Glessner House, located in Chicago’s Prairie Avenue Historic District, was designed by American architect Henry Hobson Richardson and completed in 1887.
Richardson studied at Ecole des Beaux-Arts in Paris, which encouraged quick conceptual sketches and detailed perspective drawings that could and should be followed through to physical completion of a space.
Good thing.
In April 1886, Richardson completed the design for the house.
Three weeks later he was dead.
This sprawling residence was built for the Glessner family, wealthy from 19th Century manufacturing of agricultural equipment. It was home to a child who would grow up to be very important due to homes of a different scale: Frances Glessner Lee.
Frances was the first female police captain in the U.S. and “the mother of forensic science.” In her 40s, Frances began making miniature dioramas that depicted grisly murder scenes. The replicas were designed to be educational tools for homicide detectives and the fledgling field of medical examination and crime scene investigations.
Pictured: Detail of “Kitchen,” from the Nutshell Studies of Unexplained Deaths.
The dioramas, eventually becoming Nutshell Studies of Unexplained Deaths, were precise — down to the make of the mousetrap and the bloat of the body. Many are still used today to train detectives, and the answers or real-life cases from which they were inspired remain under lock and key.
Also awesome? It’s rumored Frances was the character inspiration for everyone’s favorite brilliant amateur detective in gaudy baubles: Murder, She Wrote’s very own Jessica Fletcher.
Following, some pics I snapped on a recent tour of the place… No crime scenes evident!
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Entrance, library and parlor
Entrance view
Library desk
Library fireplace view
Library books
Library loft (behind railing on entrance view)
Parlor
Steinway in parlor
Parlor view with natural light from courtyard
Parlor view from dining room
Dining room and kitchen details
Dining room
Dining room
Cupboards
Ring box
Bedrooms
Guest beds
Guest bed fireplace
Guest bed bathroom
Guest writing desk
Frances Glessner Lee childhood bedroom
Frances Glessner Lee childhood bedroom
Frances Glessner Lee reading nook
Frances Glessner Lee desk
Behind the scenes
Next door
In the park next door, visit the Clarke House Museum, Chicago’s oldest standing house built in 1836.
Right beside the Clarke House is the Louise Bourgeois tribute to social philosopher and activist Jane Addams.
“Perhaps nothing is so fraught with significance as the human hand…” — Jane Addams
As the end of the year (aka gift giving season) rolls up with the top down, I thought I’d show off one of my favorite custom embroidery jobs from the archives.
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I recently finished this custom piece for a dear friend. He wanted to gift an artwork to a friend who loved wrestling and wrestling history. He picked an image from this series of photographs by Irving Penn from 1945 and told me to have at it.
Original image info: Irving Penn, 1945, “Dorian Leigh & Maurice Tillet aka The French Angel”
The man in this photo is Maurice Tillet (1903-1954), the most notorious wrestler of the 1940s, better known by his ring name, ~THE FRENCH ANGEL~.
“He studied 14 languages, wrote poetry, and aspired to become an actor. However, his dreams were shattered when he developed acromegaly in his twenties. … This disorder is caused by an abnormal production of growth hormone usually related to a benign tumor of the pituitary gland… With his new body, Tillet, an educated man and a lover of the fine arts, felt like a monstrosity. Unable to face a life of constant gawking and humiliation, he decided to make drastic changes and use his condition to his benefit.”
At the end of his life, Maurice was a Chicago boy. He died here, too, of a heart attack that came on after he heard that his trainer died. <sobbbbbbing>
My color choices for his wings and the stars on his belt are a direct reference to the Chicago flag.
I almost put the fourth star on Maurice’s belt too, but I just had to do something about Dorian there…
The angle of her foot, the shape of that heel… oh la la, there’s just so much I love about that aspect of the original photograph. I put the last star beneath it to give Dorian her own special place in this piece.
You know you’ve past a certain age threshold as soon as getting socks for Christmas sounds awesome. No? Well, welcome to my blog, fellow kids. Say it with me now (to the tune of LMFAO “Shots”): Socks socks socks socks socks socks! Everybody!
They have all the function you need from your footwear — not to mention the “I’m fun and love graphic design” vibe of a grown ass adult if you’re looking to demonstrate that kind of thing at a Scrabble marathon house party or whatever — plus they’re mismatched so you can feel the sloppy, IDGAF kid-ness of being a kid again.
Soft cotton/recycled-poly blend for enhanced stretch and feel
Seamless design, with reinforced toe and heel in black
Vivid color without any base color peeking through
New on the shop: It’s that time of year again. Time to think about the next one.
Have your best year yet with my dotted, delicious, designed colorful calendar poster. So full of promises for hope, happiness, and horrible alliterations!
Giclée print poster made on thick and durable matte paper (because the matte feels so smooth and sexy).
I started learning how to animate my embroidery art recently. Part of my whole ~art as self-authorization~ kick. Here are a few of my favorites so far:
Just kidding. You can put anything in my macro.baby totebags, not just toast.
But, toast in your tote is probably a cool idea… I mean, everybody loves toast. You’ll be so popular! Pack butter too probably. And jam! If anything spills inside, you can just machine wash it once you get home after hanging out with all your cool new friends who now call you Toad for some reason but you think they mean Toast they’re just saying it wrong!
ARTISAN TOAST TOTEBAGS
Hand-sewn in the U.S., and Society6 says the print will never fade. These babes are constructed with a premium, canvas-like material and double-stitched for quality.
Available in three sizes
Crafted with durable, lightweight poly poplin fabric
On this day nearly 100 years ago (1927), Isadora Duncan died the strangest death. She was strangled in not-so-nice Nice (France).
By her scarf.
“Isadora Funcan” by Jackie Mantey // Original image info: Arnold Genthe, 1869-1942, “Isadora Duncan: studies.”
Duncan was a dancer, remarkable for her ability to use the body’s natural movements and desires as guides for her improvisational choreography. She is remembered for her movement-based rebuke of classical dance and its wealthy connotations at the time. Her dance was independent. Emotional. Beloved by sad corseted ladies and boho-minded men yearning to be free the world over.
Because of this dance style, scarves were kind of her thing.✌️ She usually danced barefoot, while wrapped in free-flowing gowns.
I know this sounds kind of “so what?” in the context of today, a time in which Bonnaroo exists and you can’t walk past a modern dance performance without being thrown a curtain from the rafters to climb into and be swaddled like a baby in the cradle of the womb your subconscious still craves.
But!
At Duncan’s time, the drapery was rebellious — shocking even! Her movement style and sartorial choices were a stark contrast to the toe mashing and waist gashing of classical ballet, the bitchy bell of the dance ball for too long.
Neighborhood baddie, summer pre-COVID
Neighborhood bummer, summer 2021
Here’s what was not her thing: Cars. 😠 I’m being glib, but this part is actually super sad. Duncan had three children (“all out of wedlock,” Wikipedia notes… hell yeah, Izzy). We’re already off the rails here, so I’m just going to quote Wikipedia again:
“The first two [children], Deirdre Beatrice (born 1906), whose father was theatre designer Gordon Craig; and the second, Patrick Augustus (born 1910), by Paris Singer, one of the many sons of sewing machine magnate Isaac Singer, drowned in the care of their nanny in 1913 when their car went into the River Seine.”
Daaaaamn…. 🙁 And then:
“In her autobiography, Duncan relates that [IN HER UNIMAGINABLE GRIEF] she begged a young Italian stranger [HELL YEAH, IZZY], the sculptor Romano Romanelli, to sleep with her because she was desperate for another child. She became pregnant and gave birth to a son on August 13, 1914, but he died shortly after birth. [WTF!]”
One can not blame Dear Isadora, then, for ignoring the warning of her fellow passenger on that fateful joyride in 1927 to watch her damn scarf.
Why not live free? Look fabulous? Die at 50 in a tragic and grotesquely bizarre way befitting a tragic and beautifully bizarre life? With a burdenous heart broken such as that… then what, pray tell my young man, is a broken neck?
The scarf caressed her as l’automobile revved faster on whatever rue de la franacaise. It slithered silky and sensual out the window, fluttered with the wind and shivered with thrilling joie de vivre. Then, spotting the car’s open-spoked wheels and, being one to fancy danger, the scarf flirted and tickled and teased and then licked the rear axle. The tire, all business of cut-throat rubber and metal grinding dirt, responded and swallowed the tongue of that scarf and consumed it in one harumphing gulp, pulling the legendary body of Isadora Duncan down with it for dessert.
A snap. A slice. An exit wound.
A goodbye, sweet world. A thanks for the dance. ✌️
I recently subscribed to The Met on YouTube and found a trove of treasures from this institutional mainstay. Since 2020, the museum has released three to four films from the moving-image archive to celebrate its 150th anniversary. Called “From The Vaults,” the series continues through March 2022.
Hey, when you turn 150 years old, it’s your party and you can make everyone celebrate for two years if you want to.
I’m slowly making my way through all the artifacts they’ve posted; most recently, a 1992 film about American painter Ralph Fasanella, who was known for his depictions of working-class city life and born in the Bronx on Labor Day 1914 to newly minted Italian immigrants.
Berenice Abbott: “A View of the 20th Century”
One of the most compelling docs I’ve watched in The Met’s series so far was another 1992 piece, this one about the photographer Berenice Abbott. I LOVE Berenice and am often drawn to her Works Progress Administration images when selecting images for my embroidery collection.
As one source in the film so succinctly put it, Berenice took, “Emotionally resonant pictures of ordinary things.” That’s as working class as it comes.
What I didn’t realize was how accomplished Berenice was in other intellectual and theoretical pursuits beyond artmaking. Here are some of my favorite quotes from this legendary artist.
“This clear-eyed, insightful documentary, directed by Martha Wheelock and Kay Weaver, offers a grand tour of Abbott’s extraordinary life, from her youth in Ohio and apprenticeship in Paris through her later groundbreaking scientific photography at MIT and final years in Maine.
Using the artist’s memories as a lens for apprehending nearly a century of American and European cultural history,this film pays homage to Abbott’s genius for invention, her free-spirited embrace of uncertainty and experience, and her unshakeable devotion the art of photography.”
Berenice Abbott photographing on South Street, New York, 1937. Photo by Consuelo Kanaga.
ON BEING AN ARTIST
“The only pleasure you can get from creating something is the pleasure you have in doing it. Not the final product even. The pleasure you have in doing it. And that cannot be taken away from you. And it cannot be crushed. But you had a certain kind of joy creating it. And that’s all you can expect.”
“There are many teachers who could ruin you. Before you know it you could be a pale copy of this teacher or that teacher. You have to evolve on your own.”
“I think you have to be intensely personal and be true to yourself. The subject matter that excites you is something you want to photograph. You have to convey to the person who looks at it what it was that excited you.”
“To the Pit” by Jackie Mantey. Embroidery floss on photo paper. // Original image info: Berenice Abbott, 1937, “Triborough Bridge, East 125th Street approach, Manhattan.”
ON ART
“If you’re trying to express people, you have to be part of it because it’s an exchange. You’re a part of that time.”
“The art is selecting what is worthwhile to take the trouble about.”
“I think it stands to reason that if you recognize and appreciate your heritage, it helps you with your future.”
“Social Distancing” by Jackie Mantey. Embroidery floss on photo paper. // Original image info: Berenice Abbott, 1937, “General view from penthouse, 56 Seventh Avenue, Manhattan.”
ON PHOTOGRAPHY
“Anything you photograph has to be exciting somehow visually. It has to be photographically important, visually important. Otherwise you write about it.”
“Photography is very much a prisoner of its time. You work within the framework of the technique at the time, and that’s the way you have to judge photography.”
“I think all photography is documentary or it isn’t even photography. Most photographs are documents by their very nature of the realistic image. When they try to make it a nonrealistic image, they’re imitating another medium. Selectivity is key.”
“Many interesting things aren’t photogenic at all.”
ON CITY APPEAL
“It isn’t just that you think the city is beautiful. It’s that the city is very interesting. Everything in it has been built by man. It expresses people more than people themselves.”
“The city is full of every period, every epoch. Everything there comes out of the human gut. Everything that’s built. Every sign that’s put up. The new, the old, the beautiful, the ugly. It’s the juxtaposition of all this that is an intensely, immensely human subject. You’re photographing people when you’re photographing a city. You don’t have to have a person in it.”
ON BEING A WOMAN
“He said, ‘Nice girls don’t go down on the Bowery.” And I said, ‘Well, I’m not a nice girl. I’m a photographer.‘”
“My assistant got the job. A young man whom I had trained. I think the last thing the world really wants are independent women. I don’t think they like independent women much. Just why I don’t know. But I don’t care.”
“Yes, I’ve always been a loner. I’m certain that some people marry and it doesn’t spoil their independence, even women in some cases. The vast majority seems to snare the woman and she can lose track of her directions and her desires and her interests. I’ve heard so many women say, ‘Oh I would like to have done this but after all my family came first. I had to look after my sons.’ So apparently that was more important to them. To me it would be like losing yourself. I think your work is the most important thing in your life. To spend more time with it.”
ON BEING
“I believe in nature and truth and common sense, pursuit of knowledge. Nothing is any good unless you sort of live up to it. Do unto others as you would have done unto you. That is very valid and can’t get you into any trouble. But you don’t need religion to have morals.”
“I always thought that there was nothing smarter than an old woman. You’ve lived so much, you’ve seen so much, in some sense you’ve been on the passive end of it, which means that you have observed plenty. But my impression was always that most ordinary women, if they’re old, have some remarkable quality that no other people have.”
“I had no idea I was getting older. I’ve never worried about getting older. I don’t see why people make so much of a thing about aging. It’s so natural to age. Everything is aging all the time. Everybody’s aging constantly. Why worry? It’s slow. You’re not aware of it.You just take it in your stride. But women are so harassed with the idea because of the social attitude, the unfairness of social attitudes between the aging of men and women is so ridiculous and so dreadful that women’s years seem to be only good as long as she can procreate, but a man can be very attractive at 80.”
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