Galerie Fall 2020

Artists and Designers Making a Difference in the World Today Fascinating Residences of Creative Luminaries Inspiration for the New Home Office

THE POWER OF

FALL 2020 ISSUE NO 19

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Features 56 ENSEMBLE THEATER Designer Lee F. Mindel masterfully reinvents his award-winning New York penthouse, turning up the volume on his trove of art and objects while preserving its architectural elements. By Pilar Viladas 68 THE POWER TO TRANSFORM These art and design luminaries are providing opportunities for their communities and exposure for the next generation of talents.

By Galerie Editors 74 HAVEN SENT Decorator Nicky Haslam shows the depth of his imagination in his new pavilion in the English countryside, filled with romantic rooms he’s adorned with his own watercolors. By Caroline Roux 82 TALKING HEADS Inside his expansive studio on Awaji Island in Japan, artist Shigeru Otani constructs larger-than-life sculptures that put a contemporary twist on traditional Japanese ceramics.

By Lucy Rees

94 LIFE IMITATES ART Art, design, and fashion converge in moments of unexpected visual synchronicity. By Stefanie Li 102 ARCADIAN RHYTHMS Architect Pietro Cicognani crafts a Hudson Valley getaway that updates the local barn vernacular while showcasing Kathleen Vuillet Augustine’s art collection.

By Vicky Lowry 2

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The living room of designer Nicky Haslam’s country retreat in Gloucestershire, England.

SIMON UPTON

86 PAINTER’S PARADISE In artists Helen and Brice Marden’s latest riad in Marrakech, expressive paintings, handcrafted tile, and French château furnishings create a lively dialogue. By Stephen Wallis

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26 30 Clockwise from left: Artist Sam Gilliam.

A striking Zaha Hadid table in the London home of Francis Sultana.

Constance wallet by Hermès.

Departments 6 EDITOR’S LETTER

By Jacqueline Terrebonne 11 THE ARTFUL LIFE What’s happening in the worlds of art, culture, architecture, design, and travel.

18 BACKSTORY Trailblazing gallerist Mariane Ibrahim and rising-star artist Raphaël Barontini share their inspiring collaboration.

By Hilarie M. Sheets 20 PASSPORT Featuring stunning landscapes and tapping into local traditions, these incredible destination spas provide total relaxation.

By Rima Suqi 4

22 ARCHITECTURE Houston’s revered Rothko Chapel unveils a major renovation by ARO just in time for its 50th anniversary. By Geoffrey Montes 24 POINT OF VIEW With an exhibition at Friedman Benda and a flurry of ongoing pursuits, Faye Toogood is constantly redefi ning and reimagining her practice. By Jacqueline Terrebonne

prepares for his fi rst solo show at Pace gallery in New York. By Lucy Rees 32 DESIGN Acclaimed for his plaster creations, Stephen Antonson applies his sculptural aesthetic to a hardware debut with Nest Studio.

By Jacqueline Terrebonne

26 ON OUR RADAR These four up-and-coming artists reflect society today with their powerful paintings.

34 CUISINE Antoinette Poisson founders Jean-Baptiste Martin and Vincent Farrelly reveal how they entertain at home. By Jill Sieracki

30 MILESTONE Experiencing a resurgence of attention, the celebrated abstract artist Sam Gilliam

36 AUCTIONS Fascinating lots from recent online and app-based sales. By Jeannie Rosenfeld

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FROM TOP: COURTESY OF HALL WINES; ANGUS MILL; PHOEBE D’HEURLE, COURTESY OF THE ARTIST AND JAMES COHAN, NEW YORK. OPPOSITE, CLOCKWISE FROM TOP: SIMON UPTON; COURTESY OF HERMÈS; ANTHONY BARBOZA/GETTY IMAGES

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26 Clockwise from top: Hall Napa Valley offers outdoor wine tastings and an extensive on-site art collection. Maquette 270/Wire & Card Chair (2020)

by Faye Toogood. Grace Weaver’s Misstep (2020).

38 CURATED Design experts weigh in on how to create elevated home offices that are as functional as they are fabulous on Zoom.

By Jill Sieracki

48 THE ARTFUL HOME Designers Victoria Hagan, Alfredo Paredes, and David Scott curate a series of inspired interiors around an expressive work of art.

Produced by Jacqueline Terrebonne

44 BESPOKE A new McLaren offers the speed of a sports car combined with the luxury of next-level customization.

By Jacqueline Terrebonne

52 ARTISAN Jean-Luc Le Mounier and Alexander Lamont mine the wondrous shapes and textures found in nature to craft coveted design pieces.

By Geoffrey Montes

46 CONCIERGE Famed for its plethora of notable wineries, Napa Valley is gaining traction for its dynamic cultural scene and blue-chip art collections.

By Ted Loos

110 SOURCES 112 IN FOCUS Ulla Johnson’s living room is anchored by a glittering installation that echoes the designer’s fashionable style. As told to Jill Sieracki

24 COVER

Vibrant artwork and collectible furnishings enliven Lee F. Mindel’s recently reconceived New York duplex penthouse. Photography

by Michael Moran.

TO SUBSCRIBE TO GALERIE:

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

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Clockwise from above: Sterling Ruby’s work SP294 installed in an office designed by Richard Petit. Liza Lou in her studio. A bust by Stephen Antonson created for Galerie. Faye Toogood’s Daylight (2020), a tapestry commissioned for the National Gallery of Victoria Triennial.

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

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CLOCKWISE FROM TOP: CHARLIE RUBIN; COURTESY OF STEPHEN ANTONSON; ANGUS MILL; JASON SCHMIDT, COURTESY OF THE ARTIST AND LEHMANN MAUPIN, NEW YORK, HONG KONG, AND SEOUL; RICHARD PETIT

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recent video call with artist Liza Lou proved to be more intimate than the standard interview. I could peer into her Los Angeles studio and see the intricate drawing she was working on, while she could glimpse the books, art, and objects in my West Village living room that are providing me with creative comfort. “The greatest art has always been made during the most difficult times,” she told me.

For us at Galerie, recent months have inspired this special Power of Art and Design issue, which celebrates those talents who craft unfathomable beauty and also spark real change in the world.

In a portfolio entitled “The Power to Transform” (page 68), we recognize six visionaries who are utilizing their genius and influence to elevate others, including Lou, who is using social media to give makers a voice during COVID-19, and Lauren Halsey, who is delivering boxes of free organic produce in Los Angeles during the pandemic. In New Haven, Connecticut, Titus Kaphar is building NXTHVN, an accelerator for artists and curators of color. Each of these exceptional innovators demonstrates how their gifts go far beyond the canvas.

With everyone spending countless hours at home, Galerie is excited to offer a closer look at what creatives choose to surround themselves with. On the cover, architect Lee F. Mindel reimagines his longtime Manhattan duplex penthouse with a trove of collectibles in a way that’s “more personal” and “more optimistic” (“Ensemble Theater,” page 56). We also check in with other experts of interiors on how to conceive a home office that marries function and style (“Office Hours,” page 38).

Why shouldn’t we all do as Richard Petit of the Archers did and install a striking Sterling Ruby painting for the ultimate Zoom background?

Working with the talented people featured in this issue, we’re thrilled to launch a special online shopping experience, where a portion of the proceeds go to charity. At galeriemagazine.com/shop, you’ll discover a highly curated selection of limited-edition works, including a Stephen Antonson bust and a Faye Toogood tapestry. Now it’s up to you to decide how you’ll harness the power of art and design to transform your world.

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Step

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JAMES S. COHEN Chairman

LISA FAYNE COHEN Founder/Editorial Director

E D I T O R I A L Editor in Chief

JACQUELINE TERREBONNE Creative Director PETRA KOBAYASHI

Managing Editor JILL SIERACKI

Head of Digital Strategy MARK ROSEN

Arts & Culture Editor LUCY REES Consulting Features Editor STEPHEN WALLIS Photo Editor STEFANIE LI Articles Editor GEOFFREY MONTES Copy Editor LYNN MESSINA Associate Digital Editor STEPHANIE SPORN Color Production Director CHRISTIAN ABLAN Production Director MELISSA MAY KELLY Pagination Manager JODY M. BOYLE Contributing Editors ANDREA WILD BOTERO, STACEY BRONFMAN, BETH RUDIN DEWOODY, ANDREA GLIMCHER, CHRISTINE SCHWARTZ HARTLEY, SUE HOSTETLER, VICKY LOWRY, ANITA SARSIDI, NATASHA SCHLESINGER, MICHAEL SLENSKE, IVY TOURET, JULIAN TREGER Editor at Large JENNIFER ASH RUDICK

A D V E R T I S I N G President, Galerie Media Group

BETH FUCHS BRENNER

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THE ARTFUL LIFE CULTURE • DESIGN • TRAVEL • SHOPPING • STYLE

/ B O O KS /

GUIDO TARONI

The Great Beauty Fashion designer, decorator, collector, and creator of gardens Federico Forquet has a talent for the sumptuous and the ravishing that knows no bounds. The new monograph The World of Federico Forquet (Rizzoli) by Hamish Bowles assembles all his obsessions and achievements into one splendid volume. Photographs by Guido Taroni of Forquet’s couture, set within Rome’s Palazzo Torlonia, which he decorated, are masterfully mixed with vintage images of the couturier’s la dolce vita style as well as studies of his richly layered interiors. Says Bowles, “The thread that runs through all these passions is his love for Naples, the storied city of his birth, where classicism meets whimsy, harmony meets eccentricity, and grandeur meets charm.” rizzoliusa.com —JACQUELINE TERREBONNE

A silk gazar and bead embroidery evening dress by Federico Forquet from circa 1965–67.

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/ D E ST I N AT I ONS /

Rhapsody in Blue Synonymous with the striking blue that bears his name, artist Yves Klein translated that one hue into paintings, furnishings, and sculptural works that explore his perceptions of nature and space; however, the artist’s oeuvre wasn’t quite so monochromatic. The new exhibition “Yves Klein, Elements and Colours” at Domaine des Etangs (above), near Aquitaine, France, turns the spotlight on the breadth and spectrum of his work. On view through January 29, 2021, the show includes 60 pieces of art, film, and documentation, including items from Architecture de l’Air, Klein’s final project. The regal French 11th-century château, thoughtfully renovated by designer Isabelle Stanislas, provides a lavish setting to mount such a profound retrospective. Blue chip, indeed. domainedesetangs.com —JILL SIERACKI

/ FASHI ON /

TO THE BONE When Tiffany & Co. first launched Elsa Peretti’s Bone cuff in 1970, empowered women such as Liza Minnelli and Diana Ross wore the bold accessory. “The Bone cuff, perhaps the most recognizable piece of jewelry to have ever been designed, represents a unique artistic point of view that defies categorization,” says chief artistic officer Reed Krakoff. Now a new generation can don this icon, which has been updated with hand-carved colorful stones in celebration of its 50th anniversary. tiffany.com —J.T.

/ EXHI B I TI ON S /

Wit and Whimsy At a time when everyone could use a bit of fantasy, that’s exactly what French design extraordinaire Elizabeth Garouste delivers. In her second collection with Ralph Pucci in New York, Garouste’s pieces exude a whimsical yet sophisticated spirit in a staggering scope of techniques and materials. “She’s a true original,” says Pucci. Artistic forms get a boost of energy with audacious color combinations. “The play of forms, materials, and colors gives the whole collection a poetic air,” notes the artist, who cites inspiration as diverse as ancient Greece and cozy English country houses. ralphpucci.com —J.T. 12

COUNTERCLOCKWISE FROM TOP: COURTESY OF DOMAINE DES ETANGS; ARTHUR PEQUIN; ANTOINE BOOTZ; COURTESY OF TIFFANY & CO. OPPOSITE, COUNTERCLOCKWISE FROM TOP: MICHAEL BIONDO; COURTESY OF THE ARTIST AND MENDES WOOD DM, SÃO PAULO/BRUSSELS, NEW YORK; JIM RICHEY, COURTESY OF TIWA SELECT, LOS ANGELES; MICHAEL BIONDO; COURTESY OF PORTAGE; COURTESY OF REGALIS; COURTESY OF MAH-ZE-DAHR; COURTESY OF TALIA DI NAPOLI

Elsa Peretti Bone cuff in sterling silver with black jade (top) and turquoise, and in 18K yellow gold with green jade.

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/ CUI SI N E /

Priority Mail Dining at home gets a major upgrade with ingredients and meals shipped directly from these delectable sources. —J.T.

TALIA DI NAPOLI Still dreaming of that perfect slice you had in Naples? Talia di Napoli hand makes the pizza, flash freezes it, and delivers it straight to your home from Italy. taliadinapoli.com / EXHI B I TI ON S /

Next Big Thing From top: Wade in the Water II (2020)

by Antônio Obá. The King (2010) by Jim McDowell. The former home of architect Eliot Noyes, the site of an exhibition featuring these contemporary works, among others.

The picturesque town of New Canaan, Connecticut, is a hotbed of midcentury-modern masterpieces, thanks to the so-called Harvard Five, a group of innovative architects who settled there in the mid-1940s, including Eliot Noyes. Design aficionados now get the rare chance to go inside Noyes’s visionary 1954 family home, which opens to the public for the first time with an ambitious new exhibition.

Presented by the art and design fair Object & Thing with galleries Blum & Poe and Mendes Wood, contemporary works are sprinkled throughout the residence, which has been meticulously preserved with its original furniture.

Highlights include a vibrant new painting

by Mark Grotjahn, seating by Green River Project, and a nine-foot-tall sculpture by Alma Allen in the courtyard.

“The way Eliot lived with art is a huge inspiration,” says Object & Thing cofounder Abby Bangser, who helped the home become part of a historic trust last year. “I love that we are able to continue his incredible legacy with contemporary voices.” object-thing.com —LUCY REES

MAH-ZE-DAHR Regarded as the best cheesecake in New York, the renowned West Village bakery’s signature dessert is by far the lightest and fluffiest take on this classic. mahzedahrbakery.com

REGALIS Once available only to chefs, Regalis now provides home gourmands everything from live California spot prawns to foraged Saskatchewan chanterelles. regalisfoods.com

PORTAGE This brunch set includes a dozen Black Seed bagels, a czar-cut loin of smoked salmon, and upstate New York cream cheese. Portage also offers a collection of caviar essentials. portagefoods.com

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/ B OOKS /

THE ART OF DIPLOMACY Michael S. Smith is pulling back the curtain on his time as decorator in chief for President Barack Obama with the release of Designing History: The Extraordinary Art & Style of the Obama White House (Rizzoli). For the executive mansion, the designer borrowed several large-scale pieces from the National Gallery of Art, including works by Glenn Ligon, Louise Nevelson, Jasper Johns, and Sean Scully (right). “The Family Sitting Room, in particular, was the most expressive of the First Family’s personal taste and served as a template for our mindful blending of historic antiques and architecture with contemporary art and furnishings,” says Smith. rizzoliusa.com —GEOFFREY MONTES

/ COCKTA I LS /

/ FAS H IO N /

Pattern Play In a collaboration with New York– based ceramic sculptor Francesca DiMattio, Tory Burch’s fall/winter 2020 collection brings the rich history of porcelain to life. Patterns culled from Ming dynasty China, Iznik designs from Turkey, English Staffordshire, and French rococo enliven clothing and accessories.

Transforming the runway presentation at Sotheby’s earlier this year, DiMattio also installed a series of her towering abstract female forms. “Francesca challenges the traditional norms of femininity,” says Burch, who was an early collector and shares her appreciation for ceramics. “Her work imbues the decorative with strength and power.” toryburch.com —L.R.

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On the Rocks The mastermind behind the world’s most dazzling sculptural buildings, Frank Gehry has now applied his creative vision to something much smaller: a bottle of Hennessy X.O cognac. To mark the 150th anniversary of the aged blend, the architect was inspired by the maison’s unique terroir in Cognac, France. “I wanted this collaboration to be more than a decanter but a sculpture,” he says of the limited-edition piece. “It’s a powerful notion that you can transmit emotion through a material.” hennessy.com —L.R. Frank Gehry’s artful decanter is crafted with gold and glass to resemble water streaming over rocks. Left, from top: An early concept sketch. Gehry.

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/ REAL ESTATE /

CLOCKWISE FROM TOP LEFT: COURTESY OF REGENT’S CRESCENT, CIT AND MILLIER (4); COURTESY OF CELINE; COURTESY OF LOEWE; COURTESY OF BALENCIAGA; COURTESY OF DIOR; COURTESY OF HERMÈS. OPPOSITE, CLOCKWISE FROM TOP: COURTESY OF TORY BURCH; COURTESY OF RIZZOLI; MICHAEL MUNDY; COURTESY OF HENNESSY (3)

Curve Appeal Originally constructed some 200 years ago, Buckingham Palace architect John Nash’s iconic Park Crescent in London has been reborn as Regent’s Crescent, a collection of refined residences befitting their royal pedigree. regentscrescent.com —G.M.

1820 Year of Nash’s original design, which was badly damaged in World War II. The firm PDP London has now rebuilt the Georgian structure to the architect’s exact specifications.

50

9,000

Percentage of the 67 flats and nine garden villas that have already sold. Savills and Knight Frank are handling sales.

$16.9 million

Square footage of the amenities that include a spa, a swimming pool, and a private cinema.

1.5

Acreage of the new residents-only garden designed by Bowles & Wyer.

Asking price for a 3,000-square-foot triplex (shown) with luxe interiors by architecture and design studio Millier.

/ FAS H I O N /

BRIGHT FORECAST

Hermès’s classic Constance wallet gets a “to-go” upgrade with a long cross-body strap. hermes.com

Dior’s St Honoré bag in slate blue possesses an air of everyday elegance. dior.com

Sculptural shapes and striking colors dominate this fall’s must-have bags —L.R.

Balenciaga’s Hourglass small top-handle bag showcases a curved silhouette in yellow grained calfskin. balenciaga.com

Loewe’s new Balloon bag is handcrafted with robust calf leather and soft napa calfskin. loewe.com

Celine’s petite 16 bag in Amazone satinated calfskin features a handsome removable strap. celine.com GALERIEMAGA ZIN E .COM

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What’s On View

Must-see fall exhibitions, from socially conscious works by exciting newcomers to a striking visual dialogue between Tracey Emin and Edvard Munch

HAMMER MUSEUM AND THE HUNTINGTON, LOS ANGELES

THE MORGAN LIBRARY & MUSEUM, NEW YORK

FONDATION CARTIER POUR L’ART CONTEMPORAIN, PARIS

ROYAL ACADEMY OF ARTS, LONDON

Made in L.A. 2020 THROUGH JANUARY 3, 2021 Seasoned art collectors know to watch the group of emerging and underrepresented artists featured in the “Made in L.A.” biennial, which often propels up-and-coming talents to fame.

Now in its fifth edition, this year’s event brings together the work of 30 fresh visionaries who shine a light on today’s pressing issues, including Kahlil Joseph, whose work appeared at the 2019 Venice Biennale. hammer. ucla.edu, huntington.org

Betye Saar: Call and Response THROUGH JANUARY 31, 2021 Since the 1960s, the AfricanAmerican artist Betye Saar has constructed searing narratives about race and gender using intimately scaled assemblage and collage. At 94, the trailblazer is the subject of a career-spanning show at the Morgan Library. Small, annotated sketchbooks are reunited with finished works, providing a rare insight into her process. Don’t miss the travel journals documenting her extraordinary trips to Africa, Mexico, Asia, and the Caribbean. themorgan.org

Sarah Sze: Night into Day OCTOBER 24–MARCH 7, 2021 Transforming Jean Nouvel’s iconic 1994 building in Paris, New York artist Sarah Sze has conjured a dazzling new multimedia installation of objects and images from both the physical and digital worlds.

Earlier this year, the Public Art Fund commissioned her to create a permanent large-scale artwork at LaGuardia Airport in New York.

“Sculpture spills from its edge into the world in this very complex way that isn’t bound by the frame,” Sze has said. fondationcartier.com

Tracey Emin/Edvard Munch: The Loneliness of the Soul NOVEMBER 15–FEBRUARY 28, 2021 YBA artist Tracey Emin’s long-held fascination with the Expressionist painter Edvard Munch is explored in this thoughtfully curated presentation.

“I’ve been in love with this man since I was 18,” she has said. Emin is presenting old and new works alongside masterpieces by Munch—all of which reveal how the artists explore the human psyche in their own ways. royalacademy.org.uk —LUCY REES

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FROM LEFT: HV-STUDIO, COURTESY OF THE ARTIST AND XAVIER HUFKENS, BRUSSELS; COURTESY OF MUNCH MUSEUM

From left: Tracey Emin’s It – Didnt Stop – I Didnt Stop (2019). Edvard Munch’s Crouching Nude (1917–19).

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Kindred Spirits Chicago gallerist Mariane Ibrahim and her newly represented artist Raphaël Barontini found inspiration in quarantine

Mariane Ibrahim in front of artist Raphaël Barontini’s Bug Jargal, the Blue Hercules (2017).

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ince Mariane Ibrahim opened her gallery in 2012, initially in Seattle and then in Chicago, where she relocated it last year, she has focused on artists of the African diaspora, most recently bringing Raphaël Barontini to her roster. Ibrahim, who was raised in Somalia and France, found a kindred spirit in the young French artist, who has ties to the Caribbean, Africa, and Europe. As Barontini was finishing up a seven-month residency in Singapore for the LVMH Métiers d’Art, he discussed with Ibrahim via Zoom their relationship and first exhibition together, which is scheduled to open at the gallery in November.

From top: Barontini during his LVMH Métiers d’Art residency in Singapore. Barontini’s Cleopatra I (2020) and Toussaint Louverture (2019).

First Impressions Mariane Ibrahim: I was exhibiting at the Untitled Art Fair

in San Francisco. One of my friends kept telling me to check out the work of Raphaël, which was on the opposite side of the fair. I was stuck in my booth until the last day, but when I finally made it, I told the gallery, “This is amazing, why has it not sold?”

Raphaël Barontini: Then I messaged you on Instagram.

Ibrahim: We kept the conversation going there.

Last October, I said, “I’m coming to Paris for FIAC.” When we finally sat down after a year and a half of texting, that was the moment we said, “Let’s begin this journey together.”

A Shared Background Barontini: It’s a great thing to start with an

American gallery led by a French woman. I really found a peer to talk with. That was what I was waiting for in a way. I’m very happy that we began this collaboration, because I feel we are connected with the same questions, the same issues.

Ibrahim: When I saw the work of Raphaël, I secretly imagined he was telling my story. It was very easy to indoctrinate my collectors and my friends in his work.

NOLIS ANDERSON

Collaborating in Quarantine Ibrahim: Raphaël is the kind of artist where I just go full in and say the space is yours. We’ve sent him sketches, we’ve sent him video, we’ve done a couple of FaceTimes in the gallery to show him around. When he wakes up in Singapore, I’m starting to have dinner in Chicago, and we can talk until I go to bed. And then he’s waiting for me to wake up so we can have a little bit of a chat until he goes to sleep.

Barontini: Even before COVID-19,

I had experience imagining a show without seeing the real space, so I can deal with this. But I really hope that I can travel in early November. The setup of the show is an exciting moment for an artist.

Celebrating a Global View Barontini: My work is really a hybrid

of classical painting with different layers of silkscreen printing, fabric, collage, and sewing. I deal with Western codes of old-court portraits, how power could represent itself in Europe, and I mix this with other types of references from the Caribbean and Africa. The exhibition’s title, “The Night of the Purple Moon,” is a track by Sun Ra, the jazz musician.

He has always been a big reference for me and has a vision of African-American history as a time lapse. I was also really interested in Romare Bearden’s series “Black Odyssey,” a kind of fantasy of the travel of Black people throughout history.

Ibrahim: I call Raphaël “the phantom.” He’s like this character who’s moving from past to present. Of course, it’s imaginative, but it is something that could lead to reforming the Eurocentricity of how global history is told.

When you look at the work of Raphaël, it’s almost an archaeological canvas. marianeibrahim.com —HILARIE M. SHEETS GALERIEMAGA ZIN E .COM

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Iceland's famed healing waters and moss-covered lava fields surround the Retreat at Blue Lagoon.

Below: The natural cenote at Chablé Yucatán.

Worlds Away

Immersed in nature, these beautifully designed spa destinations rejuvenate the body and soul Practicing self-care has taken on renewed prominence as people search for ways to cope with life’s stressors. For some, that means a deep plunge in healing waters while for others it’s a vigorous hike over desert terrain. From infrared saunas and multisensory pools to lava rock massages and mineral salt baths, wellness comes in more forms than ever. At these spas, which offer carefully curated therapies administered in masterfully designed spaces, a healthy-living experience equates to beauty inside and out.

The Retreat at Blue Lagoon

ICELAND Remote yet easily accessible, this 62-suite property debuted on the Reykjanes Peninsula, a UNESCO Global Geopark with volcanic craters, mud pools, hot springs, and 800-year-old lava fields. Designed by Reykjavik-based Basalt Architects with Milan’s Design Group Italia, the Retreat hotel seems to rise from those expanses, with serene rooms abutting the milky-blue geothermal waters of the iconic Blue Lagoon. The subterranean spa is meant to look as if it had been carved into the volcanic earth, with concourses of lava stone leading to massage rooms, steam and sauna, a cold plunge

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well, secluded lounges, and a panoramic viewing deck. The spa provides a curated selection of treatments (both in water and out), including an experience that takes visitors through a circuit of mineral salt, algae, and silica, and has the option to conclude in the Lava Cove, a self-contained sanctuary that features a fireplace, butler, and its very own lagoon. bluelagoon.com

MEXICO Designer Paulina Moran was given carte blanche to create the interiors of this 40-room luxury resort, set on 750 acres of a former sisal plantation outside Mérida. Guests check in at a manor home from the 1800s, but its upscale accommodations are freestanding glass villas, each with a private pool. The spa here is more than 100,000 square feet of indoor-outdoor gorgeousness, with a menu of Maya-inspired treatments; an impressive hydrotherapy circuit (with steam, dry sauna, and cool plunge); a sculptural “caracol,” where a shaman conducts readings and sound cleansing; and hidden nooks for meditation. There are three options for dining, with culinary offerings designed by chef Jorge

Chablé Yucatán

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From top: A private spa sanctuary at Sensei Lanai.

A pavilion at Aman Kyoto.

The Finnish sauna at Euphoria Retreat in Greece.

FROM TOP: ROBB GORDON; COURTESY OF AMAN; GEORGE SFAKIANAKIS. OPPOSITE, FROM TOP: COURTESY OF BLUE LAGOON ICELAND; COURTESY OF CHABLÉ HOTELS

Vallejo (whose Mexico City restaurant, Quintonil, was named one of the World’s 50 Best), most using organic, seasonal ingredients that are often sourced from the expansive on-site gardens. chablehotels.com

Sensei Lanai, A Four Seasons Resort HAWAII

Sensei Lanai opened after an extensive renovation helmed by architect and designer Todd-Avery Lenahan. The 96-room property is nestled in the secluded mountain region of Hawaii’s smallest inhabited island. With over a thousand different species of plants, a ficus forest, and rare 30-foot-tall Bismarck palms, Sensei is a dream destination for anyone looking to engage fully with nature while still encountering a Claude Lalanne or Fernando Botero sculpture.

Aiming to “balance play with purpose,” this world-class wellness enclave creates customized itineraries for each guest based on their physical, emotional, and nutritional goals. Visitors can partake in the unlimited complimentary yoga, meditation, fitness, mindfulness, and nutrition classes; 18-hole putting course; and a zip line with sweeping views of Kaiholena Gulch. Treatments such as massages, facials, and aqua therapy can be experienced in private spa “hales,” Japanese-inspired, teak-clad sanctuaries hidden within a secluded garden, complete with a private plunge pool. fourseasons.com

Aman Kyoto

JAPAN This Aman property debuted earlier this year, hidden in plain sight on 80 acres, 72 of which are dedicated to permanent forest.

Just steps from Kyoto’s famed Kinkaku-ji Temple, the resort was designed by the late architect Kerry Hill, an Aga Khan Award winner who was also tapped for Aman resorts in New Delhi, Tokyo, and Shanghai. Intimate pavilions that are in harmony with their surroundings are linked by moss-covered stone paths.

The 24 guest suites and two villas are resplendent in ryokan-inspired design with quietly beautiful furnishings,

deep hinoki bathtubs, and floor-to-ceiling windows framing the stunning landscape. The spa pavilion houses three treatment suites as well as indoor and outdoor bathing facilities that are fed by mineral-rich natural hot springs. Many of the brand’s signature spa treatments incorporate healing ingredients unique to the area, such as local sake, Tanba Kuromame black soy beans, cold-pressed camellia oil, and even gold leaf. Six bespoke blends of tea have been created for the spa; their grounding and meditative effects are meant to complement the therapies, but their ingredients have also found their way into the essential oils used by the practitioners and their calming scents infuse the space. aman.com

Euphoria Retreat GREECE

Greece’s first holistic wellness destination was born out of owner Marina Efraimoglou’s personal journey as a cancer survivor. A stay at the legendary California spa Golden Door led her to “set the intention of opening a healing retreat” in her homeland. The 45-room property, designed by Deca Architecture, is built into a mountainside in Mystras, a medieval Peloponnese town that is now a UNESCO World Heritage site. Euphoria is spread across several buildings, including a restored structure that dates to 1830, with the spa perched at the highest point. The stars of that four-story structure are a domed multisensory pool with color striations inspired by the architecture of the Hagia Sophia, the Byzantine hammam, Finnish sauna, and a striking minimal staircase that winds around a skylighted interior well.

Guests can choose from an à la carte menu of treatments, including those that combine forms of Greek and Chinese medicine, or embark on an expertly guided journey to address weight loss, fitness, nutrition, or balance concerns. euphoriaretreat.com —RIMA SUQI GALERIEMAGA ZIN E .COM

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The interior of Houston’s Rothko Chapel has been completely updated to reflect the artist’s original vision. Below: Barnett Newman’s Broken Obelisk in front of the chapel provides a striking counterpoint.

Spiritual Awakening

Just in time for its 50th anniversary, Houston’s Rothko Chapel undergoes a captivating restoration

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ELIZABETH FELICELLA

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eceptively simple and emotionally charged, Mark Rothko’s abstract canvases are known to induce a contemplative, almost spiritual experience when viewed in person. In 1964, at the height of the artist’s fame, patrons Dominique and John de Menil commissioned him to create a multisensory space in Houston where visitors could be fully immersed in the painter’s world. His response was Rothko Chapel, an ecumenical sanctuary lined with 14 site-specific panels meant to inspire a meditative silence. Completed posthumously, the 1971 edifice draws over 100,000 visitors every year with a robust program of social justice initiatives and philanthropic events. The building itself, however, has historically fallen short of Rothko’s initial intent—until now.

“There was a sense that it was so close to being just right,” says the artist’s son, Christopher Rothko, who set the wheels in motion for what he calls a “final rethink” about a decade ago. “We saw that a few minimal changes could have a huge impact in bringing it as close to my father’s original vision as possible.”

Chief among the aims was to find a solution for the clunky central skylight. “It was like a lead weight above your head,” says architect Stephen Cassell of New York firm Architecture Research Office (ARO), which conceived the two-phase, $30 million master plan. “We worked with lighting designer George Sexton to build new louvers, which direct light from the wall and onto the floor,” he explains, adding that other “distracting elements” like AV equipment were cleverly hidden while the interior was resurfaced to create a monastic ambience.

Landscape designer Thomas Woltz of Nelson Byrd Woltz revamped the two-acre grounds, which feature a new Welcome House to provide a transitional moment when entering or leaving the chapel. Phase two will see the completion of a serene garden and an administrative complex that will host action-oriented programming to address issues such as race relations, climate change, and mass incarceration. “With this heightened level of uncertainty and anxiety, the chapel is needed more than ever,” notes executive director David Leslie. “The new facility gives us a better opportunity to see what we can do in the days ahead.” rothkochapel.org —GEOFFREY MONTES

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On a Roll

British designer Faye Toogood’s career has been defined by reinvention, and her new show at Friedman Benda is just the latest chapter

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British superstar artist, designer, and so much more, Faye Toogood seems to possess an unfathomable well of creativity. It was her iconic Roly Poly chair that catapulted her onto the collectible design scene, but her range of disciplines continues to evolve. This September, she mounted her first show in several years, at Friedman Benda in New York, entitled “Assemblage 6: Unlearning.” The new works demonstrate a career resurgence sparked by the birth of twins as well as the effects of being forced to slow down due to quarantine. Here, she shares the revelations that come with this next phase of her work.

I’ve often described myself as a tinkerer, because I’m a specialist in nothing but do so many things—artist, furniture maker, interior decorator, fashion designer. I’m always frustrated, because I’m not proficient in any one thing. At some point, I want to try jewelry. It’s such an interesting combination of culture and fashion.

When the Roly Poly chair first came out, I had just given birth to my first child. Almost overnight my aesthetic changed.

Before, it was steel and angular, because I was a young woman trying to assert myself in a male-dominated field. But after I became a mother, everything was fuller, plumper, rounder. I still have one at home, and as long as I have it there, it means I still love it.

My solo show at Friedman Benda came out of a period after I had twins three years ago. When I started working again, I knew in my heart that I wanted to change my aesthetic. I sat in my studio and got clay, paper, and wire, and my team started to make childlike, quite crude maquettes. We made hundreds of them, then I edited them down to about 15 or 20. I told my team, “This is the show.” They thought we would then develop the shapes, but that primitive folk naive quality was what I really wanted. This is my new vocabulary.

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CLOCKWISE FROM TOP: ANGUS MILL (2); KATIE BURDON; HENRY BOURNE. OPPOSITE, CLOCKWISE FROM TOP LEFT: LOOP IMAGES/UNIVERSAL IMAGES GROUP/GETTY IMAGES; PHILIP SINDEN; ANGUS MILL (3)

Clockwise from top: Faye Toogood’s Daylight (2020), a tapestry commissioned for the National Gallery of Victoria Triennial. Roly Poly chair. The living room in the artist’s previous London home. The Fencer coat from the Toogood A/W 20 collection.

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I’m now working on the National Gallery of Victoria Triennial in Australia. I’ve been able to curate my own show from their archives, using Rembrandts and Dutch still lifes, and I’m incorporating some existing furniture and creating new pieces as well. I’m making a tapestry, plus ten oversize family busts. I made them during lockdown, and since my manufacturers were closed, I crafted them myself in the studio with boxes, wood, and tape.

I’m inspired by Phyllida Barlow, Louise Bourgeois, and Barbara Hepworth. They’re all female and very strong in their own direction and very much driven by their experiences. Their use of materials influences me so much. At age eight, I went to Hepworth’s studio and was blown away.

The clothing I create is a kind of living sculpture. I started it about seven years ago with my sister, who is a pattern cutter. I was watching her turn flat fabric into something three-dimensional and thought we should create for my friends and artists. It’s for people who weren’t into fashion but wanted their own creative uniform.

The things I buy tend to be old. I have a passion for ceramics I need to keep in check, or my house would be filled with big bowls and pots. I have an early-modernist English aesthetic in terms of artwork I collect. Recently, I purchased a Henry Moore drawing, a Victor Pasmore painting, and a Ben Nicholson lithograph.

When it comes to my homes, I don’t have a blanket style. My last one was a 1960s house by Walter Siegel with gray brick, natural wood, and strong, clean architecture. Before that, I lived in a late-Georgian, early-Victorian house. At the moment, I’m moving into a practical and minimal period, but it always comes down to the materials and the British color palette. fayetoogood.com, friedmanbenda.com —INTERVIEW BY JACQUELINE TERREBONNE

FAYE TOOGOOD

Clockwise from top: Inside Barbara Hepworth’s studio. Toogood with 2020 works from her Friedman Benda show, including Maquette 270/ Wire & Card Chair, Maquette 166/Box Stool, and Maquette 234/Canvas & Foam Sofa. A series of family busts by Toogood from her upcoming installation “Downtime” at NGV.

PHOTO CREDIT TK

CLOCKWISE FROM TOP: ANGUS MILL (2); KATIE BURDON; HENRY BOURNE. OPPOSITE, CLOCKWISE FROM TOP LEFT: LOOP IMAGES/UNIVERSAL IMAGES GROUP/GETTY IMAGES; PHILIP SINDEN; ANGUS MILL (3)

“

That primitive folk naive quality was what I really wanted”

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Different Strokes

The bold works by these emerging talents paint colorful views of the state of the world

Austyn Weiner Austyn Weiner’s recent exhibition “Head” in her garage turned gallery in Los Angeles. Above: The artist.

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When galleries and museums were forced to shutter earlier this year, Los Angeles’s vibrant art scene came to a grinding halt. However, one place still welcomed (mask-wearing) art lovers: the garage of rising-star talent Austyn Weiner, who transformed the space into a by-appointment pop-up gallery she named Soul Car Garage. “When I couldn’t go into my studio anymore, I had to figure out a way of working from home,” says the Miami-born artist. “I went straight into prep mode and thought, Forget the canned food, I just need my paint supplies! I got five or six canvases and went to work. I wanted to

express everything that I was experiencing on a personal level and how that mimicked what was going on in the world.”

The result was a new series of daring, brightly colored paintings that hover between abstraction and figuration, filled with Weiner’s signature gestural lines and drooping flower motifs. Often created by overpainting layer upon layer of previous works, they are a thick blend of acrylic, charcoal, and oil stick. “With each season comes a new set of influences,” says the artist, who has found inspiration in Philip Guston, Chaïm Soutine, Francis Bacon, and Tracey Emin. “I like to really dig into the painters that are relevant to how I am currently feeling.”

Given the young artist’s buzz, it’s not surprising that all the works in the show sold during its run or that a piece she donated to a charity sale with Christie’s marked an auction record for her.

Weiner’s close friend Gigi Hadid already owns several of her canvases, as does Greek shipping heir and mega-collector Philip Niarchos.

Although Weiner has been acting as her own gallerist and dealer, she also frequently exhibits in galleries—next up being a solo show at Carl Kostyál Gallery in October in London. Additionally, she’s been creating postcards and sending them to herself, tapping into the rich history of mail art. “I love how postcards were used before Instagram and texting— this rudimentary way of sharing a message,” she says.

“It’s been a beautiful moment to return to why we do what we do and the integrity of the practice, an honest exchange with myself.” austynweiner.com —LUCY REES

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COURTESY OF THE ARTIST AND BLUM & POE, LOS ANGELES/NEW YORK/TOKYO. OPPOSITE, FROM TOP: IRA CHERNOVA; AHRAM PARK

Asuka Anastacia Ogawa To say that artist Asuka Anastacia Ogawa is worldly is an understatement. Born in Tokyo, she moved to a rural farm in Brazil when she was three, attended high school in Sweden, and then later relocated to London to study at Central Saint Martins. Now dividing her time between New York and Los Angeles, Ogawa draws on these rich cultures and experiences to cultivate an artistic language all her own.

In the dreamy paintings that are currently on view at Blum & Poe in Tokyo, androgynous, doll-like children march and float across monochromatic backgrounds. Their distinctive faces with almond-shaped eyes gaze out beyond the frame and seem to be full of secrets from another time. Resisting any clear interpretation, the enigmatic images instead nod to mythology and ritual, and for Ogawa, act as a spiritual conduit to her Japanese and Afro-Brazilian ancestral lineage. “The two elements I love most about paintings are experimenting with color and developing the faces of my subjects,” says the up-and-coming artist. “While I don’t have a theme when I paint, I am always thinking about my mother, grandmother, and great-grandmother, and our ancestors’ beauty, strength, struggles, love.”

It was Henry Taylor, the veteran Los Angeles painter, who gave her her very first solo show at his own studio in 2017.

A director at Taylor’s West Coast gallery, Blum & Poe, introduced her to dealer Bill Powers, who mounted an exhibition at Half Gallery in New York in June 2019. Before the show even opened, all nine works had sold, snapped up by the likes of Mark Grotjahn, Vaughn Spann, and Rashid Johnson. “When artists buy another artist’s work, there’s no higher compliment,” says Powers, who is known for fostering the careers of emerging talent.

Ogawa’s current Blum & Poe exhibition, which was postponed six months due to the pandemic, is considered a homecoming of sorts for the artist. “It’s the first time I’m showing my art in Tokyo,” she says. “I paint my works one by one, often in different locations entirely. For this exhibition, I painted in three different cities and never saw the works together in one place, so it is interesting to see how they come together. I am so grateful it happened.” blumandpoe.com —L.R.

Asuka Anastacia Ogawa’s 2020 acrylic-on-canvas works (clockwise from top): Sand, Coming Home, and This May.

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Salman Toor Salman Toor’s lush, cinematic canvases are filled with beautiful brown queer men caught in moments of intimacy, camaraderie, and introspection. In some paintings, friends happily laze around in cozy, book-filled apartments, dance and drink in crowded bars, or gaze into smartphones, free from the realities of the outside world.

In others, they are depicted in vulnerable situations, like waiting for customs clearance at the airport. During this time of isolation and fraught politics, these scenes take on a newfound poignancy.

“They are bookish, urban creatures that come from my imagination,” says Toor, who is having his first-ever museum solo show at the Whitney Museum of American Art this fall, postponed from the spring due to the pandemic. “They drink and argue about what the future of a multiethnic queer culture might look like and attempt to inhabit the freedom promised in an urban Western world—and try to find its costs.”

Art has always been a form of escape for Toor, who grew up in Lahore, Pakistan, before settling on New York’s Lower East Side. “In a childhood that was otherwise filled with strange looks from elders and bullies at school, drawing was a way of inhabiting and claiming the empowerment and sensuality of my imaginary subjects,” he says.

Sharing a sumptuous aesthetic with Baroque, rococo, Romantic, and Impressionist masters, Toor playfully injects his own sense of fantasy and humor. “I’m interested in tropes and confusing

Clockwise from top: Salman Toor.

The artist’s 2019 oil-on-plywood works Bar Boy and The Star.

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them through costume or color,” says the artist, who finds inspiration in everything from the 16th-century Carracci brothers to works by Anthony van Dyck, Édouard Manet, and Hungarian-Indian painter Amrita Sher-Gil. “I see myself as a weird mixture of cultures, so I’m drawn to the accoutrement of clichés, their powerful impact on the way we look at charm, familiarity, otherness.”

Back in his Brooklyn studio after months at home, Toor is currently preparing for his first solo exhibition at his new gallery, Luhring Augustine, in January 2021. Employing an academic painting process, he begins each piece by priming the canvas, which he finds “deeply therapeutic, like doing the dishes,” before sanding the surface and brushing on a dark acrylic base color of raw umber or burnt sienna. “I usually work from dark to light, in a classic Renaissance technique,” he says. “I love painting faces the most, but they are also the most difficult part. The right face or person for me has to embody my favorite parts of art history and also destroy them somehow.” luhringaugustine.com —L.R.

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CLOCKWISE FROM BOTTOM: PHOEBE D’HEURLE, COURTESY OF THE ARTIST AND JAMES COHAN, NEW YORK (2); ERIC DEGENHARDT, COURTESY OF THE ARTIST AND JAMES COHAN, NEW YORK. OPPOSITE, FROM TOP: STEFAN RUIZ; COURTESY OF THE ARTIST (2)

Grace Weaver “It’s a strange time to be a painter,” says Brooklyn artist Grace Weaver, whose recent James Cohan exhibition, “Steps,” coincided with the art world’s reopening in New York. “You hope your work has something meaningful to say about the world. But that’s quite challenging when the news is so shocking, extreme, and fast-paced. Painting is much better at telling longer, slower stories.”

And yet her latest output captured all of the current angst.

The multilocation exhibition featured charcoal drawings at one of the gallery’s venues, figurative canvases at the other, all created since January. Weaver’s signature characters— elastic-limbed to nearly cartoonish effect—collide down flights of stairs and into one another on an abstracted sidewalk-scape. Her theatrical compositions capture the tiny oscillations of confidence and unease that pervade daily urban routine.

“When I started these paintings, mostly before the pandemic, I was already concerned with the idea that being in a public space is a kind of choreographed dance,” she says, reflecting on the coincidental subtle menace so many pedestrians now feel.

From top: Grace Weaver’s Affront (2020).

The artist at work.

Misstep (2020).

“People are always conscious of their appearance and suspicious of others, evaluating everyone around them. The pandemic has exaggerated those interpersonal dynamics. Scenes I was thinking about became much more dramatically present.”

Weaver, whose work is found in the collections of Frac des Pays de la Loire in France and Denmark’s ARoS Museum, cites Pop guru Peter Saul as inspiration for achieving the grotesque, funny, and strange, as well as iconic New Deal WPA murals. Viewers will also find references to Pablo Picasso’s crying women and Cubist female portraits. For Weaver, palette always tells an emotional story: Stunt (2020) exposes a lady in a neon-pink dress and terra-cotta spray tan who has fallen to her hands and knees. “While there are still a lot of bright colors, I pushed myself to include these kinds of gross, weird browns,” she says. “I want there to be an attraction and a repulsion, a beauty and a discomfort.” jamescohan.com — JACOBA URIST GALERIEMAGA ZIN E .COM

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Sam Gilliam

After six decades quietly building a respected career, the octogenarian abstract painter continues to create as he enjoys a resurgence in recognition. On the occasion of his first exhibition at New York’s Pace gallery, we look back at some key moments

Lady Day II, 1971 p Sam Gilliam originally garnered attention in the mid-1960s for his beveled-edge and drape paintings, two methods he invented to push the boundaries of what the medium could be. This monumental 1971 work, showcasing his pioneering paint-staining technique, set his auction record when it sold for $2.2 million at Christie’s New York in 2018.

In the studio, 1980s u Born in Tupelo, Mississippi, in 1933, Gilliam moved to D.C. in 1962 and became affiliated with the Washington Color School, a group of color-field painters such as Gene Davis and Morris Louis.

The artist still works in his studio in the nation’s capital daily.

p Seahorses, 1975 Gilliam’s iconic drape paintings, which were partially inspired by observing women hanging laundry on clotheslines, freed the canvas from the stretcher.

One of the largest examples was Seahorses, a six-part work that cascaded across the façade of the Philadelphia Museum of Art. “The part of the process that is most exciting is the installation of all the parts into a whole,” he says.

t Venice Biennale, 2017 Gilliam was the first African-American artist to represent the U.S. at the Venice Biennale, in 1972, which he considers one of his proudest achievements. In 2017, he returned with Yves Klein Blue, a dramatic draped work that welcomed visitors to the Giardini.

Dia Beacon, ongoing u Last year, Dia Beacon launched a long-term display of the artist’s work from the ’60s and ’70s, transforming the art foundation into a Technicolor dream. Riding a recent wave of institutional attention, he will also be the subject of a major retrospective at the Hirshhorn Museum and Sculpture Garden in 2022. p Pace gallery, 2020 Recently signing with Pace gallery, Gilliam plans to present an entirely new body of work during an exhibition scheduled for November. “Each show is a unique experiment, and it is only part of a continuum. I never work with a single idea, always with the idea that one show inspires another one,” he says. pacegallery.com —LUCY REES 30

CLOCKWISE FROM TOP LEFT: COURTESY OF DAVID KORDANSKY GALLERY, LOS ANGELES; JOHANSEN KRAUSE, COURTESY OF THE ARTIST AND DAVID KORDANSKY GALLERY, LOS ANGELES; ANDREA ROSSETTI, COURTESY OF DAVID KORDANSKY GALLERY, LOS ANGELES; COURTESY OF PACE GALLERY; BILL JACOBSON STUDIO, COURTESY OF DIA ART FOUNDATION, NEW YORK; ANTHONY BARBOZA/GETTY IMAGES

MILESTONE

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Pinch Points

Plaster artisan Stephen Antonson collaborates with Nest Studio on a new collection of sculptural hardware

Clockwise from top: Stephen Antonson in his Brooklyn studio. Pinch hardware installed in matte white finish (top) and in polished brass. Antonson sculpts a plaster prototype.

A range of shapes and finishes.

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—JACQUELINE TERREBONNE

CLOCKWISE FROM TOP: KREG HOLT (4); LAURA MOSS

W

hen it comes to experimentation, Stephen Antonson is always game. His favorite part of the creative process is working with designers such as Brian McCarthy, Victoria Hagan, and Daniel Romualdez to produce one-of-a-kind lighting and furniture commissions. That’s why he was completely on board when Jessica Davis, founder of Nest Studio, known for its bespoke hardware, approached him about a collaboration that played on the tactile quality of his work.

Launching this fall, the new collection, named Pinch, is offered in six different organic variations of pulls and knobs with four finishes: unlacquered brass, polished nickel, blacked bronze, and matte white. To sculpt the shapes, he worked in his studio with a variety of materials until he discovered that pie tins have just the right form memory.

“We would cut them up into different sizes and then squeeze them into different shapes,” Antonson describes.

“It felt like the vintage photos of Matisse sitting on the floor with all that cutout paper.”

When he landed on the right shapes, he plastered them up and then refined the edges, so they still felt “playful but elegant.” However, he wasn’t done yet; he decided that each needed that one last touch. “When they were just about perfect, I would give them a little pinch to conform to your finger,” he says. The results were exactly what he was after. “I wanted to go first with how it feels and then how it looks. They had to work blindfolded.”

Given the varying scales of the pieces, it’s easy to imagine their looking and feeling beautiful on kitchen cabinetry, appliances, furniture, or closets. “People always say that hardware is the jewelry of cabinetry, which is true,” explains Davis. “This takes it to a new level. This is statement jewelry.” neststudiocollection.com

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Affair to Remember A new book by Pierre Sauvage extends an invitation to experience how the world’s most influential tastemakers entertain at home

A Paris chez Antoinette Poisson founders Jean-Baptiste Martin and Vincent Farelly’s rustic table in their French country retreat is just one of 20 welcoming settings featured in Pierre Sauvage’s new book, Be My Guest: At Home with the Tastemakers.

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Jean-Baptiste Martin (left) and Vincent Farelly create meals inspired by their grandmothers.

Right, from top: Dinnerware designed

by Antoinette Poisson for Gien.

Creamy scrambled eggs with truffles.

AMBROISE TÉZENAS, COURTESY OF FLAMMARION

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ust as it takes the exact right blend of ingredients, time, and skill to create a perfect cassoulet or light-as-air soufflé, an unforgettable dinner party also requires a magical mix. And there are a select few who can effortlessly move from the kitchen to the dining room, cultivating an enchanting fête each and every time.

The secret is “a well-chosen guest list, a nice table, flowers, delicious food, and a lovely environment,” says Pierre Sauvage, owner and creative director of the exquisitely curated Paris home design boutique Casa Lopez. In his luscious new tome, Be My Guest: At Home with the Tastemakers (Rizzoli), Sauvage spotlights more than 20 creatives from around the world whose invitations are always met with a resounding yes.

The book opens the door of notable hosts such as Linda Pinto, Chahan Minassian, Robert Couturier, and Christian Louboutin. Also included is an intimate look inside the rustic dining room of Jean-Baptiste Martin and Vincent Farelly, the A Paris chez Antoinette Poisson founders who welcome friends at their weekend home in Eure-et-Loir, France. Their reimagined 17th-century posting inn, which captures the same romance as that of their hand-blocked wallpaper atelier, is where they host friends for classic meals like creamy scrambled eggs with truffles or vol-au-vent.

“We really like the comforting dishes of our grandmothers, like Vincent’s grandmother’s famous Italian osso buco from the 1960s,” says Martin, who finds inspiration in Antoinette Poisson’s patterns, seeking out plates and textiles that re-create colorful geometric and floral designs from the 1700s, which bring an old-fashioned sensibility to the table without ostentation. “The decor is as important to us as the dishes we serve. The pleasure is complete when the table is beautiful, the dish delicious, the wine exquisite, and the guests happy.”

Sauvage concurs that it’s the personal touches that elevate a meal into an event. “Right now I really like making centerpieces in 19th-century silver plate warmers overflowing with flowers,” says the author. “When I organize dinners sufficiently in advance, I’ll have the napkins embroidered with the initials or first name of my guests. Sometimes, I even have the bread plates painted with their names.”

While clean plates and empty glasses indicate a successful meal, what signifies a memorable night is much more experiential. “For me, the sign is when the time speeds up and the guests forget their watches,” says Sauvage. “They then leave later than scheduled and have not even finished their conversations.” —JILL SIERACKI GALERIEMAGA ZIN E .COM

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Sold at Christie’s Geneva (July 7–21) The top lot in an online sale of 101 Cartier clocks—the largest collection of its kind—this exquisite Belle Epoque timepiece brought CHF300,000 ($329,000).

Made of agate, white and light blue enamel, rose-cut diamonds, and gold, it is inscribed in Latin: “I do not count the hours if they are not brilliant.”

On the Block

Unable to proceed as usual with in-person events, auction houses quickly adapted, offering digital options that netted these sales BY JEANNIE ROSENFELD

LUCIE RIE, FOOTED BOWL (CIRCA 1978) Sold at Phillips New York (July 29) In an eclectic livestreamed design sale that set six new records, an understated group of ten pieces by the Austrian-born, British ceramic artist stole the show. All of the lots sold, led by this tiny porcelain bowl with a golden manganese glaze and two terra-cotta bands, which commanded $225,000, nearly ten times its estimate.

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JOHN KOCH, SIESTA (1962) Sold at Bonhams New York (July 29) A striking example of the realist painter’s intimate urban interiors, this domestic scene was the cover illustration for a 1964 issue of Time magazine entitled “Sex in the U.S.: Mores & Morality.” Fetching the highest bid in an American art sale that the auctioneer conducted live with remote bidding, it earned a whopping $596,000 against its $40,000 to $60,000 estimate.

STEVEN SHEARER, SYNTHIST (2018) Sold by Fair Warning (June 28) Loïc Gouzer, who made a name for himself curating splashy themed sales at Christie’s, has now wowed the art world with the launch of a blue-chip auction app.

Developed during quarantine from his garage in Montauk, New York, Fair Warning offers live weekly sales of single lots to vetted bidders.

The inaugural auction featured this figurative painting by Canadian artist Steven Shearer, who is known for his depictions of teen alienation; it sold to a private collector for $437,000.

CLOCKWISE FROM TOP LEFT: COURTESY OF CHRISTIE'S IMAGES LTD. 2020; COURTESY OF BONHAMS; COURTESY OF FAIR WARNING AND TOM POWELL IMAGING; COURTESY OF PHILLIPS

CARTIER, PLANET DAY AND NIGHT CLOCK (1913)

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32 e a s t 57 t h s t r e e t , 2 n d f l o o r , n e w y o r k , n e w y o r k 10022 · (212) 421 5390 165 w o rt h av e n u e , pa l m b e a c h , f l o r i d a 33480 · (561) 655 2090 view our gallery online | www. findlaygalleries. com Copyright © 2020, Findlay Galleries, All rights reserved.

Office Hours For these global design talents, creating a functional and fabulous home office falls under business as usual

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This office space, conceived

by Ashe Leandro for artist Rashid Johnson, centers on a sculptural George Nakashima desk.

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s more and more people adapt to working from their residences, they’re recognizing the importance of the home office and planning their interiors accordingly.

Whether it’s tucked into a quiet nook or inhabits a wing of its own, this space needs to both inspire creativity and uphold a level of functionality. “If you’re doing a home office for a client, you have to decipher what they need, so you can get to the heart of what will make them happy,” says Markham Roberts, who maintains a richly layered study in his New York country home as well as a carriage house turned studio nearby. Here, design experts share what it takes to execute the perfect plan based on a few key elements.

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fabrics and trimmings clarencehouse.com

“There’s no rule that says an office must be brown wood. It can be highly functioning and decorated

FURNITURE Obviously, most offices focus on the desk, whether that’s a classic design such as an Eero Saarinen Tulip or a Jean Prouvé Trapèze table or a striking showpiece such as the Zaha Hadid limited-edition one used by Francis Sultana. “I wanted something by her in this room somehow for sentimental reasons, as she was a very dear friend,” says Sultana. “This was the best option in terms of proportions and design. I was looking for a large desk but didn’t want it to feel too heavy in the room.”

To enliven a writer’s New York office, designer Katie Ridder placed a desk in a bold shade of robin’s-egg blue alongside a row of vibrant raspberry-lacquered cabinets.

“We like to have all the rooms flow into one another, so those colors are picked up in the surrounding areas,” explains Ridder. “There’s no rule that says an office must be brown wood. It can be highly functioning and still be decorated.”

Crescent desk by Vladimir Kagan from Holly Hunt; hollyhunt.com

Charlotte Perriand 525 Table en Forme Libre from Cassina; cassina.com

Hickory Chair’s Regency Bamboo writing table; hickorychair.com

Markham Roberts’s home office incorporates a now-discontinued chintz wall covering from Clarence House the designer had saved for decades.

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Century’s Bowery Place desk in light slate; centuryfurniture.com

CLOCKWISE FROM TOP: COURTESY OF HOLLY HUNT; COURTESY OF CASSINA; COURTESY OF HICKORY CHAIR; COURTESY OF CENTURY FURNITURE; MIGUEL FLORES-VIANNA. OPPOSITE, CLOCKWISE FROM TOP: DOUGLAS FRIEDMAN; COURTESY OF DDC; COURTESY OF PALECEK; COURTESY OF RALPH LAUREN HOME

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FLORES-VIANNA. OPPOSITE, CLOCKWISE FROM TOP: DOUGLAS FRIEDMAN; COURTESY OF DDC; COURTESY OF PALECEK; COURTESY OF RALPH LAUREN HOME

Inside a Thousand Oaks, California, home office, Nicole Hollis installed a magnetic wall to display family photos, as well as artwork by Yoshitomo Nara.

Additionally, properly situating the furniture is vital to a room’s success. “Nobody likes being punished in a corner, and facing a wall is not ideal either,” says Reinaldo Leandro, half of the New York design team Ashe Leandro, which has conceived remarkable spaces, from a Nantucket compound to a Caracas hotel. For artist Rashid Johnson’s home office, the duo designed around an iconic George Nakashima desk. “In that particular scenario, it is positioned completely open to the expanse of the room, receiving natural light from behind but open to the space and facing the door to welcome thoughts, ideas, or visitors.”

Seating is also a critical piece of an office’s interior. While Eames styles and George Nelson desk chairs are easy wins, James Huniford, whose book James Huniford: At Home (The Monacelli Press) is out this November, chooses ones that make an impact.

“I like chairs that are sculptural in form and shape,” says the designer. “They have to be practical, not too big or heavy.”

De Sede DS-414 chair from DDC; ddcnyc.com Dalton upholstered dining armchair by Ralph Lauren Home; ralphlaurenhome.com

Palecek’s Conrad armchair in gold; palecek.com

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James Huniford gravitates toward seating that is both practical and refined, like this Barrow chair from the designer’s own collection.

One of the elements that can alleviate a home office of an institutional aesthetic is lighting. “Natural light in a working environment is so important. It’s linked to your productivity and mood,” says Leandro. “The closer you can get to that natural light source, the healthier your mind will be.”

Often, repurposing an underused area as a home office can mean natural light is a luxury, so it’s up to a properly orchestrated array of table and floor lamps or overhead fixtures to illuminate a room. “A table lamp that looks good from all angles is a great way to interject a sculptural element,” says the Archers’ Richard Petit, who is known for his flair for mixing underappreciated design treasures from decades past. “The Franco Albini and Franca Helg AS1C table lamp can either light up a whole room or cast a soft glow depending on the setting.”

According to San Francisco–based designer Nicole Hollis, a unique chandelier not only creates an dramatic visual moment but also opens up available desk space. “Offices inherently collect clutter even for the most organized person,” says the designer, whose book NicoleHollis: Curated Interiors (Rizzoli) is out October 6. “Adding a decorative light fixture creates a sculptural element that draws the eye up.”

ORGANIZATION The necessities of doing business, such as papers and electronics, often make a home office visually unappealing, but repurposing high-design items can preserve the aesthetic.

Lacquer, brass, or bone trays and boxes can be beautiful catchalls, while Roberts turned several wicker stools into a drop zone for papers, avoiding an unsightly recycling bin.

“Things can add character to a place and still be functional,” says the designer, whose second book, Markham Roberts: Notes on Decorating (Vendome), is out this month.

Shelving too can provide storage but also offer space to display a collection or inject personality—something of particular importance in today’s videoconference culture.

“Art, hobbies, and mementos can be selected and displayed in highly personal ways,” says Petit, who installed Sterling Ruby’s 2014 work SP294 to introduce a jolt of color in an otherwise muted interior. “A sound-absorbing wall of books can do the same job.”

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Manège centerpieces and change trays by Hermès; hermes.com

Mango wood and natural bone Persian box set from Currey & Company; curreyandcompany.com

Dear Annabelle’s Disco note cards; dearannabelle.com

FROM TOP: MATTHEW WILLIAMS; COURTESY OF HERMÈS; COURTESY OF CURREY & COMPANY; COURTESY OF DEAR ANNABELLE. OPPOSITE, CLOCKWISE FROM TOP LEFT: COURTESY OF FISHER WEISMAN; COURTESY OF BEVOLO; COURTESY OF RH; COURTESY OF DE SOUSA HUGHES; ERIC PIASECKI

LIGHTING

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Designer Katie Ridder used bold colors, light-reflecting lacquer, and a vintage chandelier to create an inspiring work space for a New York writer.

Bevolo’s Golden Sequoia table lamp; bevolo.com

RH Modern’s Carlson table lamp in lacquered burnished brass; rhmodern.com

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Fisher Weisman’s Constellation table lamp in steel and papier-mâché; fisherweisman.com

Liaigre’s Bocca lamp available from De Sousa Hughes; desousahughes.com

“A table lamp that looks good from all angles is a great way to interject a sculptural element RICHARD PETIT

PHOTO CREDIT TK

PERSONAL TOUCHES Anyone who has scanned a colleague’s shelves during a Zoom call knows it’s these accoutrements of life that signify this work space is an extension of home.

“The client of our project in Russian Hill, a tech exec who frequently works by videoconference, requested a space that was moody and thought-provoking,” says Hollis. “We found a bold skull graphic rug by Eddy Bogaert for Marc Phillips that adds the perfect edge.”

“My desktop is ‘me’—from my notebooks (I always use the same orange ones from Hermès) to my pens, pencil holder, the odd box, trays, and even sculpture,” says Sultana. “The more items on it, the more personality.”

—JILL SIERACKI

McLaren’s new GT offers a luxurious ride with all the power of a race car

The McLaren GT in Tuscany.

From top: From its panoramic sunroof to its spacious luggage bay and meticulously designed interior, the brand’s new grand tourer is redefining luxury.

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COURTESY OF M c LAREN AUTOMOTIVE

Tour de Force

Cruising Tuscany’s cypress-lined roads or the winding highways of the California coast is more artful than ever now that McLaren has debuted its first lifestyle model. The McLaren GT provides the comfort and space the company’s high-performance sports cars sacrifice for pure speed. However, its superlight frame and innovative elements still allow it to pack a powerful punch, boasting 0 to 60 miles per hour in 3.1 seconds with a maximum speed of 203 mph. The machine’s true brilliance is in its details, starting with the exterior. “We usually have vibrant loud colors, so we looked at more burnished and rich hues here,” explains Jo Lewis, the brand’s color and materials design manager whose team can blend unique shades, based perhaps on a client’s estate lawn at sunset or a favorite Dior dress. Once the signature doors swing up to the sky, another level of design and innovation comes into play. Drivers can customize by choosing from refined textiles such as supersoft leather from Scotland’s Bridge of Weir, Alcantara suede, and even Yorkshire-sourced cashmere, completely redefining what a luxury interior can be. Perhaps what most distinguishes the GT from other McLarens is its ample storage in the full-length tailgate, which is lined in a soft yet durable SuperFabric. “There’s a design philosophy of everything for a reason,” says Lewis. “Every decision has a message and a meaning.” mclaren.com —JACQUELINE TERREBONNE

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Tasting Notes

The many wineries offering on-property art galleries and outdoor installations make a visit to Napa Valley an enriching way to travel safely

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his fall, as thoughts finally turn back to travel— safe travel, that is—the Napa Valley presents an appealing option. Not only is it the place where American wine established itself as a world power, it’s also scenic, welcoming, and completely oriented to pleasing visitors. And it’s one long, skinny valley that’s easy to navigate and road-trip-friendly.

Right now, the key to the area’s successful reopening is pouring out those delicious Cabernets in a socially distanced manner. Uncrowded to begin with, Napa’s wineries traditionally offer lots of outdoor space. Historic Charles Krug winery, for instance, has introduced new, Wi-Fi-fitted cabanas on the property with ample room in between.

By-appointment tastings, which can be cautiously managed, are now the norm, accelerating a pre-pandemic trend of phasing out walk-ins.

“The crowded-tasting-bar thing? That’s not happening now,” says Jason Lede, the hospitality manager for Lede Family Wines, which was founded by his father. Lede manages the reservations (which are secured via the app Tock) for tasters and caps the groups at six people, who get to enjoy the winery’s crisp Sauvignon Blanc and work their way up to the rich Poetry Cabernet Sauvignon. Then guests can check out the rotating art exhibits in the property’s Backstage gallery and explore works by Jim Dine, Boaz Vaadia, and Sophie Ryder sprinkled around the grounds.

You can do Napa with differing degrees of access and cost.

At Tor Napa Valley, you can hike to the top of a mountain for a tasting (check out its 2018 Carneros Chardonnay), or have one of the winemakers provide you with special behind-thescenes insight into the vineyard’s terroir, which makes the bottlings special in the first place.

At Hall Napa Valley, guests are free to explore the on-site art installations by John Baldessari, Nick Cave, and Spencer Finch.

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FROM TOP: SUZANNE BECKER BRONK; SARAH ANNE RISK; R. RUSSO; COURTESY OF CALISTOGA RANCH, AUBERGE RESORTS COLLECTION. OPPOSITE: COURTESY OF HALL WINES

Vintner Kathryn Hall, a former U.S. ambassador to Austria, says that at Hall Napa Valley, her winery, which stands prominently on Highway 29, the valley’s main artery, “we’re making lemonade out of all these lemons.” She means that some of the current protocols, like pre-pouring carafes of wine to minimize contact with the masked staffers, are actually going over well with guests and may stay around indefinitely.

So far, she says, visitors have been “ebullient” about the cozy environment for tasting the 2018 Merlot and the other offerings, and the winery has also been hosting bespoke virtual tastings for those who can’t travel there. Hall has another asset up her sleeve too: a fabulous art collection, starting with the whimsical camel sculpture by the late great John Baldessari that greets visitors out front and extends to works by Nick Cave, Spencer Finch, and others.

The Hess Art Collection is another must-stop for art lovers.

There, Swiss collector Donald Hess, the winery’s founder, has amassed a huge trove by the likes of Robert Rauschenberg and Francis Bacon, which can be toured as part of a special by-appointment tasting. The vineyard has set up plexiglass barriers between stations, letting oenophiles relax as they sip bottles like the small-production Mardikian Reserve Pinot Noir.

After all that wine, the legendary Meadowood resort provides a restful reprieve in the center of the fall season activity. “During harvest, that’s when Napa comes alive,” says Patrick Davila, director of operations. With 99 rooms spread over 250 acres, Meadowood elegantly sprawls while offering full-service amenities such as tennis and golf, as well as a new, adults-only pool and terrace dining area.

The same roomy feeling prevails at Calistoga Ranch, composed of 50 freestanding lodges that give the impression of being in a remote mountain cabin—just a very luxe one.

Calistoga is famous for its hot springs, so it’s no surprise that the spa treatments at the hotel are centered on healing waters, but there are also invigorating activities and personalized meals from local private chefs, too.

Perhaps the biggest news of all in terms of hotels is the new, 85-room Four Seasons Resort and Residences Napa Valley, also in Calistoga. The venerable brand is employing technology to ensure comfort and safety; it’s also the rare lodging that sits on property with an active winery, so you’re just a few steps away from a tasting.

A visit to Napa in 2020 may not look exactly like one from years past or one explorers may experience in the future, but good options abound. As Lede puts it, “I think everyone understands that we’re in a different world right now, but that doesn’t mean you can’t have fun.” —TED LOOS

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During harvest, that’s when Napa comes alive” PATRICK DAVILA

Clockwise from top: Tor Napa Valley combines excellent wines with scenic hikes. A sculpture by Jim Dine at Cliff Lede Vineyards. Calistoga Ranch. Robert Rauschenberg’s Tabernacle Fuss (1992) at the Hess Art Collection.

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A significant work of art has the ability to incite emotion and ignite conversation. Three leading designers share how they found inspiration in a beloved canvas PRODUCED BY JACQUELINE TERREBONNE

ALFREDO PAREDES Alfredo Paredes, the longtime design guru behind Ralph Lauren’s home collection as well as the brand’s restaurant and store interiors, has launched his own namesake studio. His flexibility with styles and eye for nuance will give a singular vision to a range of upcoming projects, including a private residence for a celebrity couple on the Baja California peninsula, a penthouse in Chelsea, and an upcoming furniture line with EJ Victor launching in 2021. alfredoparedesstudio.com

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Pat Steir’s work brings such electricity into a room. This one has a hot vibrancy that I imagined in a sunny library with a calm, neutral palette for a modern Hollywood Hills home.”

Artwork: Vibrating Blue and Red Waterfall (2016) by Pat Steir. Clockwise from top: Floatation chandelier by Ingo Maurer; ingo-maurer.com. Jacques Adnet armchair from Hollywood at Home; hollywoodathome.com. Repose sofa by Okha; okha.com. Rug by Sacco Carpet; saccocarpet.com. Lamp by Natan Moss Ceramics; hollywoodathome.com. Stoneware bowl by Christiane Perrochon; marchsf .com. Trestle table by Blackcreek Mercantile & Trading Co.; monc13.com. Monolith cocktail table by Kaspar Hamacher; 1stdibs.com.

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ARTWORK: TOM POWEL IMAGING, COURTESY OF LÉVY GORVY. PORTRAIT: RICHARD PHIBBS. PRODUCTS, CLOCKWISE FROM TOP: COURTESY OF INGO MAURER; COURTESY OF MAISON GERARD; NIEL VOSLOO; COURTESY OF SACCO CARPET; COURTESY OF HOLLYWOOD AT HOME; COURTESY OF MARCH; COURTESY OF MONC XIII; COURTESY OF 1STDIBS

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PROMOTION

Collect for a cause with an exclusive selection of works created by leading artists and designers— right from the pages of Galerie. A portion of the proceeds from every sale benefits charity.

ROGER DAVIES

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DAVID SCOTT David Scott lends his curatorial eye to every project he creates. The results sparkle with a sophisticated edge and European sensibility that always brim with comfort and warmth. “When we layer things,” he says, “it creates a dynamic form, balancing textures and finding a connective.” davidscottinteriors.com

Artwork: Abstract Composition (1950) by Alfréd Réth. Clockwise from top: Pillow by RW Guild Private Label; rwguild.com.

Rug by Olga Fisch; dorisleslieblau.com. Bonsai tree from Bonsai Mirai; bonsaimirai.com. Klay sofa bed by Charlotte Biltgen; theinvisiblecollection.com. Lounge chair by Donzella; donzella.com. Vintage dish by Fontana Arte; 1stdibs.com.

Collection of studio vases by Berndt Friberg; hostlerburrows.com. Wallpaper by Phillip Jeffries; phillipjeffries.com.

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ARTWORK: COURTESY OF GALERIE MARCILHAC. PORTRAIT: FELIX KUNZE. PRODUCTS, CLOCKWISE FROM TOP: COURTESY OF RW GUILD; COURTESY OF DORIS LESLIE BLAU; COURTESY OF BONSAI MIRAI; COURTESY OF THE INVISIBLE COLLECTION; JOSH GADDY; COURTESY OF 1STDIBS; COURTESY OF HOSTLER BURROWS; COURTESY OF PHILLIP JEFFRIES.

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I love the textural paintings of early Cubist Alfréd Réth.

For this study, I conceived a warm cocoon of collectibles that reads as a contemporary space while hearkening back to the classics.”

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ARTWORK: CHRISTIE’S IMAGES LTD. 2020. PORTRAIT: WILLIAM WALDRON. PRODUCTS, CLOCKWISE FROM TOP: JOSHUA WHITE PICTURES; COURTESY OF RALPH PUCCI; WILLIAM WALDRON; COURTESY OF RALPH PUCCI; COURTESY OF THE SHADE STORE; COURTESY OF NEIMAN MARCUS; COURTESY OF BERND GOECKLER, INC.

ARTWORK: COURTESY OF GALERIE MARCILHAC. PORTRAIT: FELIX KUNZE. PRODUCTS, CLOCKWISE FROM TOP: COURTESY OF RW GUILD; COURTESY OF DORIS LESLIE BLAU; COURTESY OF BONSAI MIRAI; COURTESY OF THE INVISIBLE COLLECTION; JOSH GADDY; COURTESY OF 1STDIBS; COURTESY OF HOSTLER BURROWS; COURTESY OF PHILLIP JEFFRIES.

VICTORIA HAGAN Victoria Hagan’s crisply refined interiors may be her calling card, but it’s her gift for balancing comfort and elegance that keeps her impressive cadre of clients coming back for more. The timeless spaces she conjures are also known to bring out the best in blue-chip art collections. victoriahagan.com

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Creating a dining room to host a fantastic dinner party is my personal fantasy. Cecily Brown’s work draws you in, and you never see the same thing twice.

I’m always blown away by the emotion I feel when I see her pieces.”

Artwork: Carnival and Lent (2006–08) by Cecily Brown, auctioned at Christie’s in July. Clockwise from top: Water bottles by Alison Berger Glassworks; alisonbergerglassworks.com. Lanterne by Philippe Anthonioz; dutko.com. Philips side chair by Victoria Hagan; victoriahagancollections.com.

Table by Hervé Van der Straeten; ralphpucci.com. Tidal Line window covering by Victoria Hagan for the Shade Store; theshadestore.com.

Ivy Garden dinner plate by Anna Weatherley; neimanmarcus.com. Sideboard by Osvaldo Borsani; bgoecklerantiques.com.

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Natural Wonder

D Clockwise from top: Cupola lamps made from brass and eggshell. A scarab candle sconce.

Alexander Lamont.

Curiosity Cabinets Jean-Luc Le Mounier creates fanciful designs inspired by nature’s beauty

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he shimmering wings of a butterfly. A plume of satin feathers. The weblike crevices of scorched earth. All have captured the imagination of French artisan Jean-Luc Le Mounier, whose fantastical cabinets mimic such natural phenomena through time-honored marquetry and metalworking techniques. A staple on the contemporary design fair circuit, thanks to his gallerist, Todd Merrill, Le Mounier learned cabinetmaking at the Compagnons du Devoir, an elite trade school in France. “We studied seven days a week until we mastered the gestures of our craft,” he says. “A bit like the samurai.” A six-year stint working for Maria Pergay followed. “She taught me how to push my limits, to take more risks, and to understand that nothing is impossible to achieve,” says Le Mounier, whose latest creations incorporate materials that he has never worked with before, like textile fringe. “I’ve been observing the unbridled creativity of the fashion industry for a long time, and it is a great source of inspiration.” lemounier.fr, toddmerrillstudio.com —G.M.

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esigner Alexander Lamont’s practice is all about revealing the soul of natural materials through extraordinary craftsmanship. His workshop of over 100 dedicated artisans transforms shagreen, parchment, straw, and even lustrous metals like gold leaf and bronze to bring his seductive designs to life. For his latest collection, Sirena, Lamont collaborated with Brazilian talent Antonio da Motta. “We started with a mood board that drew inspiration from sculptural forms and ideas of power within objects,” he recalls. The Êres dining table, for instance, was born as an homage to the twin gods of West Africa’s Yoruba tribe. The piece features larch wood, smoked oak, and brass, and wedged between the legs are ovoids sheathed in charred eggshell. The wings of a Thai scarab beetle, meanwhile, lend an incredible iridescent quality to a pair of bronze sconces. “The surface effect is impossible to create synthetically,” says Lamont. “Scarabs have short life spans, but the carapace can last for decades or even centuries.” alexanderlamont.com —GEOFFREY MONTES

FROM TOP LEFT: BOONYAKORN P.; ZAC AND ZAC (2); COURTESY OF TODD MERRILL STUDIO; FREDERIC BARON; COURTESY OF TODD MERRILL STUDIO

Alexander Lamont transforms myriad metals and textiles into remarkable home goods

Clockwise from top: The Papillon cabinet showcases Jean-Luc Le Mounier’s signature straw marquetry.

Le Mounier. The Hamada cabinet is rendered in stainless steel, enamel, platinum, and ebony.

lalique.com

JEAN CAZALS

Riad Madani, a former palace in the heart of Marrakech’s medina, serves as an inspirational respite for artists Helen and Brice Marden.

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ENSEMBLE

With a lively, deeply personal cast of art and design pieces, architect

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THEATER

Lee F. Mindel rewrites the script for his longtime New York City home

BY PILAR VILADAS PHOTOGRAPHY BY MICHAEL MORAN At the center of a circular gallery in the Manhattan penthouse that architect Lee F. Mindel shares with his husband, architectural designer JosĂŠ Marty, a rounded sculpture by Beat BĂźhler and an anonymous French maquette rest on pedestals flanked by a pair of Zaha Hadid marble benches.

A folded-paper tower by Irving Harper is displayed in front of an exuberant Ugo Rondinone lithograph in the hallway beyond.

For details see Sources.

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ometimes, even perfection needs an update. Twenty-five years ago architect Lee F. Mindel, cofounder of the firm SheltonMindel, renovated a 3,500-square-foot, 12th-floor penthouse in New York City’s Flatiron district to be his home. Working in collaboration with another New York architect, Reed A. Morrison, he transformed the space into a study in restrained elegance. In 1999, it won the Honor Award for Interior Architecture from the American Institute of Architects. Among the apartment’s distinctive features is a striking rotunda just inside the entrance that serves as a gallery, with large doorways opening to the surrounding entertaining areas. A stainless-steel serpentine staircase winds around it, leading up to a pavilion-like lounge and an expansive rooftop terrace. With four exposures, the apartment enjoys views of some of Manhattan’s most iconic buildings.

At first, Mindel filled his new home with furniture by a Who’s Who of 20th-century design stars, from Gaudí to Gehry, with a

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hefty dose of Scandinavians such as Poul Kjærholm, Hans Wegner, and Arne Jacobsen. The refined mix of furnishings and materials against the crisp, neutral backdrop was, as Mindel put it, “extravagantly minimal.” Morrison describes the design as “a more modern idea that was based in tradition,” adding, “If we were to do it again, it might end up the same.”

But even if the architecture still looks fresh, it’s no surprise that Mindel—a passionate collector of modern and contemporary art as well as design (he is on the vetting committee for the Design Miami/ fair)—decided it was time for an update. He now shares the apartment with his husband, architectural designer José Marty, and together they completed a rethink of the space just before New York’s COVID-19 shutdown in March. “I wanted to make it more of a house,” says Mindel. “I wanted to live in it in a different way and made the palette brighter and more optimistic.

My aesthetic has become more personal.”

The goal wasn’t to do any structural alterations, Mindel explains, but to “change the perception of the space—it’s filled with life,” something he sees as an important lesson for the post-coronavirus world. Now when you step into the rotunda, you are greeted with sculptural pieces, including a folded-paper →

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In the rooftop pavilion, Poul KjÌrholm chairs facing an Ole Gjerløv-Knudsen prototype are joined by an Arne Jacobsen Egg chair, a Massimo Vignelli cocktail table, and a sofa designed by SheltonMindel.

The lamp on the left is by George Nelson, the one at right is by Ignazio Gardella, and a Gerrit Rietveld sculpture is installed above the sofa. Opposite: A view overlooking the residence, whose terraces were designed in collaboration with Jonathan Farber of R/F Landscape Architecture.

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Swirling ceramic sculptures

by Wouter Dam top the living room’s Tom Dixon table, which is bordered by Roger Tallon metal stools and a Maarten van Severen chair. At the room’s far end, a Günther Förg artwork presides over a sitting area with a B&B Italia sofa designed by Antonio Citterio, a pair of Eero Aarnio armchairs, and SheltonMindel ottomans; the curved floor lamp is a unique Maarten Baas commission, the multilight floor lamp is by Gino Sarfatti, and the rugs are by Chilewich.

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tower by Irving Harper and two marble benches by Zaha Hadid.

On the far wall, a sculptural study in metal by Bruno Mathsson hangs next to a Georges Jouve ceramic lamp that has a lightbulb but no shade. “I view it as a sculpture that has a light on it,” Mindel says. Nearby, perched on two brightly colored Pols Potten stools, is a colorful lithograph by Ugo Rondinone.

Mindel divided the long living room, with its view toward One World Trade Center, into multiple seating areas. At the center, a Tom Dixon glass-top table with an architectonic wire base is joined by curvy metal stools by Roger Tallon and ceramic swirls in lively sherbet hues by Wouter Dam. Arrayed around the elegant white-glass fireplace at one end of the room are a Jean Prouvé daybed, floor lamps designed

by Yrjö Kukkapuro for Artek, and a pair of smoked-glass screens by Mindel’s late friend Jeremiah Goodman, who was famous for his glamorous illustrations of interiors. At the room’s opposite end, presided over by a large Günther Förg artwork, standout pieces include a pair of rare black leather

“I MADE THE PALETTE BRIGHTER AND MORE OPTIMISTIC,” SAYS LEE F. MINDEL. “MY AESTHETIC HAS BECOME MORE PERSONAL” armchairs by Eero Aarnio and a squiggly floor lamp by Maarten Baas that was a unique commission.

Next to the dining room, there’s another inviting sitting area, with a piano, where in non-pandemic times, visitors might enjoy a cocktail while relaxing on custom Alvar Aalto armchairs or molded-plywood chairs by Jørn Utzon, architect of the Sydney Opera House. From here, you can see through to the two guest bedrooms, which may be closed off with sliding wall panels. In the adjacent main bedroom, a wall of honey-toned sycamore panels behind the bed adds notable warmth.

With current projects that include a penthouse at 220 Central Park South for repeat clients Sting and Trudie Styler, as well as other Manhattan apartments and houses in Southampton, Sag Harbor, and Marin County, California, Mindel certainly has plenty on his plate. But his evolution continues. “I find myself becoming more of a student now than when I was an actual student,” he says. “And I keep asking myself how I can make things better.”

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Next to the dining area, a Hans Wegner cocktail table is encircled by Alvar Aalto tufted-leather club chairs, molded-plywood chairs by Jørn Utzon, and an Antonio Citterio sofa for B&B Italia. An artwork by Tricia Rumbolz hangs near a wood sculpture

by Ricardo Santamaria, the curtains were made by Ann Baderian using a Rogers & Goffigon fabric, and a rug designed by SheltonMindel for V’Soske is layered atop a floor covering by Chilewich.

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One of the most eye-catching elements of the apartment, which Mindel designed 25 years ago with architect Reed A. Morrison, is the twisting stainless-steel staircase that leads to the rooftop. Opposite: In the primary bedroom, a wall of sycamore panels serves as the backdrop for a Christopher Beane photograph mounted above a SheltonMindeldesigned bed dressed with Frette linens and an Hermès throw; the bedside lamps are by Tom Dixon.

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1 The rotunda is home to a neon light installation by South African artist Floor van de Velde, acquired from Provincetown, Massachusetts, gallery Room 68. “The placement was inspired by Ellsworth Kelly’s rectangular work in semicircular spaces,” says Lee F. Mindel. “The way the light interfaces is different than on something flat.” room68online.com 2 Dutch designer Maarten Baas created a custom nickel-plated clay floor lamp for Mindel after they met at Design Miami/ in 2009. “He’s both playful and serious at the same time,” says Mindel. This blue

version is available through Carpenters Workshop Gallery. carpenters workshopgallery.com 3 A trio of spiraling ceramics by Amsterdam artist Wouter Dam, who shows with Galerie Vivid, sits atop a geometric prototype table by Tom Dixon. Mindel purchased the table, used exclusively to exhibit sculpture, from London’s Themes & Variations 20 years ago. galerievivid.com, themesandvariations.com 4 Mindel’s expansive rooftop terrace enjoys sweeping views from the Hudson to the East River.

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(1, 3, 7) MICHAEL MORAN/OTTO; (2) COURTESY OF MAARTEN BAAS; (4) ALYCIA KRAVITZ; (5) COURTESY OF WRIGHT; (6) COURTESY OF THOMAS TRUM

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“When I bought the place, it was just a black tar flat roof,” he recalls. “Now, between the muted sounds of the city in the distance and rustle of trees, you think you’re on the water.”

The Joel Fisher bronze was purchased at Sotheby’s, and the furnishings are Richard Schultz from Knoll. sothebys.com, knoll.com 5 Famous for conceiving the Sydney Opera House, architect Jørn Utzon also dreamed up these undulating seats, a pair of which grace Mindel’s sitting area. “The movement you see in sails in Sydney are present in these birch plywood chairs,” he

explains. “What’s nice is how you can rock in them a little bit.” wright20.com 6 Mindel has started collecting the work of up-and-coming Rotterdam artist Thomas Trum, who is represented by Galerie Vivid. “He creates these dynamic shapes that move on a flat surface, and it’s all done with one brushstroke.” galerievivid.com 7 “The piano is a Disklavier

by Yamaha,” says Mindel.

“When we were doing Sting’s place, he wanted to get this special piano.

Naturally, this is a much lesser version.” disklavier.com

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The

These creative talents don’t just let their work speak for itself, they effect change and take action through incredible social projects that influence race, society, and culture in ways that are more meaningful now than ever

BY GALERIE EDITORS

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RAFAEL HERNANDEZ, COURTESY OF DAVID KORDANSKY GALLERY, LOS ANGELES

POWER TO TRANSFORM

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Lauren Halsey outside the famed Watts Towers by Simon Rodia in Los Angeles.

PHOTO CREDIT TK

LAUREN HALSEY Buzzy young artist Lauren Halsey blends painting, sculpture, and architecture into a reflection and celebration of South Central Los Angeles, where her family has lived since 1927. While she may be known for her much-praised solo exhibition at the Fondation Louis Vuitton in Paris, winning the Frieze Artist Award in 2019, and an exhibition earlier this year at David Kordansky Gallery, her work is so deeply tied to community building that when a space next to her studio opened up last year, she began plans to create a local center called Summaeverythang.

Planting the seed: After COVID-19 interrupted plans for the complex, she redirected the center’s funds to build a food program that addresses the lack of healthy fruits and vegetables in the area.

“There’s a collaborative ethos with everything that happens in my studio, and naturally, it extends into the produce distribution. My mom, cousin, girlfriend, and I pack 600 boxes per week. Every Friday, we bring them to Watts and have hundreds of people waiting for us and see the same families. It’s become a thing; it’s much more soulful than just, Here’s a box.”

Growing a garden: “The program will exist weekly until late next summer. After the coronavirus has chilled out, we will open a funk garden, which will feature sculptures by me, my friends, and neighborhood kids.” laurenhalsey .com, summaeverythang.org —JACQUELINE TERREBONNE

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LIZA LOU From her studio in California’s San Fernando Valley, Liza Lou, acclaimed for her elaborate work with beads, has spent the past several months asking—and answering—big questions. “For me, it’s been an intense time of thinking, What makes a human? What gives us hope? Is art necessary? And does it make a difference?” That introspection prompted her to engage others in an art-making project called “Apartogether,” which Lou launched on Instagram in mid-March.

Call to action: “I sent out this invitation that I’m going to remake my comfort blanket; do you want to join me?

Take whatever you have and make something. That’s the most profound thing—to reach through the screen and talk about the physicality of art making. It’s been amazing to see what people have come up with.”

Sense of community: In 2005, Lou relocated to South Africa for ten years to learn more about bead making from master artisans. “I was in the middle of the HIV epidemic at the epicenter of the KwaZulu-Natal province, where the beadwork is among the best. An incredible world opened up to me around understanding what this material is. It was humbling as a white woman artist to really understand this material that I had happened to come across and fall in love with.” Now those artisans have created their own businesses and work as a collective. lizalou.com —J.T.

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ZIHUI SONG, COURTESY OF THE ARTIST AND LEHMANN MAUPIN, NEW YORK, HONG KONG, AND SEOUL. OPPOSITE: JOHN LUCAS

Liza Lou in her Los Angeles studio with Sunday Morning (2019).

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Titus Kaphar in his New Haven, Connecticut, studio with his painting The Aftermath (2020).

PHOTO CREDIT TK

TITUS KAPHAR “Can Art Amend History?” was the title of Titus Kaphar’s TED Talk a few years ago and a question that has always been at the heart of his art practice.

Kaphar, who joined Gagosian in April, powerfully appropriates images from American and European paintings, drawing attention to old narratives in order to spotlight the racial injustices that continue today.

An image of the times: This past June, amid the protests that erupted nationwide in the wake of the death of George Floyd, Kaphar created a haunting cover for Time magazine depicting a Madonna-like Black mother holding a silhouette of her baby.

“Must I accept that this is what it means to be Black in America?” he wrote in an accompanying poem, noting that neither his prestigious MacArthur grant nor his MFA degree from Yale University protects him from racial violence.

A new art model: Kaphar has been tirelessly working on NXTHVN, a $12 million nonprofit arts incubator and fellowship program he founded in 2015 to nurture rising talents. Deborah Berke Partners designed the complex, which is expected to be completed this winter; seven studios for artist-fellows and an art gallery are already open.

“It’s only through creativity and imagination,” he states, “that we will redefine the future.”

Don’t miss: Kaphar is showcasing an entirely new series of surreal, vibrant landscapes in an exhibition titled “From a Tropical Space” at Gagosian in New York this fall. kapharstudio.com, nxthvn.com —LUCY REES

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Artist and Black Artists + Designers Guild founder Malene Barnett in her Brooklyn brownstone; her ceramic vessel Womb is on the table.

MALENE BARNETT Having launched her career as a custom rug maker, Malene Barnett has for the past two years handcrafted ceramics informed by her Afro-Caribbean culture. A lifelong activist around race and equality, she launched the Black Artists + Designers Guild (BADG) in 2018 to elevate a community of African-American creators.

Building on heritage: “I’m constantly trying to connect the dots to my heritage while really homing in on handmade processes. When I’m building in clay, I have this sense of wanting to replicate the idea of the head wrap and think about the significance and purpose of it.”

The power of the BADG: “I’m a natural connector. If we come together as a collective, it creates a louder voice but also a stronger story and bond. We need to write our own narrative and that’s what the guild is about, us taking that time to figure out what are our design principles, what are our styles, building equity, forming a more inclusive environment.”

Next up: The Obsidian Virtual Concept House, set to launch early next year, envisions a Black family home five years in the future that centers on sustainability, innovation, and technology. “Right now, I’m really focused on developing my craft, my voice, and my process. And I enjoy sharing because I know it inspires people and I want people to follow this journey.” malenebarnett.com, badguild.info —JILL SIERACKI

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Mexico City–based architect Tatiana Bilbao in her office.

FROM TOP: ANA HOP; JULIEN FAURE/PARIS MATCH/CONTOUR BY GETTY IMAGES. OPPOSITE: LESLEY UNRUH

TATIANA BILBAO Since founding her namesake studio in 2004, Tatiana Bilbao has been a leading voice for socially minded architecture that emphasizes both sustainability and versatility. Whether crafting an art-filled botanical garden in northwestern Mexico or a Cistercian monastery in Germany, the Mexico City architect prioritizes the ever-evolving needs of the end user.

Problem solver: At the 2015 Chicago Architecture Biennial, Bilbao unveiled her “modular housing strategy,” commissioned by a Mexican financial institution and aimed at mitigating the country’s affordable housing shortage. “The homes are designed to be adaptable,” she says. “They are able to acquire the conditions of the site and the culture of the family.” A cluster of the residences has since been built in the border city of Ciudad Acuña in the wake of a devastating tornado.

Up next: An exhibition spotlighting a new project in California will open at the San Francisco Museum of Modern Art in 2021, and work is currently under way on her design for Mexico’s first Dream Hotel in the Valle de Guadalupe. She also continues to create low-cost housing for Mexicans in need. tatianabilbao.com —GEOFFREY MONTES

THEASTER GATES

Artist Theaster Gates with his work Altar at the Palais de Tokyo in Paris.

For Theaster Gates, there is no line between art and activism.

Drawing on his own experience growing up on Chicago’s West Side, he has been transforming buildings and urban neighborhoods into lively cultural environments for over a decade.

Strong foundation: The Rebuild Foundation, a nonprofit that he launched in 2009, manages many of his social projects, including Chicago’s Stony Island Arts Bank, Black Cinema House, Dorchester Art + Housing Collaborative, Archive House, and Listening House—while also extending support to Midwestern cities. During the pandemic and recent protests, the foundation quickly shifted its focus, using its resources to help underserved communities in predominantly Black neighborhoods.

Spiritual journey: Gates’s arts projects are just as ambitious, spiritual, and political. Last year, he installed “Black Chapel” in Munich’s Haus der Kunst museum. The expansive show explored questions about Black history, representation, and spirituality. This fall, he will have his first solo exhibition with Gagosian, titled “Black Vessel,” for which he has created several new bodies of work, including caged fire hoses, paintings, and ceramics. “I always find myself returning to the vessel,” Gates has said. “It is part of the intellectual force of my practice and precedes all other forms of art making.” theastergates.com, rebuild-foundation.org —L.R.

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haven

sent

Having given up his longtime country retreat, legendary London designer Nicky Haslam can’t resist a Gloucestershire getaway he updates in distinctly personal, effortlessly soigné style

BY CAROLINE ROUX PHOTOGRAPHY BY SIMON UPTON

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Nicky Haslam allowed himself just a few months to renovate this cross-shaped, Georgian-style pavilion on the wooded grounds of his friends’ Gloucestershire estate.

Opposite: The designer is seated in the library, where the walls are decorated with his watercolors of rooms he created for his A-list clientele. For details see Sources.

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Much of the living room furniture, including the Gothic-style light fixture and the Baroque pedestal table beneath it, is from Haslam’s previous country house, the Hunting Lodge; the red sofa came out of storage, the velvet-clad, barrel-back chair is from London dealer James Jackson, and many of the fabrics are remnants he collected over the years. Right: A life-size wax modello of the 17th-century playwright Jean de Rotrou by Jean-Jacques Caffieri sits atop a demilune console designed by Haslam in the mid-1980s.

“Decorating is a subtle business,” Nicky Haslam says.

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From top: Yew hedges frame an outdoor sitting area, where white wisteria climbs the exterior of the pavilion. A Regencystyle lantern hangs in the stone-paved front hall. Haslam’s watercolor of a drawing room he designed in 1981 for Martha and Philip Gwyn at Dean House in Kilmeston.

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t’s been a busy year for Nicky Haslam, who for half a century has been one of London’s most sought-after interior designers. He’s gained renown, too, as a best-dressed man about town and as a writer of gossip columns and a no-holds-barred memoir that chronicles his Zelig-like course through decades of society drawing rooms on both sides of the Atlantic.

He’s also an admired cabaret singer who followed his 80th birthday last fall with a string of shows, performing favorites from the American songbook. Cole Porter was a friend, after all.

Last November, Bonhams auction house in London hosted a successful sale of art, furnishings, and objets from Haslam’s longtime country home, a 17th-century folly in Hampshire called the Hunting Lodge, which he rented from the National Trust. “I’d had it for nearly 50 years,” says the designer, “and I didn’t want to sign another ten-year lease.”

But plans to live an entirely urban life in his elegant London apartment were soon derailed. “You know, friends phoned and said, ‘You’ll miss the country,’ ” he says. “Then they offered me a house on their land!”

For Haslam, it proved too tempting to resist. Located in Gloucestershire, a part of England known for its rolling hills and discreetly rich denizens, the residence is a cross-shaped, two-bedroom pavilion built only a decade ago but in fetchingly well-reproduced Georgian style. Haslam took on the house around the time of the Bonhams sale and allowed himself just two months for renovations. “Time’s passing, baby, there’s no sitting around,” he says.

What Haslam achieved in brisk fashion is layers of comfortable joy that might well have been there forever. Some of the furnishings are pieces he kept from the Hunting Lodge, such as the striking Gothic lantern that now presides over the stylishly eclectic living room. A curved, cherry-red sofa was brought out of storage, as were rugs by Silk Avenue, while a barrel-back chair—which Haslam upholstered in deep-cut gray velvet with salmon-hued cord fringe—was acquired from one of his go-to London dealers, James Jackson.

Haslam likes to indulge in a bit of craft, and a number of pieces in the pavilion are works of exuberant bricolage. In the bedroom, for example, an Ikea headboard has been embellished with a carefully applied layer of bamboo wallpaper. “I actually designed this room on the back of an

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envelope,” he says, gesturing around the space, where trompe l’oeil ribbons cascade down walls painted a favorite shade called Sweet Caroline, which he refers to as dirty mauve.

Decorating, Haslam says, “is a subtle business. It’s about the flattery of light and color, to make people look prettier.” With a client list that runs from Princess Michael of Kent to Charles Saatchi and Ringo Starr, he most certainly would know.

Haslam was at the center of London’s nascent swinging sixties crowd before he decamped to New York and spent close to a decade in the U.S., during which time he worked in Alexander Liberman’s art department at Vogue as well as with Diana Vreeland. He lunched with Wallis Simpson, discovered Jane Holzer, and formed a lasting bond with Lee Radziwill. He took Andy Warhol to dinner parties where the hosts complained about Haslam’s disconcertingly weird companion.

He fell into the interiors profession in the early 1970s, after returning to London. His first big job was banker David Davies’s Kensington apartment, where the style was bachelor and the art was very modern. “It was a lot of Fontana, and all the big American painters, the Abstract Expressionists,” says Haslam, whose next major commission was the home of another celebrated collector, Janet de Botton. “She had endless Schnabel velvet and broken-plate paintings and huge Warhols that are now in the Tate collection.”

Haslam’s approach to art is to make sure it integrates with its surroundings. “I don’t like art to be isolated, to be look-at-me-ish,” he says. “I like it to be part of the whole sweep of the room.”

At the pavilion, Haslam has displayed his own artwork for the first time: exquisite watercolors that he creates of each room of every new project. He gives them to the various craftspeople involved—“from the curtain man to the lampshade lady,” he says—so they can see how their work will contribute to the whole.

Around 50 of these pieces, some dating back to the ’80s, were exhibited at Tristan Hoare’s London gallery in December, and afterward Haslam couldn’t bear to put them into storage. So he installed a selection in the pavilion, creating a kind of survey of his decorating history. Look closely at the walls in the guest room, and you’ll find the Tudoresque dining room with an ornate ceiling Haslam created for Rod Stewart in Epping—a home once owned by Winston Churchill, he notes offhandedly.

Haslam says he believes that houses have souls and voices.

“After nearly five decades the Hunting Lodge was saying that our relationship was getting creaky,” he notes. “I’m not sure what the pavilion is saying yet, but it’s feeling good.”

From top: A watercolor of the dining room Haslam created for Rod Stewart at Wood House in Epping in 1986. The walls of the pavilion’s main bedroom are decorated with trompe l’oeil ribbons by Lizzi Porter, who also painted faux-marble drawer fronts on an Ikea chest; the painting of a tulip petal is by Rory McEwen. The bedroom in this watercolor was conceived for Felicity and Robert Waley-Cohen’s residence in Upton in 1991.

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Olex Panchuk crafted the library’s green-painted light fixture using salvaged objects, while L&M Upholstery made the banquette and reupholstered the slipper chair in a Colefax and Fowler fabric specially printed for a past Haslam project; the curtains are Irish linen, the blinds are wool, and the carpet is by Silk Avenue. Opposite: In the main bedroom, Haslam applied bamboo wallpaper to the headboard to embellish his Ikea bed, amping up the glamour with a corona lined in silvery fabric; the lamps are a mirrored slice-of-an-urn style from the ’50s, and the wood-grain-pattern carpet is Haslam’s design.

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Talking

Heads

Japanese ceramic traditions go pop in the manga-meets-mythical creations of Otani Workshop

BY LUCY REES PHOTOGRAPHY BY RINGO CHEUNG

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Shigeru Otani, who goes by his artist name, Otani Workshop, in his sprawling studio on the island of Awaji in Japan, where he crafts his larger-than-life ceramic and bronze sculptures, including these 2018 works (from left) Shaking Feeling, Skull, and Head on Pillar.

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Otani Workshop’s Prince (2018).

Clockwise from middle left: The road leading to the artist’s Awaji Island studio. Otani hand building a ceramic piece. A work in progress. Potman (2018). A variety of sculptures in the studio.

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COURTESY OF THE ARTIST AND PERROTIN. © OTANI WORKSHOP/KAIKAI KIKI CO., LTD. ALL RIGHTS RESERVED.

On the far eastern end of the Seto Inland Sea in Japan, near the city of Kobe, lies the island of Awaji.

Legend has it that when the gods were creating the Japanese archipelago, they made Awaji first, bestowing it with resplendent mountains and hot springs. The island’s cultural significance and magical beauty have long lured creative types, including Shigeru Otani, whose innovative sculptures, which fuse Japan’s ceramic traditions with a contemporary pop sensibility, have made him a rising star. Otani has a studio on the island inside a cavernous, light-filled former tile works with breathtaking views of the expansive sea. Though he goes by the name Otani Workshop, he works mostly alone, fashioning his ceramic and bronze figures—some of them larger-than-life—with expressive, exaggerated features and childlike faces. He also makes functional vessels and folklike paintings, all of which he incorporates into idiosyncratic installations. “I want to create objects that are close to living souls,” the artist says. “We have the word yorishiro in Japanese, which refers to an object representative of a divine spirit. I use my characters to give physical space for some spirits to dwell in.”

Little known outside his native country until a few years ago, Otani was catapulted onto the global stage in part by Takashi Murakami, the celebrated Superflat movement founder, whom he met at a ceramics shop exhibition in Tokyo in 2010. A prominent collector and supporter of emerging talent, Murakami became Otani’s champion, giving him a 2016 solo show at his Kaikai Kiki Gallery in Tokyo, which the artist considers his first foray into the art world. “Murakami is a great connoisseur of ceramics,” says Otani. “As we started to work together, I realized there is so much to learn from him, including life as an artist and the difficulty involved in the process from an artwork’s creation to the delivery to an audience.”

Murakami also introduced the younger artist to Perrotin, the blue-chip gallery that has long represented him. Following solo shows at Perrotin locations in Seoul and Paris in 2018 and 2019, respectively, Otani is now preparing for his first solo exhibition in New York, on the third floor of the expansive Lower East Side space. On view from October 28 through December 19, the new works are inspired by childhood memories of communicating with inanimate objects such as, he says, “toys, stones on uninhabited lands, and the space between bridge girders.”

As a student at the Okinawa Prefectural University of Arts in the early 2000s, Otani dreamed of being a sculptor, transfixed by the tactile sensibilities of clay. But upon graduating, he found himself struggling

“to create work that I could call my own,” as he puts it, adding, “Maybe it was difficult for me to relate to the art scene because I was studying in remote corners of the country.”

Determined to present his work to the world, the artist decided to take part in a handmade craft fair in 2005 at the famed Shigaraki Ceramic Cultural Park, located in one of the oldest pottery-producing areas in Japan, which is renowned for its locally sourced sandy clay.

“Otani Workshop was the shop name I came up with, and I’ve continued to use this name because it represents my personal history.”

Otani developed his unique artistic language while using the time-honored techniques he refined in Shigaraki, where he spent almost a decade working in a shared kiln with expert potters. Starting off with vessels, he soon had a breakthrough, mastering more complex types of expression. “My work embraces many elements I learned there,” he says. “Looking at old pots from Shigaraki, I’m drawn to the incomplete techniques and imperfect forms. I’m not sure if the creators of these pots were aware of such sensibility, but it influences my creative process and my work shares the same aesthetic.”

Wanting to experiment with larger sculpture and establish a studio of his own, Otani relocated to Awaji in 2017, discovering the empty tilery that had been neglected after repeated earthquakes and declining sales of traditional roof tiles. Most important, it came equipped with an enormous kiln, which he had restored, and provided him with more space to paint.

“My studio is right next to the sea, and I can hear the sound of the waves,” says Otani, who typically starts working as soon as he wakes in the morning and continues into the night, using a kitchen timer to check on the kiln every hour. Allowing Otani to push the limits of his imagination, Awaji also features quite literally in his new works, as he incorporates wood and iron found nearby into the finished pieces. “There is something special about the island,” he says. “You can almost feel the lives from ancient times.”

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PAINTER’S

Paradise Historic splendor mixes with spirited contemporary style in a sprawling 19th-century riad that artists Helen and Brice Marden are updating in the heart of Marrakech’s medina

BY STEPHEN WALLIS PHOTOGRAPHY BY JEAN CAZALS

Exuberant tile work, ornately carved plaster elements, painted wood ceilings, and walls of shimmering tadelakt plaster serve as an exquisite backdrop for historical portraits and antique French furniture in a salon at Riad Madani. Since acquiring the property fully furnished a few years ago, Helen and Brice Marden have gradually made changes, including adding the magenta-hued contemporary rug to this room. For details see Sources.

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In the living room, Marilyn screen prints by Andy Warhol overlook a sitting area outfitted with a Tord Boontje Senegal-O chair, Arabic inlaid tables, a Moroccan-made butterfly chair, and floor cushions from Chabi Chic atop layered Moroccan rugs.

Opposite: The Mardens re-covered the armchairs and sofa in a whimsical fabric accented with Berber pom-poms and added Elena Votsi pillows decorated with eyes.

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hree decades ago, Helen and Brice Marden were on their first trip to Morocco together when inspiration took root. It was wintertime, and the artist couple was driving up into the Atlas Mountains. “The red earth was coming through the snow,” recalls Helen, “along with blades of young green grass.” From that moment came one of Brice’s signature minimalist compositions, Helen’s Moroccan Painting, a 1980 work in which he distilled the memory of that landscape into a monochromatic rectangle of mossy green atop another in earthy burnt sienna.

Throughout Brice’s career, travel has been integral to his art, including the lyrical, looping, calligraphic abstractions he’s arguably best known for. He and Helen have had a notably peripatetic 52-year marriage—though they’ve cut back since his 2017 cancer diagnosis—and along the way they’ve acquired properties in several locations, from their base in Tivoli, New York, and their longtime Grecian getaway in Hydra to a retreat on the Caribbean island of Nevis and, most recently, two residences in Marrakech.

“We’ve been going to Morocco for years, and Brice particularly loves Marrakech because of that beautiful afternoon light with the pink—it’s just glorious,” says Helen, whose own vibrant canvases were recently exhibited at Gagosian. “Both of us work, especially Brice, wherever we are. And Brice is not Churchill.

We can’t stay in La Mamounia while he paints.”

So about five years ago the couple acquired a riad—a traditional home built around a courtyard— near the edge of Marrakech’s medina, later adding part of an adjacent house to serve as Brice’s studio.

Not that they were looking, but a couple of years later they learned about another, much larger riad that was for sale in the heart of the medina.

Known as the Riad Madani, the 14-bedroom former palace of the El Glaoui family dates to the mid-19th century and is filled with colorful

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zellige tiles, exquisite painted ceilings, and walls finished in traditional tadelakt polished plaster.

The owners who were selling, one of them a former French diplomat, had over the course of decades added an array of furnishings and objects amassed on far-flung travels. “You have the incredible bones of the best of Moroccan architecture mixed with French château furniture, African portraits, painted tapestries from China, and sculptures from Melanesia,” says Meryanne Loum-Martin, the owner of the Jnane Tamsna hotel in the Palmeraie district who featured the residence in her new book, Inside Marrakesh: Enchanting Homes and Gardens (Rizzoli), a survey of the city’s most stylish interiors. “It’s totally spectacular and a brilliant example of Marrakech’s cosmopolitan fusion style.” →

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Among their updates to the kitchen, the Mardens commissioned a kaleidoscopically colorful tile-top table and added complementary stools.

Opposite: The African Room, named for the portraits on the walls, serves as a cozy dining and entertaining space in wintertime; the Mardens acquired the armchairs from Marrakech emporium Mustapha Blaoui.

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SECTION Helen was intrigued enough to make a weekend trip to Marrakech to see it. “When I walked into the riad, the place was so magical,” she recounts. “I quickly sent an offer, thinking the owner would counter. But he texted back, ‘Great, we’ll close in January.’ I thought, Yikes, I haven’t even told Brice yet.”

The residence came with virtually all of its contents, and the Mardens have kept things much as they were, while undertaking some modest renovations. In addition to cleaning and repairing the historic tiles and refreshing the tadelakt plaster, they updated the tired kitchen and enlisted their friend Madison Cox, the eminent landscape designer, who has a home on the legendary Majorelle estate, to work on the overgrown garden in the largest of the four courtyards.

The couple brought in some furnishings from go-to sources like Now on the Ocean, the company founded by writer and

“It’s totally spectacular and a brilliant example of Marrakech’s cosmopolitan fusion style,” says Meryanne Loum-Martin garden designer Umberto Pasti, which sells delightfully idiosyncratic tables and chairs made by Moroccan craftsmen.

Another trusted source is Mustapha Blaoui, an emporium in the medina that provided much of the furniture in an entertaining space distinguished by brick columns and arches.

In the main living room, which was given a Deco-ish makeover decades ago, Andy Warhol Marilyn screen prints mix with Arabic inlaid tables, a quirky and colorful Tord Boontje hoop-back chair, eye pillows by Greek jewelry designer Elena Votsi, shaggy Beni Ourain and other Moroccan rugs, and armchairs and sofas that the Mardens reupholstered in fabric dotted with spirited red Berber pom-poms.

Mornings tend to start with breakfast in a sunny garden spot. Brice often spends part of the day drawing out there as well, when he’s not in his studio at the other riad, a 20-minute walk away. As for Helen, she usually finds time to retreat to her favorite second-floor bedroom, which has a sitting room with richly painted ceilings and a window out to the medina. “I just love being up there,” she says. “I feel harbored from the world.”

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The Mardens have left the riad’s 14 bedrooms relatively untouched, retaining most of the furnishings and art the previous owners had assembled. Opposite, from top: The riad’s green-tiled entrance courtyard. An embroidery from Fez covers the bed in this guest room.

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LifeImitates Art

Temptation strikes in Bulgari’s Serpenti Forever cross-body bag, beautifully crafted from textured metallic-mint karung leather and accented with a snakehead closure featuring black and white enamel and piercing green malachite eyes; bulgari.com. Opposite: Yayoi Kusama’s Infinity Mirror Room transports visitors into a surreal abyss of silver spheres and mirrored columns illuminated by the glowing green of LED lights. Two of these cosmic installations are slated for the Hirshhorn Museum and Sculpture Garden later this year; hirshhorn.si.edu.

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COURTESY OF BULGARI. OPPOSITE: STEPHANIE OTT/DPA/ALAMY

BY S T E FA N I E L I

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Ian Davenport’s four Diagonals (2019) etchings showcase the virtuoso of abstraction’s meticulous arrangements of color in mesmerizing fluid lines.

Ten of the British artist’s hypnotic paintings will be on view at Kasmin Gallery from November through January 2021; kasmingallery.com.

Opposite: In order to construct the prismatic Modern Swirl hand-knotted Tibetan wool rug, which was conceived by British fashion designer Paul Smith for the Rug Company, the dye master works for 12 hours to perfect each of the 32 vibrant colors; therugcompany.com.

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COURTESY OF THE RUG COMPANY. OPPOSITE: COURTESY OF THE ARTIST, CRISTEA ROBERTS GALLERY, LONDON, AND KASMIN GALLERY, NEW YORK

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COURTESY OF MIKIMOTO. OPPOSITE: CREATIVE COMMONS

From the brand celebrated as the originator of the cultured pearl, the Jeux de Rubans necklace by Mikimoto features a collar of classic Akoya pearls that is tied with a dainty ribbon of 18K white gold and diamonds; mikimotoamerica.com. Opposite: Housed at the Museo Nacional del Prado in Madrid, the oil-on-canvas Infanta Isabel Clara Eugenia (1579) by Alonso Sรกnchez Coello depicts the Archduchess of Austria in a jewel-encrusted dress and a regal pose that belies her youthful age and foreshadows her powerful ascension; museodelprado.es.

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Channeling the natural beauty of the Mediterranean, Breguet’s Marine Haute Joaillerie Poseidonia timepiece re-creates undulating blades of seagrass using sapphires, amethysts, tsavorites, and diamonds, which are set in a Tahitian mother-of-pearl face; additional baguette-cut diamonds evoke the shimmer of sunlight dancing upon the water; breguet.com. Opposite: Alma Woodsey Thomas’s kaleidoscopic Iris, Tulips, Jonquils, and Crocuses (1969), included in the permanent collection of the National Museum of Women in the Arts, exemplifies the groundbreaking Abstract Expressionist’s talent for reimagining shapes and colors; nmwa.org.

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LEE STALSWORTH, COURTESY OF THE NATIONAL MUSEUM OF WOMEN IN THE ARTS, WASHINGTON, D.C. OPPOSITE: COURTESY OF BREGUET

arcadian

Architect Pietro Cicognani devised a home that’s as perfect for showcasing

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rhythms

adventurous art as it is attuned to its pastoral Hudson Valley setting

BY VICKY LOWRY PHOTOGRAPHY BY FRANCESCO LAGNESE STYLED BY HOWARD CHRISTIAN

In the early 2000s, Kathleen Vuillet Augustine and New York City gallerist Roland Augustine commissioned Cicognani Kalla Architect to design this barn-style, cedar-clapboard residence on 120 verdant acres in upstate New York. Vuillet Augustine, a former House & Garden editor, recently updated the art-filled interiors, and she is also responsible for a revamp of the landscaping, which was originally overseen by Peter Wyer. For details see Sources.

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In the home’s stone-paved entrance gallery, a Joel Sternfeld photograph is mounted on top of a custom-made console by Chris Lehrecke, who also created the nearby pedestal. Abstract paintings by Josh Smith hang above antique Scandinavian chairs and on the far wall; a Jon Kessler assemblage with colored lights is visible through the doorway.

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“I have an inherent affinity for old American barns and want them to come back to life with a different purpose, the way ancient structures gain new life throughout history,� says Pietro Cicognani

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d Anchoring the central part of the living room are a pair of Chris Lehrecke sofas in red-striped slipcovers and a credenza from dealer Laurence Fox, a family friend who was the source for many of the home’s vintage and antique furnishings. Two large Christopher Wool silkscreens overlook the Blatt Billiards pool table at the far end, while an exuberant Philip Taaffe painting hangs near an antique Chinese armchair. The rug is a vintage Sultanabad.

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d

uring the course of his diverse, 30-year career, architect Pietro Cicognani has designed everything from formal country estates and glamorous Fifth Avenue duplexes to eclectic restaurant interiors and minimalist artist studios. Yet if there’s one type of structure the Bologna-born, New York–based architect may be most identified with, it’s the barn. An entire section of his sumptuous new book, Pietro Cicognani: Architecture and Design (Vendome), is devoted to barn-style homes he designed from scratch and barns he renovated, including the one he has spent years transforming on the Long Island compound of his friend actress Isabella Rossellini.

“I’ve always loved abandoned industrial or agricultural structures,” Cicognani says. “I guess I have an inherent affinity for old American barns and want them to come back to life with a different purpose, the way ancient structures gain new life throughout history.”

Another project featured in Cicognani’s book is an upstate New York home inspired by American Dutch–style barns, some of the country’s oldest and rarest barn structures (only about 500 are still intact), typically defined by a steep, gabled roof and a lofty interior. Set on 120 acres of rural land in Dutchess County, the red clapboard home was created in 2004 for Kathleen Vuillet Augustine and her then husband, noted gallerist Roland Augustine, co-owner of the New York gallery Luhring Augustine. Timeless in spirit and airy yet economical, the clean-lined residence is well suited to displaying an evolving and expansive collection of art.

Working with Ann Kalla—his partner in their firm, Cicognani Kalla Architect, until her death in 2009—Cicognani devised a spacious double-height central living area, like the nave of a cathedral. Clerestory windows provide natural light without taking up valuable wall space so that the contemporary art can shine. The kitchen, featuring a soaring wall of windows, overlooks verdant fields. Single-story wings with sloped roofs run along the front and back of the house, one containing a stone-paved entrance gallery and the other a book-lined dining room, the main suite, and a guest room. A hidden circular staircase on one end of the living area leads to two bedrooms used by the former couple’s adult sons. A set of steps on the other end reaches a home office above the kitchen. “The house works well horizontally and vertically,” Cicognani says.

Over the years the interiors have evolved as Vuillet Augustine, a former editor at House & Garden, introduced a softer, more relaxed touch. Lean furniture, such as an elongated console in the entrance, the dining table, and the living room sofas—all designed by master wood craftsman Chris Lehrecke—remain.

But those sofas, originally covered in a pale-yellow fabric, are now brightened with cheery red-striped slipcovers and perched atop a faded Sultanabad rug. A Steinway & Sons baby grand (Roland is a classically trained pianist) that once occupied a prominent spot in the living area has been swapped for a pool table—which their sons are more adept at using.

Meanwhile, Vuillet Augustine’s collection of modern and antique Swedish and Danish furnishings, acquired from family friend dealer Laurence Fox, has joined the mix. “While the furniture has become more abundant and eclectic,” she says, “I wanted things to be very light. Plus, it’s nice to blend old pieces with new pieces. It works especially well with contemporary art.”

The art collection is as personal as it is radiant. Far from being a compilation of greatest hits by brand names, it’s a compelling, provocative display of works by artists represented

by Luhring Augustine, which has helped introduce American audiences to international talents such as Pipilotti Rist and Ragnar Kjartansson. Bold brushstroke paintings by Josh Smith join antique Scandinavian armchairs in the front hall. A Philip Taaffe canvas bursting with aquamarine and magenta hues electrifies the kitchen. An unconventional work for Kjartansson, an ephemeral 2015 portrait of Vuillet Augustine—humorously titled Kathleen, or Your Mother Is Watching You, for Sam and James—graces the dining room.

In the living room, a pair of large screen prints by Christopher Wool overlooks the billiards table, while a crimson monochrome painting by Smith hangs above the minimalist steel fireplace. “Instead of a traditional portrait over the fireplace, I liked the idea of a blank field of color there,” Vuillet Augustine says. “You have to use your imagination.”

While Cicognani’s architecture looks as fresh as ever, in some ways it’s a different house, at least in spirit, thanks to Vuillet Augustine’s updates. “Nothing major happened to the integrity of it, but the interiors no longer have a minimal quality,” she explains. “It’s neat, because I don’t like ‘stuff,’ but I’m less rigid. Now it’s a house that’s really lived in and used.” The home manages to be both “spartan and quite luxurious at the same time,” adds Cicognani. “It achieves a perfect balance between the two.”

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“While the furniture has become more abundant and eclectic, I wanted things to feel very light,” says Kathleen Vuillet Augustine

Above: A Vermeer-inspired Yasumasa Morimura self-portrait adds a playful note above an heirloom armchair and a Chris Lehrecke pedestal in a guest bedroom; the curtains are made of an Italian silk sourced by Cicognani’s late partner, Ann Kalla, and the Turkish rug was acquired from an Istanbul market.

Right: Bookshelves surround the doorway to the main bedroom’s bath, which features a Jack Pierson photograph and a tub outfitted with Waterworks fixtures. Opposite: A black-and-white work by Christopher Wool and a Josh Smith painting energize a corner of the kitchen, which enjoys expansive views through the mahogany-framed window; chairs upholstered in a Quadrille fabric surround the custom-made cherry table by Lehrecke.

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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 5, 61: 2020 ARS, New York/KUVASTO, Helsinki.

Cover, pages 5, 61–62: 2020 ARS, New York/ADAGP, Paris. Pages 4, 30: 2020 Sam Gilliam/ARS, New York. Page 12: Succession Yves Klein c/o ARS, New York/ADAGP, Paris 2020. Page 12: 2020 Élisabeth Garouste/ARS, New York/ ADAGP, Paris. Page 16: 2020 Tracey Emin. All rights reserved, DACS, London/ARS, New York.

Page 16: 2020 ARS, New York.

Pages 18–19: 2020 Raphaël Barontini/ARS, New York/ ADAGP, Paris. Page 22: 2005 Kate Rothko Prizel & Christopher Rothko/ARS, New York. Page 47: 2020 Jim Dine/ARS, New York. Page 47: 2020 Robert Rauschenberg Foundation/ Licensed by VAGA at ARS, NY. Page 61: 2020 Estate of Maarten van Severen/ARS, New York/ SOFAM, Brussels. Page 88: 2020 The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by ARS, New York. Page 96: 2020 ARS, New York/DACS, London.

ENSEMBLE THEATER Pages 56–67: Architecture, interiors, and select furnishings

by Lee F. Mindel of SheltonMindel; sheltonmindel.com. Architecture

by Reed A. Morrison Architect; reedmorrisonarchitect.com.

Pages 56–57: In gallery, marble benches by Zaha Hadid; zaha-hadid.com. Page 59: In rooftop pavilion, Poul Kjærholm chairs for Fritz Hansen; fritzhansen.com. Ole GjerløvKnudsen side table from PP Møbler; pp.dk. Arne Jacobsen Egg chair from Adam Edelsberg; adamedelsberg.com. George Nelson floor lamp from Mark McDonald; markmcdonald .biz. Ignazio Gardella floor lamp from Galleria Rossella Colombari; galleriarossella colombari.com. Rug by Chilewich; chilewich.com. Sofa upholstered in fabric by Rogers & Goffigon (T); rogersand goffigon.com. Page 60–61: In living room, Tom Dixon table from Themes & Variations; themesandvariations.com. Bench

by Maarten van Severen; wright20.com. In sitting area, sofa by Antonio Citterio for B&B Italia; bebitalia.com. Eero Aarnio armchairs from Lemmetti; lemmetti.fi. Gino Sarfatti floor lamp from Galerie Kreo; galeriekreo.com. Rugs by Chilewich. Pages 62–63: Next to dining area, Hans Wegner cocktail table from Dansk Møbelkunst Gallery; dmk.dk.

Jørn Utzon chairs from Jackson

GALERIE (ISSN 2470-9964), Volume 5, Issue 3, is published quarterly by Galerie Media Group LLC, 101 Park Avenue, 4th Floor, New York, NY 10178 USA. Lisa Fayne Cohen, Founder/Editorial Director; James S. Cohen, Chairman. 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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Design; jacksons.se. Antonio Citterio sofa for B&B Italia.

Table lamp by Cedric Hartman; cedrichartman.com. Curtains in fabric by Rogers & Goffigon (T).

Top rug by SheltonMindel for V’Soske; vsoske.com. Bottom rug

by Chilewich. Page 65: Underneath stairs, Poul Kjærholm chair from Dansk Møbelkunst Gallery.Page 66: In main bedroom, linens by Frette; frette.com. Throw by Hermès; hermes.com. Bedside lamps by Tom Dixon; tomdixon.net.

Gigon (T); turnellandgigon.com.

Carpet by Silk Avenue. Page 81: In main bedroom, bed by Ikea.

HAVEN SENT Pages 74–81: Interiors, select furnishings, and fabrics by Nicky Haslam of NH Design; nh-design .co.uk. Page 74: In library, Swedish rococo bench upholstered in woolly carpeting by Silk Avenue; silk-avenue.co.uk. Page 76: In living room, barrel-back chair from James Jackson; +44-207-3859050. Page 79: In main bedroom, hand-painted trompe l’oeil on wall and drawer fronts by Lizzi Porter; lizziporter.com. Paint in Sweet Caroline by Paint the Town Green; paintthetowngreen .co.uk. Bedding by The White Company; thewhitecompany.com.

Chest by Ikea; ikea.com. Page 80: In library, banquette and slipper chair upholstered in fabric by Colefax and Fowler; colefax.com.

Pillow fabric in Random Harvest

by Nicky Haslam for Turnell &

ARCADIAN RHYTHMS Pages 102–09: Architecture

by Cicognani Kalla Architect; cicognanikalla.com. Landscape design by Peter Wyer. Pages 104– 05: In entrance gallery, custommade console and pedestal by Chris Lehrecke; chrislehrecke.com.

Page 106: In living room, sofas by Chris Lehrecke. Credenza from Laurence Fox; evergreenantiques .com. Pool table by Blatt Billiards; blattbilliards.com.

Page 108: In kitchen, chairs upholstered in fabric by Quadrille; quadrillefabrics.com.

Custom-made cherry table by Chris Lehrecke. Page 109: In guest bedroom, pedestal by Chris Lehrecke. Paint in Italian Straw Hat by Benjamin Moore; benjaminmoore.com. In main bath, tub fixtures by Waterworks; waterworks.com.

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PAINTER’S PARADISE Pages 86–93: Landscape design

by Madison Cox of Madison Cox Associates; madisoncox .com. Page 88: In the living room, Senegal-O chair by Tord Boontje; tordboontje.com. Floor cushions from Chabi Chic; chabi-chic .com. Page 91: In African Room, armchairs from Mustapha Blaoui; +212-52-438-5240.

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CLOCKWISE FROM TOP LEFT: REID ROLLS; COURTESY OF REPLACEMENTS; LISA PETROLE PHOTOGRAPHY; STEVE BENISTY, ART INSTALLATION BY SAMUELLE GREEN

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JAN SHOWERS & ASSOCIATES

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Fashion designer ULLA JOHNSON finds a loop of inspiration in a large-scale installation by Kathleen Ryan 112

My husband, Zach Miner, works in contemporary art, so collaborating on the selection of artwork for our home was one of the true joys of the project. Zach stumbled upon Kathleen Ryan when she was having a show at Arsenal Contemporary Art in New York. She was a little-known artist at the time, and her career has ascended quite a bit since we purchased this piece. I believe Kathleen was our first guest when the home was still under construction. We sat around on the living room floor, eating pizza and discussing how the sculpture would exist in the space. It was such an incredible way to start to think about our home. The installation has quite a massive scale, so we purposefully put it in front of a window so everybody who walks by can appreciate it and engage with it. This tension between softness and structure is something I’m drawn to, both in interiors and in what I do with my fashion designs. This work and Sheila Hicks’s Asclepion, which are the counterpoints of our living room, embody that as well. The strength of this cast-iron and stone piece and then the softness of the fiber art—they have such a beautiful dialogue with each other. I care very much about working with living artists and women artists, so these were very important acquisitions for us and form the very backbone of our home. —AS TOLD TO JILL SIERACKI

FROM TOP: FLOTO+WARNER/OTTO; MARIDELIS MORALES ROSADO

From left: Ulla Johnson in her Brooklyn home.

Kathleen Ryan’s Diana (2017) is made from rose quartz, brass, and cast iron, and hangs in the fashion designer’s living room.

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