A LOOK INSIDE THE
WHITNEY BIENNIAL SUMMER 2019 ISSUE NO 13
INSPIRED TRAVEL:
VENICE, ASPEN, AND MORE
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Victoria Hagan, Leroy Street Studio, and Edmund Hollander collaborated on this serene Hamptons retreat.
106 SAND, SEA, SUN, SKY The A-list team of Leroy Street Studio, Victoria Hagan, and Edmund Hollander create an eco-friendly Hamptons home that blurs the line between indoors and out. By Stephen Wallis 114 GENERATION WOW Whitney Biennial artists Lucas Blalock, Tomashi Jackson, Wangechi Mutu, and Samuel Bazawule open their studios ahead of the much-anticipated New York exhibition. By Ted Loos 120 ROOMS TO PLAY Clarissa Bronfman and designer Amy Lau curate a spirited Hamptons getaway that reflects the homeowners’ eclectic collection of art, objects, and furnishings. By Pilar Viladas
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130 FORM MEETS GUMPTION The concrete-and-glass Malibu home that artist Charles Arnoldi shares with his wife, Katie, is a blank canvas for the couple’s enviable art and artifacts, while his studio in Venice, California, is just as stunning. By Michael Slenske 136 TRADITION WITH A TWIST Bunny Williams spearheads a refresh of a Dutch Colonial on the East End of Long Island, pairing classic chintzes with bold artworks. By Jennifer Ash Rudick 142 LIFE IMITATES ART Art, design, and fashion converge in moments of unexpected visual synchronicity. By Stefanie Li 150 CHANGING COURSE In Palm Springs, architect Steve Giannetti and designer Anna Busta devise a modern house that exudes warmth and character while showcasing a contemporary collection. By Vicky Lowry
SCOTT FRANCES/OTTO
FEATURES
Clockwise from top: The breathtaking view from Katie and Charles Arnoldi’s Malibu home. Dazzling earrings by Chopard. Bold colors punctuate a Palm Springs getaway designed by Steve Giannetti and Anna Busta.
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DEPARTMENTS 20 EDITOR’S LETTER By Jacqueline Terrebonne 27 THE ARTFUL LIFE What’s happening in the worlds of art, culture, architecture, design, and travel.
44 DESTINATION Aspen ascends to new artistic heights with a summer of incredible events and a plethora of dynamic cultural institutions. By Sue Hostetler 48 ON OUR RADAR Four artists whose eye-opening work you won’t want to miss. 52 JEWELRY These earrings, bracelets, and more capture the lush, colorful beauty of nature. By Lucy Rees 54 WATCHES High-end timepieces in rich shades of blue are the ultimate summer fashion statement for men. By Harriet Mays Powell
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56 MILESTONE Over the past seven decades, 103-year-old artist Carmen Herrera has steadily built her career, culminating in her fi rst public art project. By Lucy Rees 58 REAL ESTATE An insider’s guide to buying a château, including how to navigate the unconventional market, which is prime for a fairy-tale ending. By Geoff rey Montes 60 ARTISAN A look at the mysterious, sea-inspired sculptures of Pia-Maria Raeder and the organic bronze marvels Steven Haulenbeek fashions using a unique process involving ice. By Rima Suqi
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62 POINT OF VIEW Melanie Courbet’s carefully curated tastes go far beyond the handcrafted treasures at her two design galleries. By Christine Schwartz Hartley 64 AUCTIONS Notable sales from around the world. By Jeannie Rosenfeld
FROM TOP: FIROOZ ZAHEDI; NIKOL AS KOENIG; COURTESY OF CHOPARD
38 BACKSTORY Artist Paola Pivi and gallerist Emmanuel Perrotin discuss their 20-year partnership and friendship as she plans a show of petite versions of her wildly popular feathered bears. By Jacqueline Terrebonne
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Clockwise from far left: Artist Lucas Blalock, who will be participating in the Whitney Biennial, in his Brooklyn studio. Danielle Orchard’s Muses (2017). A petite, layered dish at L.A. restaurant Dialogue.
DEPARTMENTS 66 PASSPORT How the Venice Biennale continues to shape art history with its pavilions, installations, and satellite spectacles. By Vicky Lowry 68 CUISINE Chef Dave Beran constructs a symphonic tasting menu that deftly builds from one flavorful course to the next. By Jacqueline Terrebonne 72 CONCIERGE Postcards from favorite destinations of the most stylish people in fashion, art, and design. 74 ARCHITECTURE Steven Holl designs cultural buildings, including a new one for contemporary arts at the Museum of Fine Arts, Houston, that play with light and space. By Hilarie M. Sheets 76 SPOTLIGHT The Mori Art Museum in Tokyo re-creates six of Japanese artist Chiharu Shiota’s 18
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immersive weavings in a powerfully poetic retrospective. By Lucy Rees 78 DESIGN Draga&Aurel reimagines vintage furniture as one-of-a-kind pieces for DDC; plus, a jaunty new collection for the Rug Company from Luke Edward Hall.
COVER
A multitiered Alvaro Catalán de Ocón lighting fixture and a vividly colored Paola Lenti rug create a joyous sunroom terrace at the eclectic Hamptons home Clarissa Bronfman designed with Amy Lau. Photography by Thomas Loof.
81 THE ARTFUL HOME Five of the biggest names in interiors masterfully curate a room around a favorite work of art. Produced by Jacqueline Terrebonne 93 THE HAMPTONS Inside Eric Fischl and April Gornik’s upcoming Sag Harbor community space; exhibitions not to be missed; and Ala von Auersperg’s breezy fashion collection. Also, the events, resorts, and restaurants you need to know this summer. 162 SOURCES 164 IN FOCUS Artist David Salle explains why he added a seascape pastel by emerging talent Nicole Wittenberg to his personal collection.
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CLOCKWISE FROM TOP LEFT: JEREMY LIEBMAN; COURTESY OF JACK HANLEY GALLERY; CHRISTIAN SEEL
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orses on the Eiffel Tower, alligators basking in 10,000 liters of whipped cream, even an upside-down airplane hovering in midair—these are just a few of the daringly creative projects artist Paola Pivi has not only dreamed up but also brought to fruition. She hasn’t done it alone, though: Over the past 20 years, she’s worked with gallerist Emmanuel Perrotin, and their collaboration is just one of the inspiring stories you’ll find in Galerie. In fact, that kind of ability to turn fantasy into is reality a prime example of what our summer issue is all about. Take this year’s Whitney Biennial, a game-changing exhibition that is about to elevate an extraordinary group of artists to the next level. We visit four of these incredible talents as they prepare for the show in their studios, where the energy and excitement of dreams being realized is absolutely palpable. The homes in this issue bring a bit of that magic as well—each one takes risks in its own way and lives up to the homeowners’ reverie, whether that is waking to the sunrise over Mecox Bay in the Hamptons or trading in traditional art and decor for a Palm Springs
desert escape that makes a bold, contemporary statement. Even our real estate story captures the fairy tale, with a practical guide to buying a château. Of course, travel brings out the daydreamer in all of us, and we detail the reasons why Venice, Aspen, and Tokyo need to be on your summer itinerary. No one racks up the miles quite like denizens of the art world, bouncing from continent to continent as they check out the latest exhibitions and fairs. Our founder and editorial director, Lisa Fayne Cohen, is one of those travelers and asked us to reach out to Galerie’s inner circle for their favorite destinations. See what they have to say on page 72. I realize how overwhelming all this planning can be—it’s a lot of people, places, and events for a few months that seem to pass all too quickly. That’s why we’re announcing the launch of our Galerie Collectors Club, which offers tours of private museums, visits to artists’ studios, invitations to exclusive events, and even a dedicated concierge. To learn more, visit galeriemagazine.com/ collectorsclub. It’s the next chapter in Galerie’s evolution: We’ve been the first to tell you insider stories, and now we’ll be bringing them to life as well. What a dream!
JACQUELINE TERREBONNE, Editor in Chief editor@galeriemagazine.com Instagram: @jpterrebonne 20
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CLOCKWISE FROM TOP: FRANCESCO L AGNESE; SCOTT FRANCES/OTTO; STEFANO SCATÀ; JEREMY LIEBMAN
Clockwise from top right: With Italian artist Paola Pivi. A spectacular setting in Southampton. The Venice Biennale runs through November 24. The studio of Whitney Biennial artist Tomashi Jackson.
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CULTURE • DESIGN • TRAVEL • SHOPPING • STYLE
/ BOOKS /
TIM STREET-PORTER, COURTESY OF RIZZOLI
DIVING IN
W
hat if you could distill the essence of a perfect summer day? That’s exactly what husband-and-wife duo Tim Street-Porter and Annie Kelly have done with Splash: The Art of the Swimming Pool (Rizzoli, $55), which brims with more than 200 of the world’s most picturesque places to soak a day away. The couple spent years documenting these glamorous havens, from architectural wonders by Frank Lloyd Wright and Richard Neutra to the dramatic beachside infinity pool at Tommy Hilfiger’s Mustique hideaway. Perhaps best of all is a section devoted to so-called fantasy pools, elaborate oases that are guaranteed to transport you to a summery state of mind. rizzoliusa.com GEOFFREY MONTES
A terrace pool overlooking San Miguel de Allende, Mexico. GALERIEMAGA ZINE.COM
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/ HOTELS /
/ EXHIBITIONS /
ARTIST’S PALATE Danish-Icelandic artist Olafur Eliasson might be best known for his impactful, environmentally concerned artworks, such as The Weather Project, where he flooded Tate Modern’s Turbine Hall with fake sunlight. But he’s equally passionate about food. Every day in his Berlin studio, located in a massive former brewery, Eliasson’s staff congregates at long tables for a multicourse vegetarian meal cooked on-site by a team of chefs. Guests frequently drop by, including his neighbor Ai Weiwei and René Redzepi, of Noma fame, to name a few. Eliasson is also the author of Studio Olafur Eliasson: The Kitchen (Phaidon), which is filled with recipes, poetry, and musings from the studio. This summer, art lovers will get the chance to experience his culinary philosophy at Tate Modern, which is hosting a major retrospective that brings together more than 30 works from three decades of his practice. Coinciding with the show, Eliasson will turn the museum’s Terrace Bar into a version of his Berlin kitchen. Fuel up on vibrant, vegetarian-focused dishes sourced from local farms before exploring the dynamic works in the exhibition, including a disorienting, nearly 150-foot tunnel of dense fog and his Room for One Colour (pictured). tate.org.uk LUCY REES
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A walk-in closet filled with Burberry trench coats, a Moynat trunk packed with vintage jewels from Susan Caplan, and custom Smythson stationery go a long way toward making a stay at The Mews at the Connaught, a new three-story townhouse in London’s Mayfair district, feel like home. But it’s the Gagosian-curated artwork that turns this unique take on a penthouse suite into a collector’s private retreat. Guests are welcomed by a tower of color balls by London sculptor Annie Morris, while geometric paintings by Irish artist Richard Gorman hang above the fireplaces. Works by Louise Bourgeois, Marc Newson, and Camille Henrot dot the living spaces. With a private entrance on Adam’s Row as well as one through the legendary hotel, The Mews offers all the comforts of home with all the magic of hotel amenities, including Jean-Georges Vongerichten room service or a visit from the Connaught Bar martini trolley, just a phone call away. the-connaught.co.uk —JACQUELINE TERREBONNE
/ C O C K TA I L S /
UP, UP, AND AWAY
Much fanfare has been made about the impending TWA Hotel, with its retro-chic rooftop pool, observation deck, TWA Museum, and six restaurants and eight bars. What is sure to be the hot spot’s buzziest gathering place is the historic Sunken Lounge, an Eero Saarinen–designed cocktail bar now operated by the Gerber Group. Enjoy a first-class view of the hotel’s 1958 “Connie” airplane and toast a night of summer fun with the bar’s Mile High Spritz, a refreshing blend of 1½ ounces of Grey Goose vodka, ¾ ounce of St-Germain elderflower liqueur, and ½ ounce of fresh lime juice, topped with 3 ounces of prosecco and a soda float. Garnished with a sprig of mint, this cocktail lives up to the airline’s onetime promise: “You’re going to like us.” twahotel.com —JILL SIERACKI
CLOCKWISE FROM TOP LEFT: DMITRY BARANOV, COURTESY OF THE ARTIST, NEUGERRIEM SCHNEIDER, BERLIN, AND TANYA BONAKDAR GALLERY, NEW YORK/LOS ANGELES; COURTESY OF THE CONNAUGHT; COURTESY OF GERBER GROUP
SUITE LIFE
years
LOVE MAKES TWO HEARTS ONE. “This is not a ring, it is one of the world’s most beautiful declarations of love. For you, they are the finest diamonds – for me, they are moments of happiness. For you, it is the highest form of the goldsmith’s artistry – for me, it is the most beautiful declaration of love that exists.” The spinning Wellendorff ring LOVE’S DUET – the most vibrant ring.
/ EXHIBITIONS /
/ D E S T I N AT I O N S /
SIP AND SAVOR
During a wine tasting, most oenophiles can’t be distracted from analyzing the precious juice and its delicious range of possibilities. But the newly renovated private dining room at Sonoma County’s Jordan Winery proves not all beauty is found in a glass. San Francisco interior designer Geoffrey De Sousa revitalized the space with a nod to both executive chef Todd Knoll’s nature-inspired menu and family matriarch Sally Jordan’s original vision for the room. To create the interior, which seamlessly flows between the cozy dining area and the verdant estate grounds, existing high-back chairs were reimagined with embroidery, executed by Geraldine Larkin, an Alexander McQueen– trained London artist who has worked for esteemed couture brands like Givenchy and Fendi. Wall&Decò’s Midsummer Night wallpaper was meticulously applied over molding, and long-standing hexagon terra-cotta floors were stripped and stained a rich charcoal gray. Other modern flourishes include Jonathan Browning lighting and a bronze fireplace surround created by local metalsmith Randell Tuell of Tuell + Reynolds. “This is different than most of the neighbors’,” says De Sousa of the room’s aesthetic, which draws on the estate’s picturesque landscape, blooming with lichen, moss, and other flora. “With the more modern color palette and lighting, it pays homage to what was there before and will take them into the next 10 to 20 years.” jordanwinery.com, geoffreydesousa.com J.S. 30
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A 5,000-year-old archaeological site in Greece will get a new lease on life this summer with an ambitious installation by acclaimed British sculptor Antony Gormley, on view through October. The tiny island of Delos, once a flourishing trading center in the middle of the Aegean Sea, is revered in Greek mythology as the sacred birthplace of twins Apollo, god of light, and Artemis, goddess of the hunt. Usually inhabited by just a handful of archaeologists and scientific researchers, Delos will be home to 29 life-size iron body forms by Gormley, who is known for site-specific works that investigate our relationship to place. The artist was tapped for the project by Neon, a nonprofit founded by collector and entrepreneur Dimitris Daskalopoulos, in collaboration with the Ephorate of Antiquities of Cyclades. The humanlike figures stand, sit, and lie across the island, from the rocky beach to the ancient ruins of Doric temples, markets, and the iconic Terrace of the Lions statues, echoing the traditional statuary of the ancient world. “The ultimate challenge was how to approach it respectfully,” says Neon director Elina Kountouri, “and not use the site as a stage but to really form a kind of cohabitation.” The project follows a slew of historic interventions by Neon, including presentations by artists Tino Sehgal at the Roman Agora and Adrian Villar Rojas at the National Observatory of Athens atop the Hill of the Nymphs. “Archaeological spaces should be a constant reminder not only of the layers of time but how cultures and nations are interconnected,” says Kountouri. “It is a necessary return to our human and democratic values.” Or, as Gormley suggests, “maybe we can connect with something vital we’ve lost.” neon.org.gr —L.R.
FROM FAR LEFT: JOSE MANUEL ALORDA (2); FANIS KAFANTARIS, COURTESY OF EPHORATE OF ANTIQUITIES OF CYCL ADES
GREEK REVIVAL
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VILLA SURREAL Encompassing 11,000 acres in Chile’s verdant Millahue Valley, a two-hour drive south of Santiago, the boutique hotel Vik Chile and its adjoining winery are known for an intoxicating blend of art, architecture, and wine. Now owners Alexander and Carrie Vik are expanding the on-site accommodations with a concept called Puro Vik, a cluster of 19 glass-walled villas embedded in the property’s rugged hillsides. “We wanted guests to really live in the treetops with grand panoramic views, while also maintaining privacy and comfort,” says Alexander. Reflecting the owners’ commitment to art, each residence boasts a unique theme (including rooms devoted to Piet Mondrian, Dale Chihuly, and Utagawa Hiroshige) plus access to the resort’s existing amenities, among them a breathtaking infinity pool and cutting-edge “wine spa.” Also, stay tuned for the upcoming Galleria Vik Milano in Italy, the fashionable brand’s first foray outside of South America. vikretreats.com G.M.
/ AUTOS /
MIDAS TOUCH
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ONCE UPON A TIME Beauty is more than skin-deep for Didier Guillon. The head of the Fondation Valmont, the art pillar of the luxury scientific skincare and fragrance brand, Guillon is known for his fantastical imagination and passion for artistic concepts. He has masterminded a multitude of dynamic exhibitions, including one in New York last fall and others at the previous two Venice Biennales. Now he has founded a permanent art space for the foundation in Venice: a restored 16th-century, Renaissance-style palazzo—complete with gleaming original frescoes and striking terrazzo floors—that was once home to the noble Bonvicini family. The inaugural show, which kicked off on May 11 during the Venice Biennale, finds inspiration in the legend of Hansel and Gretel. fondationvalmont.com —L.R.
When British gent W. O. Bentley unveiled his three-liter motorcar in July 1919, he set a new benchmark for luxury. A century later, Bentley is still synonymous with class-leading speed and the pinnacle of refinement. To herald 100 years, the automaker is introducing debonair centenary gold flourishes, including an artfully accentuated logo, in all its 2019 models. And Bentley’s bespoke division, Mulliner, created a beautiful Continental GT Number 9 vehicle in honor of esteemed British race car driver Tim Birkin and the historic supercharged Blower Bentley he raced at Le Mans in 1930. Each of the anniversary models will feature a No. 9 (Birkin’s entry number), a British Jaeger clockface, and 18K-gold detailing, all inspired by Birkin’s historic racer. Each car also comes with a literal piece of history in the center of the dash—a wood insert from the seat of Birkin’s very car. Only 100 of Bentley’s commemorative vehicles will be produced, making them the auto connoisseur’s ultimate obsession. There’s no better place to get a close encounter with the Continental GT Number 9 than the Pebble Beach Concours d’Elegance on August 18 in California, where Bentley will take center stage as the event’s featured marque. Owners of prewar and contemporary Bentleys showcase their pride and joy on the manicured Pebble Beach golf course; this year more than 50 prized examples will be on display. bentleymotors.com, pebblebeachconcours.net —SEAN EVANS
CLOCKWISE FROM TOP LEFT: COURTESY OF VIK RETREATS; COURTESY OF VALMONT GROUP; COURTESY OF BENTLEY
/ D E S T I N AT I O N S /
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MUST-SEE SUMMER EXHIBITIONS IN NEW YORK, LONDON, PARIS, AND BEYOND CENTRE POMPIDOU, PARIS THROUGH SEPTEMBER 16
Prehistory
The influence that prehistoric sculpture had on artists as diverse as Pablo Picasso, Paul Cézanne, Alberto Giacometti, Max Ernst, Joseph Beuys, and Louise Bourgeois is explored with their masterpieces presented alongside captivating treasures from the Paleolithic and Neolithic eras. centrepompidou.fr INSTITUTE OF CONTEMPORARY ART, MIAMI THROUGH OCTOBER 6
Ettore Sottsass and the Social Factory
The late legendary Italian architect and designer Ettore Sottsass is the subject of a new biennial created to explore the relationship between post-
NATIONAL GALLERY OF VICTORIA, MELBOURNE MAY 24–OCTOBER 13
Terracotta Warriors: Guardians of Immortality and Cai Guo-Qiang: The Transient Landscape
In 1974, farmers in China’s Shaanxi Province stumbled upon a pit containing 6,000 life-size terra-cotta statues in what would become one of the most important archaeological discoveries of the 20th century. Some of this vast underground army, created for the nation’s first emperor, Qin Shihuangdi (259–210 B.C.), will be presented alongside more than 150 ancient Chinese treasures as well as a series of new works by celebrated contemporary Chinese artist Cai Guo-Qiang, including his famous “gunpowder” performances. ngv.vic.gov.au ART INSTITUTE OF CHICAGO MAY 26– SEPTEMBER 8
Manet and Modern Beauty
war design and contemporary art. Five decades of Sottsass’s groundbreaking practice will be on display. Mexican architect Frida Escobedo, who made her mark with last year’s Serpentine Pavilion in London, masterfully conceived the exhibition space. icamiami.org 34
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The 19th-century French painter Édouard Manet’s lifelong obsession with fashion and femininity is on full view, including a spotlight on work created in his later years. Revealing a glimpse into his personal life, the show has a selection of rarely seen letters with illustrations sent to his friends at the time. artic.edu Clockwise from left: Édouard Manet, Boating, 1874–75. Lee Krasner, Mosaic Table, 1947. Ettore Sottsass, Superbox Cupboard, 1966.
BARBICAN CENTRE, LONDON MAY 30–SEPTEMBER 1
Lee Krasner: Living Colour
Despite being one of the few 20th-century female artists to have a retrospective at MoMA (in 1984), Abstract Expressionist Lee Krasner has long been overshadowed by her husband, Jackson Pollock. This major survey, which marks the artist’s first retrospective since 2000, comprises some 100 pieces from her vibrant body of work, highlighting her experimentation with color and form. barbican.org.uk THE FRICK COLLECTION, NEW YORK MAY 30–NOVEMBER 17
Elective Affinities: Edmund de Waal
Enamored of historic objects and their rich narratives, Edmund de Waal, the acclaimed British ceramic artist and writer, will cast a fresh light upon industrialist Henry Clay Frick’s world-class collection with a series of new sitespecific sculptures crafted in porcelain, steel, gold, marble, and glass. The artist’s debut U.S. project, it follows similar interventions with historic collections at the Kunsthistorisches Museum in Vienna and Waddesdon Manor in England. frick.org LUCY REES
CLOCKWISE FROM TOP: © THE POLLOCK-KRASNER FOUNDATION, COURTESY OF MICHAEL ROSENFELD GALLERY LLC, NEW YORK; COURTESY OF THE PHIL ADELPHIA MUSEUM OF ART, GIFT OF ABET L AMINATI, S.P.A., 1983-40-2; COURTESY OF THE METROPOLITAN MUSEUM OF ART, NEW YORK, H. O. HAVEMEYER COLLECTION, BEQUEST OF MRS. H. O. HAVEMEYER, 1929
What’s On View
A RETURN TO THE GRAND TOUR
Micromosaic J E W E L S FROM THE COLLECTION OF ELIZABETH LOCKE
View this extraordinary collection of exquisite, intricately crafted works of art—precious souvenirs designed for Grand Tour travelers of the mid-18th to late-19th centuries.
Visit the Exhibition.
Apr 27–S ep 2, 2019 Free Admission | w w w.VMFA .museum
IM A G E Parrot, Rome, 19th century, unidentified artist, micromosaic set in gold as a pendant, with four sets of 4-mm tsavorite and 2.7-mm demantoid garnets on bezel, 50 x 45 mm. Collection of Elizabeth Locke
OPEN 365 V I R G I N I A M U S E U M O F F I N E A R T S | Richmond
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Birds of a Feather
ARTIST PAOLA PIVI AND GALLERIST EMMANUEL PERROTIN OPEN UP ABOUT THEIR 20-YEAR PARTNERSHIP
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n celebration of Paola Pivi’s New York show at Perrotin gallery, which will feature 70 baby versions of her iconic feather-covered bears, the artist and the gallery’s founder, Emmanuel Perrotin, discuss highlights from their collaborations over the past two decades.
Paola Pivi: I remember he was looking at me a little bit like, This woman is crazy. He was actually one of the first gallerists I met. We immediately clicked. I didn’t know how special it was. Sometimes, when you’re young, you don’t know how rare things are. PIVI’S FIRST PERROTIN SHOW
Pivi: I was working at the CERN lab near Geneva on an idea for a big, interactive sculpture made with invisible strings and needles that moved when a person approached the piece. Although it would be ridiculously costly to create, Emmanuel went with it for our first show. On opening day, it started beautifully and then, one by one, all the strings started falling. We had to fix it. It was a very intense beginning. Perrotin: She proposed a sculpture with 1,800 needles. There’s almost no chance to sell that for an artist nobody knows, and it’s extremely expensive to create. That’s a real commitment as a gallerist, because the work only exists if you fund it.
THEIR FIRST MEETING
Gallerist Emmanuel Perrotin and artist Paola Pivi in Perrotin’s gallery in downtown New York. 38
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Emmanuel Perrotin: Maurizio Cattelan told me, “You have to meet this lady at the Venice Biennale.” Paola was 28 years old at the time and had created an upside-down airplane. I thought, She’s crazy or she’s a genius. I asked her, “What the hell is this sculpture?” She said, “Imagine you are in the grass and you’re looking at the plane in the sky, except it’s the reverse situation.” That’s when I knew she was a genius.
new york nomad 102 madison avenue new york, ny 10016 new york townhouse 34 east 61st street new york, ny 10065 nyc@liaigre.us miami showroom 137 ne 40th street miami, fl 33137 mia@liaigre.us liaigre.com
said, “It’s probably a stupid idea,” and then Emmanuel sold one baby bear, so I had to make one. Instead, we made five. I loved them, so we made 70 for this show. THEIR REL ATIONSHIP ARTISTIC NEEDS
Perrotin: Paola said she needed 10,000 liters of whipped cream and alligators for a Miami show. For another one, she needed money to put a zebra in the snow. Together, we put horses on the top of the Eiffel Tower. That is the beauty of everything she does with animals—for sure, it would take two minutes to do it in Photoshop, but her creations are real. Pivi: I started as if we were already rolling, so he had no choice but to roll with me. He supported me with the leopard with the 3,000 cappuccino cups that was done at Kunsthalle Basel and the photographs of zebras in the snow at the museum MACRO in Rome. NEW YORK OPENING
Perrotin: When we launched our gallery on the Upper East Side, with Paola’s show, we had eight big bears in a small space. When you open a gallery, you try to show you have a big space, and this made it feel like a small space. Pivi: I had this strong vision of bears in all different colors. Then I forgot about it. I was just going on with my life, and then Emmanuel told me, “That vision of yours, we can do it for the opening of my gallery in New York.” For this show in his space, now downtown, I had a vision: Let’s make a lot of baby bears. I 40
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HOW THEY SEE EACH OTHER
Pivi: On his 50th birthday, Emmanuel explained the way he works is about capturing the spirit of nightclubs in your 20s. You go out at night ready to meet people with a sense of openness. If you observe him from afar when he’s talking with a new collector or a new artist, that vibe is there. Perrotin: Her work is like poetry. You don’t explain poetry. You can ask her, but I don’t know if she would explain something, and everything I will tell you will be reducing her works to my interpretation. It’s much better if you see the works yourself and decide. perrotin.com JACQUELINE TERREBONNE
FROM TOP: HUGO GLENDINNING; COURTESY OF THE ARTIST AND PERROTIN (2)
Works by Pivi include (clockwise from top left): How I Roll, a 2012 project for the Public Art Fund in New York; One Cup of Cappuccino Then I Go, from the 2007 performance at Kunsthalle Basel in Switzerland; and Yee-Haw, part of a 2015 photography series of horses on the Eiffel Tower.
Pivi: It’s like he’s my comedic sidekick. I’m the crazy one, but it’s funny because then he becomes the crazy one in supporting me. It’s a very strong relationship of research and experiment between two intellectuals, even though the result can be an enormous bear hanging in his living room. Perrotin: A big retrospective of hers would not be boring, because everything is always surprising. Her work is always different, and that gives me more responsibility as a dealer because you have no idea each time if the people will love it or not. It looks easy now because we have a big gallery, but when I started, it was a risk to produce artworks we were not sure would sell.
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ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. All artist’s or architectural renderings, sketches, graphic materials and photos depicted or otherwise described herein are proposed and conceptual only, and are based upon preliminary development plans, which are subject to change. This is not an offering in any state in which registration is required but in which registration requirements have not yet been met. This advertisement is not an offering. It is a solicitation of interest in the advertised property. No offering of the advertised units can be made and no deposits can be accepted, or reservations, binding or non-binding, can be made in New York until an offering plan is filed with the New York State Department of Law.
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High Season
ARTS EDITOR AND COLLECTOR SUE HOSTETLER EXPLORES THE MAJOR MOMENTS ELEVATING
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ASPEN’S CULTURAL CACHET THIS SUMMER
Anderson Ranch on a starry night. 44
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COURTESY OF ANDERSON RANCH ARTS CENTER
s a longtime Aspenite, I feel like this progressive cultural utopia has never been more vibrant than it is right now. During the summer of 2019, the most innovative and visionary minds will intersect here to create thrilling new cultural experiences. Immense excitement surrounds the continued evolution of the Anderson Ranch Arts Center, the treasured 53-year-old arts organization (for which I am board chair) in Snowmass. Newly installed president and CEO Peter Waanders and curator in residence Helen Molesworth, a former curator at MOCA in L.A., will oversee a summer filled with highlights, including “The Work of Art in the Age of Hip Hop,” a program with artist Gary Simmons, and a painting workshop taught by MacArthur Fellowship recipient Njideka Akunyili Crosby and Doron Langberg.
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: brass sofa, low table, pedestal and sconce / Vintage 1950: armchair / Antiques from 19th century: painting (pair)
From left: Artist Tom Sachs at Anderson Ranch. The Aspen Art Museum, designed by Shigeru Ban.
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internationally known work by contemporary artists. “Artists liked our ideas, the opportunity to make new work for a different audience, and the chance to engage with collectors, curators, and other artists in a relaxed yet stimulating setting,” says owner Richard Edwards. “In the last 25 years, the art scene has grown beyond anyone’s expectations, and summertime in Aspen is a meeting place and fixture for the floating population that makes up the international art world.” It was big news when, in March 2017, the first New York dealer, Marianne Boesky, opened an outpost in Aspen, in a space designed by Annabelle Selldorf. “Aspen has always been a place of inspiration for me,” says the gallerist. “The extreme beauty of the landscape provides both respite and invigoration, making it fertile ground for creativity and innovation.” This summer, both Baldwin and Boesky West will feature work by rising star Sanford Biggers, a Rome Prize winner: On July 26, a body of the artist’s new sculptures debuts at Baldwin, and on the same date a two-person show curated by him, featuring works by Ektor Garcia and Allison Janae Hamilton, opens at Boesky. The polymathic Biggers, whose work takes an unflinching look at race, history, and social justice, is certainly having a moment: In addition to the gallery shows, he will give a talk at the Anderson Ranch on July 3, and the Aspen Music Festival and School features his piece Just Us on the cover of its summer program. Says Alan Fletcher, president and CEO of AMFS, “We chose Sanford Biggers’s monumental and beautiful work because it expresses the artist’s view that, when it comes to justice, equality, equity, and change, it is ‘just us’ who are responsible.” Elizabeth Paepcke, the Chicago philanthropist who, along with her husband, industrialist Walter Paepcke, was pivotal in developing Aspen as an internationally renowned ski area, once said of mountain life, “It is the opposite of killing time.” This summer, she couldn’t be more on point.
FROM FAR LEFT: COURTESY OF ANDERSON RANCH ARTS CENTER; MICHAEL MORAN/OTTO
Also on the docket is an extremely rare master class of sorts that will allow professional artists the opportunity to participate in a one-week critical-dialogue workshop with celebrated artist Alex Israel, Frieze L.A. art fair executive director Bettina Korek, and Serpentine Galleries’ Hans-Ulrich Obrist. “I love the Anderson Ranch,” says sculptor Tom Sachs. “It’s where I go to make things and to learn new techniques and sometimes to fail.” Mega-collector Mera Rubell, who runs Miami’s iconic Rubell Family Collection with her husband, Don, takes at least one workshop there each season. “The Anderson Ranch gives me the emotional and practical tools to understand the many artists I encounter in my role as collector,” she says. Another local cultural institution, the Aspen Art Museum, will be celebrating its 40th anniversary this summer, as well as its fifth year in its striking building, designed by Shigeru Ban, a Pritzker Prize winner. To celebrate, AAM is hosting the Whole Celebration, a 24-hour event on August 10 and 11 with talks, music, performance, films, tours, artmaking activities, and a sleepover. “Truly something for everyone,” says AAM board copresident Paul Pariser. As Aspen’s premier cultural destinations have drawn a more scholarly crowd, the city’s art galleries have grown increasingly more varied and sophisticated in their exhibitions. Baldwin Gallery, opened in 1994, was the first kid on the block to show
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T H E S AVA N N A H C O L L E C T I O N
Introducing Savannah, the latest in our collections of distinct textiles for the modern home, curated from travels around the world to evoke the spirit and energy of each place.
S H O P S AVA N N A H A N D A L L C O L L E C T I O N S AT A I M E E L A C A L L E . C O M
State of the Art
THESE FOUR TRENDING ARTISTS ARE RESHAPING THEIR CHOSEN MEDIUMS WITH GROUNDBREAKING WORKS
Alicja Kwade
What would Narcissus be without his mirror? Ask Alicja Kwade, whose reflective sculptural installations have been beguiling art crowds throughout her career, which includes such highlights as the timeless clock she created for the Public Art Fund in 2015 and her solo show that opened 303 Gallery’s Chelsea space the following year. In 2017, Kwade dazzled audiences at the Venice Biennale, and last year her work was exhibited in eight international venues.
From top: Alicja Kwade in her Berlin studio ahead of her Met rooftop commission. Revolution, a 2017 installation made from steel and stone.
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Kwade’s pieces act like frames of space and perspective that question social structures and science. Her works often have shiny reflective panels that have become selfie bait—truthfully, a sticking point for the artist. “I feel a bit hurt when viewers are not looking at all, just taking pictures of themselves, because I could just give them a mirror,” she says. For her current rooftop commission at the Metropolitan Museum of Art, which opened in April, Kwade decided not to use any mirrors, to prevent audiences from essentially viewing the works without seeing them. Instead, ParaPivot, a network of intersecting steel frames that you can walk through, balances nine sizable and weighty stone spheres. “It frames the skyline, like a picture or photograph,” Kwade explains. Spheres line up with skyscrapers, “like gods placing planets on pedestals of capitalism,” she says. Prior to creating the installation, Kwade visited The Met rooftop and observed how highly trafficked the outdoor terrace is with people of all sorts—museum nerds, everyday tourists, even postwork socializers. “This place is very loud, it’s very popular, and it’s not a calm white space,” she says. “The set already is almost cliché with the skyline and the park. We all know this scene, and it’s not only part of New York, it’s a part of the world.” Thus Kwade felt an urge to offer an intervention that was not just easy on the eyes but also played tricks on the brain and demanded consideration. “I somehow see it as having more responsibility,” she says of ParaPivot. That motivation is also why Kwade continues to produce mostly public sculpture. “I want to include people and not be hidden in this very protected art scene.” With her practice, the artist aims to “question my position in the art market and the market itself—who’s leading it, where it is going, how do people connect, what the result of all these connections is, and how I can influence it.” When you consider Kwade’s countless commissions and biennials, it might be fair to say she is already making headway. alicjakwade.com JULIE BAUMGARDNER
OLIVER MARK (PORTRAIT), BOTH COURTESY OF THE ARTIST AND 303 GALLERY, NEW YORK
CURRENTLY ON DISPLAY
Hickory Chair is a registered trademark. Š2019
Danielle Orchard
Danielle Orchard’s studio in Brooklyn is packed with languid women soaking in the bath or lounging après-tennis, painted larger than life on canvases that lean against the walls. They’re often nude or partially dressed, a drink in hand. “They’re familiar rituals that look very serene,” Orchard says, “but when you’re a woman who has experienced them, you know that there’s usually a lot going on.” It’s a female paradise, where the subjects are completely absorbed in their intimate activities, unfazed by who might be looking on. “I don’t think I ever really questioned why I paint women until fairly recently,” she says. “I’ve always been drawn to women in art, but the tension for me lies between the beauty of that work and the sometimes problematic circumstances in which they were painted.” The luscious canvases hover between abstraction and figuration, and are created by culling from the tropes of Western art history. There are hints of Pablo Picasso, Henri Matisse, the Chicago Imagists, and even Northern Renaissance artists such as Rogier van der Weyden, Cranach the Elder, and Pontormo. “There’s an airlessness in a lot of the paintings that I love, a flattening of space,” says Orchard. “It’s as if the whole scene has been paused or a vacuum has sucked all the air out.” Represented by the Lower East Side dealer Jack Hanley, who has a knack for spotting emerging talent, Orchard had her debut solo exhibition, “A Little Louder, Love,” at the gallery last winter. Her work caused a stir at the inaugural Felix Art Fair in Los Angeles, where the leisurely figures seemed right at home in the Hollywood Roosevelt hotel pool cabana that served as the gallery’s fair booth. This year she’s already had shows at Andrew Rafacz in Chicago and V1 in Copenhagen. “I’ve been painting nonstop,” she says. “I think I’ll head to Berlin for the summer—I want to see lots of art and reenergize.” jackhanley.com LUCY REES
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Wooden picture-frame moldings and the arm of a chair are just two of the materials David Shrobe has used in his colorful and jarring mixed-media works. “The neighborhood where my studio was located was notorious for throwing out headboards,” says Shrobe of Baptized by the Sound of Horns (2019), a piece that features a man posed like a figure in a Renaissance painting, with lush velvet fabric and black-and-white linoleum floor tiles, and that was the centerpiece of Jenkins Johnson’s booth at the Armory Show in New York. “I’ve been looking for the right headboard to use for years.” While his materials are locally sourced and make reference to slavery and the Great Migration—the period from 1916 to 1970, when millions of African-American families relocated from the South to Harlem and other cities in the North, Midwest, and West—his works connect to a broader lineage. “I think about the way I can find an object and through my manipulation it can be in service to something new, almost that I didn’t plan,” he says. Shrobe was the inaugural artist in residence at the Sugar Hill Children’s Museum in 2015 and was accepted into the Artist in the Marketplace program at the Bronx Museum in 2017. He’s had solo shows at Thierry Goldberg Gallery and Jenkins Johnson Gallery and was in the much-discussed show “Punch,” curated by artist Nina Chanel Abney at Jeffrey Deitch Gallery last summer. “He’s creating his own world,” says Jenkins Johnson director Tess Schwab. “And you’re not sure if it’s past or current.” davidshrobe.com ROZALIA JOVANOVIC
From top: Danielle Orchard’s lush Tennis Lesson (2018), in oil on canvas. Cross-Over, a 2019 work by David Shrobe rendered in acrylic, ink, and fabric on canvas.
FROM TOP: BRAD FARWELL, COURTESY OF THE ARTIST; COURTESY OF THE ARTIST AND JENKINS JOHNSON GALLERY, SAN FRANCISCO; OPPOSITE: RENEE PARKHURST (PORTRAIT), ALL COURTESY OF DAVID GILL GALLERY
David Shrobe
“Sculpture has become much more connected to my personal narrative,” says Milena Muzquiz
Milena Muzquiz
Where many artists draw inspiration from pastoral or urban landscapes, Milena Muzquiz takes a different tack with her lacquered ceramic sculptures—the cacophony of the border crossing between Tijuana and California, where, during her childhood, street vendors would peddle Mexican piggy banks and saints. Muzquiz melds elements of those Mexican crafts with the colors of California’s surf culture into layered works such as Bay Mud Shopping Mall and Rats Beach, Palos Verdes, which she produces at a studio in Guadalajara. “Sculpture has become much more connected to my personal narrative,” says Muzquiz, who grew up in Tijuana before immigrating to the U.S. “I feel very confident with the way I handle clay and therefore freely create multiple stories in a piece.” Muzquiz is now based in Los Angeles, and her work was recently presented in a solo show at David Gill Gallery in London, her first in the U.K. Many of the pieces, including White Mountain Picnic (2018), nod to Muzquiz’s earliest expression of art: reconfiguring similarly shaped jigsaw puzzles into large assemblages.
A grouping of vibrant porcelain sculptures showcased at David Gill Gallery in London. Top left: L.A. artist Milena Muzquiz in her studio.
“That was my first experience of not accepting what was in front of me and experimenting with my own personal language,” she says. “This taught me that I could play by my own rules.” Today, Muzquiz is exploring a new medium—painting— at her studio in L.A. (She still creates her sculptures across the border in Mexico.) “The different stages of drying the oil paint can conduct a movement in the piece,” she says. “It is still all very mysterious to me and exciting to figure out.” davidgillgallery.com JILL SIERACKI GALERIEMAGA ZINE.COM
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SPECTACULAR SUMMER JEWELS INSPIRED BY NATURE
The sculptural Freccia bracelet by VHERNIER, in 18K rose gold, turquoise, and rock crystal, is inspired by abstract petals. vhernier.com
DAVID WEBB’s Blossom earrings feature carved sapphires, pink tourmaline drops, cabochon emeralds, and brilliant-cut diamonds. davidwebb.com
LOUIS VUITTON’s iconic floral motif gets a modern update in the brand’s white-gold Blossom bracelet with chalcedonies, beryl, and diamonds. louisvuitton.com
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The parrot on BOUCHERON’s Nuri ring clutches a pear-shaped aquamarine. Its plumage is set with blue and yellow sapphires, tsavorites, and diamonds in white gold. us.boucheron.com
COPE’s Aurora fabric collection complements the artistic nature of these bold gems. studiocope.com
CLOCKWISE FROM TOP LEFT: COURTESY OF CHOPARD; COURTESY OF TIFFANY & CO.; COURTESY OF VHERNIER; COURTESY OF BOUCHERON; COURTESY OF LOUIS VUITTON; COURTESY OF DAVID WEBB; COURTESY OF MARCO BICEGO
Garden Glory
These striking open drop earrings in platinum with diamonds and tanzanites are from TIFFANY & CO.’s Paper Flowers collection. tiffany.com
Where The Sky Begins “When people talk about iconic views, this is it.”
Dan Kaplan, Senior Partner I FAIA, LEED AP FXCollaborative
Introducing 77 Greenwich An elementally exquisite residential experience that is infinitely New York Envisioned by FXCollaborative & Deborah Berke Partners
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THIS ADVERTISEMENT IS NOT AN OFFERING. IT IS A SOLICITATION OF INTEREST IN THE ADVERTISED PROPERTY. NO OFFERING OF THE ADVERTISED UNITS CAN BE MADE AND NO DEPOSITS CAN BE ACCEPTED, OR RESERVATIONS, BINDING OR NON-BINDING, CAN BE MADE UNTIL AN OFFERING PLAN IS FILED WITH THE NEW YORK STATE DEPARTMENT OF LAW. THIS ADVERTISEMENT IS MADE PURSUANT TO COOPERATIVE POLICY STATEMENT NO. 1, ISSUED BY THE NEW YORK STATE DEPARTMENT OF LAW. FILE NO. CP18-0093. SPONSOR: TPHGREENWICH OWNER LLC, C/O TRINITY PLACE HOLDINGS INC., 340 MADISON AVENUE, NEW YORK, NEW YORK 10173. IMAGES, INCLUDING VIEWS, ARE ARTIST DEPICTIONS FOR REPRESENTATIONAL PURPOSES ONLY.
4 Vacheron Constantin’s classic Patrimony ManualWinding timepiece has been updated with a midnight-blue dial encased in 18K rose gold. Simple and refined, it’s the dress watch that befits every occasion; $18,600. vacheron -constantin.com
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5 Rolex’s Deep Sea D-Blue Dial commemorates director James Cameron’s historic solo
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3 Evocative of a starlit sky, Audemars Piguet’s Perpetual Calendar is an astronomical watch that’s part of the brand’s CODE 11.59 collection, an entirely new family of watches that will rival its iconic Royal Oak line. A dark-blue aventurine dial set in an 18K-pink-gold case indicates the phases of the moon, as well as the date, day, week, and month; $74,500. audemars piguet.com
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Equally exquisite, Antolini quartzite in Explosion Blue offsets the constant beauty of these timepieces. antolini.com
CLOCKWISE FROM FAR LEFT: COURTESY OF ROLEX; COURTESY OF VAN CLEEF & ARPELS; COURTESY OF JAEGER-LECOULTRE; COURTESY OF AUDEMARS PIGUET; COURTESY OF VACHERON CONSTANTIN
Royal Treatment
MILESTONE
Carmen Herrera
THE CUBAN-BORN NEW YORK ARTIST DIDN’T GAIN WIDE ATTENTION UNTIL SHE WAS IN HER 80S. NOW 103, SHE IS GEARING UP FOR HER FIRST MAJOR PUBLIC ART PROJECT. HERE, WE LOOK AT HIGHLIGHTS FROM HER EXTRAORDINARY CAREER
A City, 1948 A lyrical painting created during a stint in postwar Paris, a formative phase of Herrera’s life. While there, she became associated with the Salon des Réalités Nouvelles, a group of avant-garde artists. Untitled, 1952 Herrera sold her first paintings in 2004, thanks to New York dealer Frederico Sève. Her work was quickly snapped up by major collectors like Agnes Gund, who bought this striking piece and donated it to MoMA.
Public Art Fund, 2019 Angulo Rojo, the first new work in her “Estructura” series in over ten years, is part of an ambitious Public Art Fund project. “We’re fulfilling a long-term dream project of hers,” says PAF curator Daniel S. Palmer. The five sculptures will be displayed at City Hall Park from July 11 through November 8. “She’s finally getting the moment in the public that is so long overdue.” LUCY REES 56
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Blanco y Verde, 1966–67 Herrera considers the 12-year “Blanco y Verde” series (white canvases interrupted by green triangles) her most important—and the market agrees. This painting went for $2.9 million at Sotheby’s in March, a new auction record for the artist, just above her previous record, set in 2018, of $2.7 million for a work in the same series.
2015–16 A 2015 documentary film by Alison Klayman, which pictured Herrera working in her loft on East 19th Street, preceded a banner year that included a significant retrospective at the Whitney Museum and a buzzy exhibition at Lisson Gallery.
COUNTERCLOCKWISE FROM TOP: COURTESY OF THE ARTIST AND LISSON GALLERY (4); ERIK MADIGAN HECK; COURTESY OF SOTHEBY’S
Late 1940s Born in Cuba in 1915 into an artistic family, Carmen Herrera studied architecture at the Universidad de la Habana, a training that fueled her obsession with the straight line. She moved to New York in 1939 with her husband, Jesse Loewenthal.
2 0 1 9 C O L L EC TI O N
furniture | lighting | accessories
From top: Dating to 1680, Château du Boschet in Brittany is listed with Engel & Völkers. One of its elegantly preserved interiors. Designer Timothy Corrigan renovated and then sold the Loire Valley’s Château du GrandLucé, which is opening as a hotel in June.
Keys to the Kingdom CHANGES IN THE MARKET MAKE PURCHASING A
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ich with lavender-blanketed hilltops, worldrenowned vineyards, and centuries-old châteaux, the sun-soaked French countryside has long been a draw for artists like Vincent van Gogh and Alexander Calder. Now real estate aficionados are following suit, thanks in part to Brexit, which caused a slew of financial firms to relocate from London to Paris. Couple that development with comparatively affordable prices and a system that prevents bubbles from forming in the market, and it’s clear why the country’s impressive stock of grand estates has become a hot commodity. “I cannot tell you how many calls I’m getting from people all over the world,” exclaims Timothy Corrigan, the high-profile Los Angeles interior designer and a self-proclaimed “château addict.” (Two years ago, he sold his most recent
renovation project, Château du Grand-Lucé, which will open as a hotel this summer.) Corrigan recommends first browsing listings on the websites Belles Demeures and Le Figaro Properties, making sure to note whether the home is a designated landmark and proceeding with caution if so. “Landmarked estates come with lots of restrictions regarding what elements can be changed in a renovation,” he warns, “and the tax benefits only apply if you’re French.” In terms of preserving resale value, the prime locations reside within a two-and-a-half-hour drive from Paris— particularly in Normandy and the Loire Valley, two of the most popular regions. “There are wonderful properties farther than that, but you’re limited in the number of people who will buy,” says Corrigan. While the cost of modernizing a château can almost equal its purchase price, the state of the roof is the most important factor to consider. “Replacing a roof can cost up to $2 million because they’re so large and you have to use a historical type of slate,” explains Corrigan. “New electrical systems and plumbing are routine, but a roof can make or break a deal.”
FROM TOP: CREATIVE COMMONS; COURTESY OF ENGEL & VÖLKERS; COURTESY OF HOTEL CHÂTEAU DU GRAND-LUCÉ. OPPOSITE, FROM TOP: DOUGL AS FRIEDMAN (2); COURTESY OF CHRISTIE’S INTERNATIONAL REAL ESTATE
CHÂTEAU A NOBLE PURSUIT
From top: Ken Fulk revamped Domaine de la Cavalière, a 240-acre estate in Provence. A horse ambles in front of the restored main residence. This 1880 château in Charente was built for the Cognac family and is on the market with Christie’s for $4.4 million.
news is property taxes are extremely low, freeing up more money for refurbishments. After all, the idea of presiding over a classic château is so alluring because it makes a fantasy lifestyle a reality. “The pace of life is so much slower, which is appealing for Americans, who are always on the go,” says design savant Ken Fulk, who has helped clients breathe new life into historic estates in Provence and the Dordogne Valley. “You can step back in time and live in your very own fairy tale.” GEOFFREY MONTES
“You can step back in time and live in your very own fairy tale,” says Ken Fulk San Francisco designer Jonathan Browning, who has visited scores of on-the-market châteaux over the years, recommends bringing a drone. “It allows you to see the roof condition and get a closer look at the façade,” he says. He also cautions against buying anything larger than 15,000 square feet, though it can be tempting, given the moderate price tags on palatial-size dwellings. “The bigger the house, the harder it is to resell.” Prospective buyers should also not be afraid to negotiate, as listing prices are generally flexible. However, in France a purchaser having representation is not the norm. “When you’re just in touch with the selling agency, [it has] no duty to disclose,” says Kathryn Brown of Paris Property Group, which helps non-French citizens navigate the country’s real estate process. “You need somebody looking out for you, doing a thorough job researching and paying attention. Otherwise, you can be taken advantage of.” Some may also find it useful to acquaint themselves with local ordinances regarding short-term leases, which have been restricted for foreign residents in recent years. Closing costs are high, as much as 7 percent, but the good GALERIEMAGA ZINE.COM
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Deep Freeze M
RIMA SUQI
Clockwise from top: Steven Haulenbeek in his work space. One of his ice-cast bronze side tables. Pia-Maria Raeder in her studio. A pair of her sea anemone–inspired floor lamp sculptures.
Sunken A Treasure
t a glance, the works of German artist Pia-Maria Raeder resemble white coral that might have washed up on a beach in an exotic locale. But a closer inspection reveals that the organic, undulating shapes of her Sea Anemone collection of furniture, lighting, and mirrors are created with ARTIST PIA-MARIA RAEDER’S thousands of beechwood rods that she cuts and arranges by hand in her studio in Munich. COLLECTION REFLECTS THE Largely self-taught, Raeder was inspired to take time BEAUTY FOUND ON THE off from a successful career as a broadcast journalist and OCEAN FLOOR “start dreaming” after her mother’s death. “I wanted to create something that was an abstract interpretation of nature in a way that did not yet exist,” she recalls. In the spring of 2016, she approached Parisian gallerist Béatrice Saint-Laurent of Galerie BSL, who was immediately smitten and describes Raeder’s pieces as having a “magic and emotional intriguing beauty.” Saint-Laurent debuted the collection at PAD London later that year and sold numerous pieces, including a seven-foot standing mirror that has 75,000 beech rods and took 18 weeks to craft. Raeder still cannot entirely believe her success. “Every time I go to a fair, I cry for the first five minutes,” she admits. “I am still overwhelmed.” pmr.design R.S. 60
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CLOCKWISE FROM TOP: TOM GAVIN (2); JANN AVERWERSER; AL AIN CORNU, COURTESY OF GALERIE BSL
any creatives cite the natural environment as a source of inspiration, but Steven Haulenbeek takes that quite literally, as his highly collectible ICE BEGETS ART IN range of one-of-a-kind cast-bronze furniture and accessories is the DESIGNER STEVEN direct result of what, in retrospect, HAULENBEEK’S seems like a childish experiment: CAST-BRONZE WORKS pouring hot wax onto a frozen puddle outside his Chicago studio, creating a version of lost-wax casting he dubbed “ice casting.” In the eight years since, his technique has evolved, thanks to a recent investment in what he calls “mega-freezers,” which allow the Michigan native to work year-round creating large blocks of ice that, when carved, act as molds for his ultra-textural, large-scale pieces. “I’ve figured out different ways to pour wax into a cavity to create a vessel or to pour it free form and let it go where it wants,” he says. The latter technique was used to create a large mirror that debuted at Carpenters Workshop Gallery in January; he is currently at work on a series of occasional tables to be introduced later this year. stevenhaulenbeek.com
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Artful Atelier
MELANIE COURBET’S NEW YORK GALLERY IS A UNIQUE COLLECTION OF HANDCRAFTED TREASURES
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rior to finding her niche as a gallerist, Melanie Courbet shuttled between various African countries and Los Angeles while alternating careers—from charity work and art and design consulting to a stint as Morphosis architect Thom Mayne’s executive assistant. In 2013, she opened her first carefully curated space in New York’s Nolita neighborhood; a second location, inside Miami’s iconic Surf Club, followed. “I wanted to underscore the timeless value of pieces that are crafted by hand through techniques that represent centuries’ worth of heritage and know-how,” Courbet says of the works she displays. Her latest space, Les Ateliers Courbet, which opened last fall in Chelsea and will host a Mauro Mori exhibition in May, showcases the crème de la crème of craftsmanship, including pieces by 400-year-old Kyoto pottery studio Asahiyaki and Mongolian cashmere creator Oyuna, as well as glassware from venerable Viennese firm Lobmeyr and furniture and lighting by Paris designers Domeau & Pérès and Thierry Dreyfus, respectively. Here, Courbet gives insight into the objets that capture her attention, the one piece she couldn’t live without, and the work she wishes could be in her personal collection.
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The one object I wouldn’t want to part with is a 2,200-year-old earring my boyfriend gave to me that belonged to a Mesopotamian princess. It was made using granulation, a goldsmithing technique that was developed in Mesopotamia, disappeared for centuries, and was rediscovered later. I am extremely lucky, as two of my favorite pieces were gifted to me by the artist Claude Lalanne herself, which makes them even more special—a beautiful silver necklace and a pair of ginkgo earrings. My bed might be my favorite place on earth. I love the little Lalanne monkey looking at me when I wake up and the two vintage Tuareg bracelets that I never wear but that I enjoy seeing on my bedside table. I read my emails and the news on our Smile daybed by Giancarlo Valle, where another monkey—the watercolor Jack on His Deathbed by Walton Ford—lounges on the wall right above
CLOCKWISE FROM BOTTOM LEFT: COURTESY OF THE METROPOLITAN MUSEUM OF ART, NEW YORK; COURTESY OF LES ATELIERS COURBET (2); COURTESY OF AMAN; COURTESY OF THE ARTIST AND KASMIN GALLERY; COURTESY OF ISAAC REINA; DENISE BONENTI
Clockwise from left: Melanie Courbet’s New York atelier carries works by Michel Amar, Aldo Bakker, Thierry Dreyfus, Oyuna, and more. Melanie Courbet. She cites this 2,200-year-old earring, which once belonged to a Mesopotamian princess, as a treasured possession.
Courbet’s favorite hotel, Utah’s Amangiri resort. Right, from top: Walton Ford’s Jack on His Deathbed. The Isaac Reina boutique in Le Marais, Paris. Designer Mauro Mori’s Tres Brass is available at Les Ateliers Courbet.
me. I also love my little office area, where I hoard cards, letters, and magazines that I intend to read . . . eventually, maybe. I am obsessed with Auguste Rodin’s sculptures. That’s something that’s been with me since I was much younger, when I decorated my notebooks and bedroom walls with postcards and posters of his work that my mother bought for me at the Musée Rodin in Paris. The emotions I feel when I look at La Danaide—or —or any of his marble sculptures—are very strong. One artwork I’d like to own is Gustave Courbet’s Waves, from around 1870. Courbet is my great-great-uncle. It is a magnificent work—a blue canvas depicting a sea in turmoil—but it is part of the collection of the Philadelphia Museum of Art. My favorite hotel is the Amangiri in Utah. I haven’t yet found a more inspiring retreat. I think the success and elegance of its design lie in its simplicity as it blends into its untouched environment. You feel enveloped by the stunning landscape around you in every corner of the property. I only shop randomly when I travel. If I had to come up with a couple of stores that I would recommend for the consistency of their selection, I would say Jade in the sixth arrondissement in Paris. Da/Da in Paris has a good selection as well. I like to visit Isaac Reina in Le Marais for bags and the boutiques on the small streets of the sixth arrondissement.
My favorite travel destination is Japan, especially Kyoto, where I always make sure to visit Robert Yellin Yakimono Gallery as well as Gallery Yukei, inside the Tawaraya Ryokan. When I’m in New York, I like the uni sashimi and omakase at Kanoyama and orangeblossom macarons and Champagne at Ladurée. When I travel, I favor the fish of the day at Le Duc in Paris, sashimi at Hyotei in Kyoto or matsutake mushroom dishes at Kichisen, or homemade pasta at Trattoria Cammillo in Florence. A recent discovery is the late jeweler Jean-Claude Bonillo, whose work came to my attention at Design Miami/ thanks to Magen H Gallery. I acquired one of his pieces—a sculptural necklace in gold-plated silver—and am very, very happy with it. ateliercourbet.com INTERVIEW BY CHRISTINE SCHWARTZ HARTLEY GALERIEMAGA ZINE.COM
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TRACEY EMIN | HURRICANE (2007)
On the Block
FASCINATING SALES FROM AROUND THE WORLD BY JEANNIE ROSENFELD
Sold at Christie’s London (March 14)
Following a multimedia exhibition celebrating the late pop icon George Michael, an evening sale of 61 pieces from his art collection raised over $11.8 million to continue his philanthropic legacy. It featured the ’90s British artists known as YBAs, such as Emin, who developed a friendship with the musician and was represented by nine works, including this largescale acrylic on canvas, which fetched £431,250 ($571,794).
ALFA ROMEO | TOURING BERLINETTA (1939)
Winner of the Pebble Beach Concours d’Elegance in California and Concorso d’Eleganza Villa d’Este in Italy, this model 8C 2900B, one of just five examples built, is among the most sought-after prewar cars in the world. A road version of the company’s competitive race car, it epitomizes the marriage of elegance and sport, and garnered €16,745,600 ($18,997,883).
JORIS LAARMAN | BONE CHAIR (2006)
Sold at Christie’s London (March 6)
RENÉ LALIQUE | ALICANTE VASE (1927)
Sold at Bonhams Knightsbridge, London (February 20)
This triple-cased jade green vase with an opalescent core, named after the Mediterranean port in southeastern Spain, commanded £43,750 ($58,085), far surpassing its £20,000 to £30,000 estimate. Engraved “R.Lalique France” and featured in dealer and art historian Félix Marcilhac’s catalogue raisonné, it was one of over 200 pieces in a single-owner sale of works by the celebrated glassmaker. 64
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This limited-edition art object, created for dealer Barry Friedman in New York and the Droog design company in Amsterdam, was digitally rendered and fabricated in aluminum to simulate bones. Engraved with a facsimile of Laarman’s signature and numbered 8/12, it brought £707,250 ($928,619), not surprising considering other examples are in New York’s MoMA and the Rijksmuseum in Amsterdam.
CLOCKWISE FROM TOP: COURTESY OF CHRISTIE’S IMAGES LTD. (2); COURTESY OF BONHAMS; COURTESY OF ARTCURIAL
Sold by Artcurial at the Salon Retromobile, Paris (February 8)
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New York 646.707.3065
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Making Waves
THE VENICE BIENNALE DRAWS TALENT IGNITES EXCITEMENT THAT ECHOES LONG AFTER THE EXHIBITIONS DEBUT IN THE CITY’S LANDMARKS
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Above: Fifty boats with handmade red sails will cruise the Venice waterways as part of New York artist Melissa McGill’s six-month-long art project, Red Regatta. Right: Untitled (2016) by Cathy Wilkes, who is representing Britain at the Venice Biennale.
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pproximately 250 art biennials are organized around the globe, from Albania to Vietnam, not to mention the countless annual fairs that keep art lovers crisscrossing continents. But there is only one international art event that draws the world to its waterfront with the twin guarantees of myriad artistic discoveries and old-world pleasures: the Venice Biennale. The citywide event, taking place May 11 to November 24, encompasses curated exhibitions in the national pavilions along the verdant alleyways of the Giardini, Venice’s public gardens, and related shows in the Arsenale shipyards, whose 12thcentury industrial bones serve as a magnificent setting for contemporary art. Additionally, visitors can see incredible works at pop-up displays inside centuries-old churches, on the lagoon’s neighboring islands, and in palazzi flanking the Grand Canal. This year’s theme, conceived by Ralph Rugoff, director of London’s Hayward Gallery, is “May You Live in Interesting Times,” ensuring an emphasis on incisive art. “Biennials like Venice are where art history is written, questioned, and redefined,” says Klaus Biesenbach, director of Los Angeles’s Museum of Contemporary Art. “I’m very curious to see how Ralph enables artists to visualize these times and the world we live in—and, of course, that is very exciting.” For Ghana’s inaugural participation, architect David Adjaye has designed an eloquent space in the Arsenale for works by artists such as El Anatsui and Lynette Yiadom-Boakye. Nearby, the dynamic curatorial duo Sam Bardaouil and Till Fellrath are collaborating with Emerati poet and filmmaker Nujoom Alghanem. Iraq’s pavilion, meanwhile, features a solo exhibition by artist
FROM TOP: RENDERING COURTESY OF THE ARTIST; KEITH HUNTER, COURTESY OF THE ARTIST AND THE MODERN INSTITUTE/TOBY WEBSTER LTD., GL ASGOW; OPPOSITE PAGE: FROM TOP: YASUNORI MATSUI, COURTESY OF MATTHEW MARKS GALLERY; COURTESY OF STUDIO LUC TUYMANS, ANTWERP; ANDREA AVEZZÙ, COURTESY OF L A BIENNALE DI VENEZIA
FROM AROUND THE WORLD AND
Serwan Baran, who debuts a multidisciplinary project focusing on conflict in his home country. The British pavilion, which drew crowds in 2015 with Sarah Lucas’s provocative nude sculptures, presents an installation by the prize-winning Irish sculptor and painter Cathy Wilkes. “Cathy’s work is art that whispers rather than shouts, but she certainly is commanding,” says Hayward Gallery’s Zoé Whitley, the first African-American woman to curate the British pavilion. The U.S. pavilion can always be counted on for a compelling exhibition. This year is no exception: Martin Puryear, the beloved 77-year-old sculptor known for crafting colossal works
“Biennials like Venice are where art history is written, questioned, and redefined,” says Klaus Biesenbach in humble materials, fills the exhibition space, inside and out, with new works, including a monumental outdoor piece for the pavilion’s forecourt. “Martin has been working since the late 1960s, and this exhibition is going to show us some of the most extraordinary work that he has realized,” says the U.S. pavilion’s curator, Brooke Kamin Rapaport, who, as deputy director of New York’s Venice’s Arsenale shipyard hosts Madison Square Park Conservancy, collaborated with works by contemporary artists during the biennial. Top: Allo! I (2012) by Puryear on Big Bling, his 40-foot-high sculpture that Luc Tuymans. Above: Sculptor Martin recently spent a year in the public park. “He has always Puryear—whose Big Bling was displayed in New York—will be had a deeply thoughtful and searing perspective on featured at the U.S. pavilion. history, and how the past can illuminate and complicate the present.” Elsewhere, the Basilica of San Giorgio Maggiore welcomes new works by the Irish abstract artist Sean Scully, who unveils an illuminated manuscript inspired by this majestic 16th-century Benedictine church. And the influential Belgian artist Luc Tuymans takes over the elegant Palazzo Grassi with his gorgeously painted, always relevant canvases. Venice’s most eye-catching event may be New York artist Melissa McGill’s contribution: Red Regatta, 50 boats festooned with handmade red sails that will cruise the lagoon and canals for six months to celebrate the city’s maritime history. “People might caricature the art world as jaded, but there are opportunities for genuine surprises and innovation,” says Whitley. “Artists constantly bring their A game to the Venice Biennale. What’s better than that?” VICKY LOWRY GALERIEMAGA ZINE.COM
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Conversation W Starter AT DIALOGUE, CHEF DAVE BERAN FLAVORED A MENU WHERE EACH COURSE SPEAKS TO THE NEXT
hen you reach the Third Street Promenade in Santa Monica, go past the ice cream shop, up the escalator, and through the second-floor food court. You’ll definitely think you’re in the wrong place—or at least not in the right place for a 20-course-or-so tasting menu prepared by one of the most talented rising chefs in the country. But once you’ve punched your emailed confirmation code into the door of what resembles a janitor’s closet, you’ll discover Dialogue, the brainchild of chef Dave Beran. With room for only 18 seats, the warm, unpretentious space bursts with some of the most innovative cuisine happening anywhere right now.
CHRISTIAN SEEL
“We drew inspiration from kaiseki, a Japanese-style tasting menu framed around forward progress,” Dave Beran says
Classic French beef tenderloin with potato dauphinoise, sauce Mornay, sauce Bordelaise, and wild nasturtium.
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NOUVELHERITAGE.COM ELYSE WALKER - LOS ANGELES & NEWPORT BEACH, CA / HUTCHINSON - LARKSPUR, CA / MODA OPERANDI / YLANG23 - DALLAS & FORT WORTH, TX
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COUNTERCLOCKWISE FROM TOP: CHRISTIAN SEEL (2); MARIAH TAUGER
Clockwise from top: Ice cream made from sorrel stems garnished with sorrel leaves and flowers, beneath shortbread flavored with green tea and salted cherry blossoms and poppy seeds, served with a chilled broth of cherry blossom, rhubarb vinegar, and green tea. Chef Dave Beran. A frosted squash blossom seasoned with roasted banana vinegar and toasted barley.
After spending ten years working for Grant Achatz, half of them at Alinea and the other half heading the kitchen at Next, Beran left Chicago for the West Coast, ready to create his own signature cuisine. But he didn’t go for an over-the-top, splashy entrance onto the increasingly buzzy Los Angeles food scene. “It didn’t seem right to just show up and open some crazy restaurant and expect diners to engage in a restaurant and chef who wasn’t from here,” says Beran. Instead, he stripped down the concept and started small. Designed by Steve Rugo, the Chicago architect responsible for Achatz’s restaurants, Dialogue keeps things simple in every aspect. The space, with its white walls and gray banquettes, feels like a theater set where the recesses dissolve as the stars take the stage. Those key players come in a succession of succinct, seasonally driven courses. “We drew inspiration from kaiseki, a Japanese-style tasting menu framed around forward progress,” explains Beran. “The whole idea is that whatever season it is, you start by looking backward but you end up looking forward.” After working in much larger kitchens, Beran realized the importance of not overcrowding the plate with technique, especially when there are only four chefs. Yet there’s no lack of passion in each course. Every dish is seemingly quite simple on its own yet builds upon the flavors and textures that precede and follow it. This idea comes to life when you’re presented, say, with a single rhubarb chip as one course, but since it’s 95 percent dehydrated, it sticks in your mouth like a Fruit Roll-Up. Now rhubarb becomes a flavor when you bite into the next dish. Other plates, such as a nasturtium-covered beef fillet, play up the abundant variety of California produce. Burned lettuce becomes a sauce for raw hamachi. Wild produce finds its way even into the desserts with wood sorrel ice cream. Last year, menus were framed around color—summer was pastel, autumn muted tones, winter monochromatic. This year, autumn was interpreted by a tree, and winter played with the idea of things being frozen. Why not serve a pure white coconut mousse filled surprisingly with crab and pumpkin seed on an ice-cold plate? Now that Dialogue has hit its stride, Beran plans to open Pasjoli, an elevated French restaurant, this summer. There, he’ll present dishes such as a classic duck press on a trolley and feature table-side caviar service as well as other legendary fine-dining classics. Diving back into the esteemed Auguste Escoffier repertoire, which he so brilliantly executed for the opening of Next, the chef says, “It’s going to be sneaky fine dining in the sense that it actually feels like a neighborhood spot.” And surely just as conversation-worthy as Dialogue. dialoguerestaurant.com JACQUELINE TERREBONNE
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Bon Voyage
FROM BALI TO THE BUND, THESE PICTURESQUE DESTINATIONS ARE WHERE YOU CAN FIND THE IN CROWD THIS SUMMER
Clockwise from top: Race Point Lighthouse in Provincetown. John Derian. Chloe Gosselin. A villa at Como Shambhala Estate in Ubud, Bali.
“It’s a magical place with endless beaches, and miles and miles of wildlands to explore,” says John Derian CHLOE GOSSELIN | SHOE DESIGNER “One of my favorite places to travel is Bali. David [Copperfield] and I usually stay in one of the most beautiful resorts in the world, Como Shambhala. I love doing the early-morning yoga classes on top of the hill in the jungle of Ubud. We have shopped a lot in Bali for furniture and sculptures for our place in the Bahamas. Our friend John Hardy built this incredible school called the Green School, which is made entirely out of bamboo. Every class there grows its own rice and learns about farming and living in harmony with nature—so inspiring! One of my favorite things to do is to go to Lovina to watch the dolphins or visit
CLOCKWISE FROM TOP: JOHN GREIM/LIGHTROCKET VIA GETT Y IMAGES; STEPHEN KENT JOHNSON; PIERRE ARNAUD L AGACHE. OPPOSITE, FROM TOP: JORGE FERNANDEZ/LIGHTROCKET VIA GETT Y IMAGES; S ZAKUTO; JIA JIA FEI
JOHN DERIAN | DECORATIVE ARTIST “I spend as much time as I can on the Cape in Provincetown— it’s a magical place with endless beaches, and miles and miles of wildlands to explore. I’ll spend my mornings out in the woods, come home for lunch, and then spend my afternoon climbing the dunes. (That is, when I’m not in the water.) We entertain when we can, love to cook, play games, and take lots of naps. We’re all loving the Twenty Summers program offering amazing talent in all the arts in the beautiful Hawthorne Barn, a 20th-century art school studio.”
“I’m interested in seeing the monuments of the dynasties carved directly out of the rock,” says Nir Hod
the monkey jungle in Ubud. Some lovely places to eat are the Four Seasons in Ubud or the Hanging Gardens.”
NIR HOD | ARTIST
Clockwise from top: The Monastery in Petra, Jordan. Nir Hod. JaiJai Fei in Shanghai.
“I’m planning to go to Petra in Jordan. I grew up in Israel, but I want to see this part of the Middle East. Currently, I am working on a body of work related to Arab dictators and their decadent tastes and am exploring this attitude and aesthetic. I’m interested in seeing the monuments of the dynasties carved
directly out of the rock—their color and texture. There is something so powerful, so spectacular about the desert. I’ve been working so hard lately, and I want to go somewhere to see the stars. The desert is the right balance to my time in New York—it would be like going to another planet. For the first time in my life, I feel like I need more of this balance. The idea of death and beauty is so powerful.”
JIAJIA FEI | DIGITAL DIRECTOR, THE JEWISH MUSEUM “At least once a year, I visit my family in Shanghai and get to witness a whole new city each time I go. The art scene especially has changed so quickly. My staples have become the Rockbund, Long Museum, and Power Station of Art, but new museums and galleries are popping up all the time. I overdose on soup dumplings at (my namesake) Jia Jia Tang Bao or any Din Tai Fung, followed by a nightcap at the Long Bar at Waldorf Astoria on the Bund.” GALERIEMAGA ZINE.COM
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Outside the Box
ARCHITECT STEVEN HOLL’S CULTURAL CENTERS
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or architect Steven Holl, praised for his luminous, sculptural buildings, the design process often starts with the most ephemeral of ideas. To create the undulating, overlapping curves crowning the Museum of Fine Arts, Houston’s upcoming building for modern and contemporary art, the architect says he imagined “clouds pushing the roof down.” For his expansion of the John F. Kennedy Center for the Performing Arts in Washington, D.C., opening in September, Holl envisioned three new pavilions swelling from the landscape like a glissando, the term for the sliding of notes on the musical scale. Those are just two of the more than half a dozen cultural, educational, and devotional buildings under construction by Holl’s namesake architecture and urban design firm. His poetic concepts for buildings always begin with a five-by-seven-inch watercolor. “I’ve been true to that process for 40 years,” says Holl, who has archived the first drawing of every building he’s ever conceived. A watercolor of overlapping circles, symbolic of everything from a womb to heavenly orbs, was the springboard for his futuristic-looking ChinPaoSan Necropolis, a nondenominational burial site and gathering space under way in Taipei. “When you intersect these spheres three-dimensionally with the computer,” says Holl, “you get spaces you could never realize before.” A statement that in some part explains the originality of his designs but in no way accounts for the complete measure of their genius. HILARIE M. SHEETS
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From top: The Lewis Arts Complex at Princeton University. Steven Holl in his New York office. A watercolor of the upcoming Kennedy Center expansion in Washington, D.C.
“When you intersect these spheres threedimensionally with the computer, you get spaces you could never realize before,” says Steven Holl
FROM TOP: PAUL WARCHOL; COURTESY OF STEVEN HOLL ARCHITECTS; COURTESY OF STEVEN HOLL
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JAPANESE ARTIST CHIHARU SHIOTA’S RE-CREATED IN ALL THEIR LARGER-THANLIFE GLORY AT TOKYO’S MORI ART MUSEUM
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hat if a memory could be transformed into an immersive, tangible experience? Japanese artist Chiharu Shiota’s exquisite, intricate webs do just that when they take over entire galleries, museums, and historic buildings, inviting viewers into a world of haunting recollections and faded dreams. Spun out of black, red, and white yarn, Shiota’s installations ensnare found objects and mementos such as keys, books, or dresses, creating masses so visually striking they become a new kind of spatial poetry. Beginning June 20, the Mori Art Museum in Tokyo’s elegant Roppongi Hills will present “The Soul Trembles,” a major retrospective featuring 20 years of her practice, on display until October 27. The exhibition will encompass the breadth of her career, from her early experimentations with painting, drawing,
“It was like I was drawing in the air. I didn’t have any limitations,” says Chiharu Shiota 76
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Chiharu Shiota’s The Key in the Hand at the 2015 Venice Biennale, featured in the monograph Under the Skin.
and performance art to six of her most personally significant installations, each re-created across one floor at the top of Mori Tower. “I am looking forward to seeing them in one place,” Shiota says from her Berlin studio. “Each installation has focused on a different aspect of human life, and this will be the first time that these aspects will be exhibited together.” Born in Osaka, Japan, Shiota enrolled in art school to study painting but soon became disillusioned with the medium. “Painting has such a rich history, but it did not feel like part of my history,” she says. “I felt stuck and couldn’t move forward.” Following years spent living in Australia, she moved to Germany in 1997 to study under the doyenne of performance art, Marina Abramović, whose influence can be seen in Shiota’s early endurance-based performances like Try and Go Home (1998), where she smeared her body with earth and fasted for four days. “I started to create art with my body, and one day when I felt restless I used a ball of yarn and began weaving in my bedroom,” Shiota says. “It was like I was drawing in the air—I extended the line from the painting into space. I didn’t have any limitations.”
SUNHI MANG, COURTESY OF THE ARTIST AND HATJE CANTZ; OPPOSITE: CLOCKWISE FROM TOP: GABRIEL DE L A CHAPELLE; SUNHI MANG (2)
DAZZLING SPUN ENVIRONMENTS ARE
Clockwise from top: Where Are We Going? (2017) at Le Bon Marché in Paris. In Silence features an abandoned piano concert wrapped in black thread. Chiharu Shiota.
Twenty years later, the artist’s work, which has been displayed in some 250 exhibitions at museums and galleries, retains a performative quality. “Creating is very meditative. I create a triangle pattern, like a drawing, painting the same line again and again,” she explains of her installations, which can take up to two weeks to spin. “It can be very tiring, having to concentrate for such a long time.” The Mori Art Museum exhibition kicks off with The Key in the Hand from the Japan pavilion at the 2015 Venice Biennale, which ushered Shiota onto the international art stage. In this work, 180,000 keys showered down from the ceiling in tangled bundles of crimson, some caught in the decrepit hulls of wooden boats seemingly trapped in an ominous storm. The keys had been collected from donors all over the world and thus imbued with “countless layers of memory,” Shiota says. An accompanying video of children trying to summon their earliest memories completed the powerful metaphor. Personal experiences are central to all of Shiota’s work. Sparked
by her childhood recollection of the house next door burning down, In Silence features a burned piano and a cluster of chairs spun in black yarn. In the project, first shown at the Centre Pasquart in Switzerland in 2008, the room may be silent but pulsates with a charged energy. For Accumulation—Searching for the Destination, 400 used suitcases are tethered from the ceiling by red rope, a metaphorical connection between the individual and the collective experience. One of her most recent installations, Where Are We Going?, is a heavenly vision of white wool, wire, and rope boats, which floated across the center of the Parisian department store Le Bon Marché in 2017. “My work is always deconstructed at the end,” says Shiota. “But I never feel sad or disappointed because my installations live on in the visitor’s memory.” mori.art.museum LUCY REES
British Accent
LUKE EDWARD HALL
ILLUSTRATES A SNAPPY
Renewed Obsession
From top: The Draga&Aurel Bea console and the special-edition Thea chair. The designers, Draga Obradovic (left) and Aurel Basedow.
DRAGA&AUREL TURN VINTAGE FINDS INTO ONE-OF-A-KIND MODERN FURNISHINGS
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lea-market furniture can be a siren song for decor aficionados, but discovering a piece that matches a modern sensibility is a treasure hunt of epic proportions. Enter Draga Obradovic and Aurel Basedow, of Draga&Aurel, who have turned the search into an art form. For their unique collection for Baxter, available at DDC, the design duo scour the globe for midcentury cabinets, chairs, and other furnishings, then reconstruct them with textiles, resins, and other unique finishes. “Sometimes we’re inspired by fashion, sometimes by art or style,” says Obradovic, whose gift for painting directly on fabric helps elevate pieces like the special-edition Thea chair. Influenced by industrial designers like Gio Ponti and Ettore Sottsass, Obradovic and Basedow use a time-intensive process, so new collections are released only twice a year and each encompasses 20 pieces at most. “Every year we try to offer a new vision in tune with the mood of color and pattern that we are loving at the moment,” says Obradovic, “but our goal is always to find the right blend so that when they come together it seems so right that they couldn’t have been combined in any other way.” ddcnyc.com JILL SIERACKI 78
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At just 29 years old, designer and illustrator Luke Edward Hall has amassed an enviable roster of high-end clients, among them Christie’s, Burberry, and Liberty London. In May, the dapper Brit added the Rug Company to that list with the debut of his covetable collection of fanciful pillows and wool Aubusson wall hangings. “The cushions I wanted to make very bold and bright,” explains the aesthete, who is known for his romantic Cocteau-esque drawings and playful accent pieces sheathed in kicky patterns. Featuring leopards, anchovies, and lobsters, the three pillow designs reflect Hall’s signature sense of whimsy. “I love the leopard because I’m a big fan of burgundy and pink together,” he says. A pair of painterly wall hangings, meanwhile, was inspired by historical portraits he discovered when reading an artist’s biography. “It was tricky at first to make sure the portraits felt right. I wanted them to seem timeless and quite contemporary, but at the same time as if they might be from the 1930s,” he says. “Ultimately, I’m really happy with how the watercolor washes have translated. Though woven, the paint looks quite convincing!” therugcompany.com —GEOFFREY MONTES
From top: Luke Edward Hall (left) and boyfriend Duncan Campbell, a designer. Pillows from Hall’s new collection.
FROM TOP: ROBERT GRANOFF, COURTESY OF DDC (2); PIERO GEMELLI; COURTESY OF THE RUG COMPANY (4)
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ARTWORK: COURTESY OF PACE GALLERY. PORTRAIT: RISHAD MISTRI. PRODUCTS, CLOCKWISE FROM TOP LEFT: COURTESY OF URBAN ELECTRIC; COURTESY OF ARTWARE EDITIONS; COURTESY OF PATTERSON FLYNN MARTIN; COURTESY OF MOMA DESIGN STORE; COURTESY OF BOWER STUDIOS; COURTESY OF DAVID NETTO DESIGN; COURTESY OF RT FACTS; COURTESY OF MECOX; COURTESY OF BL ACKMAN CRUZ
Living Masterpiece
“My choice of this Sol LeWitt can’t be overintellectualized—I just like blue and yellow together. Industrial Brutalism offsets the prettiness of the painting, then I added a Cubist rug but mixed with more classical pieces, calling to mind how Bunny Mellon would hang contemporary art in her traditional interiors.”
DAVID NETTO
For interior designer David Netto, it’s about getting into character and telling a story—and tell a story he always does, with savoir faire, finesse, and quite often a surprise ending. His ease of style may come across as breezy choices that magically fall into place, but each one is carefully considered and the result of an astute study of interiors. davidnettodesign.com
Artwork: Irregular Form (1998) by Sol LeWitt. Clockwise from top left: Hamilton lantern by the Urban Electric Co.; urbanelectric.com. Forward Slant chair by Donald Judd; judd.furniture. Cubist rug by Miles Redd for Patterson Flynn Martin; pattersonflynnmartin.com. Magic Cube clock; store.moma.org. Arch Window mirror by Bower Studios; bower-studios.com. Untitled 2018 19 lamp by Netto Nocon; davidnettodesign.com. Industrial bookstand with leather inserts by RT Facts; rtfacts.com. Rectangular rush basket by Mecox; mecox.com. Falcon bar by Jane Hallworth; blackmancruz.com. GALERIEMAGA ZINE.COM
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From studios in London and New York, Swedish interior architect Martin Brudnizki melds the ideas of glamour and whimsy into infectiously chic atmospheres. Widely known for his maximalist designs for London private clubs Annabel’s and Harry’s Bar, Brudnizki is constantly proving his genius for pattern, color, and creating a mood. mbds.com
“Cy Twombly’s work is based on classicism, but he does a modern interpretation of it. In the same way, my designs look back to look forward, creating spaces inspired by the past but completely of the future. This scheme for a loggia reflects that kind of eclectic mix—more bohemian than tailored, with colors all on the same tonal level.”
Artwork: Quattro Stagioni: Autunno (1993–95) by Cy Twombly. Clockwise from top: Antica dining chair from Bonacina1889; bonacina1889.it. Vase 13 by Josef Frank for Svenskt Tenn; svenskttenn.se. Marble figure of Bacchus from Lassco; lassco.co.uk. Gröna Fåglar place mat by Josef Frank for Svenskt Tenn; svenskttenn.se. Needles sconce by Martin Brudnizki for the Urban Electric Co.; urbanelectric.com. Platter by Luke Edward Hall; lukeedwardhall.com. Nomad fabric by And Objects for Christopher Farr; christopherfarr.com. Rosanna Murano glass collection by Campbell-Rey; campbell-rey.com. Side table by Gabriella Crespi; 1stdibs.com. 82
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ARTWORK: © TATE, LONDON 2019. PORTRAIT: LUCA MARZIALE. PRODUCTS, CLOCKWISE FROM TOP LEFT: COURTESY OF BONACINA1889; COURTESY OF SVENSKT TENN; COURTESY OF L ASSCO; COURTESY OF URBAN ELECTRIC; COURTESY OF LUKE EDWARD HALL; COURTESY OF CHRISTOPHER FARR; COURTESY OF CAMPBELL-REY; COURTESY OF 1ST DIBS. COURTESY OF SVENSKT TENN
MARTIN BRUDNIZKI
Art is an integral part of designer Sara Story’s life. Who else would have Otto Zitko live in her home for three months while he painted an installation in the dining room? Her exuberant choices in design display exactly the same kind of fearlessness and dedication. sarastorydesign.com
“One of my favorite rooms to do is a study—a cozy, small-scale atmosphere where you can have a relationship with a piece of art. I can get lost looking at a painting, especially by Neo Rauch. I love the surrealism and the dreamlike quality. Since the painting is so vibrant, I chose more neutral pieces, relying on the textures of vintage and more contemporary items to create a rhythm.”
Artwork: Propaganda (2018) by Neo Rauch. Clockwise from top: Vintage chandelier by Giuseppe Ostuni; rewirela.com. Enamel mirror by Christophe Côme; cristinagrajalesinc.com. Dee cocktail table by Paul Mathieu; ralphpucci.net. Vintage lounge chair; morentz.com. Vintage model 5316 sofa by Edward J Wormley for Dunbar; 1stdibs.com. Vintage kilim panels; fjhakimian.com.
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ARTWORK: UWE WALTER, COURTESY OF THE ARTIST, GALERIE EIGEN + ART LEIPZIG/BERLIN, AND DAVID ZWIRNER. PORTRAIT: TAYLOR JEWELL. PRODUCTS, CLOCKWISE FROM TOP: COURTESY OF 1ST DIBS; COURTESY OF CRISTINA GRA JALES GALLERY; COURTESY OF RALPH PUCCI; COURTESY OF 1ST DIBS; COURTESY OF 1ST DIBS; COURTESY OF FJ HAKIMIAN
SARA STORY
LIVE ART
BESTBRIDGEHAMPTONOCEANFRONT.COM
The Hamptons Brokerages Bridgehampton 631.537.6000 | East Hampton 631.324.6000 | Sag Harbor 631.725.6000 | Southampton 631.283.0600 Sotheby’s International Realty and the Sotheby’s International Realty logo are registered (or unregistered) service marks used with permission. Operated by Sotheby’s International Realty, Inc. Real estate agents affiliated with Sotheby’s International Realty, Inc. are independent contractor sales associates and are not employees of Sotheby’s International Realty, Inc.
JAMIE DRAKE
“From the first time I saw her work, I was drawn to Carrie Moyer. The lushness and sensuality of her compositions and palettes are compelling to me. To complement this landscape flattened into abstraction, I chose pieces that repeat the forms and colors and take that energy off the wall and into the space.”
Artwork: Aquanetta (2019) by Carrie Moyer. Clockwise from top: Fresh armchair from the Jamie Drake Collection for Theodore Alexander; theodorealexander.com. Burning Bush 39 (2018) by Michele Oka Doner; davidgillgallery.com. Hippie Chic fabric by Karin Sajo; karinsajo.com. Pearl sofa by Brett Beldock for Profiles, upholstered in Cusco Bouclé by Lauren Hwang; profilesny.net, laurenhwangnewyork.com. Lamp Liste Rouge by Hervé Van der Straeten; ralphpucci.net. Side Table 1 by Sven Herrmann-Padditz; ralphpucci.net. Lale stool by Nina Seirafi; ralphpucci.net. 86
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ARTWORK: COURTESY OF THE ARTIST AND DC MOORE GALLERY, NEW YORK. PORTRAIT: COURTESY OF DRAKE/ANDERSON. PRODUCTS, CLOCKWISE FROM TOP: COURTESY OF THEODORE ALEXANDER; COURTESY OF DAVID GILL GALLERY; COURTESY KARIN SA JO; COURTESY OF BRETT DESIGN; COURTESY OF L AUREN HWANG NEW YORK; COURTESY OF RALPH PUCCI (3)
An art collector himself, Jamie Drake creates glamorous interiors with a strong sense of personality and place. A mix of artists and mediums activates many of the homes he devises, along with one-of-a-kind artisan touches such as those created by the Alpha Workshops, where he serves on the board as chair. drakeanderson.com
“I like to use a modernist painting in a classical room. It adds edginess. Alan Davie is one of many of an English stable from the postwar contemporary art scene I love to use, and this artwork would look sensational on an aubergine lacquered wall.”
Artwork: Improvisations for Tigers Tail (1960) by Alan Davie. Clockwise from top right: Portsea side table by Veere Grenney for the Lacquer Company; thelacquercompany.com. Bridget Weave rug by Patterson Flynn Martin; pattersonflynnmartin.com. Bespoke sofa upholstered in Woodperry fabric by Veere Grenney for Schumacher; fschumacher.com. Vintage cocktail table by Gabriella Crespi; chastel-marechal.com. Vintage Maison Jansen bureau plat; 1stdibs.com. Denston box by Veere Grenney for the Lacquer Company; thelacquercompany.com. Gilded ceramic chandelier by Eve Kaplan; geraldblandinc.com. George II Breche bolection fireplace by Jamb; jamb.co.uk. 88
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ARTWORK: COURTESY OF GODSON & COLES. PORTRAIT: DAVID OLIVER. PRODUCTS, CLOCKWISE FROM TOP RIGHT: COURTESY OF THE L ACQUER COMPANY; COURTESY OF PATTERSON FLYNN MARTIN; COURTESY OF VEERE GRENNEY ASSOC.; COURTESY OF GALERIE CHASTEL-MARÉCHAL; COURESY OF 1ST DIBS; COURTESY OF THE L ACQUER COMPANY; COURTESY OF GERALD BL AND; COURTESY OF JAMB
VEERE GRENNEY
Infusing classicism with a hefty dose of modernism is at the root of every space the ever-talented Veere Grenney creates. The New Zealand–born London designer is the first person one might call to fix up a getaway in Mustique, an English country manor, or an Eaton Square flat, and most probably all three, especially if style and comfort, along with antiques and new discoveries, are the order of the day. veeregrenney.com
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Mad About Madoo THE SAGAPONACK GREEN SPACE
MICK HALES
CELEBRATES ITS SILVER ANNIVERSARY While many of the romantic structures on artist Robert Dash’s bucolic Sagaponack property date back centuries, the garden itself is celebrating 25 years as an open-to-the-public green space. The centerpiece of the festivities will be the Much Ado About Madoo benefit on June 15. Stroll the Madoo Conservancy’s myriad gardens—including the new silver-leaf plot with willows, foxglove, iris, and lavender—and tour Dash’s former studio, now used for film screenings, lectures, and musical performances. An exhibition on display through July 27 will offer a broad look at the history of Madoo, including some of Dash’s never-before-seen original charcoal drawings and paintings that capture the evolution of the acreage. “It’s exciting to bring out all of that material and really show people what a lasting influence Madoo has had on the gardening world,” says executive director Alejandro Saralegui. madoo.org JILL SIERACKI
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Sacred Space
“We realized how rich and diverse the town’s cultural legacy is,” says Eric Fischl
ARTISTS APRIL GORNIK AND ERIC FISCHL TEAM UP WITH ARCHITECT LEE SKOLNICK TO CREATE AN INCUBATOR FOR ARTISTS IN SAG HARBOR
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From left: Eric Fischl, April Gornik, and Lee Skolnick inside the Sag Harbor church they’re transforming.
SCOTT FRANCES
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rtist Eric Fischl is standing under the eaves of Sag Harbor’s deconsecrated First Methodist Church, currently a construction site he visits almost daily. More than a year ago, Fischl and his wife, artist April Gornik, purchased the building to return it to its original intent as a community gathering place. While precise programming plans remain fluid, there’s hope for exhibitions, performances, symposia, and master classes. The ambition is for the space to enable collaboration among artists working in different disciplines. To articulate their vision, the couple turned to friend Lee Skolnick, who designed their home and twin studios in nearby North Haven and oversaw the renovations and expansion of several local institutions: the Pollock-Krasner House and Study Center, Guild Hall, and the East Hampton Library. “I enjoy the range,” says Skolnick, who is also creating a master plan for the LongHouse Reserve in East Hampton and a visitor center for a fourth-century Roman basilica in Bulgaria. “Different projects inform one another. It’s all about finding the narrative.” From the beginning, the team agreed to intrude on the structure as little as possible. “We want it to remain simple and warm, to respect the old quality so you feel the power of the building itself,” says Gornik, who is also gearing up for a show at New York’s Miles McEnery Gallery. Twenty stained-glass windows representing the area’s artists, as depicted by Fischl, will connect the building to the town’s creative past. “I thought we might have a problem filling the windows,” says Fischl, who has an upcoming show of paintings at Sprüth Magers gallery in Los Angeles, “but when we started researching, we realized how rich and diverse the town’s cultural legacy is.” JENNIFER ASH RUDICK
M I TA R E C TA N G U L A R D I N I N G TA B L E W I T H S P I N D I N I N G A R M C H A I R S A N D G R E Y M I N S K R A K U D I S H | S U T H ER L A N D F U R N I T U R E .C O M
f in e dinin g
PHOTO OP
WILSON’S WORLD
Aerialists, fire-eaters, and virtual reality have all been part of the installations at Robert Wilson’s Watermill Center. And its annual gala has lured guests like Lady Gaga, Bob Colacello, and Isabella Rossellini. So it’s hard to fathom what to expect at this year’s benefit and auction, but the mystery, the magic, and just a touch of mayhem are all part of the fun. “Last year’s 25th anniversary celebration allowed us to look back—at our artists and alumni—and celebrate what we have done together,” says Erin Wainwright, Watermill’s manager of special events and individual giving. “This year, we chose a different path.” Taking place July 27, the benefit, entitled Tabula Rasa—a Latin phrase that suggests knowledge is gained through experience—is inspired by the idea of a new beginning. While the details are still in development, more than 20 different site-specific installations will appear on the ten-acre grounds, created by artists from the Watermill Center’s International Summer Program and interspersed with works by established talents. watermillcenter.org —J.S.
Summer in the Hamptons is packed with galas and beach parties galore, but the Southampton Arts Center offers a calendar full of cultural events that provide a welcome respite from the rosé-filled soirees. “Photo Ark,” a massive photography exhibit featuring portraits of over 12,000 species, will be the cornerstone of the center’s schedule, while film screenings, outdoor concerts, puppet shows, and theater performances round out the activities. Also, check in for unique programming like educational workshops, as well as yoga and sound meditation—truly something for everyone, every day of the week. southamptonartscenter.org —J.S.
SEA CHANGE
Although legions of artists have found inspiration in the Hamptons, Helen Frankenthaler created a number of works based on another popular seaside destination. On August 4, the exhibition “Abstract Climates: Helen Frankenthaler in Provincetown” will go on view at the Parrish Art Museum in Water Mill. The show, cocurated by the artist’s stepdaughter Lise Motherwell, has 30 works, including some of Frankenthaler’s most beloved large-scale masterpieces, such as Provincetown Window (pictured). “They reflect joy, freedom, and spontaneity,” says Motherwell of the paintings, photographs, and archival material 96
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from the late 1950s to ’60s. “Helen wasn’t a landscape painter per se, but she captured the experience of the place.” The minimally colored Blessing of the Fleet (1969), for example, is inspired by Provincetown’s annual Portuguese Festival, while Low Tide (1963) is a stunning wash of blue, green, and ocher. The ’50s and ’60s marked a time of Frankenthaler’s most intense experimentation. That’s when, after visiting Jackson Pollock’s studio in Springs, she arrived at an innovative variant of his technique. “It’s truly astonishing the number of creative risks she took,” says Motherwell. “When it came to her work, she feared nothing, so she could risk it all.” parrishart.org —L.R.
FROM TOP: RYAN KOBANE/BFA; BILL JACOBSON; TIM PYLE, COURTESY OF HELEN FRANKENTHALER FOUNDATION. OPPOSITE, CLOCKWISE FROM TOP RIGHT: JEN SATINSKY; COURTESY OF GURNEY’S RESORTS; COURTESY OF D’AQUINO MONACO; NICOLE FRANZEN
LEADING LIGHT
Though born decades apart, the master of minimalism Dan Flavin and contemporary New Orleans–born abstract painter Jacqueline Humphries can both be credited with inventing an entirely new artistic language. Their inspiring visions will come together in a major show at the Dan Flavin Art Institute in Bridgehampton, on view from June 22 through May 17, 2020. Once a fire station and later a Baptist church, the building was converted into an art space in 1983 by the Dia Art Foundation for a permanent installation of Flavin’s neon light sculptures. Visitors to the exhibit will find cast-resin objects that radiate wild, ghostly neon colors viewable only under ultraviolet light— an evolution of Humphries’s most radical “black light” works. “I always felt that a painting should act like a light source,” she says. “It is interesting how we gravitate to illuminated screens, like insects.” diaart.org LUCY REES
GOLDEN TOUCH
LIKE A DUCHAMP The East End will be getting a touch of Dadaism this summer. With a name paying homage to artist Marcel Duchamp’s female alter ego, Rrose Sélavy, the restaurant Sel Rrose brings its beloved signature cocktails and oyster happy hour from downtown New York to Montauk. Entrepreneur
Kristin Vincent tapped design duo D’Aquino Monaco to transform its space. Expect a pinstripe-tent lounge, floral murals, and alfresco dining—naturally. selrrose.com ASHLEY PETRAS
The team behind Carissa’s The Bakery is opening a new location in East Hampton. Boasting a 75-seat café, the Newtown Lane spot will offer tartines and juices by day and a full menu with wine and cocktails by night. Though it was cofounder Carissa Waechter’s breads that built her following, it’s her cakes, topped with spikes of Swiss meringue and dried flowers, that have become her signature. To inaugurate the new space, Waechter is debuting a flourless dark-chocolate cake featuring a touch of cayenne pepper and topped with a pile of meringue and gold-dusted rose petals. carissasthebakery.com —HALEY CHOUINARD
STAR TURN
After a massive $13 million refresh during the off-season, the Montauk Yacht Club has been reborn as Gurney’s Star Island Resort & Marina. The third luxury property from Gurney’s Resorts, this destination, designed by Stella Abdoulin, will keep with the property’s nautical history, including light wooden planks, rope accents, and a neutral palette with touches of blues. Luring guests out to “the End” will be Showfish, a seafood restaurant helmed by executive chef Jeremy Blutstein, as well as the resort’s 232-slip marina, the largest in the Hamptons, which also received an upgrade to harbor the influx of superyachts. gurneysresorts.com —A.P. GALERIEMAGA ZINE.COM
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Garden Party
COLORFUL HAMPTONS BLOOMS INSPIRED ALA VON AUERSPERG’S COLLECTION OF BEACH-CHIC BOTANICAL CAFTANS
Clockwise from top: A model in the Mary short caftan. Ala von Auersperg. The parterre garden at Von Auersperg’s home was designed by Robert Dash.
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including architect Daniel Romualdez, interior designer Rob Robinson, and artist and garden designer Robert Dash, but it took time to realize I could make something on my own,” she says. “That happened when I met painter Ophrah Shemesh, who swore she could teach anyone to draw.” Under Shemesh’s guidance, Von Auersperg began painting botanicals, which she shared with longtime friend and dressmaker Antonio Gual, who proposed applying digitized versions to caftans. A few years ago, Von Auersperg’s daughter, Sunny Zweig, joined the company, bringing a more contemporary perspective and new pieces, including jumpsuits, shifts, and palazzo pants. The latest collection, resplendent with pink and coral roses, spider lilies, and climbing clematis, pays tribute to Dash. “Bob brought balance, texture, and color from the world of painting into the garden,” says Von Auersperg. “He would push me to discover these things with him, and I still apply those lessons to my art.” alavonauersperg.com J.A.R.
FROM TOP: SKYE PARROTT; FRANCOIS DISCHINGER; COURTESY OF VENDOME PRESS
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la von Auersperg’s East End family retreat, the Moraine, offers sweeping views of the ridge and swales for which the house was named. Everything about the place—its soaring beam ceilings, a walk-in fireplace, idiosyncratic painted benches next to family horn chairs, the dramatic knot garden—impresses with its exemplary execution. The construction of the Moraine first attuned Von Auersperg to the pleasures of a creative life and inspired her to launch her fashion line, which has become de rigueur from Newport and East Hampton to Palm Beach and Antigua. “While building this house I was surrounded by geniuses,
PROMOTION
SPOTLIGHTING EMERGING ARTISTS HAS BEEN A PART OF THE GALERIE MISSION SINCE THE MAGAZINE’S INCEPTION. TO FURTHER THIS GOAL, WE ARE PLEASED TO ANNOUNCE AN ANNUAL AWARDS PROGRAM TO RECOGNIZE UP-AND-COMING TALENT WHO WILL SHAPE THE FUTURE OF ART AND DESIGN.
DANIEL DORSA
EMERGING ARTIST AWARD APPLY TO BE AMONG THE ARTISTS FEATURED IN OUR PAGES. VISIT GALERIEMAGAZINE.COM/EMERGINGARTIST
THE PROGRAM IS OPEN TO ALL ARTISTS FROM A RANGE OF DISCIPLINES, INCLUDING PAINTERS, SCULPTORS, PHOTOGRAPHERS, AND MULTIMEDIA ARTISTS. THE SUBMISSION PERIOD IS OPEN FROM MAY 14 TO JUNE 30, 2019. SUBJECT TO OFFICIAL RULES AVAILABLE AT GALERIEMAGAZINE.COM/EMERGINGARTISTS.COM .
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William King's Irene appears to wave at surfers and beachgoers in the East Hampton dunes.
BESPOKE REAL ESTATE 903 Montauk Highway Water Mill, New York 11976 631.500.9030 BROWN HARRIS STEVENS Christopher Burnside cburnside@bhshamptons.com 516.521.6007 Tony Cerio tcerio@bhshamptons.com Martha Gundersen mgundersen@bhshamptons.com 631.405.8436 John Vitello jvitello@bhshamptons.com 516.315.6867
CORCORAN Charlie Attias charlie.attias@corcoran.com 917.273.8613 Gary DePersia gdp@corcoran.com 516.380.0538 DOUGLAS ELLIMAN Roger Erickson roger.erickson@elliman.com 917.558.4477 ENGLISH COUNTRY ANTIQUES 26 Snake Hollow Road Bridgehampton, New York 11932 631.537.0606
PIERRE’S RESTAURANT 2468 Main Street Bridgehampton, New York 11932 631.537.5110 SOTHEBY'S INTERNATIONAL REALTY Beate V. Moore Beate.Moore@sothebyshomes.com 516.527.7867 UNLIMITED EARTHCARE 2249 Scuttle Hole Road Bridgehampton, New York 11932 631.725.7551
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Featured Properties Exclusively Presented By
Beate V. Moore
Water Mill Estate Area Waterfront, Water Mill South 7 Bedrooms, 7.5+ Baths | 7,000± sq. ft. | 1.46± Acre Peninsula | Views to the Ocean | Waterside Heated Pool | 500' Direct Water Frontage | Private Dock HOLLYLANEESTATE.COM | Exclusively Offered at $15,750,000
Newly Constructed Modern Farmhouse, Bridgehampton South 8 Bedrooms, 10.5+ Baths | 10,000± sq. ft. | 1.4± Acres | Close to the Beach | Coveted Location | Infinity Edge Heated Gunite Pool | Spa | 3+ Car Garage OCEANROADMODERNFARMHOUSE.COM | Exclusively Offered at $13,750,000
Beate V. Moore
Associate Broker beate.moore@sothebyshomes.com 516.527.7868 beatemoore.com
BEATEMOORE.COM
Best of the Best Sagaponack South Compound, Sagaponack South 12 Bedrooms, 13.5+ Baths | 9,353± sq. ft. | 7.5± Acres | Main House | Pool House | Carriage House | Deco Turk Tennis Court | 20' x 60' Gunite Pool SAGAPONACKSOUTHCOMPOUND.COM | Exclusively Offered at $29,900,000
Magnificent Estate on Two Lots, Bridgehampton South 8 Bedrooms, 8.5+ Baths | 10,200± sq. ft. | 1.87± Acres | Two Single and Seperate Lots | Three Story Pool / Guest House | Luxuriously Appointed MECOXESTATE.COM | Exclusively Offered at $17,500,000
Bridgehampton Brokerage 2446 Main Street, P.O. Box 1799 | Bridgehampton, New York | sothebyshomes.com/hamptons Sotheby’s International Realty and the Sotheby’s International Realty logo are registered (or unregistered) service marks used with permission. Operated by Sotheby’s International Realty, Inc. Real estate agents affiliated with Sotheby’s International Realty, Inc. are independent contractor sales associates and are not employees of Sotheby’s International Realty, Inc. Equal Housing Opportunity.
REIMAGINED, ONE-OF-A-KIND HOMES
The Modern Arthouse | West Chelsea | Price Upon Request | Landmark Italianate 1862 Townhome | Roger/Marvel Architects | Staircase by Kiki Smith 3 Terraces | Skylight | 4 Wood Burning Fireplaces | Sculpture Garden | Site-Specific Art Installations | Elevator | 22-ft Wide | Approx. 7,050sf 4 Bedrooms, 5 Bathrooms, 3 Powder Rooms | Web# 2865298
J. ROGER ERICKSON Lic. Assoc. R. E. Broker
O: 212.303.5353 M: 917.558.4477 roger.erickson@elliman.com
575 MADISON AVENUE, NY, NY 10022. 212.891.7000 © 2019 DOUGLAS ELLIMAN REAL ESTATE. ALL MATERIAL PRESENTED HEREIN IS INTENDED FOR INFORMATION PURPOSES ONLY. WHILE, THIS INFORMATION IS BELIEVED TO BE CORRECT, IT IS REPRESENTED SUBJECT TO ERRORS, OMISSIONS, CHANGES OR WITHDRAWAL
Penthouse Triplex Extraordinaire | 470 Park Avenue | $12,850,000 | Lavishly Constructed from Glass and Steel | 3 Expansive Planted Terraces 10-ft to 12-ft Ceilings | 40-ft Skylight | 2 Wood Burning Fireplaces | Private Elevator | Approx. 6,850sf | 4 Bedrooms, 5.5 Bathrooms, Powder Room Balcony | Web# 3626928
elliman.com/newyorkcity WITHOUT NOTICE. ALL PROPERTY INFORMATION, INCLUDING, BUT NOT LIMITED TO SQUARE FOOTAGE, ROOM COUNT, NUMBER OF BEDROOMS AND THE SCHOOL DISTRICT IN PROPERTY LISTINGS SHOULD BE VERIFIED BY YOUR OWN ATTORNEY, ARCHITECT OR ZONING EXPERT. EQUAL HOUSING OPPORTUNITY.
Penthouse 37 Designed by Zaha Hadid 520 WEST 28TH STREET, PENTHOUSE 37 (KXG DGFTQQO USWCTG HQQV VTKRNGZ RGPVJQWUG NQECVGF QP VJG *KIJ .KPG KP 9GUV %JGNUGC HGCVWTKPI C URTCYNKPI YTCRCTQWPF TQQH RCXKNKQP YKVJ C USWCTG HQQV VGTTCEG $QWVKSWG 4GNCVGF DWKNFKPI YKVJ COGPKVKGU KPENWFKPI RQQN CPF TQDQVKE RCTMKPI $39.5M | WEB# 5590272
Charlie Attias . K E G P U G F # U U Q E K C V G 4 ' $ T Q M G T / C F K U Q P # X G P W G 0 G Y ;Q T M 0 ; Q ^ O E JCTNKG CV VKCU"EQTEQTCP EQO 4GCN GUVCVG CIGPVU CHÆ‚ NKCVGF YKVJ 6JG %QTEQTCP )TQWR CTG KPFGRGPFGPV EQPVTCEVQTU CPF CTG PQV GORNQ[GGU QH 6JG %QTEQTCP )TQWR 'SWCN *QWUKPI 1RRQTVWPKV[ 6JG %QTEQTCP )TQWR KU C NKEGPUGF TGCN GUVCVG DTQMGT NQECVGF CV /CFKUQP #XG 0; 0; #NN KPHQTOCVKQP HWTPKUJGF TGICTFKPI RTQRGTV[ HQT UCNG QT TGPV QT TGICTFKPI Æ‚ PCPEKPI KU HTQO UQWTEGU FGGOGF TGNKCDNG DWV %QTEQTCP OCMGU PQ YCTTCPV[ QT TGRTGUGPVCVKQP CU VQ VJG CEEWTCE[ VJGTGQH #NN RTQRGTV[ KPHQTOCVKQP KU RTGUGPVGF UWDLGEV VQ GTTQTU QOKUUKQPU RTKEG EJCPIGU EJCPIGF RTQRGTV[ EQPFKVKQPU CPF YKVJFTCYCN QH VJG RTQRGTV[ HTQO VJG OCTMGV YKVJQWV PQVKEG #NN FKOGPUKQPU RTQXKFGF CTG CRRTQZKOCVG 6Q QDVCKP GZCEV FKOGPUKQPU %QTEQTCP CFXKUGU [QW VQ JKTG C SWCNKÆ‚ GF CTEJKVGEV QT GPIKPGGT 6JG EQORNGVG QHHGTKPI VGTOU CTG KP CP QHHGTKPI RNCP CXCKNCDNG HTQO VJG URQPUQT Æ‚ NG PQ %& %1 ':%.75+8' 9+6* 4'.#6'& 5#.'5 ..% 'ZENWUKXG /CTMGVKPI 5CNGU #IGPVU 4GNCVGF 5CNGU ..% %QTEQTCP 5WPUJKPG /CTMGVKPI )TQWR 6JG EQORNGVG QHHGTKPI VGTOU CTG KP QHHGTKPI RNCP CXCKNCDNG HTQO 5RQPUQT (KNG 0Q %& 5RQPUQT VJ *KIJNKPG #UUQEKCVGU ..% E Q 6JG 4GNCVGF %QORCPKGU .2 %QNWODWU %KTENG 0GY ;QTM 0; 'SWCN *QWUKPI 1RRQTVWPKV[
Gary R. DePersia Licensed A s sociate Real E s tate Broker m 516.38 0.0538 | gdp@corcoran.com
Four Seas: Shelter Island Waterfront Estate With Dock Shelter Island. Heroic water views, blazing sunsets and a private dock are just part of the prologue to the story that introduces Four Seas, the stunning waterfront estate being offered for sale in the Shorewood area of Shelter Island looking west across the Peconic Bay. Sprawling across more than 1.5 private acres, along nearly 150’ of private beach, a classic gambrel style, shingled traditional anchors this exquisite property custom built by Ben Krupinski from an original design by Fairweather- Brown A.I.A. This distinctive 6-bedroom TGUKFGPEG GZWFGU GZEGNNGPEG VJTQWIJQWV OQTG VJCP 5( QP HQWT ƃ QQTU QH NKXKPI URCEG CU CP KPVKOCVG HQ[GT QRGPU QXGT DGCWVKHWNN[ Ƃ PKUJGF ƃ QQTU VQ EQOOQP TQQOU KPENWFKPI NKXKPI TQQO YKVJ Ƃ TGRNCEG FKPKPI CTGC YKVJ Ƃ TGRNCEG IWGUV UWKVG CPF UVWF[ CNN JCXKPI C OWNVK NC[GTGF FGUKIP CGUVJGVKE VJCV KPENWFGU GNGICPV OQNF KPIU NWZWTKQWU Ƃ ZVWTGU CPF DGURQMG Ƃ TGRNCEGU 6JG %JTKUVQRJGT 2GCEQEM MKVEJGP YKVJ DTGCMHCUV CTGC QHHGTU custom cabinetry, oversized center island, professional appliances, butler’s pantry and an adjacent informal NKXKPI TQQO YKVJ Ƃ TGRNCEG 7RUVCKTU VJG OCUVGT YKPI Ƃ PFU C UNGGRKPI EJCODGT YKVJ Ƃ TGRNCEG UKVVKPI TQQO NWZWTKQWU DCVJ YKVJ JGCVGF ƃ QQTU FTGUUKPI TQQO CPF YGUV HCEKPI DCNEQP[ (QWT CFFKVKQPCN DGFTQQO UWKVGU YKVJ Ƃ TGRNCEGU RNWU C NCWPFT[ TQQO EQORNGVG VJG PF ƃ QQT 6JG NQYGT NGXGN YKVJ HWNN DCVJ CPF CPQVJGT NCWPFT[ TQQO KU CFFKVKQPCNN[ FGUKIPGF VQ CNNQY HQT C OGFKC TQQO I[O ICOG TQQO CPF C YKPG EGNNCT # Ƃ PKUJGF VJKTF ƃ QQT YKVJ C Ƃ TG RTQVGEVKQP URTKPMNGT U[UVGO JCU PWOGTQWU RQUUKDKNKVKGU 5GTKGU QH (TGPEJ FQQTU QRGP VQ VJG wrap around covered porch that looks out to the waterside, 50’ heated Gunite pool and hot tub framed by a generous stone patio and serviced by a cabana. A sea of verdant lawn runs down to the bay where boats will Ƃ PF UCHG JCTDQT CNQPI VJG o RTKXCVG FQEM 6JG GZRCPUKXG RTQRGTV[ JCU CFGSWCVG TQQO HQT C VGPPKU EQWTV CU well as for a 4-car carriage house already designed to host living room, kitchen and a pair of bedroom suites QP VJG UGEQPF ƃ QQT 5WPUGVU CPF GZRCPUKXG YCVGT XKGYU ECP DG [QWTU KH [QW EQPVCEV WU VQFC[ VQ CTTCPIG HQT your own private tour of this sensational bayfront offering at a price too low to publish. For the full story check out myhamptonhomes.com/50937 Exclusive. Price Upon Request WEB#50937 4GCN GUVCVG CIGPVU CHƂ NKCVGF YKVJ 6JG %QTEQTCP )TQWR CTG KPFGRGPFGPV EQPVTCEVQTU CPF CTG PQV GORNQ[GGU QH 6JG %QTEQTCP )TQWR 'SWCN *QWUKPI 1RRQTVWPKV[ 6JG %QTEQTCP )TQWR KU C NKEGPUGF TGCN GUVCVG DTQMGT NQECVGF CV /CFKUQP #XG 0; 0; #NN NKUVKPI RJQPG PWODGTU KPFKECVG NKUVKPI CIGPV FKTGEV NKPG WPNGUU QVJGTYKUG PQVGF #NN KPHQTOCVKQP HWTPKUJGF TGICTFKPI RTQRGTV[ HQT UCNG QT TGPV QT TGICTFKPI Ƃ PCPEKPI KU HTQO UQWTEGU FGGOGF TGNKCDNG DWV %QTEQTCP OCMGU PQ YCTTCPV[ QT TGRTGUGPVCVKQP CU VQ VJG CEEWTCE[ VJGTGQH #NN RTQRGTV[ KPHQTOCVKQP KU RTGUGPVGF UWDLGEV VQ GTTQTU QOKUUKQPU RTKEG EJCPIGU EJCPIGF RTQRGTV[ EQPFKVKQPU CPF YKVJFTCYCN QH VJG RTQRGTV[ HTQO VJG OCTMGV YKVJQWV PQVKEG #NN FKOGPUKQPU RTQXKFGF CTG CRRTQZKOCVG 6Q QDVCKP GZCEV FKOGPUKQPU %QTEQTCP CFXKUGU [QW VQ JKTG C SWCNKƂ GF CTEJKVGEV QT GPIKPGGT
OPEN 7 DAYS BREAKFAST LUNCH BRUNCH DINNER BAR “UPSTAIRS” PRIVATE LOUNGE BRIDGEHAMPTON GOURMET MARKET
Pierre’s Restaurant & Market 2468 Main Street, Bridgehampton (631) 537-5110 HOME MADE ICE CREAM GOURMET MARKET CATERING DELIVERY
Pierre’s Sagg Main Market 542 Sagg Main Street, Sagaponack (631) 296-8400 www.pierresbridgehampton.com
Georgica Association | Wainscott $8,250,000 | 2.7± Acres | 2,500± sf | 5 Bedrooms | 3 Baths | 5-Car Garage Association Amenities: Year-Round Security, 4 Tennis Courts, Ocean Beach + Georgica Pond Access | Room for Expansion or New Build | WEB# 113450
Zen-Like Compound with New Poolhouse + Studio | Amagansett South A Singular Architectural Achievement | Wainscott South $5,375,000 | 1.07± Acres | Designer Renovated | 3,200± sf $10,900,000 | 2.7± Acres | 9,129± sf | 8 Bedrooms | 10.5 Baths 5 Bedrooms | 3.5 Baths | Heated Gunite Pool | New Full Service Tennis | 70’ Heated Gunite Pool | Magnificent Grounds with Formal Poolhouse | Yoga Studio Detached 2-Car Garage | WEB# 19096 Gardens, Pond, Fountains | WEB# 105272
Martha P. Gundersen Licensed Associate Real Estate Broker
631.903.6131 c: 631.405.8436 mgundersen@bhsusa.com
Commercial and Residential Compound | East Hampton Village Turn-Key Waterfront Resort | Montauk $8,950,000 | Unique Income Producing Opportunity | 0.38± Acre | Main $14,750,000 l One-of-a-Kind 11± Acre Compound | Landmark Restaurant Building with Multiple Retail Spaces, 2 Wet Uses, 1 with Seating | 8 1-Bedroom 22-Slip Deep Water Marina | 14 Rental Units in 3 Buildings | Separate Apartments | 4-Bay Garage | Separate 4-Bedroom House | WEB# 108342 3-Bedroom, 2-Bath Residence | Expansion Possibilities | WEB# 111425
Idylic Compound | East Hampton Village Fringe
Butter Lane | Bridgehampton
$1,699,000 | 0.63± Acre | 3 Separate Buildings | Renovated 3-Bedroom, 2-Bath Main House | 2-Bedroom, 1-Bath Guest House Studio | Heated Pool | Beautiful Grounds | WEB# 100317
$3,499,000 | 1.52± Acres | 4,500± sf | 6 Bedrooms | 3.5 Baths Large Deck and Heated Pool | Impeccably Landscaped Grounds WEB# 14580
Mitchel L. Natter
Anthony C. Cerio
Licensed Associate Real Estate Broker
Licensed Associate Real Estate Broker
631.903.6154 c: 516.318.5858 mnatter@bhsusa.com
631.903.6151 c: 516.456.2031 tcerio@bhsusa.com
1. The Wave | Flying Point Modern | Southampton Village $5,350,000 | 1.3± Acres | Stunning Modern Design | Oversized Glass Panels | 4,000± sf | 5 Bedrooms 4 Baths Radiant Heated Bluestone Floors | 64’ Heated Gunite Pool | 2-Story Pool House | 2-Car Garage Exceptional Grounds with Room for Tennis | WEB# 107061
2. Highland Terrace | Bridgehampton South
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$6,900,000 | 0.92± Acre | 5,000± sf | Sophisticated 2018 Renovation by Greg McKenzie Design | Main House + Attached Cottage | 5 Bedrooms | 5 Baths | 2-Car Garage Heated Gunite Pool | WEB# 112440
3. Meadowlark House | Sag Harbor Village $5,350,000 | Extraordinary Architectural Design | 0.41± Acre 4,700± sf | Sliding Glass Walls | 5 Bedrooms | 5 Full and 2 Half Baths | 3rd Floor Bonus Space | Stone Terrace | Heated Gunite Pool and Spa | WEB# 113589
4. Southampton Village Modern Farmhouse $3,495,000 | 0.98± Acre | 3,600± sf | Top-Notch Renovation Elegant Living Spaces | 4 Bedrooms | 4.5 Baths | Multiple Decks | Covered Terrace | Heated Gunite Pool + Waterfall Spa Har-Tru Tennis Court | WEB# 342908
5. Southampton Village Estate Section $3,995,000 | Gated 1.48± Acres | 3,910± sf of Spectacular Craftsmanship | 5 Bedrooms | 4.5 Baths | Heated Gunite Pool | Poolhouse | Room for Tennis | WEB# 102073
6. Majestic Estate with Tennis | Southampton $4,475,000 | Gated 2.11± Acres | Bordering a 22-Acre Reserve 8,000± sf on 3 Levels | 7 Bedrooms | 6.5 Baths Heated Gunite Pool + Spa | Tennis WEB# 50430
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John P. Vitello Licensed Real Estate Salesperson
631.204.2407 c: 516.315.6867 jvitello@bhsusa.com
ENGLISH COUNTRY HOME 26 Snake Hollow Road, Bridgehampton, NY 631.537.0606 10,000 square feet of Home Furnishings & Antiques Interior Design & Home Staging
1. Ocean View Estate Backing Farmland | Sagaponack South $10,900,000 | 1.6± Manicured Acres | 7,123± sf | 6 Bedrooms | 5 Full, 2 Half Baths | Classic Interior Spaces with Ocean Views | Finished Lower Level | 50’ x 20’ Heated Gunite Pool with Spa | Poolhouse Tennis Court with Viewing Area Pergola | WEB# 14390 | 565DanielsLane.com
2. Deeded Ocean Access | Bridgehampton South
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$7,495,000 | In a Coveted Location Near the Beach | 0.92± Acre 5,200± sf | 5 Bedrooms | 6 Full, 2 Half Baths | Heated Gunite Pool | 2-Car Garage + Poolhouse with Living Areas, Full Bath and Kitchenette | WEB#37518
3. Pre-Construction Custom Estate | Water Mill $6,995,000 | 2± Acres Backing Reserve | 9,117± sf | 8 Bedrooms 9 Full, 2 Half Baths | Finished Lower Level | Sunken Tennis Court Heated Gunite Pool + Spa | Poolhouse | WEB# 55989 Also Available Pre-Construction as Vacant Land: $2,795,000
4. New Modern on 4 Acres | Bridgehampton $4,695,000 | 4± Acres | 5,000± sf | 6 Bedrooms | 6 Full, 2 Half Baths | Sophisticated Design and the HIghest Level of Craftsmanship | Heated Gunite Pool | WEB# 105441
5. Serenity Overlooking Farmlands | Water Mill $3,495,000 l 1.4± Acres l 4,600± sf l 4 Bedrooms 3.5 Baths l 65’ Heated Gunite Pool | Views over Farm Reserve | WEB# 108943
6. Exquisite New Village Estate | Southampton $3,995,000 l Fleetwood & McMullan Architects l 4,500± sf 5 Bedrooms | 6.5 Baths l The Finest Materials + Finishes Heated Gunite Pool | Poolhouse/Garage | WEB# 19537
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Christopher J. Burnside Licensed Associate Real Estate Broker
631.537.4320 c: 516.521.6007 cburnside@bhsusa.com
BRIGHT
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ADV ERTIS EMENT
THE FIRST DISRUPTORS IN THE INDUSTRY TURN 30 ICONIC LUXURY HOME FURNISHINGS BRAND MITCHELL GOLD + BOB WILLIAMS CELEBRATES THREE DECADES OF DESIGN AND INNOVATION
When Mitchell Gold + Bob Williams, makers of contemporary home furnishings renowned for comfort and style, started in 1989, the company manufactured just one thing: upholstered dining chairs in big florals, velvets, and stripes—fabrics not yet seen in furniture stores and a bold departure from the era’s customary beige. The brand introduced the Lucy chair, which featured an innovative, single-piece side construction for durability and quality. Lucy turned heads, and within the first month of selling the chair, cofounders Mitchell Gold and Bob Williams had more than 5,000 orders to fill. Clearly, design aesthetics have changed since the late ´80s, but what have remained consistent are the brand’s core values. Since the beginning, Mitchell Gold + Bob Williams has offered lifetime warranties on products and delivered goods within 30 days. The company is a member of the Sustainable Furnishings Council and has been making environmentally intelligent decisions with regard to products, packaging, and shipping since its inception. And thanks to the founders’ late muse and beloved bulldog,
Lulu, the company realizes the importance of stylish and comfortable family- and petfriendly furnishings. Lulu’s memory is honored in other ways at the company’s factory and corporate headquarters in North Carolina. Employees can enjoy a healthy breakfast and lunch at Café Lulu, the on-site, chef-run cafeteria. And there’s Mitchell and Bob’s proudest accomplishment: Lulu’s Child Enrichment Center, an on-site nonprofit, five-star daycare for employees, which was the first of its kind in the furniture industry. Even after 30 years later, Mitchell and Bob are still making waves. With more than 30 Signature Stores and an expansive home furnishing’s collection, the brand’s iconic designs continue to reflect their early aspirations to elevate entertaining and help others create a comfortable home. With the spring 2019 collection comes the introduction of Les Petite Seats, a special line designed to commemorate the company’s 30th anniversary. Chicly styled for cozy nooks or larger conversation areas, these versatile, small-scale accents
chairs are available in six different styles, such as the European-café-inspired Poppy, the Jewel swivel chair that’s shaped like a faceted gem, and the barrel-back Costello chair with mid-century flair. Each chair can be special ordered in more than 300 fabrics and leathers, with contrast welt and custom Inside-Outside fabric options. The spring collection also features many of the brand’s beloved in-line designs, like the iconic Major chair, as well as sculptural new pieces in a mix of colors, patterns, and plush textures. Explore the new collection in stores or at mgbwhome.com.
ONE OF THE BRAND’S EARLY PROVOCATIVE AD CAMPAIGNS. ABOVE: COFOUNDERS MITCHELL GOLD AND BOB WILLIAMS WITH THEIR SPECIAL 30TH ANNIVERSARY COLLECTION, LES PETITE SEATS.
CLOCKWISE FROM TOP LEFT: INTRODUCED IN 2011, THE ICONIC MAJOR CHAIR CONTINUES TO BE A POPULAR FAVORITE; THE SCULPTURAL NEW COCO SOFA, WITH ORIGINAL WATERCOLOR PRINTS FROM THE ABOUT SERIES; INSPIRED BY MILAN INTERIORS, THIS TONE-ON-TONE DÉCOR HAS WALL ART BY DAWN SWEITZER.
SCOTT FRANCES/OTTO
An El Anatsui wall hanging and Bocci pendant lights frame a floor-to-ceiling view of a Bernar Venet sculpture and Long Island’s Mecox Bay at this home, conceived by Victoria Hagan and Leroy Street Studios. GALERIEMAGA ZINE.COM
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DAVID SUNDBERG/ESTO
Seaside hues dominate throughout the home, a collaboration between the architecture firm Leroy Street Studio, interior designer Victoria Hagan, and landscape architect Edmund Hollander. A Sean Scully painting and an Ellsworth Kelly wall sculpture preside over a seating area furnished with a Poliform sectional sofa, Poltrona Frau stools, an Eric Slayton cocktail table, and a Crosby Street Studios rug. For details see Sources.
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CHARLES MAYER PHOTOGRAPHY, COURTESY OF HOLL ANDER DESIGN. OPPOSITE: SCOTT FRANCES/OTTO
hen a Manhattan hedge-fund manager and his wife began looking for a weekend perch out in the Hamptons, they weren’t focused on a particular community. “We were really driven by, where can we find a special property?” says the husband. Then they discovered what could fairly be described as one of those won’t-come-along-again opportunities: an oceanfront site in Southampton bordered by protected dunes, ponds, and wetlands—meaning spectacular light and views that were guaranteed to remain unobstructed. Forever. After tearing down the existing 1980s house, which failed to fully take advantage of the “magnificent dunescape setting,” as the husband puts it, the couple worked with a blue-chip team comprising the architecture firm Leroy Street Studio, interior designer Victoria Hagan, and Hollander Design Landscape Architects’ Edmund Hollander to create an 11,000-square-foot, five-bedroom home that is essentially just two levels (plus a basement), though it feels like more, thanks to offset floor planes and varying ceiling heights as well as the diversity of outdoor spaces. “It’s a gigantic jigsaw puzzle, and every square inch is thought out,” says the husband, noting that everything is calibrated to maximize connections to the natural splendor. “The idea is that the house rises out of the dunes and is the same color but also has this transparency,” says Morgan Hare, a founding partner at Leroy Street Studio. “While most homes on the ocean tend to face one direction, this was an amazing opportunity to have cross views through the house with water on three sides.”
Above: A Bernar Venet sculpture stands at the entrance, overlooking the limestone-plate steps that Hollander bordered with a gently cascading water feature. Opposite: Bocci pendant lights dangle dramatically in the double-height entry hall, where a photograph by Andreas Gursky and a colorful wall hanging by El Anatsui are on opposite walls; views extend out to the dunes, past a small terrace anchored by a Maya Lin sculpture.
The clients issued a couple of basic directives at the start: They wanted a modern house that could accommodate their three adult children as well as friends, and they wanted it to be inverted, with the entertaining areas on top and the bedrooms—with the exception of the master suite—below. “They’re very family oriented, so having lots of common spaces was a priority,” Hare says. “And another big driver was the open views from the master bedroom.” To add drama to that view, the architects placed the couple’s bedroom at the east-facing end of the house, cantilevered it out over the pool deck, and wrapped the space entirely in glass. “My biggest problem is that I’m so excited to see the sunrise every day that I don’t sleep long enough,” says the husband. “In the morning, you look out and see mist rising over the ponds and deer hopping through the dunes.” When it came to materials, Leroy Street Studio opted for consistency throughout: gray-gold Palestinian limestone for the exterior and select interior walls, gray French limestone pavers for the entrance area and terraces, oak for most doors and floors, marble and onyx in the baths. For the furnishings, Hagan—who previously decorated the clients’ more traditional homes in Manhattan and Aspen, Colorado—kept things modern, muted, and comfortable. Sumptuous fabrics and plush carpets are a restrained mix of grays,
creamy buffs, and sea blues. “Clearly, the palette was inspired by the beach, the nature,” she says. “And everything is very soft and tactile.” Art also played a central role in the planning, as major pieces from the couple’s collection were designated from the outset to anchor specific spaces. Mounted opposite each other in the double-height entry hall are one of El Anatsui’s substantial wall hangings made with shimmering bottle caps, above the floating staircase, and a seven-foot-wide version of Andreas Gursky’s iconic, arrestingly minimal photograph of the Rhine River. It’s an impressionmaking welcome, with two dozen molded-glass pendant lights dangling overhead and sight lines all the way through the house, out to the grassy dunes. Also visible, on a small rear terrace, is a Maya Lin marble iceberg sculpture, which she made specifically for the spot. “It was the melting of the icebergs that created the moraines and dunescapes of the Hamptons,” explains the husband. Upstairs, a massive inverted-V wall sculpture in royal blue by Ellsworth Kelly serves as a kind of visual bridge between the open living and dining areas, where you’ll also find works by Sean Scully and Louise Fishman. Just outside, the overhang that covers the dining terrace features a large cutout the family calls their “James Turrell moment,” a reference to the artist’s
CHARLES MAYER PHOTOGRAPHY, COURTESY OF HOLL ANDER DESIGN. OPPOSITE: SCOTT FRANCES/OTTO
Hollander, whose goal was to bring the landscape right up to the house, designed the infinity-edge pool (lined with DDC chaise longues) and filled terrace planters with native wildflowers.
One of the home’s most used spaces is the covered dining terrace, whose overhang features an opening with retractable louvers, which can be adjusted for different conditions. Hagan furnished the seating area with sofas, armchairs, and a large cocktail table that are all by Walters, while the long dining table and chairs are by Harbour Outdoor.
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DAIVD SUNDBERG/ESTO. OPPOSITE: SCOTT FRANCES/OTTO
Above: Offering wraparound views of the ocean, dunes, and ponds, the master bedroom features a custom-designed bed dressed in E. Braun linens, club chairs and an ottoman by Christian Liaigre, a low table by Wyeth, and a rug by Crosby Street Studios. Opposite: Nodding to the space’s glorious morning vistas, a Roy Lichtenstein sunrise painting hangs above a Poul Kjærholm chair, while the Victoria + Albert bathtub with Fantini fittings is situated for scenic soaks.
signature “Skyspace” installations. The opening features a system of louvers that can be variously angled or retracted completely—à la Turrell—for different levels of exposure. The outdoor spaces are where you’ll most often find the family, whether enjoying a buffet lunch on the covered terrace, lounging next to the 50-foot infinityedge pool, drinking sunset cocktails on the roof, or watching a movie by the fire on the screened porch, where sliding glass doors allow the space to be enclosed or almost entirely open depending on the weather. “One of the great things about this house is how it opens up to the terraces and how inside and outside kind of blur,” says Hollander, who describes the property as one of the most beautiful he’s ever worked on. “It’s like Mother Nature was at her greatest in creating this place. Our approach to the landscape was really about how we bring that nature right up to the building and pay respects to her.” With the exception of a modest patch of lawn (which hosts a colorful Anthony Caro sculpture) out front, Hollander layered the perimeter of the house with hardy native species: seaside goldenrod, beach
roses, bayberry, beach plum, and dune grasses on the ocean side; wetland shrubs, marsh grasses, and wildflowers such as hibiscus and ironweed in the pond-facing areas. Walkways leading to the pond and the beach are more meandering and lower to the ground than you typically find here. To comply with local codes, they’re also slatted to create openings for light and moisture to reach the plant life underneath. “We convinced the town to allow us do something that’s more sinuous and sexier and seems to float right in the dunes,” says Hollander. The landscape architect also worked closely with Leroy Street Studio to create a partial green roof featuring grasses that echo “the feel of the dunes below,” he says. The residence also has solar panels installed above the master bedroom as well as a geothermal heating and cooling system. “It’s as green as you can make a house of this size,” notes Hare. Though it was completed less than a year and a half ago—indeed, tweaks are still being made—the house feels as if it has been there much longer. “To say that about a contemporary home is interesting,” observes Hagan. “It just feels like it’s connected to the land.” GALERIEMAGA ZINE.COM
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ince its inception in 1932, the Whitney Biennial has been serving up a real-time snapshot of the American art scene. Featuring dozens of artists following different muses, the show is by its nature heterogeneous, contradictory, uneven, and often provocative—in the best way. In the past few decades New York’s highest-profile biennial has been known as a flash point for controversy, too. “There’s no set formula or manual for creating this exhibition,” says the Whitney Museum’s director, Adam Weinberg, adding that it’s an attempt to find the “unadulterated but not uncomplicated heartbeat of artmaking at this moment.” The fruits of that thoughtful searching will be unveiled on May 17, when the biennial’s 79th edition opens with the work of 75 artists, many of them under 40 and many featured in the show for the first time. Performance pieces will be prominent—reflecting an inescapable art-world trend—as will creative use of nongallery spaces inside and outside the museum. “There’s an engagement with politics and current events,” says Rujeko Hockley, who curated this year’s biennial with Jane Panetta. “But not in a doom-and-gloom, sliding-off-the-cliff sense.” Hockley says that a spirit of connection and shared purpose bubbles up most strikingly. “Artists and their peers are part of broad networks,” she says. “There’s a sense of community that comes through.” In the run-up to the show, Galerie spoke with four dynamic participants.
When an artist tells you his work is “lightly creepy, but creepy,” it’s probably safe to expect the unexpected. That’s how tech-savvy artist Lucas Blalock describes what will surely be among the most buzzed-about pieces in the biennial: a billboard he’s created for outside the museum called Donkeys Crossing the Desert. Blalock, who works with photography but pushes the medium’s limits with interactivity, has created a composite 29-foot-wide image of donkeys that includes one that is deflated. But the image comes alive with augmented reality if you download an app onto your smartphone to view the work. “It allows you to engage with more content if you want to,” says the Brooklyn artist, who will also have three works inside the Whitney. The installation is not supposed to be overtly political. So what do his donkeys signify? “They’re allegorical,” says Blalock, allowing just a hint. “It’s a figure going through scarcity.”
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Raised on the West Coast, Tomashi Jackson says her real artistic education came once she deferred her studies at San Francisco Art Institute and apprenticed for Bay Area mural painters. She has always needed to do her own thing. “I have a long-standing compulsion to make my own material, to make my own surfaces,� says the artist (who later graduated from Cooper Union), referring here to her colorful, layered, and improvisatory-looking
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assemblages that combine painting, printmaking, photography, and handicraft. In her three biennial works, the New York– based Jackson addresses racial inequality, particularly the way communities of color have been displaced in urban development, going all the way back to the construction of Central Park in the 19th century. The unconventional paintings are made with gauze, linen, muslin, brown butcher paper, and paint; one of them uses a shop awning as a base instead of canvas. Boldly hued, they appear abstract from a distance, but distinct figures become visible up close. “We see some of the faces of these displaced people in the works,” she explains. Despite the strong thematic thrust of her work, Jackson considers herself a formalist. “I use photography and printmaking to create a graphic space inside the painting,” she says. “When the images collide they create a crosshatch—and that really excites me.” GALERIEMAGA ZINE.COM
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CYNTHIA EDORH, COURTESY OF GL ADSTONE GALLERY, NEW YORK AND BRUSSELS. OPPOSITE: MICHAEL FERNANDEZ AND OFOEA MEGAVIE
There’s no better example of the diversity of this year’s biennial than Wangechi Mutu. Not just because of who she is, a Kenya-born art star who splits her time between Nairobi and New York, but also because of the way her practice blends painting, immersive installations, performance, video, and other media. “It’s been fun to do, but there’s joy and anxiety,” says Mutu, speaking from her studio in Nairobi as she completes three sculptures for the show. “I’m not ready to let them go.” For the two works she calls Sentinel I and Sentinel II, the artist used acacia tree bark and a clay made from ash and soil to create female figures. “I’m thinking about nature and our place in it,” she says, adding, “It’s alchemy the way the materials assemble as one form.” The third work, Poems by My Great Grandmother I, has a special meaning for her. The sculpture has three talon-like shapes that hang over a long spindly writing instrument, which, powered by an electric motor, moves along the bottom of a metal cooking vessel and produces enigmatic, mesmerizing rhythms. It’s personally poignant in that Mutu never got to know her great-grandmother’s poems. Like a lot of thoughtful art, it suggests multiple narratives without explaining them. Says the artist, “It’s a mystery.”
Samuel Bazawule, a.k.a. Blitz the Ambassador, is best known as a musician whose African-inflected hip-hop incorporates elements of soul and R&B. Born in Ghana and now based in Brooklyn, he is also a visual artist and filmmaker making his majormuseum debut in the biennial with an 80-minute film, The Burial of Kojo. “It’s about two brothers with a jagged past,” explains Bazawule. “One of them goes missing, and his daughter goes on a rescue mission.” Magical realist in style, the film was shot in Ghana, and Bazawule funded it by raising $78,000 via Kickstarter; it’s also available on Netflix, which offers him a massive worldwide audience. Given the diverse inspirations of Bazawule’s music, it’s no surprise that his cinematic storytelling is, in his words, “an amalgam of my Africanness and things I picked up in the diaspora.” The fact that the biennial also includes work by Kenyan-American artist Mutu is not lost on him. “This may be the first time people are hearing African stories like these,” he says. “It’s great that bold voices have been selected.”
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Clarissa Bronfman’s living room is a lively collection of art and objects. Here, installations from Ernesto Neto (top) and Pia Camil (top right) share space with works by Valérie Belin (center) and Laurie Simmons (right), Christopher Chiappa’s Beaded Terrazzo stool, a Brodie Neill chaise longue, and Robert Stadler cocktail tables, commissioned through Carpenters Workshop Gallery. The homeowners’ son purchased the Steve McQueen motorcycle. For details see Sources.
larissa Bronfman knows what she likes. That much is made crystal clear in the Long Island weekend house she shares with her husband, venture capitalist Edgar Bronfman Jr., and their four children. It takes confidence—and a keen eye—to orchestrate the stylish assortment of A-list art and design, anonymous folk art, and offbeat objects that fill the house. The living room alone combines works by contemporary artists like Ernesto Neto and Pia Camil, classic modern furniture and recent pieces by Brodie Neill and Robert Stadler, and beaded African armchairs There’s even a motorcycle that belonged to actor Steve McQueen. Okay, one of her sons bought that, but Bronfman put it in the living room. “I don’t want to walk into a room that’s simply full of big-name things,” she says. “I want to mix.” And mix she does.
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Custom Jorge Pardo hanging lights pack a visual punch in the foyer, where artwork by In Sook Kim (left) and Richard Misrach (right), a sky-blue Comerford Collection console, and a Mono Sushi sofa by Humberto and Fernando Campana are joined by a neutral Angelo Mangiarotti side table and a Kyle Bunting rug. A Marisol sculpture is just to the right of the textured Moroccan door.
Born in Venezuela, Bronfman is a photographer and a jewelry designer whose creations are distinctly idiosyncratic and diverse, combining stones old and new, precious and not, with symbols like a cross or a Star of David, or iconography from Islam and Buddhism, as well as pieces from her mother and grandmother. She is also a passionate collector and patron of the arts, serving as a vice chairman of Carnegie Hall, a trustee of the Museum of Modern Art, and the cochair of the Guggenheim Museum’s Latin American Circle. (Her husband comes from the art-collecting family that founded Seagram.) To tailor the interiors of the house—built by previous owners in “typical Hamptons Shingle style,” as she puts it— Bronfman collaborated with Amy Lau, the designer who also did the couple’s Manhattan triplex apartment and other projects. “Clarissa and I speak the same language,” says Lau. “She’s a true collector of art and design, which is rare.” Among other things, Lau added larger windows in the living room to maximize views and found furnishings and fabrics that complement the vintage 20th-century pieces the couple already owned.
Top left: Edgar Bronfman Jr. pushed for the pink wall color (Benjamin Moore’s Blushing Bride) that serves as a jubilant backdrop for Hsiao-Chi Tsai and Kimiya Yoshikawa’s Blooming Spark I hanging light in the dining room. Works by Hiroshi Sugimoto flank a piece by Julio Le Parc. Above: A triptych by Clarissa Bronfman surmounts a circa-1935 Paul Dupré-Lafon console and vintage high-back Italian Chiavari Gio Ponti Fireside chairs.
An inventively eclectic tone is set right away in the double-height entry, where a trio of eye-catching hanging lights by artist Jorge Pardo overlook large-scale photographs by In Sook Kim and Richard Misrach, a limited-edition version of Fernando and Humberto Campana’s famous Mono Sushi sofa, and a group of colorful South African baskets. A Moroccan door, one of Bronfman’s finds, leads outside. In the spirited dining room, which is anchored by a hanging light of fantastical blooms by Hsiao-Chi Tsai and Kimiya Yoshikawa, a 1960s work by kinetic art pioneer Julio GALERIEMAGA ZINE.COM
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A Bakalowits Miracle Sputnik chandelier punctuates the family room, where a Fernando Mastrangelo Studio poured-cement dining table and Piero Fornasetti Bocca chairs create an intimate gathering place. The Vladimir Kagan curved Omnibus sofa is wrapped in Romo fabric, and the white rug is by Kyle Bunting.
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Le Parc hangs above the fireplace, between Hiroshi Sugimoto photographs of the Chrysler Building and the Empire State Building. Installed over a 1930s sideboard by Paul Dupré-Lafon is a triptych of photographs by Bronfman— images of her lips in three different colors—that was an anniversary gift to her husband. (The unconventional pink wall color was Edgar’s suggestion.) Bronfman has been taking pictures since she was 12 years old (which also happens to be when she made her first purchase—a photograph by Man Ray—as a collector), and her photographs of a flower that opens only one night a year hang in a private dining room at the Four Seasons Restaurant in New York. On one side of a large window in the spacious kitchen are more of Bronfman’s colorful photos, while two Irving Penn flower photographs hang opposite. Lau filled a nearby sitting area with bright hues: A sky-blue-upholstered Florence Knoll
Artworks by Louise Lawler (above the bed) and Anna Atkins set the color palette for the master bedroom, where a Holly Hunt four-poster bed is dressed in Rebecca Atwood linens and a Homenature throw. Judy Kensley McKie’s Beast bench and an Adrian Pearsall Wave chaise for Craft Assoc. complement the space; the sisal rug is from ALT for Living.
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The pool area is enlivened with pops of color, including citron planters. The turquoise ottomans and cobalt pendant lights are by Paola Lenti, and the seating is by Janus et Cie. 126
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A riot of colors and textures, the sunroom terrace features lights by Alvaro Catalán de Ocón, a glass-top teak table bordered by Janus et Cie sofas, and a Paola Lenti rug.
sofa joins vintage Allan Gould chairs atop a chromatic spiraling rug Lau commissioned from Paola Lenti. Bronfman, the designer notes, “loves color.” Cool shades of blue accent the master bedroom, which features a Louise Lawler artwork titled Blue and a cyanotype by the 19th-century botanist and photographer Anna Atkins. One of Bronfman’s favorite finds, a bench by the noted furniture designer Judy Kensley McKie, stands at the foot of the four-poster bed. Hanging from another Moroccan door is an evil-eye symbol, to guarantee that “nothing evil comes into the room,” she explains, adding that she often uses the imagery in her jewelry designs.
Weekends at the house are full of kids, family, and friends, who gather both indoors and on the porches and terraces, as well as in the lush landscape that was originally designed by Edmund Hollander and more recently updated by Juan Ramón Pacheco. As Lau notes admiringly, “Whenever you go into a Bronfman house, there are always flowers, wonderful smells, and the hippest music.” For Bronfman it’s all about cultivating an atmosphere of fun and comfort—which basically sums up her vision for the home. “If it makes me happy, it’s okay,” she says. “If you don’t take risks, what’s the point? You have to have joy.” GALERIEMAGA ZINE.COM
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2 A powder room provides the perfect opportunity to make a statement. Here, chairs by Eduardo Costa, a stool by Christopher Chiappa, and custom ombré wallpaper by Brett Design speak volumes. katewerblegallery.com, brettdesigninc.com 3 Bronfman frequently uses symbols, like the evil eye, in her namesake jewelry collection. 4 Inspired by the home’s serene garden, designer Amy Lau and
Bronfman commissioned Austrian designer Robert Stadler to create a pair of striking cocktail tables for the living room. Each one weighs 800 pounds and was handcrafted from a single piece of limestone. carpenters workshopgallery.com 5 In addition to showcasing a collection of 18th-century Colonial Spanish saints, the sunroom features a cocktail table by Ingrid Donat and a James Perse billiards table. Donat casts her coveted creations from bronze and carves patterns by hand, while Perse constructs his out of the finest solid teak.carpenters workshopgallery.com, jamesperse.com
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6 Bronfman is also a passionate photographer, and a number of her works grace her homes. “I never go anywhere without my Leica camera,” she says. “I see the world in a frame.” She recently ventured to Antarctica
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(1) COURTESY OF HSIAO-CHI TSAI AND KIMIYA YOSHIKAWA; (2, 5, 8) THOMAS LOOF; (3) CHRISTINE JOHNSON; (4, 7) COURTESY OF CARPENTERS WORKSHOP GALLERY; (6, 9) CL ARISSA ALCOCK BRONFMAN
1 Clarissa Bronfman’s eclectic taste and penchant for color are reflected in this Blooming Spark I hanging light by cutting-edge London design duo Hsiao-Chi Tsai and Kimiya Yoshikawa. Resembling a futuristic, otherworldly floral bouquet, the fixture is handmade in Perspex, a type of acrylic. “I spotted this at a little gallery in Notting Hill and instantly fell in love,” she says. tsai-yoshikawa.com
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and Greenland to develop her craft. 7 Created by Humberto and Fernando Campana, the Mono Sushi sofa, which Bronfman has in green, was influenced by the Brazilian favelas where the brothers grew up. To create the riotous mix of colors and textures, they combined humble materials—rubber, fabric, and even carpet. friedmanbenda.com 8 A dazzling Lee Bul installation crafted from crystal and glass beads
dangles above the family room. “Her work just spoke to me,” Bronfman says of the Korean artist, who recently caused a stir at Art Basel in Hong Kong. leebul.com 9 “I started creating jewelry as a way to reinvent old things and give them new life,” says Bronfman, who takes inspiration from family heirlooms given to her over the years. Her signature Symbol Tree necklace, from her namesake jewelry line, features vintage and modern charms with precious stones. clarissabronfman.com
At the Malibu home of Katie and Charles Arnoldi, the cactus garden and rear terrace—outfitted with Summit teak furniture—offers glorious views of Point Dume State Beach. Inset: The artist at work on a recent painting in his Venice studio. For details see Sources.
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Clockwise from left: Arnoldi designed much of the home’s furniture; a painting from his “Potatoes” series is displayed atop the fireplace opposite a large work by his daughter, Natalie Arnoldi, while a Frank Gehry fish lamp stands along the rear wall. An Andy Warhol skull is grouped with works by Arnoldi, Ken Price, John McCracken, and Natalie in a bookcase. Sculptures and furniture by Arnoldi are arrayed around the pool and putting green. A painting by Arnoldi perches outside the master bath, where a Gehry fish sculpture is mounted above the tub.
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S A KID GROWING UP IN DAYTON, OHIO,
Charles Arnoldi was a hard-partying, street-brawling, drag-racing “hood,” he says. “I had a slicked-back haircut, pegged pants, and pointed-toe boots for fighting. In Dayton, they just pushed you through high school, and my buddies and I didn’t care. All we wanted was to get through school to go work at a factory, because if you did the graveyard shift you got paid double time.” But a trip as a teenager to visit his father in Thousand Oaks, California, made a big impression, and after graduation in the mid-’60s, he and some pals pooled their money and stole enough parts for his 1955 Chevy to get themselves out west. Though he had no intention of becoming an artist, Arnoldi adopted a hippie lifestyle, finding work painting houses and digging trenches, and eventually starting a Lucite frame company with artist Laddie John Dill. Arnoldi also took classes
at the Chouinard Art Institute (now CalArts) in L.A.’s Westlake neighborhood, though he dropped out after winning the Los Angeles County Museum of Art’s Young Talent Award in 1969 for his labor-intensive abstract paintings—a language he has continued to explore over the ensuing half-century, becoming a stalwart of the L.A. art scene. These days, Arnoldi, now sporting a few more lines on his tanned visage and a shock of white hair, still exudes an intrepid, industrious spirit. He cuts an athletic figure in his studio uniform of a white T-shirt, jeans, and black sneakers as he stands outside the Malibu home he shares with his wife, author and former competitive bodybuilder Katie, on a cliffside plot with scenic views overlooking Little Dume (a beloved surf break where Kelly Slater and Laird Hamilton are regulars) and out to Catalina Island. Walking through his cactus garden, host to a prized saguaro he grew from a seedling, Arnoldi discusses the life he and Katie have created here—and perpetually reinvented—over the past three decades. “Katie’s father was a surfer, and he bought that little beach house in the 1950s,” Arnoldi says, pointing to a shingle-roof bungalow on the bluff below. Though he and his wife would have gladly lived in that surf shack, it became a weekend retreat for family and friends, so the couple decided in 1986 to build a home on land next to the Mediterranean-style manse owned by Katie’s brother. “I was used to living in lofts and storefronts,” says Arnoldi. “When I told my buddy Frank Gehry I was going to build a house, he said, ‘Just build a box.’” With some help from contractors, that’s essentially what the Arnoldis did, creating a 4,000-square-foot, three-bedroom residence composed of voluminous interconnecting cubes with walls of troweled concrete and floor-to-ceiling glass doors that run half the length of the structure. Inside, the walls are accented by steel-channel baseboards, while the millwork is hewn from marine-grade plywood—the same material Arnoldi used as the base for the celebrated series of “Chainsaw” paintings he produced in the ’70s and ’80s. Arnoldi has installed numerous idiosyncratic touches throughout, including sculptural glass doors in the guest bedrooms and, on the front of the home, a cast-bronze balcony whose pattern conjures (and predates) Ai Weiwei’s Bird’s Nest stadium in Beijing. In the master bedroom, the artist devised a wall-size picture window that revolves on ball bearings and overlooks the double-height living-dining area, which is filled with furniture of his own design. Suspended above the long mahogany dining table is a chandelier made from bound branches that echoes the forms of the early
Charles and Katie are joined by their bulldogs, Peaches and Herb, next to the pool.
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“Stick” paintings that won him international recognition in the 1972 “Documenta” exhibition in Kassel, Germany. Scattered throughout the house are not only Arnoldi’s artworks, including a few choice “Chainsaw” paintings, but also pieces by friends such as Gehry, Andy Warhol, Robert Rauschenberg, Ken Price, and Billy Al Bengston, as well as indigenous art and artifacts collected around the world by Katie. “Just stuff,” Arnoldi calls their collection, though he estimates he made 25,000 steps shuttling it all down to safety inside the beach house during the Woolsey Fire, which broke out in November 2018. (While a number of nearby residences burned in the blaze, the Arnoldis’ homes remained unscathed.) Countless memories permeate these spaces, and seated at the dining room table, Arnoldi recounts a few—like the time he drove the VW Beetle on which fellow artist Chris Burden had himself crucified for a legendary 1974 performance in a Venice garage. Outside, at the front of the property, Arnoldi has created a tropical folly dotted with his bronze sculptures and aluminum
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paintings. There’s also a 75-foot-long swimming pool surrounded by concrete seating and a putting green with artificial turf. A seasoned golfer, Arnoldi also has a putting green next to his 15,000-square-foot Venice studio, a space carved out of a former potato chip factory that rivals any blue-chip gallery in L.A. Inside, the aesthetic shares similarities with the Malibu house, including the same distinctive plywood cabinetry. “I just can’t escape myself,” Arnoldi says of the overlap between his art and his design pursuits. The studio’s main gallery, where he makes and exhibits new paintings, is topped by a skylight that stretches some 60 feet. “I was gonna make it longer, but the building department wouldn’t let me,” he says. Far from slowing down, Arnoldi still spends six days a week in the studio. His most recent paintings and sculptures, the subject of multiple museum and gallery shows, include geometric abstractions based on the interlocking stones of Machu Picchu—inspired by the couple’s 35th anniversary trip hiking the Inca Trail—and a new suite of “Chainsaw” paintings made last summer during an excursion the two took to Canada’s Yukon Territory. “My wife really wants to travel more, but I have a hard time because I like to be here,” he says. “My mind is just working all the time.” Still, it seems like the artist derives just as much pleasure building an ipe-wood tub room for Katie (with views of the Pacific) off the master bath or converting the childhood bedroom of his daughter, Natalie—an artist and marine biologist—into a home studio. For years, he’s been working on plans to level and rebuild the Venice studio, plus he’s consulting on four or five architectural projects for friends and designing a new home-studio complex with Katie atop a hill on the Ventura County line. “I brought Frank [Gehry] up to the lot, and he said, ‘Let’s collaborate.’ I said, ‘No,’ ” recalls Arnoldi with a laugh. “I might let him design the little poolhouse. Maybe. But I’m not sure yet.”
Clockwise from top: A 60-foot skylight illuminates a selection of Arnoldi’s paintings in the main gallery of his Venice studio. Two of the artist’s large paintings from the 1990s hang in the corner of a gallery space in the studio. Arnoldi designed all of the plywood cabinetry and tables in his converted home studio.
Tradition Twist
CHANNELING THE OWNERS’ BOLD TASTES, LEGENDARY DECORATOR BUNNY WILLIAMS UPDATES A HAMPTONS HIDEAWAY WITH AN ARRAY OF SPIRITED, DELIGHTFULLY UNEXPECTED TOUCHES
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Bunny Williams and her design partner, Elizabeth Lawrence, collaborated with Douglas C. Wright Architects on the renovation of this home on Long Island’s East End; Edmund Hollander oversaw the landscape design. Opposite: In the living room, circa-1960 French brass mirrors and a Caio Fonseca painting are mounted above a sofa and club chairs custom made by Schneller and a lapis lazuli cocktail table designed by Williams; amping up the color and pattern are a Fabricut damask-pattern linen on the club chairs and a carpet by Studio Four. For details see Sources.
An artwork by Vik Muniz hangs above the stairs in the soaring entrance hall, which features walls finished in an eye-catching Venetian plaster by Artgroove and a Lorem ipsum caption tk crecis auf de stenciled floor designed by Franklin Tartaglione. crescis nunc obdurat ipsum semper Concrete garden cranes from Lucca Antiques join crescis auf dei cres tempore brumal lamps made from antique Delft vases and vintage nunc obdurat uncurate nobilis pacem. blue-and-white vessels atop a William Kent console, all Novus domice hir from John Rosselli Antiques.
“To me, it’s more exciting to see a work of art on colorful walls,” says Bunny Williams
Artworks by Jean Marc Louis (left) and Philip Taaffe are displayed in the pine-paneled library, where a desk by Jonathan Burden is paired with an early-20th-century lamp and an antique Empire chair. Joining a club chair and sofa covered in Claremont fabrics is an Art Deco armchair, with its original upholstery, from Newel Antiques; the carpet is by Stark.
natural-born observer, legendary American designer Bunny Williams finds inspiration everywhere. One of her most recent muses was a beautiful Dutch Colonial–style home on Long Island’s East End that she was tasked with renovating by one of the owners, whose sartorial tastes tended toward bold palettes and patterns. “Her style was classic, but there was a little edge and a lot of color,” says Williams. “I knew that this client wouldn’t want anything boring.” A master at creating interiors that achieve equal measures of curatorial grace and exuberant fantasy, Williams composed a series of deftly layered, multichromatic rooms, all reflecting her consummate sense of balance. For starters, Williams and her design partner, Elizabeth Lawrence, collaborated with architect Douglas C. Wright on some tweaks to the home’s layout. The biggest alterations entailed
opening up the kitchen to make it more conducive to a modern lifestyle, while enhancing flow between the living and dining areas, as well as updating an airy conservatory that’s used for breakfast and casual dinners. Setting to work on the decor, Williams and Lawrence began with an unflinching opening statement, adding fresh energy to the double-height entrance hall, which runs from the front of the house to the back. A classic brass chandelier and an oversize, richly carved William Kent console convey a sense of traditional grandeur, while the geometric-pattern stenciled floor provides an unconventional rhythmic twist. The challenge throughout the house was how to best showcase the owners’ contemporary art without resorting to ordinary white backdrops, and here Williams and Lawrence hung vibrant works by James Nares and Vik Muniz against bright, energetic yellow walls that are offset by the soothing blue ceiling above. GALERIEMAGA ZINE.COM
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“To me, it’s more exciting to see a work of art on colorful walls—that way you feel you’re in a home, not a museum,” remarks Williams, whose latest monograph, Love Affairs with Houses, was released by Abrams in April. “Of course, art of this caliber should be the strongest element, so it was our job to be sure the design didn’t become confusing.” In the living room, traditional summer chintzes and overscale-print linens complement the contemporary geometric rug underfoot. A compelling mix of English Regency, Art Deco, and neoclassical antiques was the result of a whirlwind buying trip with the clients to Belgium and France. Creamy strié wallpaper in neutral gray with metallic accents displays artwork by Scott Olson and Caio Fonseca. The flexible seating areas can accommodate additional chairs when entertaining guests or hosting three generations of family, but they also feel just right when the owners are by themselves. “You want a house that allows for spontaneity—it needs to work in different situations,” says Williams. In the nearby dining room, the designer commissioned Ron Genereux, a decorative-finishes specialist and the founder of the firm Artgroove, to create a spectacular wraparound mural based on landscapes by the 18th-century French artist Hubert Robert. Working from digital images, Genereux and his team scaled up the scenes and 140
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printed them on wallpaper to precisely fit the layout of the room. Williams’s unwavering attention to detail and penchant for making an impression are always accompanied by an emphasis on comfort and function. Perhaps nowhere is that more true than in the blue-paneled living room, where an overstuffed sofa and generous club chairs are draped with cozy cashmere blankets and a tufted leather ottoman doubles as a cocktail table and footrest. “Houses have to be warm. When designing, I always imagine how people will live in them,” she says. Outdoors, landscape designer Edmund Hollander repositioned an expansive pool so it’s now just off the living room, and he created a plan to unify disparate outbuildings that had been added over the years. An existing poolhouse received a refresh to its changing rooms, its sitting area, and an outdoor shower climbing with roses. The wife’s favorite spot is a cutting garden, where, depending on the time of year, she clips peonies, irises, lady’s mantles, lavender, delphiniums, lilies, and cosmos. Naturally, Williams, the consummate observer, made sure to stock the house with an assortment of containers and cachepots ready to display the latest blooms. “These are the things,” she says, “that make a house come alive.”
“You want a house that allows for spontaneity. It needs to work in different situations,” says Williams
Right: A work by Vik Muniz overlooks a master suite sitting area enlivened by a vintage pink vase atop an antique églomisé table from Stair Galleries and accent pillows from Mecox. Opposite: John Rosselli & Assoc. designed the Louis XVI–style bench and bone bed, which has custom Casa del Bianco bedding; the bedside lamps are by Visual Comfort, the Louis XV–style chairs are by Treillage (upholstered in a Lisa Fine fabric), and the carpet is by Stark.
Life Imitates Art B Y S T E FA N I E L I
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COURTESY OF METRO PICTURES, NEW YORK. OPPOSITE: COURTESY OF SAKS FIFTH AVENUE
Pop culture references and surreal moments abound in the work of Swiss artist Olaf Breuning. His zippy-blue aluminum Clouds, originally commissioned by the Public Art Fund for New York’s Central Park and now installed at the Cass Sculpture Foundation in West Sussex, England, conjures enough ebullience to brighten even the grayest day; olafbreuning.com. Opposite: Designed for sunny skies, the mirrored dark-violet, periwinkle, and raspberry lenses of Miu Miu’s Cloud Frames cast playful yet stylish shade; miumiu.com.
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COURTESY OF THE HOLE, NEW YORK. OPPOSITE: COURTESY OF MICHAEL KORS (MODEL); INDIGITAL.TV/MARCUS TONDO (BACKGROUND)
With her thick coats of oil paint and psychedelic palette, Caroline Larsen subverts the exquisite floral bouquets of the Dutch Golden Age. To create the rich, dimensional texture of Still Life with Toucan Vase Emaux de Longwy Limited Edition (2019), the Canadian artist trades in her paintbrushes for piping bags, which she uses to masterfully weave ribbons of paint; carolinelarsen.com. Opposite: Fluorescent prints and flirty fringe electrify this joyously patterned Michael Kors runway look, inspired by the designer’s far-flung beach escapes to Bora-Bora and Tetiaroa in French Polynesia; michaelkors.com.
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COURTESY OF COOMI. OPPOSITE: COURTESY OF MOELLER FINE ART
For Coomi’s 20K Sunset statement earrings, a serene sunset vignette, comprising an inlay of opal, malachite, lapis, and onyx, is anchored by 4.13 carats of aquamarines and a smattering of diamonds; coomi.com. Opposite: Space, light, and color engage in a mesmerizing dance in German Expressionist Lyonel Feininger’s oil painting Stiller am Meer III (Calm at Sea III) (1929). At first appearing to be a beautiful vignette of gliding sailboats, this masterful work captures childhood memories of vacationing on the Baltic Sea and imposes order and geometry upon the nostalgic subject; feiningerproject.org.
A mix of marbles comes together to form a strikingly graphic pattern in Euclid, Alison Rose’s new line for Artistic Tile. Completely customizable, the mosaic can be reassembled in myriad ways with a variety of curved and striped tiles; artistictile.com. Opposite: In the bold wall relief No Title (Polychrome Shoulder) (2017), Ruby Sky Stiler reimagines classical antiquities and Cubist works by using everyday objects—often materials like foam core, plaster, and recycled scraps—to question authenticity and value; rubyskystiler.com.
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COURTESY OF THE ARTIST AND NICELLE BEAUCHENE GALLERY, NEW YORK. OPPOSITE: COURTESY OF ARTISTIC TILE
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A Bernar Venet sculpture frames views of the Santa Rosa Mountains at the home of hotel developer Jim Lippman and his wife, Linda, at the Paradise Club in La Quinta, near Palm Springs. For details see Sources. GALERIEMAGA ZINE.COM 151
ommon wisdom suggests that as we grow older we grow more conservative. Just don’t tell that to Linda and Jim Lippman. Based in Los Angeles, the couple inhabits a Mediterranean-style house with an old-world vibe in Brentwood, and they take ski vacations to their rustic chalet in Park City, Utah. But when they decided to build a third residence—a weekend retreat in the desert, at the Paradise Club in La Quinta, near Palm Springs—the Lippmans chose a radically different path. Instead of adopting the conventions of the club’s Spanish-style villas, which convey a reliable California timelessness, they went modern—as in clean-lined, pared-to-perfection, glass-box modern. Their only condition? The house, which is set on two and a half acres bordering a golf course, couldn’t feel austere. “Our biggest concern,” Linda recalls, “was making sure the home was comfortable, warm, and welcoming.”
Jim, a real estate entrepreneur and hotelier whose firm develops luxury resorts, including the freshly renovated Oceana Beach Club in Santa Monica, interviewed a long list of architects for the project before selecting Steve Giannetti, who had previously designed an elegant addition to the Lippmans’ L.A. home. Giannetti is known for combining a classical European aesthetic with “an emotional warmth,” as he puts it—a quality he translated to a modern structure for the Lippmans. The architect conceived the seven-bedroom, 20,000-square-foot house as a series of pavilions—linked by glassed-in terraces and interwoven with courtyards and reflecting pools—to create more invitingly scaled spaces and facilitate a true indoor-outdoor lifestyle. Expanses of glass offer plentiful light and enviable views, not least in the main living-dining area, where a retractable 50-foot-wide, 14-foot-high glass wall reveals the money shot: peerless views of the spectacularly undulating Santa Rosa Mountains. →
Above: Adding visual punch to the entrance gallery are one of Anish Kapoor’s concave mirror works, a painting by Willem de Kooning, and a Richard Hudson sculpture displayed atop an Atelier Viollet table; an Alison Berger bench rests beneath the floating staircase, designed by architect Steve Giannetti. Opposite: A Norman Mooney sculpture stands in a reflecting pool created by landscape designer Sammy Castro.
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The main living and dining area opens up dramatically to the outdoors, where a spiraling Bruce Beasley sculpture stands next to the swimming pool. Busta installed an Alison Berger lighting fixture over the red-lacquered Christian Liaigre table and chairs opposite a seating area where a Holly Hunt sofa and chairs surround a Liaigre cocktail table.
Above: In the serene master suite, a Pont des Arts bed dressed with custom Loro Piana bedding is flanked by Holly Hunt tables and lamps, while a Bryan McCollin low table stands between JeanMichel Frank chairs, a reedition by Hermès; the daybed is by Christian Liaigre, and the rug is by ALT for Living. Left: An outdoor dining area shaded by olive trees and a linen-draped trellis features custom teak furniture and lanterns by Busta.
To complement the home’s stucco-and-limestone exterior, Giannetti finished the walls in a pale plaster, lined the ceilings with planks of white oak, and paved the groundfloor rooms with limestone slabs that extend onto the terraces. “A lot of modern buildings appear machine-made for that perfect, precise look,” says Giannetti. “A natural palette allowed the architecture to have a warmth. I always dreamed of creating a modern house that felt as though it was from the earth.” The subtle palette, in turn, informed the decor. Responsibility for the art and furnishings fell to another repeat Lippman collaborator, Anna Busta, head of the design firm Busta Studio, whose arresting yet intimate spaces can be found in three of Jim’s hotels. “At first, I thought we should do something quiet,” the designer explains. “But I realized the simple, beautiful canvas needed something with more flavor for a strong contrast.” While Busta did employ muted fabrics—pale leather and cashmere upholstery in the master bedroom, crisp white sofas in the living area, hushed silken rugs throughout—she went full tilt on some key furnishings. The entrance gallery, in which the designer established a confident mood, features a dizzying blue concave mirror sculpture by Anish Kapoor offset with a rectangular plexiglass ceiling fixture by Johanna Grawunder that appears to dangle at a precarious angle.
Anchoring the game room (the Lippmans have three adult children and a growing extended family) are a chic black pool table and a bowling alley illuminated in shifting psychedelic colors. And the dining area, where Busta made her boldest statement, is outfitted with a monumental glass chandelier by Alison Berger suspended above a table and chairs lacquered in fiery red. Jim concedes that the dining set “was kind of scary for us in the beginning, but the pop of color is a nice surprise to everyone who walks in the door.” The Lippmans have long collected art, favoring works by French Impressionists for their L.A. manse. This home, however, called for works with a more contemporary sensibility, including pieces that could live in the desert. Animating the gardens designed by landscape architect Sammy Castro are large-scale sculptures by Mark di Suvero and Bernar Venet as well as eye-catching pieces by emerging artists, such as a whimsical starburst form by Norman Mooney that sprouts from a reflecting pool. “I have a great appreciation for beautiful antiques and traditional design,” says Busta, “but my language is contemporary design and art.” The Lippmans are now happily fluent in that language themselves—so fluent they’ve told Busta they want an even bolder version for their next home, a sprawling apartment on Park Avenue in New York. GALERIEMAGA ZINE.COM
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Clockwise from top: In the oak-lined kitchen, which is outfitted with a Gaggenau range, hood, and ovens, an L-shaped island combines Bulthaup cabinets and a butcher-block counter with Piet Boon stools. A Johanna Grawunder light tilts above a Daniel Buren rug in the entrance gallery, where a black-and-white Richard Serra work hangs opposite a Fred Sandback drawing and a mirrored Julian Mayor chair. An artwork by Joseph Villeneuve overlooks a small seating area in the second-floor dining room, with a Bocci light fixture, an India Mahdavi table, Siglo Moderno chairs, and an ALT for Living rug.
Above: Busta commissioned Atelier Viollet to create a marquetry-backed bar niche in the family room, where a Christopher Boots light fixture circles above a Christian Liaigre sofa, chairs, cocktail table, and hurricane lamps; the artworks are by Patrick Marold (over the fireplace) and Anna Maria Maiolino. Left: A large painting by Jonah Freeman and Justin Lowe hangs in the game room, which features a bowling alley illuminated by changing colored lights and a James de Wulf pool table in concrete and black felt, topped by a striking Ingo Maurer dome light.
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THE INTERNATIONAL EXPOSITION OF CONTEMPORARY AND MODERN ART
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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, 153: Untitled (Blue/Brandy) (2015), Anish Kapoor; all rights reserved, DACS, London/ARS, NY 2019. Pages 16, 158: DB-ADAGP, Paris/ARS, New York 2019. Page 34: 2019 ARS, New York/ADAGP, Paris. Page 34: 2019 Pollock-Krasner Foundation/ARS, New York. Page 81: 2019 the LeWitt Estate/ ARS, New York. Page 81: 2019 Judd Foundation/ARS, New York. Page 84: 2019 courtesy Galerie EIGEN + ART, Leipzig/Berlin/ ARS, New York. Page 96: 2019 Helen Frankenthaler Foundation Inc./ARS, New York. Page 108: Andreas Gursky/2019 ARS, New York/VG Bild-Kunst, Bonn/Courtesy Sprüth Magers Berlin London. Pages 109, 151: 2019 Bernar Venet/ARS, New York/ADAGP, Paris. Page 121: 2019 ARS, New York/ADAGP, Paris. Page 123: 2019 ARS, New York/ADAGP, Paris. Page 132: 2019 the Andy Warhol Foundation for the Visual Arts Inc./licensed ARS, New York. Pages 138, 141: 2019 Vik Muniz/licensed by VAGA at ARS, NY. Page 146: 2019 ARS, New York/VG Bild-Kunst, Bonn. Page 158: 2019 Richard Serrra/ARS, New York. SAND, SEA, SUN, SKY Pages 106–13: Interiors and select furnishings by Victoria Hagan; victoriahagan .com. Architecture and select furnishings by Leroy Street Studio; leroystreetstudio.com. Landscape design by Edmund Hollander of Hollander Design Landscape Architects; hollanderdesign.com. Pages 106–7: In living room, sectional by Poliform, poliform.it; upholstered in fabric by Romo (T), romo .com. Table by Eric Slayton; ericslayton.com. Stools by Poltrona Frau, poltronafrau.com; upholstered in wool bouclé by Holland & Sherry, hollandandsherry.com. Rug by Crosby Street Studios; crosbystreetstudios.com. Page 108: In entry, pendants by Bocci; bocci.ca. Chair by Wüd Furniture Design; wudfurniture .com. Page 110: On terrace, chaise longues by DDC, ddcnyc.com; upholstered in fabric by Giati Designs (T), giati.com. Page 111: On dining terrace, chairs by Harbour Outdoor; harbouroutdoor.com. Sofa and armchairs by Walters, walterswicker.com; upholstered in fabric by Giati Designs (T). Side table by Link Outdoor; linkoutdoor.com. Page 112: In master bedroom, armchairs and ottoman by Liaigre; liaigre.com. Armchair cushions and ottoman upholstered in fabric by Chapas Textiles (T); chapastextiles.com. Bedding by
E. Braun; ebraunnewyork.com. Table by Wyeth; wyeth.nyc. Rug by Crosby Street Studios. Page 113: In master bath, Terrassa tub by Victoria + Albert; vandabaths.com. Venezia tub filler by Fantini Rubinetti; fantiniusa.com. PK25 lounge chair by Poul Kjærholm; fritzhansen.com. ROOMS TO PLAY Pages 120–29: Interiors by Amy Lau of Amy Lau Design; amylaudesign.com. Landscape design by Juan Ramón Pacheco of Ecopacheco, ecopacheco.com, and Edmund Hollander of Hollander Design Landscape Architects, hollanderdesign.com. Pages 120–21: In living room, Edward Wormley sofas for Dunbar from Sputnik Modern; sputnikmodern.com. Sofas upholstered in Bichon fabric by Rosemary Hallgarten (T); rosemaryhallgarten .com. Cocktail tables by Robert Stadler; carpentersworkshopgallery.com. Stool by Christopher Chiappa; katewerblegallery.com. Chaise longue by Brodie Neill; brodieneill .com. Curtains by Erik Bruce, erikbruce.com; in fabric by Holly Hunt (T), hollyhunt.com. Rug by ALT for Living (T); altforliving.com. Pillows upholstered in fabric by Judy Ross Textiles; judyrosstextiles.com. Page 122: In foyer, pendants by Jorge Pardo; petzel.com. Console by Comerford Collection; store .comerfordcollection.com. Rug by Kyle Bunting; kylebunting.com. Sofa by Fernando and Humberto Campana; friedmanbenda .com. Page 123: In dining room, Blooming Spark I chandelier by Hsiao-Chi Tsai and Kimiya Yoshikawa; vesselgallery.com. Bowl by Archimede Seguso; seguso.com. Page 124: In family room, Miracle Sputnik chandelier by Bakalowits; bakalowits.com. Curtains in fabric by Larsen (T); cowtan.com. Bocca chairs by Piero Fornasetti; fornasetti.com. Table custom made by Fernando Mastrangelo Studio; fernandomastrangelo.com. Rug by Kyle Bunting. Omnibus sofa by Vladimir Kagan, vladimirkagan.com; upholstered in fabric by Zinc Textile, zinctextile.com. Page 125: In master bedroom, bed by Holly Hunt (T). Bedding by Rebecca Atwood; rebecca atwood.com. Sconces by Lindsey Adelman; lindseyadelman.com. Throw by Homenature; homenature.com. Curtains in fabric by Larsen (T). Chaise longue by Adrian Pearsall; craftassociatesfurniture.com. Rug by ALT for Living (T). Page 126: In pool area, lights, ottomans, and pillows by Paola Lenti; ddcnyc .com. Sofa, chairs, and table by Janus et Cie (T); janusetcie.com. Page 127: On sunroom terrace, PET chandelier by Alvaro Catalán de Ocón; pamono.com. Pillows upholstered in fabric from Ferran; ferranstore.com. Balou
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sofa and ottomans by Janus et Cie (T). Cosmo rug by Paola Lenti. FORM MEETS GUMPTION Pages 130–35: Interiors and select furnishings by Charles Arnoldi; charlesarnoldistudio.com. Page 130: On rear terrace, teak furniture by Summit; summitfurniture.com. Page 132: In living room, fish lamp by Frank Gehry; foga.com. TRADITION WITH A TWIST Pages 136–41: Interiors and select furnishings by Bunny Williams and Elizabeth Lawrence of Bunny Williams Interior Design; bunnywilliams .com. Architecture by Douglas C. Wright of Douglas C. Wright Architects; dcwarchitects .com. Landscape design by Edmund Hollander of Hollander Design Landscape Architects; hollanderdesign.com. Page 136: In living room, mirrors from Alexander Cohane; alexandercohane.com. Sofa upholstered in Dundee fabric from Clarence House (T); clarencehouse.com. Center pillow by John Robshaw Textiles; johnrobshaw.com. Pillows by Bermingham & Co.; berminghamfabrics.com. Table from John Rosselli Antiques; johnrosselli antiques.com. Silver lamp from Lee Calicchio Ltd.; leecalicchioltd.com. Armchairs upholstered in Trocadero fabric by Fabricut; fabricut.com. Swedish bergère chair from Evergreen Antiques, evergreenantiques.com; upholstered in fabric by Peter Fasano (T), peterfasano.com. Rug by Studio Four; studiofournyc.com. Cocktail table from Balsamo; balsamoantiques.com. Page 138: In hall, stair runner custom made by Beauvais Carpets (T); beauvaiscarpets.com. Cranes by Lucca Antiques; luccaantiques.com. Delft lamps and console from John Rosselli Antiques. Page 139: In library, lamp from Lee Calicchio Ltd. Desk custom made by Jonathan Burden; jonathanburden.com. Chair from Laserow Antiques; laserow.nyc. Rug custom made by Stark (T); starkcarpet.com. Art Deco chair from Newel; newel.com. Cocktail table from BK Antiques; bkantiques.com. Chair upholstered in Toile Chevron by Claremont (T); claremontfurnishing.com. Sofa upholstered in Point de Tars by Claremont (T). Page 140: In master bedroom, bed and bench by John Rosselli & Assoc.; johnrosselli.com. Bedding custom made by Casa Del Bianco; casadelbianco.com. Bench upholstered in Rambagh fabric by Lisa Fine Fabric; lisafinetextiles.com. Ernesto table lamps by Visual Comfort; visualcomfort.com. Bookcase from Stair; stairgalleries.com. Louis XV–style chairs upholstered in Cashmere Paisley by Lisa Fine Fabric. Page 141: In master-bedroom
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living area, curtains and wall covering by Raoul Textiles; raoultextiles.com. Pillows by Mecox; mecox.com. Sofa upholstered in Beaucaire fabric by Cowtan and Tout (T); cowtan.com. Vase from BK Antiques. Cocktail table from Stair. Capri rug by Stark. CHANGING COURSE Pages 150–59: Interiors and select furnishings by Anna Busta of Busta Studio; bustastudio.com. Architecture by Steve Giannetti; giannettihome.com. Landscape design by Sammy Castro; sammycastro.com. Page 153: In entry gallery, table custom made by Atelier Viollet; atelierviollet.com. Alison Berger bench from Holly Hunt (T); hollyhunt.com. Pages 154–55: In dining area, rug custom made by ALT for Living (T); altforliving.com. Chairs and table custom made by Liaigre; liaigre.com. Alison Berger Bow chandelier from Holly Hunt (T). In living area, rug custom made by ALT for Living (T). Armchairs and sofa by Holly Hunt (T). Cocktail table by Liaigre. Page 156: In outdoor dining area, chairs upholstered in Great Plains outdoor fabric by Holly Hunt (T). Page 157: In master bedroom, rug by ALT for Living (T). Nightstands, lamp, and Bryan McCollin table by Holly Hunt (T). Daybed by Liaigre. Jean-Michel Frank armchairs reproduced by Hermès; hermes .com. Pont des Arts bed by Avenue Road; avenue-road.com. Bedding and curtain fabric by Loro Piana (T); loropiana.com. Page 158: In kitchen, oven, range, and hood by Gaggenau; gaggenau.com. Sink fittings by Dornbracht; dornbracht.com. Cabinets by Bulthaup; bulthaup.com. Piet Boon barstools by Lepere; lepereinc.com. In upstairs dining area, light fixture by Bocci; bocci.ca. Table by India Mahdavi; ralphpucci .net. Chairs by Siglo Moderno, siglomoderno .com; upholstered in leather by Edelman (T), edelmanleather.com. Rug by ALT for Living (T). In gallery, Fernando chair by Julian Mayor; 21stgallery.com. Sipat rug by Daniel Buren; danielburen.com. Page 159: In family room, Prometheus light fixture by Christopher Boots; siglomoderno.com. Marquetry bar by Atelier Viollet. Sofa, upholstery, cocktail table, armchairs, and lamps by Liaigre. Stools by Andrianna Shamaris; andriannashamarisinc.com. Silk and rope rug by ALT for Living (T). Throw by Loro Piana (T). In game room, XXL Dome light fixture by Ingo Maurer; ingo-maurer.com. Barstools by Siglo Moderno, upholstered in leather by Edelman (T).
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THOMAS LOOF, ARDENT (2007) AND BEAUTIFUL DRATS (2007) © DAMIEN HIRST AND SCIENCE LTD. ALL RIGHTS RESERVED / DACS, LONDON / ARS, NY 2019
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ARTIST DAVID
SALLE GIVES INSIGHT
INTO THE RISING TALENT WHOSE
PASTEL HE’S ADDED TO HIS HOME
The artist David Salle. Below: Patmos, a pastel by Nicole Wittenberg.
Wittenberg handles both layers of difficulty with naturalness and aplomb. She made this pastel on the Greek island of Patmos last year, and you can recognize the inimitable deep blue of the water there. The drawing transmits the immediacy of an intense visual experience; we’ve just looked up from the beach and taken it all in, the expanse of sea cove, bounded on one side by a finger of land. Just behind this rocky ledge, a tiny strand of bright turquoise indicates the break where the cove meets the open sea. The drawing masterfully handles the transition between close-up and far away. One feels the specificity of right here, right now. I love the way the drawing represents the drama of sunlight on waves in motion. The water’s complex polyrhythmic undulations are translated into a latticework of colored marks. You feel the water’s chop and see the reflections of light on its surface as the pastel marks become big and loose at the drawing’s bottom edge. I also love the way Wittenberg has made the color of the paper itself—a bright, warm ocher—figure in the great woven scheme. The drawing has a gravitas that belies its apparent simplicity. It hangs in the living room of my Brooklyn house, on a whitewashed brick wall, among works by other artist friends—Malcolm Morley, Amy Sillman, Carroll Dunham, Cecily Brown, Terry Winters, and the like. The luminous colors and skeins of marks are highly legible from a good 25 to 30 feet away. When I come downstairs in the morning, when that room is full of warm light, the pastel is always the first thing to catch my eye. It’s lush, sensual, and austere all at once. 164
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FROM TOP: ROBERT WRIGHT; COURTESY OF THE ARTIST
My favorite thing is a pastel by Nicole Wittenberg, an artist whose work I’ve been following for a while and who is now starting to attract the kind of serious attention that indicates the market can’t be far behind. Pastel is a notoriously difficult medium—very few artists use it well. It’s easy to overwork the surface, when the point is to keep things fresh and direct. One must choose carefully a few perfectly calibrated colors and lay them down with conviction, not trying to blend too much. On top of this, rendering water—in any medium—is another fiendish challenge that has tripped up legions of painters.
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