design and disability

As a fan of both good wine and design, when I turned to the Wall Street Journal’s wine columnist, Lettie Teague’s column, Drinking with Michael Graves, I thought bingo! here comes a good read.   I’m a big Michael Graves fan.  We own a Michael Grave’s Alessi teakettle with a red bird that tweets (not the Twitter-kind) when the water has boiled. He has designed 1000s of objects (for Target too), buildings, and public spaces, but Ms. Teague mentions the teakettle in the first paragraph. It’s a favorite of many.

There’s a wonderful photo of him in a dark purple shirt and red vest sitting in a high-back black upholstered chair at a table topped with two bottles of wine and several half-filled wine glasses. He’s holding up a glass of red wine and has a warm smile on his face.  About a third of the way into the article I learn that nine years ago Mr. Graves suffered with an infection that left him partially paralyzed. It’s mentioned in the context of how his illness has limited his wine to one glass per day. This sentence forced my eye back to the photo – my lens has changed and now I see that the high-backed chair is a wheelchair not a designer kitchen chair.  My focus shifted from the wine to this man’s current health status, his abilities and disabilities. Now, the wine took second stage.

We learn about his vineyard and the wineries he’s designed but I want to hear more about how he lives with his disability. Then there’s the sentence that mentions Mr. Graves is now designing products for people with disabilities.  I finish the column and head to my laptop to Google and find a link to his latest product line, Michael Graves Solutions. In 2009, Michael Graves formed a design partnership with Stryker Medical to design the patient hospital room. There are images of the new line that show his distinct identity and are worth checking out.

Journalist John Hockenberry, who has been paralyzed for 30 years after a car accident, writes about his relationship with Graves in The Re-Education of Michael Graves. Here’s a quote from Graces from this article:

“People who become disabled have to radically redesign their outlook about the physical world,” Graves says, remembering the first days after he was out of danger and learning to live with paralysis. “They redesign their sense of privacy and their sense of independence. Yet in the products they have to use, design has abandoned them.”

He already has a line of heating pads and shower seats with much more to come.

Mr. Graves, thank you for the beauty of design and function you give to the world  and for expanding your reach to include those with mobility challenges.

[caption id="attachment_10269" align="alignright" width="300"] Credit: Illustration for

A Simultaneously Serious and Silly Memo to Film Director Steven Soderbergh: Why I’ve Waited Until Now to Watch “Contagion.”

To: Steven Soderbergh

From: Steve Gorelick

Re: Your Film Contagion

Date: November 27, 2011

I am about to watch Contagion.

For many years, any film having to do with large-scale epidemics or catastrophes would have automatically attracted my interest. And knowing that you are the director of Contagion would normally have had me in the theater weeks ago. Ever since Sex, Lies, and Videotape, I’ve come to admire your raw and honest take on the character flaws that are at the very core of the human condition.

But you’ve also made some wonderfully frenetic, high-energy blockbusters, and I hope you won’t be insulted when I tell you that I am least a little jittery at the thought of seeing a film about a global pandemic done by the creator of Ocean’s 11. I love a good caper film, and I really loved yours. But I have a special interest in the stories and narratives of large-scale epidemics and other catastrophes, and I’m just a little on edge at the thought of what you might do with the very real threat of a pandemic. But you were the guy who made one of my favorites — Erin Brockovich — so you’ve more than earned my attention. I’m going to watch.

To: Steven Soderbergh

From: Steve Gorelick

Re: Your Film Contagion

Date: November 27, 2011

I am about to watch Contagion.

For many years, any film having to do with large-scale epidemics or catastrophes would have automatically attracted my interest. And knowing that you are the director of Contagion would normally have had me in the theater weeks ago. Ever since Sex, Lies, and Videotape, I’ve come to admire your raw and honest take on the character flaws that are at the very core of the human condition.

But you’ve also made some wonderfully frenetic, high-energy blockbusters, and I hope you won’t be insulted when I tell you that I am least a little jittery at the thought of seeing a film about a global pandemic done by the creator of Ocean’s 11. I love a good caper film, and I really loved yours. But I have a special interest in the stories and narratives of large-scale epidemics and other catastrophes, and I’m just a little on edge at the thought of what you might do with the very real threat of a pandemic. But you were the guy who made one of my favorites — Erin Brockovich — so you’ve more than earned my attention. I’m going to watch.

The Waiting Room: Documenting the Uninsured & Publicly Insured in Oakland

Elien Becque is a writer living and working in New York City. Her works have appeared on the Atlantic Wire, rollingstone.com, iVillage.com and in New York Magazine.

Though the unnamed context in Pete Nicks’ new documentary, “The Waiting Room,” is the vast divide in heath care access between the haves and the have-nots, the film’s power is in its fiercely local focus. The setting is Highland Hospital’s Emergency Room in Oakland, CA. Nicks and his crew set their cameras rolling as the waiting room fills to capacity every day with both true emergencies and hundreds of people trying to obtain basic healthcare. The resulting story is of the common people—a portion of America’s 50 million uninsured—which CHMP’s Film & New Media Series screened on Thursday, Nov. 17^th.

While taxpayers pay about 70% of insurance premiums on high-quality healthcare policies for Congress members and their families, lawmakers continue to debate and make position statements regarding what the rest of Americans need in terms of healthcare. Meanwhile, 250 people pass through Highland’s waiting room every 24 hours, many of whom will return within weeks to have a prescription filled or a bullet wound checked. Nicks tells a story of everyday suffering from the point of view of the elderly, the disabled, the immigrants, the recently laid off, or the just plain poor as they struggle through a healthcare system stretched to the breaking point. The system’s entry point is the ER at Highland because, as one doctor describes it, the ER is a social safety net that accepts anyone who walks through the door. The film’s intimate perspective, that of people who have nowhere else to go, brings seemingly intractable political problem to the social level, rendering it a human problem.

Though Nicks is pointedly not an activist filmmaker, his subject matter hardly escapes the question “The Waiting Room” is careful not to ask: “What to do?” A social media spinoff project is the initial answer. For now, whatruwaitingfor.com is a repository for hundreds of film clips of conversations taking place in the waiting room at Highland Hospital. Conversations are of the people, by the people and topics range from health to money problems to politics and faith. The library has essentially become a collective voice for change from a culturally disparate group of the medically disenfranchised; collecting these stories together is the first step in what the filmmakers call a “Community Engagement Project.” By taking the power of narrative beyond the realm of the well-financed filmmaker, whatruwaitingfor.com turns back around after the wrap party to present the subject matter itself with storytelling as a tool for change.   Elien Becque

Post screening panel: Pete Nicks, Jamilah King, news editor at Colorlines.com, Tonya N. Walker MD, attending physician in the department of Emergency Medicine Center at New York Presbyterian/Columbia University Medical Center, Sheena M. James RN, BSN, Emergency Medicine Center at New York-Presbyterian Hospital/Columbia University Medical Center and Hannah Rosenzweig MPH, CHMP Senior Fellow and co-curator of the Health in Film and New Media Series.

Elien Becque is a writer living and