There’s something in excess of 100 graphical elements adorning the walls and suspended from the ceilings and atop the floors here. And that’s just on the main floor.
Some of it is old commercial signage, some of it is posters (movies, gallery exhibits [Miro, Warhol, Goings], airlines), and some is “fine” art.
A kite, a parasol, a large American flag, a paper lantern. Antique wooden skis and a vintage sled.
An old feed sack. A backgammon board. Photos. Clocks. Thermometers.
There was a time when I made sharp distinctions between commercial art/industrial design and fine art. And I accept the late Massimo Vignelli’s position that commercial art and industrial design serve a different master and are constrained by it. In other words, it has to serve its utilitarian function (in the case of industrial design) or readily “read” (in the case of commercial art), whereas fine art is free of such constraints.
Still, though, there’s no good reason for commercial art and art-art not to speak to each other. And there’s still an aesthetic sensibility in both.
Beautiful things belong together. And there’s beauty in a rusty 95-year-old Kansas license plate and a banged-up old bugle.