Giving Garden & Gun OR touting the South

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One of my favourite magazines to come out in the past year or two is GARDEN &  GUN. It brings so much of the Southern aesthetic to Southerners, curious Northerners-& humour aside- honestly, anyone who appreciates tradition with a SLANT (emphasis on the slant). All the pretty photographs are there, the good writing- but it is the top notch substance that  makes GARDEN & GUN special.

When the magazine first appeared on a clients coffee table- my eyes and hands went right to it. Though I am certain my client was saying something immensely important-It went something like this "blah blah blah."
I was distracted.
THAT Magazine?
I reached.
I needed to see what was inside- I needed to subscribe.

Several months later- I mention the magazine to a friend- her reply went something like this "I can't believe You have already subscribed to that magazine? I thought I would beat you to it and sent you a subscription."
Oh well- You'll have to think of something else.

Since its inception some pretty great endorsements and honours have come GARDEN & GUNS way.  It has buzzed about the internet. Its title? All the info is out there in the blog annals.

Last year I sent an old (in the sense that we have known each other since grade 1) friend and her husband a gift subscription for Christmas. When I mentioned it-Her comment went something like this-" I saw a copy in my dentist's office-It looks great." I know she loves it- how could it miss. She lives smack dab in Virginia hunt country.

One of my friend's appeared in the magazine as one of 50 people that make us proud in the feature BEST OF THE NEW SOUTH.

The magazine has had its share of struggles. It has been the year of magazines demise. You miss them too. GARDEN & GUN can't slip away. It would be a doggone shame! One funny story about the magazine's placement in a noted book chain store- the Magazine was shelved with the Guns and Ammo publications. Funny-but sad too. Obviously said store does not know or understand its content.

This from the magazine's NEWSLETTER just Friday-

Hanging Tough

Dear G&G Friends, Fans, Subscribers, and Club Members,
I don’t have to tell you that this has been a tough year for magazines and media companies. We have seen some great ones go down, including Gourmet and Southern Accents, among others. But we have built something special at Garden & Gun, and we’ve been determined to weather this financial storm by being nimble, creative, and aggressive in securing our future, and in continuing to deliver this great publication. 
To help shore up our business for 2010 and beyond, we recently made the difficult decision to skip our October/November issue. This was a painful thing for the G&G team, and we hate to disappoint you, our loyal subscribers. However, please rest assured that you will receive the full number of copies you ordered when you subscribed or joined one of our club levels. (We will handle that for you, so no need to call our customer service.) And know this: We will never compromise on the quality of the writing, the photography, or the beautiful paper that Garden & Gun is printed on.
The next issue you receive will be a December 2009/January 2010 issue (above, right) that will be mailed to subscribers in late November (and that will appear on newsstands December 8). It’s an issue we’re very proud of, and it will be loaded with great writing, great photography, and timely content, including a special Southern holiday gift guide. In 2010, you (subscribers and club members) will receive a full run of six issues. And if you have joined the Garden & Gun Club at any level, you will receive all of the benefits and privileges for which you signed up.
We hope you understand the necessary steps we’ve taken to move into 2010 in a strong position, and we trust you’ll stay with us as we strive to capture the Soul of the New South in print, on the Web, and through an expanding array of auctions and events. Thank you for believing in the mission of Garden & Gun, and for your commitment to preserving the best of Southern culture.
Rebecca Wesson Darwin
President and Publisher


I applaud their decision. I can not say enough good things about this magazine. Along with the magazine- the GARDEN AND GUN website is chock full of content: Two great blogs-Belle Decor and Big Bad Chef , podcasts, videos, magazine articles and archives & amazing Luxury Auctions. I know this magazine will survive.

It could not miss as a surprise gift subscription in any friend's mailbox. I am giving it to a list of friends.Do the same.

& one more thing-here's a story about Chapel Hill, just down the road a piece.
& another thing- 100 things you simply must eat before you die

here are a few takes on the mag from fellow bloggers
Cote de Texas
Lucindaville
An Aesthete's Lament

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having a dress up moment IV

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New

my Elizabeth & James Cape

Shall be a caban overcoat and cape, of dark blue beaver or pilot cloth, lined throughout with dark blue flannel; skirt to extend four inches below the knee; cape to be ten inches shorter; double breasted, with pockets in side seam, and buttons arranged as for frock coat; the cape to be made so that it can be removed at pleasure, and provided with an extra cloth collar to detach, so as to from a separate garment.(1864 United States Navy)

about an Aesthete, Sitwell Sitting

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Sacheverell Sitwell

photograph by Snowdon

Interviewed shortly before his death in 1988 at the age of 91, he was asked to name his most treasured possession. 

'Er, well . . . I was going to say myself.' 

...the shrill, high note of the aesthetes determined to masquerade as geniuses whatever the evidence to the contrary. At least it can be said in Sacheverell Sitwell's defence that numbers of other people, principally members of his family, were keen to abet this delusion. As a poet, his sister Edith thought he was 'one of the greatest that our race has produced in the last 150 years'. (from the article by DJ Taylor linked above)

Ivan Terestchenko-through the photographer's eye

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On Ivan Terestchenko's website a simple bio states-Born in England and educated in France, Ivan Terestchenko studied history of Art at the Ecole du Louvre and was a painter until the age of 30 when he switched to photography and landed his first assignment with french Vogue. Of course there is more than meets the eye-

When did you know that You were a Photographer?

For as long as I can remember, I’ve always thought I’d be an artist and I was a painter until the age of thirty. I found out that to make a name in the world of contemporary art would request compromises I wasn’t prepared for and I hated the solitary life that comes with it.

Photography was an option only that gradually became a passion and thank God, I'm not bored with it.

Decoration photography, which is what I’m known for, has little to do with PHOTOGRAPHY and I always wonder if one doesn’t confuse a beautiful room with a beautiful photograph.

My life as an artist in the mid Eighties’. A rather tormented work is in progress. It couldn't last for ever.

My new life as a photographer. Here, arranging a still life or photographing a peony field in Connecticut for the book The Garden Room. Suddenly the world is wide and bright.

When you go in to photograph a home, be it a shack or chateau, how do you distill the essence of its owner?

I am much more interested in the personality of the owner than the place itself. After the general view,a necessary routine, I focus on relevant details, may it be photos, books, unpredictable tokens of intimate life. Sometimes, I even open the fridge. You are what you eat.

At Martin Grant's. Martin is an Australian fashion designer. His home was very orderly but he couldn't guess I would inspect the fridge.

I haven't touched a thing.

Are your interiors photographs styled-Or should I say- are you assisted by or do you find styling is needed?

As a general rule, too much style kills the style.

When it was the fashion in some decoration magazines to bring props, I was always fiercely against. If one has to style a place, then it shouldn't be photographed in the first place. I am a nightmare for stylists, I don’t let them do anything and if I want to move something, I do it myself, not that I’m a control freak but it goes faster and if I sign a photo, I sign everything that is in it and will, if it comes to it, take the blame.

Who are your mentors? your favorite artists?

As for interior photography, Bruce Weber is by far my favorite photographer and a constant inspiration because I can relate to it. He has a way of making people and places look casual as there had never been a camera at all. Simply irresistible. There are lots of photographers I admire. Irving Penn is number one, but also Cartier Bresson. I favor those who never thought of themselves as artists.

Tell me about your illustrations? Do you ever combine your photographs with them?

I used too and even published a book, “The Garden room” were photos are mixed with watercolors and sketches as you see here :

This is a portrait of Horst P Horst. I met him in his home in Oyster Bay. Wouldn't dare to photograph him, so I sketched him instead.

We had a fascinating chat about his relationship with Conde Nast. He went through hell which I found very reassuring.

There are some of the most beautiful images in your Portraits of Interiors blog entry dated Sep 1 09- Vas Blue, Vanite? When will we see an IVAN TERESTCHENKO book with these slightly decayed haunting images?

I’m strongly thinking about it but it’s a difficult book to edit. Pages after pages of decay could end up being a bit depressing, no ?

I have to find the right balance.

I love your images of Maxime de la Falaise, what joy and beauty! As I looked through your editorial work I saw the gorgeous photographs of Carolina Irving's rooms in House & Garden-one of my favourites that I had misplaced. I am so happy to be reunited with the photographs & know that you took them. Do you have a favourite project where you just fell in love with the home and the owner?

There would have been lots of book opportunity… its always books… because I always think of images in a serie, with a story to tell but publishers are difficult to convince and often misguided by their marketing department. I don't know what the next will be about but something in the US would be great. If you have an idea, Please let me know.

Have you ever tried to limit your subject matter? I am so captivated by your interiors- and then I see the flower images you have on your blog and am instantly loving them even more. I sense in the advertising print work your love for creating a still life-Could Irving Penn be your influence? You posted some of his work recently upon his death-Talk about his incredible career a bit.

One has to limit one's subject matter. Certain places are so rich that there would be many different ways to look at them. It needs a strong discipline not to get carried away and focus on the substance.

The Chateau de Versailles can be looked upon with a magnifying glass, and it’s big. This picture was taken in Marie Antoinette's Bedroom at the Petit Trianon, yet it looks so modern.

Still-life is where photography meets painting. It’s almost inevitable.To create a still life that will be evocative of a whole world in one picture is a big challenge. When I photographed the adverts for Farrow and Ball, I had to say: classicism, British country life, traditional quality and sophistication.I had no plans but I went to the company's owner's farm and started working in the yard with what was around. That days, the angels were with me.

Irving Penn was the indisputable master at this. Though he was not a direct influence, I greatly admire his photographs for their economy and graphic power. It takes a life to value simplicity and Penn is the Matisse of Photography.

Do you surf?

I do. Apart from the sport itself, I have a romantic approach to surf. I see surfers as modern knights, with a code, a quest, a strong esthetical identity, and bonds between self dedication and love for nature highly appealing and photogenic.

Talk about your moments in Front of the camera. Are there any secrets you can share that put a sitter as ease?

Love or at least friendship. The photographer must convey : I am your friend, I will never take a bad picture, what I see is your bright side, relax and shine.

This a portrait of Peter Lindbergh and his wife during a dinner party. Even with his mouth full, the worst possible time, they look wonderful.

In the digital world, what will happen to the art and craft of photography? Will great photographers be elevated to the world of great painters and their works only affordable by the very wealthy?

I don’t think so simply because the digital technique has its merits and when it comes to printing on large scale, digital is just as expensive as the traditional way. More importantly, a true artist will tame his tool to his needs. Cameras don’t take photographs, only photographers do. Though I dislike the feel of pixels, I found the use of digital very liberating.

Is there some yet unseen hybrid publishing model that will allow photographers to be fairly compensated for their work so that all of us who revere their magic can continue to view their art?

An unseen mode ? Not any that I can think of alas but the surest way to support photography is easy: buy photographs. The blogosphere doesn’t pay for bread and butter. However it remains a wonderful way to show and share. The compensation is not financial but still highly rewarding.

Does digital photography enhance in anyway the photographer's tool bag?

It most certainly does. It’s cheap and the result is instant. You don’t have to question the use of a costly film whether it is worth the trouble. You do it and if it’s no good, you delete it. In this sense, it's very liberating. The true limit however is that I have always thought that a photographer’s style defines itself more by its “mistakes” than by its perfection. I tend to favor a certain smoothness due to the relatively poor quality of the lenses I use as a choice. Digital lenses don’t allow that, they are often too sharp for my taste. For the same reason I never really liked Hasselblad, I much prefer the Pentax 6X7, or the good old Rolleiflex, which belonged to my grand father and still use. I call it my Stradivarius.

Reloading my Rolleiflex in a cafe in Venice and the Pentax 6X7 in Paris. This routine is part of the charm which you miss with digital and one never runs out of battery!

one last-What would your dream project be?

The only project worth dreaming is one that will reconcile human beings with humanity.

If I still had the vast wealth my family once enjoyed; before the revolution, they were the greatest art patrons of Ukraine; I would create an art academy in which the first year would sponsor nothing but a tour around the world. The basic material of art is life itself.

“Go and see the world and come back with your experience and a story.”

The most remarkable project is happening in Venezuela with El Sistema created by Prof Abreu. If you don’t know about it, I urge you visit this link:

http://www.youtube.com/watch?v=43tqQhOTCgQ&feature=player_embedded

Fortunately for Us Ivan Terestchenko has his own blog & shares his incredible work every day. His point about buying photographs is well taken. I can not imagine what our lives would be like without photographs.

All photographs Ivan Terestchenko has graciously shared are his.No images may be used without his permission.

IVAN TERESTCHENKO PHOTOGRAPHY his blog here , his website here , his books here

personality contest

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of course ultimately, I think that the ideal critic should not, in any way, be prejudiced-either favorably or unfavorably-by personal idiosyncrasies of the man whose work he judges. This is a condition which I think should be aspired to-and I have long tried to make it apply to my own judgments, and I know that in some cases, at least, I like the work of certain artists whom I did not like as persons. It is too bad-and in some cases unjust-that people will allow habits of the artist which seem personally unpleasant to them-to imbalance their judgments about the work-because in the end, the artist, and his work, are two entirely distinct things.
(Clarence John Laughlin, photographer to Minor White, photographer, editor of Aperture)

farewell to the past
Clarence John Laughlin
1946

passing the Bar

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DAVID IATESTA : THE AKERO

ELLE DECOR has a great feature called Truth in Decorating- Every month 2 interior designers rate a particular piece of furniture- THIS MONTH- the BARSTOOL. Click to see what the two came up with...

This can be a very hard decision for clients. I think it is as important or more so than a dining chair. It typically gets tons of use. Meals, Snacks, Homework, Computer. It all happens at the BAR.

3 that I would add to Elle's list. I have discussed using them in an upcoming project.

All 3 have details that I like. The Athletic Club's rush back with comfortable upholstered seat would work seamlessly in the large Kitchen with simple cabinets perfectly executed in a pigeon gray color & walls that follow. The other pieces in the adjacent Breakfast Room will be French Chairs & a Inlay Table. These pieces are being requisitioned from the current Dining Room. New fabric might likely be a cool ivory or gray leather. Another good bet for the room is an Urban Electric light featured in an earlier post here.

While the design of the Dunham chair pleases, the space likely needs something a bit more refined. The David Iastesta chair combines tradition and modern elegance. Less of a period style, the Aero has the refined qualities of the Charles Pollock chair but streamlines the intent. The Iatesta finishes add the deluxe factor, shown here in a pearwood finish on cherry.

Do you have a favourite?

PETER DUNHAM'S ATHLETIC CLUB BARSTOOL

CHARLES POLLOCK'S GUSTAVIAN STOOL

The blog Stylebeat has a great interview with Peter Dunham here.
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Hallowmas

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& soon forgotten
Eallra Hālgena ǣfen

All Hallows' Even ~e'en

Beauty is but of the Skin

Where Ugly's to the bone
Beauty will but fade away
While Ugly holds its own.

image from the incomparable BibliOdyssey.
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erlkonig fini all hallows eve

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the artist Leonor Fini

Wer reitet so spät durch Nacht und Wind?

Es ist der Vater mit seinem Kind;
Er hat den Knaben wohl in dem Arm,
Er faßt ihn sicher, er hält ihn warm.

"Mein Sohn, was birgst du so bang dein Gesicht?" —
"Siehst, Vater, du den Erlkönig nicht?
Den Erlenkönig mit Kron und Schweif?" —
"Mein Sohn, es ist ein Nebelstreif."

"Du liebes Kind, komm, geh mit mir!
Gar schöne Spiele spiel' ich mit dir;
Manch' bunte Blumen sind an dem Strand,
Meine Mutter hat manch gülden Gewand." —

"Mein Vater, mein Vater, und hörest du nicht,
Was Erlenkönig mir leise verspricht?" —
"Sei ruhig, bleibe ruhig, mein Kind;
In dürren Blättern säuselt der Wind." —

"Willst, feiner Knabe, du mit mir gehen?
Meine Töchter sollen dich warten schön;
Meine Töchter führen den nächtlichen Reihn,
Und wiegen und tanzen und singen dich ein." —
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"Mein Vater, mein Vater, und siehst du nicht dort
Erlkönigs Töchter am düstern Ort?" —
"Mein Sohn, mein Sohn, ich seh es genau:
Es scheinen die alten Weiden so grau. —"

"Ich liebe dich, mich reizt deine schöne Gestalt;
Und bist du nicht willig, so brauch ich Gewalt." —
"Mein Vater, mein Vater, jetzt faßt er mich an!
Erlkönig hat mir ein Leids getan!" —

Dem Vater grauset's, er reitet geschwind,
Er hält in Armen das ächzende Kind,
Erreicht den Hof mit Müh' und Not;
In seinen Armen das Kind war tot.