The Egg Nog Project - A Kitschy Collection of Cartons From All Over The Country.

Seattle, Washington based Graphic Designer Madeleine Eiche began her fascination with Egg Nog cartons when she was working at a New York Coffee Shop back in 2002.  The kitschy packaging of Canastota's Egg Nog, coupled with her love of pop-art and her fondness for dairy products, inspired Madeline to begin an on-going collection of store bought egg nog cartons from all over the country.

She says "The peculiarities of the packaging range from festive to banal, minimal to unappetizing, and each seem to be printed with complete disregard for color alignment. It is precisely these things that make for such compelling kitsch."


above: the carton that started it all, Dairy Fresh, Canastota, New York

The majority of the cartons are so ugly, I'd hesitate to even call them 'kitsch.' However when viewed together they certainly represent the annual tradition as well as a facet of retail packaging category in sore need of redesign, with a few exceptions.

Guers Dairy, Pottsville, Pennsylvania:


Marcus Dairy, Danbury, Connecticut:


Derle Farms, Jamaica, New York:


Guida-Seibert Dairy, New Britain, Connecticut:


Dairyworld Foods, Vancouver, British Columbia CANADA:


Lucerne Foods, Pleasanton, California (2):



Faith Dairy, Tacoma, Washington:


Umpqua Dairy, Roseburg, Oregon:


Elmhurst Dairy, Roxbury, New York:


Wengerts Dairy for Swiss Premium, Lebanon, Pennsylvania:


Dean's Dairy, Sharpsville, Pennsylvania (2):



Crowley Foods, Binghamton, New York:


Giant, Landover, Maryland:


Tuscan Brand, Franklin, Massachusetts:


Schneider's Dairy, Pittsburgh, Pennsylvania:


Parmalat Dairy, Toronto, Ontario CANADA:


Mountain Dairy Inter-American Products, Cincinnati, Ohio:


Swiss Premium Dairy, Lebanon, Pennsylvania:


Smith Dairy, Orrville, Ohio (2):



America's Choice, Montvale, New Jersey:


Wilcox Farms, Roy, Washington (2):



Turkey Hill Dairy, Conestoga, Pennsylvania:


Rockview Farms, Downey, California:


Lehigh Valley Dairy, Lansdale, Pennsylvania:


Horizon Organic, Boulder, Colorado:


Garelick Farms, Franklin, Massachusetts:


Organic Valley, La Farge, Wisconsin:


Southern Comfort, Lynnfield, Massachusetts:


Southern Comfort (Vanilla), Chelsea, Massachusetts:


Trader Joe's, Monrovia, California:


Silk, Boulder, Colorado:


Originally from Orwigsburg, Pennsylvania, Madeleine Eiche is a graphic designer whose other collections include push puppets and floaty pens. Find her work at eiche.co.uk.

Photos by Justin Gollmer.

The Egg Nog Project

OCMA gives birth to COOL: An exhibit about 50s and 60s California art, design and culture

Birth of the Cool: California Art, Design, and Culture at Midcentury
October 7, 2007–January 6, 2008, Newport Beach

Birth of the Cool examines the broad cultural zeitgeist of “cool” that influenced the visual arts, graphic and decorative arts, architecture, music, and film produced in California in the 1950s and early 1960s. The widespread influences of such midcentury architects and designers as Harry Bertoia, Charles and Ray Eames, John Lautner, and Richard Neutra, have been well-documented.


Above: Karl Benjamin, Black Pillars, 1957, oil on canvas, 48 x 24 in. (121.9 x 61 cm), private collection. © Karl Benjamin, courtesy of Louis Stern Fine Art, West Hollywood

Less well-known, however, are the innovations of a group of Hard-Edge painters working during this period including Karl Benjamin, Lorser Feitelson, Fredrick Hammersley, Helen Lundberg and John McLaughlin, whose work retains a freshness and relevance today. Birth of the Cool revisits this scene, providing a visual and cultural context for West Coast geometric abstract painting within the other dynamic art forms of this time.

Birth of the Cool is organized by the Orange County Museum of Art and curated by Elizabeth Armstrong, deputy director for programs and chief curator at OCMA.


above image:
Lorser Feitelson, Dichotomic Organization, 1959, oil on canvas, 60 x 60 in. (152.4 x 152.4 cm), Nora Eccles Harrison Museum of Art, Utah State University, Logan, Utah, Marie Eccles Caine Foundation Gift. © Feitelson Arts Foundation

The exhibition is accompanied by a 300-page publication (see the end of this post).
Major support for Birth of the Cool is provided by Brent R. Harris, The Segerstrom Foundation, and the National Endowment for the Arts. Significant support is provided by Bente and Gerald Buck, Twyla and Chuck Martin, Jayne and Mark Murrel, Pam and Jim Muzzy, Barbara and Victor Klein, and Victoria and Gilbert E. LeVasseur Jr..



Above: Julius Shulman, photograph of Case Study House #22 (Pierre Koenig, architect, Los Angeles, 1959–60), 1960. © J. Paul Getty Trust. Used with permission. Julius Shulman Photography Archive, Research Library at the Getty Research Institute

Additional support is provided by Toni and Steven Berlinger and Patricia and Max Ellis. Corporate sponsorship is provided by Gucci and Design Within Reach. The official media sponsor of OCMA is The Orange County Register. Additional media sponsorship is provided by KCRW and KKJZ. Image credit: Karl Benjamin, Black Pillars, 1957, oil on canvas, private collection. © Karl Benjamin, courtesy of Louis Stern Fine Arts, West Hollywood.

If you can't make the exhibit, buy the book.

Birth of the Cool Catalogue

Hardcover; 304 pages
$65 (member price: $58.50)

EDITED BY ELIZABETH ARMSTRONG

1950s West Coast style exuded “cool”: from the smooth, hypnotic strains of a Miles Davis riff through Richard Neutra’s elegant modernist residences to the hard-edged paintings of Helen Lundeberg and Karl Benjamin. This richly illustrated volume casts a fresh eye on Fifties West Coast style with illuminating commentary from a variety of perspectives. Designed to echo the period it celebrates, this catalog explores modernist innovations in art, architecture, design, film and music. Prominent cultural critics write on an array of topics: Thomas Hine about the culture of cool; Elizabeth Smith on domestic aspects of the period’s architecture; Frances Colpitt on hard-edged abstract painting; Dave Hickey on jazz; Michael Boyd on modernist design in Southern California; Lorraine Wild on graphic design and advertising; and Bruce Jenkins on the crossover between animation and experimental film. The result is a multi-faceted exploration of the 1950s West Coast zeitgeist in all its color, creativity, and cool

Elizabeth Armstrong is Deputy Director for Programs and Chief Curator of the Orange County Museum of Art.

Available as of October 7th, 2007
pre-order the book here

Can't Afford To Spend 100 Million Bucks? How About $10,000? For The Love Of God Silkscreens by Damien Hirst.

A few weeks ago, Damian Hirst's latest creation graced the cover of the New York Times Sunday Magazine (as well as getting coverage on many a blog). The subject was his latest creation, the world's most expensive piece of art. A life sized platinum skull set with diamonds.

This article reprinted below by William Shaw accompanied the piece:

It’s particularly fitting that the title of Damien Hirst’s new headline-grabbing work came from an exasperated exclamation of his mother’s: “For the love of God, what are you going to do next?”

The answer, pictured here, is a life-size platinum skull set with 8,601 high-quality diamonds. If, as expected, it sells for around $100 million this month, it will become the single most expensive piece of contemporary art ever created. Or the most outrageous piece of bling.

At home in Devon, Hirst insists it’s absolutely the former. “I was very worried for a while, because if it looked like bling — tacky, garish and over the top — we would have failed. But I’m very pleased with the end result. I think it’s ethereal and timeless.”

For Hirst, famous pickler of sharks and bovine bisector, all his art is about death. This piece, which was cast from an 18th-century skull he bought in London, was influenced by Mexican skulls encrusted in turquoise. “I remember thinking it would be great to do a diamond one — but just prohibitively expensive,” he recalls. “Then I started to think — maybe that’s why it is a good thing to do. Death is such a heavy subject, it would be good to make something that laughed in the face of it.”

The dazzle of the diamonds might outshine any meaning Hirst attaches to it, and that could be a problem. Its value as jewelry alone is preposterous. Hirst, who financed the piece himself, watched for months as the price of international diamonds rose while the Bond Street gem dealer Bentley & Skinner tried to corner the market for the artist’s benefit. Given the ongoing controversy over blood diamonds from Africa, “For the Love of God” now has the potential to be about death in a more literal way.

“That’s when you stop laughing,” Hirst says. “You might have created something that people might die because of. I guess I felt like Oppenheimer or something. What have I done? Because it’s going to need high security all its life.”

The piece is not exactly the stuff of public art, but Hirst says he hopes that an institution like the British Museum might put it on display for a while before it disappears into a vault, never to be seen again. Whether the piece is seen or not, Hirst will likely go down in the Guinness Book of Records as the world’s most extravagant artist.

“I hadn’t thought about that!” he suddenly snorts with laughter. “I deal with that with all my work. The markup on paint and canvas is a hell of a lot more than on this diamond piece.”
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At the going rate of 100 million dollars, chances are you won't be buying it.

But now, a London gallery is selling limited edition prints of this piece, still pricey at 10,000+ USD, but a mere pittance compared to $100,000,000.00

In conjunction with Damien Hirst’s exhibition ‘Beyond Belief’, White Cube Gallery announce the release of eight new limited edition works.

These works include a series of silkscreens depicting Hirst’s extraordinary diamond skull ‘For the Love of God’, a life-size cast of a human skull in platinum, covered entirely by 8,601 VVS to flawless pavé-set diamonds. In addition to these silkscreens there are three works on canvas, each with paracetamol pills and syringes. These relate closely to the new series of ‘Fact’ and ‘Biopsy’ paintings which focus upon issues surrounding Western medicine, and continue Hirst’s long standing interest in the themes of life and death.




Want one of your own? Click here

A little about DAMIAN HIRST:
Damien Hirst was born in Bristol, England in 1965. While still a student at Goldsmith's College in 1988, he curated the now renowned student exhibition, Freeze, held in east London. In this exhibition, Hirst brought together a group of young artists who would come to define cutting-edge contemporary art in the 1990s. In 1991, he had his first solo exhibition at the Woodstock Street Gallery, entitled In and Out of Love, in which he filled the gallery with hundreds of live tropical butterflies, some of which were hatched from the monochrome canvases that hung the walls. In 1992, he was part of the ground breaking Young British Artists exhibition at the Saatchi Gallery. In this show, he exhibited his now famous Physical Impossibility of Death in the Mind of Someone Living, a tiger shark in a glass tank of formaldehyde. That same year he was nominated for the prestigious Tate Gallery Turner Prize, and later won that coveted award in 1995.

Hirst's best known works are his paintings, medicine cabinet sculptures, and glass tank installations. For the most part, his paintings have taken on two styles. One is an arrangement of color spots with titles that refer to pharmaceutical chemicals, known as Spot paintings. The second, his Spin paintings, are created by centrifugal force, when Hirst places his canvases on a spinner, and pours the paint as they spin. In the medicine cabinet pieces Hirst redefines sculpture with his arrangements of various drugs, surgical tools, and medical supplies. His tank pieces, which contain dead animals, that are preserved in formaldehyde, are another kind of sculpture and directly address the inevitable mortality of all living beings. All of Hirst's works contain his ironic wit, and question art's role in contemporary culture.

Hirst's first exhibition with Gagosian Gallery, entitled No Sense of Absolute Corruption, was in 1996 at the now-closed SoHo location in New York. Superstition is Damien Hirst's first show at the Beverly Hills space.

For the Official Damien Hirst Website, click here.

Mapplethorpe Prices Rising

Above: Self-portrait in drag, approx $52,000. USD


Robert Mapplethorpe – Beauty and the devil are one and the same [Jun 07]

The work of Robert Mapplethorpe (1946-1989) has something of a scandalous reputation, the photographer shocking puritanic Americans by putting sexuality at the heart of his artistic universe. He became a photographer in the 1970s, an era of sexual liberation soon to be brought to a halt by the rise of the AIDS epidemic. Mapplethorpe never ceased extolling the human body in meticulous compositions often evoking the cool and strict aesthetic of neoclassical painting.


Above: Another Self-portrait by Mapplethorpe

In addition to his photographs celebrating nudity, he took portraits of individuals in his circle, some of them anonymous and some celebrities (Andy Warhol, Richard Gere, Grace Jones, Patti Smith, etc), self portraits and photographs of flowers which assume an erotic dimension under his lens. The subject is often crude but the setting always ‘clean’, head-on, refined, even sterile. The artist favoured black and white and an aesthetic close to fashion photography, which is proving increasingly popular with collectors.


Above: Self-portrait with knife


Above: Mapplethorpe's portrait of Lisa Lyon with Snake

After a moribund period, Robert Mapplethorpe’s prices have risen by more than 102% since 2004, the year in which he achieved, for the first time, a price at auction in excess of $100,000. The work in question? A photograph of a Zantedeschia or arum lily measuring 61 x 50.8 cm, unique in this format, sold for $210,000 by Christie’s NY (title: Calla Lily, 15 Oct. 2004), making this flower portrait one of the most sought-after of the artist’s subjects. Sought after to the point that a Calla Lily print of a series of ten, made more attractive by the Margaret W. Weston provenance, exploded its estimated range of $40,000 - 60,000, selling for $140,000 on 25 April (1988, 48.7 x 49.1 cm, Sotheby’s NY)!


Above: One of Mapplethorpe's Most Famous Subjects; The Calla Lily


Above: Mapplethorpe's portrait of Warhol which sold at Christie's for $643,200.00 USD


This 2004 result was to be the first of a successful series: since then his photographs have seen 8 sales in excess of $100,000, including an outright record of more than $500,000 for a portrait of Andy Warhol! The auction of this monumental portrait of the King of Pop Art for $560,000 (106.7 x 106.7 cm, Christie’s NY) in October 2006 has contributed to firmer Mapplethorpe’s prices. Five months earlier in the same auction house, a large Warhol portrait in a 10-print series changed hands for only a tenth of this amount at $50,000 (103.5 x 103.5 cm).



Above chart from Art Price

The price of a work on the same subject varies according to the type of print (gelatin silver, dye-transfer, photo-engraving, etc), the date it was printed, its quality and size. Generally a work is printed in various numbered formats and the shorter the print series, the more auction prices are likely to rise given the rarity value. Certain formats are limited to one print and are thus all the more sought after. For example, the Leaf photograph, a very pure work, achieved its highest price at auction with a unique, large format print (94x78.5 cm) selling for $35,000 (€28,900) on 10 October 2005 at Christie's NY. During the same auction, the same subject in a smaller format, one of a 7-print series, sold for $5,000 less than its larger-scale version.


Above: One of Mapplethorpe's polaroids of Paul Mogensen

For a budget below $10,000, the market offers a wide range of works: nearly 70% of lots do not exceed this threshold. Numerous Polaroids and gelatin silver prints (more modestly priced than the Dye-transfers) are affordable at around $1,000 to $10,000. The Polaroids mark the origins of the Mapplethorpe photographic adventure before the acquisition of his first wide-angle camera during the 1970s. Despite the small dimensions (approximately 9.5 x 7 cm in most cases) the Polaroid has one quality which is sought after by collectors: it is a unique work. Mapplethorpe took numerous Polaroid self portraits during the 1970s for which you'll need between $2,000 and $4,000 on average such as the one sold on 8 September last at Christie’s NY for $2,800. As for larger-sized prints priced at less than $10,000, we could mention, for example, the Poppy photograph taken in 1982 (38.5 x 38.5 cm, Gelatin silver print) on which the hammer came down at £4,000 (under $8,000) on 31 May last at the Christie’s London auction. Another possible acquisition, the rare portfolios: on 26 April last, Season in Hell comprising 8 test-prints (each edited as a series of 40 prints) was sold for $6,500, an average acquisition cost of $812.5 per photograph (26 April 2007, Sotheby’s NY).

Can't afford a Mapplethorpe print? Perhaps some of the newer items on the market with his images will appeal to you.

Below: These limited edition plates & cups are available right now at Colette.





You can read more and see more Robert Mapplethorpe by clicking here.