One Man's Idea For Making Golf Attire More "Accessible"

Thanks to reader Andrew for this preview of renderings for an upcoming Mini-Golf Courses to be created and displayed here in Los Angeles. And while I certainly report on these in person, in the meantime we can enjoy a story linked to the de zeen magazine piece from October.

It seems during Dutch Design Week, one Jason Page unveiled his answer to golf attire that would make the game more accessible and appealing to a wide range of non-golfers.

"It’s not directly trying to include more people but it’s trying to create an atmosphere where more people would want to get involved," he said.

Both garments feature embroidered graphic motifs including leaping golfers, flaming belts, chicken wings, and disembodied bird heads.

To pattern the jumpsuits, Page referred to maps from elite golf courses as well as the kind of language typically used by golfers to design visuals that would "open the sport".

"There are only a few restrictions in golf, and that's the type of cut of the clothing – it has to have a colour, be a different length, and it can't have a large logo," he told Dezeen.

No, no, no large logos for golfers!

"Aside from that I realised that many of the companies weren't really taking adventurous steps. They were maybe making very kitsch loud pants, but nothing which normal people, outside of golf, would want to approach or be involved in," the designer added.

I certainly see the average man wanting to wear this!

Nine Days Of Christmas: Lee Wybranski's Major Art

Longtime readers know I'm a huge fan of Lee Wybranski's commemorative posters that are available at three of the four majors). Wybranski's pieces combine the atmospheric 1930's railway art vibe while adding necessary modern touches to provide us the ideal keepsake from major championships.

Lee's 2013 Open Championship poster from Muirfield has been a favorite in my office, aided in part by the special week that unfolded.

As we all know, some majors are better than others, which is why this is a great time to go through Lee's page of past major posters for weeks that were special to you or a friend (there are also some fun surprises in the form of course maps and select amateur events like the 2005 Walker Cup).

There is no better way to liven up your man-cave or office walls with a Wybranski major championship piece from an event you attended or remember fondly. (His 2016 Oakmont poster is now available too).

If you enter the code GEOFF at checkout, he'll give you 20% off any of the posters for sale on his site, including the signed art.

Merry Christmas!

And thanks to Lee for offering a discount on his art work.

DVR Alert: Golf Photographers Featured On In Play

Last week's Golf World had a superb story by Brett Avery (not posted online) about the history of golf photography. The story coincided with the PGA's visit to Rochester, home of Kodak (or what's left of the storied company).

And this week's In Play With Jimmy Roberts features a story on golf photographers that looks like it'll be worth checking out. The preview of the Golf Channel show that airs at 10:30 ET, 7:30 PT:

Note To U.S. Open Visitors: The Art of Golf Comes To PMOA

Joe Logan alerts us to the great news that the Art of Golf traveling exhibit will be up through July 7 at the Philadelphia Museum of Art.

Best of all, it's a great chance to see a masterpiece:

The centerpiece of the collection is perhaps the most famous painting in the history of golf.   Titled "The Golfers," the 7-foot wide canvas, rendered in 1847 by Scotsman Charles Lees,  is set on the Old Course in St. Andrews and depicts a crucial moment in match between Sir David Baird and Sir Ralph Anstruther and  Sir Hugh Playfair and John Campbell.

Here's a nice YouTube video with some insights into the exhibit, a nice curator breakdown of "The Golfers" and some info on planned for U.S. Open tie-ins, including evening events all week which might make visiting during those evenings difficult.

The Tiger Lithograph Your Wife Won't Be Buying For The Game Room

Thanks to reader Robert for alerting me to this fine art sale and in particular, the fine, fine piece at the end titled "Tiger making the hole." I'm not sure why (A) an artist would take the time to make such an, ugh, impression, or (B) who would want to buy this except Larry Flynt's interior decorator.
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"I think we've finally bridged the gap"

John Paul Newport focuses in on two of golf's best landscape photographers and learns this about how Joanne Dost and Larry Lambrecht work.

Ms. Dost, who sells framed photographs as large as 40 inches by 80 inches in her gallery in Monterey, still shoots her most ambitious work on film. "Digital is great. For books, for magazines, for smaller prints, it's perfect. But when you get up into the really big prints, the depth and tonality is just not quite there for me yet," she said. Mr. Lambrecht, by contrast, has gone almost exclusively digital, thanks to an expensive new digital back for his trusty old medium-format film camera. It can record images of 39 megapixels, compared with 10 to 12 megapixels for today's top-line consumer digital cameras. "I think we've finally bridged the gap," he said.

And while we're on the subject of cool golf images, reader Michael noticed this Jaoa Padua shot from MSNBC. It's of Marta Mamani, an Aymara indigenous woman who is on the construction crew at La Paz Golf Club in Bolivia, considered the world's golf facility highest above sea level.


Leroy Neiman Unveils Ryder Cup Print; Pentagon Inquires About Possible Use On Detainees

neiman_ryder_cup.jpgGary Van Sickle at's press tent blog tracks down the image on Neiman's web site and offers his thoughts on this latest masterwork.

Personally I think you can tack that baby to any wall in the Guantanamo Bay prison, throw on Celine Dion's greatest hits, and no one will ever ask about waterboarding ever again.

NY Times: Hartough "Rembrandt of the back nine"

Project a golf photo onto a canvas, paint over it and you're a Rembrandt according to the paper of record. Yikes.

This is beautiful:

"There is a sense in Linda's work that God is in the landscape," said Jay Williams, curator of the Morris Museum of Art in Augusta, Ga. "If you look at a lot of the paintings, she often uses raking light — she places the light source at an angle. The play of the shadows on the landscape tells the eye a lot about the complexity of the surface. She accentuates the kinesthetic aspect of the terrain, which allows you to read her paintings in a very physical way."