Los Angeles

Jim Isermann

Riko Mizuno Gallery

To create a firm contrast between the nostalgic and the merely passé, as any dedicated thrift shop scanner knows, style requires a decent interval of indifference to pass. During the past five years the ’50s have become the new frontier, embraced by punk stylists and the collectibles industry alike. Confronting the ’50s in furniture and decor we find ourselves face-to-face with the sometimes dimwitted marketing of the moderne. During that decade “progressive design” found a mass audience which seems, in retrospect, to have closed its eyes to the nightmarish colors and improbable forms repeated ad nauseum across the kitchens and basement rumpus rooms of America. Sharp angles, queer-colored kidney shapes, and boomerang arcs in fuzzy textures and nouveau plastic abounded, all barely supported by thin legs of bent black-lacquered metal. This, of course, was the perfect accompaniment to

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