Monday, April 22, 2013

Purposeful Action: Cultivating Democracy One Click at a Time


Purposeful Action: Cultivating Democracy One Click at a Time

By Christopher Daish
Published April 2013
Recently, I grabbed coffee with New York City based philanthropist and innovator James Slezak near his SoHo office. I listened intently to his views on the world and his very active part in its welfare. As a high school friend of James in Australia, I knew then that his lofty ambitions had no ceiling. James Slezak has long been an activist; since the fifth grade, sustainability has been a burning concern of his.
James Slezak explains that “we have the technology to solve the renewable energy and carbon emissions problem, but we need to increase our efforts a hundred fold.” He cites the necessity to “accelerate deployment of the available technology.” A Cornell Physics grad, Slezak had his groundbreaking work on superconductivity published in peer-reviewed journals such as Scienceand Nature. From 2007 to 2010, Slezak worked as a consultant for McKinsey & Company developing green stimulus proposals for both the Australian and US governments.
In 2009, Slezak teamed up with long-term friend and high school colleague Jeremy Heimans, Co-founder and CEO of Purpose (224 Center Street, 6th Floor), a New York City based for-profit company with a social mission that deploys the collective power of millions of members worldwide to tackle some of the world’s biggest problems. Purpose provides consulting services to companies such as Google and Audi and charities such as the Bill and Melinda Gates Foundation.
Purpose boasts a staff of 60 young idealists that bring to play an eclectic bunch of skills and talents, unified by the urgent need for “large-scale, purposeful action.” Recently, they expanded to London and Rio de Janeiro, with offices in other South American cities planned. Slezak’s interest in the welfare of the earth has translated into his position as Partner and Head of Sustainability and New Economic Practice. Their strategy is divided into three parts, professional political organizing, marketing and branding, and management consultancy.
On a daily basis, it faces many obstacles and entrenched ways of thinking, large organizations such as the fossil fuel lobbyists, and cultural obstacles such as xenophobia and racism. Slezak cites the importance of taking a collaborative approach with “grass roots organizations in their early stages that can’t afford to cut big checks. Purpose imparts and shares skills necessary to make the sort of impact” these idealistic start-ups desire.
The company was the result of some of the most successful experiments in mass digital participation. Avaaz, co-founded by Heimans, is considered the fastest-growing online movement in history with in excess of 15 million members spread over 190 countries operating in 30 languages. Slezak sheds light on how large groups of online members equate to power. He explains, “Clicking is relevant because it lowers barriers to entry: these people donate, attend charity events, and invite friends, some even step us as leaders and organize groups.” It is through “movement entrepreneurship,” a termed coined by Heimans, that they aggregate and attract individual social protest. Dr. Martin Luther King and Barack Obama are historical examples that utilized this model. Although Purpose did not work directly with either political party in the recent presidential election, the efforts of their sister organization unPAC, combated the influence of the smattering of billionaires and special interest groups that usurp democracy.
Moving forward as technology creates new forms of political participation and social interaction, Purpose continues to influence the political process and enact change through the sheer volume of supporters online and on the ground. The extent of this influence is dictated by meaningful participation. To be a part of this process and have your voice heard visit:http://www.purpose.com

Friday, April 5, 2013

"Don Draper: The Man's Man"


DON DRAPER: THE MAN’S MAN

By Christopher Daish 
“Advertising is based on one thing: Happiness. It’s the smell of a new car. It’s freedom, from fear. It’s a billboard that screams the reassurance that, whatever you’re doing, it’s okay.” – Don Draper
In one of Don Draper’s customarily esoteric asides he addresses what most men feel at some point in their lives. Happiness is a direct byproduct of the upgrades: a sleeker set golf clubs, a sharper set of threads, and the conquests — both in the boardrooms and at the bars. Men are driven by the desire to escape the pervasive sense of fear that haunts them. The highly competitive battlefield that New York City presents drives us to achieve a sense of identity. There is a flight-or-flight nature to this dynamic, we dig our heels in and eek out careers.  Or we dissipate into obscurity through addictions and debauchery. Some of us find balance. It is this very struggle that fuels the character of Don Draper in the hit period drama television series, Mad Men, now in it’s sixth season (premiering April 7th, this Sunday).
don draper
 As founding partner of ad firm Sterling Cooper Draper Pryce, Don Draper’s character is loosely based on advertising maverick of the 1950s Draper Daniels who conceived the Marlboro Man campaign. During the 1950s, Madison Avenue was the epicenter of the advertising world, and the “mad men” were ad men who branded the burgeoning needs of capitalism. A glamorous male-dominated industry that harnessed universal societal issues as a means to sell product, it was often what was not said that resonated loudest. These storyboards whimsically played out in the scotch infused boardrooms, while power suits and handshakes served as currency, tomfoolery and chauvinism the gel that held it this cult of masculinity together.

“The genius, the womanizer, the villain, the hero.”

At some stage, every little boy dreams of the freedom bound up in the power of the corporate world. Knowing with great certainty what the future beholds, if only for a minute, makes everything okay. The imposing gray matter begins to clear. But, we’re not all put on earth to be influential innovators and decision makers, for with responsibility comes pressure.
don draper
The Don Drapers of this world exist in the spaces less traveled, daydreaming while forging upstream through rush hour, paving those empty Downtown 4AM streets, never alone, always lonely. The genius, the womanizer, the villain, the hero. But Don Draper’s greatest allure for men is that no matter what role we play — window cleaner, mortgage broker, skydiving instructor, barrister, there’s a bit of Don Draper in us all. He is, after all, the ultimate man’s man.

    Friday, March 1, 2013

    Good Days by Unruly Heir: Subconscious Connoisseur


    SUBCONSCIOUS CONNOISSEUR BY CHRISTOPHER DAISH, MAN ABOUT TOWN NEW YORK CITY ARTS, CULTURE, AND NITTY-GRITTY: EP. 1

    Chris Daish

    A Trip to Beacon, NY


    It’s  hard to ignore the visionary grandeur of Grand Central station, even for a seasoned New Yorker attempting to swim upstream through the oblivious tight-knit tourists en route for platform 212. In need of sustenance, the decision to grab a quick bagel and cup of Joe, a NYC breakfast of champions, turns into an ordeal. What a cluster fuck; hung over twenty-some-odd in search of Powerade, foreigners clumsily thumbing through billfolds, misdirected pastries finding confused surrogate owners. I exhale; on the brink of meltdown, I find the platform and my porthole to freedom. Immediately I am reminded of the words I uttered a decade ago, “Find a way to escape the city every month.”  As the train grinds away from my New York minute spent in hell, I ponder the lives of the mole people living underground in the sewers and subways, isolated from society, bare bones, down and out, free. Tension begins to exit my body with every breath. Thoughts spent analyzing the intensity of thought promoted by life in the city dissipate with every Podunk town that pops up along my Metro North escape route. About 25 minutes deep and the pressures of the city are as fleeting as the snow geese frolicking amid their surreal decadence.

    Chris Daish

    As the layers of the onion unravel, you soon realize why people move upstate. Shimmering golden hues dance innocently with snow-covered wedding cake terrain, frozen ponds symmetrically refract fairy tale candor, and trees stretch as far as one can see. Every blink of the eye is a postcard. Access to the sky again, dreams no longer curtailed by concrete permanence. In a few moments I recount the past decade spent in Manhattan and with great clarity — I worked as a model, writer, managed restaurants and nightclubs; I painted, I engaged in a variety of hedonism.  Indeed, a colorful landscape that conjures a level of angst. So, I return to the comforts of the kaleidoscopic flickering of pastels and light that stitch together the outside world. Clickety-clack. I slump lower in my chair and sleep.
    Chris Daish
    Located in southwest corner of Dutchess County in the Mid-Hudson region, Beacon, New York is home to approximately 16,000 people. Shrouded in history, Beacon houses the Tioronda mansion, the imposing pre-Civil War estate of General Joseph Howland, Civil War hero and philanthropist. This mansion became a psychiatric hospital in 1915 and was later sold to investor and art collector John L. Stewart in 2003. Beacon is also where you’ll find Dia: Beacon. Occupying a 300,000-square-foot former Nabisco printing factory, the space was donated to the Dia Foundation in 1999 by International Paper. Built in 1929, the early twentieth century industrial design meshes brick, concrete, steel, and glass creating sleek lines and open sweeping spaces. 34,000-square-feet of skylights create a glasshouse type feel and casts natural light onto the artworks creating a feel of buoyant permanence. The collection assembled in the 1970s and early 1980s by Dia’s founders, Philippa de Menil and Heiner Friedrich, features works by artists Donal Judd, Dan Flavin and Andy Warhol to name a few. In anticipation of Dia:Beacon the collection was expanded encompassing influential artists of the same era such as Sol LeWitt, Gerhard Richter, and Richard Serra.

    Chris Daish
    Devoid of an agenda I float daintily between rooms absorbing piece after piece that are each emotive in a different way. On the top floor, I find Louise Bourgeois’ eerily comforting Spider sculpture, and after much wonder, seek solace in the “Torqued Ellipse” minimalist steel sculptors of Richard Serra. Cast in the shadows and enormity of these pieces, I feel safe for the first time. There is no doubt that country air has gone to my head, as I feel at complete ease. The the call of the city beckons. I decide to jump on the 3:39 express back to Grand Central to Manhattan. As I begin drift off, out of the corner of my eye I catch a glimpse of Bannerman Castle, the remnants of a Scotsman’s fortress used as a weapons arsenal. Feeling slightly displaced, edges of reality frayed, I think, maybe this day was a dream all along.

    - Christopher Daish

    NYC Style Vulture Launches



    NYC STYLE VULTURE

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    As NYC Style Vultures we hunt for unique garments and accessories with a past that can have a new bright future with you
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    Husband and wife  &  have teamed up to create Style Vulture a NYC based second hand cyber shop.

    Saturday, December 8, 2012

    Ricky Clifton: Design Minotaur - Part Man, Part Myth

    Ricky Clifton: Design Minotaur – Part Man, Part Myth

    By Christopher Daish
    Published December 2012
    Ricky Clifton: Design Minotaur - Part Man, Part Myth
    Ricky Clifton: Design Minotaur - Part Man, Part Myth
    In the confines of a recent reflective train upstate to Albany, I found myself texting my former employer artist/designer Ricky Clifton. He had just returned from his friend Rachel Feinstein’s opening at the Gagosian in Rome, en route to Milan and Barcelona. “Did you see the ruin, the castle on the small island?” he inquired referring to Bannerman Castle that I had indeed just passed. It took me back to the days spent as Ricky’s assistant; painting the walls of the Interview Magazine office SoHo in Andy’s blue, moving pieces within the cryptic masterpiece that was to become home for supermodel Agyness Deyn, drinking watermelon martinis whilst re-arranging Basquiats at Glenn O’Brien’s apartment, to name a few. Witness to the quiet genius of Clifton, attempting to climb into the landscape of his mind, I encountered a man from another era.
    Clifton came from modest stock in Fort Worth, Texas; his father worked at Taco Bell and mother was an executive secretary. In the seventies, he met idol and soon to be friend Andy Warhol, who told him that it was a good time to move to New York. Clifton listened and landed a job in NYC with Jean-Paul Goude at Esquire, costuming celebs’ pets as other celebs for television. He dressed Warhol’s two dachshunds: Amos as the pope and Archie as Jacque Cousteau. Goude left Esquire and the series never aired but Clifton had found his niche amongst the artist elite. Clifton views Warhol as, “the statue of liberty of New York, who took onboard the outsiders, and will never be replaced.” When he called The Factory, Andy always picked up the phone.
    Clifton’s pièce de résistance – the Williamsburg loft of British supermodel Agyness Deyn comes to mind when attempting to grapple with his genius. The 3,000 sq. ft. corner loft is an esoteric journey through the upper limits of design possibility and was featured on the cover of the April 2010 edition of World of Interiors. Deyn’s triumph paved the way for the realization of the lofty ambitions of artist super couple Rachel Feinstein and John Currin’s SoHo loft (featured in WOI December 2010). Clifton’s designs draw upon the Early Modern Period, the Aesthetic Movement that gained prominence in 19th Century Europe. He holds British designers William Morris (1834-96) and Christopher Dresser (1834-1904) in great esteem. In 1977, Clifton studied design in Kyoto, Japan focusing on tea ceremony, noh, kendo, and calligraphy, traits that permeate his work. Integral to his vision are the works of iconic American decorator Billy Baldwin, Italian interior architect Renzo Mongiardino, Italian designer Piero Fornasetti, and American artist Cy Twombly.
    Currently, Clifton is decorating a co-op at the Dakota Building (72nd Street and Central Park West) for private clients; a dream job not only because of his love for Renaissance English Victorian settings, but his like-minded clients and their need for a bar in every room. Jokingly they vow to start a new religion, sort of like Mormonism focused on the girl called “intellectual design.” Between daily jaunts to the Upper West Side, Clifton does flowers for a select clientele including British actress/artist Jemima Kirke. In the seventies, Clifton worked for famous NYC florist Toni Dipace who was discovered by designer Roy Halston and fashion illustrator Joe Eula whilst selling zinnias out of clamshells in Long Island and was responsible for the shift away from arrangements to plants. One Christmas, Clifton delivered a tree to the Dakota Building to Lauren Bacall the wife of the late Humphrey Bogart. When he asked where to put it she replied, “I don’t give a fuck where you put the God Damn thing cause I think Christmas is the most depressing day of the year,” as it was Bogie’s birthday.
    A jack-of-all-trades, Clifton procures art and antiques from a variety of auctions and markets worldwide for a broad client base. Entrenched in a seemingly endless whir of design and art, Clifton pauses for a brief moment to revisit his love for opera. In the eighties, Clifton drove a cab in NYC and hoarded opera records, a collection he eventually gave away to artist friend Phillip Taaffe. Clifton fondly recalls when he found a Leontyne Price record discarded on a street corner in Tribeca. Several years later one cold December night, he picked up Price in his cab, whilst listening to his regular Friday night opera broadcast. Serendipitously, Kurt Herbert Adler’s Il Trovatore featuring Price came on. As Clifton approached her Tribeca apartment, Price instructed the cab driver to, “drive around the block, there is a nine minute ovation coming up.” Clifton looped the block and Price asked him to wait while she fetched something from her apartment. When she returned, Clifton rolled down the window and she handed him her latest record and exclaimed, “see I told you it was nine minutes.”
    At the conclusion of our lunch meeting at Clifton’s “local deli” Casa Mono (52 Irving Place, NY), the conversation shifted to politics and his disdain for anything Republican. On parting, he gave me his best Mitt Romney trot impersonation and disappeared back into his abstract world.
    http://westviewnews.org/2012/12/ricky-clifton-design-minotaur-part-man-part-myth/

    Thursday, November 15, 2012

    Painting For Our Future - West View News

    Keith Haring: Painting For Our Future

    By Christopher Daish
    Published November 2012
    Keith Haring: Painting For Our Future
    Keith Haring: Painting For Our Future
    As the leaves change color, the pool is emptied of water, the children have cleared out, but what remains is the unmistakably powerful imagery of Keith Haring’s mural at the Carmine Street swimming pool (Clarkson Street and 7th Avenue South). Executed in 1987, the artwork is nothing short of a kinetic soup of abstract primary shapes and colors playfully interconnected, flowing across a 180 ft. horizontal wall (by 18 ft. high) that witnesses say was erected in a few hours. Dolphins dance and jump through rings, engage amphibious humans of warped proportions; a person emerges from a fish’s mouth; the emphasis here is on fun and youth. The late Haring magically created a backdrop laced with hope for the kids who were to frequent the pool in years to come, the message succinctly universal.
    Born in 1958, Haring grew up in Kutztown – a small town in Pennsylvania – and at a young age began to follow in his artist father’s footsteps, latching onto cartooning and popular culture, in particular Walt Disney. In 1978, after a brief dabble in commercial art, he moved to New York City to study at the School of Visual Art (SVA). Haring quickly fell into the burgeoning downtown art scene characterized by punk and hip-hop music, dance and graffiti. The city quickly became his canvas, the subways of the Lower East Side, Upper Manhattan and the Bronx, his studios. His spontaneous, iconic chalk renditions on the blank subway advertising panels gave him access to the public and became a key component of his artistic voice.
    Haring became immersed in the uninhibited expressive environment that the downtown art scene was becoming; the rotating gallery he curated at the underground music and counter-culture Mudd Club (77 White Street) became a regular fixture. Fellow creative transplants such as Madonna, William Burroughs and Andy Warhol gravitated towards Haring, all of with whom he collaborated. In 1982, he hung his first New York one-man show at the Shafrazi Gallery (544 West 26th Street) gaining immediate critical acclaim and international recognition.
    Haring’s arrival on the global stage paved the way for in excess of 50 public works worldwide during the 1980s. His art investigates topics such as birth, death, love, sex and war. The primacy of his line and figures made his art accessible to the masses with the directness of his message never in doubt. Haring identified the importance of bridging the gap between the bourgeois gallery world and the masses, which he achieved through his public murals. NYC based graffiti artist Rusk cites the importance of street art and graffiti as, “an element of the urban environment that commandeers public space beyond the control of big money real estate and advertising.” In 1986, Haring controversially opened Pop Shop, a retail store in SoHo, that sold his artwork in the form of buttons, T-shirts, mugs and key rings at a modest price.
    Haring utilized his artistic star power to tackle the greater social problems at hand such as the crack epidemic, literacy and HIV/AIDS. The “Crack is Wack” wall (128th Street and FDR Drive) completed in 1986 was evidence of Haring’s fierce concern for society and is the only remaining NYC public piece alongside of Carmine Street Pool mural. Lower East Side artist Chico, a contemporary of Haring, recognizes that change is inevitable in street art, as he has seen his works evolve and disappear over time. He explains, “It must be original and beautiful, unify the community, and carry a deeper message.”
    On February 6, 1990, at the age of 31, Haring died of AIDS-related complications. Before his death, he established the Keith Haring Foundation to continue his charitable support of children’s and AIDS-related organizations. He stated, “No matter how long you work, it’s always going to end sometime. And there’s always going to be things left undone (Keith Haring Foundation). Haring’s legacy has lived on through his accessible iconic imagery. In his final years, devoid of self-pity, his paintings spoke to greater social realities. Even though he has exited this lifetime, his art has remained immortal.
    http://westviewnews.org/2012/11/keith-haring-painting-for-our-future/