Galerie Winter 2020

Inside the Homes of Major Collectors from Palm Beach to Belgium Next Big Biig Things: B Things: Next Our A nnual List List of of Our Annual Ris isin ing in g Art-World Art-World Stars Stars Rising

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EMERGING ARTISTS WINTER WINTER 2020/2021 2020/2021 ISSUE ISSUE N NOO 20 20

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David Webb, Gurhan, Robert Procop, Jared Lehr, Tamara Comolli, Katy Briscoe

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Features 88 COOL CLASSIC, CLASSIC COOL A 300-year-old château in Belgium receives an inspired makeover by Nathan Litera, who invigorated the home with contemporary elements while retaining its old-world allure.

By Vicky Lowry 100 STYLE AND SUBSTANCE Fashion’s favorite architect, Peter Marino, gives personal insight into his extensive trove of ceramics with a new volume spotlighting the work of Adrien Dalpayrat.

By Stephen Wallis

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Works by Spencer Finch, Takashi Murakami, and Tara Donovan enliven the Phelans’ exuberant Palm Beach home.

104 TRUE ORIGINAL Architecture firm Stonefox constructs a modern limestone building among Palm Beach’s classical mansions for art-world powerhouse couple Amy and John Phelan.

By Jennifer Ash Rudick

126 LIFE IMITATES ART Art, design, and fashion converge in moments of unexpected visual synchronicity. By Stefanie Li 134 BODIES AND SOUL Design dealer Thomas Lavin’s Los Angeles residence features a passionately acquired collection of figurative art by emerging artists.

By Michael Slenske 12

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JESSICA GLYNN

116 RIGHT AT HOME Peter Pennoyer updates a prewar Park Avenue duplex by elevating its Rosario Candela details and mixing timeless furniture with forward-thinking pieces.

By Ted Loos

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Departments 18 EDITOR’S LETTER

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

36 DESTINATIONS From an abandoned convenience store to a residential basement, Los Angeles’s next-generation talents are choosing unconventional venues to present their latest exhibitions. By Michael Slenske 40 ARTISAN These design-world up-and-comers use 14

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advanced technology and longstanding techniques to transform basic materials into otherworldly creations.

By Rima Suqi 44 CURATED Bedrooms should be serene and deeply personal; decorators explain how to mastermind an exemplary suite.

By Jill Sieracki 50 MILESTONE A look at the highlights of Alex Katz’s 70-plus years of art making leading up to his monumental new monograph and Guggenheim retrospective. By Lucy Rees

66 52 THE ARTFUL HOME Paolo Moschino and Philip Vergeylen, Stephanie Goto, and Alex Papachristidis curate imaginative spaces based on a favorite work of art.

56 ENTERTAINING Flowerbx founder Whitney Bromberg Hawkings’s holiday table blooms with simple yet chic centerpieces and fragrant berry-rich garlands. By Daniel Cappello 58 SPOTLIGHT Celebrated artists from ages 75 to 100 share their secrets to a long and dynamic career.

By Ted Loos

FROM TOP: ERIC PIASECKI; MARWEN FARHAT; SARA REY PHOTOGRAPHY

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Clockwise from left: Emerging artist Henni Alftan. A Nir Hod artwork and Franck Evennou mirror in a Peter Pennoyer–designed Park Avenue duplex.

Horus Will Be King cuff

by Loren Nicole.

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From left: Atang Tshikare with a sculptural self-portrait. Adrien Dalpayrat ceramics on display in the Southampton home of Peter Marino.

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Departments 62 CONCIERGE New Orleans’s multifaceted cultural history brims with unique creative forces who have helped shape the city’s iconic style.

By Jacqueline Terrebonne 64 BOOKS Mickalene Thomas, George Condo, Rashid Johnson, and more open their studios to give step-by-step art-making courses in an interactive new tome.

By Geoffrey Montes 66 JEWELRY These on-the-rise jewelers create wearable works of art using ancient techniques, Afrofuturist inspiration, and time-intensive compilations.

By Lucy Rees 68 WATCHES Diamonds and colored gemstones transform 16

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state-of-the-art timepieces into unforgettable fashion statements. By Lucy Rees 70 REAL ESTATE Experts reveal the amenities that are helping drive buyers in the country’s most affluent ski meccas.

By Geoffrey Montes

COVER

Contemporary art and classical architecture combine to brilliant effect in a Belgian château reconceived by Nathan Litera.

Photography by Matthieu Salvaing.

72 NEXT BIG THINGS: GALERIE’S ANNUAL LIST OF EMERGING ARTISTS These 22 exciting new talents, handpicked by a panel of industry luminaries, are poised to become tomorrow’s brightest stars.

By Lucy Rees and Jacqueline Terrebonne 142 SOURCES 144 IN FOCUS Donatella Versace has a deep familial connection to a series of Andy Warhol portraits displayed in her Milan home.

As told to Jill Sieracki

TO SUBSCRIBE TO GALERIE: Go to galeriemagazine.com, or call 833-231-7763.

FROM TOP: JUSTIN PATRICK, COURTESY OF SOUTHERN GUILD; JASON SCHMIDT

60 AUCTIONS Notable sales from around the world.

By Jeannie Rosenfeld

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

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FROM TOP: DOUGLAS FRIEDMAN; MATTHIEU SALVAING; HUGARD & VANOVERSCHELDE, COURTESY OF THE ARTIST AND ALMINE RECH; MATTIAIOTTI, COURTESY OF NILUFAR GALLERY; JESSICA GLYNN

Clockwise from top: A cozy nook in an interior by Nathan Litera. Alexandre Lenoir’s Ce Quis Nous Lie (2020).

A Lawrence Weiner text piece at a home in Palm Beach.

Works by Flavie Audi.

he swirl of global art fairs and gallery openings seems like a lifetime ago. As much as I adored socializing with fascinating figures from around the world and the endless glasses of Champagne, there was a far greater purpose for Galerie’s founder and editorial director, Lisa Fayne Cohen, and our team of editors at these events—we were on the hunt for new talent to share with you through our pages. With our second annual Emerging Artists issue, we’ve set out to capture that same electric excitement of discovery, even if finding these fresh voices during various stages of lockdown presented a new challenge.

To pinpoint the best of the best, we turned to 15 of our favorite art-world insiders for their thoughts on who we should watch now. This year’s captivating group of 22 artists, which we’ve declared the “Next Big Things” (page 72), include painter Alexandre Lenoir, who explained, “I just want to instill a link between the viewer and the painting and for them to pass through the image.” Each one of these up-and-coming talents shares their point of view on how their personal experiences and outlook on today’s social and political issues shape their work.

But we don’t stop there—inside are profiles on promising artisans, including Flavie Audi (page 40), as well as a survey of on-the-rise jewelry designers (page 66). Plus, we offer an exciting guide to the unexpected gallery venues you should visit in Los Angeles if you’re looking to stay ahead of the curve (page 36). Another prodigious talent we’re excited to shine a light on is Nathan Litera (page 88). The designer behind the brilliant Belgian château on the cover honed his skills working under such legends as Jean Nouvel. Now the wunderkind leads his own firm, creating breathtaking, art-filled homes that feel grand yet family-friendly—perfect for how we all want to live today.

But perhaps it’s a text work by Lawrence Weiner leading into the disco at the Palm Beach home of collectors Amy and John Phelan (page 104) that most aptly sums up how we’re all feeling: “Before and After a Hole in Time.” Let’s fill that space with something inspiring!

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Arts & Culture Editor LUCY REES Consulting Features Editor STEPHEN WALLIS Photo Editor STEFANIE LI Articles Editor GEOFFREY MONTES Copy Editors LYNN MESSINA, KERRY ACKER Research Editor ELIZABETH GALL Digital Imaging Director SUSIE LI Associate Digital Editor STEPHANIE SPORN Digital Strategist KELLY WALTERS 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

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M A RT INK ATZJE W EL S

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

/ SHOPPING /

Curiosity Cabinet The idea of opening a gallery in New York during the past few months seems utterly implausible. And yet former curator and art consultant Damon Crain debuted Culture Object, a jewel-like design destination in midtown west. Inside, Crain has completely eschewed the white-box gallery formula, instead arranging the atelier into a path of discovery. Displayed throughout are works by his roster of more than 60 artisans, which includes Morgan Persson, who practices the obscure and difficult graal glass technique, and Rutger de Regt and Marlies van Putten, who sculpt molten plastic and then leaf the forms in tinted Japanese silver. Says Crain, “I want people to realize that the objects we live with every day can be conceptually important and provoke thought and conversation.” cultureobject.com

DON FREEMAN PHOTOGRAPHY

—JACQUELINE TERREBONNE

Upholstered in Jane Churchill velvet, the peacock-blue-color room in Culture Object showcases a table and consoles by Rutger de Regt and Marlies van Putten, glassworks by Morgan Persson, and cabinets by Trey Jones Studio.

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Clockwise from top: Boyacá, Colombia, where the legendary Muzo mines are located. Nina Runsdorf emerald and diamond Dangle ring. Harwell Godfrey emerald and pearl pendant. Silvia Furmanovich Miniature Painting earrings.

/ D ES IGN /

Fresh Air

There’s outdoor furniture, and then there are outdoor statements. The new additions to Sutherland’s Plateau collection, designed by architecture firm Bonetti/Kozerski, are definitely the latter—powerful in scale but detailed in execution. “We created the pieces with the thinking that they would fit into any of the spaces we create,” says Enrico Bonetti, whose firm has designed the Pace Gallery headquarters in New York and the West Hollywood Edition hotel. “The details slowly reveal themselves,” explains partner Dominic Kozerski. “We look for that in our work—the slow burn. So someone discovers the detail a little down the line.”

But company founder David Sutherland understands what sets the firm and the collection apart the most: “Simplicity is hard to achieve,” he says, “and they make it look easy.” sutherlandfurniture.com —J.T. 26

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Prized for their luminous hue, emeralds have captivated humans since antiquity and been adored by everyone from Cleopatra to Elizabeth Taylor. Now a group of trailblazing female jewelry designers—including Silvia Furmanovich, Lauren Harwell Godfrey, and Nina Runsdorf—are interpreting the mythical stone through their own unique lens.

Their mesmerizing creations are part of a capsule collection with Muzo, a mining company that sources emeralds from the legendary Muzo deposit nestled in the western foothills of the Colombian Andes. “We wanted to work with women who show a commitment to responsible sourcing, philanthropy, or their community,” says Gabbi Harvey of Muzo.

“Each piece tells a beautiful story.” muzo.co, modaoperandi.com —LUCY REES

A sectional sofa and cocktail table from Bonetti/Kozerski’s Plateau collection for Sutherland.

CLOCKWISE FROM TOP: COURTESY OF MUZO; COURTESY OF NINA RUNSDORF; COURTESY OF HARWELL GODFREY; COURTESY OF SUTHERLAND; COURTESY OF SILVIA FURMANOVICH

GREEN LIGHT

NOMAD SHOWROOM 102 MADISON AVE, NEW YORK, NY 10016 NYC@LIAIGRE.US MIAMI SHOWROOM 137 NE 40TH STREET, MIAMI, FL 33137 MIA@LIAIGRE.US LIAIGRE.COM

/ MU SEU MS /

HEART OF GLASS This winter, the Museum of Fine Arts, Houston, gets a home as impressive as its collection, debuting with more than 1,000 works on display in the new Nancy and Rich Kinder Building. Designed by Steven Holl Architects, the trapezoidal concrete structure, clad in dynamic glass tubes, envelops 102,000 square feet of exhibition space circling a three-story atrium. “The hollow translucent glass tubes bring in light and decrease sun heat via the chimney effect,” says Holl.

“A luminous canopy brings in cloudlike light from the big Texas sky, while the ground-level porosity is shaped by five courtyard pools.” mfah.org —L.R. From left: The façade of the Nancy and Rich Kinder Building.

Henry Taylor, Cora’s (2016). Josef Albers, Homage to the Square (1956–62). Josef Hoffmann’s Chair, Model No. 322 (1904).

/ D E ST I N AT I O NS /

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Artistic Retreat

Collector’s Edition

Los Angeles is flush with legendary hotels, and now there’s a new property destined to earn a spot on that illustrious list. The Cara Hotel (below), a mindfully renovated 1950s-era motel, channels the artistic energy of its Los Feliz neighborhood with a mix of sun-filled courtyards, neutral palettes, and biodynamic cuisine. It’s exactly the kind of serene refinement one would expect from Dean McKillen, son of Château La Coste hotelier Paddy McKillen. Art plays a key role here as well, with works by Hiroshi Sugimoto and Koak as well as artisanal light fixtures by John Wigmore and Victoria Morris. carahotel.com —J.T.

The spaces conjured by Belgian interior architect Gert Voorjans always brim with eclectic treasures from around the world, like a Caprese majolica vase decorated with sunflowers or an early-20th-century Persian mafrash. Now the Antwerp tastemaker is unloading his extensive personal trove of high-design objects, furnishings, and art—all of which are captured in the new book Gert Voorjans Collectibles (Lannoo). Less catalogue, more travelogue, the volume allows Voorjans to document the rooms where each piece has lived during his stewardship and also celebrate favorite artists like Kati Heck and Didier Mathieu. “After 21 years of collecting, now is the time to leave the skin of the snake behind me,” says Voorjans. “I wanted to have the challenge of clear walls.” lannoopublishers.com —GEOFFREY MONTES

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Off the Wall The popular trend of fashion-art collaborations is reaching new heights as major blue-chip names and the buzziest emerging stars translate their unique visions into the season’s most coveted accessories.

For his new capsule collection, Loewe artistic director Jonathan Anderson was inspired by the vibrant glazed ceramic plates and bowls made by American artist Ken Price from the 1970s through the ’90s. Louis Vuitton’s latest limited-edition Artycapucines collection showcases designs by six artists, including Josh Smith, Henry Taylor, and Beatriz Milhazes. “The history of art is rich in inspiration; there’s a perpetual dialogue with fashion,” says French painter Claire Tabouret, who created two striking new designs for Dior’s fifth edition of Lady Art, joining Judy Chicago, Song Dong, and seven other talents to reinterpret the iconic Lady Dior bag. “I like to think of clothing as a form of expression; the body becomes a moving sculpture in the public space.” loewe.com, louisvuitton.com, dior.com —L.R.

From left: Beatriz Milhazes’s limited-edition Artycapucines for Louis Vuitton features a unique pattern crafted in colored and textured leather with touches of gold leaf. The artist in her Rio de Janeiro studio.

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From top: Ken Price’s circa-1977 series of glazed ceramics “Town Ware (from Easter Island)” served as the catalyst for Loewe’s new capsule collection. Loewe small L.A. series Gate bag in soft calfskin.

CLOCKWISE FROM TOP: HARRY EELMAN (2); © ESTATE OF KEN PRICE, COURTESY OF MATTHEW MARKS GALLERY; NACHO ALEGRE; COURTESY OF LOUIS VUITTON (2)

From left: Claire Tabouret in her Los Angeles studio. Among her designs for Dior Lady Art is a group of dancers depicted in faux fur.

/ FASH I O N /

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Beach Haven

Mix and Match Make sure your holiday libations are just as festive as the glasses you choose to serve them in with these perfect pairings. —J.T.

With in-person art fairs canceled and international travel restricted, New York’s premier galleries and auction houses, including Pace, Acquavella, Sotheby’s, Lehmann Maupin, and Paula Cooper, have migrated south to Palm Beach, setting up seasonal spaces at the Royal Poinciana Plaza and around Worth Avenue. Don’t miss a visit to the reopened Norton Museum of Art in West Palm Beach, which is hosting rising-star artist María Berrío’s first solo museum survey, in January. Wind down with a cocktail at Lola 41, at the newly opened White Elephant Palm Beach hotel, which unveiled an extensive art program featuring works by Robert Rauschenberg, Ian Davenport, and Jennifer Bartlett. —L.R.

+ Pour Jus Jus, a low-alcohol bubbly by blogger Julia Sherman and natural-wine maker Martha Stoumen, into a curvaceous Dynasty wineglass by Rosenthal. saladforpresident.com, rosenthalusa-shop.com

+

From top: The new White Elephant Palm Beach. A 2017 collage by María Berrío on view at the Norton Museum of Art.

Sip Casa Dragones Barrel Blend añejo tequila, matured in both French and American oak barrels, from a colorful crystal Saint-Louis Tommy flared tumbler. casadragones.com, saint-louis.com

/ EXHIBITIONS /

BLUE HORIZON Slated to open in Miami in early spring 2021, experiential art center Superblue will launch with “Every Wall Is a Door,” which will include one of James Turrell’s light-based Ganzfeld installations as well as teamLab’s Between Life and Non-Life and a never-before-seen work by Es Devlin, entitled Forest of Us. “That’s the nature of experiential art—the work comes alive when you’re there to see it,” says Superblue cofounder Mollie Dent-Brocklehurst. Additionally, the immersive venue offers ticket royalties to the artists presented within. superblue.com —JILL SIERACKI

Included in Superblue’s debut installations is a work by teamLab, which created this 2017 interactive digital piece, with sound by Hideaki Takahashi, called Flowers and People, Cannot Be Controlled but Live Together - Transcending Boundaries, A Whole Year per Hour.

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+ Celebrate with Veuve Clicquot’s La Grande Dame 2012, packaged in a limited-edition bottle designed by Yayoi Kusama, flowing into a Christofle Graphik flute. veuveclicquot.com, christofle.com

+ Savor the layered aromas and flavors of Glenfiddich Grand Cru, aged for 23 years and mellowed in French cuvée casks, in Waterford’s Lismore straight-sided tumbler. glenfiddich.com, waterford.com

CLOCKWISE FROM TOP: CHI-THIEN NGUYEN/ELKUS MANFREDI ARCHITECTS; COURTESY OF SALAD FOR PRESIDENT; COURTESY OF ROSENTHAL; COURTESY OF CASA DRAGONES; COURTESY OF SAINT-LOUIS; COURTESY OF VEUVE CLICQUOT; COURTESY OF CHRISTOFLE; COURTESY OF GLENFIDDICH; COURTESY OF WATERFORD; © TEAMLAB, COURTESY OF PACE GALLERY; COURTESY OF THE ARTIST

/ COCKTA I L S /

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

fabrics, trimmings and wallcoverings clarencehouse.com

What’s On View

Must-see winter exhibitions offer both moments of beauty and feats of engineering

TATE BRITAIN, LONDON

DETROIT INSTITUTE OF ARTS

Turner’s Modern World

Detroit Style: Car Design in the Motor City, 1950–2020

THROUGH MARCH 7, 2021

One of Britain’s greatest landscape painters, J.M.W. Turner lived through the peak of the Industrial Revolution, bearing witness to the arrival of the locomotive, political and social reform, and the abolition of the transatlantic slave trade. This landmark exhibition showcases 160 works, including an important loan from London’s National Gallery, to explore how he masterfully captured the changing times. tate.org.uk

THROUGH JUNE 27, 2021

Detroit has long been synonymous with the automobile industry, but a fascinating new exhibit elevates its most inspired innovations to art form status. Futuristic concept designs, roaring muscle cars, and sleek racers are lavishly presented, while original drawings and photographs shed light on the creative process. Aficionados won’t want to miss the 1951 General Motors Le Sabre, which introduced elements culled from aeronautics. dia.org

MUSÉE DES ART DÉCORATIFS, PARIS THROUGH MAY 2, 2021

DIA BEACON, NEW YORK

The evolution of luxury astounds as the subject of a new presentation curated by museum director Olivier Gabet. Germinating from a broader survey originally hosted by the Louvre Abu Dhabi, the Paris show features more than 100 objects spanning nearly 6,000 years. An opulent Tiffany & Co. diamond bracelet displayed in a vitrine designed by Robert Rauschenberg and Jasper Johns and some exceptional examples of Jean-Michel Frank’s use of straw marquetry are among the treasures gathered. mad-paris.com

Mario Merz

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ONGOING

A panne velvet dress by Demna Gvasalia for Balenciaga on view in “Luxes.”

The Milan-born artist Mario Merz was a central figure in Arte Povera, the avant-garde movement that emerged in Italy in the late 1960s.

This major retrospective explores some of Merz’s key motifs, including his distinctive use of neon, the Fibonacci sequence, and recycled organic and industrial materials. A particular standout is Tavola Spirale (1982), a spiraling glass-and-aluminum table topped with an abundance of fruit and vegetables. diaart.org —LUCY REES

CHRISTOPHE DELLIÈRE/MUSÉE DES ARTS DÉCORATIFS

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End of Day on Martha’s Vineyard | oil on linen | 52 x 52 in.

MARY SIPP GREEN F I N D L AY GA L L E R I E S

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.

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Crenshaw Dairy Mart cofounders Patrisse Cullors, Alexandre Dorriz, and Noé Olivas with a sculpture from artist Damon Davis’s prox•im•i•ty installation.

California Dreamin’

SAM FROST; STYLED BY MONICA CARGILE

Los Angeles’s renegade spirit lives on in artist-run spaces that spotlight emerging talent

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Gunderman, who ran various outfits (including the fondly remembered Food House with Randy Sommer) in the early ’90s.

In 1994, Gunderman and Sommer opened Acme, which became one of the leading L.A. galleries, representing artists such as Natalie Frank, Jennifer Steinkamp, and Tomory Dodge.

After he shuttered Acme in 2017, Gunderman publicly reemerged a year later as a promising abstract painter with a raved-about solo exhibition at There-There, an East Hollywood gallery launched by LAXART founder Lauri Firstenberg and British-born sculptor Anthony James.

Gunderman followed that with another stellar solo effort, at Rude Drawing, a studio and basement setting (complete with washer and dryer) in the hillside Silver Lake home of Russell Salmon, events manager at Hauser & Wirth in Los Angeles, and artist Yuval Pudik.

Dani Tull, whose narrative is the inverse of Gunderman’s, spent a quarter century showing his artwork at top venues like Blum & Poe and New York’s New Museum before opening Odd Ark LA with his wife, Yvonne Bas Tull, in 2017. The site soft-opened with Andy Hope 1930, featuring props, ephemera, and new works relating to a film the artist had recently shown at Hauser & Wirth in L.A. “There have been artist-run galleries in my family dating back to the 1930s,” says Tull, whose great-uncle Herman Cherry opened a gallery above a bookstore on Hollywood Boulevard that gave Philip Guston (then Phillip Goldstein) one of his first shows. “That’s always been within my scope.”

In the past three years, the Tulls have developed a dedicated program that’s shown a slew of works from buzzy young painters, including the pencil

SAM FROST

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ver since Edward Kienholz teamed up with Walter Hopps to open the Ferus Gallery in 1957, Los Angeles has been renowned as a renegade city full of boundary-pushing artist-run spaces. Countless other pioneering venues have come along since, including the Underground Museum, the brainchild of the late painter Noah Davis and his wife, sculptor Karon Davis. Opened in 2012, the destination has emerged as one of L.A.’s most exciting indie institutions—one that’s received support from the Museum of Contemporary Art, Los Angeles—for artists of color. “We wanted to bring people in and cook for them and have a garden,” says Davis of the UM’s sprawling West Adams exhibition center. “You’re supposed to relax and live with art.”

Now a new wave of enterprising Angeleno artists are carrying this independent spirit forward inside unconventional galleries, homes, studios, even a 1960s Dairy Mart, many of which function as incubators for young talent, community building, and activism. “The views of those who actually make art are the ones I continue to value most,” says Robert

Crenshaw Dairy Mart art center in Inglewood.

Below: Daniel Bowman (left) and Joshua Miller at BozoMag; in the background is Miller’s work Ned Flanders (2017).

SAM FROST

Clockwise from top: Kirk Nelson at La Loma Projects.

Jude Pauli’s untitled stoneware pieces from the “Pauli & Paules” show at La Loma Projects. Artists displayed works on their cars and pickup trucks during an October event with Tiger Strikes Asteroid.

drawings of Adam D. Miller, who cofounded the Glendalebased gallery the Pit and the Pit II, where Tull recently had a solo exhibit. The Pit also represents acclaimed ceramic artist Jennifer Rochlin, who cocurated the inaugural exhibition— featuring work by Mark Grotjahn and Mari Eastman—at La Loma Projects, in the Pasadena home of artist-filmmaker Kirk Nelson. Nelson, in turn, just staged a two-person show spotlighting the Brutalist-style stoneware sculptures of Jude Pauli and the inscribed aluminum panels of Adrian Paules.

“My goal is to show artists who aren’t shown as much or who are perhaps unknown, along with and sometimes alongside more established artists,” he says.

Another residential space offering new experiences is Daniel Bowman’s BozoMag. Once the painting studio of Friedrich Kunath, the site recently hosted a solo show by Joshua Miller featuring impastoed paintings of The Simpsons’ Ned Flanders and Sillisculpt figures as well as bronze, ceramic, and lead candleholders referencing Auguste Rodin’s The Burghers of Calais and Théodore Géricault’s portraits of the insane. BozoMag made a splash on the L.A. art fair scene in February, showing new works by Adam Rabinowitz and Hayley Barker at Art Los Angeles Contemporary.

“Most of the shows that I have done have been in artist-run spaces,”

says Jackie Rines, an emerging ceramic artist who often works with Eve Fowler’s Artist Curated Projects. Rines recently organized a group show with Tiger Strikes Asteroid at her studio in Glassell Park, where about 20 artists displayed works in or on their vehicles in the parking lot and video works played on a loop from sunset until 10 p.m. “I think it’s an important part of the ecosystem.”

Artist and Black Lives Matter cofounder Patrisse Cullors and her University of Southern California art school pals Alexandre Dorriz and Noé Olivas were looking to develop an entirely new ecosystem in the Antelope Valley when the opportunity arose two years ago to take over a 1965 grocery turned liquor store in Inglewood. “It was this concept of freeing the land, a place where artists and activists and abolitionists would come together,” says Olivas, noting the trio opened the location in late February with an acclaimed exhibition examining the decade of activism behind ballot measure R, which passed on March 3 and gives the Los Angeles County Sheriff Civilian Oversight Commission power to directly subpoena sheriff department personnel while requiring the commission to develop a jail reduction plan.

In recent months, the Crenshaw Dairy Mart team has adorned the roof with an illuminated BLM logo, enlisted visiting artists Oto-Abasi Attah and Paul Cullors to paint a mural of late L.A. rapper Nipsey Hussle, and organized a Juneteenth celebration.

They are also delivering art supplies to Lauren Halsey’s Summaeverythang Community Center and have recently launched the Inglewood Community Fridge, which distributes free groceries to locals. “It’s a full-circle moment,” says Patrisse Cullors. “We’re able to provide, this time for free, physical sustenance to the community, not just art. I believe all communities need art, but this is a very beautiful homage to the Dairy Mart itself.” —MICHAEL SLENSKE GALERIEMAGA ZIN E .COM

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Subject Matters These up-and-coming innovators are pushing the boundaries of everyday materials to incredible results

Atang Tshikare

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y work is my vocabulary,” says Atang Tshikare, the South African creative whose graffiti art has appeared on sneakers for Adidas and Puma and in contemporary commissions for BMW and MTV. Tshikare made his international debut four years ago at Design Miami/, showing three sculptures with Cape Town’s Southern Guild gallery. These “zoomorphic, primordial, fantastical creatures”—the first sculptures the self-taught artist ever made—sold out, thereby sealing his fate as a rising star. He’s currently at work on a new collection of wood, bronze, and stone pieces while exploring the possibilities of creating wallpaper and fabrics. “I don’t need to be everybody’s type,” says Tshikare. “I’m working on things like this for myself.” atangtshikare.com

JUSTIN PATRICK, COURTESY OF SOUTHERN GUILD

Artist Atang Tshikare with his bronze work Maotwana Finyela (2016).

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Flavie Audi

French Lebanese artist Flavie Audi at her debut Italy solo exhibition, “Terra (In)firma,” at Nilufar Depot.

COUNTERCLOCKWISE FROM TOP RIGHT: HO LAI; COURTESY OF ADRIAN SASSOON, LONDON; COURTESY OF MAISON GERARD;

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ometimes I feel my work disorients people. They don’t recognize what’s synthetic or what’s natural,” says Flavie Audi of her newest pieces, recently shown at Milan’s Nilufar Depot. The collection of fiberglass, resin, and bronze tables juxtapose rocky, boulderlike textures with mirror-polish finishes and resemble ultramodern, space-age geodes.

The London-based artist machine carves the organic fiberglass shapes, then paints them with ChromaFlair, a pigment primarily used on cars that changes color in different light and angles, before covering them in resin and coating with lacquer. “These are fragments of landscape that can be used in a domestic context,” she says of the results. “There’s a mystery around them, but I’ve always felt the most beautiful things I’ve experienced were the mysterious ones.” flavieaudi.com

Nico Conti at work.

Below: The artist’s Filigree of Porcelain: Bloom (2020).

Nico Conti

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COUNTERCLOCKWISE FROM TOP RIGHT: HO LAI; COURTESY OF ADRIAN SASSOON, LONDON; COURTESY OF MAISON GERARD; AUGUSTINE PARADES FOR BROWNBOOK; COURTESY OF THE FUTURE PERFECT (2). OPPOSITE: BILLAL TARIGHT

ico Conti fell in love with porcelain after reading The White Road: Journey into an Obsession, ceramist Edmund de Waal’s historical ode to the material. Soon after, the Maltese native enrolled in the ceramics program at the Royal College of Art in London, where he became intrigued by using 3D printing in this centuries-old craft. Conti ultimately developed an incredibly time-intensive process whereby he manipulates the porcelain as it’s being printed, in a collaboration of man and machine that can take 10 to 20 hours for each one-of-a-kind vase—and that’s before firing. “I am trying to challenge the skeptics who are against the idea of mixing technology and craft,” he says. “It would be a pity to have something that creates such unique results and not be able to push it and test its full capability.” nicoconti.com

From left: Ammar Kalo.

The designer’s Baltic birch plywood Stratum chair.

Seungjin Yang

Ammar Kalo

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’m trying to actively look for a way to soften a material, whether visually or physically,” says Ammar Kalo. “All the work I do is viewed through that lens.” This is evident in Kalo’s award-winning Stratum chair—a three-legged, folding birch plywood invention that was acquired by the Cooper Hewitt, Smithsonian Design Museum.

Over the years, the talent has developed a methodology that melds traditional technique with advanced technology. His latest collection, Carabus, is a deceptively complicated blend of formed copper with walnut and camel leather. He’s also working on a new collection of lamps and tables that combine wood with marble, a first for him. “I’m quite pragmatic in the way I see things,” he says. “For me it’s all about process, details, and materials.” ammarkalo.com

Seungjin Yang’s armchair sculptures displayed in an exhibit with the Future Perfect at Casa Perfect Los Angeles. Left: Yang.

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azing at the playful shapes and colors of this South Korean designer’s furniture, it’s hard not to smile—the objects draw obvious comparisons to balloon animals. Those creations are fragile, but Yang’s seating, which has been shown at the Seoul Museum of Art and the XXl Triennale di Milano, magically is not, thanks to the pieces’ eight layers of epoxy. This methodology is not only unique in the medium but also a departure for Yang, whose first furniture designs were made with welded aluminum.

He cites fellow Korean designer Kwangho Lee as his inspiration to “try to do things that others didn’t,” and aims to “become a recognized enough designer to collaborate with Nike.” He adds, “I want to keep doing better work.” seungjinyang.com —RIMA SUQI GALERIEMAGA ZIN E .COM

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Bedtime Stories

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ntertaining spaces have traditionally received the greatest amount of design attention in the home, but now our private quarters are taking on a whole new level of importance. Bedrooms are being transformed into high-design home sanctuaries, with furnishings selected not only to offer a good night’s sleep but also to serve as calming cocoons for escape. Tucked away from prying eyes, primary suites naturally allow for the ultimate freedom of self-expression. “Bedrooms are inherently very intimate and autobiographical,” says designer Jeffrey Bilhuber, who is known for his imaginatively layered interiors adored by an equally confident client list. “They tell you very much about who’s at home.” Designers may vary considerably on what truly belongs in a bedroom, but virtually everyone agrees that this is the one place you can savor every last detail.

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A work by Masatake Kozaki and a custom upholstered headboard set the mood in this sumptuous bedroom suite designed by Andre Mellone.

STEPHEN KENT JOHNSON

Designing a bedroom sanctuary takes a carefully orchestrated mix of design pieces and day-to-night lighting

Savoir x Dashing Tweeds bed in Raver Wave Yellow; savoirbeds.com

FURNITURE A bed is obviously the defining piece of furniture in a bedroom, but the shape and style are open to interpretation. Choosing a canopy or four-poster frame can add architecture, says designer Bunny Williams. “It’s really a scale thing for me, and that’s why I love them,” she says. “The accentuation of height is wonderful. And the more you drape the bed, the more traditional it becomes.”

Other designers find appeal in an upholstered headboard, which can be customized in infinite shapes and fabric styles. “I love the diversity and flexibility,” says Sig Bergamin, who released his latest book, Art Life (Assouline), in November. “They add visual interest and they also bring comfort, which is essential for any bedroom.” Andre

Allure king bed

by Baker; bakerfurniture.com

Mellone, founder of Studio Mellone, also favors an upholstered headboard but with a modern twist. “We will do an entire wall that’s covered in upholstery,” he says. “Then this de facto headboard acts as an architectural feature.” Where the bed is situated is just as critical as its design. “I often ask my clients to sit on a chair or the floor to decide what view or angle is most appealing to them in the day and at night,” says New York designer Julie Hillman.

Bedside tables also provide a necessary function for the accoutrements of life, whether that’s a clock and a phone charger, or reading lamps and the latest bestseller. “I want the biggest bedside table I can have because half my life is there, but if you don’t have the wall space, then you need something that has tiered shelves,” suggests Williams. “All bedside tables should have drawers.”

A custom Merida rug defines the vibe and palette of this bedroom Mark Cunningham created in a New York duplex.

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CLOCKWISE FROM TOP LEFT: COURTESY OF STUDIO VAN DEN AKKER; COURTESY OF SAVOIR; COURTESY OF BAKER FURNITURE; SAM FROST STUDIO. OPPOSITE, CLOCKWISE FROM TOP: FRANCESCO LAGNESE; COURTESY OF GIORGIO ARMANI; COURTESY OF JULIAN CHICHESTER; COURTESY OF HOLLY HUNT; COURTESY OF MADE GOODS; COURTESY OF CURREY & COMPANY; COURTESY OF THEODORE ALEXANDER; COURTESY OF JONATHAN CHARLES FINE FURNITURE

Finn bed by Studio Van den Akker from De Sousa Hughes; desousahughes.com

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FROM TOP: FRANCESCO LAGNESE; COURTESY OF GIORGIO ARMANI; COURTESY OF JULIAN CHICHESTER; COURTESY OF HOLLY HUNT; COURTESY OF MADE GOODS; COURTESY OF CURREY & COMPANY; COURTESY OF THEODORE ALEXANDER; COURTESY OF JONATHAN CHARLES FINE FURNITURE

Cambrio bench by Jonathan Charles Fine Furniture; jonathancharlesfurniture.com

Hines bench by Alexa Hampton for Theodore Alexander; theodorealexander.com

Visby Calcutta Pepper bench by Currey & Company; curreyandcompany.com

“I want the biggest bedside table I can have because half my life is there BUNNY WILLIAMS

Alene nightstand

by Made Goods; madegoods.com

A towering canopy provides an architectural focal point in a room conceived by Bunny Williams in Palm Beach.

Shifty side table by Holly Hunt Studio; hollyhunt.com

Silvy’s dressing table by Julian Chichester; us.julianchichester.com

Meneo bedside table

by Armani Casa; armani.com

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No room in the home is as tactile as the bedroom, and the mix of textiles, including rugs, curtains, and bedding, is of utmost importance. “Having a calm, safe space is key for a room that you sleep in,” says London-based Beata Heuman, “but we also like adding surreal elements or dreamlike color combinations to create the feeling of being in another world.” Architect William T. Georgis pays special attention to rugs, favoring silk or wool-silk blends.

“People are often barefoot and want all of the materials to have a fine hand, and that extends down to the carpet,” says the designer, who then adds textural contrast with accessories like rough woven-cashmere throws.

Fabric wall coverings can also remarkably transform a home. In a New Orleans carriage house, Bill Brockschmidt and Courtney Coleman created custom upholstered panels to cover a room’s exposed brick walls.

“People want to be surrounded by these beautiful fabrics,” says Coleman. “It’s gratifying to know they love it as much as we do.” And, of course, bedding offers a world of textile possibilities. Bilhuber adores Julia B. sheets atop a Saatva mattress, and Hillman suggests a Hästens bed with pieces from E. Braun & Co., while Brockschmidt and Coleman find customizing styles from Leontine Linens with a color-matching monogram to be an elegant touch.

Woodblock Giraffe fabric from the Aerin Collection for the Shade Store; theshadestore.com 48

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Cashmere blanket

by Hermès; hermes.com

Cashmere wool twill cushion by de Le Cuona; delecuona.com

Distressed Moroccan rug

by Marc Phillips; marcphillipsrugs.com

CLOCKWISE FROM TOP LEFT: DAVID BISHOP; COURTESY OF HECTOR FINCH; NATALIA KNEZEVIC; COURTESY OF RALPH PUCCI; COURTESY OF CIRCA LIGHTING; MANOLO YLLERA.

TEXTILES

A custom-monogrammed bedding set completes a New Orleans bedroom

by Bill Brockschmidt and Courtney Coleman.

CLOCKWISE FROM TOP LEFT: DAVID BISHOP; COURTESY OF HECTOR FINCH; NATALIA KNEZEVIC; COURTESY OF RALPH PUCCI; COURTESY OF CIRCA LIGHTING; MANOLO YLLERA. OPPOSITE, CLOCKWISE FROM TOP: PAUL COSTELLO; COURTESY OF MARC PHILLIPS; COURTESY OF DE LE CUONA; COURTESY OF HERMÈS; COURTESY OF THE SHADE STORE

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Anjou table lamp by Jonathan Browning Studios; jonathanbrowninginc.com

Paola wall light in Blu Avio by Hector Finch; hectorfinch.com

“There’s nothing better than natural light in a home. I personally love to wake up to sunlight JULIE HILLMAN

Japonesque Bonsai lamp by Magni Home Collection; magnihomecollection.com

Table lamp by John Wigmore from Ralph Pucci; ralphpucci.com

Mandeville sconce by Julie Neill for Circa Lighting; circalighting.com

LIGHTING A bedroom functions differently depending on the time of day, and a carefully orchestrated lighting design enhances the space’s many uses. Window treatments create another moment for texture and pattern, but there’s a significant functionality that needs to be considered. Some clients can’t sleep without blackout curtains; sheers offer privacy while letting sunlight stream into a space. “There’s nothing better than natural light in a home,” says Hillman. “I personally love to wake up to sunlight.”

Overhead lighting, such as a sculptural chandelier, can add a dynamic element, but designer Mark Cunningham relies on multiple sources. In a New York duplex apartment, for example, he balanced the daylight from floor-to-ceiling windows with floor and table lamps for nighttime illumination. “There’s a number of low lamps so it continues the warmth as opposed to a big, bright overhead,” he says. Williams carefully measures bed height to be sure bedside lighting is higher than the mattress, while Brockschmidt and Coleman are seeing more clients asking for a luxury commonly found in hotel suites and first-class airline seating—the LED reading light on an extendible arm. And with that perfect mix of function and design comes the sweetest dreams. —JILL SIERACKI

A Christopher Wool painting and a vintage bronze and alabaster chandelier by Albert Cheuret illuminate a serene Julie Hillman– designed bedroom suite.

MILESTONE

Alex Katz

Ada, 1957  Alex Katz met his wife, Ada, at a time when he began to focus on portraits that were characterized by an elegant, pared-down aesthetic. Painted thousands of times, Ada remains the most frequent subject in Katz’s ensemble of characters.

 1964 Katz, pictured here in his studio in the Flatiron district, came of age as an artist during the heyday of the New York School and Abstract Expressionism.

But despite the ebb and flow of movements, he has remained true to one vision and just a few locations and subjects. “I never paid attention to what people said,” he admits.

“My style was ahead of the public and certainly of the institutions.”

Times Square mural, 1977  Commissioned by the Public Art Fund, this billboard-format mural, featuring a procession of 23 women’s faces, each 20 feet high, transformed the corner of 42nd Street and Seventh Avenue in New York’s theater district.

 Ada and Luisa, 1987 Katz has also worked from a studio in Maine since the mid-1950s, and this portrait of Ada and her mother, Luisa, at Lincolnville Beach captures the feeling of a crisp spring day.

“Eternity exists in the present tense with total consciousness,” he says.

“That is what I am trying to paint, the sensation of what I am seeing.”

 Azalea on Lilac, 2020 Following the release of his namesake monograph (Rizzoli), Katz is preparing for a solo exhibition at Gladstone Gallery in March 2021, which will feature bold new flower paintings created during his quarantine in Pennsylvania. In 2022, he will have a career-spanning retrospective at the Guggenheim Museum in New York. “I keep trying new things, and I am also surprised when people like them,” he says. —LUCY REES

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CLOCKWISE FROM TOP: JACK MITCHELL/GETTY IMAGES; COURTESY OF THE ARTIST; COURTESY OF RIZZOLI; DAVID REGEN, COURTESY OF THE ARTIST AND GLADSTONE GALLERY, NEW YORK AND BRUSSELS; LANGDON CLAY; COURTESY OF THE METROPOLITAN MUSEUM OF ART, NEW YORK

At 93, the trailblazing painter continues to make an indelible impression on the art world.

We look back at some key works from his prolific seven-decade career

LISMORE NOUVEAU COLLECTION

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Using a favorite work as muse, these significant designers curate the ultimate interior space PRODUCED BY JACQUELINE TERREBONNE

PAOLO MOSCHINO & PHILIP VERGEYLEN The devastatingly sophisticated interiors conjured by Paolo Moschino (left) and Philip Vergeylen demonstrate their deep appreciation for old-world opulence updated with a flair for modern living. Although their firm, Paolo Moschino for Nicholas Haslam, may be best known for ultra-luxe finishes and sumptuous fabrics, like their new line for Lee Jofa, Vergeylen demures: “I like elegance spoiled a little to make it livable.” nicholashaslam.com

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I must have 60 or 70 works by Jean Cocteau, and I think of them as line drawings and poetry all in one,” says Philip Vergeylen Artwork: Drawing for Paris restaurant La Méditeranée’s mural (circa 1935) by Jean Cocteau. Clockwise from top right: Antibes chandelier by Currey & Company; curreyandcompany.com. Chest of drawers by Jacques Adnet; 1stdibs.com. Riviere wallpaper by Paolo Moschino for Nicholas Haslam; kravet.com. Stela standing lamp by Paolo Moschino for Nicholas Haslam; nicholashaslam.com. Quirinus by Igor Mitoraj; continiarte.com. Coque armchair by Philippe Hiquily; galerieyvesgastou.com. Mesa cocktail table by T. H. Robsjohn-Gibbings; sothebys.com. Mombasa rug by Feizy; feizy.com. Sofa by Lee Industries; leeindustries.com.

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ARTWORK AND PORTRAIT: COURTESY OF PAOLO MOSCHINO & PHILIP VERGEYLEN. PRODUCTS, CLOCKWISE FROM TOP RIGHT: COURTESY OF CURREY & COMPANY; COURTESY OF PAOLO MOSCHINO & PHILIP VERGEYLEN (3); COURTESY OF CONTINI ART GALLERY; COURTESY OF GALERIE YVES GASTOU; COURTESY OF SOTHEBY’S; COURTESY OF FEIZY; COURTESY OF LEE INDUSTRIES

State of the Art

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I had the pleasure to spend a weekend with Mr. Lee last September in Washington, D.C., during his residency at the Hirshhorn. The poetic voice of his work, its balance between honesty and strength, has inspired my work and my thoughts”

Artwork: Dialogue (2016) by Lee Ufan. Clockwise from top center: Akari 20N light sculpture by Isamu Noguchi; noguchi.org. Rouge eau de parfum by Comme des Garçons; comme-des-garcons-parfum.com. Silk-and-cashmere stole, Loro Piana; us.loropiana.com. 2016 Castello di Ama L’Apparita Merlot; castellodiama.com. Bordeaux wineglass by Zalto; zaltoglas.at. Vanadinite crystals; rosellminerals.com. Ikebana bowl

by Masanobu Ando; nalatanalata.com. Thermal Spray armchair by Max Lamb; salon94design.com. Pine Classic unfinished flooring by Dinesen; dinesen.com. Hanging wall case by George Nakashima; ragoarts.com. Untitled (2016) by Takuro Kuwata; alisonjacquesgallery.com.

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ARTWORK: COURTESY OF CHRISTIE’S IMAGES LTD. 2020. PORTRAIT: DONNA NEWMAN. PRODUCTS, CLOCKWISE FROM TOP: COURTESY OF KASMIN GALLERY; COURTESY OF R & COMPANY; COURTESY OF HERVÉ VAN

From her designs for Hauser & Wirth and Pace to her recent reimagining of New York’s Daniel restaurant, Stephanie Goto knows how to blend the worlds of art, cuisine, and design into her own brand of soothing, thought-provoking luxury.

Here, a Lee Ufan work inspires a meditation room, a signature element in many of the private spaces she conceives. stephaniegoto.com

ARTWORK: RICH LEE, COURTESY OF PACE GALLERY. PORTRAIT: MICHAEL WARING. PRODUCTS, CLOCKWISE FROM TOP CENTER: COURTESY OF THE NOGUCHI MUSEUM; COURTESY OF COMME DES GARÇONS; COURTESY OF LORO PIANA; COURTESY OF CASTELLO DI AMA; COURTESY OF THE MANUFACTORY; COURTESY OF ROSELL MINERALS; COURTESY OF NALATA NALATA; COURTESY OF MAX LAMB AND SALON 94 DESIGN; COURTESY OF DINESEN; COURTESY OF RAGO/WRIGHT; COURTESY OF ALISON JACQUES GALLERY, LONDON

STEPHANIE GOTO

ARTWORK: COURTESY OF CHRISTIE’S IMAGES LTD. 2020. PORTRAIT: DONNA NEWMAN. PRODUCTS, CLOCKWISE FROM TOP: COURTESY OF KASMIN GALLERY; COURTESY OF R & COMPANY; COURTESY OF HERVÉ VAN DER STRAETEN GALLERY; COURTESY OF LIZ O’BRIEN; COURTESY OF THE CHINESE PORCELAIN COMPANY; COURTESY OF GERALD BLAND; COURTESY OF COWTAN & TOUT; COURTESY OF GERALD BLAND

ARTWORK: RICH LEE, COURTESY OF PACE GALLERY. PORTRAIT: MICHAEL WARING. PRODUCTS, CLOCKWISE FROM TOP CENTER: COURTESY OF THE NOGUCHI MUSEUM; COURTESY OF COMME DES GARÇONS; COURTESY OF LORO PIANA; COURTESY OF CASTELLO DI AMA; COURTESY OF THE MANUFACTORY; COURTESY OF ROSELL MINERALS; COURTESY OF NALATA NALATA; COURTESY OF MAX LAMB AND SALON 94 DESIGN; COURTESY OF DINESEN; COURTESY OF RAGO/WRIGHT; COURTESY OF ALISON JACQUES GALLERY, LONDON

ALEX PAPACHRISTIDIS Whether he is using antiques or contemporary furnishings, classicism is at the heart of the Alex Papachristidis’s remarkable designs. “If it’s all too traditional, it gets tired.

And if it’s all too contemporary, it goes out of style,” he shares. His sense of scale and proportion leads to a spirited mélange that combines periods while keeping juxtapositions pleasing to the eye, and he has quite the way with layering rich textures. alexpapachristidis.com

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Everyone is buying contemporary paintings, but I think Old Masters look amazing with new things. Plus, they’re really a great value right now, especially for the level of technique and detail”

Artwork: The Triumph of Galatea (circa 1649) by Artemisia Gentileschi, auctioned at Christie’s New York in October 2020. Clockwise from top: Lapin Chouchou (2018) by Claude Lalanne; kasmingallery.com. Pour Box by Nancy Lorenz; r-and-company.com. Armoire by Hervé Van der Straeten; ralphpucci.com. Mirrored obelisks by Serge Roche from Liz O’Brien; lizobrien.com. Circa-1780 armchair by Jean-Baptiste Lelarge III; cpco.co. Sunburst mirror by Eve Kaplan; geraldblandinc.com. Esta fabric by Colefax and Fowler; cowtan.com. Console table by John Dickinson; geraldblandinc.com.

Winter Garden

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From top: A holiday table set with Flowerbx’s gold-toned Wickstead vases.

Company founder Whitney Bromberg Hawkings. The Dried Citrus outdoor wreath.

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othing conjures the holiday spirit quite like aroma, and for Whitney Bromberg Hawkings, founder of the floral-delivery service Flowerbx, the scent of the season is a savory bouquet of woods and spice. “It’s full-on festive, and that ‘more is more’ kind of look,” she says of the new Dried Citrus outdoor wreath, a handcrafted arrangement of noble fir, dried oranges, and cinnamon sticks.

Hawkings can’t help but chuckle at the irony. After all, the whole inspiration behind Flowerbx was her vision for simple yet chic arrangements cut to order by growers.

“I firmly believe that nothing looks more beautiful than 20 peonies or five hydrangeas in a vase,” says Hawkings, who segued to stems from a fashion career that included working in Paris for Tom Ford at Gucci, then in London as communications head for his namesake line. And so Flowerbx took seed and eventually blossomed into what today is effectively the first international flower brand. The company has crafted dynamic bouquets for the Serpentine Gallery in London and installed showstopping façade coverings for Annabel’s and Jimmy Choo.

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Though raised in Dallas, where bigger is better, Hawkings has an aesthetic that is more effortless European: “Simplicity is key,” says the entrepreneur, who hints that Flowerbx’s Bailey vases are a saving grace for any hostess. “All you need are about ten stems,” she says. “You put two in each vase, and the table’s done.”

Still, the holidays are an opportunity to indulge in a bit of excess. Along with the company’s five scented outdoor wreaths (including the popular Red Berry—a medley of pine, viburnum, Skimmia, and rose hips—which hangs on Hawkings’s own front door in London), Flowerbx is offering fragrant, ready-made garlands in both red and green, perfect for embellishing a mantelpiece, running down the center of a table, or twisting up a banister. The garlands, along with Flowerbx’s golden brushed-metal vases by fashion wonder Emilia Wickstead, can easily enhance any Christmas table, whether you’re pulling out a set of heirloom Spode china or showing off a favorite service of Old Imari by Royal Crown Derby.

Like most people’s, Hawkings’s holiday traditions are being scuttled by the global pandemic, but she still sees it as a time to count her blessings. And naturally, it will also be a time for flowers. “They’re the one thing that makes your home feel happy,” she says, “like a warm, loving, fragrant, special place—especially when you’re not leaving it.” flowerbx.com —DANIEL CAPPELLO

COURTESY OF FLOWERBX

Flowerbx’s Whitney Bromberg Hawkings shares her fashionable advice for chic holiday decorating

Jim Dine’s bronze The Hooligan (2019) installed in the exhibition “Field of Dreams” at the Parrish Art Museum in Water Mill, New York. Dine with his painting Me #10 (2020).

Michele Oka Doner in her New York studio. A detail view of the artist’s HumanMycelium (2019–20).

Golden Age Ida Applebroog’s Cardinal (2018).

The artist at work.

These celebrated artists, ranging in age from 75 to 100, continue to create captivating artworks, demonstrating the virtues of experience and longevity

Wayne Thiebaud’s Clown Boots (2018–19) will be included in a survey of his work at the Crocker Art Museum through January 3, 2021. The artist.

Suzanne Jackson in front of her work. Her piece Light, Light into Being (2019) is made with acrylic, leather, beads, and plastic tubing.

OPPOSITE, COUNTERCLOCKWISE FROM TOP LEFT: COURTESY OF GRAY, CHICAGO/NEW YORK; DANIEL CLARKE, COURTESY OF JIM DINE STUDIO; EMILY POOLE, COURTESY OF HAUSER & WIRTH (2); COURTESY OF CROCKER ART MUSEUM; COLLEEN CASEY, COURTESY OF LEBARON'S FINE ART; TIMOTHY DOYON, COURTESY OF ORTUZAR PROJECTS, NEW YORK (2); MICHELE OKA DONER; MELANIE DUNEA

Talk to some of the greatest artists who are still working over the age of 75 and most are happy to reflect on the past, but none of them dwell there. There’s a sense of dedication and a feeling that no amount of natural slowing down could keep them from the joy of new discoveries. Maybe their methods have changed a little with age, but that’s just par for the course. Learning how to adjust—and learning to adjust in the first place—is perhaps the most valuable lesson of all.

MICHELE OKA DONER Michele Oka Doner’s large SoHo loft is chockablock with artwork, artifacts, and natural objects—a freewheeling creative lab. “I live in the studio,” says Doner, 75, about her lack of separation between work and life. “There’s no door, and there never has been. It’s one world.” Artificial barriers, in fact, have never been her thing. Nature has always been the primary inspiration for her oeuvre, which comprises housewares and furniture. She’s also the creator of many substantial public projects, including A Walk on the Beach. Installed over a 15-year period at the Miami International Airport, it’s composed of 9,000 bronze pieces and stretches for more than a mile. After 55 years of art making, Doner can see a clear trajectory. “Early on, it was about establishing your voice in the face of all of the static that the world was inflicting on you and then mastering materials through which to speak,” she says. “My fingers now have muscle memory, and they know where to go.”

SUZANNE JACKSON At 76, Suzanne Jackson has already lived many lives—poet, dancer, theater designer, art dealer, and visual artist who creates what she calls “dimensional paintings,” sculptural works heavy with acrylic paint. Making them requires Jackson to climb tall ladders. “People are always telling me, ‘Be careful!’ But I love it,” she says. “I’m not afraid to do anything I have to.” Jackson’s densely layered, expressionistic paintings garnered acclaim early, but when her career experienced an ebb, she took time to teach, raise her son, and focus on set and costume design. A key member of the Los Angeles art scene of the ’60s and ’70s, she studied with the great Charles White and then ran Gallery 32, the first space to show the work of David Hammons, in 1969. The past ten years have seen an incredible second wave of interest in her art, with appearances in landmark shows like “Soul of a Nation: Art in the Age of Black Power” at the de Young Museum in San Francisco and representation from New York dealer Ales Ortuzar’s Ortuzar Projects. If she could talk to her younger self, Jackson says, she’d advise her to “just keep going no matter what.

Disappointments help you become a stronger person. Every time something goes wrong, it’s simply an advancement in life.”

WAYNE THIEBAUD A luminary of New Realism famed for his renderings of cakes and pies, Wayne Thiebaud just turned 100, and to mark the milestone he has a show of 100 works at the Crocker Art Museum in his longtime home of Sacramento, California, through January 3, 2021. Aside from teaching a small number of students (when he's not playing tennis), the legendary artist still paints every day. One of his most recent series depicts clowns, hearkening back to the 1930s, when he took a job helping the circus unload railroad boxcars. “I can’t work the same as when I was younger,” Thiebaud says. “It’s harder to paint wet into wet, the direct encounter.” So he plans his brushstrokes more in advance than he used to. “Painting is one of the most difficult things to do. It presents itself as a series of miracles.”

JIM DINE Jim Dine gained fame as a Pop and neo-Dada artist in the 1960s with his colorful and witty take on everyday objects. Nearly six decades later, the 85-year-old continues to be prolific, as evidenced by “A Day Longer,” a show of new pieces at Galerie Templon in Paris, on view until January 23, 2021. The exhibition’s paintings and sculptures represent three years of work. “I keep at it until I get something I can call finished,” says Dine, an Ohio native who’s lived in Paris for 40 years. “You get tired after a while. Three years is a long time.” Some artists simplify in their later years—think of Henri Matisse’s cutouts— but Dine bucks that trend. His paintings have only gotten larger and more elaborate. “They’ve become more complicated, and it’s more of a pleasure for me,” he says. “All this knowledge has been accumulated. I’ve worked 85 years to be able to make these.”

IDA APPLEBROOG New York native Ida Applebroog didn’t get recognition for her art until her mid-40s, but given that she’s now 91, she’s still had a long and productive career exploring gender, sex, and power dynamics. She’s been focusing on a set of bird paintings— large ink-and-gel pieces on Mylar—and they appeared in the show “Applebroog Birds” at Hauser & Wirth in New York.

An update of her “Angry Birds of America,” which she began in 2016, referencing the sour state of politics, the series is a highly personal take on John James Audubon. Applebroog can thoughtfully provoke viewers, and age has not softened her verve. “Mentally, things come to me at the same pace as ever,” she says. When it comes to the physicality of her work, “it’s slower but more considered,” she says. “The process of working is still there, just extended.” And as for being an “older artist,” she’s not having the label: “I’ve never liked being categorized or put in a group. I’m still an artist.” —TED LOOS GALERIEMAGA ZIN E .COM

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Virtual audiences contributed to a fall bidding frenzy and helped set record sales for these rare and storied items

MAKRON AND HIERON, ATTIC RED-FIGURE KYLIX (CIRCA 490–480 B.C.) Sold at Christie’s New York (October 13) This elaborately decorated kylix, an ancient Greek cup for drinking wine at raucous male gatherings, is attributed to Athenian painter Makron and his frequent collaborator, potter Hieron. Depicting mythological scenes on the inside and courtship imagery on its exterior, the vessel, sold to benefit the Cleveland Museum of Art, brought $1.8 million.

BY JEANNIE ROSENFELD

JOHN F. KENNEDY’S AIR FORCE ONE BOMBER JACKET (1962) JEAN-AUGUSTE-DOMINIQUE INGRES, ODALISQUE (UNDATED) Sold at Christie’s New York (October 14) The dispersal of the private collection of Jayne Wrightsman, the late society doyenne, Metropolitan Museum of Art patron, and tastemaker, offered a feast of fine and decorative artworks, from Old Masters and Chinese ceramics to European furniture. The top lot was this seductive and celebrated Turkish harem nude, a tiny masterpiece measuring barely four by five inches, which went for $1.7 million.

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Sold at Bonhams New York (October 14) “The American Presidential Experience” sale featured eclectic artifacts from collector Jim Warlick’s traveling museum, including this leather jacket, which was gifted to David F. Powers, Kennedy’s special assistant, who later served as the longest-tenured museum curator of the John F. Kennedy Presidential Library. The Government Issue G-1 bomber with a fur collar and a presidential seal commanded $250,000.

ALFA ROMEO B.A.T. 5, 7, AND 9 (1953, 1954, 1955) Sold at Sotheby’s New York (October 28) Officially named Berlina Aerodinamica Tecnica concepts, these models were designed

by Franco Scaglione, whose work for Fiat, Jaguar, and other luxury brands helped shape industry trends still in place today. This remarkable trio was separated until 1989, when the collector who consigned them to Sotheby’s purchased all three at the Pebble Beach Concours d’Elegance. A testament to the automobile’s status as a design icon, the group fetched $14.8 million in the marquee fall contemporary art evening sale.

COUNTERCLOCKWISE FROM TOP: COURTESY OF CHRISTIE’S IMAGES LTD. 2020 (2); RON KIMBALL, COURTESY OF RM SOTHEBY’S; ROBERT KNUDSEN, COURTESY OF JOHN F. KENNEDY PRESIDENTIAL LIBRARY AND MUSEUM, BOSTON

On the Block

Presenting

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Each piece is appraised and authenticated by expert third parties.

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Making History

With its rich legacy of art and design, New Orleans sets the trends of today while honoring the best of the past

Illuminated by lamps from Bevolo Gas & Electric Lights, Exchange Place in New Orleans’s French Quarter dates back to 1831.

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FROM TOP: STEPHEN WALKER; EUGENIA UHL; COURTESY OF THE NEW ORLEANS MUSEUM OF ART; COURTESY OF THE ARTIST. OPPOSITE: DAVID NOLA PHOTOGRAPHY

D

rew Bevolo knows a thing or two about New Orleans traditions. Not only was his family’s namesake lighting business founded here 75 years ago, it has also played a huge part in developing the timeless beauty of the celebrated city, devising iconic lamps that illuminate the French Quarter. “Living and growing up in New Orleans, you’re engulfed in history and are enveloped by it all the time,” explains Bevolo. Inside the company’s workshop, local craftsmen fabricate light fixtures by hand in the same Vieux Carré design his Italian-born grandfather, Andrew Bevolo Sr., conceived. “Vieux Carré lights have that little post that runs across,” explains the third-generation leader of Bevolo Gas & Electric Lights. “It’s called a ladder rack, because you had to lean the ladder against it when you lit the gas.”

With over 500 other styles, the company creates lamps popular with New Orleans’s historic homes, museums, and restaurants. One of those dining establishments, the 127-year-old Commander’s Palace, not long ago named Meg Bickford its first female executive chef. The culinary institution still proudly serves its Creole classic turtle soup with sherry, while Brennan’s is known for its take on the traditional saucy BBQ shrimp dish. An exciting newcomer is The Chloe, a boutique hotel housed in a 19th-century mansion near the

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Clockwise from top: St. Louis Cathedral at the north end of Jackson Square.

BBQ shrimp quenelles at Brennan’s. Creole Tranquility (2019)

by Andrew LaMar Hopkins. Portrait of Estelle Musson Degas (1872)

by Edgar Degas.

You’re engulfed in history and are enveloped by it all the time” DREW BEVOLO

Garden District made current by its eclectic design.

The city’s art scene, too, has a rich history of inspiring masters, such as Edgar Degas, whose Portrait of Estelle Musson Degas (1872), on view at the New Orleans Museum of Art, features the long, gauzy brushstrokes that later became indicative of his style. But New Orleans isn’t just a muse; it also regularly produces world-recognized talents like Andrew LaMar Hopkins, who moved to the city at 16 and began selling his miniature Creole portraits in the gift shops of local landmarks such as the Hermann-Grima House and the Historic New Orleans Collection, which recently expanded its galleries on Royal Street. Last fall, his paintings, inspired by scenes from the past of free people of color at home, sparked a buying frenzy at a sold-out show at New York’s Venus over Manhattan gallery. “You’re teaching people about Creole history,” Hopkins says, “and the history of New Orleans.”

The lanterns, the landmarks, and the creative souls with ties to New Orleans—combined, they tell the tale of one of the country’s most culturally rich cities. —JACQUELINE TERREBONNE GALERIEMAGA ZIN E .COM

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Studio Audience

In Open Studio, contemporary artists from George Condo to Mickalene Thomas share step-by-step guides to creating works inspired by their styles crown using rock candy and lollipops. And for Mouth of the Amazon, Maya Lin affixed scores of metal pins to a foam-core board to realize a stunning wall installation tracing the path of the South American river.

Some projects even come with special inserts that are designed to be torn out and used as part of the artwork, such as Condo’s paint-by-number page or patterned collage sheets from Thomas. “This is a window into understanding these artists and their sources of inspiration,” says Benchley. “We wanted to make sure that it was really accessible.”

As with many things, the pandemic shifted the team’s expectations. “Before COVID, we weren’t sure of the kind of support and engagement there would be, but now it’s reassuring to see fundamentally that people need to create,” reflects Hurowitz. “It’s an important part of our DNA.” phaidon.com —GEOFFREY MONTES

Clockwise from top: Open Studio.

Mickalene Thomas crafts a collage book in her studio. Will Cotton wearing The Royal Crown of Candyland. A view of George Condo’s worktable with a paint-by-number project.

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CASEY KELBAUGH, COURTESY OF PHAIDON

When Sharon Coplan Hurowitz and Amanda Benchley began conceptualizing Open Studio (Phaidon) three years ago, their first thought was to develop a children’s book. “Then we realized how ambitious we wanted it to be,” recalls Hurowitz.

Indeed, the pair ended up assembling a formidable group of 17 leading contemporary artists—among them George Condo, Marina Abramović, Mickalene Thomas, and Rashid Johnson—all of whom granted the authors exclusive access to their studios and devised original art projects that could be completed at home in under 30 minutes.

Illustrated with step-by-step photos, these mini master classes offer personal insight from the talents on how they achieve their signature techniques. The Haas Brothers, for instance, guide readers through the construction of Beada Kahlo, a miniature cup with a crisscross pattern composed of just string and tiny glass beads. Will Cotton took a fanciful approach, fashioning a whimsical sugary

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The Art of Living Inspirationally

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Stepping Stones These jewelry designers are shaking up the craft with ancient techniques and political statements

Clockwise from top: Cora Sheibani. The designer’s Disco ring.

Butterfly earrings with spinels, aquamarines, and tourmalines.

Predator Eye ring.

The daughter of legendary art dealer Bruno Bischofberger, Cora Sheibani spent her childhood surrounded by modern masterpieces by the likes of Andy Warhol and Jean-Michel Basquiat.

“Because of my upbringing with art, I have strong opinions and I don’t like things simply because other people do,” says Sheibani, whose designs are characterized by bold sculptural forms and a daring palette. “My jewelry is a personal exploration of my love for color and graphic shapes.” Her recent whimsical collections have sampled from such eclectic themes as cupcakes, clouds, and cacti. Last year, she caused a stir with a glow-in-the-dark array, which debuted at Louisa Guinness Gallery in London. Each piece begins with a sketch, but Sheibani is insistent that she is not an artist. “I don’t create jewelry to be put on a pedestal or against a white background,” she says. “I make jewelry to be worn, to flatter the wearer.” corasheibani.com

Khiry When a CEO of a major luxury conglomerate told Jameel Mohammed that the only true luxury brands are from Paris and Milan, the Chicago native quickly set out to prove them wrong. At the time, he was just a 21-year-old college student, but his Kickstarter campaign raised $25,000 in just 30 days, funding his dream of an Afrofuturist jewelry line. Since its founding in 2016, Khiry has stayed true to its mission to explore “diverse cultural references throughout the African diaspora and to interpret them through the lens of the future,” says Mohammed. Michelle Obama and Serena Williams have since worn his designs. During the quarantine, he has been working on a new collection of much larger sculptural creations in response to the trauma of this year.

“The pieces are recollections of my own Black experience as well as the political and artistic ideas advanced by others before me,” he says. “I am trying to establish a different representation of luxury.” khiry.com 66

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Clockwise from left: Khiry’s Khartoum ring.

Jameel Mohammed.

Nandi Drops earrings.

Orb ring with Tiger Eye.

FROM TOP: GISELA TORRES; COURTESY OF CORA SHEIBANI (3); GIONCARLO VALENTINE; COURTESY OF KHIRY (3). OPPOSITE, CLOCKWISE FROM TOP: COURTESY OF DAVID MICHAEL JEWELS (2); AUSTIN HARRIS; SARA REY PHOTOGRAPHY (3); DEAN SWINDELL

Cora Sheibani

FROM TOP: GISELA TORRES; COURTESY OF CORA SHEIBANI (3); GIONCARLO VALENTINE; COURTESY OF KHIRY (3). OPPOSITE, CLOCKWISE FROM TOP: COURTESY OF DAVID MICHAEL JEWELS (2); AUSTIN HARRIS; SARA REY PHOTOGRAPHY (3); DEAN SWINDELL

David Michael From a remote, solar-powered workshop in Queensland, Australia, identical twins David and Michael Robinson are creating the kind of fantastical high jewelry one regularly associates with Paris’s Place Vendôme. “Our design philosophy is to make one-of-a-kind works of art by hand with the same traditional techniques that would have been used in the best jewelry workshops from the past,” says Michael, who does the gem setting and pavé work. The beauty of nature is a huge inspiration, too. The pair have recently clocked around 400 hours working on a Koi Pond piece, which is slated to hit the block at Sotheby’s New York in December. Now available in Manhattan through Stephen Russell, David Michael’s creations—which are limited to under ten per year—have proved captivating to an Instagram audience. “My favorite piece is always the one I’m currently working on,” says Michael. “The art of creating is what we really enjoy, pushing ourselves to the edge.” artofdm.com

From top: David Michael’s Antique Rose ring with a cluster of conch pearls framing an old-mine-cut diamond. Each Rain or Shine earring is centered on a nine-carat sapphire.

Left: Michael and David Robinson.

Loren Nicole Loren Teetelli, the designer behind the brand Loren Nicole, may be one of the youngest new talents in the jewelry world, but she has her sights set on the past. For her unique bijoux, the trained archaeologist takes inspiration and techniques from the ancient civilizations of Egypt, Rome, and South America. “I’m not interested in simply copying the aesthetics but in making the pieces the exact same way it was done before,” says Teetelli, whose collections feature carved gemstones that assume the form of Egyptian gods, intricately woven gold chains, and patterned surfaces created through gold granulation, an ancient method originally from Babylon using tiny droplets of gold. Focusing on a different culture each year, Teetelli plans to explore Vikings and their jewelry next. “I want to keep a record of these incredible techniques,” she says. “They are vehicles for storytelling.” loren-nicole.com —LUCY REES

Clockwise from top: Loren Nicole’s Mini Cleo Paraiba earrings. Amulet Ring: Tawaret Swims.

Designer Loren Teetelli.

Horus Will Be King bracelet.

PAT T E R N P LAY Inspired by the French maison’s history of crafting dog collars, the Hermès Médor Haute Joaillerie watch sparkles with a 196-diamond case surrounding its hidden dial and 601 gradated diamonds wrapping around the wrist. hermes.com

OPEN SEASON An homage to the atelier’s iconic Ludo design from the 1930s, this one-of-a-kind Ludo Secret boasts a dial hidden beneath a sapphire buckle fashioned using Van Cleef & Arpels’s signature Mystery Set technique. vancleefarpels.com

Magic Hour

B LU E WAVE Buccellati’s Bluebell watch features an abstract flower-shaped white-gold case, overlapping petal motifs, and an eye-catching combination of 897 diamonds with painterly green and blue enamel. us.buccellati.com

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Brilliant new timepieces embellished with diamonds and colored gemstones make an impact this winter PRODUCED BY LUCY REES

T WI STS & T URN S The high-jewelry Maillon de Cartier watch showcases an 18K-white-gold bracelet set with a tessellation of 301 brilliant-cut diamonds and 96 tsavorites, while the diamonds on the dial are offset with flecks of blue and green lacquer. cartier.com

CLOCKWISE FROM TOP LEFT: IREEL; COURTESY OF HARRY WINSTON; COURTESY OF VAN CLEEF & ARPELS; COURTESY OF CARTIER; COURTESY OF BUCCELLATI

COLOR W HEEL Harry Winston’s Kaleidoscope timepiece captures the whimsy and magic of the hypnotic, mirrored instrument with brilliant-, pear-, and marquise-cut diamonds; Paraíba tourmalines; blue and pink sapphires; and tsavorites. harrywinston.com

Mike Van Tassel

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Peak Season

Ski meccas like Aspen, Vail, and Lake Tahoe are attracting a fresh crop of buyers

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ith panoramic mountain vistas and abundant fresh air, traditional ski destinations across the country boomed during the early months of the pandemic, especially Aspen, Telluride, and Lake Tahoe, luring a record number of space-starved city dwellers who were no longer tethered to their office jobs. “I would describe the season as a whirlwind,” says Douglas Elliman’s Riley Warwick, one of the top agents in Aspen. “It’s been exceptionally busy—we’ve had ten showings a day, back to back to back.”

COVID-19’s uneven impact on the market has exasperated brokers across the country, but in traditional wintertime retreats, the effect has been seismic. “I’ve never seen Tahoe as busy,” says Jeff Hamilton, a Sotheby’s International Realty broker and an Olympic medal skier. “The primary thing I’m seeing in buyers is urgency. They are looking for something move-in ready.”

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As a result, such communities have seen inventories plummet—even at the very top of the market—and prices spike, while the length of time listings sit unsold has tightened considerably. But potential buyers who missed the summer rush might not be left out in the cold. “There are still good opportunities,” says Ron Byrne, who runs a boutique brokerage in Vail, Colorado, “just not as many.”

But before rushing into an impulse buy, someone interested in these types of enclaves should assess their utilization pattern.

“Do they prefer summers or winters?” asks Hamilton. “How do they envision their mountain lifestyle?” The answers will narrow the search considerably, particularly for those into winter sports. The most prized type of property for snow enthusiasts is referred to as “ski in, ski out,” which means it features direct access to recreational trails—no car needed.

FROM TOP: MICHAEL BRANDS/DOUGLAS ELLIMAN; COURTESY OF RON BYRNE; AARON KRAFT/KRAFTY PHOTOS (2).

OPPOSITE: WHIT RICHARDSON/DOUGLAS ELLIMAN

From top: This 98-acre Aspen ranch is listed with Douglas Elliman for $30 million. An infinity-edge pool boasts mountain vistas at a $39.5 million estate in Vail, for sale by Ron Byrne. Opposite: A $24 million architectural gem in Telluride, also being sold by Elliman, comes with an outdoor kitchen (shown).

Hard-core adventurers take the lifestyle a step further, paying a premium to reside in a “snowbound village” like Lake Tahoe’s Sugar Bowl Resort, which is not reachable by car and requires a gondola or a snowcat to access. Such dwellings offer “more of a raw and not pampered experience that’s hard to buy,” says Hamilton. “They are fantastic, and you get to enjoy the added element of being without a car.”

While most high-end houses are built to withstand extremely cold climates, prospective buyers may find it beneficial to inquire about a few unfamiliar perks, including whether driveways and roofs are heated. “One thing you want to think about is snowmelt,” says Warwick. “The radiant-heat driveways mean you don’t have to shovel, which is a big thing—not all homes have that.”

Summer buyers, attracted to a wealth of outdoor activities and events (Aspen’s ArtCrush, for instance), are increasingly sticking around through what had previously been considered shoulder season, which typically starts in September. “This year we have had full traffic through October,” notes Byrne of Vail.

New residents expecting a post–New Year’s ebb, however, should think again. “They need to be ready for how busy it gets in wintertime,” says Warwick, citing Aspen’s world-class shopping, international social scene, and marquee events like Wintersköl, a Nordic-style seasonal celebration taking place mid-January. “Prepare to fall in love with it.” —GEOFFREY MONTES

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I would describe the season as a whirlwind” RILEY WARWICK

Left: Maple planks clad this $12.9 million home in Jackson, Wyoming, listed with Sotheby’s International Realty.

Above: The bedroom features panoramic alpine views.

The extraordinary breadth of talent in the world of contemporary art grows exponentially each year. Poised for stardom, these 22 emerging artists have been nominated by a panel of esteemed curators, museum directors, gallerists, and designers for their inspiring, singular visions. Now in its second edition, Galerie’s annual list showcases the creatives shaping the future

BY LUCY REES AND JACQUELINE TERREBONNE

KOAK Although the work of San Francisco–based Koak may be influenced by comics, her vision brings a depth and beauty that go far beyond fanboy fodder. Her moody lines swirl and sway until they reveal a woman’s voluptuous figure. Sometimes vulnerable, other times flirtatious, her painting style conjures emotion through seemingly simple strokes that compel one to linger. PERSONAL STYLE: “My work stems from a desire to examine human interactions and connections,” she says. UP NEXT: Following last March’s “Return to Feeling” exhibition at Altman Siegel in San Francisco, Koak’s work is on display in “100 Drawings from Now” at the Drawing Center in New York through January 17, 2021.

She’s also planning a small solo presentation in early 2021 and will be included in a group exhibit at the Berkeley Art Museum and Pacific Film Archive. altmansiegel.com “The women in Koak’s paintings transmit to me different states of emotion. They are fun and playful, and at the same time very deep.” Zélika García, founder, Zona Maco 72

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MARIA KANEVSKAYA, COURTESY OF THE ARTIST AND ALTMAN SIEGEL, SAN FRANCISCO

NEXT BIG THINGS

MARIA KANEVSKAYA, COURTESY OF THE ARTIST AND ALTMAN SIEGEL, SAN FRANCISCO

Artist Koak with her work Blind New World (2017).

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CYNTHIA TALMADGE Cynthia Talmadge approaches all her subject matters, from a rehab facility to a funeral home, with unfathomable depths of research and an equal measure of dark romance. UNIQUE PROCESS: To exhibit a series of somber, Pointillist works depicting New York’s Frank E. Campbell funeral home, Talmadge collaborated with architect Adam Charlap Hyman to transform the 56 Henry gallery in Chinatown into a set that evoked the solemn discretion of the Upper East Side institution and its deceased celebrity clientele. UP NEXT: A show with Carl Kostyál in Milan. “It will be snowy Pointillist paintings of Brutalist architecture on the Seven Sisters campuses—very desolate images that try to capture the feeling of being the only person left in the dorms over winter break.” 56henry.nyc “I really connect to the way Cynthia captures the aesthetics of melancholy in her work.

There is a lightness and a sense of humor tinged with sadness that is very moving to me.”

Adam Charlap Hyman, architect and designer

From left: Cynthia Talmadge’s Like Sands Through the Hourglass (2017). Her Frank E. Campbell (Early Spring) (2019). The artist.

JADÉ FADOJUTIMI Filled with layers of pulsating, gestural brushstrokes, Jadé Fadojutimi’s monumental canvases seem to envelop the viewer. “My paintings have become like a diary of my life,” says the rising star, who recently had a sold-out solo exhibition at London’s Pippy Houldsworth Gallery. “I take a lot from the things that gratify me—especially music and soundtracks. I see the world through color.” BREAKOUT MOMENT: At just 27, Fadojutimi is the youngest artist in the Tate’s permanent collection. UP NEXT: Fadojutimi is preparing for an exhibition at Taka Ishii Gallery in Tokyo and the Liverpool Biennial in March 2021 as well as her first solo U.S. museum project, at the Institute of Contemporary Art, Miami, in December 2021. jadefadojutimi.com “Jadé is an exciting new voice in painting. Her canvases present a truly fresh approach to abstraction and figuration and are rich with personal and pop cultural references.” Alex Gartenfeld, artistic director, Institute of Contemporary Art, Miami

From left: Jadé Fadojutimi. The artist’s Thank You My Love, I Would Never Have Discovered It Without You (2020).

FROM TOP: KATHIA ST. HILAIRE; NIR ARIELI, COURTESY OF THE ARTIST AND VICTORIA MIRO. OPPOSITE, CLOCKWISE FROM TOP LEFT: COURTESY OF 56 HENRY (2); MATTHEW LEIFHEIT; COURTESY OF THE ARTIST AND PIPPY HOULDSWORTH GALLERY, LONDON; ANAMARIJA AMI PODREBARAC, COURTESY OF THE ARTIST AND PIPPY HOULDSWORTH GALLERY

KATHIA ST. HILAIRE With a unique painting language, Kathia St. Hilaire distinctively mixes images of exoticized Caribbean seascapes or family gatherings with packaging for sugar or box braids, items that relate to her Haitian identity. “I look at different types of commercial or raw materials that play an important role in the Black diaspora,” she says.

“I think so much about race is surface level, and there is little understanding about the culture.”

BREAKOUT MOMENTS: A recent graduate of Yale with an MFA in painting and printmaking, St. Hilaire has already exhibited at Derek Eller Gallery, Skidmore’s Tang Museum, Half Gallery, and Blum & Poe. In 2019, she won the prestigious Jorge M. Pérez Award. INSPIRATIONS: Traditional vodun flag makers and artists such as Pierre Bonnard, Vincent Smith, Belkis Ayón, and Chris Ofili. cargocollective.com/kathiasthilaire “Kathia blends sewing, collage, painting, and textile production with the subtlest touch imaginable.” Bill Powers, founder, Half Gallery

DORON LANGBERG

Kathia St. Hilaire, Made in China, 2020.

Doron Langberg with his 2020 paintings (from left): Lovers 2 and Sleeping.

Israeli-born Doron Langberg has been creating a buzz among collectors with his lush paintings portraying queer romance and intimacy. “I depict my everyday experiences, from scenes of friends hanging out to more sexual imagery, exploring their meaning and emotional depth through color and materiality,” he says.

CHARITABLE ACT: During the early months of the COVID-19 pandemic, Langberg rallied a group of artists to donate works for an auction to benefit Food Bank for New York City. UP NEXT: Langberg is working toward his first exhibition at his new gallery, Victoria Miro in London, and at the Schwules Museum in Berlin. “I love this beginning stage of planning a show,” he says, “where I envision the most exciting and impactful version of my work and try to bring it to life.” doronlangberg.com “Doron is a queer painter for the 21st century, unabashedly sharing our dreams, our desires, our humanity. He is a master of the brush, painting in a languid, dreamy, and complex way.”

Thomas Lavin, design gallerist GALERIEMAGA ZIN E .COM

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ALEXANDRE BENJAMIN NAVET Multidisciplinary creative Alexandre Benjamin Navet comfortably straddles the worlds of fine art, fashion, and design. His joyful work spans textiles and decoration, oil pastel frescoes, objets d’art, drawings, and watercolors. His exuberant illustrations recently transformed the façades and interiors of Van Cleef & Arpels boutiques around the world. INSPIRATIONS: “Ornamental details in architecture and ceramics are ubiquitous in my vocabulary. I also love Giorgio de Chirico for his theatrical compositions and the spontaneity of David Hockney.” SPECIAL COLLABORATIONS: Navet has crafted window displays for Hermès in Paris and in situ painted frescoes for Baccarat’s boutique, bar, and lounge in Milan. Currently, he’s working on a series of rugs and carpets for the Codimat Collection. alexandrebenjaminnavet.com

Alexandre Benjamin Navet in his Paris studio.

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“Alexandre reinterprets a style from the ’40s and ’50s in a very contemporary but also a very humorous way. His work is reminiscent of Jean Cocteau but with a totally unique approach.”

Pierre Yovanovitch, designer

CLOCKWISE FROM TOP: MARIO TODESCHINI, COURTESY OF THE ARTIST AND CASEY KAPLAN, NEW YORK (2); MATTHIAS KOLB, COURTESY OF PERES PROJECTS, BERLIN (2). OPPOSITE: COURTESY OF VAN CLEEF & ARPELS

From left: Igshaan Adams. The artist’s Oor die Drimpel (2020).

IGSHAAN ADAMS Igshaan Adams is a powerful new voice in textile art, crafting large-scale sculptural weavings that shed light on complex themes of hybrid identity, race in postapartheid South Africa, generational trauma, and religion. INSPIRATIONS: He draws on everything from religious prayer rugs to the patterns made over time on linoleum in working-class houses. “The surfaces record the movement and the history within our homes,” he says. “I mythologize the stories of these families.” UNIQUE PROCESS: His labor-intensive creations utilize a community of family, friends, and neighbors. “We buy bags of beads, and we mix them like paint and bead together,” Adams says. “It’s an amazing energy.” caseykaplangallery.com “Igshaan’s work manages to beautifully capture feelings, patterns, and images in a gripping mesh of mixed identity that mirrors his own multilayered upbringing.”

Loring Randolph, director of programming, Frieze New York

DALTON GATA In his mesmerizing paintings, the artist and former fashion designer Dalton Gata explores gender, queer identity, and beauty through a vibrant visual language influenced by Surrealism and Afro-Caribbean culture. “The beginning of an idea is my favorite part of the process and then along the way everything changes,” says Gata, whose recent show at Peres Projects in Berlin, “Diálogos Remotos,” exploring themes of solitude, received strong attention. FASHION MEETS ART: “I felt that my imagination and peculiar way of seeing life influenced my designs and how I conceived my collections,” he says. “And now I find myself in the middle of a painting deciding if the character wears a red patent-leather jacket or a shirt made from banana leaves.” UP NEXT: Gata will have his first solo museum show, at the ICA Miami, as well as a presentation with Chapter NY at the Independent Art Fair in the spring. peresprojects.com “The worlds Dalton creates are poetic meditations on the artist’s complex story, masterfully rendered through surreal and inventive imagery.” Alex Gartenfeld Dalton Gata’s 2020 works (from left): Vista Desde la Ventana (View from the Window) and Collage.

LEILAH BABIRYE Sculptor Leilah Babirye transforms trash into a celebration of queer identity. Collecting debris from the streets of New York, she embellishes her totemic carved-wood sculptures and colorful glazed ceramic figures with crowns fashioned from wire and aluminum cans or elaborate braids made with inner tubes.

ART AS ACTIVISM: Babirye was forced to flee her native Uganda and seek asylum in the U.S. in the face of anti-homosexuality discrimination and criminalization.

“The characters in my work are human beings; they are the queer faces and transgender women who are in a period of transition,” she says. “I am adorning them with beautiful things to show they are more than trash.

They are kings and queens.” UP NEXT: Babirye is preparing for a solo show at Stephen Friedman Gallery, London, in the summer. stephenfriedman.com

HUGH HAYDEN

“I gravitate toward Leilah’s ability to create a sense of humanity through handmade sensuality and cross-cultural connection.”

Stephanie Roach, director, Flag Art Foundation

At first glance, Hugh Hayden’s creations may seem like everyday objects, but a closer inspection leaves the viewer bewildered with a headful of questions about the American Dream and meaning of race. SCULPTURAL DEPTH: Through intricate wood carving, he conceived America, a table similar to the one he grew up eating family meals around in Dallas yet reimagined with thorny formations made out of mesquite wood from Laredo, Texas. “Many find mesquite an unwanted and invasive tree,” he says. “I’m interested in wood being native but not having the right to belong.” UP NEXT: New York–based Hayden will be at the Anderson Ranch Arts Center, near Aspen, where he plans to work on ceramics during a 21-day residency. hughhayden.com “Through highly wrought, beautifully articulated wood and cast-iron sculptures he considers, among other things, the ties between the history of Black Americans to the land and to food with a deeply poetic sensibility.”

Jeremy Strick, director, Nasher Sculpture Center

Leilah Babirye, Abambejja ba Kabaka (Sister of the King III), 2020.

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COUNTERCLOCKWISE FROM TOP: WILLIAM JESS LAIRD; COURTESY OF LISSON GALLERY; DANIEL TERNA, COURTESY OF THE ARTIST, STEPHEN FRIEDMAN GALLERY, LONDON, GORDON ROBICHAUX, NEW YORK, BILL AND CHRISTY GAUTREAUX, KANSAS CITY. OPPOSITE, FROM TOP: COURTESY OF THE ARTIST AND GRIMM AMSTERDAM/NEW YORK (2); FRANCIS WARE, COURTESY OF THE ARTIST AND TRAVESIA CUATRO (3)

Hugh Hayden.

Below: The artist’s America (2018).

BILL AND CHRISTY GAUTREAUX, KANSAS CITY. OPPOSITE, FROM TOP: COURTESY OF THE ARTIST AND GRIMM AMSTERDAM/NEW YORK (2); FRANCIS WARE, COURTESY OF THE ARTIST AND TRAVESIA CUATRO (3)

Louise Giovanelli.

Left: The artist's Peeping Tom (2020).

LOUISE GIOVANELLI Using thin layers of paint to build up form, Louise Giovanelli creates works that are woven together in a way that calls the viewer’s attention to the smallest of details, which are exquisitely highlighted by the artist’s deft ability to allow light to emanate from the canvas. Working from a studio in an old mill in Salford, England, she captures moments in time and magnifies their beauty. STUDIO PROCESS: “Through paint, any subject, object, or image has the potential to become charged,” Giovanelli says. “You can imbue seemingly simple images with meaning simply by painting them.” UP NEXT: In October, Giovanelli opened her first solo show in London, at Workplace Gallery’s new space, which overlapped with a presentation at Amsterdam’s Grimm gallery.

Her work will be on view at the latter’s New York outpost in September 2021. louisegiovanelli.com “I am particularly drawn to both the emotional intensity and delicate nature of Louise’s paintings.

She imbues her paintings with an atmospheric melancholy and a luminous vitality.”

Astrid Hill, founder, Monticule Art Advisory

CHARLIE BILLINGHAM Those worried that the art of satire is dead need look no further than the eye-popping works of British artist Charlie Billingham. Referencing the historical Georgian and Regency prints that mocked the aristocracy, he crops and enlarges sections, then re-creates them in his own cheeky style.

EARLY INSPIRATION: “My parents had a set of Cruikshank etchings, which were based on the exaggerated fashions of the early 19th century in England,” Billingham says. “But it wasn’t until I was studying at the Royal Academy Schools in London that I decided to use the imagery in my own art.”

BREAKOUT MOMENTS: A solo exhibition at the SCAD Museum of Art in early 2020 that traveled to Guadalajara, Mexico, with Travesía Cuatro in November, as well as inclusion in the “Metamorphosis. Art in Europe Now” show at Fondation Cartier in Paris last year. moranmorangallery.com “I love the humor in Charlie’s work. I enjoy the comic narrative tradition and the colorful paintings and wallpaper that transport me to another time.” Zélika García

Charlie Billingham’s 2020 works (from left): The Boat Race, Strand on the Green, and Quay.

ANNA PARK “I’m exploring ideas of tension and release,” says Anna Park, who creates monumental charcoal works of claustrophobic crowd scenes that hover between abstraction and figuration. “I have always been fascinated with finding ways of depicting two opposing sensations and bringing them to both of their extremes.” This year, Park had her first-ever European solo show, at T293 in Rome.

BREAKOUT MOMENTS: Last year, Brian Donnelly, otherwise known as Kaws, posted about Park’s work at the New York Academy of Art, where she recently earned an MFA. After winning the 2019 AXA Art Prize, she was commissioned to design artwork for Mank, the new David Fincher film.

STUDIO PRACTICE: “I tend to have a couple pieces going on at the same time—partially due to the fact that I have a habit of overworking a drawing to death—and I can jump from piece to piece,” Park says. annaparkart.com “Anna’s large-scale drawings suggest Cecily Brown by way of Robert Longo and Joyce Pensato.” Bill Powers

PAMELA PHATSIMO SUNSTRUM Mythology, illusionism, and fantasy are the driving forces in Pamela Phatsimo Sunstrum’s vibrantly colored, otherworldly works. “I am interested in using mythological archetypes to reflect on personal or family history,” says the artist, who was born in Botswana and divides her time between Johannesburg, South Africa, and Ontario. UNIQUE PROCESS: Sunstrum takes family pictures as well as 19th-century studio portraits of Black and brown characters as her starting point, before veiling and obscuring those original references with delicate layers of pencil and paint on wood panels. “What I love about drawing is that it’s understood to be provisional and temporary, and because of that there is a lot of fluidity and grace to it,” she says. INSPIRATIONS: South African artist William Kentridge, African author Bessie Head, and Romantic landscape painter Robert S. Duncanson. UP NEXT: Following a solo show at Goodman Gallery in London, Sunstrum will present work in a collaborative exhibition with Adler Beatty in New York through January 2021. pamelaphatsimosunstrum.com “Pamela’s multidisciplinary work is inspired by literature, but it is infused with science as she creates alter egos and a parallel universe to reflect on aspects of modern society as well as her own life.” Jorge M. Pérez, collector and philanthropist Pamela Phatsimo Sunstrum’s Grandpères (2020). Left: The artist.

FROM TOP: ANNA PARK; COURTESY OF THE ARTIST AND GOODMAN GALLERY JOHANNESBURG, CAPE TOWN, LONDON (2). OPPOSITE: MARGOT MONTIGNY, COURTESY OF THE ARTIST AND ALMINE RECH

Anna Park, Arms Length, 2020.

Alexandre Lenoir with his painting Petites Filles (2020) in his studio.

ALEXANDRE LENOIR While many painters strive to find studios with just the right light, Paris-based Alexandre Lenoir seeks out the opposite, preferring to paint in the dark.

He starts with a photograph projected onto a canvas. From there, he begins to paint but that’s the only aspect he controls. The rest he leaves up to random chance, covering the surface with tape and even placing the work facedown on the floor. The resulting artworks have a haunting ambiguity that dances over the line between reality and dreamlike memory. POINT OF VIEW: “I don’t want to make figurative things,” Lenoir explains. “I just want to instill a link between the viewer and the painting and for them to pass through the image.” UNIQUE APPROACH: After spending a year and a half in Casablanca, Morocco, three years ago, he found the freedom to let go of control of the process. Each work takes several months to create and is the result of his skills as a painter as well as his willingness to let unpredictable forces control the outcome. BREAKOUT MOMENT: An exhibition at Almine Rech in Paris this past spring. alminerech.com “Alexandre’s artworks are mysterious and evanescent. They are layered with raw and thick particles as if he would excavate his own paintings for the viewer to immerse themselves in the underworld.” Mariane Ibrahim, gallerist GALERIEMAGA ZIN E .COM

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ENIWAYE OLUWASEYI Self-taught Nigerian artist Eniwaye Oluwaseyi explores the subject of surviving under the pressure of modern life. Working in oil, charcoal, and acrylic on canvas, he renders human figures in grisaille and brunaille, dramatically juxtaposed against a vibrant setting. But under the color and technique exists a political and economic undertone essential to the portrait. PERSONAL STYLE: “My style has evolved from just capturing the essence of our existence in simple portraiture to encompassing different elements that document what is going on in my immediate environment through different social and political lenses.” UP NEXT: His work is on view at CFHill in Stockholm through January 10, 2021; this spring, he’ll debut a solo show at Destinee Ross-Sutton, New York. destineerosssutton.art

From left: Eniwaye Oluwaseyi.

The artist’s The Breakfast (2020).

HENNI ALFTAN Before Henni Alftan picks up her paintbrush, she carefully plans every detail with an extremely precise sketch. Working in fresh layers of oil, she’ll move from blurry to sharp, thick to thin. The resulting canvases highlight mundane moments in elegant and minimal compositions that are hard to ignore.

INSPIRATION: Although much of Alftan’s work is sparked by her daily commute on the Paris Métro, she also looks to the past. “You can find something really interesting in a 16th-century painting and do something contemporary with it,” she says. “It’s a curse in a way; you can’t help dragging more than 2,000 years of history into every painting.” UP NEXT: A show with Dike Blair at Various Small Fires’ Seoul location through January 6, 2021. hennialftan.com “Henni’s subjects, rendered from long periods of observation, are ultimately presented with an intriguing spareness: an economy of lines, essential colors, and a flatness that is reminiscent of senior artists such as Alex Katz.” Andrea Glimcher, founder, Hyphen

Henni Alftan’s works (from left): Haircut (Déjà-Vu) (2020) triptych section, The Jacket (2020), and Self-Portrait (2019).

FROM TOP: COURTESY OF THE ARTIST AND DESTINEE ROSS-SUTTON (2); COURTESY OF THE ARTIST AND KARMA, NEW YORK (3). OPPOSITE, CLOCKWISE FROM TOP: ANA PIGOSSO; COURTESY OF THE ARTIST AND TANYA LEIGHTON, BERLIN; DEAN MAJD, COURTESY OF THE ARTIST AND TANYA LEIGHTON, BERLIN

“Seeing beyond the formal aspects of Eniwaye’s piece, I love how striking the figure is and how it dominates the work, exuding power.” Jorge M. Pérez

Gazing at one of Marina Perez Simão’s vivid landscapes feels like traveling to an unknown place you can’t quite make out. There are no real details, just the fluid suggestion of an environment and human bodies. An amalgamation of abstraction and figuration, the São Paulo painter’s unique style comes from working with oil to convey light and build dreamy layers. POINT OF VIEW: “I’m more interested in distilling or subverting the traditional elements of landscape, but as I find myself in the middle of the process, I think more about rhythm, intensity, cadence, and rhymes.”

UP NEXT: Following the fall show “Sonia Gomes/Marina Perez Simão” at Pace Gallery’s East Hampton pop-up and a solo show at Mendes Wood DM in Brussels, she’s currently preparing for her first upcoming solo presentation at Pace. mendeswooddm.com, pacegallery.com

Marina Perez Simão in her São Paulo studio.

“Marina’s works have a kind of immediacy, a unity of vision that is wonderfully counterbalanced by her precisely nested brushstrokes and her forms within forms.” Rafael de Cárdenas, designer and artistic director, Object & Thing

Esteban Jefferson. Right: The artist’s Flâneuse (After Richter) (2020).

ESTEBAN JEFFERSON What role do museums play in perceptions of race and identity? What is it that imbues cultural objects with meaning and value? New York artist Esteban Jefferson has spent the past two years exploring these important questions with his striking “Petit Palais” paintings, which were recently on display at Tanya Leighton gallery in Berlin. UNIQUE PROCESS: “I refuse to finish every square inch of the painting,” says Jefferson of his intentionally raw style. “I stop working on the painting when I feel like it says everything I want to say and adding anything else would be superfluous.” INSPIRATIONS: “Gerhard Richter is probably my favorite painter. I recently made a painting called Flâneuse (After Richter) (2020) that directly references his Betty (1988).” tanyaleighton.com

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ANA PIGOSSO; COURTESY OF THE ARTIST AND TANYA LEIGHTON, BERLIN; DEAN MAJD, COURTESY OF THE ARTIST AND TANYA LEIGHTON, BERLIN

MARINA PEREZ SIMÃO

“Rendering the figurative elements in his paintings with a deft touch, Esteban shines a spotlight on the cultural mediation of race, identity, and power structures.”

Nicholas Baume, director, Public Art Fund

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WIDLINE CADET Haitian-born artist Widline Cadet may work from her laptop in bed in her uptown New York apartment, but her attention-grabbing imagery transports viewers to faraway places. Her photography, videos, and installation art explore race and identity, particularly Black female immigrants, and results in what she calls “a semi-imagined world grounded in my experiences.” BODY OF WORK: “I love having the ability to dream up different images and being able to construct and bring them to life. Because I do a lot of self-portraits, I get to see myself and my body exist and occupy space in multiple worlds all at once.” UP NEXT: Currently part of the Studio Museum in Harlem’s artist-in-residence program through September 2021, Cadet is also displaying work in an exhibition at Blue Sky gallery in Portland, Oregon, and will be shown at the Royal Photographic Society in the U.K. in the spring. widlinecadet.com “Widline’s practice is an intimate entanglement. Her photographs show us how people move, reshaping a visual vocabulary of diaspora with the traces in her images marking this journey, a writing with the body that whispers, ‘We are still here.’ ” Legacy Russell, associate curator, the Studio Museum in Harlem 84

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WIDLINE CADET, COURTESY OF THE ARTIST. OPPOSITE, FROM TOP: COURTESY OF THE ARTIST AND CHAPTER NY, NEW YORK; MAXIM RYAZANSKY

Widline Cadet, Seremoni Disparisyon #1 (Ritual [Dis] Appearance #1), 2019.

MILANO CHOW Los Angeles artist Milano Chow’s elegant graphite drawings and collaged photo transfers depicting imaginary neoclassical buildings and interior spaces recall film stills and stage sets of a bygone era. “My works use architecture and ornament as framing devices around voyeuristic scenes,” says Chow, who showed at the 2019 Whitney Biennial. “I’m also thinking of how public and private spaces are being redefined by consumer tools like phone cameras.” UNIQUE PROCESS: Chow begins by scouring books and hard drives for reference images of building façades and furniture, which she combines into different pieces before working with traditional drafting tools like rulers, compasses, and X-Acto knives.

“I’m a slow worker and build up the drawing from light to dark.” UP NEXT: Group exhibitions at the Aspen Art Museum and Standard (Oslo).

Don’t miss her work in “100 Drawings from Now” at the Drawing Center in New York. milanochow.com “Milano’s work is mesmerizing for its quietness and detail. I could stare into one of her drawings for a century. There is something so compelling in the way she renders space, time, and scale totally abstract.” Adam Charlap Hyman

Milano Chow, Checkered Floor I, 2020.

SHONA MCANDREW In Shona McAndrew’s Philadelphia home studio, she might spend one day painting and the next sculpting with papier-mâché or printmaking.

Despite these oscillations, her artwork shares a resolute message—one that celebrates women of all shapes and sizes for the beauty of who they truly are. STUDIO PRACTICE: McAndrew re-creates famous paintings through digital collage as an inspiration for her models. During the COVID-19 pandemic, she sent them her image as well as the original work and asked them to reimagine it in their own setting and clothing— what they sent back became the basis for her painting. “I love not knowing or choosing exactly what I’m going to paint," she says. UP NEXT: A solo exhibition at the Tribeca gallery Chart in the spring and an installation at upstate New York art destination Art Omi. shonamcandrew.com Shona McAndrew with her 2018 works Louise (left) and It’s Still There.

“Shona’s recent work is a nonhierarchical collaboration between artist and subject, one that allows the sitter a new freedom of expression.” Andrea Glimcher

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MATTHIEU SALVAING

Inside a Belgian château designed by Nathan Litera, a textural painting by Pierre Soulages surmounts a Jean-Michel Frank parchment table in the hall outside the dining room, which features works by Christopher Wool (right) and George Condo.

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A black-and-white work by Christopher Wool and a large Marisa Merz painting hang on opposing walls in the château’s entrance gallery, which French designer Nathan Litera furnished with a Holger Johansson chandelier, an Ado Chale table, and a low bench by Jorge Zalszupin.

A work by Georg Baselitz is mounted above the landmark green stone fireplace, and a Yoruba carved sculpture stands in one corner. For details see Sources.

COOL CLASSIC, C

Designer Nathan Litera refreshes a 300-year-old Belgian château for an art-collecting family, balancing old-world grandeur and chic modernity

BY VICKY LOWRY PHOTOGRAPHY BY MATTHIEU SALVAING

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CLASSIC COOL

OLD HOUSES NEED A LOT OF LOVE

and often considerable repair. When the home is an early-18th-century, 20,000-square-foot Belgian château with ten bedrooms requiring a top-to-tail renovation, it’s not for the faint of heart. Luckily, Nathan Litera, the young French interior designer tasked with the project, has the dual traits of imagination and savoir faire in spades.

His clients wished not only to bring back the grandeur of their faded property but also to inject it with much-needed modernity and sophistication, while making it a comfortable family home. A critical part of the revamp was creating a radiant setting for the owners’ thought-provoking art collection, which spans eras and mediums— from an abstract painting by Jean Dubuffet and a conceptual canvas by John Baldessari to a tantalizing bronze mask by Thomas Houseago.

“This is a historic house. It called for very intricate paneling, millwork, decorative paint, and wood floors close to the French Haussmann style,” the homeowner explains. “In Belgium we don’t have this tradition in the architectural scene. Our style is far more minimal, and the contractors don’t have the know-how that the French do, which is why we brought in Nathan.”

Litera, who was born in Paris and grew up in the West Indies, certainly had the right credentials for the ambitious project. A trained architect, he worked for the esteemed firm Kohn Pedersen Fox Associates (now KPF) in New York and the cutting-edge Ateliers Jean Nouvel in Paris before teaming up with Parisian architect Joseph Dirand, for whom he designed interiors and furniture. In 2014, Litera launched his own practice with his business partner and wife, Lyatt Samama, and has quickly become highly sought after. To date, his wide-ranging commissions have included a Central Park duplex, a Hamptons tennis cabana, and a Left Bank townhouse. He completed a dazzling makeover of the soigné Manhattan restaurant Spring Place last winter, just a couple of weeks before the COVID-19 pandemic locked down the city. His first furniture line and showroom will debut in 2021.

When it came to updating the historic residence, Litera faced several obstacles, not least of which were restrictions concerning changes to →

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Brigitte Garnier outdoor furnishings are arrayed on a Hainaut blue limestone terrace overlooking the residence’s rear gardens, designed by Wirtz International Landscape Architects. Opposite: A Robert Mangold painting adds a splash of color to the serpentine central staircase, where Litera (bottom) updated the landmark balustrade by painting it dark brown; a work

by Christian Boltanski is installed above a George Nakashima bench, while a large Kazunori Hamana ceramic pot rests nearby on the floor.

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For one end of the family room, Litera designed a mirror-backed marble bar set into the dark-wood paneling that also serves as a backdrop for a large Jean Dubuffet painting over the fireplace. Pierre Jeanneret armchairs and a vintage Belgian sofa join tables with tops crafted from panels of wood flooring.

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SECTION

landmark buildings. The proportions of the windows couldn’t be altered, for starters. In the entrance hall, a green stone fireplace had to stay, as did the carved-wood stair rail, which Litera modernized by painting dark brown. “One of the challenges was to have a dynamic vibe, while remaining faithful to the heritage of the château,” he says. “We had constraints, and yet we could find harmony within that framework.”

For the entry, Litera conceived a modern-day reception gallery in black-and-white chic, mixing standout midcentury furnishings with pieces by up-and-coming European designers. The grand curve of the staircase shelters a nearly nine-foot-long bench by George Nakashima paired with one of Christian Boltanski’s haunting installations depicting the faces of Holocaust victims. Across the room, large-scale paintings by Georg Baselitz and Marisa Merz join an Ado Chale table, whose aluminum top catches the glint of a 1950s chandelier by Holger Johansson.

Litera took two very different directions in the private quarters of the residence. For the family rooms, he hewed to classical French elements—employing herringbone wood floors, plaster walls and moldings, and decorative painting details throughout, while keeping the overall feel clean and modern. Art helps to loosen things up in the formal dining room, where gold-painted moldings amplify a series of 94

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Günther Förg abstract paintings. Ditto the breakfast room, which pairs choice Pierre Jeanneret cane chairs and a Geoffroy Van Hulle white stone table with provocative canvases by Baldessari and Sterling Ruby.

The primary suite, meanwhile, is an ethereal study in neutrals, with sumptuous light gray carpeting and curtains and creamy-hued millwork framing black-and-white drawings. But when it came to the top-floor guest rooms, Litera treated them almost like a boutique hotel. Each room is customized with vintage finds to create, he says, “a younger, less traditional vibe.”

The outdoor spaces were decorated just as imaginatively.

Litera interspersed the delicately wrought, stainless-steel furniture of Belgian tastemaker Brigitte Garnier on several terraces that overlook lyrical gardens conceived by Wirtz International Landscape Architects, an Antwerp firm whose legendary founder, the late Jacques Wirtz, was famous for designing royal gardens throughout Europe.

Indoors and out, the refreshed château seamlessly melds past and present, as classical refinement peacefully coexists with contemporary ease. “It’s tricky to do a historical building for modern use,” Litera admits. “You have to respect the heritage and at the same time be able to entertain children.” The ultimate triumph, he says, is “when you have babies running around in one room and a formal dinner going on next door.”

A grid of GĂźnther FĂśrg abstract paintings and a George Condo portrait play off the cool refinement of the dining room, where Litera installed vintage Alvar Aalto pendants above the Jorge Zalszupin table and Johannes Andersen chairs. Opposite: Richly veined Breccia Viola marble surfaces add painterly panache to the kitchen, which is outfitted with a Holger Johansson chandelier, a Lacanche range, and Volevatch sink fittings.

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A work by Gilbert & George presides over a family room sitting area furnished with an array of vintage European pieces, including an Angelo Mangiarotti marble side table; the curtains are made of a Pierre Frey fabric. Opposite: In the breakfast room, a Geoffroy Van Hulle table, Pierre Jeanneret cane chairs, and an AndrĂŠ Arbus stool are grouped next to works by Sterling Ruby (left) and John Baldessari.

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“ONE OF THE CHALLENGES WAS TO HAVE A DYNAMIC VIBE, WHILE REMAINING FAITHFUL TO THE HERITAGE OF THE CHATEAU,” SAYS NATHAN LITERA

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Litera designed fluted plaster moldings to frame the window above the primary bath’s Jacob Delafon tub, enclosed in Arabescato Carrara marble. Opposite, clockwise from top: Maison Lunel swing-arm lamps and a Raoul De Keyser painting are mounted above the primary bedroom’s Vispring bed; the Pierre Jeanneret desk hosts a Felix Aublet lamp, the work in the corner is

by Adolf Loos, and the bedside table is a vintage American design.

Vintage Belgian sconces flank a vintage French mirror above a powder room’s antique marble sink with Volevatch fittings. A trellised pathway in the garden.

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Style and Substance

A new book spotlights ever-unconventional architect Peter Marino’s passion for Belle Epoque ceramist Adrien Dalpayrat, whose work marries exquisite sculptural form with dazzling modern glazes

JASON SCHMIDT. OPPOSITE: MANOLO YLLERA. NEXT SPREAD: MAGGIE NIMKIN. OPPOSITE: JASON SCHMIDT

BY STEPHEN WALLIS

Peter Marino sits in front of a sculpture by Tony Cragg. Opposite: Several Adrien Dalpayrat vessels, some featuring his signature oxblood flambé glaze, are displayed on a late19th-century bamboo cabinet in a guest room in Marino’s Southampton, New York, home.

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dozens of distinctive—often art-filled and always coolly seductive—boutiques for Louis Vuitton, Chanel, Dior, Fendi, and other luxury brands, is, as he puts it, “trying to aim a little light on ceramics.” Specifically, Marino has long been obsessed with a handful of French ceramists of the late 19th and early 20th centuries whose work embodies the Belle Epoque’s rich stew of Art Nouveau exuberance, Symbolist mysticism, and, he notes, “the early breath of modernism.”

After decades of acquiring the work of masters such as Théodore Deck, Ernest Chaplet, Adrien Dalpayrat, and Auguste Delaherche, Marino has turned his home in Southampton, on Long Island’s East End, into a virtual ceramics museum, with more than a thousand pieces arrayed throughout. For the most part, French ceramics from that period have “not been taken very seriously by the market,” he says, adding, “although museums are starting to wake up to it.”

As part of an effort to expand the scholarship, Marino teamed up with curator Etienne Tornier on a book about Deck, published last year by Phaidon, that drew on the architect’s extensive collection. And this fall Phaidon released a second volume by the duo, focusing on Dalpayrat. (Marino hopes to continue the series, and his “fantasy” is that people will collect the books, published in editions of 1,000, as a set.)

For Marino, the greatest allure of Dalpayrat’s work is the sumptuous decoration he applied to his stoneware and porcelain pieces, especially the oxblood flambé glaze that he perfected in the early 1890s. The ceramist typically layered his signature color—which came to be known as “Dalpayrat red”—with drips and dapples of blue, green, and ocher, giving his surfaces a sublime complexity and depth.

“Though most of it was made 130 years ago, it’s as fresh and modern as anything today,” Marino says of the work by Dalpayrat, likening his glazes to chromatic waterfalls and abstract paintings. “People pay $20 million for a Gerhard Richter made with a squeegee, and I’m going, Yeah, well, I’ve already been there with that kind of beauty.”

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Marino was introduced to French ceramics four decades ago by his late friend Alice Stern, who came from a wealthy family of collectors in France and was forced to escape to New York during the war. Together they scoured French flea markets, where one could still find these ceramics, which “nobody was interested in,” recounts Marino. They also visited dealers like Lillian Nassau in New York, where Marino first encountered the work of Dalpayrat. The attraction was immediate. “I feel aesthetically closest to the pieces that are totally abstract,” Marino says. “It’s like they could have been done yesterday or could have been done 2,000 years ago in China.”

Like many of his contemporaries, Dalpayrat treated ceramics as more than functional objects and he believed in breaking down hierarchies and boundaries between artistic disciplines. It’s an idea that resonates with Marino, who brings a passion for exquisite materials and craftsmanship as well as a connoisseur’s eye for art to all of his projects, whether they’re private residences or the recently completed Louis Vuitton boutiques in London, Sydney, Seoul, and Osaka or the soon-to-open Cheval Blanc hotel in Paris.

The most personal of his current endeavors is the Peter Marino Art Foundation, which will occupy the former Rogers Memorial Library, an 8,000-square-foot, late-19th-century building in the village of Southampton. Once completed— with COVID-19 delays, the expected opening date has been pushed back to late 2021—the foundation’s galleries will display works from Marino’s collections of contemporary art, Renaissance bronzes, and, of course, ceramics, as well as host temporary exhibitions.

His hope is that, along with the books, the foundation will help people understand the brilliant artistry of these French ceramists working at the dawn of modernism. It’s also about creating a legacy—and, he adds, not wanting to “burden my daughter with everything her crazy father has collected.”

Not that Marino is reining in his acquisitiveness. “Hoarders never die,” he jokes. “They just keep hoarding.”

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Peter Marino is a man on a mission.

The New York–based architect, who is nearly as famous for his voracious collecting as he is for masterminding

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Marino has dedicated much of his Southampton home’s entrance gallery to Dalpayrat’s work, including this group clustered with a 19th-century Antoine-Louis Barye sculpture beneath a painting by Richard Prince. Opposite: Dalpayrat made this porcelain vase around 1900, using a form attributed to one of his key collaborators, sculptor Alphonse Voisin-Delacroix.

True Original

Adventurous collectors Amy and John Phelan team up with Stonefox to create an exuberant, art-centric showcase that breaks the Palm Beach mold

BY JENNIFER ASH RUDICK PHOTOGRAPHY BY JESSICA GLYNN STYLED BY OLGA NAIMAN

Located at Palm Beach’s South End, between the ocean and the Intracoastal Waterway, Amy and John Phelan’s home is clad primarily in Portuguese Santenoy limestone from ABC Stone. Stonefox principals Christopher Stone and David Fox, who oversaw the interiors as well as the architecture, used travertine around the front door and cast concrete to create the brise-soleil and portico canopy. For details see Sources.

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Abstract paintings by Christopher Wool (left) and Willem de Kooning enliven the wall surrounding the living room’s travertine-bordered fireplace; the 1960s brass chandelier with mercury-glass orbs is from John Salibello, and Stonefox created the table below it by pairing a custom-made resin top with brass bases by Mastercraft. Opposite: Amy Phelan with a work by Mary Weatherford in the same room.

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prawling Jazz Age mansions boasting grand monikers like El Solano, Casa Nana, and Il Palmetto famously line Palm Beach’s South Ocean Boulevard like imperial ladies on a royal receiving line. For decades the majesty of these Italianate and Spanish-style estates remained uncontested. But recently an ultramodern villa, boldly breaking from convention on this storied barrier island strip, has made a serious play for the spotlight.

Designed and built over the course of six years by art collectors Amy and John Phelan, the residence is the product of a collaboration with architects Christopher Stone and David Fox, who channeled the couple’s eclectic tastes into a distinctive design statement that occupies a world all its own.

The opportunity to build from scratch presented itself about eight years ago, when the Phelans, who own multiple residences, including one in Aspen, where they spend part of the year, were hunting for a warm-weather base. A real estate agent suggested they look at a vacant grassy lot perched between the ocean and the Intracoastal Waterway on Palm Beach’s South End. For one thing, it meant being able to mastermind their own dream house to showcase art from their renowned collection. But equally important, it gave the Phelans a chance to work again with the duo behind Stonefox, the New York firm that transformed the couple’s Aspen digs from a mishmash of chalet clichés into a harmonious modernist oasis. “They are so talented and never shy away from a challenge,” says Amy. “And they are two of my favorite people in the world.”

Stone and Fox, for their part, saw a golden opportunity: working with a blank slate, supported by engaged and adventurous clients. “The joy of designing someone’s residence is understanding what’s interesting to them,” says Fox. Adds Stone, “John and Amy have amazing aesthetic dexterity— they appreciate such a wide variety of art and design. During our initial discussions, really everything was on the table.”

In the end, the architects came up with a strikingly modern plan with historical references that speak to an admiration for design spanning centuries and continents. For the exterior they chose cream Portuguese limestone, which nods to Palm Beach’s ubiquitous Mediterranean architecture and gives the house a

particular warmth and richness. “It has a buttery texture, but it also stands up to the salty air,” Fox says.

Enormous cast-concrete brise-soleil screens filter harsh sunlight while breaking up the solid cubic volumes with an eye-catching pattern. And limestone columns supporting dramatically cantilevered concrete canopies at the entrance and on the rear pool terrace incorporate the ancient Greek technique of entasis. Spreading out beyond the infinity-edge swimming pool are a vast lawn and gardens designed by Jorge Sánchez and Brian Vertesch, partners in SMI Landscape Architecture. In addition to soaring coconut palms and tropical fruit trees, the duo installed a giant rubber fig tree that was imported in eight pieces and reconstructed on the site.

Inside, one is immediately struck by the expansive views of the ocean to the east and the Intracoastal to the west. Sunlight reflects softly off the neutral tones the Stonefox team used throughout, not least in the entrance gallery and living room, → GALERIEMAGA ZIN E .COM

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Frequent entertainers, the Phelans commissioned Stonefox to create a disco lounge, which is housed in a freestanding elliptical structure inspired by the architecture of Oscar Niemeyer. Jorge Sรกnchez and Brian Vertesch of SMI Landscape Architecture designed the gardens.

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“John and Amy have amazing aesthetic dexterity,” says Christopher Stone. “They appreciate such a wide variety of art and design”

A triangular Damien Hirst “Butterfly” painting, vintage Versace pillows, a patterned Rug Company carpet, and vintage Murano glass lamps add chromatic punch to the bar’s sitting area; the B&B Italia sofa is joined by a 1970s Jean Claude Dresse cocktail table and vintage Milo Baughman barrel-back chairs. Above: A view toward the disco’s arched entrance, which features a text piece by Lawrence Weiner.

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In the dining room, a mirrored ceiling and silver-leaf walls cast reflections of the specially commissioned Donald Lipski light sculptures embellished with Swarovski crystals that branch out above tables custom designed by Stonefox with selenitecrystal tops. The vintage Eero Saarinen chairs have 24K-gold-plated legs, and the painting is

by Jeff Koons. Opposite: A Spencer Finch light sculpture, a Rob Pruitt panda painting, and a Subodh Gupta wall piece are among the artworks that grace the spiraling cerused white oak staircase.

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Arrmet Lab stools upholstered in a Spinneybeck leather tuck under the kitchen island topped in marble from ABC Stone.

Below: A Nick Cave Soundsuit stands in the entrance hall. Opposite: In the living room, a Jeff Koons “Gazing Ball” sculpture perches behind a 1980s Den Mobler sofa covered in a Jim Thompson silk.

“If there is a thread to the collection, it would be a happy quality,” says Amy Phelan which features soaring 28-foot ceilings and glamorous midcentury and Deco-inflected furnishings. Partially dividing the two spaces are walls of richly grained Indian rosewood hung with large-scale works

by Ellsworth Kelly, Marilyn Minter, and Jeff Koons.

“We’ve always purchased things that moved us and that we wanted to live with,” says Amy, who began collecting with her husband almost 20 years ago. Their first memorable piece was a Damien Hirst “Butterfly” painting, and since then their collection has grown to include works by Takashi Murakami, Cindy Sherman, Richard Prince, and Ed Ruscha, to name a few. “We cross all mediums,” says Amy. “If there is a thread to the collection, it would be a happy quality. If works are sometimes dark, it’s often with a funny twist or provocative in ways that make you think.”

The couple’s engagement with the art world goes well beyond their own acquisitions. John is the chairman of the board of trustees at the Aspen Art Museum, where Amy is a national council member.

Since moving to Palm Beach, she has cochaired the Norton Museum of Art’s annual fundraiser and the couple has flung open their doors to the local art community. With entertaining in mind, they even had Stonefox create a stand-alone disco lounge. The space can be seen as a contemporary version of the ballrooms Addison Mizner and Maurice Fatio often incorporated into their designs for Palm Beach’s prewar mansions. But it’s a safe bet that none of those rooms has a 30-inch diameter disco ball or a bar made with glowing, backlit Cristallo quartzite. “John and I love to have friends over,” says Amy. “We like to have a good time.”

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A Matteo Zorzenoni chandelier descends from the ipe wood ceiling in the dining room, where Asian ginger jars collected by the Phelans top a custom-made table surrounded by Minotti chairs clad in a Jerry Pair leather; a Damien Hirst “Spin” painting overlooks the Stonefox-designed sideboard and Jonathan Adler lamps. The wall covering is a Phillip Jeffries linen. Opposite: The pool is surrounded by RH sofas and chaise longues covered in Perennials fabrics.

Flanked by Louis XVI gilt mirrors, a Matthew Barney photograph overlooks the primary suite’s custom-made bed, upholstered in a Schumacher velvet and dressed in Lori Jayne linens; the walls are clad in a Holland & Sherry silk, the bespoke TV cabinet features panels of Gracie wallpaper, and rock crystal lamps top the alabaster bedside tables

by Galerie Glustin.

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Prints from Damien Hirst’s “Spot” series add contemporary pop to the Park Avenue apartment’s living room, which architect Peter Pennoyer anchored with a pair of banquettes crafted by Jouffre. The Jean-Michel Frank–inspired mica cocktail table is accompanied by 1950s Danish stools and Lucien Rollin Collection slipper chairs from William Switzer.

The curtains are made of a Jim Thompson silk, and the jute rug is by Beauvais Carpets. For details see Sources.

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With his trademark classical flair, architect Peter Pennoyer perfects a prewar Manhattan duplex for a modern family

BY TED LOOS PHOTOGRAPHY BY ERIC PIASECKI STYLED BY ANNE FOXLEY

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or lots of architects, working with the elegant bones of a prewar New York City building designed by Rosario Candela would be a dream. And for Peter Pennoyer, revamping a Candela Park Avenue duplex for a young family with two children was also a prime opportunity to flex his considerable talent for amping up classicism while heightening refinement.

Renowned as a traditionalist with flair, Pennoyer is the go-to architect for clients who want a sense of history but not to be weighed down by it.

Case in point: The apartment’s original grand staircase curls as seductively as ever, but Pennoyer elevated it a notch by decorating its walls with graceful paneling—not to mention cushioning the steps with a tiger-print runner.

“Candela turned these out relatively quickly,” he says of the numerous residential towers designed by the Sicilian American architect in the 1920s and ’30s along elite Manhattan corridors such as Park Avenue, Fifth Avenue, and Sutton Place. “They’re grand, but they didn’t have time to think about all the details, to resolve all the geometries.”

And that’s where Pennoyer comes in. To tailor the four-bedroom duplex for an active family looking to maximize space, he embarked on a gut renovation that included raising the height of door openings. He also shifted the alignment of some of the doorways in the downstairs entertaining spaces to enhance the sense of flow.

In the living room, Pennoyer took the rare step of elongating the windows by lowering the sills. “What had been conventional windows took on the proportion of terrace doors,” he says. “It brought more light into the room and gave a view of the limestone balusters beyond.”

A trio of Damien Hirst “Spot” prints sets a spirited tone in the living room, along with modern, squared-off furniture sumptuously clad in a mix of teal and beige upholsteries. Sconces with flamelike swirls of brass by Charles Paris flank an asymmetrical darkened-bronze mirror by Franck Evennou. Hanging nearby is an exuberant Nir Hod work related to a public art commission he created in Tel Aviv, Israel.

This family spends lots of time in the kitchen and wanted to make the most of the space. So Pennoyer reconfigured and expanded it by getting rid of a small service hall, installing a central island and a Carlo De Carli–style pedestal breakfast table, with rattan bistro stools and chairs. “We were also able to open up the wall facing the family room and put in big glass doors,” says Pennoyer, who added visual panache to the kitchen with a pair of cubic glass-and-brass pendants and a dramatically flaring bronze-and-enamel hood over the stove. →

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In the dining room, an HervĂŠ Van der Straeten chandelier descends from the gold-leaf ceiling alcove that Pennoyer created above the Hutton Home table and chairs in the style of Carlo Mollino made by Jouffre; Studio Glustin sconces frame an artwork by Cecil Touchon over the Calacatta Vagli marble fireplace with Holly Hunt andirons.

Opposite: A former utility closet was reimagined as a bar, with a Jean Karajian Collection ceiling light, a tiger onyx countertop, and faux-painted zebrawood cabinets.

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Pennoyer added paneling around the staircase and installed a floor of gray and white marble tiles in the entrance gallery; the ceiling lantern is by Hervé Van der Straeten, an André Dubreuil lamp stands on the 1920s Viennese tilt-top table, and the tiger-print runner is by Mitchell Denburg. Opposite: A Franck Evennou mirror and Charles Paris sconces make a sculptural statement above the living room’s Calacatta Vagli marble fireplace with Holly Hunt andirons; custom-made bergères by De Angelis Ltd. are joined by an antiqued parchment table by Fischer Furniture and a Garouste & Bonetti gueridon, while a colorful artwork by Nir Hod hangs nearby.

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In the sumptuously modern family room, a mohair-covered sofa by Jouffre is paired with Fritz Hansen–style armchairs by De Angelis Ltd.; the chandelier is by Nuvole Di Pietra, the walls are clad in a Mitchell Denburg raffia, and the rug is by Beauvais Carpets. Right: Pennoyer installed custom-made lanterns by Remains Lighting above the kitchen island, and hung a Delisle pendant over the table fashioned after a Carlo De Carli classic by Fischer Furniture; the shades are by Hunter Douglas, the wall tiles and sink fittings are by Waterworks, and a bespoke RangeCraft hood is mounted over the BlueStar range.

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The powder room off the entrance gallery is outfitted with a Ralph Lauren Home sconce and pendant as well as a Palmer Industries granite-top vanity with a Bates and Bates sink and faucet; the flooring is

by Artistic Tile. Opposite: A Gracie silk covers the wall behind the bed in the primary suite, which features a vintage Orrefors ceiling fixture, bedside tables by Pierre Bonnefille, a bench by Jouffre upholstered in a Pierre Frey fabric, and a desk by Hutton Home.

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The apartment’s real showstopper is arguably the dining room, with its striking blue-lacquered paneling. Like any master of space, Pennoyer is always looking for more of it; he was able to claw a little extra out of the ceiling above the dining table to create a spherical cove, which he then gilded, amplifying the enchanting effects of the Hervé Van der Straeten chandelier in bronze and rock crystal that hangs down from the center.

A swirling mixed-media abstraction by Cecil Touchon is mounted above the room’s fireplace between eye-catching sconces in alabaster and gilt bronze, while a former utility closet is now a petite faux-painted zebrawood-paneled bar, thanks to a glam makeover. And the white oak dining table, sporting a shiny top made of antique mirror, matches the white oak floors throughout.

Pennoyer and his team removed the dark finish from the existing floors to lighten the decorating scheme. “They were brave to allow us to do blond floors, because people think of that as being something that was popular in the ’70s and ’80s,” says Pennoyer. “Light oak is an unexpected look in a Park Avenue

apartment, and the patina of age made them especially beautiful.”

The upper floor, where the bedrooms are located, has quiet beige tones aplenty, but Pennoyer made sure to provide some visual kicks, whether it’s the teal-painted contemporary chandelier by Andrea Claire Studio at the top of the stairs or the rainbow onyx fireplace surround in the main bedroom. And the hallway leading to the main suite, formerly a narrow warren, was transformed into a gently curving alcove presided over by one of Guy Dill’s abstract sculptures of twisting bronze forms.

“You just want to avoid the feeling that the rooms are drawers in a bureau,” says Pennoyer. “And when you can do curves, it’s sort of a relief from all that orthogonal everything.”

The light-colored, neutral rugs used throughout the home were part of Pennoyer’s strategy to “make the whole place feel very coherent and calm,” he says. It was also about not competing with the family’s art or the bold new decorative elements. Or, it must be added, the apartment’s great historic bones. “I don’t want to get away from what this is about,” says Pennoyer, “which is essentially classical architecture.”

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LifeImitates Art

BY S T E FA N I E L I

The kinetic lines of the antique-brass-finish iron Estero sconce by Arteriors cast a dynamic interplay of shadow and light; arteriorshome.com. Opposite: Brice Marden’s The Sisters (1991–93), now on view at the San Francisco Museum of Modern Art’s ongoing exhibition “Approaching American Abstraction,” which features other works from the Doris and Donald Fisher Collection, leaps off the canvas with the artist’s unique gestural painting style; sfmoma.org.

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COURTESY OF MATTHEW MARKS GALLERY, NEW YORK. OPPOSITE: COURTESY OF ARTERIORS

Inspired by science fiction and virtual reality, contemporary artist Jess Johnson created Psy Zetta Terra (2018), a psychedelic work on paper, for the Los Angeles–based video and performance collective Everything Is Terrible. Her work is currently on view at the Dowse Art Museum in New Zealand, through March 21, 2021; jessjohnson.org. Opposite: For Dior’s 2021 resort show, creative director Maria Grazia Chiuri combined traditional arts and crafts and festive decoration with mythical folklore to convey the exuberant spirit of Puglia, Italy; dior.com.

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COURTESY OF DIOR. OPPOSITE: COURTESY OF THE ARTIST

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COURTESY OF CHOPARD. OPPOSITE: MARK WALDHAUSER, COURTESY OF THE ARTIST AND PACE GALLERY

The breathtaking beauty of the snowcapped Swiss Alps served as the inspiration for Chopard’s dazzling new Alpine Eagle Frozen timepiece, sparkling with 765 pavé diamonds set in 18K white gold; chopard.com. Opposite: Leo Villareal’s fascination with technology guides the artist’s practice of translating pixels and binary code into captivating LED lighting installations such as Ellipse (2017); pacegallery.com.

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COURTESY OF LUXURY LIVING GROUP. OPPOSITE: NICHOLAS KNIGHT, COURTESY OF PUBLIC ART FUND, NY

Fendi Casa’s geometric Boogie cocktail and side tables architecturally combine panels of Calacatta Gold marble and ultramarine-blue glass in a sleek bronze-finish steel frame; luxurylivinggroup.com. Opposite: Sam Moyer’s Doors for Doris (2020) symbolizes New York’s melting pot culture by fusing indigenous rock with recycled marble sourced from around the world. The monumental three-part sculpture, presented by the Public Art Fund, will be on view at Doris C. Freedman Plaza in Manhattan until September 2021; publicartfund.org.

bodies & soul

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In the den of Thomas Lavin’s Hollywood Hills ranch house, a Robin F. Williams Fighters (Study) is mounted above a Gary Hutton sofa and a pair of 1940s Italian armchairs— all slipcovered in a white Romo cotton with blue piping—as well as a circa-1940 Swedish table. On the wall behind the Phoenix Day floor lamp are works by Kurt Kauper, Hope Gangloff, and others. For details see Sources.

At his midcentury Los Angeles home, design dealer Thomas Lavin creates an understatedly dashing setting for an adventurous and deeply personal array of figurative art

BY MICHAEL SLENSKE PHOTOGRAPHY BY SAM FROST STYLED BY ALEXANDER IRVINE

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hen Los Angeles design dealer Thomas Lavin was growing up in the Pacific Palisades, there was a local antiques shop he began frequenting when he was just 13 years old. It was the place where his passion for collecting fine art and objects first took hold. “As a teenager I had a part-time job at a knitting shop and saved $50 so I could buy one thing,” he recalls. “I was the perfect gay kid, torn between the black satin fan and the Chinese export box with fake jade on it. I ended up choosing the box.”

Lavin recounts this story in the living room of his art-packed 1958 Hollywood Hills home, seated—martini in hand—in a slipcovered armchair by Gary Hutton, one of the first designers he represented in the namesake showroom he founded 20 years ago. Today, his business occupies 17,000 square feet in West Hollywood’s Pacific Design Center and has another 12,000 square feet at the Laguna Design Center in Orange County, catering to a devoted clientele of top decorators and collectors who admire Lavin’s eye for spotting emerging and underrecognized talent in art as well as design.

Before launching his business, Lavin was a self-described “stoned job-hopper” who worked in event planning and publicity and spent six years selling furniture at the L.A. showroom of Kneedler Fauchère. He opened his first space, on Beverly Boulevard, featuring furniture by Hutton and Jiun Ho—both of whom he still represents— alongside collections by Madeline Stuart, Rose Tarlow Melrose House, and Atelier Purcell.

At the outset, Lavin developed an art program with adviser Joanna Burke, offering consulting services as well as staging exhibitions and events, ranging from a show of photographs from L.A. dealer G. Ray Hawkins to artist Vahe Berberian’s painting performance with nude models as brushes. “I remember one time Holly Hunt was standing barefoot in the parking lot with shoes over her shoulders,” says Lavin, laughing. “The early days were insane. I didn’t make any money, but the parties were extraordinary.”

Lavin’s own art collecting began in earnest a decade ago, around the time he bought his home in the Hollywood Hills.

Inside the ranch structure, Lavin removed walls for a more open floor plan and introduced French doors to enhance flow to the outdoors. To give the interior a more contemporary vibe, he worked with interior designer Gary Hutton and added charcoal-gray concrete floors and whitewashed the walls.

Lavin’s first acquisitions were mostly abstract and landscape works by artists such as Allison Miller, Miles Coolidge, Amir Zaki, and Cool School legend Joe Goode. One of his favorite local galleries was Acme, where amid a densely hung group show he was immediately drawn to a tiny study by Kurt Kauper, known for his classically styled, if cheeky, portraits. “It was singing to me from across the room, but I was still scared to buy figurative,” says Lavin, who missed out on the study when it was sold to another client.

Beyond the all-black kitchen, which features Miele ovens, a Jiun Ho light fixture is installed above the dining area’s Gulassa & Co. table and Madeline Stuart chairs; the artwork on the far wall is by Amoako Boafo.

Opposite: Lavin stands in the living room next to his Steinway & Sons piano and a painting by Penda DiakitĂŠ.

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“There’s something compelling a out figurative art o as avin says t at feels li e loo ing at a story

The salon-style display in the hallway outside the den includes works by Margot Bergman, Becky Kolsrud, Louis Fratino, Sam McKinniss, and Amoako Boafo. Above: Overlooking a corner of the living room are works

by Nate Lewis (left) and Tyler D. Ballon; the pendant is by Flos, the cocktail table is by Chista, and the armchairs, custom banquette, and small side table are by Gary Hutton.

In an all’s-well-that-ends-well twist, he wound up acquiring the final painting the artist made from that study, Man Lying Down, six months later. It was one of the keystone pieces that kick-started Lavin’s shift toward figurative art, a focus that intensified under the influence of L.A. collector Robert Shiell. Another significant moment in his collecting evolution came during his first visit to Art Basel in Miami Beach five years ago, when he fell hard for but didn’t pull the trigger on a Celia Paul self-portrait exhibited by Victoria Miro. “It was my first art fair, and it was so intense,” says Lavin, who later bought a different Paul self-portrait that now hangs in the sitting room above a 1940s porcelain cockatoo lamp he inherited from his grandparents. “It was another catalyst,” says Lavin, who likes to think of the work as “the mother of the collection.”

Since that time he has added works in ink, oil, collage, and photography from some of today’s most exciting young talents, including Toyin Ojih Odutola, Salman Toor, Amoako Boafo, Sam McKinniss, Ramiro Gomez, and Raffi Kalenderian, whose portrait of Lavin hangs beside the Steinway & Sons piano in the living room. Notably, the careers of many of these artists have risen into the stratosphere—some beyond Lavin’s reach. “I want to build my collection through conversations with my friends,” says Lavin, whose pals include tastemaking artists, gallerists, and collectors. As for what’s next, Lavin notes that he owns just two sculptures, pointing to one of them, a trio of clear urethane planks embedded with found objects by Jedediah Caesar, leaning against the foyer fireplace. “At this point,” he says, “sculpture is probably the next frontier.”

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veryt ing is p otograp e in re e tion e plains o as avin t s really in of in lo ing 1 In the corner of Thomas Lavin’s bedroom resides a piece by Los Angeles photographer Paul Mpagi Sepuya, whose practice blurs the line between artist and subject. “Everything is photographed in reflection,” explains Lavin. “It’s really kind of mind-blowing.” yanceyrichardson.com 2 Lavin came across Malian American artist Penda Diakité during a group show at L.A. gallery Band of Vices in 2019. “I was drawn to the materiality of her work,” he says of Diakité’s use of mixed media. This circular collage, titled Fishing for Holes in Water (2020), depicts a pair of acrobatic figures against a luminous backdrop. bandofvices.com

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3 Brooklyn painter Louis Fratino has quickly become one of the buzziest talents on the art-fair circuit with his vivid renderings of queer male identity and moody domestic scenes, like Polaroids on the Kitchen Counter (2020). “His work is incredibly refined and sophisticated—he treats the gay subject matter in a way that no artist ever has before,” says Lavin. sikkemajenkinsco.com 4 This portrait of Lavin was created after fast-rising L.A. artist Raffi Kalenderian complimented Lavin’s sartorial flair and asked for a sitting. “My only request was that I get the first option to buy something,” he recalls. “Raffi’s

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(1, 5) SAM FROST; (2) COURTESY OF BAND OF VICES; (3) COURTESY OF SIKKEMA JENKINS & CO., NEW YORK; (4) JEFF M C LANE, COURTESY OF THE ARTIST AND VIELMETTER LOS ANGELES; (6) COURTESY OF CFHILL/BJÖRN PETRÉN

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(1, 5) SAM FROST; (2) COURTESY OF BAND OF VICES; (3) COURTESY OF SIKKEMA JENKINS & CO., NEW YORK; (4) JEFF M C LANE, COURTESY OF THE ARTIST AND VIELMETTER LOS ANGELES; (6) COURTESY OF CFHILL/BJÖRN PETRÉN

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brushstrokes are thick, intensive, evocative, and filled with emotion.” vielmetter.com 5 Sheathed in Farrow & Ball’s Off-Black, the kitchen features a small work by California artist Ramiro Gomez, whose paintings and works on paper quietly celebrate unsung heroes like day laborers and domestic workers. “He’s so smart and has such a clear vision of what he’s doing in the world,” says Lavin. farrow-ball.com, ppowgallery.com

6 A protégé of painter Amy Sherald, Jersey City artist Tyler D. Ballon mines religious and art-historical canons to create attention-grabbing canvases that depict Black contemporaries.

This scene, Strengthen the Brethren (2020), demonstrates Ballon’s striking ability to capture light and shadow, which has drawn comparisons to Caravaggio. cfhill.com

6

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

All of the following images are © Artists Rights Society (ARS). COVER, PAGES 16, 97: 2020 ARS, New York/ADAGP, Paris.

COVER, PAGES 16, 97: 2020 ARS, New York/ ADAGP, Paris. PAGES 14, 82: 2020 ARS, New York/ADAGP, Paris. PAGES 18, 109: 2020 Lawrence Weiner/ARS, New York. PAGE 30: The Josef and Anni Albers Foundation/ ARS, New York, 2020. PAGE 52: Adagp/ Comité Cocteau, Paris, ARS, New York/ ADAGP, Paris 2020. PAGE 54: 2020 ARS, New York/ADAGP, Paris. 2020 The Isamu Noguchi Foundation and Garden Museum, New York/ARS, New York. PAGE 55: 2020 ARS, New York/ADAGP, Paris. PAGE 58: 2020 Jim Dine/ARS, New York. PAGE 58: 2020 Michele Oka Doner/ARS, New York.

PAGE 58: 2020 Wayne Thiebaud/Licensed by VAGA at ARS, NY. PAGE 87: 2020 ARS, New York/ADAGP, Paris. PAGE 90: 2020 Robert Mangold/ARS, New York. PAGE 90: 2020 ARS, New York/ADAGP, Paris. PAGE 92: 2020 ARS, New York/ADAGP, Paris.

PAGE 95: 2020 ARS, New York/KUVASTO, Helsinki. PAGE 95: 2020 George Condo/ ARS, New York. PAGE 99: 2020 ARS, New York/SABAM, Brussels. PAGE 99: 2020 ARS, New York/Bildrecht, Vienna.

PAGE 106: 2020 The Willem de Kooning Foundation/ARS, New York. PAGES 109, 114, 116: Damien Hirst and Science Ltd. All rights reserved/DACS, London/ARS, NY 2020. PAGE 127: 2020 Brice Marden/ARS, New York. PAGE 144: 2020 The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by ARS, New York.

COOL CLASSIC, CLASSIC COOL

PAGES 88–99: Interiors, architecture, and

select furnishings by Nathan Litera; nathanlitera.com. Landscape architecture

by Wirtz International Landscape Architects; wirtznv.com. PAGES 88–89: In entrance gallery, table by Ado Chale; adochale.com.

Onda bench by Jorge Zalszupin; espasso .com. PAGE 90: In entrance gallery, bench by George Nakashima; nakashimawoodworkers .com. PAGE 91: On terrace, outdoor furniture

by Brigitte Garnier; garnier.be. Sconces by Roger Pradier; roger-pradier.com. PAGES 92–93: In family room, sink fittings by Volevatch; volevatch.fr. PAGE 94: In kitchen, range by Lacanche; frenchranges.com. Sink fittings by Volevatch. Hardware by Remy

Garnier; remygarnier.fr. PAGE 95: In dining room, pendants by Alvar Aalto; aaltousa.com. Table by Jorge Zalszupin.

Lamp from Galerie Anne-Sophie Duval; annesophieduval.com. PAGE 96: In family sitting area, curtains in fabric by Pierre Frey; pierrefrey.com. PAGE 97: In corner, table by Geoffroy van Hulle; geoffroyvanhulle.com. PAGE 98: In primary bath, tub by Jacob Delafon; jacobdelafon.fr.

PAGE 99: In primary bedroom, bed by Vispring; vispring.com. In powder room, sink fittings by Volevatch.

TRUE ORIGINAL

PAGES 104–15: Interiors, architecture,

and select furnishings by Christopher Stone and David Fox of Stonefox Architects; stonefox.us. Landscape architecture

by Jorge Sánchez and Brian Vertesch of SMI Landscape Architecture; smilandscapearchitecture.com. Exterior stone by ABC Stone; abcworldwidestone .com. PAGE 106: In living room, chandeliers from John Salibello; johnsalibello.com.

Curtains in fabric by Kravet (T); kravet .com. PAGE 107: Hair and makeup by Gisella Garcia; 561-512-5032. PAGE 109: In library bar loggia, Marbella teak lounge chairs by RH; rh.com. Chairs upholstered in fabric

by Perennials (T); perennialsfabrics.com. In sitting area, Robinson wall covering by Elitis; elitis.fr. Curtains in fabric by Donghia (T); kravet.com. Sofa by B&B Italia; bebitalia.com. Sofa and armchairs upholstered in fabric by Holland & Sherry; hollandandsherry.com. Pillows by Versace; versace.com. Vintage cocktail table from Morentz; morentz.com. Milo Baughman chairs from Orange; orangefurniture.com.

Armchair trim by Samuel & Sons (T); samuelandsons.com. Rug by The Rug Company; therugcompany.com. PAGE 110: In dining room, armchairs from Montage Modern; montagemodern.com. Armchairs upholstered in leather by Jerry Pair Leather; jerrypairleather.com. Rug by Woven Concepts; wovenconcepts.com. Wall covering by Surfaces by David Bonk; surfacesbydavidbonk.com. PAGE 111: In stairwell, flooring by ABC Stone; abcworldwidestone.com. Flooring fabrication by Precision Stone; precisionstone.net. PAGE 112: In living room, vintage sofa from Den; shopden-la.com.

Sofa upholstered in fabric by Jim Thompson Fabrics; jimthompsonfabrics.com. Rug by Creative Matters; creativemattersinc.com.

GALERIE (ISSN 2470-9964), Volume 5, Issue 4, is published quarterly by Galerie Media Group LLC, 888 Seventh Avenue, 19th Floor, New York, NY 10106 USA. Lisa Fayne Cohen, Founder/Editorial Director; James S. Cohen, Chairman. Principal office: Galerie Media Group LLC, 888 Seventh Avenue, 19th Floor, New York, NY 10106. Editorial and advertising offices: GALERIE, 888 Seventh Avenue, 19th Floor, New York, NY 10106.

Subscriptions: Visit galeriemagazine.com, or call 833-231-7763. Subscription prices: United States, $29.95 for one year (outside the U.S., $39.95 for

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Curtains in fabric by Kravet (T). PAGE 113: In kitchen, cabinets by Coastal Millworks; coastalmillworks.com. Light fixtures from Suite NY; suiteny.com. Countertops by Galaxy Glass & Stone; galaxycustom.com.

Sink fittings by Hansgrohe; hansgrohe-usa .com. Barstools by Arrmet Lab; arrmet.it.

Stools upholstered in leather by Spinneybeck; spinneybeck.com. PAGE 114: In dining room, wall covering by Phillip Jeffries; phillipjeffries.com. Leaf chandelier

by Matteo Zorzenoni; propertyfurniture .com. Globo table lamp by Jonathan Adler; jonathanadler.com. Cabinet hardware by Gerber Hinge Company; gerberhinge.com.

Flavin chairs by Minotti; minotti.com.

Chairs upholstered in leather by Jerry Pair Leather. In primary bedroom, wall covering

by Holland & Sherry. Antique mirrors from Webberley Antiques; webberleyantiques .co.uk. Curtains in fabric by GP & J Baker (T); gpjbaker.com. Curtain trim by Samuel & Sons (T). Bed upholstered in velvet by Schumacher (T); fschumacher.com. Linens

by Lori Jayne; lorijayne.com. Bedside tables from Galerie Glustin; glustin.net. Rug by Tai Ping (T); taipingtent.com. Credenza wallpaper by Gracie; graciestudio.com.

Willy Daro table from Jean-Luc Ferrand; jeanlucferrand.com. PAGE 115: By pool, Cloud modular sofas and Marbella teak chaises by RH. Furnishings upholstered in fabric by Perennials (T).

RIGHT AT HOME

PAGES 116–25: Architecture, interiors,

and select furnishings by Peter Pennoyer Architects; ppapc.com. PAGES 116–17: In living room, banquettes by Jouffre; jouffre .com. Lucien Rollin Collection slipper chairs from William Switzer; williamswitzer.com. Curtains in silk by Jim Thompson Fabrics; jimthompsonfabrics .com. Jute rug by Beauvais Carpets; beauvaiscarpets.com. Stools from Bernd Goeckler; bgoecklerantiques.com. Bench upholstered in fabric by Fortuny; fortuny .com. Bench trimmed in silk cord by Samuel & Sons (T); samuelandsons.com.

Cocktail table by Mary Kuzma Finishing; marykuzmafinishing.com. PAGE 118: In bar, ceiling light by Jean Karajian Collection; jeankarajiancollection.com. Bar by Richard Jordan; richardjordandesign.com. PAGE 119: In dining room, wall lacquer by Paint & Paper Library; paintandpaperlibrary.com.

Chandelier by Hervé Van der Straeten; ralphpucci.com. Table by Hutton Home;

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GALERIE is not responsible for unsolicited manuscripts or art, and such material will not be returned.

huttoncollections.com. Chairs by Jouffre.

Sconces by Studio Glustin; glustin.net.

Andirons by Holly Hunt; hollyhunt.com.

Rug by Beauvais Carpets. Gilded ceiling

by Ateliers Gohard; ateliers-gohard.com.

PAGE 120: In living room, sconces by Charles Paris; charles.fr. Bergères by De Angelis Ltd; deangelisltd.com. Table by Fischer Furniture; fischerfurniture.biz.

Gueridon by Garouste & Bonetti; davidgillgallery.com. PAGE 121: In entrance gallery, ceiling lantern by Hervé Van der Straeten. Tiger-print runner by Mitchell Denburg; mitchelldenburg.com. PAGE 122: In family room, sofa by Jouffre. Armchairs

by De Angelis Ltd. Stool by Marc de Berny; marcdeberny.com. Shagreen table and desk by Fischer Furniture. Wall raffia by Mitchell Denburg. Rug by Beauvais Carpets.

PAGE 123: In kitchen, lanterns by Remains Lighting; remains.com. Pendant by Delisle; delisle.fr. Shades by Hunter Douglas; hunterdouglas.com. Wall tiles and sink fittings by Waterworks; waterworks.com.

Hood by RangeCraft; rangecraft.com.

Range by BlueStar; bluestarcooking.com.

PAGE 124: In powder room, sconce and pendant by Ralph Lauren Home; ralphlaurenhome.com. Vanity by Palmer Industries; sinklegs.com. Sink and fittings

by Bates and Bates; alnoinc.com. Flooring

by Artistic Tile; artistictile.com. PAGE 125: In primary bedroom, walls covered in silk

by Gracie; graciestudio.com. Bedside tables

by Pierre Bonnefille; pierrebonnefille.com.

Bench by Jouffre. Bench upholstered in fabric by Pierre Frey; pierrefrey.com.

Desk by Hutton Home. Curtains in fabric by Claremont and Holland & Sherry; claremontfurnishing.com; hollandandsherry.com. Carpet by Beauvais Carpets.

BODIES AND SOUL PAGES 134–41: Interiors and select furnishings by Gary Hutton Design; garyhuttondesign.com. PAGES 134–35: In den, floor lamp by Phoenix Day; phoenixday.com. PAGE 136: In living room, piano by Steinway & Sons; steinway.com.

PAGE 137: In kitchen, walls in Off-Black paint by Farrow & Ball; farrow-ball.com.

Oven by Miele; miele.com. Light fixture

by Jiun Ho; jiunho.com. Table by Gulassa & Co; gulassaco.com. Chairs by Madeline Stuart; madelinestuart.com. PAGE 139: In lounge, pendant by Flos; flos.com.

Cocktail table by Chista; chista.net.

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Your premiere art source 25 Your premiere art source

years of curating life with art and design.

ASPIRE HOUSE PRINCETON DESIGNER SHOW HOUSE SPACE DESIGNED BY PIRELA ATELIER

Mike Van Tassell

ARTWORK PROVIDED BY CHELSEA ART GROUP

These pieces, like all the others my brother Gianni and I started to collect, have some sort of personal story or anecdote behind them.

Gianni started to buy art almost in a compulsory way, to the point that his houses were more like art galleries. He was friends with so many incredible people of that time, and they exchanged their talents and their works with one another, influencing each other with their ideas.

When Gianni went to New York for the first time, he had the opportunity to meet and spend time with Andy Warhol and they became friends. I remember that when Andy first made the portraits of my brother, he suggested we use one of them as the invitation for one of our fashion shows, which we did. Later, it was used on the cover of Italian Men’s Harper’s Bazaar.

Andy was so happy about it he gave these portraits to Gianni.

Later, Truman Capote came by the house and asked Gianni with his usual irony, “Gianni, why did you pay so much for a Polaroid?”

Obviously, the writer had no idea they were a gift.

Today, the portraits are in my living room in Milan, a constant reminder of Gianni. —AS TOLD TO JILL SIERACKI 144

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In her Milan home, designer Donatella Versace with a suite of portraits

by Andy Warhol of her late brother, Gianni Versace.

DANILO SCARPATI / VOGUE © THE CONDÉ NAST PUBLICATIONS LTD.

DONATELLA VERSACE’s collection of Andy Warhol portraits captures a beloved familiar face

Explore Every Gracious Detail DISTINCTIVE ARCHITECTURE, RESIDENCES & HOMESITES GOLF CLUB • TENNIS • BEACH CLUB • EQUESTRIAN WINDSORFLORIDA.COM • 772 388 8400 OR 800 233 7656