Stephen Frykholm

Stephen Frykholm
Herman Miller Summer Picnic
1971
screenprint (poster)
Denver Art Museum

Stephen Frykholm
Magic Carpet '72
1972
screenprint
Cooper-Hewitt Smithsonian Design Museum, New York

Stephen Frykholm
Herman Miller Summer Picnic
1972
screenprint (poster)
Denver Art Museum

Stephen Frykholm
Chadwick Modular Seating - Herman Miller
ca. 1974
offset lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum, New York

Stephen Frykholm
Modular Sofa Group - Herman Miller
ca. 1974
offset lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum, New York

Stephen Frykholm
Congressman Dick Vanderveen
1974
screenprint (poster)
Cooper-Hewitt Smithsonian
Design Museum, New York

Stephen Frykholm
MKD Chairs - Herman Miller
1976
offset lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum, New York

Stephen Frykholm
Herman Miller Summer Picnic
1977
screenprint (poster)
Denver Art Museum

Stephen Frykholm
Dick Vanderveen for United States Senate
1978
screenprint (poster)
Cooper-Hewitt Smithsonian
Design Museum, New York

Stephen Frykholm
Grand Rapids Art Museum
1979
screenprint (poster)
Cooper-Hewitt Smithsonian Design Museum, New York

Stephen Frykholm
Grand Rapids Art Museum
1980
screenprint (poster)
Cooper-Hewitt Smithsonian
Design Museum, New York

Stephen Frykholm
National Offshore Powerboat Racing Circuit
1982
screenprint (poster)
Smithsonian American Art Museum, Washington DC

Stephen Frykholm
Herman Miller Summer Picnic
1982
screenprint (poster)
Denver Art Museum

Stephen Frykholm
Herman Miller Summer Picnic
1983
screenprint (poster)
Denver Art Museum

Stephen Frykholm
Herman Miller Summer Picnic
1985
screenprint (poster)
Denver Art Museum

Stephen Frykholm
Herman Miller Summer Picnic
1988
screenprint (poster)
Denver Art Museum

Stephen Frykholm
Herman Miller Summer Picnic
1989
screenprint (poster)
Denver Art Museum

Ode Thirty (Book Three)

This monument will outlast metal and I made it
More durable than the king's seat, higher than pyramids.
Gnaw of the wind and rain?
                                             Impotent
The flow of the years to break it, however many.
Bits of me, many bits, will dodge all funeral,
O Libitina-Persephone and, after that, 
Sprout new praise. As long as
Pontifex and the quiet girl pace the Capital
I shall be spoken where the wild flood Aufidus
Lashes, and Daunus ruled the parched farmland:
Power from lowliness: 'First brought Aeolic song to Italian fashion' –
Wear pride, work's gain! O Muse Melpomene,
By your will bind the laurel.
                                              My hair. Delphic laurel.

– Horace (65-8 BC), translated by Ezra Pound (1964)

Visual Relics (1957-1959)

Imogen Cunningham
Ruth Asawa and her Family
1957
gelatin silver print
Minneapolis Institute of Art

René Burri
Garden Party, Berlin
1957
gelatin silver print
Art Institute of Chicago

David Vestal
New York (West 22nd Street)
1958
gelatin silver print
Nelson-Atkins Museum of Art,
Kansas City, Missouri

Duane Michals
Andy Warhol
1958
gelatin silver print
Los Angeles County Museum of Art

Joseph Sterling
Typing Class
ca. 1958
gelatin silver print
Minneapolis Institute of Art

Pirkle Jones
Worker, Saratoga, California
1958
gelatin silver print
Art Institute of Chicago

Roger Mayne
Southam Street, W10
ca. 1958
gelatin silver print
Victoria & Albert Museum, London

Wynn Bullock
The Pilings
1958
gelatin silver print
Minneapolis Institute of Art

Sid Avery
Paul Newman and Joanne Woodward at home in Beverly Hills
1958
gelatin silver print
Los Angeles County Museum of Art

Robert Gene Wilcox
Church Entrance, River Falls, Wisconsin
1959
gelatin silver print
Minneapolis Institute of Art

Richard Avedon
Madame and Monsieur Georges Braque
1959
gelatin silver print
Minneapolis Institute of Art

Aldo Sessa
Rio de la Plata
1959
gelatin silver print
Los Angeles County Museum of Art

Jean Mounicq
Ball in Northamptonshire
1959
gelatin silver print
Minneapolis Institute of Art

Arnold Newman
Philip Johnson
1959
gelatin silver print
Cleveland Museum of Art, Ohio

Rodney Galarneau
Untitled
1959
gelatin silver print
Art Institute of Chicago

John French
Black and White Shoes
(fashion shot for The Daily Express)
1959
gelatin silver print
Victoria & Albert Museum, London

from Christabel

A snake's small eye blinks dull and shy,

And the lady's eyes they shrunk in her head,

Each shrunk up to a serpent's eye,

And with somewhat of malice, and more of dread,

At Christabel she looked askance! –

One moment – and the sight was fled!

But Christabel in dizzy trance

Stumbling on the unsteady ground

Shuddered aloud, with a hissing sound;

And Geraldine again turned round,

And like a thing that sought relief,

Full of wonder and full of grief,

She rolled her large bright eyes divine

Wildly on Sir Leoline.

– Samuel Taylor Coleridge (1816)

Ralph Eugene Meatyard
Untitled
1959
gelatin silver print
Yale University Art Gallery

Garden Entertainments, 18th century

Jean-Antoine Watteau
Country Dance
ca. 1706-1710
oil on canvas
Indianapolis Museum of Art

Jean-Baptiste Pater
Picking Roses
ca. 1730
oil on panel
private collection

"Watteau died young, but the overtones, the fragrance, of his unconventional art were imitated by several skillful painters. Jean-Baptiste Pater (1695-1736) is considered Watteau's sole disciple, since he briefly worked under the master. Pater was fully conversant with the resources of the fête galante genre, yet managed to render it stereotypical." 

– from André Chastel's French Art, translated by Deke Dusinberre (Flammarion, 1996)

Jean-Antoine Watteau
An Embarrassing Proposal
ca. 1716
oil on canvas
Hermitage

Jean-Baptiste Pater
Musicians
ca. 1730
oil on panel
private collection

Jean-Antoine Watteau
The Perspective
ca. 1715
oil on canvas
Museum of Fine Arts, Boston

Jean-Antoine Watteau
Fêtes vénitiennes
1719
oil on canvas
National Gallery of Scotland, Edinburgh

Jean-Baptiste Pater
On the Terrace
ca. 1730-35
oil on canvas
National Gallery of Art, Washington DC

Thomas Gainsborough
Conversation in a Park
ca. 1740
oil on canvas
Louvre

François Boucher
Summer Pastoral
1749
oil on canvas
Wallace Collection, London

Alexandre Paul Joseph Veron
Elegant Party in Park
late 18th century
oil on canvas
private collection

Jean-Antoine Watteau
Harlequin and Columbine
1716-18
oil on panel
Wallace Collection, London

Jean-Antoine Watteau
Italian Commedians
ca. 1720
oil on canvas
National Gallery of Art, Washington DC

Jean-Antoine Watteau
Gilles and his Family
1716
oil on panel
Wallace Collection, London

Jean-Antoine Watteau
Actors of the Comédie française
1712
oil on panel
Hermitage

Monumental Polaroids

My daughter's commitment to making regular Mabel Polaroids has now maintained its steady course without interruption for five years. It has weathered the very disappearance of Polaroid film itself, which still existed when this project started. This present group covered a remarkable clutch of big events pressed into a remarkably short time – which included 1) the End of Preschool, 2) the Fifth Birthday, and 3) the Start of Kindergarten.

Polaroids accumulate, one per week, in a special box on a special shelf at Mabel's house. When six or eight or ten of them are ready, I put them into a special envelope and carry them home with me. Then I scan them and crop them and shove them up on Spencer Alley so that all the wise people who love to look at pictures of Mabel will be able to see them, and also so that my daughter can download the scans. I make high resolution scans in case either one of us wants to make paper prints, but usually we don't do that since we have the paper originals. Which I have to make a special effort to remember to return to the special box on the special shelf at Mabel's house after I have finished scanning them. My daughter uses one Polaroid (but not in any particular order) for the Monday post every week on Pippa's Cabinet, her own highly organized blog, which stands in such stark contrast to the randomness of mine. On Pippa's Cabinet each Polaroid comes with a lively story or two about the enthralling child. There will surely be future manifestations of these same Polaroids – perhaps not even imagined yet – as they become yearly more remote and more treasured and more venerable.