Roman Alonso, Steven Johanknecht, Pamela Shamshiri, and Ramin Shamshiri are Commune—an inter-disciplinary collective of artists that work in the design realm. Commune is a design firm, but they are also much more than that; they invent moods and spaces for residential clients and for public space, design graphics and branding concepts, and create products that are beautiful without being wasteful.
The Commune team is also known for creating unique spaces like the ACE Hotel and Swim Club in Palm Springs, the ACE Hotel Downtown LA, the Standard, Farmshop, and showrooms for Heath Ceramics.
Today is Martin Luther King, Jr. Day, and we are honoring his legacy and observing the holiday through service to our community. In the past few weeks, the Civil Rights Movement along with the work of Dr. King has received much media attention, due in part to the film Selma. The film, directed by Ava DuVernay, tells the story of how the Voting Rights Act of 1965 came to be and chronicles the events leading up to its monumental passing.
There were three marches that took place in March of 1965—the first is referred to as “Bloody Sunday” due to brutal attacks on the marchers, and the second march was cut short, as Dr. King felt the marchers needed protection by a federal court to prevent further violence. On March 21, 1965 the third march began—this time with the protection of the Army, Alabama National Guard, FBI Agents, and Federal Marshalls. The marchers arrived in Montgomery, at the State Capitol building, on March 25. The route taken from Selma to Montgomery is now a U.S. National Historic Trail.
Flags or Fences
Shreveport, Louisiana; Lexington, Kentucky; Atlanta, Georgia; Nashville, Tennessee; Austin, Texas; Jackson, Mississippi; Birmingham, Alabama; Corbin, Kentucky; Knoxville, Tennessee; Oxford, Mississippi; or The Shoals, Alabama.
No matter where Phillip March Jones finds himself, he takes photographs of the extraordinary ordinary, the peculiar still life: unusual signs, unfinished fence projects, garden rails, giant farm animals, and confusing natural anomalies.
The photos here—part of his Pictures Take You Places series—were captured last month in and around The Shoals.
Check out his recently released book: Pictures Take You Places
In 2005, photographer Leslie Williamson made a wish list of all the houses that she hoped to visit in her lifetime. The homes belonged mostly to her favorite architects and designers, who had offered her creative inspiration throughout her career as a photographer. She was curious to learn what inspired them in their home and studio environments, and since there was no book containing images of these spaces, she decided to take on the project herself. The result was 2010’s Handcrafted Modern: At Home with Midcentury Designers. Her book’s success surprised Williamson and showed her that she was not alone in her curiosity about environment and inspiration. She then set out to create a “library of these designers and how they lived for future generations”.
Her recent follow up, Modern Originals: At Home with Midcentury European Designers, is another beautifully photographed book featuring the private spaces of European architects and designers. The book—funded in part with a gorgeous Kickstarter film—provides an intimate look into the at-home design choices of notable creative minds, showing not only their design and architecture choices, but also illuminating some aspects of their lives. Williamson writes that she felt she was “meeting these people as human beings through being in their homes and learning about their everyday life.”
Him and Her
Phillip March Jones says, “Seeing is everything. But it takes practice.” Expanding our collaboration with Phillip, we asked him to take a look around our studio as part of a new and ongoing travel series—and an extension of his daily photo blog Pictures Take You Places.
“During my last trip to Florence, Natalie asked me to take some pictures of the re-imagined Factory with its new shop, café, and production facility. I spent an afternoon wandering around the building, amazed at what they had accomplished but also bewildered by this seemingly impossible marriage between a literal factory and the sophisticated, comfortable aesthetic that is Alabama Chanin. Chandeliers hang below fluorescent tubes, soft pieces of dyed cloth are hung to dry against corrugated metal walls, and plant shadows grow over the cracks in the asphalt. I love the idea of this great big metal building in Alabama, all dressed up and ready to go.”
One Saturday morning in the mid-1930s, Mancey Massengill, a wife and mother of two, saw people having their pictures made in a dime store photo booth in Batesville, Arkansas. According to her son Lance, “she watched close, and got the name off the camera, then wrote to the company and ordered the lens. She got the money for that by taking about two dozen pullets in for sale.” Her husband, Jim, built a box to house the lens and outfitted a trailer to create a mobile photo studio. On weekends, they would set up in little towns across the state and make pictures, three for a dime.
Jim and Mancey Massengill started this family side-business to make ends meet. The country was in the throes of depression and on the verge of entering the Second World War. Work was scarce in rural Arkansas, but the Massengills understood that even in rough times, life continues. Babies are born, children play, couples meet, and we all grow older. Someone needed to be there to capture those moments and that person could perhaps make a living doing it.
A few years later, the Massengill’s sons, Lance and Lawrence, and their wives, Evelyn and Thelma, worked their way into the business. They outfitted their own trailers and made their own pictures, traveling across the state in search of clients. The surviving family diaries and notes from this period attest to a very strong and entrepreneurial work ethic, with little mention of aesthetics or technique. The men and women of both generations describe where they went, what they did, and how much they made with only fleeting mention of life’s details. With few exceptions, the stories are left to be told by the pictures they made.