Art Basel 2013 by Niche Media Holdings, LLC

ART BASEL MIAMI BEACH

DECEMBER 2013

11/15/13 6:27 PM

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Freak Phantom Flying Carrousel-Tourbillon with second flying tourbillon. 8-Day power reserve. Manual winding. Escapement in silicium. 18 ct rose gold case. Limited edition of 99 pieces.

BOUTIQUES B O C A R AT O N To w n C e n t e r 5 61 - 3 5 3 - 18 4 6

MIAMI Aventura Mall 3 0 5 - 8 3 0 - 17 8 6

C a r l s b a d , N e w Yo r k , P a r i s , B e i r u t , A n t a l y a , D u b a i , S t - P e t e r s b u r g , A l m a t y , B i s h k e k , U l a a n b a a t a r , K u a l a L u m p u r , K o w l o o n , Ta i p e i , B e i j i n g W W W . U LY S S E - N A R D I N . C O M

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marc jacobs stores worldwide

www.marcjacobs.com

edie photographed by juergen teller

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(9869)

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Art Basel 2013

Seamlessly joined strands of 18k rose gold combine to form the Helioro ring. The rings range from classically simple to full pavĂŠ set diamonds, from $1,865. Also available are the Helioro Pendants on La Catena necklace or on a silk cord, from $3,745.

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In our hands, a jewel becomes something unique. Eternity, for instance. Helioro BY KIM

The perfect symbiosis of artistry and skill. At the Wempe studio in Schwäbisch Gmünd, Kim-Eva Wempe has worked on a shared vision with creative director, Catherine Plouchard, and a top-ranking team since 1999. The results speak for themselves: magical jewels that keep pace with the spirit of the times to become established international modern classics. The finishing touch: perfection is in the detail

Valuable assets, precious emotions. Fine gold is transformed into heart-stirring jewellery that looks good and feels good – jewellery that is striking without being loud. This jewellery is freshly conceived, yet so familiar that it seems to have existed forever. Jewellery BY KIM epitomises a universal and unmistakable design language that is understood by women all over the world. Ready for casting: 18-carat rose gold

Formula for eternity. Helioro owes its name to ‘Helios,’ the Greek sun god, and ‘oro,’ the Italian word for gold – and as an embodiment of innovation, it cannot fail to impress. Manufactured by a technically sophisticated process, Helioro BY KIM represents perfection of the goldsmith’s art. Its complex structure unites nine gold strands, apparently infinite sunbeams creating a unique symbol of eternity.

Helioro - the film

Tangible icon: Helioro BY KIM

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700 fifth avenue & 55th street • new york exquisite timepieces & jewelry • established 1878 • 212.397.9000 at the best addresses in germany, and in london, paris, madrid, vienna, beijing and new york open sundays 12 to 5

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BAL HARBOUR SHOPS 1.855.44.ZEGNA | Shop at zegna.com

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rolex

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oyster perpetual and sky-dweller are trademarks.

11/13/13 1:14 PM

luxury swiss inaugur ates a space dedicated to rolex. at rolex, perfection is in the detail. this is why only official rolex retailers are allowed to sell and maintain a rolex. with the necessary skills, technical know-how and special equipment, they guarantee the authenticity of each and every part of your rolex, not to mention its reliability over time, helping you make the choice that will last a lifetime. 135 ne

39th

street miami florida

oyster perpetual sk y-d weller in 18 k t white gold

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AVENTURA: ARTEFACTO HOME 17651 BISCAYNE BLVD. 305.931.9484 CORAL GABLES: ARTEFACTO DESIGN HOUSE 4440 PONCE DE LEON BLVD. 305.774.0004 ARTEFACTO WAREHOUSE CONCEPT: DORAL 3290 NW 79 TH AVE 305.639.9969 BRAZIL 25 LOCATIONS | www.artefacto.com

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BAL HARBOUR SHOPS

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Octa UTC - Ref. UTC Calibre 1300.3 Hours of the World, Sapphire Earth disc with current view of time zones division, Off centred hours, Seconds, Large date, Automatic winding, Power reserve indicator of 120 hours, 301 parts, 40 jewels, 21,600 V/h.

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Available in salons worldwide.

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EFFORTLESS VOLUME EXPERIENCE BODY, LIFT AND MOVEMENT. INTRODUCING THE VOLUME COLLECTION BY MOROCCANOIL. www.moroccanoil.com

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9/23/13 3:40 PM

M IAM I D E S I G N D I STR I C T TU E S DAY D EC EM B ER 3 — S U N DAY D EC EM B ER 8 11AM —7 PM Agnona Adamar Fine Arts: Contemporary Pop Masters Arevalo Gallery Apt 606 Art Britannia Berluti Cartier Céline Christian Louboutin Christian Louboutin Homme Craig Robins Collection de la Cruz Collection Contemporary Art Space Dior Homme Emilio Pucci En Avance Haitian Heritage Museum Hermès Inventory 04: Time KIWI Arts Group Locust Projects Louis Vuitton Maison Martin Margiela Markowicz Fine Art Marni Miami 3-D Ping Pong Prada SexED Sponder Gallery Stoic & Baby Swampspace: 3% of 13 TAPAS: Spanish Design For Food The Rug Company: Noble Yarns Un-Built by Paul Clemence Wallpaper* Handmade with Jaguar Zones Art Fair: Miami Performance International Festival + Performia 1

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The dynamic destination for art, design, fashion, luxury and culture. 39th to 41st Streets between NE 2nd Avenue and N Miami Avenue Miami, FL 33137 Phone 305 722 7100 Valet Parking from $3

M IAM I D E S I G N D I STR I C T. N E T

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SUNNY ISLES BEACH ARCHITECTURE BY CESAR PELLI

WWW.RELATEDDEZERSI.COM

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Obtain the property report required by federal law and read it before signing anything. No federal agency has judged the merits or value, if any, of this property.

Oral representations cannot be relied upon as correctly stating the representations of the Developer. For correct representations, make reference to the documents required by section 718.503, Florida Statute, to be furnished by a developer to a buyer or lessee. This is not intended to be an offer to sell, or solicitation to buy, condominium units to residents of CT, ID, NJ, NY and OR, unless registered or exemptions are available, or in any other jurisdiction where prohibited by law, and your eligibility for purchase will depend upon your state of residency. This offering is made only by the prospectus for the condominium and no statement should be relied upon if not made in the prospectus. Prices, plans and speciďŹ cations are subject to change without notice. The Related Group is not the project developer. Sunny Isles is being developed by RDR SEASHORE, LLC (â&#x20AC;&#x153;Developerâ&#x20AC;?), which has a limited right to use the trademarked names and logos of The Related Group pursuant to a license and marketing agreement with The Related Group. Any and all statements, disclosures and/or representations shall be deemed made by Developer and not by The Related Group. The sketches, renderings, pictures, illustrations, and statements are proposed only, and the Developer reserves the right to modify, revise or withdraw any or all of same in its sole discretion. All prices are subject to change at any time and without notice, and do not include optional features or premiums for upgraded units.

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PARAISO BAY

Luxury WATERFRONT Residences

PARAISOBAY.COM

SALES GALLERY 305.851.2964

Sales by RELATED REALTY in collaboration with FORTUNE DEVELOPMENT SALES

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NEAR 5 ACRES OF GARDENS AND PARKS EXCLUSIVE MARINA AND WATERFRONT RESTAURANT Obtain the property report required by federal law and read it before signing anything. No federal agency has judged the merits or value, if any, of this property.

Oral representations cannot be relied upon as correctly stating the representations of the Developer. For correct representations, reference should be made to the documents required by section 718.503, Florida Statutes, to be furnished by a Developer to a buyer or lessee. This offering is made only by the prospectus for the condominium and no statement should be relied upon if not made in the prospectus. This is not an offer to sell, or solicitation of offers to buy, the condominium units in states where such offer or solicitation cannot be made. Prices, plans and speciﬁcations are subject to change without notice. The Developer is PRH NE 31st Street LLC (“DEVELOPER”) which has a license to use the trademarked names and logos of The Related Group pursuant to a licensing agreement. The graphics and text reﬂected are the copyrighted property of Developer. The renderings illustrate and depict a lifestyle; however amenities and attractions are subject to change. While there are water views at the property, views may vary. The marina and restaurant are all subject to the Developer obtaining all necessary and appropriate permits, none of which have been obtained. Any restaurant is intended to be privately operated by a third party operator from a commercial space.

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Brickell Heights

BRICKELLHEIGHTS.COM

T 786.422.0675

SALES CENTER 75 SE 6TH STREET SUITE 101 MIAMI, FL 33131

SALES BY RELATED REALTY IN COLLABORATION WITH FORTUNE DEVELOPMENT SALES Crescent Heights速 is a service mark used by a group of limited liability companies and partnerships. Crescent Heights速 Inspired communities are being developed by single purpose companies, which are solely responsible for their development, obligations and liabilities. Photography may not represent amenities and conditions at all properties. Amenities, features, and concierge services may vary at each individual Crescent Heights速 Inspired Community and are subject to change without notice. Certain services and amenities may have fees associated with them. We are pledged to the letter and spirit of U.S. policy for the achievement of Equal Housing Opportunity throughout the Nation. We encourage and support an affirmative advertising and marketing program in which there are no barriers to obtaining housing because of race, color, religion, sex, handicap, familial status or national origin.

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MIAMI HAS A NEW CENTER

Visionary Design | World Class Restaurants | Fitness Lifestyle by Equinox | Luxury Designer Residences

Obtain the property report required by federal law and read it before signing anything. No federal agency has judged the merits or value, if any, of this property Oral representations cannot be relied upon as correctly stating the representations of the Developer. For correct representations, make reference to the documents required by section 718.503, Florida Statute, to be furnished by a developer to a buyer or lessee. This is not intended to be an offer to sell, or solicitation to buy, condominium units to residents of CT, ID, NJ, NY and OR, unless registered or exemptions are available, or in any other jurisdiction where prohibited by law, and your eligibility for purchase will depend upon your state of residency. This offering is made only by the prospectus for the condominium and no statement should be relied upon if not made in the prospectus. Prices, plans and specifications are subject to change without notice. The Related Group is not the project developer. Brickell Heights is intended to be a multi phased project developed by 9SMA LLC, (â&#x20AC;&#x153;Developersâ&#x20AC;?) each of which will develop separate phases and each of which has a limited right to use the trademarked names and logos of The Related Group pursuant to a license and marketing agreement. Any and all statements, disclosures, and/or representations shall be deemed made by one of these Developers and not by The Related Group. The sketches, renderings, pictures, illustrations, and statements are proposed only, and the Developer reserves the right to modify, revise or withdraw any or all of same in its sole discretion. All prices are subject to change at any time and without notice, and do not include optional features or premiums for upgraded units.

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HYDEBEACHHOLLYWOOD.COM

T 954.883.9584

Sales by RELATED REALTY in collaboration with FORTUNE DEVELOPMENT SALES

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LUXURY DESIGNER RESORT CONDOMINIUMS HYDE HOTEL SOUL-INSPIRED SPA FULL SERVICE BEACHCLUB STATE-OF-THE-ART GYM OCEANFRONT RESTAURANT

Obtain the property report required by federal law and read it before signing anything. No federal agency has judged the merits or value, if any, of this property. Oral representations cannot be relied upon as correctly stating the representations of the Developer. For correct representations, make reference to the documents required by section 718.503, Florida Statute, to be furnished by a developer to a buyer or lessee. This is not intended to be an offer to sell, or solicitation to buy, condominium units to residents of CT, ID, NJ, NY and OR, unless registered or exemptions are available, or in any other jurisdiction where prohibited by law, and your eligibility for purchase will depend upon your state of residency. This offering is made only by the prospectus for the condominium and no statement should be relied upon if not made in the prospectus. Prices, plans and specifications are subject to change without notice. The Related Group is not the project developer. Hyde Hollywood is being developed by 4111 SOUTH OCEAN DRIVE, LLC (“Developer”), which has a limited right to use the trademarked names and logos of The Related Group pursuant to a license and marketing agreement with The Related Group. Any and all statements, disclosures and/or representations shall be deemed made by Developer and not by The Related Group. The sketches, renderings, pictures, illustrations, and statements are proposed only, and the Developer reserves the right to modify, revise or withdraw any or all of same in its sole discretion. All prices are subject to change at any time and without notice, and do not include optional features or premiums for upgraded units.

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HYDEMIDTOWNMIA.COM

T 786.422.0651

Sales by RELATED REALTY in collaboration with FORTUNE DEVELOPMENT SALES

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EVERYTHING YOU NEED NOTHING YOU DON’T COMING SOON TO MIDTOWN MIAMI... ®

Obtain the property report required by federal law and read it before signing anything. No federal agency has judged the merits or value, if any, of this property.

Oral representations cannot be relied upon as correctly stating the representations of the Developer. For correct representations, make reference to the documents required by section 718.503, Florida Statute, to be furnished by a developer to a buyer or lessee. This is not intended to be an offer to sell, or solicitation to buy, condominium units to residents of CT, ID, NJ, NY and OR, unless registered or exemptions are available, or in any other jurisdiction where prohibited by law, and your eligibility for purchase will depend upon your state of residency. This offering is made only by the prospectus for the condominium and no statement should be relied upon if not made in the prospectus. Prices, plans and specifications are subject to change without notice. The Related Group is not the project developer. Hyde Midtown is being developed by PRH MIDTOWN 3, LLC (“Developer”), which has a limited right to use the trademarked names and logos of The Related Group pursuant to a license and marketing agreement with The Related Group. Any and all statements, disclosures and/or representations shall be deemed made by Developer and not by The Related Group. The sketches, renderings, pictures, illustrations, and statements are proposed only, and the Developer reserves the right to modify, revise or withdraw any or all of same in its sole discretion. All prices are subject to change at any time and without notice, and do not include optional features or premiums for upgraded units.

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ART AND LIFE BECOME ONE AT MAREA

ROOFTOP GARDEN DESIGNED BY ENZO ENEA

MAREAMIAMIBEACH.COM

SOUTH OF FIFTH

T 305.521.0978

MAREA ADDRESS 801 SOUTH POINTE DRIVE MIAMI BEACH, FL 33139

SALES GALLERY 91 COLLINS AVENUE. MIAMI BEACH, FL 33139

Sales by RELATED REALTY in collaboration with FORTUNE DEVELOPMENT SALES

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LOBBY ART INSTALLATION BY RICCARDO DE MARCHI

ED EA

LOBBY ART INSTALLATION BY MARKUS LINNENBRINK

Obtain the property report required by federal law and read it before signing anything. No federal agency has judged the merits or value, if any, of this property. Oral representations cannot be relied upon as correctly stating the representations of the Developer. For correct representations, make reference to the documents required by section 718.503, Florida Statute, to be furnished by a developer to a buyer or lessee. This is not intended to be an offer to sell, or solicitation to buy, condominium units to residents of CT, ID, NJ, NY and OR, unless registered or exemptions are available, or in any other jurisdiction where prohibited by law, and your eligibility for purchase will depend upon your state of residency. This offering is made only by the prospectus for the condominium and no statement should be relied upon if not made in the prospectus. Prices, plans and specifications are subject to change without notice. The Related Group is not the project developer. Marea is being developed by TRG-Alaska III, LLC (â&#x20AC;&#x153;Developerâ&#x20AC;?), which has a limited right to use the trademarked names and logos of The Related Group pursuant to a license and marketing agreement with The Related Group. Any and all statements, disclosures and/or representations shall be deemed made by Developer and not by The Related Group. The sketches, renderings, pictures, illustrations, and statements are proposed only, and the Developer reserves the right to modify, revise or withdraw any or all of same in its sole discretion. All prices are subject to change at any time and without notice, and do not include optional features or premiums for upgraded units.

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CASACOSTACONDOS.COM

T 561.364.4141

FROM I-95 TAKE BOYNTON BEACH BLVD. EAST TO 450 N. FEDERAL HIGHWAY.

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What will dazzle you the most? The ocean views? The beach club? Or the prices from the low $200’s? When Related Group unveils a seaside condo, it seems there are always too many attractions to resist. At Casa Costa, midway between Boca Raton and Palm Beach, you’ll find everything from classic resort amenities to an attended lobby, from your own beach club jitney to a pool deck overlooking yachts on the Intracoastal. And then there are the beautifully finished residences, with one, two and three bedrooms ready to move in. No wonder it’s so easy to say yes.

Obtain the property report required by federal law and read it before signing anything. No federal agency has judged the merits or value, if any, of this property.

We are pledged to the letter and spirit of the U.S. policy for the achievement of equal housing opportunity throughout the Nation. We encourage and support an affirmative advertising and marketing program in which there are no barriers to obtaining housing because of race, color, religion, sex, handicap, familial status or national origin. ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS MAKE REFERENCE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES,TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. All features, dimensions, drawings, conceptual renderings, plans and specifications are subject to change without notice, and Developer expressly reserves the right to make modifications. All prices are subject to change without notice.

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11/15/13 2:20 PM

BALTUSHOUSE.COM

SALES: 305.521.0995

INFO@BALTUSHOUSE.COM

TAKE ADVANTAGE OF THESE INCREDIBLE PRE-CONSTRUCTION OPPORTUNITIES

IN COLLABORATION WITH

Sales by RELATED REALTY in collaboration with FORTUNE DEVELOPMENT SALES

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With endless panoramic views of Biscayne Bay, and a one-of-a-kind location where the Design District, Miami Beach, Downtown, and Midtown come together – Baltus House is designer luxury living with undeniable star power. Embrace a lifestyle where everything everyone enjoys about Miami is placed right at your fingertips. Live like a star – Baltus House is your time to shine.

Obtain the property report required by federal law and read it before signing anything. No federal agency has judged the merits or value, if any, of this property. Oral representations cannot be relied upon as correctly stating the representations of the Developer. For correct representations, make reference to the documents required by section 718.503, Florida Statute, to be furnished by a developer to a buyer or lessee. This is not intended to be an offer to sell, or solicitation to buy, condominium units to residents of CT, ID, NJ, NY and OR, unless registered or exemptions are available, or in any other jurisdiction where prohibited by law, and your eligibility for purchase will depend upon your state of residency. This offering is made only by the prospectus for the condominium and no statement should be relied upon if not made in the prospectus. Prices, plans and specifications are subject to change without notice. “Baltus House” is being developed by PRH-4300 Biscayne Blvd., llc (“DEVELOPER”), which has a limited right to use the trademarked names and logos of The Related Group pursuant to a license and marketing agreement with The Related Group and which also has a license to use the name “Baltus”. Any and all statements, disclosures and/or representations shall be deemed made by Developer and not by any other party. The sketches, renderings, pictures, illustrations, and statements are proposed only, and the Developer reserves the right to modify, revise or withdraw any or all of same in its sole discretion.

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AVENTURAMALL.COM/STYLEDMAGAZINE DOWNLOAD THE STYLED MAGAZINE APP

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11/12/13 2:56 PM

IRELAND BALDWIN IN AVENTURA MALL’S STYLED MAGAZINE

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INTRODUCING A STUNNING NEW SANCTUARY DESIGNED BY ARQUITECTONICA. TWO BLOCKS SOUTH OF BAL HARBOUR S H O P S , O N C O L L I N S A V E N U E A N D 9 4 T H S T R E E T. 6 0 S PA C I O U S O C E A N F R O N T R E S I D E N C E S O F F E R I N G 3 , 4 0 0 TO OV E R 7 , 0 0 0 S Q UA R E F E E T O F L I VA B L E S PA C E A N D 3 0 0 L I N E A R F E E T O F P R I S T I N E P R I V A T E B E A C H F R O N T.

Oral Â representations Â cannot Â be Â relied Â upon Â as Â correctly Â stating Â the Â representations Â of Â the Â developer. Â Â For Â correct Â representations, Â make Â reference Â to Â this Â advertisement Â and Â to Â the Â documents Â required Â by Â section Â 718.503, Â Florida Â statutes, Â to Â This Â is Â not Â an Â offer Â to Â sell, Â or Â solicitation Â of Â offers Â to Â buy, Â the Â condominium Â units Â in Â states Â where Â such Â offer Â or Â solicitation Â cannot Â be Â made. Â Images Â and Â renderings Â are Â all Â artist Â conceptual Â compositions. Â Created Â by Â the Â seventh Â art.

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a new wave of luxury SALES LOUNGE CHATEAU GROUP 1 57 9 5 CO L L I N S AV E N U E SUNNY ISLES, FL 33160 305-944-4440 CHATEAUOCEAN.COM DEVELOPED BY CHATEAU GROUP

E XC LU S I V E S A L E S A N D M A R K E T I N G B Y

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PATRICIA URQUIOLA : TIME TO MAKE A BOOK

LUMINAIRE IS PLEASED TO HOST AN EVENT IN HONOR OF PATRICIA URQUIOLA’S NEW BOOK, “TIME TO MAKE A BOOK” DURING THIS YEAR’S ART BASEL, MIAMI BEACH. URQUIOLA WILL BE PRESENT TO DISCUSS HER BOOK AND WILL BE AVAILABLE FOR BOOK SIGNING. PATRICIA URQUIOLA BOOK SIGNING: DECEMBER 5, 6 – 9pm LUMINAIRE LAB 3901 NE 2ND AVENUE, MIAMI DESIGN DISTRICT

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• ELE

IS THE NEW 10 49315.indd 1

• CON • MIAM ELEVA CONVE HAPPY FUN • • CON • MIAM VATED • BEA LUXUR CONVE • MIA LEISU •MIAM •ATED • BEA • LUX CONVE • MIAM ELEVA BEAUT • HAP FUN • • CON • MIAM ELEVA HAPPY LUXUR CONVE MIAMI • HAP LEISU BEAUT MIAMI • CON • MIA ELEVA HAPPY LUXUR CONVE • MIAM ELEVA HAPPY FUN • • CON 11/8/13 10:29 AM

• ELEVATED • LEISURELY • MIAMI • STYLISHLY • CONVENIENTLY • FUN • LUXURIOUSLY

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FOR CORRECT REPRESENTATIONS, REFERENCE SHOULD BE MADE TO THE DOCUMENTS REQUIRED BY SECTION 718.503,FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. THIS OFFERING IS MADE ONLY BY THE PROSPECTUS FOR THE CONDOMINIUM AND NO STATEMENT SHOULD BE RELIED UPON IF NOT MADE IN THE PROSPECTUS. THIS IS NOT AN OFFER TO SELL, OR SOLICITATION OF OFFERS TO BUY, THE CONDOMINIUM UNITS IN ANY JURISDICTION WHERE PROHIBITED BY LAW, AND YOUR ELIGIBILITY FOR PURCHASE WILL DEPEND UPON YOUR STATE OF RESIDENCY. PRICES, PLANS AND SPECIFICATIONS ARE SUBJECT TO CHANGE WITHOUT NOTICE. ACTUAL IMPROVEMENTS MAY VARY FROM ARTISTS RENDERINGS WHICH ARE USED SOLELY FOR ILLUSTRATIVE PURPOSES, AND ARE SUBJECT TO CHANGE WITHOUTNOTICE. ACTUAL VIEWS MAY VARY AND MAY NOT BE AVAILABLE IN ALL UNITS. VIEWS CANNOT BE RELIED UPON AS THE ACTUAL VIEW FROM ANY PARTICULAR UNIT WITHIN THE CONDOMINIUM. THE DEVELOPER DOES NOT GUARANTEE THE FUTURE VIEW FROM THE PROPERTY, OR FROM A SPECIFIC UNIT, AND MAKES NO REPRESENTATION AS TO THE CURRENT OR FUTURE USE OF ANY ADJACENT PROPERTY. WE ARE PLEDGED TO THE LETTER AND SPIRIT OF THE U.S. POLICY FOR ACHIEVEMENT OF EQUAL HOUSING OPPORTUNITY THROUGHOUT THE NATION. WE ENCOURAGE AND SUPPORT AN AFFIRMATIVE ADVERTISING AND MARKETING PROGRAM IN WHICH THERE ARE NO BARRIERS TO OBTAINING HOUSING BECAUSE OF RACE, COLOR, RELIGION, SEX, HANDICAP, FAMILIAL STATUS OR NATIONAL ORIGIN. EQUAL HOUSING

OPPORTUNITY

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BRITISH GLAMOUR

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COSMOPOLITAN CONDOMINIUMS investments

REAL ESTATE DEVELOPERS SINCE 1981

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Rendering is an artist conception only. Broker participation is welcomed.

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WWW.1000MUSEUM.COM 1.855.663.6873 (ONE.MUSE) SALES REPRESENTATION EXCLUSIVELY BY

ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. WE ARE PLEDGED TO THE LETTER AND SPIRIT OF THE U.S. POLICY FOR ACHIEVEMENT OF EQUAL HOUSING OPPORTUNITY THROUGHOUT THE NATION. WE ENCOURAGE AND SUPPORT AN AFFIRMATIVE ADVERTISING AND MARKETING PROGRAM IN WHICH THERE ARE NO BARRIERS TO OBTAINING HOUSING BECAUSE OF RACE, COLOR, RELIGION, SEX, HANDICAP, FAMILIAL STATUS OR NATIONAL ORIGIN. THIS IS NOT INTENDED TO BE AN OFFER TO SELL, OR SOLICITATION TO BUY, CONDOMINIUM UNITS TO RESIDENTS OF ANY JURISDICTION WHERE PROHIBITED BY LAW, AND YOUR ELIGIBILITY FOR PURCHASE WILL DEPEND UPON YOUR STATE OF RESIDENCY. EQUAL HOUSING

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ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. PROJECT IS BEING DEVELOPED BY SUNNY ISLES BEACH ASSOCIATES, LLC. WHICH HAS A RIGHT TO USE THE TRADEMARK NAME AND LOGO OF FORTUNE INTERNATIONAL. FEATURES, ILLUSTRATIONS, GRAPHICS AND DEPICTIONS ARE CONCEPTUAL AND PRELIMINARY ONLY AND ARE FOR CONVENIENCE OF REFERENCE. DEVELOPER EXPRESSLY RESERVES THE RIGHT TO MAKE MODIFICATIONS, REVISIONS AND CHANGES IT DEEMS DESIRABLE IN ITS SOLE AND ABSOLUTEDISCRETION WITHOUT NOTICE. THIS IS NOT INTENDED TO BE AN OFFER TO SELL, OR SOLICITATION TO BUY, IN ANY JURISDICTION WHERE PROHIBITED BY LAW. Architect of Record - ADD Inc.

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F P C

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O R A L R E P R E S E N TAT I O N S C A N N O T B E R E L I E D U P O N A S C O R R E C T LY S TAT I N G OR LESSEE. THIS OFFERING IS MADE ONLY BY THE PROSPECTUS FOR THE CONDOMINIUM BE MADE. PRICES, PLANS AND SPECIFICATIONS ARE SUBJECT TO CHANGE WITHOUT NOTICE. ANY PARTICULAR UNIT WITHIN THE CONDOMINIUM. THE DEVELOPER DOES NOT GUARANTEE THE ACHIEVEMENT OF EQUAL HOUSING OPPORTUNITY THROUGHOUT THE NATION. WE ENCOURAGE EQUAL HOUSING

OPPORTUNITY

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THE AND ACT FUT AND

ING NIUM TICE. THE RAGE

OCCUPANCY SPRING 2014

T H E REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, REFERENCE SHOULD BE MADE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER AND NO STATEMENT SHOULD BE RELIED UPON IF NOT MADE IN THE PROSPECTUS. THIS IS NOT AN OFFER TO SELL, OR SOLICITATION OF OFFERS TO BUY, THE CONDOMINIUM UNITS IN STATES WHERE SUCH OFFER OR SOLICITATION CANNOT ACTUAL IMPROVEMENTS MAY VARY FROM RENDERINGS AND ARE USED SOLELY FOR ILLUSTRATIVE PURPOSES. ACTUAL VIEWS MAY VARY AND MAY NOT BE AVAILABLE IN ALL UNITS. VIEWS CANNOT BE RELIED UPON AS THE ACTUAL VIEW FROM FUTURE VIEW FROM THE PROPERTY OR FROM A SPECIFIC UNIT AND MAKES NO REPRESENTATION AS TO THE CURRENT OR FUTURE USE OF ANY ADJACENT PROPERTY. WE ARE PLEDGED TO THE LETTER AND SPIRIT OF THE U.S. POLICY FOR AND SUPPORT AN AFFIRMATIVE ADVERTISING AND MARKETING PROGRAM IN WHICH THERE ARE NO BARRIERS TO OBTAINING HOUSING BECAUSE OF RACE, COLOR, RELIGION, SEX, HANDICAP, FAMILIAL STATUS OR NATIONAL ORIGIN.

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LIMITLESS VIEWS. ENDLESS POSSIBILITIES. INTRODUCING THE ONLY DUPLEX PENTHOUSE BENEFITING FROM THE FULL SUITE OF W NEW YORK — DOWNTOWN’S 24/7 / 365 LIFESTYLE AMENITIES 11,506 SQUARE FEET / 360° VIEWS 5 BEDROOMS / 2 FLOORS

The were

AM Inc. T Moin

If thi

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ART MEETS COMMERCE THE RESIDENCES AT W NEW YORK— DOWNTOWN 1 & 2 BEDROOMS AND PENTHOUSE AVAILABLE FOR OWNERSHIP 123 WASHINGTON ST, NYC 212.385.1100 INFO@123WASHINGTONST.COM WNYRESIDENCES.COM

AMPLIFY THE EVERYDAY

The design concepts for the furnished residences at The Residences at W New York—Downtown including all loose furnishings and certain fixtures and finishes, were entirely conceived by the participating designers. Starwood Hotels & Resorts Worldwide, Inc., W Hotels and their affiliates were not involved in developing the design concepts or selecting such furnishings, fixtures and finishes for the residence and make no representations that they are consistent with the image, quality, design standards and expectations of the W Brand. A Moinian Group project. The Residences at W New York—Downtown are not owned, developed or sold by Starwood Hotels & Resorts Worldwide, Inc. or its affiliates. Moinian Group uses the W trademarks and trade names under a license from Starwood Hotels & Resorts Worldwide, Inc. This is not an offer to sell or solicitation of offers to buy, nor is any offer or solicitation made where prohibited by law. The statements set forth herein are summary in nature and should not be relied upon. A prospective purchaser should refer to the entire set of documents provided by Moinian Group and should seek competent legal advice in connection therewith. Equal Housing Opportunity. Sponsor: 123 Washington LLC, 530 5th Avenue, Suite 1800 New York, NY 10036. The complete offering terms are in an Offering Plan available from the Sponsor. File No. CD06-0687. If this license is terminated or expires without renewal, the residential project will no longer be associated with or have any right to use, the W brand trade names or trademarks.

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Aria Development Group

// 305 536 1490

Cervera Real Estate

// 305 571 6199

321OCEAN.COM

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Privacy Born Not of Walls, But of Open Air, Sea & Sky.

ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. OBTAIN THE PROPERTY REPORT REQUIRED BY FEDERAL LAW AND READ IT BEFORE SIGNING ANYTHING. NO FEDERAL AGENCY HAS JUDGED THE MERITS OR VALUE, IF ANY, OF THIS PROPERTY. All artist’s or architectural conceptual renderings, plans, specifications, features, dimensions, amenities, existing or future views and photos depicted or otherwise described herein are based upon preliminary development plans, and all and are subject to architectural revisions and other changes, without notice, in the manner provided in the purchase agreement and the offering circular. All features listed for the residences are representative only, and the Developer reserves the right, without notice to or approval by the Buyer, to make changes or substitutions of equal or better quality for any features, materials and equipment which are included with the unit. The dimensions of units stated or shown in brochures will vary from the dimensions that would be determined based upon the description of the Unit boundaries set forth in the Declaration of Condominium. Certain access to and rights to use recreational and other amenities within the development may be provided to the South Island, as described in the offering circular. This brochure does not constitute an offer to sell or a solicitation of an offer to buy a unit in the condominium. No solicitation, offer or sale of a unit in the condominium will be made in any jurisdiction in which such activity would be unlawful prior to any required registration therein. We are pledged to the letter and spirit of U.S. policy for the achievement of equal housing throughout the Nation. We encourage and support an affirmative advertising and marketing program in which there are no barriers to obtaining housing because of race, color, sex, religion, handicap, familial status or national origin. Neither BH3 nor Gary Cohen is the project developer and this Condominium is being developed by an affiliated entity formed for such purpose, which is known as Prive Developers LLC, a Florida limited liability company (the “Developer”).

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Miami

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Created by INNOVART.US

ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. OBTAIN THE PROPERTY REPORT REQUIRED BY FEDERAL LAW AND READ IT BEFORE SIGNING ANYTHING. NO FEDERAL AGENCY HAS JUDGED THE MERITS OR VALUE, IF ANY, OF THIS PROPERTY. We are pledged to the letter and spirit of U.S. Policy for the achievement of equal housing throughout the Nation. We encourage and support an affirmative advertising, marketing and sales program in which there are no barriers to obtaining housing because of race, color, sex, religion, handicap, familial status or national origin. All images and designs depicted herein are artist’s conceptual renderings, which are based upon preliminary development plans, and are subject to change without notice in the manner provided in the offering documents. All such materials are not to scale and are shown solely for illustrative purposes. No guarantees or representations whatsoever are made that existing or future views of the project and surrounding areas depicted by artist’s conceptual renderings or otherwise described herein, will be provided or, if provided, will be as depicted or described herein. Any view from a unit or from other portions of the property may in the future be limited or eliminated by future development or forces of nature and the developer in no manner guarantees the continuing existence of any view. These materials are not intended to be an offer to sell, or solicitation to buy a unit in the condominium. Such an offering shall only be made pursuant to the prospectus (offering circular) for the condominium and no statements should be relied upon unless made in the prospectus or in the applicable purchase agreement. In no event shall any solicitation, offer or sale of a unit in the condominium be made in, or to residents of, any state or country in which such activity would be unlawful. This condominium is being developed by Parcel C2 Property, LLC, a Florida limited liability company (“Developer”), which has a limited right to use the trademarked names and logos of Codina Partners pursuant to a license and marketing agreement with Codina Partners. Neither Codina Partners, nor Armando Codina, is the developer of this condominium. Any and all statements, disclosures and/or representations contained herein shall be deemed made by the Developer and not by Codina Partners or Armando Codina and you agree to look solely to Developer (and not to Codina Partners, Armando Codina and/or any of their respective affiliates) with respect to any and all matters relating to the marketing and/or development of the Condominium and with respect to the sales of units in the Condominium.

11/15/13 4:15 PM

LIVE

A DOWNTOWN EXPERIENCE THAT DELIVERS MORE

CITY LIFE. REIMAGINED. DOWNTOWN DORAL SALES CENTER

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Exclusive sales by Interiors by

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Architectural design by

SIEGER SUAREZ

11/15/13 4:15 PM

MEET THE DIRECTOR

Marc Spiegler

Taking the Lead

Director of Art Basel Marc Spiegler oversees the Miami show’s continued influence on the global art market, as well as its profound effect on the local community. By Ken Rivadeneira

s Art Basel in Miami Beach enters its 12th year, the show continues to evolve, each year redefining what an art fair is. At the core of its success—more than 50,000 people attended the 2012 edition, and this number is expected to be exceeded this year—is Art Basel’s ability to connect the artistic community in this geographic and cultural crossroads. That continues to be the focus for Marc Spiegler, director of all three Art Basel shows. “The Miami Beach show is the premier destination for galleries from the United States and Latin America, with nearly half of this year’s exhibitors having spaces in those regions,” he says. “What makes Art Basel in Miami Beach unique is its location as a nexus between North America and South America and its deep links into the Latin American market. This is reflected by the number of Latin American collectors attending and the strong representation of Latin American galleries at the show.” This December marks one year since the announcement of Spiegler’s role as sole director of Art Basel, overseeing its Basel, Miami Beach, and Hong Kong shows. The change in organizational structure—which

involved creating a four-person executive committee, chaired by Spiegler—allows for the Miami Beach show to have a more global presence. This year, galleries from 31 countries will be present. “Providing our galleries with the best platform to show their artists to an international audience is still at the core of all our planning,” Spiegler says. “We have found that many of the top museum groups, collectors, and curators choose to come to Art Basel—across all our locations—to be

innovation is the addition of the Edition sector—previously only seen in the Basel show—whereby 13 galleries will exhibit editioned works, prints, and multiples, opening up new opportunities for established as well as burgeoning art enthusiasts. And perennial favorites are being modified to serve the local Miami arts community. “We are looking forward to an expanded Public sector, under the curation of Nicholas Baume, who brings his extensive experience with public art to Collins Park,” says Spiegler. In a collaboration with the Bass Museum of Art and its “tc: temporary contemporary” project, which seeks to inject the urban landscape with art by installing works in unexpected places, a selection of the pieces from Public will remain in place until March of 2014. “This expands the life and engagement of the artists and their works with the city,” he says. With the influence of Art Basel in Miami Beach growing year after year, the question remains: What makes a successful show? “A great show is when we meet or surpass people’s expectations,” Spiegler says. “People expect to see the best: the best galleries, the best art works, the best talks, and the best people.” ABMB

—MARC SPIEGLER

part of this global conversation.” True to form, this year Art Basel in Miami Beach incorporates elements from the other shows, which promise to ignite new conversations and attract more collectors. For example, several galleries from Asia will come to Miami for the first time, Spiegler mentions, including Tang Contemporary Art, One and J. Gallery, and Singapore Tyler Print Institute. Another

PHOTOGRAPHY COURTESY OF ART BASEL

“Art Basel greatly relies on the strength of its exhibitors, their artists, and the quality of works the galleries are bringing.”

68 Art Basel | Miami Beach 2013

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B A L H A R B O U R S H O P S 9700 CO L L I N S AV E N U E 305. 861. 7114 F E N D I . CO M

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Art Basel • December 2013 • Single Page • RHP • Trim: 10” x 12” Bleed: 10.25” x 10.25” Job # 211671

O N E S O T H E B Y ’ S I N T E R N AT I O N A L R E A LT Y | D E V E L O P M E N T D I V I S I O N REDEFINING THE SALES AND POSITIONING O F S O U T H F L O R I D A’ S L U X U R Y D E V E L O P M E N T S

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Plans, materials and specifications are subject to architectural and other revisions at the sole discretion of the developer, builder or architect, or as may be requested by law. Oral representations cannot be relied upon as correctly stating the representations of the seller. For correct representations reference should be made to the documents required by 718.503 Florida Statues, to be furnished by seller to buyer or lessee. This is not an offer to any state where prohibited by law.

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ON E T HO U S A N D MU S E U M M I A M I

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contents 68 MEET THE DIRECTOR 88 FROM THE EDITOR 90 FROM THE PUBLISHER 92 CONTRIBUTORS

104 PUBLIC Renowned curator Nicholas Baume brings together a host of eclectic artists to exhibit at Public during Art Basel. By Carol Kino 108 NOVA Works displayed at Nova represent the most recently completed creations from select galleries. By Laura Van Straaten 110 KABINETT The highly exclusive Kabinett sector brings works from an international array of artists to Miami Beach. By Stacey Goergen

LOCAL INSTITUTIONS 124 BREAKING NEW GROUND The Miami Art Museum reopens as the Pérez Art Museum Miami. By Rachel Wolff 126 EXPLORING THE IDEAL AND THE UNREAL The Wolfsonian–FIU examines the influence of Italian art and design between the wars, when Classicism and Modernism signed an uneasy truce. By Jean Nayar

136 BODY OF WORK The Gallery at Windsor celebrates artist Jasper Johns with a new exhibition during Art Basel. By Jennifer Keil

COLLECTING

128 ARTISTIC EXPRESSION Inside the Bass Museum, a new exhibit explores the idea of the outsider, while outside, a sculptural community is born. By Phoebe Hoban

142 GLOBAL LOCAL PUBLIC PRIVATE Miami collections and spaces eye the world in their winter exhibitions. By Isolde Brielmaier

130 THE UNBEARABLE LIGHTNESS OF BEING Norton Museum of Art spotlights the oversize work of British sculptor Phyllida Barlow in its annual art by women series. By Jean Nayar

148 IN FOCUS Niche collectors are increasingly creating specific works based on subject matter, medium, or movement to distinguish themselves in the global art market. By Marina Cashdan

116 FILM Nan Goldin—I Remember Your Face captures the essence of photographer Nan Goldin in a poignant documentary film that’s earning accolades at this year’s Art Basel. By Mickey Rapkin

132 NATURAL BEAUTY At Fairchild Tropical Botanic Garden, Hugo França gives new life to fallen trees in sensuous, functional, ecofriendly works of art. By Jean Nayar

154 ARTISTIC MATRIX Creatives find strength joining collectives, an increasingly more common collaborative practice. By Robin Pogrebin

118 FILM PROGRAM Art Basel in Miami Beach’s Film Program selections for 2013 reflect collaboration and collectively mirror the viewing public. By David Gryn

134 NEXT STOP, FORT LAUDERDALE Under new leadership of Bonnie Clearwater, the Museum of Art, Fort Lauderdale begins a new chapter. By Phoebe Hoban

158 CULTURAL SCENE Two South American galleries—one show veteran, the other a newer addition—describe their market. By Jordan Hruska

112 POSITIONS Positions zeroes in on a new crop of emerging talent. By Rachel Wolff 114 EDITION The specialized sector comes to Miami Beach after two decades of success in Switzerland. By Laura Van Straaten

William Eggleston At Zenith I (from Wedgwood Blue), 1979/2013 (detail) Pigment print 44 x 60 inches (111.8 x 152.4 cm) © Eggleston Artistic Trust Courtesy Gagosian Gallery

PHOTOGRAPH BY TK (TK);

SECTORS

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TABLE OF CONTENTS

Richard Deacon installation view of Housing: Beware of the Dog at STPI Gallery, 2012, Singapore Tyler Print Institute.

FEATURES 174 COVER HER IN NEON British artist Tracey Emin is feeling the love in Miami, with a new retrospective of her famed neon pieces opening at MOCA. By Dorothy Spears 178 REVITALIZING THROUGH EXPANSION Since the recession, a host of museums throughout the country have renovated their spaces, to the benefit of their local communities. By Carol Kino 182 EDIFICE COMPLEX Herzog & de Meuron designed a new landmark building for Pérez Art Museum Miami that’s part urban oasis, part cultural town center, while embracing the city’s unique terrain. By Margery Gordon 186 ART FOR A DIGITAL AGE Technology continues to transform the process of how artists create and the works they produce. By Tanya Selvaratnam 190 ASIAN INVASION On the heels of a successful Art Basel in Hong Kong, Asian galleries will travel halfway around the world to exhibit at Art Basel in Miami Beach. By Mary Elizabeth Agnew

192 CREATIVE MOTHERHOOD Women who choose to start families still grapple with how to juggle careers and children. By Julie L. Belcove

CONVERSATIONS 200 JUAN ROSELIONE VALADEZ WITH MERA, DON, AND JASON RUBELL On their immersion in Chinese art and the new show it spawned. 204 MADELEINE GRYNSZTEJN WITH STEFAN EDLIS AND GAEL NEESON On how to use art fairs and the couples philosophy to collecting. 206 MAXWELL ANDERSON WITH MARGUERITE HOFFMAN On authentic collecting and leaving a legacy. 208 CHRISSIE ILES WITH TJ WILCOX On the cinematic narrative that plays out on a daily basis in New York City. 210 PATRICK CHARPENEL WITH DAMIÁN ORTEGA On his new work and the importance of point of view. 212 ON THE ART TRAIN Premiere Artist Doug Aitken takes his show on the road in “Station to Station,” a

Ferris Wheel, 2013, by Francesco Simeti, Francesca Minni Gallery.

PHOTOGRAPHY COURTESY OF THE ARTIST AND THE GALLERY (SIMETI)

162 THE ART MARKET SOUTH OF THE BORDER A new contingent of young Latin American collectors and dealers are making waves in Central and South America. By Julia Cooke

Marilyn Minter Gossip, 2012, Caroline Nitsch for the New Museum of Contemporary Art.

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TABLE OF CONTENTS

Sue Me (Big City Shriek), by Sue Tompkins, 2013, Galerie Micky Schubert.

INFLUENCERS 220 OF MOUNTAINS AND THE MAGOONS Aspen-based Nancy and Bob Magoon have made a collection and a life out of supporting young talent and big ideas. By Sari Anne Tuschman 222 JUXTAPOSING PERCEPTION For Jesper Just, confusing his viewers is a way to explore how our eyes experience the world. By Laura Van Straaten 224 SYSTEMS ANALYST By recreating an omnipresent sight, Roxy Paine examines knowledge, memory, and control. By Jordan Hruska

230 A CURATED VISION Writer, teacher, and curator Eva Grinstein shares her experience working with a new generation of artists in Argentina—and beyond. By Jill Brienza

PHOTOPORTFOLIO

Cada Casa en su Sitio 5, Nelson Leirner, 2013, Poligrafa Obra Grafica.

234 MOLTO MIAMI Brian Wallis, chief curator at the International Center of Photography, lends us his expert eye in selecting iconic Miami imagery for our annual photographic portfolio.

NONCONFORMISTS 247 MYSTERIOUS, MAGICAL MARFA A local shares her personal thoughts on the mystical West Texas town she calls home. By Fairfax Dorn

226 THE PRINCE OF THIEF Norwegian billionaire and hotel magnate Petter Stordalen reinvents the business by focusing on contemporary art. By Mary Elizabeth Agnew

250 PLAYING FAVORITES For nearly 50 years, dealer Gordon Locksley has been buying and selling works by artists who have gone on to become icons in the contemporary art world. By Brett Sokol

228 NARRATIVE IMAGERY Artist and teacher David Salle impacts the art world with his distinctive style. By Jennifer Stockman

254 GLOBAL IMPACT Six international art superstars remember the works of art that changed their lives. By Bettina Korek

The “Station to Station” train on the tracks in Oakland, by Doug Aitken, “Station to Station,” 2013.

PHOTOGRAPHY BY YE RIN MOK (STATION TO STATION); COURTESY OF THE ARTIST AND THE GALLERY (TOMPKINS)

cross-country artpalooza that gathered fellow creatives, musicians, and a chef or two for some unexpected encounters. By Julie L. Belcove

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TABLE OF CONTENTS

A Partird’un ciel de Von Gogh, by Julio Le Parc (1967/2013), GDM.

258 MY DAY AT ART BASEL Author James Frey shares his experiences visiting South Florida for the biggest art event of the season.

PARTNERSHIPS 262 STRATEGIC PARTNERS The success of Art Basel in Miami Beach is due in part to the support of partners UBS, Audemars Piguet, Ruinart, BMW, Davidoff, Absolut, and NetJets. By Dalene Rovenstine, Rachel Felder, Stacey Goergen, Katy B. Olson

GROUNDBREAKING 270 WINNING ENTRY Young New York–based architecture firm formlessfinder created the innovative— and apropos—entrance to Design Miami this year. By Raul Barreneche 272 DESIGN ICON Charlotte Perriand leaves her mark on the beach this year, as the inspiration

behind Louis Vuitton’s show house that’s devoted to the designer’s work. By Valerie Gladstone 274 A CITY GROWS IN MID BEACH Developer Alan Faena “creates the future” with Foster and Koolhaas–designed spaces as part of a grand-scale project in Miami. By Rachel Wolff 276 ARTFUL FOOD Nationally acclaimed chef Michelle Bernstein gives show attendees new dining options with two pop-up restaurants during Art Basel. 279 ART BASEL IN MIAMI BEACH OFFICIAL 2013 GUIDE

ON THE COVER

288 THE LAST WORD Thea Westreich and Ethan Wagner on a life with art. By Sue Hostetler

I Listen to the Ocean And All I Hear is You, 2010, by Tracey Emin. Courtesy of Lehmann Maupin Gallery, New York and Hong Kong.

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Photo: Michel Gibert. Special Thanks: Auditori Teulada Moraira, TASCHEN, www.stephane-ducatteau.com.

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Art Basel (Niche Media) 13-10-31 12:01 AM PM 10/31/13 10:29 Format: 10" x 12"

SUE HOSTETLER EDITOR-IN-CHIEF

Senior Managing Editor Danine Alati

Art Director Adriana Garcia

Special Projects Art Director Anastasia Tsioutas Casaliggi

Photo Director Lisa Rosenthal

Senior Digital Imaging Specialist Jeffrey Spitery

Digital Imaging Specialist Jeremy Deveraturda

Digital Imaging Assistant Htet San

Manager, Copy and Research Wendie Pecharsky

Copy Editors David Fairhurst, Dalene Rovenstine, Julia Steiner

Research Editor Shelley Jefferson

Art Basel Miami Beach magazine is a registered trademark of Niche Media Holdings, LLC, and the entire contents of Art Basel Miami Beach are copyright Niche Media Holdings, LLC. All column names are the property of Niche Media Holdings, LLC and may not be used or reproduced without the express written permission of the publisher. Liability in the event of an error is limited to a printed correction. Niche Media Holdings, LLC does not assume liability for products or services advertised herein.

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President, Chief Operating Officer Katherine Nicholls

Chairman and Director of Photography Jeff Gale

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COURTLAND LANTAFF PUBLISHER

Senior Vice President, Sales and Marketing Norman Miller Account Directors and Executives Susan Abrams, Michele Addison, Susana Aragon, Ana Blagojevic, Claire Carlin, Michelle Chala, Thomas Chillemi, Morgan Clifford, Kathleen Fleming, Dina Friedman, Debra Halpert, Victoria Henry, Karen Levine, Deborah O’Brien, Lauren Shapiro, Jim Smith Event Marketing Manager Cristina Parra Event Marketing Assistant Shana Kaufman Assistant Distribution Relations Manager Michelle Petrillo National Sales Coordinator Howard Costa Sales and Business Coordinator Dara Hirsh Sales Assistant Cristina Cabielles

MARKETING, PROMOTIONS, PUBLIC RELATIONS Vice President, Public Relations and Marketing Lana Bernstein Vice President, Integrated Marketing Emily McLintock Integrated Marketing Director Robin Kearse Integrated Marketing Manager Jimmy Kontomanolis Creative Services Director Scott Robson Promotions Art Designers Christopher Hardgrove, Danielle Morris

PRODUCTION, PLANNING, AND POSITIONING Vice President, Manufacturing Maria Blondeaux Director, Planning and Positioning Sally Lyon Senior Production Manager Barbara Shale Traffic Coordinator Jeanne Gleeson

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A program of

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CHARLOTTE PERRIAND - A MODERNIST PIONEER from Avant-garde design to Photography

A selection of photographic memories of Charlotte Perriandâ&#x20AC;&#x2122;s passion for architecture, nature and humanity discovered during her travels December 5th to 16th 2013 Monday - Friday: 10.00am - 6.00pm Saturday: 11.00am - 5.00pm

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with the participation of Louis Vuitton.

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COUNTERCLOCKWISE FROM ABOVE RIGHT:

With Creative Time President Anne Pasternak at the Whitney’s American Art Award; celebrating with Marianne Boesky and Maria Baibakova at Baibakova’s annual party in Miami; with the magazine’s 2012 Women in the Arts Luncheon honorees Patricia Druck, Michele Oka Doner, and Jennifer Stockman.

As Art Basel in Miami Beach begins its 12th edition this week, I can’t help but think about how quickly this show has grown to be the immense success it is, arguably the most influential contemporary art show in the Americas. I’m constantly asked why the three Art Basel fairs are always a cut above all the others. In a word: quality. Once again Marc Spiegler and his phenomenal team have outdone themselves with progressive and innovative programming—from more than 250 of the world’s leading galleries—that pushes the limits and elevates the conversation for all of us. It seems that in every issue a thematic thread emerges. This year the continuing globalization of the art market is at the forefront, but with a particular emphasis on thoughtful expansion, the desire for more intimate interactions—more personal and experiential connections—and a growing resistance to the commodification of art. Many of the stories in our new issue reflect these ideas: Julie L. Belcove’s profile of Premier Artist Doug Aitkin explores his spiritual “Station to Station” nomadic happening. Carol Kino’s survey of Nicholas Baume’s first outing as curator for the iconic Public sector celebrates art for all. And don’t miss local collecting legends Mera, Don, and Jason Rubell in conversation, discussing their

complete immersion in Chinese art, where Mera describes it best by saying, “The essence of what we really love is to engage with a prediction, with a sense of what the artist can become.” We also feature a few true originals—like Tracey Emin, who opens her first American museum show this week at the MOCA, and the iconic photographer Nan Goldin, who is the subject of this year’s chosen Film, the elegiac Nan Goldin—I Remember Your Face. Finally, we took time to celebrate some pioneering women here in the “Creative Motherhood” story and the PAMM feature profiling lead architect Christine Binswanger, and we will continue to do so later in the week when we honor Emin, Agnes Gund, Ann Philbin, and Lisa Dennison at my annual Women in the Arts Luncheon. So get out there and enjoy Miami and all the week has to offer. As Frank Gehry says, “Art will be your salvation.”

SUE HOSTETLER

PHOTOGRAPHY BY MEGAN MACK (HOSTETLER); JOE SCHILDHORN/BFANYC.COM (PASTERNAK); MATTEO PRANDONI/BFANYC.COM (DRUCK); NEIL RASMUS BFANYC.COM (BOESKY)

FROM THE EDITOR-IN-CHIEF

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RALPH LAUREN Home

FROM THE PUBLISHER

ABOVE:

With Dan Uslan and Jared Shapiro at Ocean Drive’s annual Men’s Event at the Surfcomber South Beach. RIGHT: Toasting to a new year of Art Basel in Miami Beach with Paulo Bacchi.

As we start to celebrate the beginnings of another wonderful Art Basel in Miami Beach, it’s hard to believe that the fair continues to top itself each year. Entering the 12th year of this international celebration of the arts— which will run from December 5 through 8—we can see the influence the city of Miami now has on a global scale. As a community, we’re thrilled to host the world’s most prestigious and annually anticipated arts show, and our team at Niche Media is honored to once again produce the official ABMB guide. This year’s Art Basel in Miami Beach magazine is the largest issue we’ve ever produced, and that’s a testament to the success of ABMB and the city of Miami as an internationally renowned destination. We’re excited to be both a part of and witness to the growth of the art fair and the city itself. Take a look at the 12th edition of our publication, chock-full of art and design details, info on exciting shows that are not to be missed, and tips to find some of art’s most talked-about creators and exhibitors. I hope to see you around at all of the art-full events....

COURTLAND LANTAFF

PHOTOGRAPHY BY ALBERTO E. TAMARGO/AETPHOTO (PÉREZ); GLENN SIME (BACCHI)

Celebrating the Marea groundbreaking with Jorge Pérez.

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TAF • BAT

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Dec ember 3 r d Unveiling of Maar ten Baas’ exclus ive piece s . Berlut i Sto re, Mi ami Des ig n Di s tr ict, Mos aic Building 16 1 N E 4 0 th St re e t .

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CONTRIBUTORS CAROL KINO Carol Kino writes regularly for The New York Times and is a longtime contributing editor at Art + Auction. Her work has also appeared in T: The New York Style Magazine, 1stdibs, Town & Country, Slate, The Atlantic, and The National (Abu Dhabi), among many others. She was a two-time USC Annenberg/Getty Arts Journalism Fellow, in 2007 and 2011.

JULIE L. BELCOVE A New York–based independent writer and editor with a focus on art and culture, Julie L. Belcove has written for The New Yorker, The New York Times, Financial Times, WSJ, Harper’s Bazaar, Elle, Elle Decor, and Architectural Digest, among other publications. While deputy editor of W, she created and edited the magazine’s annual Art Issue.

DOROTHY SPEARS Dorothy Spears is a critic and culture writer in New York. A frequent contributor to The New York Times, she is currently working on a book about the years she worked at the Leo Castelli Gallery.

RACHEL WOLFF Rachel Wolff is an art writer and editor based in Brooklyn. Her work has appeared in New York magazine, The Wall Street Journal, The New York Times, Architectural Digest, ARTnews, Condé Nast Traveler, Departures, Details, and Elle, and she serves as a contributing editor to Art + Auction and Modern Painters. In 2012, Wolff and filmmaker Jonathan Sanden cofounded SandenWolff, a boutique production company specializing in short films about art and design. Their clients include Christie’s, Architectural Digest, Times Square Arts, and the National Academy Museum.

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DOMENICA BUCALO (BRIELMAIER)

RAUL BARRENECHE A New York–based architectural designer and journalist, Raul Barreneche is the author of 10 books on architecture and design, including The Tropical Modern House (Rizzoli, 2011). A former executive editor at Architecture and contributing editor at Metropolitan Home, he is a contributing editor to Travel + Leisure and Interior Design and has written for publications including Architectural Digest, Elle Decor, Departures, Town & Country, Martha Stewart Living, and the New York Times. He holds a professional architecture degree from Carnegie Mellon University.

PHOTOGRAPHY PHOTOGRAPH BY MARGERY BY TK (TK); NEWMAN (KINO); IRIS NESKER (SPEARS);

ISOLDE BRIELMAIER Isolde Brielmaier is a New York–based curator and program consultant and visiting professor, Tisch School of the Arts, at NYU. She has worked at the Guggenheim Museum and the Bronx Museum of Art and has authored many books and essays. Brielmaier is the recipient of numerous grants and fellowships from institutions including the Ford Foundation and the Mellon Foundation. She holds a PhD from Columbia University.

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CONTRIBUTORS JENNIFER STOCKMAN The President of the Board of Trustees at the Guggenheim, Jennifer Stockman was the founder and CEO of Stockman Associates, Inc., an international business advisory firm. She is the Chairperson Emeritus of the Republican Majority for Choice; Member of the Conyers Farm Association; and member of the National Council of the Aspen Art Museum. She and her husband, David, are active contemporary art collectors.

FAIRFAX DORN

Robin Pogrebin is a culture reporter for The New York Times. She has also written for magazines including Vogue, Town & Country, New York magazine, and Departures.

TANYA SELVARATNAM Writer, actor, producer, and activist Tanya Selvaratnam is also the Communications & Special Projects Officer for the Rubell Family Collection. Her book, The Big Lie: Motherhood, Feminism, and the Reality of the Biological Clock, will be available worldwide in January 2014.

MARINA CASHDAN Marina Cashdan is the editorial director for art discovery platform artsy.net, where she oversees editorial content, films, and related partnerships. She is also a freelance arts writer whose work has appeared in T: New York Times Style Magazine, Wallpaper*, Surface, Frieze, Art in America, Modern Painters, Art + Auction, the White Review, and Phaidonâ&#x20AC;&#x2122;s Vitamin P2: New Perspectives in Painting and Vitamin D2: New Perspectives in Drawing, among others. 94 Art Basel | Miami Beach 2013

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JILL BRIENZA Jill Brienza is a New Yorkâ&#x20AC;&#x201C;based curator and contemporary art advisor. She recently curated a collaboration of works by Alan Shields and the Stephen Petronio Dance Company, an excerpt of which will be on view this month at SITE Santa Fe and later will be the cornerstone of an exhibition at the Parrish Art Museum.

PHOTOGRAPHY BY DAVID VAUGHAN (STOCKMAN); CHARLES RUGER (DORN); CHIARA CLEMENTE (SELVARATNAM)

ROBIN POGREBIN

Fairfax Dorn is the cofounder and executive director of Ballroom Marfa, a nonprofit cultural art space dedicated to exploring varied perspectives and issues through visual art, film, music, and performance. She is also the cofounder of Marfa Dialogues, an inclusive public forum that utilizes art to address the critical issues of our time, and she recently served as guest curator and interim program director for the Linda Pace Foundation, San Antonio, Texas. Fairfax is currently a board member for Judd Foundation, Triple Canopy, Bunker259, the Whitney Museum of American Art, and the Centre Pompidou Foundation.

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Tug of War (2007-2010), by Pascale Marthine Tayou from Galleria Continua.

Studio Seat I (2011), by Thomas Houseago from Gagosian Gallery.

Social Studies

Renowned curator Nicholas Baume brings together a host of eclectic artists to exhibit at Public during Art Basel. By Carol Kino

ne of the most civic-minded aspects of Art Basel in Miami Beach has always been its Public sector, which, since the first edition, has placed art throughout Miami, the better to engage with passersby. In contrast to the main show, where one buys a ticket, or the parties and private dinners, where you’re allowed in only if you’re on the right list, Public has always been exactly what its name implies: open to the public at any time of the day or night, welcoming even those who barely realize the fair is in town. The project, which this year has been rechristened simply “Public,” has become an increasingly prominent part of Art Basel, too. Since 2011, it has been coorganized in partnership with the Bass Museum of Art and held in Collins Park, filling the grassy expanse

that runs from the museum’s doors to the sea with live performances on opening night, as well as video and sculpture. Last year, for the first time, portions of the exhibition remained open until the end of February 2013 as part of the Bass “tc: temporary contemporary” program, serving as an ongoing educational resource for community and student groups, and making it the longest-running part of the show. This year, newly under the leadership of Nicholas Baume, the director and chief curator of New York’s Public Art Fund, the Public sector promises to be even richer than before, offering visitors the chance to experience a greatly expanded number of artists and artworks, and keeping many of them on view through March. Called “Social Animals,” the exhibition will feature 24 artists, including Aaron Curry, Tony Tasset,

Carol Bove, and Richard Long. Several are exhibiting more than one piece, and more than half are showing brand-new work, including Ursula von Rydingsvard, Alicja Kwade, and Oscar Tuazon. In conceiving the exhibition, Baume took inspiration from Aristotle’s observation that human beings are social animals by nature, he says. “A public park is by its nature social,” he adds, as is an art fair, “with people coming from all over the world to follow their passion.” His aim is for the art itself to be social, too. Made by artists of different generations whose aesthetics are highly variegated, Baume intends the disparate works to “meet and engage with one another,” he says. “I really wanted to activate the park and make it feel lively and inviting.” Much of the work is figurative, like Huma Bhabha’s (Salon 94) totemic figure made from patinated bronze or Tom Friedman’s (Luhring Augustine/Stephen Friedman) Huddle, a group of three-foot-high stainless steel people crouched in a circle. (Baume calls it “this little mysterious congress happening in the park.”) The Swiss-born artist Olaf Breuning (Metro Pictures) has contributed three new sculptures that render his faux-naïf

PHOTOGRAPHY BY MASSIMO BILL/COURTESY OF GALLERIA CONTINUA, SAN GIMIGANO/BEIJING/LE MOULIN (TAYOU); COURTESY OF THE ARTIST AND THE GALLERY (HOUSEAGO); PAUL MPAGI SEPUYA COURTESY PUBLIC ART FUND, NY (BAUME)

Nicholas Baume

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–SILVIA KARMAN CUBIÑÁ

drawings in brightly painted steel; one presents a stick figure whose head is filled with the word DREAMS. Silvia Karman Cubiñá, the executive director and chief curator of the Bass, says she finds it fascinating to see so many different types of figuration in a city park, which itself is filled with so many different sorts of people. “The project is very democratic,” she says. “You have people who are not museumgoers—skaters, cyclists, and people with their children who just happen upon it. It makes for really interesting encounters.” Interesting encounters will run throughout the show, which also contains a lot of abstract work, like Mark di Suvero’s (Paula Cooper Gallery) Exemplar, a 1979 piece made from two intersecting I-beams; or Blue Angel II, a new piece by Michelle Lopez (Simon Preston Gallery), a sculptor about half his age. A huge rectangular aluminum form, Lopez’s piece has been bent, crumpled, and manipulated to suggest the riveted fuselage of an airplane wing; it is also her largest and most ambitious work to date. “I’m keen to see

PHOTOGRAPH BY TK (TK);

“[Public] is very democratic.”

how some of the cross-generational resonances will contemporary curator of the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, where he play out,” offers Baume. There are other crosscurrents at work here, too. founded what he says was the country’s first dediWhile some pieces seem to riff on the lush natural sur- cated contemporary space within an encyclopedic roundings of the park, like Mungo Thomson’s new museum. In 2003, Baume became chief curator at sound piece, which involves a clarinetist imitating a the Boston ICA, just as the museum was expandcricket, others suggest the antithesis of nature, like a ing, and establishing its first permanent collection. bronze installation by the Belgian sculptor Maarten There, he gave major shows to artists like Anish Vanden Eynde (Meessen De Clercq), which replicates Kapoor, Thomas Hirschhorn, and Kai Altoff. Another artist Baume showed at the ICA was a field of gushing oil wells. Then there’s Matias Faldbakken’s piece, inspired by the New York public sculptor Carol Bove (David Steven Spielberg’s first film, Duel (1971), about a show- Zwirner), who remembers her first American museum down between a menacing truck and a milquetoast show fondly. “He showed me how to do it,” she says. “I motorist. The Norwegian artist tracked down the last sur- feel grateful for that.” When Baume suggested that she viving 281 Peterbilt big rig used in the film and has now contribute work to “Social Animals”—one of the five installed it in the park as a sculpture. “Spielberg chose elements in Flora’s Garden, Bove’s 2012 installation at the truck quite specifically for its menacing facial look Documenta 13—she leapt at the idea. The piece—an enormous chunk of petrified wood and its sinister body,” Baume says. “Now Faldbakken attached to a steel I-beam, as if to suggest a totem or is bringing this form into the ‘Social Animals’ context.” Certainly, if anyone could meld together these dispa- a mask—is likely to take on a new feeling in Collins rate aesthetics in a way that’s surprising and enriching Park, Bove says, in relation to the living wood around for the art world and the general public alike, Baume it. “Nicholas had a vision of what he wanted, and I seems the perfect person to do it. Since arriving at New loved his idea,” she says. “He’s very sensitive, and he’s York’s Public Art Fund in September 2009, he has orga- extremely cultured. He’s also really respectful and nized projects that take advantage of the city’s unique gives artists a lot of space.’” That’s pretty much how Baume feels about workgeography and architecture, putting the first career overview of Sol LeWitt’s sculptures into City Hall ing with Art Basel in Miami Beach. “The team is Park in 2011 and allowing visitors to explore Gaetano very keen to try new ways of doing things,” he says. Russo’s 1892 statue of Christopher Columbus close up “That’s essential for contemporary art, which itself is in Tatzu Nishi’s Discovering Columbus (2012), a project always evolving.” Public runs from Thursday, December that put a comfortable living room around the top of the 5 through Sunday, December 8, with opening night Wednesday, December 4 open and free to the public. ABMB 75-foot-tall landmark. In fact, Baume has been deeply engaged In the David Zwirner with public art since childhood. He grew up Gallery, Flora’s in Sydney next door to John Kaldor, one of Garden (2012), by Carol Bove. Australia’s most important art collectors, whose Kaldor Public Art Projects, launched with Christo and Jeanne-Claude’s Wrapped Coast in 1969, “single-handedly engaged Australia with the international contemporary art world,” Baume remembers. Kaldor also brought Gilbert & George’s The Singing Sculpture to Australia in 1973 and helped show Sol LeWitt’s wall drawings there in 1977. Baume grew up seeing these projects and “helping wherever possible,” Kaldor says, even as a child. After university, he went to work for Kaldor before joining the Museum of Contemporary Art Australia in Sydney in 1993. There, they collaborated on the realization of Koons’s Puppy in 1995 and a brilliantly colored Sol LeWitt wall drawing in 1998. “What I admire about Nicholas,” Kaldor adds, “is that he is not only interested in the very contemporary, but he is also interested in the history of modern art. He has the ambition to show really outstanding work.” Baume came to America in 1998, as the

PHOTOGRAPHY COURTESY OF MACCARONE NEW YORK AND DAVID ZWIRNER, NEW YORK/LONDON (BOVE); COURTESY OF THE ARTIST, LUHRING AUGUSTINE, NEW YORK, AND STEPHEN FRIEDMAN GALLERY, LONDON (FRIEDMAN)

Tom Friedman’s Untitled from the Luhring Augustine/ Stephen Friedman Gallery.

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Fresh Finds

Works displayed at Nova represent the most recently completed creations from select galleries. By Laura Van Straaten

or a decade, Nova has been part of Art Basel in Miami Beach, allowing visitors the chance to discover recent works—specifically those created within the last 36 months—by up to three artists. But while the previous year’s Nova swelled to a whopping 40 galleries, the curatorial committee for its 11th year opted to pare back to just 34 galleries. Andrew Kreps, who is a gallerist on the selection committee, says that Nova “had taken a couple different twists and turns” in terms of size, at one point swelling to over 60, which “obviously didn’t work.” It was a conscious decision to pare back, and “a bunch of people felt that [34] was the right amount... so people can focus in on what is there.” He adds that the architecture of the fair, which has evolved and improved over time, “brought in certain constraints.” Nova exhibitors are housed within the Convention Center as a special sector of the main fair, with smaller exhibition booths. Because they are all together, says Kreps, “A real plus is that you have a lot of time to interact, form relationships, and hopefully end up sharing artists.” That camaraderie and cross-pollination is what Janine Foeller, owner and director of Wallspace gallery in New York, is looking forward to her fourth year at Nova. “Micky Schubert, for example, is a dear friend and colleague from Berlin, and she has been our

neighbor for the last two years at Nova,” says Foeller. “One of the highlights is coming back and seeing colleagues who we only see a few times a year.” When choosing which artists to present, Foeller says, “We try to always present something new—either an artist who we recently began working with, or a group of artists who would not normally be presented together.” This year, Wallspace is showing two established artists, Gaylen Gerber and John Divola. “Both artists have been very influential to their peers and students, and we thought bringing their work together for Nova would be really interesting,” says Foeller. Gerber will show photographic works that explore the relationships between painting, photography, and performance, Foeller explains. Divola will present recent sculptural works that “underscore notions of authenticity, circulation, and authorship,” she says. The Mexico City–based gallery Labor will be participating in Nova for the first time. “We’re thrilled to be chosen for it,” says Labor’s director Pamela Echeverría. “This kind of exhibition… becomes a privilege when there’s so much information around for visitors. Nova gives you the chance to create a curated experience for the viewer, be they a collector, an art critic, or an art aficionado.” Philip Martin, cofounder with Mary Leigh Cherry of the Los Angeles–based gallery Cherry and Martin,

shares Echeverría’s view that creating a very focused conversation among just a few artists is what makes Nova so singular and special. This year his gallery is presenting “a dialogue” between Matt Connors and Bernard Piffaretti, two painters who both often work in colorful abstracted forms on canvas and who play with the notion of duality. It’s an interesting pairing: Connors is an American painter born in 1973 who has had several solo museum exhibitions in the US and Europe, including at the Dallas Museum of Art, the Hammer Museum in Los Angeles, and the Museum of Modern Art’s P.S. 1 in New York City. Last June, Art+Auction magazine included Connors among its “50 Under 50 Next Most Collectible Artists.” By contrast, Piffaretti is a French painter born in 1955 who has been the subject of many solo museum exhibitions but who, Martin says, had not shown in the United States in more than a decade before a recent solo exhibition at Martin’s gallery. For Cherry and Martin, Nova’s parameters provide a framework to explore what Martin called the “commonalities between what Matt Connors and Bernard Piffaretti are doing today” and simultaneously “between French painting from the ’70s and ’80s and the art made today.” He adds that it is “intriguing in our historical moment to consider the work of another time and the conversation between past and present.” Also unique to Nova, according to Echeverría, is the “fantastic opportunity to experience firsthand some never-before-seen pieces, which is always attractive for the public and a chance both for the artists and us to receive fresh feedback.” Take, for example, her gallery’s presentation of a project called Disarm, by the Mexican artist Pedro Reyes. The work comprises a renowned series of musical instruments he created together with the Mexican design firm Cocolab “from weapons collected and destroyed by our national army” to create “many variations of instruments, from electronic xylophones to Brazilian berimbaus,” Echeverría says. When interviewed in late September she noted, “the instruments that we will exhibit at Nova are under production.” In fact, as Nova often features never-before-seen pieces fresh from the artist’s studio; it’s not unheard of for a Nova gallerist to relay that an artist just titled a new work on view within the last few days, or to joke that a painting may not yet even be completely dry. For collectors seeking the newest of the new at ABMB, Art Nova is the place. ABMB

PHOTOGRAPHY BY ROBERT WEDEMEYER

Untitled, 2012, by Bernard Piffaretti, a work in LA’s Cherry and Martin gallery that will be on view at Nova.

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Inside the Minds of the Outsiders

The highly exclusive Kabinett sector brings works from an eclectic array of artists to Miami Beach. By Stacey Goergen

manipulates common motifs from these subsectors, highlighting the randomness of intrinsic versus prescribed value. The new interrelated body of work includes video and a photographic triptych. “It’s very specific, and the work is very specifically chosen for the show. It’s quality, not quantity,” says Gispert, describing the installation. “The Kabinett framing meant that this related work, where one generates the other, made sense for the fair.” The Beijing- and Lucerne-based Galerie Urs Meile exhibits Hu Qingyan’s new marble sculptures Edition of 8. Each individually carved to mimic an original rock found by the artist in northern China, they have precisely the same form, but vary due to the organic nature of marble. These slight differences force the viewer to contemplate notions of transformation—the original, found rock has been attentively replicated into eight exquisitely crafted marble statues, but at first glance, the renderings could be found objects. Reflecting the current attention on outsider artists—in part due to Massimiliano Gioni’s 2013 Venice

Biennale—Kabinett includes New York–based Hirschl & Adler Modern’s exhibition of James Edward Deeds’s drawings. Committed for life to a Missouri psychiatric hospital at the age of 28, Deeds escaped through his art. “Outsider art is really on the minds of contemporary collectors,” notes Tom Parker, the gallery’s associate director. “And here’s a great example of what draws people to it. There’s always a story to the work. There has to be visual interest, but always a backstory.” The 9-by-8-inch images depict Deeds’s early farming and family life, created while undergoing horrific shock therapy and being force-fed psychotropic drugs. The artist sewed his sketches into a beloved journal that was eventually lost, but rescued years later by a 14-year-old boy from a sidewalk junk heap. “Kabinett really allows you to do something in depth, something really focused and tight,” Parker says. For the Deeds presentation, the gallery is building a room within a room. “It allows someone to immerse themselves in these works and get a sense of the mind that created them.” ABMB

PHOTOGRAPHY COURTESY OF HENRIQUE FARIA FINE ART

aunched in 2005, the notoriously smart Kabinett sector at Art Basel in Miami Beach allows galleries to curate sections of their booths with focused exhibitions. “Kabinett is an integral component of our show in Miami Beach that has throughout the years been the site of landmarked works by many of the world’s leading artists,” explains Art Basel director Marc Spiegler. Twenty-five international galleries are included in this year’s selection of single-artist installations and thematic group shows. Presentations range from the historic—Francis M. Naumann Fine Art’s exhibition of Man Ray’s prints—to the contemporary—such as Kavi Gupta Chicago/Berlin gallery’s planned presentation of Theaster Gates’s “Migration Rickshaw for German Living.” As in previous years, Latin American artists and galleries are well represented. São Paulo–based Luciano Brito Galeria is debuting new work by internationally acclaimed performance artist Marina Abramović. During 2012–2013 the artist and her team embarked on an immersive three-month trip through the Brazilian countryside, engaging with the landscape as a restorative process. Studying local healing rituals, mystic elements, culture, and religion, she documented the trip in photographs and video, laying the groundwork for a more extensive 2015 exhibition. Artist Luis Gispert’s solo exhibition at Chicagobased Rhona Hoffman Gallery is based on his ongoing exploration of American subcultures, including Latin American Modernism, Latin American music, and the Black Power movement. Gispert

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E xc l u s i ve M a r ket i n g & S a l e s O N E S OT H EBY ’ S I N T ER NATI O NAL R E ALT Y ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. THIS OFFERING IS MADE ONLY BY THE PROSPECTUS FOR THE CONDOMINIUM AND NO STATEMENT SHOULD BE RELIED UPON IF NOT MADE IN THE PROSPECTUS. THIS IS NOT AN OFFER TO SELL, OR SOLICITATION OF OFFERS TO BUY, THE CONDOMINIUM UNITS IN STATES WHERE SUCH OFFER OR SOLICITATION CANNOT BE MADE. PRICES, PLANS AND SPECIFICATIONS ARE SUBJECT TO CHANGE WITHOUT NOTICE.

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Sunsets from…, by Oriol Vilanova, 2013.

Art in Focus

hen navigating a behemoth show like Art Basel in Miami Beach, shrewd collectors, curators, and critics tend to gravitate toward the event’s more structured sectors—small, tightly edited displays often showcasing up-and-coming talent that work wonderfully in tandem with the event’s more signature offerings. Over the years, Positions has emerged as a favorite among them, prime for discoveries as young galleries from around the world bring their A-game with carefully curated, single-artist booths. This year, Positions will feature work by 16 artists affiliated with emerging and ambitious dealers hailing from talent-heavy contemporary-art hubs around the world. As one might expect, the work therein will range from in-booth installations to abstract photography, expressive paintings, and genre-defying interdisciplinary displays (like Laercio Redondo’s architectural silk screens on plywood at Rio de Janeiro’s Silvia Cintra + Box4 and Jorge Pedro Núñez’s 2D-3D dialogue, The Stone of Madness, a combination of prints and sculptures at Paris’s Galerie Crèvecoeur). On the decidedly lo-fi side, there’s Dove Allouche at Paris’s Gaudel de Stampa. Allouche enacts Pictures Generation–like appropriation using the physautotype, a little-known, 181-year-old, lavender-enhanced

photographic technique. Allouche used it to rephotograph images from a 1903 astrophysics tome documenting the light-producing granulation that occurs on the surface of the sun. The resulting silver-plated copper prints are hauntingly abstract—grainy, almost chromosomal, relic-like images depicting something that is, for the time being at least, eternally present. It’s not quite as outdated as the physautotype, but Oriol Vilanova, showing with Madrid- and Ibiza-based Parra & Romero, will exhibit a body of work built around another dated mode of image-sharing: the postcard. His Sunsets from… (2013) is an installation of some 500 postcards of sunsets sans any traces of human life, dating from the early 1900s to the present and documenting locations ranging from Miami (quite fittingly...) to the Côte d’Azur. Also riffing on vintage vantage points is Nicolás Consuegra, whose in-booth installation at Bogotá’s La Central invokes the panorama, a popular way of looking at images and art pre-cinema in the 19th century. The video footage screened therein documents various points on Colombia’s significant Magdalena River, gushing across all 15 screens. The 2013 piece is titled El agua que tocas es la última que ha pasado y la primera que viene (The water that you touch is the last of what has passed and the first of that which comes).

Video, it seems, will be something of a thread throughout the galleries participating in this year’s Positions sector, too. At Nogueras Blanchard, which has locations in both Barcelona and Madrid, Juan López will exhibit vinyl and electrical tape sculptures mimicking convex traffic mirrors that are brimming with video footage of overlooked elements of everyday life. Stefanos Tsivopoulos, showing with the Athens- and Thessaloniki-based Kalfayan Galleries, probes the world around him, too. His single-channel video installation, History Zero (2013), will act as the centerpiece of his in-booth display. The film—which uses intimate, interpersonal relationships to explore financial-crisis-era issues like money and value—was also shown in the Greek Pavilion at this summer’s 55th Venice Biennale. Other exhibitors include Tom Holmes at New York’s Bureau, Mathieu Malouf at Brooklyn’s Real Fine Arts, Seung Yul Oh at Seoul’s One and J. Gallery, Nadira Husain at Berlin’s PSM, Wang Yuyang at Beijing’s Tang Contemporary Art, Vijai Patchineelam at Buenos Aires’ Ignacio Liprandi Arte Contemporáneo, Lourival Cuquinha at São Paulo’s Baró Galeria, Gabriel Acevedo Velarde at Berlin’s Arratia Beer, and Ulrik Heltoft at Copenhagen’s Andersen’s Contemporary. ABMB

PHOTOGRAPHY COURTESY OF ORIOL VILANOVA AND PARRA & ROMERO GALLERY

The Positions sector zeroes in on a new crop of emerging talent. By Rachel Wolff

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First “Edition” A highly specialized sector comes to Miami Beach after two decades of success in Basel. By Laura Van Straaten

Eko Nugroho’s Replacing Myself 4, 2013, Singapore Tyler Print Institute

Tyler Print Institute (STPI), an artist residency workshop and gallery based in Singapore that focuses on print- and papermaking. The artists that STPI is exhibiting exemplify boundary-busting work with prints and paper. In addition to presenting recent work by New York–based artist Teresita Fernández and Indonesian artist Eko Nugroho (recently listed in Art + Auction magazine’s “Top 50 under 50”), STPI is showing recent work by Turner Prize–winning sculptor Richard Deacon. The London-based Deacon, who is renowned for his large scale public commissions and has a major retrospective opening at the Tate Britain come February, used an ancient, aqueous marbling technique on paper and elaborate folding to create colorful “buildings.” Each structure of the “Housing” series, as it is called, was inspired by the apartment towers he observed on his long perambulations throughout Singapore (the city-state is committed

to housing all citizens), during his residencies with STPI in 2011 and 2012. “It’s all based on paper,” says STPI Director Emi Eu. “For Richard’s collectors, the Housing series will be very exciting, as it is a new medium.” In addition to STPI, Edition participants this week include exhibitors from seven countries. Among them are first-time Miami Beach exhibitors Alan Cristea Gallery (London), Crown Point Press (San Francisco), Gdm (Paris), Pace Prints (New York), and Paul Stolper Gallery (London). Eu says she found a “very high caliber, intelligent audience willing to look at new names and discover new artists” when STPI exhibited at Edition in Basel last June. She and her dozen fellow exhibitors in Art Basel in Miami Beach’s newest sector surely hope to enjoy more of the same as Edition debuts in Miami Beach this week. ABMB

PHOTOGRAPHY ©EKO NUGROHO/COURTESY OF SINGAPORE TYLER PRINT INSTITUTE

he latest Swiss import to Art Basel in Miami Beach is the Edition sector, where a small group of exhibitors specializing in prints and multiple editions present the work of internationally renowned artists—many of whom have longestablished careers in other media. Premiering this year in Miami Beach, Edition became an official sector of the original show in Basel 20 years ago, after two years as a separate fair. Brian Rumbolo is director of the New York– based Carolina Nitsch gallery, which is devoted to helping artists “explore new possibilities that stretch the boundaries of printmaking” and has participated in Art Basel in Miami Beach since 2005. He says that in previous years, “There have always been several of us who focus on multiples who were just in with all the other galleries on the main floor and then moved around a bit year to year.” “Certain collectors are looking specifically for editions,” says Rumbolo of work that is often lower-priced and thus a gateway for people new to collecting. Now it will be easier for those collectors to find their way within the 500,000 square feet of the convention center. Additionally, Rumbolo seems confident that this new sector “will certainly raise the awareness and importance of editions in contemporary art, going back to Robert Rauschenberg, Jasper Johns, Ed Ruscha, Richard Tuttle, and others, who view multiples as an important part of what they do and where that collaboration with technicians is integral to their artistic process,” he says. One of the 13 Edition exhibitors this week is Singapore

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Snapshots of Life

Nan Goldin—I Remember Your Face captures the essence of photographer Nan Goldin in a poignant documentary film that’s earning accolades at this year’s Art Basel. By Mickey Rapkin

efore everyone in New York started referring to themselves as street photographers and Instagram let us immortalize every moment in amber, Nan Goldin was making the personal public. Her breakthrough slide show, The Ballad of Sexual Dependency, chronicled a postStonewall, post-punk New York, and elevated the mundane into art. The series made her famous—especially below 14th Street, but everywhere else as well. Goldin is the subject of director Sabine Lidl’s stirring documentary Nan Goldin—I Remember Your Face, which feels a lot like one of Goldin’s own photographs being celebrated as the film during Art Basel in Miami Beach this season. We’re allowed to be voyeurs in her world for an hour, and the view is priceless. The film retraces the years Goldin spent living in Berlin in the ’90s—a time she’s called among the happiest in her life. Lidl’s camera trails Goldin as she visits old friends, smokes a million cigarettes, and tosses off just as many bon mots. The film must have been a challenge to edit, since Goldin speaks in sound bites (a favorite: “When I hear kids crying really loud on the street, I’m envious.”).

This is no Ken Burns–style deep dive. In fact, Goldin, now 60, resisted sit-down interviews where she’d be expected to recap her biography in great detail. “I’m tired of it,” she told Lidl. Fair enough. Though Lidl was wise to weave in just enough context (Goldin’s suburban Maryland childhood, her sister’s suicide) to make the emotional beats pay off. In a way, what emerges is something perhaps more personal: The film plays like a kaleidoscope of Goldin’s life, with different images melding into one another the way memories often do. And Goldin doesn’t hold back, showing her scars— physical and otherwise. Suffering a fall late one evening, Goldin winds up in a hospital emergency room after midnight. It’s a sight gag, almost: This icon seated in a drab room, impatiently waiting to see a doctor. But something about having to sit still for a moment must have freed up something in Goldin, because in this unlikely place she unleashes a tidal wave of reflection. “I’m a gay man in a woman’s body,” she says, before also admitting that she wishes she’d had a child. Says Lidl of that moment in the waiting room, “I started to cry when I saw it. I felt so close to her.”

That loneliness pervades the film, which shouldn’t surprise. Goldin once wrote in her 1999 book, Couples and Loneliness, “I used to think that I couldn’t lose anyone if I photographed them enough.” And yet, Goldin’s life has been impossibly full, and the joy of the film—and there is so much joy here—comes from watching her reminisce with old friends, including writer Joachim Sartorius and artist Piotr Nathan. Early in the film, Goldin sits down with Clemens Schiek. Now a well-known actor abroad, he was a waiter in Berlin in the ’90s when Goldin first photographed him. Seated face-to-face all these years later, she recalls how they fell into bed that first night. “Do you remember who started that?” Goldin asks. She lets the moment linger before adding: “It was probably me.” Almost 20 years later, the sexual tension in the room is ripe—of a moment shared, savored like a favorite snapshot. Goldin, who is sometimes credited with having invented “heroin chic,” often photographs children now. Life comes full circle. It has been ever thus. In the film’s final shot, we see Goldin visiting Marlene Dietrich’s grave, where she talks about reincarnation. With a cigarette in her mouth, burning as brightly as her red hair, Goldin says: “I’m coming back as a top model. With no brain. And long legs. That’s my dream.” Nan Goldin—I Remember Your Face (2013) will be shown at the Colony Theatre, 1040 Lincoln Road, Miami Beach, at 8:30 pm on Friday, December 6. Entry is free, but seating is limited. ABMB

PHOTOGRAPHY BY ©MEDEAFILM/S, LIDL (2013)

A film still from Nan Goldin— I Remember Your Face, which will be on view at Art Basel In Miami Beach this year.

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Moving Pictures

Art Basel in Miami Beach’s Film Program selections for 2013 reflect collaboration and collectively mirror the viewing public. By David Gryn

his year’s Art Basel in Miami Beach’s Film Program selection (previously called Art Video) is the third edition I have curated, and it’s dedicated to the idea of collaboration—particularly celebrating the intersection between visual art, music, dance, and animation. An art “alchemy” emerges when visualmeets-sound-meets-movement. There is also the collaboration of the art fair with the city of Miami Beach and the surrounding venues. Miami Beach comes alive with the confluence of peoples from all over the world. These films are all great works in their own right, but in unison they reflect the

audience and make sense of the viewers and place. Of the many works we are showing, I am excited to include the brilliant Dara Birnbaum’s Arabesque, which the artist has specially converted from four screens to a single-screen version. I love the idea of the sounds of Clara Schumann on the walls of the New World Center, home of the New World Symphony. In the same vein, Shirin Neshat’s Turbulant will be spine-tingling—hearing and seeing it on this vast scale in Miami Beach, its mesmeric sound resonating and lingering with the audience indefinitely. I am also delighted to feature Yinka Shonibare MBE; his three magical films—Un Ballo in Maschera

COURTESY OF SUH DUNGWOOK AND ONE AND J. GALLERY (LIGHT ON THE WATER)

Addio del Passato, by Yinka Shonibare MBE, 2011.

(A Masked Ball), 2004; Addio del Passato, 2011; and Odile and Odette, 2005—exemplify the brilliant collaboration currently happening between music and choreography, centered specifically on addressing the issues of otherness. I am proud to include Rineke Dijkstra’s work and a new short piece by William Kentridge and his musical collaborator, Philip Miller. Also, an inspiring and aspirational discovery for me is the collective Leo Gabin. We are so pleased to have works from galleries from all corners of the world, many of which are world premieres or specially reconfigured for this section. Program titles that incorporate music and dance include Prelude to a Syncopation (Leo Gabin and Rashaad Newsome), An Elegy for Voice and Silence (Christian Jankowski and Kehinde Wiley), Arabesque Reanimation (Dara Birnbaum and Joan Jonas), Fantasia for Dissonant Harmonies (Carlos Amorales, Friedrich Kunath, and Lucien Smith), New Dream Machine and Other Films (Martin Creed, Shezad Dawood, and Mickalene Thomas), Shuffle Notes—Beauty in Danger (Brian Alfred and David Shrigley) and the aforementioned Addio del Passato (Yinka Shonibare MBE). Additionally, there are some major new innovations this year in how we screen the films. The five viewing pods inside the fair will be interactive, enabling the viewers to select films they want to watch via touch screens, thus allowing us to include longer films, such as a new John Cage documentary with footage of his printing practice from Crown Point Press. In the outdoor screening, we have worked with the DJ, broadcaster, and musician Max Reinhardt, whose knowledge and deep understanding of world music—reflecting the broad spectrum of galleries, artists, and audiences—was a perfect match, creating a corresponding soundscape before and in between the films that are being screened. It perfectly echoes the artists’ films and locations. ABMB

PHOTOGRAPHY COURTESY OF YINKA SHONIBARE MBE AND STEPHEN FRIEDMAN GALLERY AND JAMES COHAN GALLERY (ADDIO DEL PASSATO);

Light on the Water, by Suh Dongwook, 2011.

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LOCAL INSTITUTIONS

buzzed-about emerging talent, including British-Guyanese artist Hew Locke’s aforementioned nautical installation (a tribute to immigration waves and woes, titled For Those in Peril on the Sea, 2011) and a new example of Polish sculptor Monika Sosnowska’s elegiac, twistedsteel musings on postwar Warsaw. Like Sosnowska, the artist behind the museum’s inaugural special exhibition hails from a society deep in transition: PAMM will host a three-month run of Chinese provocateur Ai Weiwei’s touring retrospective, “According to What?” Co-organized with the Mori Art Museum in Tokyo, the exhibition showcases the range of his interdisciplinary practice, from riffs on ancient Chinese Installation view of “Ai Weiwei: According to What?” TOP: Dropping pottery (the porcelain crabs and urns a Han Dynasty Urn, 1995/2009. labeled COCA-COLA, rendered in that BOTTOM: Colored Vases, 2007-2010. familiar curling script) to hulking sculptures made of compounded bicycles, chairs, and steel rebar salvaged from the ruins of the 2008 Sichuan earthquake. The museum was renamed in recognition of a gift The Miami Art Museum reopens as the Pérez Art Museum Miami, with a from Jorge M. Pérez, who, in addition to financial great new building by the Swiss firm Herzog & de Meuron. By Rachel Wolff support, added more than 100 important pieces to the permanent collection, including works by Beatriz hen the Miami Art Museum reopens includes the Caribbean, the Southern United States, Gonzàlez, Wilfredo Lam, Roberto Matta Echaurren, this week as the Pérez Art Museum and South America—and what ideas are relevant to and Diego Rivera, from his renowned collection of Latin American art. Miami collectors Debra and Miami, thousands of handmade a place like Miami.” “Miami is a young city,” he adds. “It’s kind of a Dennis Scholl also made significant contributions, porcelain crabs will be strewn across a gallery floor, dozens of scaled-down ship replicas pleasure city, but it’s also a site of new immigrants— adding pieces by Vito Acconci, John Baldessari, will dangle from a ceiling, modern masterworks cultures in transition, in formation. We want to Olafur Eliasson, Liam Gillick, Dennis Oppenheim, Pipilotti Rist, and Carolee Schneemann. by Cuban maestro Amelia Peláez will PAMM’s handling of this new mateadorn freshly painted walls, and phorial could be one of the most exciting tographs spanning more than a century elements of its opening season. Titled by the likes of Edward Steichen, Robert “AMERICANA,” the inaugural permaMapplethorpe, Tina Barney, and Rineke —TOBIAS OSTRANDER nent collection exhibition will group a Dijkstra will coalesce in a massive salonwide range of works from artists of North style display. But just as impressive as the stunning array of art be very specific about the questions and artworks American, South American, Central American, that will fill Herzog & de Meuron’s equally spec- we feel are very relevant to Miami at this point in and Caribbean origins into six carefully conceived tacular new building—with its clean, Wright-like lines time, but also to generate a dialogue with other cit- themes: “Desiring Landscape,” “Sources of the and icicle-esque hanging columns of greenery—is ies in the world that may be dealing with some of Self,” “Formalizing Craft,” “Progressive Forms,” “Commodity Culture,” and, most intriguing perthe clarity of vision with which the museum will these issues, too.” Thus, PAMM’s inaugural programming spans haps, “Corporal Violence,” using pieces by artists relaunch. “We’re really trying to think very much about Miami and Miami’s position in the world,” continents and eras, taking this broader view of like Oscar Muñoz, Faith Ringgold, Nancy Spero, says PAMM chief curator Tobias Ostrander. “That Miami’s identity as a city. Four Project Galleries Artur Barrio, and Miguel Angel Rojas for a cross-culmeans thinking about Miami as part of a region that will host focused events from internationally tural exploration of the human body in duress. ABMB

Breaking New Ground

PHOTOGRAPHY BY CATHY CARVER

“We want to be very specific about the questions and artworks we feel are relevant to Miami.”

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Concentrated watercolors, water-based acrylics, and water

Simply look a little deeper

That is what artists do. They look beyond the expected, often finding inspiration in surprising places. At UBS, we apply a similar kind of attitude to everything we do. It is through this search for deeper meaning that we are able to discover new and interesting perspectives. These, in turn, allow us to uncover new investment opportunities for our clients. It is in this spirit that we have supported the Miami Beach edition of Art Basel, the premier art show for modern and contemporary works, for more than ten years. It is just another way of showing that everywhere is, in fact, art. We are proud to be the global Lead Partner of Art Basel. ubs.com/art

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Everywhere is Art

LOCAL INSTITUTIONS

Parachutist, c. 1932, by Antonio Giuseppe Santagata.

Exploring the Ideal and the Unreal The Wolfsonian–FIU examines the influence of Italian art and design between the wars, when Classicism and Modernism signed an uneasy truce. By Jean Nayar

iven the Wolfsonian–FIU’s vast collection of Italian holdings, it isn’t surprising that the Italian Consulate in Miami would ask the museum to mount an exhibition this year. The Ministry of Foreign Affairs and the Embassy of Italy in Washington, DC, have designated 2013 the Year of Italian Culture in the US, and few museums are better equipped than the Wolfsonian to showcase aspects of Italy’s cultural heritage and highlight its influence on America—and, for that matter, the world. “We have an enormous Italian collection,” says Director Cathy Leff. “So we chose to look at one aspect of Italian culture that hadn’t been previously exhibited, to show how Italian art and design of a single period affect our collective understanding of the world.” “Rebirth of Rome” consists of a trio of interrelated exhibitions that present this snapshot of Italian history by examining the “aesthetics of dictatorship” under Benito Mussolini during the interwar years of the 1920s and 1930s, an era when a return to Classicism and a tolerance for the avant-garde coexisted uneasily.

Foro Mussolini, Roma, c. 1937, by George Hoyningen-Huene.

One of the exhibitions, “Echoes and Origins: Italian Interwar Design,” explores how Italy’s designers and artisans cultivated the idea of Italianatá, or Italianness, which both glorified the Roman Empire and celebrated modern innovation. “The furniture, industrial objects, glass and ceramic pieces, and graphic designs in the exhibition were produced in Italy from the 1920s through the 1940s, when much of the Deco architecture on Miami Beach was built, and remain a modern influence today,” says Silvia Barisione, curator of exhibitions. “Among them is a beautiful silver nickel tea set by Gio Ponti, as well as a poster by Lucio Fontana, an abstract painter who is surely well known to the crowd attending Art Basel in Miami Beach.” International art lovers will also find contemporary resonance with culture-influencing geopolitics in the two other exhibitions. “The Birth of Rome” looks at the intersection between Italy’s mythologized past and the ideology of Mussolini through a series of monumental mosaic studies and architectural renderings of projects carried out during his Fascist regime. And “Rendering War” focuses on

Concurrently—and just in time for Art Basel—two new installations will riff on the museum’s historical assets from a contemporary point of view. The Art of Illumination: Illuminating the Arts, a project by lighting designer Hervé Descottes of L’Observatoire International, will debut in early December and become part of the museum’s permanent infrastructure. “It will highlight the museum’s monumental Mediterranean Revival building on Washington Avenue with streamed images of pieces in our collection that appear to leak out of the building and animate the street as the building goes to sleep at night,” says Leff. In addition, a temporary installation, showcased in the museum’s Bridge Tender House space, presents a sculpture by local artist Gideon Barnett that offers a fresh take on a bust of Louis XIV by Baroque Italian master Gian Lorenzo Bernini. “The Wolfsonian’s current Italian exhibitions explore the tension and creative navigation between two poles—a classic Roman past and a future of innovation,” says assistant curator Matthew Abess. Like the Italian artists of the 1920s and ’30s, he points out, Barnett has interpreted historical forms with new technologies. And like the work of those artists, Barnett’s installation is sure to spark its share of spirited debate, but in a whole new international context. ABMB

—CATHY LEFF

large-scale studies for murals created by Italian Novecento artist Antonio Giuseppe Santagata to celebrate Italy’s veterans of World War I. While these public works were commissioned to restore a sense of Italian national pride, they also fueled a vigorous debate about the relationship between new architecture and visual culture.

PHOTOGRAPHY BY LYNTON GARDINER

“We chose to show how Italian art and design in a single period affect our understanding of the world.”

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Untitled (Den), 2012, by Piotr Ukla ski.

Artistic Expression

he Bass Museum of Art is going all out

for Art Basel in Miami Beach with an exhibition by artist Piótr Uklański that will take up the museum’s entire second floor. The sprawling four-room display, titled “ESL” (the abbreviation for “English as a second language”), will incorporate sculpture, painting, photography, site-specific fabric work and murals, performance, and film, including works both old and new. The title emphasizes not only the artist’s outsider status—he emigrated to America from Poland—but also the fact that he has deliberately positioned his 25-year-old artistic practice outside the mainstream cultural box. There will be a tie-dye room featuring a huge American flag, and a room showcasing an enormous textile eye dangling from a tangle of red and blue fabric nerves. Other works, spanning Uklański’s career, will include paintings made from crayon shavings, torn paper collages, and tie-dye paintings. “Neither English nor abstraction is my mother tongue,” the artist has said. “These paintings ‘speak’ an aesthetic of ESL.” “In the past, Piotr’s exhibitions have always dealt with his Polishness and immigrant experience, and this is why I thought his work and the

questions he brings up in ‘ESL’ are so relevant to a place like Miami,” says Silvia Cubiñá, the Bass Museum’s executive director and chief curator. “Furthermore, taking place concurrent with an international event such as Art Basel, the concepts of belonging and not belonging, adopting more than one identity, and moving from one identity to another—presented in very abstract works and

“These paintings ‘speak’ an aesthetic of ESL.” —PIOTR UKLAńSKI

installations—seemed interesting and appealing.” Meanwhile, outside the museum in Collins Park, the section of the fair known as Public will sprout an eclectic sculpture garden. Curated by Public Art Fund’s director and chief curator, Nicholas Baume, the exhibition, called “Social Animals,” will feature about 20 works by artists such as Huma Bhabha, Mark di Suvero, Charlotte Posenenske, and Ursula von Rydingsvard, including Bhabha’s primal God of Some Things, di Suvero’s X-shaped Exemplar, and Alicja Kwade’s linear steel piece Pulse.

As Baume explains it, “The exhibition title, ‘Social Animals,’ comes from an Aristotle quotation that human beings are by nature social animals. I thought that was a wonderful phrase, both given the context of the Miami art fair, which is a convergence of people from all over the world to experience culture, commerce, and communication, and very much a social process and phenomenon, and the fact that Collins Park, which surrounds the Bass Museum, is a public park and inherently a social place. I wanted to engage these works in conversation with each other, with their location, and with visitors, so that they in a sense become a contemporary community of works of art that suggest the animal, organic, and natural world, and also represent artists of different generations and nationalities working in different mediums and scales.” The sculpture garden will stretch throughout the park, which includes a formal central avenue leading up to the museum. Several of the younger artists are creating new works specifically for the show, including Mungo Thomson, who has devised a sound installation, Cricket Solo for Clarinet, featuring a clarinet played on a single outdoor speaker mounted in grass. ABMB

PHOTOGRAPHY BY MACIEJ LANDSBERG, COURTESY OF NATIONAL GALLERY OF ART, 2012

Inside the Bass Museum, a new exhibit explores the idea of the outsider, while outside, a sculptural community is born. By Phoebe Hoban

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LOCAL INSTITUTIONS untitled: tangledtwister, 2013, by Phyllida Barlow.

The Unbearable Lightness of Being The Norton Museum of Art spotlights the oversize work of British sculptor Phyllida Barlow in its annual RAW series. By Jean Nayar

like cardboard and polystyrene, to assemble pieces that look familiar and come from her intense fascination with the world around her and her sense of thinking of sculpture as everywhere.” Inspired by Arte Povera and American sculptors like Eva Hesse, Barlow’s experimental approach to materials—which reflect the North London urban context she works in and are often picked up directly from the streets—drives the frequently ephemeral quality of her sculptures, as she assembles them on-site and often breaks them down after an exhibition to be recycled into future pieces. Ranging from intimate to

for viewers as they walk around and through it. Awarded the Aachen Art Prize last year, cited as one of the best artists in the Arsanale during this year’s Venice Biennale, and selected to show at the Carnegie International Exhibition in Pittsburgh this past fall, Barlow is beloved by generations of artists trained by her at the Slade School of Fine Art in London, where she has taught for four decades. Selected this year as the third solo artist (and first sculptor) in the Norton’s annual Recognition of Art by Women (RAW) series— devoted to showcasing the work of living female artists and funded by a grant from the Leonard and Sophie Davis Fund/ML Dauray Arts Initiative— Barlow joins British figurative painter Jenny Saville and American landscape painter Sylvia Plimack Mangold, whose pieces were shown in 2011 and 2012, respectively. “Her work since the mid-1960s has pushed boundaries and personifies the mission of RAW, to promote the work of contemporary female artists who revolutionize their mediums,” says Alswang, noting that the sculpture’s significance is a reason for visitors to South Florida during Art Basel to take some time to visit Palm Beach and see it. Experiencing this gifted artist’s sculptures firsthand—as well as a yearlong sitespecific mural installation by Mickalene Thomas in the museum’s lobby and several exhibitions from its permanent collection—is sure to be worth the trek. ABMB

“Her work has pushed boundaries and personifies the mission of RAW.” —HOPE ALSWANG

massive, her works aim to challenge the heroic monumentalism of her predecessors and capture instead the absurdity and transience of life. Among the 11 sculptures currently on display in three galleries of the museum is one of Barlow’s favorites, from a series called untitled: brokenupturnedhouse (2013), inspired by Hurricane Katrina, which is sure to resonate with Gulf Coast residents and visitors to South Florida. The work is one of several that fill the galleries from floor to ceiling, creating a destabilizing yet intriguing ambience

PHOTOGRAPHY BY PAUL CROSBY/COURTESY OF THE ARTIST AND HAUSER & WIRTH (TANGLEDTWISTER); COURTESY OF THE ARTIST AND HAUSER & WIRTH (BROKENUPTURNEDHOUSE)

he magnetic pull of the colossal sculptures of British artist Phyllida Barlow is likely to draw many an art lover attending Art Basel this season, taking them beyond the well-trod ground of Miami Beach to Palm Beach, where her work will be shown at the Norton Museum of Art. While Barlow has remained largely unknown to collectors outside England during her 40-plus-year career, at the age of 69 she is suddenly getting the recognition she deserves in the US and the rest of Europe. And her exhibition at the Norton— called “Hoard,” on view from December 3 through February 23, 2014—promises to expand the dialogue about her work even further. “Phyllida Barlow has had a profound impact on how artists today think about and make sculpture,” says Hope Alswang, executive director and CEO of the Norton. “From her use of industrial materials like concrete and wooden pallets to her playful sense of formalism, Barlow has redefined what sculpture can be.” Although many of her pieces are extremely large, often filling a gallery or room, Barlow actually sees her work as “antimonumental,” says Norton curator Cheryl Brutvan, the exhibition’s organizer. “Unlike the large metal sculptural works of contemporary sculptors like Jeff Koons or Richard Serra, Barlow focuses on an elevation of humble materials,

untitled: brokenupturnedhouse, 2013, by Phyllida Barlow (detail).

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LOCAL INSTITUTIONS Cabrué Casulo, 2013, by Hugo França.

Natural Beauty

At Fairchild Tropical Botanic Garden, Hugo França gives new life to fallen trees in sensuous, functional, eco-friendly works of art. By Jean Nayar

rt aficionados converging on Miami Beach this season will find an appealing counterpoint to the buzz in the city and on the beach at the Fairchild Tropical Botanic Garden in Coral Gables. Not only can they take a leisurely stroll through the garden’s 83 acres, featuring worldrenowned collections of palms, cycads, orchids, tropical fruit trees, and other exotic plants, but they can also interact with an inspired exhibition of works by Brazilian artist Hugo França, who has crafted 16 stunning pieces from felled, burned, or dead trees found in the forests of Brazil. By giving new life to decaying elements of nature, the artist’s massive works elegantly draw attention to the idea of sustainability by exploring the intersections between art and design, man and nature, and life and death. The exhibition is the second in the garden’s Design at Fairchild program, which was launched last year and aims to foster a connection between the arts and sciences by setting extraordinary examples of design against the garden’s lush tropical landscape. It is also the second exhibition curated by Cristina Grajales, owner of the Cristina Grajales Gallery in New York. “The beauty of França’s pieces is their ability to engage an audience, not just visually but physically,”

says Grajales. “Because his works often take the form of large pieces of furniture, such as chairs, benches, and tables, they also show us how to live with art in nature in a gentle, wonderful way.” Recognizing South Florida as a gateway to Latin America, Grajales saw the garden’s setting as an ideal platform for exposing França’s work to a broader international audience (his art is familiar to many Latin American collectors and is represented

“Hugo works in poetic and extravagant ways.” —CRISTINA GRAJALES

exclusively in the US by the R 20th Century Gallery New York). “Hugo works in poetic and extravagant ways,” she explains. “Like Nakashima, he finds the ‘soul’ of the fallen trees to give them new life. The scale and shape of each sculpture is dictated by the wood, and the garden is quite large, which allows us to find the perfect place for each one.” The exhibition represents the first showing of França’s outdoor pieces in America, and the artist is equally enthusiastic about the location as a backdrop. “The basis of my work is the Mata Atlântica, a Brazilian

tropical forest,” he says. “I’m sure the dialogue between the tropical landscapes of the Fairchild and my production will be rich and inspiring.” França approaches each piece as an adventure. Trained as an industrial engineer, he gained his woodworking skills from the indigenous people of Brazil’s northeastern Bahia jungle, where he lived for 15 years. Although he works with a variety of Brazilian woods, including castanheira and baraúna, most of his pieces are made from pequi, a gigantic oleaginous tree with sensuous curves that guide his unique expressions. França’s work is beloved for its beauty, but it’s the sustainable sourcing that often inspires curators and collectors. “The evolution of design—especially as it relates with nature—has been a very exciting development,” says Nannette Zapata, the Fairchild’s chief operating officer, who worked with Grajales to curate the exhibition. “Hugo’s work is particularly exciting because it is, of course, extraordinarily beautiful, but it also has virtually zero impact on the environment. Suddenly we have the purity and warmth that nature creates resonating in our homes.” And with inspired works like those of Hugo França in our gardens, we’ll surely gain new ways of experiencing art and appreciating the natural world. ABMB

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LOCAL INSTITUTIONS LEFT: Little Conductor, 1948, by Henry Heerup. BELOW: Untitled, c. 1941, by Asger Jorn.

Next Stop, Fort Lauderdale

Under new direction, the Museum of Art, Fort Lauderdale accommodates South Florida aficionados in the void between Palm Beach and Miami. By Phoebe Hoban

“I was hired to give the museum a national, international, and regional identity.” —BONNIE CLEARWATER

Curated by Lowery Stokes Sims, the exhibit originated at New York’s Museum of Arts and Design and includes the work of 57 artists, among them Martin Puryear, Betye Saar, and Ai Weiwei. Such iconic pieces as Puryear’s wingback chair, Mark Moskowitz’s hidden log chest of drawers, and Ai Weiwei’s Grapes, a cluster of 10 Qing dynasty stools, will be on display. “Roman Vishniac Rediscovered” presents the work of the famous Eastern European photographer, known for his documentation of Jewish life, ranging from the photos he took in Berlin through his images of immigrant life in America. Organized by the International Center of Photography, the exhibit includes a number of never-before-seen works. “I was hired to give the museum a national, international, and regional identity,” says Clearwater. “We will focus on niches unique to the museum.” In addition to its Cobra holdings, the Museum of Art, Fort Lauderdale owns a comprehensive collection of work by William J. Glackens. “When you look at Bonnie’s track record, there is no question that she is going to energize that institution and put it on the map in a different way than it has been,” says Miami art collector Dennis Scholl, vice president/arts for the Knight Foundation. “That’s what Bonnie does—she goes in and makes things happen.” Clearwater has been credited with helping to

create the art world “swerve” toward Miami that began in the 1990s. Now, she says, “I want to create a swerve toward Fort Lauderdale.” Only 10 minutes from the airport and already a hub for those en route to South Beach, the Museum of Art, Fort Lauderdale will host a director’s brunch in celebration of “Spirit of Cobra” at 11 AM on December 8, free to Art Basel and Design Miami VIPs. Reservations are required. ABMB

PHOTOGRAPHY COURTESY OF MUSEUM OF ART/FORT LAUDERDALE, NOVA SOUTHEASTERN UNIVERSITY; THE GOLDA AND MEYER MARKS COBRA COLLECTION

isitors to this year’s Art Basel in Miami Beach may find themselves straying a bit farther afield for some serious art viewing. Bonnie Clearwater, former director and chief curator of the Museum of Contemporary Art, North Miami, intends to make the Museum of Art, Fort Lauderdale the latest destination on the art map. “The South Florida art world doesn’t stop at Broward County,” declares Clearwater, who took up her new post as director and chief curator of the Fort Lauderdale museum this past September. “What’s going to happen now is that Fort Lauderdale will become a pivotal point and a bridge between Miami and Palm Beach,” she says, “so there will be a continuous Gold Coast of culture.” If anyone can bring that about, it’s Clearwater, who during her 18-year tenure at MOCA made it a major focal point of the Miami art scene. “In terms of today’s world of contemporary art, Bonnie is a rainmaker. She’ll get things going,” says renowned Miami art collector Marty Margulies, whose Margulies Collection at the Warehouse, housed in a huge space in Wynwood, is an annual must-see for fairgoers. The Museum of Art, Fort Lauderdale will run three exhibitions during the show. “Spirit of Cobra,” supported through a grant from the Knight Foundation, will showcase the museum’s huge holdings in the European avant-garde art movement known as Cobra. Started in Paris just after World War II, it took its name from the native cities of its founders: Copenhagen, Brussels, and Amsterdam. The exhibition, organized in collaboration with the Cobra Museum of Modern Art in the Netherlands, will feature paintings, drawings, and mixed-media works by artists such as Karel Appel, Pierre Alechinsky, Asger Jorn, and Carl-Henning Pedersen. The first of three Cobra shows scheduled over the next three years, the exhibition has already sparked interest from a number of European collectors attending the fair, according to Clearwater. “Against the Grain” will feature some 90 artworks made from wood, including furniture and sculpture.

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Body of Work

s the saying goes, work expands to fill the time allotted for it. The week of Art Basel in Miami Beach operates in a similar fashion, as art expands to fill the space from Miami to... Vero Beach. Only a car drive away from the high energy of Miami, elegant Vero Beach is worth the trip. From December 8 to April 30, a body of work— figuratively speaking—from the legendary artist Jasper Johns will be showcased at Vero Beach’s The Gallery at Windsor. The exhibition is a collaboration between the gallery and London’s Whitechapel Gallery—the first place Johns showed in the UK, in 1964. Together with artist Robert Rauschenberg, composer John Cage, and choreographer Merce Cunningham, Johns created a new artistic language focused on the body—first as fragments and then as a whole, in shadow or silhouette, prints overlaying images and textures. It was sort of like the be-herenow sea-of-consciousness moment overlapping the opposing tides of memory and perception. The exhibition features “the body” as it appears in the lithographs and etchings that Johns has created with the Universal Limited Art Editions print studio from the 1980s to the present. Organized by the Whitechapel Gallery, the exhibit is curated by Iwona Blazwick, director of Whitechapel London, and Bill Goldston, director of Universal Limited Art Editions, in partnership with Windsor cofounder and creative

TOP LEFT: Untitled (US Embassies), 1999, by Jasper ABOVE: The Seasons, 1989, by Jasper Johns.

Johns.

director Hilary Weston and Johns himself. “I am a longtime devotee of Johns’s work because of his creative interpretation of ordinary yet powerful symbols, such as flags, targets, and numbers,” says Weston. “The collection we are showing at Windsor features another of his recur-

explains, “offers a unique backdrop to see worldclass art in a very special setting—a lush tropical locale just over a two-hour drive from the hustle and bustle of Art Basel in Miami Beach.” As with many collaborative projects, this one resulted in part from a personal bond. Blazwick happens to be married to a Canadian, and that “set up a natural connection right away,” says Weston, also a bornand-bred Canadian. “Iwona has a global perspective and is incredibly inventive at curating exhibits and pushing the art envelope, which really attracted us.” Weston invited Blazwick to Windsor to see the gallery and its surroundings, and Blazwick liked what she saw—especially the chance to work in a space in stark contrast to Whitechapel London. The collaboration between the two galleries, now in its third year, has previously showcased the work of Christo and Jeanne-Claude, Peter Doig, Ed Ruscha, Beatriz Milhazes, and Gert and Uwe Tobias. ABMB

“The figures evoke performance, process, narrative, and memory.” —HILARY WESTON

ring themes—the body. The silhouettes and figures in the works evoke performance, process, narrative, and memory.” Weston, a prominent Canadian philanthropist, says Vero Beach—emerging as an art destination in its own right and a satellite stop for Art Basel in Miami Beach—is an idyllic environment for contemplating such work. The Gallery at Windsor, she

The Gallery at Windsor celebrates artist Jasper Johns with a new exhibition during Art Basel. By Jennifer Keil

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COLLECTING

Global | Local | Public | Private Miami collections and spaces eye the world in their winter exhibitions. By Isolde Brielmaier

resenting a global view of contemporary art and artists, many of Miami’s private collections and art spaces take up the broad themes of geography, history, and the specificity of place in their fall/winter 2013 exhibitions, premiering during Art Basel in Miami Beach. While the Rubell Family Collection/ Contemporary Arts Foundation, the Margulies Collection at the WAREhOUSE, and the Cisneros Fontanals Art Foundation are all, to varying degrees, showcasing works from their permanent holdings, they hone in on artists from other countries, including Australia, China, and Italy. The De La Cruz Collection Contemporary Art Space presents “From the Collection,” which, true to its vision, offers seminal works from the space’s extensive permanent holdings. The nonprofit art space Locust Projects presents work from South Africa. And collectors Debra and Dennis Scholl, who typically stage large-scale indoor and outdoor exhibitions of work

from their collection throughout the exterior of their home, have invited an Australian curator to develop this year’s installation. These selections signal a dynamic collective shift, with Miami’s art venues underscoring the significance of artists from outside the US reconfiguring and even redefining what it

materials, and pushing the limitations of space, as well as the possibilities of the art-going experience. The offerings are potent, and they convey firm thoughts on the cultural, political, and economic concerns that govern our world today and extend far beyond Miami, art fairs, and the art world in general. In addition to maintaining notable permanent installations by a dozen artists, including Donald Judd, Olafur Eliasson, and Willem de Kooning, longtime curator Katherine Hinds of Margulies has based this year’s projects on the geographical themes of Germany, Italy, and China through works that “probe new ideas and practices across painting, sculpture, photography, video, and installation,” she says. Selected artists include Anselm Kiefer from Germany as well as Pier Paolo Calzolari and Jannis Kounellis, members of the Arte Povera movement in Italy. The Calzolari and Kounellis exhibition constitutes an ode to Arte Povera, a radical 1960s art movement

Artists from outside the US are redefining what it means to be international in today’s art world. means to be international in today’s art world. We are obliged to take notice. Works by artists Nicholas Hlobo, Ai Weiwei, Song Dong (at several of the institutions), and others are both cerebral and poetic, with some boldly blurring the perceived spatial and political lines between local and global, public and private, and inside and outside. There is astute attention given to process,

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Us, 2013, by Rob Pruitt, at the De La Cruz Collection Contemporary Art Space.

Untitled (mashup), 2012, by Aleksandra Domanovic, at the Rubell Family Collection.

Izithunzi and Kubomvu, 2009, by Nicholas Hlobo, at Locust Projects (installation view).

“We hope the exhibition will be a revelation regarding the diverse range of artistic practices in China.”

PHOTOGRAPHY COURTESY OF THE ARTIST AND STEVENSON, CAPE TOWN AND JOHANNESBURG (HLOBO); COURTESY OF THE ARTIST AND TANYA LEIGHTEN GALLERY BERLIN (DOMANOVIC)

—JUAN ROSELIONE-VALADEZ

that created a new politicized language and produced works made from very unorthodox materials. Also on display are three works by Kiefer. Two other notable highlights include an installation by Ai Weiwei drawn from Fairytale, which he presented at Documenta 12 and for which he invited 1,001 ordinary Chinese citizens to Kassel, Germany, as a way of opening up the idea of possibility and imagination to the masses and offering them new cultural and political experiences. And just beyond the entrance of the building is Wisdom of the Poor: A Communal Courtyard, an environmental piece by Song Dong that draws on elements from his work at the 2011 Venice Biennale and that was created specifically for the Margulies space. Song came to Miami from China to install this conceptual architectural work, which, Hinds explains, was “put together with a lot of love and thought and supports the notion of community and how people live in China.” In Wisdom of the Poor, Song scans the Chinese

mental landscape, exploring how tight living quarters have a direct impact on people’s relationships with one another. It is a resurrection of sorts and includes old, scavenged junk elements, which he has carefully transformed into an orderly, thoughtful maze. Mirrors abound, along with roughly 100 pieces of furniture collected between 1950 and the 1980s,

including discarded wardrobes (used to expand small spaces and create storage for important family items), each with doors that open to the inside and outside. It is a forceful and eloquent commentary on public and private space and the undoubtedly tenuous border between them. Collectors Don and Mera Rubell also chose to present an exhibition focused on China, but the compelling result began with a different approach. Over the past nine years, they have visited roughly 100 artist studios in China, and they’ve made some big strides, digging deeper and going beyond galleries and the art marketplace. Their efforts inspired them to develop an exhibition of various works by some of the artists they’ve met. The Rubells have been building this body of work for more than a decade, and the results of their travels are reflected in the show, which features pieces by 28 Chinese artists. “We are very excited about our forthcoming exhibition, and we hope it will serve as an introduction and revelation regarding the diverse range of artistic practices in China,” says the collection’s director, Juan Roselione-Valadez. All but one of the artists live and work in China, and only six

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COLLECTING

Untitled (Hope Chest Series), 2012, by Zwelethu Mthethwa, at Collection Martin Z. Margulies.

“‘Latin American art’ is an invention.... That’s why it’s so important to focus on the historical context.”

—JESUS FUENMAYOR

have gallery representation in North America. The Rubells’ exhibition creates a conversation among three generations of artists, with the oldest born in 1954 and the youngest in 1987. It’s accompanied by an illustrated catalogue with writings from each artist. The project has been put together with a great deal of passion and research, with the intent, Roselione-Valadez explains, Hlobo’s work was to enlighten those who are not created specifically for well-versed in contemporary Locust Projects. He Chinese art. collaborated with local At the long-standing artistConcerto Spaciale, 1960, by Lucio Fontana, Haitian musicians on founded space Locust Projects, at the Ella Fontanals-Cisneros Collection. a sketch of an opera Executive Director Chana Budgazad Sheldon has seamlessly blended the titled Intethe (“locust” in the Xhosa language), which local and the global in an exhibition by Miami art- is set among several of his sculptures and features ist Frances Trombly, as well as a specially commis- live performances. Hlobo is known for his sprawlsioned, site-specific installation by South African art- ing sculptures made of hand-sewn leather or rubber ist Nicholas Hlobo. Trombly, who has shown widely, and often suspended from the ceiling. For about a creates pieces that look mass-produced but are in fact year he has been in conversation with Budgazad handmade. Her work at Locust Projects is her larg- Sheldon, who is thrilled to see this proposal finally est installation to date. It features a 15-foot scaffold- come to fruition. Locust Projects will also kick off an ing, for which she created industrial fabric that she expanded version of its public commission with Art weaves over and under the structure, introducing on the Move, a program in which an artist—this winter Angel Otero was selected—creates works that are color in her first piece to explore handmade canvas.

installed on billboards, on bus shelters, and in other public spaces throughout Miami. Exploring how avant-garde artists from the Caribbean and Central and South America have become integral to discussions of and scholarship on international contemporary art, “Permission to Be Global” is a collaboration between the Cisneros Fontanals Art Foundation (CIFO) and the Museum of Fine Arts, Boston (MFA). After the exhibition premieres in Miami during Art Basel in Miami Beach, it will travel to Boston in March 2014. “Permission to Be Global” features more than 50 contemporary Latin American works from the collection of Ella Fontanals-Cisneros, founder and president of CIFO. Many of the sculptures, paintings, photographs, videos, installations, and performance pieces, from 1960 to the present, have never

PHOTOGRAPHY BY PETER HARHOLDT (CALZOLARI); COURTESY OF MARTIN Z. MARGULIES COLLECTION; COURTESY OF CIFO ART FOUNDATION; BY ORIOL TARRIDAS (FONTANA)

Sans Titre, 1969, by Pier Paolo Calzolari, at Collection Martin Z. Margulies.

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COLLECTING

“It’s a different type of collecting for us— less about look, look, look.” —DENNIS SCHOLL

been seen in New England. The exhibition includes works by Luis Camnitzer, Iran do Espirito Santo, Marisol Escobar, Oscar Muñoz, Ernesto Neto, Rivane Neuenschwander, Daniela Ortiz, Regina Silveira, and Valeska Soares and is divided into four thematic sections: “Power Parodied,” “Borders Redefined,” “Occupied Geometries,” and “Absence Accumulated.” Says Jesús Fuenmayor, CIFO’s director and chief curator, “‘Latin American art’ is an invention, as are any of the other categories that we use to refer to any particular group of artists. That is why it was so important for us to focus the exhibition in the historical context of the art production, where the artists in this exhibition have been working for the past half-century. I can’t think of a better way to introduce to the MFA so-called ‘Latin American art’ for the first time in its history.” The hope is that the exhibition will compel a reviewing and rethinking of what it means to be global today. With their nonprofit, artist-oriented space World Class Boxing on hiatus (a search for a new location is under way), collectors Debra and Dennis Scholl are reviving their in-home exhibitions, for which a guest curator (past curators have included Jessica Morgan, Trevor Schoonmaker, Connie Butler, and Nicholas Baume) draws from the couple’s collection and installs works throughout their home. The show

stays up for a year, and the Scholls, placing their trust and taste in the curator’s hands, agree to live with the selections for that period. For visitors to the residence—which boasts 4,000 square feet of loft space, with big white walls ideal for installing art—this annual project offers an opportunity to experience what “living with art” can truly mean. In making several trips to Australia over the past few years, the Scholls have developed a deep interest in contemporary Aboriginal art. “We were blown away as we began to learn more and more, and then Debra and I slowly began to purchase works by several artists,” explains Dennis Scholl. “It’s a different type of collecting for us—less about look, look, look and more about read, read, read… an exciting learning curve.” An exhibition of this growing collection titled “No Boundaries” will begin a national tour in 2015, debuting at the Nevada Museum of Art. For their Art Basel in Miami Beach in-house exhibition, the Scholls invited Australian curator Henry F. Skerritt,

an expert in Aboriginal art, to mount a preview of the touring project, placing several newly acquired Australian works in conversation with other artworks from their collection. It promises a journey around the world under one roof. In their global exhibitions this year, Miami’s collectors and art spaces have extended a broad reach, opening up a world of possibilities for visitors. Yes, Art Basel has everything under one roof, but the most magical discoveries often happen when venturing out to see what enterprising, deeply personal collections and artist-run spaces have to offer. ABMB

PHOTOGRAPHY BY ORIOL TARRIDAS; COURTESY OF CIFO ART FOUNDATION (SOARES); COURTESY OF DEBRA AND DENNIS SCHOLL COLLECTION (TJAMPITJIN)

Finale, 2003, by Valeska Soares, at the Ella Fontanals-Cisneros Collection. RIGHT: Purkitji (Diptych) by Boxer Milner Tjampitjin, at World Class Boxing.

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COLLECTING

Niche collector Michael Reynolds in his East Village bedroom surrounded by his photo collection. RIGHT: A vintage male nude by George Platt Lynes, circa 1936; and Mountain Doughboy, 2009, by Ain Cocke.

“Collectors buy work they love, but also want work that will be meaningful in the future.”

In Focus

Niche collectors are increasingly creating specific works based on subject matter, medium, or movement to distinguish themselves in the global art market. By Marina Cashdan

ast December, Sotheby’s sold more than 400 lots from Henry Buhl’s iconic and eccentric art collection comprising photographs of the human hand. The niche collection—including works by photographic masters Man Ray, Alfred Stieglitz, Herbert Bayer, Walker Evans, László Moholy-Nagy, and Andreas Gursky— brought in more than $12 million, reported as “the third highest for a single-owner collection of photographs and the highest ever for a private collection of photographs.” In an interview with The New York Times, Buhl recalled an early memory as a collector: “All the dealers in SoHo would say, ‘Why don’t you

collect a certain period or theme; you’re all over the place.’” Shortly after, Buhl bought a 1920 image taken by Alfred Stieglitz of the hands of Stieglitz’s future wife, artist Georgia O’Keeffe, entitled Hands and Thimble (1919), commencing what would eventually become the most prolific, and specific, collection of photographs in the history of art collecting. Niche collections, in many of their forms, are not a new approach to collecting but perhaps one that plays out more successfully in contemporary collecting with the development of a global art market—art fairs, online collecting sites, and social media have become new methods of sourcing very specific works for a niche

collection. For new and aspiring collectors, a focus is a very intelligent approach to collecting art, says Tamsen Greene, director of Jack Shainman Gallery in New York: “It would be very difficult to be an expert in all contemporary art, so focusing on particular regions, time periods, or mediums is a way for collectors to feel confident about both the individual works in their collections and their collection as a whole.” She adds, “Collectors buy work they love, but also want work that will be meaningful in the future. Sometimes the cumulative power of a group of works is even greater than the sum of its parts.” Greene points to collections such as Gilbert and Lila Silverman’s vast collection of Fluxus works, which was donated to New York’s Museum of Modern Art in 2008; or Bill Arnett’s collection of “outsider” art—“the world’s most comprehensive collection of art made by untrained black Southerners,” wrote Paige Williams in The New Yorker. “I know many collectors who have picked a few specific areas to focus on and are dedicated to them,” says Greene.

PHOTOGRAPHY BY FRANCOIS DISCHINGER

– TAMSEN GREENE

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COLLECTING Images from the Pizzuti Collection, “Cuba Forever Exhibit: Y Si Cago No Como,” by Alberto Casado, 2012 (BELOW) and 807 Havana, by Michael Eastman, 2010 (RIGHT).

Some collectors—like Suzanne Murphy, who works in investment management—develop their collections around subject matter as opposed to medium or movement. Murphy’s entire collection comprises text-based works, across all mediums. “Early on in my collecting and my career, I didn’t have a lot of disposable dollars to spend on art, but I found myself continually drawn toward text-based art,” recalls Murphy. “I fell in love with the work of Ed Ruscha. I was absolutely fascinated with his work.” Murphy’s collection of works includes Ruscha, Gary Simmons, Adam McEwen, Jenny Holzer, Joseph Kosuth, Fred Sandback, Barbara Kruger, Deborah Kass, McDermott & McGough, and many others. “I thought if I only have so much disposable income to spend on art and I am continually drawn to work with text, I would become focused on it,” she says. “I bought a Gary Simmons and Adam McEwen and then it continued on; and now there are over 110

pieces in the collection.” In her 15 years of collecting, Murphy’s eye has become more discerning, her understanding of the ever-changing market more refined, and her collection more known. “It’s fun when you’re in a position where a people come to you with [works], both from emerging and established artists,” she says. New York–based design editor Michael Reynolds and his partner Eric Hoffman, a creative director, collect photographs of the male nude. “I am by nature a provocative person,” says Reynolds. “I have always been

“I am by nature a provocative person. I have always been drawn to art and design that is provocative.” – MICHAEL REYNOLDS drawn to art and design that is provocative. For years now I have collected homoerotic photography. It is my culture, I am part of its lineage, and I am incredibly proud to carry its torch.” Reynolds and Hoffman have built an extraordinary collection of more than 150 photographs—mostly albumen, silver gelatin, and chromogenic color prints, from Eadweard Muybridge and Weegee to Robert Mapplethorpe and John Waters—sourcing works from galleries like Yancey Richardson, Steven Kasher, Sean Kelly, and many more. Jane Dresner Sadaka, a retired Wall Streeter, collects specific niches within her broader collection. Sadaka has about 30 drawings by sculptors. “When I began collecting [art] in the ’70s and ’80s, the only thing I could afford was drawings. I loved sculpture, but I couldn’t

PHOTOGRAPHY BY COURTESY OF PIZZUTI COLLECTION (CASADO, EASTMAN)

Ron and Ann Pizzuti, whose collection focuses on Cuba.

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COLLECTING Suzanne Murphy in her New York home, with Ellan MacDonald’s Light Mountain Down (2006), a silk screen on polished stainless steel.

afford it. Then I stumbled into drawings made by sculptors,” she says. Sadaka’s collection includes mainly 20th-century modern works, including David Smith, Elie Nadelman, Claes Oldenburg, and Joel Shapiro, with a handful of contemporary works. “The art market is so difficult to comprehend; if you’re a new and young collector, a more organized way to do it is to find a niche and run with it,” she says. Like Murphy, Sadaka believes that a unique benefit to collecting a very specific type of work is that one becomes an expert in that field; additionally, dealers appreciate this interest and expertise and often help niche collectors source works for their collections. “I bought several drawings [by sculptors] from Marianne [Boesky] and once she knew that, she’s been very good at finding wonderful sculptors that she represents and presenting their drawings to me.”

“If you’re a new and young collector, a more organized way to do it is to find a niche and run with it.” – JANE DRESNER SADAKA

its architecture, but it was the people and the artists themselves that drew him in. He was impressed by the quality of the work, the professionalism, the awareness, and the dialogue with the international art world. He believes in recognizing talent, especially where it is unknown.” She adds that, while the collection is specifically focused on Cuban artists and Cuba as subject, “the collection stands up in any context; it is important work globally.” Collecting art with a particular focus not only provides a disciplined entry point into collecting art and offers the collector a particular field of expertise, but it also reflects a certain intoxicating passion, borderline obsession, that’s hard to kick. Reynolds recalls:

“I remember buying my very first 19th-century von Gloeden albumen print from a downtown auction house. I was so intoxicated by the idea that I might possibly own an actual von Gloeden photograph—the likes of which I had only ever seen on a postcard or in a book. I bid ferociously against everyone in the room in order to win what I was convinced would be my one chance at owning this rare and precious thing. Twentysome-odd years and countless von Gloedens later, I now realize what a piece of shit I won for myself that day. It wasn’t worth the paper it was printed on. But it was my first (albeit inexperienced) stab at buying a vintage photograph, so I have since held onto it for sentimental reasons.” ABMB

PHOTOGRAPHY BY COSTAS PICADAS

rt collections might be as specific as textbased work and drawings by sculptors, but can also be categorized by medium or region. San Francisco–based art collectors Richard and Pamela Kramlich have one of the largest private collections of electronic art. Having collected since the 1980s, the couple have amassed a collection of over 300 works by historic artists such as Vito Acconci, Dara Birnbaum, Marcel Broodthaers, Dan Graham, and Bruce Nauman, as well as works by contemporary artists including Matthew Barney, Stan Douglas, Steve McQueen, Mariko Mori, Keith Tyson, and Jeff Wall, among others. The couple’s interest in electronic art was piqued when they went on a San Francisco Museum of Modern Art (SFMOMA) trip to Documenta in 1987. It was there that former SFMOMA director Jack Lane and curator John Caldwell introduced them to the work of Fischli & Weiss, from whom they acquired their first piece of video art. Since, the couple have been pioneering, and fostering, the once-underground electronic art genre, working with dealers like Marian Goodman Gallery, 303 Gallery, Yvon Lambert, Barbara Gladstone and many more who work predominantly in electronic art. Meanwhile Columbus-based collectors Ron and Ann Pizzuti have decided to focus a portion of their collection on regional art. In September, they opened a space for their contemporary art collection, including a collection of over 70 contemporary works by native Cuban artists and artists depicting Cuba, including Michael Eastman’s portraits of Havana and works by Cuban-American artist Teresita Fernández. “The Cuban art in the Pizzuti Collection is very special,” says Pizzuti Collection Director/Curator Rebecca Ibel. “Ron was taken with the natural beauty of the island and

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COLLECTING

Artistic Matrix

Creatives find strength joining collectives, an increasingly more common collaborative practice. By Robin Pogrebin

he four friends met in a graduate school drawing class and tried to figure out how they could make a dent in the Houston art scene. Ultimately, they decided they’d be stronger together than apart. So in 2002, they joined forces to create Otabenga Jones & Associates, a collective whose work was featured in the 2006 Whitney Biennial. “Organizing as a collective seemed like an obvious step for us,” says Robert A. Pruitt, a member of the group. “It’s a practical survival method. It’s harder and harder to survive as an artist.” Many other artists have made the same determination over the last decade—that their chances of producing work, getting noticed, and paying the bills are potentially better as a group than as individuals. And the benefits are not only practical, artists say; working as a collective gives them the opportunity to think bigger, bounce ideas off one another, and gain attention. As a result, collectives are sprouting up all over the world. And where once they might have seemed unorthodox or marginal, these groups are making their way into the mainstream—showing up in museum exhibitions and collaborating with galleries. “It’s part of a shift that the Internet has caused, which

is a kind of democratizing, networking, flattening of things from the pyramid with a few people who are brilliant at the top,” says Chrissie Iles, the prominent Whitney Museum of Art curator. “That hierarchical structure has transformed into a kind of matrix of flatness where things just keep popping up in different places, shifting and moving.” Examples of such collectives abound. A trio of artists known as SuttonBeresCuller met at Cornish College

Carpinteros, the Havana-based artists’ group, and Type A, the New York–based duo. The notion of collectives has been associated with political movements and some are informed by particular issues, like subRosa, a feminist art collective that critiques how information technologies impact women, and Tashweesh, a Palestinian performance collective that uses audio and visual techniques to explore the failure of Palestinian resistance movements. Some groups have modeled themselves after political collectives, though they aren’t necessarily political themselves. Otabenga Jones, for example, was inspired by the Black Panthers and its Black Arts Movement along with the rap group Wu-Tang Clan, known for its social movement subject matter. “We had been looking at political histories,” Pruitt adds. Each art collective defines itself differently—a few even seemingly seek to defy definition. Some collective members work together; some also live together; some collaborate on work together, while others simply consult one another about their individual projects. “We don’t usually produce anything that’s like a painting or anything that would show an artist’s hand,” Pruitt says. “We do conceptual pieces that require audience participation—installations, performances.” In addition to the four founding members—Pruitt, Dawolu Jabari Anderson, Jamal Cyrus, and Kenya Evans—Otabenga has an imaginary member, the group’s namesake. “The group works under the tutelage of Otabenga Jones, who is named after Ota Benga,

“Collectives are doing something that is not object-based but idea-based.” — CHRISSIE ILES

of the Arts in Seattle while pursuing sculpture degrees and recently had a show at the Greg Kucera Gallery in Seattle. And The Still House Group in Brooklyn has produced exhibitions in New York, Los Angeles, and Miami. Chelpa Ferro, a Brazilian artist collective, had a piece featured at the Aldrich Contemporary Art Museum in 2011: Jungle Jam, which lined the gallery wall with colorful plastic bags attached to kitchenblender-motors. In 2010, the Indianapolis Museum of Art opened a $25 million sculpture garden, featuring eight commissioned artworks, including pieces by Los

PHOTOGRAPHY COURTESY OF GALERIE RODOLPHE JANSSEN AND THE STILL HOUSE GROUP

Collaborative piece with Alex Perweiler and Zachary Susskind executed for still House Group at Galerie Rodolphe Janssen in Brussels, summer 2013.

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COLLECTING

Mrs. Claus, by House of Yes for “Spectacular: Christmas through the ages,” 2012.

We did it for love, a 2005 sculptural installation as part of the Exhibition Amalgama.

“Generating ideas as a group is always much nicer than doing it on your own.” the African Pygmy brought to the United States in 1904 and later exhibited at the Bronx Zoo,” the group says. “This historical reference to the pseudo-anthropological penchant for exhibiting Africans and other non-Western people in world’s fairs and other such exhibitions of the time is an indicator of the group’s intent.” Samuel Boutruche and Benjamin Moreau call their Paris-based art collective, Kolkoz. They create pieces ranging from video to sculpture (and are exhibiting work with Galerie Perrotin at Art Basel in Miami Beach currently). In their piece, Holiday Movies, for example, 3-D films inspired by home movies play in a loop on a replica of a TV set and can be paused by the viewer using a remote control. Boutruche says an easy kind of shorthand has developed between the two artist so they feed off one another. “We talk a lot,” he says. “The feedback is very fast.” Describing their piece, Frames Within Frames, which showed at the Armory in 2009, Moreau says: “We wanted to make some paintings, but as we are not very good painters, we stopped at the frames.” Claire Fontaine, another two-person Paris collective showing in Miami and represented by Metro Pictures, explores timely topics like war and immigration in media like video and flashing neon. In 2008, their piece at Art Basel in Miami Beach consisted of a sculpture of a blue horse—a reference to a political liberation symbol of the 1970s—with the words, “Is freedom therapeutic?’’ spray-painted on the walls. And a poster that queried, “Why is art the only space of expression for a luxurious and exclusive principle of reality that makes abnormality into a source of wealth and a desirable condition?’’ In a similar fictional turn—though a twist on the concept of collectives—1989 and 2004 artist Walid Raad

acted as several people in presenting archives about Lebanon’s war history that were assembled by Dr. Fakhouri, who doesn’t really exist. Raad said at the time that the documents were donated to The Atlas Group, a nonprofit research foundation. “But in fact, most of the documents are ones that I created that I would attribute to imaginary or historical figures,” he says. “I was the only historical member of The Atlas Group,” Raad continues. “I was making artwork about Lebanon and its wars, about unusual documents that were made possible by the wars. I was either finding or making documents and almost all of the documents— be they photographs or other objects—were attributed to various individuals and institutions.” The art produced by collectives runs the gamut, from performance pieces to publications to panel discussions to painting. Their unconventional output mirrors their unorthodox approach. “Collectives work differently,” Iles says. “They’re doing something that is not object-based but idea-based. The whole structure of the artwork is reflected in the structure within which they work.” Iles invited the artists’ lab Wrong Gallery to be in the 2006 Whitney Biennial, which she organized with DIA’s Philippe Vergne. The group—created by the Italian artist Maurizio Cattelan and the art critics Massimiliano Gioni and Ali Subotnick—took over a whole floor of the museum for a group show featuring 54 artists called “Down by Law.” To be sure, collectives aren’t always a good fit. Some artists who have belonged to such groups have opted out, finding them cumbersome, complicated

by the logistics of doing things by committee. The House of Yes, for example, a collective with a performance and art space in Brooklyn once had eight artists. Now it’s just Kae Burke and her partner, who are looking to find a new space that will focus on aerial shows and classes. “Collectives are extremely difficult in terms of progress,” Burke says. “Things don’t get done as quickly. It’s hard to get things done when so many people have different visions. You end up with a lot of struggle.” To some extent, the proliferation of collectives appears to signify a changed cultural context—one in which artists are less invested in their individual prominence, more confident in their own contributions, and more comfortable sharing the credit. “Their parents probably have given them so much of a voice that they don’t feel they have to fight as much—they feel more heard,” Iles says. “There is that Occupy Wall Street sort of element, even though we’re in the most individualistic city in the world.” Indeed, artists all over the country who work in collectives say they have managed to maintain their separate identities even though they are also subsumed by something larger. “I still have my own individual practice, so there’s no lack of being able to satisfy my ego,” says Pruitt of Otabenga Jones. “Generating ideas as a group is always much nicer than doing it on your own.” ABMB

PHOTOGRAPHY BY KAT MAREK (HOUSE OF YES)

–ROBERT A. PRUITT

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COLLECTING Giancarlo Scaglia, co-owner of Revolver Galería, is leading the charge Latin American contemporary art at Art Basel Miami Beach. He will be showing Silver, 2013, (LEFT) at this year’s fair.

Cultural Scene Two South American galleries—one an Art Basel veteran, the other a newer addition— describe their regional scene. By Jordan Hruska

evolver Galería began in the unlikely location of a Lima bar. Originally showing young Peruvian artists, the gallery started by Renzo Gianella and Giancarlo Scaglia operated well outside of the traditional, insular Lima gallery circuit. “Our first so-called ‘white cube’ exhibition wasn’t even in Lima—it was at an art fair,” says Scaglia. “It was a statement. It was time to get serious. My generation of younger artists had not yet been supported outside of Peru.” And as the economies of countries like Peru continue to grow, new galleries from formerly disconnected art scenes join more established galleries from Brazil and Mexico at Art Basel in Miami Beach to introduce an evolving tradition of Latin American contemporary art. This year marks Revolver Galería’s second at Art Basel in Miami Beach. In its first five years, the prolific gallery participated – GIANCARLO SCAGLIA mostly in South American fairs. “Many visitors to Art Basel last year asked us about our context in Peru, and our situation there,” says Scaglia. “A few years ago for the contemporary art world, Latin America only meant Brazil. But now Lima is a very important focus.” Scaglia counts the 10 artists he represents as friends, one of whom serves on the gallery’s board. Scaglia is himself an artist, and he sees this blurring of roles as a means for Revolver Galería’s participants to share resources. And

PHOTOGRAPH BY PHOTOGRAPHY ©MUSUK TK (TK);NOLTE (SCAGLIA)

“A few years ago for the contemporary art world, Latin America only meant Brazil. But now Lima is a very important focus.”

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COLLECTING

Trans Geométrica #5, by assume vivid astro focus, 2013, is paint and automotive paint on MDF.

“Art Basel in Miami Beach is the perfect location for Latin American art.... People go to Miami to focus on the fair.” – RODRIGO EDITORE

Ricardo Trevisan and Rodrigo Editore of Casa Triângulo.

PHOTOGRAPHY EDOUARD FRAIPONT (ASSUME VIVID ASTRO FOCUS, CINTO); DANIELA MAZIRONI/COURTESY OF CASA TRIÂNGULO (TREVISAN)

he understands how collectors are part of this coterie. “At the same time that the Lima art scene was growing, so was its group of collectors. They are now on committees and boards of major art institutions speaking for Peruvian artists.” One such collector, Mario Testino, the Peruvian-born fashion photographer, counts Revolver Galería as one of his top 15 galleries to visit in the world. At Art Basel Miami Beach this year the gallery presents a collaborative installation first shown in San Juan, Puerto Rico, in 2009. Scaglia, Jerry B. Martin, and Jose Carlos Martinat conceived of the installation as two artificial palm trees with thermal printers hanging above their branches. The printers spit out reams of paper with data about Puerto Rico, Cuba, Haiti, and Jamaica’s relationships to the US, in effect creating a mass on the floor that epitomizes the dualistic nature of the geographic isolation and sociopolitical tethers of these Caribbean islands. Art Basel veteran Casa Triângulo is not only celebrating its 10th year at the Miami Beach show, but also its 25th year as a contemPause 1 (Detail), by porary art gallery in São Paulo. In Sandra Cinto, 2013. April, it will publish a 900-page book that comprises the history of the gallery and the entirety of its exhibitions and collaborations with more than 180 artists. Gallery director Rodrigo Editore sees this as an unofficial compendium of Brazil’s rich and fastgrowing contemporary art scene over the past quarter century, some of which he’s introduced here at Art Basel. “Art Basel in Miami Beach is the perfect location for Latin American art, especially Miami,” says Editore. “You go to fairs in any other city, and there are cultural distractions. People go to Miami to focus on the fair.” Editore also recognizes Latin America’s rise in interest for collectors. Speaking by phone from Bogotá’s artBO fair, he said that formerly tertiary cities are magnets for collectors, but Miami is a great hub for people who want the best the continent has to offer. “People come more and more to São Paulo, but it’s important to go to the fairs to truly engage in an international dialogue.” This year, Casa Triângulo shows six artists. One work by assume vivid astro focus is a reprisal of its popular April 2013 exhibition at the gallery titled alisabel viril apagão fenomenal. This architectural installation celebrates the noir vibrancy of Paulista culture with a high-contrast palette knitting together wall paintings, scaffold assemblages, and hanging sculptures informed by transsexual tropes and the city’s fluid and illicit sex trade. Transformation looms large in the piece, an act of optimistic flux that defines Casa Triângulo’s own evolution, and that of a shifting continental art scene. ABMB

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COLLECTING

Guillermo Navone’s portrait by Rossana Schoijett 2010.

Antiventana, by Max Gomez Canle, 2008.

The Art Market South of the Border

A new contingent of young Latin American collectors and gallerists are making waves in Central and South America.

t’s no secret that Latin American artists have spent the past few years claiming ever more space in the foreground of the contemporary art world, but nowadays, it’s not just the artists. These young collectors, dealers, and gallerists engaged primarily with emerging art, offer a glimpse into what’s behind the buzz around the hot market south of the border. GUILLERMO NAVONE: BUENOS AIRES, ARGENTINA When Guillermo Navone started buying art in 2004, he noticed a commonality among the collections he admired: They’d been amassed by individuals whose support of artists extended beyond the purchase of their work. These collectors had created scholarship

programs, hosted events, offered plane tickets to attend book launches, museum shows and even lodging to young artists. “I had the impression that the people who built these collections had a very intimate, personalized relationship with the artists,” says Navone. His interest in getting to know the artists he collected was about more than just the art he’d acquire. Navone is from Argentina, where, he says, public support for the arts is minimal. Collectors play an important role in fomenting the arts, especially for the emerging visual artists. Navone has focused on Argentines of his generation—particularly a group of about 10 artists between the ages of 35 and 45—and hasn’t been afraid to get up close and personal. This way, Navone says, “it’s not just contemplating or looking at something, but it’s more alive: an idea from a person that I can be in touch with,

who will in turn influence the way I think. It goes from something static to having enormous possibility.” The resulting collection bears the hallmarks of those Navone admired from the start. A painting by Vicente Grondona is accompanied by the artist’s stories of hanging the piece in rooms at residencies across Europe and North Africa; it reminded him of home. A portrait by Max Gomez Canle, made when a neck injury had Navone in a cast resembling a suit of armor, shows a Navone-esque man as one of Gomez Canle’s “Hairy Monsters” in a Medici-style pose. Navone also has work by Matias Duville, Fernanda Laguna, Jazmin Lopez, Eduardo Basualdo, and Rosana Schoijett. Beyond having unique art, says Navone, his collection allows him to do what he likes best: “to connect cables among people and make things happen.”

PHOTOGRAPHY BY ROSANA SCHOIJETT

By Julia Cooke

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COLLECTING

The Rules of Attraction, by Jose Dávila, 2013.

Jorge Basadre with pieces from his collection: Produced Projected, by Liam Gillick, 2008/2009 (LEFT) and 9 Farben, by Gunther Forg, 2000 (RIGHT).

Silvia Ortiz and Ines López-Quesada, of Travesía Cuatro.

Latin American artists living across the globe. “There’s an increasing interest, growing quickly, of European collectors in Latin American art, and vice versa,” says López-Quesada. “There are a ton of artists [in Guadalajara]. But there’s no network of museums and collectors. We’re going to help collectors grow.” JORGE BASADRE: LIMA, PERU Collecting art, says Jorge Basadre, often reminds him of his childhood: He and his grandfather, a well-known historian and writer, cut and collected the stamps on the varied correspondence his grandfather received from around the world. Basadre still keeps the collection and warm memories of time spent with his grandfather. So when he brought his then-8-year-old son on a visit to the studio of Colombian artist Luis Roldán in New York,

Basadre says his goal of having a collection is to live and raise his three young children surrounded by art that touches the soul and mind. Basadre asked his son to pick from among the drawings and collages they saw. Whichever his son wanted, they would bring home to live with. Luckily, according to Basadre, his son picked the collage that he himself wanted—the result, perhaps, of growing up amid artwork. This is what Basadre calls his goal of having a collection: to live and raise his three young children surrounded by art that touches the soul and mind. Basadre’s collection today encompasses about 200 paintings, photos, drawings, and sculptures by 110 artists from 20 countries, mainly Latin America, the United States, and Europe. His primary interests are minimalist, conceptual, and geometric art, and he owns work by artists ranging from the well-known— Gabriel Orozco, Liam Gillick, Sophie Calle—to the less-known, like Regina Aprijaskis, a Peruvian

PHOTOGRAPHY BY ANNA BAVER (ORTIZ)

TRAVESÍA CUATRO: MADRID, SPAIN AND GUADALAJARA, MEXICO It’s no coincidence that two of the four Mexican artists represented by the Spanish gallery Travesía Cuatro—Gonzalo Lebrija and Jorge Méndez Blake—live in Guadalajara. “There isn’t much of an art scene in Guadalajara, yet both have decided to make their homes there,” says Silvia Ortiz, cofounder and codirector with Ines López-Quesada. “It has to do with the level of production that you find there,” explains LópezQuesada. “All three work with materials like ceramics, resin, bronze, sculpture. It’s difficult and expensive to create in other cities because they use artisan processes that aren’t frequently done in other places of the world.” Last year, for example, Dávila’s Art Basel in Miami Beach Art Public installation “Untitled (The Space Beneith Us)” involved a 10-by-10 meter mosaic of Tlaquepaque ceramic tiles, made just outside of the city, laid into the grass of Collins Park. It makes sense that the gallery, which first opened in Madrid in 2004, would choose to open its second location in Guadalajara. In November, Ortiz and LópezQuesada inaugurated Travesía Cuatro—named after the street address of the gallery’s first space in Madrid at #4 Travesía de San Diego—in a storied residential home by midcentury Mexican architect Luis Barragán, Casa Franco. The gallery’s focus remains the same on both sides of the Atlantic: emerging art in varied media from primarily young Spanish and

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COLLECTING

An installation by Adrián Villar Rojas, 2008, from the show “Lo Que El Fuego Me Trajo (What Fire Brought Me).”

Leon Amitai with GLORIA by Shannon Ebner.

“I don’t understand how people could live without being surrounded by art.”

precursor to minimalism who had never thought she would sell her work. After visiting the artist in her studio and getting to know one another, Basadre eventually won a piece for his collection. And now, all three of his kids have, of their own initiative, asked to take art classes. RUTH BENZACAR ART GALLERY: BUENOS AIRES, ARGENTINA Orly Benzacar grew up in a gallery. It was only after she’d gone to college, graduated, and become a biologist that her mother’s eponymous space, founded in 1965, moved to its current location near Buenos Aires’s Plaza San Martín. “I don’t know how anyone grows up outside of a gallery,” she says. “I don’t understand how people could live without being surrounded by art.” So after working as a biologist for a decade, Benzacar decided to pursue the seemingly inevitable: working with her mother as a dealer. Benzacar has helmed the gallery since 2000. Since starting to work with her mother a decade earlier, her charge had been to bring more contemporary art onto their roster of exclusively Argentine artists. “It’s a challenge, to keep a gallery contemporary when it has a history of 50 years behind it,” she says. But it was a challenge that Benzacar faced with panache: She started hosting a competition for emerging artists, called Curriculum Cero, which took place yearly for more than a decade, and a breakneck exhibition schedule including special presentations by foreign artists in the space. Though international artists appear on the

Mora Bacal and Orly Benzacar

exhibition schedule—“to bring something new to the Buenos Aires scene,” she says—Benzacar limits her fold to local artists. Jorge Macchi, Eduardo Basualdo, and Carlos Huffman are her selections for this year’s fair. “We’re among the very few who show Argentine work outside of Argentina,” she explains. Benzacar has plans to replace Curriculum Cero with an as-yet-undisclosed program. Her daughter, Mora Bacal, began to work at the gallery four years ago. It doesn’t look like the Benzacar art matriarchy is slowing down anytime soon: “A year ago,” Benzacar says, “my daughter had a daughter.” LEON AMITAI: BOGOTÁ, COLOMBIA It wasn’t until all of the walls in Leon Amitai’s Bogotá house were full of artwork that he says he really began to collect. The 44-year-old Colombian businessman had begun to purchase art to decorate his home 10 years earlier, but, as he says, “when all of your walls are full, that’s when you think, okay, I’m going to buy this because it complements the collection.” In

2002, prodded by an interest in geometric and kinetic art, Amitai began to study and thoughtfully collect in earnest. He started with Colombian and Venezuelan artists— Omar Rayo, Carlos Cruz-Diez, Jesús Rafael Soto, Carlos Rojas—moved outward through 20th-century Latin American art, purchasing conceptual art, photography, and video, and then extended his collecting reach to include international contemporary art of all stripes. Fast-forward a decade, and the warehouse offices of Amitai’s fabric company on the outskirts of Bogotá is on its way to becoming a legitimate art destination in itself. As he started to buy pieces by international artists that required more space to breathe, “I began to think that whatever didn’t fit in my house I could bring to the office,” he says. This included edgy, enormous installations by young artists like the Colombian Gabriel Sierra and American Shannon Ebner.” Over time, it’s morphed into an art program for Amitai’s 200 employees that includes talks about the purpose of museums in society, visits from artists like Vik Muniz and Carlos Garaicoa, and a guided tour of an exhibit at the Banco de la República by local curator José Roca (now of the Tate Modern in London). “I’ve seen that my employees now explain the art to the people who come to visit them at the office,” says Amitai. “It’s been a fascinating process to observe.” The next step? Plans are in the works to build a dedicated private collection space—not far from the factory—open to the public. ABMB

PHOTOGRAPHY BY FRANCISCO IURCOVICH (BENZACAR); IGNACIO IASPARRA (INSTALLATION)

–ORLY BENZACAR

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One East Las Olas Boulevard, Fort Lauderdale, FL 33301 | (954) 525-5500 | moafl.org Spirit of Cobra is organized by NSU Museum of Art and the Cobra Museum of Modern Art (Amstelveen, Netherlands), with guest curators Katja Weitering and Brenda Zwart. Spirit of Cobra is generously supported through a grant from the John S. and James L. Knight Foundation as part of its Knight Arts Challenge, with additional funding provided by Linda J. Marks and Stephen R. Marks, Daniel and Jan Lewis, and the David and Francie Horvitz Family Foundation. Funding for NSU Museum of Art | Fort Lauderdale is provided, in part, by the Broward County Board of County Commissioners as recommended by the Broward Cultural Council; the State of Florida, Department of State, Division of Cultural Affairs; and the Florida Council on Arts and Culture.

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COVER HER IN

British artist TRACEY EMIN is feeling the love in Miami, with a new retrospective of her famed neon pieces opening at MOCA.

NEON BY DOROTHY SPEARS

PHOTOGRAPHY BY JOHNNIE SHAND KYDD (EMIN); PAUL MORRIS/COURTESY OF FONTAINEBLEAU MIAMI BEACH (TOWELS)

Tracey Emin working on a piece in 2000.

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f you happen to see a slightly eccentric blonde, pedaling toward a local Publix or flashing her famously crooked smile at a traffic cop, you may well have spotted Miami’s new It girl, the controversial and irrepressible artist Tracey Emin. Having recently celebrated her 50th birthday, Emin is now enjoying her first American solo museum show, “Tracey Emin: Angel without You,” which opens at the Museum of Contemporary Art in North Miami on December 4. In celebration of the show, a retrospective of the artist’s renowned neon pieces, the Fontainebleau Miami Beach has adorned towels with the words “Kiss me, Kiss me, Cover my Body in Love,” a message from one of her featured works. She is also one of four honorees at this year’s Women in the Arts luncheon, on December 6. And, as if to formally declare her affection for these seaside climes, where MOCA’s former director Bonnie Clearwater has long championed her work— and where, as her Manhattan dealer David Maupin said, “I think it’s safe to say Tracey feels the love”—Emin has bought an apartment near South Beach. Since the coveted purchase a little more than a year ago, Emin says she’s visited her new place several times, on her own. “I send lots of postcards with little arrows saying my apartment’s here,” she says during a recent interview. “The rest of the time, I just sit on my terrace looking at the sunset.” She also takes frequent bike rides, pedaling past towering palms and boardwalks. “Once, I nearly got arrested in Bal Harbour for cycling on the pavement,” she confesses. “I got let off, because it was really obvious that I was English and didn’t know what I was doing.” Emin’s brush with the local authorities is likely to elicit a smile on the faces of those familiar with one of the saucier members of the now-revered Young British Artists (YBAs). Having burst onto the London art scene in the mid-1990s with works such as Everyone I Ever Slept With 1963–1995, a dome-like blue tent appliquéed with names that archly included that of her twin brother, Emin then further cemented her reputation as Britain’s bad girl with My Bed, an altar-like installation presenting her own unmade bed, including a tangle of sheets stained with her menstrual blood and other bodily fluids, as well as strewn condoms and dirty underpants. My Bed was exhibited at London’s Tate Gallery in 1999, when Emin was among four artists short-listed for the UK’s coveted Turner Prize. This was when she appeared, famously drunk, on British national television, cursing and saying, “You people aren’t relating to me now. You’ve lost me; you’ve lost

Beach towels with Emin’s Kiss me Kiss me Cover my Body in Love draping lounge chairs by the pool at the Fontainebleau Miami Beach.

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Lonely Chair drawing, 2012.

me completely,” before staggering off the set. Emin has been courted by the British press ever since (they clearly relish her penchant for grandiose self-exposure) while making work in a range of media that often provocatively addresses sex—an appliquéed blanket bearing the words “Psycho Slut,” drawings of supine nudes—often herself—with fingers fondling the area between splayed legs, as well as a brutally vivid video describing her own botched abortion.

PHOTOGRAPH BY TK (TK); PHOTOGRAPHY © TRACEY EMIN, COURTESY OF THE ARTIST AND LEHMANN MAUPIN, NEW YORK AND HONG KONG (LONELY CHAIR DRAWING, PEOPLE LIKE YOU); ED TEMPELTON (EMIN)

min’s influences range from the artists Johannes Vermeer and Egon Schiele to her own father, a Turkish Cypriot. “You know, I’m not AngloSaxon,” she says. “My heritage comes from a completely different place. So I’m very romantic, I’m very passionate, I’m very hot-blooded.” It could be precisely this unusual alchemy of antecedents that makes her work—whether she’s tapping into lust or loss, happiness or heartbreak— convey a warmth and honesty that speak to such wide audiences. As the Miami collector Barbara Herzberg, a former cardiac nurse, recently noted, “I worked at the county hospital where the majority of people who came in were immigrants, refugees from Cuba, and homeless people. I didn’t know them personally. I didn’t know what their lives were like. But I knew their hearts.” Seeing Emin’s 2012 neon wall piece When I hold you I hold your heart, Herzberg says, “I felt as if Tracey made that for me.” Celebrities as varied as Elton John, David Bowie, Madonna, and Joan Collins have also all gravitated toward Emin and her work because, as the artist herself bluntly puts it, “I’m popular culture, that’s why. Artists in the UK are as well known as actors, or supermodels, or musicians. They’re on the front pages, on the back pages. During the World Cup, artists are on the sports pages quoted talking about football.” After a pause, she adds reflectively, “Maybe that’s why I like being in Miami.” One of her greatest pleasures when she’s in town, Emin confesses, is cycling around and thinking, No one in the whole world knows where I am right now or what I’m doing. Of course, “Angel without You,” a retrospective of more than 60 neon sculptures, is likely to change that. Curated by Clearwater, who recently became director of the Museum of Art, Fort Lauderdale at Nova Southeastern University, the show, which runs through March 9, 2014, includes a single video, Why I Never Became a Dancer. A raw but oddly uplifting meditation on Emin’s adolescent encounters with sex in the seaside resort of Margate, where she grew up, the work was purchased by MOCA in 1998. “I responded to it right away, and every time I watch it I smile,” says Clearwater. “It’s almost like why Tracey never became a dancer… was why she became an artist.” Neon signs, typical of those in many seaside resorts, can be seen in the video and, according to Clearwater,

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make the piece a fitting introduction to a show devoted exclusively to works in this medium. “Tracey’s hometown of Margate is filled with neon. And of course there’s neon in Miami. So, again, it made a lot of sense, this connection.” Emin agrees, adding, “This is a pure neon show, in a very simple way, and unapologetic,” a fact that adds to its novelty. Even in the case of artists such as Bruce Nauman who often work in neon, she points out, she’s never seen a 17-year retrospective composed entirely of neon works. The neons at MOCA present evocative phrases and snippets of thoughts writ large in Emin’s inimitable hand, which again speaks to her personal history. “My handwriting is quite old-fashioned and joined up in italic and elongated letters. All my family writes like that on my mum’s side. I think the writing is very fluid, and it’s very much like my drawing. So when I write a sentence that’s a neon, it’s actually a drawing I’m making of the sentence.”

lthough Clearwater noted that the neon works mark a shift away from the confessional, diaristic tone of Emin’s earlier pieces, Emin herself puts it a little differently. “They’ve shifted away because they’re neon, and because they’re spangly, and because they look beautiful,” she says, “so people see the glory and the beauty before they see the words. They see the light before they see the meaning.” Still, according to the artist, the words are heartfelt. “I make

People Like You Need to Fuck People Like Me, 2007.

The artist at the beach.

Kiss me Kiss me Cover my Body in Love reproduced in neon pink. They retail for $95 at a Shops at the Fontainebleau pop-up store in the hotel lobby during Art Basel in Miami Beach. To promote Emin’s exhibition at MOCA, a dramatic aerial photograph announcing the collaboration will include nearly 1,000 lounge chairs and cabanas surrounding the hotel pool, draped with these signature towels. The flip-flops, according to Clearwater, feature another

“My heritage comes from a completely different place. So I’m very passionate, I’m very hot-blooded.”—TRACEY EMIN them because they’re inside of me.” A phrase from a letter, or a thought she’s had about someone, or something she’s witnessed, can all result in a neon piece. “I dance a lot alone,” she offers, “and I listen to music and lyrics. And then I mix the lyrics all up in my head, so some of my neons sound like lyrics.” The messages are intimate, but as Maupin points out, “The work is really about a universal experience.” “Angel without You” will be accompanied by items from Emin’s online store, Emin International, as well as beach towels made in collaboration with the Fontainebleau Miami Beach and flip-flops sold at MOCA’s shop. “Tracey wanted to do objects specific to Miami,” says Clearwater. The limited-edition, 100 percent velour cotton towels are black, with the actual image of Emin’s work

neon phrase embedded in their soles, so that the bottom of the shoe will leave an impression of Emin’s words in the sand. In keeping with the majority of neons on exhibit at the MOCA show, the message of the 1996 work Kiss me Kiss me Cover my Body in Love is “really about love and about positive feelings or an interest in positive feelings,” Emin notes. Compared with the unabashedly raunchy work that first set her course as an artist, an exhibition focused on the theme of love may seem chaste or even suggest a certain mellowing. Yet for an artist so consistently attracted to the edgy thrill of emotional striptease, the topic of love is likely to be quite fraught. Either way, Emin remains as upfront as ever about addressing cultural taboos, including one that dovetails a more recent aspect of her personal life:

menopause. In an interview last year, Emin boldly told a reporter at the Guardian, “People don’t talk about it, but the menopause, for me, makes you feel slightly dead, so you have to start using the other things—using your mind more, read more. You have to be more enlightened, you have to take on new things, think of new ideas.” Among these new things, apparently, are bike rides along the promenade, a bit of reflection, and a place in Miami with a nice view of the sunset. ABMB

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REVITALIZING

THROUGH

Since the recession, a host of museums throughout the country have renovated their spaces, to the benefit of their local communities.

EXPANSION

PHOTOGRAPH BY TK (TK);

By Carol Kino

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hese days, it’s almost hard to find a major American museum that does not have a vast building project underway. The San Francisco Museum of Modern Art has closed its doors until 2016 to undertake an expansion by the Norwegian design practice Snøhetta. Next summer, the Aspen Museum of Art will reinvent itself in a purposebuilt space downtown designed by Shigeru Ban. And in 2015, the Whitney Museum will decamp its iconic Marcel Breuer building for a glossy new edifice in the flood-prone Meatpacking District, masterminded by Renzo Piano—the man behind the expansions of the just completed Kimbell Art Museum in Forth Worth and the Harvard Art Museums (to name a few of his accomplishments). Other museums with buildings newly completed or in progress include the Speed Art Museum in Louisville; the Los Angeles County Museum of Art (LACMA); the Museum of Fine Arts, Houston; the Queens Museum of Art; and the Parrish Art Museum in Water Mill,

New York. And of course there is the Museum of Modern Art, which seemed to begin pushing for a new five-building campus as soon as the paint was dry on its 2004 Yoshio Taniguchi revamp. Yet seeing as we are barely out of the 2008 recession, it’s hard not to wonder if it might not be too much, too fast. For while some expansions certainly end up working as they were intended to, improving the museum’s efficiency and amenities and offering more space for visitors as well as art, the path to those soaring new galleries in the sky—ideally accompanied by a top-notch restaurant with sweeping views—isn’t always smooth. Witness the last big building boom, when the Milwaukee Art Museum put up a spectacular new pavilion in 2001 by the Spanish architect Santiago Calatrava—a project whose aesthetics were widely admired but which cost $25 million more than planned. And who can forget New York’s American Folk Art Museum, which nearly bankrupted itself trying to pay for a new bronze-paneled building by Tod Williams and Billie Tsien? While it, too, was praised by critics after

PHOTOGRAPHY BY MATTHU PLACEK

The Parrish Art Museum in Water Mill, New York, designed by Herzog & de Meuron.

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ordon, who became Milwaukee’s director in 2002, just before the construction shortfall became clear, points out that civic pride motivated that expansion, too. “We didn’t want to just be known as Beer Town and Cheese Town.” And despite a rocky start, the gamble ultimately worked: Attendance has doubled, the budget has been balanced since 2003, and the new addition helped the museum transform its local image while also redefining Milwaukee in the world’s eyes. So what are the underlying reasons that many museums today feel such an urgent need to expand? Gail Lord, cofounder of Canada’s Lord Cultural Resources, one of the world’s

oldest and largest museum planning firms, believes it’s largely motivated by collecting priorities. “Modern and contemporary collections are growing,” she says. “Contemporary art is big, with requirements for installations and digital media that are quite complex.” Art consultant Allan Schwartzman agrees. “There’s been a tremendous expansion over the last few decades in the size of art collections,” he says. “There was a period where museums were happily expanding those collections without thinking so much about how and where they could present them or preserve them for the future.” Today, however, “a lot of the expansion you’re seeing is growing out of real

“One of the things I’ve found is that if you have a great idea, financial support will follow.”—Neal Benezra need,” he adds. “And for museums to continue to attract major patronage, they have to have the space to be able to display things.” Indeed, the San Francisco Museum of Modern Art’s expansion took off after the museum struck a deal with Don and Doris Fisher for stewardship of their collection—one of the greatest private contemporary-art stockpiles in the world. Director Neal Benezra says he was planning some sort of expansion as early as 2007, but

COURTESY OF SNØHETTA (SF MOMA)

opening in 2001, it failed to boost attendance as hoped. The museum now occupies a smaller space farther uptown, and the building, sold to MoMA to pay off debts, may well be razed in the larger institution’s march to dominate West 53rd Street. Yet many observers, like the museum consultant David Gordon, note that expansion has long been a museum byword. “For the last 30 years, we’ve seen a trend of art museum expansions,” he says. “You can make the case that this is a reversion to the trend that was interrupted a little bit by the 2008 recession.” Partly it’s the so-called “Bilbao effect”—the notion that a flashy new starchitect-designed space, like Frank Gehry’s 1997 Guggenheim Bilbao, can boost the local economy. But Gordon, a British expat, believes this “very American, bigger-is-better, supersize-me” idea goes back to the 19th century, “when all American cities worth their salt were building great municipal museums to show that they were interested in the higher things in life.”

Installation view of “The Presence of the Past: Peter Zumthor Reconsiders LACMA.”

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Snøhetta’s expansion of the San Francisco Museum of Modern Art, seen from Yerba Buena.

The Whitney building by Renzo Piano going up in New York’s Meatpacking District.

“when the Fisher collection agreement came into being” two years later, just days before Don Fisher’s death, he adds, “we in effect expanded our expansion plans.” The new addition will also provide more space to show the museum’s own (extensive) photography holdings, as well as its permanent collection. “One of the things I’ve found is that if you have a great idea, financial support will follow,” Benezra says. “We’re going to lift ourselves into really the first rank of those great museums in New York and London and Paris, and that’s been inspiring to this community. They’re not just writing checks. They’re very engaged and passionate about it.” (The museum’s $610 million capital campaign is already 90 percent funded.)

ndeed, deeply committed stakeholders, from docents and the local school board to trustees, seem essential to making an expansion work. That’s what Director Terrie Sultan learned soon after arriving at the Parrish Art Museum in 2008, charged with raising $80 million for a new building—30 interlocking pavilions designed by Herzog & de Meuron— that would triple the exhibition space of its original Southampton building. The recession soon toppled that ambition, and Sultan, together with the trustees, the architects, and the staff, was forced to regroup. “We recognized that there were essentially two choices,” Sultan says. “One was to wring your hands and tear your hair out. The other was to be very proactive. We basically just started over.” The building they opened last year, a lean, barnlike structure in Water Mill, had a price tag of $25 million and was carefully thought through to be easier and cheaper to maintain. The new space, together with a

revamped exhibition program focusing on the East End’s rich artistic legacy, has helped woo the locals. Visitors and membership have more than doubled. “We hold our collection in public trust, which means the public needs access to it,” Sultan says. “And if you’re in a building with only 4,000 square feet of exhibition space, you’re not serving your community.” Another important rationale, of course, is to bring an aging physical plant up to date. That’s why Michael Govan, the CEO and director of LACMA, says his planned project, by the Swiss architect Peter Zumthor, “is not really an expansion per se—it’s an improvement.” The idea is to retain the square-footage of the museum’s boxy Pereira and Hardy Holzman Pfeiffer buildings and fill it with a structure that will expand the exhibition space nearly fivefold. It will also offer improved energy efficiency, climate control, and handicapped access, Govan says, as well as satisfying earthquake retrofitting needs. “You could never achieve these efficiencies without rebuilding the entirety of the system,” Govan says. “So that’s where the new building really comes into play. I would say it’s a very post-financial-crisis, 21st-century plan.” In energy costs alone, he adds, it should net savings of $3 to $6 million per year—although one could also argue that the cost of programming the new galleries may well offset those savings. Certainly, neglecting to consider what happens after the building goes up is one of the greatest expansion pitfalls. “Once the enthusiasm for a building gets going, no-one wants to hear about operating costs,” Lord points out. “Therein lies the great potential tragedy.” But in the end, as Sultan says, “There’s nothing better than a purpose-built, fresh, clean, fabulous building.” Just make sure you’ve thought it through clearly first. ABMB

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EDIFICE

COMPLEX

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RENDERING BY HERZOG & DE MEURON, COURTESY OF PÉREZ ART MUSEUM MIAMI (PLAZA); © HERZOG & DE MEURON, CONCEPT PARK VIEW VISUALIZATION BY DBOX (PARK)

A view of the museum’s waterfront park. The aim is to make PAMM a gathering place as well as a place to see art.

Herzog & de Meuron designed a new landmark building for Pérez Art Museum Miami that’s part urban oasis, part cultural town center, while embracing the city’s unique terrain. By Margery Gordon Streamers of tropical plants suspended from a latticed canopy provide added shade on the Pérez Art Museum Miami (PAMM) plaza.

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esigning a new museum is an intricate dance performed on a grand stage. Herzog & de Meuron has mastered the steps of this elaborate pas de deux by building 12 museums. Yet rather than stamp each with a signature style, the acclaimed Swiss architectural firm lets the unique circumstances of each occasion guide its choreography. “The similarity is that each one is a specific response to a specific place,” says Christine Binswanger, a senior partner at Herzog & de Meuron and the lead architect for the Pérez Art Museum Miami (PAMM), the new incarnation of the Miami Art Museum (MAM). “Specificity is a quality even more desirable in our globalized world.” The setting for PAMM’s metamorphosis on Miami’s downtown waterfront inspired what Binswanger refers to as “the primary gesture”—a dominant flat roof projecting over a platform to shield and elevate the irreplaceable art within from the inevitable heavy rains, strong gusts, and tidal surges of tropical storms. Recessed panes in unprecedented dimensions of Category 5 hurricane-tested glass let in natural light without undercutting the calculated chilling effect of the ceiling and walls cast in concrete to minimize humidity.

The heat and glare of the state’s namesake rays are further filtered by a latticed-wood-and-concrete canopy dangling streamers of lush tropical plants over a wraparound porch, proffering a shady respite amid the ubiquitous palm trees. “We can be a social space for the community—the entrance to the public sculpture garden and deck are free of charge—designed to give people a place to gather on the bay, but sheltered,” PAMM Director Thom Collins says. “We hope it will become a gathering space surrounded by art, but not only about art.” This vision of an urban oasis is part of a larger plan to reinvent the former Bicentennial Park as Museum Park, a 29acre recreational and cultural hub anchored by PAMM and its future neighbor, the Patricia and Phillip Frost Museum of Science slated to open in 2015. It’s a short distance from MAM’s previous home in the Miami-Dade Cultural Center, across from the county’s main library and the Historical Museum of Southern Florida, rebranded HistoryMiami three years ago. The three institutions shared an accommodating plaza but were nearly hidden from view atop a fortress-like stone structure with few openings to the street. “The design looked inwards and not outwards,” says Jorge Pérez, who became the museum’s namesake benefactor in

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“The museum looks to reflect the cultural diversity of our audience, with a heavy focus on art of the Americas, the Caribbean, and the diaspora.” —Thom Collins

PAMM Director Thom Collins at the new space.

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December 2011 after donating $20 million toward the capital campaign; he selected works valued at an additional $20 million from his collection of Latin American art. Pérez has been involved since its founding in 1984 as the Center for Fine Arts with a kunsthalle format. “I was part of a group that said Miami needs to have a great museum,” he recalls, but laments, “The museum that we built was not very inviting.” The high-profile real estate developer served on the board and the search committee for the architects: “It was a tough decision. But Herzog & de Meuron got it right for Miami—they made it very tropical and open.”

PHOTOGRAPHY BY PRESSCOTT MCDONALD (COLLINS); © HERZOG & DE MEURON (GALLERY); ADRIANO A. BIONDO, © HERZOG & DE MEURON (BINSWANGER)

Gallery dimensions are designed to accommodate a range of work in different configurations.

he building, featuring 200,000 square feet of indoor and outdoor program space, an education center, library, media lab, and classrooms, not only faces Biscayne Bay but also takes in the causeway that connects downtown with South Beach. “The location really gives us an opportunity to address our biggest competitor,” says Collins, casting the city’s defining asset as a neighborhood rival. Whereas other architects might have turned their back on a manmade span, Binswanger explains, “The fact that there is this major traffic coming by so close to the building is part of the American way of life, and we wanted to embrace that.” In this pragmatic approach to strategic positioning, she and her colleagues recognized prime advertising space to target drivers as well as people just passing by. “It’s the most visible side; it’s from that side that most people see it.” The architects’ aim of shaping a magnet for the masses suits the museum’s democratic mission. “We think of this place as a port and a portal,” says Collins. “We want to do programs that enable people to see themselves. The museum looks to reflect the cultural diversity of our audience, with a heavy focus on art of the Americas, the Caribbean, and the diaspora.” The opening installation of the permanent collection heralds this emphasis under the collective title “Americana.” The six galleries dedicated to the collection, which are dispersed throughout the two public floors, will be organized thematically rather than chronologically, each exploring particular issues that have preoccupied artists from the connected continents since the mid-20th century. “In some places, it’s obvious that we’re really looking at North America through the lens of South America,” Collins points out, an unexpected perspective for a US exhibition that few cities could execute with the insight Miami’s geopolitics afford. This unconventional approach to storytelling befits the museum’s relative youth as a collecting institution. Only when it reorganized as MAM in 1996 did it begin acquiring art made since the 1930s, especially in the Americas, and its holdings have since expanded in scope and size to more than 1,300 objects. “It is different to build a museum where the collecting happens while the design is made,” says Binswanger, unlike museums the firm has molded around certain masterworks. Yet that need for flexibility did not manifest as a request for “a big box that is endlessly partitionable,” which she observes too often “results in an architecture that can be neutral.” In contrast, Binswanger credits the leadership of Terence Riley, director of MAM from 2006 to 2009, whose architectural background helped the design process, with mapping out a precise series of galleries with shapes and sizes varied enough to display a range of work in different configurations. “It’s not totally inflexible; you

can still add partitions. But the basic sequence is a given, and through that you create specificity, and in the long run, that is something that enables people to connect with a space and to identify with it.” To give visitors a clear view of the underlying structure, Collins notes, the initial exhibitions are being installed with few alterations to PAMM lead architect Christine the layout. In an added element of synergy, Binswanger of the headlining artist for the grand opening Herzog & de Meuron. December 4 is Ai Weiwei (and his show “According to What?”), who collaborated with Herzog & de Meuron on London’s Serpentine Gallery Pavillion last year and the Beijing National Stadium, known as the “Bird’s Nest,” for the 2008 Summer Olympics.

s with those projects, not just the original collaborators but the surrounding community share aspirations for the resulting composition to become a creative catalyst. “We’re looking forward to it being one of the cornerstones of this cultural town center,” says Dennis Scholl, who represents the Miami-based Knight Foundation on the museum’s board of trustees as vice president of the Knight’s arts philanthropy nationwide. “The $10 million gift we made to PAMM is one of the most significant gifts the Knight Foundation has made in the last decade for culture anywhere.” The endowment earmarked for education has etched the Knight name onto the museum’s state-of-the-art facilities for teaching students of all ages, located on the top of its three floors. Scholl is also chairman emeritus of the Collectors Council that he and wife Debra cofounded eight years ago and have helped guide through the acquisition of more than 100 works for the museum. The Scholls had already given 30-plus pieces before February, when they added nearly 300 more, about a third of their world-renowned collection of contemporary art. They hope this dramatic display of confidence will embolden other donors: “It’s a moment when the community has awoken and said that culture is going to play a significant role in our community, and we’re going to make the investment for that to happen.” ABMB

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PHOTOGRAPH BY TK (TK);

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Moveable Type, by Mark Hansen and Ben Rubin, 2007, at The New York Times building, New York City.

Art for a

Digital Age

TECHNOLOGY CONTINUES TO TRANSFORM THE PROCESS OF HOW ARTISTS CREATE AND THE WORKS THEY PRODUCE. By Tanya Selvaratnam

PHOTOGRAPHY COURTESY OF MARK HANSEN AND BEN RUBIN

ecently, a friend told me a story about taking her young cousin to a museum. There was a bank of TV monitors showing videos, and her cousin started pressing the glass surfaces; she thought they were touch screens. Technology has transformed the way we make, see, and remember art. Jackson Pollock said in 1951 that artists have to identify new forms to express the world in which they live: “Each age finds its own technique.” Over the years, as our gadgets have become our constant companions, contemporary artists have been finding ways to incorporate emerging technologies—like in Mark Hansen and Ben Rubin’s Listening Post (composed of fragments of seen and heard online communications), David Byrne’s paintings made in PowerPoint, and the smartphone visual interventions of Manifest.AR. Even before these 21st-century applications, artists have mined our complex relationship with technology for material; I think of the mediated presence of Joan Jonas, and the manipulated voice of Laurie Anderson (“O Superman”) still haunts me. In 2013, this investigation is abundantly evident. At the Venice Biennale, a video by Hito Steyerl, How Not to be Seen: A Fucking Didactic Educational .MOV File, gave

viewers various strategies for avoiding being filmed or photographed in an image-saturated age. In the fall, Mariko Mori opened two solo exhibitions (“Infinite Renew,” at the Espace Louis Vuitton in Tokyo, and “Rebirth: Recent Work by Mariko Mori,” at the Japan Society in New York) that continued her exploration of the intersection between technology and art. Her triptych of sculptural columns, Infinite Energy, was built through digital imaging and 3-D printing. Relying on cameras and LEDs, the columns change color by drawing from the energy of people in the space. Here at Art Basel in Miami Beach, in the Positions sector, Wang Yuyang has re-created an office composed of hyperrealistic silicon sculptures, including a mobile phone and computer, which should be inanimate but appear to be breathing. And in the Nova sector, Aleksandra Domanovic presents a variation of her “printable monuments,” originally composed of inkjetprinted sheets of paper and now including materials like Plexiglass and plastic. She is also showing “From yu to me”—a research and film project tracing the history of the .yu Internet domain through interviews, archival footage, and 3-D animations. But are we at risk of losing our own sense of presence

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Tom Na H-iu II, by Mariko Mori, 2006.

Untitled (Colored People Grid), by Carrie Mae Weems, 2009/2010.

“NO ONE IS REALLY

PRESENT ANYWHERE. WE ARE PLAYING WITH SOMETHING THAT IS CONSTANTLY IN FLUX.” —MARIANNE WEEMS

in the midst of all this technology? Marianne Weems, a performance and media artist most known for her work with The Builders Association, has been constructing a cultural critique through technology onstage for over 20 years. For her next project, inspired by The Wizard of Oz, she is working on a smartphone app through which audience members can access additional layers of the performance—a riff on the wonder felt by Dorothy as she stepped into the color frame of Oz and a contrast to the typical request to turn off your cell phone before a show. As Weems says, “No one is really present anywhere. We are playing with something that is constantly in flux.”

nd this flux can be embraced. Shari Frilot, curator and founder of New Frontier, a program of new media artworks at the Sundance Film Festival, which has presented Bruce High Quality Foundation, Hank Willis Thomas, and Lynn Hershman Leeson, believes that digital art “uniquely addresses the realities of life in the digital age in ways that reflect and feed the needs of our contemporary society.” She also points out that it takes creativity to figure out the programming code, or, as she puts it, “to reinvent the alphabet” on which the artwork is based. Indeed, technology-based art is not only gaining in credibility but also in value. In 2013, an inkjet-printed painting by Wade Guyton sold for $1.1 million, and auction houses have begun to sell digital art. But these

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new forms of art come with unique problems. In June 2013, Melena Ryzik wrote in The New York Times about the dilemma of Douglas Davis’s The World’s First Collaborative Sentence, donated to the Whitney Museum in 1995. This early interactive computer artwork was composed of opening lines contributed by 200,000 users from around the world between 1994 and 2000. In recent years, the Whitney discovered that the code and links were out of date and that “the 1s and 0s of digital art degrade far more rapidly than traditional visual art does, and the demands of upkeep are much higher”—though it eventually debugged and reposted the piece.

PHOTOGRAPHY COURTESY OF CARRIE MAE WEEMS AND JACK SHAINMAN GALLERY, NEW YORK (UNTITLED (COLORED PEOPLE SERIES)); © MARIKO MORI, COURTESY OF SEAN KELLY, NEW YORK (TOM NA H-IU II); COURTESY OF WADE GUYTON AND FRIEDRICH PETZEL GALLERY (UNTITLED); COURTESY OF WANG YUYANG (BREATHING SERIES–OFFICE)

nother problem, as digital art becomes more collectible, is how to prevent the piracy and irrepressible sharing that brought the music and film industries to their knees. The rhythms of our lives have changed. Technology has recast the ways we can access art. We’re texting, typing, and documenting as fast as we can. Those of us who are artists and arts professionals are racing to keep up with expectations for more dynamic engagement that digital technologies have precipitated. Media scholar Henry Jenkins writes about “convergence culture,” the collision of old and new media where consumers can get entertainment the instant they want it. For the past seven years, I have produced director Chiara Clemente’s films, many of which explore the lives of artists and their creative processes. Our preoccupation with instantaneous digital images viewed on our devices concerns Clemente: “With all the technology around us, no one will have memories based on senses—the smells, colors, our feelings in that moment. Everything might be based on a frozen instant.” Carrie Mae Weems, a 2013 MacArthur “Genius” Award winner, is known for capturing provocative and poetic images (a retrospective of her work has been traveling around the country and will be at the Guggenheim Museum in New York in January). Though she depends on digital technology to make her photographs, Weems values the in-person art experience: “With time fast-tracked and expectations for instant gratification at an all-time high, I’ve come to appreciate the contemplative space and slow pace of a well organized and deeply considered exhibition,” she says. “I enjoy the careful arrangement of objects and their relative proximity to one another. Nothing tops the experience of the real, the live, the touchable.” One day, we might be able to step into a portal and feel as if we are walking through the Prado without actually flying to Madrid. We might even be able to conjure organic and spontaneous emotions of being in the same room with other people. But even when that happens, there must always be a place for full-sensory

Untitled, by Wade Guyton, 2011.

“WITH TIME FAST-TRACKED, EXPECTATIONS FOR

INSTANT

GRATIFICATION [ARE] AT AN ALLTIME HIGH.” —CARRIE MAE WEEMS

participation and the collective experience so that we don’t only rely on eye-mind connections, devoid of human interaction.

esigner Shimi Cohen created an infographic short animation inspired by MIT professor Sherry Turkle’s book Alone Together. In The Innovation of Loneliness, Cohen artfully explains how our virtual hyperconnectedness has resulted in the advance of artifice, narcissism, and, as the title suggests, loneliness. The credo of today is “I share, therefore I am.” Mike Milley, the global director of lifestyle research for Samsung, told me that in the Bay Area where he lives, he senses a backlash against living through online correspondence and digital gadgetry. An example of this, he says, is “to go to dinner parties and show up with an LP as a gift for the host.” One day, after many months of working on a book, I ventured out. My first stop was the Guggenheim Museum to catch the final hours of the James Turrell exhibition. When I entered the atrium, the circular mat on the floor was full of people lying down and looking up. I found an empty spot on a bench beside a man, nodded hello, and then fell into a reverie gazing up at the concentric

circles of halcyon light—powered by technology, but triggering a sensation that could only happen in person. I was imagining the most glorious sunset or dawn, or the birth of a fantastical solar system. When I snapped out of it, there were dozens of people around me who had also succumbed to the enveloping beauty of art we had seen with our very own eyes. As we go deeper into a digital age, I wonder: Are we heading towards a world in which no one goes to museums or galleries, critics and curators are unimportant to how we choose and understand art, and 3-D printers can perfectly create artworks and make the artist’s hands unnecessary? I hope not. But I consider what Miami art collector Mera Rubell said: “I can’t predict where and in what medium I will collect in the years to come. Technology is the medium of our time. As a devotee of contemporary art, I go where the artists take me. I trust them, and I trust the art.” ABMB

Breathing Series-Office, by Wang Yuyang, 2013.

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Asian Invasion

On the heels of a successful Art Basel in Hong Kong, Asian galleries will travel halfway around the world to exhibit at Art Basel in Miami Beach.

Light Blue, 2012, by Masahiko Kuwahara, Tomio Koyama Gallery.

By Mary Elizabeth Agnew

PHOTOGRAPHY COURTESY OF TOMIO KOYAMA GALLERY ©MASAHIKO KUWAHARA

he East-West paradigm remains a much-discussed topic in the contemporary art world. Talk of an ongoing “pan-Asian shift” is confirmed by—and perhaps accelerates—the increase in the number of Asian galleries participating in international fairs like Art Basel in Miami Beach, a number that should grow further as Art Basel’s presence in Hong Kong continues to strengthen confidence in the region. Graham Steele, director of White Cube Hong Kong, has faith in the Asian players involved in the considerable task of representing the wide-ranging output of such a diverse cultural landscape. “Without a doubt, Asia will always be a center for culturalism and cultural consumption,” he says. “What is great about the Art Basel brand is that it’s something that is international. Art Basel in Hong Kong offers a forum for Hong Kong to become an international art center, not just an Asian art center.” There is much to see from the Asian galleries at Art Basel in Miami Beach 2013. The enigmatic work of prolific artists such as Xu Zhen will be displayed in a group show at the Long March Space installation, which will also include notable

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Acting out artist, 2012, by Hu Xiangqian, Long March Space.

PHOTOGRAPHY BY KUSHAL AN/COURTESY OF GALLERYSKE (GOWDA); COURTESY OF THE ARTIST AND THE GALLERY (NAWA)

Cut Flowers, 2011, by Sheela Gowda, GallerySKE.

pieces by Liu Wei, Ran Huang, and Wu Shanzhuan in collaboration with Inga Svala Thorsdottir. The haunting work of China’s He Xiangyu will be paired with that of Haroon Mirza, a British artist of Pakistani origin, by the Japanese gallery SCAI The Bathhouse, while Tokyo’s Tomio Koyama Gallery brings the homegrown artists Yuichi Inoue, Makoto Saito, and Hiroshi Sugito, among others. These three galleries offer insight into the curatorial intentions of a growing list of 17 spaces throughout Asia that participate in both Art Basel in Hong Kong and in Miami Beach. Each offers a unique perspective on the challenges and benefits of being part of a global contemporary-art milieu far from home. “The difference between Art Basel in Hong Kong and Art Basel in Miami Beach is the market, while the similarities lie in the Art Basel experience,” says Theresa Liang, a director of Beijing’s Long March Space, who is overseeing its exhibitions. “There are noticeable improvements every year. You see more Asia-based galleries, as well as collectors, in Miami Beach and Basel each year.” The 17 Asian galleries at Art Basel in Miami Beach are determined to assert their pronounced cultural tastes and preferences. The fact that Asian contemporary art is a significant independent cultural movement backed by the region’s undeniable wealth and collector potential allows Asia-based galleries to curate unself-consciously. “For us, [coming to Art Basel] is about curating the best possible stand that will demonstrate the capabilities of our artists,” says Steele of White Cube Hong Kong. “We never go, ‘Okay, we are going to do an Asian stand, so let’s get lots of red and lots of small pictures.’ It has to

“The difference between Hong Kong and Miami Beach is the market; the similarities lie in the Art Basel experience.” —THERESA LIANG

Koyama Gallery, which also has an outpost in Singapore. “It is still only Manifold, 2013, by Kohei a dot, and it will take some time Nawa, SCAI The Bathhouse. to be understood historically and geographically.” Those sentiments be something that is wider than just catering to one are echoed by Liang of Long March Space: “Presenting thing, because doing that is the best way for an art art made in China by China-based artists outside of the context of China does present challenges.” fair stand to just look pathetic.” The challenges seem to lie in conveying a full There can be little doubt that the international acclaim for contemporary Asian art has reached dizzy- picture of the origins, concepts, and visual languages ing heights, due in no small part to the growth and devel- of what is often labeled “Asian art” within a stylistiopment of Art Basel in Hong Kong. “It’s the world’s cally saturated global environment. Each market is premier showcase for Asian contemporary art,” says structured differently—some of them nationalistically, Nick Simunovic of Gagosian Gallery in Hong Kong. some in terms of the individuals who drive the mar“No other fair offers as comprehensive an overview of ket and their financial arrangements. But these are the diversity of cultural production in the region, with issues for any gallery looking to compete at an interextraordinary offerings from northern Asia, Southeast national level, and the overriding message from Asia remains predominantly positive. The Eastern-Western Asia, the subcontinent, and the Middle East.” But despite all the media and industry hoopla of exchange is working both ways, with Western galleries recent years heralding the Asian contemporary market reaching out to Asian collectors in order to attract their as a new leading force in the art world, the day-to-day substantial buying power. And with the development challenge of illustrating the variety of artists and the of large cultural institutions like Hong Kong’s new scope of their work and presenting it to global collectors museum of visual culture, M+ (set for completion in remains. “I cannot say that Asian art is well represented 2017), the long-anticipated infrastructure needed for at Miami just yet,” says Tomio Koyama of Tomio sustained cultural growth is nearly ready. ABMB

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MOTHERHOOD Despite an increase in mothers working in the art world in the 21st century, women who choose to start families still grapple with how to juggle careers and children. BY JULIE L. BELCOVE

PHOTOGRAPHY BY MICHAEL HERMANN, COURTESY OF LEHMAN MAUPIN, NEW YORK AND HONG KONG

CREATIVE

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PHOTOGRAPHY COURTESY OF REED KRAKOFF/ASSOULINE (GREENBERG ROHATYN)

One day this past summer, Isolde Brielmaier, an art history professor and curator, found herself in familiar territory: She was atop the High Line, Manhattan’s overhead park, which runs roughly the length of the Chelsea gallery district. This time, however, she was with her 3-year-old daughter, who, as young children are wont, suddenly needed to use the bathroom desperately. Several galleries Brielmaier knew well were right nearby. But she hesitated. “Generally when I enter these places, I enter in a professional capacity,” she says. “I’m not saying people would see me differently, but it definitely crossed my mind that there are these boundaries. I was cognizant of my image.” She made a gut decision to take her daughter to a restaurant in the neighborhood instead. In this age of “leaning in,” Brielmaier’s quandary exemplifies the dilemmas facing many accomplished women in the art world who have chosen to become mothers. Must they draw a line between their professional and personal selves? And if so, where? Or has that line already been drawn for them? The field has come a long way since the mid- to late 20th century, when female artists, already facing sexism, feared they would not be taken seriously if they were also moms. There were mothers among the ranks of leading gallerists, such as Barbara Gladstone, Paula Cooper, Angela Westwater, and Marian Goodman (although Goodman and Gladstone started their businesses when their children were older), but among artists, childless was the norm, from Lynda Benglis and Joan Jonas to the next generation’s Cindy Sherman and Kiki Smith. Every woman interviewed for this article, including artists, dealers, and curators, agreed that the art world of the 21st century is more hospitable to mothers. To be sure, there’s power in numbers: Sarah Sze, Tara Donovan, Mickalene Thomas, Julie Mehretu, Wangechi Mutu, and Rachel Feinstein are just a few of the 40-something women who have made their marks as artists and are also raising children. A baby boom has swept through the galleries as well, hitting Marianne Boesky, Andrea Rosen, Stefania Bortolami, Dominique Levy, and Salon 94’s Jeanne Greenberg Rohatyn, among other high-profile dealers. In Rohatyn’s view, what makes a good mother helps make a good dealer. “Mothers can take what they’ve learned as mothers—nurturing, listening—and roll that over into their professional relationships,” she says. But motherhood is still a touchy enough subject that several prominent women, including dealers with their names on the doors and museum directors with substantial reputations, declined to speak on the topic. (One public relations veteran challenged the assumption that being a mother was any different from being a father and pitched a substitute, feel-good story about mothers and daughters.) Feinstein laughs at the suggestion that motherhood and fatherhood are now on a par. The sculptor, who is raising three young children with her husband, artist John Currin, neatly sums up the distinction: While Currin is admirably concerned with paying for their

Jeanne Greenberg-Rohatyn

“I don’t want my life to end and feel I missed out.”

—AMY GOLD

Elinor Carucci and her daughter Emmanuelle.

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Yvonne Force Villareal and Doreen Remen. BELOW: Rachel Feinstein with her children, Francis, Flora, and Hollis Currin, and their dog, Chewy.

children’s clothes, Feinstein is the one to worry whether the clothes still fit, if they’ve been laundered in time for school, and will the kids wear them? Or, as photographer Elinor Carucci puts it, “My husband is a great father, but he’s not thinking 24/7 about the children—and I am.” In some respects, the comments of female art professionals mirror those of working women in any industry: Household management still falls disproportionately to them, and they need to prove themselves twice as worthy at work as their male counterparts. But the art world also presents its own quirks that can be particularly hard on mothers, namely nonstop global travel, endless evening functions, and Saturday gallery hours. Privately, female dealers shared incidents of artists dropping them because family commitments prevented the women from attending openings abroad. In one case, an artist chastised his longtime gallerist for having had a baby.

aula Cooper was a pioneer when, as a new mother in 1968, she opened what would become one of the era’s leading galleries. “When I look back on it, I was kind of crazy,” she says. “I had a baby who was just over 1 year old—and I was pregnant again! I had a husband who never once changed them or bathed them.” (The marriage didn’t last.) But it was also a less businesslike art world in those days. “I remember I said to one client, ‘I’m sorry, I have to leave. I have to go home and feed my children.’ He said, ‘I’ll come with you.’” Cooper found community among the artists. Elizabeth Murray, one of the rare female artists of her generation to become a mother, had children around the same ages as hers. Likewise, many mothers today say a support system within

the art world has proved invaluable. For example, Feinstein, Rohatyn, publicist Sara Fitzmaurice, Art Production Fund’s Yvonne Force Villareal, and photographer Jessica CraigMartin all had their first children around the same time. All of the women interviewed were already established when they had children. They work by choice, heap praise on their partners, and express confidence that their children will find inspiration—and not resentment—in their mothers’ professional passions. Fitzmaurice says she hopes her daughters understand that “my working allows [them] to grow up and have a life separate from me.” To Villareal, it’s a “calling.” Nevertheless, time is a recurring theme. As Mickalene Thomas says, “Dividing the right amount of time without neglecting either is challenging because you love both of them and don’t want either to feel ignored.” Rohatyn keeps her office at home, far uptown from her two downtown New York galleries. Fitzmaurice says she frequently works at odd hours to enable her to do “mom things.” Villareal and her partner in APF, Doreen Remen, have a pact that family comes first. “We made an agreement that she and I would cover for each other when one couldn’t be there,” Villareal says. “That has worked beautifully. To get our work done, we work smarter and harder.” Villareal has also hired a life coach to help her carve out time for her family. When Cooper opened her gallery, art fairs weren’t even on her radar, let alone her calendar. These days, dealers brave a punishing schedule of international fairs, traveling not only to Basel and Miami Beach, but also London, Paris, New York, Chicago, and Hong Kong—and that list doesn’t take into account the mushrooming roster of biennials on every continent or their artists’ constant stream of openings in foreign cities, at which their presence is a command performance. Even when they’re at home, dealers face near-nightly demands on their time, such as charity events and auctions. Still, some women are defying the odds and climbing the ladder. After six years as director of sales at Lehmann Maupin Gallery, Carla Camacho, a mother of 3-year-old twin boys, became a gallery partner this year. But the path was not always smooth, and Camacho admits to harboring insecurity about how her motherhood would be perceived. She recalls attending Art Basel in Miami Beach without the children when they were only 2 months old. “I had to stop breast-feeding because of it,” she says. “Incredibly, I have to say the first year after I had the babies, I traveled the most I’ve ever traveled. I think subconsciously

PHOTOGRAPHY BY ERIC ROMAN (FEINSTEIN); COURTESY OF REED KRAKOFF/ASSOULINE (VILLAREAL)

LEFT:

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PHOTOGRAPHY BY MICHAEL HERMANN, COURTESY OF LEHMAN MAUPIN, NEW YORK AND HONG KONG

I definitely felt I had to prove myself—just because I had the babies doesn’t mean my ambitions changed.” It’s not an uncommon reaction. Mutu is weary of what she sees as subtle biases against mothers. “I overextend myself because I don’t want to be seen as having disappeared because I’m a mother,” she admits. “I try to be visible.” Camacho, after trying to cope with the traditional gallery workweek of Tuesday through Saturday, switched to Monday through Friday. “I was terrified to do it,” she concedes. “I was afraid it would kill my career. But it really had no effect.” Echoing the other women with business positions, she says she also cut back on her nights out, from as many as five or six a week to about three, “which is still a lot.” So far, she says, her sons have been pretty oblivious to her hectic schedule, but she fears the worst is yet to come. “It will get harder as they’re more aware of my absence,” she says. “The fairs are the most difficult because they’re long. Fairs tend to be seven days [away]. Hong Kong is 10 to 12 days. That’s a long time to be away from your family.” As for toting tots to the fairs, the women are split. Fitzmaurice wins bragging rights for taking her firstborn to the debut of Art Basel in Miami Beach, a client, at just 5 weeks old. “The show had to go on, even with a child,” she says. This past summer, Fitzmaurice brought her two daughters, now 7 and 11 years old, to Venice and Basel, and although the trip didn’t exactly follow the script she’d written in her head, she wouldn’t trade the experience. “It’s like they’re part of my work world,” she offers. “They’ve seen it firsthand and participated.”

Carla Camacho with her twin boys, Joaquin and Julian.

man and international head of postwar and contemporary art at Christie’s, also or Villareal, on the other hand, once was enough. She took needed to jump on a plane at a moment’s notice. “Brett is driven by his business. It’s all he thinks about,” Gold says. “I’m a her son to Art Basel at 4 months old. “I was delusional,” she totally different creature. I don’t want my life to end and feel I missed out.” With says in retrospect. work and family draining all her energy, she longed The demands of a gallery or to rediscover her other passions, such as tennis, auction house prove too much piano, and cooking. “All the things that made me for many. Sabrina Buell spent 10 who I am were starting to go missing.” In 2011, Gold years at Matthew Marks Gallery, quit the gallery and went into business for herself as the last five as West Coast director. “The director of a private dealer. a gallery is on the road all the time. Once I had my Artists, particularly if they’re in the echelon makdaughter, I took her with me,” she says, describing —RACHEL FEINSTEIN ing good money, enjoy the distinct advantage of beMarks as very supportive. “At 6 months, she’d been on 40 flights.” The San Francisco–based Buell quit and cofounded Zlot Buell + ing able to control their studio schedules and environments to suit their family Associates, an art advisory firm. She still has to flit around the world, but now she lives. Mutu’s primary studio is in her home. Thomas spends Mondays with her 1-year-old daughter, and “the studio knows.” She also created a play area for the can control the duration, spending four days in Basel, for instance, instead of 10. Similarly, Amy Gold, who was deputy chairman and director of business de- toddler in her studio. But it’s still not always easy for artists unaccustomed to living like civilians. velopment at Christie’s, finally tired of what she calls the “onerous” travel when her daughter was about 5. She left the auction house to become a senior direc- Feinstein and Currin had to reprogram their entire routines. “We’d go to the stutor at L&M Arts with the condition that she have a four-day workweek. But, she dio in the afternoon, get our mojo at 5 or 6, stay until 10 or 11, then have a late says, “I felt even more travel pressure.” Exacerbating the problem, Gold is half of dinner at Pastis,” she recalls wistfully of their days as just a couple. Parenthood an art-world couple, a common circumstance. Her husband, Brett Gorvy, chair- demanded otherwise. “Kids crave structure, but as an artist you don’t have any

“Picasso had no problem having lots of kids and not thinking about them.”

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because no one’s telling you what to do.” Feinstein found it hard to simply shorten her days in the studio. She prefers working “like a volcano” in intense spurts that include 12- to 14-hour days, with months-long breaks in between to devote to her family. “When I’ve got my game on, I can completely do it,” she says. “Once the show closes, I shut down.” And she considers her recent output better than before she had kids. Even so, a trickier obstacle than time management may be mind space: Mothering is all-consuming. “Being an artist, you’re supposed to be able to just dream,” Feinstein says. “On a daily basis, my biggest challenge is, how can I create something and think about me when all I think about is them? Picasso had no problem having lots of kids and not thinking about them.”

utu fights against the caution that has invaded other aspects of her life since having her daughters. “I don’t jaywalk the way I used to. I eat better; I drink less. I want them to have me around,” she says. “So the work becomes this precious place where I try very hard to preserve remnants of my rebelliousness.” Other artists say they’ve made the surprising discovery that motherhood actually feeds their art creatively. “I feel like I’m a little more playful and a little more forgiving of myself, and I don’t hold on to preconceived systems that I’ve established,” says Thomas. “A lot of new paintings I’m doing are completely different—fun and childlike and exuberant.” Sara Fitzmaurice and her two daughters. Elinor Carucci channeled her experience of motherhood more directly into her work: Her pregnancy and the first years of her twin sons’ and daughter’s lives became the subject of an ongoing photographic her mother, worked. “Only when I came to America did I realize what the idea of project, resulting in the book Mother (Prestel), published in September, and an the housewife meant,” says the Kenyan-born artist. When Laurie Simmons, an oft-cited role model as a well-regarded artist and a upcoming exhibition at Edwynn Houk Gallery in early 2014. The images can be tough—Carucci’s scarred belly just after her caesarian section—and melancholy, mother of two now-grown daughters—actor/writer Lena Dunham and actor/poet Grace Dunham—decided to go against the grain in like one of Carucci breast-feeding her daughter for the 1980s and have children, she swore she’d never the last time. let them become an excuse. She kept her studio an “When I became a mother, I realized how complex elevator ride away from home and says her husband, it was to be a mother—not just a parent, but a mother,” artist Carroll Dunham, was a true 50-50 partner. she says. “We see a lot of Madonna and child, and Perhaps most importantly, she says, “I accepted celebrities with perfect bodies two weeks after giv—LAURIE SIMMONS haphazard as the norm. My kids didn’t have a bath ing birth, but not other moments. I wanted to show a every night. Is that really going to kill ’em?” more complex portrayal of motherhood.” Although she was determined to be both mother and artist, Simmons notes Many of the women interviewed admitted to having jitters before having a child, worried that they’d lose focus. “I did think twice about it because I have that there was a time when she would not address the topic if asked about it on a lots of friends who are juggling being mothers and artists,” says Thomas, whose panel, finding the question sexist were it not also posed to the male artists. “I’ve former partner, artist Carmen McLeod, is the birth mother of their daughter. “I kind of turned around on that,” she says. “How can we make it okay for women artists if we treat the subject as taboo? Just as Elizabeth Murray was a role model saw what it entailed.” Mutu noticed that a disproportionate number of successful women in the field for me, I’d love to be a role model for a younger artist. Like me, she might end up were childless but says she was raised in a culture where all the women, including raising young artists, and that’s pretty satisfying.” ABMB

PHOTOGRAPHY BY MEREDITH ANDREWS

“My kids didn’t have a bath every night. Is that really going to kill ’em?”

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A ut YE o a b EW

E ’S

k N A s CK

B L U E WAV E S & P I N K I C E . I T ’ S N OT YO U R I M A G I N AT I O N . It’s true – the entire family can now ride the waves and glide across the ice this winter at Boca Raton Resort & Club, A Waldorf Astoria Resort. Dive into the Boca Surf School and, through the New Year, hit the new pink ice at the resort’s debut outdoor skating rink.

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G OOD

LUCK TO THE EIGHT FINALISTS IN THE

H ERRADURA B ARREL A RT C OLLECTION .

On December 4th the winner will be crowned, earning them a place in Herradura history along with an endowment of $100,000. To further our commitment to the arts, a $70,000 donation will also be made to Creative Captial, ensuring all artists have the tools to reach their full potential.

TO SEE THE OVER 70 ARTISTS AND THEIR WORK, VISIT HERRADURABARRELART.COM

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Conversations

Each year, we pair art world luminaries together for a series of openended conversations—kind of our own version of a mini cultural salon. Seminal and emerging figures in the art world participate, discussing sujets du jour. This year, topics were as wide-ranging as always—from Chinese political dissidents to the cinematic nature of New York City to the idea of art healing cultural wounds. Enjoy!

PHOTOGRAPH BY TK (TK);

IMAGE COURTESY OF THE ARTIST AND PAUL KASMIN GALLERY

Sorry Hero, I Forgot (Sorry Hero, Saya Lupa), by Nyoman Masriadi, 2008.

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conversations

In December 2013, the Rubell Family Collection will open “28 Chinese,” an exhibition of contemporary Chinese artists, some of whom have never exhibited in the US. Mera, Don, and Jason Rubell talked with Juan RoselioneValadez, the director of the collection, about their collecting philosophy. Juan Roselione-Valadez: Last September you made another intense trip to China, where you visited 42 studios in just over one week. This was your fourth trip there in the last four years, and you’ve conducted 100 studio visits in the course of five trips. Many of these artists you’re visiting are not well known. These trips have culminated in our exhibition “28 Chinese,” which opens December 4. It seems to be of particular interest to you to have the ability to engage with the artists you may collect and exhibit and to be privy to their process. Why is the artist’s studio so alluring to you? And why is it so important to you to witness the artistic practice and progress? Mera Rubell: It’s completely inside of our practice as collectors; there is something essential in the experience that we get visiting the studio. Now, what should be said upfront is that we don’t visit the studio to avoid the gallery. We always acquire artwork via a gallery. It’s interesting because in China the gallery has been slow in coming around to representing artists, or the artist has been slow in recognizing the gallery’s role. But that’s happening less now because they understand the function of a gallery and how important it is. For us, because the artist is so new—and oftentimes hasn’t even had a solo exhibition—the studio represents entering the inner sanctum of the artist’s practice and life. It’s a very sacred place; it’s a comfort zone that the artist has that we

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cannot take for granted. We always feel like someone is letting us into a very intimate experience about who they are, why they make the work, and it gives us a real opportunity to engage, but also to feel and experience and learn to trust the artist, and think about whether this artist’s work should be in our collection. Don Rubell: Even the very best of the young artists do not come out fully formed, and it’s very important for us to visit the studio, to speak to the artist, to understand the ambition and the vision of the artist, and to look at the work in an unedited form, to understand where the possibility of the artist exists. Juan: Does the artist’s persona, life experience, or demeanor affect your view of their artwork? Don: Only in a partial sense. Ultimately the artist’s work speaks for the artist. Sometimes it’s easier to understand the artwork by seeing the persona, but this is not the definition of the artist. The definition of the artist is his or her work. Jason Rubell: However, as Westerners we are so completely removed from the Chinese experience. In order for us to collect Chinese art, it was essential to have the studio interactions. To understand a new art language and culture, the personal and physical interaction with the artists was essential. The nuances of China would not have become apparent through visits to contemporary Chinese exhibitions in Chelsea

galleries. In fact, for many years prior to engaging in this project, we simply dismissed Chinese art—we did not put the effort and energy into a thorough exploration of the contemporary scene. It was vital to this project that we were able to touch, smell, hear, feel, and taste something about China itself. Mera: It’s very important to realize that it is [about] the artwork, as Don just stated. However, we can’t forget the moment we encounter the artist. That moment, there is often very little work available. What you are seeing is the beginning, and what we’ve enjoyed for the last 50 years, the essence of what we really, really love, is to engage with a prediction, with a sense of what the artist can become. And based on the limited work that a young artist has in a studio, we need all the information we can get. But the work has to speak for itself. Juan: Your very first engagement with contemporary art was in the form of a studio visit. Not a planned studio visit, but one that happened organically as you walked down the street in the 1960s and artists were repurposing Manhattan storefronts as studios and exhibition spaces. Mera: In the 1960s, Don was in medical school and I was teaching in the Head Start Program in Harlem, and yes, in his breaks from his studies, we would take long walks in our neighborhood. At the time, real estate was so bad, and the economy was so bad, that artists could actually rent very inexpensive studios. We encountered

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a universe walking into storefronts on New York City streets. We discovered brilliant people living their life as artists, and we were just so grateful that they let us in. JUAN: So in some ways nothing has changed with your practice. MERA: It’s true, yes. JUAN: You’re just more jet-lagged now. DON: The persona, if you will, of the artist is the dessert. The artwork is the entrée, and the persona adds to the possibility of success of an artist, but absent good work, the persona won’t do any good. JUAN: How do you perceive your relationship to the artist you’re visiting? Do you feel like the artist relates to you as the other, perhaps initially, and what is that like? It can be interesting to see that shift when people feel they do or do not have something to gain from you or that they should or should not be intimidated by you. Do you ever notice this polarity? MERA: The collector is, in some ways, in an embarrassing position because there are a lot of stereotypes connected with the role of the collector. It’s usually the person who is transactional, you know? [Artists] think that you are going to come into the studio to make a transaction, [that] it’s about deal making. I think that initially they expect us to be critical, to come with criticism…. almost like shopping for art. JUAN: Would you say a lot of people don’t feel

Don, Mera, and Jason Rubell with Juan Roselione-Valadez.

modestly. They’re apprehensive about being judged— as anybody would be. You’re making a huge judgment, and they expect that at the end of it you’re going to give them some sort of grade by buying or not buying their work. So ours is a whole different experience. We never go to the studio to buy art; it’s very rare that we buy art in the studio. DON: There are many different roles in the art world. And in many respects, the collector’s role is clearest because they have only one function, and that’s to

“What you are seeing is the beginning, and what we’ve enjoyed for the last 50 years, the essence of what we really love, is to engage with a prediction, with a sense of what the artist can become.” PHOTOGRAPHY BY CHI LAM @ RUBELL FAMILY COLLECTION

–MERA RUBELL

comfortable with studio visits, whether or not they’re a collector? MERA: It takes a long time to learn how to do a studio visit. And the studio is not a place for shopping. If you want to go shopping for art, you should stick to the gallery. A studio visit is more about an intimate interaction with the artist. You’re going into someone’s real private space; it’s almost like entering someone’s brain. They’re really opening up their heart, their life, because artwork that is good is open for all kinds of conversation, is open for questions. Some artists we visited in China literally had a space, what, 12 feet by 16 feet, and that encompassed the kitchen with a hole in the ground for a bathroom; they’re living very, very

collect the art. There are critics that describe the art, describe the general terms, but ultimately since the collector has really only this one role, when the collector visits a studio in the ultimate sense, his true feelings about the studio will manifest themselves through whether he eventually buys or doesn’t buy the work. In certain very fortunate circumstances, one can transcend that and develop a real relationship with the artist. JASON: We push the boundaries of the definition of the collector. In our Contemporary Arts Foundation, we take on the position of curator, publisher, and educator. The idea that we are merely an accumulator of objects has definitely changed for us through our public mission. At times our multifaceted roles can

be confusing to established organizations inside the art world. These freedoms from stereotyped roles are amazingly liberating for us. JUAN: What’s the darkest experience you’ve had during a studio visit? DON: There was a recent experience that brings out the difference between art and life. We visited a studio in China, and we walked in and the artist had absolutely nothing there. And we found out after leaving that this artist had just been jailed for a month and he had just gotten out that day. It was very clear that there were bigger issues for him than our studio visit. MERA: Yes, that was really something, because we walked into his home, his studio, and he sat us down at the table. It was a square table, and basically, we looked at each other, and we didn’t know what was up. Through an interpreter, we said, “Do you have anything to show us?” And he wasn’t aggressive or disrespectful; it was like he was in a zone. Like he was open to have us come, but as soon as we came he felt otherwise. We knew we entered at an emotionally traumatic moment for the artist. And we felt like the best thing we could say is, “We are happy to visit you, happy to meet you, but if you feel like this isn’t the right moment, we can reschedule, but we don’t have to burden you with our visit.” I think he appreciated that we were sensitive to his condition. He literally couldn’t communicate about anything. Afterwards we heard that he apologized, he said he was recently released from jail and he thought he’d be open to an interaction, he was looking forward to the interaction, but he didn’t realize that that morning

ell Family

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CONVERSATIONS

he had to go back on his probation. He literally had just come from a probation been this engagement with art. JASON: It’s a personal question. meeting. That was intense. JUAN: You’ve acquired many artworks that some would deem transgressive. MERA: Yes, it’s a personal question. I derive personal satisfaction from the public How do you think art reflects the disturbing facets of our existence and why is that mission that has materialized, meaning that our private mission is actually more important? Or is it important? satisfied by engaging with the public. It makes it a bigger conversation; it creates more JASON: It’s the most important. That’s what all good or lasting art does: It creates voice for the collection now, so it creates more voice and responsibility for us. It’s just intertwined. the subjects, the subjects that are lasting and DON: We are neither the stewards of culture permanent, at least, lasting and significant at the time in which it is made. That’s the nor the determinants of culture. We are definition of contemporary art. And that’s people who collect art, who have the good why some art has lasting power and some fortune to have a space to allow other people does not. to look at what we collect, but in no way are JUAN: You began your collection with very we the determinants of culture. JASON: There are lots of factors at work that modest means, and it was a very personal – MERA RUBELL endeavor. Now that your collection is seen affect perceptions in the art world. I would as one of the world’s most prominent, do you like to think that we are active participants in feel a heightened sense of obligation to the public? Do you feel like stewards of culture the global dialogue about contemporary art. to any extent? Does acquiring artwork feel the same to you now as it did when you MERA: We’re a player like everybody else. started? DON: Don’t take a question that makes us determinants of anything… MERA: Life kind of happens, and I don’t think you sit down and think about all these JUAN: Don, right now, are you a determinant? big, big objectives to move your life forward. In a curious way, performing inside of DON: Yes, but modesty is a lovely statement. what gives my life meaning, and my marriage meaning, and my family meaning, has MERA: So it’s good that we answered it modestly. ABMB

“In a way, performing inside of what gives my life meaning, and my family meaning, has been this engagement with art.”

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Madelein

CONVERSATIONS

MADELEINE GRYNSZTEJN: I can’t think of better experts than you, Gael and Stefan, to discuss Art Basel and collecting, given that you are among the most renowned art collectors and avid art fair visitors in the world. Why don’t we start with how you both use art fairs? GAEL NEESON: Well, we just had our Chicago fair, which was an interesting experience. Chicago was the first city to hold an art fair in the United States, the one that started the whole commercial art fair circuit back in the ’80s. I like art fairs because you get to see all the galleries together. It’s really clarifying to see the spectrum of current art production in one place. MG: Use it like homework or research, in a way? GN: Absolutely. You look at everything, you make notes, you study, you see if there’s anything that you can’t resist and that works for you.

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MG: How do you use art fairs, Stefan? STEFAN EDLIS: It’s a meet and greet. MG: So for you it’s more of a social network; that’s how you are gathering knowledge? GN: Sometimes when we go to art fairs, we’re already ready. When we have work to do, we just get down to business. We also look and look, and we work it. If we really want to buy something, we go for it. SE: Agreed. MG: So there are multiple purposes to your attending a fair, and it reflects on the real and various characteristics of the scene, since essentially the art world is very much a social network and many of the best pieces come to you through relationships. But also, an art fair is a place where, let’s say you’re on an arc to consider acquiring something, the art fair helps you solidify that decision. Is that what I’m hearing? SE: Yes and no. The first thing we do is visit the galleries that we have done business with in the past. Then we ask them to see if they have anything in the back. We may see something very interesting— something totally unplanned—that turns out to fit with an artist that we already collect. It’s very unlikely that we would buy a new artist at an art fair. And the dealers will probably only offer us the things they know would fit our collection. So it’s focused to that extent. The rest of the time is spent speed walking through the fair. We walk up all the aisles and basically look at the names of the galleries. We get an overview. It’s a glancing. MG: Do you use art fairs differently from the way you use or experience an exhibition in a museum or a show in a commercial gallery in Chelsea? SE: They have different purposes. An exhibition is something that’s curated, and whenever you look through one, you think about what the curator was thinking. What was the point of view? How do we understand it? When it comes to an art fair, there’s no

curatorial supervision. It’s everything to everybody. MG: It’s a slice of the market at that moment, a moment in time that can help you crystallize the up-tothe-minute artistic pulse. GN: And you know which artists are hot, and which artists are not. MG: Which is valuable information. SE: You can tell if an artist is hot because a lot of the pieces show up. MG: How is that different from going to a commercial gallery or seeing an exhibition in Chelsea? SE: Totally different. We see half a dozen galleries in New York among the hundreds of good galleries there, and we don’t have the time, energy, or even the inclination to pursue every invitation that we get. Our purpose is clear: What is the artist doing now? There is an element of surprise, of anticipation, as to what that artist comes up with, what the next idea is. Artists have to continually reinvent themselves. They can’t stand still; they can’t keep knocking off their own work. GN: It’s the anticipation and expectation of going to a show of new work. What is it going to be? What is she or he doing? MG: You say you traditionally don’t discover artists at fairs. You go there to continue some research you’re already doing. But have you ever been surprised? GN: I remember when we first got interested in Ugo Rondinone. We’d been exposed to him at a Venice Biennale, but it was at an art fair where we first really noticed him. There was just one gallery with his work, and we became very intrigued. And that was our first purchase of his work. MG: When was your first visit to Art Basel? GN: I remember who we were excited about at that time—Malcolm Morley. So it was a long time ago. That was Basel, Switzerland. As we realized it was a very important fair, we started going every year for a number of days.

PHOTOGRAPHY BY NATHAN KEAY ©MCA CHICAGO (EDLIS, GRYNSZTEJN)

Madeleine Grynsztejn, Pritzker director at the Museum of Contemporary Art in Chicago, talks with legendary collectors Stefan Edlis and Gael Neeson.

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eine Grynsztejn MG: By the same token, you’re two of these extraordinary collectors who have been collecting at a very high level for decades, and you’ve evolved your collection. There comes a point where sometimes you de-accession certain works and buy new work because your own taste evolves in these magnificent ways. I’m interested in how [the roles of] what used to be these very separate vehicles for understanding and acquiring art—the auction house, the art fair, the gallery, even the museum—are increasingly becoming blurred. SE: Galleries are starting to put on museum-quality shows. Sometimes they don’t have anything to sell. MG: And auction houses are entering the primary market, and art fairs, for some people, may be mistaken for group exhibitions. So my question is this: Where do you think that leaves the art fair today? SE: Galleries need art fairs because many don’t have enough foot traffic. It’s very important for some galleries. I remember one fair where we bought some Scandinavian furniture, and a year later when we were downtown we saw this little storefront. It turned out to be the gallery that we bought from at

art fair if you live in a global moment. SE: Yes, it’s serving the customer. MG: It serves the customer with the convenience and the expediency of shopping for buyer and seller. [But] do you think that it serves the artist? Do you think that the current context of the market influences the way artists make art? SE: Artists are happy when they sell their work, whether it’s on the Internet, in a gallery, at an art fair, or on eBay. I don’t think that most artists get involved in how their art is marketed; they’re just hoping it sells. GN: I think artists are a little more involved than what you’re saying, Stefan. I know Ellsworth Kelly was very interested when his works came up at auction. I think artists are interested. MG: Yes, they care whether the work lands in a collection with the quality of yours or whether it eventually goes to a museum. They do care. SE: It’s true that prior to when we bought our Brice Marden, there was a conversation between the artist and the dealer as to whom they should offer that painting to. MG: Interesting. How much do you talk to artists?

“There is an element of surprise, of anticipation, as to what that artist comes up with, what the next idea is. Artists have to continually reinvent themselves.” —STEFAN EDLIS

the art fair, but they would not have gotten much foot traffic in that area. GN: Also, sometimes a gallery will do a monographic presentation of an artist at a fair. They have that artist’s work in depth, and it’s an interesting way to introduce the artist. That seems to be a very successful method, showing a single artist at a gallery, and at an art fair. MG: You’re both raising an interesting point, which is about access to inventory. The art market is now global, literally. When you began as collectors, the top 100 collectors were pretty much based in Europe and the United States, and now it’s a worldwide competitive field. There are also more galleries, you can’t get everywhere, and therefore there’s less foot traffic on the home front. It’s easier to consolidate information at an

How much do you talk to dealers? SE: To artists? As little as possible! GN: We like artists very much! SE: It depends. Some are personable; some aren’t. GN: We like them as friends, but we wouldn’t buy an artwork just because we like the person. MG: So you become friends after you become interested in their work? GN: Exactly. MG: When you talk to dealers, what’s your conversation? Do you look for them to help you further your understanding of what’s on trend? SE: It usually works the other way. When a dealer starts selling, that’s when we develop resistance. We prefer not to get pitched. We prefer to come in and look and see which of the things we want by an artist.

GN: And we look at every work in a show and make our own judgments. SE: Art also has a lot of fashion to it; there’s a herd mentality. I’m thinking of some artists who are successful for reasons I cannot fathom. When you follow the herd, there is a shelter; suddenly you’re not alone. There are some offbeat artists who have been around, who have been important in art history, but they’re really not going to make a mark in the long run. So that becomes your own little itch that you can scratch. GN: We’re not ones to run with the herd. We stay back, look, observe, watch the artist, and see what the work is, see what the next show is, and then make a decision, a more knowledgeable decision. When the artist has a little work behind him or her, at least you’re confident in what you’re buying. MG: The thing that you inspire by your collection is to build confidence in your own position, and what you believe in as a collector. SE: Sure, if it works. GN: It works. MG: So, what’s on your wish list? SE: We don’t go there. MG: I’ve never gotten it out of you. SE: That’s highly classified. GN: We never reveal that. MG: Clearly, because people follow your collection. SE: What goes on in this house stays in this house, like in Vegas. ABMB

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Max

CONVERSATIONS

Dallas Museum of Art’s director, Maxwell L. Anderson, sits down with renowned philanthropist Marguerite Hoffman to discuss authentic collecting and leaving a lasting legacy. my seriousness, and probably my deep ambivalence about the art world. MA: How would you even define the art world? So many of the people who will read this are artists, curators, museum professionals, collectors—people who are not necessarily as engaged in the market on a daily basis, but people who are either making art, caring for it, or providing a public platform. MH: The people who are in the groups that you’ve just described—the people who are actually making art and commenting and looking critically at art—when I have the opportunity to talk with them, we have a wonderful exchange, and perhaps they do have a sense of who I am. I guess we’re talking about who I am as a person in the art world, not who I am in the world in general. MA: Well, you have many dimensions as a person in the world in that you support PRI [Public Radio International], you’re involved in AIDS research with Dignitas, and so many other worthy causes. You have a remarkable breadth of interests. But if we take you back to the act of collecting, how would you help us learn what excites you about that, and some of the twists and turns you’ve had in making decisions about what to collect? MH: I’ve asked myself that a lot, what part of this has become habit, what part of it is like feeding an addiction, and what part of it is real now. I’ve been doing it for 25 years. You have to continually challenge your own reasons for collecting, because once you get in the swim of the art world, it becomes very confusing. Somebody built the way I am, with ambition, energy, drive, and a healthy competitive spirit and a sense of wanting to see women recognized and all those things that float up for me when I get in the arena, that can’t be the only reason why you collect art. That’s not enough.

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You could go be a hedge fund manager for that, right? So the part that still excites is when you encounter something that makes you think about the world a little differently. It throws you off balance, challenges something that you held sacred or is just plain beautiful in a way that’s numinous, that’s not easily comprehended. Those are all the reasons to collect for me. MA: As you moved on in life and really became a collector of consequence, how would you say that’s affected the way you see yourself? Are you in the firmament, or are you an agitator? MH: I don’t know what other people think of me, and I’ve learned a little bit about this from you, Max. I can’t worry so much about that, but I want to have agency over how I conduct myself. My litmus test is: “Did I go to bed making any difference that day to anything that I care about?” MA: How does that inform the artists that you consider most interesting and important to you? MH: I want artists that are doing the same kind of critical thinking. Artists just do it inherently. It’s in their DNA. They think more radically; they commit to things obliquely. I want to be a part of that, which forces me to think more deeply about myself and what’s meaningful to me and what’s meaningful to me vis-à-vis my community and my friends and the larger issues in the world. You’re really involved in this global conversation about how art has to be one of the things that helps us heal some of these deep self-inflicted wounds that our cultures are encountering. I want to be around people who are either making the art that serves as the Band-Aids or the ointment on those wounds—or I want to be a part of the medical corps. MA: You make collecting sound like a higher obligation. That’s different from a lot of collectors who view it as a way of redefining who they are. True?

PHOTOGRAPHY BY DAN SELLERS (HOFFMAN)

MAXWELL ANDERSON: Marguerite, welcome to the Art Basel conversation. I appreciate you making the time. I want to knock you off balance and ask you what the art world does not know about you that you’re going to reveal right now, for the very first time. MARGUERITE HOFFMAN: We only have an hour? I don’t think that’s going to cover it. I think there’s very little that the art world knows about Marguerite Hoffman. The two labels I probably have are “collector” and “philanthropist.” They’re very nice labels, but they mean very little to me. I don’t think they care to know anything more about me than the labels. But should they? I don’t know who “they” are exactly, but I think my intensity is probably not widely understood, my directness, my businesslike approach,

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axwell Anderson MH: Collecting has to come from a deeper place and a more authentic place. That word is overused perhaps, but the collectors who are buying a work to put it on, like I always say it, to where it is like an outfit, chasing whatever the art du jour is, then that’s really about them. Perhaps they believe it makes them better some way, or lifts them up into some stratosphere of higher thinking or higher living or higher being. I don’t have time for that. Those people are really not interesting. When they get involved in running institutions, they’re beyond not interesting. I think they’re destructive. Sorry, that’s my most radical statement. MA: Do you think works of art are different experientially when they’re in a museum than in a home? MH: People tell me that. I prefer to be in my house, but you can’t have groups of people in your house all the time. Museums are places where I feel very at home, and in looking at art it doesn’t put me off. I’ve had the great fortune of traveling around the world looking at many different kinds of museums. But one of the things I appreciate so much about what you’re doing at the Dallas Museum of Art is making that experience more accessible for lots of people.

older I get, the more I want people to speak clearly—tell me what you want to say. You don’t have to do it beautifully, but just try to get across the real feeling. Now, having said that, I love words and I love listening to you talk. You’ve got a great command of language, and you actually do say what you’re thinking most of the time; you just say it better than most people. Here’s one of my fantasies I haven’t told you. I want someday to just go down to Chelsea and have the doors to all of the galleries open but no dealers there. Some of my best friends are dealers, so no disrespect is meant, but I don’t want to talk to anybody about the art. Sometimes I want to talk to curators, but often I just want to have that moment of looking. So if I were the director of Art Basel in Miami Beach, I’d charge people a really high fee and allow them to get in in the morning before anybody else, but no dealers could be there. You would have didactic materials or whatever— you could have some great wall labels or some kind of advice on your phone, whatever technique you wanted to disseminate information—but just let people look, because I think that is what we’re missing. In order to do any speaking, one ought to be looking first, and I just get

“I’ve asked myself that a lot, what part of this has become habit, what part of it is like feeding an addiction, and what part of it is real now.” –MARGUERITE HOFFMAN

It’s like anything else. You have to get a comfort level, you have to kind of know the rules, you have to know that you’re not going to mess up or you’re not going to embarrass yourself or walk into any kind of unknown situations. So, yes, it feels different in the different environments, but I like both for different reasons. Seeing things in a museum, you have to practice that. It’s not an elitist statement; it’s just the more you go, the more you learn, the more comfortable you get. MA: What do you think of “artspeak”? Do you hear unique dialects in other worlds, in public radio, in the AIDS community? Is it just us that have this peculiar language? MH: Jargon? No, in the biotech world, there’s a lot. MA: But that’s based on Greek and Latin. MH: Yeah, and I do really well there! Just kidding. The

really frightened about that part, that we’re not looking. MA: You’ve been in this field for a while, but only in the last 10 years have international collectors really blossomed on the scene from places that were heretofore not players in the art market. How is that changing your experience of collecting? MH: Obviously it’s making it much more challenging. For the kind of art I have been historically collecting, it’s become very, very challenging. I do think there are dealers who are people of great character and who are very loyal to their clients and trying to understand what makes for a good marriage—placing art rather than selling art. They understand that conversation, and there’s a substantial difference. What really makes a transaction go smoothly? The lubricants are pay fast and don’t drive the hardest deal possible.

If you can promise that you’ll leave a work to a museum, that makes a big difference for serious gallerists, especially with artists of a certain stature. So if I can be the conduit for something ending up in a museum, then that’s something I’m there to help make happen. And in the interim, I get a chance to live with something fantastic. So it seems to me like a win-win. MA: Art pilgrims coming to Dallas have the opportunity to see your incredible collection. To the surprise of some, you’ve recently been collecting medieval and Renaissance manuscripts. Can you talk a little bit about what pulls you into that world? Has it affected the way you think about contemporary art? MH: You want those things that somebody’s going to be looking at 500 years from now and saying, “Wow, this was interesting. I see what the artist was trying to get to here,” or things that last or things that are timeless, the things that bring you up short. Some of them are just arresting because of the beauty of the miniatures and the painting technique. But some of them are entertaining for the way an artist stuck with a certain formula. But it’s what you can do within that that really shows an artist’s personality, and I get really excited about that. ABMB

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Chrissie Iles, curator at the Whitney Museum of American Art, and artist TJ Wilcox discuss the biggest stage in the world—New York City— and the cinematic narrative that plays out on a daily basis. Chrissie Iles: Lou Reed died a few days ago. He was an iconic New Yorker, and it makes me think about New York as a city, New York as a stage— the entire city as a stage. I remember once Laurie Anderson telling me a story of how she was walking in Soho and turned a corner and someone said, “Isn’t it amazing what people will do to look like Laurie Anderson?” There’s something about New York as a stage where people take on different personae. And it’s an open structure that’s very fluid, and it allows a kind of theatricality and an almost cinematic-narrative quality of life to emerge.

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It’s one of the most distinguishing things about New York City. TJ Wilcox: You and I often have breakfast together—we were trying a new place today—and over your shoulder I could see this parade of New Yorkers, some in costume because it’s Halloween, on their way about their day. It reminded me of a story I just read about Marilyn Monroe, who moved to New York City in I guess what would have been the late ’50s. She wanted to become a more eloquent actor, and she felt the way to achieve that was to study with Lee Strasberg, the famous acting coach. She became very close with him and his wife; they were always on the set of her movies and became mentors and confidants and caregivers to her. Anyway, I was just remembering a story that Strasberg’s wife, Paula, told about an afternoon in Manhattan that she spent with Marilyn. Apparently they had gone out drinking Champagne, which is something they liked to do in the afternoon. After a very long lunch, they were walking through the streets, and Marilyn had a way of assuming a mantle of discretion and invisibility when she passed through New York City, so she wasn’t mobbed by fans. In fact, no one noticed her pass by. They were walking arm-in-arm, and Paula described Marilyn having a twinkle in her eye, asking, “Would you like to see her?” And Paula said, “Sure.” So Marilyn effected a transformation and suddenly became the character Marilyn so famously portrayed in the movies. The moment she assumed this mantle and

became Marilyn, everyone on the street recognized her. Cars stopped. People gathered for autographs. The two of them had to run and get into a taxi to escape this rapidly assembling mob. I thought that was an extreme example of the type of role-playing that’s possible for everyone in New York, really. It’s a stage where people come to create or refine a persona. CI: It’s interesting that it happens on the street, because of course in LA everything happens either in the car or in domestic spaces or on movie sets. The space there is much more internal, whereas in New York the space is the street because people walk in New York in a way that they don’t in LA, and so the street is like a stage. And the cityscape of New York is so vertical, and we have the rivers, and it’s very dramatic and very compressed—it has a very powerful role to play visually. I know you were likening the cityscape to Dan Flavin’s lightning drawings.... TJW: We were talking about how exciting it is that the Whitney is moving downtown, to the Meatpacking District. I was there about a week ago, and I was so impressed by how much life there is in that neighborhood now. The High Line, the new elevated park in New York, really ends— or begins, I suppose—with what will be the new Whitney Museum. And it was just extraordinary how many people were there and how exciting an opportunity it is as a location for the Whitney to inhabit. But at the same time, these days I don’t

PHOTOGRAPHY BY MARCO ANELLI

CONVERSATIONS

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TJ Wilcox go to the Meatpacking District as often, and when I do I’m reminded of some of its past incarnations. I only recently discovered Dan Flavin had a studio in that neighborhood; I suppose it must have been in the very early ’60s. I think he also lived there, and I remember it was described as having no heat, which must have made it hard during a New York winter. But he made a number of drawings that were views of lightning striking over the Hudson River. I think this kind of ephemerality and quality of life affected the works he would subsequently make. That could be interesting to explore—some of the artistic life that preceded the Whitney’s arrival in that particular neighborhood. CI: One very memorable New York experience for both of us was the screening of Warhol’s eighthour film Empire onto a wall on the roof of Dia, just to the left of the actual Empire State Building. That juxtaposition of illusion and reality and the cinematic, sort of real-time, sort of minimalist— almost like a minimalist sculpture—but in real time on the roof, it was an extraordinary moment. And

reality versus daily life is something that occurs again and again in New York. TJW: I was thinking of this side-by-side life of the living and the dead in New York City. We’ve just had a busboy come to collect our breakfast things, and he was dressed as Dracula; it reminded me of Warhol’s film Batman Dracula. Whenever I see Dracula, I recall the scene in which Jack Smith, playing Dracula in Warhol’s film shot on the roof of the Factory, spreads his arms and his cape and becomes the consummate Dracula. But more broadly, an exciting or fascinating part about New York generally is that you’re always—or often, anyway—aware of the past and the present enfolded as you pass through the contemporary city space. It’s been such a location space as a site of artmaking, or fantasy, or movie-making, and the past and present are very intertwined in a complicated and thrilling way here. CI: Jack Smith called New York a “rented island.” That’s the phrase he used to describe the city, and it’s true. One of the other things that’s so striking

“[New York has] been such a location space as a site of art-making, or fantasy, or movie-making, and the past and present are very intertwined in a complicated and thrilling way here.”

PHOTOGRAPHY BY MARCO ANELLI

–TJ WILCOX

I know Callie Angell, a Warhol film curator, always wanted to screen Warhol’s Blow Job on a wall in the Meatpacking District overnight, all night, which I thought was a wonderful idea. I also have a fantasy of showing your panorama on the outside terrace where one could see your New York City viewed on the roof of the museum, and then come out of the panorama and look at the city actually surrounding you on the rooftops from the terrace at night. This juxtaposition of fantasy and reality and a cinematic

about New York, and one of the reasons the street is so important for New Yorkers, is that they live so much of their life outside their tiny rented apartments. It’s that relationship between the tiny lived interior and living on the street that really frames art-making and, I think, experience. In that way it’s quite similar to Paris. The constant state of rebuilding that New York is always in, our new building going up, also reminds me of Mary Heilmann’s video she made in the ’70s which follows the

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bulldozers as they clear an area near her studio in Tribeca, but her camera also shifts to the area just by the High Line and the new Whitney building where there’s reclaiming and rebuilding going on. There’s this sense of the city being in constant transformation architecturally, and then the resistance to that where you could put a paper down in New York City and come back five years later and it would still be there. Rachel Whiteread’s Water Tower was done in Soho for years before MoMA finally acquired it, and it disappeared. But when it was there, over a period of time, there’s this ghostly cast water tower on the roof of a building done on West Broadway. It was again this sense of actual water towers that surrounded it and the ghostly presence of it as a kind of cast version of itself. It’s something you also see in New York, this relationship between reality and fiction. ABMB

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CONVERSATIONS

Patrick Charpenel, director of Colección Jumex, chats with playful conceptual artist Damián Ortega about his new work and the importance of point of view. PATRICK CHARPENEL: I’m struck by the piece you are producing on the patio of the new Museo Jumex. It is quite complex, but it reminds me of many of your earlier works. This one will be partially buried beneath the floor; above ground it will move household objects in orbit. This is an extremely complex mechanism that was difficult to produce. Getting domestic and everyday objects spinning in orbits that go in different directions seems funny to me. You have gone to so much trouble and expense to hang a nail, so to speak. DAMIÁN ORTEGA: Much ado about nothing. PC: On the one hand. But on the other, it’s very interesting because it’s like a planetarium that spins

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in very different orbits. What is the significance of this play of space and time in your process as an artist? Are you doing some sort of research in a new direction, or is it like retrieving something that was already in you? DO: I like the idea of an underground sculpture or of secret movement—something you don’t necessarily see but that exists, that is there and is an intercommunicating system. It’s a system that has life and that you can sense or can deduce or know, but it is not something you necessarily see. I feel like the piece I presented at the Venice Biennial was also hidden underground. It wasn’t easy to see; it was a kind of anti-monument, and I like that. It’s an idea I had already worked on but never in this way. PC: So the piece exists, and there is a part that is totally visible and facing the sky. But there is another part that is buried, that is not visible. If we read it as a sculpture, there is a buried sculpture that we do not see but that we know exists. It somehow becomes a type of nest of materials and volume that have a presence. But that presence is only manifested through the elements that appear on the outside. DO: It’s the tip of the iceberg. The notion of where the work begins and where it ends is important. There is a part of it that is hidden but that exists, and there is another apparent one that can be but a minuscule part of the whole. It’s like the so-called Japanese garden, the garden with the 12 stones but you only see 11. The other one is hidden. That is related to modern sculpture or to the inclusion of space within the work, the pedestal, the floor, and even underground. It’s a reference to the context. PC: Many art historians have insisted on the fact that contemporary sculpture, among its many

Dam

characteristics, has become ever more horizontal because it is integrated into the ground. This is a radically horizontal piece, though it has light elements towards the top. When people look towards the floor, the horizon and the urban elements practically disappear, because you are looking exclusively at the floor. You don’t see the buildings that surround the museum. You don’t even see the museum itself. It’s a piece that has the public looking down. DO: When I came here for the first time, I was frightened by the proximity of the whole context, the density of all of the buildings. Once I saw it built, I thought that it worked incredibly well. This urban and modern space is very interesting, and the density is similar to the space in Blade Runner—a hyper-saturated space like something out of science fiction. These big-city implications will make the relationship of the pieces to all the surrounding space very interesting. I would also love to get the attention of passersby. I feel like the public space is going to create a moment of contact between the people who walk by on the street and the collection. This point of dialogue and attraction between the interior and the exterior of the museum is going to be very important. The piece acts in this space of contact. I like the possibility of being hypnotized in a way when looking at the movement and the rotation. I love the notion of this waste of cosmic time and to be able to take time standing there and contemplating. I hope that one can really stop and play with its volume and body, its weight and gravity. I would like to be able to circulate through the space, stop the rush, and have a place for contemplation. It would be a purely physical experience.

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amián Ortega PC: I always find it amusing because I suddenly get ready to interpret a piece from a certain perspective, and I feel that I could interpret it well from there. Then I think that I am completely overlooking the other part and that I have to move and read that experience from an entirely different place. DO: The other day, someone came up to me and said, “I really like that your pieces get me thinking about a lot of things. They let my imagination fly.” PC: As in the planetarium, where you also have to keep moving in order to have a true experience. DO: Of course, that’s exactly what I like about it: They are readings. It’s mobility. They’re interpretations and reinterpretations of time, which is practically the process of a body of work: One work calls another work, and one work gives you the lines to follow. You have to be generous or receptive in order to follow your own interests, or the interpretation of where a work takes you. PC: If you decode a work from a single position, it ends up being quite boring after a while. The piece moves, forcing you to move as well and to be constantly changing places. You keep trying to understand it, interpreting it from different perspectives. That makes it richer and more complex.

to say: “I am a spectator who makes movies.” This gives you mobility that keeps you from depending on yourself and wanting to prove something. It helps you read yourself as well. PC: It’s very important to not overcodify a work. It has to remain open, because it is precisely in the space you leave flexible that the experience between the work and the public is constantly enriched. DO: You can search for a style, but sometimes this style can begin to control you. So it’s important to pose it differently. PC: To change topic a bit, I think it’s important for an artist who lives in this country and who is of Mexican origin to feel that he is represented in one of the private collections that have open spaces so that the public can have access to them. Jumex collected your work early and has continued to incorporate pieces throughout your career. Have you felt supported by this? DO: I am, of course, very pleased. It is very important for me to exhibit in Mexico. It is something I really wanted to do, and participating in the collection is so meaningful. A kind of generation has appeared here, that has been quite fortunate, and I also think that in some ways, Eugenio López, you, Rosario Nadal,

“The piece moves, forcing you to move as well and to be constantly changing places. You keep trying to understand it. That makes it richer and more complex.”

PHOTOGRAPHY BY RENE CASTELAN FOGLIA (ORTEGA)

—PATRICK CHARPENEL

DO: I once talked with Carolyn Christov-Bakargiev. On her desk, she had a sign that said CAN YOU IMAGINE THE EXACT OPPOSITE? PC: In your case, there’s something in play where not only do you have the possibility of moving to a different spot and having the experience with the work from a new position, but it forces you to do so. If you stop, you get lost, and the only way not to get lost is to constantly move. That’s why the planetarium is within and without the piece. DO: I like the idea of being a spectator. It is often the way I work. When I go to a museum, I like to think, What would I like to see in this place? It was something that Juan Orol, the moviemaker, used

Patricia Marshall… have taught each other along the way. We have grown, and that pleases me. It is similar to the evolutionary experience I had with the Kurimanzutto gallery. PC: So in the context of a Mexican audience, in a country as complex and interesting as Mexico, is it important to show this piece precisely at this moment? Is it particularly meaningful for you to be showing this in your own country? DO: Jesusa Rodríguez once asked a Channel 11 newscaster, “How do you feel when you are reading the news on your nightly program and there is a couple at home who, right after having failed sexual relations, turns on the TV and sees you?”

PC: How does it feel? DO: I don’t know. I can’t think that much. It gives me vertigo. I think you have to throw the stone. PC: You have to make the attempt and see what happens. Faced with lethargy and immobility, something must be done. DO: Yes, definitely. PC: Remember that they say that Galileo apologized and recanted. But in the end, he said, “And yet it moves.” ABMB

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CONVERSATIONS

Doug Aitken during the making of his project.

Never confined to one place or one medium, this year’s Premiere Artist, Doug Aitken, describes taking his show on the road in “Station to Station,” a cross-country art-palooza that gathered fellow creatives, musicians, and a chef or two for some unexpected encounters. By Julie L. Belcove

or three weeks this past September, conceptual artist Doug Aitken and his merry band of assistants, friends, musicians, and fellow artists traversed the country the way Americans from centuries past did: by rail. The Aitken entourage journeyed on a tricked-out vintage train from Brooklyn to San Francisco, pulling into big cities like Chicago as well as the one-horse town of Winslow, Arizona (population 9,655, give or take), to make, show, and perform art in “Station to Station,” an art-palooza that Aitken dubbed “a nomadic happening.” A berth was the invitation of the season, and the whole extravaganza, with a website, tweets, and Instagram posts documenting the affair, seemed to play cleverly into the rising sense of FOMO—fear of missing out—in the art world: Did you eat one of Ed Ruscha’s cactus omelets in Winslow? Did you catch Beck’s sets in California? Did you check out Olafur Eliasson’s train-powered drawing machine onboard? Aitken, Art Basel in Miami Beach 2013 Premiere Artist speaker, insists that four years ago, when he began developing the project, the impetus was the polar opposite: He wanted to democratize the increasingly elitist realm of contemporary art. “I became aware of a segregation in the arts,” he says with his laid-back Southern California surfer twang. “I felt a kind of necessity to have options beyond the idea that culture exists in a city or a gallery or a museum.” And for all the hoopla about the in-crowd onboard dining on cuisine “curated” by the high priestess of organic food, Alice Waters, while lounging on seats

PHOTOGRAPHYBY BYTKALAYNA PHOTOGRAPH (TK); VAN DERVORT, COURTESY OF LUMA FOUNDATION (STATION TO STATION); ©ALAYNA VAN DERVORT (AITKEN)

On the Art Train

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A view from the train of the western landscape, from Doug Aitken’s “Station to Station,” 2013.

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CONVERSATIONS

Doug Aitken’s Lighthouse, 2012.

Premiere Artist Talk Join Doug Aitken at 10 on Thursday, December AM

5, to hear him speak about his current work.

Song1, 2012.

covered in Jorge Pardo-designed fabrics and taking in the raw beauty of the western landscape rolling past, Aitken says “Station to Station” was the antithesis of one big party, at least for himself. The nearly month-long residence meant constant deadlines for Aitken and his team as they prepared for each stop’s unique lineup of performances and events. “For us, it was never relaxing,” he says. “We were never just sitting back and enjoying the ride.” When he wasn’t editing a video piece or huddled in the recording studio and could actually find a few minutes unencumbered, he would simply draw, he says, all alone. His artworks may involve teams of collaborators with heavy-duty technological know-how, but it’s that solitary mode of drawing or reflecting where they have their genesis, or, as he puts it, where he “starts with one molecule.” “It just comes back to ideas,” he says.

t 45, Aitken has made a name for himself as a conceptual artist with a knack for making ambitious and monumental video installations. His work both harnesses and contemplates our technological age, and yet his choice to build a project around a train, America’s essential but now obsolete tool of economic development, was a pragmatic, not symbolic, one. Improvisational in his problem solving and his filmmaking, he says he needed a “moving platform” for his project, and a train did the trick. The only child of two writers, Aitken grew up in Southern California. His mother and father, whom he describes as “curious drifters,” were not wealthy but managed to give their son experiences in places like the Soviet Union and the Amazon and were accepting of his artistic leanings. “If there was some paper, I’d draw,” Aitken says. “If there was something in the trash, I’d take it out and do something with it.” He graduated from the Art Center College of Design in Pasadena in 1991 and set out for New York. “I wanted to never make work in the same medium and to make a new work every 10 days, so I locked myself in my studio and had failures all the time,” he recalls. He began experimenting with video and film, renting movies and

splicing bits together to make his own. His tendency to roam also became apparent, as he ventured far afield to realize his projects: from Jonestown, Guyana—site of the mass suicide by the Reverend Jim Jones’s followers, for his 1995 film Monsoon—to Africa’s restricted Namib Desert, where he shot Diamond Sea in 1997. He won the International Prize at the 1999 Venice Biennale for his video installation Electric Earth. In 2007, he brought a monumental drive-in movie theater to midtown Manhattan with Sleepwalkers, a video starring Tilda Swinton and Chan Marshall, aka Cat Power, and projected onto the exterior of the Museum of Modern Art. With eight distinct videos playing simultaneously on different walls, the piece was accessible to the viewer only in fragments. Though his videos brought him the most notice, he says, “I’ve never felt aligned to any medium.” The concept comes first. Aitken has employed photography, sculpture, books, and even furniture design to bring his ideas to fruition. “I like to think that each project, or artwork, eventually becomes its own language,” he adds. “Once in a while, you meet someone who is bubbling over with ideas, and it’s hard to bottle them up in one form—and that’s how Doug strikes me,” says the photographer Stephen Shore, a friend who has participated in a few of Aitken’s projects. Allan Schwartzman, an art adviser and curator who has worked with Aitken, seconds the notion: “He’s a wellspring of really interesting ideas. He has an expansive mind.” Those ideas are not limited to the visual; sound has always intrigued Aitken and has played an integral role in his oeuvre. As a young artist, he recalls from his studio in Venice, California, “I found myself looking around and asking, ‘Why isn’t sound in art seen as having equal importance as [the] visual?’” In the case of Sonic Pavilion (2009), in the remote Brazilian art park Inhotim, Aitken already had a “loose idea” about devising a “living artwork, or a living installation,” one with a geological connection, when Schwartzman, Inhotim’s chief curator, approached him about commissioning a piece. So Aitken traveled to Inhotim. “You feel the humidity, you feel dislocated,” he says. “It felt so immediate that this was the piece I should make there. Sometimes a piece can reveal itself so quickly.” That piece is a circular glass building housing a very small hole, roughly eight or 10 inches in diameter, plunging about a mile underground. From that depth, geological microphones bring the sounds of the earth to the surface in real time. “It’s

PHOTOGRAPHY BY ©FREDERICK CHARLES, COURTESY 303 GALLERY, NEW YORK; GALERIE EVA PRESENHUBER, ZÜRICH; VICTORIA MIRO GALLERY, LONDON; AND REGEN PROJECTS, LOS ANGELES (LIGHTHOUSE); COURTESY HIRSHHORN MUSEUM AND SCULPTURE GARDEN, SMITHSONIAN INSTITUTION AND 303 GALLERY, NEW YORK (SONG 1)

This year’s Premiere Artist, Doug Aitken, inaugurates the Conversations series with a discussion with Artforum Editor Michelle Kuo about his most recent project, “Station to Station.” This “nomadic happening” that took place on a train visiting cities, towns, and remote locations was an artistcreated concept that embraced constantly changing stories, unexpected encounters, and creative collisions between artists, musicians, and creative pioneers.

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PHOTOGRAPHY COURTESY 303 GALLERY, NEW YORK; GALERIE EVA PRESENHUBER, ZÜRICH; VICTORIA MIRO GALLERY, LONDON; AND REGEN PROJECTS, LOS ANGELES (ONE)

One, 2011.

a continuous, live experience,” says Schwartzman. “Sometimes [the sounds] are very quiet and subtle. Sometimes they’re loud and rumbling like your belly after a meal. Every time I go there, it’s a different experience. It’s an amazing work of art.”

or another sound-centric piece, Song1 (2012) Aitken took the old pop standard “I Only Have Eyes for You” and re-recorded it about 50 different ways. As his video, again featuring Swinton, wrapped around the façade of the Hirshhorn Museum and Sculpture Garden in Washington, DC, the various characters sang the song. The tune’s universal familiarity, he says, enabled him to make a more avant-garde film, one that, like Sleepwalkers, was impossible to take in all at once, much like our increasingly frenetic technological culture. “I thought if I take a single small thing that’s omnipotent and use it to explore this territory, that breaks down the defense mechanism you have for something new and foreign,” he says. “[The song] has become this key to a door being allowed to open, a non-linear landscape be explored.” The Source, one of his current projects—Aitken tends to work on many at a time—delves into the creative process from the perspective of a wide range of artists whom Aitken has interviewed over the past several years. The initial version of The Source appeared at Tate Liverpool

last year. This January, in keeping with Aitken’s belief that one should be able to find art anywhere, it will run for the duration of the Sundance Film Festival. Divided like a pie, the installation, is shown on six screens, with a series of four-minute-long clips of different artists—from Mike Kelley to James Turrell, Theaster Gates to Jack White—on each screen. Aitken describes The Source as the “antithesis of a Hans Ulrich Obrist marathon.” “It was about stripping art and modern culture back to the source,” he says. “It’s his language, not filtered through a critic or watered down.”

where the moving image can go, not bringing it back to a safer place.” With “Station to Station,” Aitken similarly hoped to nudge other artists into experimenting beyond their comfort zones, though he refrained from directing anyone, even the Kansas City Marching Cobras, a youth troupe of drummers and dancers. “I didn’t want to control it,” Aitken says. “I liked the act of letting go.” The method worked for Shore. “‘Station to Station’ pushed me into doing something risky I wouldn’t have done on my own,” says Shore, who spent the day before the train arrived in Winslow shooting all over town, then uploaded the images when the train came in. The 180 resulting photos were projected, unedited and in the order they were made, as a slideshow on the screen of an old drive-in movie theater in Barstow, the next stop. “I saw it as a live improvisation,” Shore says. “If I fall on my face, I fall on my face.” Aitken was energized by discovering his own ways to innovate. For one project, which he will show at Art Basel in Miami Beach as part of a room devoted to “Station to Station” at 303 Gallery, he collected earth at every stop. “I couldn’t wait when I got back to make this rammed-earth sculpture,” he says. In his studio this fall, he stuffed the dirt, shoveled in Pennsylvania, Minnesota, and New Mexico, into cylinders five feet tall and one foot across. He adds, “I couldn’t really breathe properly for, like, three days after.” ABMB

“If I take a single small thing that’s omnipotent and use it to explore this territory, that breaks down the defense mechanism you have for something new and foreign.” – DOUG AITKEN

Despite his appearance at Sundance, film buffs need not get excited that Aitken is about to follow video artists Steve McQueen and Sam Taylor-Wood to Hollywood. “For me to make a traditional feature film would be a step backwards,” he says. “You’re filming something roughly 90 minutes long, it has to be on one screen, it has to go through a distributor. I’m more interested in

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NEAL SROKA

SROKA WORLDWIDE TEAM AT DOUGLAS ELLIMAN REAL ESTATE DIRECT: 212.319.5845 | swt@elliman.com

© 2013 Douglas Elliman Real Estate. All material presented herein is intended for information purposes only. While, this information is believed to be correct, it is represented subject to errors, omissions, changes or withdrawal without notice. All property information, including, but not limited to square footage, room count, number of bedrooms and the school district in property listings are deemed reliable, but should be verified by your own attorney, architect or zoning expert. Equal Housing Opportunity.

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CLASSIC AND TIMELESS SOHO LOFT ÂŠ 2013 Douglas Elliman Real Estate. All material presented herein is intended for information purposes only. While, this information is believed to be correct, it is represented subject to errors, omissions, changes or withdrawal without notice. All property information, including, but not limited to square footage, room count, number of bedrooms and the school district in property listings are deemed reliable, but should be verified by your own attorney, architect or zoning expert. Equal Housing Opportunity.

PRINCE STREET AND BROADWAY | PRICE UPON REQUEST This exceptionally gracious sprawling full floor 1860s cast iron loft offers a flexible plan and approximately 6,500 square feet of awe-inspiring dramatic design. Once a showroom for a leading New York City 19th Century jeweler, this loft is proportioned to scale in every way. It has double height 17-foot exposed brick vault ceilings supported by 6 original Corinthian columns and almost 12-foot tall windows. Donâ&#x20AC;&#x2122;t miss this wonderful opportunity to personalize history.

GABRIELLE FRANK

917.804.8879 | gabrielle.frank@elliman.com

ERIC LIEBMAN

917.325.6767 | eric.liebman@elliman.com

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CAROL NOBBS, Licensed Assoc. R.E. Broker 516.729.0897 | cnobbs@elliman.com

ASKELLIMAN.COM ÂŠ 2013 Douglas Elliman Real Estate. All material presented herein is intended for information purposes only. While, this information is believed to be correct, it is represented subject to errors, omissions, changes or withdrawal without notice. All property information, including, but not limited to square footage, room count, number of bedrooms and the school district in property listings are deemed reliable, but should be verified by your own attorney, architect or zoning expert. Equal Housing Opportunity.

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MICHAELA KESZLER, Licensed Assoc. R.E. Broker

631.204.2743 | michaela.keszler@elliman.com

ERICA GROSSMAN, Licensed R.E. Salesperson

917.710.2512 | erica.grossman@elliman.com

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THE BEST OF VILLAGE OCEANFRONTS

RAYMOND SMITH, Licensed Assoc. R.E. Broker

516.381.2574 | raymond.smith@elliman.com

ERICA GROSSMAN, Licensed R.E. Salesperson

917.710.2512 | erica.grossman@elliman.com

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THE PERFECT PALETTE IN BRIDGEHAMPTON

The Intelligent Choice LYNDA PACKARD, MBA/MA, Licensed R.E. Salesperson 631.204.2747 | lpackard@elliman.com

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SUSAN HOVDESVEN, Licensed R.E. Salesperson 631.921.8767 | shovdesven@elliman.com

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SCOTT BARTLETT, Licensed R.E. Salesperson 516.383.3460 | sbartlett@elliman.com

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MANHATTAN

B R O O K LY N

QUEENS

LONG ISLAND

THE HAMPTONS

THE NORTH FORK

RIVERDALE

WESTCHESTER/PUTNAM

FLORIDA

MODERN BY THE BEACH Amagansett | $8,200,000 | A modern interpretation of a traditional Hamptons estate, this magnificent 8,500 sf home rests south of Further Lane in the storybook village of Amagansett. Web# H23070. Josiane Fleming 631.766.8950

BRIDGEHAMPTON SOUTH ESTATE – 4 ACRES Bridgehampton | $7,500,000 | Gated 8,000 sf features 8 bedrooms, 8.5 baths, chef’s kitchen, 40 ft Gunite pool and overlooks reserve, gardens, room for tennis. Web# H54681. Lori Barbaria 516.702.5649 | lbarbaria@elliman.com

WATEERFRONT PERFECTION Quogue | $6,250,000 | Offered for purchase for the first time in thirty years, this bulkheaded waterfront Contemporary is the complete package with pool and tennis. Web# H15525. Kent Rydberg 631.833.5242

SAGAPONACK MODERN BY HARIRI & HARIRI Sagaponack | $5,800,000 | An Architectural work of art. Six bedrooms, 2.8 acres. 5,800 sf, Gunite pool, Har-Tru tennis. Art studio/guest house. Includes basic furnishings. Web# H15558. Lori Barbaria 516.702.5649 | lbarbaria@elliman.com

IMPECCABLE IN THE VILLAGE East Hampton | $3,995,000 | Impeccably designed Traditional was the creation of Fleetwood and McMullan Architects. In the heart of the Village and just over a mile away from ocean breezes. Web# H27624. William Wolff 917.549.0617

ONE OF EAST HAMPTON’S BEST BUILDER East Hampton | $3,695,000 | Just completed this 9,100 sf Postmodern sited on 2.4 acres has it all, 7 bedrooms, 7.5 baths, 6 fireplaces, Gunite pool, 3-car garage and so much more. Web# H20136. Dennis DiCalogero 631.793.2599

JUST LISTED WITH POOL AND TENNIS Water Mill South | $2,995,000 | This Postmodern is on a desirable street. Open floor plan, grand master suite and 3 bedrooms all on one level. Great location for easy trips to the beach. Web# H56519. Maryanne Horwath 516.617.8938

A SECLUDED ACRE IN THE VILLAGE East Hampton | $2,795,000 | A stunning new, almost 3,000 sf home. Open living room, dining room and kitchen. Makes for an entertaining dream or a cozy night alone. Web# H28398. Barbara Blumberg 631.267.7322

GRACIOUS AMAGANSETT Amagansett | $2,450,000 | Custom Gambrell in the exclusive Broadview Association – part of the former Bell Estate. This 1.9 acre property abuts 20 acres of nature conservancy reserve. Web# H0158449. Telly Karoussos 516.637.3980

BRIDGEHAMPTON OFFICE | 631.537.5900 EAST HAMPTON OFFICE | 631.329.9400 SOUTHAMPTON OFFICE | 631.283.4343 QUOGUE OFFICE | 631.653.6700

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MIAMI

MIAMI BEACH

AVENTURA

FORT LAUDERDALE

BOCA RATON

PALM BEACH

NEW YORK

THE OCEAN PENTHOUSE

1000 S Ocean Boulevard, PH-3 | Boca Raton | $13,950,000 The Ocean Penthouse is the finest residence ever publicly offered in Boca Raton. Offers an unprecedented level of luxury living with every amenity imaginable. Encompassing 10,819 sf, including 4,000 sf of resort-infused terrace. Senada Adzem 561.322.8208

PENTHOUSE AT THE ST. REGIS

9703 Collins Avenue, PH-04 | Miami Beach | $5,999,000 Gorgeous 2 bedroom, 2.5 bathroom penthouse with panoramic Southeast ocean views in Central Tower St. Regis Bal Harbour. Ultimate luxury 5 Star resort amenities. Chris Leavitt 917.664.0720

FISHER ISLAND OCEANSIDE PENTHOUSE

7972 Fisher Island Drive, Apt. 7972 | Fisher Island | $8,900,000 The residence has 5 bedrooms, 5 bathrooms and 2 half bathrooms within a sprawling 6,170 sf. 3 of the 4 wraparound terraces offer direct ocean views. Pietro Belmonte 305.335.1981 | Adriana Pinto Torres 786.493.1388

CLASS A OFFICE SPACE

900 Biscayne Boulevard | Miami | $5,500,000 | Centrally located turnkey operation. Biscayne Bay views. Minutes from airport/ seaport/CBD/finance center; High Tech and contemporary finishes. David Restainer 305.482.1450 | Sebastian Wagner 954.732.5226

MURANO GRANDE 3401

400 Alton Road, Apt. 3401 | Miami Beach | $6,920,000 The transformed, turnkey waterfront home is 3,990 sf and offers 3 bedrooms, 3.5 bathrooms and a media room. The residence has a custom glass climate controlled wine cellar. Adriana Pinto Torres 786.493.1388 | Pietro Belmonte 305.335.1981

EXQUISITE LAKEFRONT ESTATE

748 Hi-Mount Road | Palm Beach | $19,950,000 | Recently reduced. Spectacular 6 bedroom lakefront estate offering breathtaking panoramic views! Gottfried built French regency features unsurpassed architectural details throughout. Pamela Gottfried 561.371.5700

DRASTIC PRICE REDUCTION

3140 Washington Road | West Palm Beach | $4,999,000 Casa Del Lago is a classic, graceful hacienda with captivating charm and ambiance situated on approximately an acre and a half of aesthetic direct intracoastal waterway. Ever-changing panoramic lake views. Ashley McIntosh 561.685.0861

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MIAMI

MIAMI BEACH

AVENTURA

SPECTACULAR WATERFRONT ESTATE

3180 Washington Road | West Palm Beach | $5,450,000 This Mediterranean home offers 9,100 sf, 7 bedrooms, 6.5 bathrooms, exquisite finishes, beautiful hand painted detail, dock & lift, summer kitchen, Pergola with mosaic tiled columns and hurricane windows. Ashley McIntosh 561.685.0861

WATERFRONT GEM

6709 S Flagler Drive | West Palm Beach | $2,700,000 | Completely restored to perfection in 2011, this gated 2-story 9,000 sf waterfront home boasts 4 bedrooms, 4.2 bathrooms, an elevator and a 3-car garage. Property is also zoned for a dock. Elena Felipa 561.309.2467

EXPANSIVE BAY AND OCEAN VIEWS

650 West Avenue, Apt. 2511 | Miami Beach | $845,000 This spacious 2 bedroom, 2 bathroom residence in the heart of South Beach offers spectacular interiors with water views from every room. Walking distance to shops and restaurants. Allan Blank 561.706.9244 | Renee Wood Hover 305.903.1650

FORT LAUDERDALE

BOCA RATON

BAL HARBOUR GEM

10225 Collins Avenue, Apt. 1401 | Aventura | $3,750,000 Amazing residence in Bal Harbour. Over 4,000 sf of magnificent living space with beautiful ocean direct and bay views. Richard Goihman 305.206.2560 | Ivonn Goihman 305.812.5093

OPENHOUSE ART DAY | 4 MIDTOWN

3301 NE 1 Avenue, LPH-3 | Miami | $1,390,000 | This beautiful penthouse LPH3 is 2,357 sf and offers completely renovated 3 bedroom, 3 bathroom. Located on the 31st floor of 4 midtown building. Visit us on the openhouse artday 12.7.13, 11am - 5pm. Fatima Kanantai 954.778.2843

OCEAN & CITY VIEWS!

650 West Avenue, Apt. 1204 | Miami Beach | $699,000 | Views from every room! This recently updated 2 bedroom, 2 bathroom home includes wood and marble floors, gourmet kitchen, walk-in closet, floor to ceiling windows and private balcony. Full service. Renee Wood Hover 305.903.1650 | Linda Kubie 305.209.4241

PALM BEACH

NEW YORK

WESTON HILLS ESTATE

2674 Riviera Court | Weston | $3,250,000 | Finest estate Weston Hills Country Club has to offer; on a nearly 1 acre, cul-de-sac lot with fairway views; 6 bedroom, 7 bathroom, 2 half bathrooms; 10,000 sf of living space; game room, chef’s kitchen, resort style pool, and patio with summer kitchen. Steven Solomon 561.289.3609

LUXURIATE AT CANYON RANCH

6799 Collins Avenue, Apt. 704 | Miami Beach | $1,280,000 2 bedroom, 2 bathroom condo at extraordinary Canyon Ranch Resort Spa. Best amenities and service in Miami Beach. Ocean front unit, upgrades galore, large balcony, move in ready. Janice Christensen 305.517.1190

THE W COLLECTION BY CHRIS LEAVITT

Bungalow 3, Apt. 514, Apt. 815 | Miami Beach | Call for Pricing W South Beach’s exquisitely finished and furnished condohotel residences include a den, guest bathroom, generous outdoor space, and furnishings by renowned design team Yabu Pushelberg. Chris Leavitt 917.664.0720

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MANHATTAN

B R O O K LY N

QUEENS

LONG

ISLAND

THE

HAMPTONS

ELEGANT AND GREEN

BRIGHT AIRY GRACIOUS

Scarsdale | $3,450,000 | High performance home. Indoor air and water quality are paramount in this grand 6-bedroom, 5.2 bath energy efficient residence situated on .46 acre. Web# 3331846. Scarsdale Office 914.723.6800

TriBeCa | $3,500,000 | Authentic, muscular, top-floor condo loft, 2,000 sf. 3 exposures, oversize windows, soaring original tin ceilings, kitchen and bathrooms handsomely renovated, high-end fixtures. Web# 1657636. Abigail Agranat 917.304.5076

225 FIFTH AVENUE 2-BEDROOM Flatiron | $2,200,000 | Prime Fifth Avenue living in downtown’s most sophisticated landmark white glove condominium. This 2-bedroom, 2-bath residence offers prewar charm with modern design. Web# 1651481. Robert Rosa 212.727.6109

SOPHISTICATED LIVING

AMAGANSETT LANES COTTAGE

Bedford | $2,495,000 | Impressive 5-bedroom, 7.5-bath brick residence offers 8,000+ sf of one-of-a-kind living space coupled with a 3.25 acre outdoor oasis with heated pool and patio. Web# 3326844. Bedford Office 914.234.4590

29 Hand Lane | $2,795,000 | Charming cottage style 5 bedroom, 3 bath traditional in Amagansett South. High ceilings, screened in porch, large backyard, 58 ft. north/south heated pool. Great location. Web#H32892. Christopher Stewart 631.329.9400 | 917.744.2450

AMAZING PRICE AND LOCATION

HAVEN AT HIGHPOINT

Upper West Side/West End Avenue | $659,000 1-bedroom, prewar charm with beamed ceilings, details and fully renovated, W/D, 24-hr doorman, pets ok. Web# 1656407. Richard Mortimer 917.678.3398 | Robin Gutterman 212.869.6518

Scarsdale | $1,599,000 | Tucked away on a cul-de-sac, this spacious 5-bedroom, 4-full/2-half bath home is set in park-like setting with heated Gunite pool and spa. Designed by the notable Steven F. Haas. Web# 3329550. Scarsdale Office 914.723.6800

RARE WILLIAMSBURG LOFT 330 Wythe Ave, 2F | $1,575,000 | Rare sun-drenched loft with a spacious mezzanine in Williamsburg’s chicest luxury building. Charming, wonderfully-preserved original details. 18-ft ceiling and 14-ft windows. Web# 1644649. Mukesh Vasvani 212.460.0670 | Jason Walker 212.965.0670

MODERN COUNTRY HOME Carmel | $2,950,000 | Offering ultimate luxury and privacy with lake and mountain views, this 4-bedroom, 6-bath architectural masterpiece rests on 2+ acres with mahogany deck and infinity pool. Web# 3318280. Katonah Office 914.232.3700

THE MOST COMPELLING HOMES IN NEW YORK AND SOUTH FLORIDA ALL SHARE THE SAME ADDRESS. ASKELLIMAN.COM 49325.indd 1

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THE

NORTH

FORK

TURTLE BAY GARDENS

RIVERDALE

WESTCHESTER/PUTNAM

FLORIDA

Turtle Bay | $16,500,000 | Few houses possess the grace, sense of grandeur, and comfortable intimacy that this house presents. 38-ft wide, 4-5 bedrooms, garage, elevator, 7 fireplaces. Magnificent. Web# 1562898. Jan Hashey 212.206.2804 | Steve Halprin 212.206.2803

EXQUISITE AND MAGICAL

WORK OF ART

West Village | $22,000,000 | Beyond words, in a class of its own stands this brilliant example of adaptive reuse, from sausage factory to palazzo, this unique 8, 000 sf epitomizes pleasure and commerce. Web# 1637748. Abigail Agranat 917.304.5076 | Jan Hashey 917. 453.3756

Bedford Hills | $30,000,000 | | Seen in “Architectural Digest”. Modernist compound of glass and concrete constructed into one of two cascading ponds. 21+ magical acres. Published gardens, pool, tennis court, guest house. Web# 3219012. Bedford Office 914.234.4590

TOWNHOUSE LIVING PERFECTED

30-FT WIDE MANSION

Historic Murray Hill | $8,595,000 | Beautiful 6-story renovated townhouse, 4-floor residence with elevator, chef’s kitchen, 4 en-suite bedrooms, outdoor spaces plus 2 office floors. Live/work or convert to residence. Delivered vacant. Web# 1305343. Abigail Boucher 212.303.5313 | William (Billy) Pfaff 212.350.2260

Upper West Side | $10,500,000 | Located on a park block, this 14-rm townhouse with elevator has 5 fls and full English basement. A 20-ft high atrium, a cavernous master suite fl, central A/C throughout, WBFPs, a South-facing roof deck, a media rm and maid’s quarters. Web# 1645784. Kathy Murray 646.528.6183 | Michael Kafka 212.769.6563

WINDMILL FARM WATERFRONT Armonk | $4,950,000 | Boasting many architectural details including extensive millwork, 5 fireplaces and stone patio, this 5-bedroom, 7-full/2-half bath Colonial is set on 1.68 lakefront acres. Web# 3327661. Armonk Office 914.273.1001

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EXTRAODINARY ELEGANT UNIQUE Riverdale | $6,000,000 | Stunning views of the Hudson river dominate this grand and gracious historic singlefamily home, 8,000 sf. Bathed in sunlight, it offers grand entertainment charming suites. Web# 1460131. Abigail Agranat 917.304.5076

SOPHISTICATION ON FIFTH AVENUE 950 Fifth Avenue | $15,500,000 | Extraordinarily unique prewar New York chic. Fabulous direct views of Central Park, superb light, mint condition. The best building and location on Fifth Avenue. Web# 1636096 Joan Swift 917.991.1590 | Rebecca Steindecker 917.670.4193

MINIMALIST GLAMOUR West Village | $6,975,000 | Masterfully renovated 18-ft townhouse. This 4 story + full height basement home with 2 or 3 bedrooms and 2.5 or 3.5 baths, was completely reimagined with no detail overlooked. Web# 1644335. Andrew Anderson 917.747.3526

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PENTHOUSE COLLECTION Susan de França, CEO of Douglas Elliman Development Marketing, has been quoted as saying “ like art, real estate is an inherently creative endeavor. Both require inspiration, imagination and the ability to execute a vision impeccably.” Such is evident in Douglas Elliman’s extraordinary portfolio of thoughtfully conceived and designed residences, by world renowned architects and interior designers who are true masters of their craft. The result is no other than best-in-class that appeals to the most discerning individuals, and which has been the inspiration behind ArtElliman. “It has been our experience that both developers and purchasers are avid art collectors, particularly in recent years where we have seen a growing trend of clients around the world gravitating towards tangible assets,” says de França. And the attraction of storing wealth in tangible assets looks set to continue, as noted in Knight Frank’s The Wealth Report 2013, which provides the definitive global perspective on prime property and wealth. Knight Frank, the world’s largest privately owned global property agency and consultancy is Douglas Elliman’s strategic and only residential partner in the United States and will also be present at Art Basel. So to showcase the synergy between art and real estate, Douglas Elliman will be presenting ArtElliman’s “Penthouse Collection” in the Collectors Lounge at Art Basel Miami Beach. TOP:

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Faena House; BOTTOM: The Residences at The Miami Beach EDITION

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A Jamaican Masterpiece Perfectly Situated Homesites Live above it all at the former 18th century Rose Hall Estate; now a 4000 acre master-planned resort community. Residents can select from a limited number of private enclaves that overlook manicured fairways and turquoise waters, each with its own uniqe beauty. Vistas of the Caribbean Sea combine with surrounding mountains and emerald golf courses to make Rose Hall the top choice in custom home living. Come build your dreams today.

R O S E H A L L D E V E L O P M E N T S LT D . • S T. J A M E S • J A M A I C A • W. I . EMAIL: MICHAELROLLINS@ ROSEHALL. COM

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WEBSITE: WWW. ROSEHALL. COM

•

OFFICE

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Influencers

Multicorros, by Juan Genovés, 2013.

PHOTOGRAPH BY TK (TK);

PHOTOGRAPHY COURTESY OF THE ARTIST AND THE GALLERY

Art Basel in Miami Beach is a time each year to celebrate a new group of innovators in the contemporary art world— those who are raising the bar on the impossible; exploring new frontiers; breaking the rules to elevate the conversation; reimagining, advancing, enlightening. The beautiful storytellers—they might be different ages, at different stages, working in wildly different mediums… but these iconoclasts all have one thing in common: creative genius.

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INFLUENCERS

Of Mountains and the Magoons Aspen-based Nancy and Bob Magoon have made a collection and a life out of supporting young talent and big ideas. By Sari Anne Tuschman

he first thing one notices when approaching Nancy and Bob Magoon’s stunning residence in Aspen, Colorado, is a voice seemingly coming from nowhere. “Go away!” says a faceless man as you near the door. And then a moment later, “There’s nobody here!” It’s an unusual greeting for a couple known to be generous and warm. The unexpected welcome comes courtesy of multimedia artist Tony Oursler’s Sound and Light, installed just outside the front entrance. The artist stayed at the Magoons’ home 10 years ago while doing a show at the Aspen Art Museum, and Nancy relayed a story about her childhood: When Nancy’s mother would approach the house, her grandmother would yell, “Nobody is here! Go away!” causing the scared granddaughter to turn on her heels and leave. After his time in the Magoon home, Oursler made the piece based on Nancy’s tale of her grumpy great-grandmother. It is precisely that level of humor that makes the Magoons such a joy to be around, and it’s this openness with the artists they admire that has helped them amass an impressive and meaningful array of contemporary works. The size of their home and the breadth of their art collection may be intimidating, but their demeanor is anything but. “We have more than 300 pieces, and most are in the house,” says Nancy. “We Nancy and Bob Magoon. like to live among our art.” Born and raised in New York City, Nancy still refers to herself as a city girl despite having long called the mountain town went to work at the Hokin Gallery to learn. I would go hang out of Aspen home. “When I moved here, people said to me, ‘I’ll give at the gallery, and I got into it. I learned the names and went to the you two years, and you’ll be bored,’” she recalls of the couple’s decishows—I got really involved.” sion to make Aspen their year-round home 20 years ago after havNancy became enamored with the art world as a teenager. ing visited since 1974. “I’ve never had a boring moment here. What “I used to love to go to the museums and see beautiful art,” she I like to say about Aspen is that there are no sheep, only leaders. remembers. “It brought me a certain peace nothing else brought One collection in no way resembles the next collection—there are me.” That feeling still burns bright within her today—currently she wonderful collectors here.” serves on the national committee of the Whitney and is an honorThe Magoons are, of course, included among that exclusive ary trustee of the Pérez Art Museum Miami. group. They started by buying Pop artists in the ’80s—Louise As of late, the Magoons have been most focused on the Aspen Nevelson, Larry Rivers, Frank Stella, Andy Warhol—and have —NANCY MAGOON Art Museum—they were instrumental in winning the battle to continued to passionately support young talent. “I became entranced with what artists of my generation were saying as well as artists who were build its new 30,000-square-foot structure downtown, set to open next summer. much younger than we are,” says Nancy. “I feel that has kept both of us young and “The museum in its current place has become antiquated,” says Nancy, who also open to new ideas. It’s nice to give young artists a presence in your collection.” served as AAM board president from 2006 to 2009 and currently is on its execThe Magoons bought Damien Hirst, Nancy Rubins, and Tom Friedman pieces utive committee, board of trustees, and national council. The couple donated early in their careers, helping to launch them to household-name status. Today, $500,000 to the $60 million campaign to raise money for the new building, Rubins’s Hot Water Heaters—the artist’s first commission 20 years ago—still sits in designed by Japanese architect Shigeru Ban. “The art will flatter the building, the couple’s sculpture garden in their backyard, as does their notable acquisition, and the building will flatter the art,” she says. “Now we don’t have to turn down Friedman’s massive sculpture of figures holding hands and dancing in a circle, shows that are too large.” It’s clear the Magoons operate as a team—in their marriage, their causes, and their called Circle Dance. It was Nancy who was always an art lover; Bob’s passion for it grew with his pas- collecting. So what has been the secret to growing such an important selection of sion for his wife. The couple lived in Bob’s hometown of Miami for 20 years before works? “We never buy anything one of us can’t stand,” says Nancy. A simple mantra relocating to Aspen. “Nancy wanted to open her own art gallery in Miami, so she that has proved successful. ABMB

PHOTOGRAPHY BY BILLY FARRELL/BFANYC.COM

“I’ve never had a boring moment [in Aspen].... There are wonderful collectors here.”

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86’ Domino A Riva is a Riva. Always.

A FERRETTIGROUP brand

www.riva-yacht.com

Iseo • Aquariva Super • Rivar ama Super • Rivale • SportRiva 56’ • 63’ Vertigo • 63’ Virtus 68’ Ego Super • 75’ Venere Super • 86’ Domino • 92’ Duchessa - 122’ Mythos

Ferretti Group Sales Centers FT. LAUDERDALE, FL MIAMI BEACH, FL Naples, FL STUART, FL Palm Beach, FL NEWPORT, RI SAG HARBOR, NY Newport Beach, CA ferrettigroupamerica.com • Riva.america@riva-yacht.com • Phone: 1.800.428.3727

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INFLUENCERS

Juxtaposing Perception

For Jesper Just, confusing his viewers is a way to explore how our eyes experience the world. By Laura Van Straaten

hen artist Jesper Just learned that people who visited the cinematic installation representing his native Denmark at this year’s Venice Biennale complained of feeling “displaced” and “confused,” he wasn’t sorry. He was thrilled. Barbara London, a curator of film and performance art at New York’s Museum of Modern Art—who has followed Just’s work for several years and saw his Danish pavilion—was both thrilled and confused. As it did for most viewers, the work made her ask, “Where am I?” Intercourses, a five-channel black-and-white video installation across multiple surfaces, featured French actors of African descent whom Just shot in a replica of Paris that actually exists outside Hangzhou, China. London uses the word “dystopia”—and means it as a compliment—to describe Just’s “great use of space and this great tension that he achieves. He is an important artist” who can create situations with “a strong emotional element where you are on edge.” Intercourses was purchased by the ARoS Aarhus Kunstmuseum in Aarhus, Denmark. Just’s work is already part of many public collections, including the Tate Modern in London and the Guggenheim and MoMA in New York. And continuing his hot streak, next year Just will have solo shows at ARoS, MOCA in Seoul, and Bonniers Konsthall in Stockholm. Jesper Just To achieve the disorienting effects of which he is proud, Just—who is represented by James Cohan Gallery in New York, Galerie Perrotin forcing viewers to stand between them, caught in the seemingly in Paris, and Galleri Nicolai Wallner in Copenhagen—likes to sexual, certainly suspenseful, and possibly even threatening project his films across several parallel or perpendicular walls dynamic that plays out between voyeur and object—even calling so that viewers must move their bodies throughout his neverinto question which character is playing which role. the-same-experience-twice installations. His works seem to be It was nearly 10 years ago, as Just and RoseLee Goldberg tell staged and timed deliberately so that they represent, frustrate, it, that gallerist Perry Rubenstein showed Goldberg a Just video. and profit from how our eyes (with the other senses as a subtly Within seconds, Goldberg says, she was “riveted” and immedisupporting cast) take in the world. ately got the idea to commission Just—never having met him— Although he is often referred to as a filmmaker, Just tranto create an opera. That work, True Love Is Yet to Come (2005), scends that label, noting that he “did everything” while a became the centerpiece of the inaugural edition of Performa, student at the Royal Danish Academy of Fine Arts. He gestures —ROSELEE GOLDBERG the performance-art biennial that Goldberg founded. Soon toward a tabletop architectural model of his pavilion, explaining, “In Venice, I forced myself to work with special structures. I had walls built after, Just was on the cover of Art in America. Says Goldberg, “Jesper’s work is with their own kind of logic—they also functioned as architecture… sculptural achingly beautiful, sexual, sad, charged, emotional, and imaginative.” For most movies, Just says, “the most important thing is that no one has any installations.” The context he creates for how and where his films are seen is critical to his work. That’s because Just’s “movies” are very much about the expe- doubts.” But “my goal is the opposite: that you sit back and have no clue.” He likes to toy with “how public culture represents character” and to push the limits rience of looking, seeing, and watching itself. In This Nameless Spectacle (2011), a film projected on two screens, Just features of “what you don’t get to see” in most movies. Just says he gets away with ambiguthe well-known transsexual French actress and pop icon Marie-France as an attrac- ity because “in an art context, you can expect a little more of the viewer.” Goldberg adds that those viewers can expect to encounter a “strong sense of tive, very femininely attired woman in a wheelchair. As she maneuvers through a park, viewers see at once the trees streaming by on the side—as if the viewer were theatricality and mystery.” In the coming year, the two will be immersed in that themoving through the park, too—and the canopy of trees from below, at the pace atricality again as Just creates a special project for the 10th anniversary of Performa and from the vantage point of her character. Then, as a younger man follows and in 2015. Just will be showing his framed photographic works with Galleri Nicolai later watches her in her apartment, his point of view appears on the second screen, Wallner (his Danish gallery) in the main show at Art Basel in Miami Beach. ABMB

PHOTOGRAPHY BY NINA MOURITZEN

“Jesper’s work is achingly beautiful, sexual, sad, charged, emotional, and imaginative.”

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Systems Analyst By recreating an omnipresent sight, Roxy Paine examines knowledge, memory, and control. By Jordan Hruska

or his show “Apparatus,” running this fall at Kavi Gupta Gallery in Chicago, artist Roxy Paine did some reconnaissance in fast food restaurants. “They don’t like you taking pictures in there,” he says. “I’ve been chased out to my car, with the manager banging on the window, and sometimes I’m told to leave in a really aggressive way.” Paine used those (often blurry) photographs as the source material for one of the two dioramas that constitute “Apparatus.” Sculpted from wood, the diorama depicts the service counter of a fast food restaurant. It’s humorous to think that the manager of such a place would prohibit photography when most Americans Roxy Paine in front could probably sketch the interior of a McDonald’s at the drop of a hat. of his sculpture Maelstrom. The layout of grease baths, overhead menus, burger racks, and registers is no secret. “For me, it’s a reconstructing of a ubiquitous element of our lives,” says Paine, “something so ubiquitous that it’s “Apparatus” represents a major turn in Paine’s career and invisible.” And through his reconstructions emerge some very offers a subjective exploration of systems on a scale more intiquiet abstractions, which belie the idea that Paine is creating mate than that of the Dendroids. Through the tangibility of the only facsimiles. warm sculpted wood, otherwise banal mechanized food-service It’s been a critical year for Paine: He was recently picked up systems seem to melt and merge with the narrative associations by Marianne Boesky Gallery in New York, and his Dendroids that viewers bring to the fast food counter. “It’s about a memory series of steel sculptures has become an international staple of of a memory,” says Paine. “This ties into my previous work with grand civic locales and the grounds of major institutions. In a regards to potential. It’s about waiting to produce a final form or public context, Paine’s sculptures draw people into viewing —ROXY PAINE waiting to be realized. I don’t want it to be a closed experience. something seemingly familiar yet governed by an alternate The translation and transformation materially is a part of that.” logic. “I think as my works developed more, I became interested The diorama device offers a lens through which Paine can challenge these in finding this weird place between intentionality and producing the object,” he closed circuits. This critique of control calls to mind his early work. Brand Name offers. “It captures order and chaos.” When asked whether his is a scientific inquiry, Paine demurs. “I don’t wish to be Damages, the 1990s storefront space, featured one of his mechanized sculptures, a scientist,” he says, “because you need to provide answers. In an epistemological which dipped into motor oil, ketchup, and white paint and catapulted them at the sense, I’m interested in knowledge and the evolution of knowledge, examining window from the inside. The work challenged the partisan viewership implied by window displays and offered a more reciprocal relationship. The device and setour particular episteme with all its flaws and assumptions and inconsistencies.” In 2009, when major newspapers and other publications ran photographs ting recalled Salvador Dalí’s 1939 Bonwit Teller department store installation, in of his sculpture Maelstrom, installed on the roof of New York’s Metropolitan which he exposed the grotesqueries of consumerism in the tenor of the Narcissus Museum of Art, they mostly focused on the sheer scale of its treelike stainless- myth and “accidentally” jumped through the glass window and onto the street. The theme of control plays out a bit more clearly in the second diorama of steel form in wide-angle shots of the work clawing its way across the concrete tiles. But these photos were misleading. On closer examination, viewers could observe “Apparatus.” Sculpted from the same wood as well as steel and automotive parts, less-graceful details, such as goiterlike forms protruding from the “branches”— it features a dizzying number of dials, knobs, screens, and levers, connected the rough-hewn welded sutures where segments of the sculpture were aggres- through a geometric circuitry rendered in lines of gray paint. “The control room sively conjoined—as well as entire zones where the work took on the movement is about hyperspecificity,” Paine says. “Control on a personal level is something of a nervous system or a larger form struggling to grow legs and walk. In this way, that I grapple with, as most of us do—attempting to control when there are so the sculpture had a more subversive air: More than just a romantic, Central Park- many forces and elements outside of our control. I’m interested in why we desire this control and why we need to categorize.” ABMB side arboreal celebration, it became a complex monster.

PHOTOGRAPHY BY JEREMY LIEBMAN

“For me, it’s a reconstructing of a ubiquitous element of our lives.”

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INFLUENCERS

The Prince of Thief

Norwegian billionaire and hotel magnate Petter Stordalen reinvents the business by focusing on contemporary art. By Mary Elizabeth Agnew

itting in front of Erik Parker’s 2005 painting On the House is Norwegian businessman, hotelier, environmental activist, and art collector Petter Stordalen. The swirling mass of color behind the billionaire’s head is matched only by the energy of the man himself. Stordalen brims with enthusiasm as he lists the artworks surrounding him in the Norwegian headquarters of Nordic Choice Hotels. He happily names works by Franz West, Matthew Barney, and—a particular favorite—Julian Opie, which are thoughtfully installed about the impressive offices. In our conversation, he mentions Opie on three separate occasions, noting pieces by the British visual artist in his private collection as well as throughout his multitude of hotels, and it quickly becomes apparent that when Petter Stordalen likes something, he accumulates as much of it as he can. This insatiable appetite and drive may explain his status as one of Scandinavia’s Petter Stordalen most successful self-made businessmen. Nordic Choice Hotels, of which he is owner and CEO, employs more than 9,000 people, and Stordalen Directly beside The Thief is the renowned Astrup Fearnley owns more than 170 hotels globally. He is Norway’s sixth-richest Museum of Modern Art, designed by architect Renzo Piano, and man and has amassed a stellar collection of contemporary art. Stordalen and Nordgren decided to link the two buildings by The first artwork he ever purchased was an untitled 1995 paintbecoming the museum’s patron. “It’s the best neighbor you can ing by American artist Ross Bleckner. “I still like it,” Stordalen have,” Stordalen says. “It made perfect sense to be the sole sponsor says. “It’s still hanging in my home.” But collecting art didn’t come of the museum and make The Thief the only hotel that has dedinaturally to him, and he credits the breadth and depth of both his cated itself in this way to contemporary art. When most people private collection and the works displayed in Nordic Choice’s are choosing art for hotels, they’re not really looking at art. If they hotels to Sune Nordgren, a Swedish curator and the founding have green sofas, then they’re looking for something in dark green director of the National Museum of Art, Architecture and Design to match. We wanted the art to be something different here.” in Oslo. “Sune is a good friend to me but is also my teacher. I am —PETTER STORDALEN Aside from his business acumen, Stordalen is well known as a learning new things every day,” Stordalen says. “He has taught me to think about art very differently from when I started collecting. For me, it staunch environmentalist and climate change activist. His business card reads “No Business on a Dead Planet,” and he becomes earnest and animated when discusshas been one of my greatest experiences to work with Sune and to meet artists.” Undoubtedly the greatest expression of their collaboration has been The ing the issue. “It is the single biggest threat facing the world,” he says. “We have Thief, a luxury boutique hotel that opened at the start of this year on the island a huge responsibility for the next generation.” The burden of that responsibility of Tjuvholmem in Oslo. Each of its 120 rooms features unique pieces of art. Sir is what compelled Stordalen to combine his passions for hotel design, contempoPeter Blake has a full suite dedicated to his work, Richard Prince’s The Horse Thief rary art, and combating climate change in a project at the Clarion Hotel Arlanda commands the reception area, while porn channels have been replaced with Airport, outside Stockholm. He has commissioned Mattias Klum, a photographer interactive “art on demand” that allows guests to view video art in their rooms, for National Geographic, to display throughout the hotel 20 of his images illustrating redefining hotel art in a totally 21st-century way. “When we made The Thief, we climate change. When asked if he feels that art and artists have a responsibility to didn’t actually have a budget,” Stordalen says. “We had an idea that The Thief use their work as a medium for activism, Stordalen answers unequivocally: “That should be different. We wanted to reconceive hotel art, and we had this creative is a big yes! I feel yes, absolutely. This is the biggest threat facing humanity, and no one leaves the hotel without reflecting on what is going on.” ABMB vision to have synergy between art, cultural lifestyle, and everything else.”

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INFLUENCERS

Narrative Imagery Artist and teacher David Salle impacts the art world with his distinctive style. By Jennifer Stockman

or 40 years, David Salle, often described as an imagistic artist, has been demonstrating that painting is as relevant today as it has been for 14,000 years. He says that everything that has ever happened in art is still happening: storytelling, narration, and the use of images to create meaning and evoke consciousness. “Not much in art ever really ends,” Salle muses. “Vitality is not a question of which medium, but of what one does with it.” But even in the art world’s well-established vocabulary, he maintains, the great artists continue to distinguish themselves. At age 61, Salle is at a pivotal point in his career. He has found renewed David Salle and unexpected energy and continues to explore new themes, in both his personal and professional lives. In June he married his longtime As a painter, Salle has always thrived on a steady stream girlfriend Stephanie Manes and left his longtime dealer Mary of stimulation and has a proclivity for mashing up imagery, Boone, and he has made a refreshing break from his multilayremembered fragments, abstraction, performance, and film. ered canvases—amalgamations of iconic, pictorial, and proHe’s a master of inflecting the presentation of images and vocative imagery. His new work is unitary, of only one subject, remains ever fascinated by what juxtaposition engenders—to freer and less complex. The pieces would have been mere hold multiple images together in the mind’s eye. inserts in previous paintings. Last month Salle celebrated the opening of a new show of Because Salle believes that the productive energy and his Ghost Paintings—in storage since 1992—at Per Skarskedt’s ideas we put out into the world matter, he has found time to New York gallery. The show traveled from the Arts Club of teach a class on writing about art at the Bruce High Quality Chicago, and, as Janine Mileaf, the club’s director, says, “This Foundation University. It’s an unaccredited college where is an unparalleled opportunity to better understand the rela“students are teachers are administrators are staff,” and its tionship that the artist established between performance, founding members are an art collective consisting of anonypainting, and photography.” mous artists in protest against the “star-making machinery of While Salle reveres Francis Picabia, Jackson Pollock, and the art market.” They have received attention and recognition —DAVID SALLE John Baldessari and admits to their direct influence, one can’t for their subversive, humorous, yet erudite style. Salle loves help but wonder if his own growing legacy isn’t inspiring a the “Bruce Boys” and particularly this creative forum of young people hungry to talk about art in more imaginative and lively ways. He makes younger generation—such as Rachel Harrison, who uses sculpture as her prifrequent references to Fairfield Porter, the American painter and art critic, who mary medium for juxtaposing imagery, or Ryan Trecartin, whose fantastical talked of honesty, sincerity, and one’s first reaction to work being the most use- videos and installations pair footage and images from pop culture, the Internet, ful. He tells his students to pay close attention to their inner thoughts, instead and animation. Even Jeff Koons, positioned as Warhol’s successor, may have of what they’re “supposed” to think, when looking at art. With Salle’s vast array learned a thing or two from Salle’s sensibility in the use of images. Just take a look of talents, he’s well suited to teaching, even while simultaneously writing a at Koons’s recent paintings; he’s by no means alone among today’s artists in paying homage—acknowledged or not—to Salle’s inspirations and inventions. ABMB monthly column on artists for Town & Country magazine.

PHOTOGRAPHY BY ROBERT WRIGHT

Everything that has ever happened in art is still happening— using images to create meaning and evoke consciousness.

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INFLUENCERS

A Curated Vision Teacher, writer, and curator Eva Grinstein shares her experience working with a new generation of artists in Argentina—and beyond. By Jill Brienza

va Grinstein approaches art education with the same attitude she would approach editing a text or curating an exhibition: She seeks to use all available resources and her personal background to produce the best possible outcome and experience. A successful writer, curator, and teacher, Grinstein became the executive director of Casa Escuela de Arte, the education program of ProyectArte in Buenos Aires, in 2012. “Eva Grinstein is not just a talented curator but also a passionate and committed educator,” says Sebastian Cwilich, president and COO of Artsy and one of the founders of ProyectArte. “At ProyectArte, she is bringing together the leading Argentinean contemporary artists to provide an intensive, long-term visual arts education to a talented and diverse group of aspiring young artists.” Casa Escuela de Arte is a private, nonprofit program that grants full scholarships to underprivileged and talented local 15- to 25-year-olds. Students participate in an immersive 18-month program designed to provide a basic education in the visual arts. “I believe the educational experience can be improved for many of these students by applying the real-world experience that I have garnered over the past 15 years with artists and art institutions, both inside and beyond Argentina,” Grinstein says. “An important goal for me is to convey pasEva Grinstein sion for research and experimentation in an environment free of competitive sees herself as an enhancer of the and market pressures.” experience of art. While working full-time at Casa Escuela de Arte, Grinstein continues her broad spectrum of activities. She is a curatorial advisor for deal with a lack of commercial and governmental sponsorship. “Unsettled Landscapes,” the first exhibition in SITE Santa Fe’s It was in this difficult environment that Grinstein staked a claim newly reimagined biennial exhibition series “SITElines: New as a sponsor of local and emerging artists. “Eva has accompaPerspectives on Art of the Americas,” which opens in July 2014. nied the generation that came of age after the 2001 political “She has been invaluable for her knowledge of Argentinean crisis in Argentina and has supported them,” says José Roca, and South American artists and for her incisive and thoughtful artistic director of FLORA ars+natura in Bogotá, Colombia, feedback and commentary,” says Janet Dees, assistant curaand adjunct curator of Latin American art at the Tate, London. tor at SITE Santa Fe. Grinstein also worked with the Museo “She is widely respected in the local circuit and also at the Pande Antioquia on MDE11, a Medellín arts “biennial,” which American level.” Today, Grinstein believes the crisis was a net most recently had the theme “Teaching and Learning.” The benefit for Argentinean artists, as it forced them to focus on Medellín project is one of which she is most proud, given its —EVA GRINSTEIN their craft and work together in collaborative ways. The marfocus on the subject matter near and dear to her heart. She also maintains a deep passion for writing, recently contributing essays for Diego ket remains less robust than she feels it should be, given the quality of the work being produced and the rich cultural history of Argentina, but through her Luis Aduriz and Luis Terán. Grinstein always had an interest in the arts, but it was working as an editor of efforts and fairs such as ArteBA, local artists continue to gain appreciation in a newspaper in Buenos Aires that pushed her in the direction even more while the Latin American and global markets. Grinstein continues to conceptualize new exhibitions and programs even as she was still attending college at the University of Buenos Aires. She became the art critic and arts features writer for El Cronista and was able to combine her her schedule would seem to make more projects impossible. “Meeting artists love of writing and the arts. After six years, Grinstein expanded her horizons in their studios and exchanging ideas with them was what first attracted me in the contemporary art world further by entering the curatorial program, via to this field, and now 16 years later, I still feel exactly the same way,” she says. a scholarship from Fundación Carolina, at Casa de América in Madrid. “This “I have always tried to articulate my ideas and contribute in a way to enhance was an enormous period of learning, as—along with two other students—I was and expand what artists do. I am interested in the position of the curator as an enhancer of the experience of art, and that interest applies to my practice as a given curatorial responsibility for the institution’s galleries,” she remembers. Argentina’s economy collapsed in 2001, and the local art scene was left to teacher or writer as well.” ABMB

“I have tried to contribute in a way to enhance and expand what artists do.”

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CELIA; MIAMI BY HELMUT NEWTON, 1991

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Miami PHOTOGRAPH BY TK (TK);

MIAMI BEACH II BY MITCH EPSTEIN, 1976

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MIAMI BEACH BY MARY ELLEN MARK, 1993

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USA. MIAMI BEACH, FLORIDA, BY ELLIOTT ERWITT, 1962

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LEONARD FARBER AND MISS UNIVERSE, CONVENTION OF THE INTERNATIONAL COUNCIL OF SHOPPING CENTERS, MIAMI BEACH, FL, BY ROSALIND FOX SOLOMON, 1972

Miami 240 Art Basel | Miami Beach 2013

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MIAMI BEACH NOVEMBER 13, 1977, BY STEPHEN SHORE

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NONCONFORMISTS A rendering of Ballroom Marfa’s Drive-In by its architects, Michael Meredith and Hilary Sample of MOS.

Mysterious, Magical Marfa A local shares her personal thoughts on the mystical West Texas town she calls home.

RENDERING BY MOS 2012 (DRIVE-IN)

By Fairfax Dorn

was not initially smitten with Marfa. It took years for me to recognize how the potential of this tiny town and the high desert that surrounds it—the combination of light, space, and land that so many others, from Donald Judd to Ambrose Bierce and Pancho Villa, plus the generations of unnamed cowboys, corridistas, ranchers, artists, and native peoples—might affect me. I come from a family with deep roots in Far West Texas; my great-great-grandfather, Alfred Gage, moved to the region from Vermont in the 1870s. But when visiting the area, we would always pass by Marfa to get to our ranch in Marathon, an even smaller town an hour to the east. It was not until 1999, when I was living in New York City, that I made my first “grown-up” trip to Marfa. I was headed to a birthday celebration at the Cibolo Creek Ranch, more than 30 miles south of town. But I took a detour to look at the art. I still remember my first reaction to seeing Judd’s 100 untitled works in mill aluminum—permanently installed in the artillery sheds of the former cavalry base that he transformed into the museum that it is today. I felt a sensation of calm in the presence of timelessness

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NONCONFORMISTS

REVIVING THE ARTIST’S LOFT The daughter of Donald Judd, Ranier Judd, recounts her father’s efforts to erect an artist’s district in New York City and details how his vision was realized this year. Moving out of a small, comfortable loft with his wife and small child in November 1968, my father, Don Judd, relocated to a five-story building with no heat, no stove, and no shades on the windows. The new building at 101 Spring Street in Manhattan’s Soho neighborhood had 8,500 square feet and 59 windows. Some of them were cracked, some were missing, and they all failed miserably at their task of keeping out the weather. But my father now had a space, and this was what was important to him. Over the next 25 years, Dad spent a lot of time, effort, and money fixing up Spring Street to permanently house artworks of his own and others that he liked. Here, the idea of “permanent installation” was born, which he later put into practice on a large scale in Marfa, Texas. Throughout my father’s ownership, the building survived mass-transit proposals, gentrification, and the loss of the working-class economy to swank shoe shops and fashion houses. The space at 101 Spring Street endured these indignities because it was more important than simply what the building contained. What Dad created in 101 Spring Street was a method of living—something not easily displaced by boutiques. His integration of art, design, architecture, and philosophy is still being felt. Fighting to keep Spring Street, my father did what he could to help the neighborhood maintain its fascinating character of old buildings and new artists. In all this time, the windows let in the winter wind, the furnace gave out just when the bath ended, and the large windows magnified the summer heat. But it looked great. The art was moved around for 20 years until Dad felt he had the building more or less how he wanted it—the interior was repaired so that it was possible to cook a fish without too much drama. My father never finished Spring Street. When he died in 1994, the façade was slowly rusting away, Ranier Judd today. the windows were falling apart, and the roof leaked. These were just the major worries among hundreds of problems. After his death, we fought suggestions and insistences that 101 Spring Street be sold, chopped up into condos, or torn down. We fought for the building because we knew just how important it was to Dad, to his work, and to the understanding of 20th-century art. It’s easy to sell things; it’s harder to build things. We decided to build. In 2008, the Judd Foundation completed the plans for the restoration of 101 Spring Street. Over the next five years, the money was raised and the work done. Thanks to an immense amount of effort by a dedicated and innovative team, the building—whose restoration began on June 3, 2008 (Dad’s birthday)—is warm, dry, and lacking a certain moldy smell that had lingered for decades. The only regret is that my father didn’t get the chance to experience it; 101 Spring Street opened to the public on June 18, 2013.

ut afterward, as we explored the rest of this quiet town, I distinctly remember thinking, “There’s no way I’d ever be able to live here.” Those words haunt me today, as I now live in Marfa for much of the year and have dedicated my career to furthering the mission of the nonprofit cultural arts organization, Ballroom Marfa, which I founded there with Virginia Lebermann in 2003. And now, after working with more than 200 artists as part of 28 internationally recognized exhibitions, hosting some 100 concerts, and working with Art Production Fund to realize Elmgreen & Dragset’s Prada Marfa (2005), we’re on the verge of breaking ground for the Drive-In, an ambitious rehabilitation of Marfa’s 21-acre Vizcaino Park into a community center and multidisciplinary performing arts venue. Marfa Dialogues, now in its third year, encompasses both a biannual Marfa-based program as well as a traveling production. Marfa Dialogues/New York took place this October and November, and featured exhibitions, symposia, and performances including more than 20 partners from the worlds of art, science, and policy, all addressing the issue of climate change. This town has changed a great deal in the 10 years since we started Ballroom Marfa. It is now home to more than a dozen nonprofit arts organizations, making arts administration and other touristrelated industries one of the primary sources of employment (though the largest employer in the region is still the US Border Patrol). Despite this influx of newcomers, since Judd arrived in the ’70s, the population has dropped by about a quarter—perhaps not surprising for a town that is still three hours from the nearest commercial airport. Marfa is a about 70 percent Hispanic community, and the median household income is just barely over $33,000, leaving 10 percent of local

PHOTOGRAPHY BY JAMIE DEARING/JUDD FOUNDATION ARCHIVES (JUDDS, 1974); JOSHUA WHITE (JUDD TODAY)

Ranier and Donald Judd in Texas in 1974.

and seemingly unlimited space. I left mesmerized and intrigued. The Chinati Foundation, where this work is housed, first opened to the public in 1986 and also exhibits Judd contemporaries Carl Andre, John Chamberlain, Dan Flavin, Roni Horn, Ilya Kabakov, Richard Long, Claes Oldenberg and Coosje van Bruggen, and John Wesley. Soon after traveling to Chinati, I visited the Judd Foundation, founded in 1996 and dedicated to preserving the artist’s living and working spaces in Marfa. I was equally drawn to these intimate spaces, not least of all Judd’s personal more than 13,000-volume library, unbelievably organized in part according to geographic region and the authors’ birthdates.

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100 Untitled Works in Mill Aluminum by Donald Judd, 1982–1986 are part of the permanent collection at the Chianti Foundation in Marfa, Texas.

“It is often said of deserts that they are where the Prime Mover was practicing before making the rest of the world…and it is not coincidental that several of the world’s greatest monotheisms were born and raised in the desert.”

PHOTOGRAPHY COPYRIGHT JUDD FOUNDATION, LICENSED BY VAGA, NEW YORK, NY (100 UNTITLED WORKS)

—From the preFace to Lannan residency FeLLow wiLLiam L. Fox’s THE VOID, THE GRID & THE SIGN: TRAVERSING THE GREAT BASIN

families below the poverty line. We have one of the best art bookstores in the Southwest, one of the smallest NPR affiliates in the country, two extraordinary film festivals, architecturally significant hotels, a thriving community theater scene, and worldclass restaurants and food trucks, but no pharmacy and only the most basic of medical facilities. Sitting close to a mile high, with no obstruction of the horizon, Marfa is a place where existence can be challenging, but for those who persevere, it represents endless possibilities. As William L. Fox—one of the many writers who has spent time in Marfa as a guest of the Lannan Foundation—writes of the desert, it is a place where ideas take shape, with enough space to give birth to entire worlds of thought. Or as Donald Judd put it: “In West Texas there’s a great deal of land but nowhere to go.” Marfa is both nowhere and everywhere. In 1883, Marfa started out as a destination for cattle ranchers in search of prosperity and has now also become a haven for writers, artists, filmmakers, and musicians in search of themselves. By default of remoteness and the austerity of wide-open space, Marfa is as much a place as it is a state of mind. ABMB

Fairfax Dorn, the executive director and cofounder of Ballroom Marfa.

Food Shark, Marfa Texas, 2013.

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NONCONFORMISTS Gordon Locksley (FRONT) and Wayne Boeck at their home in Fort Lauderdale.

Playing Favorites For nearly 50 years, dealer Gordon Locksley has been buying and selling works by artists who have gone on to become icons in the contemporary art world. His strategy? Go with what you love. By Brett Sokol

Gordon Locksley, 1975, by Andy Warhol.

PHOTOGRAPHY BY GARY JAMES (PORTRAIT)

“I

’m a dinosaur!” chuckles Gordon Locksley with more than a hint of pride. After nearly five decades as a dealer of contemporary art, outliving the rise and fall of both fax machines and floppy discs, Locksley still prefers to do business the old-fashioned way: starting with a phone call and consummating with a handshake. “You should see how many pages a contract with Christie’s is these days,” he says with a playful sigh about the auction house’s present modus operandi. The results of Locksley’s approach are on eye-popping display in the form of his personal collection, arrayed throughout his oceanfront Fort Lauderdale condominium. In fact, strolling through his condo is akin to an Art History 101 class as you come face to face with iconic works, from Josef Albers’s Homage to the Square to Andy Warhol’s ode to Jacqueline Kennedy Onassis, on through pioneering minimalist canvases by Robert Mangold and Brice Marden, rolling through the decades to our current era, represented by a personalized drawing from Damien Hirst and a gorgeously rendered painting by ex-Miamian Hernan Bas, featuring one of his signature wan-looking dandies, adrift on a monster-filled sea. However, don’t look for an overarching buying strategy. “I’ve never tried to game the market. I’m really not that smart,” Locksley quips. “This is the third time

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NONCONFORMISTS

I’ve owned that Lichtenstein,” he adds, nodding in the direction of a particularly striking example of that artist’s 1960s work, which hangs in his living room. He has simply bought work he’s personally loved, sometimes sold it when the opportunity arose, and yes, sometimes bought it back when he was flush. It’s the same tack he began with in 1964: As a successful Minneapolis hairdresser with a string of salons, he and his then-partner, George T. Shea, were planning to open an antiques shop, focusing on their wealthy salon clientele. A lunch with Jan van der Marck, then the chief curator at Minneapolis’s Walker Art Center, caused him to change focus. “Jan looked at me like I was crazy,” Locksley recalls with a sheepish smile. “It’s 1964, Pop Art had been born, and it was a magic moment in art history! And here I wanted to go into antiquities.” Van der Marck broke down the economics: “If I sold everything I owned, I could buy one masterpiece from the Renaissance, or two or three first-class fakes. But with Pop Art, the prices were reasonable. It was my Kodak moment—a lightbulb went off over my head.”

rmed with a list of artists’ home addresses from van der Marck, Locksley flew to New York City. “Doors would swing open,” he remembers. Jasper Johns, Robert Rauschenberg, Andy Warhol, and Tom Wesselmann all had growing international reputations, but they were still only too happy to meet this checkbook-toting arrival from Minnesota (although Rauschenberg did insist on cracking open a bottle of Wild Turkey before he would talk business, despite it being 10 AM). “Their pictures may have been in Life magazine, but their work wasn’t selling yet,” Locksley explains. And just like that he became a key Midwestern outpost for New York’s avant-garde, placing Warhols into suburban Minneapolis homes. Warhol himself winged into Minneapolis for Locksley’s annual Valentine’s Day party in 1968. Following Christo’s appearance at Locksley’s fête the prior year, where the artist had “wrapped” nude partygoers, local anticipation was high. Come that February night, more than 400 guests were set to jockey for space with TV camera crews inside the Locksley and Shea home. However, Warhol suddenly decided that he and his entourage all needed to be seen in black leather jeans. After a mad dash to a downtown department store, the group ended up back at Locksley’s, with Warhol patiently tailoring everyone’s jeans. “That’s my favorite memory of Warhol,” says Locksley with a laugh. “The photographers are all on one side of the door. On the other, Fred Hughes and Viva [Warhol’s manager and his newest It girl] are standing on my dining room table, and there’s Warhol at their feet with a bottle of LePage’s glue and a pair of paring scissors.” But it was the painter Chuck Close who most dramatically transformed Locksley’s life. In 1974, Locksley found himself fielding a transatlantic phone call from an oddly intense Brit. The paint was barely dry on a particular Close painting, but this British collector already wanted to buy it. After an exasperated Locksley insisted that the caller wait at least until the work was hung in the gallery, the overseas collector offered an immediate $150,000 ($700,000 in today’s dollars) for an artist who had yet to sell anything for more than $5,000. Locksley didn’t take the conversation seriously until his bank manager called a few days later, informing him, “Someone has just wired $150,000 into your account. Are you familiar with the name Charles Saatchi?” “I am now,” Locksley happily responded, inaugurating a buying pattern for which Saatchi would eventually become famous. The windfall prompted a move to Rome, and later Paris, with Locksley receiving what he calls a firsthand education in classical art—and the opportunity to

“Don’t think about it like you’re studying the Standard & Poors index. Buy what you like.”

—GORDON LOCKSLEY

continue brokering deals across Europe. “I have great difficulty going into the Pop Art room of a certain museum in Cologne,” he says wryly of that city’s Andy, Viva, and the “entourage” Museum Ludwig. “I really arrive in Minneapolis. miss living with some of those works.” The ’90s saw a return stateside and an eventual move to Fort Lauderdale with his partner, Wayne Boeck. Locksley freely admits that Florida’s lack of a state income tax was a key factor in his relocation prior to a huge sale of Donald Judd artwork. But these days, most of his purchases are sent directly to museums as philanthropic donations. (A 2009 show spotlighting Locksley’s collection at the Museum of Art Fort Lauderdale had curators across South Florida practically salivating.) With the arrival of another Art Basel in Miami Beach, Locksley says he’s once again besieged with questions from budding collectors. His advice? “Don’t think about it like you’re studying the Standard & Poors index. Buy what you like,” he insists. “People always want you to hand them a rifle and take one shot. You need to take a shotgun and hope a few things hit.” He pauses and then flashes a grin: “You’re going to make a lot of mistakes along the way, but you’re also going to get some great art.” ABMB

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Global Impact

PHOTOGRAPHY COURTESY OF THE PHILADELPHIA MUSEUM OF ART, THE ARSENBERG COLLECTION (SOFT CONSTRUCTION) ; COURTESY OF MICHAEL CHOW (SELF-PORTRAIT)

NONCONFORMISTS

Six international art superstars remember the works of art that changed their lives. By Bettina Korek

e asked art luminaries from across the globe about the first work of art they remember having an impact on them. Memories emerged about connections made with pieces of art in books, galleries, and museums. Visual power transcends mediums, which brings up the question of whether images viewed on the Internet can impact to the same degree. Artists perpetually redefine art, and as the boundaries of the art context become more porous, one might argue that art with impact is even harder to come by. From the prophecy of Dali to the magic of Claes Oldenburg and Coosje van Bruggen, the promise of art is alive and well. On the following pages, discover their intimate memories of what works first grabbed these wellknown denizens of the contemporary art world.

TOP: Salvador Daliâ&#x20AC;&#x2122;s 1936 piece Soft Construction with Boiled Beans: Premonition of Civil War still resonates with Los Angeles artist Michael Chow, although he first glimpsed it in a book almost 60 years ago. ABOVE: Chowâ&#x20AC;&#x2122;s Self-Portrait, 1959.

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PHOTOGRAPHY BY MAXIME BALLESTEROS (ISRAEL); MARY LYON (MACLEAR); DEAN KAUFMAN, COURTESY OF THE GLASS HOUSE (NEON TEMPLATES)

MICHAEL CHOW, ARTIST, LOS ANGELES I first saw Salvador Dali’s Soft Construction with Boiled Beans (Premonition of Civil War) in a book almost 60 years ago, and I still think about it today. I saw the beauty—not the violence. He painted it before the Spanish Civil War had started, and he then claimed it reflected his prophetic powers. It depicts twilight, when the sun is setting or rising, and it’s the beginning or the end of something. There’s a suggestion of heaven through the violence. ALEX ISRAEL, ARTIST, LOS ANGELES When I was 5, my parents took me downtown to see Claes Oldenburg and Coosje van Bruggen’s Knife/Ship II at MOCA LA. It was just like the pocket-sized Swiss Army knife that my Grandpa Bud always had jingling around with his loose change— but now it was spaceship-sized. The computer-operated sculpture sent knives and corkscrews up and down, with giant oar-paddles sweeping across the plaza. Truly spectacular, it was like a magic trick or something out of a Saturday-morning cartoon: this little thing all blown up and come to life. At the gift shop I got a souvenir pen with an image of the sculpture suspended in liquid inside it. My mini Knife/Ship II would glide back and forth as I scribbled and doodled, a little slice of the magic I got to take home with me. I still have the pen. CHRISTY MACLEAR, EXECUTIVE DIRECTOR, ROBERT RAUSCHENBERG FOUNDATION, NEW YORK I have two works that instantly come to mind. The first one is a Mondrian. I grew up in a Scandinavian family around Danish landscapes, still lifes, and architectural paintings, so when I first saw a Mondrian in college, it was so starkly different than what I had been surrounded by. It was almost as if I became aware of art at that moment. With its pure, distinctively different qualities from what I had grown up with and the fact that I was studying architecture and it related to what I was studying, it was like a whole world opened up to me in that moment. The second piece is a Bruce Nauman called Neon Templates of the Left Half of My Body at Ten Inch Intervals—it’s a neon piece, and he wrapped the neon around his body. It hangs at the Glass House, and when I took the job of executive director, it was sort of the first time I really started to understand more conceptual art; that piece opened up a whole new door in my

When he first saw it as a boy, Los Angeles artist Alex Israel (ABOVE LEFT) says he found Knife/Ship 11 by Claes Oldenburg, 1986, “truly spectacular.”

Bruce Nauman’s Neon Templates “opened up a whole new door in my mind.” —CHRISTY MACLEAR

Neon Templates of the Left Half of My Body Taken at Ten Inch Intervals by Bruce Nauman, 1966, was significant to Rauschenberg Foundation Executive Director Christy Maclear (LEFT) because it was the first piece of conceptual art she understood.

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Modernism “clicked” for New York artist Marilyn Minter (LEFT) when she first saw Matisse’s painting The Piano Lesson. “The metaphor of it really struck me,” she says.

“For me it was an epiphany to see Giacometti.” —HANS ULRICH OBRIST

mind. And I always loved having people come through the Glass House and look at it and not understand it whatsoever, but the fact that it made you ask the questions was what was so significant to me about that piece. MARILYN MINTER, ARTIST, NEW YORK I came from a cultural desert. My art teacher in high school was a sign painter. I knew that I could draw, but nothing about art. I came across a reproduction of Matisse’s The Piano Lesson during a survey art history class freshman year at the University of Florida. It wasn’t a very good book—I didn’t keep it—but Modernism clicked for me when I saw that painting. Before that point I didn’t know anything about Modernism— nothing. The metaphor of it really struck me, even in this reproduction. I thought a lot about the teacher, the repetition, the angles, the mother in the background. Since then I’ve gone to see it many times at MoMA. I didn’t see anything at all that was real art until graduate school in Syracuse. The first artist that spoke to me in terms of inspiring me to want to make art was Andy Warhol, but the school I was at was not into Pop Art at all, so I got that from art magazines. HANS ULRICH OBRIST, CODIRECTOR, EXHIBITIONS AND PROGRAMS AND DIRECTOR OF INTERNATIONAL PROJECTS AT THE SERPENTINE GALLERY, LONDON For me it was an epiphany to see Giacometti. My parents took me—I must have been 10 or 11—to the Kunsthaus Zürich, and I saw the Giacometti room. These works have an amazing presence and inverted monumentality; the long, thin figures sort of obsess me. The Kunsthaus Zürich collected Giacometti early on in depth, so you could actually see, all in one room, the genesis of how he found his own language. The depth of this grouping, and the drawings, was essential. It was not only the thin, long figures in sculpture, but then to also see these figures appear in his inimitable feverish drawings was also a very strong experience—seeing Surrealism through him and how he developed his real singularity.

PHOTOGRAPHY BY JASON SCHMIDT (MINTER); YOUSSEF NABIL (OBRIST)

As a boy in Zürich, Switzerland, gallerist Hans Ulrich Obrist (BELOW) developed an “addiction” to seeing Giacometti’s sculptures and the world within a world the long, thin figures seemed to inhabit.

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PHOTOGRAPHY BY JULIA GALDO (SIRMANS); HICKEY-ROBERTSON, COURTESY OF CY TWOMBLY GALLERY, THE MENIL COLLECTION, HOUSTON, GIFT OF THE ARTIST (SAY GOODBYE CATALLUS)

So, it was actually about the encounter with the ensemble. I kept going back, and it became a Giacometti addiction. Seeing this room as a kid, for me it was like this idea of putting a world into the world—Giacometti invented his own world. FRANKLIN SIRMANS, TERRI AND MICHAEL SMOOKE DEPARTMENT HEAD AND CURATOR OF CONTEMPORARY ART, LOS ANGELES COUNTY MUSEUM OF ART In 1994 I saw Cy Twombly’s Untitled (Say Goodbye Catallus, to the Shores of Asia Minor) at the Gagosian Gallery in Soho. By this time, I had “seen” some things and felt like I had a coterie of artists and images that I admired, referred to, and found intellectually Museum curator Franklin Sirmans challenging and deeply rewarding for their marriage of concept and beauty. For the (ABOVE LEFT) says even though he didn’t know most part that was probably due to something I could personalize in the work, if not what it meant 20 years having a direct connection. In fact, that was when I began to know artists as peers, ago, Cy Twombly’s Untitled (Say Goodbye rather than a generation of elders. It was an exciting time, symbolized by the 1993 Catallus, to the Shores of Asia Minor) felt Whitney Biennial. like “it was the visual But I hadn’t had this type of experience as far as a single artwork. If I remember symbolization of human emotion.” correctly the Gagosian on Wooster was like the satellite space, almost an alternative gallery. The painting was the only piece in the show, which coincided with the big retrospective of Twombly’s work that opened at MoMA right around the same time. But this was it. Part graffiti, part mural, part cave painting, it was the visual symbolization of human emotion, life worth living even if I didn’t understand what that meant. It was history painting for real, with poetry literally written into it—Keats, Rilke, Catallus, and Twombly’s own; 53 feet wide and 13 feet high, the painting unfolds like a scroll read right to left, full of thundering emotion and quiet introspection. Twombly also finished The Four Seasons in 1994, so obviously he was on fire. It’s heavy and Ullens Center Director Philip light at the same time. It looks improvised and intuitive, but every line, smudge, Tinari (BELOW LEFT) decided to word, or buildup of paint is perfectly placed—an epic work with implied sound. make a career and life in the art world after seeing The Palace at I still feel good after every viewing. 4 AMby Jon Kessler, a critique

Jon Kessler’s The Palace at 4 AM “was part Fantasia, part dystopia, and completely mind-altering.”

PHILIP TINARI, DIRECTOR, ULLENS CENTER FOR CONTEMPORARY ART, BEJING It wasn’t the first piece of art that ever impacted me, but it was definitely the one that solidified my decision to make a career and life in the art world: Jon Kessler’s The Palace at 4 A.M. at PS1 in late 2005. To see an artist construct a whole world that distilled, parodied, and critiqued the situation in America at that very moment (the height of the Iraq war, the beginning of Bush’s second term) showed me new possibilities for what art could do. I particularly remember one mechanical piece with a primitive webcam moving toward an endless looping succession of Word Trade Center postcards, and another spinning in circles around disembodied heads of bin Ladenlike figures. It was part Fantasia, part dystopia, and completely mind-altering. ABMB

—PHILIP TINARI

of the situation in America at the height of the Iraq war.

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My Day at Art

nonconformists

I stay at The Raleigh. I love the pool there. It’s an old-school hotel swimming pool. I also like wearing a mankini. My favorite is blue. It shows off my figure. I like wearing it alone, though. My mankini is for me and only me. I wake up early and put it on and go to the pool. The pool is always empty at 4:30 am. Just me and my mankini. We swim, relax, soak in the hot tub. We have our choice of chairs and cabanas.

Competitive yoga. On the sand. At dawn. I take on all comers. Dan Loeb, Russell Simmons, Gaga, LeBron. I rock Crow Pose (Bakasana), Wheel Pose (Urdhva Dhanurasana), Extended Hand to Big Toe Pose (Utthita Hasta Padangustasana). My King Pigeon Pose (Kapotasana) has been known to make my competitors cry. My pose dedicated to the sage Koundinya I (Eka Pada Koundiyanasana I) sends them running for the bike path.

Back to my room to apply my Art Basel in Miami Beach temporary tattoos. I wear them on my arms, chest, stomach, thighs, and a couple of places that are too private for print media.

am am

Get dressed: khakis, white T-shirt, Adidas shell-top Superstars. Same thing I wear every goddamn day.

Back to the hotel for a shower. I am so hot from yoga, I take a cold shower—as cold as it can be.

Isaac Mesa comes by the hotel to style my hair. We do it in the lobby. He’s such a dynamic stylist that sometimes people stop and watch, take pictures, video. More than one has asked if he’s a performance artist taking part in the fair.

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I walk up to the fair right along the beach. I drink in the salt air. I say hello to everyone and anyone on Rollerblades. I look at the trinkets for sale and engage in some comparison-shopping. I admire other men’s mankinis, though I known mine is cooler and more properly fitted. I look at all the girls in bikinis and remember when I was young.

11:15 am

I enter the fair, the VIP preview. Art is popular. Very, very, very popular. I walk around. There are large crowds. I say hello to all of the same people I see at other art fairs and at the gallery shows in New York. I always act surprised to see them. And they always act surprised to see me. We hug each other and kiss each other’s cheeks. I ask them what they’ve seen that they like, and they lie to me so I won’t try to get whatever it is. They ask me what I’ve seen that I like, and I lie to them so they won’t try to get whatever it is. We say, “See you back in New York!” and go our separate ways.

11/14/13 4:46 PM

rt Basel...

1230

Lunch with Larry. Yes, that Larry. He is legitimately one of my favorite people and an awesome lunch companion. And he always gets the best table wherever he chooses to go.

4:15

Meet unnamed artist friends for an afternoon cocktail. They are usually upset at the commercialization of their work and concerned that prices are getting too high. They have each made several million dollars in the past few days.

Back to the fair. Almost everybody there, at least the people who are actually there to buy, has more money than I do. Money, as we all know, rules the art world. Unlike many people, it doesn’t bother me, and I don’t gripe about it. Money rules everything on this planet, why should the art world be any fucking different? I just need to write more books so I can have more of it. I probably need to write better books too. I check with the various gallerists who have booths where I have tried to buy things—or at least put them on hold—but I’m trumped by richer motherfuckers at every place. I check with them to see if any of the rich motherfuckers have changed their minds, thus giving me—a less rich motherfucker—a chance to get something cool.

Depressed at my unsuccessful attempts at buying something cool, I go back to the hotel and stare at my mankini, which cheers me up a little.

Down to the pool for an ice-cold diet cola and crispy potato chips. Maybe a handful of peanuts.

Text a picture of my hair to Isaac Mesa so that he can see his stylings have held up through two fair visits.

Gather with a group of artists and dealers for drinks and dinner. We go to Nobu. The menu is the same as NYC, and we all order exactly the same things we order when we meet at Nobu in NYC. The uptown artists and dealers are more conservative in their orders; the downtown artists and dealers are more daring. When the check comes, everyone pretends to want to pay for it, or at least pay his or her share. The richest dealer usually ends up with it, though he/she cringes as he/she hands over his/her Black Card.

10:45 pm

Clubs. Miami has good clubs. Dance clubs, gay clubs, sex clubs, strip clubs. Miami has them all. Those who want to indulge go to the club that has whatever they want, need, or desire. Different strokes. I’m in favor of sin and fully support club-going of all kinds. After a long day, though, and a full stomach, I go back to my room. Going to be up early again for some private pool time, and I need my rest so my yoga is prime.

...in Miami Beach Author JAMES FREY shares his experiences visiting South Florida for the biggest US art event of the year.

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Architectonic vs. H.R. by Santiago Cucullu will be featured in the UBS Lounge as part of a presentation of Latin American work from UBS’s collection.

Community Ties

ith 35,000 objects installed in more than 900 offices worldwide, UBS Art Collection has a focus on artwork that is local, international, and relevant to the community, says Jacqueline Lewis, director/regional curator for the Americas, UBS Art Collection. That relevancy shines with its presentation at Art Basel in Miami Beach. Since 2008, UBS has curated collections for clients and guests to view during the show. As this year’s lead partner, UBS will be exhibiting a selection of acquisitions in an expanded lounge space. “UBS has a long and substantial record of engagement in contemporary art as holder of one of the world’s most distinguished corporate art collections, as a sponsor of leading art fairs, and as an active program collaborator with great museums,” says Jason Chandler, head of UBS Wealth Management Advisory Group, UBS Wealth Management Americas. “Through our global lead partnership with Art Basel, we are uniquely positioned to help clients participate in this fast-growing and dynamic field.” The collection on view in the lounge is a sampling by a diverse group of Latin American artists in the worldwide UBS collection. “The works reflect the culture and society of Latin America,” says Lewis. “We wanted to bring some of the pieces from the collection to show the engaging works of art that are made by Latin American artists,” says Lewis, who is excited to highlight photography by Rivane Neuenschwander and paintings by Federico Herrero. Most of the artists currently live in Latin America and work in a

variety of mediums. Works on display at Art Basel in Miami Beach include drawing, sculpture, and film. Continuing its commitment to the community, for the past two years UBS also has partnered with Arts for Learning/Miami to support ArtWorks, a high school career-readiness program. Lori Feinsilver, UBS’s head of community affairs, says of the partnership: “UBS is proud to partner with Arts for Learning to support the city of Miami, one of our nation’s most dynamic and vibrant communities. Through our sponsorship of Art Basel in Miami Beach and the ArtWorks initiative, we’re excited about this opportunity to help our talented young people fulfill their artistic potential and gain valuable career skills.” Once accepted into the program, 30 high school students from underserved areas of Miami’s Wynwood Arts District take part in a six-week summer internship. After its first summer of support, UBS renewed its funding, allowing for not only another summer program, but also giving 10 students the ability to continue interning throughout the school year. This week ArtWorks students will participate in a workshop with Argentinean artist Santiago Cucullu, who is lecturing about his work and giving the students demonstrations on how his watercolor monoprints are made without the use of a press—which students will then be able to re-create in their own artistic ways. Cucullu’s artwork will also be on display in the UBS lounge. ABMB

UBS selects a stellar collection of Latin American pieces from its worldwide archive to exhibit at this year’s show. By Dalene Rovenstine

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Old-Time Luxury

In Ruinart’s Collectors Lounge booth, specially lit bottles of Champagne will be displayed in reclaimed wood “boxes”—part of a massive installation by Dutch designer Piet Hein Eek.

The sophisticated Audemars Piguet booth within the Art Collectors Lounge at Art Basel exudes the spirit of the high-end brand. By Rachel Felder

The Audemar Piguet booth inside the Art Collectors Lounge will display more than 50 vintage watches from the watchmaker’s private museum.

Bubbling Legacy Ruinart’s 2013 contribution to Art Basel in Miami Beach is a slick, modern space in which it will host international collectors. By Rachel Felder

lthough it’s the world’s oldest Champagne company, founded in 1729, Ruinart’s Collectors Lounge booth is impressively modern—and just plain impressive. Its focal point is a massive installation by Dutch designer Piet Hein Eek, essentially a grand wooden arch divided into sections. Several of those deeply grained, reclaimed-wood segments hold specially lit bottles of the Blanc de Blancs Champagne in a visual homage to the company’s history as the first brand to ship wine in wooden crates, as opposed to baskets, in the 18th century. “It’s pretty spectacular,” admits Nicolas Ricroque, Ruinart Champagne’s brand director. “We needed to do this with somebody who dedicates his time and art to wood. That’s how we approached Piet in the Netherlands. He ran away with it and came up with this incredible idea. It went beyond our expectations.” Ruinart typically spends a couple of years planning its annual activities at Art Basel in Miami Beach, which include working with an artist on a special commission like Hein Eek’s. “It’s a long process, but it’s been a fruitful one,” Ricroque says. “We have to make sure we have the right story and the right artist to bring it to life. Piet’s was one of the easiest because the story was so strong and his universe is so well defined and fits so well with the brand.” Hein Eek will be at Ruinart’s booth during the show, explaining the piece and his work overall. In addition, the designer is hosting an invitation-only brunch on Thursday, December 5 for a handpicked list of collectors, gallerists, and other art world tastemakers, prepared by chef Michelle Bernstein, one of the Champagne house’s so-called “culinary ambassadors.” The installation embodies Ruinart’s alliance with Art Basel in Miami Beach (beyond, of course, being the official Champagne served at all three international shows). As Ricroque puts it, “What’s important to us is to share our dedication to art and also reinforce all the heritage we have with this brand, bringing to life the story of being the first Champagne in the world. All these things really build the legacy of the brand—that is what we want to communicate through our relationship with Art Basel.” ABMB

PHOTOGRAPHY BY EDWARD MELTZER (AUDEMARS); COURTESY OF RUINART CHAMPAGNE (RUINART)

or its first year as an associate sponsor of Art Basel, the luxury watch brand Audemars Piguet came up with the ideal way to give attendees an appreciation of the collectible timepieces it produces as well as its heritage dating back to 1875. Within its booth in the Art Collectors Lounge, which was designed by French artist Sebastien Leon Agneessens, more than 50 vintage watches from the company’s private museum will be displayed, along with a guilloché, or antique watchmaking machine. “The objective is that, if you enter the booth, it immerses you in the spirit of the brand,” Tim Sayler, Audemars Piguet’s chief marketing officer, explains. “It’s a contemporary take on our environment, and it does give a very good impression of where we’re from and what we’re about, yet it fits absolutely into the world of Art Basel in Miami Beach.” Nonetheless, the focus of the booth goes beyond just timepieces and their creation. Also on display will be a selection of atmospheric photographs by Dan Holdsworth, who Audemars commissioned to create beautiful, moody portraits of Switzerland’s remote Vallée de Joux, where the company is based. The photographs spotlight the way Audemars engages with the art world, a key theme of its activities at all three Art Basel shows this year. The brand intends to have a different theme each year as the focus of its continued fair participation. Sayler feels that the partnership between the company and Art Basel is a natural one. “The people who visit the Basel shows are interested in beauty, craftsmanship, and artisans,” he says. “That’s where the common interest lies between the art that is shown on the floor of the show and also watches such as Audemars Piguet’s.” With such vivid offerings, there’s only one potential downside: how to top things in 2014. “Next year the challenge—but a nice challenge—will be to do something equally intriguing, but to keep it fresh,” Sayler admits. “It’s going to be quite a task because we’ve set the bar very high this year.” ABMB

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PHOTOGRAPHY COURTESY OF BLUM & POE GALLERY AND THE ARTIST

Technician of the Sacred, by Linder, 2012, Blum & Poe.

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PARTNERS Artist-stage director Jorge Pineda and visual artist Mónica Ferreras de la Maza.

Full Throttle

Innovation collides with imagination in artist-designed BMWs—by the likes of Andy Warhol and Jeff Koons— now being showcased at Art Basel in Miami Beach. By Katy B. Olson

he BMW Art Car was conceived in 1975 when racecar driver Herve Poulain enlisted his friend—one Alexander Calder—to reimagine his car as a moving piece of art. Since then, an international group of visionaries—from Austrian Ernst Fuchs, Japanese Matazo Kayama, to South African Esther Mahlangu and Pop Art pioneer Andy Warhol—have reimagined BMW’s automobiles. To celebrate that storied history, as well as the preeminent car company’s commitment to support of all three Art Basel shows, BMW is bringing a few of the bold auto’s to Miami. So at this year’s Art Basel in Miami Beach, keep your eyes peeled for Warhol’s M1 group 4 racing car as well as Koons’s M3 GT2. “At BMW, we regard our involvement with this amazing and sophisticated fair as a natural fit. It is with great pride that we are able to present Jeff Koons’s BMW Art Car in Miami this year,” says Dr. Thomas Girst, head of cultural engagement at BMW. “What better place for its North American premiere?” says Girst. “Besides our VIP shuttle, which will include some of our brand-new BMW i3 electric vehicles, Andy Warhol’s painted 1979 BMW M1 will surely turn heads in the VIP lounge.” Warhol’s eye-popping M1—of which the artist had said, “I love that car. It has turned out better than the artwork”—was raced once, at the renowned endurance race 24 Hours of Le Mans in 1979, driven by Manfred Winkelhock from Germany and Poulain and Marcel Mignot from France. In keeping with tradition, Koons’s car, inspired by graphic art and explosive colors and featuring a sleek silver interior, raced Le Mans in 2010. Car connoisseurs can contemplate Koons’s BMW creation, premiering at the BMW cocktail reception in the Miami Beach Botanical Garden on December 4, and appreciate Warhol’s auto, now on view in the VIP lounge. ABMB

Andy Warhol’s painted 1979 BMW M1 will be on display in the VIP lounge.

Contemporary Caribbean

Davidoff’s lounge at Art Basel honors artists who are part of the cigar producer’s international initiative. By Katy B. Olson

avidoff’s lush, Caribbean-inspired hospitality area—replete with a walk-in humidor and an expert cigar roller—will provide a particularly sumptuous welcome for attendees at this year’s Art Basel in Miami Beach. (There will also be an al fresco Cigar Lounge in the verdant Miami Beach Botanical Garden.) Yet the historic cigar company’s Davidoff Art Initiative, launched in 2012, is what’s most appealing to art enthusiasts and emerging artists alike. “This year is very special for us because all the elements of our art initiative are coming on line,” explains Hans-Kristian Hoejsgaard, president and CEO of Oettinger Davidoff AG. Founded to support contemporary artists, particularly those from the Dominican Republic and the Caribbean, where much of Davidoff’s cigar production is located, the Initiative’s hallmark is the Davidoff Art Residency, in artist-in-residence program for Dominican and Caribbean artists. This year’s Dominican participants include visual artist Mónica Ferreras de la Maza, who was hosted by the International Studio & Curatorial Program in New York City from September to November, and artist-stage director Jorge Pineda, who will begin his residency at the Künstlerhaus Bethanien in Berlin in April 2014. Another artist-in-residence, who will work at the Red Gate Gallery Residency in Beijing, will be announced at this week during the show. Then a group of five to-be-determined international artists will begin their Dominican Republic-based residencies at Altos de Chavón School of Design in La Romana in January 2015. The Initiative has also begun awarding its first grants to Caribbean art schools, while Davidoff has even debuted special-edition artist cigars. “Each of these milestones provides an opportunity to share our commitment to art and to spending time in a beautiful and meaningful way in the company of our friends and clients,” says Hoejsgaard. “Art Basel is where all this started, and it remains our main platform for sharing the excitement of our art initiative. We see it as a perfect partnership.” ABMB

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PARTNERS The newly expanded, L-shaped NetJets Lounge in the Art Collector area.

Art of the Game A Los Angeles-based artist melds art, furniture, architecture, and music to create a performance space for Absolut at Art Basel. By Stacey Goergen

Second to None by Ry Rocklen, 2011, is a previous piece by the artist in collaboration with Absolut.

A caption can go in this space here tk.

Flying Colors

Art Basel in Miami Beach’s partner, NetJets provides jet-setters with a fast track to art appreciation at this year’s festivities. By Katy B. Olson

elebrating its 12th year of partnering with Art Basel in Miami Beach, NetJets is introducing a lounge this week that’s even larger and plusher than last year’s space, replete with luxuries like Ruinart Champagne, fine chocolate, cappuccino, and luncheon fare. NetJets, the provider of ownership and rental of luxury business jets, will provide more than 800 of its elite clientele and their guests with VIP access to the art fair, while all are welcomed to take advantage of a newly added amenity: a help desk in Info Zone D, where the jet provider is offering guidance for show attendees. “Art Basel in Miami Beach is one of the most important annual art shows in the world, and it provides a platform for the most talented and innovative contemporary artists,” says Adam Johnson, senior vice president of global sales, marketing and service for NetJets. “Through our partnership with the show, we are pleased to provide our customers with exclusive access to this prestigious art event.” NetJets, which owns and operates the globe’s largest private fleet—managing more then 700 jets that log some 300,000 flights yearly to 170-plus countries— also partners with Art Basel in Switzerland. In the US, NetJets has supported a selection of exclusive art events over the last year, including private tours of artist Nick Cave’s studio and of Larry and Marilyn Fields’s renowned Chicago art collection, a collaborative event with the Hammer Museum in Los Angeles, and a lunch event honoring artist Teresita Fernández during this summer’s ArtCrush at the Aspen Art Museum. Characterized by a sleekly modern, all-white aesthetic, NetJets’ L-shaped lounge offers intimate an gathering space and a lush refuge for the duration of Art Basel in Miami Beach. Find the NetJets Lounge in the Collector Lounge. ABMB

PHOTOGRAPHY COURTESY OF RY ROCKLEN (ABSOLUT)

laying with notions of achievement and reward, Los Angeles-based artist Ry Rocklen, well known for repurposing found objects, began incorporating discarded trophies in his artwork several years ago. This line of inquiry led him to a trophy parts company and the launch of an actual furniture company, Trophy Modern. Rocklen’s furniture is the centerpiece of his large-scale installation called “Night Court,” a collaboration between Absolut Vodka and Rocklen, operating during Art Basel in Miami Beach. “Rocklen is one of LA’s most exciting young artists,” says Absolut’s Global Art Manager Ulrika Lövdahl, explaining her interest in the project, “and someone we’ve been watching for some time. We’re particularly excited by his multidisciplinary approach—as a musician and designer as well as a visual artist.” The fully functioning performance space and bar—located on a platform at the Oceanfront between 21st and 22nd Streets—mimics a magnified basketball court, with foul lines, a three-point arc, and other boundaries imaginatively marked. Rocklen transcribes the official notations for measuring courts onto the carpet, juxtaposing the oversized court scale with his precise technical instructions. Populating the court with his Trophy Modern pieces—including bleachers, Ping-Pong and chess tables, sofas, chairs, and, of course, a bar—the artist addresses competition and success. The handsome pieces are reminiscent of Mid-century Modern design, and carry names such as the World Couch and the American Diner. Rocklen is interested in the trophy’s symbolic nature, but also its construction. “They’re modeled after basic architectural principles,” he explains, “upholding levels with columns. They show us how furniture relates to architecture, and architecture relates to the body.” He removes the figurines commonly found atop the keepsakes, noting that the user acts as the figure. “When you sit in the furniture, you feel like a winner,” he says, laughing. Rocklen is programming some of the “best and brightest” from LA’s performance and music scene, including the band Bouquet, for shows that are running daily this week during the show. Sitting on the court in Trophy Modern furniture, the audience participates in the game. “They’re fun, eye-catching, and as beautiful as I can make them using these kitschy materials,” says the artist. “I have worked with the trophy’s design to make them as elegant as possible.” ABMB

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GROUNDBREAKING

Winning Entry Young New York–based architecture firm formlessfinder creates the innovative— and apropos—entrance to Design Miami this year. By Raul Barreneche

here aren’t many design competitions that can jump-start a young, unknown architect’s career with a built project—at least not in this country. Since its inception in 2000, the Museum of Modern Art and PS1’s annual Young Architects Program (YAP), in which designers compete to create a temporary summertime structure for DJs and dancing in the PS1 courtyard in Long Island City, has opened doors for emerging architects: Talented firms such as SHoP, nARCHITECTS, and WORK Architecture Company were still relative unknowns when they won. Now, the invited competition, sponsored by Design Miami each year, is becoming an equally coveted and influential contest, attracting the brightest young minds in architecture. (Past winners include up-and-coming Brooklyn-based Snarkitecture and global wunderkind David Adjaye.) Now in its sixth year, the commission—to design a temporary entry pavilion and seating area for the biannual fairs in Basel and Miami Beach—is not just an opportunity for emerging architects to flex their creative muscles and to hone their building skills but also a chance to show their design chops to a global who’s who of the art and design worlds. “It’s one of a very few opportunities in the US for young architects, so we realized we could really make a difference,” says Design Miami Director Marianne

Formlessfinder was the brainchild of architects Julian Rose (LEFT) and Garrett Ricciardi.

Goebl. “Though it could be risky to give such a prominent place to an emerging designer, it’s the first impression visitors get of the entire fair.” For this year’s emerging winners, Garrett Ricciardi, 33, and Julian Rose, 29, of New York City–based formlessfinder, the commission is an especially good “get.” The former Princeton University classmates founded the firm just three-and-a-half years ago, immediately after graduation. They have, understandably, little work under their belts; among the projects in their research-heavy portfolio are a renovation of an 18th-century farmhouse near Princeton, NJ, numerous structural and material experiments and, ironically, their entry for MoMA’s 2011 YAP, for which they proposed a free-form

IMAGE COURTESY OF FORMELSSFINDER (RENDERING); PHOTOGRPAHY BY CHANDRA GLICK (RICCIARDI, ROSE)

A rendering of Ricciardi and Rose’s winning design: an entryway pavilion consisting of an aluminumtrussed shed roof sitting atop a pile of sand.

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GROUNDBREAKING

An interior view of an experimental load test model designed by formlessfinder architects Ricciardi and Rose.

assembly of geotextile tubes filled with crushed, recycled course, it’s only in visual peril, the structure is carefully concrete and foam. (Their scheme was chosen a finalist.) engineered for stability and hurricane resistance. The “When we were coming out of architecture school, there 500-ton heap of locally sourced sand acts as structural was a lot of panic about the recession, everyone worry- ballast, eliminates the need for foundations, and also creates a thermal cooling mass. ing if they could get a job,” Warm air is channeled says Ricciardi. “We felt [the through a retaining wall weak economy] freed us made of ductlike wood and up to do more speculative aluminum boxes that projects. But we’re not interextends into the pile and ested in ‘paper architecback out through the wall. ture.’ We’re always pushing “The sand actually cools the built work and pushing the air,’” explains Rose. “It’s the research element.” like the beach. It might be The Formlessfinder pro—JULIAN ROSE hot on the surface, but if ject is one of the more architectural structures to come out of the Design Miami you dig your feet down, it’s cool.” After the fair, a local commission in recent years. Both highly conceptual and contractor will haul the sand away for another use. Like the big-gesture environmental architecture projinnately tectonic, Ricciardi and Rose’s pavilion is an aluminum-trussed shed roof sitting atop a pile of sand— ects of SITE, formlessfinder’s pavilion balances visual much like the architecture on Miami Beach itself. Of punch with conceptual rigor. “You always associate

“Every building in Miami is balanced on sand. So our project is about building something stable on the sand.”

Formlessfinder’s assembly of geotextile tubes filled with crushed, recycled concrete was a finalist in MoMA’s and PS1’s 2011 Young Architects Program.

Miami with the beach. And we’re very interested in local constraints and building techniques,” says Rose. “Pretty much every building in Miami is balanced on sand. So our project is about building something stable on the sand—or actually making sand a stable element.” Goebl and her colleagues were impressed with both the concept and execution of what she calls “an interesting and surprising” idea. “We were intrigued by their academic approach as well as the formal language, which is archaic and contemporary at the same time,” she explains. “Often, you get amazing concepts that don’t materialize in a compelling way.”

ushing such concepts while toying with standard architectural form is at the heart of the studio’s mission. The name acknowledges not just the freeform, freelance-based structure of Rose and Ricciardi’s practice, but also their drive to use unusual materials (sand, sacks of crushed concrete) to create buildings that are somehow formless. “It’s about short-circuiting form, seeing what kind of architecture results from that,” explains Rose. The name also refers to the “finder” function of digital search engines, the idea that a look into (or “search” of) the studio’s work might yield a building design or a conceptual video, a structural experiment or an essay. According to the duo, their studio is part dictionary, part product catalog, part archive, part database, part interactive design tool—no doubt an outgrowth of their multidisciplinary, multimedia graduate thesis at Princeton, advised by architectural provocateur Elizabeth Diller of Diller Scofidio + Renfro. It’s a new kind of design firm for a rapidly changing world—or as Rose suggests, “a broader, more diverse field of practice.” ABMB

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GROUNDBREAKING An aerial rendering of Charlotte Perriand’s ”La Maison au bord de l’eau.”

Design Icon

Charlotte Perriand leaves her mark on Art Basel in Miami Beach this year, as the inspiration behind Louis Vuitton’s show house that’s devoted to the designer’s work. By Valerie Gladstone

lmost 80 years ago, the pioneering French architect, designer, urban planner, and photographer Charlotte Perriand submitted her sketches for “La Maison au bord de l’eau” to a design contest held by an architecture magazine to introduce an economical form of holiday lodging for the mass market. Never built, her strikingly contemporary prototype probably would have slipped unnoticed into 20th-century architectural history were it not for Julie de Libran, the women’s creative director at Louis Vuitton. Upon discovering Perriand’s timeless, classic designs, de Libran decided that Perriand would be the ideal inspiration for the Spring/Summer 2014 Icônes collection, and that constructing the house for Art Basel in Miami Beach would be a wonderful way to celebrate the legend’s artistry. Thanks to the cooperation of Perriand’s daughter, Pernette, and her husband, journalist Jacques Barsac, a re-creation of the home goes on view December 3–8, as a Design Satellite in Design Miami at the Raleigh Hotel during Art Basel in Miami Beach. “We were interested in doing this project because it is totally cutting-edge,” says Barsac. “The house is quite small and designed for human scale. It was an

avant-garde project at the time and it still is today.” Working hand in hand, Pernette, Barsac, and the Louis Vuitton team pored over Perriand’s original sketches for the house and its furnishings to make sure they got them right. They followed her directions, which called for two parallel buildings of iroko wood to be joined by an outdoor common area, and set

Jeanneret. But while Le Corbusier greatly influenced Perriand’s architectural vision, she also looked to the automotive and airline industries for ideas, desiring to rid architecture of superfluous decoration. First making her career designing furniture, she soon branched out and began creating inexpensive, prefabricated holiday homes, always aiming to combine function and beauty. She believed that good design helps create a better society. “Charlotte was an activist and wanted to bring freedom to the mass market—to everyone, including the working class,” Barsac explains. Louis Vuitton has long cultivated fashion’s affinities with the arts by creating custom-made luggage for composers, conductors, stars of stage and screen, and in its collaborations with artists, among them, Richard Prince and Takashi Murakami. Perriand joins this illustrious group thanks both to her designs and philosophy, which closely mirror those of the fashion house. Visitors to Art Basel in Miami Beach can count themselves lucky, for they will be the first to view “La Maison au bord de l’eau.” “What collectors will really enjoy,” says Barsac, “is that the house will feature furniture that was designed by Charlotte Perriand and which has been specially reproduced for this exhibition.” ABMB

—JACQUES BARSAC

over running water—the water to introduce nature into the home. An avid traveler, she took inspiration from many cultures. Japan particularly appealed to her, and she designed the home around the bed, replicating the style of Japanese lodgings. “What is really unique about ‘La Maison au bord de l’eau,” Barsac says, “is that the interior dictates its outer form and shape.” Although Perriand worked in a male-dominated field, she surmounted the obstacles and found inspiring mentors in famed architects Le Corbusier and Pierre

PHOTOGRAPHY COURTESY OF LOUIS VUITTON

“We were interested in doing this project because it is totally cuttingedge. The house was an avant-garde project at the time and it still is today. ”

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GROUNDBREAKING

A City Grows in Mid Beach Developer Alan Faena “creates the future” with Foster & Koolhaas–designed spaces as part of a grand-scale project in Miami. By Rachel Wolff

that building alive, improving people’s lives, improving the communities, improving the neighborhood, and making a better city and a better place.” The Faena House sales office, which Faena has termed The Collaboratory—as in “a laboratory for collaboration,” sits on the site of what will become the Koolhaas–designed art center (whose curved glass façade will be wrapped with white strips like bandages). The temporary space has the feel of a gallery-like White Cube, with pristine models on display and sketches on the walls along with Faena’s own aphorisms: “You start with an idea. You end up with a culture.” Whimsical as it may be, Faena’s is an approach that’s already been well tested, as this will be his second such district. The first, which he launched in Buenos Aires in 2004, quickly transformed the Puerto Madera neighborhood—a previously neglected swath of dockside warehouse-laden urban terrain—into a vibrant culturesavvy community. Its Philippe Starck–designed hotel and residences have become some of the most coveted spaces in the city (if not the region); its art center, under the directorship of Faena’s wife, Ximena Caminos, has hosted site-specific installations from Brazilian darling Ernesto Neto, Russian collective AES+F, Cuban collective Los Carpinteros, German painter Franz Ackermann, and British light artist Anthony McCall, as well as a series of project-type exhibitions from local upand-comers. Faena himself was floored by the rapidity of the change in the neighborhood—how it went from a

“before” to an “after” exceptionally quickly. The process, he explains, is akin to “when an artist creates a big piece. It’s like we are making installations that will last for centuries. And that’s why we do it with a lot of responsibility, knowing that we are also creating the future.” As for Miami—and the sheer scale of the project— Faena insists “we are approaching it in the [only] way that I know how to approach things, which is in a 360-degree expression.” Faena House will function as a sort of centerpiece. Each unit of the beachfront Foster-designed high-rise will feature a substantial wraparound terrace accessible from every room in the home to bring the outside in. The balcony itself is designed to function like the windshield of a high-end sports car, its bespoke curvature and materials crafted with acute sensitivity toward the weather patterns it will live in and need to withstand. Faena’s revamp of the historic Saxony Hotel is also well under way next door. Roman and Williams collaborated on the architecture, but film director Baz Luhrmann and his wife, set designer and costumier Catherine Martin, have now taken over the design and vision of the project. “I was always a big fan of how [Baz] approached beauty and how he approached stories,” Faena says. “And I realized that he is a great storyteller and we can tell this story together.” Faena is somewhat mum on what exactly that story will be, though he envisions a new take on the quintessential “Grand Hotel.” “Here,” he says, “the movie can keep going.” ABMB

PHOTOGRAPH BY TK (TK);

Faena Arts Center

RENDERING BY HAYES DAVIDSON

n a balmy Miami morning this fall, a once-sleepy stretch of Mid Miami Beach was buzzing with activity. Cranes towered, utility vehicles pulled in and out of active construction sites spanning several city blocks, specialized crews swarmed the gutted, old Saxony Hotel, and Faena House—a new landmark residential building designed by Foster + Partners (the firm led by renowned architect Sir Norman Foster)—was rapidly starting to take shape. It won’t be long before it stretches 18 stories into the sky. And that’s only half of it. An adjacent hotel—the long-vacant Versailles—was recently acquired for redevelopment too, and construction is slated to begin soon across the street, where Rem Koolhaas and his firm, OMA, will transform an underused parcel of Indian Creek-front property into a new contemporary art center, parking garage, and high-end bazaar. The massive project—collectively called the Faena District Miami Beach—slated to open incrementally this time next year—is the brainchild and passion project of the Argentine developer Alan Faena, an eccentric 21stcentury mogul with a singular approach. “I see myself as a human curator,” Faena says. He’s wearing his crisp signature all-white attire—indicative, it seems, of his almost shamanistic approach to luxe living. “We’re creating a place, creating big buildings, but it’s not only the beauty of the architecture. It’s also our ability to create on a daily basis the substance to make

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TASTE

Artful Food

Nationally acclaimed chef Michelle Bernstein gives show attendees new dining options with the opening of temporary iterations of her two popular restaurants during Art Basel in Miami Beach. By Sue Hostetler

unch and dinner just got a lot more gour- A four-course menu, created exclusively for the occamet at Art Basel in Miami Beach. James sion, reflects the same spirit of her Biscayne gem, Beard Award-winning chef Michelle drawing visitors and locals for Bernstein’s creative Bernstein is not only operating two full contemporary American fare. Michy’s Miami Beach Pop Up is set in the Botanical dining outposts—Michy’s Miami Beach Pop Up and the Garden Café—during the show this week, but she Garden at 2000 Convention Center Drive in Miami Beach and will be open Tuesday is also providing catering for all Art through Saturday with two seatings, Basel events as the new official caterat 6:30 PM and 9 PM. Menu pricing ing partner for the fair. “I hope, if even for just five days, is $135 per person (tax and gratuity to give these guests the true Miami not included) with a wine-pairing experience, make our city proud, option for an additional $55 per perand represent the hard work that son. Reservations are required and our community has put forth to can be made via michysmiami.com. make Miami a dining and arts desValet parking is available. tination,” says Bernstein. Inspired by Bernstein’s Miami – MICHELLE BERNSTEIN Launching the week of December restaurant Crumb on Parchment, 2, both spaces are inspired by the Garden Café, also located in Bernstein’s two successful concepts in Miami: Michy’s the Botanical Garden, is open for the duration of the and Crumb on Parchment. Diners can enjoy the show and will offer food favorites including inventive tropical garden surroundings that provide the per- salads, freshly made sandwiches, hot plates, soups, fect backdrop for this quintessential Miami experi- and baked goods. Guests can expect a homespun café ence. Michy’s Miami Beach Pop Up is nestled in the that complements the lush landscape of the Botanical beautiful Miami Beach Botanical Garden, and the Garden with ample outdoor seating. No reservations intimate restaurant will seat just 100 guests per night. are required; walk-ins are welcome. ABMB

PHOTOGRAPH BY TK (TK); PHOTOGRAPHY BY KUES

“I hope to give guests the true Miami experience [and] make our city proud.”

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Art Basel Miami Beach

Official Guide

PHOTOGRAPH BY TK (TK);

PHOTOGRAPHY BY @ HIDEAKI KAWASHIMA, COURTESY OF TOMIO KOYAMA GALLERY

7:3, by Hideaki Kawashima, 2009, Tomio Koyama Gallery.

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SCHEDULE

Meat Joy NYC, by Carolee Schneemann, 1964, P.P.O.W. Gallery.

DESIGN MIAMI/ COLLECTORS PREVIEW Noon–6 PM. Meridian Avenue and 19th Street, Miami Beach ART BASEL IN MIAMI BEACH VIP WELCOME RECEPTION 5–7 PM. Collins Park, between 21st and 22nd Streets, Miami Beach DESIGN MIAMI/ VERNISSAGE 6–9 PM. Meridian Avenue and 19th Street, Miami Beach MUSEUM OF CONTEMPORARY ART NORTH MIAMI RECEPTION 7–9 PM. Opening reception of “Tracey Emin: Angel Without You.” 770 NE 125th St., North Miami

WEDNESDAY, DECEMBER 4

THE BROAD MUSEUM 9–10:30 AM. “The Un-Private Collection: Designing the Broad.” Open to the public. New World Center, Main Hall, 500 17th St., Miami Beach ART BASEL IN MIAMI BEACH FIRST CHOICE OPENING 11 AM–3 PM. Access with Art Basel VIP card. Miami Beach Convention Center, 1901 Convention Center Dr. PREVIEW OPENING 3–6 PM. Access with Art Basel VIP card. Miami Beach Convention Center, 1901 Convention Center Dr. VERNISSAGE 6–9 PM. Access with Art Basel VIP card. Miami Beach Convention Center, 1901 Convention Center Dr.

PUBLIC OPENING 8:30–10 PM. Open to the public. Collins Park, between 21st and 22nd Streets, Miami Beach FILM: SHUFFLE NOTES—BEAUTY IN DANGER 8 PM. Open to the public. SoundScape Park, 500 17th St., Miami Beach FILM: NEW DREAM MACHINE AND OTHER FILMS 9 PM. Open to the public. SoundScape Park, 500 17th St., Miami Beach BASS MUSEUM OF ART RECEPTION 9 PM–midnight. “Piotr Uklanski: ESL,” hosted by Silvia Karman Cubiñá. Access with Bass Museum Membership, Art Basel VIP, exhibitor, or press pass. 2100 Collins Ave., Miami Beach

PHOTOGRAPHY BY AL GIESE, COURTESY OF P.P.O.W. GALLERY

TUESDAY, DECEMBER 3

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Y/N, by Shannon Ebner, 2013, Altman Siegel Gallery.

THURSDAY, DECEMBER 5

RUBELL FAMILY COLLECTION 9 AM–noon. Private view, “28 Chinese.” Open to the public. 95 NW 29th St., Miami

PHOTOGRAPHY COURTESY OF THE ARTIST AND THE GALLERY (EBNER); COURTESY OF KAVI GUPTA CHICAGO/BERLIN (GATES)

DEBRA AND DENNIS SCHOLL COLLECTION 9 AM–noon. Private view, “Contemporary Australian Aboriginal Paintings.” RSVP by November 15, need an Art Basel VIP card. CONVERSATIONS: PREMIERE | ARTIST TALK | DOUG AITKEN 10–11:30 AM. Artist Doug Aitken inaugurates Conversations with a discussion with Artforum Editor-in-Chief Michelle Kuo about “Station to Station,” his most recent project, which took place on a train that visited cities, towns, and remote locations. This artist-created project embraced constantly changing stories, unexpected encounters, and creative collisions between artists, musicians, and creative pioneers. Free public access. Hall C at the Miami Beach Convention Center, 1901 Convention Center Dr. SALON 1–7 PM. Access with Art Basel VIP card or ticket. Hall C at the Miami Beach Convention Center, 1901 Convention Center Dr. PÉREZ ART MUSEUM MIAMI | PAMM’S BIG JAM 8–11 PM. With Los Jaichackers, hosted by Thom Collins. Access with PAMM Sustaining or above Membership, PAMM Contemporaries Membership, Art Basel VIP card, or exhibitor pass.

Migration Rickshaw for German Living, by Theaster Gates, 2013, Kavi Gupta Gallery.

Art ArtBasel Basel| Miami | MiamiBeach Beach2013 2012281 XX

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SCHEDULE

FILM: PRELUDE TO SYNCOPATION 10 PM. Free to the public. SoundScape Park, 500 17th St., Miami Beach

SATURDAY, DECEMBER 7

Transgeométrica #8, by assume vivid astro focus (avaf), 2013, Casa Triângulo.

1103 Biscayne Blvd., Miami FILM: TANGO AT THE EDGE OF THE FAIR 9 PM. Free public access. SoundScape Park, 500 17th St., Miami Beach FILM: ARABESQUE AND REANIMATION: DARA BIRNBAUM AND JOAN JONAS 10 PM. Free public access. SoundScape Park, 500 17th St., Miami Beach

FRIDAY, DECEMBER 6

CONVERSATIONS: PUBLIC/PRIVATE | MUSEUMS GO GLOBAL 10–11:30 AM. With Patrick Charpenel, director, Fundación Jumex, Mexico City; Chris Dercon, director, Tate Modern, London; Chus Martínez, chief curator, El Museo del Barrio, New York; and Alexandra Munroe, Samsung senior curator, Asian Art, Solomon R. Guggenheim Museum, New York. Moderator: András Szántó, author and consultant to arts and philanthropic organizations, New York. Expanding the collecting and exhibiting mandates of many leading Western museums is accompanied by a host of unanswered questions: What aspects of global art culture should these institutions embrace? How should museums modify their approaches to collecting, programming, and educating? What institutional models should they

adopt? And how are artists and institutions in other parts of the world responding to the intensified regional presence of Western institutions? Drawing on recent experiences with international initiatives and collaborations, this panel of leading curators and museum directors will explore the benefits and pitfalls of museums going global. Free public access. Hall C at the Miami Beach Convention Center, 1901 Convention Center Dr. SALON 1–7 PM. Hall C at the Miami Beach Convention Center, 1901 Convention Center Dr.

CONVERSATIONS: THE ARTIST AND THE GALLERIST 10–11:30 AM. With Abraham Cruzvillegas, artist, Mexico City; and Mónica Manzutto and José Kuri, founders of Kurimanzutto, Mexico City. Moderator: Mark Rappolt, editor, ArtReview, London. Launched at the inaugural Art Basel show in Hong Kong, the series titled “The Artist and the Gallerist” offers a peek behind the curtain of the unique and essential art world relationship between artists and their representing galleries. Free public access. Hall C at the Miami Beach Convention Center, 1901 Convention Center Dr. AUDEMARS PIGUET: CURIOSITY 10 AM–6 PM. Access with Art Basel VIP card or ticket. In front of Miami Marine Stadium, Rickenbacker Causeway (Virginia Key), Biscayne Bay PÉREZ ART MUSEUM MIAMI PREMIERE GALA 7–11 PM. Access with purchased ticket. 1103 Biscayne Blvd., Miami

PHOTOGRAPHY BY EDOUARD FRAIPONT (ASSUME VIVID ASTRO FOCUS); COURTESY OF THE ARTIST AND THE GALLERY (LASSRY)

FILM: NAN GOLDIN—I REMEMBER YOUR FACE (2013) 8:30–10 PM. Followed by a Q&A with Nan Goldin and film director Sabine Lidl. Free public access. Colony Theater, 1040 Lincoln Road, Miami Beach

WOLFSONIAN-FIU RECEPTION 8–11 PM. “Rebirth of Rome” and “Art and Design in the Modern Age: Selections from the Wolfsonian’s Collection.” Access with invitation, Art Pass VIP card, exhibitor or press pass. 1001 Washington Ave., Miami Beach FILM: AN ELEGY FOR VOICE AND SILENCE 8 PM. Free to the public. SoundScape Park, 500 17th St., Miami Beach FILM: FAREWELL TO THE PAST: YINKA SHONIBARE MBE 9 PM. Free to the public. SoundScape Park, 500 17th St., Miami Beach

Untitled (Yellow, Blue), by Elad Lassry, 2013, 303 Gallery.

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Uncles & Angels, by Nelisiwe Xaba & Mocke J Van Veuren, 2013, Goodman Gallery.

VIZCAYA MUSEUM & GARDENS: A FUTURIST EVENING AT VIZCAYA 8–11 PM. Access with invitation. 3251 S. Miami Ave., Miami FILM: FANTASIA FOR DISSONANT HARMONIES 10 PM. Free public access. SoundScape Park, 500 17th St., Miami Beach

SUNDAY, DECEMBER 8

FROST ART MUSEUM BREAKFAST 9:30 AM–noon. Breakfast in the Park with a lecture by sculptor John Henry and a tour of Sculpture Park. Free public access. 10975 SW 17th St., Miami Beach LOWE ART MUSEUM BRUNCH 10 AM. Brunch with a lecture from artist Preston Singletary. Access with Art Basel VIP card. 1301 Stanford Dr., Coral Gables FAIRCHILD TROPICAL BOTANIC GARDEN BRUNCH 9 AM–noon. Brunch with “Design at Fairchild” featuring Hugo França. Access with Art Basel VIP card. 10901 Old Cutler Road, Coral Gables

CONVERSATIONS: ARTISTIC PRACTICE | THE ARTIST AS TECHNOLOGIST 10–11:30 AM. With Cory Arcangel, artist, Brooklyn; Cécile B. Evans, artist, Berlin; Camille Henrot, artist, Paris; and Robert Whitman, artist and cofounder of Experiments in Art and Technology, New York. Moderator: Hans Ulrich Obrist, codirector, Serpentine Gallery, London. Offering fresh insights on dynamic models of artistic practice, this panel brings together artists whose work is related to current developments in technology and the realm of the digital world. Among the questions: How does the increasing and growing relationship between humankind and digital systems or machines change our perception of art? How does technology—and especially the Internet—break down artists’ local boundaries while giving them a global spectrum? In what ways do technology and new media or systems catalyze creativity? Hall C at the Miami Beach Convention Center, 1901 Convention Center Dr.

The ’60s Memories of Bardot, by Makoto Saito, 2013, Tomio Koyama Gallery.

MUSEUM OF ART, FORT LAUDERDALE 11 AM–2 PM. Director’s brunch honoring “Spirit of Cobra.” Free access with Art Basel VIP pass or Museum of Art Director Circle. Reservations are required. 1 E. Las Olas Blvd., Fort Lauderdale

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PÉREZ ART MUSEUM 11:30 AM. Lecture: “Parodi Lecture in the Philosophy of Art.” Free public access. 1103 Biscayne Blvd., Miami

DAILY EVENTS December 4–6

DESIGN MIAMI/ DESIGN TALKS 6–7 PM. Access with Design Miami VIP card, Art Basel VIP card, or purchased ticket. Meridian Avenue and 19th Street, Miami Beach

December 4–7

ABSOLUT ART BAR BY RY ROCKLEN Noon–2 AM nightly. Activities such as ping-pong and chess; live performances; and clubbing, DJs, and live music. Free public access. Oceanfront between 21st and 22nd Streets, Miami Beach Untitled, by Marepe, 2012, Anton Kern Gallery. OPPOSITE: Illumination Square, by Richard Pousette-Dart, 1983, Pace Prints.

December 4–8

PUBLIC “Special Animals,” outdoor and site-specific installations in Collins Park. Free public access. Collins

Park, between 21st and 22nd Streets, Miami Beach DAVIDOFF CIGAR LOUNGE Noon–8 PM. Access with Davidoff VIP card or Art Basel VIP card. Miami Beach Botanical Garden, 2000 Convention Center Dr., Miami Beach

December 5–7

ARTIST STUDIO VISITS 9 AM–noon. Free public access. Wynwood, downtown Miami, Miami Beach, and Coral Gables

December 5–8

AXA ART Noon–6 PM, until 4 PM Sunday. VIP tours of Art Basel. Access with Art Basel VIP card; online reservations. Miami Beach Convention Center, 1901 Convention Center Dr.

December 7 & 8

AUDEMARS PIGUET 10 AM–6 PM. “Curiosity.” Free to the public. In front

PHOTOGRAPHY BY IRVING PENN © CONDÉ NAST PUBLICATIONS (PENN); COURTESY PHOTOGRAPHY BY IRVING PENN ©(MAREPE) CONDÉ NAST PUBLICATIONS (PENN); COURTESY OF THE ARTIST AND THE GALLERY OF THE ARTIST AND THE GALLERY (MAREPE, POUSETTE-DART)

Mascara Wars, New York, by Irving Penn, 2001, Pace/MacGill Gallery.

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Art Fair #2, by Eric Fischl, 2013, Mary Boone Gallery.

PHOTOGRAPH BY TK (TK); PHOTOGRAPHY COURTESY OF THE ARTIST AND THE GALLERY

SCHEDULE

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PHOTOGRAPHY COURTESY OF SPINELLO PROJECTS (WOODGATE); COURTESY OF THE ARTIST AND THE GALLERY (OVERTON)

No Rain, No Rainbows, by Agustina Woodgate, 2011, Spinello Projects.

of Miami Marine Stadium, Rickenbacker Causeway (Virginia Key), Biscayne Bay

“Anselm Kiefer: Painting & Sculpture.” 591 NW 27th St., Miami

COLLECTION VISITS December 3–6

December 4, 5, 7, 8

DE LA CRUZ COLLECTION 9 AM–3 PM. Free to the public. 23 NE 41st St., Miami

CISNEROS FONTANALS ART FOUNDATION 9 AM–noon. “Permission to Be Global: Latin American Art Museum from the Ella FontanalsCisneros Collection.” 1018 N. Miami Ave., Miami

December 3–8

December 4–8

RUBELL FAMILY COLLECTION/ CONTEMPORARY ART FOUNDATION 9 AM onward. “28 Chinese.” 95 NW 29th St., Miami THE MARGULIES COLLECTION AT THE WAREHOUSE 9 AM onward. New works and permanent installations from international artists. China: “Large Scale Site Installation: Song Dong, Ai Weiwei.” Italy: “Arte Povera: Pier Paolo Calzolari, Jannis Kounellis, Michelangelo Pistoletto.” Germany:

GIRLS’ CLUB 9 AM–1 PM. “I think it’s in my head.” Free to the public. 117 NE Second St., Fort Lauderdale

December 5–6

Untitled (Juniperus Virginiana), by Virginia Overton, 2013, Mitchell-Innes & Nash.

CRAIG ROBINS COLLECTION AT DACRA 9 AM–noon. 3841 NE Second Ave., Ste. 400, Miami

December 5 onward

LOCUST PROJECTS Angel Otero. Free to the public. 3852 N. Miami Ave., Miami

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THE LAST WORD

THEA WESTREICH & ETHAN WAGNER

usband-and-wife collectors and advisors Thea Westreich and Ethan Wagner have been busy. Since early last year, they have announced a gift of more than 800 works from their collection by leading contemporary artists to two institutions—the Whitney Museum of American Art and the Centre Pompidou—and they published Collecting Art for Love, Money and More, a book describing the secrets behind building and maintaining an important collection. Sue Hostetler: I know the two of you have been attending Art Basel in Miami since the beginning. Thea Westreich: Yes, even the year of 9/11, which was scaled back by Sam Keller [rather than cancelled] to maintain momentum for the event, but at the same time respect horrific world circumstances. SH: What specific aspect of the show do you most look forward to? TW: Each year certain of the best galleries seem to emphasize specific artists, and homing in on those of deep interest to our clients is what we most look forward to. SH: After you leave the convention center, what is your first stop? Ethan Wagner: We think the local collectors

really rise to the occasion. We must admit that the social events are of less interest to us than the art. But that is not to say we don’t respect the fact that Art Basel in Miami Beach is a major event in the community. SH: I would assume you’ve made several nice purchases here through the years.… Do you have a favorite? TW: Whether for our clients or for ourselves, we almost always buy at the Miami Beach fair… but we’ve been involved in so many great acquisitions over the years it’s impossible to single out just one. SH: Everyone “complains” about the circus that has grown up around the show—the parties, the crowds, the fashion events... I secretly think this is really faux complaining and that, actually, the art crowd loves the attendant scene. EW: We, too, hear a lot of carping and moaning about the party atmosphere, but it mostly comes from those who wake up with hangovers each morning. SH: What’s the craziest thing you have ever witnessed at Art Basel? For me, it was seeing two grown men come to blows over a Joel Shapiro sculpture. TW: Not sure that we have ever witnessed anything the equal to your experience. Does almost being

trampled to death when the doors opened on the first day several years ago count? SH: Given your recent donation, do you plan to continue to actively collect? TW: My suspicion is, as much as we sit and tell each other that we should really stop collecting, there is [a low] probability that will happen. But even if you can’t buy everything that interests you, you can continue to engage with it. Not everything is about ownership—it’s about this journey… about the evolution of ideas… the excitement of discovery—it’s not always just about acquisition. SH: What is the greatest emotional or personal benefit you feel you have gotten from collecting art? EW: If you’re dealing with living artists, it is the privilege of getting to know the great minds from which great work comes. TW: Yes, it’s time spent with the creators, no question… no question. It’s that moment with the artist in their studio or across the table at dinner in our loft or just hanging out, where an idea comes into focus and you almost can’t sit still you’re so excited. It’s the relationship with the artist, the journey. This keeps you so engaged, it’s so exhilarating and sustaining… it’s simply impossible to imagine a life without art. ABMB

PHOTOGRAPH BY AUBREY MAYER

A life with art. By Sue Hostetler

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