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Holly Jolliffe

Lissy Elle

Diane von Furstenberg
rubber + leather ankle boots
$350 at Net-a-Porter

ADDITION: This morning I heard back from GM Jennifer White (thank you!), who provided me with many, many details, which I used to caption the images. She says, “It was a collective local effort. Every piece is all made by local artists with reclaimed woods and other vintage materials, all collected from old Provincetown properties.” They goal was for it to look new and different, eclectic, layered, and collected, but not over the top. It’s right on.

Susie Neilsen, graphic designer and owner of Farm Gallery in Wellfleet helped with the overall design concept and layout. She also designed the logo, menu, and website.

The murals are by artist Kris Smith, owner of Coastline Tattoo, in town.

Mat Millett, owner of Helltown Gallery, with the help of Tom Magar (the bartender and an off-season carpenter), made the custom tables in the back dining room and  the vintage tin-covered bar back.

The onion strings, served in a shiny metal tin, where extra salty and delicious.

Another shot of the back dining room banquette table.

All the dining chairs are covered with vintage feed and flour sacks that Jennifer White found on eBay and other sites.

All the designs are different.

A local craftsman named Michael made the barn wood coffee tables in the lounge (above) and hostess podium, as well as the copper artwork and reclaimed ductwork.

One of the coffee tables in the lounge has a built-in Ouija board.

Bartender Edwige.  Industrial lighting over the bar came from a warehouse in Yarmouth.

A niche in the entry that looks through to the bar is filled with cocktail paraphernalia.

Waiting area.

My lunch: The Old-Fashioned—8 oz. Painted Hills burger, Nueske’s bacon, Grafton Reserve cheddar, $14.

Co-owner Gui Yingling arranged a collection of vintage knives over the fireplace in the back dining room.

There are a couple of different vintage animal sculptures,from yard sales ,flea markets, and auctions are mounted on the walls.

Bar-style seating on the front patio.

Architect Steven McGovern designed the new covered porch, in keeping with the design of the original Victorian building. Local craftsman and master carpenter John Badam and his team built it.  You can’t see them in this photograph, but there are flying saucer style lamps that co-owner  John Yingling had stored in his garage for over 20 years, knowing they’d come in handy someday.

The view—Cape Cod Bay—from the covered porch. It’s visible from some of the tables inside too.

Today is part 2 of my stint as guest blogger at New England Home, and the subject is Farm Project Space + Gallery, in Wellfleet, MA. Owner/gallery director Susie Nielsen has flawless taste and intuition about what will work in a town that is better known for pretty landscapes that appeal to tourists than crisp abstracts that speak to the more permanent community, which is actually known for its artists. While Nielsen agrees the work she shows are more about ideas than creating a representation of the physical world, her choices are accessible. I love what I see. I hope you’ll click over to my blog post on NEH, and scroll down for lots more images.

Brooklyn-based artist M.P. Landis puts postage stamps directly on the back of each piece (mixed media on wood), and sticks them in the mail addressed to Farm.

Jill Vasileff  “Pink Hum,” acrylic on tree branches from “Around the Day in Eighty Worlds” at Farm this past June. It’s actually a bunch of individual pieces (Nielsen is selling them for $100 each or $3500 for all). It’s on the cover of this month’s Artscope Magazine.

Detail, Tony Orrico, Penwald: 3: circle on knees (studio impression 1), 2010, graphite on paper.
Tony Orrico uses the geometry of his own body to create intricate forms through repeated actions. The marks left behind reveal minute shifts in his position.  This detail was the centerpiece of last week’s exhibit “In Our Wake,” which featured concrete representations of dance performances. Nielsen mounted the show in conjunction with The Movement Party.

Katie Schetlich, co-director of The Movement Party and  Emma Hoette, dancer.

The exhibit was part of the larger “Fleet Moves” dance festival that took place in Wellfleet July 5^th to 8^th.

Jill Vasileff, No 05, from the series “A Mies is a Mies is a Mies”
This is my favorite piece. The series was inspired by Vasileff’s the play of sunlight in a Mies van der Rohe house—she grew up in one. It’s acrylic on board, but looks like encaustic. I love the  fluorescent pink drips of paint on all the edges.

M.P. Landis, WD Series, mixed media on folded paper

M.P. Landis, WD Series, mixed media on folded paper

Betty Carroll Fuller, Unraveling, prisma color pencil on paper

Susan Lefevre, Warrier, oil and pencil on paper.

Left: Judith Trepp, untitled, ink on Indian paper
Right: Julia Salinger, untitled, mixed media on paper

Julia Salinger wearing a starfish fascinator of her own creation. Fresh off a fellowship in Italy, she opened her new studio space, Mermaid’s Garage in Wellfleet this week. 

Nielsen was working on a postcard for the upcoming Pablo Manga show (7/7 – 8/8) when I stopped by early last week.

Tim Donovan at the opening of SundayMondayTuesdayWednesday on Saturday evening. I blogged about one of his photos I bought a few summers ago. He’s now represented by Gallery Kayafas in Boston, where he had a show last fall. The piece in the background is by Sam Trioli.

Tim Donovan, Untitled: Archive UE562.
Notice the bubbled plexiglass.

Marie Lorenz, Mill Basin (purse), 2010, collograph on Rives deLin Edition Varie 1 of 5.
These prints illuminate objects Lorenz encountered while navigating waterways in New York Harbor. These items serve both as landmarks in her own journey as well as a trace of movements by unknown visitors who leave these items behind. These were part of the “In Our Wake” show.

Local artist (and Dorchester, MA native)  Peter Scarbo Frawley. Earlier this summer, someone from MoMA came in and purchased 15 of his pieces. These types of works are called “concrete poetry.”

Peter Scarbo Frawley, Corona typewriter on paper, 1970

Detail, Phyllis Ewen, Split Africa, sculptural drawing

Nathalie Ferrier

Art mag Plazm,founded in Portland, OR, where Nielsen used to live.

Oh, the publication and editorial manager from the DIA Art Foundation stopped  by. Nice.

The view out back.

My past posts about Farm:
• Tim Donovan
• Pablo Manga

I’m on vacation and late on deadlines, so forgive me for not including captions, but if there’s anything you want to know about, just ask and click over to the story in the Globe.

via Retro Villa

When It’s Raining
Riga Sutakul
17×21 print
$28 at  Society6 

It’s a guest house just through the woods from his parent’s modernist home on Squam Lake, where Murdough and his three brothers spent their boyhood summers. The design is meant to immerse the family in the woods and help them engage with the surroundings. The transitions between indoors and out are seamless, with sliding doors opening to decks flush with the floors, expanses of glass,  and wood ceilings that run straight through on either side of the windows.

Murdough talks about various “stations” within the compound—the guest house and main house, each with multiple decks, a boat house, two docks on the lake , tennis court, and sport court—connected by paths. He says of the overall site plan, “Conceptually the idea is to encourage movement between the points.”

The house, as seen from the lake. The standing seam copper roof gleams in the sunlight.

People on decks from each house can see each other – or stand back for privacy. The kink creates a cozy area. Lounge chairs from Didriks.

Walls of glass put nature front and center, but do so quietly, because instead of clear cutting, most trees were left standing in order to offer a veiled, almost mysterious, view of the lake. The wood ceilings that run from the interior out to the exterior create a pavilion-like effect when the sliders are open.

Murdough designed the coffee table using a three planks of walnut cut from a single, larger piece, so the grains match up.  The  custom lounge is by Andy McSheffrey of Wood Design New Hampshire.

The floors and built-ins are American black walnut and the walls and ceiling are western red cedar.  George Nakashima chairs from Addo Novo.

A stainless steel backsplash and counter set off the walnut kitchen cabinets. The tabletop is Pietra Bedonia. The built-in bench that divides the living room and kitchen provides storage for rainy day games and extra seating.  Vibia ‘Duplo’ pendant from Chimera.

The family eats all its meals at the kitchen island. The stair support is constructed from is powder coated steel; the treads and handrail are walnut.

The narrow staircase with cable handrails is reminiscent of a ship’s gangway. Murdough says, “Descending, it’s a moment of quiet, before the openness of the main living space unfurls.”

One of two master suites.  Minka Aire ‘Flyte’ ceiling fan in brushed nickel with tiger maple blades.

The expanse of mirror extends the view.

The enclosed built-in desk nook is a tiny sanctuary. The offset window offers a framed view of a slice of the treetop canopy.

The house has lots of corner windows. Murdough says, “I like to break the corners of the building so you’re not looking through a conventional picture frame window.”

The kids’ bunk room. In addition to the bunk beds, there are three singles and a trundle.

Architectural details are minimized, mimicking boat construction, for a streamlined, tidy appearance.

You can see a camp influence here.

The ramp is the main entry. It provides a gentle transition from the wooded path from the main house, as well as the parking area, into the kitchen. You can’t actually drive a car up to the house; you’ve got to walk through the woods to get there.

A breezeway, that can closed off with barn doors, cuts though the house. A master suite is off one side, partitioned off from the rest of the house.

The boat house on the lake is also a play space for the kids on rainy days.

P H O T O S  BY  C H U CK  C H O I