Stunning Chrome Easel by Elaine Cohen for Design Institute of America, 1970's

Minimal. Architectural. Chic for days.

This sculptural solid chrome easel, designed by Elaine Cohen for Design Institute of America in the 1970s, is the kind of piece that makes you question why you ever leaned art against a wall like a pleb.

A continuous rounded circular base rises upward into twin vertical supports, intersected by a slim horizontal brace that holds your art with quiet authority. The silhouette is effortless — chic, minimal, modern — and so clean it almost hums. Think gallery-level restraint meets mid-70s polished chrome glamour.

It can accommodate a framed work up to approximately 33.5” tall, making it perfect for showcasing a favorite painting, photograph, or sculpture. Or, if you’re feeling romantic and dramatic, be the artist. Place your canvas here and create something spectacular while standing in your own chrome moment.

This design, and many others are often misattributed to Milo Baughman. And listen ~ we love Milo. But this one? Not his. This is Elaine Cohen’s work. And like so many women in design history, her brilliance has occasionally been credited elsewhere. Consider this your friendly reminder that stolen valor crimes in the design world are very real.

About Elaine Cohen:

Elaine Cohen was a significant force at Design Institute of America during the 1970s, contributing to the brand’s polished, sculptural modernism. Her work is defined by clean lines, architectural clarity, and confident materiality; especially in chrome and metal forms that feel both industrial and elegant. While many DIA pieces have historically been attributed broadly or incorrectly, Cohen’s authorship has become increasingly recognized by serious collectors and design historians.

Her designs sit comfortably in conversation with the work of Milo Baughman, Leon Rosen, Karl Springer, and even the restrained architectural energy of Paul Evans — but with a distinct clarity and femininity that is unmistakably her own.

This easel embodies that ethos:
Sculptural but restrained.
Functional but art-forward.
Modern without trying too hard.

It’s not just a stand. It’s a statement. It elevates whatever it holds — literally and aesthetically.