MUST-SEE COUTURE EXHIBITIONS 6 WOMEN CHANGING THE ART WORLD
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FALL 2019 ISSUE NO14
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FEATURES 106 FRESH OUTLOOK Designer Madeline Stuart reimagines a legendary La Jolla, California, estate with interiors that nod to the Spanish Revival home’s historic details. By Michael Slenske
122 CROSS CURRENTS An eye-catching mix of contemporary works and unique furnishings dominates the Santa Monica home of collector Cherine Magrabi Tayeb and her husband, Ahmed. By Jennifer Ash Rudick 132 KINDRED SPIRITS Design powerhouse Axel Vervoordt renovates a Belgian military barrack from 1614 as a minimalist paradise combining elements of East and West. By Thijs Demeulemeester 140 AHEAD OF THE CURVE With an upcoming exhibition at Kasmin in New York and his most important work about to debut in Belgium, master of steel sculpture Bernar Venet talks about his life as an artist and his private museum in France. By Ted Loos
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Paddle8 CEO Izabela Depczyk, here with a custom installation by Yok & Sheryo, at her company’s New York headquarters. She wears a dress and shoes by Dior. 14 GALERIEMAGA ZINE.COM
146 LIFE IMITATES ART Art, design, and fashion converge in moments of unexpected visual synchronicity. By Stefanie Li 154 PARIS MATCH Model Adriana Abascal and designer Luis Laplace collaborate on an artful refresh of her spacious Paris apartment. By Vicky Lowry
MEL ANIE DUNEA. ST YLED BY SHABDIECE ESFAHANI. HAIR AND MAKEUP BY MAYSOON FARA J
116 WOMEN CHANGING THE ART WORLD A gallerist, a pioneer in tech, an artist, an architect, a curator, and an adviser— this dynamic group of innovators is revolutionizing how we collect, appraise, and display art. By Pilar Viladas
22 EDITOR’S LETTER By Jacqueline Terrebonne 27 THE ARTFUL LIFE What’s happening in the worlds of art, culture, architecture, design, and travel. 36 BREAKTHROUGH Fashion houses are tapping blue-chip talents to conceive wearable works of art. By Jill Sieracki 40 MILESTONE Cindy Sherman has personified myriad characters in memorable photographic series throughout her career. Here, a snapshot of her most significant creations. By Lucy Rees 42 GALLERY TOUR Pace’s expansive new Manhattan
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Works from Bernar Venet’s “Indeterminate Lines” (right) and “Arcs” series have pride of place at the sculptor’s home and foundation in Le Muy, France.
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flagship breaks down the wall between gallery and museum with inventive uses of space that allow for diverse exhibitions and events. By Julie Baumgardner 48 FASHION With everything from the beautiful to the bizarre, exhibitions devoted to fashion draw record attendance around the globe. A look at what makes them both important and alluring. By Dan Thawley
66 PASSPORT The ancient city of Istanbul comes alive this fall with a major biennial, a contemporary art fair, and a new design for a celebrated museum. By Osman Can Yerebakan 74 ARTISAN Peter Speliopoulos translates his extensive fashion experience into a wondrous array of textiles and ceramics. By Jacqueline Terrebonne
56 ON OUR RADAR Four buzzworthy artists making waves with their unique works and singular processes.
76 JEWELRY From sculptural golden pieces to bejeweled adornments, the most breathtaking bijoux for the season. By Lucy Rees
62 BOOKS A captivating new monograph gives an intimate look at the jewelry of artist Daniel Brush. By Jacqueline Terrebonne
80 CONCIERGE Expo Chicago, an architectural biennial, and museum shows lure art and design connoisseurs to the Windy City this fall. By Melissa Feldman
RICARDO L ABOUGLE
DEPARTMENTS
10/10 000 From any given harvest, the average number of eaux-de-vie with the potential to one day join this blend are a rare few: only 10 out of 10 000. Selection is not only a science. It is an art.
MADE OF PRECISION
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88 DEPARTMENTS 82 SPOTLIGHT Sol LeWitt, Chuck Close, and Richard Prince are just a few of the boldfaced names who have experimented with printmaking at Two Palms over the past 25 years. By Hilarie M. Sheets
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92 AUCTIONS Notable sales from around the world. By Jeannie Rosenfeld 94 ENTERTAINING Event planning savant Bronson van Wyck shares the secrets behind some of his most unforgettable parties. By Jill Sieracki
84 REAL ESTATE Fashion brands extend their distinct aesthetics outside retail settings by curating artful spaces for top-tier residential developments. By Geoffrey Montes
96 DESIGN In the deft hands of these three talents marble hovers between furniture and sculpture. Plus, a look at the artistic side of ABC Stone. By Rima Suqi
88 CURATED A look at art-inspired rugs fit for a collector’s home. By Jacqueline Terrebonne
100 THE ARTFUL HOME Designer Richard Mishaan finds inspiration in a fantastical landscape by Jonas Wood. Produced by Jacqueline Terrebonne
90 BACKSTORY Dreams become a reality with the opening of Ruby City, San Antonio’s new David Adjaye–designed art space housing the collection of Linda Pace. By Jacoba Urist
162 SOURCES
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164 IN FOCUS Fashion wunderkind Zac Posen shares how paintings by his father, artist Stephen Posen, helped inform his career. As told to Jill Sieracki
COVER
Cherine Magrabi Tayeb’s Santa Monica home boasts an array of colorful artworks, sculptural furnishings, and architectural details. Photography by Roger Davies.
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CLOCKWISE FROM TOP LEFT: COURTESY OF THE ARTIST AND METRO PICTURES, NEW YORK; COURTESY OF VAN CLEEF & ARPELS; COURTESY OF DORIS LESLIE BL AU
Clockwise from far left: Cindy Sherman in her 2016 work Untitled #574. Earrings from Van Cleef & Arpels’s Romeo & Juliet collection. Doris Leslie Blau’s Curvilinear rug.
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Clockwise from center: A vignette from the “Christian Dior: Designer of Dreams” exhibition at the V&A. Bejeweled works by Daniel Brush. The Galerie team with artist Shirin Neshat and photographer Melanie Dunea.
Although couture is wonderful to admire in a museum or on the runway, the real alchemy happens when donning one of these works of art utterly transforms you. No one knows how to harness that power better than artist Cindy Sherman, who is consistently and impressively able to reshape herself into a wealth of colorful characters. (We take a look at her key series on page 40.) And she’s not the only master of transformation in these pages: We also profile six women who are each reshaping the art world in their unique sector for “Women Changing the Art World” (page 116). But of all the fashion, design, and art luminaries interviewed for this issue, it might be Christian Louboutin whose wise words resonated the most with me. Speaking about the upcoming retrospective of his designs at the Palais de la Porte Dorée in Paris during a recent trip to New York, Louboutin said, “It’s nice to open the book and show the inspirations and experiences from the different aspects of your world.” That’s exactly what we do in every issue of Galerie. Whether it’s artists, fashion designers, or collectors, we invite you into their worlds to share the excitement, beauty, and magic.
JACQUELINE TERREBONNE, Editor in Chief editor@galeriemagazine.com Instagram: @jpterrebonne
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CLOCKWISE FROM TOP: MEL ANIE DUNEA; ADRIEN DIRAND; TAKAAKI MATSUMOTO, COURTESY OF RIZZOLI; ALESSANDRO RUSSO
udging by how quickly the “Christian Dior: Designer of Dreams” exhibit sold out at the Victoria and Albert Museum and by the record crowds that lined up to see other like-minded installations at the Metropolitan Museum of Art and Musée des Arts Décoratifs, there’s no question that fashion has secured its place as an art form. We take a closer look at this phenomenon in our story “Behind the Seams” (page 48), spotlighting how the worlds of art and fashion are colliding more than ever. Throughout the issue, we offer a bounty of examples—from Louis Vuitton’s artist collaboration handbags to sculptor Daniel Brush, whose new monograph highlights his wearable works of art made from fine metals and rare jewels.
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CULTURE • DESIGN • TRAVEL • SHOPPING • STYLE
/ BOOKS /
TAKE A BOW
A
s Chanel’s creative director, the late Karl Lagerfeld transformed Paris’s historic Le Grand Palais into everything from an island paradise with 266 tons of sand to a NASA-worthy launch site centered around a massive Chanel-emblazoned rocket ship for his irresistible fashion shows. These elaborate spectacles are among the 21 documented in the
Scenes from some of Karl Lagerfeld’s spectacular Chanel shows, including three for his spring/summer collections (from top): 2018, 2019, and 2010. GALERIEMAGA ZINE.COM
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“He made people laugh and was polite to the point of graciousness,” writes Simon Procter
/ HOTELS /
MOUNTAIN HIGH An escape to Blackberry Mountain, the new sister resort of the famed farm-to-table paragon Blackberry Farm, is more than just an adventure in outdoor living. Of course hiking, rock climbing, and mountain biking are all on the agenda, but so are classes in painting, basket making, and throwing pottery. Set on 5,200 acres of nature nestled in the Great Smoky Mountains, the resort is comprised of a series of cabins and cottages meant to evoke the feeling of a gracious Southern home brimming with rustic elegance. To elevate the decor, the in-house design team tapped New York art adviser Nikki Brown to curate a top-notch collection that speaks to the property’s unique location. A native of Atlanta, Brown looked to artists from the South who are inspired by nature and scoured Instagram for emerging local talent. “I wanted to bring in artists you haven’t seen before and do commissions that feel extra special,” she says. Héctor Bitar used dried flowers found on the property to create a three-dimensional resin work, while New Orleanian Bradley Sabin installed one of his ceramic flower walls; a glasswork by local artist Richard Jolley is also featured. Paintings situated over the bedroom fireplace, rigged out with an ingenious pulley system, even serve a discreet purpose—covering the television, the buzzkill to any rural getaway. blackberrymountain.com, nikkibrownart.com —JACQUELINE TERREBONNE
/ D E S T I N AT I O N S /
The Frank Lloyd Wright–designed synagogue in Elkins Park, Pennsylvania, Beth Sholom, will be transformed this September by music, film, and exotic flowers for David Hartt’s work The Histories (Le Mancenillier), which explores the intersection of the black and Jewish diasporas. “What I find exciting,” says Hartt, “is to renegotiate how we experience the building and our experience of art.” For the installation, Hartt plans to hang planter beds filled with orchids that capture leaking rainwater in the main sanctuary as a way to explore the relationship between the natural landscape and the built environment. Hartt made films in Haiti and New Orleans that, when presented in the room, will conjure “the beautiful slippage between one cultural space and another.” Ethiopian pianist Girma Yifrashewa’s score will be reinterpretations of compositions by 19th-century American composer Louis Moreau Gottschalk, who was known for incorporating African-American and Afro-Caribbean vernacular music into his classical pieces. “Gottschalk became a cipher through which to explore the cultural histories and the movement of people through different kinds of landscapes,” says Hartt. davidhartt.net, bethsholomcongregation.org —ROZALIA JOVANOVIC
TEMPLE OF BLOOM
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CLOCKWISE FROM TOP LEFT: COURTESY OF RIZZOLI; INGALLS PHOTOGRAPHY (2); DARREN BRADLEY PHOTOGRAPHY
new book Lagerfeld: The Chanel Shows (Rizzoli, $75) by renowned British photographer Simon Procter. In addition to sweeping panoramic photos of the imaginative sets, the tome also captures Lagerfeld’s coveted designs in exquisite detail. Yet it’s Procter’s personal account of the iconoclast that paints the most revealing portrait. “He made people laugh and was polite to the point of graciousness,” writes the lensman in the book’s preface. “I think we can all learn something from that.” rizzoliusa.com —GEOFFREY MONTES
WHERE TO GO IN LONDON / D E S T I N AT I O N S /
LONDON CALLING
FAIRS: For leading 20th-century design and decorative art blended smartly with visual art and photography, PAD (September 30 to October 6) is among the best. Look for Chahan Minassian’s astounding collaboration with Colnaghi and a compelling group show at South African gallery Southern Guild. Frieze London and Frieze Masters take the stage from October 3 to 6. Featuring over 160 galleries from across the globe, Frieze London will introduce Woven, a new themed section presenting artists working in textiles and weaving. At Frieze Masters, look for solo presentations by Rachel Whiteread, Susan Hiller, and Nam June Paik. Rounding out the weekend, the 1-54 Contemporary African Art Fair at Somerset House presents solo shows by Ibrahim El-Salahi, Mohau Modisakeng, and Chourouk Hriech. EXHIBITIONS: Significant museum shows pack the months of September and October. Not to be missed are “Tim Walker: Wonderful Things” at the Victoria and Albert Museum, opening on September 21, and Elizabeth Peyton’s celebrity portraits at the National Portrait Gallery from October 3 to January 5, 2020. Artist Kara Walker unveils her site-specific work for Tate Modern’s annual Hyundai Commission (October 2 to April 5, 2020), and the Zabludowicz Collection unfurls a new video commission by American artist Shana Moulton. Also be sure to catch Japanese architect Junya Ishigami’s layered slate canopy Serpentine Pavilion, inspired by roofs seen around the world, before it closes on October 6. —R.J.
From top: Tilda Swinton (2018) from Tim Walker Studio. François CantePacos’s Cyclade cabinet from Yves Gastou Gallery will be on view at PAD London. Look for Pussy Riot (2015) by Chitra Ganesh at Frieze London. 30
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HARRODS
The U.K.’s most celebrated department store has opened the David Collins Studio–designed refresh of its original food halls, which debuted in the early 1900s. Dedicated areas offer seafood, steakhouse fare, pasta, and wine. harrods.com
SETTE
The team behind New York’s famed Scarpetta debuted its first restaurant overseas—Sette, at London’s Bulgari Hotel. Enjoy a decadent meal of short rib and bone marrow agnolotti, then head downstairs for cocktails at Nolita Social. settelondon.co.uk
CLARIDGE’S
A destination for the royal family since the 1860s, Claridge’s has unveiled the Empress Eugenie Suite, which is embellished with luxurious Art Deco details and Victorian elements fit for a queen. claridges.co.uk
CLOCKWISE FROM TOP: TIM WALKER STUDIO; COURTESY OF HARRODS; COURTESY OF SETTE; COURTESY OF CL ARIDGE’S; COURTESY OF THE ARTIST AND GALLERY WENDI NORRIS, SAN FRANCISCO; COURTESY OF YVES GASTOU
As the birthplace of Pop Art, punk, and the YBA movement, London remains a constant on the art forefront. This year promises to be no different, as a number of can’t-miss art fairs and exhibitions are slated for fall.
BUILDING BLOCKS Originally founded by the Phrygians some 3,000 years ago, Eskişehir will soon welcome the Odunpazari Modern Museum, the first-ever institution dedicated to contemporary art in the Turkish city. Located 190 miles southeast of Istanbul, the 48,000-square-foot building by Kengo Kuma & Associates pays homage to the local history of wood trading with a stacked-timber design that riffs on the region’s Ottoman-era dwellings. The mastermind of the ambitious venture is construction mogul and art aficionado Erol Tabanca, whose 1,000-piece collection, which includes works by Jaume Plensa, Robert Longo, and Sarah Morris, will be housed inside. Curated by Galeri Nev cofounder Haldun Dostoğlu, the inaugural exhibition opens in September and will showcase more than 200 works by 60 leading Turkish artists, plus a major site-specific installation by Japanese bamboo master Tanabe Chikuunsai IV, a longtime collaborator of Kuma’s firm, who strikes the perfect balance between art and architecture. omm.art —G.M.
/ FILMS /
GOLDEN RULE
Based on the Pulitzer Prize–winning novel by Donna Tartt, The Goldfinch tells the story of Theodore Decker, a young teenager whose life is drastically altered when his mother is killed during a bombing at the Metropolitan Museum of Art. The tragic event acts as a catalyst, propelling Decker from New York to Las Vegas to Amsterdam as he hides a major secret: He stole a 17th-century Dutch painting of a bird chained to a perch from the museum to cling to the memory of his mother. Directed by John Crowley and costarring Nicole Kidman and Ansel Elgort, the film opens in theaters on September 13. —ASHLEY PETRAS 32
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TRIPLE CROWN
It’s not often that an artist can claim three major institutional exhibitions taking place simultaneously in one city, but that’s exactly what’s happening for Pope.L, a visionary African-American artist whose provocative performances and interventions in public spaces have been shaking up the status quo for the past four decades. First up is “Conquest,” a project with New York’s Public Art Fund, where over a hundred people take part in one of the artist’s iconic “crawls,” a radical act where participants drag their body across city streets on September 21. Then, kicking off on October 21, the Museum of Modern Art will host an exhibition focusing on 13 of Pope.L’s most career-defining works, including ATM Piece (1997) and Eating the Wall Street Journal (2002), a performance where he chewed on a stack of newspapers to challenge society’s obsession with wealth and power. On October 10, at the Whitney Museum of American Art, Pope.L will unveil Choir, a continuously flowing fountain system where the sound of water being funneled through copper pipes into a massive tank will be mixed with historical audio recordings and amplified beyond the gallery in a powerfully immersive experience. “Pope.L’s longtime investigation of materials, identity, and society has deep resonance with the challenges that the U.S. faces now,” says Whitney curator Christopher Lew. “He is at the top of his game, making some of the most incisive and powerful work of the moment.” —LUCY REES
CLOCKWISE FROM TOP LEFT: BETUHAN KESKINER; AURÉLIEN MOLE, COURTESY OF THE ARTIST, L A PANACÉE MOCO AND MITCHELL-INNES & NASH, NEW YORK; MACALL POL AY
/ EXHIBITIONS / / MUSEUMS /
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Clockwise from top: A 1969 photograph of models wearing dresses by Pierre Cardin. A reception area designed by Charlotte Perriand. Rashid Johnson’s Untitled Escape Collage (2018).
What’s On View
FALL EXHIBITIONS CELEBRATE FASHION, ART, AND DESIGN IN THE U.S. AND ABROAD
Rashid Johnson: The Hikers
A Chicago native, Rashid Johnson broke onto the international art scene as a photographer, but today he is lauded for his more conceptual work expressed in painting, sculpture, installation, performance, and video. After being honored with the prestigious Aspen Award for Art last year, Johnson is presenting a major work with live performance elements marking his first-ever choreographed project. aspenartmuseum.org BROOKLYN MUSEUM THROUGH JANUARY 5, 2020
Pierre Cardin: Future Fashion
The excitement of space travel was a major inspiration for the legendary French
couturier Pierre Cardin, whose bold, futuristic looks defined the 1960s, ’70s, and ’80s. Timed with the 50th anniversary of the Apollo 11 moon landing, this retrospective spans seven decades of his work and features over 170 objects, including haute couture, ready-to-wear, and accessories as well as his lesser-known foray into furniture and industrial design. brooklynmuseum.org THE MET BREUER, NEW YORK SEPTEMBER 24–JANUARY 12, 2020
Vija Celmins: To Fix the Image in Memory
Throughout her more than 50-year career, the Latvian-American artist Vija Celmins has been celebrated for her exquisitely detailed and poetic depictions of natural environments and phenomena such as oceans, spiderwebs, and the night sky. This retrospective, which debuted in San Fransisco last year, showcases some 120 works, from her earliest paintings made in the 1960s in Los Angeles to her most recent creations in New York. metmuseum.org HIRSHHORN MUSEUM AND SCULPTURE GARDEN, WASHINGTON, D.C. SEPTEMBER 27— SEPTEMBER 2020
Lee Ufan: Open Dimension
A founder of Japan’s Mono-ha, or “School of Things,” movement, the octogenarian Korean artist Lee Ufan’s work emphasizes the relationship between site, materials, and the viewer. This yearlong exhibition features ten new monumental steeland-rock sculptures from the artist’s “Relatum” series, which will be presented on the 4.3-acre outdoor plaza. Don’t miss the accompanying 34
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display of Lee’s minimalist paintings on the museum’s third floor. hirshhorn.si.edu FONDATION LOUIS VUITTON, PARIS OCTOBER 2—FEBRUARY 24, 2020
Charlotte Perriand
At a time when women’s options in the design field were mostly limited to textiles, crafts, and ceramics, the brilliant modernist pioneer Charlotte Perriand was famously rejected by Le Corbusier before later being offered a place in his studio. Her coveted furniture and designs will be installed across all four floors of the museum’s Frank Gehry building in meticulously reconstructed spaces alongside the artworks by the likes of Pablo Picasso and Fernand Léger that influenced her. fondationlouisvuitton.fr —LUCY REES
FROM TOP: MARTIN PARSEKIAN; COURTESY OF ARCHIVES CHARLOTTE PERRIAND; YOSHI TAKATA © PIERRE PELEGRY
ASPEN ART MUSEUM THROUGH NOVEMBER 3
SAN FRANCISCO LOS ANGELES LAGUNA NIGUEL LAS VEGAS DALLAS ATLANTA HIGH POINT NEW YORK
FURNITURE • LIGHTING • ACCESSORIES • OUTDOOR • C.O.M • TO-THE-TR A DE • HOSPITA LIT Y
8 0 0 . 2 74 . 7 7 3 0 | PA L EC E K .C O M
Clockwise from top: Artist Tschabalala Self. A detail of Self’s studio. Her Artycapucines bag, one of six designs for Louis Vuitton. Jonas Wood’s contribution to the collection.
Canvas to Couture
DESIGNERS ARE MELDING FASHION AND ART INTO COVETABLE, MUSEUM-WORTHY COLLABORATIONS B Y J I L L S I E R A C K I
SHEILA HICKS X STELLA M C CARTNEY
ARTYCAPUCINES BY LOUIS VUITTON
A group show with original pieces by buzzworthy artists Sam Falls, Urs Fischer, Nicholas Hlobo, Alex Israel, Tschabalala Self, and Jonas Wood would light the art world on fire. Luckily, such an assemblage exists, not at any gallery or museum but at Louis Vuitton. The six are the first to tackle a reimagining of the atelier’s signature Capucines top-handle bag for the collection, dubbed Artycapucines. For Self that translated into layering an assortment of pieces shaped like the brand’s diamonds, flowers, and monogram. “I approached the project through the idea of deconstruction and reconstruction, which is fundamental to my practice,” says Self, who created a vibrant turquoise satchel. “The most challenging part of making the bag was choosing the base color—I wanted to find something iconic that could go with anything.” The Artycapucines is just the latest in Louis Vuitton’s longstanding tradition of working with artists. In recent years, such notables as Stephen Sprouse, Richard Prince, Cindy Sherman, and Yayoi Kusama have all created limited-edition bags for the atelier. “When Louis Vuitton approached me about the collaboration, I was working on my ‘Wave’ paintings,” says Israel, whose bag is awash in sherbet shades and accessorized with surfboard fins that double as a comb and a mirror. “It was a completely natural transferal of motif from the walls of my studio right onto the bag; adding the surfboard fins and altering the bag’s silhouette were key to shaking things up.” us.louisvuitton.com 36
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A model wearing one of Sheila Hicks’s pieces during Stella McCartney’s fall 2019 ready-towear show at Paris Fashion Week.
FROM TOP: COURTESY OF LOUIS VUITTON (4); COURTESY OF STELL A M C CARTNEY
Artist Sheila Hicks’s groundbreaking textile works have beguiled many with their inventive techniques and unique patterns. Recent compelling exhibitions at the Nasher Sculpture Center and Dallas Museum of Art have continued to raise her status in the art world six decades into her career. This past spring, she enchanted a new audience during Paris Fashion Week, when the artist reconceived her work on a more wearable scale for designer Stella McCartney’s fall line. Presented in colorways similar to the clothing’s palette of earth tones and jewel colors, Hicks’s textural necklaces, belts, and earrings—which the artist calls “adornments”— complemented McCartney’s ready-to-wear collection in shapes akin to some of her most outstanding artworks, including Menhir (1998–2004), Questioning Column (2016), and Strophes (2014–15). sheilahicks.com, stellamccartney.com
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From the Dior– Raymond Pettibon collaboration (from top): An embroidered silk organza shirt. A saddle pouch keyring in printed grained calfskin. An embroidered twill combat vest being worked on by an artisan. A gold-tone brass and black resin ring.
RAYMOND PETTIBON X DIOR The house of Christian Dior is no stranger to the art world, especially since the renowned couturier started his career path as a gallery owner showing legends such as Pablo Picasso, Marcel Duchamp, and René Magritte. His artistic legacy lives on with the label’s covetable collaborations with bags designed by artists such as Mickalene Thomas, Pae White, and Lee Bul. Now Dior Homme will allow men to become walking canvases as well with a collection created through a partnership of Dior’s artistic director, Kim Jones, and artist Raymond Pettibon. Exuberant drawings and works on paper, including No Title (She Must Know) (2010) and No Title (Take It From . . . ) (2010), assume a new shape in a series of shirts and knitwear, many featuring extensive beading and embroidery. “The arts and fashion are in fact intimately interwoven,” says Pettibon, “and I am always pleased to see my work come to life in another form.” Some of the Dior Homme pieces feature entirely new works by Pettibon, whose art is currently on display in the group show “Beyond the Cape! Comics and Contemporary Art,” at the Boca Raton Museum of Art in Florida through October 6. raypettibon.com, dior.com 38
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Over the course of her 80-year career, French artist Louise Bourgeois’s thought-provoking works explored reoccurring themes, from fear to family, sexuality to spiders. Two of her most recognized sculptural shapes—spirals and human forms—are transformed into a limited-edition collection of wearable art for designer Simone Rocha’s fall 2019 collection. “I love the shape of Spiral Woman [2003], the volume and femininity, the lines I could be inspired by; I also was intrigued by the ambiguity of Untitled [1995],” says Rocha, who captured the artworks as a feminine outline. “I feel very connected to her work and feel that she put a lot of herself into her work, which I do as well.” In addition to the two styles of 24K-gold-plated sterling-silver earrings, which are limited to 250 pairs each, Rocha created a series of dresses and coats using patterns and embroidery pulled directly from Bourgeois’s artwork in collaboration with the Easton Foundation, which is dedicated to the preservation of her legacy. The French artist has also been paired with Picasso in a dual exhibition exploring themes of sexuality in their works, currently on view at Hauser & Wirth Zürich through September 14. “The first time I saw her work it felt so personal. It was as if my feelings were down on a page—the words, the colors, the hand stitching,” says Rocha of Bourgeois. “It was like my teenage diaries, in a more beautiful form.” hauserwirth.com, simonerocha.com Simone Rocha for Hauser & Wirth’s Louise Bourgeois Spiral Woman earrings.
FROM FAR LEFT: COURTESY OF DIOR (4); COURTESY OF SIMONE ROCHA
LOUISE BOURGEOIS X SIMONE ROCHA
ROMAN BAROCCO COLLECTION | robertocoin.com
Cindy Sherman
THE ARTIST SPENT FOUR DECADES TRANSFORMING HERSELF INTO HUNDREDS OF GUISES, CHALLENGING THE ROLE OF PORTRAITURE IN ART. WITH A MAJOR NEW RETROSPECTIVE OF HER WORK AT LONDON’S NATIONAL PORTRAIT GALLERY, WE EXAMINE HER KEY SERIES
“Centerfold,” Untitled #96, 1981 Commissioned for Artforum, the challenging, intimate photographs of young women never ran in the publication. They did, however, launch Sherman into the spotlight when they were exhibited at Metro Pictures in 1981 to critical acclaim.
“The Society Portraits,” Untitled #466, 2008 Our cultural obsession with youth and beauty is highlighted in this series of powerful Manhattan society doyennes donning elaborate costumes, heavily made-up faces, and signs of cosmetic surgery.
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“I think of myself as an artist whose medium is photography,” says Cindy Sherman “Untitled Film Stills,” Untitled Film Still #21, 1978 Considered Sherman’s most iconic series, these quiet, chilling scenes from fictional B-grade movies depict her disguised in archetypal feminine roles—housewife, lover, and sex kitten—to subvert female stereotypes in the media. “Clowns,” Untitled #414, 2003 An artist who plays multiple roles, Sherman portrayed clowns in a way that was an apt extension of her practice. “I was trying to figure out the characters underneath the clown makeup,” recalls Sherman. “I think the clowns were the most challenging and fun to do.”
“Untitled” #602, 2019 Exemplifying how Sherman has come full circle, this self-reflective work depicts her wearing a T-shirt from her earlier “Untitled Film Stills” series. “While the performative part in my studio is half the work,” says Sherman, “it’s not finished until I’ve added the digital background, which is more akin to a painter adding layers, colors, and collaging images.” —LUCY REES
COURTESY OF THE ARTIST AND METRO PICTURES, NEW YORK
A Cindy Book, 1964–75 A 26-page family photo album Cindy Sherman started when she was nine years old reflects an early fascination with constructing her appearance.
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Change of Pace
WITH ITS TOWERING NEW FLAGSHIP, PACE REINVENTS THE CONCEPT OF A GALLERY SPACE
rne Glimcher launched Pace Gallery in 1960 with a small dream. “We wanted a life in art,” he says. “I never thought that we would earn more than enough to send our children to school.” Decades later, Pace—now overseen by Arne and his son Marc Glimcher—is one of the most powerful galleries in the world with outposts in seven cities, including New York; Palo Alto, California; Hong Kong; and Geneva, and an extensive roster of blue-chip talent like James Turrell, Mark Rothko,
“It’s for the artists, and it’s for the public,” says Marc Glimcher 42
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THOMAS LOOF
Pace Gallery’s new flagship includes a 4,800-square-foot outdoor exhibition space on the sixth floor. Left: Arne and Marc Glimcher take in the view from the future gallery site.
“Art evolves—we will always have artists, but what they do will not be the same,” says Arne Glimcher
Agnes Martin, Robert Irwin, and David Hockey, as well as estates like Robert Ryman. But come September, Pace plans to raise the bar even higher—both metaphorically and literally—by opening a new, 75,000-square-foot flagship in New York’s Chelsea neighborhood. Designed by Ian Schrager–preferred architects Bonetti/Kozerski, the eight-story building dedicates five floors to exhibition galleries, including floor six, which will offer outdoor space for sculpture and events, and floor seven, allotted to performance art. Also on site is a 10,000-volume research library comprised of books from the Glimchers’ extensive personal collection, and perhaps the feature they are most giddy about—open storage of 500 artworks in the stacks, available for everyone to view. “One of the challenges, which actually made our job more interesting, was to weave together all the functions that are part of the art gallery business but that normally are not necessarily integrated in the same building,” says architect Enrico Bonetti. And while the gallery will still support its established collector clientele, the Glimchers’ aim with this renovation was to further create an experimental, museum-like atmosphere by shifting its programming to include talks, lectures, performances, and film series. “Art evolves—we will always have artists, but what they do will not be the same,” says Arne. “That’s what this gallery is about: artists coming in, changing things, invitations to dancers, people who are involved in what makes art.” “It’s for the artists, and it’s for the public,” echoes Marc. “Collectors today are not buying art to separate themselves from people; they’re buying to connect themselves to a community.” Pace, which will celebrate its 60th anniversary next year, inaugurates the new space with exhibitions of work by Alexander Calder, Fred Wilson, Hockney, and the gallery’s first New York show by on-the-rise abstract painter Loie Hollowell. “I had the very original idea, before I opened up as a gallery, that I wanted to be the director of the Museum of Modern Art,” says Arne. “And now, in our own funny way, we have our own museum.” pacegallery.com —JULIE BAUMGARDNER
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FROM TOP: THOMAS LOOF; COURTESY OF THE ARTIST AND PACE GALLERY
From top: Pace Gallery’s seventh floor will be devoted to new media works, live performances, and public programming. Loie Hollowell’s Standing in Blue (2018).
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Behind the Seams
FASHION EXHIBITIONS ARE DRAWING MASSIVE CROWDS AT MUSEUMS GLOBALLY WITH INVENTIVE STORYTELLING AND DAZZLING DISPLAYS
O
nce scorned by high-brow institutions as celebrating a lesser craft, fashion exhibitions have become highly attractive additions to the annual programming of museums and cultural centers across the globe. Record crowds have lined up in New York, Paris, London, and Montreal to see meticulously curated displays of haute
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couture by some of the most esteemed designers on the planet. A select few curators hold the keys, and in New York one has to look no farther than the Costume Institute’s Andrew Bolton, who, following in the footsteps of his predecessor, Harold Koda, has animated the Metropolitan Museum of Art with some of the most memorable displays of the past decade. From the reverent “Savage Beauty” in 2011, exploring the work of Alexander McQueen, and more recent masterpieces such as the record-breaking “Heavenly Bodies: Fashion and the Catholic Imagination” in 2018 to this year’s fun-filled “Camp: Notes on Fashion,” Bolton’s work has a marked flair for drama, and his ability to intertwine the worlds of haute couture and avant-garde contemporary design makes a strong case for the genre as a spectator sport. Across the pond in Europe, Paris and London are the undoubted capitals of the fashion exhibition, with the Palais Galliera and Musée des Arts Décoratifs in the former and the Victoria and Albert Museum in the latter all showcasing major
ADRIEN DIRAND
“Christian Dior: Designer of Dreams” traces the history and impact of the influential couturier at the Victoria and Albert Museum in London.
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FROM TOP: ZACH HILT Y/BFA; JOHNNY DUFORT, BOTH COURTESY OF THE METROPOLITAN MUSEUM OF ART
Ensembles by Marc Jacobs from his 2016 spring/summer ready-to-wear collection. Above: Installation view of Andrew Bolton’s exhibition “Camp: Notes on Fashion,” the latest iteration of The Met’s annual spring blockbuster.
retrospectives in recent years, including such highly regarded names as Azzedine Alaïa, the house of Hermès (in the years of Belgian wunderkind Martin Margiela), and Cristóbal Balenciaga. (Balenciaga’s revolutionary haute couture has warranted multiple shows in the past decade, and the designer boasts his very own dedicated museum outside of Bilbao, Spain.) The V&A’s recent runaway success, “Christian Dior: Designer of Dreams,” was so popular it sold out three weeks after opening in February and has been extended to September. Olivier Gabet, director of the Musée des Arts Décoratifs, who helmed the original exhibition in Paris, understands the attraction of these shows. “If you have no background or knowledge, you can still enjoy a fashion exhibition and be transported by the visual beauty, the glamour, the dream,” he says. “I want to make shows that are playful and joyful—that celebrate the mind of a designer.” In Paris, the independent curator Olivier Saillard’s creative spirit has produced sartorial exhibits mounted in unexpected locations, from Balenciaga’s work placed in dialogue with classical statuary inside the Musée Bourdelle to the work of Comme des Garçons’ Rei Kawakubo encased in plastic bubbles inside the lime-green Cité de la Mode et du Design building on the edge of the Seine. His performances, too, have become the stuff of legend, including a collaboration with Tilda Swinton (parading, with gloves, museum garments no longer authorized to be worn), T-shirt-draping exercises, and conceptual presentations featuring French haute couture models from the 1980s and ’90s. Also pushing fashion’s agenda in dialogue with art and design, former Arts Décoratifs chief curator Pamela Golbin is credited with the powerful Dries Van Noten retrospective of 2014, which commingled his richly adorned designs with the paintings, sculptures, ethnic objects, antique textiles, and other artifacts that inspired them. That show exemplified what ties these and other major costume curators together—their acknowledgment of apparel in its wider context, building exhibitions that reflect the historical and spatial contexts of clothing and its position as a cultural signifier. It’s not just curators who are embracing the craft as an exhibition; designers, too, are responding to their significance. “If you’re not in the fashion world, you’ll
San Francisco Design Center Te l e p h o n e : 4 1 5 . 6 2 6 . 6 8 8 3 w w w. d e s o u s a h u g h e s . c o m
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only see the result of the designer’s work without knowing where they have come from, the path they took,” says Christian Louboutin, who is working with Gabet on an exhibition of his work at the Palais de la Porte Dorée in 2020. “It’s nice to open the book and show the inspirations and experiences from the different aspects of your world.” Helping bridge the gap between creators and curators and their audiences has been social media. Fashion as a phenomenon has never been more popular than in the digital age, with the Internet creating an immense global interest in what was previously a niche luxury microcosm. Once only available to a select few customers in elite world capitals and those hungry enough to go searching for the artifacts of bygone sartorial styles, high fashion has been radically changed by the smartphone, which has increased its accessibility and spurred an ever-growing appreciative audience. “Fashion really speaks to people by the nature of us getting dressed every day,” says Denver Art Museum’s curator of textile art and fashion, Florence Müller, who oversaw the institution’s recent “Dior: From Paris to the World” exhibition as well as the 2012 “Yves Saint Laurent: The Retrospective.” “But haute couture is something very different. Fashion is a form of art that is very alive and the closest to people.” —DAN THAWLEY 52
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CLOCKWISE FROM TOP: ADRIEN DIRAND; STANY DEDEREN, COURTESY OF MOMU, ANTWERP; PIERRE ANTOINE
Clockwise from top: Haute couture Dior garments in a stunning ethereal setting at the V&A. “Margiela: The Hermès Years” at MoMu, Antwerp’s fashion museum. Designs by Cristóbal Balenciaga paired with classical sculptures at the Musée Bourdelle.
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L I S A FAY N E C O H E N, S U E H O S T E T L E R & JAMES COHEN
GUESTS INSIDE KEN FULK’S STUDIO
GALERIE CELEBRATES CREATIVE MINDS HONOREES
C H E F YA N N N U R Y
Galerie celebrated its Creative Minds issue on April 24 with a spirited bash held at the chic Tribeca studio of designer Ken Fulk, one of the night’s honorees.
KEN FULK
ELIZABETH MARGULIES & ANNE MARGULIES MIRIAM PETERSON & N AT H A N R I C H
VA L M O N T G I F T B A G
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Over 160 guests enjoyed hors d’oeuvres created by chef Yann Nury, who was also an honoree. The fête included many notable figures, including Galerie founder and editorial director Lisa Fayne Cohen and her husband, James Cohen; Galerie editor in chief Jacqueline Terrebonne; art advisor Andrea Glimcher; architect William T. Georgis; and art consultant Elizabeth Margulies. In addition to Fulk and Nury, many of the Creative Minds honorees were also in attendance, including Nathan Rich and Miriam Peterson of interdisciplinary design studio P.R.O., designer Ryan Korban, and artists David Wiseman and Paola Pivi. The event partners, Artistic Tile, Hennessy XO, Lladró, and Valmont, had activations that guests could experience within the loft. And naturally, the art on hand also packed a punch. Artist Joseph La Piana, whose installation Tension Park Avenue was featured in the Spring issue, screened his documentary short. Fulk also brought a bit of cheekiness with two shirtless male models wearing masks in front of Galerie’s neon “Live Artfully” sign that had guests posing all night long.
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Diedrick Brackens. Right: When No Softness Came (2019) is now in the Brooklyn Museum collection.
Artistic Thread
THESE BOLD ARTISTS ARE CHANGING THE CONVERSATION AROUND PAINTING,
Diedrick Brackens
For centuries, tapestry has been one of the most powerful forms of storytelling. And there are many tales to be told in the work of Diedrick Brackens, a Texas-born, Los Angeles–based artist who is bringing the medium into the 21st century with striking contemporary weavings that explore the complexities of being black and queer in the U.S. today. Last fall, Brackens won the Wein Prize from the Studio Museum in Harlem. At Frieze New York, his weaving When No Softness Came (2019) was snapped up by the Brooklyn Museum. “There aren’t really any images of black folk in the countryside, and I wanted to challenge that,” says Brackens, who encodes his work with allegory, symbolism, and myth to convey difficult subjects. His process draws on the traditions of textile art, stitching together the long history of quilt making in the American South, the richness of Flemish tapestries, and the vibrancy of West African strip weaving. “I wanted to engage with African textiles to think about where my ancestors would have 56
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come from, even if it was centuries removed,” Brackens says. “In a way, these are all the things that make up American culture.” His most recent large-scale pieces are currently on display in a significant exhibition, “Darling Divined,” in the lobby gallery of the New Museum, marking his first solo museum show in New York. Brackens achieves his unique color palette—shades of pink, lavender, and ocher—by hand dyeing all the cotton before beginning work on a traditional loom, where he embraces the imperfections. Up next are an exhibition focused on the significance of flags, at Tennessee’s Sewanee: The University of the South; a residency at the University of California at San Diego in the fall; and a body of new wall hangings for his gallery Various Small Fires for Art Basel in Miami Beach. “It’s a meditative, relaxed state, and you get to disappear from everything else and go into a trance,” the artist says of his process. “I always compare it to a long road trip. You just drive.” diedrickbrackens.com —LUCY REES
FROM TOP: KAT ALYST, COURTESY OF THE ARTIST; STEFANIE LI
PORTRAITURE, AND TEXTILES
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paradise found
Melike Kara’s bold, sumptuous paintings resist easy interpretation. Androgynous figures rendered in hues of blue, green, or purple dance across the canvas. “They are equally everyone and everywhere,” the young talent says from her studio in Cologne, Germany. “What they do have is a body, a heart. They feel love, joy, fear, anger. The canvases capture that.” Born and raised in Germany, Kara is also part of a Kurdish Alevi family that was forced to flee Turkey due to persecution—a theme that Kara has only recently started to explore more actively in her art. In a show this past winter at her Cologne gallery, Jan Kaps, she displayed a highly personal video, Emine (2018), which depicts her aging grandmother, the only one in her family who still speaks their native Zazaki language. “There’s an inner dialogue going on,” says Kara. “What does it mean to have Kurdish roots? I don’t have an answer yet.”
Kara starts each day in the studio by lighting candles at a shrine and sometimes reading a poem. She forgoes sketching and begins by directly painting from one end of the canvas. “Because I’m unsure what will happen when I get to the center, I give all that uncertainty and chaos in my mind something to work with,” says the painter of her restricted color palette. It’s been a buzzy few years for Kara, who is also represented by Peres Projects in Berlin. She’s had acclaimed exhibitions at the Yuz Museum in Shanghai and the Witte de With Center for Contemporary Art in Rotterdam. (The latter show is currently on view.) Upcoming is her first solo exhibition Stateside, at Salon 94 in New York in September. “I first saw her canvases at an art fair, and they immediately caught my attention,” says Salon 94 founder Jeanne Greenberg Rohatyn. “These figures appear engaged in some act of healing yet sit so comfortably on the canvas, as though they’d been there forever. Something extraordinary is taking place.” melikekara.com —L.R.
Farah Atassi
Farah Atassi’s energetic work mixes colorful motifs and patterns that feel equally drawn from Islamic textiles, modern masters, and Memphis design to jazzy effect. Two years ago, the artist began exploring nudes for a series of paintings that debuted in June at Almine Rech in her first solo show at a New York gallery. Atassi never paints from live models. “I like to do samplings,” she says. “I take a leg here, I take a head there, and then I invent. I don’t care about reality.” She builds a series by setting up multiple canvases at the same time; each is done by first 58
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CLOCKWISE FROM TOP: KRISTIEN DAEM, COURTESY OF JAN KAPS; REBECCA FANUELE, BOTH COURTESY OF THE ARTIST AND ALMINE RECH
Melike Kara
Clockwise from top: Recent paintings in oil stick and acrylic by Melike Kara on view at the Witte de With Center for Contemporary Art in Rotterdam. Farah Atassi’s 2019 painting Woman with Brooch. Atassi in her Paris studio.
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From top: A 2018 acrylic and oil on canvas titled Siri Calls for Help by Robin F. Williams. The artist in her Brooklyn studio.
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Robin F. Williams
Social media is drawn to the fun and very female subject matter of Robin F. Williams’s paintings—women lounging around or acting playful in poses and scenes that feel sourced from advertisements and pop culture. “Figuration looks great on Instagram,” she says. Although the subject is what draws people in, Williams hopes it’s how she builds a painting—employing a variety of techniques that include traditional oil painting, airbrushing, staining raw canvas, and applying very highly textured acrylic—that keeps viewers engaged. Initially, she studied illustration as an undergraduate at the Rhode Island School of Design and, following graduation, landed a gig in editorial illustration. “Ultimately, I didn’t work well with art directors,” she says. “My stuff was too weird.” After a string of group shows, Williams nabbed a solo presentation of her work at P.P.O.W. Gallery in 2011. But it was her 2017 exhibition—which was all about female desire—that put her on the map. “Robin can take a common image of female behavior as portrayed in the media,” says P.P.O.W. cofounder Wendy Olsoff, “and re-present it, showing the ludicrous subjugation of the female while allowing the audience to also see this for themselves.” This September, Los Angeles gallery Various Small Fires will mount a show of Williams’s creations that is two years in the making. Many of the paintings are horizontal to reflect the Columbus, Ohio–born artist’s interpretation of a West Coast perspective. “It has come into my work in different stages,” she says. “I do think California has a specific place in the American imagination.” robinfwilliams.com —R.J.
FROM TOP: COURTESY OF ROBIN F. WILLIAMS, VARIOUS SMALL FIRES AND P.P.O.W. NEW YORK; BRYAN DERBALL A
creating the setting, then adding figures and backgrounds. Next she addresses the paintings one by one and focuses on the details. Born in Belgium, Atassi attended Paris’s École des Beaux-Arts, where she studied art history, while in her work, she painted landscapes and portraiture, always tending toward the abstract. Her work has been exhibited at the Boghossian Foundation in Brussels, Palais de Tokyo and Centre Pompidou in Paris, and the Moscow International Biennale of Contemporary Art, and is in many prestigious collections, including the Marciano Art Foundation and Fondation Louis Vuitton. In November, Atassi will have a solo show at Le Consortium in Dijon, which will be her biggest institutional show to date; a show at Ghebaly Gallery in Los Angeles follows in March 2020. “It’s very challenging to be a painter today,” she says. “Nothing will be brand-new, so let’s play with it.” alminerech.com —ROZALIA JOVANOVIC
AMY MYERS
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Brush with Genius
From top: From a new monograph on artist Daniel Brush, this photograph shows a collection of his exceptional works. Creations inspired by Empress Cixi of the Qing dynasty.
DANIEL BRUSH’S WORKS OF WEARABLE ART ARE CHRONICLED IN A NEW TOME THAT’S A TESTAMENT TO HIS CRAFTSMANSHIP
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Kong in 2020. The show featured two series entitled “Necks” and “Cuffs,” including aluminum pieces that take more than 1,000 hours to sculpt by hand. Each is meant to be viewed as a whole body of work, not as individual pieces for sale. “He has a very specific personal contemporary vision,” says Nicolas Bos, president and CEO of Van Cleef & Arpels. “It’s not work you can see very easily, and we feel it is very fascinating in terms of style and technique.” The new monograph, which debuts in October, gives readers a rare look at Brush’s creations and inside his world with remarkably
TAKAAKI MATSUMOTO, COURTESY OF RIZZOLI
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ften the line between jewelry and art gets blurred, but with Daniel Brush the line is absolutely clear. The highly collectible, immensely covetable pieces he creates reside solely in the realm of art as his new monograph, Daniel Brush: Jewels Sculpture (Rizzoli Electa), clearly illustrates. The Metropolitan Museum of Art certainly considers him an artist, including his Torque necklace, made of aluminum and diamonds, not only in its permanent collection but also in last year’s exhibition “Jewelry: The Body Transformed.” In the accompanying book, curator Beth Carter Webb writes, “Consider the American artist Daniel Brush, whose painstaking, formidable artistry is steeped in extensive study of metallurgy and materiality.” She continues, “[His work] is at once rooted in tradition and utterly without precedent—redefining resplendence today.” Van Cleef & Arpels agrees, mounting a solo exhibition of the artist as part of its school for connoisseurs that educates on the craft of high jewelry, L’École, in New York and Paris, with plans for Hong
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Studio Glustin: sofa, coffee table and chandelier / Erwan Boulloud: pedestal / Daniel Louradour (1930-2007): paintings / Vintage: lamp Vallauris
FALL BOOKS WE LOVE
With exhibitions by everyone from Hilma af Klint to Frida Kahlo making recent headlines, women artists may finally be getting their due. It’s fitting, then, that Phaidon is releasing this comprehensive tome featuring over 400 pioneering female talents across half a millennium—all of whom made an indelible mark on the art world. Phaidon, $60 From top: Aluminum cuffs set with a variety of jewels. The cover of the new monograph.
personal text by Vivienne Becker and intimate photos by Takaaki Matsumoto, who often shot pieces alongside the designer’s collection of rare books. “Takaaki said the whole idea is letting readers crawl into your cave and experience your work,” says Brush, whose New York studio, which he inhabits with his wife, Olivia, is certainly worthy of exploration. A collection of over 1,000 pairs of scissors, soldier’s cutlery sets from the Civil War, and an ornamental turning lathe similar to the one King Louis XVI owned are just a few of the treasures filling the bookcases and tables. But so are the Moghul diamonds, Muzo mine emeralds, and Burma rubies. Brush’s 50-year career unfolds throughout the chapters. Born in Cleveland, he was a tenured professor at Georgetown but gave it up to move to New York and work as an artist, crafting large canvases and sculptures that just sometimes happen to take the form of jewelry. Since his first masterwork—an engagement ring for his wife—he has poured himself into designing exceptional pieces with no comparison. In the intervening years, he has cultivated a body of work with themes as varied as talismans, which he reimagines as pendants adorned with rare stones, and a collection of necklaces inspired by the history of the Dragon Lady, Empress Cixi of the Qing dynasty. But despite all the variations in style, the artist’s vision remains clear: “I would rather have the jewel wear the person, instead of the person wear the jewel.” danielbrush.com —JACQUELINE TERREBONNE 64
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Avedon: Behind the Scenes, 1964–1980
For 16 years Gideon Lewin served as printmaker and assistant to fabled photographer Richard Avedon, whose penetrating portraits of glamorous celebrities graced the pages of Vogue and Harper’s Bazaar. Filled with more than 200 photographs, this handsome volume also contains previously unheard anecdotes from Avedon’s most well-known exhibitions and shoots. PowerHouse Books, $70
Robert Stilin: Interiors
Acclaimed interior designer Robert Stilin’s first monograph encompasses 15 of his most personal projects—including his own SoHo loft. Adroitly captured by lensman Stephen Kent Johnson, the chic spaces illustrate Stilin’s expert ability to weave narratives by mixing muscular furnishings, sumptuous materials, and unexpected works of art. Vendome Press, $60
Worn on This Day: The Clothes That Made History
To compile this engrossing almanac, fashion historian Kimberly Chrisman-Campbell plucked 365 outfits from the past, one for each day of the year. Featuring everything from Wallis Simpson’s wedding gown (June 3) to the tattered clothing worn by a 9/11 survivor, the diverse selection of garments is rife with lessons about the enduring power of what we wear. Running Press, $15 — GEOFFREY MONTES
CLOCKWISE FROM FAR LEFT: TAKAAKI MATSUMOTO, COURTESY OF RIZZOLI (2); COURTESY OF PHAIDON; COURTESY OF POWERHOUSE BOOKS; COURTESY OF VENDOME PRESS; COURTESY OF RUNNING PRESS
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ISTANBUL PROVES TO BE AN ALLURING DESTINATION WITH A MAJOR BIENNIAL, A BUZZY ART FAIR, AND A NEW MUSEUM SPACE
Istanbul’s iconic Süleymaniye Mosque overlooks its bustling waterfront.
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Turkish Delight
locks of seagulls gliding through the tender September winds of the Bosphorus guide visitors to Istanbul’s Büyükada, the largest of a group of nine islands in the Sea of Marmara and one of the sites of the 16th Istanbul Biennial, which runs September 14 through November 10. Entitled “The Seventh Continent,” this year’s iteration visits themes of environmental collapse and human numbness toward amassing waste, adopting its title from the seven million tons of plastic—considered “a continent of debris”— discovered drifting across the Pacific Ocean. Curator Nicolas Bourriaud picked another curious location, the Istanbul Shipyards, which were founded 600 years ago during the rise of the Ottoman Empire, as the biennial’s main hub, as well as the Pera Museum, home to a broad array of historical regional art and artifacts. True to its theme, the biennial prompts minimal travel time and waste, occupying these three significant sites, which are within a small radius—a serendipitous plan, considering
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“The fair has played an integral role in developing the city’s thriving art scene, growing art market, and collector base,” says Ali Güreli the Eurasian metropolis’s colossal spread across both sides of the Bosphorus. Bourriaud’s choice of a man-made continent as a metaphor for this year’s biennial speaks to a broader statement on the fluid way histories, materials, and identities are intertwined without a geographical or thematic core. Take, for example, New York–based Polish painter Piotr Uklański’s “Ottomania” portraits, which study overlooked ties of Slavs to the East and subvert the tradition of “Orientalist” painting with depictions of European men in overtly Eastern attire. (Other big-name international artists showing at the fair are Glenn Ligon, Rashid Johnson, and Haegue Yang.) 68
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Coinciding with the biennial for the second time is Contemporary Istanbul, a remarkable art fair—now in its 14th edition—that brings together galleries from the East and West from September 12 to 15. The organization’s new artistic director, Anissa Touati, is spearheading a program that includes an exhibition of recently acquired artworks by 40 private Turkish collectors. “The fair has played an integral role in developing the city’s thriving art scene, growing art market, and collector base, offering a platform to present contemporary art to both local and international audiences,” says chairman Ali Güreli. “In 2018, we saw an increasing number of international collectors and groups visit.”
CLOCKWISE FROM TOP: COURTESY OF PERA MUSEUM © IKSV; COURTESY OF THE ARTIST (2); TIM GRAHAM/GETT Y IMAGES
Clockwise from top left: The Pera Museum. Evru/ Zush’s El Planeta de les Cuatre Llunas (2014). Untitled (Ernst Ludwig, Grand Duke of Hesse and by Rhine) (2018) by Piotr Uklański. The embellished dome of the Sultan Ahmed Mosque, the Blue Mosque.
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This fall is indeed crucial for the city’s cultural scene, which suffered greatly as a result of the country’s declining political profile and President Erdoğan’s crackdown on free speech. The 2012 heyday, when Istanbul was overrun with galleries and expats charmed by the city’s eclectic vibrancy and nightlife, is firmly in the past; however, there’s great determination to mount a renaissance. The grandest manifestation of private funding for the arts in recent years is the reopening of Arter at its new, 193,000-square-foot, Grimshaw Architects–designed building in the city’s gentrifying Dolapdere neighborhood. Dedicated to the private collection of the Vehbi Koç Foundation, which was established 50 years ago by one of Turkey’s richest industrialists, the massive nonprofit contemporary art space has been on Arter’s new location in Istanbul’s Dolapdere hiatus since 2018, after hosting nearly neighborhood. Above: a decade’s worth of exhibitions at its A work by Osman Hamdi Bey on view at the Beyoğlu location. This September, its Pera Museum. inaugural exhibition features works by Turkish and international artists, including Banu Cennetoğlu, Ayşe Erkmen, Alicja Kwade, On Kawara, and Sigmar Polke. “Arter’s influence on the future of the Istanbul contemporary art scene will be enhanced even more, as exhibitions curated from its collection will provide a number of generations with the opportunity to discover the rather untold story of contemporary art in Turkey since the 1960s,” says Arter founding director Melih Fereli. With so much to discover, travelers to Istanbul this fall will enjoy a busy itinerary, mild fall weather, and plentiful cups of traditional Turkish coffee, the ideal accompaniment to an exploration of the city’s reviving cultural moment. —OSMAN CAN YEREBAKAN 70
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FROM TOP: COURTESY OF SUNA AND İNAN KIRAÇ FOUNDATION PERA MUSEUM; FLUPHOTO
“Exhibitions will provide the opportunity to discover the rather untold story of contemporary art in Turkey since the 1960s,” says Melih Fereli
2 0 1 9 C O L L EC TI O N
furniture | lighting | accessories
Pillow Talk PETER SPELIOPOULOS’S DEBUT HOME
COLLECTION FEATURES MULTILAYERED TEXTILES AND ONE-OF-A-KIND CERAMICS
Clockwise from top left: Peter Speliopoulos in his Long Island City studio. A pillow mixes suede and shearling. Linen napkins and a leather napkin ring. A leather-embroidered pillow recalls the shape of a vase.
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COUNTERCLOCKWISE FROM TOP LEFT: MAX VADUKUL; COURTESY OF THE ARTIST (3)
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t’s no secret that fashion’s love affair with interior design runs deep. One of the latest to make the switch from the runway to interiors is Peter Speliopoulos, a former creative director at Donna Karan and Cerruti, who has applied his love of textures to a new collection of home accessories. From ceramics to linens, his namesake line features material-driven indulgences that reflect his eye for detail and expert sourcing connections—including the finest mills in Italy and the best embroiderers in India. Although he’s studied ceramics since 2011, Speliopoulos decided to devote himself to it only after Donna Karan closed in 2015. He worked creating crackles and glazes, but soon he realized how much he missed his connections to Italy and the fabric atelier there that had become like a family. “Fabrics have always been my real strength,” he says. “Now I’m translating that into home objects using skins and shearling. There’s something very sensual and seductive. It’s about touch, which also relates back to the ceramics.” A focus on texture and materiality runs through all the facets of his collection. The embroidery on a pillow echoes the crackle on a vase. “I love things that are quite raw and savage,” he explains, “but executed with a lot of elegance and refinement.” Often combining different materials, the pillows and throws resemble mixed-media collages, making the creations the perfect statement pieces whether in a minimalist room looking for one big gesture or in a maximalist space begging for more, more, more. “Peter has always had great taste and an amazing and very singular eye for color and texture, which carries over from his work in fashion beautifully into home,” says Roman Alonso of Los Angeles’s Commune Design, which carries Speliopoulos’s pieces in its design shop. “The work is also very sensuous and sophisticated.” And his ideas for the line don’t end with just the current offerings: “I’d love to collaborate with the decorators or architects,” Speliopoulos says. “I could do suede curtains, embroidered leather chair backs, even one-of-a-kind bedspreads.” psprojects.com —JACQUELINE TERREBONNE
PROMOTION
OUR 2019 AWARD JURORS
BETH RUDIN D E WOODY
JUSTINE LUDWIG
CHAIRMAN, THE RUDIN FAMILY FOUNDATIONS
EXECUTIVE DIRECTOR, CREATIVE TIME
ERIC SHINER
NICOL A VASSELL
ARTISTIC DIRECTOR NEW YORK, WHITE CUBE
FOUNDER, CONCEPT NV
HEIDI ZUCKERMAN CEO & DIRECTOR, ASPEN ART MUSEUM
EMERGING ARTIST AWARD DANIEL DORSA
WE ARE PLEASED TO ANNOUNCE AN ANNUAL AWARDS PROGRAM TO RECOGNIZE UP-AND COMING TALENT WHO WILL SHAPE THE FUTURE OF ART AND DESIGN. THE WINNER AND FINALISTS, SELECTED BY GALERIE EDITORS AND OUR ESTEEMED JURORS, WILL BE ANNOUNCED IN THE EMERGING ARTISTS ISSUE, ON SALE OCTOBER 8. FOR FULL PROGR A M DE TAIL S , VISIT G ALERIEM AG A ZINE .COM/EMERGING ARTIST
Echoing an iconic design from the 1970s, the bold hexagonal motif of Bulgari’s Serpenti necklace in 18K pink gold and pavé diamonds recalls the sublimation of a snake’s scales. bulgari.com
Capturing the fluid softness of fur, this innovative bracelet, designed by Michal Kadar of Cadar, features diamond-tipped gold coils that shake and shimmer. cadar.com
Gold Rush GLIMMERING ADORNMENTS IN
UNEXPECTED SHAPES AND TEXTURES MAKE AN ARTFUL STATEMENT PRODUCED BY LUCY REES
A stack of intricate Princess rings in 18K yellow gold with diamonds celebrates Roberto Coin’s flair for romance and craftsmanship. us.robertocoin.com
Hand hammered by master artisans in David Webb’s Manhattan workshop, this sculptural 18K-gold Scroll cuff evokes the ancient world but with a decidedly modern edge. davidwebb.com
These Lalaounis Epirus earrings in satin-finish, 18K gold with brilliant-cut diamonds are inspired by Greek national costumes and decorative objects. lalaounis.com
} S P O T L I G H T | N I KO S KO U L I S Designer Nikos Koulis’s latest collection, Feelings, masterfully juxtaposes diamonds with slinky yellow-gold snake chains. Using an age-old goldsmithing technique popular in his native Greece, Koulis created long necklaces, dazzling chandelier earrings, and openwork bracelets that offer a fresh, understated take on the traditional metal. “I’m always intrigued by taking a classic pillar from the past and redefining it,” he says. “The main craftsmanship challenge was interweaving soft and hard elements, making the intricate knots yet keeping the forms’ fluidity.” These earrings, featuring pear-shaped, baguette, and pavé diamonds set in 18K gold, won the award for Best in Gold at the recent Couture Design Awards in Las Vegas. nikoskoulis.gr 76
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CLOCKWISE FROM TOP LEFT: COURTESY OF MARINA B; COURTESY OF BULGARI; COURTESY OF CADAR; COURTESY OF ROBERTO COIN; COURTESY OF NIKOS KOULIS; COURTESY OF L AL AOUNIS; COURTESY OF DAVID WEBB
Part of the first collection under Marina B’s new creative director, Guy Bedarida, the Trisolina cuff is handcrafted in Italy with rows of coiled 18K yellow gold and pavé diamonds. marinab.com
ZOELLA SOLARIA RUG 8 4 4 . 4 0 . STA R K | S TA R KS A P P H I R E . C O M
ANTIQUE REIM AGI NED DISTRESSED TRADITIONAL
Natural Wonders IMAGINATIVE, SCULPTURAL PIECES
ILLUMINATE THE INTRINSIC BEAUTY OF
The Innamorato bracelet, showcasing diamonds and pink and mauve sapphires set in 18K white and rose gold, from Van Cleef & Arpels’s Romeo & Juliet high-jewelry collection, captures the love story of Shakespeare’s star-crossed pair. vancleefarpels.com
David Yurman’s high-jewelry necklace features a luminous canary yellow beryl pendant on a sculpted gold chain adorned with white pavé diamonds. davidyurman.com
Radiant-cut yellow diamonds are set in a web of cascading white diamonds in Graff’s Threads earrings. graff.com
Cartier’s Magnitude high-jewelry ring highlights a celestial lapis lazuli surrounded by a sprinkling of precious yellow and white brilliant-cut diamonds. cartier.com
Pink kunzite complements the Tahitian cultured pearls’ natural color undertones in these platinum earrings by Assael. assael.com
The mix of round and pear-shaped pink tourmalines on this Misahara 18K-rosegold Plima bangle creates a stunning effect. misahara.com
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The petals of this flower ring by Jennifer Miller are formed with sliced diamonds set in 18K white gold. jennifermillerjewelry.com
CLOCKWISE FROM TOP LEFT: COURTESY OF DAVID YURMAN; COURTESY OF VAN CLEEF & ARPELS; COURTESY OF JENNIFER MILLER JEWELRY; COURTESY OF MISAHARA; COURTESY OF ASSAEL; COURTESY OF CARTIER; COURTESY OF GRAFF
PRECIOUS AND SEMIPRECIOUS GEMSTONES
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Blown Away CHICAGO CONTINUES TO SURPASS ITS SECOND CITY MONIKER, THANKS TO A WEALTH OF SHOWS FEATURING A GLOBAL WHO’S WHO OF ART AND DESIGN
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here’s no doubt about it—Chicago is a “second” city no more but a cultural powerhouse on par with other worldly hubs that draw the cognoscenti. This fall’s staggering lineup of art fairs, exhibitions, and an architecture biennial makes Frank Sinatra’s lyrics ring truer than ever: “Chicago is one town that won’t let you down.” Dynamic, internationally recognized visual artists, including Jessica Stockholder, Cheryl Pope, and Amanda Williams, maintain Chicago studios. Illinois native Virgil Abloh, perhaps the most in-demand man in fashion, mounted an all-encompassing exhibition, “Figures of Speech,” at the Museum of Contemporary Art Chicago. And more than 80 contributors from across four continents will soon join local participants at this year’s Chicago Architectural Biennial. “The cultural scene in Chicago is constantly undergoing an evolving dialogue, promoting creatives across disciplines to collaborate and innovate, while reflecting on the city’s broader culture, history, and heritage,” says Yesomi Umolu, artistic
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director of this year’s architectural biennial. Themed “And Other Such Stories . . . ,” the event will host talents from across the world alongside esteemed locals like Theaster Gates, the Chicago Architectural Preservation Archive, and the American Indian Center, among others. Zoë Ryan, the John H. Bryan chair and curator of architecture and design at the Art Institute of Chicago, has also witnessed this citywide propensity toward collaboration and the influx of emerging and established talent. “Chicago very much wants to be a city on its own terms,” says Ryan, whose upcoming exhibition at the Art Institute, “In a Cloud, In a Wall, In a Chair: Six Modernists in Mexico at Midcentury” (September 6–January 12, 2020), will highlight six women pivotal in uniting traditional craft with modern techniques, including Cynthia Sargent and Sheila Hicks. This fall, the city will give myriad artists the opportunity to display groundbreaking work in ways only Chicago can. Art on theMART will project the pioneering work of film and video artist Charles Atlas on theMART, a massive commercial building on the city’s riverfront. “It’s my first public art commission,” says Atlas. “In my recent installation work, I’ve been working at a
FROM TOP: COURTESY OF CHOOSE CHICAGO; COURTESY OF THE ARTIST AND SHUL AMIT NAZARIAN, LOS ANGELES. OPPOSITE: CLOCKWISE FROM TOP LEFT: NATHAN KEAY, COURTESY OF MCA CHICAGO; COURTESY OF ART ON THEMART; CORY DEWALD, COURTESY OF EXPO CHICAGO
From left: Chicago’s Navy Pier plays host to more than 135 international galleries during Expo Chicago. Summer Wheat’s With Side and with Shoulder (2019) will be on display in the fair’s Exposure section.
Clockwise from top left: Virgil Abloh’s “Figures of Speech” at the MCA Chicago until September. Art on theMART’s 2018 projection. Last year’s Expo Chicago.
large scale but never at nearly the scale of this upcoming piece.” Collectors and connoisseurs are also planning trips to the Windy City for Expo Chicago (September 19–22), a gathering of more than 135 galleries on the Navy Pier; “Andy Warhol—From A to B and Back Again,” a major retrospective of more than 350 works spanning 30 years by the master of Pop, which debuted at the Whitney Museum of American Art in New York and will be on view at the Art Institute from October 20 to January 26, 2020; and Japanese artist Tetsuya Ishida’s show “Self-Portrait of Other” (October 3–December 14) at Wrightwood 659, a new Tadao Ando–designed gallery and foundation in Lincoln Park. To house the massive influx of visitors, the city will debut several new luxury hotels, including Nobu Hotel Chicago in the West Loop and the art-driven 21c Museum Hotel, just steps from Michigan Avenue. Of course, the five-star Langham, which took over the Ludwig Mies van der Rohe–designed former IBM regional headquarters, is still the place to check out a museum-worthy collection, including works by Jaume Plensa, Peter Halley, and
Monique Prieto, while sampling enticing elixirs like the Spanish Physician, a blend of red wine, sherry, and amaro inspired by Max Ernst’s 1940 oil on canvas. Cocktails that take their cues from masterworks aren’t the only innovation on the city’s dining scene. Home to the annual James Beard Foundation Awards, Chicago touts a number of chefs who are redefining Midwestern cuisine in masterfully thought-out spaces. Stephanie Izard’s latest venture, Cabra, a Peruvian cevicheria located on the terraced roof of the newly minted 182-room Hoxton hotel, is designed by AvroKO. Rugo/Raff Architects’ Steve Rugo conceived the artful eatery Virtue and installed the space with works by Gates and other locals. “We endeavored to create a background for the food and the burgeoning art collection, each with an intertwining story,” says Rugo, who also designed local culinary temples Alinea and Next for wunderkind chef Grant Achatz. Erstwhile Chicago resident Frank Lloyd Wright once remarked, “Eventually, I think Chicago will be the most beautiful great city left in the world.” Clearly, the famed architect—whose legacy is omnipresent with his Prairie-style buildings such as the recently restored Frederick C. Robie House, his Oak Park studio and home, and career-defining Unity Temple—knew Chicago not only held promise for greatness but also possessed the ability to spark great creativity. —MELISSA FELDMAN GALERIEMAGA ZINE.COM
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Prints Charming
PRINTMAKING STUDIO TWO PALMS CELEBRATES 25 YEARS OF CREATING REMARKABLE WORKS WITH SOME OF TODAY’S LEADING CONTEMPORARY ARTISTS
Evelyn and David Lasry in front of a monoprint by Mel Bochner created at Two Palms.
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THOMAS LOOF
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he innovative New York printing studio Two Palms may be celebrating its 25th anniversary this year, but many of its techniques date much farther back. Here, artists can experiment with monotype and silk-screening as well as the long-lost technique woodburytype, which was invented in the early 1860s to mechanically reproduce photographic images using lead plates and hot ink mixed with gelatin. Chuck Close used the 19th-century method, unsurpassed for its tonal subtlety, for his 2013 portraits of President Obama. “The simplest form of pressing something is between two bare hands,” says Two Palms founder David Lasry, who runs the studio with his wife, Evelyn. “The double meaning is we try to make a bit of an oasis for artists to come here and figure out how to make something they can’t make in their own studio. It’s a laboratory for them.” Matthew Barney, Richard Prince, Chris Ofili, and Carroll Dunham are among the dozen artists with projects in various stages of development at the third-floor SoHo studio, which includes a showroom in front. Often, mistakes lead to new directions. Exploiting a previous casting accident, for instance, Barney is now collaborating with master printmakers at Two Palms to figure out how to grow similar organic-looking knobs of metal for his new work. After Lasry received his MFA in painting at Yale, he opened the studio in 1994 with a near-obsolete hydraulic press designed to mold rubber under high vertical pressure. “I liked the actual physical object that came from the marriage of paper, plate, and material under extreme pressure,” he says. Lasry’s first client was conceptual artist Mel Bochner, his onetime professor, who happened to be walking by as the press was being delivered. Bochner then referred artists, including Dunham, Terry Winters, and Sol LeWitt, to Lasry’s studio. Two Palms now participates in five art fairs annually, and its staff has grown to 15, with two people dedicated to research and development. In celebration of the studio’s anniversary, the Lasrys are planning an auction early next year with new works by many of their key collaborators, including Cecily Brown, Stanley Whitney, and Bochner, that will help raise funds for Planned Parenthood. “We have to keep figuring out new ways to make things for the artists,” says Lasry. “Mel says he comes here for the surprise.” twopalms.us —HILARIE M. SHEETS
A TRUE LUXURY HOME COMES WITH ITS OWN ISLAND
FISHER ISLAND WELCOMES PALAZZO DELLA LUNA
50 NEW WATERFRONT CONDOMINIUM RESIDENCES ON CELEBRATED FISHER ISLAND. 3- TO 7- BEDROOM RESIDENCES FROM $6.5 TO $20 MILLION. PENTHOUSES WITH PRIVATE ROOFTOP TERRACES FROM $26.5 TO $40 MILLION. COMPLETION SUMMER 2019. SCHEDULE A PRIVATE APPOINTMENT: +1.305.535.6071 | INFO@ PALAZZODELLALUNA.COM PALAZZODELLALUNA.COM BEACH | MARINA | TENNIS | GOLF | RESTAURANTS & BEACH CLUB | SPA & FITNESS CENTER BOUTIQUE HOTEL | DAY SCHOOL | COUNTRY MARKET | FERRY SERVICE TO & FROM THE MAINLAND 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.
SAVVY FASHION BRANDS ARE GOING BEYOND CLOTHING AND ACCESSORIES TO CREATE TRULY IMMERSIVE EXPERIENCES
K
arl Lagerfeld once said, “Architecture stimulates fashion.” But the former creative director of Fendi and Chanel—and the founder of his own namesake company—might have had the order mixed up, as real estate developers from Arizona to Dubai are nurturing a slew of hotly anticipated projects that take design cues from leading fashion houses.
From left: The lobby of the Bulgari Resort & Residences Dubai, by design firm Antonio Citterio Patricia Viel. The property features brise-soleils that recall Bulgari’s sculptural jewelry.
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The Miami area is the de facto capital of such hybrids, home to Fendi Château and the upcoming Missoni Baia and Residences by Armani/Casa. It’s also where Lagerfeld himself envisioned his first interiors project in the U.S.: a pair of elegant lobbies for the Estates at Acqualina, a 245-unit seaside development in Sunny Isles Beach that is slated to be completed in 2021. Conceived entirely by Lagerfeld, the spaces evoke his highly embellished flair with such artful touches as walls covered with handcrafted stainless-steel swans, ceilings sheathed in silver leaf, and custom glass etchings by artist Gerhard Steidl that are based on the designer’s photographs of Roman arches. “I took great pride in knowing that the lobbies I create will be such important spaces in the building,” Lagerfeld said in a statement prior to his death in February. Designer Giorgio Armani has similarly branched out, having founded an interior design arm of his self-titled home goods brand in 2004. “It’s something that really excites me, in terms of creativity even before business, because it allows me to be involved at every level: with materials, aesthetics, and a holistic approach to lifestyle,” says the Italian style icon, who has crafted interiors and
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Clockwise from top left: London’s Damac Tower will feature interiors by Versace Home. The façade of Giorgio Armani’s upcoming Manhattan residence and redesigned flagship. Karl Lagerfeld conceived a pair of ultrachic lobbies for the Estates at Acqualina in South Florida.
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furnishings for major projects in Dubai, Istanbul, Mumbai, and London. He recently unveiled plans to completely reimagine the Giorgio Armani Manhattan flagship on Madison Avenue, including kitting out 19 new apartments directly above it. “With this project, I would like to offer a full view of my world, from fashion to my vision of interior design,” he says of the refined units that are executed in the neutral palette synonymous with his brand. “I want to surprise and gratify the public.” Meanwhile, work is under way on London’s Damac Tower, a 50-story condominium near Vauxhall that features 360 residences with interiors and amenity spaces by Versace Home. Recalling the label’s sense of glamour are doorways inlaid with the signature Greek key pattern and the spa’s mosaic walls, inspired by its ubiquitous palm tree motif. Bulgari, too, incorporated a residential portion (15 mansions, 168 apartments, and six penthouses) when conceiving its ritzy new
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Dubai resort, which features coral-esque brise-soleils that recall the company’s sculptural jewelry. “Developers here have a need to differentiate,” says Leigh Williamson of Gulf Sotheby’s International Realty, which is handling sales. “When you get inside the residences, having a brand gives an instant advantage.” Perhaps the most surprising place such projects are cropping up is in the affluent city of Scottsdale, Arizona, which will soon welcome the Palmeraie, a 122-acre, mixed-use development that will feature 41 homes designed by architect Marco Costanzi under the Fendi name. “These residences will have Fendi DNA head to toe,” says developer Jerry Ayoub, noting that the design celebrates the unexpectedly lush Sonoran Desert setting. “There is nothing that currently exists at this level.” —GEOFFREY MONTES
CLOCKWISE FROM TOP LEFT: RENDERING COURTESY OF VERSACE; RENDERING BY COOKFOX; RENDERING COURTESY OF THE ESTATES AT ACQUALINA
“I would like to offer a full view of my world, from fashion to my vision of interior design,” says Giorgio Armani
SOU THAM PTON
Captains Neck Waterfront Estate with Dock 520CAPTAIN S N ECKLAN E.COM O ffe red at $2 4,99 5,0 0 0
Harald Grant Associate Broker 516.527.7712 | harald.grant@sothebyshomes.com HaraldGrantRealEstate.com
Bruce Grant Licensed Salesperson 516.840.7034 | bruce.grant@sothebyshomes.com
Southampton Brokerage | 50 Nugent Street, Southampton, NY 11968 | 631.283.0600 | 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.
Art Underfoot
THESE PAINTERLY RUGS GO BEYOND JUST ANCHORING A ROOM
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plashes of color and inspired brushstrokes often dominate canvases hung on the wall, but a growing number of aesthetes are exploring the floor as a place to add an artful touch to the home. “In a changing world where art and design are coming together more than ever, our new collection of Art Deco–inspired rugs really reflects this,” says Nader Bolour, owner of Doris Leslie Blau, a decorator’s resource for rugs that exhibit artisanal mastery. “Also, these pieces take so much time and skill to produce, they truly should be considered works of art no matter how they are used.” Bolour is not alone in his appreciation for these creations. French arts patron Sabine de Gunzburg makes bespoke silk rugs that marry the art world with carpets. Handwoven in the Himalayas, the lustrous works in her collection, S. de Gunzburg, available at Les Ateliers Courbet, recall aspects of Pointillism, while others are actual pieces of art she produces with numerous artistic luminaries, including Francis Picabia, Serge Poliakoff, and Frank Gehry, as well as through galleries such as Almine Rech. From top: A Deco-inspired rug by Doris Leslie Blau blurs the line between carpet and painting; dorisleslie-blau.com. This silk rug from the S. de Gunzburg collection is just as mesmerizing as Yayoi Kusama’s and Damien Hirst’s dot-centric works; ateliercourbet.com.
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FROM TOP: COURTESY OF DORIS LESLIE BL AU; COURTESY OF LES ATELIERS COURBET; OPPOSITE: CLOCKWISE FROM TOP LEFT: COURTESY OF TAI PING; COURTESY OF STARK; COURTESY OF THE RUG COMPANY; COURTESY OF LOLOI
BY JACQ U E LI N E TE R R E B O N N E
Clockwise from top left: Originally trained as a sculptor, French designer NoÊ DuchaufourLawrance looked to minerals and natural materials to guide his design for Lengfeld I, a style in his new Raw collection with Tai Ping; taiping.com. Dapples of color leave an impression in a rug from the Jinni collection by Stark; starkcarpet.com. Delicate pencilwork creates an enchanting sea-inspired pattern in Waves Blue by Adam Hunter for the Rug Company; therugcompany.com. The stripes and patterns of the Fiesta rug from Loloi’s Gemology collection recall the bold, imaginative geometries of Frank Stella; loloi.com.
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Seeing Red BECOMES A MUSEUM LEGACY IN SAN ANTONIO’S RUBY CITY
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uby City was, quite literally, born from a dream. It is the phantasm of the late collector and artist Linda Pace, known as much for her deep-rooted art patronage as her fervor for Jungian theory and her morning ritual of sketching imagery she saw in her sleep, capturing ideas later realized in her drawings and sculptures. But this fall, her vision of a fantastical crimson structure materializes as a very real, world-class contemporary art haven open to the public in San Antonio, Pace’s lifelong home. The sparkling masterpiece was designed by David Adjaye, the force behind momentous projects such as the Smithsonian Institute National Museum of African American History and Culture, Ghana’s first Venice Biennale pavilion, and the U.K.’s upcoming National Holocaust Memorial, near the Houses of Parliament. To create the dazzling hue, he infused precast concrete with two shades of crushed red glass that catch the light as the Texas sun pans the building. “I analyzed Linda’s sketch as if it were a hieroglyphic, a visual poem loaded with information,” says Adjaye of the color-pencil rendering she presented him in 2007. While he credits The Wizard of Oz, Emerald City–like image as a catalyst for today’s 14,000-square-foot angular design, Adjaye, who was knighted in 2017, also cites references to
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the indigenous, regional architecture of pre–Spanish colonization and the San Antonio Missions. Pace, whose father created Pace Picante Sauce, was San Antonio’s contemporary art bedrock for decades. As founder of the city’s exhibition and education residency Artpace, housed in a former downtown car dealership, she helped launch artists like sculptor Teresita Fernández and video installation–filmmaker Isaac Julien, with whom she had enduring friendships and whose work factored prominently in her collection. To honor her son, who died in 1997, Pace built Chris Park, a lush acre expanse of walkways and public art for San Antonio residents. Ruby City’s October debut unfurls in three parts, “Waking Dream,” “Isaac Julien: Playtime,” and “Jewels in the Concrete,” which features over 50 pieces from the Linda Pace Foundation, including Pace’s own artwork, alongside those by Do Ho Suh, Cornelia Parker, Nancy Rubins, and Leonardo Drew. Julien’s multiscreen work Lina Bo Bardi was recently announced as the foundation’s latest acquisition. “Linda envisioned Ruby City as a kind of aesthetic tonic,” says Kathryn Kanjo, director and CEO of the Museum of Contemporary Art San Diego, who curated the inaugural exhibitions. “She wanted visitors to be transported by unique works of art in a relatively unmediated way, on their own terms.” rubycity.org —JACOBA URIST
DROR BALDINGER, COURTESY OF RUBY CIT Y AND ADJAYE ASSOCIATES
A COLLECTOR’S DREAMSCAPE
EMERALD-AND-DIAMOND NECKLACE |
Sold at Christie’s Geneva (May 15)
FORM WATCH IN THE SHAPE OF A SCENT BOTTLE OR NEOCLASSICAL VASE | (CIRCA 1795)
FASCINATING SALES FROM AROUND THE WORLD BY JEANNIE ROSENFELD
Sold at Antiquorum Geneva (May 11)
Exquisitely decorated with 18K yellow gold, enamel, and pearls, this timepiece from the workshop of Pierre Jaquet-Droz brought CHF1,025,000 ($1,030,586). It features a bird that sings from the rear door, which includes a picture modeled after works by JeanJacques Flipart and François Boucher.
LEE KRASNER | THE EYE IS THE FIRST CIRCLE (1960)
Sold at Sotheby’s New York (May 16)
Lee Krasner is finally gaining the recognition she has long deserved, culminating with her first major European show in 50 years, at London’s Barbican. Emily and Mitchell Rales paid $11,654,000—more than double the artist’s previous auction record—for this work from her 24-piece “Umber” series for Glenstone, their contemporary art museum in Maryland. SONGYE KIFWEBE MASK | (CIRCA 19TH CENTURY)
Sold at Christie’s New York (May 14)
Hailing from the collection of Jeanne Walschot, who organized one of the first major African art exhibitions, in 1933, this museum-quality striated kifwebe, a mask used for tribal rituals by the Songye people in what is now the Democratic Republic of Congo, commanded $4,215,000.
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COUNTERCLOCKWISE FROM TOP: COURTESY OF CHRISTIE’S IMAGES LTD. (2); COURTESY OF SOTHEBY’S; COURTESY OF ANTIQUORUM
On the Block
Originally belonging to Catherine the Great, this 75-carat, pear-shaped stone remained in the Russian imperial collection for more than a century. Later, it was acquired and fashioned into a necklace by Cartier and then purchased by John D. Rockefeller Jr. The price of this remarkable legacy amounted to CHF4,335,000 ($4,358,626).
BRIGHT
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Life of the Party
EVENT PLANNER EXTRAORDINAIRE BRONSON VAN WYCK KNOWS THAT THE KEY TO A BIG BASH IS THE TINY DETAILS
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o matter how large or small, a good party is a perfect blend of delicious food, the right guests, lively entertainment, and beautifully executed decor. One man who has mastered the recipe with unprecedented savoir faire is Bronson van Wyck, who has planned some of the most memorable galas, weddings, and over-the-top soirees for clients from Madonna and President Barack Obama to St. Regis Hotels & Resorts and Bergdorf Goodman.
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Now he’s breaking down the details of some of his most fabulous fêtes in his first book, Born to Party, Forced to Work (out this October from Phaidon), and sharing the secrets of entertaining in a 21st-century, Instagram-happy world. “The underlying principal of hospitality never changes—the forms are the only things that change,” says Van Wyck. “We’re liberated today in that we can take from custom what we want, what’s useful to us, then ignore or let fall aside the things that aren’t.” For Van Wyck, that means forgoing sit-down dinners for decadently designed food stations or repurposing precious antiques and found objects as personalized centerpieces— secrets he learned from his mother, Mary Lynn, with whom he leads the family firm, Van Wyck & Van Wyck. “Old things are good when you mix them with new things. Old things are really good when they have a story,” he says, citing a plethora of examples, including an allée of trees that was replanted to create an informal chuppah or the taxidermy that informed the theme of his own birthday bash. Many of Van Wyck’s most memorable events have found their inspiration in art—from the bold color combinations of a Frank Stella used to create a punchy gala for the de Young Museum and the fabric draping found in a Raphael that became a series of flowy tents for a New Orleans family’s bal de la chasse party to the luminosity within a work by Vermeer that influenced Sean “P. Diddy” Combs’s 40th birthday party at the Plaza. To accommodate extra tables at an oversold event for the High Line, Van Wyck transformed a spacious custodial closet with LED lights and mirrors in the style of Yayoi Kusama’s Fireflies on the Water. “That turned out to be the best room at the party,” he says. Yet for all the carnival-themed charity galas, Grecian god birthday parties, and masquerade balls he’s planned, Van Wyck insists the secret to a perfect celebration is much simpler: Always be sure the spotlight is on the guests. “Having fun in an unselfconscious way is fantastic,” says Van Wyck. “It’s the most beautiful, wonderful thing to watch.” vanwyck.net —JILL SIERACKI
FROM TOP: JEAN-PIERRE UYS; STEPHEN KARLISCH
From top: Fabric draping from an Old Masters painting is translated into a 2019 event for the High Line, planned by Bronson Van Wyck.
Rock Solid
THESE BREAKOUT ARTISANS
CREATE SUBLIME FURNISHINGS FROM MARBLE
BY RIM A SUQI
CARLA BAZ Carla Baz’s first foray into designing with marble began as an exploration of color via a series of watercolors the Beirut-based designer created to “determine an emotion, a feeling, and a mood board” for what she deemed an “experiment.” “Marble has a lot of character. I wanted to show its versatility and break away from this perception we have about it being heavy, expensive, and this somewhat ostentatious expectedness in its use,” she says of the resulting Minerals series of tables, based on her watercolor sketches, which debuted to great acclaim at Joy Mardini Gallery during Beirut Design Week last year. “I wanted to treat it with more lightness and femininity.” Baz, whose résumé reads like a who’s who of design—Zaha Hadid, Campana Brothers, Burberry, and Vivienne Westwood—is currently creating a lighting collection using the material “as rhythmic embellishment, an adornment.” carlabaz.com, jmdesigngallery.com
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FRANCESCO MEDA As the son of a journalist mother and a father who is considered design-world royalty, it seemed inevitable that Francesco Meda’s life would involve creative pursuits. The Milanese native studied industrial design and worked in the London studios of Sebastian Bergne and Ross Lovegrove before returning to his hometown and joining his father, Alberto Meda’s studio ten years ago. While he still collaborates with Alberto on select projects, Meda has forged his own path, launching his brand six years ago, exhibiting a chandelier at the famed Nilufar gallery in Milan, and, more recently, debuting a series of marble tables called Split (below). Like many others, Meda was intrigued by the material’s contradictions. “It is both heavy and fragile, encapsulates history and is full of life,” he says. With the Split collection—which features a marble surface that’s divided into two or four pieces, then rejoined with a brass frame—Meda aimed to “give this ancient material a modern twist.” francescomeda.com
COUNTERCLOCKWISE FROM TOP LEFT: MARCO PINARELLI; NOUR SEMAAN; COURTESY OF FRANCESCO MEDA (2); FILIPPO AVANDERO
Carla Baz’s Monarch lighting series and Minerals table.
sharris.com 800.999.5600 available exclusively to the trade
BEN STORMS
“It resulted in an interesting playground for me and my brother,” says Ben Storms, “and shaped my love for and interest in materials”
Ben Storms likes to “astonish people” with his work—which is exactly what he did with In Hale, his collection of coffee tables created from huge slabs of marble that appear to float atop metal “pillows” (left). The line, which debuted at Collectible, the pioneering design fair held last March in Brussels, was the remarkable follow-up to the Belgian designer’s In Vein table. It was trestle-style, with a ridiculously thin marble top, but the flip side was mirror-polished stainless steel. Once the trestles were removed, the table could become a mirror. This innovative creation won him Best Contemporary Design at PAD Paris. The designer’s affinity for marble dates to childhood—his parents were in the business of reclaiming building materials from old homes, churches, and other structures scheduled for demolition, and many of these remnants would end up in the family’s backyard. “It resulted in an interesting playground for me and my brother,” says Storms, “and shaped my love for and interest in materials.” benstorms.be
LIFTING THE VEIL
Earlier this year in New York, the sculptor Jacopo “Jago” Cardillo unveiled his latest creation, The Veiled Son. The work was carved from a six-ton block of Vermont Danby marble and was on public view for one night only, before being sent to its permanent home in Naples. The 32-year-old Italian native spent a year sculpting the piece (and livestreaming the process to his over 80,000 Instagram followers) at the North American Sculpture Center, founded in 2017 by Jonathan Tibett, owner of ABC Stone and Precision Stone and a New York Academy of Art board member. Jago is the first full-time resident of the center, whose mission is to give artists the resources needed to produce pieces from stone. Another artist at the center, Jorge Vascano, was discovered while a student at the New York Academy of Art, where ABC Stone established a Carrara Residency Merit Award eight years ago. Vascano, who now works for Precision, was one of the recipients of this award and was sent to Corsanini Studios in Carrara, Italy, for one month to create a sculpture that would later be auctioned at Sotheby’s for the event “Take Home a From top: Blocks of marble at the ABC Stone headquarters in New York. Jacopo “Jago” Cardillo works on a sculpture.
Nude,” which benefited the New York Academy of Art. “Stone, as a medium for art here in the States, is not easily accessible. It is tremendously difficult to have access to a studio space, tooling, and materials necessary to do this kind of work,” says Tibett. “We felt it was important to be involved, because it is an incredible trade that is waning, and having a partner like the New York Academy of Art gives us not just a tremendous platform but also an opportunity to form a tremendous fraternity.” stonesculpture.com —R.S.
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FROM TOP: TERI ROMKEY; ARTUR ERANOSIAN; PAOL A TAZZINI CHA; LORENZO MORANDI
A LOOK AT SOME OF THE PROFOUND STONE WORKS BEING PRODUCED AT THE NORTH AMERICAN SCULPTURE CENTER
PARIS LIONEL ESTEVE THILO HEINZMANN
BERNARD FRIZE
JOURNEY IN AUTUMN
NEW YORK SEPTEMBER 11 − OCTOBER 29
NEW YORK BERNARD FRIZE LESLIE HEWITT JR HONG KONG BARRY MCGEE
SEOUL TAKASHI MURAKAMI SHANGHAI HANS HARTUNG NI YOUYU
Ledz, 2018 (detail). Acrylique et résine sur toile. 281 × 523 cm | 110 5/8 × 205 7/8 in
TOKYO EMILY MAE SMTIH
Garden Variety TO CREATE A TRANSPORTIVE INTERIOR,
RICHARD MISHAAN LOOKS TO THE WORK
RICHARD MISHAAN Collectors turn to designer Richard Mishaan for his signature ability to harmonize blue-chip art and fantastical mixes of eclectic design pieces. But the best testaments to his unwavering eye just might be his own art-filled homes, where punchy patterns serve as the perfect backdrop for his enviable collection. richardmishaan.com “I love the colors of this Jonas Wood—the blues and greens,” says Mishaan. “I’m crazy about how his work transports you with its depiction of how we relate to nature now. This painting, which was recently included in Christie’s postwar and contemporary art evening sale, transforms a room by bringing the outside in—suddenly, whether you’re in the country or the city, there’s this feeling you’re in an indoor-outdoor room.”
Artwork: Japanese Garden 2 (2018) by Jonas Wood. Clockwise from top left: Darlana chandelier by Visual Comfort & Co.; visualcomfort.com. El chair by Antonio Citterio for B&B Italia; bebitalia.com. Knotted-edge napkin by Kim Seybert; kimseybert.com. Izmir dinner plates by Laboratorio Paravicini; artemest.com. Hayden bar cart by Interlude; interludehome.com. Henning reception dining table by Richard Mishaan for Theodore Alexander; theodorealexander.com. Coup de Foudre velvet by Dedar; dedar.com. 100
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ARTWORK: COURTESY OF CHRISTIE’S IMAGES LTD. PORTRAIT: BEN FINK SHAPIRO. PRODUCTS, CLOCKWISE FROM TOP LEFT: COURTESY OF VISUAL COMFORT & CO.; COURTESY OF B&B ITALIA; COURTESY OF KIM SEYBERT; COURTESY OF L ABORATORIO PARAVICINI (2); COURTESY OF INTERLUDE; COURTESY OF THEODORE ALEXANDER; COURTESY OF STARK
OF JONAS WOOD
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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Mel Douglas, courtesy of Traver Gallery
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Sotheby’s Brooke Lampley is just one of the women who are radically changing the art world. Here, she wears a dress and shoes by Louis Vuitton and a Van Cleef & Arpels ring, with a painting by Hans Hofmann that recently sold at the auction house. GALERIEMAGA ZINE.COM
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In an airy gallery with views of the Pacific, designer Madeline Stuart installed a custom-made Paul Ferrante chandelier above Andy Warhol “Flowers� paintings, 18th-century Italian stone consoles, and rugs made of woven palm matting by J. D. Staron. Working closely with her associate Amy Flynn Socci, Stuart completely reimagined the La Jolla, California, home, which was originally built in 1921 and later modified by Oscar-winning actor Cliff Robertson. For details see Sources.
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Artworks by Richard Diebenkorn and Frederick Hammersley join 1920s iron sconces around an 18th-century mantelpiece in the living room, where custom-made sofas face a Carole Gratale bronze cocktail table with a limestone top. The antique triangular-seat chairs are paired with a 19th-century Moorish side table, and the vintage 1957 rug is from Mansour.
uring a 1921 visit to California, a New York businessman named Philip Barber fell in love with an area along the San Diego coast he envisioned as an American Riviera. In short order, he ditched his position with his family’s shipping company and acquired 12 acres of oceanside property stretching from La Jolla Village to Windansea Beach. He then set about developing it into a neighborhood of luxury homes, including a sprawling Spanish Revival manse, nicknamed The Dunes, for his own family of six, on one and a half prime acres. Designed with architect J. H. Nicholson, The Dunes was the development’s crown jewel, though financial troubles forced Barber to sell it during the Depression. Years later, in 1963, the house took on a second notable, Hollywood-tinged life when it was purchased by Oscar-winning actor Cliff Robertson, who renamed it Casa de la Paz (House of Peace). It remained in his hands for more than four decades, during which time he made a number of changes, including an expansion and interior renovation by architect Thomas Shepherd as well as extensive additions of decorative tiles. Despite those alterations, the city of San Diego designated the residence a landmark in 2002, three years before Robertson sold it. By the time Los Angeles designer Madeline Stuart received an out-of-the-blue call from the current owner—explaining that she was the person to usher in the third act of this historic home—the residence could be summed up in two words: hot mess. At least, that was Stuart’s first impression of it. “Cliff Robertson must have enjoyed getting high and going to Mexico to pick up funky tiles and just slotting them all throughout the house in a haphazard way,” Stuart says with a laugh. But quirky tiles weren’t the only issue. The layout was awkward, and portions of the house were in awful condition. In the end, everything was demolished except for the Spanish Revival façade, which the local Historical Resources Board stipulated had to be preserved. “One day we walked up, and there was nothing but the exterior wall between us and this enormous open expanse that led all the way down to the ocean,” Stuart recounts. “We had this Hollywood film set experience of getting to invent a history for the house.” That revisionist history began with the distinctive Moorish keyhole arch at the entry, which might have left some designers feeling boxed in. But for Stuart—then fresh off a trip to Morocco—it served as a kind of “rabbit hole” into which she and her associate Amy Flynn Socci gamely ventured. Together, they conceived nearly every element of the reimagined 10,000-square-foot, four-bedroom, 11-bath residence, while adhering to the client’s desire for a casual beach house where friends and family could gather and not feel intimidated by overly decorated rooms. → GALERIEMAGA ZINE.COM
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In the library, where the arched windows add to the home’s Moorish vibe, a Lee Mullican painting and 1920s Italian sconces surmount the mantelpiece, designed by Stuart. The leather desk is 19th-century French, the ebonized armchairs are vintage Berber pieces, the rosewood cocktail table is 17th century, and the sofa is a Stuart design in a Rogers & Goffigon fabric. The table lamp is from JF Chen, the floor lamp is vintage Art Deco, and the Oushak rug is from Doris Leslie Blau.
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Vintage urns and custom-made tiles from Mission Tile West accent the pool; the built-in benches are cushioned in a Holly Hunt stripe, while a Bunny Williams rattan chaise longue features a Perennials fabric. Below: In the kitchen, Urban Electric Co. pendants hang above the quartzite-top island and Drucker stools; Stuart designed the hood over the Wolf range, and the handmade zellige backsplash tiles are from Mission Tile West.
“We chose to explore this language without it being ironic or a Moroccan fantasy,” says Stuart. “It needed to have a modernist element, but we also wanted the house to feel as if it had been built in an earlier time.” Each room has distinguishing details, such as hand-waxed butternut or oak ceilings, geometricpatterned zellige tiles, and cast-bronze hardware. For the decidedly Hispano-Moresque family room, Stuart commissioned Holroyd Studios to produce a pair of Spanish lanterns similar to those that hang in the Santa Barbara County Courthouse. “It was an old-fashioned approach—everything was done in a way that wouldn’t have been unusual in the 1930s,” says the designer, whose first monograph, No Place Like Home: Interiors by Madeline Stuart, will be published by Rizzoli in September. “Much attention was paid to artistry and craft.” She and Socci also took great care in sourcing vintage and antique furnishings and consulted on works of modern and contemporary art. “The client didn’t want anything off-the-rack or predictable,” Stuart says. The first piece purchased for the home was the living room’s 1957 Spanish Prado rug, whose vibrant black-and-cream pattern is echoed by the iron-and-milk-glass lantern overhead and the pair of Welsh-made triangular black chairs. Paintings by Frederick Hammersley and Richard Diebenkorn around the 19th-century Italian mantel provide contrasting hits of color. In the gallery hall overlooking the loggia, Andy Warhol “Flowers” are installed above stone consoles from 18th-century Italy. The mix in the client’s study marries a Lee Mullican abstraction, a Pablo Picasso ceramic plate, and a couple of acoustic guitars with a 1960s French leather desk and a 19th-century Oushak carpet. A massive Richard Misrach photograph of the sea presides over the dining room, which features a table hewn from slabs of claro walnut that spent years in storage at the client’s Montana residence. Also retrieved from the client’s cache was a French marble tub that now graces the master bath, which offers private vistas of the Pacific—and the home’s resort-worthy swimming pool. Stuart’s favorite find emerged on a fateful trip to London to see the Victoria and Albert Museum’s David Bowie exhibition. While paying a visit to an antiques dealer she found on 1stdibs, she learned that pieces she had admired online weren’t in the shop. “So his wife drove me to this funky part of London, and we walked into a warehouse with furniture piled up so high you couldn’t really see anything.” In one corner, however, she encountered a 19th-century Spanish Colonial–style chest embellished with exquisite ebony, mother-of-pearl, and tortoiseshell inlays that were “so beautiful I nearly fainted,” recounts Stuart, who ultimately placed the piece in the master bedroom opposite a four-poster rosewood bed. “That was probably my most extraordinary find and the thing I am most proud to have discovered.” Well, that and the out-of-nowhere client who convinced her to dream up this once-in-a-lifetime project.
From top: A 1950s Arturo Pani mirror and a Paul Klee etching overlook the master bedroom’s 19th-century carved rosewood four-poster, which is dressed with E. Braun & Co. bedding; the antique Mexican inlaid chest is topped by a bone lamp, and the mohair-linen rug is by Mitchell Denburg. In a bath decorated with zellige tiles, circa-1920 Italian sconces are mounted above a vanity created from an 18th-century Syrian chest and outfitted with Sigma Faucets fixtures.
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1 Originally built in the 1920s by architect J. H. Nicholson, the Spanish Revival–style Casa de la Paz was designated a local landmark in 2002. “The house was not Moroccan, but when I saw the keyhole arch at the front entry, I thought, I can take that and run with it,” recalls designer Madeline Stuart. “It gave me an entrée to explore that architecture and those decorative arts stylistically.” madelinestuart.com 2 “I love unusual lighting,” confesses Stuart, who discovered this vintage Italian lantern at Démiurge New York. “This thing is pretty darn quirky,” she laughs. “It was missing its bottleglass rondels, so I had those replaced.” The fixture now hangs in the home’s spiral staircase, where its wrought–iron coils echo the sinuous railing. demiurgenewyork.com 3 “All of the art was bought specifically for the house,” reveals Stuart, who turned to her friend, Beverly Hills gallerist Marc Selwyn, to find the right piece for the dining room. “I’m a huge fan of Richard Misrach,” she says of the pioneering Los Angeles photographer. “The scale of this piece is exceptional, and it just happened to be a stunning shade of blue. I love how it’s almost abstract in its representation of water.” marcselwynfineart.com
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4 Stuart found this vintage Syrian table at San Francisco’s Epoca Antiques. “I gravitated toward the 19th-century versions over the contemporary ones. The bone inlay is often far more intricate, and the wood has developed a patina.” epocasf.com
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(1–4, 7, 8) TREVOR TONDRO/OTTO; (5) COURTESY OF L.A. LOUVRE, VENICE, CA; (6) GASULL FOTOGRAFIA, COURTESY OF MUSEU PICASSO, BARCELONA © SUCCESSION PABLO PICASSO, VEGAP, MADRID 2019
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5 The living area’s bold Frederick Hammersley painting “pokes a stick in the subtlety and quietness of the room by introducing such a graphic piece,” says Stuart. This red, black, and gray work— dubbed Like Unlike—was made in 1959. lalouver.com 6 Featuring a bull and torero locked in battle, a ceramic plate by Pablo Picasso in the homeowner’s study was bought on a whim at Sputnik Modern’s booth during Modernism Week in Palm Springs. “I’d been to a bullfight in Seville with my client, so I thought it was perfect,” recalls Stuart. This slightly more colorful variation belongs to the Museu Picasso in Barcelona. museupicasso.bcn.cat 7 The master bath’s giant marble tub, purchased by the client while in France, had been sitting in storage for years. “They had to structurally reinforce the floor because of the sheer weight of it,” remembers Stuart, who added polished-nickel fittings by Samuel Heath. samuel-heath.com 8 Inspired by a recent trip to the Moroccan cities of Essaouira and Marrakech, Stuart knew zellige tile work would be perfect for the
project. “Much of the tile throughout the home was made in Morocco by Mosaic House and purchased through Mission Tile West,” she says. “Mosaic House was open to working with us to create patterns that were completely unique. It’s an ancient craft, and thank goodness there are companies that still support and honor these phenomenally talented artisans.” mosaichse.com, missiontilewest.com
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THESE SIX INNOVATORS ARE REINVENTING HOW WE VIEW, COLLECT, AND SELL ARTWORK
When Legacy Russell joined the Studio Museum in Harlem last year as associate curator of exhibitions, the institution’s director, Thelma Golden, praised her “energetic spirit of public engagement.” A curator, writer, and lecturer, Russell is also the force behind “glitch feminism,” a movement she has described as deploying “the digital as a means of resisting the hegemony of the corporeal.” (It is also the title of her forthcoming first book.) At the Studio Museum’s temporary programming space—its new, David Adjaye–designed home is being built— Russell launched “Radical Reading Room,” an exhibition that brings together artists, writers, publishers, and community organizers around the history of black printed matter, and cocurated the group show “MOOD: Studio Museum Artists in Residence 2018–2019” at MoMA PS1. This is the first of several partnerships between the two institutions during the museum’s construction. Russell also curated an exhibit on the artist Michael Armitage at MoMA, which will debut when the museum reopens in October after renovations. Engagement, Russell says, is crucial. To be responsible to its audience, a museum “must exist in the world, bending to what is happening daily around the institution.” studiomuseum.org
By the time Izabela Depczyk became the CEO of Paddle8 last year, the online auction site—founded in 2011 as a traditional-auction disruptor—had already evolved into what it now calls “the leading cultural e-commerce platform.” “Our future is in cultivating a new generation of younger collectors who have more and more wealth and who consume a lot of culture but who would never think of themselves as collectors,” she says. “We use their language and the things that resonate with them.” Since Depczyk assumed the company’s helm, Paddle8’s benefit auctions have ventured into unexplored areas, like
gaming, and the company has joined forces with the new-media platform Highsnobiety for online sales of curated street art, artist’s collectibles, and street wear. The new Paddle8 Artist Program commissions talents, like Madrid-based Nuria Mora and Australian-Singaporean duo Yok & Sheryo, to create site-specific murals at the company’s New York headquarters. And last year, P8Pass became the art market’s first blockchain authentication service. “It’s helpful to be able to trace a piece from its creation,” Depczyk says. “We’re all about making the market as transparent as possible.” paddle8.com
Izabela Depczyk with a commissioned installation by artist Nuria Mora in the Paddle8 New York headquarters; she wears a dress by Brunello Cucinelli with earrings, a bracelet, and a ring by Tiffany & Co. Opposite: Legacy Russell, in a dress by Andrew Gn at Studio Museum 127 in Harlem, the museum’s temporary exhibition space.
Stephanie Goto in front of works by Piero Manzoni at Hauser & Wirth in New York, wearing a jacket and pants by Comme des Garçons.
“When you eliminate shadows, you notice the edges of the sculptures,” says Stephanie Goto
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After establishing her New York practice in 2004, architect and designer Stephanie Goto became known for her Manhattan restaurant designs, including Corton and the reimagined Monkey Bar. Now her focus has shifted to the art world. Having designed the Calder Foundation’s headquarters in New York, she created an installation for the 2018 exhibit “Calder: Nonspace,” a collaboration with the foundation at Hauser & Wirth’s Los Angeles gallery for which she covered a long skylight with a scrim. “When you eliminate shadows,” Goto explains, “you notice the edges of the sculptures.” This year, the architect designed similarly subtle, effective installations in New York for two more Hauser & Wirth surveys, both focused on the influential Italian artist Piero Manzoni, with angled walls that “sculpt the space,” Goto notes. For the September opening of Pace Gallery’s new Chelsea home, she designed another show of Calder’s work. Noting that galleries now incorporate dining and guesthouses, Goto sees the restaurant projects she has done—which involved designing experiences—as a plus. “I’m taking my work in a new direction,” she says. stephaniegoto.com
In her Tribeca space with an artwork by Max Jansons and a chair by Thomas Barger, Lisa Schiff wears a dress by Dolce & Gabbana with her own jewelry.
In May, art adviser Lisa Schiff opened a space on White Street in Tribeca. But don’t call it a gallery. Designed by Rodman Primack’s firm, RP Miller, the welcoming, eclectically furnished space—with a living wall by the artist Gennaro Brooks-Church—encompasses a book-lined office for her firm, SFA Advisors; an exhibition venue for works on consignment from galleries like Gagosian, Marianne Boesky, Gavin Brown, and the design gallery R & Company; and a rotating window display that is currently curated by Neville Wakefield. Also on site is a concept store offering objects like the sustainable See a Clean Future
sunglasses, a collaboration between RVS Eyewear and Ugo Rondinone, for Schiff’s art production company, One All Every, which donates its proceeds to nongovernmental organizations. Schiff says her main impetus was to sell works acquired by clients who need to deaccession. For those private sales, “I wanted a space.” But Schiff, noting that major galleries already have concept stores, also wanted her location to appeal to an audience beyond art collectors, to give people the opportunity to drop in, hang out, and “buy something small.” sfa-advisory.com, oneallevery.com
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“We’re inviting people to participate in auctions in new ways, not just with online bidding,” says Brooke Lampley
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Brooke Lampley knows the auction world inside and out. As vice chairman of the fine art division at Sotheby’s, which she joined in January 2018 after a long career at Christie’s, she was instrumental in selling one of Claude Monet’s “Meules,” his series of haystack paintings, for $110.7 million, a world record for an Impressionist work, in May. But Lampley also knows the auction market is changing, and Sotheby’s is changing with it. “We’re inviting people to participate in auctions in new ways, not just with online bidding”—which is now a given at all the major houses—“but also with online-only auctions and advance bidding in live sales,” she explains. (Sotheby’s is also a leader in private sales, which hit $1 billion in 2018.) Last year, the auction house acquired Thread Genius, a startup that provides artificial intelligence based on visual data to predict what past buyers might purchase in the future. “We’re very good at the historical framework,” Lampley notes, “but we’re less aesthetically intuitive, and algorithms may pick up on what we don’t see. And the best part of that is that we have both.” sothebys.com
Iranian artist Shirin Neshat has long been caught between two cultures. She came to the U.S. as a 17-year-old student in 1975, and her acclaimed photographs, videos, and films, which address politics, the oppression of Muslim women, and cultural identity in ways that are both lyrical and disturbing, have led to a contentious relationship with her homeland. In her latest film, Neshat focuses on her adopted country. Land of Dreams will debut in October as part of “Shirin Neshat: I Will Greet the Sun Again,” the first major West Coast survey of her work, at the Broad Museum in Los Angeles. The film’s protagonist, a young Iranian woman, interviews working-class and poor people of various colors, collecting their dreams for processing at an Iranian colony in the U.S. She begins to hide and manipulate these dreams, “breaking the rules of Iranian society by becoming emotionally invested in her subjects,” the artist explains. The story, Neshat says, is “an allegorical way” of focusing on racism and poverty in the U.S., and she adds that while it’s important to see works that question Iranian tyranny, in this film, “you end up in America.” thebroad.org
Shirin Neshat in her Bushwick studio with a sweater by Hermès and a necklace by David Webb. Opposite: Brooke Lampley, with a Robert Motherwell painting at Sotheby’s in New York, wears a coat by Michael Kors, a dress by Akris, boots by Louis Vuitton, and a ring and a bracelet by Van Cleef & Arpels.
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A spectacular expanse of bookmatched stone surrounds the fireplace in the living room of Cherine Magrabi Tayeb’s Santa Monica home, designed by architect Peter Choate in the early 1980s. Paintings by Richard Prince (left) and Ahmed Alsoudani flank the sitting area outfitted with a Philip and Kelvin LaVerne table and a Warhol-inspired Campbell’s soup can stool by Simon Gavina. For details see Sources.
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fter three years of fruitless house hunting in Beverly Hills, Cherine Magrabi Tayeb and her husband, Ahmed, were lured to Santa Monica by a tantalizing prospect. The real estate listing promised a pristine, airy abode with enough bedrooms for their three children plus guests and ample walls for the couple’s growing art collection. Designed in the early 1980s by Peter Choate—the architect of residences for such Hollywood heavyweights as Anne Bancroft, Mel Brooks, Carol Burnett, and Sharon Stone—the house also offered serious curb appeal. It’s situated on an elegant street lined with regal fig trees, and the façade is dramatically draped with greenery. The moment Tayeb stepped into the sun-splashed entrance hall and was greeted with a wide-open view across the Riviera Golf Course, she knew she was home. “I immediately responded to the light,” she says. “And the house had everything we needed.” Plus, it was in perfect, move-in-ready condition. That made things easier for Tayeb, who envisioned the home as a refined yet relaxed dominion where she could find peace and tranquility, free from the demands of her and →
Above: A Mary Corse painting overlooks a sofa by Fernando and Humberto Campana, a cactus floor lamp by the Haas Brothers, and a tabletop glass maquette by Larry Bell. Opposite: Tayeb perches on a living room sofa in front of an Adriana Varejão cracked-tile work and a Richard Prince nurse painting. The surveillance camera sculpture is by Ai Weiwei.
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Ceramic stools by Lee Hun Chung add a dash of playful color to the pool terrace, which offers views across the Riviera Golf Course.
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her husband’s heavily programmed life in Beirut. There, Tayeb oversees communications for and the creative direction of Magrabi Eye Care, a family business with 180 stores that requires constant travel throughout the Middle East and Europe. In addition, she launched her own minaudière line, 13BC, last fall during Paris Fashion Week, and she is the founder of a nonprofit called House of Today, which nurtures emerging Lebanese designers working across an array of disciplines. Tayeb’s wide-ranging passion for design is bolstered by a trust in her own instincts. “The common thread in my design work is a naiveté,” she says, “because I buy what I fall in love with and make it work.” Decidedly more modern in feeling than the family’s residences in Beirut and Paris, the Santa Monica home features a mix of furnishings and art that radiate whimsy with sophistication and opulence without excess. Arresting artworks by Michael Heizer and Andy Warhol overlook the dining area’s sleek 1930s Paul T. Frankl table and George Nakashima rush-seat chairs from the ’60s. In one of the living room’s multiple seating areas, an Imi Knoebel geometric abstraction plays off the eccentric Misha Kahn chandelier that hangs above a yellow fiberglass table by Wendell Castle. In another sitting area, a vintage etched bronze table by Philip and Kelvin LaVerne is flanked by an eye-popping Richard Prince painting of a Ford Mustang and a ten-foot-tall surreally chaotic composition by Ahmed Alsoudani. Even one of the sons’ bedrooms is dominated by a suite of Warhol “Electric Chair” paintings in different hues—a strikingly unconventional statement for the family’s private quarters. “The fact that the spaces are so bright and quite large,” says Tayeb, “meant I could have daring and colorful pieces that breathe quite easily.” Throughout the home, idiosyncratic works by adventurous contemporary designers such as Fernando and Humberto Campana, Katie Stout, and the Haas Brothers add to the animated spirit. “I value the designer’s process and how each one has innovated in their own way,” Tayeb says. A typical day at the house might include a morning workout, a visit to the nearby farmers’ market for flowers and fresh produce, and a light lunch around the pool en famille. Tayeb, an avid gardener, spends a lot of time tending to the African daisies, pansies, lantanas, baby petunias, princess flowers, and other varieties she cultivates. At night, the family likes to pile into the screening room to watch movies. “We love the fact that Santa Monica is so laid-back,” says Tayeb. “Honestly, I can’t imagine us living anywhere else in L.A. now.”
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A painting by Michael Heizer makes a bold statement in the dining area, where the 1930s Paul T. Frankl table is ringed by vintage George Nakashima chairs.
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From top: Andy Warhol “Electric Chair� paintings hang in a bedroom that features nightstands by Sayar & Garibeh and a Christophe Delcourt low table with colorful hexagonal forms. Shelves by Katie Stout and a Lucas Maassen chair amp up the whimsy in the master bath. Opposite: A Richard Prince painting mingles with a John Brooks burl-elm chair and a ceramic chain pendant by Ronan and Erwan Bouroullec.
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Johan Vandendriessche’s home is a former Flemish military barracks built in 1614 near Bruges and features structural updates by architects Claire Bataille and Paul Ibens. Designer Axel Vervoordt put his distinctive stamp on the interiors, while legendary landscape designer Jacques Wirtz oversaw the outdoor spaces. For details see Sources.
ohan Vandendriessche is an absolute aesthete. The Belgian real estate entrepreneur falls in love as easily with a historic building as he does with a work of art. And he tends to acquire both by relying on the same gut feeling. Professionally, he converts historic buildings to mixed-use housing or offices with respect for the original architecture. In his private life, he likes to surround himself with art, as illustrated by his home in the polder landscape near Bruges. Vandendriessche lives in a former military barrack that dates back to 1614. In his garden, which was designed by the late landscape luminary Jacques Wirtz, there is even an original pigeon tower, once used for sending messages to surrounding castles. Architects Claire Bataille and Paul Ibens renovated the elongated stone building in the 1980s in minimalist style. In addition to carving out a succession of living spaces along a monastic corridor, they devised, in the heart of the home, a double open staircase that suggests a crow-stepped gable—cleverly referencing a hallmark of traditional Flemish architecture. To infuse the rooms with authenticity and soul, Vandendriessche called upon designer Axel Vervoordt, whose unmistakable stamp is evident throughout. His elegantly simple sofas and chairs upholstered in rich monochrome linens bring comfort, while isolated paintings and sculptural objects on sober plinths quietly animate the spaces with moments of focused contemplation. From an African statue and a Gotthard Graubner “Pillow” painting to a set of Egyptian predynastic vases in alabaster, the mix of ancient and modern is unified by a basso continuo of universality and timelessness. 134
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“Time is the best artist, and great art is timeless,” Vervoordt says. “My very first exhibition, at the Palazzo Fortuny during the 2007 Venice Biennale, was ‘Artempo: Where Time Becomes Art,’ and that exhibition changed my life.” A pair of antique wooden mannequins that were on the cover of the show’s catalogue now stand in Vandendriessche’s hallway—symbols of the friendship and mutual respect between designer and client. The two teamed up again in 2006, collaborating on plans to add a pair of structures to the property to be used as spaces for hosting friends or escaping for quiet reflection. At one end of the house, connected via an underground art gallery, is a classic Flemish barn, and at the other, a freestanding Japanese minka—the name for a rustic timber-frame dwelling built by farmers and craftsmen. Among the many passions shared by the two men is a love of Japan’s culture. Vandendriessche owns a number of works by Japanese artists, including paintings by postwar Gutai movement giant Kazuo Shiraga, whose soaring profile among collectors can be partly credited to Vervoordt. At Vandendriessche’s home, Vervoordt says, the idea of bookending the house with the two buildings was about creating a “bridge between traditional Flemish and Japanese architecture. It’s a kind of universal connection between East and West.” The structures, he adds, “keep each other in balance. They are yin and yang.” Although the Flemish barn was newly built, it looks as though it has always been there. The roof, constructed entirely with traditional techniques, features beams recycled from the Louvre in Paris. For the floors and walls, the designer used a mixture of local soil and lime, while the stones that support the wood pillars were salvaged from an old church. The barn has an elemental, almost primitive atmosphere, thanks to the monumental fireplace, old peasant table, and earthy ceramics from Japan and Korea. →
At one end of the large salon, a painting by Ida Barbarigo and a 19th-century Togolese Moba ancestor sculpture overlook a sofa, chairs, and a stone cocktail table by Vervoordt. The flooring is reclaimed antique oak planks. GALERIEMAGA ZINE.COM 135
In another salon sitting area, a Vervoordt sofa and iron-base cocktail table keep company with an os-de-mouton armchair and a column of ancient bronze staple dishes from Thailand. Opposite: The monastic-like entrance hall features a double staircase that references the crow-stepped gables common in traditional Flemish architecture.
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From top: A painting by Ida Barbarigo punctuates the white limewash that coats the ultra-minimalist master bedroom’s walls. In the library, a Georgian armchair stands next to shelves displaying a variety of ancient art objects, including a Bronze Age Indus figurine. Opposite: Vandendriessche enlisted Vervoordt to help install a traditional Japanese timber-frame dwelling, known as a minka, that he acquired outside Kyoto. Typical features include the stone bath and sunken seating area, which Vervoordt furnished with custom seat cushions and a table crafted from a 300-yearold linden tree.
The Japanese minka, meanwhile, was discovered dismantled outside Kyoto. “Beam by beam, the structure was rebuilt in Flanders,” says Vandendriessche. “We flew over Japanese craftsmen specifically for that purpose, and 11 people worked on the reconstruction for three months.” The minka’s spartan interior is all about natural elements: stone, water, wood, earth, fire. As is typical, the main room features a central wood-burning sunken hearth, known as an irori, that provides heat. There’s also a low table handmade from a 300-year-old linden tree that tops a pit ringed by seat cushions custom made by Vervoordt. “Everything is made from natural materials,” says the designer, whose son Boris now heads the day-to-day running of the interiors business. (The firm’s latest projects are featured in the book Axel Vervoordt: Portraits of Interiors, coming out in October from Rizzoli.) “You feel the passion of the artisans who patiently created it.” This fall, however, the minka will be dismantled and shipped to a new owner, who plans to install it on a Texas ranch. “I believe architecture is like art—you are only the temporary guardian,” says Vandendriessche. “My art collection also changes regularly. I love charging my house with new artistic energy from time to time.” For his part, Vervoordt, who has long been inspired by Japanese principles of impermanence and imperfection, emphasizes that the house is “a living work of art—a lively dialogue between East and West, between nature and culture, between intimacy and monumentality.” It is, he adds, “full of contrasts, which are perfectly complementary.” 138
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Corten steel sculptures from Bernar Venet’s “Indeterminate Lines” (left) and “Arcs” series on the grounds of his home and foundation in Le Muy, France. Right: The artist stands next to a recent installation of “Arcs” pieces in one of the foundation galleries, which are open to visitors by reservation during the summer.
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Clockwise from top left: Works from Venet’s “Angles” (foreground) and “Arcs” series that were originally conceived for a 2011 show at Versailles. A nearly 40-foottall “Arcs” sculpture overlooks the Nartuby River, which runs through the property. Torch-cut steel reliefs from the artist’s “Continuous Curve” series line the walls of a foundation gallery. The Arc bridge that Venet designed to connect the parts of the property on both sides of the river.
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hat Richard Serra is to steel slabs, Bernar Venet is to steel bars. Venet may be less famous than his counterpart, but he is a giant of modern sculpture in his own right and, like Serra, a master at bending massive pieces of weathered steel to his will. Since the 1960s, Venet has been producing endless variations on his complex tangles, bundles, and piles of ruddy steel. Ranging from rigorously geometric to almost spontaneous in feeling, all of his pieces are products of a meticulous conceptual approach. One might imagine the 78-year-old Venet, the holder of a knighthood in France’s National Order of the Legion of Honour, as a grand old figure sketching in a leather-bound notebook at his Provençal estate as the wind whistles through the cypresses. But non. “I don’t sketch,” says the energetic Venet, speaking from Le Muy, the town in southeastern France where he has a home and his namesake foundation is based. “I have an idea in mind, and I make maquettes immediately.” These rough studies, typically in steel measuring a foot or two in height, are a crucial part of his creative process, often producing happy “accidents,” as he calls them. Later, a team of people in a Hungarian factory translates the models into finished sculptures. But Venet says his most important work actually happens before all that, when he is simply thinking and reflecting. After all, he is the rare artist who is also well-known for not making art, such as when he took five years off in the 1970s to ponder and construct a theoretical basis for his life’s work. “Michelangelo said that you don’t make art with your hands, you make art with your brain,” says Venet. “And there are many people who just enjoy painting or enjoy making sculptures, but they don’t spend much time thinking and asking the questions about the nature of art.” The fruits of his many decades of questioning are on view all over the place these days. On the heels of a major retrospective at the Musée d’Art Contemporain in Lyon, France, last fall, Venet showed new works at Blain|Southern’s Berlin gallery, with more to be presented at Kasmin in New York, beginning September 12. Among the pieces displayed will be five large-scale sculptures from his “Indeterminate Lines” series.
Then, in October, Venet will unveil what he calls “the most major piece of my life,” a public artwork titled L’Arc Majeur, which he created for Belgium’s E411 highway. Cars will appear to drive through a massive broken circle embedded into the landscape. Because of the work’s size—it stands nearly 200 feet tall—and its striking visual impact, the artist describes it as a career high point: “I will never go beyond that.” Venet was born and raised in France, but it was in New York that he was born as an artist. “I felt terribly lonely while I was in France, because nobody was taking my work seriously,” he says. Traveling abroad helped open doors—and open his mind. Seeing Jean and Howard Lipman’s seminal collection of modern sculpture at the Whitney Museum in 1966, when he was 24, was “a shock,” he recalls. “I said, ‘That’s it. I’m not alone.’” Venet settled in New York—his primary base ever since— soaking up its influences. “I took very important lessons from American formalism, its power and its strength,” he says. At the same time, he made career-shaping personal connections, becoming “the kid” among a group of older, influential conceptual artists like Donald Judd, with whom, he says, he enjoyed “intense conversations,” and Sol LeWitt, who became a close friend. As a result of those relationships, Venet acquired a significant collection of works by Judd, LeWitt, Ellsworth Kelly, James Lee Byars, Robert Indiana, and others. More than 100 pieces are now part of a private museum that his foundation oversees in Le Muy. There’s even an outdoor chapel designed by Frank Stella, featuring six of his large-scale wall reliefs and a four-ton spiraling glass-and-steel roof. (The Venet Foundation, currently featuring a Claude Viallat show, is open on a limited, reservation-only basis during summer, this year through September 13.) The foundation also features Venet’s own art, of course, notably a number of pieces from the “Collapse” series, which the artist began about 15 years ago and describes as “the best of my work.” Several “Collapse” sculptures were on view in the Lyon retrospective, including a stack of steel rods at acute angles and an arrangement of rusty circles lying on top of each other. Works like these reflect the artist’s particular interest in “concepts like order, disorder, collapse, and unpredictability,” as he puts it. Despite a prolific career spanning more than five decades, Venet confesses that he’s never satisfied. “I know that there is so much more to create,” he says. “And I constantly try to push the limits.”
Clockwise from top left: In the living room of Venet’s residence—which is called the Moulin, after the centuries-old mill building it occupies—a piece by Frank Stella hangs next to a steel table and chairs made by Venet. A work by François Morellet is installed above the fireplace, also in the living room, while several of Venet’s own “Candelabra” sculptures are arrayed below; he also crafted the sofa using torch-cut steel. The exterior of the Moulin. A crumpled-metal sculpture by César stands in the entrance hall, where a Lawrence Weiner text piece scrolls along the staircase.
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For Cartier’s mesmerizing limited-edition Les Galaxies de Cartier necklace, a constellation of luminous diamonds, fire opals, and yellow and blue sapphires orbits a 18K-gold pendant inspired by the starry skies above; cartier.com. Opposite: In his penultimate canvas, Broadway Boogie Woogie (1942–43), Dutch painter Piet Mondrian captures the kinetic energy of American jazz, channeling a dynamic rhythm of his signature red, blue, and yellow into a vibrant grid, which also personifies the lights of his adopted city, New York; moma.org.
COURTESY OF CARTIER. OPPOSITE: © THE MUSEUM OF MODERN ART/LICENSED BY SCAL A/ART RESOURCE, NY
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COURTESY OF LOUIS VUITTON. OPPOSITE: COURTESY OF SOTHEBY’S
Celebrated for her iconic sensuous floral paintings, Georgia O’Keeffe transformed curvaceous blossoms into beguiling abstracts such as Yellow Sweet Peas, which faithfully represents the organic folds and complexities of Lathyrus blooms; okeeffemuseum.org. Opposite: The Campana Brothers have made a name for themselves fusing functional home accents with fantastical design. Their latest feat, the Bulbo chair, is no exception, enveloping guests within layers of petals covered in plush fabric and backed with Louis Vuitton leather; us.louisvuitton.com.
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COURTESY OF GUCCI. OPPOSITE: JAMES PRINZ
A forest of metallic lawn ornaments and luminescent staircases, Until gives viewers the chance to physically explore the mystical realm of contemporary artist Nick Cave’s signature “Soundsuits.” Originally staged at the Massachusetts Museum of Contemporary Art, in 2016, the work, Cave’s largest installation to date, travels to the Crystal Bridges Museum of American Art in 2020; nickcaveart.com. Opposite: For Gucci’s fall/winter 2019 collection, creative director Alessandro Michele walked the line between prim and punk, enlivening the brand’s classic sweaters, coats, and pleated skirts with riotous patterns, then layering on hard-edged accents such as leather masks and silver spikes; gucci.com.
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COURTESY OF RICHARD MILLE OPPOSITE: © WHITNEY MUSEUM OF AMERICAN ART/LICENSED BY SCAL A/ART RESOURCE, NY.
Electrifying the gallery walls of the Whitney Museum of American Art, this text-based sculpture, Five Words in Green Neon (1965), showcases how the pioneering conceptual talent Joseph Kosuth used just a few words to make a statement; whitney.org. Opposite: Recognized for pushing the boundaries of watchmaking, Richard Mille exhibits the brand’s masterful technique with this RM 07-02 Green Lady Sapphire timepiece, which is bejeweled with a radiant green sapphire carved from a single block; richardmille.com.
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Designer Luis Laplace created an elegantly updated backdrop for Adriana Abascal’s adventurous art collection. Hanging in the living room are works by (from left) Louise Lawler, Danh Vo, Thomas Houseago, and Julian Schnabel, which are joined by an Adam McEwen graphite step stool and one of Walead Beshty’s FedEx glass box sculptures. Midcentury Italian armchairs and a 1960s James Mont ottoman mix with several Laplace Bespoke designs and a rug by Tai Ping. For details see Sources.
uis Laplace has made a career crafting quietly chic interiors for influential art-world players. The Argentine-born, Paris-based architect and designer has masterminded residences for artist Cindy Sherman, top-tier collectors like Mick Flick, and preeminent dealers such as Emmanuel Perrotin and Iwan and Manuela Wirth. Laplace’s public commissions include refurbishing a museum devoted to the Basque modern sculptor Eduardo Chillida in San Sebastián, Spain, as well as designing multifaceted art centers for Hauser & Wirth in England and on Menorca, off the coast of Spain. So it came somewhat by surprise when Laplace received a call four years ago from a famous model who wanted to quickly renovate a Paris apartment for her family. “I was a bit scared at the idea of working with such a glamorous woman,” Laplace admits. “To be honest, I thought she was going to be difficult.” Adriana Abascal, a former Miss Mexico who has walked the couture runways for Valentino and Versace, had her own reservations. “I discovered Luis online, and I was a little afraid,” she recalls with a laugh. “At 20 years old, everyone tells you what to do. At 40, you really know what you want. He was already very established.” And yet they clicked instantly. “We realized we have a lot in common,” Abascal says. “We’re both foreigners living in Paris. Luis is a very global individual. I knew right away he was going to understand me.” The spacious five-bedroom apartment, situated in a Haussmann-era building in the 16th arrondissement, offers beguiling views of the Eiffel Tower and Arc de Triomphe. But the interiors needed a total refresh to suit a modern family. Abascal and her husband, French financial executive Emmanuel Schreder, live with her three children, as well as two Labradoodles she describes as “the size of ponies.” There was also an expansive art collection to account for—not least a two-ton sculpture by Paul McCarthy. And the deadline was tight: one year from start to finish. Laplace’s approach was to simplify the architectural details of the 19th-century spaces, stripping out ornate paneling and replacing busy-looking moldings and baseboards with clean-lined versions, while → GALERIEMAGA ZINE.COM
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Left: A Pae White neon ceiling installation casts a colorful glow in the gallery-style entrance hall, where large paintings by Christopher Wool and Robert Mangold hang beside a long 1940s table that’s topped by a Ritsue Mishima glass sculpture; one of Jean-Michel Othoniel’s jewelry-like strings of glass orbs is visible through the doorway. Below: Abascal stands in front of a two-ton Paul McCarthy sculpture that required reinforcement beams beneath the hallway floor.
A work by Ha Chong-Hyun is mounted on the library’s limed-oak bookcase above a vintage Jean Adnet leather-wrapped table and chair. The desk lamp is 1960s Scandinavian, the floor lamp is an Ignazio Gardella design produced by Azucena, and the rug is by Tai Ping.
retaining timeless elements, such as the original herringbone parquet flooring and marble fireplace mantels. He reconfigured some rooms, creating space for a fashionista’s dream dressing room, for instance. And he of course made sure there would be plenty of walls for displaying bold works of art by Julian Schnabel, Thomas Houseago, Christopher Wool, and others. “I designed the space to be contemporary yet classic,” he explains. “It was important to retain elements of the period but have it feel modern.” As the interiors evolved, the designer and his client maintained a running dialogue, meeting weekly. “I’m not interested in doing projects alone,” Laplace says. “I’m here to resolve design problems. Things need to work for real living.” When it comes to the art, he never devises a space for a particular work—that would be too formulaic, too stiff. “I learned that an academic approach works only at the beginning of the process,” he explains. “You need a sixth sense to have artworks speak to each other.” The furnishings, some of which were purchased on weekend flea-market excursions with the couple, are as eclectic as the art. At one end of the living room, a
plush sofa of Laplace’s design joins midcentury Italian armchairs and a beefy 1960s ottoman by James Mont; at the other end, he paired a 1970s resin cocktail table with a rare Theo Ruth curved sofa. In the library, limed-oak paneling forms an elegant backdrop for a sleek Jean Adnet desk and chair wrapped in oxblood-red leather. A gleaming 1940s table was virtually the only furniture needed in the gallery-style foyer, which holds an eye-popping neon ceiling installation by Pae White, a dusky ship painting by Ed Ruscha, and the massive McCarthy sculpture that was craned in through a large window after steel reinforcement beams were added beneath the floor. Abascal discovered the McCarthy at Art Basel several years ago. “I was at a moment where I had spent all my budget on art,” she recalls. “It was 11 a.m., and I put it on reserve. I told a friend to take me to a bar for a tequila. I remember thinking to myself, I need to find an apartment with room for myself, my kids, and this sculpture.” Now, courtesy of the art-world’s secret design weapon Luis Laplace, she has all that and more—in superlative style.
At one end of the living room, a Fabio Lenci pendant is installed above a seating area with a Theo Ruth sofa covered in a Pierre Frey fabric, a 1960s armchair, a ’70s resin cocktail table, and a ’50s floor lamp. A Sherrie Levine steer skull is flanked by Richard Prince and Glenn Ligon paintings on the far wall, while a Vo Corona box sculpture rests on the Steinway piano and ’20s Italian glass vessels and a vintage metal lamp top the mantelpiece.
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A work by Gregor Hildebrandt overlooks the master bath’s Volevatch tub and filler, which are accompanied by a vintage nickel table, a Jean-Claude Delépine for THG towel warmer, and enviable city views that stretch to the Eiffel Tower. Opposite: In the master bedroom, a work by Andrea Bowers makes an impression over the Elite bed; the pendant is a circa-1950 Gaetano Sciolari design, and the bedside tables and lamps are from the ’70s.
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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, 140–45: 2019 Bernar Venet/ ARS, New York/ADAGP, Paris. Page 28: 2019 Frank Lloyd Wright Foundation. All Rights Reserved. Licensed by ARS. Page 34: 2019 ARS New York/ADAGP, Paris. Page 38: 2019 The Easton Foundation/Licensed by VAGA at ARS, NY. Page 58: 2019 ARS, New York/ ADAGP, Paris. Page 92: 2019 Pollock-Krasner Foundation/ARS, New York. Pages 105: With permission of the Renate, Hans & Maria Hofmann Trust/ ARS, New York. Pages 106–7, 131: 2019 The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by ARS, New York. Page 108, 115: 2019 Frederick Hammersley Foundation/ARS, New York. Pages 111, 115: 2019 Estate of Pablo Picasso/ARS, New York. Page 113: 2019 ARS, New York/ADAGP, Paris. Page 117: 2019 ARS, New York/ VEGAP, Madrid. Page 118: 2019 ARS, New York/SIAE, Rome. Page 125: 2019 Larry Bell/ARS, New York. Page 125: 2019 ARS, New York/ AUTVIS, Sao Paulo. Page 135: 2019 ARS, New York/ADAGP, Paris. Page 138: 2019 ARS, New York/ADAGP, Paris. Page 144: 2019 César/ARS, New York/ADAGP, Paris. Page 144: 2019 Frank Stella/ARS, New York. Page 144: 2019 Lawrence Weiner/ARS, New York. Page 149: 2019 Georgia O’Keeffe Museum/ARS, New York. Page 153: 2019 Joseph Kosuth/ARS, New York. Page 155: 2019 Julian Schnabel/ARS, New York. Page 156: 2019 ARS, New York/ADAGP, Paris. Page 156: 2019 Robert Mangold/ARS, New York. Page 158: 2019 ARS, New York/ADAGP, Paris. Page 160: 2019 ARS, New York/ BONO, Oslo. FRESH OUTLOOK
Pages 106–15: Interiors and select furnishings by Madeline Stuart; madelinestuart.com. Landscape design by Brian Tichenor of Tichenor & Thorp; tichenorandthorp.com. Architecture
by Island Architects; islandarch.com. Pages 106–07: In gallery, custom-made gesso chandelier by Paul Ferrante; paulferrante.com. Oceanic vessel planter by Formations; formationsusa .com. Stone consoles from Chateau Domingue; chateaudomingue.com. Palm runner by J. D. Staron (T); jdstaron.com. Pages 108–09: In living room, Michael Diaz copper lamp from Blackman Cruz; blackmancruz.com. Bronze and limestone cocktail table by Carole Gratale Inc. (T); carolegratale .com. Antique chairs from Lee Calicchio Ltd.; leecalicchioltd.com. Custom sofa upholstered in fabric by C&C Milano (T); cec-milano.com. Spanish Prado rug from Mansour; mansour.com. Pages 110–11: In library, bronze lamp from JF Chen (T); jfchen .com. Custom sofa upholstered in fabric by Rogers & Goffigon (T); rogersandgoffigon.com. Side table from Amir Mohtashemi; amirmohtashemi.com. Berber armchairs upholstered in custom fabric by Chapas Textiles (T); chapastextiles.com. Turkish Oushak rug by Doris Leslie Blau (T); dorisleslieblau.com. Leather desk from Lucca Antiques; luccaantiques.com. Page 112: In pool area, rattan chaise longues by Bunny Williams Home; bunnywilliamshome.com. Chaise cushions upholstered in fabric by Perennials (T); perennialsfabrics.com. Antique Gladding McBean urns from Wells Tile & Antique; wellstile.com. Custom tiles from Mission Tile West; missiontilewest.com. Custom cushions upholstered in Great Outdoors fabric by Holly Hunt; hollyhunt.com. In kitchen, light fixtures by the Urban Electric Co.; urbanelectric.com. Backsplash tile from Mission Tile West. Range by Wolf; subzero-wolf.com. Sink fittings by MGS; mgstaps.com. Stools by Drucker; drucker.fr. Page 113: In master bedroom, antique light fixture from Antonio’s Bella Casa (T); antoniosbellacasa.com. Inlaid chest from Amir Mohtashemi. Bedding by E. Braun & Co.; ebraunnewyork.com. Walnut nightstand from John Nelson Antiques; johnnelsonantiques.com.
GALERIE (ISSN 2470-9964), Volume 4, Issue 3, is published quarterly by Galerie Media Group LLC, 101 Park Avenue, 4th Floor, New York, NY 10178 USA. Lisa Fayne Cohen, Founder/Editorial Director; James S. Cohen, Chairman; Adam I. Sandow, Chairman, SANDOW. Principal office: Galerie Media Group LLC, 101 Park Avenue, 4th Floor, New York, NY 10178. Editorial and advertising offices: GALERIE, 101 Park Avenue, 4th Floor, New York, NY 10178. Subscriptions: Visit galeriemagazine.com, or call 818-4872019 (in the U.S.) or 855-664-4228 (toll-free, outside the U.S.).
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Custom rug by Mitchell Denburg; mitchelldenburg.com. In study bathroom, polished-nickel sink fittings by Sigma Faucets; sigmafaucet .com. Syrian walnut vanity from Michael Haskell; michaelhaskell.com. WOMEN CHANGING THE ART WORLD
Pages 116–21: Fashion styling by Shabdiece Esfahani; shabdiece.com. Makeup and hair for Legacy Russell, Izabela Depczyk, Lisa Schiff, and Brooke Lampley by Maysoon Faraj; maysoonfaraj.com. Makeup for Stephanie Goto by Mari Shten; marishtenbeauty.com. Page 116: Legacy Russell in dress by Andrew Gn; andrewgn.com. Page 117: Izabela Depczyk in dress by Brunello Cucinelli; brunellocucinelli.com. Earrings, bracelet, and ring by Tiffany & Co.; tiffany.com. Page 118: Stephanie Goto in jacket and pants by Comme des Garçons; comme-des-garcons.com. Page 119: Lisa Schiff in dress by Dolce & Gabbana; dolcegabbana.com. Page 120: Brooke Lampley in coat by Michael Kors; michaelkors.com. Dress by Akris; us.akris.com. Boots by Louis Vuitton; us.louisvuitton.com. Ring and bracelet by Van Cleef & Arpels; vancleefarpels.com. Page 121: Shirin Neshat in sweater by Hermès; hermes .com. Necklace by David Webb; davidwebb.com. CROSS CURRENTS
Pages 122–31: Architecture by Peter Choate of Choate Associates Architects; choateassociates.com. Page 125: In living room, Bolotas sofa by Fernando and Umberto Campana; friedmanbenda.com. Floor lamp by the Haas Brothers; r-and-company.com. Pages 126–27: In pool area, stools by Lee Hun Chung; r-and-company.com. Page 129: In dining area, Paul Frankl table from Nilufar; nilufar.com. George Nakashima grass seat chairs from Galerie Half; galeriehalf.com. Page 131: In bedroom, Mom nightstand by Sayar & Garibeh; sayargaribeh.com. MUC7 side table by Christophe Delcourt; christophedelcourt.com. In
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master bath, shelf by Katie Stout; r-and-company.com. Chair by Lucas Maassen; kindermodern.com. KINDRED SPIRITS
Pages 132–39: Interiors and select furnishings by Axel Vervoordt; axel-vervoordt.com. Architecture by Claire Bataille and Paul Ibens; bulo .com. Landscape design by Wirtz International Landscape Architects; wirtznv.com. PARIS MATCH
Pages 154–161: Architecture, interiors, and select furnishings by Luis Laplace; luislaplace.com. Pages 154–55: In living room, 1960s light fixture from Laplace Antiques. Curtains in fabric by Kvadrat; kvadrat .dk. Custom sofa upholstered in fabric by Dedar; dedar.com. Stig Lindberg stoneware lamp from Laplace Antiques. Ignazio Gardella floor lamp by Azucena; azucena.it. James Mont ottoman from Laplace Antiques. Hand-knotted silk rug by Tai Ping Carpets (T); houseoftaiping.com. Page 156: In entrance hall, ceramic table lamp from Laplace Antiques. Page 158: In library, ceramic lamp from Laplace Antiques. Ignazio Gardella floor lamp by Azucena. Wool rug by Tai Ping Carpets (T). Page 159: In living room, Fabio Lenci pendant from Galerie Meubles et Lumières; meublesetlumieres.com. Curtains in fabric by Kvadrat. Floor lamp, table lamp, cocktail table, and vases from Laplace Antiques. Theo Ruth sofa upholstered in fabric by Pierre Frey (T); pierrefrey.com. Pillows and fabric by Kvadrat. Armchair upholstered in fabric by Jules & Jim; julesetjim.fr. Piano by Steinway & Sons; steinway .com. Page 160: In master bedroom, Gaetano Sciolari pendant from Galerie Meubles et Lumières. White clay lamps from Laplace Antiques. Bed and bedding by Elite; elitebeds.ch. Page 161: In master bath, tub and filler by Volevatch; volevatch.fr. Towel warmer by Delepine; delepine.com. Side table from Laplace Antiques.
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FASHION DESIGNER
ZAC POSEN SHARES
THE COMMON THREAD HE HAS WITH
A SERIES OF TROMPE L’OEIL WORKS BY HIS FATHER, ARTIST STEPHEN
POSEN
My father made this work early in his career. Growing up, I wasn’t even aware of these paintings, but the fabric and materials he used to build the models were incorporated into my play things as a kid. Then, when I first started making clothing, it was out of the same remnants. By the time I was born, my father had moved on to a very different style, but there was a lithograph in the house from this period that always enticed me. That he was able to capture something so tactile, something that looked like it had depth but was two dimensional—I was in awe. About two years ago, my very good friend, gallerist Vito Schnabel, became interested in this series, and we began an exploration, going into the archives and seeing what pieces existed and which galleries had them. When I look at these paintings, there’s such an easy through-line correlation to what I’m doing. Rediscovering them has sparked conversations between my father and me about form, space, structure, and figurative and nonfigurative—these are continual discussions that I have with him every time I’m in his studio or he’s in mine. I love living with art; it’s important to me. A work from this series hangs in the dining room of my New York apartment. I’m drawn to how the fabric catches light. Its colors have so much vibrancy and life—it’s almost glowing. It’s sparked ideas about draping and light. But have I made something that’s a direct correlation? I don’t know if I’m that brave, that cool. —AS TOLD TO JILL SIERACKI 164
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FROM TOP: ARGENIS APOLINARIO, COURTESY THE ARTIST AND VITO SCHNABEL GALLERY; MILLER MOBLEY/AUGUST IMAGE, LLC
Fragment II (1968) by Stephen Posen. Below: Zac Posen at work in his atelier.
Our iconic Lowell collection
SLEEP WELL TONIGHT. matouk.com