My nOma
www.mynoma.com
Email me
My nOma
+
+
thehammermuseum:

"I’m a destroyer as much as I’m a maker. I find the disassembly (or the taking apart or breaking) of something as important in my practice as constructing things.”Jim Hodges. Movements (Stage IV), 2009, Mirror on canvas. 96 x 57 in. Photo by Ronald Amstutz. © Jim Hodges.
+
by Isa genzken
at the MCA Chicago, IL
photo by nora m. nieves
+
New work by the artist Diana Gabriel  www.dianapgabriel.com
Part of the group Trascending Boundaries show at Bridgeport Art Center in Chicago, IL
New work by the artist Diana Gabriel  www.dianapgabriel.com
Part of the group Trascending Boundaries show at Bridgeport Art Center in Chicago, IL
New work by the artist Diana Gabriel  www.dianapgabriel.com
Part of the group Trascending Boundaries show at Bridgeport Art Center in Chicago, IL
New work by the artist Diana Gabriel  www.dianapgabriel.com
Part of the group Trascending Boundaries show at Bridgeport Art Center in Chicago, IL
New work by the artist Diana Gabriel  www.dianapgabriel.com
Part of the group Trascending Boundaries show at Bridgeport Art Center in Chicago, IL
New work by the artist Diana Gabriel  www.dianapgabriel.com
Part of the group Trascending Boundaries show at Bridgeport Art Center in Chicago, IL
New work by the artist Diana Gabriel  www.dianapgabriel.com
Part of the group Trascending Boundaries show at Bridgeport Art Center in Chicago, IL
+
+
danielodowd:

zachfack
+
Untitled (Lavander Screen At Night) by Nora Maité Nieves
www.noramaitenieves.sqsp.com
+
+
design-is-fine:

Donald Deskey, desk lamp, 1929. USA.
+
design-is-fine:

Walter von Nessen, American Art Deco chair, first exhibited in 1928 at International Exposition of Art in Industry, Macy’s, New York. Cast bronze, aluminum, brass, leather. Nessen Studio, USA. Via Wright.

Von Nessen’s prestige, training and work in Germany in the early ’20s, before he emigrated to the United States in 1925 at the age of 35, were rooted in intricate manufacturing as well as furniture design techniques: Source
design-is-fine:

Walter von Nessen, American Art Deco chair, first exhibited in 1928 at International Exposition of Art in Industry, Macy’s, New York. Cast bronze, aluminum, brass, leather. Nessen Studio, USA. Via Wright.

Von Nessen’s prestige, training and work in Germany in the early ’20s, before he emigrated to the United States in 1925 at the age of 35, were rooted in intricate manufacturing as well as furniture design techniques: Source
design-is-fine:

Walter von Nessen, American Art Deco chair, first exhibited in 1928 at International Exposition of Art in Industry, Macy’s, New York. Cast bronze, aluminum, brass, leather. Nessen Studio, USA. Via Wright.

Von Nessen’s prestige, training and work in Germany in the early ’20s, before he emigrated to the United States in 1925 at the age of 35, were rooted in intricate manufacturing as well as furniture design techniques: Source
design-is-fine:

Walter von Nessen, American Art Deco chair, first exhibited in 1928 at International Exposition of Art in Industry, Macy’s, New York. Cast bronze, aluminum, brass, leather. Nessen Studio, USA. Via Wright.

Von Nessen’s prestige, training and work in Germany in the early ’20s, before he emigrated to the United States in 1925 at the age of 35, were rooted in intricate manufacturing as well as furniture design techniques: Source
design-is-fine:

Walter von Nessen, American Art Deco chair, first exhibited in 1928 at International Exposition of Art in Industry, Macy’s, New York. Cast bronze, aluminum, brass, leather. Nessen Studio, USA. Via Wright.

Von Nessen’s prestige, training and work in Germany in the early ’20s, before he emigrated to the United States in 1925 at the age of 35, were rooted in intricate manufacturing as well as furniture design techniques: Source
+

Balcony, Hotel Central, Napier NZ
+
design-is-fine:

Pierre Legrain, maquette with a geometric design of his album of ninety-six designs, 1917-29. Spencer Collection, The New York Public Library.