Know Your Vegetables

03 / 29 / 13

Even if you already know and love vegetables, Deborah Madison’s recently published cookbook, Vegetable Literacy, will probably introduce you to new ways of thinking about plants as food. It’s a moving taxonomy of vegetables and herbs, a reference guide-cum-cookbook that shows us what even Los Angeles’s abundant farmers markets can’t: the revelations of growing a garden and the wonders of the whole plant, from seed to flower. Madison, author of a dozen cookbooks including Vegetarian Cooking for Everyone (she isn’t vegetarian but a self-described vegetable fan), writes about the tiny green berries of cilantro that are the tender precursor to dried coriander; the heart-shaped leaves of sweet potatoes and the tall, lacy flowers of carrots; the edible bulbs of lilies. The book is divided into twelve families of vegetables and herbs, largely related by characteristics of morphology (similar flowers, for example), which also inform flavor combinations. So, it’s a resource for what goes with what, such as celery root and its umbellifer plant-cousins parsley and chervil. There are also more than 300 accessible recipes, including young leeks with oranges and pistachios, eggplant gratin in parmesan custard, and braised fennel with saffron and tomato. An inspiration to cook, and to grow.

Architectural Pottery

03 / 28 / 13

Following in the footsteps of Richard Neutra, Rudolph Schindler, and Frank Lloyd Wright, whose warm geometries, natural forms, and subtle ways with organic materials set the stage for a new way of living earlier in the twentieth century, architects and designers like Gregory Ain, Charles and Ray Eames, A. Quincy Jones, Pierre Koenig, and John Lautner all helped define what we now call “mid-century modernism” in Los Angeles. The distinctly American style that emerged through these and other architects in the middle of the twentieth century, especially on the west coast, combined the graceful lines and human scale of Neutra, Schindler, and Wright with the minimalism and stark rhythms of the International Style and the philosophies of the Bauhaus School in its exuberant experimentation.

Instrumental to the aesthetic and engineering advances of the era was the Case Study House initiative conceived and implemented by Arts & Architecture magazine. As a response to the post-World War II need for housing, the Case Study House program challenged architects to design and build low-cost homes. The majority of the Case Study House projects that were realized were built in Los Angeles, and most of them were featured in Arts & Architecture, documented in now-iconic black and white photographs by Julius Schulman. Along with furnishings designed by Charles and Ray Eames, Harry Bertoia, and Arne Jacobsen, Case Study and other modern homes were decorated with ceramic vessels by Architectural Pottery.

Founded by Max and Rita Lawrence in 1950, Architectural Pottery was formed to produce the experimental pottery being designed by LaGardo Tackett and his students at the California College of Arts in Pasadena. Fans of the new styles in architecture and design, the Lawrences lived in a number of Gregory Ain residences. Ain, like most of the architects who rose to prominence during this period, advanced a style of living that incorporated indoor and outdoor spaces, made possible by the invention of post and beam construction that allowed for large open spaces and glass walls. The Lawrences recognized the need for a new kind of planter to unify minimal architectural forms and respond to the reduction of boundaries between inside and outside.

Tackett and other potters like David Cressey, John Follis and Rex Goode developed the signature style of Architectural Pottery, a look that, like the buildings where they were situated, was both sculptural and minimal. Eschewing ornamentation and favoring an architectural scale, the planters and pots are characterized by elegant geometrical forms that work both inside and outside. Metal or wood stands emphasized the pieces as design objects, while pieces that rest directly on the floor or ground became instantly integrated into the surrounding environment. With references to ancient vessels and totem forms, Architectural Pottery pieces update the timelessness and durability of ceramic, using a reductive aesthetic to express a modern sensibility that endures today.

Non-fiction: Austin Lynch for ALTAI

03 / 27 / 13

AltaDesign-AustinLynch-LandofLookBehind

LAND OF LOOK BEHIND

“That is the Look Behind forest right over there… There you have holes that you call sinkholes. You have cliffs that you’ll drop off. And when you drop over there you will die and never be seen again. And that’s why it’s called If-Me-No-Call-You-No-Come and If-Me-No-Send-You-No-Come.”

Land of Look Behind
Dir. Alan Greenberg
1982

Blown Away

03 / 25 / 13

After years of working for hire on high-profile artist and designer projects in New York, master glassblowers Andi Kovel and Justin Parker moved to Portland, Oregon where they launched Esque, now an acclaimed glassblowing studio and design house. Working with traditional glassblowing methods, Kovel and Parker constantly nudge at the limits of their materials and techniques and use their artistic sensibilities to challenge traditional glass forms. Much of Esque’s work highlights the organic forms that glass lends itself to holding. Wavy surfaces, curved lines, irregular orbs, and woozy lines characterize their pieces, resemblances to liquid frozen in suspended animation often called to mind. Being inherently recyclable, glass is an of-the-moment material, and Esque is at the leading edge of recycling in advanced design, often using discarded glass vessels as the basis for new series of vases, glasses, jars, and other items. Occasionally cheeky and always original, Available at ALTAI, Esque offers a delightful array of functional pieces and objets d’art.

Amir Zaki: Time Moves Still

03 / 23 / 13

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Amir Zaki
Coastline Cliffside #41, 2012
Framed Ultrachrome Archival Pigment Photograph with UV Coating
51 x 60 inches

The two new series of black and white photographs by Amir Zaki that go on view starting this weekend at ACME depict the precarious balance of subtlety and drama that is characteristic of the southern California coast. Zaki’s large portraits of trees recall Chinese landscape paintings, their negative space a powerful counterpoint to the extreme detail rendered in the leaves and bark of these oddly-shaped subjects. His series of coastal cliff sides portray the scenery we normally turn away from when we set up our beach chairs along the shoreline to gaze out at the sea. An improbable jumble of monumental retaining walls, tumble-down wooden staircases, and drainpipes, the manmade elements are overtaken in places by native vines and shrubs, wildflowers and weeds. In both series, nature and culture shake hands, tentatively agreeing to adjust to each other’s needs and to the effects of entropy at will. ACME is located at 6150 Wilshire Boulevard. There will be a reception for the artist on March 23 from 6 to 8pm, and the exhibition will be on view through April 27.

Desert Flower

03 / 22 / 13

Around three hours drive from Los Angeles is Anza Borrego Desert State Park, California’s largest (and the nation’s second largest) state park. This 600,000 acre piece of the Colorado desert is bordered to the north by the great wilderness of the Santa Rosa mountain range, a relatively low but rugged country with no paved roads in, out, or through, home to the endangered Desert Bighorn Sheep and miles of untouched backcountry. The dramatic, lonely expanse of the Anza Borrego valley is dotted with heritage sites where ancient pictographs can be found in the rocks, and the park’s paths and hillsides are painted with wildflower blooms every spring. There are a few established campgrounds at the edges of the park and a handful of backcountry sites along the 110 miles of hiking trails that scroll through the park, but Anza Borrego seems to have been made for overlanding. With 500 miles of dirt roads, it’s heaven for high-clearance vehicles. Bring along your favorite camp supper, a container for your fire, and your leave-no-trace skills, and camp anywhere in this gem of a desert park.

Non-fiction: Austin Lynch for ALTAI

03 / 20 / 13

DEAD BIRDS

“There is a fable told by a mountain people living in the ancient highlands of New Guinea about a race between a snake and a bird. It tells of a contest which decided if men would be like birds and die or be like snakes which shed their skins and have eternal life. The bird won and from that time all men, like birds, must die.”

Dead Birds
Dir. Robert Gardner
1963

Tight Weave

03 / 19 / 13

Anonymousism socks are comfortable, durable, and great looking. Designed and made in Japan, their tight weave and intricate designs make for fancy feet. As the designers themselves say, just trust them to “let their product make you always look awesome”! Available at ALTAI, in store and online.

The Blue Bike at ALTAI

03 / 18 / 13

In 1948, an eighteen-year-old walked into Mickey Martin’s Burbank Vincent-HRD dealership and put a cash deposit down on the $1120 sale price of a new Series B Touring Rapide, starting a payment plan on what was then the most expensive motorcycle in the world. The inspiration for his trip was the boasting of a Vincent-owning Scotsman who spoke of leaving “long black streaks” on the highway while passing cars at seventy miles per hour, in third gear. Readers of the late 1940s motorcycle press were familiar with Vincent-HRD ads touting impossible speeds, right beside ads for X-ray glasses and miracle bodybuilding powders. Very few Americans had actually seen a Vincent, even fewer had ridden one. Marty Dickerson, the youth in question, thought the Rapide was ugly, but he “wanted that power, wanted that speed”.

Marty was not disappointed with his purchase and quickly came to understand he now owned one of the fastest motorcycles on the planet. Soon, he set about proving it to southern California motorcyclists. Harley Davidson had been around since the early part of the century, as had rival Indian, and their American devotees used the collected wisdom of decades of engine-tuning to make some pretty hot bikes by the 1940s, the toughest and fastest of which tended to be “strokers” with huge motors of over 100 cubic inches displacement (1600cc). Dickerson and his Vincent aroused the curiosity and pride of Los Angeles’s fastest street-racers, who formed an increasingly short line to challenge him to a “drag”. No matter the fame of the engine builder or skill of his rival at fast getaways, it was always Marty’s Rapide that crossed the makeshift waved sweater or crossed headlamp finish line first.

There were other ways to test speed, and the SCTA (Southern California Timing Association) provided timed evidence to bolster the reputation Marty gained on the streets. At Muroc Dry Lake, Marty squeezed 118 mph from his Rapide, while his buddy, Tex Luce, a Vincent mechanic fated to make his own mark on the racing world, found just a bit more, recording 122.04 mph on the bone-stock machine with all of its lights, mudguards, and mufflers in place.

Motorcyclists are a loyal bunch, and the evidence of a new “fastest” motorcycle didn’t translate into immediate sales. In truth, Vincent-HRD sales were dismal in California, and by June 1949, Mickey Martin had twenty unsold Vincents languishing on his showroom floor. Knowing of Dickerson’s antics in backroad street racing, Martin hatched a plan to send young Marty on a tour of the southwest quadrant of the U.S. to raise awareness of the Vincent-HRD marque in the best way (nudge, wink) he knew how. Martin offered to cover all travel expenses and to take over the Rapide’s loan payments, and soon Marty Dickerson had a nineteen-year-old’s dream job: he was being paid to street race all comers in small towns across the southwest astride the fastest motorcycle in the world.

For one month in that summer of 1949, Marty Dickerson had the “drag racing adventure of a lifetime”, covering 5,000 miles that took him through Phoenix, Dallas, Tulsa, Fort Worth, Tyler, Kansas City, and smaller towns in Colorado and Utah. He raced the fastest motorcycles and cars the locals could muster, sometimes legendary monsters that had never been bested. There were close calls, such as when he didn’t have time to change a fouled spark plug before a race, and the Vincent spluttered on one-and-a-half cylinders while his rival rocketed ahead.

Quick thinking and a “poor man’s tune-up” (downshifting from third to second at high revs to blast the plugs clean) cleared the cough and helped Marty take the lead, once again. There were other times when sore losers, with much time invested in and reputations riding on their Harleys or hot rods, made a hasty exit the prudent choice for young Mr. Dickerson. The Vincent had its share of problems, too, in that hard month of racing, requiring the total replacement of a clutch cable and a few engine shock absorber springs.

Dickerson’s exploits became legend, rumors spreading like pond ripples from a cherry bomb about a kid with a really fast Vincent, coming and going so fast that few people remembered his name. But tales of Marty Dickerson’s races reverberate to this day, forming the backbone of the Vincent story in America.

Dickerson returned to Los Angeles undefeated and was employed at Martin’s Vincent dealership as a mechanic, alongside Tex Luce and Rollie Free, who also had a history of street racing and record breaking. In 1950, Marty and Rollie took a newly delivered Vincent Black Lightning to the Bonneville Salt Flats and set about taking records in Class A racing, in which special fuels were used. Rollie Free raised his infamous “bathing suit” record (taken at 150 mph in 1948), proving the new bike to be the fastest standard motorcycle in the world, averaging over 156 mph.

Marty modified his Rapide for higher speeds, choosing Class C (pump gas) to avoid direct competition with Rollie. The Rapide’s transformation from daily rider to salt flat racer was completed with Lightning parts from the Vincent factory and a change of color scheme, becoming the “Blue Bike”. A new set of crankcases was required after three years of drag racing, and the Blue Bike gained engine cases marked 301. Two years of development were required before things really came together for this machine; larger carbs and hotter cams yielded a new Class C record in 1953, averaging 147.58 mph, with a fastest timed speed of 150.959 mph on pump gas with Marty sitting on the seat (not stretched out as Rollie did) and a class-mandated 8:1 compression ratio. The Blue Bike was massaged, but all the parts were Vincent items, and the bike wasn’t so high strung that it couldn’t be ridden on the street. That 150 mph record stood for over twenty years. It took a change of rules and a hot Yoshimura Kawasaki to break it.

Over the years, Marty continued to develop the Blue Bike, returning to Bonneville in 1976, 1980, 1986, 1996, and finally in 1997, when the bike was forty-nine years old and the man was sixty-seven. His later years competing at Bonneville were less dramatically successful than those early days but served the important function of cementing Dickerson’s reputation among younger riders and new generations of racing enthusiasts amazed at his stories, all of which happen to be true.

The number of motorcycles worldwide that have endured serious competition for fifty years can be counted on one hand. Within this very special group, machines that have taken world records at Bonneville and cemented the reputation of an entire brand in recognizably stock form can be counted on one finger. The Blue Bike is unique in the world and is among the most important motorcycles of the twentieth century.