Mimi Zeiger

Critic, editor, curator and instigator.

What is the aesthetic of nothing? Not in terms of a meditation on minimalism, or the luxury of pared-down colour palettes and clean lines, but nothing itself. How do you design with the fewest possible resources for those who have so little and need so much?

This question rumbles in my head as I get off the 134 Freeway and drive wide, San Fernando Valley boulevards lined with new condo buildings on my way to the Chandler Boulevard Bridge Home Village in North Hollywood – 39 white, red, blue, and yellow tiny homes for the unhoused on a sliver of land between a metro rail line and a busy street. It’s not much of a site, a stingy slice of previously undeveloped municipal property in a sprawling city, but to those who live there it is everything. And it is also nothing. Read More …

When Robert L. McKay, the architect best known for designing and founding the first Taco Bell, died in early October, news of his passing spread nationwide on the AP Wire. The Los Angeles Times ran an obituary, as did Fox Business and news outlets in Kansas and Nebraska – places that were unlikely to have flocked en masse to hard shell tacos before McKay opened his doors in 1962.

In 2015, McKay’s original building was moved from the Los Angeles suburb of Downey to Taco Bell’s corporate headquarters in Irvine, California. Images from that migration reveal his early vision for a hacienda-type fast-food eatery: mission-style arches across the facade, red Spanish tile roof. Riding down the freeway – doublewide on the back of a flatbed truck – the lowly taco stand merged dogged American entrepreneurism and classic Mexican design. Taco Bell is not on the curatorial checklist of Found in Translation, an exhibition on view until January 2018 at the Los Angeles County Museum of Art (LACMA) about the design influences between LA and Mexico, but it could be. Or, given how a fast-food restaurant best known for stoner Meximelt binges and questionable slogans – “Make a run for the border” – transmitted Mexican design imagery across the country, it should be. Read More …

Liam Young is protagonist of his own making: an architect, an educator, a storyteller, and a foot soldier of the visionary present. Born in Brisbane, Australia, based in London, moving to Los Angeles, Young makes films about cities – complex cities in China or India on the verge of emergence or collapse (likely both), cities that illustrate something unsettling about our now and our future. Like all heroes, he needs an origin story. Read More …

“There’s not much difference between fashion design and art,” John Baldessari says laconically. I’ve reached him on the phone of his studio in Venice Beach. Now in his 80s, Baldessari doesn’t go in for trendy theories or prolix sermons. He speaks with the frankness of the L.A. art scene’s elder statesman that he is. “Both are visual mediums. You want to get people’s attention and, generally, you want it to be a pleasant experience. That’s where they overlap.” Read More …

If I were to sum up the stylistic forces at work in the design world over the last year, it wouldn’t be too far off to dub 2014 the year of the postmodern revival. In graphic design, in fashion, and even in architecture we’ve seen a return to the period’s signature formal tropes and a renewed debate over the worthiness of their preservation.

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