Harper's Bazaar Art

ART

A special section dedicated to the intersection of art and fashion Cover by Shepard Fairey for Harper’s Bazaar

ART

s a magazine that champions creativity, Harper’s Bazaar has always been a platform for self-expression because great fashion, much like great art, can change the way you live, think, and look at the world.

That’s why we are so pleased to bring you this special supplement, Bazaar Art, which we’ve created in partnership with the NorthPark Center shopping mall in Dallas, to explore some of the happenings at the intersection of art and fashion this season. The terrific cover of this section was done for us by Shepard Fairey, who has a show of new work, “On Our Hands,” opening September 18 at New York’s Jacob Lewis Gallery, along with a monograph out next month, Covert to Overt: The Under/Overground Art of Shepard Fairey (Rizzoli). Of course, the relationship between art and fashion is a long one that has played out fabulously in the pages of Bazaar over the years. In the 1930s and ’40s, artists such as Man Ray and Jean Cocteau contributed frequently to Bazaar, and before he became one of the most influential cultural figures of the 20th century, Andy Warhol did fashion illustrations for the magazine.

More recently we have worked with contemporary greats like John Baldessari, Takashi Murakami, and Cindy Sherman, and as you’ll see in the pages that follow, we continue to be a home for artists and designers to respond and react to one another and what’s happening around them. Interestingly enough, NorthPark Center, which is celebrating its 50th anniversary this year, is hosting an exhibition this fall called “Art Meets Fashion.” It shows how these two creative spheres have interacted—something that visitors to the mall have always been able to witness firsthand. Raymond Nasher, who built NorthPark, and his wife, Patsy, were big collectors and proudly displayed the works they acquired throughout the shopping concourse because they believed that art should be seen, and not just in museums and galleries. It’s a mission that the Nashers’ daughter Nancy Nasher and her husband, David Haemisegger, have vowed to ensure lives on, as they’ve expanded the NorthPark collection and helped transform the shopping center into one of the most visited public gallery spaces in America. If only you could get your Louis Vuitton or Valentino everywhere with a side of Roy Lichtenstein or Frank Stella— or vice versa. What a world it would be.

An image inspired by Man Ray’s Observatory Time, the Lovers, 1934, from the February 2002 issue of Harper’s Bazaar. Photograph by Patrick Demarchelier.

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IMAGE BASED ON MAN RAY, OBSERVATORY TIME, THE LOVERS, 1934 © MAN RAY TRUST/ARTISTS RIGHTS SOCIETY (ARS), NY/ADAGP, PARIS 2015

Bazaar

THE ART OF SHOPPING

ABOVE

COAT AND DRESS: MULBERRY

EARRINGS: TIFFANY & CO.

ART: NEIL G. WELLIVER, SNOW ON ALDEN BROOK, 1983, OIL ON CANVAS

WE ARE NORTHPARK CENTER — WHERE WORLD-CLASS ART AND DALLAS’ FINEST SHOPPING UNITE TO CREATE A ONE-OF-A-KIND CULTURAL EXPERIENCE. IN OUR FIFTIETH ANNIVERSARY YEAR, WE CELEBRATE THE ART OF SHOPPING WITH OUR EXQUISITE FASHIONS PHOTOGRAPHED AMID THE EXTRAORDINARY COLLECTION OF THE ACCLAIMED CRYSTAL BRIDGES MUSEUM OF AMERICAN ART IN BENTONVILLE, ARKANSAS. T H E S T O R E S O F N O R T H PA R K

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NEWS MUST-SEE

EXHIBITIONS Chair, 1961

She-Goat, 1950

PABLO PICASSO For the first time

in 48 years, Picasso’s oeuvre as a sculptor will be surveyed in the U.S., at New York’s Museum of Modern Art (September 14).

Robert Morris’s Untitled (Felt Tangle), 1967

Marc Chagall’s The Homage, 1972

Jim Shaw’s Ripped Up Face Dancer 2, 2010

Gustav Klimt’s Judith I, 1901 Giorgio Armani

Proenza Schouler

Valentino

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Saint Laurent

Greene Street Mural, 1983

ROY LICHTENSTEIN New York’s Gagosian Gallery will re-create the mural the Pop master installed at Leo Castelli’s SoHo space in 1983 (September 10).

T H E

RUNWAYS

FASHION’S OBSESSION with all things painterly and sculptural is in full force for fall.

At GIORGIO ARMANI, shades of the Franco-Russian modernist MARC CHAGALL turned up in the prints and embroideries. Elsewhere, VALENTINO designers Maria Grazia Chiuri and Pierpaolo Piccioli collaborated with DAVID HOCKNEY muse Celia Birtwell and channeled GUSTAV KLIMT paramour Emilie Flöge, while PROENZA SCHOULER’s Jack McCollough and Lazaro Hernandez took their cues from both Abstract Expressionist painter HELEN FRANKENTHALER and conceptual artist ROBERT MORRIS, whose radical 1960s post-minimalist slashed-felt pieces inspired the layered panels on the designers’ coats and skirts. And to create the 1980s L.A. punk-rock scene at SAINT LAURENT, Hedi Slimane drew upon the anarchic work of West Coast artist JIM SHAW, the subject of his own career-spanning show at the New Museum in New York, opening October 7.

A Message From Our Sponsor, 2015

SHEPARD FAIREY Street artist Fairey serves up a new group of paintings at New York’s Jacob Lewis Gallery (September 18) and a monograph for Rizzoli (October 6).

Coloured Vases, 2015

NEW YORK GROOVE Abramović and Tisci

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Performance-art polymath Marina Abramović will art-direct Givenchy’s Spring 2016 runway show with designer Riccardo Tisci, who will unveil his collection for the French house in New York instead of Paris in September to coincide with the opening of a 5,000-square-foot flagship on Madison Avenue.

AI WEIWEI The Chinese dissident has helped curate a major retrospective of his work at the Royal Academy of Arts in London (September 19). ■

CLOCKWISE FROM TOP RIGHT: PABLO PICASSO, CHAIR, CANNES, 1961, PAINTED SHEET METAL, 45 1/2 X 45 1/16 X 35 1/16 IN (115.5 X 114.5 X 89 CM), MUSÉE NATIONAL PICASSO–PARIS © 2015 ESTATE OF PABLO PICASSO/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; PABLO PICASSO, SHE-GOAT, VALLAURIS, 1950 (CAST 1952), BRONZE, 46 3/8 X 56 3/8 X 28 1/8 (117.7 X 143.1 X 71.4 CM), THE MUSEUM OF MODERN ART, NEW YORK, MRS. SIMON GUGGENHEIM FUND © 2015 ESTATE OF PABLO PICASSO/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; ROY LICHTENSTEIN, GREENE STREET MURAL, 1983, INSTALLED AT LEO CASTELLI GALLERY, 142 GREENE STREET, NEW YORK, DECEMBER 3, 1983–JANUARY 4, 1984 © ESTATE OF ROY LICHTENSTEIN, COURTESY CASTELLI GALLERY AND GAGOSIAN GALLERY; ILLUSTRATION: SHEPARD FAIREY, A MESSAGE FROM OUR SPONSOR, MIXED MEDIA ON CANVAS, 44 X 60 IN, AND FAIREY BOOK: COURTESY RIZZOLI; AI WEIWEI, COLOURED VASES, 2015, COURTESY AI WEIWEI STUDIO © AI WEIWEI; JOE SCHILDHORN/BFA.COM; MARC CHAGALL, THE HOMAGE, 1972, OIL ON CANVAS, 84 X 91 CM © 2015 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/ADAGP, PARIS, PHOTO: SCALA/ART RESOURCE, NY; GUSTAV KLIMT, JUDITH I, 1901, OIL ON CANVAS, PHOTO: IMAGNO/GETTY IMAGES; ROBERT MORRIS, UNTITLED (FELT TANGLE), 1967, HAMBURGER KUNSTHALLE, HAMBURG, GERMANY © 2015 ROBERT MORRIS/ARTISTS RIGHTS SOCIETY (ARS) NEW YORK, PHOTO: BRIDGEMAN IMAGES; JIM SHAW, RIPPED UP FACE DANCER 2, 2010, OIL ON CANVAS, 172.72 X 116.84 CM (68 X 46 IN), COURTESY OF THE ARTIST AND SIMON LEE GALLERY. RUNWAY: DAN & CORINA LECCA

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Chiharu Shiota’s The Key in the Hand, 2015

Jesús Rafael Soto’s Sphère Lutétia, 1996

Urs Fischer’s Historic Problem, 2013

Joel Morrison’s Untitled (Meat Tenderizers), 2012

Wendell Dayton’s Building, 2015, and Triangles, 2015

WHAT TO COLLECT NOW Fashion- and art-world insiders reveal their latest passions and discoveries

“We recently collected a sculpture on Artsy

by Wendell Dayton, who was a contemporary of James Rosenquist’s in New York in the ’60s. My girlfriend and I both independently picked out the exact same work.”

—Carter Cleveland, founder and CEO, Artsy

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“I am moved by sculptor Ricardo Brey’s memory boxes and the sense of belonging they convey. I also admire the rigor and sensibility of Elena Damiani’s pieces and the amazing key-and-yarn labyrinth by Chiharu Shiota.”

—Francesca Amfitheatrof, design director, Tiffany & Co.

“I really like sculptor Joel Morrison and painters Chris Succo and Gregor Hildebrandt at Almine Rech Gallery, Laurent Grasso at Galerie Perrotin, Yan Pei-Ming at Galerie Thaddaeus Ropac, and photography by Jean Larivière.”

—Peter Marino, architect

“I’m in love with the playfulness and intelligence of Peter Regli. We just had a fantastic show of his work at the gallery on Madison Avenue.

And, of course, I’m still buying works by Urs Fischer. The Swiss connection runs deep!”

—Dominique Lévy, Dominique Lévy Gallery

“For a long time I’ve been a great admirer of Pierre Soulages and Jesús Rafael Soto. I’ve acquired a 55-centimeter model of Soto’s Sphère Lutétia. With its vibrant and elusive aura, its powerful colors can vanish when you turn around.”

—Emmanuel Perrotin, Galerie Perrotin

“Bill Powers [at Half Gallery] sent me some images of work by the young painter Genieve Figgis. I loved them so much, I bought one without seeing it in person (something I never do!). Her Instagram is art crack.”

—Jenna Lyons, president and executive creative director, J. Crew

“Math Bass is a painter and sculptor whose star is rapidly rising. I love her playful assortment of recognizable symbols and architectural shapes, laid out on the canvas with puerile simplicity. I acquired two of her works last year.”

—Alexander Gilkes, cofounder and president, Paddle8

ART, CLOCKWISE FROM TOP RIGHT: JESÚS RAFAEL SOTO, SPHÈRE LUTÉTIA, 1996, VIEW AT ART UNLIMITED 2015, ART BASEL, PEINTURE SUR MÉTAL/PAINT ON METAL, 600 X 600 X 600 CM (236 1/4 X 236 1/4 X 236 1/4 IN) © 2015 JESÚS RAFAEL SOTO/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/ADAGP, PARIS, COURTESY GALERIE PERROTIN; WENDELL DAYTON, BUILDING, 2015, STAINLESS STEEL, 19.5 X 6.5 X 6.5 IN, AND TRIANGLES, 2015, STAINLESS STEEL, 98 X 46 X 28 IN, COURTESY WENDELL DAYTON SCULPTURE; JOEL MORRISON, UNTITLED (MEAT TENDERIZERS), 2012, STAINLESS STEEL, 30 1/2 X 16 1/2 X 16 IN (77.5 X 41.9 X 40.6 CM) UNFRAMED, ED. OF 3 © JOEL MORRISON, COURTESY OF THE ARTIST AND GAGOSIAN GALLERY, PHOTO: ERICH KOYAMA; URS FISCHER, HISTORIC PROBLEM, 2013, ALUMINUM PANEL, ALUMINUM HONEYCOMB, TWO-COMPONENT EPOXY ADHESIVE, TWO-COMPONENT EPOXY PRIMER, ACRYLIC PRIMER, GESSO, ACRYLIC INK, SPRAY ENAMEL, ACRYLIC SILK SCREEN MEDIUM, ACRYLIC PAINT, 96 X 72 X 1 1/4 IN, COLLECTION OF DOMINIQUE LÉVY © URS FISCHER, COURTESY OF THE ARTIST AND SADIE COLES HQ, LONDON, PHOTO: MATS NORDMAN; CHIHARU SHIOTA, THE KEY IN THE HAND, 2015, JAPAN PAVILION AT THE 56TH INTERNATIONAL ART EXHIBITION–LA BIENNALE DI VENEZIA, PHOTO: SUNHI MANG. COLLECTORS, FROM LEFT: BILLY FARRELL/BFA.COM; DIMITRIOS KAMBOURIS/GETTY IMAGES; RINDOFF/LE SEGRETAIN/GETTY IMAGES; GRANT LAMOS IV/GETTY IMAGES; BERTRAND RINDOFF PETROFF/FRENCH SELECT/GETTY IMAGES; DIMITRIOS KAMBOURIS/GETTY IMAGES; THEO WARGO/GETTY IMAGES

Bazaar

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A R T: EDWA R D H O PPER, BL ACK WELL’ S ISL AN D, 1928, O IL O N C A N VA S

E A RRIN GS A N D RIN G: EISEM A N JE W EL S

A R T: JO HN TRUM BUL L , PORTRAIT OF ALEX AN DER HAM I LTON, 1792, O IL O N C A N VA S

TOP, SKIRT, BELT AND HANDBAG: SALVATORE FERR AGAMO

EARRINGS AND RING: EISEMAN JEWELS

ART LEFT: ARTHUR FITZWILLIAM TAIT, A TIGHT FIX — BEAR HUNTING, EARLY WINTER [THE LIFE OF A HUNTER: A TIGHT FIX], 1856, OIL ON CANVAS ART RIGHT: RICHARD CATON WOODVILLE, WAR NEWS FROM MEXICO, 1848, OIL ON CANVAS ABOVE RIGHT

MAN: JACKET, SHIRT, VEST, PANTS, TIE AND POCKET SQUARE: BRIONI AT NEIMAN MARCUS

SHOES: ZEGNA AT NEIMAN MARCUS

TIMEPIECE: ROLE X AT EISEMAN JEWELS

WOMAN: DRESS: LELA ROSE AT NEIMAN MARCUS SHOES: JIMMY CHOO AT NEIMAN MARCUS EARRINGS, NECKLACE AND BRACELET: TIFFANY & CO. ART: ALICE AYCOCK, MAELSTROM, 2014, POWDER-COATED ALUMINUM

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Bazaar

DESIGNERS ON

ARTISTS N I C O L A S

G H E S Q U I È R E O N

CINDY SHERMAN

“Every time I immerse myself in Cindy’s art, it brings me further into her endlessly fascinating and intriguing world.”

“I DON’T THINK you discover the world of Cindy Sherman—it just catches you, it grabs you, it commands your attention. I had the chance to meet her and we became friends; we collaborated on a project that is one of the best memories of our relationship.

Every time I immerse myself in Cindy’s art, it brings me further into her endlessly fascinating and intriguing world, and I never feel I have fully explored it.”

From left: Sherman and Louis Vuitton designer Ghesquière at a party last year for Vuitton’s Celebrating Monogram project, to which she contributed. Untitled #397, 2000. Untitled #424, 2004.

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ART, FROM LEFT: CINDY SHERMAN, UNTITLED #397, 2000, CHROMOGENIC COLOR PRINT, 36 X 24 IN (91.4 X 61 CM), RUBELL FAMILY COLLECTION, MIAMI, AND UNTITLED #424, 2004, CHROMOGENIC COLOR PRINT, 53 3/4 X 54 3/4 IN (136.5 X 139.1 CM), HOLZER FAMILY COLLECTION, COURTESY OF THE ARTIST AND METRO PICTURES © CINDY SHERMAN. SHERMAN AND GHESQUIÈRE: COURTESY LOUIS VUITTON

Four of fashion’s most creative minds discuss artists who inspire them

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ART, CLOCKWISE FROM TOP LEFT: FRANK STELLA, GRAN CAIRO, 1962, ALKYD ON CANVAS, 85 9/16 X 85 9/16 IN, WHITNEY MUSEUM OF AMERICAN ART, NEW YORK, PURCHASE FROM THE FRIENDS OF THE WHITNEY MUSEUM OF AMERICAN ART 63.34; GOBBA, ZOPPA E COLLOTORTO, 1985, OIL, URETHANE ENAMEL, FLUORESCENT ALKYD, ACRYLIC, AND PRINTING INK ON ETCHED MAGNESIUM AND ALUMINUM, 137 X 120 1/8 X 34 3/8 IN (348 X 305 X 87.5 CM), THE ART INSTITUTE OF CHICAGO, MR. AND MRS. FRANK G. LOGAN PURCHASE PRIZE FUND, ADA TURNBULL HERTLE ENDOWMENT 1986.93; ESKIMO CURLEW, 1976, LITHO CRAYON, ETCHING, LACQUER, INK, GLASS, ACRYLIC PAINT, AND OIL STICK ON ALUMINUM, 98 3/4 X 127 X 18 IN (250.8 X 322.6 X 45.7 CM), PORTLAND ART MUSEUM, PORTLAND, OREGON, MUSEUM PURCHASE: FUNDS PROVIDED BY MR. AND MRS. HOWARD VOLLUM 79.36 © 2014 FRANK STELLA/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK. McCARTNEY: DAVID X PRUTTING/BFA.COM. STELLA: LUIS SINCO/LOS ANGELES TIMES/CONTOUR BY GETTY IMAGES

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FRANK STELLA

“TO ME, IT’S OBVIOUS why I was drawn to Frank: Stella drawn to Stella. He is, quite frankly, a genius—Frank, frankly a genius. His work has been on such a pure journey. I’ve always loved his early pieces—the simplicity, the texture, the palette.There is a directness that I really appreciate in his work, and a confidence. I’ve also seen something in it that I believe is very rare to find in art from a male artist, which is the ability to capture both masculinity and femininity within one piece. But the thing that I really find mind-blowing is the scope and the scale of his work, how he has taken his early pieces and almost turned them upside down and inside out in his later ones, where he’s sculpting with metals and enamels and paintwork. It feels almost like a car crash of materials that have smashed on your wall and peeled themselves off. There is so much color, so much expression in the collages. To come from that place of purity in the beginning and then to still have so much to say …

There are very few artists who would have the balls to change direction so dramatically. Yet you still feel Frank in everything that he creates.” ➤ A retrospective of Stella’s work opens at New York’s Whitney Museum of American Art on October 30

“There is a directness that I really appreciate in his work, and a confidence.”

Above: Frank Stella. Art, clockwise from top left: Gran Cairo, 1962.

Gobba, zoppa e collotorto, 1985. Eskimo Curlew, 1976.

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JOHN CURRIN & RACHEL FEINSTEIN “Rachel’s sharp intelligence, combined with her soulfulness, is apparent not only in her work but also when she charms you across a dinner table.”

Clockwise from left: Currin and Feinstein.

John Currin’s Rachel in Fur, 2002.

Currin’s Nude in a Convex Mirror, 2015.

Rachel Feinstein’s Hun Girl, 2014.

“I THINK JOHN CURRIN is one of the greatest living artists working today. His painterly skill, combined with his keen and perceptive eye, makes his work at once reminiscent of the great figurative painters of the past yet with a completely contemporary take on our culture and standard of beauty today—and often the absurdity of it. His wife, Rachel Feinstein, is an incredible artist in her own right, and her sharp intelligence, combined with her soulfulness, is apparent not only in her work but when she charms you across a dinner table or discusses, with passion, her feelings about modern life. Like all great couples, they are a true force.”

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ART, CLOCKWISE FROM TOP LEFT: JOHN CURRIN, RACHEL IN FUR, 2002, OIL ON CANVAS, 20 X 16 IN (50.8 X 40.6 CM) © JOHN CURRIN, COURTESY GAGOSIAN GALLERY AND SADIE COLES HQ; JOHN CURRIN, NUDE IN A CONVEX MIRROR, 2015, OIL ON CANVAS, 42 X 1 1/8 IN (106.7 X 2.9 CM), UNFRAMED © JOHN CURRIN, PHOTO: DOUGLAS M. PARKER STUDIO, COURTESY GAGOSIAN GALLERY. RACHEL FEINSTEIN, HUN GIRL, 2014, AQUA RESIN, ALUMINUM, STEEL AND WOODEN PEDESTAL, 88 X 56 IN WITH A 4-FT SQUARE BASE © RACHEL FEINSTEIN, COURTESY GALERIE MITTERRAND, PHOTO: REBECCA FANUELE. FORD: BENJAMIN LOZOVSKY/BFA.COM. CURRIN AND FEINSTEIN: ANDREW H. WALKER/GETTY IMAGES

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ART, FROM TOP: STERLING RUBY, SP287, 2014, SPRAY PAINT ON SYNTHETIC CANVAS, 96 X 84 IN (243.8 X 213.4 CM), ARTWORK © STERLING RUBY, PHOTO: ROBERT WEDEMEYER, COURTESY STERLING RUBY STUDIO AND GAGOSIAN GALLERY, BASIN THEOLOGY/BUTTERFLY WRECK, 2013, CERAMIC, 28 1/8 X 39 3/8 X 41 IN. (71.4 X 100 X 104.1 CM) COLLECTION OF THE ARTIST, COURTESY HAUSER & WIRTH, WHITNEY BIENNIAL 2014 (MARCH 7–MAY 25, 2014) WHITNEY MUSEUM OF AMERICAN ART, NEW YORK, PHOTO: BILL ORCUTT. SIMONS: BILLY FARRELL/BFA.COM. RUBY: ALLISON BUCK/GETTY IMAGES. RUNWAY: PASCAL LE SEGRETAIN/GETTY IMAGES

STERLING RUBY

“I WAS FIRST INTRODUCED to Sterling Ruby’s work through the gallerist Marc Foxx, who showed me one of his ceramic pieces. Immediately I was interested in learning more.

Sterling and I met about 10 years ago at a studio visit and had an instant connection—there was an ease and an ability to talk openly about anything. I have always had a strong interest in contemporary art and constantly discover new things. When I saw some of Sterling’s paintings, I was very moved by the use of color.

While designing my first haute couture collection at Dior, I thought about what Sterling did and that it would make an incredible print for a fabric. We knew it would be a challenge due to the number of colors within his paintings, but seeing those prints on the dresses that came down the runway was so special that it was worth the effort. So many times in fashion (and in art), one is faced with the challenge of getting out of one’s comfort zone—to break out of the system and of what is expected. Sterling invites his audience to test their vulnerability and to push boundaries. I myself enjoy pushing boundaries— doing things that are outside the ‘fashion system.’ For me, it is a form of liberation.” ■ A book of Ruby’s spray-painted sky paintings, Sterling Ruby: Vivids (Gagosian/Rizzoli), is out this month

“So many times in fashion (and in art), one is faced with the challenge of getting out of one’s comfort zone—to break out of the system and of what is expected.”

Above: Ruby at the premiere of the documentary Dior and I in April.

Art, from top: SP287, 2014.

Basin Theology/ Butterfly Wreck, 2013. Left: A look from Dior Haute Couture, Fall 2012.

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lacing art in public spaces,

where people conduct their daily lives, has the potential to reach much

“THEY BELIEVED STRONGLY in sharing the art they collected,” Nancy Nasher says of her late parents, Dallas real estate developer Raymond Nasher and his wife, Patsy, who together built one of the most important privately held collections of modern and contemporary sculpture in the U.S. Raymond and Patsy started out in the 1950s collecting pre-Columbian art but soon shifted their focus to the 20th century, acquiring pieces by the likes of Alexander Calder, Alberto Giacometti, Henri Matisse, Joan Miró, Henry Moore, Pablo Picasso, and Auguste Rodin, along with ones by Andy Warhol, Roy Lichtenstein, Claes Oldenburg, and other members of the burgeoning Pop art tribe of the era.

But if the Nashers were savvy when it came to assembling their collection, they were radical in how they exhibited it. Raymond Nasher was among the first builders to install museum-quality artwork in the commercial spaces he developed. One of them was NorthPark Center, a shopping mall he opened in 1965 on the site of a former cotton field on the northern edge of Dallas. The couple filled the NorthPark Center grounds and the building itself with art, as works by artists such as Warhol, Lichtenstein, Frank Stella, Antony Gormley, Jonathan Borofsky, and Jim Dine came to occupy lawns, courtyards, 1 Mark di Suvero’s Ad Astra, 2005 and the kinds of areas normally reserved for fountains and food courts. “When my parents were planning NorthPark, art in public spaces was all too rare in Dallas,” Nancy explains. “Supporting local arts organizations is supremely important, of course, but placing art in public spaces, where people conduct their daily lives, has the potential to reach much greater numbers.”

Nancy and her husband, David Haemisegger, took over NorthPark in 1995 and have since worked to expand both the mall, which underwent a $250 million renovation in 2006, and its art collection, which continues to grow. To mark its 50th anniversary this year, NorthPark is now hosting “Art Meets Fashion,” an exhibition featuring 25 garments that represent how artists and designers have collaborated and responded to popular culture and one another since 1965. Included are Pierre Cardin’s famous “bull’s-eye” minidress from the mid-’60s and a Halston pantsuit from 1974 with a print designed by Warhol and inspired by his “Flowers” paintings. In addition, artist Leo Villareal has been commissioned to create an installation, based on his “Buckyball” series, to be unveiled next month.“The selections For collector Nancy Nasher, a trip to the mall is as illustrate the highly creative ways that art and fashion continue to break new much about what you see as what you get—especially ground,” Nancy says of the exhibition. “Leo and NorthPark also make for a great pairing. I find his work unique, mesmerizing, and enthralling.” ➤ when the work on view is museum-worthy

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MARK DI SUVERO, AD ASTRA, 2005, PAINTED STEEL, 48 FT X 25 FT, 6 IN X 25 FT, 6 IN, NANCY A. NASHER AND DAVID J. HAEMISEGGER COLLECTION, © MARK DI SUVERO, PHOTO: JUSTIN CLEMMONS

greater numbers,” says Nancy Nasher.

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rt is more central to the mall’s identity than ever. Last year NorthPark instituted a rotational program to expand the scope of the pieces on view, launched a mobile app that provides an interactive tour of the art on site, and hired a fulltime manager of art programming to oversee initiatives aimed at further engaging visitors of all ages in the art experience. Nancy and David also continue to bring in new pieces from both their personal collection and the nearby Renzo Piano–designed Nasher Sculpture The Louis Vuitton store, Center in downtown Dallas, as well as other institutions with the Anish Kapoor around the world. But the coup de grâce is the numsculpture The World Turned Outside In, 2003, ber of newer works they have installed at NorthPark at NorthPark Center over the past decade, which, together with all the luxury retailers that have moved in—Louis Vuitton, Gucci, Valentino, and Salvatore Ferragamo among them—have transformed the mall into a showcase for both 21st-century art and “The collection has fashion. “The collection has grown organically as we incorporate artists that move us,” Nancy says, adding that they are also working grown organically as with the Dallas Symphony Orchestra and the Dallas Black Dance we incorporate Theatre on performance-based projects they’d like to host at the mall. “We are working to develop even more programs to spark artists that move us,” public art discussion on a global level,” she explains. “While retail is the heart of our business, our customers understand that shopping Nasher says. is just a part of what makes NorthPark special.”

Here, Nancy walks us through some of the current centerpieces of NorthPark’s permanent collection.

1. Mark di Suvero’s Ad Astra, 2005 (shown on previous page). “When I read about it in The New York Times, we immediately flew to Storm King [Art Center, in New Windsor, New York] to see it. I could envision people engaging with it, walking through it, and enjoying it from several levels. It has truly become the iconic piece of sculpture in the shopping center.”

2. Joel Shapiro’s 20 Elements (2004–5). “I recognized that this brilliant ‘color fountain,’ as I saw it, would fit perfectly within a space I had previously imagined for a working fountain. It’s a dynamic three-dimensional masterpiece of color and form.”

3. Anthony Caro’s River Song (2011–12) (pictured) and Clouds (2011). “Here was an artist who had been welding metal for decades but still managed to create awe-inspiring, fresh compositions up until the end of his life.”

4. Iván Navarro’s This Land Is Your Land (2014). “Recently we added this to the collection. It’s a source of contemplation, inspiration, and possibility.”

5. Claes Oldenburg and Coosje van Bruggen’s Corridor Pin, Blue (1999). “Another work that surprises our visitors with its simple aesthetic appeal, towering size, and sense of humor. Everyone appreciates its slight nod to the fashion world.”

6. Leo Villareal, new commission (Buckyball, 2015, pictured).

“By using sophisticated software to program LED lights—sometimes thousands of them in one sculpture—he creates amazing textures and patterns that are ever changing as you move around them.” ■

CLOCKWISE FROM TOP: ANISH KAPOOR, THE WORLD TURNED OUTSIDE IN, 2003, POLISHED STAINLESS STEEL, 24 X 107 1/5 X 60 2/5 IN, EDITION 2 OF 3, COLLECTION LOUIS VUITTON, © 2015 ANISH KAPOOR/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/DACS, LONDON, PHOTO: JUSTIN CLEMMONS; IVÁN NAVARRO, THIS LAND IS YOUR LAND, 2014, NEON, WOOD, PAINTED STEEL, GALVANIZED STEEL, ALUMINUM, MIRROR, ONE-WAY MIRROR, AND ELECTRIC ENERGY, 189 X 105 1/8 X 105 1/9 IN, EDITION OF 3, NANCY A. NASHER AND DAVID J. HAEMISEGGER COLLECTION, COURTESY IVÁN NAVARRO, PHOTO: KEVIN TODORA; CLAES OLDENBURG AND COOSJE VAN BRUGGEN, CORRIDOR PIN, BLUE AP, 1999, STAINLESS STEEL AND ALUMINUM, PAINTED WITH POLYURETHANE ENAMEL, 21 FT 3 IN X 21 FT 2 IN X 1 FT 4 IN (6.5 X 6.4 X 0.4 M), EDITION OF 3 (TWO BLUE, ONE RED), 1 AP (BLUE), COLLECTION NANCY NASHER AND DAVID HAEMISEGGER, © 1999 CLAES OLDENBURG AND COOSJE VAN BRUGGEN, PHOTO: ALLISON V. SMITH; LEO VILLAREAL, BUCKYBALL, 2015, LEDS, CUSTOM SOFTWARE, ELECTRICAL HARDWARE, 29 X 20 X 20 IN, COURTESY SANDRA GERING INC, NEW YORK, NY; ANTHONY CARO, RIVER SONG, 2011–12, STEEL, RUSTED, 92 15/16 X 139 X 85 1/16 IN, © BARFORD SCULPTURES LTD., PHOTO: JUSTIN CLEMMONS; JOEL SHAPIRO, 20 ELEMENTS, 2004–05, WOOD WITH CASEIN, 122 X 132 X 85 IN, NANCY A. NASHER AND DAVID J. HAEMISEGGER COLLECTION, © 2015 JOEL SHAPIRO/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK, PHOTO: JUSTIN CLEMMONS

Bazaar

BELOW LEF T BELOW RIGHT

HAN DBAG: GUCCI

ART: URSUL A VON RY DINGS VARD, UNRAVELING, 20 07, CEDAR AN D GR APHITE

MAN: COAT, SUIT, SHIRT AND TIE: BURBERRY WOMAN: COAT AND HANDBAG: BURBERRY EARRINGS AND RING: DAVID YURMAN ART: JOAN MITCHELL, UNTITLED, 1952-1953, OIL ON CANVAS

ABOVE DRESS: ROBERTO CAVALLI SHOES: CHRISTIAN LOUBOUTIN AT NEIMAN MARCUS EARRINGS: EISEMAN JEWELS RING AND BRACELET: TIFFANY & CO. ART: MARK DI SUVERO, LOWELL’S OCEAN, 2005 -2008, STEEL

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CRYSTAL BRIDGES MUSEUM OF AMERICAN ART, MOSHE SAFDIE, ARCHITECT

N O R T H PA R KC E N T E R .CO M

WORLD-CLASS ART. OVER 230 STORES AND RESTAURANTS. AN EXCEPTIONAL COLLECTION OF LUXURY BOUTIQUES. THE MOST RENOWNED FINE JEWELRY AND TIMEPIECE BRANDS. TAX-FREE SHOPPING AND CONCIERGE SERVICES. DALLAS’ FINEST SHOPPING EXPERIENCE.

ABOVE

JUMPSUIT: ROBERTO CAVALLI

EARRINGS AND BR ACELET: EISEMAN JEWELS

ART: ALMA THOMAS, LUNAR RENDEZVOUS — CIRCLE OF FLOWERS, 1969, OIL ON CANVAS

ZHENYA K ATAVA AND DANIEL DE WOLF PHOTOGR APHED BY MA XINE HELFMAN AT CRYSTAL BRIDGES MUSEUM OF AMERICAN ART, BENTONVILLE, ARK ANSAS, 2015

T H E A R T O F N O R T H PA R K JONATHAN BOROFSK Y

JIM DINE

ANISH K APOOR

HENRY MOORE

B E V E R LY PE PPE R

CO O S J E VA N B R U G G E N

ANTHONY CARO

A N TO N Y G O R M L E Y

AL AIN KIRILI

I VÁ N N AVA R R O

JA M E S R O S E N Q U I S T

L EO V I L L A R E A L

MICHAEL CR AIG-MARTIN

R ACHEL H A RRISO N

F E R N A N D L ÉG E R

CL AES OLDENBURG

J O E L S H A PI R O

A N DY WA R H O L

MARK DI SUVERO

T H O M A S H O U S E AG O

R OY L I C H T E N S T E I N

M I M M O PA L A D I N O

FR ANK STELL A

PA R TI A L L IS T

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