J.B. Taylor

The Best Coast.

As alerted to by Rose Apodaca . . . my ultra-chic friend and fellow Cali-style expert, THIS SUNDAY is the final day of the epic LACMA exhibit, California Design, 1930-1965: Living in a Modern Way. So if in L.A., and a lover of classic West Coast mid-century vibes, hustle down to Miracle Mile, or fear reading the exhibit book and weeping that you missed it in all its golden teak glory.

Above: Another reason to worship this exhibit . . . the rare chance to practically step inside Charles and Ray Eames' iconic living room, every piece of which has been meticulously moved from Case Study House #8, where the Eames' lived throughout their lives, starting in 1949. When touring the home's permanent location in Pacific Palisades, you may only peek through the windows, so this is a special close-up view of their tzotchkes, furnishings, and books (so many of which are the same we have on our shelves at home).

I'm so glad we took the time to experience it when last in L.A., as we exited the show bursting with creative inspiration. I'm filled with even more native Californian pride than before, and dreams of perfectly simple, handcrafted work, surf, sunshine and mod Hollywood poolside glam. Here are some shots we sneakily snapped while viewing the exhibit in March . . .

Above: Fab Paul Fusco photo, c.late-1940s, of Billy & Audrey Wilder hanging with Charles & Ray Eames in the "conversation room" of their Pacific Palisades home. Below: Art Deco Cal-Arts pamphlets.

Above: Claire Falkenstein's model for client Peggy Gugenheim's garden gates, c.1961 (they remain at Guggenheim's home in Venice, Italy). Incantation Textile by Alvin Lustig for Laverne Originals, c.1947. Below: Arches and Dome Renaissance Christmas gift boxes by Joe Hong for Joseph Magnin (San Francisco), c.1966. Kraft paper Doggie bag for Lawry's Foods, art directed by Saul Bass, illustrated by Art Goodman and Phyllis Tanner, c.1961.

Below: Mr. Taylor and my sister, Miss. Lizzie, taking in all the beauty, as well as a bitchin' 1961 Studebaker Avanti, designed by Raymond Loewy, along with three Pasadena Art Center students.

Knit Wit.

My dark and rainy morning was made infinitely more inspiring after discovering these tripped-out videos of performance artist and mother of re-purposed textiles, Evelyn Roth.

In the 1960s, before the concept of recycling was of any global importance, Evelyn began collecting old sweaters, unraveling the soft wool, and re-knitting the yarn into large scale cocoon-like shelters, provocative clothing and political wearable art. She is also known for collecting old rolls of TV film (found in newsroom trash bins), and crocheting it into clothing, car covers, and performance art costumes. When viewing the videos above, be sure to watch the awesome Arts 74 interview, wherein she performs a rad dance piece, playing with physical movement while completely encapsulated by one of her soft mollusk-like sculptures.

Above, top L: Roth c.1970s in a capelet of recycled feather dusters. R: In a crocheted fur and leather ensemble. Below, L: Moving sculpture happening in Vancouver. R: Recent portrait of Roth in a wheatgrass cape and recycled tape gown.

Roth has always found it bizarre that any person would choose to wrap their own skin in synthetic fabrics and textures, knowing that humans have the freedom to swath their bodies in any fabric available on Earth. Through her art, she wants to help people understand the physical and emotional effects brought on by the textiles we surround ourselves with, both healthy and non. Clothing and shelter are both intensely tactile and sensory experiences, to be considered with care, creativity and sustainability.

Above: Sea mollusk performance piece c.early 1970s. Below, L: Making a call from "The Family Sweater". R: Roth chilling out inside "The Environment for Living Recycled from 110 Sweaters".

I'm off to find a set of driftwood needles so I can whip-up a living room teepee and knit a sweater for my husband, Pug and I to wear simultaneously.