August 14th, 2012 — 5:31pm
Triptych Inspired by the Oresteia, Central Panel, Francis Bacon, 1981 (source)
Glass House, Philip Johnson, 1949 (source)


‘A mortal man to set his foot On these rich dyes? I hold such pride in fear[.]’

—Agamemnon, Agamemnon


‘How do you make any event classy on a budget? Red carpet. […] Oh, what’s this in my shoe? Red carpet insole. Everywhere I go, I’m walking on red carpet.’

—Tom Haverford, Parks and Recreation, Season 4



Stardom elevates a life into twin states of access and scrutiny. This condition is most evident on the red carpet, a domestic material that transforms the sidewalk into an axis of exclusive privilege. Here is the interface… more


If unable to tolerate the relative austerity of polished concrete or laminate flooring, a rug is the next best accessory: it smartly withdraws from the edges of a room, adding an extra dimension of complexity, forming a space within a space. Able to be repositioned, it enters into the arrangement of a room, framing or complementing other pieces of furniture. Wall-to-wall carpet, on the other hand, is a fuzzy Euclidean expanse that eliminates all spatial nuance or differentiation, establishing a condition of muted neutrality both sonically and stylistically. A rug dismisses carpeting’s sense of planar, permanent gravitas in favor of transience, versatility, and experimentalism. In this way, a rug becomes an architectural object, a condition that wall-to-wall carpet—a mere architectural finish—will never achieve.


Jack Murphy



Tiffany Chu


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