At the opening for my first completed gallery project: Taymour Grahne Gallery in Tribeca.
Taymour and the gallery are getting tons of press. Click below for the articles.
Georgina Adams calls the gallery a “smartly fitted out space” in her Financial Times article.
Huffington Post discusses the gallery opening with Taymour.
I went to June Kelly Gallery last evening for the opening of James Little‘s new show, Never Say Never. James has become a good friend over the years. I first met him in 2009 when working on supplementing a corporate art collection for a client in Oklahoma City. I actually discovered James online, via a website called Geoform. His work was so vibrant and striking that it really stood out to me. We scheduled a studio visit and the rest is history. When we saw his work in person it had a whole other dimension of texture and color that is impossible to represent by photography.
The thing that initially drew me to James’s work is his masterful use of color. I chose to post this new work by James (above) first because it shows a new direction for the artist (a good thing) while also maintaining his ability to make the eye vibrate and play on geometry through the juxtaposition of color. It’s particularly difficult to photograph because the colors are more subtle and the texture isn’t visible, but in person it’s absolutely stunning.
I wore my new Marni dress to the opening thinking James would appreciate the play of patterns – turns out he dressed up for the occasion too – check out that suit!
James and me in front of my two favorite new pieces of his.
Karen Wilkin wrote a very eloquent piece on James. I like how she described his new direction, “A meticulous craftsman, he makes his own materials, which may account for the intense hues and sensual surfaces that dispute – in a beneficial way – with his severe, measured compositions. One generalizes about Little at one’s peril, however; a recent group of square canvases with quadripartite divisions ring changes on encounters between diagonal elements and a range of delicate grays. But these works, too, make the same demands on us that his full-throttle color paintings do: to pay attention and allow his inventive orchestrations of geometry and chroma to delight our eyes and stir our emotions and intellect.” – excerpt taken from James Little: Recent Work by Karen Wilkin, Jan 2013
I saw these photos posted on United Visual Artists’ Facebook page of a show they did in Berlin as part of the Olympus OM-D Photography Playground exhibition.
It’s called Vanishing Point, aptly named because it looks like the spatial actualization of the perspective construction diagrams you can find in the seminal work (one that any decent architecture student has on her shelf) by Robert Gill, Basic Perspective.
I recently had the privilege of working with Matt and Ben from UVA on a project that may or may not come to fruition. We’ll hopefully collaborate someday.
I love UVA because they keep finding new ways to work with light and it’s not just about the LED. In this particular instance it’s about using light to define space and in their other work there is a craftsmanship and materiality that’s missing in the work of a lot of other artists using the same medium right now.
On my way back from the furniture fair in Milan, I took the overnight train to Paris (less romantic than it sounds) so I could see the Eileen Gray show at Centre Pompidou. In true nerd-form, I spent hours poring over the items on display. It was a Monday morning at the museum and not very crowded. I took photos of everything I was allowed to photograph. Below are some highlights.
The Eileen Gray show poster with Calder in the foreground.
The show started with her experiments in lacquer.
Above and below: some of her more decorative, early pieces.
They were showing many of her collages that were studies for rug designs.
The exhibit designers at this year’s Salone in Milan looked to a spring fashion trend for inspiration (see Gucci’s Spring 2013 runway show).
Casamania was one of my favorite displays at Fuori Salone:
Vitra also had a nice show:
Fab at Most:
The Danish Chromatism exhibit at the Triennale:
Carl Hansen had a beautiful display of the iconic Wishbone chair and all of its components:
I just returned today from a quick trip to Milan for the Salone, followed by a quick overnight train to Paris to see the Eileen Gray show at the Pompidou. All in all it was an inspiring long weekend trip, and somewhat of a whirlwind. Here I will post some favorites from Ventura Lambrate, which is a spin off of the main fair, showing younger designers and artists. It’s a nice balance to go between the very established furniture houses at Fuori and the more conceptual, design driven Lambrate.
I had the pleasure of meeting Sophie and Rolf from Studio Roso. They are sculptors who work at varying scales – here they tried their hand at furniture and came up with some very playful and beautifully crafted pieces.
Showing in the same Ventura Lambrate Warehouse, was this table by Maria Scarpulla:
These chairs were also shown in the same space. Dali?
And this bench by ROOMS:
I also stopped in at 010-020 and saw some smaller scale works:
Woodstock by Jeroen van Leur
New textile collection ISH by Studio Mae Engelgeer:
These Grand cabinets by Mathieu Gustafsson and Niklas Karlssonwere inspired by the detailing of woven rattan and brass clasps seen in vintage handbags, specifically Palmgrens.
Currently showing at London’s Hayward Gallery’s Light Show, Carlos Cruz-Diez’s Chromosaturation is an investigation in color theory. He uses light to stimulate the retinas and by careful juxtapositions, plays with the behavior and perception of color.
Carlos Cruz-Diez’s artistic proposal is based on eight research projects that reveal the myriad ways in which color behaves: Couleur Additive [Additive Color], Physichromie, Induction Chromatique [Chromatic Induction], Chromointerférence, Transchromie, Chromosaturation, Chromoscope, and Couleur dans l’espace [Color in Space].
Cruz-Diez began this study in 1965. The Chromosaturation is an artificial environment composed of three color chambers, one red, one green and one blue that immerse the visitor in a completely monochrome situation. This experience creates disturbances in the retina, accustomed to receive wide range of colors simultaneously. The Chromosaturation can act as a trigger, activating in the viewer the notion of color as a material or physical situation. In this way, he uses color to create spatial realms.
Peter Pilotto’s show was definitely my favorite of all Fall 2013 collections but I’ve compiled some other looks that I love as well.
Above: Stella McCartney, Victoria Beckham, Celine, Etro
Above: Balenciaga. Interesting to see Alexander Wang’s influence.
I bought my first Peter Pilotto dress and it’s become one of my favorite articles of clothing. So many designers have become enamored with patterned fabrics and this idea about mirroring, or symmetry. But what I love about Pilotto is that his primary focus is the structure of the garment and he uses the patterns to reinforce the structure. So it’s not just about surface.
Above: My dress
Above: Some of my favorite looks from the Fall 2013 collection.
Building exterior from highway 27
Above is a nerdy Architect post – look at the frameless fire extinguisher cabinet and alignment with strobe and sign.
Above: Select furniture designed by Gio Ponti.
Above: Illustrates Ponti’s range – buildings to carpets to table top objects to door hardware.
Above are some selections from Givenchy’s Pre-Fall 2013 collection.
From the Architizer Website,
“Riccardo Tisci may design clothes for the quintessentially Parisian couture house Givenchy, but his collections never stray far from his Italian roots. For Givenchy’s pre-fall collection, Tisci turned to his fellow countryman Gio Ponti, the famed architect, industrial designer, and founder of Domus magazine. Tisci’s sleek silhouettes — straight pencil skirts worn over slacks, minimalist floor-length columns — recalled some of Ponti’s most iconic buildings, such as the Pirelli Tower and Taranto Cathedral, both in Milan, while his modernist patchwork dresses and blouses paid homage to the architect’s playful furniture and product design.
From top: Ponti’s Taranto Cathedral, 1970 © G. Ponti archives/S. Licitra; two looks from the Givenchy’s pre-fall 2013 collection; a Gio Ponti rug (image via arkpad) flanked by two of Givenchy’s patchwork dresses; Givenchy’s sleek slate silhouettes recalled Ponti’s famous Pirelli Tower, 1958 (image via gioponti.com)”
This sculpture reminded me of a one-man-band.
FX Fowle Lounge
FX Fowle structural skin detail
Some poor interns probably spent hours making this
Tony Delap "Exacto the Mystic" at Rena Bransten Gallery
Eric Aho "Summer" at DC Moore Gallery
Rogelio Manzo shown at Jack Fischer Gallery
Rogelio Manzo detail
Christopher Taggart "People Looking at People"
Detail "people looking at people"
Comprised from 144 photographs, cut and recombined. The images were all taken from the Empire State building in New York.
And then there was this….