“Fortitude Solitude,” a drawing completed for Aladogan’s 2009 show at the Museum Boijmans Van Beuningen, also depicts a bird-like figure.

Eylem Aladogan, Artist

When Dutch artist Eylem Aladogan took her first trip out West in 2006 — three months of driving alone through the Nevada, Utah, and Arizona desert — there was plenty to be afraid of: the wide-openness of the landscape, the sensation of smallness and isolation, the possibility that the only hotel for miles around would be fully booked for the night. “These feelings of restriction at the same time you’re constantly going, driving forward, really inspired me,” says the 34-year-old, who’s based in Amsterdam. “There’s so much energy when you feel that every day.” Enough, it would turn out, to fuel her art for the next four years, as she worked out a way to visually harness those opposing forces of anxiety and empowerment.
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This color-coded supply chest is the heart of Linnenbrink’s Bushwick studio. His work over the years has consistently employed a rainbow of dry pigments mixed with epoxy resin, which he then layers inside molds, lets drip from the frames of canvases, or simply pours out onto the floor, allowing gravity to do the work for him.

Markus Linnenbrink, artist

When he was an art student in the '80s — in Kassel first, and then Berlin — Markus Linnenbrink worked primarily with grays and blacks. “I had no idea what to do with color,” he admits. “And honestly, I was a little afraid of it.” Which is ironic, considering that for more than a decade, the German-born, Brooklyn-based artist has built a body of work that centers around thick streaks of color — painted in stripes on gallery walls, poured in puddles on the floors of art-fair booths and installations, and dripped in lines down the face of his canvases. “Somehow a field trip to Italy where we spent three weeks painting outside got me into the idea of color, but I had a long period where I would mix, like, red and green. I feel like I had to walk through a lot of dirt and mud to get to the brightness.”
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Woman at Veselka with her dog.

To Draw Every Person in New York, by Jason Polan

In March of 2008, Jason Polan set off into Manhattan armed only with a white notepad and a black Itoya Fine Point .6 pen. He had one goal: to draw every person in New York. It would seem an insurmountable task if not for Polan’s habit of documenting most anything that crosses his path, tagging each conquest with a thick scrawl detailing its circumstance, such as “Plant outside of a medical center on Orange and Magnolia Streets, April 25, 2010, drawn right after I tripped on the sidewalk,” or “Philly Cheese Steak, Pat’s Steaks, June 4, 2010.” In the service of his blog Every Person in New York, Polan — whose illustrations often appear in The New York Times and Esquire — has over the past two years drawn more than 10,000 of the city's residents.
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Annie Lenon: "I challenged myself to create a structure from as few materials as possible that still captured movement, tension and balance. This mobile is made from strips of bass wood wrapped in metallic and silk threads.”

New Useless Machines at Oak & Rogan

Back in January, when we first began contemplating how we would program Noho Design District — the just-completed four-day design extravaganza produced and curated by Sight Unseen and held in conjunction with New York’s ICFF — one thing was clear: Come hell or high water, we’d find a way to pull off an exhibition we’d been obsessing over for months, ever since the re-release last summer of the 1966 Bruno Munari classic Design As Art. Among the late Italian designer’s musings, photos, diagrams, and sketches, we were reminded of his childlike fascination with hanging mobiles — or as he calls them, useless machines.
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Lists: To-dos, Illustrated Inventories, Collected Thoughts, and Other Artists’ Enumerations

Lists are one of the strange byproducts of daily life. You hardly ever think about them — until, of course, one of them becomes obsessive enough to turn into a book. But even for the rest of us, a list can reveal much about the habits of its maker — the multitaskers and the romantics, the punctilious and the impulsive among us. In the hands of artists, a list can become a document of the art-making process or even a work of art unto itself. That’s the idea behind this new book by Liza Kirwin, curator of manuscripts at the Smithsonian’s Archives of American Art, which counts hundreds of thousands of lists in its collection.
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MoMA’s Creative Minds

Sighted on MoMA's Inside/Out blog: "Many of MoMA’s employees aren’t just guardians of the Museum’s collection: they are artists in their own right, and have found inspiration for their own work through their engagement with artwork shown at MoMA ... This new series of blog posts will focus on a few of MoMA’s many employee/artists, and will address the ways in which they have incorporated their daily work experiences into their own artistic processes."
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Inspiration behind your Hex Series: “I’ve been obsessed with crystals and polygonal structures since growing crystals in a can with a blue vitriol solution and making hexaflexagons as a child. Although the geometry that was taught at school seemed boring to me.”

Kostya Sasquatch, graphic designer and artist

The 28-year-old graphic designer Kostya Sasquatch makes thick, vector-like graphics on a PC, all cartoon colors and geometric shapes, odd logotypes that create iconographies for systems that seem to exist only in the designer’s mind. (He has a whole series called Donut Control.) They’re the kind of designs that could be from anywhere, but they might not have looked anything like they do if Sasquatch wasn’t from Moscow.
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Since they began making arrows eight months ago, Cohen and Signorile have made more than 200. Signorile feathers and paints, while Cohen does the threadwork.

Fredericks and Mae, Artists

For a studio that crafts objects evocative of summer-camp bliss, Fredericks & Mae have an awfully dark creation story. For the last eight months, Gabriel Fredericks Cohen and Jolie Mae Signorile have been hard at work fletching, painting, and spinning bright polyester thread around their custom-made arrows, which sell for $95 apiece at boutiques like Maryam Nassir Zadeh and Partners & Spade. But when they met senior year at Oberlin, says Signorile, “Gabe was really into the apocalypse and I was obsessed with nostalgia. When we got into it, we realized they were kind of about the same thing: a fear of the future.”
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Benjamin Graindorge’s Sketchbook

Benjamin Graindorge really wants to design a fireplace. But here's the problem: When he tries to draw fire, it tends to end up looking like water. You can tell it's fire because it's yellow or orange, he thinks, but once he makes the flames brown or green or black, well, not so much. "When I find a way to represent it with another color, I think then I'll be able to move on to the real object," he muses. Clearly, drawing is an instrumental part of the young Parisian designer's process. In fact, most of his objects don't even start off as ideas, they start as swirls of color and form: "The first stage of my work is only a nebula, without humans or objects."
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Other acquisitions on display: Ettore Sottsass’s condiment set for Alessi, an out-of-production teapot by Richard Sapper, glassware by Deborah Ehrlich, and an ashtray from the Hill Club in Sri Lanka. “It’s a hotel and club meant to look just like an English castle — lots of old guys in white gloves and a men’s-only bar,” says Krum.

A Brooklyn Photographer and His Envy-Inducing Design Collection

“I was so dim,” says Greg Krum. It’s a Sunday afternoon, and Krum, best known around New York as retail director of the wonderfully quirky Shop at Cooper-Hewitt, is puttering around the sun-drenched kitchen of a renovated 1890s townhouse he shares with two roommates in Greenpoint, Brooklyn. He’s trying to recall the origins of his other career: that of a photographer about to mount his first solo show this May at New York’s Jen Bekman gallery. “Growing up, I was always attracted to making art, but I didn’t think I could do it because I couldn’t draw. I was like, ‘Okay. That’s out.’ Then I finally realized it’s not about that. It’s about living a life of ideas.”
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In a room with a bright orange Verner Panton chair and a $10,000 couch by Jaime Hayon — not to mention incredible moldings — Nora Rabins’s found theater seat with massive steel wings (a wing chair, get it?) steals the show. “We love her work because it’s so interactive, and she changes the way you would normally use things,” says Stokowski of the Providence, Rhode Island–based RISD grad. “The wings literally fold up around you. Everyone wants to sit in it.”

Fair Folks & a Goat

At Fair Folks & a Goat, a new retail gallery and tea salon hybrid on New York’s Upper East Side, everything inside the gracious late 19th-century studio apartment is for sale. Well, almost everything — a small candy dish that reads “When I count my blessings, I count you twice” was a gift from co-owner Anthony Mazzei’s mother and “it’s a million dollars,” he jokes, while the vintage paperbacks lining a wall of shelves constitute an actual lending library. Here, the props and merch blend into a seamless backdrop for a new kind of social gathering. “We wanted to create a space for young people to have a home away from home, where instead of alcohol and loud music it would be more like a physical incarnation of a magazine, with design, art, fashion, and culture,” says Mazzei.
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Rodrigo Almeida's new collection — built by hand in his São Paulo studio — includes the Concreta chair shown here. It's made from wood and rope, with sparkly plastic cushions. Color is a huge element of Almeida's work. "When I walk in Brazil, the greens are so strong, sky is so blue — it’s different," he says. "I lived for a few years in the U.S., and while the flowers are more beautiful, the green is more like gray. So you get a spot of color, but not blocks of color like in Brazil. These are the kinds of things you internalize as a designer."

Rodrigo Almeida, Furniture Designer

To any reader who went to design school and is, years later, still making student loan payments month after month, you might want to close your eyes for this one: Rodrigo Almeida — the 34-year-old Brazilian furniture designer who's pals with the Campana brothers, has been featured in Wallpaper, and has made pieces for top galleries like Contrasts and FAT — didn't go to university, not even as an undergrad. What you're looking at here is raw talent, and a career that began when Almeida simply picked up the Brazilian magazine Arc Design six years ago and thought, "I want to do that."
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