Galerie Winter 2019 by Galerie Magazine

AWARD-WINNING ARTIST

SOPHIA NARRETT

+ 11 NEW

TALENTS TO DISCOVER

LATE FALL 2019 ISSUE NO 15

INSIDE STUNNING, ART-FILLED HOMES DESTINATIONS WITH MAJOR BUZZ

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124 CONTEMPORARY CLASSIC New York architecture and design firm Grade curated a soothing Chelsea apartment for a distinguished world-traveling client with a sophisticated array of artworks. By Jacqueline Terrebonne

FEATURES 102 EMERGING ARTIST AWARD Galerie’s editors and a jury of art-world luminaries reviewed over four hundred portfolios to spotlight 12 talents who will be tomorrow’s biggest stars, including the winner, Sophia Narrett, who receives an unrestricted $10,000 prize to further grow her work. By Galerie Editors 112 MAKING AN IMPRESSION An all-women design team, featuring 10

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architecture powerhouse Deborah Berke, cultivated a Manhattan penthouse, complete with bespoke living spaces and a museum-worthy art collection. By Stephen Wallis

134 LIFE IMITATES ART Art, design, and fashion converge in moments of unexpected visual synchronicity. By Stefanie Li

120 PAINTING BY HIS OWN RULES Fresh off the heels of his major Paris retrospective, ever-evolving talent Bernard Frize opens his Berlin studio and provides a preview of new works that will be on display at Perrotin in New York. By Emily McDermott

142 KEEPING IT FRESH The London townhouse of architect Andrzej Zarzycki and his art patron wife, Jill, is designed to masterfully display the couple’s eclectic collection of sculptural ceramics and custom furnishings. By Dominic Bradbury

CLOCKWISE FROM TOP LEFT: MEREDITH JENKS; SAMI DRASIN; NOLIS ANDERSON

Finalists in Galerie’s inaugural Emerging Artist Award (clockwise from top left): Brooklyn photographer Elliott Jerome Brown Jr., Los Angeles mixed-media artist Genevieve Gaignard, and Chicago painter Orkideh Torabi.

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DEPARTMENTS 16 EDITOR’S LETTER By Jacqueline Terrebonne 18 FOUNDER’S LETTER By Lisa Fayne Cohen 23 THE ARTFUL LIFE What’s happening in the worlds of art, culture, architecture, design, and travel. 34 TRAILBLAZERS These pioneering creatives are forging exciting new paths in art, furniture design, and winemaking. By Danine Alati 42 PASSPORT A groundbreaking new museum, an architecturally significant library, and a high-design hotel elevate Doha’s cultural cache. By Stephen Wallis 48 ON OUR RADAR Three artists whose eye-opening work you won’t want to miss. By Lucy Rees 54 BOOKS A colorful new tome offers unparalleled access to the famed Hotel Chelsea. By Geoffrey Montes 58 POINT OF VIEW From Magdalene Odundo ceramics to YSL blazers—here’s where Salon 94’s Jeanne Greenberg Rohatyn finds inspiration. By Lucy Rees 60 CUISINE The unique Texas-by-way-of-Oaxaca flavors of Austin’s latest destination restaurant, Comedor, are served in a spectacular Tom Kundig–designed space. By Jacqueline Terrebonne

Annie Morris’s Black Pigment, Stack 10, Cobalt Blue sculpture (foreground) and Rebecca Warren’s bronze Fascia IV complement and contrast one another in a New York pied-à-terre by Grade. 12

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70 PHILANTHROPY Supporting innovative programs for breakout artists around the world has become a passion project for these luxury brands. By Jill Sieracki 74 MILESTONE Ahead of Sterling Ruby’s ICA Miami retrospective, we look back at his most significant works. By Lucy Rees

RICHARD POWERS

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66 JEWELRY Three rising-star jewelry designers who are redefining the art form with masterfully handcrafted sculptural adornments. By Lucy Rees

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Clockwise from left: Artist Bernard Frize in his Berlin studio. Aguachile of diver scallops at Comedor in Austin. The Marcel Wanders–designed pool area at Mondrian Doha.

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DEPARTMENTS

80 THE ARTFUL HOME Interior designer Nicole Fuller imagines a romantic master suite around an abstract painting by Alexander Yulish. By Jacqueline Terrebonne 82 CURATED Add an artful flair with painterly wallpapers that transform any room with panels of color and texture. By Jill Sieracki 84 REAL ESTATE Turn the fantasy of owning an island into a reality with this guide to navigating the market. By Geoffrey Montes 88 AUCTIONS Notable sales from around the world. By Jeannie Rosenfeld 14

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90 SPOTLIGHT Ethiopian artist Elias Sime’s intricate compilations made from found objects and electrical components go on view at the Wellin Museum of Art. By Pilar Viladas

Galerie’s inaugural Emerging Artist Award winner, Brooklyn-based mixed-media artist Sophia Narrett, creates intricate works from embroidery thread. Photography by Meredith Jenks.

92 BEHIND THE SCENES Noteworthy talents rely on the gifted team of fabricators at New York’s UAP foundry to realize their sizable sculptures. By Daniel Cappello 96 DESTINATION Art- and design-minded travelers are being lured to Shanghai to experience the Art021 fair, the new Tank Shanghai cultural center, and the K11 Art Mall. By Samantha Culp 150 SOURCES 152 IN FOCUS Bill Powers of Half Gallery shares the story behind a Richard Prince Instagram portrait of himself. As told to Lucy Rees

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CLOCKWISE FROM FAR LEFT: ROMAN MÄRZ, COURTESY OF THE ARTIST AND PERROTIN; HAYDEN SPEARS; COURTESY OF MARCEL WANDERS

76 GALLERY TOUR These four galleries have defined themselves by discovering the next up-and-coming artists. By Ted Loos

COVER

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Above: The entry gallery in an apartment designed by Grade. Right: A work by artist Helen Rae.

well as the winner of the $10,000 prize and our cover star, Sophia Narrett, whose elaborate embroideries have left us all rapt since we first saw them. We were also entranced by 81-year-old illustrator Helen Rae, who was born deaf and is completely nonverbal, yet her drawings, inspired by the pages of fashion magazines, communicate so much. All 12 are new names to know with incredible skill, exciting stories—and we believe even more exciting futures (page 102). We have also curated an incredible assemblage of fresh faces from the worlds of design, jewelry, cuisine, and more. There’s a dazzling New York pied-à-terre by the lightning-hot firm Grade Architecture and Interior Design that demonstrates the power of mixing established superstars and gifted newcomers—think: Ayala Serfaty light sculptures above and a Pierre Yovanovitch rug below, a Lucio Fontana work alongside an Annie Morris. We’ve even spotlighted Dom Pérignon’s recently appointed chef de cave, Vincent Chaperon, because everything that’s new definitely deserves a glass of Champagne. Cheers to our inspiring emerging artists and all the talents still left to discover!

JACQUELINE TERREBONNE, Editor in Chief editor@galeriemagazine.com Instagram: @jpterrebonne 16

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FROM TOP: CHARLIE RUBIN; RICHARD POWERS; COURTESY OF TIERRA DEL SOL GALLERY

rowing up, my nickname was New. Something about being “the new baby” is how the family lore goes. The moniker stuck for well over a decade until I learned in a writing class that the word new was basically meaningless due to its gross overuse. Understood and agreed, but that’s why as an editor, I find it so exhilarating to be able to share something truly new with you. For this special issue, we present the inaugural Galerie Emerging Artist Award. Several months ago, we put out an open call for undiscovered talents and received over four hundred entries. Following careful deliberation by our editors and a jury of art-world powerhouses, we are extremely excited to share our 11 finalists as

FOUNDER’S LETTER

W Now there’s nothing more exciting than hunting for upand-coming artists at a fair.

hen I first began my art collection more than ten years ago, I was eager to accumulate “the best of the best,” blue-chip art with a deep focus on the modern period up to present-day contemporary works. But since founding Galerie, I’ve broadened my outlook, and I love discovering new talents for the “On Our Radar” column in each issue. Now there’s nothing more exciting than hunting for up-and-coming artists at a fair, with my personal collection reflecting this mix of iconic masters and rising stars. To further our mission to support these new talents, our editorial team created Galerie’s Emerging Artist Award. This special initiative not only gives recognition to undiscovered artists but also awards the winner with a $10,000 prize to further their practice. I am so thrilled to be able to share this issue filled with exciting new visionaries with you.

LISA FAYNE COHEN, Founder/Editorial Director Instagram: @lisacohengaleriemagazine 18

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CLOCKWISE FROM LEFT: JOSHUA M C HUGH; CARL TIMPONE/BFA; ROMMEL DEMANO/BFA

Clockwise from left: Painter Federico de Francesco, whom we featured in an early issue and whose work is now in my collection. An auction with artworks by Misha Kahn (left) and Maurizio Zuluaga at the Hetrick-Martin Institute benefit at my home. My husband, James Cohen, me wearing Brunello Cucinelli, and Thomas Krever, CEO of HMI.

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Arts & Culture Editor LUCY REES Consulting Features Editor STEPHEN WALLIS Photo Editor STEFANIE LI Associate Editor GEOFFREY MONTES Copy Editor LYNN MESSINA Research Editors WILSON BARLOW, LORI CAPULLO, COLLEEN CURRY, PAULETTE PAULSON Editorial Assistant ASHLEY PETRAS Color Production Director CHRISTIAN ABLAN Production Director MELISSA MAY KELLY Pagination Manager JODY M. BOYLE Contributing Editors ANDREA BOTERO, BETH RUDIN DEWOODY, ANDREA GLIMCHER, CHRISTINE SCHWARTZ HARTLEY, SUE HOSTETLER, VICKY LOWRY, ANTWAUN SARGENT, ANITA SARSIDI, NATASHA SCHLESINGER, MICHAEL SLENSKE, IVY TOURET Editor at Large JENNIFER ASH RUDICK

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TWISTED LOGIC

Known for crafting complex buildings with bold silhouettes, the Danish architect Bjarke Ingels has conjured a new landmark befitting the blue-chip collection at Norway’s Kistefos Museum and Sculpture Park, outside Oslo. Trisected by the Randselva river, the 44-acre grounds are dotted with major works by Anish Kapoor, Olafur Eliasson, Tony Cragg, and Yayoi Kusama. But the previous layout often sent visitors meandering through a series of dead-end trails with just two narrow crossings on the far side of the greenspace. Enter Ingels, whose firm, BIG, masterminded a dazzling

The Twist at Norway’s Kistefos Museum and Sculpture Park. GALERIEMAGA ZINE.COM

span, fittingly dubbed the “Twist,” that’s part bridge and part art gallery, which creates a better footpath through the site. Beginning on one side of the river as a single plane, the glazed edifice spirals midway through to become a double-decker exhibit hall on the other. The 10,800-square-foot addition opened with “Hodgkin and Creed: Inside Out,” an exhibition that juxtaposes the work of the late British painter Howard Hodgkin and conceptual artist Martin Creed, with performance as a central focus, on view through November 17. “Hodgkin’s studio practice was a kind of performance—he would work on paintings for years and would change between them by covering and revealing them with large white screens,” says curator Guy Robertson. “It was a drawn-out dance, each painting accreting stroke by stroke.” A special performance piece by Creed amplifies that moving theme. kistefosmuseum.no

From top: Howard Hodgkin’s Talking About Art (1975). The Twist bridges the Randselva river.

GEOFFREY MONTES

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/ BOOKS /

MADE TO ORDER What do oysters Rockefeller, a mille-feuille, and a DB Burger have in common? Not only did they all spring from the minds of some of history’s most inventive chefs, but each has also penetrated the social consciousness to the point where its name alone practically melts in your mouth. Such is the premise of Signature Dishes That Matter (Phaidon), an engrossing collection of 240 standout recipes that altered the course of gastronomic history. Starting in 1686, when Sicilian immigrant Procopio Cutò invented gelato out of his Paris café, the book delves into the backstory of beloved creations that have made chefs like Caesar Cardini, Robert Cobb, and Alfredo di Lelio (the toques behind the Caesar and Cobb salads and fettuccine Alfredo, respectively) legends among food lovers as well as household names. Culinary heavy hitters curated the selections, each cheerfully illustrated by Adriano Rampazzo, who trained at Central Saint Martins in addition to working as a cook for four years. Christine Muhlke wrote narratives that serve forth the historical context plate by plate. “I’m always interested in connecting the dots between dishes,” says Muhlke. “Something you think is new in Brooklyn may have roots in 18th-century England.” Contributor Howie Kahn found another lesson in chef Anne Rosenzweig’s famous 1985 lobster club. “Her swapping in delicious lobster meat for the sandwich’s original bland turkey signals to me that things that seem stuck can improve once attended to by a progressive woman,” he explains. “It’s both a relevant message and an incredible sandwich.” phaidon.com —G.M.

COUNTERCLOCKWISE FROM TOP: © THE ESTATE OF HOWARD HODGKIN; BENJAMIN WARD, COURTESY OF KISTEFOS AND BIG-BJARKE INGELS GROUP; COURTESY OF PHAIDON; ILLUSTRATION BY ADRIANO RAMPAZZO (3)

Adriano Rampazzo’s delectable illustrations of (clockwise from top) oysters Rockefeller, mille-feuille, and the DB Burger.

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VINEYARD HAVEN

Doug Aitken’s Sonic Mountain (Sonoma).

Oenophiles will have another reason to visit California wine country this fall, when a striking site-specific work by Los Angeles artist Doug Aitken makes its debut at the Donum Estate, an open-air sculpture park and vineyard founded by Hong Kong–based collectors Allan and Mei Warburg. Situated amid a grove of eucalyptus trees on the 200-acre Sonoma compound, a life-size wind chime titled Sonic Mountain (Sonoma) creates a harmony of soothing sounds when activated by the weather. This latest installation joins major works by the likes of Ai Weiwei, Louise Bourgeois, Anselm Kiefer, and Tracey Emin that can be found throughout the estate’s rolling hills, vineyards, and 150-year-old olive trees. Since purchasing the award-winning winery in 2011, the Warburgs have been slowly realizing their dream of pairing a love of winemaking with a passion for art. “If you take art, put it into a beautiful landscape, and at the same time enjoy it with a glass of great wine,” Warburg has said, “the experience is much larger than if the three are enjoyed separately.” thedonumestate.com —LUCY REES

Roche Bobois collection with artwork by Jean Cocteau.

/ SHOPPING /

ABOUT FACE Jean Cocteau once wrote, “Style is a simple way of saying complicated things.” With a collection featuring his fanciful illustrations, Roche Bobois is certainly making a major statement. Pillows, rugs, and ceramics adorned with his iconic motifs prove to be the perfect touch for punching up the chic quotient to any room from a grand salon to an artist’s garret. The first iteration, released in 2013 to coincide with the 50th anniversary of the renowned artist and poet’s death, has now grown to offer new embroidered adornments, painterly patterns, and decorative vessels. “The magic of Jean Cocteau’s drawings speaks to everyone with their mix of poetry, whimsical spirit, and very elegant graphics,” says Philippe Gazaille, director of Roche Bobois’s Nouveaux Classiques collection. For the terra-cotta plates and vases, Roche Bobois even stayed true to form, using the same colors of clay and exacting techniques the artist once employed to create his pottery. The result—pure poetry. roche-bobois.com JILL SIERACKI

/ AUCTIONS /

LADY’S BIDDING Socialite, muse, princess, swan—Lee Radziwill collected many titles throughout her glamorous life; however, this fall it’s her role as an interior designer and collector of decorative objects that’s being celebrated. On October 17, exquisite pieces reflecting her unflinching style from her homes in New York and Paris will come to auction at Christie’s in Rockefeller Center as part of the house’s Collector Week sales. Among the lots of fine and decorative art, costume jewelry, memorabilia, photography, and books is a Peter Beard gelatin silver print that was a personal gift of the artist, a set of four Spanish Colonial retablos that were supplied by design legend Renzo Mongiardino, and personal photographs of Radziwill’s trips to Pakistan and India with her sister Jacqueline Kennedy Onassis. christies.com —ASHLEY PETRAS Top: Lee Radziwill in the living room of her English country home.

CLOCKWISE FROM TOP LEFT: COURTESY OF DOUG AITKEN, 303 GALLERY, NEW YORK, GALERIE EVA PRESENHUBER, ZURICH, VICTORIA MIRO GALLERY, LONDON; REGEN PROJECTS, LOS ANGELES; HORST P. HORST/CONDÉ NAST VIA GETT Y IMAGES; COURTESY OF ROCHE BOBOIS (2)

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SOURCE MATERIAL

For those who didn’t have a chance to visit the Valmont Palazzo during the Venice Biennale, the Fondation Valmont DEEP will mount a special version of “Hansel & Gretel—White REFLECTION Traces in Search of Your Self” at New York’s 393 NYC space in Tribeca in October. Recast as “White Mirror,” the exhibition of 30 artworks was conceived to break down the boundaries between the observer and the observed. The mastermind behind the show is Didier Guillon, who serves as president and artistic director of Valmont Group and Fondation Valmont. He devised a mix of honeycombed totems, ghostly white and golden faces as well as golden balls. “A little girl visiting the exhibition with her parents asked me why so many masks,” says Guillon of the show’s first iteration. “I told her that masks are like the small crumbs of Hansel and Gretel. They will help you find your way in life.” The concept will travel to Tokyo before its Manhattan presentation, followed by a trip to Munich. fondationvalmont.com —J.S. / EXHIBITIONS /

Artworks from Fondation Valmont’s exhibition “White Mirror.”

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Villa d’Este’s Villa Cima (above), located on Italy’s Lake Como, was sumptuously updated using refined fabrics from Loro Piana (right).

FROM TOP: COURTESY OF VILL A D’ESTE (2); COURTESY OF VALMONT GROUP

Serenely nestled between a lush hillside dotted with pictureperfect estates dating back centuries and Italy’s most iconic lakefront, Villa d’Este has welcomed both noble guests and Hollywood royalty looking for an escape since the 1800s. Originally designed as a private residence by one of the Italian High Renaissance’s most preeminent architects and artists, Pellegrino Tibaldi, the five-star resort, set on 25 manicured acres, is filled with antique furnishings and remarkable artworks, including The Creation, a 19th-century replica of a section of Michelangelo’s Sistine Chapel fresco. The Lake Como estate recently unveiled a sumptuous update to Villa Cima, the only one of the hotel’s four private villas situated on the water’s edge. Loro Piana, the famed Northern Italian fashion and fabric house, reimagined the 7,000-square-foot haven with the most refined silks, velvets, linen, and cashmere. Hues were chosen to reflect the slate blues and rich greens of the landscape and to represent the brand’s palette of scarlet and burnt ocher. Don’t be surprised to see members of the Loro Piana family checking in—the fabricmakers have a long history as not only collaborators but also loyal guests. “This magical setting is an invitation to be present with the flow of time, the greatest luxury of all, our most precious gift,” explained Villa d’Este managing director Danilo Zucchetti. “And it continues our fine tradition as a haven of peace and tranquility.” villadeste.com —J.S.

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What’s On View

Clockwise from top: One of James Turrell’s “Ganzfeld” light installations from 2011. A 1960 etching and aquatint titled To Catch a Unicorn by Betye Saar. Pablo Picasso’s Buste de Femme Avec Autoportrait (1929).

MUST-SEE FALL EXHIBITIONS FROM PARIS TO MEXICO CITY

Sarah Oppenheimer: S-337473

Straddling the realms of art, architecture, and engineering, New York artist Sarah Oppenheimer creates striking interventions that become one with the spaces in which they are exhibited. Mass MoCA’s converted factory in the Berkshires will host two monumental glass-and-metal structures anchored by a pivot mechanism, which rotates upon contact by visitors, shifting the perception of the installation entirely. massmoca.org

a short yet formative period when he reached new emotional depths that would be the foundation for his masterwork, Guernica. museepicassoparis.fr CLEVELAND MUSEUM OF ART OCTOBER 20–JUNE 14, 2020

Tiffany in Bloom: Stained Glass Lamps by Louis Comfort Tiffany

Louis Comfort Tiffany’s designs, many featuring exquisitely colored glass shades, are celebrated for their dazzling craftsmanship. This exhibition presents 20 stunning table and floor lamps that explore Tiffany’s many stylistic influences, along with period photographs. clevelandart.org MUSEUM OF MODERN ART, NEW YORK OCTOBER 21–JANUARY 4, 2020

Betye Saar: The Legends of Black Girl’s Window

MUSÉE NATIONAL PICASSO, PARIS OCTOBER 1–FEBRUARY 23, 2020

Picasso: Magic Paintings

Located in the magnificent 17th-century former Hôtel Salé, the museum is showcasing the poignant paintings Pablo Picasso did from 1926 to 1930, 30

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Born in 1926, Betye Saar is best known for the fantastical assemblage-style works she began in the 1960s as well as her depictions of the African-American experience. She is now receiving long-overdue institutional recognition: MoMA, which recently acquired 42 rare early works on paper, is mounting a show dedicated to her printmaking practice. (Simultaneously, the Los Angeles County Museum of Art is showcasing Saar’s personal sketchbooks and finished works in an exhibition titled “Betye Saar: Call and Response,” which runs through April 5, 2020.) moma.org

PHOENIX ART MUSEUM NOVEMBER 3–MARCH 15, 2020

Legends of Speed

The evolution of race car design is showcased through some 20 iconic autos, proving that they are not only feats of engineering but also works of art. Accompanying the cars are stories of the legendary drivers behind the wheels. Among the highlights are a 1927 Bugatti Type 35 driven by Hellé Nice, a French dancer turned Grand Prix racer; a 1964 Shelby Daytona Coupe; and the 1973 Porsche 917/30, one of the most powerful race cars ever constructed. phxart.org MUSEO JUMEX, MEXICO CITY NOVEMBER 22–MARCH 29, 2020

James Turrell: Passages of Light

For the past 50 years, American artist James Turrell has been fixated on the way light can be manipulated through space and color. This survey exhibition presents works from the 1960s to today and includes both small-scale studies as well as new works conceived for the museum. Don’t miss the drawings and models made for the famed Roden Crater, the dormant volcano in the northern Arizona desert that the artist has been converting into an elaborate celestial observatory since he acquired the dramatic site more than 40 years ago. fundacion jumex.org —LUCY REES

CLOCKWISE FROM TOP: FLORIAN HOLZHERR; COLLECTION PARTICULIÈRE, COURTESY OF M C CL AIN GALLERY; ROB GERHARDT, COURTESY OF THE MUSEUM OF MODERN ART, NEW YORK

MASSACHUSETTS MUSEUM OF CONTEMPORARY ART, BERKSHIRES OCTOBER 2019

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Dom Pérignon’s chef de cave, Vincent Chaperon. Dom Pérignon Vintage 2008, Legacy Edition.

Perfect Vision

AS PIONEERS IN THEIR FIELDS, THESE REMARKABLE TALENTS TAKE CREATIVITY TO NEW HEIGHTS BY DANINE AL ATI

He learned the delicate balance between respecting the heritage of the storied brand and pushing its boundaries Vincent Chaperon’s curiosity for vinification was piqued at an early age, which is hardly surprising for the newly anointed chef de cave of Dom Pérignon. Born into a winemaking family in Bordeaux, France, he vacationed as a youth at his paternal grandmother’s estate, and his grandfather regaled him with fascinating tales of the vineyards when he was just eight years old. As a teen his passion for nature and biology prompted him to study agronomy at the École Nationale Supérieure d’Agronomie in Montpellier, and he traveled to wine regions in Chile and Argentina to immerse himself in the art of winemaking before deciding to specialize in viticulture and oenology. But some might say Chaperon’s true education began in 2005, when he accepted a position at Dom Pérignon, after spending six years at parent company Moët & Chandon. Working alongside longtime chef de cave Richard Geoffroy for more than a decade, Chaperon not only refined his Champagne-making techniques—collaborating with Geoffroy on 13 harvests and declaring four vintages—but also learned the delicate balance between respecting the heritage of the storied brand and pushing its boundaries. “It’s not about putting your signature on something,” says Chaperon. “I decided to take this position because I knew that I would be happy all of my life working, discovering, experiencing, living Dom Pérignon.” domperignon.com

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HAROLD DE PUYMORIN

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TOURIA EL GL AOUI A daughter of the renowned Moroccan figurative painter Hassan El Glaoui, Touria El Glaoui has forged a new path in the art world. A former wealth management consultant with an MBA from Pace University, she noticed the severe lack of opportunities for African artists. “I was always amazed by the beauty and quality of artwork I was finding in Africa,” El Glaoui says, “but I would go back home to London or to the U.S. for work, and there was absolutely no trace of what I was seeing there.” Thus, in 2013, she founded 1-54 Contemporary African Art Fair, an international platform dedicated to artists, curators, galleries, and museums from Africa and its diaspora. Named for the 54 nations that comprise the African continent, the fair launched in London to correspond with Frieze. El Glaoui then expanded it to Brooklyn in 2015 to run in tandem with Frieze New York (it was relocated to Manhattan’s West Village this year), and in 2018 she debuted 1-54 Marrakech. “Collectors are always curious and interested in discovering new artists, new trends, new movements,” El Glaoui says. “I think the success story of 1-54 is the real need for a platform that would change the narrative and elevate the visibility of artists that were never seen before.” And while her current mission is to focus on strengthening 1-54 in its three locales, El Glaoui teases launching a nomadic version of the show. “But not before 2021,” she promises. 1-54.com

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“The success story of 1-54 is the real need for a platform that would change the narrative and elevate the visibility of artists,” says Touria El Glaoui

CLOCKWISE FROM TOP LEFT: ADNANE ZEMMAMA; COURTESY OF THE ARTIST AND LUCE GALLERY; ADNANE ZEMMAMA; COURTESY OF JAVIER SAL AS

Clockwise from top left: Dar Moulay Ali, Maison de la France à Marrakech, part of I-54 Marrakech’s 2018 VIP Programme. Untitled (2019) by Hugo McCloud. Dada gallery show during I-54 Marrakech in 2018. I-54 founding director Touria El Glaoui.

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From top: Will Ryman’s LongHouse 6 (2019). Andrea Glimcher (2010) by Jim Torok. Pat Steir’s Thirteen (2018–19), one of 28 paintings from the suite “Color Wheel.”

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“Oftentimes when you’re doing something new, something that doesn’t exist, people don’t get it,” former gallery director turned entrepreneur Andrea Glimcher says about launching her artist management firm, Hyphen, in 2014. “Now I think people are catching up to the idea.” Whereas most art advisers work for collectors, Glimcher—who began her career at the Guggenheim before spending two decades at Pace Gallery—says she “advocates for artists and nurtures their careers.” Equating her role to that of a literary agent (though she dislikes the word agent because it sounds too Hollywood), Glimcher acts on the talent’s behalf, handling everything from events to press as well as being their voice during exhibition planning and conversations with their galleries. “With my unique perspective and years of working at a gallery,” she says, “I’m able to navigate and move nimbly among different situations.” Glimcher has identified a viable new way of working in the art world by collaborating with such talents as Pat Steir, who has an exhibition at the Hirshhorn Museum and Sculpture Garden that opens on October 24; Will Ryman, who recently unveiled a large-scale installation at the LongHouse Reserve in East Hampton and will mount an upcoming project at Art Omi in Ghent, New York, in the spring; and June Leaf, who was included in a group show at Frieze New York. “I founded Hyphen to manage artists for the long term in a rapidly changing industry,” she says. “Everything I did before was just preparation for what I’m doing now and for what this will become.” hyphenadvisory.com

FROM TOP: JENNY GORMAN; COURTESY OF THE ARTIST; ALEX MUNRO, COURTESY OF HIRSHHORN MUSEUM AND SCULPTURE GARDEN

“Everything I did before was just preparation for what I’m doing now and for what this will become,” says Andrea Glimcher

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BEN SOLEIMANI Synonymous for years with the luxurious rugs he designed for his family business, Mansour, and later, RH, Ben Soleimani recently launched his namesake brand, which will carry not only the exquisite rugs that put him on the map but also his own works of furniture and home accents. “This company is for those who travel the world, are sophisticated buyers, know quality, and want good design,” he says of his direct-to-consumer e-commerce site, which debuted with a sumptuous array of handcrafted New Zealand wool rugs; textured accent pillows in refined shades of charcoal, ivory, and graphite; and cozy, oversize cashmere throws in a variety of weaves. Born in Iran, Soleimani immigrated to the U.S. from London at age 16 to build Mansour, which he was a partner in until 2013. That experience afforded him the opportunity to work with artisans across the globe to create top-quality rugs and ultimately build the insider relationships that define his latest endeavor. “I get the best workmanship in one country, then I get the best materials in another country—I mix and match,” he explains of his carefully curated selections. “I’ve done so many homes and created so many pieces of furniture in my life and worked with the top designers in the world. I have a real understanding and love and passion for the home.” With his online business up and running since February, Soleimani is rolling out a collection of case goods, soft goods, upholstery, accessories, bedding, and lighting this fall. And he has already set his sights on expansion, with plans to open brick-and-mortar stores in ten U.S. cities—the first slated for Los Angeles this year. “I saw something that had been missing in the market, and it’s beyond rugs,” says Soleimani. “I want to create a lifestyle where you can buy the whole house with one point of view, one vision.” bensoleimani.com

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“This company is for those who travel the world, are sophisticated buyers, know quality, and want good design,” says Ben Soleimani

CLOCKWISE FROM TOP LEFT: T. MULUGETA; T. BRANDO; COURTESY OF BEN SOLEIMANI

From top: Part of the rug-making process. Ben Soleimani at work. A detail of a rug in the Chroma collection.

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Art Oasis

IN DOHA, A NEW WORLD-CLASS MUSEUM FURTHER ELEVATES THE CITY’S REPUTATION AS A CULTURALLY RICH, VISUALLY ARRESTING DESTINATION

The Friday Mosque at Doha’s Katara Cultural Village, an area of traditional buildings that’s popular with locals and visitors.

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alking around Doha’s spectacular new National Museum of Qatar—like so much in this burgeoning Persian Gulf capital—is almost dizzying. And thrillingly so. Composed of hundreds of massive intersecting sand-colored disks, the building was inspired by the area’s desert roses, intricate crystalline rock forms whose “random systems of blades” shaped by wind and sand have been “reimagined on another scale,” explains the museum’s celebrated architect, Jean Nouvel. Everything about the 430,000-square-foot institution is expensive, costing more than $400 million to build and taking nearly two decades to complete. Adjoining the refurbished historic royal palace, the asymmetrical building wraps around a

vast courtyard, evoking the walled caravansaries that once provided refuge for desert travelers across the region. Inside, an almost one-mile-long circuit takes you through unconventional galleries featuring immersive multimedia exhibits that recount the evolution of Qatar—from its geological origins to its history as a land of nomadic Bedouins and pearl divers to its fossil fuel–rich present as a Persian Gulf power player. The National Museum is the latest and most visible monument to Qatar’s deep-pocketed ambitions of becoming an international hub for culture, tourism, business, and sport. In 2022, this tiny desert nation will host the men’s World Cup where matches will be played in state-of-the-art stadiums designed by firms such as Zaha Hadid Architects and Foster + Partners. “The city isn’t reshaping itself—it’s shaping itself,” notes Marcel Wanders, the designer behind the fantastical interiors of the two-year-old Mondrian Doha hotel, a building (by the local firm South West Architecture) whose form mimics a resting falcon, an important symbol throughout the Gulf. “The appetite for ambition is high here,” Wanders adds, “but Doha doesn’t want to overdo. It wants to do.” 44

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Clockwise from top left: The new Jean Nouvel– designed National Museum of Qatar. El Anatsui’s Gravity and Grace (2010) is on view at Doha’s Mathaf museum. Inside the Mondrian Doha, conceived by Marcel Wanders.

CLOCKWISE FROM TOP: IWAN BAAN; COURTESY OF JACK SHAINMAN GALLERY, NEW YORK; COURTESY OF MARCEL WANDERS

Creating institutions with world-class art collections and architectural significance has been a cornerstone of the development strategy spearheaded by the ruling Al Thani family. Notably, the first major museum project was the decade-old Museum of Islamic Art, which rises majestically on a spit of land jutting out into Doha Bay. A minimalist stack of stepped cubic volumes designed by I. M. Pei, the museum displays a remarkable array of art, decorative objects, and manuscripts from across the Muslim world. (It’s also home to one of the city’s can’t-miss dining spots, chef Alain Ducasse’s Mediterranean-meets-Arabic restaurant, Idam.)

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In the ensuing years, Qatar Museums—headed by Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, sister of the emir and one of the art world’s most prominent collectors—has unveiled several complementary institutions in Doha, with more on the way. Mathaf, the region’s first museum dedicated to modern Arab art, showcases pieces from its singular 9,000-work collection and mounts special exhibitions, including the current presentation by Ghanaian artist El Anatsui, on view through January 2020. The Fire Station, a former firehouse converted into a contemporary art complex, houses studios for a thriving artist residency program as well as a gallery for first-rate exhibitions. (Next up is a KAWS show, opening in October.) And looking ahead, Qatar Museums has selected Pritzker Prize–winning architect Alejandro Aravena to design the sprawling Art Mill cultural center on the Doha waterfront. The project will expand a corridor that now includes the National Museum and the Museum of Islamic Art, among others. Another head-turning addition to Doha’s artistic landscape is the National Library, designed by architect Rem Koolhaas’s firm, OMA, with a strikingly angular façade and terraced rows of stacks in a vast, open interior. Containing roughly a million volumes, the library offers diverse programming as well as impressive displays of historic books, manuscripts, maps, and photographs from the national archives. Intriguing offerings extend outside the city’s central hub. Katara Cultural Village, a waterfront

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STEPHEN WALLIS

COUNTERCLOCKWISE FROM FAR LEFT: COURTESY OF THE QATAR NATIONAL TOURISM COUNCIL (2); COURTESY OF THE RITZ-CARLTON

Clockwise from left: Richard Serra’s East-West/ West-East in Doha’s Brouq Nature Reserve. The Parisa Souq Waqif restaurant at Sharq Village & Spa. The Pigeon Towers at Katara Cultural Village.

development of traditional-style buildings—“much loved by locals as well as visitors,” according to Mathaf curator Laura Barlow—features a lively mix of art studios, galleries, shops, restaurants, and performance spaces, including a 5,000-seat amphitheater. If you want a taste of old Doha, head to the Souq Waqif, an atmospheric warren of cafés and shops, where you’ll find endless displays of pashminas, leather goods, handcrafted objects, jewelry, spices, and even live birds. It’s also a good place to enjoy the region’s traditional cuisine. Julia Gonnella, director of the Museum of Islamic Art, swears by Damasca One for first-rate Syrian dishes and Parisa Souq Waqif for authentic Persian cooking and its enchantingly opulent decor. When in Doha, an excursion or two out into the desert is essential. There are fascinating historical sites like the Al Zubarah Fort, which was once part of a thriving fishing and pearling settlement and is now a UNESCO World Heritage site. And you’ll definitely want to hire a four-wheel-drive vehicle to take you to the Brouq Nature Reserve, which is home to Richard Serra’s largest work: East-West/ West-East, a quartet of 50-foot-tall steel monoliths spaced out over a half-mile stretch. Walking between the towering slabs, you become hyperaware of the landscape, the light, the wind. Come just before dusk and you might see the sinking sun line up with the sculptures in one direction, with the moon rising opposite. It’s a timeless yet contemporary monument that speaks to the stark beauty of the desert and its utter centrality to the identity and soul of Qatar.

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Modern Masters THESE TRENDSETTING TALENTS ARE DAZZLING COLLECTORS WITH FRESH INTERPRETATIONS OF OLD-WORLD THEMES BY LUCY REES

From top: Vaughn Spann with a 2019 work titled Marked Man; Spann’s Staring Back at You, Rooted and Unwavering (2018).

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One of the most closely watched young artists today, Vaughn Spann defies easy categorization with a unique practice that swings between figurative painting and mixed-media abstraction. “We are all very diverse, critical people,” says Spann. “I am trying to find a way to satisfy the things I grapple with day to day, where they converge or compete or allow for poetry.” Since graduating from Yale’s MFA program in 2018, Spann has had a sold-out solo show at Half Gallery in New York as well as exhibitions at Almine Rech in London, Night Gallery in Los Angeles, and Takashi Murakami’s Kaikai Kiki Gallery in Tokyo. This fall, his work is included in a group presentation curated by Bill Powers at Gagosian in New York. “From my first visit to Vaughn’s studio, I was immediately impressed,” says Almine Rech-Picasso, who will mount an exhibition of his art at her New York space in January 2020. “His unconventional narratives challenge the viewer by defying singular interpretations.” Rich with textures and color, Spann’s work is laden with symbolism that is “conjured from a very personal place.” Take, for example, the “Rainbow” paintings crafted with woven strips of paint-soaked terry-cloth towels. “I was thinking about color and its complexities in the U.S.,” says the artist. “I wanted to put the blackness back into the spectrum. The first one I ever made was an homage to Trayvon Martin, who died with a packet of Skittles and an Arizona Iced Tea in his hand.” Spann’s recent “Dalmatian” series, large-scale abstract canvases made up of black-and-white splotches, are a mediation on his New Jersey childhood. Lately, he has been working as a Studio Fellow at NXTHVN, the New Haven nonprofit arts incubator cofounded by his mentor, artist Titus Kaphar. “Vaughn has a powerful understanding of materiality,” says Mera Rubell, the Miami collector who acquired several of his works, “and challenges himself to push boundaries.” vaughnspann.com

FROM TOP: ANTHONY ALVAREZ; MARTIN PARSEKIAN, COURTESY OF HALF GALLERY

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Above: Two examples of Lucas Arruda’s ongoing “DesertoModelo” landscape series from 2016 (left) and 2015. Right: New works on view at David Zwirner in New York. Bottom: Arruda in his São Paulo studio.

Lucas Arruda

At first glance, one may think that the paintings by Lucas Arruda were created in the 19th century. Recalling the Romantic notion of the sublime, the striking landscapes and seascapes, often marked only by a faint horizon line, seem to radiate an intense, transcendent light from within. But they are not existing depictions of nature at all; instead, they are drawn entirely from the artist’s imagination. Based in São Paulo, Brazil, Arruda is well-known in his home country but is just now causing a stir abroad, thanks to a well-received solo show at David Zwirner in London in 2017 and his first New York solo exhibition at the gallery’s Chelsea space (on view through October 26), as well as a summer show at the Fridericianum in Kassel, Germany. The small-scale works represent a series Arruda has been experimenting with for the past decade titled “Deserto-Modelo.” “These paintings are perhaps greater forays into silence, and the temperament of light, with less color variation, and as a result, more emphasis on tonality,” says Arruda, whose work is already included in the permanent collections of the J. Paul Getty Museum in Los Angeles, Brazil’s Pinacoteca do Estado de São Paulo, and the Rubell Family Collection in Miami. Inspiration comes from the poems of João Cabral de Melo Neto, the 1940 book O Deserto dos Tártaros by Dino Buzzati,

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and artists as wide-ranging as Agnes Martin to Alfredo Volpi, among other sources. The intimate canvases beckon the viewer to come closer and peer in as if looking through a portal to another world. “It’s the counterpoint that I like,” says Arruda, who took part in François Pinault’s prestigious art residency in northern France last year. “The tension of the wide spaces to the small canvases, and also, the more you get near them, the less you can access them.” davidzwirner.com

FROM TOP LEFT: COURTESY OF THE ARTIST, MENDES WOOD DM AND DAVID ZWIRNER (2); EVERTON BALL ARDIN, COURTESY OF MENDES WOOD DM AND DAVID ZWIRNER (2); GUI GOMES, COURTESY OF MENDES WOOD DM AND DAVID ZWIRNER

“These paintings are perhaps greater forays into silence and the temperament of light,” says Lucas Arruda

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From top: Ewa Juszkiewicz in her studio in Warsaw, Poland. Untitled (After Charles Howard Hodges) (2019).

Ewa Juszkiewicz is turning classical portraiture on its head. Draped in sumptuous couture, her female subjects recall 18th- and 19th-century masterpieces, but under Juszkiewicz’s deft hand, the sitters’ usual porcelain-skinned faces are replaced by the absurd—plants, an unruly tangle of ribbon, an insect, an elaborate hairstyle. These surreal, sometimes unsettling paintings are the artist’s attempt to challenge the restrictive social conventions of women throughout history. “I noticed that most of the women are portrayed with the exact same pose and gesture. There’s a feeling that they were trapped in their corsets and crinolines with no room for individuality or emotion,” says Juszkiewicz, whose work is being shown in the group exhibition “Domestic Horror” at Gagosian in New York through October 19. “I’m looking for ways to disturb the harmony and façade and to bring these characters to life.” When not in the studio, she searches antique shops and secondhand bookstores for inspiration. Additionally, she contemplates contemporary fashion, particularly radical designers who experiment with the human form, like Rei Kawakubo, Martin Margiela, and Iris van Herpen. The resulting works have earned Juszkiewicz, who lives in Warsaw, Poland, acclaim at Frieze New York in 2019. Next spring will be her first New York solo exhibition, at Half Gallery. “I believe that art can be the catalyst for concrete social change, and I’m delighted to see major museums putting on retrospectives dedicated to women artists,” she says. “We can rewrite history, and this time, without neglecting women artists that didn’t have the chance.” ewajuszkiewicz.com

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A NEW BOOK OFFERS A RARE

GLIMPSE INSIDE THE LEGENDARY HOTEL CHELSEA’S PRIVATE QUARTERS

he apartments at the famed Hotel Chelsea are far from cookie-cutter. Take artist Gerald DeCock’s psychedelic setup, which mesmerized photographer Colin Miller after he caught a glimpse inside four years ago. “It was this crazy space with supersaturated colors,” Miller recalls. “I instantly wanted to figure out a way that we could shoot it.” And so began the surreal odyssey that would become Hotel

From left: The Hotel Chelsea’s iconic wroughtiron balconies and neon sign. Susanne Bartsch’s home is covered in vivid patterns by artist Joey Horatio. Photographer Tony Notarberardino’s colorful residence once belonged to Australian artist Vali Myers.

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Chelsea: Living in the Last Bohemian Haven (The Monacelli Press), a deeply personal new book by Miller and writer Ray Mock, with forewords by former Hotel Chelsea residents Gaby Hoffmann and Alex Auder, that offers a behind-the-scenes look into the hotly contested battle to preserve one of New York’s most storied residences. Founded as the city’s first cooperative apartment, in 1884, and later turned into a residential hotel, the stately Queen Anne gem became a magnet for eccentric artists, literary luminaries, and free-spirited Hollywood stars. But the façade’s respectable redbrick turrets, flowering wrought-iron balconies, and a postcard-perfect neon sign always belied a heady sense of debauchery within. After all, it’s where everyone from Mark Twain and Jackson Pollock to Bob Dylan and Madonna made headlines for misbehaving. From 1964 to 2007, the kindhearted but disorganized proprietor Stanley Bard nurtured the unique atmosphere as well as the talents who called the place home. By the end of Bard’s tenure, the timeworn structure was deteriorating, both physically and financially. His departure foreshadowed a rapid succession of owners who were intent on evicting the tenants—many of whom had no

COLIN MILLER, COURTESY OF THE MONACELLI PRESS

Suite Inspiration

FALL BOOKS WE LOVE Greco Disco: The Art & Design of Luke Edward Hall

Delve into the fantastical universe of British design wunderkind Luke Edward Hall, who, in just four years, has amassed a following that has led to partnerships with Richard Ginori, Christie’s, and the Rug Company. This debut monograph spotlights his ever-charming forays into furnishings, ceramics, art, and interiors—all of which put a playful twist on classical motifs. teNeues, $65

Above: Antiques dealer Suzanne Lipschutz’s Chelsea apartment includes much of her collection of period wallpapers. Left: Colleen and Dahlia Weinstein’s art-filled suite.

lease—and turning it into a luxury hotel. (The project now drags into its eighth year with no firm end in sight.) “It became very important to be an island of preservation,” explains filmmaker Steve Willis, a long-term resident who successfully fought to stay in his handsome fourth-floor unit, which was once home to Janis Joplin. “The biggest challenge was getting access,” admits Miller of the lengthy process. “Some people took years to respond. We had to earn the trust of a few tenants at a time.” As a result of their persistence, the tome features interviews with nearly two dozen current residents, all of whom granted a rare view into their private spaces. In addition to Willis and DeCock, the collection includes artist Tony Notarberardino, who occupies a whimsical loft on the sixth floor, and nightlife legend Susanne Bartsch, who has murals by Joey Horatio covering nearly every inch of wall space. “We approached the project to document as much as possible before everything was destroyed, but after years it became clear that people were hanging on, and the place was very much still alive,” says Mock. “For them, the Chelsea wasn’t this scandalous place where Sid Vicious killed Nancy Spungen, allegedly. It was actually about creating a sanctuary in which you and your family can thrive.” monacellipress.com GEOFFREY MONTES 56

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One of fashion’s greatest showmen, John Galliano never failed to deliver major drama while overseeing the House of Dior, where he worked from 1996 to 2011. Vogue lensman Robert Fairer captured the provocative couturier’s prolific rise, and this account boasts many never-before-seen images that are bound to enthrall any fashion lover. Thames & Hudson, $150

A Great Party: Designing the Perfect Celebration

Powerhouse event planner Bryan Rafanelli masterminded the holiday decor for President Obama’s White House and even organized Chelsea Clinton’s wedding. Now you can throw a POTUS-worthy fête of your own, courtesy of his new title, which reveals his best-kept secrets for conjuring memorably elegant celebrations that spin a personal yarn. Rizzoli, $55

Francis Sultana: Designs & Interiors

Christened Malta’s Ambassador of Culture last year, acclaimed interior designer Francis Sultana is marking a decade of his namesake firm with a lush new monograph. A comprehensive guide to his striking oeuvre, the book captures Sultana’s gift for creating spaces as polished as they are unpredictable. Vendome Press, $60 — G . M .

CLOCKWISE FROM FAR LEFT: COLIN MILLER, COURTESY OF THE MONACELLI PRESS (2); COURTESY OF TENEUES; COURTESY OF THAMES & HUDSON; COURTESY OF RIZZOLI; COURTESY OF VENDOME PRESS

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SALON 94’S JEANNE GREENBERG ROHATYN SHARES THE ART AND OBJECTS THAT HAVE INFLUENCED HER CREATIVE VISION

Clockwise from top: Jeanne Greenberg Rohatyn with a Max Lamb chair and bench. An installation view of Marina Adams’s recent “Anemones” show at Salon 94 Bowery. A sculptural ring crafted with glass stones by artist Karl Fritsch.

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namesake gallery, she launched Salon 94 in 2002 on the ground floor of an East 94th Street townhouse. (She and her husband, financier Nicolas Rohatyn, live upstairs with their three children.) Later, she set up two additional spaces on the Lower East Side: Salon 94 Bowery and Salon 94 Freemans. In 2017, Rohatyn teamed up with Paul Johnson of New York’s Johnson Trading Gallery to launch Salon 94 Design. Now she’s moving her headquarters into a marvelous landmark originally designed by Ogden Codman Jr. on the Upper East Side. The space, slated to open next spring, is expected to include room for exhibitions, a pop-up shop, a café, and offices. Here, Rohatyn gives insight into the artwork that captures her attention and the personal items she treasures most. The first piece of art I acquired was David Hammons’s Rock Head. It’s essentially a rock that he found and took back to his studio and cleaned before covering it in hair and giving it this Spiral Jetty haircut. To me it was this perfect object that crossed both art history—it looks like a Constantin Brancusi or an archaeological find—and popular culture. I recently discovered the exciting work of ceramic artist Magdalene Odundo, who lives in Surrey and was born in Nairobi, Kenya. I felt that she had elevated the craft to the next level.

FROM TOP: LUÌS MONTEIRO, COURTESY OF SALON 94 DESIGN; COURTESY OF SALON 94 DESIGN; COURTESY OF SALON 94. OPPOSITE, CLOCKWISE FROM TOP: COURTESY OF THE RANCH (2); COURTESY OF SALON 94 DESIGN; COURTESY OF SALON 94; LUÌS MONTEIRO

t Frieze L.A.’s inaugural edition earlier this year, Jeanne Greenberg Rohatyn presented a pink ombré booth with furniture by designer Max Lamb, sculptures by Francesca DiMattio, desert landscape paintings by Australian indigenous artist Yukultji Napangati, and quirky resin chairs by Italian modernist Gaetano Pesce. It’s this bold mash-up of genres, cultures, and mediums that has solidified Rohatyn, the legendary gallerist behind New York’s Salon 94, as one of the art world’s most inspiring forces. “I look for an artistic vision and a singular voice,” she says of her roster, which ranges from celebrated artists Marilyn Minter and Laurie Simmons to rising young talent Ruby Neri. “It doesn’t matter to me what the medium is; I don’t see hierarchies.” Art runs in the family. Raised in St. Louis, Rohatyn grew up in a home filled with works by the likes of Donald Judd and Andy Warhol, talents her father, esteemed dealer Ronald Greenberg, represented. After cutting her teeth at her father’s

colors in resin using cutting-edge technology. His chairs have a totally unique, organic form. Each one has a wonderful story too that symbolizes his life as an artist. If I could have any artwork it would probably be Picasso’s Les Demoiselles d’Avignon or the Rose Period acrobats. I’ve been thinking a lot about Picasso recently. A few weeks ago, however, it may have been Cézanne’s Bathers. There are also paintings in museums that I always revisit. In Venice, it’s La Tempesta by Giorgione. I’d like to take my kids to see the Isenheim altarpiece painted by Grünewald in Alsace, France, next. salon94.com INTERVIEW BY LUCY REES

The most personal gift I ever received was a story written for me by the author A. M. Homes, illustrated with photographs by Laurie Simmons, for my 40th birthday. It was so special. My go-to outfit for an art fair is usually a jumpsuit and an Yves Saint Laurent blazer. For events, I love wearing pieces by the designer Duro Olowu, who brilliantly mixes prints from different countries and eras—a high-end French 1930s pattern with a vintage Nigerian cloth that he has updated, for example. I like wearing rings by Karl Fritsch, which are like miniature sculptures. I love to juxtapose his raw diamonds with my polished cut-diamond wedding ring. You can see his fingerprints in the gold and feel his presence too. The last meal that truly impressed me was at The Ranch, a wellness resort in Malibu. All the food is locally sourced, plant-based, and vegan. Every time I sat down there was an element of both pleasure and surprise—and it was good for you! My favorite piece of furniture right now is a 1984 Gaetano Pesce Pratt chair, which we have been recasting, blending different

Clockwise from top: The Ranch in Malibu. Gaetano Pesce’s Pratt Chair #7 1984/2018 in green (2018). Red Flare, an enamelon-metal work by Marilyn Minter from 2018–19. Looks from Duro Olowu’s fall 2019 collection.

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COMEDOR IS FANNING THE FLAMES ON THE CITY’S RESTAURANT LANDSCAPE WITH DISHES STEEPED IN MEXICAN TRADITION

Slow-cooked octopus with a black garlic mole and a mole verde.

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HAYDEN SPEARS

ver the past decade, the Austin food scene has received such tremendous accolades that the fanfare has sparked foodie pilgrimages to sample the slow-cooked BBQ served on paper plates and cheesy Tex-Mex staples. But as the city continues to grow—and grow up—so does the level of its culinary exploits. Newcomer Comedor, which debuted in April, may not be the first local joint with early ties to a food truck, but it has definitely made the biggest leap, opening in a dazzling building designed by acclaimed architect Tom Kundig of Seattle-based firm Olson Kundig. Built on a former parking lot, where chef Philip Speer and partner William Ball once operated their coffee trailer, My Name Is Joe Coffee Co., the modern space mixes glass bricks, wood, and steel in an aesthetic that’s part Austin, part Mexico City. The result is a quiet oasis tucked away from the buzz of the city’s downtown yet still absolutely part of it. The double-height dining space is connected to an interior courtyard via guillotine windows operated by hand cranks, which have become a signature of the architect. “The restaurant feels balanced, poetic, coherent,” says Kundig, “from the way you open a door to the way you order a drink.” The restaurant’s managing partner, Ball, who spent his childhood in Austin, explains that Comedor’s cuisine reflects that same mix of inspiration, drawing on dishes “from Jalisco to Mexico City and a lot

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Clockwise from top: Bone marrow tacos. Tres leches. Comedor’s interior mixes glass bricks, wood, and steel.

of Oaxaca.” This culinary direction takes cues from a modern Mexican movement marked by a rise of restaurants such as Cosme in New York and Broken Spanish in Los Angeles. But Austin is sacred Tex-Mex ground. Comedor’s chefs— Speer, along with Gabe Erales, who came from Dai Due (another Austin hot spot) and trained with René Redzepi at Noma—have found the perfect balance between authentic Mexican and Texas traditions with their local interpretation. Take, for example, the undisputed crowd favorite: bone marrow tacos served with a gremolata, which is a very grown-up interpretation of the butter tortillas Speer and Ball snacked on as children. Sourcing ingredients straight from Mexico certainly adds to the complex 62

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flavors, especially with a special corn procured from Oaxaca and then nixtamalized in house. “The Mexican influence is present throughout the culture in Texas, and we didn’t want to change that,” says Ball. “We wanted to give a nod back to that and create dishes and a genre of food that embraced all the regions of Mexico.” Perhaps no dish exemplifies that cultural amalgamation more than the showstopping tres leches dessert, a corn-milk-soaked cake served with ice cream made from tejate, a traditional Oaxacan drink derived from maguey seeds, and topped with meringue and South Texas citrus. Certainly, far from the lone star on the menu. comedortx.com JACQUELINE TERREBONNE

CLOCKWISE FROM TOP: HAYDEN SPEARS (2); CASEY DUNN

“The Mexican influence is present throughout the culture in Texas, and we didn’t want to change that,” says William Ball

THREE BUZZWORTHY TALENTS TURNING JEWELRY INTO WONDROUS WORKS OF ART B Y

LUCY REES

EMMANUEL TARPIN

At just 27 years old, this Parisbased designer has already risen to prominence in the world of haute joaillerie with exquisite bijoux that break free from convention with bold silhouettes, layered textures, and unexpected stone compositions. He studied at the esteemed Geneva School of Art and Design before honing his craft at Van Cleef & Arpels’s high jewelry workshop. He begins with a sketch before crafting a maquette in paper or wax. “I am highly sensitive to color, so I handpick every stone,” says Tarpin, who launched his namesake line in 2017. “Each one-of-a-kind piece requires a lot of experimentation.” Artistic inspirations: “British sculptor Andy Goldsworthy is a big influence. I’m also drawn to the movement in an Alexander Calder mobile, for example, or the optical effects of a Bridget Riley painting. Then there are Dan Flavin and James Turrell.”

ALICE CICOLINI

British-born Alice Cicolini conjures exuberant jewels that symbolize a melting pot of cultures by using everything from Italy’s Memphis design movement to the patterns of the Silk Road as inspiration. Many of her pieces are handcrafted in Jaipur, India, in collaboration with artisans, including one skilled in the nearly lost art of meenakari enameling. The technique, originating in 17th-century Persia, requires a fusion of pigmented glass and metal to be poured onto engraved gold jewelry. “My approach is based on the concept of slow luxury, celebrating the beauty of ancient master craft and artisanship alongside fine materials,” says Cicolini. Statement stones are another dazzling feature of her work, from the intense green Muzo emeralds sourced from Colombia to green and pink tourmalines and gray Tahitian pearls.

Clockwise from top left: The back of these Jaipur Bougainvillea Muzo emerald earrings are hand-painted with enamel. Candy ring in 14K gold with enamel and ruby. Jodhpur cocktail ring with aquamarine and meenakari enameling.

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Career highlights: An exhibition at the Victoria and Albert Museum as well as at Somerset House in London. Also, a new collaboration with Carpenters Workshop Gallery launching in fall 2019. Design philosophy: “I take quite a curatorial approach to my work. There are a lot of narratives in the pieces, so I hope people delve into those stories and ultimately add their own.” alicecicolini.com

Design philosophy: “It is all about contrasts, from the color gradients; textures of polished, matte, and brushed aluminum; or the shape of the piece versus its lightness. I love the idea of wearing high jewelry without feeling its weight. It has to be precious yet wearable.” emmanueltarpin.com From top: A gold and bronze ring with yellow sapphires and diamonds inside. A pair of aluminum and diamond Geranium earrings realized $25,000 at Christie’s New York in 2017.

COUNTERCLOCKWISE FROM TOP LEFT: COURTESY OF ALICE CICOLINI; DAMON CLEARY (2); COURTESY OF ALICE CICOLINI; COURTESY OF EMMANUEL TARPIN (3)

Hidden Gems

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MR. LIEOU

There’s nothing predictable about Hong Kong talent Nicholas Lieou, whose collection ranges from the refined Tentacle cuff and earrings, made of 18K gold dipped in black ruthenium with pearls, to over-the-top, Rococo-style pieces like the Orchid earrings, set in palladium and featuring tanzanite with pavé diamond wings. “There is a poetry in these paradoxes,” Lieou says. “There’s a natural symbiosis between minimalism and maximalism, strength and fragility, masculine and feminine.” Approaching jewelry as an art form, he started out as an apprentice for Shaun Leane, the avant-garde British jewelrymaker, before working at Georg Jensen and Shanghai Tang, and as the design director of high jewelry at Tiffany & Co. He relaunched his own label, Mr. Lieou, earlier this year. Inspiration: “Aesthetically, I am drawn to sea life, monochromatic graphics, interiors that change your mood, antique Japanese lacquer boxes, the asymmetrical floral displays of Makoto Azuma, Dutch tulip paintings, William Morris . . . I could go on!”

Favorite work: The Maharaja rock crystal necklace. “I made it at a time when I was relatively fearless, knowing full well I’d probably never be able to sell it, but we went ahead anyway.” mrlieou.com

“There’s a natural symbiosis between minimalism and maximalism, strength and fragility”

PORTRAITS OF NATURE

In the Knysna Chameleon necklace, double rows of tonal rough diamonds surround a white baguette diamond strand that can be detached along with the three suspended diamonds, creating four ways to wear it.

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Synonymous with the world’s most treasured diamonds, De Beers is changing the perception of the gemstone with its latest high jewelry collection. Presented in Paris during Haute Couture Week, Portraits of Nature comprises five whimsical suites of unique pieces, all inspired by different animals from Africa, in a nod to the brand’s heritage. Monarch butterflies sparkle with pink, orange, and brown diamond wings, while electric cichlids are represented by yellow diamonds. “The pieces are an interpretation of the animals’ movement and the kaleidoscope of light that reflects off their bodies,” says Grace Lepard, head of design at De Beers. Most extraordinary is the Knysna Chameleon series, which boasts a medley of polished and rough rare fancy diamonds in hypnotic hues like olive green and pink Champagne. “Only the rarest and best rough diamonds are selected to stay unpolished as nature intended,” Lepard says. “One of the most exciting changes the industry has seen is the rise of women purchasing jewelry for themselves. This ultimately has an impact on design, which has become more adventurous and bolder.” debeers.com —L.R.

Clockwise from top left: Triple Pearl ring with South Sea pearls and diamonds. Tentacle cuff with South Seas pearls and diamonds. Pink tourmaline Orchid earrings with diamonds.

The Knysna Chameleon earrings feature a double coil of white polished diamonds with contrasting colored rough diamonds.

FROM TOP RIGHT: ERICK LEE SNYDER, COURTESY OF MR. LIEOU (3); COURTESY OF DE BEERS (2)

Design philosophy: “I always ask what if? What if we add this or supersize these proportions? And what can I take away to make this more elegant?”

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Rolls-Royce Art Programme recipient Isaac Julien’s Onyx Cave (Stones Against Diamonds) (2015).

FONDATION D’ENTREPRISE HERMÈS With 200 years of artisan history, Hermès has cultivated a number of art initiatives that build on its legacy of encouraging the next generation of craftspeople. That commitment is realized through the Fondation d’entreprise Hermès, which includes nine programs that support everything from performing arts to photography, as well as residencies at Hermès workshops and exhibition spaces for contemporary art around the globe. Not to be missed is this October’s solo exhibition in Saint-Louis-lès-Bitche, France, by artist and Cristallerie Saint-Louis creative director Patrick Neu, entitled “Manège (Carousel),” featuring a sculptural merry-go-round with horses crafted from crystal, many aloft around an ethereal chandelier. French artists Guillaume Poulain and Chloé Quenum, alongside Taiwan’s Yuhsin U Chang, were granted entrée into the storied maison’s workshops to create new pieces from silk, leather, silver, and other materials. “Hermès is a house with a profoundly humanist culture,” said

Emmanuel Régent in residence at the Cristallerie Saint-Louis as part of Fondation d’entreprise Hermès.

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Olivier Fournier, president of the Fondation d’entreprise Hermès, in a statement. “We share a deep belief in the combined, augmented power of human creativity and expertise as a source of happiness and fulfillment, both for those who make or act, and those who receive.” fondationdentreprisehermes.org ROLLS-ROYCE MUSE This October, the revered automaker launched Muse, an art program that rewards creatives who work with moving images, particularly in the fantastical and futurist realms of virtual reality, augmented reality, artificial intelligence, and digital art. The first Muse recipients, to be announced in 2021, will be in noteworthy company—the previously established Rolls-Royce Art Programme has endowed such cultural phenoms as British photographer Dan Holdsworth, visual artist Pipilotti Rist, Chinese filmmaker Yang Fudong, and installation artist Isaac Julien. “Artists are commissioned to create work that shares our vision for pushing technical and conceptual boundaries,” says Jessica Persson Conway, Rolls-Royce Motor Cars’ manager of the Art Programme and philanthropy. “We provide the resources to make unique statements and elevate their work beyond the imaginable.” rolls-roycemotorcars.com ROLEX MENTOR & PROTÉGÉ ARTS INITIATIVE For close to two decades, Rolex has nurtured up-and-coming artists by giving them unprecedented access to icons in the fields of art, literature, performance, and architecture. “Watchmakers learn their craft from another watchmaker so this idea of passing on knowledge to the next generation is quite important in our industry,” says Rebecca Irvin, head of philanthropic programs at Rolex, whose mentorship program pairs rising stars with established talents like Margaret Atwood, Olafur Eliasson, and

FROM TOP: ISAAC JULIEN, COURTESY OF THE ARTIST AND VICTORIA MIRO, LONDON/VENICE; TADZIO/FONDATION D’ENTREPRISE HERMÈS

TALENTS ON THE FOREFRONT

Twentieth and Twenty-First Century Collectible Design December 4â&#x20AC;&#x201C;8, 2019/ Miami Beach, USA/ @designmiami #designmiami designmiami.com

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PHILANTHROPY

Artist Joan Jonas (right) and Rolex protégé Thao Nguyen Phan at work in Jonas’s New York studio.

Oscar-winning filmmaker Alejandro González Iñárritu. Launched with the goal of creating the artistic leaders of tomorrow, the program, while still relatively young, is already bearing fruit: U.S. Poet Laureate Tracy K. Smith was a past Rolex protégé, as was Lehmann Maupin artist Nicholas Hlobo. The program’s first woman visual artist protégé, Thao Nguyen Phan, had a major moment at the most recent Carnegie International, while her mentor, Fernando Mastrangelo’s Art Basel Joan Jonas, benefited equally from the installation for Audemars Piguet. partnership, creating a number of pieces during her time working alongside Phan in Vietnam. This year, David Adjaye partnered with buzzworthy architect Mariam Kamara, who will soon unveil her first major building project in Niger, a new library and arts center. “I was very interested in this person trying to do things in this country,” says Adjaye, who will appear alongside Kamara at a talk series at the Royal Academy of Arts in London on November 25, before a model of Kamara’s project is shown at a summit in Cape Town in February 2020. “You have to have extraordinary powers to be able to do things there.” rolexmentorprotege.com BMW ART JOURNEY It’s the journey, not the destination, as the saying goes—and BMW has literally taken its support for emerging artists on the road. “It is much more beneficial for any artist in the long term to be able to leave their studio, to go out and explore, and do research and create,” says Thomas 72

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Girst, global head of cultural engagement at the BMW Group. Artists who are exhibiting in the Discoveries section of the annual Art Basel in Hong Kong apply for the program by creating proposals detailing the adventure they would like to take to further grow and develop their art. Since its inception in 2015, the BMW Art Journey has orchestrated six once-in-a-lifetime voyages, including British installation artist Abigail Reynolds’s four-month motorbike tour of the ancient libraries along the Silk Road, from China to Italy, Iran to Turkey. At December’s Art Basel in Miami Beach, 2018 winner Zac Langdon-Pole’s work examining celestial-guided exploration, which ferried him around the world to far-flung ports in New Zealand, Indonesia, and beyond, will be on display. “We are even thinking about going out on a boat with guests in the middle of the night and being guided by the stars based on Zac’s explorations of ancient forms of traveling,” says Girst. bmw-art-journey.com AUDEMARS PIGUET ART COMMISSION Audemars Piguet timepieces are as beautiful as they are precise. That dedication to exceptional design carries over into its arts programs, which support innovators as they cultivate immersive experiences that demonstrate complexity and an unparalleled attention to detail. Most recently, the Swiss watchmaker announced a two-year collaboration with Brooklyn contemporary artist Fernando Mastrangelo, who conceived an otherworldly landscape inspired by the company’s mountainous hometown; the project will travel to each of the three Art Basel fairs. The company’s Art Commission has also helped bring to fruition such thought-provoking works as Norwegian artist Jana Winderen’s multilayered audio installation that entwined the sounds of nature and the noise of civilization at the Vallée de Joux, near Geneva, as well as Japanese visual artist Ryoji Ikeda’s three-part, large-scale experiential exhibition Data-verse, the first iteration of which was unveiled at the Venice Biennale. “Each artwork is thought-provoking, innovative, and meaningful,” says Winka Angelrath, art curator at Audemars Piguet. audemarspiguet.com JILL SIERACKI

CLOCKWISE FROM TOP LEFT: ROBERT WRIGHT, COURTESY OF ROLEX; COURTESY OF BMW AG; COURTESY OF THE ARTIST AND AUDEMARS PIGUET

Past BMW Art Journey winner Abigail Reynolds in Cornwall, England.

MILESTONE

Sterling Ruby

WITH INSPIRATION FROM ART HISTORY TO GRAFFITI CULTURE, THE ARTIST’S MULTIFACETED PRACTICE ENCAPSULATES A DIVERSE RANGE OF MEDIUMS. AHEAD OF HIS MAJOR RETROSPECTIVE AT ICA MIAMI, WE SPOTLIGHT SOME KEY WORKS

Basin Theology/Butterfly Wreck, 2013 Ruby’s intentionally wonky, large-scale ceramic vessels first made a splash at the Whitney Biennial in 2014. By submerging clay fragments and misfires from earlier works into pools of richly colored, high-gloss glaze, he celebrates the role of chance and reuse.

SPECTER, 2019 For the second edition of the Desert X outdoor art exhibition, Ruby installed a neon-orange monolith in Coachella Valley’s rugged desert terrain. The bright object was intended to appear as an apparition or as though something had been Photoshopped onto the landscape.

LUCY REES

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SP288, 2014 Recalling both urban graffiti culture as well as Abstract Expressionist painters, Ruby’s hypnotic spray-painted canvases blur the lines between high and low culture, the sacred and the profane.

CDCR, 2011 This monolithic poured-urethane sculpture is part of a larger series that questions the role of the monument today. The base inscription references the California Department of Corrections and Rehabilitation (CDCR).

“At some point it will be time to create something that is autonomous, without a genre or an industry attached to it,” says Sterling Ruby

FROM TO: ROBERT WEDEMEYER, COURTESY OF STERLING RUBY STUDIO (5); BENNET PEREZ

Quilt (4858), 2014 Having grown up in a family of seamstresses in rural Pennsylvania, Sterling Ruby creates quilt works that are made with scraps of textiles and demonstrate a fascination with American craft, a recurring theme in his oeuvre.

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Launch Pad

FROM THOMAS RUFF TO SHARA HUGHES, MAJOR ARTISTS GOT THEIR START WITH THE SUPPORT OF THESE

Jess Johnson’s 2017 exhibition, “Everything Not Saved Will Be Lost,” at Jack Hanley Gallery.

he relationship between artists and dealers is one of the dynamics that power the art world forward. Certain gallerists have shown an ability to spot talent early and a willingness to take risks to display new work—much to the benefit of audiences who flock to see exhibitions by up-and-coming creatives at not only their brick-and-mortar spaces but at art fairs such as Spring/ Break, Scope, and NADA. We talked to four owners of visionary galleries about the rewards of getting in on the ground floor.

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JACK HANLEY GALLERY If there’s anyone who can talk with authority about the importance of showing emerging artists, it’s Jack Hanley. He started a gallery in 1987 in Austin, Texas, and proceeded to display unknowns who would later hit it big, including photographer Thomas Ruff, multimedia maker Rosemarie Trockel, and conceptual star Zoe Leonard, who had a major survey at the Whitney Museum of American Art in 2018.

COURTESY OF JACK HANLEY GALLERY

VISIONARY GALLERIES

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“I had a neon sign that just said art,” recalls Hanley, who turned those humble beginnings into a winning run as a gallerist in San Francisco and Los Angeles before closing those spaces and opening in his hometown of New York in 2008. Hanley has stuck with his role of incubating talent. “That’s pretty much all I do,” says the gallerist, whose most recent show highlighted New Zealander Jess Johnson’s drawings and virtual reality videos. “I get some satisfaction out of helping artists get a start.” Hanley jokingly says he regrets that he didn’t stash a few more works by those who “hit it really big” under his bed. He adds, “I had to sell some of them to pay for the show of whatever obscure person was next.” But he still sounds pretty happy about the outcome. jackhanley.com

CLEARING “Sometimes trees bear fruit slowly,” says Olivier Babin, the French-born founder of Clearing, which has spaces in Bushwick, Brooklyn; New York’s Upper East Side; and Brussels. “It’s a life project, and it takes a long time to unfold.” Babin is talking about building careers, which he’s done with top artists like Huma Bhabha, Marguerite Humeau, and Harold Ancart—always opting for provocative and unconventional viewpoints and providing a rooting place for good ideas. Then again, sometimes it happens quickly: Take the dazzling rise of Thai artist Korakrit Arunanondchai, whose dreamy films and complex installations have garnered him huge acclaim, including the Venice Biennale, a spot in this year’s Whitney Biennial, and an upcoming commission for Performa. “We met Krit when he was graduating from Columbia in 2012,” says Babin. It may be that the dealer’s personal history helps him help others. “I was a young artist myself,” he says, referring to his early days in Paris and New York before he had a gallery. “Empathy helps. It’s a jungle out there.” c-l-e-a-r-i-n-g.com MARIANE IBRAHIM GALLERY Bold moves are not the province of only artists: Dealers have to make them too, as when Mariane Ibrahim moved her gallery from Seattle to Chicago over the summer after

CLOCKWISE FROM TOP: JOE HUMPHRYS; JSP ART PHOTOGRAPHY, ALL COURTESY OF THE ARTIST AND CLEARING NEW YORK, BRUSSELS; OPPOSITE: FROM TOP: COURTESY OF THE ARTIST AND RACHEL UFFNER GALLERY; COURTESY OF MARIANE IBRAHIM GALLERY

Clockwise from top: Clearing artist Marguerite Humeau’s 2017–18 installation at the Tate Britain. Untitled (2017) by Harold Ancart. Korakrit Arunanondchai’s 2018 exhibition “A Workshop for Peace.”

working in the Pacific Northwest for seven years. “It’s what defines the gallery—taking calculated or uncalculated risks and going with a feeling,” says Ibrahim, who was raised in Somalia and France. She shows many female artists of African descent, as with the current show of Ayana V. Jackson, “Take Me to the Water,” which displays the artist’s striking, rich photographs. Ibrahim also uses her art fair booths to introduce the work of her roster—like Negar Farajiani and Zohra Opoku—to the wider world. “I love being at the starting point and building a foundation with an artist,” she says. “The gallery is not old, so there’s a reciprocity. We’re going to grow together.” marianeibrahim.com RACHEL UFFNER GALLERY Rachel Uffner’s initial business timing wasn’t ideal: “We opened in 2008, a week after Lehman Brothers collapsed,” she says of her gallery on New York’s Lower East Side, which has since relocated

to a larger Suffolk Street space. “But there was less pressure then.” Uffner has used her time wisely, nurturing undiscovered talent. “Many of them are people who wouldn’t necessarily be seen otherwise,” she says of her list, which includes Shara Hughes and Leonhard Hurzlmeier, whose exhibition “Told Tales” is currently on view. “You can give people a platform.” One standout on Uffner’s current slate is 30-year-old artist Arcmanoro Niles, who had a show of his brightly colored figurative paintings at the gallery in the spring. Uffner first exhibited him in 2017; now he’s in the collection of five major institutions, including the Dallas Museum of Art and the Phoenix Art Museum. The majority of artists Uffner represents are women, including Sally Saul (the wife of painter Peter Saul), who’s had a career breakout in her 70s by showing her whimsical ceramics with the gallery. “It’s what I love the most,” says Uffner. “Discovering beauty and something you don’t see every day.” racheluffnergallery.com TED LOOS

“I love being at the starting point and building a foundation with an artist,” says Mariane Ibrahim

From left: Mariane Ibrahim Gallery artist Ayana V. Jackson’s The Self-Forgetfulness of Belonging Would Never Be Mine (2019). Shara Hughes’s My Organized Flare (2019).

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NICOLE FULLER HAS A ROMANTIC CONNECTION TO THE COLORFUL ARTWORK THAT INSPIRES A DREAMY BEDROOM

NICOLE FULLER AND ALEXANDER YULISH With her layered and innovative style, Nicole Fuller—the daughter of an artist (as well as the wife of one)—is known for her confident use of color and sculptural furniture. That’s why every room she conjures becomes a unique masterpiece. nicolefullerinteriors.com

“Being an interior designer and art adviser, I often design around an artwork and continue its story throughout the space,” says Fuller. “Together but Apart by my husband, painter Alexander Yulish, is romantic and beautiful—perfect for a bedroom. He’s a color master and often inspires the palettes I create. We actually met when I started buying his art for my clients. I was drawn to his pieces before I ever knew he would be my friend, partner, and husband.”

Artwork: Together but Apart (2019) by Alexander Yulish. Clockwise from top: Unique Crystal Cluster illuminated sculpture by Jeff Zimmerman; r-andcompany.com. Relic Vessel series by Marc Fish; toddmerrillstudio.com. Jardin Intérieur rug by India Mahdavi for La Manufacture Cogolin; manufacturecogolin .com. Benitier bench by Mauro Mori; ateliercourbet.com. Oval Tube cabinet by Christophe Côme; cristinagrajalesinc.com. Stella 01 bed by Nicole Fuller for Savoir, upholstered in Perle No. 4 mohair fabric by Pierre Frey; savoirbeds.com, pierrefrey.com. Scarabe side chair by Laura Kirar; maisongerard.com. 80

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ARTWORK: COURTESY OF THE ARTIST. PORTRAIT: HANNAH THOMSON. PRODUCTS, CLOCKWISE FROM TOP: COURTESY OF R & COMPANY; COURTESY OF TODD MERRILL STUDIO; COURTESY OF L A MANUFACTURE COGOLIN; COURTESY OF LES ATELIERS COURBET; COURTESY OF CRISTINA GRA JALES GALLERY; COURTESY OF SAVOIR; COURTESY OF MAISON GERARD

Love Notes

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Panel Discussion

WATERCOLOR-INSPIRED WALLPAPERS TRANSFORM ANY ROOM INTO A CAPTIVATING CANVAS

oothing shades that seamlessly blend into each other are hallmarks of some of the most famous abstract paintings. Bursting out of the frame, these wallpapers with watercolor-influenced swirls and painterly clouds become the focus of an entire room, enveloping an interior in mesmerizing beauty. “A large-patterned wallpaper can transform a space in just a few hours,” says De Sousa Hughes creative director Geoffrey De Sousa. “It can give the plainest of spaces a huge personality and highlight its architectural details.” The San Francisco retailer has seen myriad versions of the trend, from soft, undulating shades on panels from established brands such as Voutsa and Élitis, among others, to styles that have added dimension of texture and metallics by exciting newcomers like the Vale London. “I love modern art on large traditional patterns and traditional art on soft subtle textures,” De Sousa says. “It really comes down to the framing—to either tame the art, punch it up, or delineate pattern on pattern.” JILL SIERACKI

FROM TOP: COURTESY OF VOUTSA; COURTESY OF JIM THOMPSON FABRICS; COURTESY OF ALT FOR LIVING. OPPOSITE, CLOCKWISE FROM TOP LEFT: COURTESY OF ESKAYEL; COURTESY OF THE VALE LONDON; COURTESY OF PIERRE FREY; COURTESY OF ÉLITIS

Clockwise from left: A kaleidoscope of saturated hues entwine in the Chinoise design for Voutsa; voutsa.com. Celebrated architect and designer David Rockwell looked to the skies for his Dreams collection for Jim Thompson, which includes this Raindrop sisal in moody Twilight; jimthompsonfabrics.com. Exuberant waves of rich blues create an Impressionistic seascape in Running Tide for ALT for Living; altforliving.com.

Clockwise from top left: Each of Eskayel’s one-of-a-kind wall coverings, including Cortile, evolves from a painting by studio founder Shanan Campanaro; eskayel.com. Marble Tile 2, flecked with mica, from the Vale London, available at Fabricut, shimmers in an opulent swirl; thevalelondon.co.uk. Soft-color brushstrokes are layered behind delicate illustrations in Pierre Frey’s whimsical landscape, Les Amoureux; pierrefrey.com. Élitis’s Oxydes wall covering captures the look of oxidized metal, adding both texture and shine to any room; elitis.fr. GALERIEMAGA ZINE.COM

Little Pipe Cay in the Bahamas, listed for $85 million with Knight Frank.

Paradise Found

OWNING A PRIVATE ISLAND

ew things are as glamorous as owning an island—just ask Richard Branson, Faith Hill, or Johnny Depp, all of whom padded their real estate portfolios with such secluded estates. The number one lure? “Privacy,” says Chris Krolow, CEO of global brokerage Private Islands Inc., the industry’s leading specialist. “These buyers are looking for their own little kingdom where there’s no traffic and they can’t see their neighbors.”

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COURTESY OF KNIGHT FRANK

DOESN’T HAVE TO BE A FANTASY

But you don’t need celebrity-level wealth to enjoy a slice of paradise. While the priciest of the world’s roughly 200 available islands can top nine figures, some can be found for under $100,000—if you know where to look. Krolow’s website, along with Vladi Private Islands, offers a good start, as do worldwide brokerages like Sotheby’s and Christie’s, which have dedicated island portfolios. The next step is to zero in on a location. Krolow cautions against buying in much of Asia (excluding Thailand) and the South Pacific due to pervasive leasehold laws that prevent land from being purchased outright. Freehold islands, meanwhile, generally appreciate in value and can be found throughout the U.S., Canada, and corners of the Caribbean, including English-speaking countries like Belize and the Bahamas. In 86

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addition, lake islands usually go for less than those in the ocean; plus, they aren’t susceptible to salt water’s corrosive effects. Ostensibly prized for their endless potential, undeveloped parcels should be avoided because they require a slew of costly permits, environmental assessments, and extensive infrastructure planning. Makeup mogul François Nars, for instance, told Vogue that he and design firm Studio Liaigre faced “every challenge that you can imagine and more” to create a Tahitian fantasy on an untouched atoll in Bora-Bora. “The best places,” says Krolow, “have an existing home with a good footprint, so you don’t need to worry about reinventing the wheel.” One such listing is the heart-shaped Petra Island in the Hudson Valley, which boasts two Frank Lloyd Wright–designed residences, the larger of which was completed posthumously by its owner, Joseph Massaro. The ten-acre isle even features a helipad, making it possible to reach Manhattan in 20 minutes. “It still surprises me how beautiful this place is,” says Massaro of the wooded compound. “I notice new things every day.” Island time, it turns out, might not be that far off after all. GEOFFREY MONTES

FROM TOP: COURTESY OF LIAIGRE; COURTESY OF DOUGL AS ELLIMAN

From top: François Nars’s private atoll in Bora-Bora, designed by Studio Liaigre. Set in New York’s Lake Mahopac, Petra Island is on the market with Douglas Elliman for $12.9 million.

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On the Block

YVES SAINT LAURENT | HAUTE COUTURE EVENING COAT (1980)

The fashion designer’s fall/winter 1980 collection paid homage to poets he admired, including Louis Aragon, Guillaume Apollinaire, and Jean Cocteau. This pink silk satin and black velvet jacket, adorned with sequins, rhinestones, beads, and silk thread—and inscribed with a line from Cocteau’s poem “Batterie”—was the star of a charming and otherwise accessibly priced vintage sale, commanding €114,400 ($128,782) against a low estimate of €5,000–€7,000.

FASCINATING SALES FROM AROUND THE WORLD BY JEANNIE ROSENFELD

ANGLO-INDIAN ROSEWOOD KNEEHOLE DESK | (LATE 18TH CENTURY)

Sold at Sotheby’s London (July 9)

TSCHABALALA SELF | OUT OF BODY (2015)

A prime example of the craftsmanship from Vizagapatam, the Indian port town famed for its ivory inlay work, this desk was one of the offerings from the estate of Sir John and Lady Smith, British aristocrats known for their passion for collecting. It roughly doubled its estimate, fetching £337,500 ($409,433).

Sold at Christie’s London (June 25)

After a stellar auction debut at Phillips London in March, the buzzworthy 29-year-old African-American artist stole the show at the summer sales with a work estimated at £60,000 ($76,430). The vibrant canvas, featuring Self’s signature exploration of the black female body with a patchwork of figures, reportedly went to collector Jose Mugrabi for £371,250 ($471,000), more than six times the high estimate, marking a record for the artist.

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NIKE | MOON SHOES (1972)

Sold by Sotheby’s online in conjunction with Stadium Goods (July 23)

Canadian collector Miles Nadal paid $437,500 for a historic pair of Nike running shoes—one of only a handful made for the 1972 Olympic trials. The Moon Shoes, so-called because of the imprint left by their unique tread, were designed by Nike cofounder Bill Bowerman, who placed rubber on his wife’s waffle iron. The footwear will be displayed along with Nadal’s shoe collection at his private Dare to Dream Automobile Museum in Toronto.

CLOCKWISE FROM TOP: COURTESY OF CORNETTE DE SAINT CYR, PARIS; COURTESY OF SOTHEBY’S; UNRAH/JONES, COURTESY OF SOTHEBY’S; COURTESY OF CHRISTIE’S LTD. 2019

Sold at Cornette de Saint Cyr, Paris (July 4)

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ARTIST ELIAS SIME TRANSFORMS DISCARDED COMPUTER KEYS AND WIRES INTO INTRICATE ABSTRACT WORKS OF PAINSTAKING BEAUTY

Elias Sime in front of his work Tightrope: Non-Essential Speed (2017).

rom a distance, Ethiopian artist Elias Sime’s wall-mounted pieces look like abstract paintings, geometric patterns of beautiful colors ranging from neon shades to muted earth tones locked in a tight grid. But on closer inspection, you see that the large-scale works combine intricate arrangements of discarded items—finely braided electrical wires in a rainbow of pigments, mosaics of computer keys, or compilations made from electrical motherboards—in compositions that are at once mesmerizing and disquieting. Sime’s masterful assemblages are now on view in the exhibition “Elias Sime: Tightrope,” the first major traveling survey of his work. Mounted at the Wellin Museum of Art at Hamilton College in Clinton, New York, through December 8, the show highlights Sime’s output of the past decade alongside some important early pieces in a grouping that “explores what unites us as humans,” says Tracy L. Adler, the museum’s Johnson-Pote director, who curated the show. “Now is an important time to present Elias’s work, when, as a

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society, we are seeking a sense of community, shared experiences, and human connection.” The exhibition’s title—taken from Sime’s “Tightrope” series of works, which date from 2009 to this year and are made from reclaimed electronic elements—refers to the contradiction inherent in both the progress technology has fostered and its negative impact on the environment. “His repurposing of materials made for other uses both draws our attention to their latent aesthetic value and complicates the dialogue around materiality in contemporary life,” says Adler. “Elias is a humanist in his approach to art, in which the concept and the materials are arrived at simultaneously.” The foundation for Sime’s art was sparked during the artist’s childhood in Addis Ababa, Ethiopia’s sprawling capital. Sime grew up in a neighborhood with an open market and recalls that “when the merchants went home, they used to leave behind all kinds of interesting material,” which he transformed into toys for his friends. After graduating from the Alle School of Fine

BRETT MOEN, COURTESY OF THE ARTIST AND JAMES COHAN, NEW YORK; OPPOSITE: FROM TOP: BRIAN PINKLEY; ADAM REICH PHOTOGRAPHY; MICHEL TEMTEME

Tightly Woven

From top: Sime’s Surface and Shadow 2 (2016) from his “Tightrope” series. Tightrope 8 (2009–14). The Zoma Museum, founded by Sime and Meskerem Assegued, in Addis Ababa, Ethiopia.

“Now is an important time to present Elias’s work, when, as a society, we are seeking a sense of community, shared experiences, and human connection,” says Tracy L. Adler Arts and Design at Addis Ababa University, he started making collages from plastic. “I was fascinated about how quickly the production and consumption of plastic has taken place over the whole country and in fact the whole world,” says the artist, noting that he used the material for collages “about all kinds of issues that moved me.” In addition to the “Tightrope” pieces, the exhibition includes works from “Ants and Ceramicists,” a series that Sime began in 2003, in which stitched yarn on dyed canvas often incorporates found objects—a commentary, the museum says, on “the resiliency and community of both ants and traditional artisans.” Also on view will be two new works, as well as Flowers & Roots, a large-scale, site-specific sculpture made of discarded computer parts, electrical wire, bronze, and cement that was built with the assistance of a group of students from Hamilton College. Sime’s interest in education and collaboration extends beyond the current installation—the artist founded and designed the Zoma Museum in Addis Ababa alongside curator and anthropologist Meskerem Assegued. Built with traditional techniques using mud, straw, stone, wood, and cement, the museum, which opened in March, is intended

to “showcase all forms of innovative and cutting-edge art, vernacular architecture, and rare and extinct indigenous vegetation in an artistically designed landscape,” says Sime. It incorporates two schools—one that teaches children through art, gardening, and cooking, and another where young architects learn the construction techniques of vernacular architecture. Next up, “Tightrope” will travel to Ohio’s Akron Art Museum in February 2020, followed by the Kemper Museum of Contemporary Art in Kansas City, Missouri, and the Royal Ontario Museum in Toronto. There’s no doubt there will be many more objects and inspirations to discover along the way. PILAR VILADAS

Creative Fusion

THIS STADIUM-SIZE FACTORY IN UPSTATE NEW YORK ALLOWS ARTISTS

From top: A sculpture by Fernando Botero, whose work has been cast at the Hudson Valley foundry; it was sold at Christie’s. An artisan at work pouring metal.

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riving along New York State Route 17 in Orange County, a stone’s throw from the heart of the Hudson Valley, it’s easy to coast past an enormous hangar-like structure on the side of the road. But this is no ordinary industrial lot; inside, at any given time, there may be a towering 12-foot bronze statue by Fernando Botero being restored by a master technician or hulking aluminum rectangles being hoisted, assembled, and welded into a tumbling arrangement by sculptor Joel Shapiro. This monumental facility, which stretches the length of a football field and stands four stories high in Rock Tavern, New York, is the site of Polich Tallix (PTX), one of the country’s most accomplished fine-art foundries, which has produced works for the likes of Jeff Koons, Roy Lichtenstein, Isamu Noguchi, Rona Pondick, and Martin Puryear, to name a few. Excelling in both traditional craftsmanship and technical innovation, the foundry’s team of expert artisans is highly sought-after for turning concepts, models, and digital files into bold works of art. It’s no wonder that, in 2015, when the Academy of Motion Picture Arts and Sciences wanted to return to its original 1928 process of using lost-wax bronze casting for its famous Oscar statuettes, they were called on for the job. Recently, UAP, the internationally acclaimed art and design studio behind such iconic works as Ai Weiwei’s Gilded Cage, part of the Public Art Fund project “Good Fences Make Good Neighbors,” which saw 300 installations erected across New York City, or Nicole Eisenman’s massive bronze figures at the 2019 Whitney Biennial, acquired the historic foundry,

FROM TOP: COURTESY OF CHRISTIE’S IMAGES LTD. 2019; COURTESY OF UAP AND POLICH TALLIX

TO MATERIALIZE THEIR VISIONS

NOUVELHERITAGE.COM ELYSE WALKER - LOS ANGELES & NEWPORT BEACH, CA / HUTCHINSON - LARKSPUR, CA / MODA OPERANDI / YLANG23 - DALLAS & FORT WORTH, TX

heralding an exciting new chapter for the art of fabrication. Australian brothers Daniel and Matthew Tobin launched UAP in 1993 as Urban Artists with a collaborative approach meant to offer creatives the space to develop ideas, investigate materiality, and expand their practice. (UAP is headquartered in Brisbane, Australia, with fabrication facilities in Shanghai and a Manhattan design studio.) The formula was simple: Work hard, collaborate well, and deliver great projects. It’s an ethos similar to PTX’s own, which made the acquisition a natural fit. “Our greatest asset is the skill of our craftspeople, and, by joining forces, we have boldly expanded our capabilities,” Daniel says. Each job is treated with a highly individualized approach, and no project seems to be off limits. Take, for example, a current collaboration with Hank Willis Thomas, who has been creating a 21-foot bronze sculpture of an arm and hand titled Unity since the work was commissioned in 2015; it will be installed at the base of the Manhattan Bridge. Thomas provided a 3-D file before having ten-pound foam patterns milled. After rubber and wax molds were made, the technicians then cast the wrist to the shoulder in silicon bronze. The sculpture will receive a patina finish supervised by the artist, and eventually the foundry will transport the completed piece. Ursula von Rydingsvard, the acclaimed Brooklyn sculptor 94

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known for her monumental artworks in wood, has been working on Scientia, destined for a public park in Omaha, Nebraska. The artist provided a full-size pattern cut from wood, which the foundry will cast using both lost-wax and sand casting. The bronze casting sections will then be welded together, and the metal will be finished and chased. All of this dizzying artistic magic and sheer physical labor is being realized in the vast stadium-like campus of the Rock Tavern foundry, with a steady stream of welding sparks illuminating the space like synchronized indoor fireworks displays. As molds are made and castings are readied, other projects can be caught in medias res, such as architect Thierry Despont’s 35-by-32-foot white bronze water wall slated to grace the façade of the new Manhattan residential building 220 Central Park South, or fragments of Elmgreen & Dragset’s Bent Pool, a whimsical aluminum sculpture that is being sand-casted and fabricated from a digital file and a 24-inch maquette. Visitors will find it outside the Miami Beach Convention Center Park during Art Basel in December. “We are uniquely positioned at the intersection of fine art, construction, and architecture,” says Kevin Davey, UAP’s U.S. director. “And with the addition of the Rock Tavern facility, the future is superbright.” uapcompany.com DANIEL CAPPELLO

CLOCKWISE FROM TOP LEFT: L ANCE GERBER STUDIO, COURTESY OF THE ARTIST AND UAP; JASON WYCHE, COURTESY OF PUBLIC ART FUND; MICHAEL MUNDY

Clockwise from top left: Phillip K. Smith III’s sculptural installation Open Sky was revealed during 2018’s Salone del Mobile. Ai Weiwei’s Arch (2017), part of the Public Art Fund’s “Good Fences Make Good Neighbors” project. One of the foundry’s expert artisans at work.

Far and Away

SHANGHAI’S CULTURAL BOOM PRODUCES A SERIES OF CAPTIVATING FAIRS, NEW GALLERY SPACES, AND GROUNDBREAKING RETAIL THAT COMBINES FASHION AND ART

century ago, Shanghai helped define the cosmopolitan world city, attracting travelers to the “Paris of the East” with cutting-edge art, architecture, fashion, and nightlife. Today, the city exerts the same pull, and with an explosion of new galleries, fairs, and private museums, it rivals Beijing as China’s cultural capital. From the Art Deco buildings along the Bund and the leafy lanes of the former French Concession to the avant-garde monuments of global starchitects, here are the places to feel Shanghai’s new creative pulse. This November, Art021 will bring over 100 international galleries to the historic halls of the Shanghai Exhibition Center, a 1955 gift from the Soviet Union, while West Bund Art & Design will fill the sprawling West Bund Art Center on the 96

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banks of the Huangpu River, near some of the city’s newest, and most ambitious, private museums, with exciting works of modern and contemporary art. Collector Qiao Zhibing recently opened Tank Shanghai, a 645,000-square-foot cultural hub comprised of five disused oil tanks, which has featured the likes of teamLab and Adrián Villar Rojas, as well as Chinese icons Zeng Fanzhi and Ding Yi. Nearby is collector Budi Tek’s Yuz Museum Shanghai, which recently announced a collaboration with the Los Angeles County Museum of Art and has hosted Maurizio Cattelan and KAWS alongside a permanent installation of Random International’s immersive exhibition Rain Room. In the same vicinity are the Long Museum, currently showing Mark Bradford in a special collaboration with Hauser & Wirth, and the Power Station of Art, home to the Shanghai Biennale (which will mount its next edition in 2020). Further upriver, the Heatherwick Studio– and Foster + Partners–designed Fosun Foundation, part of the Bund Finance Center, is known for its eye-catching façade of moving golden curtains and contains galleries and a performance space.

FROM TOP: COURTESY OF ART021; DUKAI/GETT Y IMAGES. OPPOSITE, FROM TOP: COURTESY OF SHANGHAI K11; COURTESY OF THE MIDDLE HOUSE; SCOTT WRIGHT/LIMELIGHT STUDIO

Left: The Shanghai Exhibition Center plays host to November’s Art021 fair. Below: A view along Shanghai’s colorful Nanjing Road, one of the city’s busiest shopping destinations.

Clockwise from top: The K11 Art Mall combines retail and compelling installations like Silhouette of the Sea. The Piero Lissoni–designed Middle House hotel. A tomatomozzarella dish at chef Paul Pairet’s restaurant Ultraviolet.

Another commercial-cultural crossover is the innovative K11 Art Mall, the brainchild of Hong Kong collector-entrepreneur Adrian Cheng, which fuses art and retail with an edgy exhibition program overseen by acclaimed curator Venus Lau. Not far away in Jing’an, Prada painstakingly restored Rong Zhai, a 1918 villa used as a dedicated space for fashion and art events. In addition to Western brands, a wave of blue-chip Western galleries have been opening shop in Shanghai, most recently Almine Rech, which joins Perrotin, Lisson Gallery, and the offices of Hauser & Wirth and Lévy Gorvy. Shanghai’s first galleries were clustered in the M50 Moganshan district but now span the city; must-sees include the pioneering ShanghART, founded by Lorenz Helbling in 1996, and trendsetters like Antenna Space, Capsule, and Bank, where one can scope out emerging talents before they’re tomorrow’s stars. Several new design-minded hotels have sprouted, such as the art-world favorite Middle House, conceived by Piero Lissoni and boasting art commissions from over 20 Chinese and international artists such as Shanghai’s own Caroline Cheng. Other favorites sure to attract the creative set come fair season are the Shanghai Edition, popular for its green rooftop garden (complete with croquet), and the Bulgari, featuring the brand’s signature artisanal chocolate laboratory,

Il Cioccolato. On the outskirts of town, the luxe Amanyangyun resort is a design feat, with architecture salvaged from a Qing dynasty village and a forest of 10,000 ancient camphor trees. For visitors hoping to take home a bit of Shanghai’s freshest style, the Artling is a new by-appointment showroom for art objects and design pieces set in a minimalist campus created by local architects Neri&Hu. Shanghai’s homegrown The Beast started out as a high-concept flower shop but now offers home wares and niche beauty products at multiple locations. Fashion-forward shoppers shouldn’t miss Dong Liang Studio and Labelhood, two platforms that curate the best of Chinese independent designers. At the end of a long day, the city’s dining scene beckons—from the immersive experience of Michelin three-star Ultraviolet by Paul Pairet and Fu He Hui’s haute spin on vegetarian cuisine to elevated Chinese-American comfort food at Heritage by Madison. And after dark, Shanghai’s hidden cocktail bars come alive, like Speak Low and Sober Company from Japanese mixologist Shingo Gokan. It’s worth decompressing over innovative craft cocktails knowing that the next day, there’s a whole city’s worth of art and culture still to explore. SAMANTHA CULP GALERIEMAGA ZINE.COM

A DV ERTIS EMENT

Dream Room

USING REFINED MATOUK BEDDING AND CL ASSIC

FURNISHINGS, R AY BOOTH CRE ATES THE ULTIMATE

BEDROOM SUITE. HERE’S HOW HE PULLED TOGETHER THE ST YLISH SANC TUARY

“I like things to have depth and character and textures,” says interior designer Ray Booth. “Matouk offers such a range that it allows you to play within those kinds of parameters.”

MATOUK BEDDING WITH RAY BOOTH FURNITURE FOR HICKORY CHAIR: BRYANT SHEETS IN CHARCOAL, TRISTEN SHAMS IN WHITE AND ANTHRACITE, TOMAS BLANKET IN GRAY, SELAH SHAMS AND COVERLET IN ANTHRACITE. LEFT: BRYANT FLAT SHEET IN CHARCOAL.

To create a serene bedroom retreat, Booth sought out Matouk for its artfully curated bedding collections that offer elevated details, like decorative trimmings and sophisticated embroideries that add a custom feel, and quality that only improves with time. He cultivated this space’s classic aesthetic by mixing Matouk’s 520-thread-count Bryant style percale sheets with the stonewashed linen Tristen shams and an elegantly textured, lightweight Selah coverlet. Crisp white linens are softened with a restful stone gray and a nuanced purple that Booth selected for its complexity. “Anything that operates on a lot of different levels has a more timeless quality, it has more of a longevity in that it can be paired aesthetically with a lot of different furnishings,” says Booth. “I like things that dance between a contemporary or a traditional aesthetic. They’re not necessarily there to always be the star of the room, but they do their job beautifully.” MATOUK.com

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ALL IMAGES COURTESY OF THE ARTISTS

THE LANDSCAPE OF EMERGING ARTISTS IS MORE DIVERSE AND EXCITING THAN EVER. TO DISCOVER THE BREAKOUT TALENTS POISED TO BECOME STARS, GALERIE’S EDITORS AND A JURY OF ART-WORLD LUMINARIES—PATRON BETH RUDIN DEWOODY, WHITE CUBE NEW YORK ARTISTIC DIRECTOR ERIC SHINER, ASPEN ART MUSEUM CEO HEIDI ZUCKERMAN, CREATIVE TIME EXECUTIVE DIRECTOR JUSTINE LUDWIG, AND CONCEPT NV FOUNDER NICOLA VASSELL—REVIEWED OVER FOUR HUNDRED ARTIST PORTFOLIOS. MEET THE ELEVEN FINALISTS AS WELL AS THE WINNER OF OUR $10,000 PRIZE. GALERIEMAGA ZINE.COM

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MEREDITH JENKS. OPPOSITE: STAN NARTEN, COURTESY OF THE ARTIST

INSPIRATION: “I gather

images from the Internet, movies, TV shows, fan fiction, books, and hip-hop, sometimes even posing myself to put together a reference visual. Then I begin to embroider from that.”

ART SCHOOL: Narrett has an

MFA in painting from the Rhode Island School of Design and a BA from Brown University. She also took part in a residency at the prestigious Skowhegan School of Painting and Sculpture in Maine.

RECENT SHOWS: This past summer, Narrett’s work was showcased in the exhibition “Do You Love Me?” at P.P.O.W. Gallery in Chelsea; previously, she had solo shows at BRIC in Brooklyn and Freight + Volume in New York. UP NEXT: A group show titled “Idol Worship” at Smack Mellon in Brooklyn, on view November 16 through December 29, as well as a group show at Kohn Gallery in L.A. next spring. sophianarrett.com

“MOSTLY I WAS DRAWN BY THE WORK’S INGENUITY. THERE IS A GREAT DEAL OF CRAFT AND HAND-DELIVERED DETAIL. THE UNORTHODOX SHAPES ARE EVIDENCE OF IMAGINATION AND CURIOSITY, AND THE STORYTELLING APPEARS TO ASK DISTURBING QUESTIONS.” —NICOLA VASSELL

From top: Sophia Narrett’s Stars Align (2014), from her “This Meant Nothing” series. Grin (2019). Opposite: Narrett in front of her 2019 work Wishes. GALERIEMAGA ZINE.COM

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PAINTING

By depicting people from his everyday life in almost “claustrophobic” environments, Raffi Kalenderian creates a tension between intimacy and formality, depth and on-the-surface aloofness that’s hard to turn away from. “My paintings are generally known for their texture and materiality,” says Kalenderian. “Variation and experimental paint handling are a huge part of the process. Often there is some form of vivacious patterning, in the form of clothes or wood grain or plants, or maybe all three.” With solo exhibitions of his portraiture in California as well as Switzerland, Italy, Germany, and St. Barts, he is making serious waves with the discerning collector crowd. PERSONAL STYLE: Kalenderian’s most recent solo show, “Memento Vivo,” at Vielmetter Los Angeles, featured paintings of unassuming subjects tucked within a riotous bouquet of vibrant foliage, their forward-facing poses a depiction of strength and perseverance in a setting that toys with scale. BIG BREAK: “When I was a college undergrad, my painting professor Roger Herman ran a gallery in Chinatown called Black Dragon Society. He invited me and five others to be in a summer group show. They sold all of my work before the opening and offered me my first solo show. I was 22 and stoked out of my mind.” Above: Raffi Kalenderian in his Los Angeles studio. Left: Thed Jewel (2019).

ARTISTIC INFLUENCES: As a student at UCLA, Kalenderian was taught by the celebrated L.A. artist Laura Owens and studied the work of modern masters like David Hockney and Alice Neel. It was in Owens’s class that he first started experimenting with portraiture. NEXT UP: His first New York solo show, at Miles McEnery Gallery in Chelsea, opens in November 2020. vielmetter.com

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FROM TOP: SAMI DRASIN; COURTESY OF THE ARTIST. OPPOSITE, FROM LEFT: MEREDITH JENKS; ELLIOTT JEROME BROWN JR., COURTESY OF THE ARTIST

LOS ANGELES

“HIS IMAGES SUCKED ME IN AND HELD MY RAPT ATTENTION. SIMULTANEOUSLY TENDER AND POWERFUL, THE PHOTOGRAPHS HOLD YOU CLOSE.” —JUSTINE LUDWIG

Elliott Jerome Brown Jr. in Flushing, New York. Right: To Keep Your Company (2019).

brown jr. FLUSHING, NY

PHOTOGRAPHY

ON VIEW: After receiving a BFA from New York University in 2016, Brown participated in group exhibitions at P.P.O.W. Gallery, the Studio Museum in Harlem, and New York’s La MaMa La Galleria, plus residencies in New Orleans at the St. Roch Community Church and the Skowhegan School of Painting and Sculpture in Maine. GOING SOLO: This year marked

not his first solo show—but his first three: Nicelle Beauchene Gallery in New York, Staple Goods in New Orleans, and Baxter St at the Camera Club of New York. elliottjeromebrownjr.com

DRAWING

PERSONAL STYLE: Rae’s drawings in colored pencil and graphite reinterpret high fashion images in the artist’s unique, expressive technique. MODEL SUBJECTS: She combs

magazines for images that catch her eye— whether that’s Karlie Kloss in a black-andwhite Oscar de la Renta gown shot by Annie Leibovitz or a model in a Julien d’Ys floral headdress captured by Willy Vanderperre.

BIG BREAK: No one saw her work publicly until 2014, when gallerist Paige Wery showed her drawings in a group show at the Good Luck Gallery in Los Angeles. Rae then received her first solo show there in 2015, which sold out, followed by an exhibition in 2017 at White Columns in New York. thegoodluckgallery.com “I LOVE HELEN’S INTERPRETATIONS OF FASHION ADS, HER BOLD USE OF COLORS, AND GREAT FASHION SENSE.” —BETH RUDIN D E WOODY

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Clockwise from top: June 15, 2016 (2016). Helen Rae working on a fashion-inspired drawing. June 5, 2018 (2018).

COUNTERCLOCKWISE FROM TOP: COURTESY OF TIERRA DEL SOL GALLERY (2); SAMI DRASIN. OPPOSITE, FROM TOP: MEREDITH JENKS; COURTESY OF THE ARTIST; SAMI DRASIN

CLAREMONT, CA

BROOKLYN

While most millennials are absorbed in the fastpaced digital landscape, Yale MFA grad Kyung Me instead finds respite in a much slower, methodical pace. Using a medley of hatching and stippling with black pen on paper, the Korean-born artist conjures intricate surrealist dreamworlds that find inspiration in everything from Japanese woodcuts to William Blake. She is currently working on a series of seven drawings based on the Tale of Genji, the seductive 11th-century Japanese literary masterwork by Murasaki Shikibu.

DRAWING INSPIRATION: “Ancient Japanese art frequently appears in my work, but I get a lot out of music too. I’m also drawn to creatives who are very meticulous, such as the 19th-century French printmaker Gustave Doré.” HER PROCESS: Each drawing can take up to seven weeks, and the artist will go through 30 specialty pens from Japan. MOTIVATION: “Drawing allows me to understand myself and the world we exist in better. I used to be more anxiety ridden and had difficulty handling emotions. When I started drawing, I had a concentrated place to focus those energies.” UP NEXT: A two-person exhibition at Bureau on New York’s Lower East Side. She’s also illustrating a children’s book inspired by The Velveteen Rabbit. sunflowercat.com

From left: Kyung Me. Sen’s Fortress (2015).

LOS ANGELES

PAINTING

Chris Hood incorporates themes of memory and loss into his mesmerizing canvases, which have been the subject of solo shows at Lyles & King in New York, San Francisco gallery Et Al., and L.A.’s Nino Mier Gallery. PERSONAL STYLE: “My work features images culled from personal photographs, art history, and mass media rendered abstract by translation. The paintings evolve through narrative and material processes that place the viewer in evocative uncertainty.” HIS TECHNIQUE: Hood applies paint on the reverse, so it seeps through the warp and weft of the canvas. Perception is purposefully unclear, so compositions exist in an indeterminate space. UP NEXT: “Para,” a solo show at L.A.’s Praz-Delavallade, on view through November 9. hoodchris.com

“Mixing comical iconography with a Color Field aesthetic, Chris Hood’s expressionistic and collage-like canvases take cues from past and present to create a wholly original ethos.” —Heidi Zuckerman

“I love her very detailed, fantastical imagery. The juxtaposition of the figures with either opulent or minimal interiors is very compelling.” —Beth Rudin DeWoody

CHICAGO

PAINTING

Orkideh Torabi’s colorful portraits appear almost cartoonish; however, their messages denote much weightier issues. By flipping the gender roles of subjects in art history—take, for example, Venus in Sandro Botticelli’s famous painting—she makes a strong statement about women’s role in society. She intentionally features images of only men emasculated through the lens of the female perspective. These vibrant works have been showcased at Expo Chicago, NADA, and Untitled as well as in solo shows at L.A.’s Richard Heller Gallery. PERSONAL STYLE: “I work with fabric dye on cotton—the technique is something like monoprint; it consists of lots of layers. They have this quality of imperfection that interests me.” CULTURAL CACHE: Born in Tehran, Iran, the artist draws on her background with rich geometric patterns found in Persian miniatures, a nod to the hierarchies of the past versus the present.

BALTIMORE

SCULPTURE

At once familiar and futuristic, the organic sculptures of South Korean– born sculptor Hae Won Sohn can be deceiving. Conceived in a palette of soft pastels, the seemingly fragmented objects are in fact carefully cast. It’s been a breakout year for the artist with her first solo show this summer at Baltimore Clayworks, the Maryland institution where she’s in the midst of a long-term residency. Trained at Seoul’s Kookmin University and the Cranbrook Academy of Art in Michigan, Sohn was also recently spotlighted in a two-person show at Baltimore’s Mono Practice gallery. Up next is an exhibition at Emmanuel Barbault Gallery in January 2020. PERSONAL STYLE: “Through repetitional mold-making and casting, I blur the distinction between empty volumes and filled volumes, voids and masses, negative spaces and positive ones. The difference begins to fade and at a certain point disappears.” haewonsohn.com

“Hae Won Sohn’s sculptures are eerie in their semblance to the corporeal. I find something innately evocative in these unusual shapes, at once beautiful and grotesque. It’s as if they’ve taken a form I know well and inverted it or presented it as a fragment.” —Heidi Zuckerman

FROM TOP: NOLIS ANDERSON; JUSTIN T. GELLERSON. OPPOSITE: SAMI DRASIN

UP NEXT: Her latest solo show, “Heaven on Earth,” is currently on view at Chicago’s Western Exhibitions gallery through November 2. After, Torabi is launching an artist book later this year before traveling to Cologne, Germany, for an artist residency. orkidehtorabi.com

LOS ANGELES

“HER BIOMORPHIC FABRICATIONS ARE BEAUTIFUL FORMS WITHIN FORMS, REFLECTING INTERNAL AND EXTERNAL WORLDS. IT’S BOTH SIMPLE AND COMPLEX.” —JUSTINE LUDWIG

SCULPTURE

ON VIEW: With a solo exhibition at

New York’s Bridget Donahue Gallery opening in November, Moss also garnered attention at this year’s Whitney Biennial, where visitors were invited to walk between two rows of her hanging sculptures, which would gently stir with movement. ragenmoss.com

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PHOTOGRAPHY

BIG BREAK: Her immersive installation of collages and photographs at New York’s Spring/Break Art Show in 2016. INSPIRATION: “My work starts from my personal story, growing up biracial in a small, predominantly white town in New England. It has evolved into something that, while still personal, is able to speak on a more universal level.” UP NEXT: Gaignard’s work is currently included in the group show “Still I Rise” at the Massachusetts Museum of Contemporary Art until May 2020. Upcoming is a solo presentation at next year’s Frieze Los Angeles with her gallery, Vielmetter Los Angeles. genevievegaignard.com

“Genevieve Gaignard is one of the most intriguing young artists in America. Her self-portraits reference the greats of the genre yet are wholly her own as she explores issues as far sweeping as race, class, popular culture, and beauty ideals.” —Eric Shiner 110

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SAMI DRASIN. OPPOSITE, FROM TOP LEFT: MEREDITH JENKS; COURTESY OF THE ARTIST; COURTESY OF THE ARTIST

LOS ANGELES

From left: Noa Charuvi in her Brooklyn studio. Assembly (2015), an oil painting.

BROOKLYN

PAINTING

Construction sites and piles of rubble are reimagined as places of beauty in the striking oil paintings by Israeli artist Noa Charuvi. “I am interested in places of transformation, whether they are deconstructed or constructed, and the forceful human intervention in the space.” Drawing on memories of growing up in Jerusalem, Charuvi uses her art to address conflict in her home country. “The landscape has so much history, and where I grew up it was always about war,” she says. “I use painting as a documenting tool to interpret the world around me.” Recently, she’s been

MIAMI

creating works based on the areas being rebuilt around New York’s World Trade Center site. HANDS-ON PROCESS: “I work a lot with a palette knife— I like its connection to construction, and I almost feel like I’m one of the workers.” UNIQUE INFLUENCE: As a child, she’d spend afternoons in her architect father’s office. That experience made her realize the power of architecture as a reflection of history, politics, and social hierarchy. noacharuvi.com

PAINTING

At once provocative, unsettling, and entrancing, Alina Perez’s poignant works explore how we recall dark moments in our past and the accuracy of those memories. Hailing from Miami, the Cuban American received her BFA from the Rhode Island School of Design in 2016 and has been translating trauma onto paper ever since. Rendering her subjects in charcoal and pastel, Perez soulfully captures daring topics from childhood abuse to gender norms. PERSONAL STYLE: “I want to unravel the distorted, intricate realities between my past traumas and what I truly identify with today. I want to delve deeper into understanding, directing, and maximizing the impact of my work, and to challenge conventional methods of narration and figurative art.” ON VIEW: Following a residency at Aspen’s prestigious Anderson Ranch Arts Center in 2017, Perez has shown in group exhibitions at Expo Chicago 2018 and the 2019 Atlanta Biennial. UP NEXT: This fall, Perez began an MFA program in painting at Yale University School of Art. alinaperez.com Right: Karaoke (2018).

A Joan Mitchell abstraction and an Andy Warhol silk-screen painting overlook a seating area that includes a sofa, a bench, and chairs by Achille Salvagni, vintage Jacques Adnet stools, and a bronze cocktail table by Based Upon in the living room of an Upper East Side penthouse duplex renovated by Deborah Berke Partners and designer Christine van Deusen. For details see Sources.

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Creamy limestone paves the entrance hall, where a Tony Cragg sculpture stands next to the steel-clad living room doors inspired by the ones at Villa Necchi Campiglio. Opposite: Works by Henri Matisse, Louis Valtat, Henri Manguin, and other Postimpressionist and Fauve artists are mounted on blue-lacquered walls in the den, where a 1940s Jules Leleu side table and a â&#x20AC;&#x2122;30s Jean-Maurice Rothschild armchair continue the French theme.

unleashing a pop of visual wow as soon as you’re in the door. Others are more discreet, revealing their allure subtly and slowly as you move through them. Then there are those, considerably rarer, that do both. Perched atop a 1928 Rosario Candela building on one of the Upper East Side’s most elegant blocks is a duplex penthouse that’s had just four owners in its nine-decade history. The latest, a French-American woman who comes from a distinguished art-collecting family, was looking to create a refuge where she could live with her trove of important paintings and sculptures and entertain comfortably—in a setting, it must be said, of supreme artisanal refinement. An elevated, art-centric tone is set immediately in the apartment’s impressive double-height entrance hall, a gallery-like corridor softly illuminated by a skylight overhead. Here to greet visitors are a boldly splashed black-and-white Willem de Kooning work on paper, a tornado of

twisting bronze by sculptor Tony Cragg, and one of Anish Kapoor’s wall-mounted concave mirrors, its copper and lacquer form playing off the gentle curves of the serpentine limestone staircase rising above it. As captivating as these works are, guests inevitably find themselves drawn through a pair of steel-clad doors—featuring a cutout pattern inspired by the famous doors at the Villa Necchi Campiglio in Milan—and into the spectacular living room. “The arrival is really a ‘ta-da!’” says architect Deborah Berke, whose architecture firm, Deborah Berke Partners, oversaw the renovations alongside her longtime colleague at the practice Catherine Bird. Berke and Bird collaborated closely with interior designer Christine van Deusen, rounding out the all-woman team. “There’s a lot of female energy in this apartment,” says Van Deusen, noting the central placement of an exuberant Joan Mitchell painting in the living room, opposite works

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From left: A rimless skylight illuminates works by (from left) Yves Tanguy, Danh Vo, and Olga de Amaral in the butternut-paneled upstairs hallway. In the adjacent living room, an Achille Salvagni chandelier is installed above a Jean Royère–style sofa and an Ado Chale coffee table. Opposite: Commanding one wall of the upstairs living room is a work by Man Ray mounted over a bronze table by Do König-Vassilakis that is next to seating by Ayala Serfaty; installed outside the walk-in bar are a small Willem de Kooning work and a sculpture by Agustín Cárdenas.

by Andy Warhol, Pierre Soulages, and Barbara Hepworth. For the room’s decor, she deployed an array of bespoke creations, from exquisite cabinets clad in glazed lava stone by Christophe Côme and a massive cracked-bronze cocktail table by the studio Based Upon to a mosaic-pattern églomisé-mirror fireplace surround by glass artist Kiko Lopez. As throughout the home, an almost obsessive emphasis on exceptional materials is reflected in the design choices—not least the panels of real parchment lining the living room’s walls, providing a neutral but far from ordinary backdrop for the art. “There really isn’t any area of the home that wasn’t given that special something,” says Van Deusen. The entire project—a gut renovation that entailed reconfiguring multiple spaces inside the 4,900-square-foot residence—took four years from planning to completion. “We really had a wonderful opportunity to approach this in a very measured way,” says Van Deusen, who has been a friend of the client since they met while both living in Paris years ago. “It was never about rushing to fill a space.” 116

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Art was always at the center of their thinking. The owner had inherited from her family a significant group of French Postimpressionist and Fauve works, and the decision was made to create a jewellike den where they could be displayed together. Sotheby’s executive and former Guggenheim Museum director Lisa Dennison consulted on the salon-style installation atop paneling lacquered in a lustrous Prussian blue. “Once we had the paintings cleaned, it was shocking to see the life come back into them—the colors were so vibrant,” says Van Deusen. “And on that special blue, they just looked amazing.” In addition to the art from her family, the client was building her own collection, spanning from prime examples of Abstract Expressionism to major contemporary works. It’s a range that is represented quite dramatically in the dining room, where two of her earliest acquisitions—a slashing, moody 1950s Franz Kline canvas and a Damien Hirst mirrored cabinet lined with rows of sparkling cubic zirconias—hang opposite one another, while one of De Kooning’s effervescent late abstractions commands a third

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wall. It’s not hard to imagine atmospheric dinner parties with flickering candlelight reflected in the Hirst and dancing across the glossy walls whose can’t-quite-put-your-finger-on-it grayish hue Berke describes as Weimaraner. The architect explains that when they were conceiving the apartment, they imagined a progression of guests moving through the space, starting in the living room and den, shifting to the dining room, and, after the party, the owner could retreat to the smaller, more intimate living room upstairs. There, bay windows offer yet more priceless views, and the homeowner could settle into a variety of comfortable seating, including a massive—and exceptionally cozy— sofa in the style of Jean Royère. When the client is seeking a nightcap, there’s a dashing walk-in bar with bronze cabinets, onyx countertops, and wall panels painted with delicate faux-horn patterns. “Every space in this apartment has been thought intensely about,” says Berke, whose firm has a well-earned reputation for updating traditional interiors with a graceful modernism. (She also serves as

the dean of the Yale School of Architecture.) While all of the rooms—including the radically revamped eat-in kitchen, the two lower-floor bedrooms, and the expansive master suite upstairs—feel rooted in tradition, they are a long way from “Louis XIV or Mrs. Astor on Park Avenue,” as Berke jokingly puts it. The sense of artistry and craftsmanship comes across throughout. To name a few: the multiple commissioned pieces by Côme, the dining room’s parquet oak floors that were harvested from a single 300-year-old tree at the end of its life, and the cashmere covering one of the bedroom’s walls that was “woven by a guy in the mountains in India on a loom cobbled together using bicycle parts,” says Van Deusen. The level of detail and distinctiveness, she notes, isn’t always obvious until you get up close. Visitors may well find themselves tempted, as Berke suggests, to “roll around” on those luxurious cashmere walls. Just take care not to bump into that iconic Jeff Zimmerman hanging nearby.

Above: A pair of 1940s Italian armchairs stand in the master bedroom’s bay window, overlooked by a Georgia O’Keeffe painting; the bed is dressed in custom-made Cristina Azario bedding. Right: In the marble-clad master bath, Deborah Czeresko created the glass pendant above the Urban Archaeology tub with Barber Wilsons & Co. fittings and the Lorin Marsh mirror-top side tables. Opposite: Czeresko also made the ceiling lights in the kitchen, which is outfitted with a La Cornue range and a custom-designed hood; the countertops are Pyrolave glazed stone, the backsplash tiles are by Paris Ceramics.

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PAINTING BY

Rigorous yet relentlessly experimental, Bernard Frize keeps inventing new approaches to his abstract art BY EMILY M DERMOTT PHOTOGRAPHY BY ROMAN MÃ&#x201E;RZ C

Bernard Frize stands next to a pair of recent grid-pattern, acrylic-and-resin paintings in the ground-floor space of his Berlin studio. The table and chairs are 1930s designs by Gerald Summers.

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our decades into his celebrated career, Bernard Frize is still emerging, continually exploring innovative modes of painting and connecting with new audiences. Since the 1970s, the French-born artist has been making eye-catchingly colorful and wildly diverse groups of abstract paintings based on different sets of predetermined rules—their outcomes left to chance and variation. “I am always interested in the idea of generation and corruption,” the artist says during a visit to his studio and home in a quiet corner of Berlin’s central Mitte neighborhood. “I think the emergence of a painting is also the moment where the previous work is falling apart, and maybe a new work emerges from this.” Though Frize now spends most of his time in Berlin, he maintains a studio in Paris, where the full scope of his practice was on view in the Centre Pompidou’s recent exhibition “Without Remorse,” his first museum show in his home country in more than 15 years. Some 60 works spanning Frize’s entire oeuvre—the earliest dating to 1977—were organized not chronologically but rather by six enigmatic themes, such as “with unreason,” “without effort,” and “with system.” In some cases, works from the same series appeared in different areas, blurring boundaries and encouraging open-ended readings of the pieces. Combined with the group of recent paintings concurrently on view at Perrotin gallery a few blocks away, the diverse array of canvases highlighted the striking breadth of Frize’s experiments in abstraction. For his latest paintings—a selection of which are on view at Perrotin’s New York gallery through late October—Frize has been working with the concept of the grid. Standing in his light-flooded, top-floor studio, with paint-splattered brown paper covering the floor, he explains that during the past few years he has been exploring how to “make a painting with straight lines,” with grids serving as both a conceptual and literal framework.

“I am always interested in the idea of generation and corruption,” says Bernard Frize

He first sketches a grid pattern on a sheet of ordinary paper and then uses that as a starting point for a painting. Sometimes the drawn grid is reflected in the final piece; other times the pattern shifts as he works. When it comes to color, he remains ambivalent: Paint is mixed with a white resin that dilutes the hue, then one stroke is made with one color, another stroke with a new color (“not layers, but strokes,” he insists). The focus is always on process. His work is not about the expression of materials or the artist’s hand, which is frequently not evident in his paintings—their smooth surfaces appearing almost mechanically rendered. The final result, which is never entirely certain, emerges only as the paint dries. Frize’s work is both intensely deliberate and open to chance. Though he shows with Perrotin and Simon Lee Gallery, Frize says he is “not very present in terms of the artistic scene and market community,” describing himself as more of an “artist for artists.” When he first came to Berlin a decade and a half ago, it was in large part due to this feeling. “People in Germany were really dealing with painting,” he remembers. “There was an attention to painting here that I couldn’t find in France, where they think my work is just ornamental—that it’s just matching the curtains in collectors’ houses.” As the crowds at Frize’s Pompidou and Perrotin shows would seem to attest, however, his work is hardly suffering for recognition. Furthering his long-awaited institutional return, his current show in New York is also his first in three years, and he exhibited twice this year in Japan, where he was seldomly shown in the past. Responding to the suggestion that he is a perpetually emerging artist, he laughs and nods in agreement. “I think I’m constantly emerging,” he says with a soft smile. The idea extends even to his daily life. “There is constant movement which is dying and reborn in the work,” he continues, “and I really feel it as well. I live it.”

Clockwise from top: Spanning nearly 24 feet across, Merson (2019) is the largest painting Frize has ever created. The skylighted top-floor studio serves as the artistâ&#x20AC;&#x2122;s primary painting space. Troe, another painting from 2019.

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contemporary

classic In the heart of Manhattan’s premier gallery district, Grade Architecture and Interior Design tailors a Brazilian couple’s pied-à-terre that’s calm, cool, and exquisitely collected By Jacqueline Terrebonne Photography by Richard Powers Styled by Anita Sarsidi

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In a New York apartment designed by Grade Architecture and Interior Design, a bright painting by Ellen Gallagher dominates the living area, which is decorated with Pierre Paulin swivel chairs from Ralph Pucci, a sofa by Egg Collective covered in De Le Cuona linen with custom coffee and side tables by Grade, and a pendant by Angelo Lelli. The painting on the left is by Y. Z. Kami. For details see Sources.

In the entry gallery, a painting by Lucio Fontana surmounts an Eric Schmitt bronzeand-marble console. The walls are a custom white ash panel, while the ceiling is leafed in white gold and accented with a series of light sculptures by Ayala Serfaty.

ust as many great art collections begin with a single acquisition—so too can a great home. In the case of a Brazilian family’s New York pied-à-terre, it all began on the opening day of Art Basel in Miami Beach a couple of years ago, when designer Edward Yedid of Grade Architecture and Interior Design found himself captivated by an Ellen Gallagher painting. “The artist had shown the series at the Venice Biennale a couple years prior, and I thought this work was so beautiful, calming, colorful, and powerful,” says Yedid. He snapped a photo of the painting and texted it to a client who agreed: The work would be the perfect starting point for the interiors of his new apartment. The whole process had been set into motion only a few months earlier, when a cryptic message turned up in Grade’s general email inbox. In less-than-perfect English it stated, “We bought apartment in Chelsea. Need furnitures.” Six days later, a Brazilian financier arrived in town and met Yedid and his partner, architect Thomas Hickey, at the 4,300-square-foot apartment he’d purchased in a West 21st Street building designed by Foster + Partners. Dressed in full Loro Piana, a symphony of beiges and creams, the client made his priorities clear. His choice of neighborhood was intentional: He and his wife wanted to be surrounded by galleries, just steps away from discovering new artists and acquiring new works. Taking that cue, Yedid and Hickey knew the apartment’s focus

In the master sitting area, a painting by Pat Steir hangs above a Christophe Delcourt sofa alongside a chair by Jindrich Halabala from Morentz and a coffee table by Ludwig & Dominique. The pendant is by Frank Gehry, and the sculpture on the windowsill is by Jeff Zimmerman.

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Horizontal lines dominate the kitchen, which is accented with Powell & Bonnell stools covered in a Kyle Bunting hide. A Mary Heilmann print (far right) resides on the counter.

would be on the art, while the palette for the decor would have to be soft, neutral, and textural—just like the client’s wardrobe. While the overall feel of the building’s architecture is distinctly modern, the layout of the apartment suggests an updated version of a classic Upper East Side residence with its graceful sequence of distinct rooms. “Every project we do has traditional principles that apply,” says Hickey, who worked for Robert A. M. Stern before establishing a practice. “Grade is short for ‘gradient,’ because what we do is really a distillation of traditional values into a modern context to suit our clients’ lifestyles.” That refined sensibility comes through immediately in the entrance gallery, an exquisitely balanced mix of design and art. Grade covered the ceiling in white-gold leaf, reflecting a gentle glow down onto paintings by Josef Albers and Lucio Fontana as well as a towering “Stack” sculpture by Annie Morris. White-stained ash wall panels provide a subtly 128

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textured backdrop without distracting from the art. “This room was about introducing a level of sophistication, quality, and culture,” explains Yedid. “Drawing from all their travels, we wanted a collection of different types of works—not just art hung on walls but sculpture and collectible design.” Cloud-like Ayala Serfaty lights float along the ceiling above a sculptural Maarten Baas chair, a Haas Brothers gilded table, an Ingrid Donat bench, and an Eric Schmitt console that hosts a carefully curated selection of ceramics. Presiding over the main living area—with its expansive views of the Hudson River and New York Harbor—are a swirling Y. Z. Kami abstraction and that seminal Gallagher work, which graces the cover of Grade’s first monograph, New York Contemporary, published this fall by the Monacelli Press. Poufy Pierre Paulin swivel chairs and a Johnny Swing undulating metal bench enliven the mix of furnishings.

The dining room evokes the feeling of a waterfall with a custom petal canopy by Grade supporting a WonderGlass chandelier. Below, Warren Platner armchairs encircle a custom glass-and-bronze table situated on a Scott Group Studio rug. The George Condo painting is surrounded by a Rogan Gregory wall installation. GALERIEMAGA ZINE.COM 129

From left: A Brent Wadden painting of handwoven fibers hangs above a custom desk by Grade with a Claude Lalanne chair and a desk lamp by Hervé Van der Straeten from Ralph Pucci. A detail of the Lalanne chair.

Perhaps no space better reflects Grade’s holistic approach than the dining room, where the designers devised a floral-form ceiling installation from suede panels to disguise electrical systems while adding a distinctive flourish. “The idea was to have petals sort of flowering out of the ceiling and that you could imagine water drops falling down onto a table, spilling off onto the floor.” The custom-designed table below features a hand-cast glass top, smooth on the surface yet rough underneath, and a cast-bronze base. Carrying out the watery theme, the rug captures the cascading effect of a waterfall. Nearby, the artful moment is complemented by a George Condo painting surrounded by a group of Rogan Gregory sculptures.

It was the creative details that the Brazilian financier and his wife gushed over when they first visited the finished home. “He walked into each room and sat in all the different chairs to see the space from different perspectives and the art from different angles,” recalls Yedid. “What we expected to be a nothing project ended up being one of the most wonderful. “I’ve always found art collectors to be the best clients because they appreciate beauty and design,” he adds. “They’re willing to go through that journey with you to come up with something really special.” With more residences in the works for notable art-collecting clients such as gallerist Dominique Lévy, Yedid and Hickey no doubt have many incredible journeys yet to unfold.

Counterclockwise from top: In the master bedroom, a work by Henri Matisse hangs above a custom marble console upon which a George Condo sculpture rests; the chair and ottoman are by Ayala Serfaty, while the rug is by Marc Phillips. Sconces by Dimore Studio complement the custom bed and headboard. A trio of tables by Franck Evennou are inspired by taro leaves.

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3 3 Known for her colorful ball sculptures called “Stacks,” Annie Morris creates vivid towers that are on display at the Hôtel de Crillon and the Peter Marino–designed Louis Vuitton flagship in Paris. The artist made this one specifically for the entrance hall of this apartment. “We needed the artwork to be a certain height given the reveals, and we wanted it to be the perfect colors,” says Grade partner Edward Yedid. anniemorris.com

1 1 To emphasize the black horizontal lines gracing the kitchen cabinetry, Grade selected artist Brent Wadden’s Untitled, a loomed work of abstract art, for the space. The linear theme continues into a lighting fixture by Stephane Parmentier as well as Powell & Bonnell stools from Dennis Miller, covered in a graphic Kyle Bunting hide. brentwadden.com, stephaneparmentier.com, powellandbonnell.com, kylebunting.com 2 Inspired by primitive art, Ingrid Donat conceives monumental furniture that hovers between sculpture and design. The mix of materiality in this bronzeand-leather bench speaks to the entry gallery’s exceptional and eclectic collection. carpenters workshopgallery.com

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4 Proportion and scale were key to every design decision. These steel-base tables with a ceramic top by Grade are made of three separate pieces. The set can be reconfigured based on the client’s needs, adding or removing elements to accommodate the number of people, or repositioned to change the flow of the room. gradenewyork.com

5 6

5 Since dreamy pale tones dominated the color palette, Grade relied on textures to keep the space interesting. An Egg Collective sofa in a De Le Cuona linen is accompanied by a Pinton rug accented with strips of leather and a custom white onyx end table. The painting White Dome by Y. Z. Kami extends the ethereal concept. eggcollective .com, delecuona.com, pinton1867.com 6 Resembling the creeping tendrils of a vine, the Liane lamp was originally designed by Jean Royère in 1959. Yedid always wanted to use the

five-light piece in a project and found the wall space outside the entry to the bedroom to be the ideal fit. The fixture’s undulating lines echo a Henri Matisse drawing in the space, as well as the Hudson River outside. 7 Casting a glow on the luminous, Venetianplastered walls, a neon sculpture by Dan Flavin complements and contrasts a series of geometric white sconces by architect Richard Meier. “We wanted something to grab you and pull you down that hall,” says Yedid. ralphpucci.net

LifeImitates Art

Contemporary photographer Sara Cwynar’s highly stylized pictures reinterpret the glamour and sentimentality of classic images. In her work Red Rose (2017), a blossom’s lush petals become otherworldly when displayed against an artificial felt background. Her first East Coast solo show at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, runs through November 10; foxyproduction.com. Opposite: Prada creative director Miuccia Prada found inspiration in Romantic motifs from Mary Shelley’s Frankenstein for the atelier’s fall/winter 2019 collection, which reimagines the text through the symbolic feminine floral prints and larger-than-life adornments; prada.com.

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COURTESY OF THE ARTIST AND FOXY PRODUCTION, NEW YORK. OPPOSITE: COURTESY OF PRADA

B Y S T E FA N I E L I

CASEY DUNN. OPPOSITE: COURTESY OF OF SAKS FIFTH AVENUE

A rainbow of colorful sapphire baguettes punctuates rows of white diamonds on Franck Muller’s Double Mystery Color Dream women’s watch, a limited-edition piece available at Saks Fifth Avenue’s The Vault; franckmuller.com, saksfifthavenue.com. Opposite: At Ellsworth Kelly’s Austin, the American artist’s last work and the only building he designed, a wreath of stained-glass windows floods the interior with prismatic hues as the sun sweeps through the sky; blantonmuseum.org.

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COURTESY OF A. RUDIN. OPPOSITE: COURTESY OF 303 GALLERY, NEW YORK, VICTORIA MIRO GALLERY, LONDON, GALERIE EVA PRESENHUBER, ZURICH, REGEN PROJECTS, LOS ANGELES

Before unveiling massive mirrored works, such as the roving 100-foot-tall hot-air balloon or the sitespecific house for Desert X, multidisciplinary artist Doug Aitken used boldly graphic text sculptures like BAD (2014) to draw attention to how one navigates the world; dougaitkenworkshop.com. Opposite: A. Rudinâ&#x20AC;&#x2122;s fourth-generation leaders, brothers Spencer and Evan Rudin, are setting an audacious course with their first codesigned piece, the retro-future-inspired 798 chair, complete with rich paldao wood, custom black cotton bouclĂŠ, and antique bronze details; arudin.com.

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COURTESY OF THE MUSEUM OF MODERN ART, NEW YORK. OPPOSITE: IMAXTREE

With seven exhibitions of Vincent van Gogh’s work slated for 2019, the artist’s adoration shows no sign of slowing. Arguably one of his most iconic paintings, The Starry Night, which is in the permanent collection of New York’s Museum of Modern Art, depicts the view outside the artist’s window at the Saint-Paul asylum in Saint-Rémy with a cascade of whirling forms and dancing nebulae; moma.org. Opposite: Meticulously tailored suiting in elegant fabrications, enhanced with textures, patterns, and embroideries in shades from cerulean to midnight, electrified the runway of Giorgio Armani’s fall/winter 2019 presentation “Rhapsody in Blue”; armani.com.

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PORTRAIT BY KATHERIN HOYOS

Andrzej Zarzycki (pictured at right with his wife, Jill) designed the ceiling fixture and most of the furnishings in the art-packed living room of his townhouse in Londonâ&#x20AC;&#x2122;s Chelsea neighborhood. An Anne Hardy photograph and a wall-mounted piece by Emma Hart overlook a low bench laden with art at left. The large painted bronze in the window is by Rebecca Warren, the ceramic sculptures on the table are by Sebastian StĂśhrer, and the paintings above the midcentury credenza are by Lee Bul. For details see Sources.

Presiding over the living roomâ&#x20AC;&#x2122;s main seating area is a bamboo wall piece by brothers Doug and Mike Starn, that is mounted next to a Barbara Hepworth sculpture on a pedestal and a 1970s floor lamp by Angelo Brotto. A work by Aleana Egan hangs between the windows, a sculpture by brothers Gert and Uwe Tobias rests on the vintage glass cocktail table, and a Rebecca Warren sculpture towers in the right corner. The photograph over the fireplace is by Richard Learoyd, the piece suspended from the ceiling is by Karla Black, and the armchair and ottoman are vintage T. H. Robsjohn-Gibbings, while a Rug Company carpet provides a neutral ground underfoot.

A Huma Bhabha sculpture is a striking presence in the study, residing next to a Jean-Michel Frank–inspired chaise longue designed by Zarzycki. Opposite: In the dining room, a Sarah Jones photograph of the Zarzyckis’ daughter, Lili, is given pride of place between niches displaying ceramics from the couple’s collection. The table, accented with a Jesse Wine sculpture, is a CollettZarzycki design.

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s a designer, Andrzej Zarzycki is a great believer in versatility. It’s a philosophy that shapes much of his work as a principal of Collett-Zarzycki, the London-based architectural and interiors firm he founded 30 years ago with Anthony Collett. Not surprisingly, it also applies to the townhouse in the city’s Chelsea neighborhood he shares with his wife, Jill, and their growing art collection. “I always think that homes should be quite flexible in terms of adapting to whatever might be happening in your life and family,” says Zarzycki. “With our home, it is also about having spaces that adapt to the art, because we are constantly buying and moving things around.” He notes that he and his wife have built their disparate collection—heavy on sculptural ceramics—by simply acquiring works that they love and want to live with. “We will always choose the best and most appropriate space in the house for a work,” he says. “Often that

means something has to move to make way for it.” For many years the Zarzyckis and their daughter, Lili—who is now grown and works as an architectural writer—lived in a narrow, five-story home where they were constantly heading up and down stairs. So they chose the Chelsea house not just for its central location and spacious garden but for the generous lateral spaces and the proportions of the principal rooms. The house itself dates back to the 1750s, and while the spaces retained their classical scale and symmetry, most of the period details had been lost over the centuries. This gave Andrzej Zarzycki carte blanche to design the interiors with a more contemporary aesthetic. The most significant structural changes included installing a crisp, rectilinear staircase and adding a rear extension to the lower floors, creating terraces that overlook the garden. “One of our favorite things about the house is being able to open up the French doors to the terraces and walk out while the light and the air flood in,” he says.

Once satisfied with the bones of the house, he tailored the interiors with bespoke elements like burr-walnut- and zebrawood-paneled walls, a shimmering gilt-metal fireplace surround, and niches for displaying small sculptures and ceramics. The furnishings are a blend of Zarzycki’s own designs (including a number of trim, modern pieces inspired by Jean-Michel Frank) and vintage midcentury finds. There is an emphasis on the interplay of textures throughout. Zarzycki and his wife both grew up in southern Africa before eventually settling in England, and they share a deep-rooted affinity for nature and organic materials and colors. “Our backgrounds have definitely shaped both of us, even if it’s hard to put a finger on exactly how,” he says. “I grew up barefoot and everything was tactile back then, so for me the African influence is not just visual but it also has to do with touch.” A love of texture and tactility is certainly evident in the couple’s art collection. An emphasis on craft and the use of natural materials can be seen in such pieces as the bamboo-and-rope sculpture by Doug and Mike Starn that dominates one wall of the living room, as well as a nearby slate sculpture by Barbara Hepworth displayed on a wooden plinth and eccentric, hand-molded ceramic sculptures by Sebastian Stöhrer on the large table. “For us collecting is emotive,” says Zarzycki. “The pieces we choose resonate with both of us for one reason or another.” He emphasizes that Jill—a member of the Contemporary Art Society—is more knowledgeable and more involved in the art world. “We both go to a lot of galleries and openings,” he says, “but we’re most interested in the artists themselves and what they are doing with their work.” Many pieces have personal connections, such as the Sarah Jones photograph of Lili in the dining room. The space was converted from a play and hangout area when their daughter moved out about a year and a half ago, while the former dining room was redone as a study for Zarzycki. “I needed a larger space to work in the evenings,” explains the architect, reiterating his belief in the importance of adaptable arrangements. For the moment, at least, the home suits the Zarzyckis perfectly. From top: Artwork in the master bedroom includes a Sam Francis painting over the bed and, to the left of the window, an Andreas Eriksson canvas above a sculpture by Rebecca Warren. Zarzycki created a tiered pedestal with niches for displaying sculptures by Sebastian Stöhrer, Lynn Chadwick, Lucio Fontana, and others; the oak flooring was engineered from old whiskey barrels. 148

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In the burr-walnut-paneled entrance hall, a vintage chandelier hangs above a midcentury table displaying a porcelain vessel by Takuro Kuwata. The group of bronze busts on a trestle next to the window is a work by William Kentridge, while the standing figure and painting behind it are by Stephan Balkenhol.

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 26, 88: Adagp/Comité Cocteau, Paris, ARS, New York/ADAGP, Paris 2019. Page 44: Jean Nouvel 2019 ARS, New York/ADAGP, Paris. Page 46: 2019 Richard Serra/ARS, New York. Page 113: 2019 The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by ARS, New York. Pages 115, 131: 2019 Succession H. Matisse/ARS, New York. Page 114: 2019 ARS, New York/VG Bild-Kunst, Bonn. Page 115: 2019 ARS, New York/ADAGP, Paris. Page 115: 2019 ARS, New York/ADAGP, Paris. Page 115: 2019 ARS, New York/ADAGP, Paris. Page 116: 2019 Estate of Yves Tanguy/ ARS, New York. Page 117: 2019 ARS, New York/ADAGP, Paris. Page 117: 2019 ARS, New York. Page 119: 2019 Georgia O’Keeffe Museum/ARS, New York. Page 126: 2019 ARS, New York/SIAE, Rome. Page 126, 148: 2019 ARS, New York/ADAGP, Paris. Page 127: 2019 ARS, New York/OOA-S, Prague. Page 128: 2019 ARS, New York/ADAGP, Paris. Pages 129, 131: 2019 George Condo/ARS, New York. Page 131: 2019 ARS, New York/ADAGP, Paris. Page 133: 2019 Stephen Flavin/ARS, New York. Page 144: 2019 Mike and Doug Starn/ARS, New York. Page 145: 2019 ARS, New York/VG Bild-Kunst, Bonn. Page 148: 2019 Sam Francis Foundation, California/ARS, NY. Page 148: 2019 ARS, New York. Page 149: 2019 ARS, New York/VG Bild-Kunst, Bonn. MAKING AN IMPRESSION Pages 112–19: Architecture by Deborah Berke Partners; dberke.com. Interiors by Christine Van Deusen; christinevandeusen.com. Pages 112–13: In living room, sofa, bench, and chairs by Achille Salvagni; achillesalvagni .com. Chairs and sofa upholstered in Melange wool chenille by Holland & Sherry; hollandandsherry.com. Bench upholstered in velvet by Luigi Bevilacqua; luigi-bevilacqua .com. Kiko Lopez églomisé mosaic and Maison Leleu side table from Maison Gerard; maisongerard.com. Laurent Chauvet mirrors and Jacques Adnet stools from Bernd Goeckler; bgoecklerantiques.com. Jacques

Adnet stools upholstered in alligator by Costello Studio Inc; csidesigns.net. Christophe Côme Green Lava cabinets from Cristina Grajales; cristinagrajalesinc.com. Pillows upholstered in linen velvet by Zimmer + Rohde (T); zimmer-rohde.com. Fragmented Crack cocktail table by Based Upon; basedupon.com. Rug by Joseph Carini; josephcarinicarpets.com. Page 114: In entrance hall, Marmorino plaster wall finish by Uriu Nuance (T); uriunuance.com. Custom railing by M. Cohen and Sons; mcohenandsons.com; and Costello Studio. Page 115: In den, bronze lamp by Cedric Hartman; cedrichartman.com. Jean-Maurice Rothschild bergère from Bernd Goeckler; upholstered in fabric by Rogers & Goffigon (T); rogersandgoffigon.com. Jules Leleu side table from Maison Gerard. Rug by Joseph Carini. Marc du Plantier cocktail table from Galerie Andre Hayat; galerieandrehayat.com. Lacquered wall finish by Uriu Nuance (T). Page 116: In upstairs living room, chandelier by Achille Salvagni. Custom sofa upholstered in shearling by Edelman (T); edelmanleather .com. Custom pillows upholstered in fabric by Fortuny; fortuny.com. Ayala Serfaty stools from Maison Gerard. Ado Chale cocktail table from Bernd Goeckler. Rug by Joseph Carini. Page 117: In upstairs living room, wall finish by Uriu Nuance (T). Custom shades in fabric by Fortuny. Ayala Serfaty chair and ottoman from Maison Gerard. Custom bar by Armadillo Metalworks; armadillometal. com; with restoration glass from Bendheim; bendheim.com. Fittings by Herbeau; herbeau .com. Page 118: In kitchen, custom light fixtures by Deborah Czeresko; deborahczeresko.com. Mother-of-pearl ceramic backsplash by Paris Ceramics; parisceramicsusa.com. Countertops by Pyrolave; pyrolave.com. Microwave by Wolf; subzero-wolf.com. Grand Palais range by La Cornue; lacornueusa.com. Page 119: In master bedroom, Roman shades in fabric by De Le Cuona (T); delecuona.com. Pierangelo Gallotti nesting tables and vintage Italian lounge chairs from Bernd Goeckler. Chairs upholstered in fabric by Janet Yonaty (T); janetyonaty.com. Custom bed upholstered in fabric by Holland & Sherry. Custom bedding by Cristina Azario; cristinaazario.com. Rug

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by Joseph Carini. In master bath, custom light fixtures by Deborah Czeresko. Marble from Stone Source; stonesource.com. Roman shades in fabric by De Le Cuona (T). Tub fittings by Barber Wilsons & Co; barberwilsons.com. Bathtub by Urban Archaeology; urbanarchaeology.com. Side table by Lorin Marsh (T); lorinmarsh.com. CONTEMPORARY CLASSIC Pages 124–33: Architecture, interiors, and select furnishings by Grade Architecture and Interior Design; gradenewyork.com. Pages 124–25: In living room, bench by Johnny Swing from R & Company; r-and-company .com. Howard sofa by Egg Collective; eggcollective.com; upholstered in fabric by De Le Cuona (T); delecuona.com. Throw from Clic; clic.com. Big Totem floor lamp by Serge Mouille; sergemouille.com. Jaimal Odedra bronze urn and gold dish from Maison Gerard; maisongerard.com. Pierre Paulin Alpha swivel chair from Ralph Pucci; ralphpucci.net; upholstered in fabric by Rogers & Goffigon (T); rogersandgoffigon.com. Mathieu Lehanneur Ocean Memories table and Giacomo Ravagli Barometro table lamp from Carpenters Workshop Gallery; carpentersworkshopgallery.com. Angelo Lelli chandelier from Decaso; decaso.com. Area rug by Pinton; pinton1867.com. Custom windowsill cushions upholstered in fabric by Rogers & Goffigon (T). Page 126: In hall, Dragée console by Eric Schmitt; ericschmitt .com. Vase by Sara Japanese Pottery; saranyc .com. Pierre Yovanovitch rug from The Invisible Collection; theinvisiblecollection.com. Page 127: In master bedroom sitting area, ANA Meridienne sofa by Christophe Delcourt from Avenue Road; us.avenue-road.com, upholstered in fabric by De Le Cuona (T). Lounge chair by Jindrich Halabala from Morentz; morentz.com; upholstered in fabric by Pierre Frey (T); pierrefrey.com. Cocktail table by Ludwig & Dominique; ludwigetdominique.com. Cloud XL pendant by Frank Gehry from Kreon; kreon.com. Cubist floor lamp by WH Studio; willy-huybrechts.com. Page 128: In kitchen, Contralto stools by Powell & Bonnell from Dennis Miller (T); dennismiller.com; upholstered in fabric by Kyle Bunting from

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Edelman (T); edelmanleather.com. Cointrin pendant by Stephane Parmentier; stephaneparmentier.com. Page 129: In dining room, custom ceiling installation upholstered in fabric by Chase Erwin; angelabrownltd .com. Warren Platner chairs from Knoll; knoll .com. Momento chandelier by Nao Tamura from WonderGlass; wonderglass.com. Rug by Scott Group Studio (T); scottgroupstudio.com. Page 130: In sitting area, Grains de Café chair by Claude Lalanne from Demisch Danant; demischdanant.com. Lampe Bubbling 510 lamp by Hervé Van der Straeten from Ralph Pucci. Page 131: In master bedroom, custom headboard upholstered in fabric by Lauren Hwang; kneedlerfauchere.com. Bedroll upholstered in fabric by Luna Textiles; lunatextiles.com. Lampada 079 sconces by Dimore Studio from The Future Perfect; thefutureperfect.com. Lil Luxury ceiling light by Ingo Maurer; ingo-maurer.com. Mika Leh chair and ottoman by Ayala Serfaty from Maison Gerard. Taro nesting tables by Franck Evennou from Maison Gerard. Rug by Marc Phillips; marcphillipsrugs.com. KEEPING IT FRESH Pages 142–49: Architecture, interiors, and select furnishings by Andrzej Zarzycki of Collett-Zarzycki; collett-zarzycki.com. Pages 142–43: In dining room, custom chairs upholstered in fabric by John Boyd Textiles Limited (T); johnboydtextiles.co.uk. Curtains in fabric by Sahco; sahco.com. Pages 144–45: In living room, vintage Giraffa floor lamp by Angelo Brotto; studiovandenakker.com. Custom sofa and chairs upholstered in fabric from Majilite; majilite.com. Vintage cocktail table from 88 Gallery; 88-gallery.com. Custom rug by The Rug Company; therugcompany.com. T. H. Robsjohn-Gibbings chair and ottoman from JF Chen; jfchen.com. Page 146: In study, curtains in fabric by Sahco. Custom chair upholstered in fabric from Altfield London; altfield.com. Carpet from Alternative Flooring; alternativeflooring.com. Page 147: In dining room, curtains in fabric by Romo; romo.com. Custom chairs upholstered in leather by Edelman (T); edelmanleather.com. Page 148: In bedroom, curtains in fabric by Romo. Bed and bedding by Heirloom Fine Linens; heirlooms-linens.com.

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Bill Powers with his Instagram portrait by Richard Prince.

KNOWN FOR GIVING EMERGING ARTISTS THEIR FIRST NEW YORK SHOWS,

BILL POWERS OF

HALF GALLERY SHARES THE STORY BEHIND A

RICHARD PRINCE

IN HIS PERSONAL

Right after Richard Prince debuted his series of Instagram portraits at Gagosian in 2014, he came by my gallery. At the time, everyone knew Richard was using people’s Instagram posts to make artworks. He would write a caption under it, which would end up being his contribution to the piece. There were ones with our mutual friends like China Chow and Glenn O’Brien in the sold-out show, and I jokingly said I didn’t know whether I should be offended or relieved he didn’t include me. He replied, “So take a selfie, man!” I thought it would be pretty thirsty for me to post a photo but why not? Mine was a picture of me outside Richard’s studio that he actually shot when he first got an iPhone. I thought it was funny that for an artist who is known for appropriation, he was now appropriating himself. The idea for the series, Richard told me, came after reading Bob 152

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Colacello’s Holy Terror: Andy Warhol Close Up. It got him thinking, How would Andy be doing commissioned portraits now? Would he be engaging and leveraging social media? That year, Richard’s exhibition wound up being discussed as both the worst show and the best show of the year. To be that polarizing was pretty neat. Richard ended up gifting me the work, which now hangs in a space on the top floor of the West Village townhouse of my wife, Cynthia Rowley, and me. In fact, we have a lot of his works in our collection. I think art can be the most powerful when you are looking at it casually at home. When you go to a gallery or museum, you are concentrating on an artwork for a brief but very concentrated period. When you live with it and see it peripherally, the art has a chance to sneak up on you. AS TOLD TO LUCY REES

CHARLIE RUBIN

COLLECTION