THINGS ORGANIZED NEATLY: Curated by Austin Radcliffe. ©

The site is overseen by a young Indianapolis designer named Austin Radcliffe, who seems less intent on collecting objects than on collecting images of collections. One day the site may feature an image of white socks on a blue background, on another, a patterned stack of tires or a careful arrangement of baseball bats. What is the appeal? Partly these images simply carry on the long history of the still life, a genre whose attraction, as the poet Mark Doty observed in his book “Still Life With Oysters and Lemon,” has less to do with documentation than with capturing a way of seeing, “a stance toward things. . . . A faith that if we look and look we will be surprised and we will be rewarded.” Yet the visual language these contemporary projects use to address object culture itself differs from, say, naturalistic arrangements of ripe fruits and fine silver by painters in 17th-century Holland. For starters, the most satisfying examples now often depict more workaday stuff, treated with an unusual level of observatory respect; they frequently echo the “humble master­pieces” featured in a Museum of Modern Art exhibition of that name several years ago: just as that show prodded viewers to reconsider the paper clip or the matchstick as “marvels of design,” these (humble) blogs recontextualize things most people ignore. Perhaps some of us are in more of a mood to accept beauty in the everyday, rather than aspire to the latest gleaming luxury. And then there’s the way this stuff is arranged. There’s certainly nothing naturalistic about it; these are practically inventories. It has become a cliché to talk of “curation” as the great skill of the info-saturated online world, but probably what matters here is the overt display of that skill  the de facto announcement that someone is in charge. After too many years when stuff seemed to rule many lives, these things have been culled, sorted and mastered. Best of all, we don’t even have to deal with these collections as physical things; we can simply enjoy them as digital presentations. It is everything we love about stuff  but without the stuff. In a reversal of the desire to have your cake and eat it too, we can consume these lovely objects and not-have them, too. In recent years, we have added a form of vicarious possession to our consumption: there is so much covetable material to drool over online that it is no longer possible, let alone necessary, to imagine owning a tenth of it. You might say that simply pondering stuff has become a form of entertainment and something very close to that attitude is what this magazine had in mind when introducing this recurring examination of the contemporary marketplace. Actually we post here only a short snack, buti f you visit the website  at the link below you will be really stupefied, and for sure you can get a lot of inspiration maybe to arrange your products in a shop or the food in a plate. Our conratulations Austin!