Galerie Spring 2020

THE CREATIVE MINDS ISSUE

SPRING 2020 ISSUE NO 17

GREGOR SEATING SYSTEM— VINCENT VAN DUYSEN

NEW YORK LOS ANGELES MIAMI CHICAGO TORONTO MEXICO CITY

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100 A colorful work by Robert Rauschenberg enlivens the library of Lori Kanter Tritsch’s home in Los Angeles.

Features

110 DEPTH OF FOCUS Delivering an intense yet abstract interpretation of world events, artist Julie Mehretu readies for her midcareer survey at the Whitney. By Stephen Wallis 114 TAKE IT TO THE LIMIT Designer Steven Gambrel ingeniously reimagines a historic Manhattan building as a richly layered residence for a glamorous family and their exciting trove of blue-chip art. By Vicky Lowry 128 URBANE OASIS For the contemporary Chicago space Pamella Roland 12

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shares with her husband, Dan DeVos, a team of local architects crafts a multilevel manse with artful surprises and sculptural details. By Pilar Viladas 136 LEADING LIGHT Stained-glass artist Brian Clarke opens his London studio to offer an illuminating preview of some colorful works. By Caroline Roux 140 LIFE IMITATES ART Art, design, and fashion converge in moments of unexpected visual synchronicity. By Stefanie Li 150 PUSHING THE BOUNDARIES Madeleine Bessborough’s country estate houses a remarkable cache of outdoor art and her gallery of established and emerging talent—all while functioning as a working farm. By Dominic Bradbury

ROGER DAVIES

100 INSIDE OUT Lori Kanter Tritsch masterminds a modernist home in Los Angeles that provides a creative canvas for the collection of contemporary art she shares with her partner, William P. Lauder. By Jennifer Ash Rudick

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54 Departments 18 EDITOR’S LETTER

By Jacqueline Terrebonne 25 THE ARTFUL LIFE What’s happening in the worlds of art, culture, architecture, design, and travel.

34 BACKSTORY Gallerist Jack Shainman and artist Hank Willis Thomas reflect on their 15-year collaboration.

By Hilarie M. Sheets 38 DESTINATION A number of art fairs and gallery debuts herald the next chapter for Brussels’s enduring artful allure. By Alexander Lobrano 14

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40 MILESTONE In celebration of the 150th anniversary of New York’s Metropolitan Museum of Art, we snapshot some of its most transformational moments. By Lucy Rees

50 CUISINE Author Fanny Singer’s delightful new book shares both insights and recipes culled from a life with her famous epicurean mother, Alice Waters. By Julie Baumgardner

42 PHILANTHROPY Eli Wilner builds exquisite frames for museum masterpieces around the globe; now he’s bringing his talents to smaller institutions with collections in need. By Daniel Cappello

54 AUCTIONS Notable sales from around the world.

By Jeannie Rosenfeld

45 ON OUR RADAR Four artists whose eye-opening work you won’t want to miss. By Lucy Rees

56 GALLERY TOUR David Kordansky returns to trusted collaborator wHY’s Kulapat Yantrasast to design a major expansion of his Los Angeles gallery.

By Ted Loos

CLOCKWISE FROM LEFT: MARK LUSCOMBE-WHY TE; KYLE DOROSZ, COURTESY OF THE ARTIST AND VICTORIA MIRO; COURTESY OF SOTHEBY’S

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Clockwise from left: Umbrella works by Michael Craig-Martin on the estate of Madeleine Bessborough.

A Sunburst Restrained (2019) by María Berrío. This circa-1770 snuffbox sold for over $2 million at auction.

110 Departments 58 CONCIERGE Marfa’s innovative art fair is just one reason to visit this unique Texas city. By Jacoba Urist

with their captivating aesthetic.

Produced by Jill Sieracki

62 BOOKS A new book timed to a wealth of exhibits gives an intimate look inside the spaces Donald Judd designed and inhabited. By Rima Suqi

72 REAL ESTATE Buying a residence in one of Manhattan’s most luxurious hotel properties infuses everyday life with the ultimate menu of amenities.

By Geoffrey Montes

64 DESIGN Esteemed artists like Michele Oka Doner lend their imaginative art to a debut wall covering collection

by Kravet and Paperscape. By Melissa Feldman

74 THE ARTFUL HOME Designer Robert Stilin devises a media room around a vibrant work by Richard Prince.

Produced by Jacqueline Terrebonne

66 SHOPPING Molteni and Belgian architect Vincent Van Duysen join forces on a series of striking showrooms.

By Melissa Feldman

76 CREATIVE MINDS These exceptional visionaries are pushing the boundaries in the fields of interiors, furniture design, architecture, fashion, and more.

68 SPOTLIGHT Designer Alison Berger introduces four groundbreaking luminous pendants. By Rima Suqi

158 SOURCES

70 CURATED These sculptural lights transform any space 16

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160 IN FOCUS Waris Ahluwalia adds a majestic spirit to his new teahouse with a custom illustration by Walton Ford. As told to Jill Sieracki

COVER

Designer Steven Gambrel crafts a masterful living room anchored by a George Condo painting in a New York home. Photography by Eric Piasecki.

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Go to galeriemagazine.com, or call 818-487-2019 (in the U.S.) or 855-664-4228 (outside the U.S.).

CLOCKWISE FROM LEFT: HEATHER STEN; IWAN BAAN, COURTESY OF TIPPET RISE ART CENTER; COURTESY OF FENG J.

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Clockwise from left: Julie Mehretu, wearing a Cartier necklace and rings, in her New York studio.

Architect Francis Kéré’s Xylem pavilion at Tippet Rise Art Center. A sculptural cuff by Creative Mind Feng.J.

Inside the New York studios of (clockwise from top) Donald Judd, Michele Oka Doner, and Julie Mehretu.

Lori Kanter Tritsch, whose Los Angeles house is featured in this issue, with Galerie founder and editorial director Lisa Fayne Cohen and me at a Dior event.

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one of the homes he creates—complete with towering shelves of all the lamps, vessels, and objets you’d need to make any interior a masterpiece. You’ll find the fruits of each of their magnificent work spaces detailed in this issue.

But they’re not the only ingenious talents animating our pages. With our second annual list of Creative Minds, we spotlight 37 exceptional trailblazers in the fields of art, design, cuisine, and more. You won’t want to miss discovering how they develop their visions, why they break boundaries, and what comes next in their flourishing careers.

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

CLOCKWISE FROM TOP: MATTHEW MILLMAN FOR SFMOMA © JUDD FOUNDATION; MEL ANIE DUNEA; HEATHER STEN; BEN ROSSER/BFA

V

isiting a true creative in his or her natural habitat is like going on an inspiration safari.

You can develop such an acute picture of where ideas originate, formulate, and take shape. Some spaces are orderly temples devoted to rigorous thought while others have a kinetic, unpredictable air.

While working on this special Creative Minds issue, I had the incredible fortune to drop in on a number of these workshops. At painter Julie Mehretu’s cavernous studio in Chelsea, there were meticulously organized shelves of carefully labeled plastic containers filled with supplies, a thriving family of cacti, a full kitchen, and even a forklift. It was the perfect mix of order and warmth. I also stopped by artist Michele Oka Doner’s SoHo loft to find a colossal (yet edited) cabinet of curiosities—with treasures on display that ranged from a dish overflowing with moonstones to a turtle’s breastplate. A trip down the street to the Judd Foundation proved the building is still electric with Donald Judd’s minimalist vision of art and architecture. Also nearby, designer Steven Gambrel keeps an office as artful and detailed as

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CULTURE • DESIGN • TRAVEL • SHOPPING • STYLE

/ BOOKS /

MANFRED THIERRY MUGLER, COURTESY OF ABRAMS

MODEL BEHAVIOR “A photograph must come from imagination and not be a reflection of what is.” So said avant-garde fashion designer Thierry Mugler, who is renowned for conjuring futuristic haute couture worn by everyone from Jerry Hall to Beyoncé. Now Mugler’s electrifying work behind the lens is taking center stage with the new book Manfred Thierry Mugler, Photographer (Abrams, $125), which features more than 150 hypnotic images, many of which have never before been made public. Inside, Mugler takes readers on an enthralling visual voyage from the Algerian Sahara to Volgograd, Russia, where he snapped this photo of model Angela Wilde atop a 66-foot-tall roadside scarlet star. abramsbooks.com —GEOFFREY MONTES

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/ HOTELS /

THE ROYAL OUI

IN GOOD TASTE The soigné new dining space at Bergdorf Goodman’s Men’s Store, Goodman’s Bar, packs all the design punch of the more feminine BG Restaurant across the street. There’s even a custom de Gournay wallpaper depicting Central Park landmarks. “The mural is certainly the centerpiece of the restaurant,” says Linda Fargo, senior vice president of the fashion office and store presentation.

Enjoy the hand-painted view while sampling seasonal dishes from chef Austin Johnson, formerly of Eleven Madison Park, and a wine list curated by master sommelier Dustin Wilson (above). “I wanted to showcase really classic wines that are more traditionally made, balanced with producers that are pushing the envelope,” says Wilson, whose offerings range from an indulgent Arnaud Mortet Gevrey-Chambertin by the glass to a bottle of Lambrusco made by Raekwon of Wu Tang Clan. bergdorfgoodman.com —JILL SIERACKI 26

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fabrics, Tollemer sought to capture the look of Louis XVI’s personal style by filling the 14 rooms and suites with a dazzling array of 18th-century furnishings and accessories.

Amenities include a restaurant helmed by Alain Ducasse, an invigorating Valmont spa, and a 50-foot indoor swimming pool. Guests will also be granted exclusive access to the palace and grounds, so they can literally retrace the footsteps of the royal couple.

Maybe you really can have your cake and eat it too. airelles.com —G.M.

FROM TOP: NOE D E WITT; CHRISTOPHE TOLLEMER/FOTOLIA (2)

/ R E S TA U R A N T S /

King Louis XVI and Marie Antoinette might be long gone, but the dream of living like royalty is alive and well at the Château de Versailles, their former residence, where visitors still flock to experience a taste of their extravagant life. Now the landmark is poised to become France’s (and maybe Europe’s) most opulent place to spend the night, courtesy of five-star hospitality group Airelles, which has spent the past four years transforming a trio of historic buildings on the grounds into a sumptuous boutique hotel, Le Grand Contrôle. The structures have been restored to their decadent beauty by French designer Christophe Tollemer, who used the year 1788—the last time the building’s inventory was catalogued—as an aesthetic touchstone. In addition to working with Pierre Frey and the Royal Manufacture of Aubusson to create historically accurate

PHOTO: BJÖRN WALLANDER

Outdoor

/ D E S T I N AT I O N S /

NATURAL BEAUTY On a pristine stretch of Belize’s coastline, the Itz’ana Resort & Residences recently welcomed its first guests, drawn to the Central American nation’s array of coral reefs, marine reserves, and majestic Mayan ruins. Conceived by fast-rising New York interior designer Samuel Amoia and Boston-based architect Roberto de Oliveira Castro, the 48-room hotel pays homage to its tropical setting with an evocative color palette and locally sourced materials, including sustainable bejuco vines. To furnish the resort, Amoia canvased regional markets for vintage pieces, tapped Guatemalan weavers to make textile art, and even enlisted artist George Venson—founder of wallpaper company Voutsa—to hand-paint lush murals throughout. The 20-acre grounds, meanwhile, were sculpted by landscape architect Matthew C. Lewis, who introduced towering palms, climbing orchids, fruiting trees, and organic herbs, many of which are served alongside fresh fish at Limilia, the property’s sea-to-table restaurant. itzanabelize.com —G.M. 28

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/ EXHIBITIONS /

STAR POWER Yayoi Kusama’s lifelong fascination with the natural world goes on display in a new exhibition at the New York Botanical Garden this spring. Curated by Mika Yoshitake, “Kusama: Cosmic Nature” spans the artist’s career, from early never-before-exhibited works from her archives to new site-specific installations.

“Her captivating works reveal the interconnectedness of all living things,” says Carrie Rebora Barratt, CEO of the garden. “There is a celebration of the awe and wonder of the cosmos.” Guided by rows of trees wrapped in bright-red

polka-dot fabric, visitors are invited to discover works peppered throughout the sprawling 250-acre grounds.

Highlights include the first outdoor version of her signature “Infinity” mirrored rooms, designed to change with the seasons.

Horticulturists will also craft dazzling floral installations inspired by her artwork.

According to Yoshitake, Kusama started by painting flowers, and her grandparents ran a plant nursery and seed farm near her home in Japan.

For her, “there are no objects more interesting.” nybg.com —LUCY REES

FROM TOP: ROBERT ALEXANDER/GETT Y IMAGES; COURTESY OF ITZ’ANA RESORT & RESIDENCES

Yayoi Kusama’s Pumpkin (2016) at the Hirshhorn Museum and Sculpture Garden.

Platja II | oil on canvas | 36 1/4 x 28 3/4 in

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/ MUSEUMS /

MOMENTARY BLISS

/ R E S TA U R A N T S /

COUNTER INTUITIVE It’s always wonderful to dine beneath the stars, especially when it’s at Pavyllon, the new restaurant by Yannick Alléno located directly below his Michelin three-star namesake at the Pavillon Ledoyen in Paris. Set up as counter seats encircling the kitchen, Pavyllon puts the brigade in the spotlight, revealing the deft hand it takes to create dishes like a steamed Comté soufflé and scallops quenelle. Conceived by interior designer Chahan Minassian, the space gleams with a patinated-bronze wooden counter and a mosaic of enameled tiles and smoked mirrors—all the better to reflect the beauty of the neighboring Champs-Élysées gardens. yannick-alleno.com —JACQUELINE TERREBONNE 30

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/ FILM /

ORANGE THEORY When a series of unfortunate events causes enigmatic artist Jerome Debney (Donald Sutherland) to lose his life’s work, he’s forced to live tucked away on the Lake Como estate of dastardly arts dealer Joseph Cassidy, played all too convincingly by Mick Jagger. When Cassidy becomes determined to own an original Debney painting, he recruits an unscrupulous critic (Claes Bang) to help him procure it. In theaters March 6, The Burnt Orange Heresy has more twists than an M. C. Escher, more symbolism than a Gustav Klimt, and a plot that will keep fans of films like The Thomas Crown Affair and The Forger enraptured until the last frame. —J.S.

FROM TOP: COURTESY OF SONY PICTURES CL ASSICS; COURTESY OF THE ARTIST; SEBASTIEN VERONESE

For its first-ever satellite facility, the Crystal Bridges Museum of American Art in Bentonville, Arkansas, has taken over an erstwhile Kraft Foods factory a mile and a half from its Moshe Safdie–designed campus. Dubbed the Momentary, the dynamic hub for visual, performing, and culinary pursuits opens with “State of the Art 2020,” which provides a diverse snapshot of contemporary art. The show of work created within the past four years includes 61 artists from across the U.S., such as Pittsburgh-based Su Su (whose 2018 work Darwin is below). “With so much going on in the world, we wanted to see how artists can help think through some of the ideas and events,” says the museum’s curator of visual arts, Lauren Haynes. Half of the exhibition will take place at the original Crystal Bridges, including a video installation by Domingo Castillo within the complex’s Frank Lloyd Wright–designed Bachman-Wilson House. themomentary.org —G.M.

Va n D u y s e n ’s O t t i C h a i s e s a n d R o u n d O c c a s i o n a l Ta b l e s shown with Heatsail Dome | sutherlandfurniture.com

Clockwise from left: François-Xavier Lalanne’s Métaphore (Canard-Bateau) (2002). Photo de la Hon Repeinte (1979) by Niki de Saint Phalle.

Francis Bacon’s In Memory of George Dyer (1971).

What’s On View

MUST-SEE SPRING EXHIBITIONS FROM LONDON TO MEXICO CITY

THE MUSEUM OF FINE ARTS, HOUSTON THROUGH MAY 25

Francis Bacon: Late Paintings

THE PHILLIPS COLLECTION, WASHINGTON, D.C. THROUGH MAY 24

Riffs and Relations: African American Artists and the European Modernist Tradition Groundbreaking works by top talents such as Faith Ringgold, Hank Willis Thomas, and Carrie Mae Weems are paired with masterpieces by the 20th-century European artists who inspired them, such as Wassily Kandinsky, Henri Matisse, and Pablo Picasso. phillipscollection.org

THE NATIONAL GALLERY, LONDON APRIL 4–JULY 26

Artemisia

There has been growing interest in Renaissance painter Artemisia Gentileschi, thanks to her remarkable personal story and an increasing institutional concern that female talents have been overlooked throughout art history. Long overdue, the exhibit features her masterpiece Self Portrait as Saint Catherine of Alexandria (circa 1615–17), which was recently acquired by the museum, supplemented with significant loans from around the world. nationalgallery.org.uk

LOS ANGELES COUNTY MUSEUM OF ART APRIL 5–AUGUST 2

Yoshitomo Nara

Auction prices have soared for celebrated Japanese artist Yoshitomo Nara. (His painting Knife Behind Back [2000] sold for an astounding $24.9 million last year.) This ambitious survey spotlights the artist’s conceptual process with paintings, drawings, and ceramics created over the past 30 years. lacma.org MOMA PS1, NEW YORK APRIL 5—SEPTEMBER 7

Niki de Saint Phalle

Pioneering French feminist Niki de Saint Phalle rose to prominence during the 1950s with her avant-garde paintings before cementing her signature style of jubilant, colored figurative sculptures. While her work has been widely shown in Europe, this marks the late artist’s first major U.S. survey. moma.org THE CLARK ART INSTITUTE, WILLIAMSTOWN MAY 9—NOVEMBER 1

Claude & François-Xavier Lalanne: Nature Transformed

Known collectively as Les Lalanne, Claude and François-Xavier Lalanne lived and worked alongside each other for over five decades, creating dreamy, whimsical works coveted by tastemakers like Serge Gainsbourg, Salvador Dalí, and Peter Marino. This fascinating display invites the viewer into their intimate world with sculpture and furniture as well as a selection of Claude’s highly imaginative tableware and jewelry. clarkart.edu —LUCY REES 32

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FROM TOP: KATRIN BAUMANN © 2019 NIKI CHARITABLE ART FOUNDATION; COURTESY OF KASMIN GALLERY; © THE ESTATE OF FRANCIS BACON, COURTESY OF FONDATION BEYELER, RIEHEN/BASEL, BEYELER COLLECTION

MUSEO JUMEX, MEXICO CITY THROUGH MAY 10 Lina Bo Bardi: Habitat One of the most widely influential architects of her era, Lina Bo Bardi is a creative genius whose inventiveness is on full view in this exhibition of her drawings, projects, and archival materials that showcase the impact she had on her adopted homeland of Brazil and beyond. fundacionjumex.org

Admirers of Francis Bacon will get the rare chance to concentrate on the last two decades of his career (1971–91), a period widely regarded as his most prolific. Focusing on everything from his interest in the significance of memory to Greek tragedies, the show features 40 of his canvases, including a charged pair of triptychs dedicated to the untimely death of his lover George Dyer. mfah.org

Freedom of Expression CONCEPTUAL ARTIST

HANK WILLIS THOMAS AND GALLERIST JACK SHAINMAN DISCUSS 15 EXCITING YEARS OF COLLABORATION

H

ank Willis Thomas is in demand more than ever, with his traveling museum survey now on view at Crystal Bridges Museum of American Art in Bentonville, Arkansas, and public art commissions in the works for the Brooklyn Academy of Music and Boston Commons. But 15 years ago, gallerist Jack Shainman took a chance on the then young, unknown photographer and has nurtured his career ever since.

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How They Met Jack Shainman: It was through Claude Simard, my partner in the gallery who passed away—he found Hank in 2004 through an art handler who had gone to school with him.

Hank Willis Thomas: I was living in San Francisco. I knew zero about commercial art galleries because I was a “photographer” and there were so few focused on photography. Claude just called me up, with his very thick

WAYNE L AWRENCE

Artist Hank Willis Thomas (left) and gallerist Jack Shainman in front of Thomas’s work Frosted Yellow Willows (or Anna May Wong) Hidden Colors (2019).

January 28 – April 30, 2020 The exhibition will feature a new film made with the artist in her studio, and a fully illustrated book published by Windsor Press and the Royal Academy of Arts.

The Gallery at Windsor 3125 Windsor Boulevard, Vero Beach, Florida 32963 windsorflorida.com/gallery By appointment 772 388 4071 or gallery@windsorflorida.com

Elizabeth and Henry with Birds, 2013 (detail) Oil on canvas in four (4) parts, 503 × 296 cm © Rose Wylie Courtesy the artist and David Zwirner

French-Canadian accent, and said, “I like your work. Can you send me some so I can see it in person?”

Shainman: The day the photograph Branded Head arrived, Claude was ready to give him the whole gallery. We immediately hung it in the office. We were really interested in the subject matter that Hank was working with— advertising and branding, oppression, race—and the fact that it looked like nothing I had ever seen before.

Thomas: When I made that image, I was a grad student. I was like, “What, you want to sell it?”

Do you remember how much that picture cost?

It was $600. I was like, “Wow, $600!”

Their First Show Thomas: We’d been working with each other for a couple of years, but I hadn’t had a show yet. I happened to be visiting the gallery from San Francisco in 2006, and another artist had just fallen through.

Shainman: So we just offered him that show, “Hank Willis Thomas: B®ANDED,” while he was standing at the front desk.

As it opened, we were still waiting for the work to arrive. We had put in an order with the printer months earlier, and the work got delivered kind of late. I always say to people, the first show—it’s just the beginning.

Life Change Thomas: Around 2008, Jack called me. I was living in San Francisco peacefully, enjoying my life. Jack said, “Hank, it’s time that you move to New York. It’s nice to see you every few months, but I think it will really make a difference.” I moved back to New York because of Jack. And he was right.

Shainman: I like to encourage artists to push themselves.

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A Unique Collaboration Thomas: In the last presidential election season, I was telling Jack that my friend Eric Gottesman and I were thinking about starting a super PAC. Jack said, “You have to do this. You can have the gallery.” We turned the 24th Street space into our headquarters for the summer of 2016. We started doing advertisements, billboards, town hall talks in the gallery, an exhibition and titled it “For Freedoms.” We had top artists like Carrie Mae Weems. We put Nina Chanel Abney, who was then still an emerging talent, in the show. Jack gave us carte blanche.

Shainman: Hank helped me cross one thing off my bucket list. I had always kind of been jealous of Chris Ofili and Andres Serrano; that getting denounced by the right wing catapulted them to the top of the art world. I saw pictures of Dread Scott’s piece A Man Was Lynched by Police Yesterday and said, “Bring that over.” We put that flag out in front of “For Freedoms.” The next day Fox News called for an interview, which I naively actually did, and we started getting death threats. It was horrible. But I was able to cross a second bucket list thing off: The New York Times had a story about the show and Dread Scott’s flag.

How They See Each Other Shainman: Hank is super generous. A lot of artists are not interested in other artists’ work. Hank loves to support artists and give them a chance. Over the years he’s shown me so many people—one of them was Toyin Ojih Odutola.

Thomas: Something that I’ve always loved about Jack is that when I want to do something crazy that I’ve never done before, he’s like, “Okay.” hankwillisthomas.com, jackshainman.com —HILARIE M. SHEETS

FROM LEFT: COURTESY OF THE ARTIST AND JACK SHAINMAN GALLERY, NEW YORK (2); COURTESY OF NYC DEPARTMENT OF DESIGN AND CONSTRUCTION/MATTHEW L APISKA

Clockwise from left: Guernica (2016) was part of Thomas’s recent exhibition “All Things Being Equal . . . ” at the Portland Art Museum.

Thomas’s Unity is a permanent installation in Brooklyn.

Branded Head (2003).

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Time Transfixed

BRUSSELS ARTFULLY MELDS THE OLD AND NEW WITH A NUMBER OF

CONTEMPORARY DESIGN FAIRS AND MUSEUMS DEDICATED TO OLD MASTERS

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he alluringly off-center oddness of Brussels—the ancient town that is Belgium’s capital, its largest city, and the centerpiece of the European Union—has always made it a creatively fruitful place for artists.

The celebrated Belgian Surrealist René Magritte worked a significant portion of his life here and much of his output is displayed in the permanent collection of the Musée Magritte Museum on the Place Royale. This hinge city between Latin and Germanic cultures was also exceptionally receptive to the sinuous Art Nouveau style of Victor Horta, one of the greatest Belgian architects and designers. The most perfect example of his genius was his own private residence and studio, which now house the Horta Museum.

Friendly, funky, and politely individualistic, Brussels endures as a cozy, walkable city of intriguingly diverse neighborhoods, ranging from its medieval core around the Grand Place to the elegant silk-stocking Avenue Louise. The chic central Sablon neighborhood has traditionally been the heart of Brussels’s art world. Here, visitors will discover many outstanding galleries, including Jan Mot, Galerie Derom Patrick, Eric Gillis Fine Art, and Deletaille Gallery, as well as the city’s most important museum complex, the Musées Royaux des Beaux-Arts de Belgique. A busy antiques market takes place in the Place du Grand Sablon every weekend.

FROM TOP: WERNER DIETERICH/GETT Y IMAGES; ALL ARD BOVENBERG,AMSTERDAM, COURTESY OF XAVIER HUFKENS, BRUSSELS CLOCKWISE FROM FAR LEFT: COURTESY OF DÉPENDANCE, BRUSSELS; ANNE GREUZAT, COURTESY OF L A PATINOIRE ROYALE/GALERIE VALÉRIE BACH, 2020; PAUL LOUIS, COURTESY OF HORTA MUSEUM; COURTESY OF ISABELLE DE BORCHGRAVE

Brussels’s Mont des Arts.

Below: Works by artist Daniel Buren at Xavier Hufkens gallery.

The Ixelles and Saint-Gilles quarters are also bristling with world-class galleries, such as Xavier Hufkens, Rodolphe Janssen, and La Patinoire Royale. Almine Rech’s powerhouse gallery in Ixelles is known for showing a range of talent, including Antoni Tàpies through March 28, followed by exhibitions of work by Sol LeWitt and Huang Yuxing.

Creative types are giving Saint-Gilles a stylish, urban edge with new shops, cafés, restaurants, and art spaces, but they’re also moving into formerly working-class districts like Anderlecht and Molenbeek. “Brussels has always had a rich history of being a magnet for artists, galleries, and collectors,” says Liv Vaisberg and Clélie Debehault, cofounders of Collectible, an innovative fair that showcases the best in collectible design today, highlighted by a curated array of unique and limited-edition works by talents from a mix of disciplines. “Independent institutions such as Wiels, the Boghossian Foundation, the recent creation of Kanal Pompidou, and the opening of international galleries such as Almine Rech, Gladstone, and Clearing have all shaped Brussels as an important global marketplace.”

Molenbeek is also the location of Tour & Taxis, the magnificently renovated industrial compound where Art Brussels, one of the oldest art fairs in Europe, occurs every April. This year, the show runs April 23–26 and will include more than 150 galleries as exhibitors.

Another renovated and repurposed building, Brussels’s striking modernist Espace Vanderborght, just a short walk from the Grand Place, hosts Collectible. This year’s event takes place March 5–8, and among the designers to look out for are Carla Cascales Alimbau (Barcelona), Ksenia Emelianova (Rome), Charlotte Kidger (London), and Nathalie Campion (Paris), who will launch new pieces at the fair.

Visiting art lovers and collectors are spoiled for choice when it comes to hotels, but two of the city’s best are the charming Hotel Amigo, just around the corner from the Grand Place, and the atmospheric Hotel des Galeries, which is located in the covered 19th-century passage known as the Galeries Royales Saint-Hubert. The city’s food connoisseurs are equally presented with an embarrassment of riches.

The Bruxellois crave the world’s best beer—head for Moeder Lambic to sample some superb ales—as eagerly as they do its finest chocolates, such as those at Passion Chocolat at rue Bodenbroek 2/4. Great local comfort food like the boulettes (meatballs) served in tomato sauce with fries at Brasserie Ploegmans is devoured as hungrily as the delicious creative cuisine of chef Christophe Hardiquest at his Michelin two-star Bon Bon. Ultimately, Brussels’s new vocation as a major art and design center is not at all surprising, since the city itself is a work of art. —ALEXANDER LOBRANO

Clockwise from far left: Art Brussels will include Lucie Stahl’s painting Marygold’s Calendula.

Carlos Cruz-Diez “Labyrinthus” exhibition at La Patinoire Royale/ Galerie Valérie Bach.

Victor Horta’s former home and studio, now the Horta Museum.

Bronze chair by Isabelle de Borchgrave, on view at Collectible.

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MILESTONE

The Met

NEW YORK’S METROPOLITAN MUSEUM OF ART CELEBRATES ITS 150TH ANNIVERSARY THIS YEAR. HERE, WE LOOK BACK ON SOME OF THE

u The Met at Fourteenth Street This iconic 1881 painting by Frank Waller depicts the museum’s second home, the Douglas Mansion on West 14th Street, which it occupied from 1873 to 1879, after leaving its original 681 Fifth Avenue location and before settling into its current address in 1880.

u Met Gala Gains Steam The Costume Institute’s first Met Gala was held in 1948, but it wasn’t until decades later that the fête would become themed. This 1983 Yves Saint Laurent exhibition, curated by Diana Vreeland, marked the museum’s first retrospective of a living couturier’s work.

u First Roof Garden Commission In 2013, Pakistani artist Imran Qureshi kicked off a new series of site-specific commissions with And How Many Rains Must Fall Before the Stains Are Washed Clean, which splattered The Met’s 7,500-squarefoot roof terrace, originally opened to the public in 1987, with bloodred motifs commonly found in Indian and Persian miniature paintings.

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q Temple of Dendur Arrives In 1965, the Egyptian government gifted this firstcentury Nubian temple to the U.S. as thanks for its help in moving monuments out of the path of an impending flood. Disassembled and shipped in 660 crates, the attraction took nearly ten years to make its debut.

“

On the occasion of this anniversary, we are thinking deeply about our responsibility as stewards of this exceptional collection,” says museum director Max Hollein t Reimagined British Galleries New York firm Roman and Williams Buildings and Interiors oversaw the $22 million renovation of the museum’s British decorative arts and design galleries, which house approximately 700 objects, like this 1772 white glass and bronze vase, designed by Matthew Boulton.

The refurbished spaces open in March. metmuseum.org —LUCY REES

FROM TOP: COURTESY OF THE METROPOLITAN MUSEUM OF ART, NEW YORK (3); THE METROPOLITAN MUSEUM OF ART/HYL A SKOPITZ; COURTESY OF THE METROPOLITAN MUSEUM OF ART, NEW YORK

STORIED INSTITUTION’S MOST TRANSFORMATIONAL MOMENTS

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RENOWNED FRAMER ELI WILNER LENDS

HIS SKILLS TO MUSEUM WORKS IN NEED

P Eli Wilner (right) created this 1,400-pound frame for Emanuel Leutze’s Washington Crossing the Delaware at The Met.

ainter Édouard Manet once observed, “Without the proper frame, the artist loses 100 percent.” The inverse is true as well: With just the right frame, even great works can be seen in a dazzling new light.

Eli Wilner learned the power of the frame at a very young age, when he would give his paintings over to a great-uncle who collected antique ones. Wilner would beam at the sight of his amateur endeavors hanging in ornately gilded frames alongside the likes of, say, Marc Chagall. “I was convinced at the age of 7 that I was a master,” he laughs. And though he never went on to rival the famed early modernist in painting, he has become a legend in his own right: the master framer.

In his 40-year career, Wilner has worked with several hundred private clients and more than 100 museums, including the Metropolitan Museum of Art, which tapped him for what would almost certainly become the most complex reframing

FROM LEFT: BRUCE SCHWARZ, COURTESY OF THE METROPOLITAN MUSEUM OF ART; COURTESY OF ELI WILNER & COMPANY

Frame Narrative

project in the museum’s history: Emanuel Leutze’s Washington Crossing the Delaware. A national treasure, Leutze’s monumental 1851 painting was about to take center stage in The Met’s newly renovated American Wing. When curators uncovered an 1860s photo revealing the original 19th-century frame, Carrie Rebora Barratt, then curator of American paintings and sculpture, seized upon the chance to remount Leutze’s crowning achievement in all its intended splendor.

And now, thanks to a relatively new undertaking by Wilner and three of his private clients, museums without funding like The Met’s are able to benefit from his expertise as well. “They have budgets for conservation or for acquisitions,” Wilner explains, “but framing can be something of a lost soul.”

In its first five years, the effort has accomplished over 200 projects and has saved museums a collective total of almost $4.5 million. One current beneficiary is the Palmer Museum of Art at Pennsylvania State University, which is having three late-19thcentury American paintings reframed. The first is Winslow Homer’s Boy Holding Logs, from 1873. “The frame affects our perception by either drawing attention or receding to the background—it’s part of a painting but should almost go unnoticed,” says Adam M. Thomas, the Palmer’s curator of American art.

For Wilner, the reward is in helping a greater number of institutions realize “the fullest glory” of their collections. “We haven’t been framing many masterpieces through this program,” he says. “It’s more the shock and awe of framing good work by known and even unknown painters.” eliwilner.com —DANIEL CAPPELLO

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María Berrío

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“It haunts me to draw them.

They are always on my mind,” says María Berrío New Orleans in 2017 and at Kohn Gallery in L.A. in 2019, Berrío signed with London-based powerhouse Victoria Miro.

For her first show at the U.K. gallery in June, she is creating a series of large-scale works that explore the experience of living through a catastrophe. The solemn women and barren architecture dotted throughout this fictional village celebrate the ability to survive even in the most unlikely environments.

While imaginary, the females in her paintings act as “hope for the world,” but they also carry a mystery that evades even her own explanation. “I like to say that I identify with them, though most of the time I feel I want to escape from them,” she says. “It haunts me to draw them. They are always on my mind.” maria-berrio.squarespace.com

KYLE DOROSZ, COURTESY OF THE ARTIST AND VICTORIA MIRO

To view María Berrío’s art is akin to entering into an imaginary dreamland where powerful women María Berrío in front preside and there is a harmonious, of her work A Last symbiotic relationship with the View of the Sky (2019). natural environment. For Berrío, who was born in Bogotá, Colombia, and is now based in New York, these fairy-tale-like vignettes are a way to deal with the harsh social and political realities facing the world today.

“I am interested in how these alternative forms of knowledge give respite to people seeking order, meaning, and hope,” says the artist, whose extensive research brings together various Eastern rituals, practices, and origin myths.

“Regardless of how unreasoned these beliefs may be in the West, I appreciate them as deeply human attempts to understand life.”

Each work is crafted using layer upon layer of collaged paper, now mostly sourced from Japan but previously from as far-reaching places as Nepal and India. The method of uniting these different modes of cultural production is inherent to the work’s meaning. She begins with a drawing, before delving into the collage process where “characters emerge or disappear, story lines strengthen or recede.” Her favorite part comes at the end, when she paints the characters’ hands and faces. “It’s when the world has come together, and I really get to know the women I have created.”

After standout presentations at the Prospect.4 triennial in

APR 16 — 19 2020 PRESENTED BY

Amoako Boafo Amoako Boafo’s enticing, colorful portraits pack a punch with their striking simplicity. But beneath the surface lies a deeper intention, as the Ghana-born, Austria-based artist attempts to find new ways to approach the complicated subjects of identity and race. “My role as an artist is to show alternate perspectives,” says Boafo. “I want to speak for the people who are unable to speak for themselves.”

Following sellout booths with Mariane Ibrahim at FIAC in Paris and Art Basel in Miami Beach, a solo show at Roberts Projects in Los Angeles, and a buzzed-about exhibition at the new Rubell Museum in Miami, where he was artist in residence, Boafo’s star is on the rise. Up next is his first solo

“I want to speak for the people who are unable to speak for themselves,” says Amoako Boafo

From top: Amoako Boafo.

Cobalt Blue Earring (2019).

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exhibition with Mariane Ibrahim in Chicago in June.

“I am all about people who create space for others,” he says of his portraits, which are often isolated on single color or patterned backgrounds. The subjects, who are mostly friends and people doing interesting things in his Vienna community, stare intently out at the viewer with an assured sense of confidence and knowing. But perhaps it’s the way Boafo creates their faces and hands that is most extraordinary. Using his fingers, he makes swirling masses of paint that highlight every stroke. “I am trying to find ways to celebrate individuality, which is reflective in my technique,” he says. “When I paint with my fingers, I have less control, which I believe is beneficial.”

While Boafo didn’t have access to art as a child, art making was always a passion, and he recalls spending hours drawing with his friends. “After high school I went to an art college, which was rare for a Ghanaian, but I always wanted to be an artist,” he says, citing Egon Schiele and Lucian Freud, as well as Kerry James Marshall and Lynette Yiadom-Boakye, as inspirations. “Creating is how I learned how to feel free and how I continue to feel free.” amoako-boafo.com

FROM TOP: L ANCE BREWER, COURTESY OF JOSH LILLEY, LONDON; EMILIANO GRANADO. OPPOSITE, FROM TOP: ALEX HODOR-LEE; COURTESY OF MARIANE IBRAHIM

Kathleen Ryan Moldy, decaying fruit is transformed into something of opulent beauty in the hands of Los Angeles–born Kathleen Ryan, who now resides in New York. At the most recent Art Basel in Miami Beach, viewers were stopped in their tracks at Josh Lilley’s booth, where the artist conceived a monumental trailer containing a dazzling, oversize pile of cherries, lemons, oranges, and grapes—each piece intricately crafted with tens of thousands of beads and gemstones and found objects sourced from junk shops.

In a twist, to create the areas of rot, Ryan utilizes valuable natural gemstones such as agate, lapis lazuli, and pearls, and the more common manufactured glass and plastic beads on the fresh parts. The multilayered works reference themes of waste, consumption, power, and sexuality. “I’m interested in using the psychological weight of the actual material,” says Ryan.

This whimsical play of contrasting elements and unexpected pairings—the beautiful and grotesque, old and new—runs through most of her work. Inheriting her mother’s love for finding great vintage and antiques, Ryan is as equally inspired by the decorative arts, ancient Egyptian sculptures, and Dutch still life paintings she discovers in museums as she is by the warehouse-size suburban junk stores in Jersey City, where she recently moved into a 3,000-square-foot studio that she shares with her boyfriend, artist Gavin Kenyon.

Her current solo exhibition at François Ghebaly gallery, timed with Frieze L.A., features two of her most ambitious works yet: an encrusted overripe grape cluster with stems crafted from copper plumbing pipes and a colossal watermelon that seems to have been dropped from the ceiling, with large pink beaded chunks splatted across the floor. The rind is fashioned from a beat-up Airstream trailer that Ryan purchased on Craigslist. “I like how objects bring meaning and carry a history,” she says. “The Airstream is an idealized symbol of Americana—of leisure and freedom. And here, it’s a broken, rotten watermelon.” kathleen-ryan.com

“I like how objects bring meaning and carry a history,” says Kathleen Ryan

From top: Pleasures Known (2019).

Kathleen Ryan at work in her Tribeca studio.

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Avery Singer “The main goal of an artist is to test, explore, and go beyond the existing boundaries,” says Avery Singer, whose idiosyncratic, large-scale pieces are a kaleidoscope of airbrushed waves and droplets that mix cutting-edge digital technology with classic art historical tropes. “I aim to do that with painting.”

The artist’s process is complex, and the resulting works leave viewers questioning where one medium ends and another begins, what is artificial and what is real. First and

“The main goal of an artist is to test, explore, and go beyond the existing boundaries,” says Avery Singer after her father gifted her a Super 8 camera and a roll of film at age 16. “I shot a single take on that reel of my friend dancing,” Singer recalls. “After we had it developed, we ran the film through an old projector at home, and the effect was mind-blowing—a complete accident. I thought it was the most mysterious and incredible process, and that I had to become an artist. There was no other pursuit so exciting and so mystifying at the same time. It felt a lot bigger than me.”

It’s been a buzzy few years for the young talent, who participated in the 58th edition of the prestigious Venice Biennale, curated by Ralph Rugoff. During the same period, one of her works sold at Sotheby’s New York for more than six times its high estimate. She recently signed on with global juggernaut Hauser & Wirth and showcased her first presentation with the gallery at its Frieze L.A. booth this year. A new series of heavily layered process paintings depicts various states of loneliness and inebriation. While coming from a personal place, “there’s also the traditional European narrative of art history to draw from,” she says of one of the standout works, “the artist, alone at the bar, pondering, melting, drowning in their thoughts.” hauserwirth.com

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L ANCE BREWER, COURTESY OF THE ARTIST, HAUSER & WIRTH, KRAUPA-TUSKANY ZEIDLER, BERLIN

Avery Singer’s 2018 self-portrait.

foremost a painter, Singer uses different types of software popular with engineers and architects to make the 3-D models that serve as the basis for her two-dimensional works, which she creates with a digital airbrushing system, almost a futuristic trompe l’oeil.

Art has always played a vital role in her life. “It was a bohemian childhood surrounded by creative types and beatniks,” says Singer of her New York upbringing. Her father’s job as a full-time projectionist at the Museum of Modern Art allowed her to spend time with the collection before viewing hours.

The exciting possibilities of art making really opened up

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Family Recipe

FANNY SINGER’S NEW MEMOIR DETAILS DELICIOUS STORIES FROM GROWING UP WITH A FOOD ICON MOTHER

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eat takeout, too,” says Fanny Singer with a look that suggests a mix of mischief and candor. Most in today’s world wouldn’t find bringing home a carton of steaming pad Thai or ordering a late-night ramen delivery remarkable. But Singer is the daughter of farm-to-table pioneer Alice Waters, whose exaltations of fresh produce and homemade meals have changed the American palate since she first opened Chez Panisse in Berkeley, California, in the 1970s.

Waters famously doesn’t deviate from the orthodoxy of garden-sourced organic fare. “Once I really wanted blueberry pancakes, which were out of season, so I went to the store and slapped an organic tag onto a basket of blueberries,” says Singer, “but she knew.” And into the compost the fruit went, the author recalls.

Following her return to the Bay Area after living in England for more than a decade as an art critic, curator, and coproprietor of the online design boutique Permanent Collection, Singer is releasing a new project that straddles her present and her past.

Available in April, the memoir-cum-cookbook Always Home: A Daughter’s Recipes & Stories (Knopf) offers an intimate portrait of Singer’s family, which includes the many people behind the influential restaurant Waters founded.

“Chez Panisse has always been a cooperative in a way,” she says, “and I was their collective child.”

The book, filled with gauzy photographs by Brigitte Lacombe, provides immersive reflections on a rather unique childhood as well as easy, breezy recipes that speak as much to the techniquedriven chef as they do the occasional home cook, all shared in a voice akin to a relative passing on family lore. There are stories about the “yeasty, fat smell of pizza dough rising in a big plastic tub” and the secret of the arugula- and chicory-enhancing

Fanny Singer’s tome is a celebration of food and family.

Here, photographer Brigitte Lacombe captures the author and her mother, Chez Panisse’s famed founder, Alice Waters.

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BRIGITTE L ACOMBE

“Chez Panisse has always been a cooperative in a way, and I was their collective child,” says Fanny Singer

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Clockwise from top left: Singer and Waters.

The author preparing mushrooms for a dish. Singer (center) and her extended food family. Plum and blackberry galette.

Simple Chez salad dressing. “Salad is, after all, where my Chez Panisse story began, all those many years ago,” details Singer in the book, with her infant kitchen crib having been fashioned from an enormous salad bowl and dish towels.

Tucked into a corner booth at the restaurant she considers a second home, she recounts her near-legendary ineptitude at baking. Her triumphant fails—such as omitting the molasses from a gingerbread cake or using double the quantity of eggs required for a custard—kept her far away from a position within Chez Panisse’s pastry department. So for the memoir, Singer included a recipe for a comforting fruit galette that almost anyone can master.

Those tales are flanked by observations of her mother’s obsession with the colors maroon and chartreuse, and how that influenced what landed on plates at Chez Panisse. Also revealed is Waters’s “innate sense of composition,” which not only led to Singer’s “aesthetically unusual upbringing” but 52

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also heavily informed her life in the arts, which includes a Ph.D. in art history from the University of Cambridge.

Always Home is steeped in wide-eyed reminiscence amid endearing mishaps. Waters, in fact, writes in the foreword, “No one can make me laugh the way Fanny does, and her finely tuned eye for the ridiculous keeps all of us—keeps me—grounded and in check.”

Beneath this canopy of cuisine and the rousing recipes is a tale of intimacy, connection, and collaboration. Yet the tome marks perhaps a more significant keystone in Singer’s story: Although she coauthored My Pantry with her mother in 2015, Always Home is decidedly not a joint project. “We spend so much of our lives differentiating ourselves from our parents,” she explains, weaving in her varied pursuits and transatlantic detour. “I was interested in that transition moment when I still very much feel like her kid, but I really am an autonomous adult.” penguinrandomhouse.com —JULIE BAUMGARDNER

BRIGITTE L ACOMBE

Revealed is Waters’s “innate sense of composition,” which heavily informed Fanny Singer’s life in the arts

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On the Block

FASCINATING SALES FROM AROUND THE WORLD

BY JEANNIE ROSENFELD

PAUL RUDOLPH | THE WALKER GUEST HOUSE (1951)

Sold at Bonhams Los Angeles (December 10) Musician Graham Nash reportedly bought this guitar at a pawnshop in 1970 for $250 as a gift for the late Jerry Garcia. The top lot in a fully sold auction of items belonging to the Grateful Dead founder, including his own art, comics collection, and trademark Hawaiian shirts, the instrument went for $524,075.

JOHANN CHRISTIAN NEUBER | GOLD AND PIETRA DURA SNUFFBOX (CIRCA 1770)

Sold at Sotheby’s Paris (December 11) From the collection of the late Count Édouard de Ribes and his style-setting wife, Jacqueline, this exquisite piece features gold chasing embellished with lapis lazuli from Afghanistan, porphyry from Egypt, and chrysoprase from Poland. Attributed to the Dresden court jeweler, who specialized in useful but precious objects known as galanteriewaren, the box sold for €1,812,500 ($2,006,891).

PIERRE SOULAGES | PEINTURE (1960)

Sold at Tajan Paris (November 27) The French artist, who turned 100 on Christmas Eve, is celebrating his centennial in style. Just before the opening of a solo exhibition at the Louvre (on view through March 9), this large iteration of the dense, abstract canvases he simply titles “Paintings” achieved a record €9,581,800 ($10,543,812). A much smaller Peinture, from 1975, commanded €1,869,000 at Artcurial on December 3, more than four times its €300,000 to €400,000 estimate.

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CLOCKWISE FROM TOP: COURTESY OF SOTHEBY’S (2); COURTESY OF TA JAN/SEBERT; COURTESY OF BONHAMS

FENDER STRATOCASTER | “ALLIGATOR!” GUITAR (1955)

Sold at Sotheby’s New York (December 12) Commissioned by Walter W. Walker, grandson of the lumber baron who founded the Walker Art Center in Minneapolis, this icon of midcentury-modern American architecture was originally designed for his property on Sanibel Island, Florida. The compact structure, composed of streamlined wood, steel, and glass that connect indoor and outdoor spaces, was offered with a set of five architectural plans and original furnishings, and brought $920,000.

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Room to Show

DAVID KORDANSKY EXPANDS ITS LOS ANGELES GALLERY

L David Kordansky in front of a 2019 work by John Armleder entitled Divino.

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ike the city itself, the Los Angeles gallery scene is spread out, diverse, and growing. And no dealer represents the local buzz better than David Kordansky.

While other galleries have made some big moves in the past few years—for instance, Hauser & Wirth opened a branch in the city—Kordansky has become an influential dealer with just his L.A. base, no need for other outlets in far-flung cities.

After almost six years in his Edgewood Place space, Kordansky has expanded his footprint, the better to represent his ever-burgeoning roster of top artists, including

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Sam Gilliam, Rashid Johnson, Jonas Wood, and Huma Bhabha. “The gallery has grown at an exponential rate,” says Kordansky, who, at last count, had 26 employees on staff.

“As crazy as it sounds, we need more space.”

And beyond just the physical room, constant upgrades and improvements are necessary, he adds, to “retain these artist relationships in a very competitive field.” It’s notable that Kordansky co-represents some of his list with mega-galleries like Pace and Gagosian, having found a way to play nicely with others.

Fate was on his side when he learned that the property

ROGER DAVIES

SPACE, DESIGNED BY WHY ARCHITECTURE

next to his existing gallery was on the market. “We had looked at other opportunities in L.A., and one day someone stopped by and mentioned that our neighbors were selling,” says Kordansky. “We went to see it that day.”

Choosing an architect was a no-brainer: The current gallery was designed by L.A.-based Kulapat Yantrasast of why when he was still up-and-coming. Now he’s become one of the world’s most sought-after architects (particularly for art spaces) and Kordansky asked him to handle the new buildings, too.

designer-client relationship. “Dave is the loyal brother to all his artists—he fights for them and sometimes even fights with them, like siblings would do,” says Yantrasast. “He is so focused on his artists and their activities that life and work seem to merge nicely into openings, outings, and vacationing together.”

There is no doubt that a passion for his work fuels Kordansky. “Art is like a religion. It’s a belief system,” he says, “and I’m devout in my practice.”

Kordansky has done some serious thinking about how to grow his business in the right way, constantly fine-tuning

“Art is like a religion. It’s a belief system, and I’m devout in my practice,” David Kordansky says

Yantrasast—whose current clients include the Metropolitan Museum of Art, the American Museum of Natural History, and the Asian Art Museum of San Francisco—says the new digs offer “a flexible and intimate series of spaces for artists to envision and explore.”

Like the main gallery, the expansion comprises three buildings. The one with contiguous rooms for exhibitions has concrete floors under a skylit ceiling of Douglas fir.

(The other buildings are devoted to storage.) The end result of the cluster of structures is the feeling of a “compound,” says Kordansky. A landscaped central courtyard will be used for events and new-media screenings. “It will unite everything, and it will feel holistic,” says Yantrasast.

Throughout their long association the architect has had a chance to see Kordansky in action, and not only in a

the program that is going on view in those new rooms, as he’s not a fan of expanding for expansion’s sake. He has been making a particular effort to exhibit and work with “more women but particularly women of color,” he says, adding, “and I have done that.”

The first three shows of 2020 bear that out: Painter Linda Stark’s show inaugurates the expansion in late March with her vibrant graphic paintings and drawings. Multimedia artist Lauren Halsey and sculptor Huma Bhabha are also having their debut solo exhibitions with the gallery.

Kordansky has proven that he can back up his intentions with actions. As he puts it, “The opportunity to work with artists and to share their visions and sensibilities—and to get those out in the world—that’s an opportunity I don’t take lightly.” davidkordanskygallery.com —TED LOOS

From left: Linda Stark’s Telltale Heart (2016), Purple Heart (2018), and Spade (2017).

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Marfa Magic THE TINY TEXAS DESERT CITY IS

EXPERIENCING AN AMBITIOUS NEW WAVE OF ART, CULTURE, AND CREATIVITY

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here’s simply no easy way to get to Marfa.

Surrounded by mountains, the one-and-a-halfsquare-mile West Texas cattle town sits on a Chihuahuan Desert plateau, far from any major airport—hardly the obvious choice for an international art fair.

But Rhode Island School of Design–trained artist Michael Phelan gambled that inaccessibility was no match for great art when he launched the Marfa Invitational last spring. The bet paid off handsomely, with nearly 40,000 visitors alighting on the former railroad depot, transformed by artist Donald Judd into an ethereal landmark. Even greater turnout is expected for the fair’s second edition this April 2–5; ten galleries are invited to exhibit at Saint George Hall, an event space (run by the eponymous hotel) that pays homage to cowboy culture and Texas dance halls with its soaring ceiling and reclaimed San Antonio bricks.

“I see Marfa Invitational as the antithesis of what we have come to know and understand of the traditional art fair

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model,” reflects Phelan, a Houston native who built strong art-world ties in New York City’s Lower East Side and Chelsea neighborhoods. After relocating to Marfa, Phelan renovated a 1930s Texaco station into a modern industrial masterpiece that he now calls home.

A modicum of infrastructure, however, proved essential to the concept’s fruition. Phelan credits the meticulous restoration

FROM TOP: EMMA ROGERS; COURTESY OF OCHI PROJECTS CREDIT FOR NEXT PAGE: COUNTERCLOCKWISE FROM TOP: CASEY DUNN (2); COURTESY OF STELLINA

Ballroom Marfa’s latest large-scale public art installation, Stone Circle

by Haroon Mirza.

Below: She Said to Creon (10) by Alexandra Grant, who has a solo exhibit with Ochi Projects at this year’s Marfa Invitational.

FIND YOURSELF IN A CITY THAT NEVER LOST ITS WAY. In Santa Fe, history isn’t just part of the past. It’s still alive, well, and surrounding your every step. It’s just one of the things that makes The City Different, but there’s still so much more waiting to be uncovered.

Uncover your different at SantaFe.org

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“The art got me here, but it’s not what has kept me here,” says Douglas Friedman

From top: Nonprofit art space Ballroom Marfa. Salpicon beef tacos at Stellina. Marfa Book Company inside the Hotel Saint George.

modernism through the lens of food. For another taste of Marfa, cross the railroad tracks to savor an intimate evening at Stellina, with a menu rotating between Italian-infused fare and Mediterranean cuisine.

“It’s something so intangible, so hard to put into words, because it’s not just the art,” admits photographer Douglas Friedman, a New York City expat who’s been based in Marfa for nearly eight years and helped capture its essence for Lebermann’s cookbook. “I tell people they need to actually have the Marfa experience to understand. The art got me here, but it’s not what has kept me here.” —JACOBA URIST

COUNTERCLOCKWISE FROM TOP: CASEY DUNN (2); COURTESY OF STELLINA

of Hotel Saint George—Marfa artists like Christopher Wool, Jeff Elrod, and Mark Flood are on display throughout—with creating a suitable space for VIP attendees and a venue for booths.

Be sure to also visit the Marfa Book Company in the hotel lobby.

The high-desert oasis will always be synonymous with Judd’s practice, yet insiders point to a new frontier of creativity.

The location is now as much of a food and design incubator as an art one. “It is such a beautiful new layer for the town,” says Virginia Lebermann, cofounder of the nonprofit art space Ballroom Marfa, which focuses on commissioning artists around the globe. Ballroom Marfa has expanded the city’s must-see index of outdoor art, its permanent sculpture Prada Marfa now an iconic road stop (arrive early to minimize Instagram jockeying). Commissioned with the Art Production Fund in 2005, the artistic replica of a Prada store, created by Berlin duo Elmgreen & Dragset, hearkens to the visual language of Andy Warhol’s famous Brillo boxes as well as Judd’s concrete cubes nearby.

Meanwhile, Stone Circle, a project Ballroom developed with the British audio composition artist Haroon Mirza, conjures contemporary Stonehenge. Inspired by ancient megaliths, black marble boulders evoke patterns of electronic sound and light from solar panels.

Lebermann is also the owner of the Capri, an haute rustic Tex-Mex eatery located in a former military hangar with a seductive desert garden, where her husband, chef Rocky Barnette, presides over the menu. “I think of the Capri as an informal extension of Ballroom Marfa because we’ve come to a moment where culinary art has become as relevant to people as other forms of high art,” she explains.

Additionally, the couple’s book, Cooking in Marfa, a selection of essays, recipes, and images, embodies Marfa’s eclectic

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All About Judd

A MAJOR MUSEUM SHOW,

NEW MONOGRAPH, AND SERIES OF GALLERY EXHIBITIONS WILL PAINT THE LARGEST PICTURE OF DONALD JUDD’S WORK IN MORE THAN THREE DECADES

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arch will be a busy month for fans of Donald Judd. But before they plan a journey to Marfa, the Texas city synonymous with the famed minimalist artist, who established one of the world’s largest permanent installations of contemporary art there, enthusiasts should instead set their sights on Manhattan.

The late artist, art critic, and prolific writer is the subject of a retrospective at the Museum of Modern Art opening on March 1. It is the first survey of his work in the U.S. in over 30 years. Featuring 60 artworks as well as furniture, the exhibition will be accompanied by a striking new monograph.

At the same time, the Judd Foundation will debut “Prints: 1992,” a New York show of 20 of the artist’s woodcut prints completed prior to his death in 1994 at age 65. The works, printed on handmade Korean paper by Marfa’s Arber and Son Editions, are curated by Judd’s son, Flavin Judd. There will also be pieces in an exhibit at Gagosian in New York in March and David Zwirner in April, as well as Untitled (1976), an example of his structural work, which is on long-term view at Dia:Beacon in the Hudson Valley.

While the many simultaneous events will no doubt titillate existing Judd fans and introduce him to a new generation that might not be familiar with his work, there will be few surprises.

But that is exactly where Donald Judd Spaces, a book produced

FROM LEFT: L AURA WILSON; ERIC PETSCHEK © JUDD FOUNDATION. OPPOSITE, CLOCKWISE FROM TOP: FL AVIN JUDD © JUDD FOUNDATION; JUSTIN CHUNG © JUDD FOUNDATION; JASON SCHMIDT © JUDD FOUNDATION

Donald Judd pictured in his home at 101 Spring Street in New York. His drafting table at the same address.

“To see people, adventures, and his spaces through his eyes is something we wanted to share,” says Rainer Judd by the Judd Foundation—helmed by Flavin, who is artistic director, and his sister, Rainer, who is president—will shine. The coffee table tome, available from Prestel Publishing, offers a plethora of visually arresting architecture, art, and landscapes.

The compilation showcases more than 200 photos by over 35 photographers as well as floor plans of the artist’s living and working spaces, both in New York and Texas. Some, like 101 Spring Street in New York and the Block in Marfa, are open to the public via scheduled tours. Others, including his ranch houses Las Casas and Casa Morales in West Texas’s Chinati Mountains, are never available to visitors. A third, Casa Perez, is accessible only on the singular “Ranch Day,” every October. Most of the properties have been previously published, but this weighty, 400-page book marks the first time they’re presented in one collection. Additional gravitas is provided by the accompaniment of Judd’s writings pertaining to each place or the surrounding area. “The number of

photographs actually taken by Don were a real treat to research,” says Rainer. “Later on in his life he took very few, if any, photos with his Hasselblad, so I was not aware of just how many he had taken.”

In addition to the expected shots of minimalist interiors (spoiler alert: Many are wonderfully imperfect), there are humanizing pictures bearing evidence of a real life, like a stereo system with record albums, saddles piled on a table, stacks of ceramics, a pair of bamboo umbrellas leaning against a wall, and a protractor, folding rule, and other nearly extinct measuring tools neatly arranged on a desk.

Notes Rainer, “To see people, adventures, and his spaces through his eyes, and those close to him, like Jamie Dearing [Judd’s assistant of 15 years], Julie Finch [his ex-wife and mother of Rainer and Flavin], and Lauretta Vinciarelli [an Italian artist and architect who was Judd’s partner in the 1970s], is something we wanted to share.” —RIMA SUQI Clockwise from top: Casa Perez. Detail view of 101 Spring Street space.

La Mansana de Chinati/The Block, Donald Judd’s home and studio in Marfa, Texas.

Gallery Wall

KRAVET AND PAPERSCAPE’S NEW SERIES OF WALL COVERINGS FEATURES

From left: Michele Oka Doner in her New York studio. Doner’s Telescopic print wallpaper for Kravet’s Artist Series by Paperscape.

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o have a work by Judy Chicago, Michele Oka Doner, or Fred Simon on display in your home is an honor reserved for a select few. However, a new collaboration of Kravet and Paperscape will offer art connoisseurs another opportunity to curate a space around their creative aesthetic without ever visiting a gallery.

Chicago, who is known for her groundbreaking feminist installation The Dinner Party (1974–79), was selected along with six other established and emerging artists to collaborate on the Artist Series by Paperscape, Kravet’s

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ingenious collection of artfully detailed wallpaper that reflects themes focusing on both the man-made and natural worlds.

“I used a spray technique that I learned in auto body school in the 1960s to apply layers of paint to canvas,” says Chicago about her signature ombré effect that’s realized in the pattern Morning/Evening in two colorways, AMSKY and PMSKY. “The design and color are inspired by the vibrant skies in New Mexico, where I live.”

New Yorker Michele Oka Doner found inspiration in her birthplace, Miami Beach, for Telescopic, which incorporates hand-drawn shells, seaweed, and algae. “I know the beach like the back of my hand,” says Doner of the design, which is available in four colors and on grass cloth in two.

To select this tightly edited debut of Kravet Couture commissions, the textile company, which is over a century old, worked in partnership with Paperscape to visit studios and network with artists, seeking talents that excel in painting, printmaking, drawing, and collage, such as Miami native Evan Robarts, whose Rearrangements pattern embraces brushstrokes that are “transformed into a wave or water or a gust of wind.”

Nature is also emphasized in Falling Gingko, a series of abstract botanicals by Rhode Island painter and printmaker Michael Rich. Textile designer Gaspar Saldanha, the grandson of modernist muralist Paulo Werneck, produced Orquidea, a tropical design in four colorways that evokes his home in Rio de Janeiro.

Fellow Brazilian artist Eli Sudbrack—who along with Parisian Christophe Hamaide-Pierson makes up the duo Assume Vivid Astro Focus—departed from his signature digital imaginings to focus on First Draft, a pattern with a handmade sensibility.

Urban Planning by Fred Simon draws a fictional city grid reminiscent of his art that uses color pencils and oil pastels and is offered in three different colors.

With so many inspiring designs, the new collection is likely to generate the same problem many art collectors face—not enough wall space. kravet.com —MELISSA FELDMAN

MEL ANIE DUNEA

ORIGINAL DESIGNS BY SEVEN NOTEWORTHY ARTISTS

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Local Factor

MOLTENI TAPS BELGIAN

ARCHITECT VINCENT VAN DUYSEN TO CREATE WARM YET SLEEK SHOWROOMS ON OPPOSITE COASTS

F

or architect Vincent Van Duysen, the past three years have been nonstop and far-reaching. As the creative director for Italian furniture company Molteni Group, the Antwerp-based designer has helped reposition the 86-year-old brand by developing new showrooms in London, Seoul, and Dubai as well as most recently a Los Angeles location and a flagship in Miami.

In crafting these unique spaces, the architect chose to accentuate design details of each particular locale. “Los Angeles has a much more midcentury feel—it’s more horizontal, sleeker, and edgier,” says Van Duysen. “Miami is a little funkier, darker, and more tropical with a garden.”

Located on West Hollywood’s famed Robertson Boulevard,

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the over-7,600-square-foot West Coast showroom includes a dramatic suspended ceiling of black oak beams, with walls finished in plaster and travertine. A joint venture with DDC Group, the two-story location showcases three Dada kitchens, along with Gregor, a new modular seating system, complemented

by Molteni&C’s noteworthy walk-in closets and wardrobes.

Across the country, the flagship in Miami’s Design District made a splashy debut during Art Basel in Miami Beach. Spanning two levels and surrounded by local flora that peeks into light-dappled rooms, the environment keeps with Molteni’s signature soft palette and its traditional combination of travertine, walnut, and plaster. “We never aim for an artificial, soulless showroom where it’s only about showcasing the furniture,” says Van Duysen.

The architect’s symbiotic partnership with one of the few remaining Italian manufacturers that is still family-owned shows no sign of slowing down—there are more showrooms to come, including a new outpost in Paris. Van Duysen, who was tapped to be Molteni’s creative director in 2016, has also created new products for Molteni and several of its adjacent brands, such as kitchens for Dada and furniture for the office-forward company UniFor. “It’s all about embracing the beauty, the art of living, comfort, and well-being,” he says. molteni.it —MELISSA FELDMAN

COURTESY OF THE MOLTENI GROUP

Clockwise from top left: Belgian architect Vincent Van Duysen conceived Molteni's newest locations using a neutral palette and refined materials. The exteriors of the new Los Angeles (right) and Miami showrooms.

Alison Berger at her West Hollywood studio with one of her newest creations, the Medallion pendant, available at Holly Hunt.

Crystal Clear

LIGHTING DESIGNER ALISON BERGER INTRODUCES FOUR NEW RADIANT PIECES 68

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DOMINIQUE VORILLON

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o create her majestic lighting, designer Alison Berger has found inspiration in the romance of a downpour at night and the nostalgia of fireflies captured in a Mason jar. But for her newest collection, her motivations were decidedly more scientific, looking to Galileo’s study of the pendulum and the kinetic sculptures of George Rickey. Berger’s modus operandi of crafting unseen layers of history, philosophy, science, and spirituality connects all four of the pieces in the collection, which debuted at Holly Hunt showrooms this winter. Her Medallion pendant features interlocking circles that read as fairly linear when viewed from one direction and more curvaceous from another. The design of the Golden Teardrop was influenced by a 16th-century theory of how the eye sees as it responds to light in a process similar to the aperture workings of a camera.

No matter the inspiration, quality of light remains first and foremost for the Los Angeles–based glass artist, who apprenticed with Dale Chihuly and briefly worked in Frank Gehry’s office before opening her namesake glassworks in 1995. She even believes golden-amber light, which is a trademark of her lighting collections, has healing vibrations.

In recent years LEDs have dominated the industry, but Berger hasn’t traditionally been a fan. “I can’t bring a brass band to a chamber music concert,” she explains. She spent over two years testing different configurations of LEDs before realizing her goal of an LED that’s atmospheric, moody, and in line with her signature golden light and conceived two designs in the process.

The new Pendulum chandelier boasts hand-formed crystals, each weighing over six pounds, suspended via cloth-covered cords from minimal bronze armature.

Banding on each bulb radiates a striated effect akin to the threading detail on a fourth-century goblet and refracts the LED light in exactly the way Berger desired. The Body and Heart pendant is a deceptively minimalist design achieved using a complicated method of cold cutting the glass to form openings in the encasement. The solid-crystal heart houses an LED bulb inside. Berger describes the piece as speaking to the resilience of the human heart: “No matter what, it continues to shine.” alisonbergerglassworks.com, hollyhunt.com —RIMA SUQI

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Light Fantastic

TRANSFORM ANY SPACE

USING SHAPES AND SHINE PRODUCED BY JILL SIERACKI

Brooklyn-based Roll & Hill collaborates with innovators like John Hogan, who imagined Coax, a weightless collection of suspended tubes. rollandhill.com

German designer Konstantin Grcic’s Noctambule blown-glass vessels appear almost invisible by day but gleam with bright LED rings at night. flos.com

Handmade in New Orleans since 1945, Bevolo’s lanterns, like this copper Cotton Exchange design, are available in both gas and electric outdoor lighting. bevolo.com

Philadelphia glass artist John Pomp is known for conjuring ethereal pendants, like the two-tone, handblown Eclipse orbs. johnpomp.com

Dublin artist Niamh Barry’s standing light sculpture Underneath (2018) captures the strength of the human form in patinated bronze. maisongerard.com

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The tropical textures of Laura Kirar’s Filamento chandelier for Arteriors create a golden drum from an explosion of rattan. arteriorshome.com

CLOCKWISE FROM TOP LEFT: COURTESY OF RALPH PUCCI; COURTESY OF FLOS; COURTESY OF BEVOLO; COURTESY OF ARTERIORS; COURTESY OF MAISON GERARD; MARTIN CROOK; COURTESY OF ROLL & HILL

Hearkening to his jewelry practice, Hervé Van der Straeten’s Lustre Cristallin combines faceted shapes and rock crystal. ralphpucci.net

THOMAS LOOF, ARDENT (2007) AND BEAUTIFUL DRATS (2007) © DAMIEN HIRST AND SCIENCE LTD. ALL RIGHTS RESERVED / DACS, LONDON / ARS, NY 2019

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EXCEPTIONAL DESIGN AND

UNPARALLELED AMENITIES ARE JUST A FEW REASONS TO CHECK OUT NEW YORK HOTEL LIVING

A

team of trained professionals always there to anticipate your every need, five-star amenities mere steps from your door, and white-glove turndown service every night—such conveniences are hallmarks of a luxury vacation. However, for the small circle of people who own residences in New York’s most notable hotels, like the Plaza, the Carlyle, the Sherry-Netherland, and the Pierre, this is everyday life. “You walk in and people know your name,” says Douglas Elliman’s Lisa Simonsen, who has a $65 million listing at the Pierre.

“There’s a charming old-world feeling.”

Adding to the competition is Aman, the sleek hospitality brand known for its restorative resorts around the globe. This year, the group will debut its first New York location within the Crown Building, a 1921 French Renaissance–style gem

Right: A $65 million unit at the Pierre, listed with Douglas Elliman.

Above: The Waldorf Astoria in New York is undergoing a $1 billion renovation.

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FROM TOP: NOË & ASSOCIATES/THE BOUNDARY; COURTESY OF DOUGL AS ELLIMAN REAL ESTATE. OPPOSITE, FROM TOP: DENIS VL ASOV FOR SOTHEBY’S INTERNATIONAL REALT Y; COURTESY OF DENNISTON AND JEAN-MICHEL GATHY

Permanent Vacation

Left: This $4.5 million residence at the Carlyle is on the market with Sotheby’s.

Below: The spa pool at the Aman New York, designed by Denniston.

“Hotel residences give buyers a sense of stability, consistency, and a personalized level of service,” says Dan Tubb designed by Grand Central Terminal architects Whitney Warren and Charles Delevan Wetmore, on Manhattan’s famed Fifth Avenue. Renovated by Jean-Michel Gathy of Denniston, the firm responsible for resorts like the St. Regis Lhasa and Viceroy Snowmass, the property will include 83 guest rooms and 22 residences—plus a three-level spa, a subterranean jazz club, and a wraparound garden terrace with views of Central Park.

Then there’s the vaunted Waldorf Astoria, currently undergoing a restoration of over $1 billion; it will reopen in 2022. Above the hospitality floors, designer Jean-Louis Deniot has conceived 375 condominiums, which will hit the market in March with a starting price of $1.7 million for studio apartments. “In addition to over 50,000 square feet of amenities exclusive to residents, there’s a private porte cochere, which is essential to buyers at that level,” says Dan Tubb, senior director of sales. He also notes that each unit will feature a so-called concierge closet, where packages, room service, and laundry will be discreetly delivered.

Additionally, buyers are automatically granted “elite resident-owner status” within the entire Hilton network around the world, providing them with access to an exclusive concierge. “They travel quite a bit,” explains Tubb of the condominium’s target audience. “We find that hotel residences give perspective owners a sense of stability, consistency,

and a personalized level of service they wish could be incorporated into their daily lives when they return home.”

Of course, residents pay a premium for this array of built-in services, with monthly charges reaching as high as $21 per square foot. And it’s critical to read the fine print to know exactly which benefits are included in the fee. But that hasn’t seemed to put a damper on buyers’ desire to check in for good. —GEOFFREY MONTES

On Call

AS AN AVID COLLECTOR, ROBERT STILIN TAKES A CURATORIAL APPROACH TO A FAMILY-FRIENDLY PRODUCED BY JACQUELINE TERREBONNE

ROBERT STILIN Known for conjuring elegantly handsome interiors that are not too precious with just the right amount of patina and a real sense of coziness, Robert Stilin believes in hanging significant art without ever making it too important in the space. For instance, he imagines a Richard Prince canvas animating a family media room, where it can be appreciated and admired. “If you can own art at that level,” he explains, “you should embrace it and live with it. It shouldn’t be a showpiece.” robertstilin.com

“

I love the colors and the mood of this ‘Nurse’ painting by Richard Prince,” says Robert Stilin.“It’s sort of mysterious but also chic and slightly funny all at the same time.”

Artwork: Park Avenue Nurse (2002) by Richard Prince. Clockwise from top: Club armchair by Jacques Adnet; magenxxcentury.com. Rare five-door cabinet by Charlotte Perriand; phillips.com. Sintra Floral Saffron fabric by Jasper Furniture & Fabrics; michaelsmithinc.com. Circular coffee table by Pia Manu; magenxxcentury.com. Hypnos and Thanatos stool by Pucci de Rossi; galeriedowntown.com. Coque armchair by Philippe Hiquily; galerieyvesgastou.com.

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ARTWORK: COURTESY OF THE ARTIST AND GAGOSIAN. PORTRAIT: RICHARD PHIBBS. PRODUCTS, CLOCKWISE FROM TOP: COURTESY OF MAGEN H GALLERY; COURTESY OF PHILLIPS; COURTESY OF JASPER FURNITURE & FABRICS; COURTESY OF MAGEN H GALLERY; COURTESY OF L AFFANOUR GALERIE DOWNTOWN, PARIS; COURTESY OF GALERIE YVES GASTOU

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These virtuosos are pushing their fields to the edge with a remarkable mix of vision, passion, and stamina. From architecture to fashion, cuisine to photography, this group of phenoms represents what it means to blur boundaries and challenge perceptions today.

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Daniel Arsham “A lot of my work is about dislocating time,” says Daniel Arsham, whose multifaceted practice spans art, architecture, and fashion.

Last year, he was the talk of Design Miami/, thanks to a futuristic domestic environment he created for Friedman Benda (top right).

The idea sprang from the need to furnish his Long Island home, which was designed by modernist Norman Jaffe. (Architecture is a long-held passion for Arsham, who cofounded the innovative firm Snarkitecture in 2007.) Most recently, he launched a men’s capsule collection with Dior and installed a series of eroded, crystallized sculptures (right) at Perrotin’s Paris outpost, collaborating with a 200-year-old French molding atelier. Dated 1,000 years in the future, the artifacts celebrate time-honored craftsmanship and reveal a mystifying world to come. danielarsham.com —LUCY REES

Elizabeth de Portzamparc

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To bring a multidisciplinary approach to cultural projects, such as the muchacclaimed Musée de la Romanité in France, Brazilian-born architect Elizabeth de Portzamparc’s Paris firm employs urbanists, sociologists, and set designers. This past January, she introduced a collaboration with Lalique that includes a vase based on the museum’s undulating glass façade. “I always like working with shapes that sculpt the light and create airiness. For my collaboration with Lalique, I wanted to find the right balance between movement and reflections in order to create an impression of levitation and dematerialization. It’s a work of extreme precision and delicacy.” Upcoming is the Taichung Intelligence Operation Center in Taiwan. elizabethdeportzamparc.com —JACQUELINE TERREBONNE

PORTRAITS: THE COOKING L AB, LLC (2). FOOD: NATHAN MYHRVOLD/MODERNIST CUISINE GALLERY, LLC (2). OPPOSITE, CLOCKWISE FROM TOP: DANIEL KUKL A, COURTESY OF THE ARTIST AND FRIEDMAN BENDA; TANGUY BEURDELEY; SERGIO GRAZIA; KARINE FABY, COURTESY OF L ALIQUE SA AND ELIZABETH DE PORTZAMPARC; COURTESY OF L ALIQUE SA AND ELIZABETH DE PORTZAMPARC; JAMES L AW, COURTESY OF THE ARTIST AND FRIEDMAN BENDA

Nathan Myhrvold There’s a sense of fun and playfulness that runs through everything Nathan Myhrvold does—a sort of childhood wonderment. At age 9 he discovered cookbooks and made Thanksgiving dinner. The epic family feast was just the first of many triumphs: He started college at age 14, worked with Stephen Hawking, and eventually became Microsoft’s first chief technology officer. Since retiring from Microsoft at 40 to launch Intellectual Ventures, where he is CEO, he devotes as much time as possible to marrying the worlds of cuisine and science through incredible photography that he creates with cameras he’s custom-built using technology he developed.

His successful career in tech gave him the resources to try crazy food experiments and even construct his own state-of-the-art food lab in Seattle. His six volume Modernist Cuisine: The Art and Science of Cooking, which debuted in 2011, has become a must-read for the world’s greatest chefs. He has since launched his art career with food photography galleries in Las Vegas; La Jolla, California; Seattle; and New Orleans. nathanmyhrvold.com —J.T.

“Lots of people find food is an important part of their lives, and art should reflect the values and interests of the people who own it” Nathan Myhrvold

Jessica McCormack Diamonds and antiques go hand in hand for London-based jeweler Jessica McCormack, who is known for her vintageinspired creations with a contemporary edge. Her 19th-century townhouse features not only a workshop and design studio but also a gallery brimming with contemporary art (including two works by her biggest influence, Louise Bourgeois).

Design ethos: “I believe in the idea of a jewelry wardrobe.

Rarely should jewels for saved for black-tie.” Inspirations: The history and ecology of her native New Zealand, contemporary art, midcentury architecture, old books, or vintage advertising. “My father, who was an auctioneer, taught me to seek out and celebrate forgotten eras or creations that are often overlooked,” McCormack says. jessicamccormack.com —L.R.

After launching his cutting-edge design gallery, the Future Perfect, in Brooklyn 17 years ago, David Alhadeff made a name for himself nurturing promising talents like Lindsey Adelman and Jason Miller. The gallery opened a Manhattan space in 2009 and a West Coast outpost in 2013, but this past year has been his busiest. “A highlight was the opening of Casa Perfect New York,” he says of the dazzling West Village townhouse-cum-gallery filled with collectible wares. The five-story dwelling is an ideal setting for shows—like Matthew Day Jackson’s celestial-inspired furniture collection—and doubles as a crash pad for Alhadeff when he’s in town. The gallery also teamed up with DDG to furnish a model unit in its striking new Tribeca building.

Stay tuned for a new Casa Perfect Los Angeles. “It’s going to be huge!” thefutureperfect.com —GEOFFREY MONTES 80

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PHOTO CREDIT TK

David Alhadeff

HEATHER STEN. OPPOSITE, CLOCKWISE FROM FAR LEFT: COURTESY OF JESSICA M C CORMACK (3); CASEY MOORE; DOUGL AS FRIEDMAN, COURTESY OF THE FUTURE PERFECT

Anne Pasternak Since taking her post as director of the Brooklyn Museum in 2015, Anne Pasternak has aimed to “bring the past into conversation with the radical present.” To that end, the nearly 200-year-old institution has mounted exhibitions like “Climate in Crisis,” which explores climate change’s impact on indigenous people across the Americas. She’s also seen the museum break with ossified traditions and embrace all forms of art, including music, fashion, and design—from “David Bowie Is” in 2018 to “Studio 54: Night Magic,” opening March 13. “This is an explosive period of creativity, and our museum should be reflective of that reality.” Also making waves are programs such as a partnership with the Brooklyn district attorney’s office and the Center for Court Innovation that supports criminal justice reform by offering education in lieu of fines and jail time for low-level offenses.

“We’re constantly rethinking the traditional model and asking how a museum such as ours can have an impact on our community and larger social issues.” brooklynmuseum.org —JILL SIERACKI

“A museum should be a place of having a quiet spiritual encounter with an artwork, absolutely. But why shouldn’t it also be a place where you do yoga or salsa or just party?”

Anne Pasternak

Analisse Taft-Gersten’s ALT for Living New York and Los Angeles showrooms are the go-to resources among top interior designers looking for the subtly luxurious, such as Shawn Henderson, Robert Couturier, and Drew McGukin. Taft-Gersten pushes the envelope by stocking over 20 of her own fabrics, and she brings to the forefront fresh brands like artisanal rug company Shiir

by Chicago design firm Soucie Horner, Rule of Three wallpapers, and Laine + Alliage textiles. Plus, her on-site New York café, A Little Taste, offers cappuccinos brewed with her very own signature roast. Color story: “I have a particular palette that I believe in and our clients follow us for. I look for things that have an undertone of earth, texture, grit, and maybe a little bit of dirt.” Up next: “We’re focusing on a new furniture line with Jouffre and have plans to sell our own throws and pillows in other retailers. Also, we’re looking at doing more hospitality— travel and food are my passions.” altforliving.com —J.T.

Laila Gohar “I have a hard time labeling what I do since it merges different worlds,” says Laila Gohar, the Egyptian-born, New York– based creative whose practice exists somewhere between fine art and cuisine.

She is known for her highly sensory, conceptual food installations, like the mountain of 5,000 marshmallows she sculpted for Tiffany & Co. In January, she caught the design world’s attention with Loaf, a trompe l’oeil armchair (right) produced in collaboration with Sam Stewart for the opening of “Comfort,” an exhibition curated by her husband, designer Omar Sosa, at Friedman Benda. “What was most interesting to me was to see how children interacted with the work,” says Gohar of the chair that was made of brioche and deconstructed piece by piece. “Food feels like a language I can communicate with.” lailagohar.com —MARK ROSEN

CLOCKWISE FROM TOP: SAM FROST STUDIO; BRIAN W. FERRY; PAUL QUITORIANO. OPPOSITE, CLOCKWISE FROM TOP LEFT: COURTESY OF SIMONE ROCHA; VICTOR VIRGILE/GETT Y IMAGES (2); COURTESY OF ROYAL MANSOUR (2)

Analisse Taft-Gersten

Simone Rocha In the hands of many other designers, the layered ruffles, puffy sleeves, and floral embroideries found in Simone Rocha’s spring 2020 collection could appear cloyingly sweet. But culled from the imagination of the rising-star creative, those traditional elements encapsulate a feminist power that has attracted fashion-forward stars like Chloë Grace Moretz and Rihanna. For her namesake line, Rocha finds inspiration in museums and galleries. “Roni Horn, Louise Bourgeois, Francis Bacon, Lucian Freud—there is a weight and a pull for me into their work,” says Rocha, who was invited by Hauser & Wirth to create a limited-edition series of earrings drawn from Bourgeois’s Spiral Woman and 1995 Untitled sculptures. Additionally, she crafts a line of furnishings, and her ateliers in London, New York, and Hong Kong are filled with a masterful mix displayed in a gallery-like setting. simonerocha.com —J.S.

“My collections stem from different emotions, thoughts, stories, inspirations, and it can sometimes translate beyond clothes” Simone Rocha

Massimiliano Alajmo It’s not just any talent that could make Morocco’s Royal Mansour, one of the most opulent resorts on the planet, even more decadent. But that’s exactly what culinary wunderkind Massimiliano Alajmo did when its newest restaurant, Sesamo, debuted in December. There, Alajmo, who at age 28 became the youngest chef to be awarded three Michelin stars, sources from the hotel’s elaborate grounds, including a newly introduced vegetable garden. “Our cuisine is inevitably based on all of our past experiences,” says Alajmo, a fifthgeneration restaurateur who trained under Michel Guérard before joining his parents and brother at the family’s Le Calandre, which is on the list of the 50 World’s Best Restaurants. His inspiration: “The ingredients themselves. I love to experiment with seemingly strange pairings or use certain preparations in unconventional ways.” On receiving three Michelin stars: “The day after we received the news, I immediately wanted to change every detail in the kitchen.

It made us want to continue growing.” royalmansour.com —J.S. GALERIEMAGA ZINE.COM

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Martin Brudnizki For Martin Brudnizki, life is a party. Or at least, the deeply evocative, wildly imaginative interiors he devises are the perfect setting for one. His namesake design studio is renowned for its infinite creativity when it comes to conjuring places to see and be seen like Annabel’s in London and Le Chardenoux in Paris (left).

Inspiration: “It comes from a sense of frivolous knowledge and an interest in history and people. The inspiration for one new restaurant project was Cecil Beaton’s bedroom and a Victorian circus.” Personal tastes: “I’m doing up a place for myself in the country, and it’s very grand. But it’s also very playful and colorful. I have to have layers of art, objects, and beautiful materials. For me to sit in that is calming. A white box I can’t do—I want to be enriched.” Up next: Brudnizki is designing Amos on Bleecker, his fantasy of a West Village restaurant, and chef Andrew Carmellini’s restaurants at the South Street Seaport and at the Fifth, a new hotel. mbds.com —J.T. 84

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FROM TOP: COURTESY OF L AURIE WEITZNER (3); COURTESY OF JAMES MCDONALD; COURTESY OF OLI KEARON. OPPOSITE, FROM TOP: COURTESY OF MARY LENNOX; REBECCA CRAWFORD

When it comes to innovative design projects, Lori Weitzner has certainly ticked all of the boxes.

Wall coverings and fabric for Pollack and Weitzner, passementerie with Samuel & Sons, stone for Artistic Tile, and rugs for Perennials? Check. “Our designs can traditionalize a modern home or modernize a traditional home,” she says of her artistic style. Creative process: “We spend time painting, folding paper, and experimenting, and some of that goes nowhere. But some creations we bring to mills and craftsmen, and they transform them into something practical.”

Latest endeavors: Weitzner collaborated with painter Lisa Hunt for a collection of graphic wallpapers, and she recently enlisted artisans in India to create a jewelry line of sophisticated beaded bracelets, necklaces, and earrings. weitznerlimited.com —J.T.

PHOTO CREDIT TK

Lori Weitzner

“I need to be selective about the flower varieties that can be manipulated.

I need to be sensitive to the space and how I can create without having to impact the existing architecture” Ruby Barber

Ruby Barber At her Berlin flower company, Mary Lennox, Ruby Barber creates otherworldly arrangements that are more installation art than bouquets. Her cloudlike clusters of textural plants have appeared at the Saut Hermès au Grand Palais and Salone del Mobile; in advertising campaigns for Gucci, Rimowa, and Versace; and above Zoë Kravitz’s recent wedding reception. “It’s almost rare that I arrange flowers in a vase of water anymore,” says Barber, who was raised in a creative family—her parents own Sarah Cottier Gallery, a contemporary art space in Sydney. Additionally, her father, Ashley Barber, is a still life photographer and a number of family members are architects. “They have a particularly good eye for color, texture, and form, and I hope that’s something I’ve adopted from them.” Design process: “I like to keep colors and varieties blocked together. After I’m finished, I look at my arrangements through a camera and make edits. It’s always surprising how different it looks through the lens compared to real life.” marylennox.de —J.S.

Taking the helm of a family business always comes with a heavy mantle, but in the case of Valentin Goux, assuming leadership of the French design and fabrication house Rinck comes with a history dating to Napoléon III. This year, he’ll take the reins and has big plans for the house, starting with the launch of a limited-edition furniture collection, its first in 50 years. He’s also recently executed projects such as paneling for L’Avenue in Saks Fifth Avenue’s flagship for Philippe Starck (below). And when Versailles needs repairs, Rinck gets the call. Sense of history: “Next year will mark Rinck’s 180th anniversary. We still sketch everything and keep a record of all the drawings.” Higher calling: “We are designing the new altar for Saint-Eustache church in Paris. The altar, while of contemporary design, will incorporate an 18th-century brocade made of pearl embroidery.” rinck.fr —J.T.

“Design is never a break in the past—just an evolution” Valentin Goux

Firooz Zahedi Look at Me, Firooz Zahedi’s forthcoming book, catalogues four decades of the Iranian-born photographer’s most arresting celebrity portraits—a career that was launched after a chance meeting with Andy Warhol led to an assignment to photograph Washington Post reporter Sally Quinn for Interview magazine. “The stories behind each picture will be told through journal entries and letters I received from the subjects,” he says. His famed image of Jennifer Lopez is included in the exhibition “Vanity Fair: Hollywood Calling” at the Annenberg Space for Photography, while his portraits of Elizabeth Taylor, captured during a tour of Iran in 1976, are in the permanent collection of the Los Angeles County Museum of Art. Recently, Zahedi expanded his repertoire to include interiors, many of which are featured in his book City of Angels: Houses and Gardens of L.A., and made his curatorial debut with “Art in Architecture,” on view at the Bunker in West Palm Beach, Florida. firoozzahedi.com —JENNIFER ASH RUDICK 86

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FROM TOP: GASPARD HERMACH/RINCK; AUGUSTIN DE VALENCE/RINCK; JUSTIN BRIDGES FOR SAKS FIFTH AVENUE; DARIAN ZAHEDI. OPPOSITE, FROM TOP: AMY LOMBARD; COURTESY OF L ASVIT (2)

Valentin Goux

Leon Jakimič When Leon Jakimič launched his glassware company, Lasvit, in 2007, his goals were nothing short of epic: “I wanted Lasvit to be the most inspirational glassmaker in the world,” he says. With installations like Neurons, a lighting sculpture that responds to music at Prince Mahidol Hall in Thailand, and The Flash, a zippy LED design at the Equinox Hotel, Hudson Yards, in New York (below), conceived alongside Rockwell Group, Lasvit is exceeding all expectations. The company also collaborates with some of the biggest names in design, including Kengo Kuma and André Fu, and recently unveiled a striking new headquarters in Nový Bor, Czech Republic. Next, Lasvit will debut a performance piece, The Nature of Glass, during Milan Design Week in April, which will incorporate the company’s craftsmen and new technologies. lasvit.com —J.S.

Raquel Cayre Few people have parlayed a viral Instagram account into a successful business venture as artfully as Raquel Cayre, the New York furniture advisor who founded the popular handle @EttoreSottsass. The social media feed has racked up an impressive 121,000 followers by showcasing the revolutionary design spirit of Italy’s Memphis Milano movement. Two years ago, she hosted Raquel’s Dream House, a pop-up show that filled a four-story SoHo townhouse with collectible pieces based on her colorful feed. But it’s Cayre’s recent turn as curator of the “Chairs Beyond Right & Wrong” exhibition at R & Company that has the design world eagerly awaiting her next big move. Unlikely start: “I went to college to play tennis and study physical therapy. In my third year I realized I didn’t want to be a therapist, so I took some time off and went to Europe with my mom, who has always been into vintage furniture. I discovered Sottsass at a Paris flea market. I found an Ultrafragola mirror and purchased it as soon as I got my own apartment.” raquelcayre.com —G.M.

Pamela Shamshiri “I’ve always been attracted to artists’ spaces because I gravitate toward interiors that are almost portraits of their inhabitants,” says architect Pamela Shamshiri, whose California design firm recently crafted the sculptural L.A. studio of jeweler Sonia Boyajian, which was inspired by Georgia O’Keeffe’s Santa Fe home and Max Factor’s makeup rooms of the 1930s.

Sustainable practices: For Maison de la Luz, a luxury boutique hotel in New Orleans (below), existing marble was restored; tile that had to be ripped out was turned into decorative pots.

Up next: A new hotel project in Ojai, California, and a series of private residences in L.A., as well as a renovation of New York’s majestic Rainbow Room. studioshamshiri.com —J.S.

Francis Kéré The rugged foothills of the Rocky Mountains might seem like a surprising place to find a shelter created by renowned architect Francis Kéré, a Burkina Faso native who is based in Berlin. But last summer the trailblazing talent christened his latest work, Xylem (above), at Montana’s Tippet Rise Art Center, a 12,000-acre ranch and sculpture park. Inspired by the gathering huts of his East African homeland—where he has completed a host of schools, housing developments, and medical centers—Kéré conceived the meditative pavilion by bundling locally sourced pine and carving the logs into sinuous forms. “One of the biggest challenges was to build a humble structure that holds its own and even adds to the monumental landscape,” he says. This year marks the 15th anniversary of Kéré Architecture, and in the pipeline are big-ticket projects like the national assembly in Benin, a Goethe Institute in Senegal, and a Waldorf school in Germany. kere-architecture.com —G.M.

CLOCKWISE FROM TOP: IWAN BAAN, COURTESY OF TIPPET RISE ART CENTER; ERIK PETERSEN, COURTESY OF TIPPET RISE ART CENTER; STEPHEN KENT JOHNSON; CHANTAL ANDERSON. OPPOSITE: COURTESY OF FENG.J (4)

Feng

“My inspiration can come from anywhere: travel, nature, cinema, books.

I liken my process to painting with gemstones”

Shanghai designer Feng creates dazzling, artful bijoux that masterfully blend ancient Chinese tradition with European craftsmanship, including a setting that makes the stones appear to float. One of her signature Ginkgo brooches (far right), for instance, is sprinkled with an impressionistic array of double-rose-cut yellow sapphires, chrysoberyls, and white diamonds, set in a shape that recalls the flora of her hometown. Creating just two collections per year for her brand, Feng.J, she first sketches out the designs before carving wax molds. The major pieces are then finished in an atelier on the Place Vendôme in Paris and can take more than a year to complete. In addition to launching a contemporary art-inspired jewelry line (including this lacquer cuff with rubies and spinels, below), she plans to open a workshop in Shenzhen, China, that would employ artisans from Paris to teach French techniques to local talents. feng-j.com —L.R.

Feng

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Amber Cowan

Michael Rakowitz “I have described my work as something that is located at the intersection of problem-solving and troublemaking,” says Iraqi-American artist Michael Rakowitz, who seeks to incite social change with his poignant pieces. Among his early defining works is paraSITE (1997), a simple but powerful idea in which the artist designed and distributed inflatable dwellings for homeless people.

In the years following the Iraq War, Rakowitz has been on a mission to reproduce several thousand artifacts that have been stolen or destroyed from important museums and cultural sites across Iraq.

He has so far reconstructed 900 fragments, statues, friezes, and votives to scale, adorning them in vibrant packaging from Middle Eastern commodities and print media in the ongoing series “The Invisible Enemy Should Not Exist” (left). “It didn’t matter if you were for or against the war; it was a tragedy for humanity,” says Rakowitz, who recently won the Nasher Prize. “It is my life’s work, and it will outlive me and my studio.” michaelrakowitz.com —L.R.

FROM TOP: CONSTANCE MENSH (2); COURTESY OF THE ARTIST (2). OPPOSITE, FROM TOP: MARJORIE SALVATERRA, COURTESY OF RALPH PUCCI; FELIPE RIBON

“Glass is definitely not the most forgiving material,” says Philadelphia sculptor Amber Cowan, who creates elaborate monochromatic works from repurposed scraps of American pressed glass that she sources from donations, thrift stores, and inoperative factories. Her process changes with each piece—sometimes it’s a particular color that strikes her; occasionally, she dives right into flame-working the material, heating the glass in a kiln before melting and shaping it with a torch and bonsai shears. A recent finalist for the New York Museum of Arts and Design’s prestigious Burke Prize, she will next present her wondrous creations in a summer show at the Sandwich Glass Museum in Massachusetts, followed by a group exhibition at R & Company in the fall. “My work looks very fragile, but the construction of it is strong,” she says. “Luckily, if one small component breaks, I can just throw it back in the kiln and re-form it.” ambercowan.com —ASHLEY PETRAS

Marjorie Salvaterra Mysterious stories unfold in the striking photographs of Marjorie Salvaterra.

Whether it’s women frolicking in the surf or laughing in their lingerie, it’s hard not to wonder what happened just before and what will happen next.

“True originality is rare,” says Ralph Pucci, who will host an exhibition of her snapshots in his L.A. gallery through April 1. “Marjorie’s work is cinematic and wacky but also serious.” Latest work: “I was on LinkedIn and saw a quote: ‘If you don’t like where you are, move. You are not a tree,’” Salvaterra says.

“That was the first in the new series, and each work is based on a piece of advice. I love to give advice, and my kids and husband are tired of hearing it.” marjoriesalvaterra.com, ralphpucci.net —J.T.

“I find inspiration in my life.

If it comes from my life, then it’s unique to me and it’s relatable” Marjorie Salvaterra

Mathieu Lehanneur Inspired by everything from ocean currents to flickering flames and even an amusement park in Coney Island, Mathieu Lehanneur has attracted collaborations with big-name brands like Cartier, Sony, and Veuve Clicquot. The French visionary is now showcasing his own limited-edition furnishings, lamps, and art with a new immersive project. Dubbed Pied-à-Terre, the elegant display comprises two areas of a New York residential building (32 East 1st Street), with a showroom at street level featuring, among other things, his 50 Seas collection of ceramic plates. Upstairs, the penthouse is brimming with his coveted pieces like his Inverted Gravity series, which is made from exquisite natural stone precariously supported by handblown glass vessels. Coming up next is a renovation of an old farmhouse in the French Alps. “It is a raw jewel in front of the highest mountain peaks in Europe,” he says. “I am about to turn it into a James Bond–like shelter.” mathieulehanneur.fr —G.M.

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For many, it would be challenging to thrive in the shadow of a superstar father, but Cedric Vongerichten has absolutely flourished. After 24 years of cooking, he has forged his own path with boundless energy and unique flavors. He helms the kitchens at Perry Street and Wayan in New York, plus several restaurants abroad. His mission is to make Indonesian flavors as well-known as Thai and Vietnamese. Family meal: “My father, Jean-Georges, didn’t want me to follow in his footsteps. My rebellion was to stay in the kitchen.” Frequent-flier: “My wife, Ochi, and I go out of our way to try restaurants. We’re doing an event in the Maldives, so we’re stopping in Shanghai for 22 hours to try soup dumplings and suckling pig.” wayan-nyc.com —J.T.

Katie Stout Katie Stout’s intentionally naïve, kitschy-pop style is an explosion of exuberance. Seven years out of the Rhode Island School of Design, where she studied furniture design, the young Brooklyn-based talent has been creating a stir with her distinctive, playful works that belie their subversive agenda, like her coveted series of ceramic “Shady Ladies” lamps. Last year, she crafted an edgy ready-to-wear collection for boutique concept store Forty Five Ten. “The end game is that I want to create things that make people light up,” says Stout, whose solo presentation at Nina Johnson in Miami, “Sour Tasting Liquid,” presents a brand-new body of work celebrating handicrafts. katiestout.com —L.R.

“The concept of Wayan was about respecting the Indonesian cuisine and culture but also reinventing the dishes I had there” Cedric Vongerichten

FROM TOP: NOAH FECKS (2); COURTESY OF R & COMPANY (2). OPPOSITE, CLOCKWISE FROM TOP: HENRY ROY; COURTESY OF ANICKA YI STUDIO; GIOVANNI MALGARINI; PAOLO PETRIGNANI

Cedric Vongerichten

Barnabé Fillion

Achille Salvagni From the largest estate in Mumbai to a luxuriously compact yacht, designer and architect Achille Salvagni’s creativity knows no bounds. Even his debut monograph, which Rizzoli released this past fall, sits outside the box. “I much more prefer books where I am surprised by the flow of the arguments and the images,” says Salvagni, who grouped award-winning projects by themes such as audacity, harmony, and heritage. This spring, Salvagni will debut new pieces at PAD Paris, his first time presenting at the vaunted art and design fair. Simultaneously, he will open his new London gallery, which will feature his latest experiments with Murano glass and stained parchment.

Spring will also bring to fruition many of his long-standing interiors projects, including a total overhaul of a Manhattan townhouse, a 135-foot yacht for an American tycoon, and a 40,000-square-foot residence in Mumbai. “I have this architecture DNA that cannot allow me just to be superficial.” achillesalvagni.com —J.S.

The nose behind some of the most revered cult fragrances, like Aesop’s Marrakech and Le Labo Geranium 30, the master Paris perfumer Barnabé Fillion draws on his background in photography to craft unique sensory experiences. It all starts with a texture he envisions. “The first impressions of a scent usually come from a visual aesthetic,” says Fillion, who fell in love with the olfactory world after learning from mentors Victoire Tobin-Dauge and Christine Nagel. Fillion recently teamed up with New York artist Anicka Yi to create a line of custom fragrances for Dover Street Market (below). The three scents challenge preconceived notions of femininity and attraction. “Working with Anicka has been an amazing dialogue,” says Fillion. “It nourished me creatively and gave me a new intellectual perspective to artistic expression.” Watch for his own studio brand, launching this year. barnabefillion.com —L.R.

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Alexander & Andreas Diaz Andersson

FROM TOP: COURTESY OF ATRA (2).OPPOSITE, FROM TOP: TRAVYS OWEN; RICH MNISI; COURTESY OF STUDIOMDA (2)

Letting the materials talk is at the heart of the diverse practice of Swedish-born brothers Alexander and Andreas Diaz Andersson, who founded the industrial-design-meets-art firm Atra. In their Mexico City studio, artists, designers, and architects work alongside metalworkers, upholsterers, and woodworkers, infusing the traditional handicrafts of Mexico with their Scandinavian background. Alexander takes the lead on sculptural furniture, like the rounded Baby Beluga love seat, while Andreas focuses on geometry-based artworks that play with the idea of volume. Installed together this past winter at Design Miami/, the pieces created quite the buzz, although it’s Alexander who does most of the talking. Homegrown: “For me, hygge is what we always try to do. There’s also a level of simplicity. Things have to be usable and show character and reflect personality.”

Up next: “Right now, we’re creating a mural in Cabo, and we’re making a multidimensional piece for a residence in Mexico City, mixing painting and sculpture.” atraform.com —J.T.

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Thebe Magugu Thebe Magugu is igniting an exciting new energy around South African design. His namesake women’s wear label, which was founded in 2016, is recognized for its easy-to-wear pieces, structured dresses, sharp tailoring, and bold use of color. This past fall, the 26-year-old was the first African designer to win the coveted LVMH Prize, a $330,000 award for young talent. His designs are conceived as a political statement and a challenge to the outdated Eurocentric view of his country. “I want my brand to feel like a resource to not only the women who wear it but the world at large, where they can learn of South Africa’s history, people, and events,” he says. His spring 2020 collection (right) was inspired by the Black Sash, a group of 1950s women who used nonviolent methods of protest against apartheid. “I really admire their bravery—to be able to go against the grain when the grain was the entire country.” thebemagugu.com —L.R.

Markus Dochantschi By proving himself flexible within a framework as rigid as a booth at Art Basel in Miami Beach, StudioMDA founder Markus Dochantschi has quickly became the art world’s go-to architect. “There are certain things I never compromise on: maximizing daylight and a good flow,” he says of the spaces he’s crafted for blue-chip clients like Marianne Boesky, Kasmin, and the recently opened Faurschou Foundation in Brooklyn (left). Up next: Dochantschi won a competition for a groundbreaking new Phillips headquarters, which opens in New York this summer. This year also sees the firm completing a university center in Germany as well as a new Tribeca space for the gallery Luhring Augustine. “Ninety percent of what we do is problem-solving,” he says. “An architect is a translator who needs to think outside the box.” studiomda.com —G.M.

Elena Soboleva

“Online and offline are no longer finite and distinct entities—instead, the future is hybrid” Elena Soboleva

Johnny Swing

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They say money is the root of all evil, but for Johnny Swing, it’s the centerpiece of the striking furniture he creates by attaching thousands of welded nickels and other coins onto patinated-metal frames. Thanks to his masterful craftsmanship, the sensuous organic forms appear to float weightlessly—and are surprisingly comfortable to sit in. “When I started in the 1990s, I used discarded pennies. I collect and use all sorts of coins now,” says Swing. “I like the fact that from a distance you really just focus on the shape of my work, but as you get closer, you get more definition and tighter focus points.” In May, his New York gallery, R & Company, will feature a group of seven new pieces that can interlock to form an egg shape or exist individually as chairs, benches, and stools. johnnyswing.com —L.R.

CLOCKWISE FROM TOP: JASON SCHMIDT,COURTESY OF DAVID ZWIRNER; COURTESY OF R & COMPANY (2). OPPOSITE, FROM TOP:COURTESY OF JAY SAE JUNG OH (2); NICOLE FRANZEN, COURTESY OF GACHOT; DAVID URBANKE, COURTESY OF GACHOT

In recent years, art collecting has undergone a radical shift, thanks to the rise of virtual selling exhibitions. And Elena Soboleva, director of online sales at David Zwirner gallery, is leading the charge. More than just a website, the viewing room allows clients the opportunity to experience and buy from thoughtfully curated online exhibitions that coincide with major art fairs and traditional gallery shows. During David Zwirner’s debut exhibition of Josh Smith’s paintings last year, for example, the artist created a new series of monotypes that were made specifically for the platform. “The idea that what we are doing will set the course for where the industry goes is very exciting,” she says. “I always go by the mantra, the best way to predict the future is to create it.” davidzwirner.com —L.R.

Jay Sae Jung Oh

It’s been a whirlwind year for Jay Sae Jung Oh, the Seattle designer known for turning literal trash into treasure. Her gallery, New York’s Salon 94, brought a lawn chair from her “Savage” series (left) of sustainable furnishings to Design Miami/, and the piece won best in show at the fair’s first-ever juried awards.

Additionally, Oh launched the elevated pet accessories brand Boo Oh. Master class: “I worked for Gaetano Pesce; he was always in the studio, even on weekends, and was the last person to leave at night. He made me realize that if you want to survive as an independent designer, you need to be passionate.” Up next: “I’m launching a new line with Boo Oh in the spring. I’m also working on little objects for a big group show at R & Company, which will feature 50 of the original artists from the Smithsonian’s 1969 show ‘Objects: USA’ paired with 50 contemporary artists.” saejungoh.com, boo-oh.com —G.M.

John & Christine Gachot Sought after for their holistic approach to creating timeless and sophisticated spaces, Gachot Studios cofounders John and Christine Gachot recently unveiled the first-ever Shinola Hotel in Detroit, a 129-room property comprising a trio of historic downtown buildings. Beautiful but timeworn, the existing architecture “was not so much a challenge but a gift,” says Christine. “We weren’t just building a hotel; we were making a community.” An even larger community awaits on the Caribbean island of Barbuda, where the couple have been tapped to collaborate on a 600-acre beachfront residential complex. In March, the Gachots will launch a line of hardware with Waterworks inspired by two unlikely historic figures: Aesthetic movement pioneer Christopher Dresser and prolific industrial designer Dieter Rams. “These two men lived a century apart but had the same drive,” explains John. “That was the energy I was trying to channel.” gachotstudios.com —G.M.

new york nomad 102 madison avenue new york, ny 10016 new york townhouse 34 east 61st street new york, ny 10065 nyc@liaigre.us miami showroom 137 ne 40th street miami, fl 33137 mia@liaigre.us liaigre.com

ROGER DAVIES

Architectural designer Lori Kanter Tritsch, wearing jewelry

by Martin Katz, was inspired by the color and movement of a Roberto Burle Marx garden for this indoor-outdoor mosaic at her modernist home in Los Angeles.

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INSIDE OUT Conceived in collaboration with Kovac Design Studio, the Los Angeles home of Lori Kanter Tritsch and her partner, William P. Lauder, features sliding glass walls that open up to spectacular views. The custom-designed terrazzo terrace is furnished with a sectional sofa by Holly Hunt and a B&B Italia dining table surrounded by Summit director’s chairs. Inside, a group of Robert Indiana screen prints makes a splash. For details see Sources.

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In the modernist Mecca of Trousdale Estates in Beverly Hills, architectural designer Lori Kanter Tritsch and beauty executive William P. Lauder devise a dazzling 21st-century take on Southern California indoor-outdoor living

BY JENNIFER ASH RUDICK

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P H O T O G R A P H Y B Y R O G E R D AV I E S

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ack in her student days, New York City architectural designer Lori Kanter Tritsch felt an aesthetic kinship with West Coast modernists like Richard Neutra and John Lautner. So when she and her partner, William P. Lauder, executive chairman of the Estée Lauder Companies, began searching for a base in Los Angeles, she envisioned a home with a modernist spirit and a distinct sense of place. “William has always lived in very classical houses, and that’s his comfort zone,” she says. “But I thought, When we’re in L.A., let’s be in L.A.” Arguably no place is more emblematic of postwar Southern California’s ideal of indoor-outdoor living than Trousdale Estates, the Beverly Hills neighborhood created in 1954, when 410 acres adjacent to the Greystone Mansion were sold to developer Paul Trousdale. Within a few years, Trousdale would boast one of the city’s largest collections of modern houses, designed by such luminaries as Wallace Neff, Paul R. Williams, A. Quincy Jones, and Lloyd Wright, among others. Early celebrity residents included Elvis Presley, Frank

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Sinatra, and Dean Martin. Swifty Lazar’s famous Oscar party began life as a smallish gathering at his Carla Ridge house.

“To be in a community where people genuinely care about architecture is so fantastic,” says Kanter Tritsch, whose firm, Graph Design, focuses on high-end residential projects and commercial interiors.

The house she and Lauder acquired needed significant renovations, prompting them to clear the property and start from scratch. To build a new home worthy of the setting, Above: Walls of breeze-block lining Kanter Tritsch collaborated with the walkway to the local architecture firm Kovac home’s entrance Design Studio, while architects are embedded with LED lights, creating Scott Anderson and John Slagle an enchanting oversaw construction. nighttime glow.

Opposite: Kanter It proved to be an ideal Tritsch designed partnership. “Lori brought the entry area’s indoor-outdoor mosaic, invaluable insight, not just about its vibrant swirls the property and about what she reflected in a pool planted with green taro. and William were looking for, but

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A Gene Davis abstraction overlooks the living room sitting area, where serpentine sofas, glass-top cocktails tables, and low lounge chairs, all by Vladimir Kagan, are joined

by Holly Hunt amber-glass side tables atop a bespoke Patterson Flynn Martin rug.

Opposite: Kanter Tritsch stands in the dining area, which is furnished with leather-upholstered Holly Hunt chairs; she wears a jacket and dress by Hermès with earrings and a ring by Martin Katz.

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with her training we could exchange ideas in schematic phase, where most clients might require a 3-D rendering,” says Michael Kovac.

Their concept was essentially an exuberant update of Trousdale’s signature single-story dwellings with flat-line roofs, deep overhangs, and wide expanses of glass that open up vistas and blur the lines between indoors and out.

Kanter Tritsch also craved a home that would be as inviting as it was glamorous. “Modern houses can be cold, and I like houses to have heart and soul,” she says.

To reach the home’s front door one ascends a corridor of wide steps enclosed by dazzling walls of breeze-block.

The interior of each block is painted gold to create visual interest during the day, and embedded LED lights transform the walls into glowing lanterns at night. At the all-glass entrance, which offers views straight through the house, visitors are greeted by a small pool with green taro → GALERIEMAGA ZINE.COM

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Clockwise from top: The expansive kitchen is outfitted with Bulthaup cabinetry and synthetic stone countertops, a Gaggenau range, and KWC sink fittings.

The minimalist master bath features a shower with Fantini fixtures and a soaking tub, both in white terrazzo. In the breakfast area, a curvy Ted Abramczyk pendant hangs above a Julian Chichester table and Eero Saarinen chairs by Knoll.

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“William has always lived in very classical houses, and that’s his comfort zone,” says Lori Kanter Tritsch. “But I thought, When we’re in L.A., let’s be in L.A.”

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plants, while a vibrant mosaic of swirling organic forms designed by Kanter Tritsch stretches along one wall. “It has all of the color and movement of a Burle Marx garden, which was my inspiration,” she says.

Inside, the cinematic views—a seemingly endless panorama of L.A. and the ocean beyond—take over. White terrazzo underfoot extends to the pool area, while sliding glass walls pocket away, turning the entire house into a breezy, sun-dappled pavilion. It’s an ideal space for entertaining, which the couple often does when Lauder is in town on business. The public areas, at the center, are flanked by the spacious master suite and sitting room on one side and the screening room and three guest bedrooms—each with its own small garden—opposite.

Tempering the architecture’s crisp, rectilinear volumes are furnishings such as curvy Vladimir Kagan sofas and Ted Abramczyk pendants, while the living room’s creamy white rug is trimmed with graceful interlocking golden circles.

Quietly luxurious seating by Holly Hunt and Cassina ensures comfort throughout.

“Our home has a modern aesthetic and is a terrific place for us to entertain and share time with family,” Lauder says.

Also adding warmth are walls clad in linen, leather, sandstone, or oak, the latter used for a living room gallery wall outfitted with picture rails, so the couple could hang artwork without using a single nail. Lauder inherited his appreciation for art from his father, Leonard, whose legendary collection of Cubist works has been promised to the Metropolitan Museum of Art. (Philanthropy, of course, also runs in the family, and among the initiatives supported

by Lauder and Kanter Tritsch is the annual $50,000 Kanter Tritsch Prize in Energy and Architectural Innovation at the University of Pennsylvania, where they both studied.)

Thanks in part to Kanter Tritsch’s influence, Lauder’s art tastes run more to postwar contemporary than his father’s.

“William and I decided early on that we would try to keep mostly modern in this house,” she says. Together they’ve acquired pieces by Richard Misrach, James Turrell, Robert Indiana, Robert Rauschenberg, and Gene Davis. “When I found the works by Rauschenberg and Davis, I didn’t realize how complementary they would be,” says Kanter Tritsch, who, in turn, adopted some of those colors for the entryway mosaic.

In the end, Lauder fell under the spell of modernist living.

“William would never have done anything like this,” says Kanter Tritsch, “but it really opened his mind.”

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A monumental seascape photograph

by Richard Misrach presides over the master bedroom. The curtains that shade the floor-to-ceiling windows are by Holly Hunt, as is the room’s slipper chair. The custom-designed bed is topped with a Hästens mattress.

Outside, the chaise longues and side table are by Dedon.

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With a major midcareer survey exhibition traveling the country, Julie Mehretu is painting with more urgency than ever, her complexly layered abstractions projecting a new, disquieting intensity

BY STEPHEN WALLIS PHOTOGRAPHY BY HEATHER STEN

Julie Mehretu stands in her studio, in New York City’s Chelsea neighborhood, with paintings in various states of progress. Her midcareer survey, featuring more than 60 works from 1996 to the present, closes in stages at the Los Angeles County Museum of Art, with a portion running through March 22 and the remainder through May 17. The show will be on view at the Whitney Museum of American Art from June 26 to September 20.

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Mehretu, who will also have a show of her latest paintings at the Marian Goodman Gallery in New York in the fall, is seated in front of a work in its early stages. She wears bracelets and a ring by Cartier with Michael Kors shoes.

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photographs onto canvas. Selected from her archive of news photos of conflicts, protests, and environmental disasters, these images—distorted and obscured beyond recognition—serve hen artist Julie Mehretu broke as a first layer that the artist repeatedly builds upon using an out in a big way in the early airbrush, ink, screen-printing, and hand-painting.

2000s, curators and collectors Mehretu’s foundational imagery, whether it’s maps and avidly embraced her dynamic, buildings or photos of current events, has always referenced occasionally immense complex and sometimes ugly histories. Her celebrated paintings in which maps and 23-by-80-foot Mural (2009), created for the lobby of the architectural drawings were Goldman Sachs building in Lower Manhattan, is a tour de overlaid with explosions of force history of not only capitalism and finance but also, squiggles, graphic shapes, and implicitly, its excesses. Her 2017 commission for the lobby of arcing ribbons of color in the expanded San Francisco Museum of Modern Art—a mesmerizing visual thickets. pair of 27-by-32-foot paintings titled Howl, Eon (I, II) In these bravura works, Mehretu seemed to capture the (2017)—combines 19th-century Hudson River School speed, the anxiety, the never-ending barrage of media, and the landscapes with images of crowds protesting police brutality simultaneous interconnectedness and fragmentation that in Baltimore and Ferguson, Missouri. But her recent works characterize life in the 21st century. Born in Ethiopia and raised are her most overtly political and humanist. “Where these from age 7 in the U.S., the artist was hailed as a kind of paintings are coming from, they’re difficult content-wise,” Jackson Pollock for the global digital says Mehretu. “But they have, I think, age—and one of the most significant aspects of open possibility.”

In her studio earlier this winter, painters of her generation. Turns out, “When something one of the most vibrant and arresting it was only a first act. works was a large painting with only Over the years, Mehretu has starts to feel like it its first layer, a hauntingly blurred continually pushed her (mostly) abstract loses its potency, image of deep blue and black forms language in new directions, the I don’t want to keep placed against a background of searing full sweep of which is on display in a orange hues. It derived from a photo of midcareer survey that opened at the Los working with that,” fires set in Myanmar to drive Rohingya Angeles County Museum of Art in the says Julie Mehretu Muslims from their homes. But the fall and moves to the Whitney Museum resonance for Mehretu extends to the of American Art in June. “When devastating recent wildfires in something starts to feel like it loses its California and Australia. The image is one she’d been potency, I don’t want to keep working with that,” she says. contemplating for a while, and she was taking her time Arrayed around Mehretu’s New York studio are nearly before starting work on the subsequent layers. “I’ve shied a dozen paintings in various stages of progress that away from getting drawn into this one,” Mehretu confesses. reflect the latest turn in her process. These works—many “I have spent a lot of time just looking at it. I really don’t of which will be part of a fall show at the Marian Goodman know what it’s going to look like, but all of that time Gallery in Manhattan—show some of the hallmarks of definitely informs my intuitive ways of working. It’ll happen her earlier paintings but conjure a palpably different when I get there. The process gets really dirty at times, really mood. The bewitching layers have grown darker and denser, messy. You can always erase, you can always sand out, and the application of paint more expressive and graffiti-like, you can always build up. And it’s trusting that process.” while the maelstrom of intense colors speaks not to Looking ahead, Mehretu says her focus is on remaining exuberance but to disquiet, outrage, defiance. “The paintings immersed in “making, reading, thinking, being engaged in are informed by really terrible things,” Mehretu explains. the world.” While certainly not taking for granted the “Wildfires, the neo-Nazi march in Charlottesville, significance of a big survey exhibition, she says, “having done people trying to cross a border or being pulled away the show, I feel like, Oh, there’s all this work I’ve made, and from a protest.” then I realize, like, so? Frank Stella did this how many times?

Working with a small team of trusted assistants, Mehretu To think about that is really humbling.” begins by painting or printing digitally manipulated and blurred

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A George Condo painting keeps watch in the living room of a 22,000-square-foot Greenwich Village residence conceived by designer Steven Gambrel in collaboration with architect Henry Jessup. The artwork’s palette is echoed in the velvet upholstery of the sofas, which were designed by Gambrel’s firm, S. R. Gambrel, and, like much of the home’s bespoke furniture, made by Dune. For details see Sources.

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take it to the limit When designer Steven Gambrel joins forces with a couple to transform a historic downtown New York building into their dream home, they agree to dream big—very big

BY VICKY LOWRY

PHOTOGRAPHY BY ERIC PIASECKI

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century ago, Greenwich Village reigned as the cultural heart of New York City, teeming with art galleries and schools, artists’ studios and writers’ garrets, experimental theaters and cafés galore. Life in the Village was colorful, dynamic, intellectual, and unconventional—and it was central to New York’s emergence as the creative capital of America, if not the world.

That rich legacy provided inspiration for designer Steven Gambrel’s latest project: the transformation of a 1911 limestone-and-brick building located on one of the neighborhood’s historic blocks into an art-filled, arrestingly glamorous home. Four years ago, over a summer lunch at the client couple’s Hamptons residence, Gambrel mentioned the imminent sale of an institutional building in the Village that, he suggested, “would make the most extraordinary home.”

They were looking for a residence, he recalls, that would be a welcoming family retreat as well as a dazzling place to entertain and showcase their impressive art collection, which their adviser, Erica Samuels, describes as “almost encyclopedic,” with “the very best examples by great artists,” including Philip Guston, Franz Kline, and Helen Frankenthaler. Most of all, Gambrel says, the clients wanted something unique.

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Working with frequent collaborator Henry Jessup, who was the project architect, Gambrel delivered exactly that. Totaling an extraordinary 22,000 square feet, the six-bedroom home— which features a 50-foot swimming pool on the lowest level and a roof garden on top—is probably Gambrel’s largest residential commission to date. “It’s certainly the most substantial,” he says.

“Once in a while you are given the opportunity to go into detail beyond your measure. In every single corner there are more details, more creativity, more imagination. This was a no-holdback situation. The goal was to create perfection.”

Gambrel likes to establish a personality for each home he designs, and here he sought to come up with a “very clear language,” as he puts it, to channel the history and spirit of Greenwich Village in its 20th-century heyday, while giving the homeowners an up-to-the-minute bespoke house. “I wanted more green, more patina, more surface texture,” the designer recalls. “I was trying to eliminate the polish that one might expect with a building of this magnitude.” In other words, this was not going to be Park →

Above: The staircase plays host to a Sean Scully painting and wraps around a five-story Italian glass pendant crafted by One Illuminates; the landing is cushioned with a custom-made runner by Stark. Right: Circa-1940 Belgian lights descend from a verre églomisé ceiling by Miriam Ellner in the dining room, where S. R. Gambrel designed the rosewood tables with gold-lacquered tops, the chairs, and the long console with a Belgian Black top

by Lido Stone; a Sam Francis painting on paper (left) and a series of Cy Twombly lithographs are mounted on leather wall panels by Michele Costello.

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In the game room, Gambrel filled floor-to-ceiling arches with ĂŠglomisĂŠ mirror and clad the surrounding walls with gold-and-silver metallic wall panels by Atelier Viollet.

The leaf-form sconces are Murano glass, and the curtains were custom made

by Mark David Interiors in a Jim Thompson fabric.

S. R. Gambrel designed the Turkish-style sofas, the vintage scroll-arm chairs covered in a Jasper fabric, and the rosewood ottoman tables, which feature gold horsehair by Edelman and leather strapping

by Holland & Sherry.

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A mosaic-tiled arched ceiling lends an old-world feel to the kitchen, which is outfitted with American Art Deco pendants, gray-lacquered cabinetry with brass and bronze accents, and a La Cornue range. Opposite: The geometricpattern floor continues in the breakfast area, where a Pietro Chiesa chandelier for FontanaArte dazzles above a Blackman Cruz table and S. R. Gambrel chairs; a Walton Ford lion painting surmounts a 1960s Paul Evans credenza.

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Avenue in the Village. “It’s downtown,” he adds, “with a twist.”

The twist is in the distinctive furnishings, fabrics, and finishes, which together project the kind of artistry, originality, passion, and ambition Greenwich Village is identified with—albeit on an incredibly rarefied level. And the drama builds from room to room, floor to floor.

A glittering 1960s Sputnik chandelier in the circular entry hall, a subdued study in black and white, sets a beguiling mood. The sprawling living room, bathed in serene blues and platinum grays, leads to the vivacious dining room, whose verre églomisé ceiling casts kaleidoscopic reflections in the hues of three gold-lacquer-top tables and a battalion of turquoise-upholstered chairs.

Upstairs, Gambrel raised the volume a notch. In the game room, massive arches framing expanses of smoky églomisé mirror are surrounded by metallic wall panels flecked with

silver and gold. The breakfast room, with its zippy Op Art– inspired oak flooring and a rare FontanaArte chandelier, is anything but casual. And the tour de force kitchen—outfitted with lacquer-and-bronze cabinetry, a trio of architectonic Art Deco lights, and a La Cornue range—is topped by an arched mosaic-tiled ceiling that recalls a chapel. “I love kitchens and I keep coming up with new ideas, but if you told me when I was younger that I would be an expert at designing kitchens I would have never guessed it,” Gambrel says. “It’s not like I was a chef in a previous lifetime.”

Throughout, the designer’s custom-made furnishings match the soigné mood of the blue-chip 20th-century antiques and midcentury gems, including in the master bedroom, where he installed ultrarefined modern pieces by Paavo Tynell, Osvaldo Borsani, and Paolo Buffa against a backdrop of hand-painted wallpaper depicting scenes of New York. “We shopped the world and did a lot of damage,” jokes Gambrel of forays he made, often with his clients, to stores, auctions, and antiques fairs in Paris, London, and New York.

Equally important was the art, with more than 50 works from the couple’s collection—including paintings, drawings, a video installation, and sculptures—arrayed around the house.

Many of the pieces were acquired with the guidance of Samuels, a Christie’s-trained art historian who established her namesake consultancy a dozen years ago. “It’s what I call the ‘eye mile,’” she says, describing the couple’s approach to amassing works by artists such as Willem de Kooning, Joan Mitchell, George Condo, and Thomas Nozkowski. “They looked at art through travel, in auction house catalogues, and at estate sales. They don’t love buying at art fairs. They take a more personal approach. Everything comes together in a sincere way.”

Which helps to explain why such an outlandishly big house in the heart of Greenwich Village manages to succeed so well as a real family home. “A professor once told me that the greatest architects were masters of the obvious, that success comes when you are honest and authentic about how you live,” says Gambrel. “We tried to build this full-throttle picture of what it means to live in this place in New York today.”

Left: Among the pieces enlivening the landing outside the breakfast area are a Helen Frankenthaler painting and a 1930s Ercole Barovier lamp. Opposite: A vivacious Joan Mitchell abstraction is installed over a Batistin Spade cabinet in the den, whose doors—designed by S. R. Gambrel and Henry Jessup—were made by Cozzolino Custom Millwork; a 1940s chandelier by Asea Belysning hangs above a custom-made sofa covered in a Roma fabric, a Collier Webb lamp, a 1960s Danish chair, and a rug designed by Gambrel.

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Left: Custom Gracie wallpaper handpainted with New York City scenes wraps around the master bedroom, where a vintage Paavo Tynell chandelier overlooks the S. R. Gambrel bed dressed in bespoke Leontine Linens bedding; in the sitting area, S. R. Gambrel sofas and 1940s French chairs join a shagreen table and ombrĂŠ Murano glass lamps. Above: Gambrel amped up the exuberance in the playroom with Sputnik ceiling lights, vibrant Stark Missoni fabric shades by Mark David Interiors, and biomorphic orange leather ottomans fabricated by Dune. The large painting is by Frank Benson, and the two smaller works on paper are by Thomas Nozkowski.

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1 The breakfast room features a rare 1964 Forge Front welded-steel credenza by late American furniture designer Paul Evans.

Todd Merrill Studio in New York has a similar version, shown here, which includes a complex grid of pictorial elements in gold leaf and brass, with black patinated accents. toddmerrillstudio.com

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2 Lined in crimson velvet, this built-in cabinet in the family room showcases a collection of books and artist-made bronzes from the 20th century, which Gambrel spent almost two years sourcing at various auctions and art fairs from Paris to Los Angeles.

“It’s a modern take on the classic idea of a vitrine,” he says.

3 “We wanted to give it a level of richness without being inappropriate,” says Gambrel, referencing the subterranean pool, which is 2 sheathed in a striking mix of onyx and Fior di Bosco marble from Lido Stone. The fluted pillars are antique brass, while the bespoke Houghton hanging lights with integrated speakers are by the Urban Electric Co. “There probably isn’t a single thing in the house that isn’t custom.” lidostone.com, urbanelectric.com 4 The windows in the game room are draped with Golden Sunburst, a sumptuous silk

jacquard weave by Jim Thompson Fabrics, in the starlight blue colorway. The dazzling pattern is from an exclusive line created using iconic motifs devised by legendary artist Tony Duquette. jimthompsonfabrics.com 5 For the bespoke dining room fireplace, which was fabricated by Jamb, Gambrel wanted to highlight the beauty of different types of rare stone in a recurring

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(1) COURTESY OF TODD MERRILL STUDIO, NYC; (2, 3, 5, 6) ERIC PIASECKI/OTTO; (4) COURTESY OF JIM THOMPSON FABRICS

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geometric pattern that he had seen in Venetian marquetry. Adding to the allure are a pair of giltbronze andirons with a significant provenance: interior designer JeanMichel Frank commissioned Alberto Giacometti to make them for Nelson Rockefeller. jamb.co.uk 6 “The shape of the window is part of the landmarked façade, which led to the idea of doing a classical groin vault to add character,” says Gambrel of the kitchen ceiling, which is clad in a massive tile mosaic by Waterworks.

“It reminds me of the Grand Central Oyster Bar.” The quartzite countertop is by ABC Stone, and the custom violet range is by La Cornue. The sculptural hood, meanwhile, was crafted by Oregon-based Archive Designs in gunmetal and bronze. “I like the way the materials work with the tiles and the mechanical quality of the range,” says Gambrel. waterworks.com, abcworldwidestone.com, lacornueusa.com, archivedesigns.com GALERIEMAGA ZINE.COM

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Wheeler Kearns Architects designed Pamella Roland and Dan DeVos’s five-story, 13,000-squarefoot Chicago residence with a façade of dark-gray marble and expanses of glass. Opposite: Kadlec Architecture + Design oversaw the interiors, including the partially enclosed living room terrace, where a wall-mounted piece by Steven Haulenbeek and a Jaume Plensa head sculpture overlook a seating area furnished with a Holly Hunt sofa and cocktail table and a Tribu armchair. For details see Sources.

Fashion designer Pamella Roland and businessman Dan DeVos create a majestically modern Chicago retreat for entertaining and enjoying family 128

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BY PILAR VILADAS

• PHOTOGRAPHY BY RICHARD POWERS • STYLED BY ANITA SARSIDI

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PHOTO CREDIT TK

A Holly Hunt table is paired with Eero Saarinen chairs by Knoll in the family room, whose double-height windows are curtained in a Dedar fabric.

Opposite, from top: Stairs lead from the terrace to a small back garden designed by McKay Landscape Architects. An Ellsworth Kelly painting adds graphic punch to the third-floor landing.

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The Chicago home that fashion designer Pamella Roland shares with her husband, businessman and sports executive Dan DeVos, stands out for its breadth and its style.

Not unlike Roland’s collections of glamorous evening dresses, which can routinely be spotted on red carpets, worn by stars like Halle Berry, Debra Messing, and Allison Janney.

The couple’s five-story, 13,000-square-foot residence, designed

by Chicago firm Wheeler Kearns Architects, spans two lots and, in contrast to its more traditional brick-and-limestone neighbors, is a striking modern structure clad in richly veined black marble.

The interior, overseen by another local firm, Kadlec Architecture + Design, balances clean-lined furnishings and works by noted contemporary artists with subtle, luxurious textures.

“We were interested in creating a city home that would be both comfortable and intimate for our immediate family as well as open and spacious for larger entertaining,” says Roland. “We worked with the architect to design a bold modern aesthetic and organize the spaces throughout the five floors to make living and entertaining hubs that have a natural flow.”

Joy Meek, a principal at Wheeler Kearns who served as the project architect, describes the first floor, where you enter the house, as “basically a backyard,” with an indoor basketball court, a media room, an exercise room, utility areas, and two garages. An angular black steel staircase winds its way up through the center of the house, becoming a spiral at the top, where it connects the fourth-floor master bedroom, dressing room, and Roland’s office to the fifth-floor spa, DeVos’s office, and a roof deck. In between, the second floor contains the guest rooms, while the third floor features the main entertaining spaces, including living, dining, and family rooms as well as the kitchen and a large terrace.

Living in such a contemporary house was a departure for the couple, who, as Roland puts it, are drawn to “classic and enduring design.” So Steve Kadlec’s mission was to soften the interiors with inviting textures, warm tones, and comfortable furnishings, while also conceiving high-impact moments. In the double-height living room, a large bronze light sculpture commissioned from designer Frederik Molenschot hangs over the space “like a cloud,” Kadlec says, “celebrating the amazing volume but nurturing a sense of enclosure, too.” Above the 18-foot-long sofa, an artwork

by Allan McCollum—a series of 115 framed graphite drawings that represent all the counties in Missouri—is another example of what Kadlec calls “big pieces with small parts.”

Armchairs are arranged around two tables by Steven Haulenbeek—one a hefty, angular volume with a smoked-glass top, the other lighter in spirit, with a richly textured top of ice-cast bronze resting on slender legs. Together, notes Kadlec, they offer a contrast “between geometric and organic.” The living and family rooms look onto an expansive, double-height covered terrace with seating and dining areas. Meek says it’s meant to feel inside-outside and serve as a space for displaying → GALERIEMAGA ZINE.COM

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In the living room, a swirling bronze light fixture by Frederik Molenschot provides a spectacular counterpoint to the gridded installation of graphite drawings by Allan McCollum above the 18-foot custom-made Luteca sofa. Similarly contrasting are the two cocktail tables by Steven Haulenbeek, which are joined by a pair of rounded Franco Albini armchairs and two lounge chairs by Liaigre. The floor lamp near the window is by Caste, while the lamp at right, atop a Liaigre side table, is by Armani/Casa; the rug is by Holland & Sherry.

Left: Enlivening Roland’s office are a Holly Hunt sofa, a curvy Jean de Merry armchair, Fran Taubman’s steel-ribbon table from Ralph Pucci, and an Alexander McQueen bird carpet from the Rug Company.

Below: A Lindsey Adelman chandelier hangs in Roland’s dressing room; a small Damien Hirst artwork adds a splash of color.

Opposite: The master bedroom’s ceiling is embellished with a custom installation

by David Wiseman, while the walls are upholstered in a Holland & Sherry wool; the Anees bed is paired with a bench by Liaigre, and the rug is by Marc Phillips.

artworks such as a large stone head by Jaume Plensa and a delicate bronze wall sculpture by Haulenbeek.

On the fourth floor, the master bedroom is distinguished by a spectacular ceiling installation created by David Wiseman with twining plaster branches and porcelain blossoms. Roland’s office—“a calming space to start and finish the day,” she says—is a colorful counterpoint to the house’s largely neutral palette with its Alexander McQueen–designed rug and purple Holly Hunt sofa. Her dressing room has a wall of open closets for displaying some of her more showstopping dress designs, as well as a cabinet that contains her collection of vintage Fendi clutches.

When it came to the art, Kadlec worked closely with the couple on both new acquisitions and the display. “Art and fashion have always been my twin passions,” says Roland, who with her husband had previously acquired key pieces like the colorful Damien Hirst in the first-floor entry and the black-and-white Ellsworth Kelly painting on the third-floor landing that happens to be her favorite work. “Commissioning and finding new art and mixing with existing pieces was one of the first things we focused on.” With Kadlec’s guidance, the couple added the McCollum drawings, the Plensa and Haulenbeek sculptures, and the Molenschot and Wiseman commissions.

“Pamella has a very good eye,” says Kadlec, “and pedigree is not her sole consideration. It’s a personal approach.”

That self-assured individuality is felt throughout this home, where the architecture, furnishings, and art combine in uncommonly elegant harmony.

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PHOTO CREDIT TK

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Novus domice hir

Brian Clarke in his London studio with several works in progress. Opposite: A detail view of Manhattan (2018), a 12-panel, leadless stained-glass folding screen produced in an edition of ten.

A new exhibition of Brian Clarke’s transformative stained-glass works challenges the boundaries of the medium

BY CAROLINE ROUX

PHOTOGRAPHY BY DYLAN THOMAS

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I

f Brian Clarke has his way, visitors to a new exhibition of his work at New York’s Museum of Arts and Design this spring will leave with certain assumptions bent out of shape. Clarke is known for his work in stained glass, but more important, he makes technically and conceptually brilliant art that challenges this form’s place in the creative hierarchy. “Skilled craft is an entirely legitimate position to take when you look at the medium,” he says, “but what’s really significant about stained glass is that it’s at the highest level of poetic achievement.”

That might sound a little arch—until, that is, you enter a room filled with Clarke’s glass screens, where colors seep across the landscape, washing the space with liquid patterns and hues.

“Painting is viewed by the light reflecting off it. Glass has light passing through it, so it’s in a continual state of flux, and the effect becomes volumetric,” says Clarke. “It depends on what is happening around it. It’s a peculiar link between the external and internal.”

Clarke, now more productive than ever, gravitated to stained glass in his late teens, when his then girlfriend, a clergyman’s daughter, exposed him to an awe-inspiring church window installation. He went on to study the technique at an art school near his home in the north of England before embarking on a party life in London in the early 1980s. “It was a brief period, that arty-party one, but it seems to chase me around,” he laughs. It included

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celebrities like the Stones and the Beatles, though friendships with architects such as Zaha Hadid and Norman Foster may have been his most productive. “The minute I met Norman, we never stopped talking,” says Clarke. He collaborated with the architect to create a vast glass wall for Foster’s Al Faisaliah Center skyscraper in Riyadh, Saudi Arabia, which opened in 2000. “It’s like a mirage, with a great diversity of imagery,” says Clarke of the installation. “There were all sorts of matrices, with fish moving through water A painting in progress and birds flying in the air.

by Clarke. Opposite: Orchids and the It’s like cinema, really.”

Void of Lust (2017).

The synthesis of art and architecture, of bringing drama and color into daily life, is an ideology he holds very dear. In his vast personal collection of historical stained glass is a maquette of the Modulor Man, designed in the early ’50s by Le Corbusier for the Cité Radieuse in Marseille, France. “It’s been really handled,” says Clarke. “You can see how they’ve gone through the fenestration.”

At MAD, Clarke’s liberal range of subject matter will be laid bare, from the flamboyant blooms that he loves to make—including Flowers for Zaha, a posthumous homage from 2016—to the artist’s rather darker reaches. In Manhattan (2018), a dozen pink atomic bomb clouds explode in their individual frames; elsewhere, a roll call of famous architects are line-drawn as skulls in scintillating liquid lead on solid lead grounds. All push at the edges of technology and possibility. It’s not at all what you might expect, on many levels. But then, as Clarke says, “I’m not really known for my saints.”

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LifeImitates Art

A flurry of silver butterflies ornament the Farfalle large sconce by Julie Neill for Visual Comfort. Neill meticulously placed each light to create the illusion of fluttering wings; circalighting.com. Opposite: Weighing five tons with a 50-foot width, Butterflies by Manolo Valdés delicately captures the dizzying notion of having butterflies in your head. First displayed at the New York Botanical Garden and most recently in Berkeley Square in London, the work embodies Valdés’s semifigurative style; operagallery.com.

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COURTESY OF VISUAL COMFORT. OPPOSITE: MARK PFEFFER, COURTESY OF THE NEW YORK BOTANICAL GARDEN

B Y S T E FA N I E L I

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SHARON MOLLERUS/CREATIVE COMMONS. OPPOSITE: COURTESY OF LOUIS VUITTON

Abstract doodles interrupt layers of systematic grids in Untitled (2013), a painting by Laura Owens. The artist will return to her native Ohio in June with an exhibition produced in collaboration with area high school art students at the Transformer Station in Cleveland; owenslaura.com. Opposite: Virgil Abloh’s ability to seamlessly blend luxury and street style was on full display at Louis Vuitton’s spring/ summer men’s collection presentation, where psychedelic sweatshirts and pastel suits invigorated Paris’s Place Dauphine; louisvuitton.com.

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COURTESY OF VISIONNAIRE. OPPOSITE: MELISSA GOODWIN, COURTESY OF THE ARTIST AND PACE GALLERY

Italian furniture brand Visionnaire introduced a regal capsule collection including the fanciful Il Pavone throne during Design Miami/ in 2019.

Designer Marc Ange drew inspiration from the majestic peacock for the plush seat encircled by a halo of emerald and sapphire cushions framed in brass; visionnaire-home.com. Opposite: A show of Loie Hollowell’s abstract, feminist works inaugurated Pace Gallery’s new global headquarters in New York. For Postpartum Plumb Line (2019), the artist adhered foam geometric forms to a large-scale panel to mesmerizing effect; loiehollowell.com.

PHOTO CREDIT TK

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COURTESY OF DAVID YURMAN. OPPOSITE: DREW PATRICK MILLER/GETT Y IMAGES

Radial waves of diamonds and gold form the geometric beauty of David Yurman’s Stax mixed-cut chain earrings; davidyurman.com. Opposite: This iconic skylight, composed of 169 sections of glass, illuminates the rotunda of the landmark Solomon R. Guggenheim Museum, designed by Frank Lloyd Wright. The institution is currently spotlighting architects Rem Koolhaas and Samir Bantal in “Countryside, The Future,” on view through August; guggenheim.org.

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COURTESY OF RENA BRANSTEN GALLERY. OPPOSITE: IMAXTREE

The vibrant, richly layered flora in Vik Muniz’s Repro: Brazilian Jungle, After Rugendas (2019) embodies the depth and intricacy of his oeuvre. The contemporary photographer and mixed-media artist compiled fragments of other images to create his vision of a wild kingdom; vikmuniz.net. Opposite: To commemorate the 20th anniversary of one of Versace’s most famous dresses, the atelier’s spring/summer 2020 runway show blossomed with verdant florals and lush embellishments; versace.com.

PHOTO CREDIT TK

At Roche Court, Madeleine Bessborough enlisted architect Stephen Marshall to design multiple modern extensions to the original 1804 residence, including the two-story Artists House, which is used as a domestically scaled exhibition space.

Artist Laura Ellen Bacon created the woven gourd life forms that seem to protrude from the buildings as a site-specific commission.

For details see Sources.

BY DOMINIC BRADBURY PHOTOGRAPHY BY MARK LUSCOMBE-WHYTE

When Madeleine Bessborough moved to the Wiltshire estate Roche Court in 1994, she saw in its 70 acres of gardens, woodlands, and pastures a golden opportunity.

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The veteran London dealer decided to relocate her gallery, the New Art Centre, here, taking advantage of the expansive grounds to display an extraordinary and always-evolving array of large-scale outdoor sculptures and works of land art, while also creating distinctive gallery spaces to present a wide range of art, craft, and design.

“When I came here, there were no places, apart from the Yorkshire Sculpture Park, where artists could show big works outside,” says Bessborough, who has since exhibited significant pieces by Barbara Hepworth, Anthony Caro, Richard Long, Gavin Turk, Christopher Le Brun, and many others at Roche Court. “The London galleries didn’t have the space, but we were very lucky with the rolling geography here, which is wonderful for showing sculpture. One of the reasons that we were asked to take on the Barbara Hepworth estate was that they wanted us to show the big, monumental pieces.”

Bessborough opened the New Art Centre on Sloane Street in London in 1958, working primarily with young painters and sculptors, many of whom became her friends. Over the years she also began showing more established artists like Kenneth Armitage, Derek Jarman, and Fiona Banner. After three and a half decades, with space limited and rent rising, Bessborough made the decision to relocate to Roche Court, an 1804 neoclassical house built for Lord Nelson, who died at the Battle of Trafalgar before taking up residence. Her husband, Arthur Ponsonby, the 11th Earl of Bessborough, managed the surrounding farmland until his death in 2002, and it still serves as a working farm today, with cattle and sculptures populating adjacent fields.

“It was a time when farmers were being encouraged to diversify, and we thought it would be a splendid piece of diversification,” says Bessborough. “We already had all the big equipment that you need, like tractors, for moving sculptures.”

From the outset she was determined that Roche Court not become “set in aspic,” as she puts it, “because the sculpture then loses its living quality. So everything is for sale and pieces also get a new life when they are moved around the park.”

Left: Seated in a glass The buildings at Roche extension to the main house, Bessborough is Court have evolved over the joined by her dog, Theo, years, thanks to a series of at a table topped by an Eilis O’Connell bronze collaborations between and surrounded by Bessborough and architect Matthew Hilton chairs; the urns in the courtyard Stephen Marshall. Their first behind her are by Jenifer project was a minimalist, Jones. Opposite: An engraved-granite sculpture corridor-like exhibition

by Julian Opie perches space, with one side enclosed outside the residence’s in a wall of glass, that → wisteria-clad walls.

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To keep Roche Court from becoming “set in aspic,” as she puts it, Madeleine Bessborough notes that “everything is for sale and pieces also get a new life when they are moved around the park”

Beneath a holm oak, an Anthony Caro steel sculpture stands on a lavender-bordered lawn.

Opposite: Stephen Marshall created the glass-enclosed dining room and gallery extension off the main house by building out into a courtyard.

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An Edmund de Waal installation of ceramic vessels commands one wall in the dining area.

Opposite, clockwise from top left: A bronze horse by Christopher Le Brun occupies a garden niche. Nigel Hall’s sculpture of darkened bronze rings stands out against a verdant meadow. Kenneth Armitage created this castaluminum screen with folded arms. A quartet of Corten steel ziggurats by Anthony Caro rests atop a grassy slope.

connects the original Georgian house to the adjacent orangery. Marshall then constructed another glass-walled gallery extension off the main residence to serve as a private dining room and gallery, followed by the two-story Artists House, conceived as both a residence for visiting creatives and a space for exhibiting works in a domestic setting. The latter is embellished with a 2012 site-specific work by Laura Ellen Bacon, who fashioned two large-scale wicker pieces that emerge from the building like organic tentacles or feelers, adding a playfully surreal counterpoint to the architecture. “Kettle’s Yard in Cambridge was a conscious point of inspiration for the Artists House, with the idea of showing how you can live with art at home,” says Bessborough. “You still get that feeling, but now it’s used exclusively as a gallery.” Among the works on view is an ongoing display of ceramics by Edmund de Waal.

The latest addition to the campus, completed just over a year ago, is the Design House in the walled garden. Here, Marshall renovated and expanded an existing cottage to form

the center’s largest exhibition space, though it retains a residential feel similar to the Artists House. It serves as another engaging setting for displaying not only art but also furniture and other pieces by designers such as Tom Dixon, Katie Walker, and Matthew Hilton.

Bessborough says the next step for the New Art Centre— which is open to the public every day, except certain holidays—will be moving its offices out of the main residence and into freshly converted stables later this year. The shift will allow her to reclaim part of her home, which isn’t accessible to the public but gets plenty of use. “It is our family house, but everybody stays in it when we have an opening,” she says.

In contrast to Marshall’s modern additions, the rooms are traditional, furnished with what she describes as “a mixture of good old Victorian and Edwardian taste.”

For Bessborough, the diversity of styles and spaces is a big part of what distinguishes Roche Court. And, she adds, “it’s a really good way for people to understand how to live with contemporary art.”

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Items pictured but not mentioned are from private collections. (T) means item is available only to the trade.

All of the following images are © Artists Rights Society (ARS).

Cover, pages 16, 114: 2020 George Condo/ARS, New York. Pages 12, 104: 2020 Robert Rauschenberg Foundation/Licensed by VAGA at ARS, NY. Pages 18, 62–63: 2020 Judd Foundation/ ARS, New York. Page 32: The Estate of Francis Bacon. All rights reserved/DACS, London/ARS, NY 2020. Page 32: 2020 ARS, New York/ADAGP, Paris. Page 38: DB - ADAGP, Paris/ARS, New York 2020. Page 39: 2020 ARS, New York/ADAGP, Paris. Page 54: 2020 ARS, New York/ADAGP, Paris. Pages 100, 104: 2020 Estate of Gene Davis/ ARS, New York. Page 101: 2020 Morgan Art Foundation Ltd/ARS, NY. Page 116: 2020 Sam Francis Foundation, California/ARS, NY. Page 122: 2020 Helen Frankenthaler Foundation, Inc./ ARS, New York. Page 127: 2020 Alberto Giacometti Estate/VAGA at ARS, NY/ADAGP, Paris. Page 129: 2020 ARS, New York/VEGAP, Madrid. Page 134: Damien Hirst and Science Ltd. All rights reserved/DACS, London/ARS, NY 2020.

Pages 136–39: 2020 ARS, New York/DACS, London. Page 141: 2020 ARS, New York/VEGAP, Madrid. Page 147: 2020 Frank Lloyd Wright Foundation. All Rights Reserved. Licensed by Artist Rights Society. Page 148: 2020 Vik Muniz/ Licensed by VAGA at ARS, NY. Page 153: Julian Opie, courtesy Lisson Gallery/Barbara Krakow Gallery/ARS, New York/DACS, London.

INSIDE OUT Pages 100–09: Architecture by Kovac Design Studio; kovacdesignstudio.com. Interiors by Graph LLC. Landscape architecture by Stephen Billings Landscape Architecture; sblastudio.com.

Pages 100–01: On terrace, Tortuga sectional sofa and On the Rocks fabric, in Pina Colada, by Holly Hunt (T); hollyhunt.com. Link outdoor table by B&B Italia; bebitalia.com. Director chairs by Summit Furniture; summitfurniture.com. Page 103: In entry area, mosaic tiles by Bisazza; bisazza .it. Page 104: In sitting area, fireplace by Montigo; montigo.com. Pillows by Paul J. Mazzola, Inc.; pauljmazzola.com. Pillows upholstered in Rubans Broderie fabric by Hermès; homefabricshermes .dedar.com. Shorty sofa, table, and Fire Side Plinth chair by Vladimir Kagan from Holly Hunt (T). Lens side table by Holly Hunt (T). Custom

rug by Patterson Flynn & Martin (T); pattersonflynnmartin.com. Pages 105: Hair by Nicci Sanchez; niccisanchez.com. Makeup by Grace Phillips; gracephillipsmakeup.com. Page 106: In kitchen, cabinets and countertops by Bulthaup Santa Monica; bulthaup.com. Sink fittings by KWC Suprimo; kwc.com. Range by Gaggenau; gaggenau.com. Wine fridge by Sub-Zero; subzero-wolf.com. In breakfast area, Abramczyk Studio light fixture from Ralph Pucci; ralphpucci.net. Dakota dining table by Julian Chichester; us.julianchichester.com. Chairs by Knoll; knoll.com. Page 107: In master bath, Milano shower fittings by Fantini Rubinetti; fantiniusa.com. Doors by TRU Architectural; truwindows.com. Pages 108–09: In master bedroom, doors by TRU Architectural. Curtains, sheers, and Ofuro chair by Holly Hunt (T).

Mattress by Hästens; hastens.com. Bedding by Pratesi; pratesi.com. Rug by Patterson Flynn & Martin (T). Throw by Ralph Lauren Home; ralphlaurenhome.com. Outdoor Orbit love seat, chaise longues, and Dala side table by Dedon; dedon.de.

DEPTH OF FOCUS Pages 110–13: Hair and makeup by Maysoon Faraj; maysoonfaraj.com.

TAKE IT TO THE LIMIT Pages 114–27: Interior design and select furnishings by Steven Gambrel of S.R. Gambrel Inc.; srgambrel.com. Architecture by H.S. Jessup Architecture; hsjessup.com. Construction by Steve Mark of SMI Construction Management; smiconst.com. Lighting design by Nathan Orsman of Orsman Design Incorporated; orsmandesign.com. Select furnishings fabricated

by Dune; dune-ny.com. Select window treatments by Mark David Interiors; markdavidinteriors.com. Page 114: In living room, curtains in fabric by Pindler (T); pindler .com. Page 116: In the stair hall, antique vases from Galerie Gris; hudsonantiques.net. Pendant from One Illuminates; oneilluminates.com.

Cabinet from Galerie Marcilhac; marcilhacgalerie.com. Carpet by Stark; starkcarpet.com. Page 117: In dining room, leather wall covering by Costello Studio Inc.; csidesigns.net. Curtains in fabric by Jerry Pair (T); jerrypair.com. Console stone top by Lido Stone (T); lidostone.com. Fireplace fabricated by Jamb; jamb.co.uk. Andirons from Galerie XX;

GALERIE (ISSN 2470-9964), Volume 5, Issue 1, is published quarterly by Galerie Media Group LLC, 101 Park Avenue, 4th Floor, New York, NY 10178 USA. Lisa Fayne Cohen, Founder/Editorial Director; James S. Cohen, Chairman; Adam I. Sandow, Chairman, SANDOW. Principal office: Galerie Media Group LLC, 101 Park Avenue, 4th Floor, New York, NY 10178. Editorial and advertising offices: GALERIE, 101 Park Avenue, 4th Floor, New York, NY 10178.

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galeriexx.com. Chairs upholstered in fabric by Holland & Sherry (T); hollandandsherry.com, and Villa Nova; villanova.co.uk. Pages 118–19: In game room, wall covering by Atelier Viollet; atelierviollet.com. Curtains in fabric by Jim Thompson; jimthompsonfabrics.com. Sofa upholstered in fabric by Robert Allen (T); robertallendesign.com, with trim by Lee Jofa; kravet.com. Chairs upholstered in fabric by Jasper Furniture and Fabrics; michaelsmithinc.com.

Ottomans upholstered in fabric by Edelman (T); edelmanleather.com, with leather trim by Holland & Sherry (T). Page 120: In kitchen, mosaic tiles and sink fittings by Waterworks; waterworks.com. Lanterns from Carlos de la Puente Antiques; delapuenteantiques.com.

Countertop by ABC Stone; abcworldwidestone .com. Range by La Cornue; lacornueusa.com.

Page 121: In breakfast room, chandelier by Pietro Chiesa for FontanaArte; hmluther.com. Table lamp from Wyeth; wyeth.nyc. Cabinet fabricated

by Cozzolino; cozzolino.com. Table base by Blackman Cruz; blackmancruz.com. Credenza from The Exchange Int; theexchangeint.com.

Chairs upholstered in fabric by Hines & Co.; hinescompany.com, and Fortuny; fortuny.com.

Page 122: In stair hall, lamp from Downtown; downtown20.net. Flooring by Old West Woods; oldwestwoods.com. Page 123: In family room, chandeliers from Bloomberry; bloomberry.eu.

Doors by Cozzolino. Wingback chair from Bernd Goeckler; bgoecklerantiques.com. Lamp by Collier Webb; collierwebb.com. Sofa and wingack chair upholstered in fabric by Romo; romo.com.

Ottoman upholstered in leather by Jerry Pair (T) and Innovations; innovationsusa.com. Wall covering by Guilford of Maine; guilfordofmaine .com. Wall covering border by Loro Piana (T); loropiana.com. Mantel in marble from ABC Stone.

Stools upholstered in leather by Lance Woven Leather; lancewovens.com. Page 124: In master bedroom, bedding by Leontine Linens; leontinelinens.com. Bench upholstered in fabric

by Nobilis; nobilis.fr. Sofa upholstered in fabric by Lauren Hwang; laurenhwangnewyork.com.

Curtains in fabric by Casamance; casamance.com.

Page 125: In playroom, ceiling paint by Benjamin Moore; benjaminmoore.com. Shades in fabric by Missoni Home; missonihome.com. Wallpaper by Holland & Sherry (T). Sofa upholstered in fabric

by Duralee (T); duralee.com. Ottomans upholstered in leather by Holland & Sherry (T) with welting by Keleen Leathers; keleenleathers

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.com. Rug by Studio Four (T); studiofournyc.com.

Bolotas armchair by the Campana Brothers; friedmanbenda.com.

URBANE OASIS Pages 128–35: Architecture by Wheeler Kearns Architects; wkarch.com. Interiors by Kadlec Architecture + Design; kadlecdesign.com.

Landscape architecture by McKay Landscape Architects; mckaylandarch.com. Page 129: In living room terrace, sofa and cocktail table by Holly Hunt (T); hollyhunt.com. Throw and planter by Jayson Home; jaysonhome.com. Accent table by David Sutherland (T); perennialsandsutherland.com.

Chair by Tribu; tribu.com. Page 130: In family room, table by Holly Hunt (T). Saarinen chairs by Knoll; knoll.com. Curtains in fabric by Dedar (T); dedar.com. Pages 132–33: In living room, chandelier by Frederik Molenschot; studiomolen.nl.

Sofa by Luteca; luteca.com. Floor lamp by Caste; castedesign.com. Black side table by Holly Hunt (T). Cocktail tables by Steven Haulenbeek; stevenhaulenbeek.com. Side table byWest Elm; westelm.com. Chair and side table by Liaigre; liaigre.com. Rug by Holland & Sherry (T); hollandandsherry.com. Lamp by Armani/Casa; armani.com. Page 134: In Roland’s office, lamp by Ochre; ochre.net. Desk by Maxine Snider Inc.; maxinesniderinc.com. Desk chair by Minotti; minotti.com. Side table by Baker; bakerfurniture .com. Rug by Alexander McQueen for The Rug Company; therugcompany.com. Armchair by Jean de Merry; jeandemerry.com. Cocktail table from Ralph Pucci. Floor lamp by Atelier de Troupe; atelierdetroupe.com. Sofa by Holly Hunt (T). In Roland’s dressing room, chandelier by Lindsey Adelman; lindseyadelman.com. Chair by Promemoria; promemoria.com. Page 135: In master bedroom, ceiling installation by David Wiseman; dwiseman.com. Curtains in fabric by Romo; romo .com. Lamp by Porto Romana; portaromana.com.

Walls coverered in wool by Holland & Sherry (T).

Bed by Anees; aneesupholstery.com. Bedding by Muse Bespoke; musebespoke.com. Throw by Toyine Sellers; toyinesellers.com. Bench by Liaigre. Rug by Marc Phillips; marcphillipsrugs.com.

BEYOND THE BOUNDARIES Pages 150–57: Architecture by Stephen Marshall Architects; marshallarchitects.co.uk. Page 152: In dining area, chairs by Matthew Hilton; matthewhilton.com. Page 157: In dining area, wall paint by Keim; keim-usa.com.

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A CLOSE-UP LOOK AT PRODUCT NEWS FROM OUR ADVERTISERS AND RECENT GALERIE EVENTS

The Full Bloom pendant is influenced by the life cycle of a flower and its anatomy. Delicately held within a bronze armature, each piece is composed of a singular solid, glass-blown form containing the illumination. The combination of materials creates an X-ray-like quality when illuminated, and the form appears to weightlessly hover as the light changes from day to night. hollyhunt.com

TODD MERRILL STUDIO The Aluminum Tube sofa, a unique design by Todd Merrill Custom Originals, seamlessly blends elements of early1920s Bauhaus Modernism with a 1970s Brutalist sensibility.

The unique streamlined maximalism sits perfectly in a 21st-century home. The elegant low profile of the sofa’s continuous racetrack back is encased with polished aluminum. Rows of channel tufted velvet mimic the metal, creating an ergonomic back and seat. Each sofa is produced to a client’s specification with customizable sizes and finish options. toddmerrillstudio.com

FABRICUT Revival, a new textile collection from S. Harris, explores themes surrounding Art Nouveau, reinterpreted for today’s luxury interiors.

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# L I V E A R T F U L LY

Waris Ahluwalia commissioned this Walton Ford lion illustration for his new teahouse in New York.

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The only thing I ever say about my career is I’m an explorer and I make things. I just felt that a teahouse is what the world needed now. House of Waris Botanicals is a physical manifestation of the idea that we need to take a pause every day. My other passion lies in conservation—I travel to Asia and Africa, meeting with organizations that protect endangered species and their habitats. I discovered Walton Ford’s animal paintings during a show at Kasmin Gallery. I’m extremely fond of Walton’s work—there’s a whimsy and a playfulness, and there is a dark beauty to it. So I asked him to make a lion for the teahouse. I had recently spent time with the Maasai in Kenya to understand their role protecting lions. Also, my middle name is Singh, which translates to “lion.” Walton does a lot of research when he’s telling a story with a painting, and for me he made an Asiatic lion set in rural Punjab, India, where I was born. When I got the illustration, I was smiling all day. There’s a glow that comes from it and a warmth that it lends to the space. It’s nice to be able to share that with people that come in.

—AS TOLD TO JILL SIERACKI

STEVE FREIHON

Jeweler, actor, and now teahouse proprietor WARIS AHLUWALIA shares the Walton Ford illustration he commissioned

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