions, which Cheong, an avid sailor, viewed as boundaries that deepened the design narrative, much like restoring an old ship. The original building’s idiosyncratic style, influenced by Judge Still who hand-built the inn in 1907, was respected. The more than 100-year-old, hand-hewn Pacific madrone logs, known for their cinnamon bark that darkens to red with age, and a unique, hand-built stone fireplace, where guests traditionally left poems and love letters, became central design elements. These historical features were complemented by custom Scandinavian-inspired furniture and jewel-toned mohair fabric, creating a dialogue with the past while incorporating modern comfort and style. The project showcases a deep reverence for historical context, blending it with contemporary design without compromising the inn's unique character. #HotelRenovation #HistoricPreservation #PacificNorthwestDesign #CollaborativeDesign #InteriorDesign #BoutiqueHotel #WhidbeyIsland #SustainableDesign #CommunityEngagement

The Cooper Hewitt, Smithsonian Design Museum's exhibition, "The Jazz Age: American Style in the 1920s," is presented as the inaugural major museum exhibition focusing on American design trends during the 1920s. Despite its American concentration, the exhibition serves as a dynamic international showcase, reflecting the era's rapid cultural and technological advancements. Sarah Coffin, curator and head of product design and decorative arts at Cooper Hewitt, co-organized the exhibition with Stephen Harrison of the Cleveland Museum of Art. Coffin noted that previous European Art Deco exhibitions often overlooked American contributions. The exhibition's inception stemmed from the discovery of a significant collection of previously underexhibited 1920s materials during the Cooper Hewitt's multi-year renovation, coinciding with the Cleveland Museum of Art's holdings, which include pieces from the influential Paris 1925 International Exhibition of Modern Decorative and Industrial Arts. The two-floor exhibition is a visually overwhelming experience, featuring over 400 objects that embody the decadence, novelty, and eclectic styles characteristic of the Roaring Twenties, as described by F. Scott Fitzgerald as an "age of miracles, it was an age of art, it was an age of excess, and it was an age of satire." Organized around themes such as "Bending the Rules" and "Abstraction and Reinvention," the exhibition displays a diverse array of items, including furniture, flapper dresses, paintings, and Prohibition-era cocktail shakers, illustrating the cross-pollination of influences across various artistic media. Many contributing designers were European immigrants or had their works imported, while American designers often studied abroad, incorporating European techniques and aesthetics like tubular metal from the Bauhaus or bold colors from De Stijl. Examples include Ruth Reeves, who studied textiles with Fernand Léger in Paris before working on Radio City Music Hall designs, and Viktor Schreckengost, who blended his Vienna sculpture studies with his Ohio pottery background. Coffin emphasized that the exhibition highlights the vibrant exchange of ideas among designers from different countries converging in American urban centers, leading to an extraordinary amalgamation of modern design thinking on American soil. The installations showcase this international exchange, such as British designer Wells Coates’s Bakelite radio on German designer Kem Weber’s streamlined sideboard, both intended for mass production. Pieces like Russian-born craftsman Samuel Yellin’s wrought iron fire screen alongside Lorentz Kleiser’s tapestry of Newark’s transformation demonstrate the persistence of historical European aesthetics. Architectural influences are also evident, with Austrian émigré Paul Frankl’s "Skyscraper Bookcase" incorporating the zoning-enforced setbacks of new skyscrapers, a motif echoed on a smaller scale in Erik Magnussen’s Cubic coffee service. The exhibition aims to draw connections between objects, illustrating the palette and styles of the era, such as a Jean Dunand enamel vase placed beside a similarly colored dress. It also reveals influences between designers, like Edgar Brandt’s screen impacting the Rose Iron Works of Cleveland, highlighting a continuous artistic dialogue. The exhibition "The Jazz Age: American Style in the 1920s" remains open at the Cooper Hewitt, Smithsonian Design Museum through August 20. #JazzAge #AmericanDesign #ArtDeco #CooperHewitt #DesignHistory #CulturalExchange #ExhibitionReview #RoaringTwenties #ModernDesign

A new exhibition at the William Morris Gallery in east London, titled “William Morris & Art from the Islamic World,” explores for the first time the significant influence of Islamic art on the celebrated designer and key figure of the Arts and Crafts movement, William Morris. Running from November 9, 2024, to March 9, 2025, the exhibition brings together a remarkable collection of Islamic artefacts personally amassed by Morris, which have historically been dispersed across various institutions. This comprehensive display aims to highlight an aspect of Morris's artistic inspiration that has largely been overlooked by scholars. Morris himself acknowledged the profound impact of Persian design, stating in an 1879 lecture that "To us pattern designers, Persia has become holy land, for there in the process of time our art was perfected, and thence above all places it spread to cover for a while the world, east and west.” Despite this, co-curator Rowan Bain notes that previous studies of Morris have predominantly focused on 19th-century art history, lacking the specific expertise or interest in Islamic art required to fully understand this connection. The exhibition and its accompanying book, "Tulips and Peacocks," seek to rectify this by presenting a detailed examination of how Persian and Ottoman art, particularly in rug weaving and decorative tiling, shaped Morris's aesthetic and the wider Arts and Crafts movement. The exhibition features a range of exquisite items from Morris's private collection, including a 17th-century illuminated manuscript of the Iranian epic poem Shahnameh, 16th-century Ottoman tile panels from Iznik and Damascus, and two rare 13th-century star tiles from the Emamzadeh Yahya shrine in Iran. These pieces underscore Morris's deep appreciation for Islamic artistic traditions. Co-curator Qaisra M Khan explains that Morris acquired these items through European art and antique dealers in cities like Paris and London, taking advantage of a significant influx of artworks from Iran and the Ottoman Empire in the 19th century due to relaxed export controls and a growing academic interest in the region. This period also saw many historical and religious sites, such as Emamzadeh Yahya, significantly depleted of their treasures, with precious lustre tilework making its way into European private collections, including Morris’s. Morris integrated many of these artefacts into his own home, Kelmscott House in Hammersmith. For instance, his dining room featured a monumental 17th-century Iranian carpet, measuring over 15 square metres, which is now on permanent display at the V&A Museum. Another highlight of the exhibition is Morris’s hand-illuminated copy of Robert FitzGerald’s English translation of "The Rubáiyát" by the 11th-century Iranian poet Omar Khayyám, a project he completed with the Pre-Raphaelite artists Edward Burne-Jones and Charles Fairfax Murray. The influence of Turkish design is also evident in Morris's work, as highlighted by Bain. His famous Medway indigo design, featuring a wild tulip motif, is seen as directly inspired by Ottoman aesthetics. Furthermore, while it was previously believed that his woven silks, such as the Granada pattern produced at Morris & Co’s Merton Abbey factory, were primarily influenced by Italian velvets, the exhibition reveals that Morris also owned Ottoman velvets, suggesting another significant source of inspiration. A poignant exhibit is a 17th-century velvet hanging from Bursa, Turkey, which served as Morris’s funeral pall in 1896, now on public display for the first time. The exhibition challenges the conventional perception of Morris solely as a quintessentially British designer rooted in local flora and fauna. Instead, it aims to expand the understanding of his extensive knowledge of global textile and design practices, positioning him as an artist deeply informed by a diverse array of international influences, particularly from the Islamic world. #WilliamMorris #IslamicArt #ArtsAndCraftsMovement #Exhibition #WilliamMorrisGallery #TextileDesign #PersianArt #OttomanArt #VictorianDesign