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Al Green

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That second one would look nice in my living room. :)

 

edit*

Heavylox, I need to "holler" at you via email. There's something I need to tell you... If you can drop your email addy that would be nice. Otherwise, hit me up at powellpow2001@yahoo.com. Don't worry, it's nothing on the lines of "please hit up my blackbook". Ha. ;)

 

Also, Bobby, you have "longoverdue" mail. Sorry in advance. :o

 

 

smilies rule.

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hey joker.. thanks for the birthday shout.. and also.. that link is fresh.

 

 

so for all the comments as of late about the lack of content and direction in the babble..

 

 

i apologize.. i have been slacking.. but i just have alot of shit going on and not as much free time.. i hope to bring this thread back to its roots.. but first i need to buy a new scanner...

 

anyways lets pray for sunshine and a babble revival..

 

 

-the reverend.

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Guest im not witty

www.cornerstonegardens.com

 

 

http://graphics7.nytimes.com/images/2004/08/12/arts/HALL.slideone.jpg'>

LUE TREE — CLAUDE CORMIER

 

The Montreal landscape designer Claude Cormier is infatuated with color and the idea of artificiality — past projects have included a painted blue lawn at the Canadian Center for Architecture and a "Lipstick Forest" winter garden of 52 pink tree trunks made of concrete. In "Blue Tree," he intended to camouflage a solitary Monterey pine by covering its gnarled branches with 80,000 sky-blue Christmas ornaments; when viewed against a blue sky, the tree's form would disappear. In fact, the balls caused the tree to stand out no matter what the weather, and it now makes an arresting silhouette against a backdrop of vineyards and hills. But Mr. Cormier is after more than shock value. The tree advances his argument that landscape architecture, even at its most naturalistic, essentially transforms nature into artifice, and that accepting this opens the mind to the extraordinary.

 

 

 

http://graphics7.nytimes.com/images/2004/08/12/arts/HALL.slidetwo.jpg'>

EUCALYPTUS SOLILOQUY — WALTER HOOD

 

Walter Hood, the Oakland, Calif., designer and Berkeley professor, is known for his inner-city projects, but in his Cornerstone garden he incorporated materials normally thought of as urban to create a work of pastoral poetry. In "Eucalyptus Soliloquy," 12-foot-tall screens of rusted steel posts and metal mesh that would look at home in any squalid housing project instead hold a richly textured patchwork of fallen leaves, branches, acorns and curls of bark from a single eucalyptus species. The connection with the surrounding landscape is direct — one of Sonoma's many eucalyptus groves lies just beyond the garden, shading a tumbledown house. But the proximity of living trees also gives the installation of dried remnants a contemplative, almost elegiac air, making it a sort of horticultural memento mori.

 

 

 

http://graphics7.nytimes.com/images/2004/08/12/arts/HALL.slidethree.jpg'>

BREAK OUT — TOM LEADER

 

Mr. Leader, who worked with Peter Walker for 16 years before opening his own Berkeley studio in 2001, says his garden "draws on the vernacular culture of rural California" and "is about barnyards, porches and Johnny Cash." He puts a maze of 35 beat-up, swinging screen doors inside massive hay-bale walls. Tiny speakers broadcast the zap and pop of flies being caught in an electric bug trap, as well as distorted fragments of Cash singing "Ring of Fire." A black refrigerator holds cold drinks for those who negotiate the maze, along with fried chicken dinners and other "food for Johnny." The installation taps into the past of anyone who grew up with the smell of hay and the sound of screen doors creaking open and slapping shut, and still evokes a feeling of nostalgia in those who didn't.

 

 

 

http://graphics7.nytimes.com/images/2004/08/12/arts/HALL.slidefour.jpg'>

[NINNANANNA] A LULLABY GARDEN — ANDY CAO

 

In a previous evocation of his native Vietnam, his 1998 "Glass Garden" in Los Angeles, Andy Cao used glass pebbles — 45 tons of them. "[Ninnananna] A Lullaby Garden," his Cornerstone entry, uses almost no glass, and yet the garden has a glasslike quality thanks to miles of glistening nylon monofilament that was hand-knit into carpets by 60 Vietnamese villagers working for three months. The carpets, in tones of faded gold and orange, are draped over a wildly undulating sculptured landform that descends at one point into a midnight blue vortex, from which the sounds of a Vietnamese lullaby emanate. Removing your shoes and wandering over Mr. Cao's dreamlike landscape plays with the mind's sense of proportion — you feel like Gulliver striding across the Land of Lilliput.

 

 

 

 

http://graphics7.nytimes.com/images/2004/08/12/arts/HALL.slidefive.jpg'>

A SMALL TRIBUTE TO IMMIGRANT WORKERS — MARIO SCHJETNAN

 

The Mexico City architect and landscape designer Mario Schjetnan sees his installation as a microcosm of California: a garden maintained by Mexican immigrants. "A Small Tribute to Immigrant Workers" mixes politics and aesthetics, the symbolic and the literal. Three walls divide space but also stand as symbols — rusty metal for the United States-Mexican border, red-painted plywood for people who crossed the border illegally and those who died trying, and stones seeping water for the immigrants' strength and tears. Scattered throughout are photos and stories of workers, including those who built the installation, as well as a shrine to the Virgin of Guadalupe and other mementos of Mexico. Fruits and vegetables grow in raised wooden beds, and a placard invites those who enter to water, prune and weed.

 

 

NYT article.

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