Pin-Up PDF - Chris Mottalini



Pin-Up PDF - Chris Mottalini
At the founding ceremony of the American Communist
party in Chicago in 1919, Austrian architect Rudolph
Schindler fell in love with his future wife, Pauline Gibling,
and her infectiously radical political spirit. Even after their
separation in the late 1920s and a bitter divorce, Pauline
continued to support her ex-husband’s revolutionary
architectural designs.
The Schindler House (1922)
835 North Kings Road
West Hollywood, CA 90069
This house was the private residence of Rudolph and Pauline
Schindler, but was always conceived of as a communal
living space inspired by Communist ideas. At one point
the Schindlers shared the residence with another couple,
the engineer Clyde Chace and his wife Marian Chace, who
also helped build the house. When the Chaces moved out
a few years later, the Schindlers also shared the house with
fellow Austrian architect Richard Neutra and his wife Dione
Neutra. After Pauline’s death in 1977, the house has been
owned by the Friends of the Schindler House, a nonprofit
organization who rents the space out to the MAK Center,
Los Angeles, an affiliate of the MAK in Vienna, Rudolph
Schindler’s hometown.
Photographed by Chris Mottalini.
Rudolph Michael Schindler was born on September 10,
1887, in Vienna, Austria. His father was a wood and metal
craftsman and importer, and his mother a dressmaker.
After a dismal performance in high school, Rudolph decided
to study architecture, for which he was naturally gifted.
He moved to Chicago in 1914 to pursue a career in
architecture. In 1919, at the founding ceremony of the
American Communist Party, he fell in love with his future
wife Pauline Gibling. They married soon thereafter and
moved to Los Angeles, where he worked on several projects
for Frank Lloyd Wright, of whom he was a great admirer.
Pauline and Rudolph built a house together on Kings Rd,
which was financed mostly by Pauline’s parents. In 1922,
their first and only child was born, Mark.
Pauline Schindler was born Pauline Gibling on March 19,
1893, in Minneapolis, Minnesota, as daughter of an English
father and a German mother. She grew up in New York City
and studied Graphic Design both in the US and Europe,
including studies in music and the social sciences. She was
a registered Communist since 1919 and remained so until
her death in 1977. Much to her parents’ disappointment,
Pauline stopped working after meeting her future husband
Rudolph Schindler. But after separating from him in the
late 1920s, Pauline (now a practicing theosophist) and
her son Mark moved between different art communities
in California, including Halcyon, Oceano, Ojai, and
Carmel. In Carmel, she became the editor of the Carmelite,
a weekly local paper dedicated mostly to the arts.
Both, mother and son moved back into the Kings Rd House
in the mid-1930s.
Portrait taken by Dorothea Lange, ca. 1935.
Courtesy of Oakland Museum of California.
The photograph shows the surviving physical evidence of
the paint that Pauline Schindler used to color her half of
the house.
After the Schindlers’ separation in the late 1920s,
Pauline moved out of the Kings Rd house. Almost ten
years later, after living a semi-nomadic life in different
parts of California, Pauline moved back into the house they
had built together back in 1922. Only a wall separated
the ex-spouses’ living quarters. Pauline lived in the north
wing of the house, Rudolph in the south. They preferred to
communicate by letters, and sometimes even through their
attorneys. In 1949, Pauline decided to paint her half of
the house, both inside and outside, presumably to make it
more homely. She asked Rudolph to help her pick a color.
This letter, dated April 8th, 1949, was her ex-husband’s
written response. It remains unknown whether Pauline ever
responded to this letter, but she did eventually paint her
half of the house in a dull pink. Both Rudolph and Pauline
lived under the same roof until their deaths, in 1953 and
1977 respectively.
Letter courtesy of the Schindler Archives
at the University of Santa Barbara, California.
A Special thanks to Alex Hausschild.
A photograph by Danish photographer Jan Søndergaard,
inspired by the view over the San Fernando Valley as
seen from the Hollywood Hills. Søndergaard took the
picture in 2000 in the basement of his former residence in
Copenhagen, using a pilot lamp placed under a piece of
black perforated cardboard. Jan Søndergaard has never been
to Los Angeles.
A photograph by William Claxton of his wife, Peggy Moffitt,
wearing a topless swimsuit designed by Austrian-born fashion
designer Rudi Gernreich, whose life-long muse she was.
A native to Vienna, Gernreich fled the Nazi regime in 1938
and moved to Los Angeles where he pursued a career as a
dancer. By the mid-1950s had ventured into fashion design.
In 1964 he caused a stir in the fashion world and beyond
by introducing the aforementioned topless swimsuit (also
known as the Monokini), the first of a series of revolutionary
garments he designed, including the NoBra (1972), the
Thong (1974), and the Pubikini (1985). In addition to his
work as a fashion designer Gernreich was also politically
active, co-founding the first gay activism group in North
America, the Mattachine Society, in 1950. Gernreich’s interest
in aesthetics as a means to express his political convictions is
something he shared with his fellow countryman Rudolph
Schindler. Gernreich, a declared nudist, died in his home in
Los Angeles on April 21, 1985 at the age of 63.
Photograph by William Claxton, re-photographed by
Felix Burrichter and Sarah Ortmeyer against the wall of
the Rudolph Schindler-designed Mackey apartment house
in Los Angeles. A Special thanks to Peggy Moffitt Claxton.
Excerpts from an obituary for Rudi Gernreich, written by
Harry Hay, Gernreich’s former lover. Gernreich and Hay
were co-founders of the Mattachine Society, one of the first
gay activist groups in North America.
“One of the truly great creators of modern design, one of the
very few artists to have received the COTY International Design
Award several times in a row, Rudi Gernreich died last Sunday,
April 21. Practically every magazine and journal in the notunrelated worlds of Art and of Fashion will be doing him honor
– assembling and re-assessing the innumerable achievements,
discoveries, insights, and innovations of his spatial and visual
perceptions of our beloved human body in motion and in the
many rhythmns [sic] of the beloved body in repose. I say “beloved
human body” because this is how Rudi would have always
perceived it and any […] one closely studying his approach to
design can only marvel at how rapturously he always reached
to celebrate it.
For my part, I should like to do honor to three years of Rudi’s life
not heretofore mentioned in the public press…the time span from
July 6th, 1950 into May of 1953 encompassing that dream of Gay
People awakening to their full historical potential, thqat [sic]
vision of Gay Brothers and sisters inventing and re-inventing new
spatial perceptions of themselves through loving affirmations of
each other, whose very first American consciousness-raising circles
would come to be known as the Mattachine Society of 1950–53.
For three years, with a murmur, Rudi Gernreich had given
the Mattachine Vision the highest intensity of his energy and
love. When it collapsed in the Spring of 1953, he knew it was
time for him to pursue other avenues of his personal visions of
Freedom. The terrible heartbreak many of us suffered from
the collapse of the Mattachine Dream took longer to heal in
Rudi than in the others. He never identified with the Gay
Movement again.
Earlier this year, in an interview with the Los Angeles Times,
Rudi Gernreich was quoted as saying “the only relevant issue
now is Freedom.” But throughout all of his creative life, the
only relevant issue to Rudi Gernreich was Freedom …
Freedom to create areas wherein he could mold into managable
dimensions those spatial relationships of color and rhythm and
motion, those perceptions of our brain’s right hemisphere
which may lie forever beyond the powers of our two-dimensional
binary language to express or to control. And within such
passions to invent and always re-invent such Freedoms to
express, Freedoms of personhood were never far off: and
freedoms of person hood projected in turn against the backdrop
of right-brain spatial projections can reveal the lovely body
of a Faerie’s vision as costume in itself…no wonder so many
Hetero Men had trouble with the anti-PURITAN aspects
of Rudi’s fashions. But not women. Women knew that Rudi
Gerneich moved to free them forever from the costume
restraints of Puritanism.
To those of us who knew Rudi Gernreich, and loved him,
in those first years of the American Gay Vision of Liberation
through self-affirmation, he was always the personification of
the Free Faerie Spirit. Dzzingly [sic] beautiful, and forever
burgeoning with sparkles of devastating wit and laughter,
he was one of the Great Earth Mother’s Gifts to us all... […]”
Courtesy of ONE Archives, Los Angeles. A Special Thanks to
Bud Thomas.
Left-hand page: Stanley “Tookie” Williams III was one of
the founders of the Crips, a notorious street gang from Los
Angeles. Before being convicted for life in prison in 1979
(and eventually death row), he was known for pumping
iron at Muscle Beach in Venice, California, during the
same period as fellow muscleman Arnold Schwarzenegger.
During his time in prison Williams wrote children’s books
and participated in efforts intended to prevent youth from
joining gangs. On December 13, 2005, he was executed
by lethal injection after the Governor of California, Arnold
Schwarzenegger, rejected both clemency and a four-week
stay on execution.
Right-hand page: This design, in classic American colors, is
part of a unique shoe collection available as ready-to-wear
shoes in half-size increments or made-to-measure shoes.
Variations in leather and color are possible. All models come
with lasted walnut-wood shoetrees.
Designed by Leonard Kahlcke and hand-made
by Lucian Maftei, Vienna.
On the occasion of Arnold Schönberg’s 50th birthday, Adolf
Loos, one of Rudolph Schindler’s former professors, wrote
about craftsmanship and the making of shoes:
“A craftsman creates the form unconsciously. Tradition adopts
the form and the changes which develop during the craftsman’s
life are not conditional upon his will. His customers – they grow
older – suggest innovations to him, and thus a change occurs of
which neither the consumer nor the producer is aware. In his
declining years, the master makes shoes different from those of
his youth – just as his handwriting alters over 50 years. Just as
all handwriting changes in the same amount, all writers are
part of this change in equal measure, so it is simple to assume the
century on the basis of the formation of the letters.”
Arnold Schönberg zum 50. Geburtstage, 13. September 1924.
Sonderheft der Musikblätter des Anbruch, 6. Jg., August-September-Heft 1924, pp. 271–272
Elliot House (1930)
4237 Newdale Drive
Los Angeles, CA 90027
Built in 1930 for R. F. Elliot and his wife, the house is now
owned by the couple Cameron Silver and Jeff Snyder, owners
of the renowned vintage fashion emporium Decades. They
bought the house in 1999 and renovated it with great attention to detail.
Photographed by Chris Mottalini.
18–21 24–27
“More than 40 years ago, Kant had already impressed upon
himself and on occasion, us, his audience at the time, that a
person must never take his style of dress entirely from fashion; it
is, he adds, definitely a duty, that a repulsive or even flamboyant spectacle not be imposed on others. He already called it a
maxim at the time, one that should be followed exactly, that one
must above all, choose the colors of clothing precisely in relation
to the colors of flowers. Nature, he said, doesn’t provide what
isn’t pleasing to the eye; the colors that grow next to each other
always match. So, for example, brown outerwear belongs with
a yellow waistcoat, the flower Auricula showed us this. Kant
always dressed himself respectably and carefully. Later on he
particularly loved mottled (meliert) colors. For a good while,
one saw him in clothes with seams wrapped in golden cord.
His sword he wore responsibly, as long as businessmen donned
theirs; he set it gratefully aside when this custom stopped, as a
bothersome and superfluous appendage. Only his hat, as far as
I noticed, he never subjected to the laws of fashion. This hat
lasted through every transformation.”
suit with matching pants; Giorgio Armani pants and sleeveless
vest; Yves Saint Laurent unisex vest.
The installation was on view at the Schindler House MAK
Center in West Hollywood from September 10–12, 2010.
Man merkt leicht, dass auch kluge Leute bisweilen faseln,
A man and a woman wearing the unisex Thong, designed by
Rudi Gernreich in 1973.
An inspirational G-Funk playlist:
Players Clique – “N-Trance”
Young Giantz feat. Tiki – “Tryin 2 have Fun”
Penthouse Players Clique – “Smooth”
Tweed Cadillac – “On The Run”
Playa Hamm – “L.A.”
Suga Free – “Where You From”
Dj Quik feat. AMG, James Debarge – “We Came To Play”
Kokane feat. Devin The Dude – “Black Eyed Peas”
Big Hutch aka Cold 187um – “Born Hustla”
Suga Free – “Doe Doe And A Skunk”
KMG – “Pomona”
Dj Quik – “Rogers Groove”
Pomona City Ridaz – “We Tha Rydaz”
Pimpin Young feat. Bad Azz – “Love My Money”
Above the Law – “World Wide”
Ganxta Ridd – “If I Die, Let Me Roll”
Mausberg – “Pimpalistics”
2ndIINone – “Up “N Da Club”
Comptons Most Wanted – “I Gots Ta Get Over”
Mc Eight – “Come Ride With Me”
Kokane – “Can’t Funk-Shun”
Above The Law – “Outro”
by Ludwig Ernst Borowski. Published by Volker Gerhardt,
pp. 143-144. Translated for the first time into English by
Alexis Kunsak.
“Fine art is an art, so far as it has at the same time the
appearance of being nature. A product of fine art must be
recognized to be art and not nature. Nevertheless the finality
in its form must appear just as free from the constraint of
arbitrary rules as if it were a product of mere nature.
Upon this feeling of freedom in the play of our cognitive
faculties-which play has at the same time to be final rests that
pleasure which alone is universally communicable without
being based on concepts. Nature proved beautiful when it
wore the appearance of art; and art can only be termed
beautiful, where we are conscious of its being art, while yet
it has the appearance of nature. For, whether we are dealing
with beauty of nature or beauty of art, we may make the
universal statement: That is beautiful which pleases in the
mere estimate of it (not in sensation or by means of a concept).
Now art has always got a definite intention of producing
something. Were this “something,” however, to be mere
sensation (something merely subjective), intended to be
accompanied with pleasure, then such product would, in
our estimation of it, only please through the agency of the
feeling of the senses. On the other hand, were the intention
one directed to the production of a definite object, then,
supposing this were attained by art, the object would only
please by means of a concept. But in both cases the art would
please, not in the mere estimate of it, i.e., not as fine art, but
rather as mechanical art. Hence the finality in the product of
fine art, intentional though it might be, must not have the
appearance of being intentional; i.e., fine art must be clothed
with the aspect of nature, although we recognize it to be art.
But the way in which a product of art seems like nature is by
the presence of perfect exactness in the agreement with rules
prescribing how alone the product can be what it is intended
to be, but with an absence of laboured effect (without academic
form betraying itself ), i.e., without a trace appearing of the
artist having always had the rule present to him and of its
having fettered his mental powers.”
Critique of Judgment by Immanuel Kant, § 45, 1790.
Three sculptures: CALVIN, GIORGIO, YVES.
Dimensions variable, California plants; Calvin Klein skirt
Photographed by Daniel Trese.
Photograph by William Claxton, re-photographed by Felix
Burrichter and Sarah Ortmeyer against the wall of the Rudolph
Schindler-designed Mackey apartment house in Los Angeles.
A special thanks to Peggy Moffitt Claxton.
A small table designed by Rudolph Schindler as part of
the Gingold Commissions, as series of furniture Schindler
designed between 1940 and 1950. This piece was most likely
designed for the Buck House. It is valued at approximately
USD 5,500.00.
Photographed by Zoë Ghertner. Hand by Mari Ouchi.
Furniture courtesy of Mark McDonald, Hudson, New York.
A small three-drawer chest from a series of stacking furniture
designs called “Unit Furniture,” produced for the American
manufacturer H. R. King in 1945. The piece is not for sale.
Photographed by Zoë Ghertner. Hand by Mari Ouchi.
Furniture courtesy of Mark McDonald, Hudson, New York.
Private Residence, Inglewood (1937)
433 West Ellis Avenue
Inglewood, CA 90302
This little-known two-bedroom house in North Inglewood
is one of three residences Schindler designed in the late1930s
together with draftsman E. Richard Lind. The neighborhood
had only just been developed so Schindler’s designs are
presumed to be show houses built to attract new residents
to the area. In 2007, a married couple Kali Nikitas and
Richard Shelton bought the house. Since both of them work
in the arts, they had assumed that they could not afford a
Schindler house, until they found an ad on for
this house and bought it on the spot.
Photographed by Chris Mottalini.
The design is part of a unique shoe collection available as
ready-to-wear shoes in half-size increments or made-tomeasure shoes. Variations in leather and color are possible.
Designed by Leonard Kahlcke and hand-made
by Lucian Maftei, Vienna.
On Friday, April 9, 2010, a golden Volvo 240 station
wagon collided with a silver BMW 328i on the corner of
Wilshire Boulevard and Ogden Drive in Los Angeles. The
Volvo was owned by Sarah Ortmeyer and Felix Burrichter,
the BMW was registered to model/actress/fedora-spokesperson Phoebe Price and her mother Flora. Members of
the Los Angeles Police Department, the Los Angeles Fire
Department, as well as the local paparazzi were called to
the scene within a few minutes and traffic on Wilshire
Boulevard was blocked for over an hour. A police report
was filed. No visible damage was done to either car. Price’s
mother, who was seated in the backseat, was rushed to
Cedars Sinai Hospital. In a post from April 10, 2010, the
gossip website reported the accident as follows:
“For the second time in 12 months, Phoebe Price got into a car
crash, which left Mama Cutlets laid up in the hospital with
injuries. PP was rattled something serious, because she didn’t
even strike one signature pose for the paparazzi! Shit got real.”
Below is a selection of comments from the website’s readers:
Submitted by elmo533 on Sat, 04/10/2010 - 7:09pm.
She’s standing in front of someone else’s car right? Cause there’s no
way that she could be driving a BMW. Since she does nothing.
Submitted by madam s. on Sat, 04/10/2010 - 6:24pm.
Someone as clueless as this lady shouldn’t be allowed behind the
wheel of any vehicle. Period.
Submitted by OHPLEAZ on Sat, 04/10/2010 - 5:36pm.
Did she forget to put on pants while leaving the house this
morning? It looks like she’s wearing a shirt, poor thing.
Submitted by TheJackson4 on Sat, 04/10/2010 - 5:02pm.
She drives like a Lohan.
Submitted by Glitter.Dust on Sat, 04/10/2010 - 4:42pm.
I bet the accident was staged.
Submitted by Mrs.TimDaly on Sat, 04/10/2010 - 3:53pm.
Her mother looks like she’s wearing the same MuuMuu
(MooMoo) that Homer was wearing in The Simpsons episode
where he got too fat to work.
his bronze casket had floated away. Originally,
the burial ground was called simply Community Cemetery.
When reporters asked the owner of the cemetery why he
changed the name, he replied that ‘everybody out here, just like
in Hollywood, is star to their respective families and to their
place in this community.’”
“Meet Me in the City” is the inscription on the tomb of Blues
singer David “Junior” Kimbrough.
Bottom left: “On nights when the weather’s nice, they
come out. Shiny hunks of metal rumble and growl their way
to parks, parking lots and quiet side streets.”
A Lowrider is a car that has had its suspension modified
with a hydraulic system such that it rides as low as possible.
Lowriders often have suspensions with adjustable height
that are user-controlled.
The design is part of a unique shoe collection available as
ready-to-wear shoes in half-size increments or made-tomeasure shoes. Variations in leather and color are possible.
Designed by Leonard Kahlcke and hand-made
by Lucian Maftei, Vienna.
Submitted by Firestarter5 on Sat, 04/10/2010 - 2:56pm.
Does anyone actually let their dog WALK in Hollywood?
Van Dekker House (1940)
19950 Collier Street
Woodland Hills, CA 91364
After the unfortunate collision with Phoebe Price on
April 9, 2010 and her mother Flora’s brief hospitalization,
Sarah Ortmeyer and Felix Burrichter decided to send a
bouquet of flowers to the victim. Upon entering Parisian
Florists on Sunset Boulevard they discovered that it was
the same florist who was responsible for the original flower
arrangement at Marilyn Monroe’s funeral, a simple cross
made of soft pink roses.
Photograph of Marilyn Monroe’s funeral on August 8, 1962,
at Westwood Village Mortuary Chapel on the grounds of the
Westwood Memorial Cemetery.
Top left: “Clarence ‘Gatemouth’ Brown’s casket was one of dozens belched up by the ground when in 2008 gulf
and rain waters from Hurricane Ike flooded Hollywood Cemetery in Orange, Texas. The top of his vault had popped off, and
A publication by Felix Burrichter and Sarah Ortmeyer.
With contributions by Zoë Ghertner, Leonard Kahlcke,
Chris Mottalini, Jan Søndergaard, and Daniel Trese.
Excerpt from an article in the Associated Press, Sept. 15, 2008.
Submitted by Zonko on Sat, 04/10/2010 - 1:34pm.
I hope she loses her license and gets sued. That poor old person
on the stretcher. Heartbreaking.
Photograph courtesy of WENN Photos.
Rudolph Schindler built the Van Dekker house in 1940 for
the California assemblyman and former actor Albert Van
Dekker, whose claim to fame was a role as Dr. Alexander
Thorkel in Dr. Cyclops (1940). The original property used
to measure approximately 16 ha of agricultural land before
it was parceled off over the years down to its current size
of about half an acre. In 2009, after years of being on the
market, the largely dilapidated house was bought by the
architect Joshua Gorrell who is currently in the process of
restoring it to its former glory as one of Schindler’s largest
residential commissions.
Photographed by Chris Mottalini.
A Wienerschnitzel fast food restaurant on Laurel Canyon
Boulevard in North Hollywood, California. Sadly Wienerschnitzel restaurants do not offer the original veal schnitzels
(“paniertes Kalbsschnitzel”) on their regular menu.
Photographed by Chris Mottalini.
Thank You:
Iris Alonzo, Kane Austin, Zameer Basrai, Julie Boukobza,
Michael Bullock, Jarred Cairns, California District CPUSA
Southern Region, Anthony Carfello, Christine Dechant,
Jakob Emdal, Dylan Fracareta, Angelica Fuentes, Israel Fuentes,
Zoë Ghertner, Josh Gorrell, Alex Hausschild, Jörg Heiser,
Michael K., Leonard Kahlcke, Nicole Katz, Alexis Kunsak,
Jeremy Lewis, MAK Center Los Angeles, MAK Vienna,
Yansong Ma, Marc McDonald, Kimberli Meyer, Peggy Moffitt
Claxton, Shirley Morales, Chris Mottalini, Kali Nikitas,
Peter Noever, Benjamin Ortmeyer, Mari Ouchi,
Jasmin Pokorny, Julika Rudelius, Eliza Ryan, Jenny Schlenzka,
Richard Shelton, Cameron Silver, Jeff Snyder,
Jan Søndergaard, Rudi Stanzel, Bob Sweeney, Bud Thomas,
Daniel Trese, Gijs van Tuyl, and Wendy Yao.
This project was made possible through the generous support
of the MAK Vienna and the MAK Center Los Angeles.
Printed by Paperchase, Los Angeles.
Paperchase is a family-owned printer run by Nicole Katz
and Kane Austin. Nicole’s father Sinai Katz, who founded
Paperchase in 1976, was a tenant of Pauline Gibling Schindler
on Kings Rd from 1972 until 1973, when she decided she
only wanted to rent out to architects.
© 2010, Felix Burrichter, Sarah Ortmeyer.
The authors and the photographers; reproduction without
permission prohibited.

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