36 VISIONARIES IN ART, DESIGN, FASHION & MORE
SPRING 2019 ISSUE NO 12
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FEATURES 96 SPEAKING VOLUMES Designer Jacques Grange reimagines a classic New York apartment as a stunning showcase for a masterful mix of art and design. By Vicky Lowry 106 FAITHFUL ADAPTATION New Orleans architect Lee Ledbetter gives a storied French Quarter home a sympathetic renovation that honors its past while bringing it up to date for a dynamic young family. By Jacqueline Terrebonne 116 THE WABI-SABI WORLD OF BOSCO SODI Whether he’s creating mixed-media canvases in his Brooklyn studio or devising a monumental sculpture at Casa Wabi, his creative-arts compound in Mexico, Bosco Sodi has a gift for infusing raw materials with beauty and emotion. By Stephen Wallis 122 ABOVE & BEYOND In La Jolla, California, architect William T. Georgis breathes new life into a landmarked midcenturymodern residence with his one-of-a-kind approach to combining high-wattage art with exceptional custom furnishings. By James Reginato
Lee Ledbetter reworked this Italianate mansion in New Orleans for homeowners Sydney Torres IV and Selina White, seen here with their daughter, Sefina, alongside the newly added infinity-edge pool.
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142 TERRA FIRMA A noble Spanish family taps in-demand designer Isabel López-Quesada to add a home to its centuries-old vineyard estate. By Andrew Ferren
PIETER ESTERSOHN
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134 LIFE IMITATES ART Art, design, and fashion converge in moments of unexpected visual synchronicity. By Stefanie Li
800.929.DIOR (3467) DIOR.COM
96 Clockwise from top: A living room in a Jacques Grange– designed New York apartment. Architect Jean Nouvel’s extraordinary National Museum of Qatar. Mali hand-cast bronze vases by Jaimal Odedra, one of our Creative Minds. Pat Steir’s Two Blues (2013).
60 DEPARTMENTS 20 EDITOR’S LETTER By Jacqueline Terrebonne 29 THE ARTFUL LIFE The latest news in the worlds of art, culture, architecture, and travel. 38 THE ARTFUL LIFE: HOME Design discoveries for transforming outdoor spaces. 40 ARTISAN Ceramist Frances Palmer handcrafts a seven-piece collection of Greek-inspired pottery exclusively for Aerin. By Jill Sieracki 16
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42 BOOKS A new tome provides a look inside the many residences of art historian Sir John Richardson, painting an intimate portrait of his spectacular life. By Jill Sieracki 46 TRENDING TALENT Four artists who are having breakthrough moments in their burgeoning careers. 54 DESTINATION Antwerp emerges as a culturally rich city teeming with dazzling additions to its historical offerings, headlined by Axel Vervoordt’s multiuse complex, Kanaal. By Melissa Feldman
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CLOCKWISE FROM TOP: THOMAS LOOF; IWAN BAAN; ARIAN CAMILLERI; COURTESY OF LOCKS GALLERY
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Clockwise from left: Bosco Sodi in his studio in Red Hook, Brooklyn. Picture Day (2018) by Creative Mind Derek Fordjour. A Spanish estate devised by Isabel López-Quesada.
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116 60 MILESTONE A look back at the 50-year career of artist Pat Steir, who is unveiling two major museum commissions in 2019. By Lucy Rees 62 SPOTLIGHT Outdoor installations from artists Joseph La Piana, Mark Manders, and Simone Leigh enliven Manhattan’s public parks this spring. By Jacoba Urist 64 AUCTIONS Notable sales from around the world. By Jeannie Rosenfeld 66 REAL ESTATE New York’s High Line is experiencing a second wave of architecturally driven development. By Geoffrey Montes
71 CREATIVE MINDS These exceptional visionaries are pushing the boundaries in the fields of interiors, furniture design, winemaking, architecture, fashion, and more.
A Ron Arad Blovoid 2 chair punctuates a Jacques Grange–designed New York apartment filled with art by Antony Gormley, Henry Moore, and Pablo Picasso, along with a Vladimir Kagan sofa and Jean Prouvé lighting. Photography by Thomas Loof.
150 SOURCES 152 IN FOCUS Michael Strahan, cohost of Good Morning America, explains why he added a Jean-Michel Basquiat artwork to his collection. As told to Jill Sieracki
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Go to galeriemagazine.com, or call 818-487-2019 (in the U.S.) or 855-664-4228 (outside the U.S.).
CLOCKWISE FROM TOP LEFT: DOUGL AS FRIEDMAN; COURTESY OF THE ARTIST AND JOSH LILLEY; RICARDO L ABOUGLE
DEPARTMENTS
COVER
68 CONCIERGE The Cultivist shares the art and design highlights of Milan—both new and old. By Patrick Finn
www.hickor ychair.com/davidphoenix
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Right: Douglas Friedman snapped this portrait outside Bosco Sodi’s studio in Red Hook, Brooklyn. Clockwise from left: With my husband, Austin, and Jaimal Odedra at the Yves Saint Laurent Museum in Marrakech. Design details in my hotel suite at La Mamounia. Silvia Furmanovich’s Water Lily marquetry clutch. The cover of my new book with Jeffrey Bilhuber.
special portfolio, Galerie’s editorial director, Lisa Fayne Cohen, and our team of editors culled a group of 36 incredible talents from the worlds of art, architecture, fashion, design, winemaking, and more. Of course, Jaimal made the list—as did artist Derek Fordjour, curator Roya Sachs, and jewelry designer Sylvia Furmanovich, to name just a few. Meet them all starting on page 71, then take an even deeper dive with incredible extra content on galeriemagazine.com and on our Instagram, @galeriemagazine. The parade of virtuosos extends throughout every page of this issue. We stop by the multimedia artist Bosco Sodi’s sprawling studio as well as the cozy atelier of trending talent Raúl de Nieves. Plus, there are extraordinary homes conceived by Jacques Grange, William T. Georgis and Ilya Mirgorodsky, Lee Ledbetter, and Isabel López-Quesada, who all add their unique viewpoint to any space they devise. Also, I’m thrilled to announce the new book I wrote with another fabulous designer, Jeffrey Bilhuber. Filled with dazzling spaces and tips on how to create them, Everyday Decorating (Rizzoli), out this spring, is chockablock with inspiration. Because what more do any of us want than to have someone unleash our creativity within?
JACQUELINE TERREBONNE, Editor in Chief editor@galeriemagazine.com Instagram: @jpterrebonne 20
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FROM TOP: DOUGL AS FRIEDMAN; COURTESY OF JACQUELINE TERREBONNE (2); COURTESY OF RIZZOLI; COURTESY OF SILVIA FURMANOVICH
ount me among the droves who’ve lately been flocking to Marrakech. Naturally, I fell in love with every detail at the Jacques Garcia–designed La Mamounia and was blown away by Majorelle Garden. But despite all the Instagrammable moments, nothing proved more inspiring than a quiet lunch at the Yves Saint Laurent Museum’s sun-filled café, Le Studio, with museum director (and landscape designer) Madison Cox and creative multihyphenate Jaimal Odedra. Madison shared plans for the foundation’s no-fee exhibition space—which is currently hosting a Brice Marden show— and talked about the benefits of free access to the community. In turn, Jaimal discussed saving regional craftsmanship by utilizing Moroccan artisans and detailed his own show of portraits of people from Morocco and India, which was opening in a few days. I left filled with ideas as well as the most exquisite pissaladière, a savory Provençal tart. It’s those kinds of conversations about ingenuity and originality that inspired our very first Creative Minds issue, which celebrates visionaries who are reinventing the limits of their fields. For this
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CULTURE • DESIGN • TRAVEL • SHOPPING • STYLE
/ D E S T I N AT I O N S /
ISLAND-HOPPING
JIN FUKUDA
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ontemporary art, striking architecture, and natural beauty combine to stunning effect on the magical islands of Setouchi, an ancient region that includes Japan’s Seto Inland Sea and its surrounding coastal areas. The archipelago’s origins as an unlikely art oasis date to the late 1980s, when the Japanese billionaire Soichiro Fukutake transformed a neglected island, Naoshima, into the Benesse Naoshima Art Site, which now includes Teshima and Inujima islands. These days, droves of art and design lovers make the pilgrimage to see sites like Yayoi Kusama’s
A stunning light-filled structure designed by Japanese architect Sou Fujimoto welcomes visitors at the Naoshima art island. Crafted in mesh-like white metal, it was conceived for the 2016 edition of the Setouchi Triennale. GALERIEMAGA ZINE.COM
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/ DESIGN /
SERENITY NOW On the rue de Lille in Paris, Chahan Gallery presides as a monochromatic sanctuary rich with textures and materials. Inside its new expansion, a creamy monolithic ceramic wall by Peter Lane dominates the space yet doesn’t distract from the quiet beauty of a rock-crystal screen or a leather-on-suede marquetry console. “All of this sets an atmosphere of comfort and serenity that is characteristic of the interiors I design,” says founder Chahan Minassian, who recently gained much acclaim for the elaborate spaces he devised for the renovation of the famed Hôtel de Crillon. Minassian’s original location next door is a curation of vintage finds and offers an up-close look at the design pieces that make the Beirut-born talent—who is currently planning a collaboration with antiquities dealer Colnaghi in Venice—one of the world’s most in-demand architects, antiquaires, and furniture designers. chahan.com —JACQUELINE TERREBONNE
/ CUISINE /
A trip to the Marais is no longer necessary to experience the bistronomy trend that’s swept Paris. The team behind the beloved New York bistro Mimi is opening another downtown gem called Babs this spring. Expect fresh takes on French classics such as this chicken ballotine with a decadent side of pommes dauphinoise. babs.nyc —J.T.
TRÈS COOL
COUNTERCLOCKWISE FROM TOP LEFT: COURTESY OF SETOUCHI TRIENNALE (2); EFREN HERNANDEZ; JÉRÉMIE BEYL ARD AND VINCENT LUC
ocean-facing pumpkin and the Tadao Ando–designed Chichu Art Museum, which houses James Turrell’s magnificent Open Sky installation. Less known, however, is the Setouchi Triennale, a sprawling, multisite exhibition held every three years across 12 neighboring islands. Launched in 2010 and presented in seasonal installments—spring (taking place this year from April 26 to May 26), summer, and fall—the event offers visitors a chance to explore the more remote islands such as Teshima and Honjima. With the homogenization of the global biennial, Setouchi sets itself apart with a commitment to revitalize the region’s unique history and culture. This year’s theme, “Restoration of the Sea,” addresses local issues like the From top: The artist duo Yodogawa acceleration of globalization and Technique’s giant installation was the aging and declining created from refuse population of the islands. that washed up on the islands. An (Inujima, one of the smallest aerial view of participating islands, has seen its Takamatsu Sunport population shrink to just 50 over in Setouchi. the past half-century.) Major international artists will create ambitious site-specific projects (which extend to theater, dance, and performance) that take place in abandoned buildings and traditional homes, and often involve the whole community. Even local cuisine gets the artistic treatment, with creatives invited to put a contemporary spin on traditional dishes. As director Fram Kitagawa says, “It’s something you cannot experience inside of a museum.” setouchi-artfest.jp LUCY REES
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/ A R T FA I R S /
CULTURAL OASIS
Above: The latest art additions to Marfa are John Cerney’s larger-thanlife plywood murals based on the James Dean film Giant, shot there in 1956. Left: A 2018 aluminum sculpture by Anna Fasshauer will be presented by Nino Mier Gallery.
/ MUSEUMS /
SAY IT AIN’T SOANE
The exterior of Pitzhanger Manor. Right: The upper drawing room, with handpainted Chinese wallpaper.
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Pitzhanger Manor, the West London country residence of visionary British architect Sir John Soane, is reopening on March 16 after a threeyear, nearly $16 million conservation and restoration project. “The manor has undergone many physical changes to bring the architecture and interior back to Soane’s original design,” says John Leslie, curator of Pitzhanger Manor and Gallery Trust. The home’s adjoining gallery, built in the 1930s, is also going to be upgraded and will host three major exhibitions each year highlighting work by artists, designers, and architects. The inaugural show features Anish Kapoor, whose sculptures will reflect Soane’s use of mirrors to create and diminish space. “The exhibition program and Anish Kapoor’s work will look to reanimate the spirit and invention of Soane’s ideas,” says Leslie, “connecting with the present and offering visitors new ways of looking and thinking about the world.” pitzhanger.org.uk —ASHLEY PETRAS
FROM TOP: DOUGL AS FRIEDMAN; COURTESY OF NINO MIER GALLERY, L.A. AND KOLN; ANDY STAGG; ANGELO HORNAK
Nestled among a vast expanse of desert in West Texas, the tiny city of Marfa has been an unexpected arts hot spot ever since New York artist Donald Judd set up shop there in the 1970s. This April, design connoisseurs will have another reason to visit when the Marfa Invitational, Marfa’s first art fair, debuts. “The fair is conceived as an antidote to the peripatetic pace of gallery-hopping and the circus-like atmosphere of today’s mega art fairs,” says founder Michael Phelan, who first visited in 2005 and later transformed the town’s original Mobil station into a 4,000-square-foot art gallery dubbed United Artists Ltd. Phelan, an artist, then joined forces with New York gallerist Melissa Bent— now his wife—to create a unique, immersive art fair experience. Running from April 4 to 7, the Marfa Invitational will feature ten handpicked galleries, ranging from smaller spaces like James Fuentes and Half Gallery to the more established Nino Mier and Marianne Boesky, each presenting a single artist’s work at the Hotel Saint George. “Here, time moves at a different speed,” says the photographer Douglas Friedman, who is on the board with other industry luminaries, including artist David Salle and art adviser Kimberly Gould. “It’s such an amazing place to experience art—you’re never rushed.” L.R.
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DESERT ROSE
Much like the dazzling crystal clusters that “blossom” in arid Middle Eastern deserts, the National Museum of Qatar springs almost mirage-like from the unforgiving landscape. Indeed, Pritzker Prize–winning architect Jean Nouvel admitted that these so-called desert roses (made of gypsum) were the inspiration for the 560,000square-foot structure, which he crowned with a staggeringly beautiful array of over 539 interlocking concrete disks, which range from 46 to 285 feet in diameter. Opening March 28, in Doha, the highly anticipated space showcases 50,000 years of Qatari history, archaeology, and culture—a journey through its 11 galleries spans nearly a mile. Funded by the country’s government, the nearly $450 million museum is organized around the restored palace of Sheikh Abdullah bin Jassim Al Thani, once home to the royal family and the original site of the National Museum. Inside, treasures abound, including a 19th-century carpet embroidered with 1.5 million Gulf pearls, plus newly commissioned works by Iraqi artist Ahmed Al Bahrani and French sculptor Jean-Michel Othoniel. qm.org.qa —GEOFFREY MONTES
/ FILM /
The Crown’s Matt Smith embodies the late photographer Robert Mapplethorpe in a gritty new biopic directed by Ondi Timoner, a two-time winner of the Sundance Film Festival’s Grand Jury Prize. Mapplethorpe pulls no punches in its depictions of his complicated relationships, often-explicit oeuvre, and premature death due to AIDS-related complications in 1989. Simultaneous to the film’s March 1 release, the Guggenheim mounted “Implicit Tensions: Mapplethorpe Now,” a two-part exhibition on view through July 10 and then again from July 24 to January 5, 2020. The show displays many of the 200 photographs and objects gifted to the museum in 1993 from the Robert Mapplethorpe Foundation. The first segment presents the full range of Mapplethorpe’s work, including a number of the artist’s original Polaroids, collages, nudes, flower photography, and best-known self-portraits. The latter installment will show pieces by contemporary artists such as Rotimi Fani-Kayode, Lyle Ashton Harris, and Glenn Ligon, whose modern-day portraiture was influenced by Mapplethorpe’s groundbreaking images. guggenheim.org JILL SIERACKI
PICTUREPERFECT
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/ D E S T I N AT I O N S /
TO GOOD USE The word craft is now applied to everything from furniture to beer—which makes this the perfect time to explore its meaning, both practical and cultural. “Useful/Beautiful: Why Craft Matters” will do just that when it opens on March 23 at Harewood House, a landmarked 18th-century home in Yorkshire, England, that boasts plenty of craft of its own, including interior architecture by Robert Adam and Thomas Chippendale furniture. Curated by the design critic Hugo Macdonald, the exhibition features the work of 26 British talents in furniture, metalwork, textiles, glass, and other fields, as well as three site-specific installations by the contemporary British designers Max Lamb, Faye Toogood, and Anthony Burrill. harewood.org —PILAR VILADAS
CLOCKWISE FROM TOP LEFT: IWAN BAAN; PAUL BARKER, COURTESY OF HAREWOOD HOUSE TRUST; COURTESY OF THE HAREWOOD BIENNIAL; COURTESY OF SAMUEL GOLDWYN FILMS
/ ARCHITECTURE /
INT RODUC ING T H E N EO - CONTOUR C H A IS E
sutherland f urniture.c om
lu x ur y a t e ve r y an gl e
What’s On View DE YOUNG MUSEUM, SAN FRANCISCO THROUGH MAY 27
Monet: The Late Years
In the last decade of Claude Monet’s life, the artist produced increasingly bolder and more abstract works. The exhibition spotlights this fascinating period with 50 canvases created between 1913 and his death in 1926. Don’t miss the numerous examples of Monet’s beloved water lilies, painted in his garden at Giverny. deyoung.famsf.org
MUST-SEE SPRING EXHIBITIONS IN THE U.S. AND ABROAD
NATIONAL GALLERY OF ART, WASHINGTON, D.C. MARCH 24–JULY 7
Tintoretto: Artist of Renaissance Venice
Although considered one of the great lateRenaissance artists, Jacopo Tintoretto has never had a retrospective in North America. This exhibition includes a series of major loans previously unseen in the U.S. First shown last year in Venice in celebration of the 500th
TATE MODERN, LONDON THROUGH JUNE 9
VAN GOGH MUSEUM, AMSTERDAM THROUGH MAY 26
Hockney–Van Gogh: The Joy of Nature
The work of Vincent van Gogh and David Hockney, who were born nearly a century apart, displays the artists’ penchant for vibrant colors and experiments in perspective. In this blockbuster exhibition, Hockney’s depictions of the English countryside are juxtaposed with some of Van Gogh’s most famous canvases, exploring the unmistakable influence the Dutch Postimpressionist had on the British painter. vangoghmuseum.com
A provocative Surrealist painter who never found the fame of her male contemporaries, Dorothea Tanning is having her first major retrospective in 25 years. Organized in conjunction with the Reina Sofia in Madrid, the show features 100 works from her seven-decade career, including her magnificent 1942 self-portrait, Birthday, which caught the attention of her future husband, Max Ernst, as well as her pioneering soft textile sculptures, installations, and largescale late works. tate.org.uk MONTREAL MUSEUM OF FINE ARTS THROUGH SEPTEMBER 8
Thierry Mugler: Couturissime
With a distinctive futuristic-glam aesthetic, French designer Thierry Mugler staged some of the most spectacular fashion shows of his time. Expect to see more than 140 of his highly celebrated pieces, designed between 1973 and 2001, as well as collaborations with Helmut Newton, Dominique Issermann, and David LaChapelle. mbam.qc.ca Clockwise from top: Jerry Hall with fashion designer Thierry Mugler. David Hockney and a detail of May Blossom on the Roman Road (2009). A look from Alessandro Michele’s Gucci fall/winter 2016–17 collection at The Met’s Costume Institute. Detail of Claude Monet’s Water Lilies (1914–17). 36
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anniversary of his birth, the 50 paintings and more than a dozen works on paper will be complemented here by two separate exhibitions on Venetian prints and drawings from the same era. nga.gov METROPOLITAN MUSEUM OF ART, NEW YORK MAY 9– SEPTEMBER 8
Camp: Notes on Fashion
Curator Andrew Bolton will use Susan Sontag’s 1964 essay “Notes on ‘Camp’ ” as the framework for this exhibit, charting camp’s trajectory from the court of Versailles—where the term was coined— to the present day, where designers push boundaries further each season. metmuseum.org —LUCY REES
CLOCKWISE FROM TOP: © THE HELMUT NEWTON ESTATE; JEAN-PIERRE GONÇALVES DE LIMA; JOHNNY DUFORT, COURTESY OF THE METROPOLITAN MUSEUM OF ART; COURTESY OF FINE ARTS MUSEUMS OF SAN FRANCISCO
Dorothea Tanning
Photo: MATTHEW KLEIN
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Architect Jeffrey Beers tapped into his love of the sea to devise the new Regatta collection with WALTERS. Teak accents and racing lines shape this chair and side table, which have nautical rope details; $2,478 and $1,230, respectively. walterswicker.com
CLOCKWISE FROM TOP LEFT: COURTESY OF SUTHERL AND; COURTESY OF HERMÈS; COURTESY OF RALPH L AUREN HOME; COURTESY OF B&B ITALIA; COURTESY OF PALECEK; COURTESY OF WALTERS WICKER; COURTESY OF RH (2)
Inspired by a Francis Mair design from the 1950s, the Sag Harbor chair by SUTHERLAND feels both vintage and completely modern with its curved lines, aluminum base, and woven finish; available to the trade. sutherlandfurniture.com
The transformable Ribes sofa from B&B ITALIA features a mattress-inspired seat cushion for maximum relaxation; $7,989 as shown. bebitalia.com
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Greek Philosophy
The founder and creative director of Aerin, Aerin Lauder, is collaborating with ceramist Frances Palmer on a seven-piece collection, including painted plates and footed vases and bowls.
AERIN LAUDER AND CERAMIST
FRANCES PALMER COLLABORATE ON A LIMITED-EDITION COLLECTION OF TABLEWARE INSPIRED BY THE AEGEAN SEA
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“There’s something whimsical and fun about these patterns,” says Aerin Lauder
COURTESY OF AERIN L AUDER
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hen Aerin Lauder chose the Aegean Sea as the inspiration for her latest eau de parfum, she wanted to create more than just a fragrance. So she reached out to esteemed Connecticut ceramist Frances Palmer, known for her romantic shapes and range of historical references, to collaborate on a limited-edition collection of Socratic pottery to complement Lauder’s aromatic creation Aegea Blossom. The result: a seven-piece collection, Aerin x Frances Palmer, which translates classic Greek shapes and motifs into white earthenware plates, vases, and bowls, including four hand-painted designs with cobalt swirls and crocuses. “There’s something whimsical and fun about these patterns,” says Lauder of the pieces, which easily meld with her brand’s breadth of tableware. “They’re very versatile.” Wanting to channel more than the expected Greek conventions, Palmer referred to her own copy of the 1979 Metropolitan Museum of Art catalogue Greek Art of the Aegean Islands, where she discovered incredible shapes from 3200 b.c. to 2700 b.c. and patterns dating back to 1600 b.c. “That’s the thing about Socratic pottery that I love so much—it’s incredibly modern,” says Palmer, a trained art historian who is self-taught in ceramics. “It’s very exciting for me to be able to make these ancient shapes that I love that still have a contemporary feel to them.” Each piece takes Palmer weeks to make, assemble, and paint by hand, and requires multiple firings in a kiln, which only add to an item’s uniqueness. The collection, available in Aerin’s East Hampton and Southampton boutiques as well as its online store, will be produced in a limited edition of each design. “We really wanted to keep it special,” says Lauder, “so quantities are very, very small.” Making them certain to quickly become classics themselves. aerin.com JILL SIERACKI
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Grand Life Collection design by Christophe Pillet WALTERS WICKER, INC info@walterswicker.com www.walterswicker.com
US Distributor for ETHIMO
Left: Narwhal tusks flank a fireplace surrounded by works by Pablo Picasso, Georges Braque, Juan Gris, Nadia Léger, and Alphonse Mucha in Sir John Richardson’s former New York apartment on East 75th Street. Below: A portrait of Richardson by Andy Warhol sits prominently in the living room of his current home on Fifth Avenue.
House of Style
A NEW MONOGRAPH CAPTURES SIR JOHN RICHARDSON’S MOST BELOVED
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n the preface of his new autobiographical tome, Sir John Richardson is quoted as saying, “The houses I’ve lived in have all influenced me, though obviously in different ways.” The art historian continues, “But then, when I find a space, I want to improve it and change it into my way—my way of thinking.” In April, Rizzoli will release John Richardson: At Home, an eight-chapter look back at the places, from 1924 to the present, that Richardson has inhabited. Artfully arranged, the work spotlights his notable homes—from his early years at Stowe School in Buckingham, England, to his New York apartments. “John wrote a memoir several years ago, but it focused on Picasso and other important persons in his life,” explains writer James Reginato, who penned the book’s preface. “In many ways, his new book is more intimate and personal; it’s an autobiography told through all the houses that he has lived in in his 90-plus years. Most of them are long gone, but they all exist vividly in his mind and in these essays that he wrote and in the archival photos he assembled.”
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“When I find a space, I want to improve it and change it into my way of thinking,” says Sir John Richardson Knighted by Queen Elizabeth II in 2012, Richardson spent his youth with a collection of colorful characters— from Francis Bacon and Geoffrey Bennison to art collector Douglas Cooper, who became a romantic partner. It was at the château he shared with Cooper near Uzès, France, that Richardson’s affinity for design took shape. The couple resurrected the ancient bastide, and inside works by Joan
FROM TOP: FRANÇOIS HAL ARD; COURTESY OF RIZZOLI; OBERTO GILI
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SPRING BOOKS WE LOVE Magnificent Interiors of Sicily
Following a devastating 1693 earthquake, entire towns in the Sicilian region of Val di Noto were lavishly rebuilt in a late-Baroque style. This book, by designer Samuele Mazza, offers a glimpse inside some of the most opulently restored estates, as well as insider tips of what not to miss when visiting this UNESCO World Heritage site. Rizzoli, $65
From top: A Frank Stella painting is paired with a 19th-century silver-plated console topped by vintage photos (including a circa-1885 portrait of a four-year-old Picasso, inscribed by the artist). The dining room in Richardson’s beloved Château de Castille, near Uzès, France.
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Miró and Paul Klee hung above Provençal furniture Richardson sourced from local secondhand shops called brocantes. There, Richardson entertained Picasso, Helena Rubinstein, and David Hockney, among other fascinating individuals. It was a salon of sorts that followed Richardson to his “set” at Albany, Piccadilly’s famous apartments, and on to New York. But it wasn’t just characters that gravitated from room to room—objets, too, traveled across miles and continents. An Italian Baroque mirror can be seen in a London sitting room only to reappear years later above a chimneypiece in a dining room in Manhattan. Richardson has portraits of himself done by Bennison in college and Hockney just last year. Other artworks, by Andy Warhol, Picasso, and Lucian Freud, have pride of place next to seemingly random artifacts, like a stuffed tortoise, a bust of Marcus Aurelius, or a cluster of stone eggs and ivory bangles. “John could have been one of the best interior decorators in the world, but he laughed at the very notion of decorating,” says Reginato. “For him, the process of assembling his houses was completely innate and instinctive. ‘I mix things, and they galvanize each other,’ he told me. He was a sorcerer that way.” JILL SIERACKI
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This compilation of over 40 illustrated profiles sheds light on the signature attire worn by some of the world’s most famous artists, including Frida Kahlo and Cecil Beaton. Additional essays explore influential fashion collections sparked by inspiration from artists—a trend spurred by Yves Saint Laurent’s breakthrough 1965 Mondrian collection. Harper Design, $20
Houses: Atelier AM
Husband-and-wife duo Michael and Alexandra Misczynski of Atelier AM, one of Los Angeles’s leading design firms, are known for their uncanny ability to perfectly mix vintage furnishings with blue-chip works of art. Their second monograph details eight ravishing new interiors, which span Spanish Colonial to contemporary aesthetics, as captured by photographer François Halard. Rizzoli, $65
It Speaks to Me: Art That Inspires Artists
Arts writer Jori Finkel culled a stellar group of contemporary artists to explain and explore the impact that a particular work has had on their lives. The dynamic collection includes revealing first-person essays by David Hockney on Edgar Degas, Nick Cave on Jasper Johns, and Candida Höfer on Roy Lichtenstein, to name a few. Prestel Publishing, $30 —GEOFFREY MONTES
COUNTERCLOCKWISE FROM TOP: FRANÇOIS HAL ARD, COURTESY OF RIZZOLI (2); COURTESY OF PRESTEL PUBLISHING; COURTESY OF RIZZOLI, NICKOL AS MURAY, © NICKOL AS MURAY ARCHIVES; COURTESY OF HARPER DESIGN; COURTESY OF RIZZOLI
Legendary Artists and the Clothes They Wore
Raúl de Nieves
The Mexico-born New York artist Raúl de Nieves is known for his fantastical, anthropomorphic figures and bedazzled wall pieces composed of glittering beads, sequins, curtain tassels, and costume jewelry. “My works are like this über-fantasy of the inner self and a celebration of what we can be,” he says. De Nieves currently works from a studio in Brooklyn, where he prepared for his first museum solo show, at the Cleveland Museum of Art, on view through April 28. The centerpiece is Day(Ves) of Wonder (2007–14), a three-foot-tall, bead-encrusted dancing figure in platform boots that took him seven years to make. Ten new “characters” crafted from found vintage party dresses surround the figure in a dramatic, quasi-ritualistic display. De Nieves moved to the U.S. when he was a child and cites local Mexican artisans as a big inspiration. “I saw how these artists worked with beads or clay or straw, giving them a new form of shine and turning them into something completely different and beautiful,” he says. His first big break was the 2017 Whitney Biennial, for which he created a 50-foot, floor-to-ceiling “stained glass” installation made of just paper and tape. Most recently, he created one of the most talked-about works at Art Basel in Miami Beach: a life-size carousel called When I Look in to Your Eyes I See the Sun, assembled in collaboration with Bulgari and Art Production Fund and inspired by the mythical figure of the snake in the luxury brand’s Serpenti jewelry collection. “I think art and fashion both have a magical ability to empower and transform,” he says. “In the end, it’s all about personal love.” companygallery.us LUCY REES
Raúl de Nieves in his Brooklyn studio.
Coat of Many Colors A LOOK AT FOUR NOTEWORTHY ARTISTS ON THE RISE
Watch a video of de Nieves at galeriemagazine.com. 46
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DANIEL DORSA
WITH UPCOMING SHOWS AND CAREERS
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Right: Two Dads (2012) by Didier William, a carved wood panel with collage, ink, and acrylic. Bottom: Emilio Perez’s Alright the First Time (2016) is an intoxicating swirl of acrylic, latex, and enamel on a wood panel.
Didier William
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Emilio Perez
The energetic, wildly colorful paintings of Brooklyn artist Emilio Perez convey speed, like a rolling ocean wave. To make them, he sprays enamel paint onto the surface of a large wooden panel and tops it with a layer of transparent adhesive material that bears his lyrical drawings. Then he starts cutting away with an X-Acto knife, his method for creating “brushstrokes” that produce a mesmerizing three-dimensional surface. “My works are so much about intuition and being in the moment,” explains the artist, a Cuban American whose paintings are in the collections of Pérez Art Museum Miami and Buffalo’s Albright-Knox Art Gallery, among others. Perez also creates immersive video projects, which have illuminated Times Square (2016) and the Kennedy Center (2018). In the fall a kaleidoscopic mosaic comprised of six 40-foot-long panels produced in collaboration with Mexican glass specialists was installed in a Brooklyn subway station. His current project may be his most ambitious: For this year’s Havana Biennial (April 12–May 19), he is enlisting local residents to create their own paintings or writings on pieces of stenciling material, which he will use to form a giant collage for the façade of a building. “How high we go depends on if we can find a ladder,” Perez says, smiling. “In Cuba, you have to be flexible.” emilioperezart.com VICKY LOWRY
FROM TOP: COURTESY OF THE ARTIST AND JAMES FUENTES LLC.; MICHAEL BODYCOMB
“I want to trap the viewer in this circuit of looking,” says Philadelphia artist Didier William, whose beguiling mixed-media works explode in a riot of color and bright, decorative patterns. Born in Port-au-Prince, Haiti, and raised in Miami, he is interested in exploring postcolonial notions of identity and the other. “I’m trying to give a visual language to what I felt on a corporeal level in Miami,” says William, who is working on a new exhibition that will open in May at the Museum of the African Diaspora in San Francisco. “I didn’t want to turn my complex experience into something easy to digest—I want the viewer to have to wrestle with that discomfort.” William shot into the spotlight last year with a two-part show at New York galleries Anna Zorina and James Fuentes (who both represent him) as well as a solo show at Tiger Strikes Asteroid in Brooklyn, and his work has been snapped up by artist Mickalene Thomas and the Minneapolis Museum of Art. Inspired by artists like the Cuban printmaker Belkis Ayón, Helen Frankenthaler, Jacob Lawrence, and Robert Colescott, William employs a masterful mix of painting and printmaking, and each piece takes months to complete. He carves directly into birch panels, which are then layered with patterned prints, ink, and acrylic. “Beauty can still be radical,” he says. didierwilliam.com L.R.
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Left: Shara Hughes in her Brooklyn studio. Below: A detail of one of the flower paintings she is working on for her new show at Rachel Uffner Gallery in New York.
Watch a video of Hughes at galeriemagazine.com.
At the 2017 Whitney Biennial, a room dedicated to Shara Hughes’s vividly colored invented landscape paintings mesmerized viewers. The artist’s profile has only grown since; post-biennial, her paintings have tripled in auction value, and her work was included in group shows at Paul Kasmin, Peter Freeman Inc., and Almine Rech. Solo exhibitions were also held at Rachel Uffner and Eva Presenhuber (who both represent her), as well as at John Berggruen and Pace Prints. “I’m really trying actively to surprise myself every time I make a new painting,” says Hughes, whose pieces toe the line between uncanny and accessible. Though originally known for her Hockney-esque interiors, which came from “family issues I was going through,” Hughes had an epiphany about her process that shaped her later works. “The minute I rejected the subject matter as the driving force to making paintings, I felt like I was really an artist for the first time,” she says. “I was like, Oh, this is how you make paintings. You have to have an idea or an emotion or a feeling or a reason.” Hughes is busy in the studio creating new work for her next big show with Uffner, in May, timed to Frieze New York. The work will take up the question “How do I make a flower painting that’s both ugly and beautiful?” she says. “Flower paintings have all this stigma about them.” racheluffnergallery.com JULIE BAUMGARDNER
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“I’m really trying actively to surprise myself every time I make a new painting,” says Shara Hughes
DANIEL DORSA; HAIR AND MAKEUP BY MAYSOON FARA J
Shara Hughes
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A NEW GENERATION OF CREATIVE TALENT IS RESHAPING ANTWERP INTO A FASHION-FORWARD ART-WORLD HUB
Clockwise from top: The Brabo Fountain in Antwerp’s Grote Markt. Dries van Noten’s Het Modepaleis boutique. Antwerp interior designer Gert Voorjans curated this inspired dressing room at a 2017 exhibition at La Monnaie de Paris.
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As the draw of Antwerp shifts from a celebration of its past to the allure of its future, new developments are taking shape. Internationally esteemed Belgian designer and antiques dealer Axel Vervoordt and his family envisioned a new multiuse cultural and residential development outside the city center on the Albert Canal. “We were inspired by the historic industrial character of the place, which was built in the 19th century as a distillery for gin and later turned into a malting complex by adding the concrete silos,” says Vervoordt about Kanaal, a complex of brick buildings that now houses 98 apartments, 30 offices, a warehouse, a restaurant, an art foundation, and multiple exhibition spaces. “It’s like a small city surrounded by green.” This spring Kanaal will present a solo show by Russian conceptual artists Ilya and Emilia Kabakov, “Unfinished Paintings: C. Rosenthal” (March 16– August 31), as well as “The Crime of Adolf Loos” (March 16–May 25), a group show assembled by curator Alistair Hicks. “The Vervoordts have created not just a project but also a habitat hosting a very refined lifestyle,” says James Druckman, president and CEO of the New York Design Center, who made the pilgrimage last fall. Vervoordt’s imprint can also be felt at Diva, the newly reopened museum currently showcasing a contemporary Wunderkammer that features art he curated. “I went looking for very specific African pieces, to show that there is also something Buddhist, something
FROM TOP: STEFAN CRISTIAN CIOATA/GETT Y IMAGES; MARCEL LENNARTZ; DAVID DE VLEESCHAUWER
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n the 17th century, the Flemish Baroque painter Peter Paul Rubens was the prevailing artist of Antwerp, renowned for his portraits of the royals of his day. Antwerp’s list of notable homegrown talent, however, is quickly expanding as a renewed artistic energy takes hold. The proliferation of independent artist-run galleries, project spaces, and pop-up exhibitions, as well as the reimagining of the city’s architecture and design scene, is attracting more and more global collectors to the burgeoning cultural hub.
very serene to African artworks,” says Vervoordt of his selections, which include works by Ghanaian sculptor El Anatsui, cameo jewelry, beaded masks, fossils, and feather crowns, all exquisitely installed and on view until April 28. “I love to mix items from various periods and époques that bring a universal message. I’m interested in creating new dialogues.” The Museum of Contemporary Art Antwerp boasts a strong collection of post-1960s art, including pieces by Dan Flavin, Marlene Dumas, and Antwerp painter Luc Tuymans, who recently curated a show there juxtaposing the works of Baroque masters with contemporary art. “Many artists now have their own spaces and exclusively show their own work,” says painter Viviane Klagsbrun, an Antwerp native. Klagsburn highlights Factor 44, one of the first artist-run independent spaces in Antwerp, as an early example. The gallery, launched in 1996, closed in 2006, but in its place Pinkie Bowtie, Souterrain, and C A S S T L—which Tuymans operates with his wife, the artist Carla Arocha, and Stéphane 56
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Clockwise from top: Zaha Hadid’s sculptural Port House. Lucas Cranach the Younger’s Portraits of Prince Christian von Sachsen and Princess Marie von Sachsen above an Italian art cabinet at Diva. Oude Koornmarkt’s shops and restaurants. Scallops with black radish, watercress, and smoked-herring caviar at Dôme.
FROM TOP: HUFTON + CROW; JAN LIÉGEOIS; COURTESY OF DÔME; SIVAN ASKAYO
Schraenen—have popped up and offer those on the hunt for emerging talent a wealth of places to explore. Most of these locations will open their doors alongside Antwerp’s more established galleries—such as Galerie Annette De Keyser, Keteleer Gallery, and Galerie Verbeeck–Van Dyck—and museums during the fifth annual Antwerp Art Weekend (May 16–19). Yet art isn’t Antwerp’s only cultural calling card. The mingling of architectural styles is integral to the city’s DNA, with exquisite Art Nouveau townhouses in the Zurenborg neighborhood and historic squares like Grote Markt a reminder of the city’s rich past. Architect Vincent van Duysen’s namesake firm is responsible for a number of significant modernist
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“It’s very authentic—a preserved heritage building updated with new custom design pieces,” says Vincent van Duysen
FROM TOP: COURTESY OF M HKA; SIVAN ASKAYO; L AZIZ HAMANI
Clockwise from above: At Michelin two-star restaurant the Jane, designer Piet Boon installed a massive chandelier created by PSLab in Beirut. The Museum of Contemporary Art Antwerp (M HKA). Anish Kapoor’s At the Edge of the World (1998), installed at Axel & May Vervoordt Foundation’s Kanaal.
buildings and interiors, including Graanmarkt 13, a concept store, restaurant, and apartment rolled into one. His minimalist oeuvre can also be seen at Copyright Bookshop, an art and architecture bookstore, as well as at the new August hotel, scheduled to open this spring in a 19th-century military hospital. “You will feel the Flemish style of architecture,” Van Duysen says about the 44-room property, which will include two gardens designed by Wirtz International. “It’s very authentic—a preserved heritage building updated with new custom design pieces.” Since opening in 2016, Port House, one of the last projects realized by British-Iraqi architect Zaha Hadid, has helped turn the waterfront into an up-and-coming neighborhood. Nearby, Het Bos, a combined performance and exhibition space, café, and bar, has become the destination for the local art scene. As in any creative hub, collaboration is in the air. From inside his stylish four-story home and studio, interior designer Gert Voorjans partners with another Antwerp resident, fashion designer Dries van Noten, on his modish, pattern-layered boutiques. But the city isn’t just a feast for the eyes. To experience Antwerp’s flourishing food scene, head to the Jane, designed by Piet Boon and launched with chefs Sergio Herman and Nick Bril. The restaurant earned two Michelin stars and is still the hottest table in town. The Michelin-starred Dôme is run by husband and wife Frederic and Evangeline Chabbert, who also operate the more casual Dôme sur Mer, an intimate modern seafood restaurant around the corner. “The food was fresh and excellent, as was the service,” says Druckman, the globe-trotting CEO, of Dôme sur Mer. “It’s an oasis of quiet chic in an otherwise very happening city.” MELISSA FELDMAN
× Nicole Fuller
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Pat Steir
THE ARTIST UNVEILED A MAJOR SITE-SPECIFIC COMMISSION IN PHILADELPHIA, AND A SECOND WILL BE INSTALLED THIS FALL AT THE HIRSHHORN IN WASHINGTON, D.C. HERE, A LOOK AT HER INCREDIBLE FIVE-DECADE CAREER
2017 | “KAIROS” In a slight departure from her celebrated “Waterfall” works, Steir’s latest series, “Split,” achieves a radiant glow through layer upon layer of color; a dramatic center rupture completes each piece. This 2017 exhibition was her first with New York megadealers Dominique Lévy and Brett Gorvy. Steir is also represented by Locks Gallery in Philadelphia.
2019 | “SILENT SECRET WATERFALLS: THE BARNES SERIES” Steir’s suite of 11 new “Waterfall” paintings is the first time a painter has been invited to make something for the Barnes Foundation since founder Albert Barnes commissioned his Matisse mural, The Dance, in the early 1930s. In October, a site-specific project will transform the inner gallery of the Hirshhorn Museum and Sculpture Garden, in Washington, D.C., into a rainbow of color. 60
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1982 | THE BRUEGHEL SERIES (A VANITAS OF STYLE) In 1984, the Brooklyn Museum exhibited this striking 64-panel work, which emulated hundreds of artist styles, from Vincent van Gogh to Jackson Pollock, to create a cohesive image inspired by the 17th-century painter Jan Brueghel the Elder.
1992 | ELECTIVE AFFINITY WATERFALL This radiant piece, painted a year before Steir’s participation in the prestigious 45th Venice Biennale, sold for $2.3 million at a Phillips New York auction in 2018, well above its high estimate of $800,000 and more than double her previous record of $975,000. —LUCY REES
CLOCKWISE FROM TOP: COURTESY OF THE ARTIST AND LÉVY GORVY; BERT NIENHUIS; COURTESY OF THE ARTIST AND LÉVY GORVY; COURTESY OF PHILLIPS; COURTESY OF THE BARNES FOUNDATION; TOM POWEL IMAGING, COURTESY OF LÉVY GORVY
1992 | SMALLER YELLOW ON BLUE WATERFALL After experimenting with Conceptual art and Minimalism, Steir began to apply paint by dripping and flinging it onto the canvas in the 1980s. These unrestrained, performative “Waterfall” paintings, inspired by Chinese literati works, have been the center of Steir’s focus for the past 30 years.
“My work is about fluidity, gravity, and timing,” says Pat Steir
Outdoor Voices
GLOBAL ARTISTS TURN THE STREETS OF NEW YORK INTO AN ALFRESCO MUSEUM
Above: Artist Joseph La Piana (inset) staged an earlier iteration of his work Tension in a Red Hook, Brooklyn, warehouse in 2015.
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ith genre-defining permanent outdoor sculptures and a history of attention-grabbing exhibitions, New York may be one of the greatest destinations for public art. Installations range from honorary monuments, such as David Rockefeller’s commission of Jean Dubuffet’s Group of Four Trees in 1969, to contemporary pieces, such as Isa Genzken’s Rose III in Zuccotti Park (2018). In recent years, impermanent works, such as Olafur Eliasson’s Waterfalls (2008) and Christo and Jeanne-Claude’s The Gates (2005), have created citywide buzz. The most democratic of genres, public art has no lines, tickets, or viewing hours to speak of—and this spring marks one of Manhattan’s most invigorating seasons. From Doris C. Freedman Plaza and Park Avenue’s grass medians to 2019’s newcomer, the High Line Plinth, the path’s first space dedicated to a rotating display of commissions, there will be a wealth of new outdoor sculptures on view. Here, a look at three defining public projects coming to the city this season.
J O S E P H L A P I A N A , T E N S I O N PA R K AV E N U E Selected by the Park Avenue Sculpture Committee, Joseph La Piana unveils his first large-scale public project, Tension Park
Avenue: six vivid, primary-yellow installations along the storied East Side thoroughfare from March through July. “Given politics and environmental issues, our limits are being pushed to a breaking point on a day-to-day basis,” he says of the work, which strains material boundaries with rubber and stainless steel. “The sculptures will not collapse, but they are being pushed to the point of collapse.” According to the artist, Tension also references daily pressure. “We all have gone through fragile periods that have pushed us to personal emotional limits,” says La Piana, whose 2015 variation of the project stretched 11,000 feet of yellow latex across a 20,000-square-foot warehouse in Red Hook, Brooklyn. Despite the manicured tulip backdrop of Park Avenue, Tension is not meant to be pristine. “I don’t like shiny objects,” explains La Piana, who cites Louise Bourgeois’s raw, rusted
ALEX YUDZON; OPPOSITE: FROM TOP: TIMOTHY SCHENCK, COURTESY OF FRIENDS OF THE HIGH LINE; COURTESY OF THE ARTIST, ZENO X GALLERY, ANTWERP AND TANYA BONAKDAR GALLERY NEW YORK/LOS ANGELES
NEW PUBLIC WORKS BY ESTEEMED
“I’m interested in their response primarily to having a figurative representation of a black woman in a public square,” says Simone Leigh beauty as inspiration. “Everything about the way I create, live, think, cook, and dress—everything—is as pure as it can be.”
MARK MANDERS, TILTED HEAD
Those who first mistake Tilted Head for a massive classical ruin needn’t worry—Dutch artist Mark Manders would consider it a compliment. “My work is about freezing time and thoughts,” says Manders, whose more-than-13-foot lolling face appears as cracked, wet, or unfired clay, although it is, in fact, cast in bronze. Tilted Head, which will be installed on Public Art Fund’s signature site at the southeast entrance to Central Park from March 6 to September 1, is Manders’s largest single-cast sculpture to date. The artist, who represented the Netherlands at the 2013 Venice Biennale, describes the work as silent and peaceful, a nod to the modernist pioneer Constantin Brancusi, but emphasizes that it should resonate context-free. Mark Manders’s bronze sculpture Tilted Head, which will be installed at Doris C. Freedman Plaza in March. Above: Simone Leigh working on her High Line project, Brick House, in Brooklyn.
According to Public Art Fund director and chief curator Nicholas Baume, the aim is to inspire artists to do something above and beyond what they’ve done before—a direct contrast to the city’s baseline for safety and logistics. Tilted Head ticks all the boxes. “The city wants to see great work by contemporary artists in our public sphere,” says Baume, “so with Manders’s piece our interests converge.”
SIMONE LEIGH, BRICK HOUSE “I was thinking about different notions of beauty,” says artist Simone Leigh of the 16-foot-tall bronze female bust Brick House, which she created for the High Line Plinth inaugural commission, “the kind of femininity that might be associated with solidity and strength as opposed to fragility.” Leigh’s work will be installed on the Spur, the latest Diller Scofidio + Renfro–designed section of Chelsea’s elevated greenway, which opens in April and features a new commission every 18 months. Brick House is the largest in the artist’s “Anatomy of Architecture” series, which integrates West and South African architectural elements with figurative forms. “Black women are my primary audience,” says Leigh, the recipient of the Guggenheim’s 2018 Hugo Boss Prize. (The museum is also mounting a concurrent solo show of her work.) “I’m interested in their response primarily to having a figurative representation of a black woman in a public square.” Cecilia Alemani, the director and chief curator of High Line Art, describes the Plinth’s mission: to produce monumental artworks that connect with an extensive audience and reflect on today’s most pressing issues. With a contemporary goddess reigning over the High Line, Leigh looks primed to start the conversation. JACOBA URIST GALERIEMAGA ZINE.COM
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On the Block
FASCINATING SALES FROM AROUND THE WORLD BY JEANNIE ROSENFELD
CARTIER | JAMBI NECKLACE AND PENDANT EARRINGS (2003)
Sold at Phillips Hong Kong (November 26)
This Indonesian-inspired set, featuring a harp motif with black onyx and brilliant-cut diamonds linked by diamond and ruby beads, brought HK$10,780,000 ($1,382,000). Along with a 43.4-carat drop-shaped diamond—an exquisite example of the 800-year-old triangularfaceted Indian cut known as briolette—the necklace boasts a staggering additional 46.6 carats of diamonds and 39 carats of rubies. TIFFANY STUDIOS | POND LILY TABLE LAMP (CIRCA 1903)
With an intricate leaded-glass design and patinated bronze base inspired by the water lilies at Louis Comfort Tiffany’s country estate in Oyster Bay, New York, this lamp was one of the company’s most exclusive creations. One of only 14 known examples, five of which are in museum collections, the design—which was priced at $400 around the time of production—sold for $3,372,500, a world auction record for Tiffany Studios.
DANA SCHUTZ | HER ARMS (2003)
Sold at Sotheby’s New York (November 14)
This monumental portrait of Kim Gordon, the influential front woman for rock band Sonic Youth, was painted only a year after the artist completed her MFA at Columbia, just as she burst onto the scene during the Venice Biennale. A seminal work epitomizing Schutz’s imaginative figuration and vibrant brushstrokes, it fetched $795,000, far surpassing its $150,000 to $200,000 estimate. HERMÈS | HIMALAYA BIRKIN BAG (2010)
Sold at Christie’s London (December 12)
Crafted from Nile crocodile hide that was dyed smoky gray and pearly white to resemble the snowcapped Himalayan Mountains, this exceptionally rare handbag also features some 170 grams of 18K white gold and 10 carats of brilliant, colorless diamonds. It commanded £236,750 ($295,938), eclipsing the European auction record for a handbag, which was set last spring at Christie’s in London with another Himalaya Birkin.
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CLOCKWISE FROM TOP LEFT: COURTESY OF PHILLIPS; COURTESY OF SOTHEBY'S; COURTESY OF CHRISTIE'S IMAGES LTD. (2)
Sold at Christie’s New York (December 13)
NOUVELHERITAGE.COM ELYSE WALKER - LOS ANGELES & NEWPORT BEACH, CA / HUTCHINSON - LARKSPUR, CA / MODA OPERANDI / YLANG23 - DALLAS & FORT WORTH, TX
NEW YORK’S HIGH LINE SERVES AS A HUB FOR ARCHITECTURALLY SIGNIFICANT REAL ESTATE, INCLUDING THE NEW BJARKE INGELS–DESIGNED XI
E
xperiencing a second wave of development, the High Line is proving to be once again a magnet for avant-garde architecture. When the elevated park debuted in 2009, it transformed Manhattan’s Far West Side with dazzling structures by Frank Gehry, Jean Nouvel, and Shigeru Ban, but this latest generation promises to push the envelope even further. “A lot of people are calling this ‘architectural row,’ ” says Alicia Goldstein of HFZ Capital Group, which is nearing completion on its Bjarke Ingels–designed complex at West 18th Street and 11th Avenue. Composed of a pair of twisting towers sheathed in travertine and bronze, the XI will contain 236 residences as well as the first U.S. location for Six Senses Hotels Resorts Spas, which will also devote 18,000 square feet to owner-exclusive amenities. In addition, there will be a commercial art space and a number of yet-to-be-announced
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installations—spearheaded by HFZ’s chairman and founder, Ziel Feldman, a noted collector of artists like Ugo Rondinone and Anselm Kiefer. Other spectacular sites along the mile-long stretch include two Thomas Heatherwick– designed towers at 515 West 18th Street, identifiable by their modern, bulging bay windows. A few blocks up at the Getty, nestled above the Lehmann Maupin gallery and the Hill Art Foundation, Peter Marino crafted six custom residences, each with a unique material palette. Zaha Hadid, Roman and Williams, and Isay Weinfeld have also contributed structures to this provocative new mix. GEOFFREY MONTES
CLOCKWISE FROM TOP: DBOX, COURTESY OF HFZ CAPITAL GROUP (3); EVAN JOSEPH; COURTESY OF REL ATED COMPANIES
Refined Line
Clockwise from top left: The XI, designed by Bjarke Ingels. Each unit boasts spectacular views. The building’s porte cochere. A chic interior at the Getty. Thomas Heatherwick’s 515 West 18th Street.
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La Dolce Vita
GLOBAL ARTS CLUB THE CULTIVIST SHARES MUST-SEE SITES IN MILAN
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FONDAZIONE PRADA Rem Koolhaas’s architecture firm, OMA, transformed a former distillery into the Fondazione Prada, a nonprofit arts and cultural center devoted to the spirit of dialogue and experimentation. Among the memorable buildings in the complex is the Haunted House, which is clad in 24K-gold leaf
Above: Milan’s oldest shopping center, Galleria Vittorio Emanuele II. Bottom left: Fashion brand COS’s sculptural installation Open Sky, by artist Phillip K. Smith III, on view at Palazzo Isimbardi during 2018’s Salone del Mobile.
and displays works by Robert Gober and Louise Bourgeois. The foundation’s most recent addition is Torre, a nine-story white geometric tower that houses noteworthy installations and currently hosts the group exhibition “Atlas.” It also features a restaurant and rooftop terrace bar with panoramic views of the city. This beautiful spot, called simply Restaurant Torre, is a perfect pick for a Sunday night, when most of Milan’s other top restaurants are closed. There’s also Bar Luce, an on-site café designed by filmmaker Wes Anderson that captures the spirit of midcentury Milanese design.
PIRELLI HANGARBICOCCA Once a Pirelli locomotive factory, the complex was updated into one of Europe’s most important venues for contemporary art with about 160,000 square feet of exhibition space. The Pirelli HangarBicocca still retains a stark industrial aura, which is complemented by Anselm Kiefer’s monumental sculptural installation The Seven Heavenly Palaces (2004). This spring, the institution will mount an important show by Italian artist Giorgio Andreotta Calò, focusing on his site-responsive sculptural practice, as well as Indian contemporary artist Sheela Gowda’s first solo show in Italy.
PINACOTECA DI BRERA Art lovers must make a stop at the Pinacoteca di Brera, the major public gallery for painting in Milan. It shares the monumental 68
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FROM LEFT: L ANCE GERBER, COURTESY OF COS; MARKA/UIG VIA GETT Y IMAGES; GIORGIO MA JNO, ARCHIVO FAI-FONDO AMBIENTE ITALIANO; ROBERTO MAROSSI, COURTESY OF FONDAZIONE PRADA
ashion and art have long collided on the cobblestone streets of Milan. Everyday life is a stylish feast, but it’s during the spring, when the design and art worlds descend for Salone del Mobile (April 9–14)—the not-to-miss furniture fair that debuts the next wave of trends—that the city truly comes alive. Brands from Louis Vuitton and Hermès to COS and Swarovski stage spectacular installations, often tapping top artists to bring their creative visions to life. It’s not unheard of to run into design luminaries such as John Pawson and Renzo Piano as well as fashion locals Giorgio Armani and Miuccia Prada taking it all in. After all, this is the city that boasts masterpieces old and new—from Leonardo da Vinci’s iconic The Last Supper to Anselm Kiefer’s monumental The Seven Heavenly Palaces. But that’s just the beginning— there’s so much more to explore between aperitivo in the Brera District and Negroni Sbagliatos at Bar Basso.
Right: Architect Piero Portaluppi’s famed Villa Necchi. Bottom: Dan Flavin’s Untitled (1997) is a permanent installation at Santa Maria in Chiesa Rossa.
18th-century Palazzo Brera with the Accademia di Brera, a public fine arts academy, and a handful of other cultural institutions, including a botanical garden and astronomical observatory. The museum is home to an impressive assortment of masterpieces, including Mantegna’s Lamentation of Christ (circa 1483). Also on view is Rubens’s Last Supper (circa 1631–32), an interesting counterpoint to Da Vinci’s more famous treatment of the same subject, which is just a taxi ride away at the Chiesa di Santa Maria delle Grazie. After taking in the Pinacoteca’s extraordinary collection, stop for lunch at the original 10 Corso Como, an exquisite garden-front café and bar combined with an art space and a shop, before heading over to the Gucci Art Wall, an urban canvas for leading street artists.
VILLA NECCHI CAMPIGLIO When you enter the grounds of Villa Necchi, it’s hard to believe you’re still in the city. A walled estate with gardens, a tennis court, and even a swimming pool, Villa Necchi, designed in the 1930s by Piero Portaluppi, is perhaps the most serene locale in Milan. The house museum, which was used as
the setting for the 2009 movie I Am Love, is renowned for its impeccable architecture and furnishings—alongside masterpieces by Giorgio de Chirico and Giorgio Morandi—which reflect the refined take on modernism that defined Milanese design during the interwar period. There really is no better place to go to feel inspired by architecture and design down to the smallest detail, like the family’s custom Richard Ginori china. While the garden and café are open to the public, the house can be viewed only on a prebooked tour.
TRIENNALE DI MILANO The city’s main museum dedicated to design is the Triennale di Milano, in the tranquil Parco Sempione, not far from Castello Sforzesco. Designed by architect Giovanni Muzio in the early 1930s, it was built to house Milan’s Triennale exhibition (which this year overlaps with Salone). The 2019 theme is “Broken Nature: Design Takes on Human Survival” and will showcase designers working to build a future that is more equitable and sustainable.
D A N F L AV I N A T S A N T A M A R I A A N N U N C I ATA I N C H I E S A R O S S A Dan Flavin is a quintessentially American artist, but his final work is located in Milan, at the Chiesa Santa Maria Annunciata. The groundbreaking minimalist installed his signature fluorescent light tubes within the Romanesque-revival church in the mid-1990s, bathing its interior in his soft blues, pinks, and yellows. PATRICK FINN GALERIEMAGA ZINE.COM
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FRANCESCO L AGNESE
THIS DYNAMIC GROUP DREAMS BIG, DARES GREATLY, AND, AS A RESULT, INSPIRES US TO DO SO OURSELVES. REPRESENTING A VARIETY OF FIELDS—FROM FASHION TO FURNITURE DESIGN, ARCHITECTURE TO ARTISAN CRAFTS—THESE EXTRAORDINARY TALENTS OFFER A CREATIVE VISION THAT PUSHES BOUNDARIES, CROSSES MEDIUMS, AND BELIES TRADITIONAL CONCEPTS.
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“A Flower Flash has to almost be guttural, so it has this exuberance and doesn’t read as overly perfect,” says Lewis Miller
Lewis MILLER
A Flower Flash needs to be a combustion of joy: “It has to happen when inspiration strikes. It has to almost be guttural, so it has this exuberance and doesn’t read as overly perfect.” It has to be ephemeral: “If it stays there and people take pictures, that’s great, but ultimately, I want it to be taken apart.” It has to stay authentic: “What really energizes me the most is that I’m using leftover flowers or those from the market that my vendors would throw out because they’re past their prime. Or I’m supplementing on my own dime, so I’m free to do whatever, and that’s really liberating.” lewismillerdesign .com —JILL SIERACKI
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JR
For the past two decades, the elusive yet ubiquitous French artist and activist known simply as JR has transformed buildings in New York, walls in Palestine, slums in Kenya, and favelas in Rio de Janeiro with his monumental black-and-white “pastings” of everyday people. It all started when he was a teenager in Paris and began tagging his name on rooftops; after finding a camera on the Metro, he started taking portraits and pasting them around the city. Most recently, he has focused on issues of immigration and national borders, making headlines for his Kikito installation, where a larger-than-life giggling toddler appeared to hover over the U.S. border with Mexico. And while he’s most comfortable working outside the traditional art system, JR regularly shows with museums and galleries. Last year, his buzzworthy exhibition at Perrotin New York included a series of thought-provoking prints and films as well as a poignant rooftop performance with singer Alicia Keys. Next up is a secret project at the Louvre in Paris, the details of which will be unveiled in late March. jr-art.net —LUCY REES
FROM TOP: GUILL AUME ZICCARELLI, COURTESY OF PERROTIN; IRINI ARAKAS GREENBAUM
From a trash can overflowing with sherbet-colored peonies, tiger lilies, tulips, and sweet peas to a cape of blue blossoms cascading over Wall Street sculpture Fearless Girl, Lewis Miller’s floral arrangements began popping up in New York (and subsequently on Instagram) in October 2016. “I’ve always been slightly tortured about how I could give back in a way that wasn’t just sending a check,” says Miller of his motivation behind the project, which he calls Flower Flashes. “Also, I was feeling a bit bored after being in this industry for over 20 years and wanted something to rejuvenate me.” More than two years later, the floral designer, who was recently appointed creative director of online flower-delivery service UrbanStems, continues to be inspired by how much “authentic joy” Flower Flashes bring people, which motivates him to create more, resulting in what he describes as “a lovely loop.”
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“The places and spaces in which we live and entertain help craft the experiences that we carry with us forever,” says Ken Fulk
“It’s not just about design for design’s sake,” says designer and event planner Ken Fulk, whose creations for clients such as Instagram cofounder Kevin Systrom, Sean Parker, and Alexis and Trevor Traina help turn the real into the surreal. “The places and spaces in which we live and entertain help craft the experiences that we carry with us forever. Every moment matters.” Fulk’s work at this year’s Golden Globes is a perfect example: He decorated the elevator that took attendees from the ceremony to the after-party, tricking out the lift with a Stark Leopard carpet and a fully stocked vintage Aldo Tura bar. The result: Stars like Debra Messing, Connie 74
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WEST 8
From revitalizing riverbanks in downtown Madrid to reviving the monumental fountains at Pennsylvania’s historic Longwood Gardens, the environmental experts at West 8 have been drawing attention—and foot traffic—to overlooked landscapes since 1987. After winning the coveted 2006 commission to transform Governors Island (above) in New York, the groundbreaking Dutch firm established its first U.S. outpost in Manhattan. (It also has offices in Rotterdam and Brussels.) Upcoming projects: “The gardens of One Manhattan Square in New York capture influences from around the world, offering enclaves of closeness and a calm natural environment,” says Daniel Vasini, creative director for West 8’s New York office. “We’re also excited about the first phase of Houston Botanic Garden—Botanic Beginnings—opening in 2020. Houstonians from all walks of life will soon have the opportunity to learn about and enjoy plants from around the world.” west8.com —GEOFFREY MONTES
COUNTERCLOCKWISE FROM TOP: DOUGL AS FRIEDMAN (2); IWAN BAAN
Ken FULK
Britton, and Lupita Nyong’o lined up to Instagram it. His recent venture, Saint Joseph’s Arts Society (below), for which he transformed a blighted 22,000-square-foot Romanesque-revival church in downtown San Francisco into an art gallery with boutiques and performance space, has become a lesson in how adaptive reuse can transform a neighborhood. “I hope this will be a resource to build a community around,” says Fulk, who divides his time between the East and West Coasts. “I’m constantly drawn to folks whose minds work utterly differently than mine. They look at the world through another lens. It’s intoxicating to go on a journey with them.” kenfulk.com JENNIFER ASH RUDICK
TALAMO design damian williamson | quickship
“Creativity is a core component to the DNA of our company,” says Goldman Properties’ CEO, Jessica Goldman Srebnick, the civic-minded entrepreneur who took over the Miami real-estate firm of her late father, Tony Goldman, the developer and arts patron who launched the massive street art project Wynwood Walls. “I recognized just how meaningful it is to incorporate large-scale public art into
KULAPAT YANTRASAST
Kulapat Yantrasast honed his timeless aesthetic under the watchful eye of celebrated Japanese architect Tadao Ando before striking out on his own in 2004. His uncanny ability to create buildings as understated as they are compelling (like this Indiana office park and art gallery, right) has landed his architecture firm, wHY, two of its highest-profile commissions: renovations at the Metropolitan Museum of Art and the American Museum of Natural History in 76
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Olafur ELIASSON Icelandic artist Olafur Eliasson’s works often bring natural phenomena—like light, moisture, heat, ice—into unusual settings, suggesting a meditation on our perception of the world. He’s poured water-soluble dye into rivers, turning them green, and once created four faux waterfalls in New York City to explore the properties of water. In early December, he installed 24 blocks of ice, which were taken from the Nuup Kangerlua Fjord in Greenland, outside Tate Modern as a visceral reminder of the effects of climate change. “We hope that Ice Watch created feelings of proximity, presence, and relevance of narratives that you can identify with and that make us all engage,” he wrote on his blog the day in early January that the ice fully melted. Last summer, he completed his first permanent building—a fortresslike office in the Vejle Fjord in Denmark—which applied the artist’s experience working with light, perception, and nature to a functioning architectural structure. And in September, he and his sister, Victoria Eliasdóttir (a chef who worked with Alice Waters at Chez Panisse), opened SOE Kitchen 101, a pop-up culinary and event space in Reykjavík where local arts organizations will present a series of lectures, poetry readings, and musical performances. The aim is to enable people to understand that “eating isn’t just about passively consuming.” olafureliasson.net —ROZALIA JOVANOVIC
New York. Most recently, Yantrasast made a splash by crafting the temporary pavilion for the inaugural edition of the art fair Frieze L.A., which launched in February. He found this commission a particularly encouraging sign of the growing influence of cultural movers and shakers: “I hope in the future that art gets to play a larger role in empathy and diplomacy for the world,” he says. why-site.com —G.M.
CLOCKWISE FROM TOP LEFT: COURTESY OF GOLDMAN PROPERTIES; CHARLIE FORGHAM-BAILEY; SHANE ELLIOT; JACK PRICHETT
JESSICA GOLDMAN SREBNICK
our projects,” she says. “It’s not that it’s just good for business, it’s good for the soul.” Subsequently, she has expanded the family’s holdings to include galleries as well as Goldman Global Arts, which helps match corporate clients with artists to create site-specific, large-scale installations, including the massive murals at Hard Rock Stadium, commissioned by developer and Miami Dolphins owner Stephen Ross after he visited Wynwood. This year, Srebnick’s company celebrates the ten-year anniversary of Wynwood Walls and the recent opening of Wynwood Garage, a sculptural 428-car garage with retail and office space. Next up is a still-under-wraps real-estate project in Texas to be announced this spring. Srebnick is also a cochair of the committee for the Miami Super Bowl, in 2020, and plans to add more artistic elements to the big game. “Real estate is still the foundation of everything that we do,” she says, “but our philosophy is if you’re going to put new things into the world, put things that are more beautiful, more thought-provoking, and more hopeful.” goldmanproperties.com J.S.
Ryan KORBAN When it comes to designing spaces that artfully mix uptown glam with downtown swagger, in-the-know brands such as Balenciaga, Altuzarra, and Alexander Wang call Ryan Korban. This breakout talent is hitting his well-heeled stride, and his stunning monograph released by Rizzoli last fall has the breadth of his commercial and residential work to prove it. But fashion isn’t his only calling card; Korban has undertaken his first real-estate project, 40 Bleecker, cultivating every detail of the luxury apartments and common areas. “With 40 Bleecker, I felt like I was doing something in the residential space, but I was still using all of my commercial and retail experience; it was the pinnacle of both those worlds colliding,” says Korban. The real-estate project marks just the latest chapter in his oeuvre, which is constantly evolving—from Wang’s marble- and stone-filled SoHo boutique to artfully fabricated pop-ups for Lalique and Barneys New York, which also sells Korban-made products. His next challenge includes a collection with EJ Victor that is still in development. “I’m not the kind of designer that loves the process of hunting and finding treasures,” says Korban. “I prefer to build things, design things, make things.” ryankorban.com J.S. 78
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No two projects have been the same for Architecture at Large founder Rafael de Cárdenas. Take, for example, Nike’s invitation-only gym at its New York headquarters, or his eye-popping graphic maze at Cadillac House, which blurs the lines between art installation and commercial space. Amazing feat: “For the Kenzo façade in Korea, we proposed something no one has done before: We covered it with 862 green, three-dimensional plastic cones that resemble a tailor’s spool of yarn. The building is stone, so we had to create a removable structure that could anchor them.” Our style: “I don’t think we have a style. I want every project to be an opportunity to do something new. Clients can tell I’m excited.” architectureatlarge.com — JACQUELINE TERREBONNE
ANA KHOURI
For the Brazilian-born, New York–based Ana Khouri, jewelry is a form of wearable art. Last fall, Khouri, who also works as a classical sculptor, presented 60 jaw-dropping pieces in a solo exhibition at Phillips auction house in New York. “I believe my approach to jewelry didn’t exist before,” says the designer, whose gem-encrusted geometric and organic forms are inspired by the work of artists such as Louise Bourgeois, Constantin Brancusi, and Richard Serra. “They inspired me to look at shapes in relation to space and movement and to push myself to create unexpected and unique forms that come to life when worn.” anakhouri.com —L.R.
CLOCKWISE FROM TOP LEFT: NEIL RASMUS/BFA; L ANDON SPEERS; PILMO KANG; COURTESY OF ANA KHOURI (2)
RAFAEL DE CÁRDENAS
VINCENZO DE COTIIS No one does perfect imperfection quite like Italian architect and artist Vincenzo de Cotiis. His high-concept furniture pieces look more like something excavated from an abandoned palazzo than the must-have, modern-day works shown at Carpenters Workshop Gallery and contemporary design fairs. De Cotiis’s signature is a careful approach to layering common materials paired with silver-cast brass and French marble. His recent “En Plein Air” exhibition comprised an otherworldly collection of deconstructed classical shapes bound by Murano glass that appeared almost fluid, then embellished with semiprecious stones. The same mastery of patina is found in his residential projects, which can appear quite spare upon first glance yet come alive with detail and invention on more careful inspection. decotiis.it J.T.
Simon Porte Jacquemus launched his Jacquemus label at the tender age of 19 and with almost no formal training. The first piece he designed—a skirt— was made by a seamstress who owned a curtain shop. It was an unlikely choice, but one made out of necessity. The same can be said for his decision to work in retail: Jacquemus persuaded Comme des Garçons CEO Adrian Joffe to give him a job at one of the brand’s boutiques so he could fund his own collection, which he created in the evenings. In the years since, he’s become known for conceptual yet wearable designs, shows that are open to the public, and the occasional theatrical moment. His first-ever men’s collection, Le Gadjo, made its retail debut last spring. jacquemus.com —RIMA SUQI
Sasha SYKES
Irish artist Sasha Sykes creates ethereal works by casting flowers, grasses, branches, and other foraged items in resins and acrylics to create multipanel screens, tables, and decorative objects. “My pieces have a certain boldness to their form that balances the delicate nature of many of the natural materials,” says Sykes, who originally studied architecture. “Pieces such as Straw cube, Carlow chair, The Wall, and As I Am Now have really excited me with scale, engineering, and pushing the limits of what can be done with resin. I keep thinking bigger.”
New surprises: “I worked in acrylics at first, but when I wanted to show natural elements with stronger colors, I knew I would need an alternative medium. Almost 20 years later, I’m still making ‘discoveries.’ I was doing the Gyre (Ophelia) screen, and when the resin caught the inside of the egg-wrack pods, it turned it into an incredibly beautiful warm gold. It’s such an unpredictable and magic material.” Finding inspiration: “I have been working on a series called ‘Trove.’ So much of it has to do with the collapse of imperialism, so I found myself obsessively looking at corbels in Rome, and I dragged my family to see India Gate in Delhi after Christmas.” sashasykes.com —J.S.
LEFT PAGE, COUNTERCLOCKWISE FROM TOP LEFT: COURTESY OF VINCENZO DE COTIIS ARCHITECTS AND GALLERY (2); COURTESY OF THE ARTIST AND VOLTZ CL ARKE GALLERY (2); BERTRAND GUAY/AFP/GETT Y IMAGES. RIGHT PAGE, CLOCKWISE FROM TOP: FERNANDO SANCHO; MARCELO KRASILCIC; COURTESY OF SILVIA FURMANOVICH; DIDIER DELMAS; SCOTT RUDD
SIMON PORTE JACQUEMUS
Silvia
FURMANOVICH
JANE PANETTA AND RUJEKO HOCKLEY As the nation’s longest-running survey of American art, the Whitney Biennial is viewed as a launchpad for artists, making the curator’s job a herculean task. This year, the Whitney Museum’s Jane Panetta (below, right) and Rujeko Hockley are in the driver’s seat. “We’ve tried to include younger artists and those who haven’t shown in a biennial before,” says Hockley. What will set the 79th edition apart is that there will also be a heavy dose of performance art, something the curators consider an underrated medium. “At a moment when younger galleries and artists are struggling and there is limited funding in the world for performance,” says Panetta, “it felt particularly important to give this work a platform.” whitney.org —L.R.
SANDER LAK
Sies Marjan’s Sander Lak begins every collection with a color card. He finds inspiration in a savvy mash-up of pop culture and academic references, everything from the Dunkin’ logo to a Netflix docuseries. “It’s very much based on gut feelings and emotional decisions,” says Lak, whose shows have become New York Fashion Week’s hottest ticket and star a diverse inner circle that includes models Anna Ewers, Lexi Boling, and Roberto Rossellini.
Silvia Furmanovich once took two planes, a car, and a canoe to meet an artist skilled in wood marquetry whose work intrigued her. “I am led by the potential and possibilities I can envision in a material or technique, and I will do anything to reach the source and explore further to create something new,” admits the designer, whose father, grandfather, and great-grandfather were all goldsmiths. Her jewelry, handbags, and decorative accessories have been described as “unconventional” and “visionary” due to her use of uncommon materials; her penchant for unexpected pairings of metals, stones, and other natural elements; and her continual search for new creative partners. “Innovation is how you keep yourself relevant,” she says. “Innovation has the power to surprise people.” silvia furmanovich.com R.S.
Family affair: “This spring season ended up very much being about my father, who passed away when I was younger. It was about what he wore and who he was, but also about feeling so at home in New York. The cast included friends (old ones from school to new ones), family (my mom was in the show, too), people I work with here at Sies Marjan, and models we have worked with for a while.” siesmarjan.com —J.A.R.
MARCEL WANDERS
How one designer could conjure up 2,000 unique, highly sought-after pieces is truly mind-boggling, yet Marcel Wanders’s output easily reaches that benchmark. His Amsterdam firm, which touts Alessi and Christofle among its list of collaborators, infuses myriad brands with warmth, humor, and an uplifting quality. There are his instant classics, such as the Flos Skygarden pendant light and his playful take on Louis XIV chandeliers for Baccarat, as well as highly covetable creations, like
the Louis Vuitton Petits Nomades leather-trimmed mirror and the floral Eden Queen rug from his own brand, Moooi. Recently, he launched the Globe Trotter collection with Roche Bobois, which includes tables with legs cheekily dressed in stocking-like fabric. Next up: a new lighting collection with Lladró, inspired by delicate flower petals, called Night Bloom. When every product he imagines is so perfectly memorable, enough is never enough. marcelwanders.com —J .T.
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On the menu: “There’s caviar in at least one dish at every event—it’s festive and special. Everybody loves it, and the less expensive farmed versions are quite delicious.”
Yann NURY
Modern inspiration: “For a dinner at Philip Johnson’s Glass House, we researched the classic recipes he would prepare and refined them, and then served everything in glasses and silver from the era. It was something else to cook on the original stove in his kitchen.”
For New York chef Yann Nury, catering is not one size fits all. Of the 400 menus his team created last year, every single one was unique, which is why he’s regularly hired by style-setting brands like Dior and Tiffany & Co. as well as a lengthy list of very private VIPs. “People call a caterer because they need one for a party, not because they’re craving the food,” says Nury, who went to
Going the distance: “We found an antique meat slicer from the 1820s and drove it 3,000 miles from the south of Italy to create an Italian peasant banquet in the riding ring, where the Chantilly horses practice, for a Dior couture event in France. There’s nothing like seeing women in couture digging into wheels of Parmigiano-Reggiano.” yannnurynyc.com —J.T.
ALEX POOTS
When The Shed, the multidisciplinary cultural calling card of Hudson Yards, opens on April 5, it will offer something entirely new in the creative landscape of New York. “A commissioning center for all arts hadn’t been done,” says its artistic director, Alex Poots, who is known for his mash-ups of avant-garde music, visual arts, and pop culture. “I felt it was an important thing to do.” Among the 13 new commissions slated for the 82
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YASMIN AND CHRISTIAN HEMMERLE Yasmin and Christian Hemmerle, who run the 125-year-old, family-owned high-jewelry house Hemmerle, are renowned for challenging the conventions of luxury. Their revered bijoux mix gemstones with unconventional metals like aluminum and copper and rare aged woods to extraordinary effect. “Color is so important to us,” Yasmin says, “and sometimes the classic materials aren’t enough to bring out the different hues of a gemstone.” Signature designs include rope necklaces made of intricately knitted cut stones, spiky earrings studded with reverse pavé, and an open-ended bangle. “We never get bored of experimenting with design and process,” says Christian. The couple divide their time between traveling the world, running the Munich atelier with a team of around 20 master craftsmen, and exhibiting at prestigious art fairs, including PAD London and TEFAF New York and Maastricht, where they’ll be showing new pieces in the spring. hemmerle.com —L.R.
inaugural season will be Steve Reich’s collaboration with painter Gerhard Richter and composer Arvo Pärt, opening in April; come May, Björk is mounting a new staged concert series. The lineup also includes a performance piece written by poet Anne Carson and starring soprano Renée Fleming that explores the lives of Marilyn Monroe and Helen of Troy. “There’s a curiosity across disciplines,” says Poots. “In our world when we’re questioning things like equality, there being high art and low art are not really acceptable.” theshed.org —R.J.
CLOCKWISE FROM TOP LEFT: COURTESY OF YANN NURY; MONIKA HOEFLER; COURTESY OF HEMMERLE; AN RONG XU
business school in Paris and has “never taken a single cooking class.” “I make the food the main experience, though, with curated, creative feasts.” This fall, in opening a kitchen and social spot designed by stylish French architect Charles Zana, he intends to redefine the concept of a dinner party.
EXCELLENCY PRESENTED ON THREE FLOORS E X C LU S I V E C R E AT I O N S . U N I Q U E P I E C E S . L I M I T E D E D I T I O N S . V I N TA G E
GLUSTIN PA R I S
www.glustin.net – Instagram: galerieglustin 140 rue des Rosiers – 93400 Saint-Ouen (Paris) – glustin@wanadoo.fr Openings on Saturday, Sunday, Monday and by appointments
Studio Glustin: sofa, armchair, footstool and chandelier / Erwan Boulloud: coffee table in cast aluminium / Vintage bas-relief in plaster
“Horticulture can convey many hidden aspects of the soil—it’s a powerful vehicle for narrative,” says Thomas Woltz
DAVID WISEMAN
“This is the busiest chapter of my life,” says Los Angeles artist and designer David Wiseman, “but since I’ve been working, I’ve always said the same thing.” There’s the slew of custom commissions, including a chandelier canopy that conjures “an overhead, glowing dream garden made of plaster, porcelain, and rock crystal,” which his studio is working on for a high-profile celebrity couple. New pieces in an exhibition opening March 14 at Kasmin in New York, Wiseman’s first with the gallery, will demonstrate just how his work bridges art and design. In his quest to realize a perfect jungle paradise, Wiseman will debut wallpaper depicting monkeys and a lagoon at the show as well, plus a monolithic marble fireplace with a collage composition of “fish scale, clover, chrysanthemums, water, and shark teeth.” dwiseman.com —J . T .
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“Horticulture can convey many hidden aspects of the soil—it’s a powerful vehicle for narrative,” says landscape architect Thomas Woltz. As a principal and owner of Nelson Byrd Woltz, he’s perfected the art of telling stories that quite literally spring from the earth. With a portfolio that includes a 3,000-acre New Zealand sheep ranch, a meadow at the Naval Cemetery in Brooklyn (right), and the somber Flight 93 National Memorial in Shanksville, Pennsylvania, the 45-person practice (which has offices in New York and Charlottesville, Virginia) has become the natural choice for major public projects meant to send a forceful message that’s both beautiful and environmental. In March, NBW is set to unveil one of its most challenging projects to date: a five-acre public plaza at Hudson Yards, the new mixed-use development on Manhattan’s West Side. “We had to create a human-scaled public space adjacent to 1,000-foot-tall skyscrapers, design for shade cast by the buildings, provide nutrient-rich soil for plants to grow, and insulate the plant beds from the 150-degree heat blasting from the trains below,” he explains. Ever the alchemist, Woltz took those constraints in stride, conjuring a beautiful centerpiece for the neighborhood that will not only recycle some 80 percent of the site’s rainwater but also flourish throughout the year with over 28,000 plants, including winterberry, spicebush, and echinacea. Also nearing completion are Memorial Park in Houston and Nashville’s Centennial Park, two beloved green spaces with deep historical roots in their respective cities. “When all is said and done, more than 36 million people annually will interact with an NBW park,” says Woltz. “So many lessons can be found in working with plants. I don’t think there is ever a final realization but a continuous learning.” nbwla.com G.M.
COUNTERCLOCKWISE FROM TOP: MARK HANAUER; COURTESY OF WISEMAN STUDIO (2); ROBERT WRIGHT; MAX TOUHEY
Thomas WOLTZ
Roya SACHS Roya Sachs is becoming well-regarded for her cross-disciplinary productions—usually one-off happenings—that leave audiences giddy. These experiential performances might involve a classically trained opera singer, a contemporary visual artist, and a bit of Google technology. In November, she staged Infoxication, a melee of minimal sounds and repetitive vigorous dance movements, at Spring Place, where she was the art director at the time. Now Sachs is the curator of the Lever House Art Collection, for which she has staged a number of boundary-pushing shows by artists Katherine Bernhardt and Reginald Sylvester II, among others. Her breakout moment occurred in 2016, when she and Mafalda Millies cocreated Virtually There, a digital-age remake of a 1922 ballet by Oskar Schlemmer. It featured choreography by “punk ballerina” Karole Armitage, costumes by the Campana brothers, and staging by the Whitney Biennial artists Kate Gilmore and Heather Rowe. “You always have to be out of your comfort zone,” says Sachs, who is launching a company with Millies and E:Six Strategy managing partner Lizzie Edelman to create cultural moments with more impact. “The only way we can evolve and shape ourselves is by taking risks.” royasachs.com R.J. 86
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In December, London dealer Josh Lilley’s booth at Art Basel in Miami Beach was transformed by artist Derek Fordjour with five tons of gravel, corrugated steel, and barbed wire into an immersive back-lot installation that also featured several of the artist’s beautiful textured paintings. “The idea was borne out of frustration with the sterility of art fairs,” says the Brooklyn talent, who is preparing for a solo exhibition with Lilley in May. Fordjour uses imagery of carnivals, sporting contests, casinos, and games to grapple with complex issues like race and societal inequality in a “visually rich and accessible way.” Last fall, Fordjour installed a massive wall work across the street from Whitney Museum that subtly reflects on gun violence. In Harlem, at the 145th Street subway station, a suite of mosaics from his “Parade” series dazzle commuters as part of the MTA Arts & Design project. Currently, Fordjour is adding Instagram to his list of influences, hoping to learn about a new artist every day. “I’m infinitely inspired,” he says. derekfordjour.com —L.R.
MAXENCE DULOU
Winemaker Maxence Dulou’s first vintage with Ao Yun, a relatively new bottling made in the foothills of the Himalayas, was a rich Cabernet Sauvignon blended with a touch of Cabernet Franc that quickly became a collectible among oenophiles. “Ao Yun is the definition of rare and exceptional,” says Dulou, whose 2015 vintage will arrive this summer. “They have tasted a wine unlike any other, a unique fine wine.” Greatest challenges: “Our vineyards are located in a very remote area, so we have to source and get all our equipment in time and to keep it well maintained. Cultural differences in our team create difficulties to understand each other, but it is also great to have this melting pot.” lvmh.com —J.S.
CLOCKWISE FROM TOP: BRAD OGBONNA; FRED DUFOUR/AFP/GETT Y IMAGES; COURTESY OF AO YUN; FRANCESCO L AGNESE
DEREK FORDJOUR
The work of Jaimal Odedra may be rooted in Moroccan tradition, but his rich background stretches much further than his current home in Marrakech. His diverse résumé—from Bollywood costume designer and creative director to fashion designer at Rick Owens and Givenchy in Paris and Calvin Klein and Ralph Lauren in New York—has led to myriad fantastical pursuits. There’s his new
KLAUS BIESENBACH
Over the past two decades, Klaus Biesenbach has become known for bringing underrepresented voices to center stage, most notably as chief curator at large at MoMA, where he raised the recognition of performance art (the showstopping 2010 exhibition “Marina Abramovic: The Artist Is Present”), or as director of the museum’s edgy Queens offshoot, MoMA PS1, where he staged groundbreaking solo shows by emerging talents such as Ryan Trecartin and Chinese
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MIRIAM PETERSON AND NATHAN RICH In 2018, the duo behind architecture firm P.R.O. completed the Lower East Side’s largest art gallery, a 20,000-square-foot outpost of Perrotin set in an erstwhile fabric store. They also collaborated on beauty behemoth Glossier’s sensuous SoHo flagship, which debuted in November. “Since it’s on the second floor, we had to make the most exciting stair in the city,” says firm cofounder Miriam Peterson of the chic red-quartz-lined steps that lead to a lighted oculus. Up next are a smattering of projects, including two innovative but wildly different residential buildings, one on the Lower East Side and one in Williamsburg, Brooklyn. (“We don’t adhere to a singular aesthetic or limited material choices,” says Peterson.) And in Peekskill, New York, they’re expanding a nondescript warehouse into a vibrant cultural space for the Hudson Valley Museum of Contemporary Art. The intention, says the other half of P.R.O., Nathan Rich, “is to elevate the architecture of the existing building and create an iconic institution for the town, a real destination.” All these commissions mean a lot of together time for the husband-and-wife team. “For us, it’s fun,” says Peterson. “We like being together, and we’d probably be intolerable to anyone else.” pro-arch.com —G.M.
contemporary artist Cao Fei. Now he’s bringing that savvy to his new role as director of MOCA in L.A. Just weeks after he took the helm in October 2018, the museum announced new board members, including K11 Art Foundation founder Adrian Cheng, Sean Parker, and Julia Stoschek, the buzzy German art patron who has amassed the most important collection of time-based art in the world. Biesenbach is clearly on his way to ensuring that MOCA better reflects the city’s diverse communities. moca.org —R.J.
FROM TOP: MATTEO PRANDONI/BFA; COURTESY OF JAIMAL ODEDRA; ARIAN CAMILLERI; SASHA ARUT YUNOVA
Jaimal ODEDRA
line of bronze jewelry and his recent show at local Galerie Tindouf of color-rich, soul-stirring portraits. And then to craft his unique, deceptively heavy bronze pieces, which are available at Maison Gerard, he revitalized one of the few true foundries left in Morocco to resurrect ancient sand-casting techniques. All Odedra’s pieces are handmade, and no two are alike. Some he polishes smooth, while for others he leaves the texture natural. For his ceramics, he works with another local group of artisans to create bowls in subtle, earthy shades that include a cluster inspired by the bamboo trees at Marrakech’s famed Majorelle Garden. On top of all that, Odedra continues to collaborate with Owens on his line of home accessories and plots special projects with Michelle Lamy. maisongerard.com J.T.
BRIGHT
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CINDY CHAO
Brodie NEILL
No stranger to turning discarded materials into sculptural furnishings, designer Brodie Neill initially experimented with melting different types of ocean waste together. The unknown chemicals in such fragments, however, made the concoction too unpredictable to use. “By adapting a traditional terrazzo technique, I was better able to bond the pieces into something functional,” explains Neill, who launched the London furniture studio Made in Ratio in 2013. “The fact that the final result was so visually striking was a happy coincidence.” His first piece—a dazzling table with hypnotic blue-plastic mosaics—was immediately acquired for an Australian museum’s permanent collection. Soon after, his lauded Drop in the Ocean installation featured a cocktail table and bench made of the new material. The works amplified the conversation about environmental design, and Neill was invited to speak in front of the parliament of the European Union and a marine conference hosted by the United Nations. This April, Made in Ratio is slated to unveil new works at the Fuorisalone during Milan Design Week. Neill will also expand his ocean-terrazzo series. “These provocative objects of activism will launch at events throughout the year, while providing key moments to further the much-needed dialogue of material consumption and protection of our natural world.” brodieneill.com —G.M. 90
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Since opening her company, the Art Jewel, Cindy Chao has been heralded for her dramatic, gemencrusted floral fantasies. Her work, limited to fewer than 20 pieces a year, is marked by fearlessness matched with such astounding technical skill that the Smithsonian Natural History Museum acquired her exquisite Butterfly brooch, a masterpiece crafted of 2,300 gems of diamonds, rubies, and tsavorite garnets. “I am driven to make breakthroughs in the possibilities of jewelry,” says the Taiwan-based Chao, who has also made headlines for her staggering auction results. “I want my art jewels to transcend time, geography, culture, and language, as this is what art is capable of.”
Thirty-one-year-old Rexhep Rexhepi is a rising star in the rarefied world of haute horologie. Just last November, his brand, AkriviA (meaning “precision” in Greek), won the men’s watch award at the prestigious Grand Prix d’Horlogerie de Genève. Rexhepi cut his teeth with the masters at Patek Philippe and F. P. Journe before opening his own atelier in 2012 at the youthful age of 25. In an increasingly digital world, AkriviA stands out for its deep commitment to history and artisanal craftsmanship. The award-winning Chronomètre Contemporain became one of the most talked-about watches of the year, thanks to its elegant Art Deco design and beautifully decorated (and technically difficult) symmetrical movements. Production is limited to just 30 timepieces a year, with no plans to expand. “I want to stay small and personal to guarantee a high level of quality,” he says, “but also to enjoy my work.” akrivia.com —L.R.
Unique process: “Each creation begins with cire perdue, a lost-wax casting method that was popular in 18th-century Europe, and takes around 10,000 hours to create.” cindychao.com —L.R.
“I want my art jewels to transcend time, geography, culture, and language, as this is what art is capable of,” says Cindy Chao
FROM FAR LEFT: ANGEL A MOORE; COURTESY OF CINDY CHAO, THE ART JEWEL (2); COURTESY OF SWISSWATCHES
REXHEP REXHEPI
We bring our classic tastes, anywhere you wish.
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“We often find constraints and obstacles a source of great design,” says Shohei Shigematsu Theaster
GATES
A painter, sculptor, activist, scholar, and urban planner, Theaster Gates lives somewhere at the intersection of art and community engagement. One of his most notable works is the Dorchester Projects in Chicago, a series of dilapidated houses on the South Side of his hometown that Gates purchased and turned into cultural centers. It is just one part of his ambitious Rebuild Foundation, the nonprofit he founded in 2010 with three core values, which he has described as “black people matter, black spaces matter, and black objects matter.” In a slight pivot from his social practice, Gates designed the buzzy, site-specific installation for Prada Mode, the luxury brand’s members-only nightclub during 2018’s Art Basel in Miami Beach and an offshoot of his show at Fondazione Prada in Milan. Next up is a spring presentation of new work at Richard Gray’s warehouse in Chicago, and in the fall Gates will take over and partially renovate New York’s historic Park Avenue Armory to host his renowned Black Artists Retreat, the first time the event will happen outside Chicago. In 2020, he’ll have an exhibition at megagallery Gagosian, which recently began representing him in New York. “It’s rare to see the elasticity that comes so naturally to his practice,” Valerie Carberry, partner at Richard Gray Gallery, says of Gates. “He finds what is radical in the deeply familiar.” rebuild-foundation.org HALEY CHOUINARD
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Head of the New York branch of OMA, Pritzker Prize winner Rem Koolhaas’s legendary firm, Japanese-born visionary Shohei Shigematsu has seen his profile rise quickly, thanks to his role as lead architect on a host of dazzling projects, including Miami Beach’s Pantheon-inspired Faena Forum and a glass pavilion for the Musée National des Beaux-Arts in Quebec City. Opening soon is OMA’s first ground-up building in New York, an 18-story residential tower (below). Next, Shigematsu will unveil plans for a steeply pitched annex for the New Museum that will double the downtown institution’s square footage, and a total revamp of Sotheby’s Manhattan headquarters. Also in the pipeline is his soon-to-be-announced debut furniture collection. Dabbling outside the architectural world, Shigematsu recently drew acclaim for designing the Denver Art Museum’s Dior exhibition, which will travel to Dallas this summer. “We often find constraints and obstacles a source of great design,” he says. oma.eu —G.M.
FROM TOP: FRANCESCO L AGNESE; ASTRID STAWIARZ/GETT Y IMAGES FOR PRADA; RENDERING BY BYENCORE, COURTESY OF OMA
SHOHEI SHIGEMATSU
SILVIA FURMANOVICH
RICHARD POWERS
A vibrant Jonas Wood painting, a 1960s Italian totem lamp, and a tactile armchair by William Haines find a home in a William T. Georgis–designed residence in La Jolla, California. GALERIEMAGA ZINE.COM
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For the entrance gallery of Stacey Bronfman’s home in a landmark New York City building, designer Jacques Grange created a strikingly patterned floor in black and white marble. A massive Damien Hirst butterfly painting, Ardent, overlooks Ron Arad chairs, a Vladimir Kagan sofa, and an Emmanuel Babled Plexiglas table, while at the far end another Hirst, Beautiful Drats painting (2007), is displayed behind a Mattia Bonetti bar and stools. Opposite: Just inside the front door, a Jean ProuvÊ pendant light hangs above a sculpture by Antony Gormley. For details see Sources.
adeleine Castaing, the legendary 20th-century French decorator, famously proclaimed, “Be audacious but with taste.” It was her modus operandi, as she crafted electrifying, supremely soigné interiors for Paris’s art and fashion set. Chaim Soutine’s famous 1928 portrait of her is in the collection of New York’s Metropolitan Museum of Art, which happens to be directly across the street from an art-filled residence that exudes just the kind of fearless yet refined spirit that Madame Castaing championed. “I wanted an apartment where people would walk in and feel like they were in Paris—it’s Gesamtkunstwerk, a total work of art,” Stacey Bronfman says of the Fifth Avenue home, which she renovated with the help of another celebrated French designer, Jacques Grange. When Bronfman and her then husband, Matthew, bought the five-bedroom apartment in a landmarked 1912 Renaissance-style building by McKim, Mead & White, the spaces retained much of their original condition. The previous resident, socialite Ann Slater, had lived there for six decades, hosting extravagant parties in the front of the home, even as she was forced to move from bath to bath in the back, thanks to plumbing failures and bursting showers. Bronfman, a passionate collector of contemporary art and high-design furnishings, sought to amplify the apartment’s graceful proportions and its distinctive details, while updating yellowed floors and dreary finishes to evoke the feeling of a fresh, sophisticated loft for a modern family. → 98
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A Fernando Botero work framed by Agostini sconces and a painting by Jason Martin preside over a living room sitting area furnished with a Grange-designed sofa, an Ado Chale table topped by Diego Giacometti ostrich sculptures, lounge chairs by Franco Albini and Franco Helg, and a Paul Evans stool; the horse is Tang dynasty, and the carpet was custom made by Beauvais. Opposite: Bronfman stands in one of the doorways that Ferguson & Shamamian Architects raised during its renovation of the apartment.
Above: A Chana Orloff sculpture perches in the window next to a table, chairs, and lamp all by André Sornay. Left: The space that contains the library and dining area features walls finished in a copper lacquer and a chevron-pattern vintage oak floor; a painting by Richard Prince is installed over the Maria Pergay dining table, Jean Royère–style banquette, and velvet Jacques Leleu chairs.
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Right: Verner Panton ceiling lights are mounted in the TV room above McCollin Bryan tables and a sofa by Ueli Berger, Eleanora PeduzziRiva, and Heinz Ulrich; the artwork is by David Vegby, and the rug is Moroccan. Below: Oscar Niemeyer chairs and a Haas Brothers gilded stool join a Willy Rizzo cocktail table atop the library’s Fort Street Studio carpet; the sculpture in the corner is by John Chamberlain, and the Chinese bodhisattva head is from the Northern Zhou period.
A Leo Villareal light sculpture glows in the kitchen, which is outfitted with custom-made bronze overhead lighting, a marble-top island with stools in the style of Jean Prouvé, and a Gaggenau oven. Opposite, from left: In her son’s bedroom, Bronfman hung a superhero artwork by Michael Scoggins above a Campana brothers chair; the bed is by Jim Zivic, and the rug is by Edward Fields. Aquarium-themed tiles by Ceramica Sant’Agostino enliven his bath.
Ferguson & Shamamian Architects, renowned for its masterful approach to classical design with a contemporary sensibility, undertook a thoughtful, almost-gut renovation of the space. The Manhattan firm had previously worked on three other apartments in the building, so navigating its layouts and eccentricities was second nature. Entryways were heightened, walls came down to create more open rooms, and, of course, plumbing and electrical systems were updated for the 21st century. When it came to the decor, Bronfman considered handling it herself—that is, until she was introduced to Grange through relatives. Right from the start, homeowner and decorator hit it off. Bronfman’s background in accounting and fashion merchandising belies an expertise in decorative arts and design that she began acquiring osmosis-like by studying auction catalogues, visiting galleries, and making the rounds on the international fair circuit. During the course of the apartment’s four-year renovation, she became so obsessed with decorating that she earned a degree from the New York School of Interior Design. Grange, who is frequently enlisted to craft luxury hotels, including Francis Ford Coppola’s Palazzo Margherita in Italy and the newly reopened Cheval Blanc on St. Barts,
takes on only a few select residential projects. “For the Bronfmans,” he says, “I wanted to create a contemporary home with an artistic attitude.” Together they composed captivating, unconventional spaces that are surprisingly compatible with the historical setting. “I asked Stacey not only for her ideas but also her feelings,” Grange recalls. “We developed a strategy where some rooms had great energy, others were calm. This apartment is a self-portrait of her.” Just inside the apartment’s entrance, visitors are greeted by the dynamic gallery, where Grange created a labyrinth-like patterned floor out of chic matte-finish black and white marble—a graphic contemporary echo of the traditional ceiling moldings overhead. GALERIEMAGA ZINE.COM
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It’s a compelling backdrop for an electric-blue bar custom made by Mattia Bonetti, a circular butterfly painting by Damien Hirst (so massive that it had to be craned in through a triple-casement window), and Ron Arad’s voluptuous Blo-Void II chair, which was the Bronfmans’ first purchase together a dozen years ago in Milan. Bold artworks are deftly integrated throughout. A Leo Villareal target light sculpture casts a soft chromatic glow in the all-white kitchen, while a crumpled-metal assemblage by John Chamberlain animates the library. In the master bedroom, a neon wall sculpture by Tracey Emin that reads, “Her soft lips touched mine and every thing became hard,” is given pride of place, directly above the bed. “Jacques is confident enough to work with someone who has their own taste,” Bronfman says. “He’s not a decorator—he’s a visionary.” The only hiccup in their harmonious collaboration was the space that contains the dining area and library. “I wanted a dark
dining room, and Jacques was not in agreement,” Bronfman recalls. “We were sitting in the gutted apartment, and I spied a piece of discarded copper tubing. ‘I want that color,’ I told him. His response: ‘Magnifique!’” They settled on a high-gloss version of the distinctive hue, adding extra flair to a space that’s arrayed with knockout vintage furnishings atop chevron floors based on measurements that Bronfman took—surreptitiously using a tape measure—at Balmain and Lanvin boutiques in Paris. Now Bronfman is transitioning into a career in interior design, and she is already deep into her first solo Gesamtkunstwerk: a postdivorce apartment for herself. It’s a calling that had long been there, even if it took some time to fully embrace. “Where other women might prefer jewelry as gifts, I’d want Line Vautrin mirrors,” she says. “My mother always stressed the importance of buying well but not buying a lot.” Madame Castaing would approve.
From left: Animating the master bedroom’s walls are a painting by Secundino Hernåndez and a neon text piece by Tracey Emin titled For Her (2008); the silver-leaf bed, custom designed by Grange, is dressed in E. Braun & Co. bedding. Completely swathed in silver travertine, the master bath features Dornbracht fittings and a Vladimir Kagan stool tucked beneath the sink.
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In the living room of Sidney Torres IV’s New Orleans home, architect Lee Ledbetter designed the circular sofa, the agate-top cocktail table, and the carpet; the armchair is 1940s French. An 18th-century French mirror is mounted over a Jamb marble mantelpiece in the adjacent study, where barrel-back swivel chairs by Joe D’Urso face a Harvey Probber table with a metal top by Arpad Rosti. The staircase, cushioned with a runner designed by Ledbetter, wraps around a Joseph Havel sculpture standing atop a table by Kim HyunJoo. For details see Sources.
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NEW ORLEANS ENTREPRENEUR SIDNEY TORRES IV ENLISTS ARCHITECT LEE LEDBETTER TO HELP HIM WRITE THE ARTFUL NEXT CHAPTER OF A HISTORIC FRENCH QUARTER HOME By Jacqueline Terrebonne Photography by Pieter Estersohn Styled by Howard Christian
ut on the edge of the French Quarter in New Orleans, blocks past the grande dame restaurants and all-night bars, lies a tight-knit community of remarkable, Tennessee Williams–worthy characters living in architecturally distinguished homes. Though the colorful personalities generally announce themselves without too much prompting, the residences remain more elusive, tucked behind dense tropical thickets of banana leaves. Of all of these, the Fisk-Hopkins House might be the most secluded. Set far back from the street behind a high fence, the two-story Italianate mansion presides over an oasis that extends an unheard-of full city block. When the house came on the market several years ago, Sidney Torres IV, the serial entrepreneur and New Orleans native, wanted to be the first to get a look inside. The star of CNBC’s New Orleans house-flipping reality show, The Deed, he knows as much as anyone about real-estate opportunities in the city. And his own Greek Revival home, a few blocks away, was next door to a bar that had turned a little too raucous for an expanding family that
Below: The living room is overlooked by a Bourgeois Boheme chandelier and a large painted photographic work by John Folsom. Opposite: A second story was added to the Italianate house in the early 1870s; installation of the infinity-edge pool in the front lawn required permission from the strict Vieux Carré Commission.
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In the family room, one wall is covered with jazz photographs from Torres’s collection, and an artwork by Anastasia Pelias is displayed over the fireplace; a vintage Murano glass chandelier hangs above a sofa and cocktail table designed by Ledbetter and vintage Milo Baughman swivel chairs. Opposite: Torres and his girlfriend, Selina White, are joined by their daughter, Sefina, and their dog Callie in the master bedroom sitting area; Ledbetter designed the daybeds, while the artwork over the fireplace is by Jungjin Lee and the sculpture on the pedestal is by Dawn DeDeaux.
included his girlfriend, former model Selina White, and their young daughter, Sefina. But schedules interfered, and he found himself away at his Bahamas resort, the Cove, in Eleuthera. Knowing he needed to act fast, he phoned architect Lee Ledbetter, who had done a masterful renovation of his current residence, and asked him to assess the potential. “I had been to the house and spent Thanksgiving there ages ago,” Ledbetter says of the property, which belonged to the late artist Eugenie “Ersy” Schwartz and had been in her family since 1925. “It’s the greatest house in the French Quarter, no doubt,” says Ledbetter. “It’s not the largest but the best.” The history of the Fisk-Hopkins House actually stretches back to 1860, when it was built as a kind of proto–man cave, serving as a library and billiards hall for the men of a family that lived next door. In 1871, it was purchased by Aristide Hopkins, an agent to the Baroness de Pontalba, who added a second story to transform it into a proper home. GALERIEMAGA ZINE.COM
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Before Torres finalized the purchase, Ledbetter drew up plans to ensure they could make it work. It didn’t take long for Torres to be convinced. The most dramatic change was adding an infinity-edge pool on the front lawn, and getting the notoriously stringent Vieux Carré Commission to sign off on it was a major coup. Inside, Ledbetter opened things up by removing walls and eliminating mazes of tiny rooms. Though he lowered the ceilings in some places to install much-needed air-conditioning, they were still a staggering 15 feet high. One space that required no expanding was the living room, which came adorned with a symphony of plasterwork moldings. “That room is what sold me,” says Torres. The space had so much architectural detailing, layered over time, that the architect was able to repurpose a set of moldings as window casements for the master bedroom. To bring the house into the present while maintaining a strong sense of place, Ledbetter—whose first monograph, The Art of Place: Architecture and Interiors, is being published by Rizzoli this spring—collaborated with Torres on the mix of vintage furniture and works by regional artists. Ledbetter is well-connected in the local art world, having designed projects such as a home and studio for legendary painter George Dunbar, the artists’ studio building at the Joan Mitchell Center, and the New Orleans Museum of Art’s sculpture garden, where he oversaw a six-acre expansion that is being unveiled this spring. For the living room, Ledbetter and Torres commissioned John Folsom to create one of his large-scale photographic works, a watery landscape embellished with paint and coated in wax. “I love the idea of being in this beautiful room and having the Louisiana landscape right in front of me,” says Torres. “It reminds me of going to the bayou with my grandfather when I was a kid.”
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Below: The kitchen is outfitted with cabinetry by Ledbetter, marble countertops, Miele ovens, and a Gaggeneau cooktop; the group of four ceramic vessels is by Kevin Gillentine, and the counter stools were designed by Charles Hollis Jones. Right: On the rear terrace, a BJ Las Poñas sculpture perches between Japanese yew hedges and next to furniture by Neal & Company.
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Above: An artwork by DeDeaux surmounts the master bedroom’s bed, which was designed by Ledbetter, as were the side tables, which are topped by vintage mercury-glass lamps; the artwork on the left wall is by George Dunbar, and the Baker slipper chairs, Eero Saarinen low table, and Paul McCobb stool are all vintage; the plaster table at right is by Stephen Antonson, the curtains are made of a Dedar fabric, and the alpaca carpet is by NOLA Rugs. Left: Lined with richly veined Arabescato Corchia marble, the master bath features a vintage Bagues chandelier and vanities designed by Ledbetter; the tub fittings are by Waterworks.
The home features several works by Dunbar and of-the-moment New Orleans talent Dawn DeDeaux, whose ghostly image of a figure in a floral space suit hangs above the bed. “I love how ethereal and spiritual it is,” says White. For Torres, it’s easy to identify his favorites. The wall of black-and-white photographs in the family room represents everything he loves about the city and its musical heritage. “There’s Trombone Shorty, Louis Armstrong, Preservation Hall, and several shots by jazz photographer Herman Leonard,” he points out. The choices of furniture combine past and present: a bronze table in the living room by Hervé Van der Straeten mixes with a trumeau mirror original to the house, while custom pieces designed by Ledbetter join 1940s French armchairs. Everything exudes a sophisticated modernity that lacks formality. In many ways, the home reflects the revitalized spirit of New Orleans—steeped in tradition while looking toward the future—which also feels just right for Torres, who has been a catalyst for new businesses that support the city’s infrastructure while tapping into its creative spirit in fresh ways. “It’s almost impossible not to have this house look New Orleans,” says Ledbetter. “The trick is having it reflect the character and the spirit of the city today.” GALERIEMAGA ZINE.COM
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Inside his Brooklyn studio, Bosco Sodi sits in front of a recent black-and-white painting from his “Genesis” series, which addresses dualities such as light and darkness and life and death. Opposite: Years’ worth of colorful encrustations cover the studio floor.
THE
WABI-
SABI
WORLD OF
BOSCO
SODI FOR THIS INDUSTRIOUS, IDIOSYNCRATIC ARTIST, IT’S ALL ABOUT MATERIALS, PROCESS, AND EMBRACING THE UNEXPECTED
BY STEPHEN WALLIS
PHOTOGRAPHY BY DOUGL AS FRIEDMAN
hen Hurricane Sandy barreled through New York City in 2012, few neighborhoods were hit as hard as Red Hook, on the Brooklyn waterfront. After the storm surge receded, the pier at the end of Van Brunt Street was stained scarlet, like the remnants of a brutal crime scene perhaps. And, indeed, the devastation that confronted the artists, nonprofits, and businesses occupying the pier’s 1860s brick-and-stone warehouses was horrible. Bosco Sodi, whose washed-away cache of pigments was responsible for the red residue, lost 18 of the process-intensive paintings he is best known for—their cracked and densely encrusted surfaces calling to mind lava fields or desert landscapes, often in vivid monochrome hues. A year’s worth of his work was gone. “We were completely destroyed, so we had to renew totally,” recounts the Mexican-born Sodi, who made New York his base a decade ago and lives in Red Hook with his wife, Lucia Corredor, owner of the vintage-furniture store Decada in Mexico City, and their three children, Bosco, Mariana, and Alvaro. He says it took around four months to clean up and renovate the sprawling space, which features 25-foot-high stone walls topped by a trussed timber ceiling: “During that time, I wasn’t able to paint at all. Looking back, while it was obviously a disaster, it made me reflect and go more slowly, and that was ultimately a good thing.” 118
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From left: Sodi makes his paintings by thickly layering a pigment-andsawdust mixture onto the canvas with his hands. Standing side by side are two very different works; they can take up to several weeks to dry, cracking and transforming in unforeseeable ways. Opposite: Sodi lays his canvases flat atop large buckets, making it easy for him to move around them as he applies the pigment mixture.
After a brief pause and reset, Sodi has maintained a remarkably busy, border-hopping art practice that stands out even in today’s globalized world. Represented by nine galleries, he maintains studios in three countries, each focused on specific aspects of his creative output. His New York and Barcelona spaces are devoted to painting. In Mexico City (his hometown), he transforms volcanic rocks into sculptural objects by coating them in eye-catching glazes—including a 17K-gold mixture—and firing them at extreme temperatures. And Puerto Escondido, on Mexico’s Oaxacan coast, is where he works with clay, hand-molding cubes and bricks to create the minimalist stacks he calls “Caryatids” and “Atlantes” in reference to the female and male figures that decorate support columns in classical architecture. But Puerto Escondido is more than just another home and workspace. There, Sodi has collaborated with several celebrated architects, including Tadao Ando, Kengo Kuma, and Álvaro Siza, to design an expansive oceanfront compound that also functions as a nonprofit arts center. Named Casa Wabi—after the Japanese aesthetic philosophy wabi-sabi, which prizes imperfection, rusticity, and simplicity—the complex features residences for visiting artists, exhibition spaces, a ceramics-teaching
“I LIKE TO WORK BY MYSELF— FOR ME, IT’S A VERY PRIVATE MOMENT,” SAYS BOSCO SODI
From top: Sodi’s palapa-style studio at Casa Wabi features concrete walls topped by a traditional thatched roof, a design conceived by Pritzker Prize–winning architect Tadao Ando. Inside the space, one of the artist’s column-like “Caryatids” stands among an array of his works hand-molded from local clay and fired in traditional outdoor kilns.
thinking more about his own life, getting older, and his family. He decided to create a series of paintings that combine areas of black and white as a way of addressing universal dualities: light and darkness, life and death, good and evil. The series, called “Genesis,” debuted in the fall at his Berlin gallery, Galerie Eigen + Art. Additional works are on view at a pair of exhibitions, at Blain|Southern in London and Galería Hilario Galguera in Mexico City, through late March and early April, respectively. “This is the first time I’ve mixed two colors. I like the elegance of black and white,” says Sodi, adding with a laugh, “In the end, the hope is that the white, the good, will prevail.” White will also be prominent in his next paintings project—to be exhibited at Kasmin Gallery in New York in 2020—conceived as an homage to Spain, where he began his career. One specific inspiration is a triptych of white Joan Miró paintings, Pintura Sobre Fondo Blanco
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workshop, gardens for native flora, a mobile library, and programs for nearby schools. The subject of a new book, Casa Wabi, published by Rizzoli, the five-year-old center continues to evolve. “We’ve already hosted more than 240 artists, and we have worked with more than 16,000 kids in the community,” says Sodi. “But I wanted the foundation to be very wabi-sabi— very changeable and flexible—and we’re working on making our social programs even stronger.” Sodi entrusts the day-to-day running of Casa Wabi to his sister Carla Sodi Ambrosi, as he spends the majority of his time in New York. Days in his Red Hook studio tend to start early, and not infrequently he is alone, stretching his canvases and blending the mixture of pigment, sawdust, glue, and water that he uses to make his paintings. “I like to work by myself—for me, it’s a very private moment,” says Sodi, before adding, “Sometimes I’ll let one of my kids help me.” To start, he lays his canvases—typically several feet or more across—atop plastic buckets so that the work surface is about a foot and a half off the floor. Working quickly with only his hands, he mounds and smears and flings the mixture onto the canvas with an almost performative physicality. (Years’ worth of chromatic splatters encrust the studio floor, creating what is arguably the ultimate wabi-sabi painting.) While the works are left to dry—for three to five weeks—alchemy takes over, as their surfaces harden and crack in unpredictable ways that are influenced by factors such as temperature, humidity, and the pH of the water used. “The work is about Bosco’s relationship to the materials,” says the artist’s studio manager, John Rohrer, who occupies an office at the front of the warehouse, where there’s a bar and vintage seating selected by Corredor for hosting visitors. “Everything he makes is an experimentation. He embraces all outcomes.” Sodi’s latest paintings have taken a reflective—and muted—turn, brought on by a combination of factors, including the death of a beloved grandmother, which got him
Above: This spring in
para la Celda de un Solitario (I,II,III), each with a Mexico, Sodi is unveiling his Atlantes single line gently wavering across its surface. Sodi pavilion at Casa Wabi, plans to render that simple gesture as “a scratch, a monumental project that took more than as if it was a very free line,” he says. two years to complete. Meanwhile, this spring will mark the official Each of the 64 sevenunveiling of Sodi’s monumental Atlantes pavilion foot cubic structures is composed of 1,600 at Casa Wabi. More than two years in the making, individual clay bricks. the land-art-scaled installation features 64 equally spaced, seven-foot-tall cubic structures, each composed of 1,600 clay bricks. “They look like they are holding up the sky,” the artist says of his Atlas-inspired cubes, noting that “they will change over time, as they get mold, turn green, and wildlife inhabits them.” And Sodi has continued making clay bricks for new iterations of his Muro, which began as a public art installation for New York’s Washington Square Park in 2017 and has become the best-known work of his career. Standing more than 6 feet high and 26 feet across, the original wall was made of 1,600 bricks, which members of the public were invited to take away, slowly dismantling the structure.
It was a rare foray into politics for Sodi, who notes that the piece was not just about debates over immigration and border security but “a lot of walls that have to be broken down—economic, gender.” He has since reprised Muro in Brexit-edgy London, in Antwerp, and most recently in Tampa, Florida, in January. “Even though I’m not a political artist, at times like this I think artists have an obligation if they see an opportunity to make a political statement,” he says. “It’s now or never.” Stepping outside Sodi’s studio onto the pier, you find yourself staring directly at the Statue of Liberty, rising majestically in New York Harbor. The power of that symbol of freedom—which once greeted waves of immigrants entering America through Ellis Island—isn’t lost on Sodi. “It is,” he says, “an important reminder.” GALERIEMAGA ZINE.COM
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The poolside terrace of a La Jolla house redone by architect William T. Georgis is abloom with an array of tropical plantings by Elysian Landscapes. Left: The billiards room is equipped with a double-sided sofa of Georgis’s own design that offers prime viewing of paintings by Kenny Scharf (left) and George Condo. For details see Sources.
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or nearly a decade, William T. Georgis has been leading something of a double life. Each month, the urbane New York architect shuttles between his gleaming Upper East Side townhouse—also the headquarters of his thriving firm, Georgis & Mirgorodsky— and a sun-drenched, leafy compound overlooking the Pacific in La Jolla, California. Like his yin-yang lifestyle, Georgis’s interiors deftly balance sophistication and connoisseurship with seductive comforts. This delightful duality clearly appealed to a New York financial titan and an actress who are longtime clients of Georgis and his studio partner, →
Above: A custom-made sofa, a vintage cocktail table by Pepe Mendoza, and a Malm fireplace give the effect of floating in a living room corner. Opposite: A painting by Federico de Francesco is hung in the library, which is paneled in redwood inset with bronze mirror and features a cocktail table with a custom top by Nancy Lorenz.
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Clockwise from top left: The master bedroom’s built-in daybed, upholstered in a Schumacher fabric, overlooks a bronze sculpture by Tom Sachs. The walls of the master bath are lined in cedar, and the tub is by Waterworks, with Dornbracht fittings; a painting by Amy Sillman animates the dressing room beyond. An early-19th-century Japanese screen hangs above a bed custom designed in lacquer and gold leaf.
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Above: An abstract painting by Condo anchors the dining room, which is furnished with 1960s chairs upholstered in a horsehair fabric, a 1950s chandelier by Angelo Lelli, and a gilded bronze screen by Michele Oka Doner adjoining a wall sheathed in silver travertine.
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A fountain sculpture by Tom Sachs sets a playful mood in the pool area; a newly constructed poolhouse fits seamlessly into the landscape, as does a customdesigned teak banquette.
Ilya Mirgorodsky. Several years ago, when the couple spent a weekend at the beach with Georgis and his life partner, Richard Marshall, the curator and art adviser (who died in 2014), they decided they wanted a La Jolla home, too. On a hike together up a steep hillside, they fortuitously stumbled upon a post-and-beam house built in 1963 by Homer Delawie, a venerated regional architect. This “modernist gem,” as Georgis calls it, had seen far better days, however. “It was abandoned, in very bad shape, and the site was so overgrown it was like a jungle,” he adds. “But they fell in love with it.” Georgis and Mirgorodsky jointly conceived a plan for the property, with the former being largely responsible for the decor while the latter oversaw the architectural work. For the extensive landscaping that was required, they called on Judy Kameon, of Elysian Landscapes in Los Angeles. In addition to a meticulous restoration of the original house, which included building a small addition, the designers created a new complex farther up the hill comprised of a swimming pool and cabana with a covered outdoor living room, spa, and guest bedroom. “The idea was that whatever was added would be respectful of context and look like it was part of the original ensemble—not look alien,” says Mirgorodsky. As the clients are serious collectors of contemporary painting and sculpture, the entire property had to be welcoming for art. Indoors and out, there are major works by Tom Sachs, Joan Mitchell, Ed Ruscha, George Condo, Kenny Scharf, and David Salle, among others. “It’s sophisticated but also extremely casual—someplace where you are comfortable with your shoes off and a martini in your hand,” says Georgis. Shortly after the couple purchased the property, it was added to the registry of local architectural landmarks—a proud distinction but also one that came with regulatory hurdles. “Bringing the house into the 21st century took two years of battles with the authorities,” says the actress. “It ended up being like an origami project. That Bill and Ilya solved the problems was no mean feat. “In Bill’s interiors, there literally isn’t one wrong note,” she continues. “He is steeped in every period of style, but he has an extraordinary sense of play and fun. Ilya is an incredibly skilled communicator, which is rare for a technical, nuts-and-bolts builder. He loves materials: wood, stone, even screws.” Kameon, for her part, honored the spirit of the property while completely reinventing it. “The place was like the most elegant tree house you can imagine,” the landscape designer GALERIEMAGA ZINE.COM
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Above: The cabana’s guest bedroom gets a tropical boost through a customdesigned white oak and Madagascar cloth captain’s bed, a 19th-century silk ikat throw, pillows in gold and fuchsia velvet by Élitis and Stark, and an array of vintage Venus Paradise color-by-number paintings.
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recalls. “That was an important through line for me—to keep a sense of being up among the trees, inside and out.” Yet almost the entirety of the junglelike vegetation had to be scraped clean. After vast amounts of earthmoving and regrading of the property, she planted arrays of subtropical and Mediterranean flora. As for Georgis, even though he respected the house’s past, he wanted to avoid midcentury clichés. Instead, he looked to Asia, to 20th-century designs from around the world, and to custom furniture that didn’t interrupt the spectacular views. He also
commissioned a bevy of artists and artisans—including Michele Oka Doner and Nancy Lorenz—to create site-specific works. At the same time, he wanted to “turbocharge” the interiors, in terms of quality of materials and architectural finishes. In the library, for example, he had the walls paneled with thick planks of redwood, with bronze mirror insets. “When Bill told me that he wanted to do that, I was a little scared. It sounded like it was going to be like an acid trip from the ’70s,” says the actress. “But he was beyond right. It’s so good it’s bananas. Just magic.”
Clockwise from left: A work by Condo basks alongside the infinity pool. An Alaskan yellow cedar canopy shades the cabana’s dalle de verre custom counter and Brown Jordan chairs; mounted binoculars from a 1945 Japanese naval submarine offer a striking way to take in the view. B+B Italia chaise longues provide a relaxing alternative.
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1 The home’s expansive outdoor lounge and dining area provides a shady respite. To create the lanai, William T. Georgis tapped San Diego artisan Christopher Puzio, who is known for his exquisitely crafted metalworks. The resulting bronze canopy, punctuated with geometric patterns, stretches 30 feet in length. “The design is his reference to birds in flight,” says Georgis. puzio.com 2 Conceived for a 2016 solo exhibition at the Noguchi Museum in Queens, New York, this ornate stupa by Tom Sachs hints at the farcical artist’s fast-food artwork. “It was originally made out of cardboard, then he cast it in bronze,” says Georgis. “There are even some McDonald’s arches at the base.” tomsachs.org 132
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3 “We wanted to create a visual barrier between the dining area and the kitchen,” recalls Georgis, who enlisted his friend and frequent collaborator, New York artist Michele Oka Doner, to create this gilded screen. Crafted using palm seeds, the divider was then cast in bronze and bathed in five layers of gold. “It reads abstractly from a distance, but when you get up close you can see that it’s based on natural forms. It catches the light in the most spectacular way.” micheleokadoner.com 4 Covered in goatskin and horsehair, the dining room’s cantilevered bench is among the myriad furnishings custom designed by Georgis & Mirgorodsky. (The dining table is another.) “It made sense to do a banquette
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rather than chairs because it allows you to conserve space,” explains Georgis. Its clean lines allow the silver travertine-clad wall to make more of a statement, especially when paired with an attentiongrabbing artwork by George Condo. gma.nyc 5 A large-scale painting by Kenny Scharf provided color cues for the entire billiards room, which features a double-sided “Cadillac” sofa designed by Georgis & Mirgorodsky. Equipped with convenient bookcase arms, the sofa utilizes Dualoy suede and Foglizzo leather in a pattern inspired by vintage car upholstery. kennyscharf.com 6, 7 Flanked by shimmering panels, the custom-made bar is a special design by Georgis & Mirgorodsky. “I was in Palm
Beach years ago and found these carved antique Japanese screens made of wood that had been gold-leafed,” recalls Georgis. “I didn’t know what I was going to do with them, but it made sense to use them here.” Surmounted by an early Condo artwork, the bar, located just off the kitchen, also features earthy materials like eucalyptus, rattan, and bronze. 8 For the guest bedroom, Georgis went retro, accenting multiple items (including a vintage Italian cactus lamp) with a custom philodendron fabric by Bahama Hand Prints. “It’s a wonderful company that’s been around since 1966,” says Georgis. “There are philodendrons in the garden, and the print seemed at home in Southern California.” bahamahandprints.com
COURTESY OF TIFFANY & CO. OPPOSITE: SIMON UPTON, COURTESY OF MAISON GERARD
LifeImitates Art B Y S T E FA N I E L I
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Brilliant LED lights illuminate the crisscrossing lines of bronze and opal glass mosaic in Irish artist Niamh Barry’s expansive, 11-foot-long light sculpture, Walking. The artist’s first solo museum exhibition, “Light on Earth,” is on view at the National Museum of Ireland through December 31; maisongerard.com. Opposite: Florentine jewelry designer Elsa Peretti has created many of Tiffany & Co.’s most enduring, sumptuous collections, including the Open Heart, Bone, and Bean. The undulating strands of Wave, her classic nine-row bracelet, emulate the peaceful movement of the ocean and further cement her legacy for artful design; tiffany.com.
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COURTESY OF THE NATIONAL PORTRAIT GALLERY, LONDON. OPPOSITE: COURTESY OF BUCCELL ATI
For 100 years Milanese fine jewelry company Buccellati has produced exquisitely detailed metalwork, reflected in this Elio Fiorefiocco Arabesque timepiece, which features a dial embellished with radiant rubies—the watch boasts 138 in total—and an array of tsavorites and sapphires on the yellow-gold bracelet; buccellati.com. Opposite: Adorned in her lavish jewels and golden coronation robe, Queen Elizabeth I sits regal in this oil-on-panel depiction from the 1600s, which was one of the first to represent her royal stature through her splendid orb and scepter; npg.org.uk.
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COURTESY OF HECTOR FINCH LIGHTING. OPPOSITE: BRUCE BARNBAUM
Recognized as one of the finest darkroom printers, photographer Bruce Barnbaum transforms the natural world into an abstract fantasy. His rich black-and-white photograph Elegant Dune captures the hypnotic ripples of shifting sands in the American West; barnbaum.com. Opposite: Known for its fusion of contemporary design and classic motifs, London-based Hector Finch Lighting seamlessly blends meticulous metalwork with sensuous swirls of mirrored-finish glass in its Tiber pendant; hectorfinch.com.
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RICHARD MOSSE, COURTESY OF JACK SHAINMAN GALLERY. OPPOSITE: COURTESY OF HERMÈS
Photographed with infrared film that converts lush green vegetation into flamingo pinks and cherry reds, Richard Mosse’s Non-Alignment Pact transforms a setting of war and destruction into a surreal wonderland. More of Mosse’s work will be on display this fall in his upcoming solo exhibition at the San Francisco Museum of Modern Art; richardmosse.com. Opposite: Tufts of vibrant greenery pop against graphic fuchsia mountains that envelop the seamless silk and swift-calfskin Hermès 2002 bag in Sieste au Paradis, a print inspired by a 1970s scarf designed by Aline Honoré; hermes.com.
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PORTRAIT BY MIGUEL FLORES-VIANNA
Interior designer Isabel LópezQuesada. Opposite: Vintage roof tiles lend an authentic patina to the courtyard, whose 17th-century doors lead to an allée of cypress trees. Previous spread: Surrounded by flourishing white jasmine, the courtyard features vintage chairs clustered around an iron table designed by López-Quesada. For details see Sources.
ome people might spend years searching for the perfect plot of land on which to build their dream house. A lucky few come into the world already owning it. Such was the case for Manolo Falcó and his wife, Amparo Corsini, for whom Spanish designer Isabel López-Quesada created the ideal country getaway on a sprawling estate, near Toledo, Spain, that has been in Falcó’s family for centuries. Falcó is the eldest son of the Marqués de Griñon, a title he’ll one day inherit, and the estate is about 60 miles from Madrid, where the family produces their well-respected wines and olive oil. Tidy rows of grapevines and olive trees stretch as far as the eye can see, and the earliest buildings on the property date to the 12th century. The family’s new home sits next to a 17th-century chapel, so for the London-based couple and their three children, the question wasn’t where to build but what to build. “About 40 years ago someone planted an informal stand of cypress trees behind the chapel,” says López-Quesada. “The couple wanted their house to adapt to the space left in between, so the trees more or less designated the floor plan.” After 35 years in the business, LópezQuesada is supremely adroit at envisioning not only the most suitable setting for a home but
Her ability to understand her clients’ desires and optimize the particulars of each project is what keeps Isabel López-Quesada at the top of her game
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“It was fun to use these truly beautiful architectural and design elements without any sense of preciousness or fuss,” says López-Quesada also every whim of her blue-chip clientele. She’s the go-to designer for style-savvy nobles and captains of industry looking for an elegant yet unfussy modern aesthetic, crafting interiors for everything from Madrid’s august Puerta de Hierro Royal Country Club—the unofficial seat of Spanish social, political, and economic power brokers—to Spanish ambassadors’ official residences in Japan, Qatar, and Senegal. A new book, Isabel López-Quesada: At Home, by Vendome Press, offers an intimate glimpse of her stylish life in her own gorgeous home in Madrid and a retreat in the French Basque countryside and vividly illustrates why clients are clamoring for her to create the same for them.
This was far from her first project with the Falcós—López-Quesada also designed their home in Madrid and house in London. “We’ve known each other for years and work really well together,” says the designer, who understood her brief was to deliver a real family home, both elegant and comfortable. “Amparo is a true aesthete with an eye for many wonderful details.” On the outside, the five-bedroom house, which was designed in collaboration with architect Pablo Carvajal, blends nicely with its pedigreed centuries-older surroundings. The massive doors leading to the jasmine-scented courtyard are 17th century and the roof tiles are also vintage, to give
Left: The new home’s stucco architecture blends seamlessly with a 17th-century church on the property, where grapes and olives are grown. Below: In the den off the master bedroom, the daybed and ottoman are custom designs, and the sofa is covered in a Colefax and Fowler velvet; a collection of framed herbs hangs from walls lined in a Scottish kilt fabric.
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Clockwise from top left: The kitchen is outfitted with a vintage French table and stools and gleaming pendant lights by Lรณpez-Quesada. The master bath mixes old and new, with a Devon&Devon tub and Bossini-Cristina fittings paired with vintage furnishings, including a cabinet converted into a vanity. The custom-made bed in the master bedroom is upholstered in a Le Brochier velvet and topped with a vibrant Turkish suzani. Italian dining chairs from the 1960s surround a Belgian reclaimed-oak table, and the walls are upholstered in a Bennison floral linen.
“I love a challenge, and there is no part of the design process I don’t enjoy,” says López-Quesada the house a patina of age and permanence. “That roof detail using three rows of tile to create a cornice is completely Toledano,” the designer says, further establishing the home’s local authenticity. Inside, many of her design choices go hand in hand with what López-Quesada describes as a carefully achieved “luminosity.” The golden Spanish sunlight pours into many rooms, where it is either reflected or absorbed. In the dining area, walls are covered in a luxurious Bennison floral linen whose lemony accents play off flickering postprandial candlelight. In the TV room, meanwhile, a traditional Scottish tartan, more typically used for kilts, creates a cozy, enveloping backdrop for a rustic collection of framed dried herbs. For the furnishings, in addition to her selections from a stable of international antiques dealers and bespoke furnituremakers, López-Quesada had access to a warehouse full of Falcó family heirlooms salvaged from a palace in central Madrid that was demolished decades ago to make way for a modern office tower. Among the notable finds were the living room’s chalky-white, 18th-century French boiserie panels and bookshelves. Treating them as beloved hand-me-downs, the designer discovered it was “fun to use these truly beautiful architectural and design elements without any sense of preciousness or fuss.” Her ability to understand her clients’ desires and optimize the particulars of each project is what keeps López-Quesada at the top of her game. “I love a challenge,” she declares, “and there is no part of the design process I don’t enjoy—finding the best distribution of space, the right materials. Even after three decades, I live for all of it.” GALERIEMAGA ZINE.COM
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Items pictured but not mentioned are from private collections. (T) means item is available only to the trade. All of the following images are © Artists Rights Society (ARS). Pages 16, 32: Jean Nouvel 2019 ARS, New York/ADAGP, Paris. Page 30: 2019 ARS, New York/VG Bild-Kunst, Bonn. Page 42: 2019 Frank Stella/ARS, New York. Page 58: Anish Kapoor; all rights reserved, DACS, London/ARS, NY 2019. Page 69: 2019 Stephen Flavin/ARS, New York. Page 97: Damien Hirst and Science Ltd.; all rights reserved/DACS, London/ARS, NY 2019. Page 97: 2019 ARS, New York/ ADAGP, Paris. Page 99: 2019 ARS, New York/ADAGP, Paris. Page 99: 2019 ARS, New York/DACS, London. Page 100: 2019 ARS, New York/ADAGP, Paris. Page 101: 2019 Fairweather & Fairweather Ltd./ARS, New York. Page 101: 2019 ARS, New York/AUTVIS, São Paulo. Page 103: 2019 ARS, New York/AUTVIS, São Paulo. Page 105: 2019 Tracey Emin; all rights reserved, DACS, London/ARS, New York. Pages 116–21: 2019 ARS, New York/VEGAP, Madrid. Pages 122–23, 127, 131, and 133: 2019 George Condo/ARS, New York. Pages 122 and 133: 2019 Kenny Scharf/ ARS, New York. Page 152: The Estate of Jean-Michel Basquiat/ADAGP, Paris/ARS, New York 2019. SPEAKING VOLUMES Pages 96–105: Interiors by Jacques Grange; +33-1-55-80-75-40. Architecture by Ferguson & Shamamian; fergusonshamamian.com. Page 97: In entrance gallery, bar and bar stools custom made by Mattia Bonetti; davidgillgallery.com. Rover chairs by Ron Arad; ronarad.co.uk. Freeform sofa by Vladimir Kagan (T); vladimirkagan.com. Quark Plexiglas table by Emmanuel Babled; babled.net. Pages 98–99: In living room, Halberd sconces by Felix Agostin; charles.fr. Table by Ado Chale; adochale .com. Carpet by Beauvais Carpets (T); beauvaiscarpets.com. Page 100: In dining area, table by Maria Pergay; demisch danant.com. Chairs by Jacques Leleu; jacquesleleu.fr. Page 101: In TV room, pillow by Etro; etro.com. Lens tables by McCollin Bryan; mccollinbryan.com. In library, Alta lounge chairs by Oscar Niemeyer; espasso.com. Cocktail table by
Willy Rizzo; willyrizzo.com. Carpet by Fort Street Studio; fortstreetstudio.com. Page 102: In kitchen, oven by Gaggenau; gaggenau.com. Page 103: In son’s bath, sink fittings by Dornbracht; dornbracht. com. Tiles by Ceramica Sant’Agostino; ceramicasantagostino.it. Sconce by Jean Perzel; perzel.fr. In son’s bedroom, lamp by Pierre Guariche; demischdanant.com. Bed by Jim Zivic; jimzivicdesign.com. Rug by Edward Fields (T); edwardfields. com. Page 104: In master bedroom, rug by Beauvais Carpets (T). Bedding by E. Braun & Co.; ebraunnewyork.com. Page 105: In master bath, tub by Bette; bette.de. Shower, sink, and tub fittings by Dornbracht. FAITHFUL ADAPTATION Pages 106–15: Architecture, interiors, and select furnishings by Lee Ledbetter of Lee Ledbetter & Assoc.; leeledbetter.com. Landscape design by Aaron Adolph of Nola + Designs; nolaplusdesign.com. Pages 106–7: In living room, Nation Primo chandelier by Bourgeois Boheme Atelier; bobointeriors.com. Pillows upholstered in Faux Bois Weave fabric by Scalamandré (T); scalamandre.com. In study, marble fireplace by Jamb; jamb.co.uk. Joe D’Urso Swivel chairs from Knoll; knoll.com. Harvey Probber cocktail table from Lobel Modern; lobelmodern.com. Rug from Nola Rugs; nolarugs.com. In stairwell, Weathering side table from Katie Koch Home; katiekochhome.com. Page 109: In living room, Epines side table by Hervé Van der Straeten; maisongerard.com. Armchairs from the Renner Project; therennerproject.com. Chairs upholstered in Great Plains fabric by Holly Hunt (T); hollyhunt.com. Page 110: In family room, Barbell chandelier from High Style Deco; highstyledeco.com. Milo Baughman swivel chairs from Modern Drama; moderndrama20.com. Cocktail table upholstered in Great Plains leather by Holly Hunt (T). Ceramic lamp by Peter Lane; peterlaneclay.com. Page 111: In master bedroom sitting area, daybeds upholstered in fabric by Loro Piana (T); us.loropiana.com. Alpaca rug from Nola Rugs. Marble fireplace by Jamb. Curtains in Tabularasa fabric by Dedar (T); dedar .com. X-Form table by Burden LLC; jonathanburden.com. Antique English oak floors from Baba Flooring; baba.com.
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Page 112: In kitchen, refrigerator by Subzero-Wolf; subzero-wolf.com. Cooktop by Gaggenau; gaggenau.com. Ovens by Miele; mieleusa.com. Waterfall stools by Charles Hollis Jones from Cain Modern; cainmoderne.com. Page 113: On terrace, love seat custom made by Neal & Company; 713-956-7100. Love seat upholstered in Great Outdoors fabric by Holly Hunt (T). Page 114: In master bath, vintage Bagues chandelier from Antique Elements; antiqueelements.net. Shades in Tabularasa fabric by Dedar (T). Tub fittings by Waterworks; waterworks.com. Page 115: In master bedroom, curtains in Tabularasa fabric by Dedar (T). Bed and ottoman upholstered in linen by Classic Cloth (T); dessinfournir.com. Saarinen side table by Knoll. Vintage Baker slipper chairs from Gallery 2924; gallery2924. com. Tabowl table by Steven Antonson; stephenantonson.com. Alpaca rug from Nola Rugs. Vintage lamps from Babou; babounewyork.com. ABOVE & BEYOND Pages 122–33: Architecture, interiors, and select furnishings by William T. Georgis of Georgis & Mirgorodsky; gma.nyc. Landscape design by Elysian Landscapes; elysianlandscapes.com. Page 122: In billiards room, vintage Centennial billiards table from Blatt Billiards; blattbilliards.com. Sofa upholstered in suede from Dualoy (T); dualoy.com, and leather by Foglizzo; foglizzo.com. Vintage French chairs upholstered in shearling from Dualoy (T). Page 123: On poolside terrace, Acapulco outdoor rocker by BC Workshop; blackmancruz.com. Page 124: In living room, fireplace by Malm; malmfireplaces. com. Sofa covered in fabric from Designers Guild; designersguild.com. Federico Munari chair upholstered in fabric by Toyine Sellers (T); toyinesellers.com. Page 125: In library, curtains in fabric from Nuno; nuno.com. Love seat upholstered in shearling and suede from Dualoy. Floor lamp from Stilnovo; stilnovousa.com. Silvio Cavatorta chair upholstered in velvet by Lelievre; lelievreparis.com. Page 126: In master bedroom, Gio Ponti table lamp from Artemest; artemest.com. Daybed upholstered in fabric from Schumacher (T); fschumacher.com. Lamps on nightstands by Roberto Rida; robertogiuliorida.it. Blinds by Hartmann & Forbes (T);
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hartmannforbes.com. Walls covered in Barkskin by Caba Company; barkskin.com. Linens by Pratesi; pratesi.com. Silk pillow covers by Manuel Canovas; manuelcanovas. com. Shearling rugs by Bowron; bowron. com. Sunpat carpet by Edward Fields (T); edwardfields.com. In master bath, sconce by Stilnovo. Tub fittings by Dornbracht; dornbracht.com. Cambridge tub by Waterworks; waterworks.com. Page 127: In dining room, gilded bronze screen custom made by Michele Oka Doner; michele okadoner.com. Pages 128–29: On lanai, pendants by Hip Haven; hiphaven.com. Chairs by Brown Jordan; brownjordan.com. Bronze canopy custom made by Christopher Puzio; puzio.com. Page 130: In cabana guest room, linens by Frette; frette .com. Fuchsia pillows upholstered in velvet by Stark (T); starkcarpet.com. Yellow pillows upholstered in fabric by Elitis; elitis. fr. Wool flat-weave rug by Rosemary Hallgarten (T); rosemaryhallgarten.com. Outdoor furnishings upholstered in fabric by Peter Dunham Textiles; peter dunhamtextiles.com. Planters from Authentic Provence; authenticprovence.com. Page 131: In cabana, sink fittings by Lynx; lynxgrills.com. Japanese naval binoculars from Nicholas Brawer Gallery; nicholasbrawer.com. Chairs by Brown Jordan. In pool area, chaise longues by B+B Italia; bebitalia.com. Cushions upholstered in fabric by Perennials (T); perennialsfabrics.com. Pillows upholstered in fabric by Madeline Weinrib; madeline weinrib.com. Dan Johnson chairs upholstered in fabric by Donghia (T); donghia.com. TERRA FIRMA Pages 142–49: Interiors and select furnishings by Isabel Lopez-Quesada; isabellopezquesada.com. Architecture by Pablo Carvajal; pablocarvajal.com. Page 147: In den, sofa upholstered in velvet by Colefax and Fowler; colefax.com. Page 148: In kitchen, table from Jon Urgoiti; jonurgoiti.es. In dining room, wall covering by Bennison; bennisonfabrics .com. Page 149: In master bath, tub by Devon&Devon; devon-devon.com. Tub fittings by Cristina Bossini; bossini-cristina.com. In master bedroom, bed upholstered in velvet by Le Brochier; brochier.it. Bedding by Matarranz; matarranzropadecasa.com.
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GOOD MORNING AMERICA’S
MICHAEL STRAHAN
FOUND A PERSONAL CONNECTION TO A WORK BY
JEAN-MICHEL BASQUIAT
Jean-Michel Basquiat’s Hollywood Africans in Front of the Chinese Theater with Footprints of Movie Stars is in Michael Strahan’s collection.
AS TOLD TO JILL SIERACKI 152
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FROM TOP: COURTESY OF PACE PRINTS; MARK SELIGER
I
’ve always loved art, and over time, I’ve learned to really appreciate it. Every time you look at one of Basquiat’s works, you see so many different things. In Hollywood Africans in Front of the Chinese Theater with Footprints of Movie Stars, I see some of him in it, obviously. And when I saw the word teeth, I thought, Okay, what am I most known for? So it had that connection. Here I am as an African American navigating Hollywood, which is an industry I never even imagined could be in my future plans when I was playing football. This painting spoke to me in a personal way and in terms of my career. Dina Brown of Gallery Brown in Los Angeles is who I run things by—she’s been a great guide, helping me understand all the intricacies that go along with purchasing art. But I only buy works that I really love. This Basquiat I saw and thought, I could look at this every day and find something different and be happy to see it. It’s in my family room, right off the kitchen, and I knew it was going to enhance my life from the moment I saw it.
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