#: locale=en
## Tour
### Description
### Title
tour.name = SECCA
## Skin
### Button
Button_062AF830_1140_E215_418D_D2FC11B12C47.label = Learn More
Button_718FB1CD_60B6_E5E3_41D6_BCB4CCFDFBDC.label = Learn More
### Multiline Text
HTMLText_062AD830_1140_E215_41B0_321699661E7F.html = Synchronized Swimmers
SECCA
Synchronized Swimmers is a multimedia, photographic installation that juxtaposes the still against the moving, 2D with 3D, in an attempt to create a phantasmagoric stage for a highly costumed, multimedia performance to unfold. Relying on research and imagery from the Gulf Coast of Florida, including the Weeki Wachee Springs Mermaid Show, Synchronized Swimmers will source untrained performers from the hosting communities to embody the photographic space. Fog, animated lighting, and sound lure the viewer deeper inside the story towards a willing suspension of disbelief.
Jenny Fine
Visual Artist.
jenny@jennyfine.com
Jenny Fine (b. 1981, Enterprise, AL) is a visual artist and professor currently living and working in Alabama. Rooted in the photographic form, Fine’s practice employs time as material in an exploration of both personal and cultural memory, identity, and our shifting relationship to the photograph in our digital, image-saturated age.
Fine has shown her work in solo exhibitions at Geh8, Dresden, Germany (2012), Dublin Arts Council, Dublin, Ohio (2014); The Sculpture Center, Cleveland, Ohio (2015), Children’s Museum of the Arts, New York, New York (2015); Wiregrass Museum of Art, Dothan, Alabama (2015); and Stephen Smith Fine Art, Fairfield, AL (2016).
Barcelona is as modern today as when it was introduced in 1929 and is among the most recognized, coveted and specified furniture designs in the world.
Reflecting the unadorned rectilinear lines and use of industrial materials at the heart of the Bauhaus movement, Barcelona was designed by German-born architect Ludwig Mies van der Rohe (1855-1969) and his compatriot, interior designer Lilly Reich (1885-1947), and embodies his often-quoted maxim that “less is more.”
Specifically created as modern thrones for the king and queen of Spain when they visited the German pavilion during the Barcelona Exposition in 1929, Mies van der Rohe aimed for what he called a “monumental” chair. The original pair featured polished chrome for the sleek scissor-shape frame and ivory pigskin for the cushions. Even the pitch of the seat implies power and authority.
Barcelona is as modern today as when it was introduced in 1929 and is among the most recognized, coveted and specified furniture designs in the world.
Reflecting the unadorned rectilinear lines and use of industrial materials at the heart of the Bauhaus movement, Barcelona was designed by German-born architect Ludwig Mies van der Rohe (1855-1969) and his compatriot, interior designer Lilly Reich (1885-1947), and embodies his often-quoted maxim that “less is more.”
Specifically created as modern thrones for the king and queen of Spain when they visited the German pavilion during the Barcelona Exposition in 1929, Mies van der Rohe aimed for what he called a “monumental” chair. The original pair featured polished chrome for the sleek scissor-shape frame and ivory pigskin for the cushions. Even the pitch of the seat implies power and authority.
What is often called simply “the Eames Chair,” The 670 was originally produced as a gift for filmmaker Billy Wilder in 1956 as a lush, modern interpretation of an English club chair. The designers wanted it to have “the warm, receptive look of a well-used first baseman’s mitt,” and it has been in continuous production by Herman Miller since 1957.
The chair consists of three shells of several layers of molded plywood for the headrest, backrest. The seat is upholstered in soft leather over plush cushioning. Expensive even at $637 retail when it was introduced, it remains a much-desired piece. Frequently seen in movies and television shows, a great many people think of it as the “Frasier” chair – testament to its showcase on the set design of that popular television show and enduring style.
What is often called simply “the Eames Chair,” The 670 was originally produced as a gift for filmmaker Billy Wilder in 1956 as a lush, modern interpretation of an English club chair. The designers wanted it to have “the warm, receptive look of a well-used first baseman’s mitt,” and it has been in continuous production by Herman Miller since 1957.
The chair consists of three shells of several layers of molded plywood for the headrest, backrest. The seat is upholstered in soft leather over plush cushioning. Expensive even at $637 retail when it was introduced, it remains a much-desired piece. Frequently seen in movies and television shows, a great many people think of it as the “Frasier” chair – testament to its showcase on the set design of that popular television show and enduring style.
Physically and psychologically comforting, the Womb Chair was introduced in the late 1940s by Eero Saarinen, who said the chair gives its user “a sublime feeling of security…”
This example of organic midcentury modernism has been in constant production for almost 70 years at Knoll, where co-founder Florence Knoll asked Saarinen to create a chair that she could curl up in.
Saarinen was deeply interested in the ergonomics related to his aesthetic principle that a chair should be a piece of sculpture in a room and also provide a flattering background when it’s in use. He spent two years refining the design by observing and sketching the ways people actually sat in chairs.
Physically and psychologically comforting, the Womb Chair was introduced in the late 1940s by Eero Saarinen, who said the chair gives its user “a sublime feeling of security…”
This example of organic midcentury modernism has been in constant production for almost 70 years at Knoll, where co-founder Florence Knoll asked Saarinen to create a chair that she could curl up in.
Saarinen was deeply interested in the ergonomics related to his aesthetic principle that a chair should be a piece of sculpture in a room and also provide a flattering background when it’s in use. He spent two years refining the design by observing and sketching the ways people actually sat in chairs.
BARCELONA
Mies Van de Rohe
BARCELONA
Mies Van de Rohe
At a time in the 1960s and ‘70s when many furniture designers were experimenting with cardboard, the curved lines and construction techniques used in Wiggle were revolutionary. Introduced in 1972, Wiggle comprised 60 layers of cardboard bonded and screwed together. Part of a collection called “Easy Edges”, Wiggle retailed originally for as little as $35. It is now an expensive collector’s item.
At a time in the 1960s and ‘70s when many furniture designers were experimenting with cardboard, the curved lines and construction techniques used in Wiggle were revolutionary. Introduced in 1972, Wiggle comprised 60 layers of cardboard bonded and screwed together. Part of a collection called “Easy Edges”, Wiggle retailed originally for as little as $35. It is now an expensive collector’s item.
The Thonet Side Chair No.14, introduced in 1859, is the single most mass-produced and replicated chair in history. It is still seen throughout the world in cafes, coffee shops and homes.
The appeal of this iconic chair was its revolutionary design. It required only six pieces which could be easily mass produced and shipped in a flat pack making it extremely affordable.
The Thonet Side Chair No.14, introduced in 1859, is the single most mass-produced and replicated chair in history. It is still seen throughout the world in cafes, coffee shops and homes.
The appeal of this iconic chair was its revolutionary design. It required only six pieces which could be easily mass produced and shipped in a flat pack making it extremely affordable.
Originally designed for a Parisian apartment in 1929, The Bibendum Chair was inspired by one of the world’s oldest trademarks–the famous Michelin Man–a rotund figure of inflated tires that has represented the French company since the late 1800s.
The semicircular rolls of the back and arms sit on the chair seat and are supported by a semicircular base of chrome tubing, blending evocative feminine forms and geometric shapes into an iconic chair recognized throughout the world. Designed with a feminine perspective, it manages to be voluptuous and spare at the time.
Originally designed for a Parisian apartment in 1929, The Bibendum Chair was inspired by one of the world’s oldest trademarks–the famous Michelin Man–a rotund figure of inflated tires that has represented the French company since the late 1800s.
The semicircular rolls of the back and arms sit on the chair seat and are supported by a semicircular base of chrome tubing, blending evocative feminine forms and geometric shapes into an iconic chair recognized throughout the world. Designed with a feminine perspective, it manages to be voluptuous and spare at the time.
Synchronized Swimmers
@SECCA
Synchronized Swimmers is a multimedia, photographic installation that juxtaposes the still against the moving, 2D with 3D, in an attempt to create a phantasmagoric stage for a highly costumed, multimedia performance to unfold. Relying on research and imagery from the Gulf Coast of Florida, including the Weeki Wachee Springs Mermaid Show, Synchronized Swimmers will source untrained performers from the hosting communities to embody the photographic space. Fog, animated lighting, and sound lure the viewer deeper inside the story towards a willing suspension of disbelief.
Jenny Fine
Visual Artist
jenny@jennyfine.com
Jenny Fine (b. 1981, Enterprise, AL) is a visual artist and professor currently living and working in Alabama. Rooted in the photographic form, Fine’s practice employs time as material in an exploration of both personal and cultural memory, identity, and our shifting relationship to the photograph in our digital, image-saturated age.
Fine has shown her work in solo exhibitions at Geh8, Dresden, Germany (2012), Dublin Arts Council, Dublin, Ohio (2014); The Sculpture Center, Cleveland, Ohio (2015), Children’s Museum of the Arts, New York, New York (2015); Wiregrass Museum of Art, Dothan, Alabama (2015); and Stephen Smith Fine Art, Fairfield, AL (2016).