ArtDiction January/February 2021 by ArtDiction Magazine

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Architecture & Design Volume 27 Januray/February 2021 www.artdictionmagazine.com

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FEATURES 16 Architectural Photography — Internationally Inspired Architectural Photography, Valentina Jacks is inspired by the buildings she has visited all around the world. 28 Top Ten Structures in the City of Verona

Verano, Italy is a famous city known, in part, for its remarkable and historic architecture. Read about some of the most noteworthy structures.

32 Minimalistic Perfection

Maria Osminina’s work as an interior and furniture designer has a minimalist signature style that finds balance in forms, color and emptiness.

44 Futuristic Library Designs

Libraries are not just for reading books in a small corner anymore. Read about some libraries with architectural designs that are straight from the future.

48 Surrealism in 3-D Nicole Wu designs illustrations centered around building and structures with a dreamy, surrealistic approach. .

Cover photo courtesy of Nicole Wu.

In Each Issue 5 small talk 6 news 12 exhibits 58 exhibits

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small talk

©Maria Osminina

am excited about the new year and about the first issue that coincides with the start of 2021.This issue focuses on architecture and design. I remember being in awe visiting the monuments and famous buildings in Washington, DC during school trips and family outings as a wide-eyed kid. A mere 25 miles from where I grew up, I was convinced I had traveled to another planet. Those grand structures blew me away. As an adult, I’m still impressed. Architecture is a romantic artform in the ways it can appear with its subtleties and details if you’re paying attention. But it can also hit you smack in the face and take your breath away with monumental presentations and the marrying of materials you never thought possible. Architecture can even set the tone for a city, adding to its charm and intrigue. In this issue we explore the buildings in the quaint city of Verona, and it’s officially been added to my places to visit (post pandemic, of course).

The evolution of architecture is undeniable. We explore the futuristic designs of famous (and some not so famous) libraries with designs that seem too advanced for what technology can lend itself to today. These are not your average neighborhood libraries. Finally, the artists that I interviewed in this issue work in different mediums, but architecture is the common thread with all three of these brilliant women. I’m fascinated that architecture, a discipline within itself, can become the subject matter for other artists to explore. Perhaps it’s because architecture can represent a culture, evoke fond memories and ultimately create a sense of belonging, even if just for a moment. And that’s what every human craves. I hope this issue does a bit of that for you, and as always, I hope you continue to be inspired.

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news Modernist Architecture in India Faces Demolition The World Monuments Fund (WMF) is urging against the proposed demolition of parts of a modernist building complex built between 1968 and 1978 and designed by the American architect Louis Kahn in Ahmedabad, India. The structed includes conference halls, a library, teaching facilities and dormitories for the Indian Institute of Management’s Ahmedabad campus (IIM-A). According to the Indian Express, IIM-A’s board announced its decision to demolish at least 14 of 18 dorms due to structural issues that include leakages and damp in walls. The institute’s director Errol D’Souza argued that the exposed bricks — a hallmark of Kahn’s style — were not properly protected, leading to cracking in the brickwork. He also contended that replacing the buildings with new dormitories will increase housing capacity on campus from 500 to 800 students. However, the WMF, an international nonprofit that advocates for the conservation of cultural heritage sites, says the Kahn campus must be preserved in its entirety to protect the architect’s aesthetic and functional vision. “The Louis I. Kahn IIM-A campus is a remarkable achievement in the development of a modern architectural pedagogic vocabulary that integrates Indian vernacular, relies on locally available building materials, and responds to the surrounding environment,” Jonathan S. Bell, Vice President of Programs at WMF said in an interview. The structure’s design is known for its arched passages and simple geometric forms, such as its large circles cut into the façades for window openings. The plan also represented a new model of

The Louis Kahn Plaza in Bangladesh. Image courtesy of the World Monuments Fund.

campus organization based on the integration of different pedagogic spaces that bring educators and students together. “Rather than focusing attention on the classrooms as the center of learning, Kahn created new opportunities for interaction across the campus, emphasizing informal gathering spaces as the locus of knowledge transfer and championing a framework for higher education that endures today,” Bell said. The Kahn campus, he added, was “symbolic of India’s newly proclaimed center of global excellence in management.” D’Souza, seemingly reject Kahn’s architectural notion of socialization and connection. “In today’s world our experience is that students hardly use these shared spaces as they have gravitated to virtual modes of interacting,” he wrote in his letter. The IIM-A has issued a request for proposals from architectural and design firms for the replacement dormitories. The announcement of the new bid drew surprise and confusion as a Mumbai-based conservation firm, Somaya and Kalappa Consultants (SNK), had been brought on for a campus restoration project that included the 18 dormitories, Indian Express reports. ArtDiction | 6 | January/February 2021

The WMF is hopeful that the institute will reverse its decision. In response to D’Souza’s structural concerns, the organization said the buildings can be restored through “thoughtful conservation” and has offered its expertise to help determine the best course of action. Collection of Christo and Jeanne-Claude to Sell at Sotheby’s The collection of artists Christo and Jeanne-Claude will go up for sale at Sotheby’s Paris headquarters in February. The sale is estimated to garner a collective $4 million. The husband and wife duo was known best for their practice of “wrappings,” which included draping buildings, monuments, and various other public sites. Among their most famous largescale installations is Valley Curtain (1974), in which the two suspended a miles-long curtain across a Colorado mountain roadway; it lasted just over a day but is regarded as an important project. The two also wrapped the Pont Neuf in Paris and the Reichstag in Berlin. The sale follows Christo’s death

news earlier this year in May at the age of 84. The Bulgarian artist’s last realized monumental sculpture was a massive floating structure formed from oil barrels that was set afloat in London’s Serpentine Lake in Hyde Part in 2018. JeanneClaude died at age 74 in 2009. “Earlier this year, we lost one of the giants of contemporary art,” said Simon Shaw, Sotheby’s vice chairman of global fine arts, in a statement. “Together with his partner Jeanne-Claude, Christo changed the visual language of art in a way that no other artist has done before, transforming the public’s perspective and expectations of what art can be and how it can be experienced.” The couple amassed a collection in excess of 400 items over several decades, many of which were displayed in their New York home, including pieces traded by postwar artists including Lucio Fontana, Yves Klein, Mimmo Rotella, Andy Warhol, Claes Oldenburg, Marcel Duchamp, William N. Copley, and Nam June Paik. Among the highlights to be offered are Warhol’s Jackie (1964), estimated at $975,000; Gerrit Rietveld’s The Hoge armchair, which is expected to fetch $97,500; Klein’s Blue Monochrome (IKB 19), from 1958, estimated at $375,00; and an Oldenburg 1960s plaster food sculpture estimated at $49,000. Works by Christo and Jeanne-Claude, including those from the 1960s “Package” and “Storefront” series, will also be represented in the sale. In Memoriam — John Outterbridge John Outterbridge, the groundbreaking Los Angeles artist known for his rich body of multi-media

work addressing the legacy of slavery and racism in the United States, passed away on Dec. 23, 2020. He was 87 years old. A self-proclaimed activist artist, Outterbridge was an integral participant in the development of cultural organizations and art communities in Los Angeles. Born and raised in North Carolina, Outterbridge came to the West Coast in 1963 after studying at the American Academy of Art in Chicago, where he worked as a bus driver. As he learned more about the geography and cultural terrain of Los Angeles, he became more and more enthusiastic about the new region in which he was residing. He soon became inspired by what he describes as the city’s “assembled kind of culture,” from the material residue of its aerospace industries to the innovative urban phenomenon of lowrider engineering. Outterbridge’s art would later land in the tradition of assemblage associated with Californian art, especially from the 1960s onward. After the Watts Rebellion of 1965, many Black American artists began to collect leftover debris and burnt offerings to use as art materials. Outterbridge was deeply informed by this transformation of the landscape into art and began to incorporate found objects in his sculptural practice. His understanding of everyday realities of Watts along with his roots in Southern vernacular culture infused his art production for the next four decades. He served as director of the Watts Towers Arts Center from 1975 to 1992 and as a mentor to many other Los Angeles–based artists. “John Outterbridge translated his personal and cultural legacy into beautiful, powerful, and moving objects that speak to the Black experience in America—and Los Angeles in particular—in the 20th ArtDiction | 7 | January/February 2021

John Outterbridge

and 21st centuries,” says Carol S. Eliel, senior curator of Modern Art at LACMA. “In addition to his stature as an artist, he was a generous human being; it felt like a gift to be in his presence.” In 1999, LACMA acquired a particularly personal work in Outterbridge’s oeuvre, John Ivery’s Truck: Hauling Away the Traps and Saving the Yams (1993), which was on view in the exhibition SoCal: Southern California Art of the 1960s and 70s from LACMA’s Collection (2007–08). This work, fashioned from wood and various found materials, represents the truck Outterbridge’s father drove during the Great Depression. When asked about specifics in his artworks that reflect the Southern California of the 1960s and 1970s, Outterbridge said, “I grew up in the South during the Depression, and the misfortune of being part of that period gave me the opportunity to move around the country as a young person. I always did assemblage because of my father—his backyard was beautiful. Rust became beautiful to me. Decay became beautiful. Then I came to California, in 1963, where my work was very much influenced by the car culture. This particular piece, John Ivery’s Truck: Hauling Away Traps and Saving Yams, was in dedication to my father, and was part of a ritual to bless a new studio space. My father was a real likeable, sensible person who refused

news to work for anyone other than himself—something that was very difficult during the depression for an African American to do. But for a lot of the work he did, people would pay him with bushels of watermelons and yams, which he would carry in his truck. He did everything he could do through his truck! So I created this truck as part of my own ritual and as my way of saying ‘I love you’ to Pop.” Outterbridge is survived by his four siblings Freddie, Marvin and Robert Outterbridge and Jackie Outterbridge Parks. National Gallery of Art Taps Souls Grown Deep Foundation for Forty Works by The National Gallery of Art announced a major acquisition of 40 works from the Souls Grown Deep Foundation by 21 African American artists from the southern United States. The acquisition is made possible through the generosity of the Souls Grown Deep Foundation in addition to funds from the Patrons’ Permanent Fund. Some highlights of this important acquisition are nine quilts by the artists of Gee’s Bend, Alabama, including Mary Lee Bendolph and Irene Williams; three paintings, three drawings, and one sculpture by Thornton Dial; works on paper by Nellie Mae Rowe, Henry Speller, Georgia Speller, and “Prophet” Royal Robertson; four sculpted heads by James “Son Ford” Thomas, which were featured in the National Gallery’s Outliers and American Vanguard Art exhibition (January 28–May 13, 2018); and three sculptures by Lonnie Holley. The Gallery joins other prominent museums that have acquired works from the Souls Grown Deep Foundation since 2014, including the Brooklyn Museum, the Fine Arts Museums of San Francisco, the Metropolitan Museum of Art,

Mary Lee Bendolph. Blocks and Strips, 2002, wool, cotton, and corduroy overall: 248.92 x 218.44 cm (98 x 86 in.). National Gallery of Art, Washington Patrons’ Permanent Fund and Gift of the Souls Grown Deep Foundation 2020.28. © 2017 Mary Lee Bendolph / Artists Rights Society (ARS), New York

the Minneapolis Institute of Art, the Museum of Fine Arts, Boston, the Philadelphia Museum of Art, and the Phillips Collection. The acquisition expands the National Gallery of Art’s holdings of modern and contemporary works by African American artists. These new pieces join works already in the collection by Emma Amos, Mark Bradford, Theaster Gates, Sam Gilliam, Oliver Lee Jackson, Glenn Ligon, Al Loving, Kerry James Marshall, Martin Puryear, Lorna Simpson, Alma Thomas, Kara Walker, Carrie Mae Weems, and Jack Whitten, among many others. “These exciting works by artists from the American South demonstrate remarkable qualities of imaginative and conceptual daring and material inventiveness across a wide range of media and styles. In addition, many of these works offer powerful insights and perspectives on the compelling issues of our time, and we are pleased to be able to add them to our collection of modern and contemporary art,” said Kaywin Feldman, director, National Gallery of Art, Washington. “The addition of notable works by artists from our collection to the ArtDiction | 8 | January/February 2021

National Gallery of Art and other leading institutions signifies their essential inclusion in the canon of art history. Subsequent exhibitions, educational programs, and scholarship will expose new audiences to their artistic mastery and contemporary relevance,” said Maxwell L. Anderson, president, Souls Grown Deep Foundation and Community Partnership. The acquisition includes nine quilts made by artists from Gee’s Bend—a small African American community along the Alabama River—where artists have created quilt masterpieces from recycled clothes and dresses, feed sacks, and fabric remnants for the last 100 years. Mary Lee Bendolph (b. 1935), one of the best known and most revered quiltmakers, uses complex geometric and color structures in an ingenious elaboration on the traditional practice of quilting in strips and blocks. In a quilt she made in 2002, rectangles of brown wool and blue denim are juxtaposed with brightly colored strips and squares that play off the structural framework of the “Housetop” pattern, a conventional design of concentric squares that is popular among the quiltmakers of Gee’s Bend. According to Bendolph, her works draw inspiration from

news the colors, shapes, and patterns of the world around her, resulting in designs that are abstract remappings of the visual environment. Of the many Gee’s Bend quiltmakers in the Souls Grown Deep collection, others included in the acquisition are Mary L. Bennett (b. 1942), Flora Moore (b. 1951), Lucy P. Pettway (1930–2003), Missouri Pettway (1902–1981), Sally Mae Pettway Mixon (b. 1965), Sue Willie Seltzer (1922–2010), and Irene Williams (1920–2015). Several works by Thornton Dial (1928–2016) in a variety of media form another core part of this acquisition. Testing Chair (Remembering Bessie Harvey) (1995) is a throne-like chair engulfed by gold and silver roots constructed after the death of fellow artist Bessie Harvey. Other works by Dial commemorate the death of Princess Diana in 1997, including a drawing, The Last Trip Home (Diana’s Funeral) (1997), and a painting, Master of the Red Meat (1997). These were executed in series in the tradition of religious art cycles that memorialize the lives of holy figures. Two paintings, Refugees Trying to Get to the United States (1988) and Clothes Factory (1995), point to the struggles of migrants and the costs of industrialization. Also included in the acquisition is a work by Dial’s son, Thornton Dial Jr. (b. 1953). A Man Can Be a Star (1988), made from paint, tin, carpet, sunglasses, and industrial sealing compound, depicts a figure representing Ray Charles seated in a bright red chair at a red piano against a stark white background studded with red stars. Joe Light’s (1934–2005) Birdman Trainer (1987) depicts a human figure with birds perched on its head and shoulders. The composite

figure (a possible self-portrait, since the birdman’s hair resembles that of the artist) gazes upward, becoming a kind of intermediary between heaven and earth. Purvis Young’s (1943–2010) Saints (late 1970s), depicting abstracted figures with halos, is a painting on found pieces of wood carefully chosen for their texture, color, and form. Young’s Untitled (mid-1980s) is an example of one of the books of colleges that the artist assembled from the many drawings he made of some of his favorite subjects: buildings

“These exciting works by artists from the American South demonstrate remarkable qualities of imaginative and conceptual daring and material inventiveness across a wide range of media and styles.”

in the Overtown neighborhood of Miami, Florida, funerals, horses, boats at sea, and people. Paintings by Ronald Lockett (1965–1998) and Mary T. Smith (1905–1995) are also included in this acquisition. Among the acquired works on paper are two lively, patterned drawings by Nellie Mae Rowe (1900–1982) and two drawings each by husband and wife Henry Speller (1900–1997) and Georgia Speller (1931–1988), both of whom often drew sexually charged subjects derived from popular ArtDiction | 9 | January/February 2021

culture and television. “Prophet” Royal Robertson’s (1930–1997) Sevenly Out of Body Travels (1984) is an example of his drawn “visions,” a mythic combination of evangelism, science fiction, mass media, advertising images, and autobiographical motifs. Four examples of the so-called “gumbo” clay heads and busts by James “Son Ford” Thomas (1926–1993) from the later 1980s are among the outstanding sculptural works included in the acquisition. Developed after years of producing sculptures depicting the human skull, Thomas’s Untitled SelfPortrait (1987) includes the raised eyebrow and distinct lines of the artist’s own features. Three sculptures by Lonnie B. Holley (b. 1950) and two by Hawkins Bolden (1914–2005) create a rich personal cosmos from found objects. Holley paints, carves in sandstone, and assembles castoff objects into sculptures that are a poignant meditation on (in his words) “what we as humans have to deal with”—knowing how to wield power, finding equilibrium among life’s tumults, or confronting larger-than-life forces. Holley’s haunting composition of found metal, bone, and dried flowers in The Boneheaded Serpent at the Cross (It Wasn’t Luck) (1996) is an important example. Bolden, blind since he was eight years old, collected his materials and stored them in the crawl space beneath his house in Memphis, Tennessee. When he was inspired to create, he hammered, cut, twisted, and bent these items into small, masklike objects. A Leading Contemporary Art Museums in Italy to Become Vaccination Center The Castello di Rivoli has offered up its galleries to help the vaccination

news effort in Italy. The Turin museum will be the first cultural venue to reportedly transform itself into a vaccination center for the public. The pilot program will begin in March or April. Museum director Carolyn ChristovBakargiev stated that the museum is “well-equipped” for the initiative with the space needed to maintain social distancing. Climate-control, security, and timed entry protocols are also already in place, all of which are essential to smoothly running vaccine centers. “Our friendly museum guides are well-trained in monitoring the public,” ChristovBakargiev adds. The museum is partnering with the Rivoli health authorities on the initiative. The third floor of the museum, which sprawls 10,000 square feet, will be taken over for the purpose, while the museum’s public exhibition program will continue as usual on the second and first floors (once the locked down museum is permitted to reopen). Swiss artist Claudia Comte’s installation of murals will be visible while patients wait for their shots. The artist is also preparing a new audio piece with the vaccination center especially in mind. Italy was one of the worst-hit countries last spring when the pandemic emerged in Europe. The virus has since claimed 80,000 lives and infected 2.3 million people in the country, and its museums have remained closed since November 4, 2020, as the country has battled back a second wave of infections. From today, the nation is lifting the lockdown for museums in the “yellow” zones of its three-tiered system. The Castello di Rivoli won’t be so lucky quite yet as it is located in an orange zone. An exhibition by Anne Imhof titled “Sex,” and a group exhibition spanning centuries of various forms of

Courtesy Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Turin.

“Art has always helped, healed and cured— indeed some of the first museums in the world were hospitals. “Our buildings can continue to serve this purpose and fulfil our mission: arte cura—art helps.”

expressionist art, which both are set to open on March 15, will be on view on the floors below the vaccination center. “Art has always helped, healed and cured—indeed some of the first museums in the world were hospitals,” Christov-Bakargiev continues in her statement. “Our buildings can continue to serve this purpose and fulfil our mission: arte cura—art helps.” ArtDiction | 10 | January/February 2021

Museum of London Acquires Large Trump Baby Balloon The Museum of London has acquired a large balloon depicting an unflattering caricature of Donald Trump as a giant baby. Depicted in a diaper and waving his cell phone around, the sneering trump balloon was first flown over London’s Parliament Square in 2018 to mark the then president’s official visit to the UK and has since been used to express dissent at anti-Trump protests around the United States. The London museum first expressed interest in acquiring the balloon two years ago, and says it will conserve the object as part of its collection of protest ephemera, potentially displaying it in the museum’s future new home in West Smithfield in “the coming years,” according to an emailed statement. Museum of London director Sharon Ament stated that the balloon marks an important continuation of London’s rich history of political protests, which includes the Suffragette marches of the early 20th century right through to the Black Lives Matter protests last summer.

news “By collecting the baby blimp we can mark the wave of feeling that washed over the city that day and capture a particular moment of resistance,” Ament says in a statement. “A feeling still relevant today as we live through these exceptionally challenging times— that ultimately shows Londoners banding together in the face of extreme adversity.” The team behind the so-called Trump Baby reported that it donated the giant balloon to the museum, but it has kept a half-size version to continue to fly at other protests. It hopes that the balloon reminds people in future of the global politics of resistance that surrounded Trump’s term in office. “This large inflatable was just a tiny part of a global movement—a

Trump Baby. Photo courtesy of the Trump Baby World Tour Facebook page.

movement that was led by the marginalised people whose Trump’s politics most endangered—and whose role in this moment should never be underestimated,” the team says in a

BACH IN THE COMMUNITY APRIL 15, 2021

statement. It also hopes to prompt museum visitors “to examine how they can continue the fight against the politics of hate.”

exhibits ANSELM KIEFER Field of the Cloth of Gold January 24 – March 28, 2021 Gagosian Field of the Cloth of Gold is an exhibition of four new paintings by Anselm Kiefer. Since the 1970s, Kiefer’s work has explored the tension between beauty and terror, alongside the complicated relationship between history and place. Using literature of cultural memory, including poetry, the Old and New Testaments and the Kabbalah, the German painter provides material presence to myths and metaphors. He imbues the medium of paint with what have been described as startling and unconventional gestures and objects, juxtaposing it with organic and abject materials such as straw, sand, charcoal, mud and ash. Kiefer’s paintings undergo various transformations before finalized. They are cut, exposed to natural elements, burned and even splashed with acid in a way that depicts being reborn or made new. This technique along with the use of materials such as lead, concrete, glass, fabric, tree roots, or burned books creates a symbolic resonance. The exhibition’s title, Field of Cloth, refers to the historic peace summit between King Henry VIII and King Francis I that occurred five hundred years ago in a field in what is now Pas-de-Calais, France. The conference, centered around a strategic alliance between England and France, had the goal of outlawing war between Christian nations. The alliance was considered a key event in shaping Europe’s geopolitics until it dissolved, and war broke out one year later. Although Kiefer did not begin making these works with this event or title in mind, the connection became apparent and synchronous after their

Anselm Kiefer, Ein Wort von Sensen gesprochen (One Word Spoken by Scythes), 2019–20. Emulsion, oil, acrylic, shellac, straw, gold leaf, wood, and metal on canvas, 185 ⅛ × 330 ¾ inches (470 × 840 cm) © Anselm Kiefer. Photo: Georges Poncet.

completion. “The title is often not the explanation of the picture,” but is rather “an allusion,” Kiefer stated in an interview. He further describes history as a material he uses and synthesizes in his work,

The exhibition takes its title from a poem by the Iranian poet Forugh Farrokhzad (1934–1967). I Will Greet the Sun Again begins with Neshat’s most famous body of work, Women of Allah, 1993–97, and also features her early iconic video works such as Rapture, 1999.

“like clay for the sculptor or color for the painter.” As noted in most of Kiefer’s work, each painting’s title and symbols contain a literary and historical set of references. For example, Sichelschnitt (Sickle Cut) refers to the Manstein Plan (Sichelschnittplan), a war plan devised by the German Army during the Battle of France in 1940, while Beilzeit — Wolfszeit (Ax Time — Wolf Time) pays homage to “ Völuspá (Prophecy of the Seeress),” the first poem of the Poetic Edda of Old Norse mythology. Verse 45 of this poem is translated as “Ax-time, swordtime, | shields are sundered, / Wind-time, wolf-time, | ere the world falls.”

Shirin Neshat: I Will Greet the Sun Again February 19 – May 16, 2021 The Modern Shirin Neshat: I Will Greet the Sun

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exhibits Again surveys approximately 30 years of the artist’s video works and photography, investigating her passionate engagement with ancient and recent Iranian history. The experience of living in exile and the human impact of political revolution are also explored by Neshat. The exhibition takes its title from a poem by the Iranian poet Forugh Farrokhzad (1934–1967). I Will Greet the Sun Again begins with Neshat’s most famous body of work, Women of Allah, 1993–97, and also features her early iconic video works such as Rapture, 1999, Turbulent, 1998, and Passage, 2001. Monumental photography installations include The Book of Kings, 2012, The Home of My Eyes, 2015, and Land of Dreams, 2019, a new, ambitious work encompassing a photographic series and two videos. The exhibition journeys from works that address specific events in contemporary Iran, both before and after the Islamic Revolution, to works that increasingly use metaphor and ancient Persian

history and literature to reflect on universal concerns of gender, political borders, and rootedness. Throughout her career, Neshat has constructed symbolic worlds in which women and men assume cultural gestures and poses, often assembling and giving voice to real people who have lived through seismic events of recent history, including the Green Movement in Iran and the Arab Spring in Egypt. Neshat’s own seismic event was leaving Iran in 1975, when she was 17 years old, to study at the University of California at Berkeley. The Islamic Revolution (1978–79) and the Iran-Iraq war (1980–88) prevented Neshat from returning to her home country, separated from family. Being dislocated or between cultures, politics, and worlds figures prominently throughout her work. Shirin Neshat: I Will Greet the Sun Again is organized by The Broad, Los Angeles, and curated by Ed Schad, Curator, The Broad. The presentation in Fort Worth is

Shirin Neshat Untitled, from Roja series, 2016 LE silver-gelatin print 50 x 75 inches © Shirin Neshat/Courtesy the Artist and Gladstone Gallery, New York and Brussels.

made possible in part by a grant from the Fort Worth Tourism Public Improvement District.

Grace Before Jones: Camera, Disco, Studio September 26, 2020 – April 18,

Grace Jones, NYC, 1970s. Photograph by Anthony Barboza

2021 Nottingham Contemporary A cross between fan-fiction, study and biography, Grace Before Jones: Camera, Disco, Studio departs from the iconic singer’s career and her collaborations with artists, designers, photographers and musicians to question black image-making and gender binarism as well as both performance and the performance of life. In 1979, Grace Jones had her face molded by her collaborator and then-partner Jean-Paul Goude to produce multiple ultra-realist masks with the intent to have the masks worn by fellow musicians, performers and models. But they were also for herself. Grace Jones had multiplied, turned herself into sculpture and serial form – an armada of Grace. Departing from the observation that Grace Jones is not one but multiple, the exhibition Grace Before Jones: Camera, Disco, Studio

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exhibits unfurls a range of Grace Joneses: from disco queen to dub cyborg; Jamaican to French; runway model to nightclub performer; black to white; feminine to masculine. In embodying these seemingly opposite poles at once, Grace Jones entangles binary systems in style and in flesh. She both exemplifies and complicates theories of gender, sexuality, performance, race and cybernetics, discourses that flourished in parallel to her career. Dexterous in the art of self-reinvention, Jones’ modes of performance can be said to borrow from what academic Daphne Brooks has called ‘the theatricality of blackness’, whose techniques are, in the words of Malik Gaines, ‘able to articulate not the wholeness of black identity, but rather the constructedness of all identity’. Grace Before Jones presents a multifaceted portrait of the iconic singer. Travelling through time, it also seeks to give both a historical background and contemporary perspective to Grace Jones’ imagemaking, while expanding on stage design, music and fashion. The exhibition presents itself as an alternative way to write and tell art history.

From Chaos to Order Greek Geometric Art from the Sol Rabin Collection November 7, 2020 – April 4, 2021 Museum of Fine Arts St. Petersburg From Chaos to Order is the first exhibition to focus on the aesthetics of Greek Geometric art and the first to demonstrate how stylistic principles in visual art during the Geometric period reflect a characteristically Greek idea of “the beautiful” (kallos). From 900-700 BC, Greek art was reborn after a two-centuries-long

Greek (Olympia?), Dancing Bull, Eighth century B.C., Bronze, The Sol Rabin Collection.

Dark Age. During this period, one can trace the development of a new visual vocabulary that stressed clarity, balance and symmetry. These design principles appear surprisingly contemporary yet constituted the structural DNA of all subsequent Greek art, the essential and irreducible foundation that would give it its special character throughout classical antiquity.

between sound and image through sampling elements from art and popular culture, and reflects the anxiety and frustration of the current global pandemic and political crises. The exhibition will be on view in the gallery from January 21 to March 26, 2021, and will be accompanied by a musical performance in which Marclay’s collage No! serves as a score, on a date to be scheduled soon.

This exhibition brings attention to this formative period of Greek art, a period that also witnessed the invention of the Greek alphabet, the rise of the panHellenic sanctuaries (e.g., Olympia and Delphi), and the development of the organizational structure of the Greek city-state (polis). The exhibition is entirely drawn from the collection of Sol Rabin. His is the most important private collection of Greek Geometric art.

The voice is at the center of the exhibition. In a series of photographs showing screaming faces, cut and torn fragments from comic books, movie stills, and images found on the internet are arranged into haunting, mask-like composites, and then recorded by the camera. Capturing the paper’s inherent creases and tears, the photographs mix analog and digital elements, and investigate the computer screen as a contemporary physical surface.

Christian Marclay January 21 – March 26, 2021 Fraenkel Gallery Fraenkel Gallery is pleased to present new work by Christian Marclay, incorporating collage, video animation, and photography. The exhibition continues Marclay’s investigation into the relationship ArtDiction | 14 | January/February 2021

This exhibition marks the premiere of Fire, 2020, a hypnotic new animation. Using small pieces cut from comic books, the single-channel video work is an impressionistic representation of fire. Hundreds of photographs shown in rapid succession suggest a flip book, creating the illusion of a flickering, fiery mosaic in motion. Flames are also the subject of Raging Fire, 2020, a large

exhibits collage made of paper cutouts from comic book illustrations of fire. The piece transforms representations of all manner of war, catastrophe, explosion, and arson into abstracted yellows, oranges, and reds in a variety of styles. Also on view will be No!, 2019, a set of 15 original collages made from comic book fragments, and No!, 2020, a graphic score for a solo voice that comprises a facsimile of the 2019 collages. While earlier works such as Manga Scroll, 2010, incorporated onomatopoeias disconnected from their generative action, No! uses vocal utterances, facial expressions, and body movements to prompt a performance. Writes Marclay, “Like my earlier graphic scores dating back to the 1990s, the use of words that illustrate their sonic counterparts engages nontraditional visualizations of sound as a possibility for generating music.” As in his music and video works, which splice together found recordings and film footage, the comic book segments are

CHRISTIAN MARCLAY, Untitled (Crying), 2020 digital chromogenic print, 34 x 25 inches (framed) [86 x 64 cm], edition of 5 + 2 APs

culled and re- contextualized in vibrant, dynamic ways. Christian Marclay (born 1955) works in a sampling aesthetic, using fragments from the ephemera of popular culture to create new forms and meanings.

Marclay’s work has been shown in museums and galleries internationally, including recent major one-person exhibitions at Museu d’Art Contemporani de Barcelona and Los Angeles County Museum of Art, as well as Kunsthaus, Zurich; Museum of Contemporary Art, Chicago; San Francisco Museum of Modern Art; and the Whitney Museum of American Art, New York. Marclay received the Golden Lion award for best artist at the 54th Venice Biennale for his 24-hour virtuosic video piece, The Clock, which has been shown widely to great acclaim. His work is in the collection of Centre Georges Pompidou, Paris; Kunsthalle Zurich; Museum of Modern Art, New York; Musée d’Art Contemporain, Montreal; Philadelphia Museum of Art; San Francisco Museum of Modern Art; Tate Modern, London; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York, among others.

Architectural Photography— Internationally Inspired

alentina Jacks remembers always looking forward to art class as a kid. A native of Colorado, USA, she attended a local public school where she enrolled in various mediums from pottery, drawing and later film photography in high school. But likely it was her biannual summer trip that had the most influence on her work as an architectural photographer today. “My mom would take us to Rome every other summer to visit my grandparents, and the ancient architecture and cathedral paintings always inspired me from the contrast of modernity and nature in Colorado where I grew up. These mixed cultures inspired my own desire to reflect on and capture the fascinatingly diverse world around me.” At 15 years old, Valentina began to explore photography through dark room photography classes in high school. “My Italian grandpa used to have a dark room, and he was always showing me old memories and moments that he had

captured,” she recalls. “Seeing his passion and loving visual storytelling also inspired me to take this class and learn about the older process of developing photos by hand. My grandpa was also the first to buy me a digital camera around that time. Since then, I’ve loved documenting pretty much everything through the lens of a camera.” Valentina went on to study art direction in advertising at the University of Colorado Boulder, but she says the love of experimenting with various mediums still remains. “Although art classes and university taught me a lot, nothing compares to being in the real world and doing things firsthand,” she explains. “I moved to Amsterdam after university to take advantage of dual citizenship and live in an artistic city full of imaginative people. Being around a creative community while also experimenting with digital photography and design pushed me to learn more about my own interests and styles. I learn mostly through doing and exploration while

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Valentina Jacks, Shri Swaminarayan Mandir

Valentina Jacks, The Hotel Opera

Demonstrating a sense of self-awareness and environment in relation to subject, Valentina’s portfolio includes structures with character and a feeling of the old world. “From gold onion domes in Moscow, to art deco details in Prague, to crumbling old wooden cabins in Colorado, I find a variety of structures fascinating.” She believes that buildings reflect the culture in which they’re built and can create a subconscious experience in a person’s everyday life. Valentina is also inspired by exploring and expressing feelings and moments along the way. Traveling lends itself to capturing moments that are unfamiliar to her, keeping her creative mind open and observant. “From colorful tiled houses in Portugal to the perfectly geometrically placed

columns of the Vatican, each place brings its own history and feeling. When I moved to Amsterdam, I also began traveling to other nearby countries such as Belgium, France, Italy, Portugal and Russia, which deepened my love of architecture and the vast variety of beautiful styles,” she says. Valentina’s composition expertly includes symmetry and a generous amount of sky. “As a designer, I like things to be vibrant and minimal; therefore, big and colorful skies help create this feeling. It also helps the viewer to focus on the main object while also creating space for imagination.” She adds: “I am a sucker for symmetry, so I always try to seek out finding a visual balance in an image as well.” The Hotel Opera photograph is the perfect example and is one of Valentina’s most memorable. “I came across the hotel in Prague on a

Valentina Jacks, Roman Summer

simultaneously being inspired by creative idols such as film director Wes Anderson, art director Jessica Walsh, photographer Richard Mosse and many others.”

weekend trip while wandering around the city center. It was just off a main street and the pink building caught my attention out of the corner of my eye. It was a cold but sunny day, and I had to stop on the tram tracks to try to get the right angle,” she recalls. “I probably took about 50 photos before my friend started complaining to me to hurry up and get off the tracks. All of the others are similar moments where something just catches my eye and I have to stop mid-moment to capture it.”

She says art has taught her to reflect on her own outlook on life and how to see the world as other do. “[Art] pushes us to see and think differently and is a constant visual teacher without language borders. For me, it’s a universal connection and way of experiencing everything from the small details to the colorful moments in life. I hope that art can continue to push us all to keep exploring and seeing the world a little more vibrantly, even through the sometimes darker days.”

Valentina’s artistic journey along with the art she creates has had a huge impact on her life.

To see more of Valentina’s work, visit www. valentinajacks.com.

Valentina Jacks, Greee Top

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Valentina Jacks, Shri Swaminarayan Mandir

Valentina Jacks, Moscow

African Child, 2017-18 Oil on canvas. 155 x 154 cm

Valentina Jacks, Waterkant

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Valentina Jacks, Sassenheim Spring

Valentina Jacks, Vondel

Valentina Jacks, Amsterdam

Valentina Jacks, Bormio

Top Ten Structures in the City of Verona By Laura Kennedyg

Balcony of Julietâ&#x20AC;&#x2122;s house in Verona city..

ocated in Northern Italy, Verona is a wonderfully vibrant city for lovers of architectural delights. While conflict, passion and romance shaped the city, Verona has more to offer than just the love story of Romeo and Juliet. It has more than 2,000 years of well-preserved architecture, featuring stunning historical monuments like amphitheaters, beautiful

churches and palaces, just to name a few. Letâ&#x20AC;&#x2122;s examine the top ten structures in this grand city.

Museo di Castelvecchio Built circa the 1350s by Cangrande II, the Museo di Castelvecchio or the Castelvecchio Museum is an imposing structural building featuring seven brick

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towers. It was initially built as a defensive structure, designed to provide access to the city via River Adige. The structure was severely damaged by WWII bombings. It was later renovated by the world-famous architect Carlo Scarpa, who blended the building’s medieval architecture with modern building materials like steel and bare concrete. It houses a diverse collection of frescoes, Shakespeare Renaissance artifacts, paintings, and jewelry. Key highlights include the Pisanello room filled with frescoes, Flemish art and artifacts designed by Venetian and Renaissance Veronese painters, and the Cangrande coat of arms. You will also see sculptures and paintings from the 12th century to the 18th century.

Arena Built around the first century, the Arena is a Romanstyle amphitheater, which used to host circus acts, music, dancing, processions, plays and all sorts of games. Around the 16th and 17th centuries, the amphitheater hosted a wide range of games and tournaments, drawing viewers and participants from as far as Sweden. Today, the Arena hosts various cultural events, especially during the summer festivals where you can catch up with some operas. It’s open to visitors throughout the year.

Key highlights include the Pisanello room filled with frescoes, Flemish art and artifacts designed by Venetian and Renaissance Veronese painters, and the Cangrande coat of arms. Juliet’s House If you are looking for a romantic getaway in Verona, then the La Casa di Giulietta or Juliet’s House should be your first stop. This Shakespeare Renaissance house is one of the most popular attractions in Verona. There exists a statue of Juliet in the courtyard, where visitors rub its right breast, hoping to find some luck in love. As much as most of the stories about this house are fictional, the emotions that draw visitors to it are real. On the walls, you will see millions of graffiti scribbles, mainly about love and romance.

Roman amphitheatre Arena on Verona Street.

Torre dei Lamberti

Piazza delle Erbe and Palazzo Maffei.

Rising 84m high, the Lamberti Tower or the Torre dei Lamberti is a tower overlooking the city of Verona whose construction started circa 1172. It was completed around 1463. Several modifications have been undertaken over the years, such as raising the towerâ&#x20AC;&#x2122;s height. The tower still retains two of the bells installed during ancient times. The two bells are Rengo and Marangona. Rengo was usually rung to call council meetings while Marangona used to warn the citizens of fire. As the tallest tower in the city, it provides beautiful 360-degree views for those brave enough to climb to the top.

Santa Maria Antica Built in the 1830s, the Church of Santa Maria Antica was a private church that was mainly used by the Scala Family. It currently houses the stunning tombs of Cansignorio, Mastino II and Cangrande, which are considered one of the most impressive examples of gothic charm. Despite its small size, the Santa Maria

Antica has a wonderful and inspiring atmosphere, featuring three naves, two apses and two historical frescoes.

Basilica of San Zeno Also known as San Zenone or San Zeno Maggiore, the Basilica of San Zeno is without a doubt one of the best-preserved structures of Romanesque architecture. It was originally built to house the relics of San Zeno. A few centuries later, the basilica was rebuilt to serve as a Benedictine monastery for German Roman emperors. The entire basilica is a work of beautiful architecture, featuring masterful sculptures, majestic bronze doors, and large rose windows. What strikes visitors the most about the Basilica of San Zeno is the warm colors of its facade, featuring alternated bricks and tufa stone.

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Palazzo Maffei

Arche Scaligere

Located a few minutes from Juliet’s House, the Palazzo Maffei is a 15th century Verona museum, built by Marcantonio Maffei. Completed in 1668, its Renaissance style is unmissable. It features evenly spaced identical arches, baroque decorations and rectangular windows. You will also come across inscriptions on walls, shells above openings, and 5 statues, representing Hercules, Venus, Jupiter, Minerva, and Apollo. All the statues are made of local marble, apart from Hercules. Outside the palace is a column of St. Mark, which is the symbol of Venice.

Popularly known as the Scaliger Tombs, the Arche scaligere is a funerary complex in Verona, built by one of the most powerful families in the city – the Della Scala family. The entire funerary complex is covered with beautifully decorated arches, all built by different sculptors. The tombs were built for Mastino I, Bartolomeo I, Cangrande II and Bartolomeo II. The arch of Cangrande I is the most notable and significant one.

Piazza Dei Signori

The Piazza Bra or the Bra as locals call it, is one of the biggest Piazzas in Europe. Built around the first century AD, this city square is currently the location of the town hall, several historical palaces, as well as the Palazzo Della Gran Guardia, with some buildings being more than 2000 years old.

The Piazza dei Signori was originally the seat of power in the city of Verona. All the important buildings of the former government are situated around this square, including the seat of power of the Della Scala family and the court. On the other side of the square is the Loggia del Consiglio, arguably the most beautiful buildings in the square. Built around the 1470s by renowned architect Fra Giocondo, this Venetian Renaissance masterpiece features columned double windows as well as several statues of famous Italians. Other striking structures around the square include the Palazzo del Podestà, Palazzo dei Tribunali or the court and the Palazzo dei Giudici, which dates back to 1575. Scaliger tombs, a group of five funerary monuments celebrating the Scaliger family.

Piazza Bra

Verona is stunningly rich when it comes to historical structures and buildings. From Romanesqueera churches to Renaissance buildings, there is something for everyone who savors historical structures. And the good news is, most of the top ten structures of Verona are located within the same area, thus making it easy to visit them all within a few days.

Minimalistic Perfection M

aria Osminina is an artist who touches many mediums including interior design. A minimalist signature style that evokes a sensual feel by including natural texture, her work combines vintage and contemporary furniture with intentional meaning. “I love to find balance in forms, color and emptiness so each component becomes an integral part of a whole space,” she explains. “The emptiness is essential and should be precisely sculpted.” Maria first became interested in art at the age of 13 and began to study art at a private art studio. “There was a completely indescribable chaotic atmosphere in which there was a lot of freedom and creativity. It resonated a lot with me, and I understood that I wanted to move in this direction,” she recalls. “My parents helped me find my first art teacher, and I’m very grateful to them for

it. The teacher was wonderful, and we did a lot of hard work together. It was like a whole new world was opening to me.” Maria went on to study art at the Academy of Mukhina and later attended Saint-Petersburg University of Technology and Design for a total of nine years. Her studies included academic drawing, painting and composition, which Maria says became fundamental for her development as an artist. “At the period of my education, I felt that techniques and materials in the world are constantly changing, and to truly express myself in the present time, I needed to study and adapt new technologies to my artistic workflow.” Although fond of design and architecture for a long time, it wasn’t until she discovered the work of architecture Tadao Ando that she switched her focus to this medium. “I understood that

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Maria Osminina, House

Maria Osminina, Beige

level of influence on a human through space can be as powerful as art is,” she says. Marian began to design furniture for her spaces when she realized that she needed certain lines and shapes that she couldn’t find in works of contemporary design. Maria states: “It is important for me to create spaces on the edge of design and art that have a strong sense of freedom. Each object fills its space creating relative internal and external shapes. Emptiness has its own form, which fills curves of furniture and walls and creates a shape that is equal to the space’s content.” Paradoxically, Maria’s minimal use of color is arguably the most striking part of her designs. Color, she says, is very important to her. “I prefer natural and sophisticated colors that live in space appearing from materials and light,” she says. “Such decisions aren’t monumental and trendy, but they contain components that form the essence of space.”

Maria says that art is the endless source of her inspiration along with her favorite artists, including Anish Kapoor, Cy Twombly and Richard Serra. “Tarkovsky has a strong influence on me. He is truly Russian and very global at the same time,” she adds. The Arte Povera movement also speaks to Maria. “New poor art raised problems of humanism and society creates monumental objects and installations from very basic objects.” Her art, curatorial work, experience in publishing a book, and typography have all influenced Maria’s work as a designer. “In general, I do not feel only as a designer, rather I work as an artist, and everything else are tools and techniques for me,” she explains. “I’m inspired by the beauty that is not what we see on the surface but something that is true and inside of things.” The beauty in art is its fullness and imperfection to Maria. “It speaks of what surrounds us through the senses, and as a mirror exposing. Looking at it, you can understand who you are, if you want.”

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Maria Osminina, Silence

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Maria Osminina, Silence

Maria Osminina, Venice

â&#x20AC;&#x153;I prefer natural and sophisticated colors that live in space appearing from materials and light.â&#x20AC;?

Maria Osminina, Wai Sabi

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Maria Osminina, White

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Maria Osminina, Time Boundaries

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Futuristic Library Designs By Chris Oltree

one are the days when a library is designed to serve as just a simple building with a sanctuary of books. As a result of technology and trailblazing designs, it is now a beautiful space with dynamic tools like podcast studios, game developing, and other activities. There is also a massive difference in the way these libraries are designed. The design used in making libraries in this generation ensures that it is a centerpiece and attracts your everyday millennial. Here is a list of top libraries around the world that have a futuristic architecture design. National Library Doha, Qatar Designed by Dutch OMA with Vincent Kerstin as the senior Architect, this impressive 485,000-square-foot library is the

home of over a million books from the University Library, the Doha National Library, and the Public Library. Instead of a reception desk, you will encounter four media walls located at the Library entrance. The walls are used to promote books, events, and collection. The library also has 11 interactive totems. It offers guests with content presented innovatively and intuitively. It is set up in a way that allows 22 people to interact. The library also has a Wayfinding Kiosk to help visitors move around and a heritage area with 22 touch screens that guests can use to browse through to learn about the library and the artifacts they can find. Tianjin Binhai Library The Tianjin Binhai Library structure is concentrated around a giant

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sphere, which is used to house auditoriums. The Auditorium can be viewed through an eye-shaped window building facade. The auditorium is seen as a pupil. It is no wonder the Library is known as the eye of Binhai. The bookshelves in the library resemble a topographical map that seems to go upward into the ceiling. The shelves can be used as both the stairs and seating area. The library is known to hold up to 1.2 million books. Guests, even the children and elderly, can easily access the library, the auditorium, main entrance, terraced access, and the floors. The first two floors of the library are mainly reading areas and lounges. The upper floors are used as offices, computer labs, meeting rooms, and audio rooms. The library also has a rooftop patio. The building was designed by a Dutch company MVRDV. Hunt Library Nothing says future like the Hunt Library in North Carolina, USA. The library design is used to encourage creativity, reflection, and awe. It also offers quiet places to study as well as places for study groups to comfortably assemble and collaborate. The library has natural light flood areas, and a skyline reading room found on the top level. When you find your way to the library’s top stories, you will get an expansive view of Lake Raleigh. It also has solar panel lines. It also has an automated book retrieval system. Almost a third of the products used by the architectural practice, Snøhetta are recyclable. Children’s Library at Concourse House Another futuristic Library is the Children’s Library at Concourse House. Although the American Studio MKCA designed a blueprint that is simple, it is a library and a shelter that offers transitional housing and other social services for women and their children. The main focus of this library is to provide activities for children who are below the age of nine. The library offers space and opportunity for the kids to be imaginative and creative. The library has 1200 children’s books. It also features a barrel-vaulted ceiling and serves as a backdrop to the

activities of the library. It has upholstery puffs that can be used for seating, and children can sit comfortably on the floor. It has an erasable writing surface for kids to use and also LED lighting. The library also offers space for reading, story time, and other events that are organized around books. Conclusion Thanks to futuristic innovation of renowned architects, a library is now more than a place where one reads. Modern libraries ensure those who visit will have a comfortable place to do their reading. But that’s just the beginning. Seating, lighting, ease of access to books and inventory are the cornerstone to some of these new designs. As technology advances, so will the designs of the structures that do more than simply house books.

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Surrealism in 3-D

icole Wu is 3-D designer that creates a dreamlike atmosphere while making an unnatural space look natural and realistic. Her creative influences started early. She was brought up in a household where art was all around. “My mum was a florist, and my godmother baked the most beautiful treats,” she says. Nicole began studying graphic design, which ultimately led to her discovery of 3-D, animation and motion design. “In the first month of sharing my work, I received messages from people who loved my style and wanted

to work with me. The overwhelming support I had early on urged me to explore more into a 3-D career,” she says. “I decided from the start that I was going to teach myself and try to utilise all the 3D learning the internet has to offer.” Nicole’s portfolio is filled with soft colors and pastels. “I have always been inspired by pastel colors and the way the sun naturally softens a scene in the afternoon,” she explains. Nature and architecture are themes that are also interwoven in Nicole’s designs, as they are a source for inspiration. She often examines her surrounding environment, tak-

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Nicole Wu, Relax Among the Clouds

Nicole Wu, Pool Party

ing note of shapes, colors and compositions. “I’ve always admired architecture and often reflect on the way a structure can change your mood when it’s placed in a surreal space surrounded by nature. I create places and structure to better explore the effects of architectural shapes and color palettes.” Using software like Cinema 4D, Octane and Photoshop, Nicole likes to first build simple shapes and then proceeds to add lighting and materials. “It usually takes a while because I love to keep shifting and change the little

things. Sometimes I need someone to tell me to stop,” she admits. Nicole, like many artists, believes art has had a positive influence in her life. “Art has enabled me to express my ideas, opinions and feelings in a way that allows other people a glimpse into my world. The creative process is one of constant reflection, adjustment and improvement which keeps me on my toes.” To see more of Nicole’s work, go to https://www.mipic.co/nicolemadethat.

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Nicole Wu, Baketball in Heaven

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Nicole Wu, Peaceful

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Nicole Wu, Beige Velvet

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Nicole Wu, Doorway to Paradise

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Nicole Wu, Velvet Sanctuary

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Nicole Wu, Staircase to Wherever You Desire

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artist & ad index

Page 15 Bric Arts Media https://www.bricartsmedia.org Page 47 International Sculpture Center https://sculpture.org Page 16 Valentina Jacks http://www.valentinajacks.com Page 3 Jackson’s Art Supplies jacksonart.com Page 11 Mesa Arts Center http://mesaartscenter.com Page C3 The Museum of the City of New York https://www.mcny.org Page 32 Maria Osminina www.lehmannmaupin.com C2 Pro Tapes & Specialties www.protapes.com/products/artist-tape

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Page C4 RoGallery https://www.rogallery.com Page 48 Nicole Wu https://www.mipic.co/nicolemadethat

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The Stettheimer Dollhouse

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auction.rogallery.com www.303gallery.com