In the age of online shopping via Amazon, the traditional American shopping mall has gone down a death spiral year after year. However, as the rate of dead malls in the United States continue to increase, so does a growing community of urban explorers on YouTube and other platforms who venture from state to state to visit and document these ailing malls for future generations to see and learn about. Among such talents in the dead malls community include Jack Thomas of www.deadmalls.com, Anthony at Ace's Adventures, Nicholas M. DiMaio of The Caldor Rainbow, Ron and Kristen of UniComm Productions, Anthony from Faded Commerce, Adam from The Vintage Spaces Channel, Ashley, The Neon Explorer on Instagram, Pat and Heather from Raw & Real Retail, Jon Rev of [jonrevProjects], and Salvatore 'Sal' Amadeo of Quite Studios, all of whom are active members of the Dead Malls Discord.
In his video, Century III Mall In Extremis, and Le Flâneur de Beaudelaire, the 36th of his Expedition Log Series and sequel to another video about Century III Mall, Sal and other members of the dead mall community meet at Century III Mall in West Mifflin, Pennsylvania for the Inaugural Dead Mall Summit of 2018. It was an event open exclusively for the members of the Discord sever and it mostly took place in the area where Century III Mall is located due to the over-saturation of malls in the area. Therefore most of them were in stiff competition. The main focal point of this video is an analysis of the philosophy of Le Flânuer, which was introduced by 1800's poet and art critic, Charles Baudelaire in 1872 and how it relates to the explorations of dead malls (or urban exploration in general), some of which these theories influenced the ideas of Walter Benjamin in the 20th century. Although the ideas Sal expresses in the video are speculative, he brings up some very interesting points and details as to how Le Flânuer relates to urban exploration and the art world, (specifically during the time period of the Impressionist painters such as Degas, Monet, Caillebotte and Renior) as well.
Early on starting in the 11:35 minute mark, Sal talks about how he got into the urban exploration community. He mentions that his interest in urban exploration peaked "quite sometime ago" and that he would venture out into the woods with friends, not to film, but solely out of intrigue. When he discovered Dan Bell's channel, "the interest really kicked into high gear because [he] learned that people were gathering and doing [urban exploration], that there were more people out there that were doing it and since then, [Sal] wondered why? What draws us to that? And if this is a new thing or not?". This is an important question to consider because although dead malls and other such urban exploration videos have gained popularity during the late 2000's and the 2010's, the concept of sharply observing society's urban areas, even in the most obscure corners dates back much further than it would seem.
I won't go into the history of how shopping malls came to be, since it's not the point of this blog post, but the history provided is still worth noting. It starts at the 13:10 mark. Later, around the 30:29 mark, Sal discusses the role Le Flânuer plays in the history of urban exploration. Starting in the nineteenth century, the world began to flourish with urban growth, mainly noted in Paris, France and in the United States. All over Europe and the United States, arcades opened and this concept of indoor shopping centers began to accelerate all across the globe. As Sal highlights:
"This idea of a vast interior shopping center was gaining traction around the world. This intense expansion of commerce was causing social waves among the classes and philosophers were beginning to take notice of a new type of urban figure who reveled in the details of architecture and observing the less traveled paths in a city and within buildings. This new urban figure was coined by Charles Baudelaire in Les Fleurs du Mal or The Flowers of Evil, and refers to somebody who observes a newly industrialized city and its structures while just taking a walk, pondering the philosophical implications of what these new passages and arcades have on society and looking for the secrets that common passers-by would otherwise miss."
This is where the term, Le Flânuer originated. In Sal's opinion, this term might have paved the way for today's urban explorers.
At the 40:50 mark, he goes on the explain that the French verb means to stroll as the noun is used to describe someone who strolls and "wants to discover the secrets of public passageways, arcades, tunnels backstage areas and the like and to see what the general public might never notice". Anywhere most people never walk, le flâneur will step just to take in every little detail one might not ponder on. As a result, this concept became prevalent in Paris, even among professions throughout the Impressionist period, such as the artists of the time. Monet, Caillebotte, Renoir and Degas were all deeply immersed in the concept, that they would venture down less visited paths to paint images of areas and scenes viewers rarely noticed, if at all. Sal offers an analysis of the Caillebotte painting, The Young Man at His Window (1875) as an example of how Le flâneur is depicted in the works of these painters:
"[R]ather than the view of what the man is seeing, you see the man, the man's pose, an orange, velvet upholstered chair and the marble guard just past the window. The idea is that you are now the spectator, gaining an intimate view of something you wouldn't otherwise see. We don't see the man's face or what he sees because he's not the focal point of the composition. The idea of spectating is the focal point".
The backstage areas of performing art centers depicted in the works of Degas are another instance we learn about in this video. Degas painted what happens behind the curtain, all of which is invisible during a stage show. Monet also took his easel and art utensils, ventured into the back of a train station, went behind the rails and illustrated what passengers almost never see. These famous painters might just have been the first urban explorers in Sal's point of view. Given the similarities between today's content creators capturing these mostly abandoned places on camera and the Impressionists painters painting subject matters most people don't typically consider, the commonalities are very uncannily striking. In Sal's narration, he goes on to say the following:
"These in my opinion were the first urban explorers and they brought the idea of preserving a scene for purposes of exposure and archival to mainstream audiences. These people were exploring places that passers-by would never see and they were painting these places. They were capturing that moment and showing other people what they aren't noticing in their daily travels. How fascinating is that that these people were going out and doing urban exploration well before this ever became a popular thing? And now their art is selling for millions".
Next, we hear about Walter Benjamin, a Jewish philosopher from Germany. Before World War II broke out, Benjamin wrote about Le Flâneur, describing it as a representation of modern strolling into the urban culture, walking through the crowds at the arcades and coming across every brand new, shiny thing behind glass. Benjamin believed that because of the rapid growth in which urban culture was increasing along with the changes in socio-economic leanings in Paris at the time, Le flâneur as a trend began to soar. According to Sal's commentary, "[t]his change, which was rooted in budding capitalism, involved the creation of the of the arcades, which again, were the passageways through neighborhoods, which had been covered with a glass roof, embraced by marble panels, so as to create a sort of interior exterior for vending purposes". From Baudelaire's observations, the reason the passageways in which the arcades were designed with such style and grace especially in their shops, was because the concept behind the shopping arcades was to be seen as a small scaled city or a new world. On a social level, he perceived the arcades as a means for visitors to find a relief from the complications and/or monotony of daily life. Taking a leisurely stroll, he'd observe everyone and everything for both pleasure and gaining new insights into what is beyond the surface level.
After describing the feeling of going inside the active JC Penney and then returning to the lifeless mall, Sal delves a bit further into Walter Benjamin's philosophy, pin pointing that "Benjamin laments on the extinction of Le flâneur, who disappeared as the commercial world slowly deserted the interior exterior of arcades for the carpeted, artificially lit department stores that were to replace them". He then quotes Charles Baudelaire in which the main point was that even as the arcades would soon fall out of favor to department stores, Le flâneur will still roam even through such changes. From Benjamin's perspective, the more commercialized, the less Le flâneur would have an incentive to stroll whereas, Baudelaire's saw it as regardless of changes, the explorer will always have a reason to stroll the walkways.
In any case, as arcades evolved into department stores and from department stores to the major shopping mall, the idea for the places in which the public shopped was for them to be pleasing on the eyes and offer a delightful experience for the customers. With the rapid rate in which shopping malls are dying, Sal reminds the viewer that "the same notion of Le flâneur captured the minds of modern day urban explorers" and that the buildings they set out to explore "were something that the public would no longer see because they were being demolished and removed from our everyday lives". Like the mindset of the artists of the Impressionist period, today's urban explorers "felt an urge to capture [the structures'] last moments or moments that society either forgot about or will never see again to preserve what once was for future generations". Just like how the painters of 1800's would use their art to delve into and preserve what the general public didn't see or didn't realize they were taking advantage of, the urban explorers of the 21st century are always capturing what people miss through the lens of a camera.
Sal concludes his observations with this statement:
"While Le flâneur was the rise of interest in seeing these places, Le flâneur gave rise to the Impressionists, who went out and found places of interest that nobody saw and painted those things so that we can see them. Their senses were then dulled by the artificial department stores, which were just bland and bleached out inside until you got stores like Wanamaker's and such, which were gorgeous.
But, for the most part, in the rural sections of the department stores were pretty boring and Le flâneur didn't want to see it anymore. But once these places started crumbling and growing mold and trees inside of the mall where the carpet was, this was a wholly fascinating experience and a cathartic one, too because as the urban explorers were seeing these things, the mall was closed, the department store was closed and nobody would see it, so they began capturing these events as the Impressionists did back in the 1800's and showed the public because it was fascinating. The pedigree of modern day urban explorers in summation comes the idea of Le flâneur and the urban expansion in the 19th century. Urban explorers get their roots from Le flâneur and the Impressionist painters of the 1800's"
While Sal makes it clear that this is just his own speculation based on his own research, it's easy to see the similarities between the Impressionists and today's content creators on YouTube. As someone who shoots to write and draw her own stories that dispel expectations and strives to offer new insights into expected ideas, I find Sal's analysis not only insightful, but accurate. As both the Impressionists painters and urban explorers show spectators of their art new insights into the things they take for granted or don't usually give a second thought to, they utilize creative means to expand the boundaries of their expectations and challenge their perceptions. Our perceptions might deceive us into seeing only what is on the surface without questioning if there is more beyond that surface layer. Once the spectator takes a moment to remove that surface layer, uncovering the underlying details, the spectator can't help but discover new insights into what they thought they knew. Urban explorers, through the content they produce use video as a means to communicate such ideas as the Impressionists did through painting. Works of art indeed are supposed to invoke, not only emotions, but new insights as well. If an urban exploration video inspires a viewer in such a way that offers the new insights and suspends what was perceived early on, the modern day urban explorer successfully accomplishes what the Impressionists accomplished centuries ago.
Photo credit: Larry Estes
Last July, I wrote a blog post about Cool and Eclectic, a store located inside the Pembroke Mall at Virginia Beach. It's one of those rare and unique stores where you can come across all kinds of neat nostalgic items and find yourself exploring their selections for hours on end. I interviewed Mark and Diana for last year's post about the store and while it's been relocated in a new space at the mall, the variety the store offers continues to flourish and deliver on its slogan, "Where it is Usual to Find the Unusual".
This year's trip was an extra special treat. As part of a continuing series of giveaways, Cool and Eclectic was giving away prints of an original comic strip, Artchilles, illustrated and signed by store owner, Larry Estes. The story is about a Virginia Beach native who works at a factory owned by Kempsville Building Materials. As he continues to work there, he desires to keep his artistic dream afloat and goes out of his way to keep it alive, so he takes on the journey of the individual and puts his salvaged drawings together, revealing his story. I spent an afternoon chatting with Larry about the project and the themes he explores via its narrative and its imagery. The character, Artchilles reflects the journey Larry experienced (and continues to experience). We see that Artchilles takes a series of drawings, pieces them together like a puzzle and thus, we see his journey take shape. As stated by Larry himself in his video, Drawings Survive to Tell a Story, he is "piecing together this extraordinary journey, using copies of actual drawings from the journey to authenticate its unfolding". Through mixed media, Larry goes from a standard illustrated page, which is crafted similarly to that of the classic comics of the 1950's and 1960's and then on the next pages, he incorporates the copies of the drawings into some of the panels and arranges them to match the narration. For example, on page 2, we see a copy of each drawing laid out with one flat in the center of the first panel. The perspective of the ones on either side of the drawing are morphed to appear facing inwards. They are apparently going into the direction of the one in the center and all together, they are close to fading into a black hole. The letter boxes in yellow are from the narrator's perspective while the ones in white delve into what Artchilles is thinking. "Initially, Artchilles created sketches of random subjects he was to make into large paintings..." the narrator highlights. "[B]ut, as the prospect of acquiring a studio grew dim, drawing took over. Focus turned to his own life." The use of perspective in a panel painted pitch black accompanies this narration so effectively, especially with Artchilles' own words below the drawing in the center saying, "I yearned to paint..." The sentence is incomplete as if fading into the abyss along with the drawings. It highlights the sense of being on the brink of obscurity.
The next panel is a close up of the drawing on the right hand side, focusing on Artchilles' narration: "But the brush kept eluding my grasp". The drawing depicts the brush falling out of his reach as a foot steps on his hand. An onomatopoeia that reads crunch! is belted, all together demonstrating how limited in his options Artchilles really is.
In the third and final panel of the page, the narrator describes the monotony Artchilles is locked into. With six drawings of a man boxed in lined up in a perspective that gives the illusion of ascending forward, towards the reader's right hand side and descending into obscurity looking into the left, we see the repetitive nature of the job. Even so, Artchilles' words above the drawing facing the viewer boldly say "I Was Stuck!" This use of perspective fittingly gives the sense of endlessness.
Onto the next page, which as the title implies, "Taking the Leap", Artchilles does precisely that. He is seen surrendering and then dives into the unknown. Afterwards, he sees a vision of a muse, who guides him to his desired destination. When delving into the significance of this page (and the entire story at large), Larry offers a question that prompts readers to ponder for a moment over what might be holding them back from seeking his/her own journey: "Have you ever seen a more poignant expression of that pivotal moment before taking the leap? With arms raised, you have surrendered to the unknown". With that said, the third page not only serves as a rising action, but it also invites the readers to assess a time when he or she was confronted with such a moment. And if they haven't already done so, it encourages them to seek it. As Artchilles raises his hands to the sky before taking the plunge, the text in the yellow boxes is no longer written from the third person perspective. It transitions to Artchilles' point-of-view as if he's finally taking control once again. The next page depicts how Artchilles fares trying to balance out his work at the factory and listening to the muse, which eventually results into a sudden halt. It is then revealed in a typed text in yellow boxes that he conceived this series of drawings thirty years ago while he was still working in the factory, which eventually became a homeless center. With the old drawing board destroyed, Artchilles then resorted to using invoice paper to illustrate on. Below the drawing of the building, we see a real-life sample of the invoice paper.
The fifth page depicts Artchilles gradually freeing himself from the grip of the factory work. Although its a very small start, it serves as a spark to grow and flourish. All he has at this point is a brush and coffee. From there he lets his inner individual out as much as he can, but realizes he needs more to continue that journey of growth. "Duality continued to manifest. The path was filled with ups and downs. I needed more than a brush..." This gets us to think that while we are maintaining the endless cycle of monotony without taking the time to seek out our individual journey, eventually the desire to seek it starts to break through in some form or another. We may not be aware of it at first, but when we become too accustom to a routine, somewhere in the corners of our minds we are called to seek beyond that repetitive nature and consult every means possible to fulfill our individual journey and find who we truly are to reach our true potential.
Taking a moment to step back, the story of Artchilles is indeed the story of Larry's own journey. It's told in ways that simple words could not express. Through its imagery, the way mixed media is utilized and how text accompanies and plays into the narrative in unison showcase the journey. It's true that it's highly difficult to make art a full-time career and it's important to obtain a good paying job, but at the same time, being so caught up in an endless cycle where you function like a factory machine without any time for self-reflection whatsoever is detrimental. It will eventually lead to that craving for self-reflection. The desire to seek the individual journey, whether we are 100% aware of if or not will gradually make its way to our conscious mind and when the timing is right, we will seek our own journey of self-discovery tenfold. Taking such a concept into account, even as you go about your everyday life, I highly encourage you to take the time to reflect on your own journey. When you have some time free of monotony (and distraction), think of something that is inspiring to you or something you've written or pieces you've made that can be put together to tell a story. Experiment with those ideas and see what kind of story unfolds. That there is the road to discovering your journey as an individual.
Once again, huge thanks to Larry for his time and sharing his work with me. To learn more about Artchilles and Larry's other works, check out his website and his Instagram.
To learn more about Cool and Eclectic, visit their Facebook page.
With a resurgence of 1980’s and early 1990’s nostalgia, there has been an abundance of art and music that draws inspiration from the decade of excess. From the creative visual and musical artists showcased on New Retro Wave to Indie pop to video games as well as revivals of classic characters and intellectual properties in mainstream popular culture, there’s no doubt that the retro styles of the recent past have their appeal.
Today I will be focusing on one very prominent visual artist of the 1980’s, who’s illustrative works have famously defined the entire decade and has become a major inspiration for some of our contemporary artists. Patrick Nagel (1945-1984) was an America illustrator known for his flat, 2-D art, which were simplistic, yet complex renditions of women. Although his birthplace was in Dayton, Ohio, he lived most of his life in Los Angeles, California. Nagel attended the Chouinard Art Institute after serving in the U.S. Army in Vietnam. He received his bachelor's degree at the California State University, Fullerton in 1969 and began his art career, teaching at the Art Center College of Design while building his value up as a professional illustrator and graphic designer.
In 1971, he worked as a graphic designer for ABC Television and as a freelance artist for other companies and magazines such as IBM, Rolling Stone, MGM and Universal Studios. in 1972. 1976 was the year that would hint at the direction Nagel’s later efforts would take. During that year, he worked on contributions for Playboy magazine, where his work received a wider audience and his signature “Nagel Woman” name.
Aside from Playboy, Patrick Nagel also designed album covers of popular musicians of the time, most notably Duran Daran’s 1982 album, Rio. Other recording artists’ albums included Think It Over (1978) by Cissy Houston, In Touch (1976) by Tommy James, and I’ve Got the Music in Me (1975) by Thelma Houston & Pressure Cooker.
According to the official website of Patrick Nagel regarding his poster art, during the 100 years prior to his time, “poster art has been one of the most humble, influential and pervasive of all the arts.” Unfortunately, it was a dying artform in the United States in the 1970’s as it was losing much of its effectiveness to capture audiences’ attention. Nagel reinvented the art form by displaying something of value to the market that he could offer with his skills:
“[I]n partnership with Mirage Editions and fine art printer Jeff Wasserman, [Nagel] sought to recapture the beauty and power that posters once held in popular culture by returning to a model created at the turn of the century with artists such as Toulouse Lautrec and A.M. Cassandre. They sought to produce the highest quality hand screened art prints that would also serve as collectable advertising art for businesses. Over Nagel’s career, 60 limited edition silk-screened prints were completed and were sold out upon release and Nagel’s iconic women found their way to worldwide recognition.”
Because Nagel showcased rare works that the market could reward, his career proved to be a major success, not only in quality, but also in subject matter. The women depicted in his prints were always known to be “complicated”, creating a rather fascinating ambiguity into her mind. What the Nagel women wants from the viewer is lure their attention towards her. There is a bit of self-importance, yet she’s very reserved. There is also a sense of indifference, yet astuteness and elegance that adds to that ambiguity in her character. There was a reason Nagel retained this vagueness as his official bio adds:
“Nagel often said that he didn’t really want to know these women too well. He imagined them as creatures of the night who drank and smoked too much. Perhaps, but they remain always in control. In the pin-up tradition of women as object, Nagel’s portrayal of them was a break from the past, reflecting the rapidly changing role of women in America. His style evolved subtly along with the times. His women of the seventies are shown as softer, more vulnerable and innocent than his stronger, more self assured women of the eighties.”
Because of the way Nagel portrayed his subject matter, it made his work and their traits memorable. As the Nagel Women continued to take shape throughout his career, he kept increasing their worth in the the art world and market. Even in the fashion and music scene, his works became iconic.
In the years after Patrick Nagel’s death in 1984, his works remain highly regarded worldwide. Zach Kelly’s piece on New Retro Wave covers Nagel’s impact on today’s artists as well as his contemporaries. Examples of such include Comedy Central’s short-lived 2015 adult animated series, Moonbeam City, created by Scott Gairdner (Parental Advisory Warning for language and adult humor). Kelly highlights that “Gairdner encapsulates many facets of the [retro] movement, through a nostalgic Miami-Vice theme, however the distinctive character illustrations and some of the execution of colour is a direct throw to the art of Nagel”. He then describes the album covers of the artists whom are often featured on NRW. ALEX’s 2017 EP, entitled Youth features art by Jacqueline Ruther, Mizucat, which adopts a similar approach to how Nagel portrayed women, while incorporating color and more detail to the woman in the image. The woman featured on Trevor Something’s 2014 release, Trevor Something Does Not Exist, displays a similar art style, by Ariel Zucker (Parental Advisory Warning for gruesome imagery), with the figure’s own elegance and ambiguity blended with more detail. Synthwave musician, SelloRek/LA Dreams pays homage to Nagel with a track, titled Nagel Girl, which Kelly praises how it “matches Nagel’s art well.”
As for Nagel’s contemporaries whom Kelly mentions, such as Carlos Sanchez, Dennis Mukai and Luis Preciado, they each have created works of art, depicting the Nagel-esque woman, while “[adding] their own flavour to the artsphere”. Kelly includes one piece from each artist to illustrate the similarities and contrasts to Nagel’s work. Thrill Me by Carlos Sanchez shows a woman smoking, expressing a similar aloofness to that of the Nagel Women. In contrast to Nagel’s works, however, Sanchez illustrated more detail on the woman’s face and features much like that of the styles of Ruther and Zucker. Dennis Mukai’s Special Friend compares to Nagel’s style by adopting a slightly different, yet similar minimalistic technique in the design, while retaining that sense of elegance seen in Nagel’s posters. Genevieve by Luis Preciado is similar in composition, concept and style. It is distinguishable in its spotty backdrop, making the piece a bit more playful than Nagel’s design.
Without a doubt, Patrick Nagel's short lived career has left major impact for the culture of his time as well as today's creative artists. By reinventing the art of the poster and expressing a unique perspective for his subject matters, Nagel not only created memorable works of art that art lovers would remember him by, but he displayed a tremendous amount of value through his skills that both the market and the art world could reward. When looking back on the traits that made Nagel's art distinctive, it's not just the sense of nostalgia one feels from viewing his work, but the vision and craftsmanship behind them that extends one's appreciation for them.
I’ll admit, I’m not a big fan of early 20th century art, but from Cubism to the Dada movement to Surrealism, no one can deny the art of the time had a major influence in the art world going forward and into the 21st century. Throughout those years, the definition of what constitutes as art became immensely loose as artists in the late 19th and early 20th century were drifting away from the classical art to the absurd, often being subversive in their pieces. Before World War I, from the Neo-Impressionist works of Georges Seurat and Paul Signac to the Post-Impressionism of Vincent Van Gogh to the Fauvism works of Henri Matisse, leading up to the works of Pablo Picasso, the craftsmanship of the classical art was slowly starting to decline in favor of more free-flowing types of art styles and movements.
Taking place after the first World War began, the Dada movement originated as a reactionary response to, not only the war itself, but to traditional values in art and modern capitalist society as well. The Dada movement as defined according to manraytrust.com, is “[a] European artistic movement (1916-1923) that flouted conventional aesthetic and cultural values by producing works marked by nonsense, travesty, and incongruity”. With that definition of Dadaism in mind, the movement steered away from the complexities, beauty and logical to the carefree and put forth that anything, - just anything - can be considered ‘art’. Alongside Marcel Duchamp (who infamously signed and dated a urinal, which he titled, Fountain (1917) to emphasize the anything-can-be-art/anti-art mentality), Pablo Picasso and Man Ray were also prominent figures in the movement. After WWI and the start of the 1920’s, the Dada movement was phased out by Surrealism, which evolved from Dadaism and continued to display similar traits and mindsets. While practices of Surrealism also consisted the anti-art mentality of Dadaism, it distinguished itself from the previous movement by putting more emphasis on dreams and the unconscious mind. Amongst the major figures in the Surrealist movement were Andre Breton, Salvador Dali, Max Ernst and Rene Magritte. Breton was a Surrealist writer and poet and was known as the founder of the movement. Dali was a painter, illustrator and sculptor. Ernst was also known for his paintings and sculptures and Magritte was also a painter. While the main figures of the Surrealist movement were, no doubt influential, the works of Man Ray set fourth new, innovative ways to depict such absurdities and illusions to the art movement, not only through photography, but via the art of photogram (camera-less photography).
Although the art of photogram had existed decades prior to Man Ray’s time, Man Ray used the medium to his advantage to display his signature dream-like illusions. Referred to as rayographs, Man Ray’s subjects consisted of everyday items and would utilize his composition in rather peculiar and imaginative ways. Take for example, a pair of scissors, a nail filer and a strip of film and those ordinary objects would be arranged to depict a surreal, image that looked like it was derived from a dream.
Other photographic techniques Man Ray was known for was the thick black lining of the people he photographed. At first glance, it appeared that he used ink on the images, when in reality, he created this technique via solarization. In a translated interview from the documentary, The Adventure of Photography from Kultur Video, Man Ray stated it was “a method of re exposing a print to light during the development stage to produce unearthly pictures of people with mysterious halos” and that it was “a matter of luck” at first. Eventually it became a repeated process and after several experiments, he refined the technique that it became old hat.
While the Surrealist movement may have been primarily a literary one, and paintings and sculptures were also other predominant forms of media used to depict this bizarre art style, the influence of Man Ray’s photography is important to note when delving into the history of the movement. As other artists of the period were known for their roles in influencing Surrealism through such art forms, Man Ray was a main driving force for photography in which he brought something truly unique to the table. With his outlandish approaches to camera less photography and his quirky techniques he developed using the camera, there’s no denying Man Ray was also of a creative and innovative mind in his medium. Whether the viewer deems it art or ‘anti-art’, the craftsmanship behind Man Ray’s works merits its place in art history.
Imagine a store where shoppers could scour scores of timeless memorabilia with no expectation of what they might discover. It could be a vinyl record for a popular band from the 1950’s or a collection of photos from a bygone era. It could even be a small set of trading cards or figurines from the early days of famous cartoons from the 20th century. At first glance, it sounds like the type of store that the younger generation might not easily latch onto. But if you happen to visit Virginia Beach and swing by the Pembroke Mall, you will be in for a big surprise when you come by a store filled in every nook and cranny with neon lights, statues and images of iconic film and animation characters like the Blues Brothers and Betty Boop and portraits of Marylin Monroe and Elvis Presley.
Cool and Eclectic, fittingly known for its slogan, ‘Where it is usual to find the unusual’, is an independently owned gift shop, consisting of a wide variety of vintage and contemporary items. From vinyl, to comics, to décor, to toys, to even clocks, their inventory will not only invite the customer to shop for hours, but also encourage both the older and younger generation to bond over icons from both past and present.
This year was my 9th annual family vacation to VA Beach and as always when I’m there, I never miss an opportunity to stop by Cool and Eclectic. It has always been one of my favorite stores from the area and knew it would be a great topic for the blog. As usual, the store owner, Larry never fails to deliver on the store’s promise. Although Larry was away when I visited, I had the pleasure of speaking to two other employees, Mark and Diana, whom I briefly interviewed for this post:
Q: In terms of the lease, how much longer do you suppose Cool and Eclectic will remain at the mall?
Mark: Well, it’s kind of up in the air. We don’t know exactly as far as expenses and things like that. We don’t really know if we’re doing well or not. I know we are hindered by the construction at the [main] entrance [to the mall]. I think it has affected our sales.
Diana: Yeah, the construction has affected it. We used to get a lot of traffic through there.
Mark: The construction has taken longer than they said. It’s been months beyond what it was supposed to be. Sunday was not a good day for me in the morning, but later on, we did really well.
Diana: Usually we used to get maybe two or three slow days, but the rest of the days, it was busy. And usually weekends, Fridays, Saturdays and Sundays used to be busier.
Mark: I think our loyal customers have helped us exceedingly to stay afoot. They appreciate our variety. They appreciate us being there for them to find them things that they like and the regular customers come regularly because they know we’re going to help them out. We appreciate our VIPs a lot. We give them extra discounts cause they’re regulars. We value them and that’s why they stay with us.
Q: When it comes to your customers, do they rank from just about any generation? They could be millennials or baby boomers.
Mark: Absolutely across the border of all generations. We have every generation come in and like our variety. Because we have a good enough variety, they all appreciate their own time period. We have enough to cover everybody’s time period and we find that they come back because we match their time period very well, whether it’s a millennial or it’s, like me, a baby boomer. We appreciate a lot of stuff and even beyond the baby boomer.
Diana: We get younger generations and they appreciate very old memorabilia, which is very surprising.
Mark: It is. It’s refreshing to see younger people like the older stuff, too. They’re getting a bit of history when they come in.
Q: How did the store concept come to be?
Mark: If Larry was present, he could tell you more about that, but…he’s being doing this store for a very long time, far beyond me and before our friendship has evolved. He’s been doing this for quite some time…at least twenty years.
Diana: Yeah, I don’t know how long, but he’s been doing it a long, long time.
Mark: Cool and Eclectic has probably been around at least then. Maybe twenty years. I might be off a little bit, but it’s a long history. We’ve moved to different locations.
Q: At first there were two stores, one at the Lynnhaven Mall and this one here at Pembroke. Eventually the Lynnhaven location was moved to this mall. Thus, Pembroke operated two Cool and Eclectics under one roof and now it’s just this one.
Mark: Yes. Not out of our desire. It was out of our control (laughs). Basically, they got bumped out of both [malls]. The Lynnhaven [location] was bumped out of there first and we moved here into [Pembroke] mall. And we got bumped out again and not having another location to go to, we merged our two Cool and Eclectic stores together. So, we are now one and hopefully we have the best benefits of both, the old and the new. The old one, which is this one, tended the older stuff, but now that we’re infused with the other one, we have a lot more new stuff. And I think that’s a good, positive thing for this company.
Q: Sounds like it’s a huge blessing especially when you have people from all walks of life really appreciate what they see here. When people come to Cool and Eclectic with their kids, does it become more of a chance to bond over the classics and the contemporary?
Mark: Oh, yes! The children come in and they buy the things that they have seen with their parents. The parents buy them for them and they’re all happy and excited when they’re going out. And they’re good family heirlooms that these kids, if they keep them, they can pass them onto their kids and their grandkids.
Q: How do you feel about the future of the store?
Mark: I’m very hopeful it will continue because everybody can appreciate a little bit of history, which this [store] has. It has the history. It has the vintage items. The LPs, I hear, are experiencing a resurgence because the sound quality is unmatched. The digital does not hold a candle to the LPs and apparently, they can do it with the LPs. So, it’s going to be something amazing if we see a resurgence of LPs coming back again. I’m hoping to see them back into the movie soundtracks again, too…and hopefully [this trend will] infuse our company to put some new stuff and keep it fresh and alive and going.
Once again, a huge thanks to Mark and Diana for their time. To learn more about Cool and Eclectic, check out their Facebook page.
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